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Rivet’s new album for Editions Mego is an uplifting and joyous affair coming in the wake of tragedy and disenchantment. It is yet another rebirth from an artist willing to take a step back and reprise the current situation he is in. Mika Hallbäck has a long credible history in the Swedish underground. First recognised for his industrial techno works under the Grovskopa moniker he worked privately on more experimental works that eventually came out as On Feather and Wire, an album released on Editions Mego in 2020. After much acclaim for this bold new direction that blended electronic abstraction, pop and industrial forms into a heavy synthetic trip two tragedies struck. One was the passing of label boss Peter Rehberg and then the passing of his dog Lilo, who was as close as a companion one could have. These events led to the release of the more unsettling follow up L+P-2 (Lilo and Pita minus two) on Midnight Shift Records in 2023. Peck Glamour sees Rivet return to the reawakened Editions Mego with an album of optimism inspired by reconciliation with loss and further explorations of new mental/sonic realms.

Hallbäck defines his approach as not being married to any particular machine, instrument, process or genre. However he holds a particular affinity to sampling, of which, he says, provides the dirt and grit amongst what would otherwise be pristine, generic machine music. The contemporary crate digging method of scouring obscure download music bogs for unique sounds was his preferred research practice.

Peck Glamour is an album full of tracks brimming with the excitement of exploration. It's the results of a mind informed by punk, industrial, techno, dancefloor, disappointment, trauma and rebirth. Here the synthetic and authentic is viewed simply as the same means of human rationale and expression.

The opening, ‘Catch Up to Light’, sets the scene with ecstatic and odd fluorescent vocals sliding amongst crystalline likembe whilst synths swirl amongst the external festivities. ‘Orbiting Empty Cocoon’ is somewhat a homage to the alien sound worlds of The Orb, one which takes the listener deeper into a mind melting array of teased potential as visual elements are executed in a mask of audio wizardry and euphoric staccato rhythms, the later being a nod to Singeli music. ‘Patitur Butcher’ is more dance frontal utilising the Ghatam drum and a YouTube rip of a Chinese language lesson. ‘Plastic Bag Putain’ was made during the beginning of Russia's invasion of Ukraine and should be clear of its intent. ‘All that Heaven Allows’ is a marimba cover of an imaginary Love Parade anthem. 'Kyrie Geire’ potentially briefly fills the void left by the demise of Coil. The entire trip of Peck Glamour is sewn up with ‘We left before we came’ whereby extraneous recordings of double bass player Gregory Vartian-Foss (tuning/strumming/moving the bass) are superimposed with local field recordings to create a gorgeous bed of sounds acting as an exciting exit music to this sharp collection of cinematic ear excursions.

Mysterious disco outfit Jiri Jiri deliver an essential EP. Four tracks of sublime, summary European cool hand-picked by Batov Records boss DJ Kobayashi for the label"s brand new and carefully curated "Give Me Disco" 12" series, named after Raja Zahr"s disco classic. The "Give Me Disco - Vol. 1" EP marks the beginning of two exciting new ventures, the emergence of Jiri Jiri, and inspired by their need for a home, the launch of Batov Records" "Give Me Disco" 12" series.

Reissue, 2LPs, black and purple colored. Limited to 500 copies. Fläsket Brinner means Burning Flesh and is a suitabel name for this group that started in 1970 playing music with influences from the time, like kind of jazzrock, psychedelia, folkmusic and long improvisations that often ended in extacy. Bo Hansson did not often play his music live, but he often joined Fläsket Brinner in concerts, sometimes he played the Hammond but also guitar or cow bell. This, their debut album, has been long awaited for different reasons but is now finally released including a lot of bonus material on a second LP. Side A and C plus "Bosses låt" on side B are recorded at The Concert Hall in Stockholm December 1st 1970 (on 2-channels) when Fläsket Brinner was warm up for Frank Zappa and Mothers of Inventiom. Bo Hansson was participating in that concert on Hammand Organ alternativ Cow Bell when Sten Bergman played the organ. B 6 is recorded at Liljevalchs Hall of Art during the 3rd Gärdetfest that was held indoors November 20th 1970 (on 8-channels) B 1, 2, 4, 5 are recorded in the newly started Studio Decibel January 17th and 18th 1971. Sides A, B and C are recorded and mixed by Anders Lind. D-side "Gulan" is recorded at Pistolteatern in Stockholm (on 2 channels) February 14th by Claes-Göran Flodén.

Tech-Nology was launched in 2003 specifically to make records with the artist Bjorn Svin. Bjorn was the first Danish artist who made underground crossover into commercial hit territory via "Mer Strom" - but still keeping respect in the "real" music world for his enthusiasm, non-compromising style, persona, and sweaty live performance skills - his musical understanding and need to explore new directions took the crowd on a personal musical journey from jazz and classical musicians to early electronic pioneers - but always in a tone of his own. Bjorn always felt a need to escape norms, to grow and not to repeat, but investigate and create. The first record on Tech-Nology was born under the alias - El Far: Couples of lonely dancers. "Bjorn is maybe the most talented electronic producer ever in Denmark" and he was celebrated as a wonder kid by the media back in the 90's. An insider with new knowledge of Bjorn told us: "Yeah I think its good music.. It's not for everyone I must add, but it's definitely quality music for those who dig this sound.. sometimes a bit too deep.. which kind of works against it, cause you really need to listen to it.. you cannot just skip through it, cause then you don't really grasp the soul of it.. so this is what makes it more difficult to sell - but if a guy like this was a bigger name he would sell much better.."

We love Bjorn and we agree - We have tried to sell Bjorn and his music for over 2 decades now - But you can't capture Bjorn, you can't own him - he is only making music for himself - and you can get on the ride if you want to, but don't expect all the rides to be fun - sometimes it hurts! Bjorn is difficult to sell, but we don't think Bjorn really would like to sell much better if he had the option to do a more commercial approach to his music - because Bjorn is about not selling out, he's a purist at heart, making music documents for the few. Bjorn is bigger than superficial success and streaming numbers. He made jingles for Nokia, toured and played Roskilde's main stage, the biggest Festival in Denmark, but he still doesn't care... and that is important if you want to make interesting music that last for the future. When Bjorn met Mester Jakobsen, label boss of Tech-Nology, he has been releasing on numerous underground labels, made the jump to a major label, and everything more or less turned out as a big disappointment, so Bjorn presented a completely experimental album to the Tech-Nology label under the moniker Prinz Ezo - The Body Offset. We loved it then - we still love it now - and a truly collectors item and a secret DJ tool.

Today, Bjorn is still breaking all habits and rules, still doing the same thing - just in new ways, but he has gained insight on another level, adding even more nuances and textures to his post-genre compositions.

Welcome to the second album by Prinz Ezo on Tech-Nology: KURIER Why Kurier? Because Bjorn left to explore the Berlin Underground, shortly after the first two releases on Tech-Nology - he left his roots to search for a bigger meaning, a bigger understanding, to compose real mature sounds and understanding his skills, at the point where you understand why you have to cross borders, still incognito, doing smuggler-sounds, always in transit - between cities, between cultures, between worlds, time and space. Not Restless nor rootless, just forever on the move, always discovering new landscapes! But now Bjorn is settling down - accordingly with the music - to find - not inner peace, but to be completely in balance with the music inside of him. Prinz Ezo is raw, narrative, minimalistic electronic storytelling that refuses to freeze. Tension builds and releases - feel the energy and the drama for the last 2 decades if you dare to take the journey?

Almost twenty years after the first Prinz Ezo album, it has now been possible to make the music for those who never arrived.

This Nashville, TN combo 'DeRobert & the Half-Truths – provide soaring vocal power with a unfiltered examination of raw soul.

Line Up:

DeRobert - Boss

Nick DeVan - Drum

Dave Singleton - Bass

Mark Spain - Bari

Diana Lugemwa - Trumpet

Robert Long - Tenor, Flute

Andy Brown - Guitar, Alto/Tenor

Austin Little - Trombone

This Nashville, TN combo 'DeRobert & the Half-Truths – provide soaring vocal power with a unfiltered examination of raw soul.

Line Up:

DeRobert - Boss

Nick DeVan - Drum

Dave Singleton - Bass

Mark Spain - Bari

Diana Lugemwa - Trumpet

Robert Long - Tenor, Flute

Andy Brown - Guitar, Alto/Tenor

Austin Little - Trombone

This Nashville, TN combo 'DeRobert & the Half-Truths – provide soaring vocal power with a unfiltered examination of raw soul.

Line Up:

DeRobert - Boss

Nick DeVan - Drum

Dave Singleton - Bass

Mark Spain - Bari

Diana Lugemwa - Trumpet

Robert Long - Tenor, Flute

Andy Brown - Guitar, Alto/Tenor

Austin Little - Trombone

Seattle punk rock 'n rollers The Drowns are proud to present their brand new live album Live At Rebellion, on Pirates Press Records. This is the band's first foray into recording a live performance, but it has been an idea on the table from very early on. While the band are rightfully acclaimed for their studio albums, the first thing anyone in the know talks about is their electrifying live shows. "Within the first year of starting the band, we saw the reactions we were getting from people live, and we had the idea to record a live album," says guitarist and singer Rev. "Almost a decade later now, we felt like the time was right." While a live album recorded during the first year may have captured the raw power of a hungry band kicking off their momentum, Live at Rebellion is the sound of a seasoned band playing in front of a veritable army of international fans on their largest festival stage at Rebellion Festival in Blackpool, UK - fans that they have earned one by one, sweating it out with relentless transcontinental touring. "Rebellion has always been a highlight of our year, and we love the performances there because the energy from the crowd is raw and visceral," explains Rev. "That's why we made the choice to do it there in Blackpool." While far from a "Greatest Hits Live" preserved in amber, the setlist features selections from every era of the band's career and was determined by the band's knowledge of what songs get their audiences fired up - all killer, no filler, as the saying goes! The gritty attack of "Them Rats" exemplifies the band's streetpunk influences and lyrical calls to unite against abusive authoritarian power. Meanwhile, the vital ass-shaking boogie of "Live Like Yer Dyin'" was a direct result of the band fully embracing their collective appreciation of the energetic joys of both 70s glam and original 50s rock 'n roll! Their choice of cover song - "Ballroom Blitz," - truly hits the Sweet spot, if you'll pardon the pun, as one of the foremost glam-proto-punk-bovver rock masterpieces. It is executed here in masterful hands by The Drowns. The band acknowledges Daz Russell & Daryl Smith, the organizers at Rebellion, for backing the making of the record. David Casey (Success, One Step Beyond) helmed the boards to capture the recording, mixing and engineering was done by Evan Douglas Foster (The Sonics, Boss Martians), and the final master was produced by Seattle legend Jack Endino (Nirvana, Mudhoney, Soundgarden), who also recently oversaw the re-master of The Drowns' debut album View From the Bottom. "This album was a cumulative effort between people who still believe in rock 'n' roll," sums up Rev. "We couldn't be more proud."

Silence present a reissue of legendary live album from Sweden's own Woodstock, Gärdesfesterna, the start of the Swedish alternative music movement. It's hard to imagine an album with a greater symbolic significance than the 2LP set "Festen på Gärdet", recorded at the second of the two festivals held at the Gärdet field in Stockholm in 1970, with Träd Gräs Och Stenar and especially Bo Anders Persson as the driving force behind them both. Those festivals are often regarded as the starting point of the music movement. It's convenient having a fixed date of course, but as with any historical event, it was the product of a process, with one thing evolving into something else. So while the date isn't historically valid, the Gärdet festivals' importance to the music movement is unquestionable. This was the first time that several of the soon to be most important bands presented themselves to a larger audience. Most bands didn't have a record contact at the time, and some of them would never get one, such as Det Europeiska Missnöjets Grunder and Låt Tredje Örat Lyssna In & Tredje Benet Stampa Takten.

3XL boss and scene hyper-connector Special Guest DJ (aka uon, shy, Caveman LSD) lands on their own label with a debut album of hazed ambient noise and aquatic club anarchitextures, with a patented, heady style bent into new shapes.

For nigh on a decade, Berlin-based American producer, label boss, promoter and DJ Shy has operated at the centre of a scene that's still not fully defined. Their mythical DJ sets, where you're likely to hear precision-tweaked dubstep, dreampop, decelerated rap and dubwise ambient blended into vapour; gives some sense of the vibes at play, and a comb thru their spiderweb of a catalog - as Caveman LSD or uon, as part of Ghostride the Drift, Hoodie, crimeboys, virtualdemonlaxative and Cypher, or as the figurehead of 3XL, Experiences Ltd, xpq? and bblisss labels - further blurs that gist.

They've been caught in the crossfire of Big Ambient, sure, but there's always been something scrappier, sexier and more present going on under the hood. Shy and his network of associates - Huerco, Ulla, Perila, Ben Bondy, Naemi/Exael, Ponteac Streator and Arad Acid, among others - have asserted the interrelatedness of their discrete approaches. So-called "ambient" music doesn't exist in a vacuum, it un-focuses elements that undergird so many more corporeal sounds, and for Shy, their music reflects the druggy, DIY, genre-agnostic ethos of a trans-Atlantic neo-punk underground that exists in some liminal zone between the club, the bedsit and the basement.

Concerned with themes of “anger, sensuality, and dreaming”, the 40 minute roil of ‘Our Fantasy Complex’ frames Special Guest DJ at their most unapologetically oblique and illusive, expanding and contracting between whorls of shoegazing dynamics and extended portions of quasi-speed D&B x dub tech smeared on the mind’s-eye, with a vivid sense of bruised lushness that’s perfused all shy’s work thus far.

Joined by kindred collaborators Ben Bondy, Arad Acid and mu tate, and suspended in agitated bliss by Rashad Becker’s lucid mastering, the results feel out some of 2025’s most considered and distinctive within an amorphous zone that’s become a world unto itself. Ambient music’s fluffier signifiers are swapped out for a sort of sublime tension that, like the sound’s original ‘90s explosion, can be heard to reflect states of altered consciousness - both individual and collective.

Shy's layered, undulating productions are more like the chewed remnants of a thousand mixtapes cooked into a stream-of-consciousness hex. Save for the glistening, zoomed-out parting piece ‘Dream’, it all mostly avoids pretty melodies in favour of a spatio-textural sensuality that wraps us up, sometimes uncomfortably intimately, in shy’s thoughts. That oneiric closer is one of three gritty palate cleansers that swirl around its peaks, where elements of Reese-bass are suspended, writhing below looming atmospheric pressure in ‘How Long Can I Burn?’, emerging charred and flecked with rattled percussion on ‘Yoro (pt I & II)’, as though K-holing thru a blazing summer’s day.

In step with Perila’s notably darker turn of events on her ‘Omnis Festinatio Ex parts Diaboli Est’, album, or the unexpected ferocity of recent Space Afrika live shows, it’s not hard to hear a darkside gravitational pull on this one, where ambient music is no longer just a balm for troubled souls, but also suggestive of humanity’s most frightful odours.

Back in again soon. Following on from the success of ‘Greg Belson’s Divine Disco’ series Greg Belson and Cultures of Soul team up again to explore the world of Gospel Funk. Belson is one of the world's leading collectors and DJs of gospel music. You hold in your hands a collection of some of the rarest Gospel funk records from Belson’s amazing collection featuring everything from the laid back breakbeat laced “I Don’t Want to Be Alone" by Allen Gauff Jr to the high octane and socially-on-point take of the Gospel classic ‘This Little Light Of Mine’ by the Gospel Ambassadors to drum break funk of the Wearyland Singers ‘If You See Me Doing Wrong” to the sublime soulfulness of Zella Jackson’s “Days Are Just Like People." Without a doubt though, all of the artists included in this compilation, believed in themselves, the message, and the direction of the Gospel Funk intensity you hear within these grooves. Gettin’ on the Good Foot for God? Listen and decide for yourselves!

Carpet & Snares boss Jorge Caiado is back under a new Caiado LDA alias with two tracks originally commissioned by Thomas Melchior for his My King Is Light project, now released through the Carpet/Patterns sublabel. 




Both sides strike a philosophical, almost spiritual tone, but for quite different ends. The A side ‘Process’ uses its tight skippy groove and central acid line as the foundation for peak-building Carl Craig drama, while the B side ‘Neverending Dream’ lands on a more tripped-out mood for the after- afters. Watch this space for more Caiado LDA material on the way!

Italy’s Tuccillo is back on Kaoz Theory this July with his ‘First Summer’ EP, once again showcasing his widely lovely interpretation of stripped-down, groove-led house. Making his start in the 90’s and still as relevant as ever, Tuccillo, has become highly sought after both for his records and as a DJ, his name is synonymous with gritty, groovy and dance floor focused jams which have found a home on many reputed imprints such as Visionquest, 20/20 Vision, Free-range, his own House Of Tucci and of course Kerri Chandler’s Kaoz Theory where he returns here. Tuccillo also operates as one half of the Doublet duo alongside Holic Trax boss Tomoki Tamura amongst many other sonic side ventures. Opening is title-track ‘First Summer’, perfectly setting the tone with Tuccillo’s distinctive style which utilises, fluttering stab sequences, bouncy bass tones, choppy vocal cuts and a bulbous bass groove atop a raw, reduced rhythm. ‘One More’ follows next and leans heavily into dub house realms with gritty, echoing dub chords, ethereal pad textures and murky bass swells delicately ebbing and flowing around a saturated swinging drum groove. ‘People For The People’ follows next and lays down organic percussion with filtered funklicks, a snaking bass line and jazzy keys before ‘Gotta Be Free’ concludes the release, heading back to a more stripped-back aesthetic courtesy of twitchy acid-tinged bass hits, fluttering synth melodies, crisp drums and an amalgamation of processed vocal chants throughout.

Monster release by the Swedish Starving Insect and Japanese Miyuki Omura.

The Cinematic horror concept EP "Ningyo no Hausu" (Translated: House of Dolls) offers 4 bangers that will send shivers down your spine.
The theme track Hausu has both a Techno and a Hardcore version as well as A remix By label boss Tripped himself.

The "Disturbing, haunting & Scariest and strongest music" (as quoted in Kanji on the cover art)
dares you to indulge on this journey but remember "In this house... evil itself pulls the strings."

'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is not only a way for her to find solace in her favorite genres, but is an intuitive means of catharsis. "Blending everything that I like together and trying to make something new - that's what feels most natural to me," says the 23-year-old Brooklyn-based singer-songwriter and guitarist. "It's what feels most true to who I am as an artist." Plinking guitar tones and asymmetrical time shnatures exemplify her forays into angular indie rock more now than ever before, especially on her debut Bayonet Records single "Wakare no Kotoba"-its wide-interval arpeggios in odd meters being some of the most technically difficult guitar work Mei has ever implemented in her songwriting. Translated to "parting words" in English, the self-described "anti-love song" serves as a farewell to a toxic friendship, complete with orchestral swells and crashing guitars. Originally from Ann Arbor, Michigan, Semones began playing music at a young age, starting out on piano at age four before moving to electric guitar at age eleven. After playing jazz guitar in high school, she went on to study guitar performance with a jazz focus at Berklee College of Music. College is where she met her current bandmates, including string players Noah Leong and Claudius Agrippa, whose respective viola and violin add softness and multidimensionality to Mei's intricate guitar work. After releasing a slew of singles and an EP in 2022, coinciding with her move to New York City, Mei and her band have since gone on to collaborate with post-bossa balladeer John Roseboro and embark on their first-ever tour with the melodic rock outfit Ravi, Semones chronicles infatuation, devotion, and vulnerability in her songs, complete with sweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English and Japanese, that have all become part of her sonic trademark: ornately catchy, genre-fusing compositions serving as the backdrop to tender lyrics touching on the universalities of human emotion.

'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is not only a way for her to find solace in her favorite genres, but is an intuitive means of catharsis. "Blending everything that I like together and trying to make something new - that's what feels most natural to me," says the 23-year-old Brooklyn-based singer-songwriter and guitarist. "It's what feels most true to who I am as an artist." Plinking guitar tones and asymmetrical time shnatures exemplify her forays into angular indie rock more now than ever before, especially on her debut Bayonet Records single "Wakare no Kotoba"-its wide-interval arpeggios in odd meters being some of the most technically difficult guitar work Mei has ever implemented in her songwriting. Translated to "parting words" in English, the self-described "anti-love song" serves as a farewell to a toxic friendship, complete with orchestral swells and crashing guitars. Originally from Ann Arbor, Michigan, Semones began playing music at a young age, starting out on piano at age four before moving to electric guitar at age eleven. After playing jazz guitar in high school, she went on to study guitar performance with a jazz focus at Berklee College of Music. College is where she met her current bandmates, including string players Noah Leong and Claudius Agrippa, whose respective viola and violin add softness and multidimensionality to Mei's intricate guitar work. After releasing a slew of singles and an EP in 2022, coinciding with her move to New York City, Mei and her band have since gone on to collaborate with post-bossa balladeer John Roseboro and embark on their first-ever tour with the melodic rock outfit Ravi, Semones chronicles infatuation, devotion, and vulnerability in her songs, complete with sweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English and Japanese, that have all become part of her sonic trademark: ornately catchy, genre-fusing compositions serving as the backdrop to tender lyrics touching on the universalities of human emotion.

Recorded live in one session at age 18, this album helped launch Tania Maria's career as an acclaimed Brazilian jazz artist, celebrated for her virtuoso combination of piano and vocals. Produced by Romeo Nunes (Meirelles e Os Copa 5, Rio 65 Trio, Elis Regina, Elza Soares), the album features the pioneering Edison Machado, who transformed samba and was instrumental in the development of Bossa Nova through his groundbreaking "samba no prato" (samba on the cymbals) technique. His work helped shape the sounds of Jobim, Getz, and Milton Nascimento. On guitar is the legendary Neco, who played on over 500 albums. Initially self-taught, he later studied under maestros Guerra Peixe and Moacir Santos. He collaborated with icons like Elis Regina and Chico Buarque, and was a member of Os Ipanemas, Os Catedráticos, and Os Gatos. His solo work includes Velvet Bossa Nova (1966), which became an acid jazz favorite. The album features compositions by Caetano Veloso and Marcos Valle,alongside early samba classics.

Blending Brazilian rhythms with elements of samba, bossanova, and jazz fusion,it captures the early development of Tania Maria's signature style. Born in São Luís, Brazil in 1948,Tania Maria began playing piano at age seven. She learned samba, jazz, and chorinho through her father's weekend jam sessions. Leading her own band by age13, she performed across the region while collecting records from influential artists. Though she earned a law degree and started a family,her passion for musicu ltimately won out—she left law to pursue music full-time.

2025 Repress

In an unprecedented international collaboration, Energy Exchange Records presents 'The Napoli Exchange' - the brainchild of Energy Exchange Records co-founders, Lewis and Ziggy, joining forces with producer and label boss Federico Gallotti (Tartelet / La Scimmia), the project was inspired by numerous visits to Naples, allured by the mediterranean breeze and of course the underground disco and funk forged by labels such as Early Sounds and Periodica Records. This meeting of minds created an opportunity to build bridges from the historic Italian city to the broader european scene of club crossover music.

Toy Tonics ITALOMANIA Vol. 3 is a compilation dedicated to NEW ITALIAN DISCO. (Not Italo Disco.) 14 young contemporary Italian producers made new organic disco, indie dance, pop house tracks with Italian vocals. Everything on this compilation has been produced in 2024. Fresh dance music by Italian artists Paul Older, Riva Starr, Valentino Vivace, Sam Ruffillo & Fimiani, Kymono, Mille Punti, Mind Enterprises, Bruno Belissimo and legendary cosmic disco pioneer Daniele Baldelli + french italo hitmakers Dov'e Liana. The ITALOMANIA compilation was initiated by Toy Tonics boss Kapote. Italo-German producer, DJ, keyboarder and head of Toy Tonics and Gomma records. ITALOAMNIA is a MANIFESTO to show the status of Italian Disco of today. Kapote invited the most relevant Italian producers to make new tracks with Italian vocals and show different styles of modern Italian disco with Italian vocals.

Italian Disco is not Italo Disco. The last years the trashy pop music of the 1980’s called Italo Disco (with English lyrics) had a big revival. But this compilation is about something else: It’s about this Italian Disco. Because the popularity of good Italian pop music is rising all over the world. And Toy Tonics want to show a new way to combine Italianity with dance culture. Its funny that also in France, Swiss and Germany there are new artists singing in Italian. Let’s not forget: The culture of party, dancing, show bizness and pop music would be unimaginable without the heritage and creativity that Italians contributed Italy is not just the country of good food, beaches and high fashion, but it’s also the original country of dance music. Since the ancient roman times the Italians have been the kings of entertainment. And if it comes to music; The DISCO wave of the 1970ies and the Pop music of the 1980ies has been co-created by Italians (and Italoamericans in New York).

3XL’s first new release in 2025 by Italian trio Cortex of Light is a synapse-tickling dose of classic FSOL-era world-building that takes in gloopy trance cooked down with sub-heavy, vaporous dub, mutant acid, breakbeat rave, Artificial Intelligence and a Mark Fell-style algorithmic brainmelt.

You'll know if you've spent any time following Piezo's output that the Milan-based producer and Ansia boss has a knack for lysergically enhancing any club template he sets his sights on. With releases on Idle Hands, Wisdom Teeth, Loefah's 81 and most recently Dekmantel, Luca Mucci has blottered up dubstep, hard drum, 2-step and minimal techno, here re-convening with fellow Milanese journeymen Aitch and primordial OOze/xàr num as Cortex of Light to blur those edges even further

'ILLUMINOTECNICA' isn't the trio's first release, but it's their most substantial and easily most developed. If 2024's 'Aeon Is A Child At Play With Colored Balls' showed off their aptitude for threading their luminous soundscapes into a horizontal soundtrack, then this album is a proper chance for Cortex of Light to show off their versatility in a different setting, matching dancefloor hallucinations with expertly sculpted sound design.

Psilocybin-tainted soundscapes scrape into breathy flute sounds and chest-thumping bass drops on the opener, haunted by a vision of electronic music that's been contrived in back rooms, squats and outdoor raves for decades at this point. Like so much of the rest of the 3XL catalog, there's a drive and coherence here that comes from classic dub techno and chill-out room fodder (think The Black Dog or Pentatonik), but always infused with something that dates it to the present era, be it a tactile sliver of Visible Cloaks-style neo-new age ambience, or a sort of mescaline-dipped take on Photek's bass-heavy, meticulously hazed 'Solaris' period downtempo gear, chopped 'n screwed into the uncanny.