Cerca:but

Scott Pilgrim EX, the newest video game from the Scott Pilgrim franchise developed by Tribute Games, is out now with an all new original soundtrack from Anamanaguchi. The sprawling soundtrack, which accompanies a brand-new storyline co-written by series creator Bryan Lee O’Malley, perfectly connects the band's legendary electronic past with their fuzzed out garage rock present while maintaining their unmistakable punchy style. Known for resonant world building across past projects, the depth of emotion and the range of styles displayed on Scott Pilgrim EX are uniquely Anamanaguchi while delivering a host of melodically anthemic and new energetic hooks that are sure to pack a punch for both newcomers and old school fans of the band alike.

Anamanaguchi's collaborative relationship with the Scott Pilgrim universe goes back to the early days of the band. After cutting their teeth programming music with playable Nintendo cartridges and helping to bring a wider audience to a largely internet based 8-bit chiptune scene, the band was brought in to score the fan-favorite soundtrack for Scott Pilgrim vs. the World: The Game. The success of this game soundtrack would help them to launch an early crowdfunding success story with their campaign for their debut album, 2013's Endless Fantasy. From there the band would go on to collaborate with virtual pop star Hatsune Miku (resulting in the perpetually viral, Fortnite featured hit, “Miku”), and later develop the intricately soundscaped compositions displayed across their second album, USA, but throughout it all the connection between the band and the Scott Pilgrim universe would remain a pivotal source of inspiration.

After being brought in to score the animated Netflix series, Scott Pilgrim Takes Off, in 2023, band members Peter Berkman and Luke Silas would credit the live kinetic energy they channeled when writing songs for the in-universe garage band Sex Bob-Omb with helping them get back in touch with the roots of how they learned to play music even before Anamanaguchi's earliest releases.  This process would eventually lead to Peter and Luke alongside the remaining two band members — Ary Warnaar and James DeVito — flipping their typically meticulous digital writing process for the more collaborative, straight to tape, distorted angst that can be found on 2025's Anyway, marking another significant evolutionary turn for the band to come out of their relationship with Scott Pilgrim.  

Now fresh off the heels of a nationwide tour in support of Anyway, Anamanaguchi have returned to the 8-bit beat em up world of Scott Pilgrim with a relentlessly high energy and genre defying original soundtrack for Scott Pilgrim EX.  A return to form that comes with a depth of knowledge and innovative skills that have allowed the band to continue to evolve and grow alongside the characters in the Scott Pilgrim universe and the multi-generational fanbase that continues to follow along with them.

The new soundtrack for the latest installment in the Scott Pilgrim franchise, Scott Pilgrim EX

Fra Lippo Lippi released six studio albums between 1981 and 1992, two of them on Virgin Records, namely "Songs" in 1986 and "Light And Shade" in 1987. All the original releases were deleted many years ago. There are two previous The Best Of Fra Lippo Lippi releases on CD (1995 and 2003), but this is the first on vinyl. With the limited playing time of vinyl, we had to make some tough decisions, but in the end the song selection very much gave itself. The dark horse here is "Stitches and Burns", an overlooked gem from the final studio album "Dreams" (1992) that didn't make the previous 15 track collection, but in mysterious ways gained new life through organic streaming, with over 70 million streams on Spotify at the time of writing. Included is also the international hit "Shouldn't Have To Be Like That" and "Angel", featuring the late, great Walter Becker on guitar and production duties. The duo is still very popular in various parts of the world and now has 1,2 mill monthly listeners on Spotify. This 2025 reissue is pressed on clear vinyl (500 ww copies).

A year after her rebirth on the 2.0 EP, Maedon returns to her Rant & Rave imprint with the intentions of her previous release now distilled and focused into bold new forms. Whereas before the artist was transitioning from her earlier work towards new directions, Matter & Form arrives as an extended concept piece featuring four variations on a bracing, developed sound, an equally impressive remix from Lady Starlight, and a contrasting mix of the opening track. Where 2.0 charted emergence, 'Entelechy I-IV' unites to actualize this potential into a single-minded purpose behind fundamental principles.

Immediately launching into territory her last release only hinted at, 'Entelechy I' is a showcase for her now-mature approach. Her rhythmic dexterity and groove focus remains, with drum programs subtly evolving phrase by phrase, but they now form the basis for layered, complex compositions in a decidedly contemporary vein. 'Entelechy II' shifts focus towards the arrangement while keeping its drums steadily driving, drawing attention to details in its densely designed sounds through deliberate, gradual processing. Relaxing the tempo slightly, 'Entelechy III' fills in the extra space with more dark atmospherics and finely detailed soundscapes, finding a heavy medium between dark ambience and hammering techno. Another deeper effort, 'Entelechy IV' counterbalances insistent, finely-tooled percussive bleeps and equally persistent bass figures against another sweeping bass pulse, at times breaking down into carefully-controlled atonal aggression. Lady Starlight's remix is skeletal in comparison, deploying its parts sequentially over ticker hi hats and a massive kick while using small shifts to incrementally build tension. 'Entelechy I (Bent Mix)' is more accurately described as hellbent, stripping out the original's harmonic elements to grind the heavy rhythmic workout against an unrelenting acid line.

Danza Tribale — the visionary label founded and curated by Adiel — presents Connessioni, the new release from Tamburi Neri, a two-part sonic exploration of connection, vibration, and ritual. Rooted in the spirit of tribal modernism, Danza Tribale has become a platform for artists who transcend genre boundaries — channeling raw energy, rhythm, and emotion into sound. With Connessioni, this philosophy deepens further, inviting listeners into a realm where body, city, and earth speak the same language. Connessioni is the reflection of water moving with the melody, the breath of air between intertwining lungs, the intersection of glances and voices that speak. It is an invisible map — cables carrying frequencies to speakers, amplifying not only sounds but also stories, emotions, and encounters. The release unfolds across two EPs that resonate on different frequencies yet share a single voice: that of the body, the city, and the earth.

2026 Repress
Temudo - Meteora (FUSE06) by Noah Hocker

A leader of the Portuguese wave in techno co-founding Hayes Collective while boasting acclaimed releases on Klockworks, Blueprint, and Soma, Temudo grabs the reins to take club music back to its days of audacity and risk taking. A more than promising up-and-comer turned modern reference, Temudo defends his reputation with a release showcasing depth in his various sonic universes and a deep understanding of his music's history. For its seventh release, Temudo's 'Meteora' is a logical next step for the club's direction - a sweet spot between dancefloor efficiency and enduring aesthetic.

Combining the intrigue of mental soundscapes with the reliability of imposing rhythm, 'Meteora' finds itself collected, expressing effect through restraint. The title track, claiming the EP's A1, is just that - a force of interweaving sound design and powerful micro transitions. Some believe the best techno records are able to express emotion and attitude despite its dissonant and machinelike nature; if that's the case then Temudo has mastered the craft. 'When I Grow Up', however, puts the focus back on the body. What sounds like warbling tape modulation over a percussive lead makes this record an addictively delirious ride from start to finish, fitting in with the track before while shifting to different priorities. Proving his versatility, 'Vrthng' at first seems reminiscent of the minimal Berlin style with a higher pace, but quickly progresses into something intensely euphoric. With experience and measure, an out of the box approach can really pay off, and the added emotion in 'Vrthng' is certainly a turning point in the EP. This mindset is clearly carried over in the project's conclusion : 'It's Always Past'. A surprising use of harmony and storytelling, this final chapter ends with Temudo sealing his style with confidence. The track is mystified by its chords, ending 'Meteora' with a question mark that leaves us in anticipation for what Temudo dares to do next.

2026 Repress

HOLY GRAIL ALERT!!! Following on 2021’s massive reboot of Midnight Magic’s seminal classic Beam Me Up, Razor-N-Tape have now unearthed a bit of NYC indie disco history with 'I Found Love.'

Although recorded over 10 years ago in Midnight Magic’s nascent early period that produced many of their legendary hits, the song never received an official release; until now it has been heard only by select ears and lucky concert-goers. The package comes with a grip of luminous remixes by Dimitri From Paris & DJ Rocca, Sophie Lloyd, Perel, some solicited at the time of recording and some brand new, but all exceptionally fresh!

Here are some words about the song by the band:

“'I Found Love' was recorded in a fever on the heels of releasing 'Beam Me Up' New York dance music wizard Tommie Sunshine approached us about a co-write saying we should go as big as possible. So we did, it is one of our all time favorite vocal performances from our singer, Tiffany Roth. We had big plans, too, for a release but nothing quite felt right until meeting the Razor N Tape crew almost a decade later. Finally the stage is set, the lights are on, and we're ready. This song is very special to us because it is the last unreleased recording of our original lineup. We dedicate its release to our late bandmates Andrew Frawley and Jason Disu.”

Brixton Heights Records proudly presents the brand new single ‘Am I the Same Man?’, a soulful roots-reggae gem featuring a heavyweight all-star lineup including: Mafia & Fluxy on drum and bass respectively, the Ital Horns on brass, Gussie Clarke on mastering and Gaudi on falsetto vocals + BVs, dub mixing, piano and co-production alongside The Brixton Heights Orchestra.

Drawing inspiration from the timeless instrumental groove ‘Soulful Strut’ by Young-Holt Unlimited, the track channels vintage soul through a deep lovers-rock lens. A fresh and earnest reinterpretation of Barbara Acklin’s 1968 classic ‘Am I the Same Girl?’, this version flips the narrative with an adaptation on the lyrics voiced by none other than Gaudi singing in falsetto, resulting with a smooth, dub-infused love song that combines classic soul and international reggae into a modern masterpiece.
Gaudi is not stranger to falsetto-singing and backing vocals, in fact he has lent his distinctive vocal talent to albums by reggae giants such as Steel Pulse, Horace Andy, Lee “Scratch” Perry, Don Letts, Johnny Clarke, Mad Professor, Hollie Cook, Michael Rose, Creation Rebel, Africa Unite, Awa Fall, African Head Charge, Lion D & Capleton.

Mixed and co-produced by Gaudi at his Metatron Studio in London UK and mastered by Gussie Clarke at Anchor Studios in Kingston Jamaica, ‘Am I the Same Man?’ is more than a cover version, it’s a heartfelt transformation that captures the emotional core of the original song while creating a whole new vibe that speaks to today’s lovers and soul seekers alike.

The B-side presents a meticulously crafted dub version by Gaudi, produced exclusively with analogue equipment and vintage studio hardware. The mix brings forward the intricacies of the original instrumentation and enhances the lyrical elements through spacious delays and warm, analogue textures. Last but not least, in order to maintain the highest level of authenticity and an organic sonic texture, all recordings were done at 432Hz, tuned to resonate naturally.

This holiday season, global hip-hop icon Ice Cube makes a powerful return with Man Up — a brand-new album from a cultural trailblazer whose influence spans music, film, and activism. With over 10 million albums sold and six Platinum plaques, Cube’s legacy is undisputed, from his revolutionary work with N.W.A. to timeless solo anthems like “It Was a Good Day.” Now, sharper and more unapologetic than ever, he’s back to deliver a project that fuses his raw lyrical power with a message rooted in resilience and authenticity.
To mark the release, Man Up will be available exclusively as an ultra-limited vinyl drop this holiday season. Each record features a one-of-a-kind hand-crafted cover — a unique blend of artisanal design and proprietary technology (created without A.I.) — alongside city- and country-specific sleeves that pay homage to Cube’s global impact in places like LA, Tokyo, London, and France. The campaign will be amplified through a global social media rollout, city-focused influencer activations, and Ice Cube’s upcoming North American tour. Major press coverage and podcast appearances will further elevate the conversation, making Man Up not just an album, but a collector’s piece and cultural moment fans won’t want to miss.

Polymania is a collaboration between Earl Grey and Aroma Nice, both of whom hail from the North West of the UK and are known for their genre-pushing productions in and around the overlapping modern Drum & Bass, Jungle and Drumfunk spheres. This record is a euphoric ravey jungle affair with strong acidic inflections, extrovert and dancefloor-focussed, where effortlessly slick percussive flair shines and rolling acid lines squirt out through the seams - the result of two long-time friends with heaps of production experience having a lot of fun.

A-side opener 'Farce of Nature' sets the tone with high energy stabs and a big grooving bassline, rooted in 90s jungle techno but rendered in full high definition, while 'Happy Slaps' continues the theme with crisp drums dancing over an undulating resonant acid line. 'Tank Ammo' deftly ramps up the euphoria with a spiralling melody rising towards a lethal switch-up midway, using filtered choppage to burst the tension with extreme precision. Bouncy acid breaks bubbler 'Give U Up' closes the EP slowing the tempo a touch and dialling up the funk - a refreshing palate cleanser laced with rich braindance melodies and an infectious vocal hook.

The legacy of wipE′out′′ has transcended time and cemented itself as a true transgenerational phenomenon. Launched in 1995, it didn’t just revolutionise the gaming industry, it created a bridge between the gaming ecosystem and the raver community. Its futuristic aesthetics and forward-thinking sound left a mark not only on mainstream audiences but also on the most demanding corners of the underground.

Decades later, the game’s impact is still alive. The release in 2023 of The Zero Gravity Soundtrack on Lapsus Records proved once again that wipE′out′′’s accompanying audio will go down in history as much more than just an anti-gravity racing game soundtrack.

This is why we decided to go deeper into the slipstream and build the second volume you’re now holding in your hands. Drawn from the original archives of Tim Wright, aka CoLD SToRAGE, this new collection surfaces unreleased cuts, pieces that couldn’t fit on the first edition, and a suite of self-authored ambient reworks that translate pure velocity into wide-screen atmospherics engineered for the long straights, the drone of airbrakes, the blue hour between checkpoints. It also reconnects the circuit, gathering selections and variants tied to later chapters of the saga — wipE′out′′ HD and wipE′out′′ Pure — plus alternative mixes that, until now, only existed in the Sega Saturn dimension of the franchise.

Finally, the material takes a leap into the future in the hands of four remixers especially chosen for this release: Tim Reaper, SHERELLE, Mantra, and NikNak, who collectively forge links between CoLD SToRAGE’s pioneering musical vision, the sound world of the game, and the contemporary breakbeats and drum & bass vanguard.

Expect the DNA you remember — accelerated breaks, trance-vector synths, jungle influences, sub-bass rumbling neatly beneath the craft’s hull, and at times even echoes of classic hardstyle — now revealed with new angles and air. The previously unheard material carries the same aerodynamic design sense that made these tracks feel faster than the track map itself, while the ambient versions open the field of view with melodies hovering at the lip of overdrive. Without a doubt, here you’ll find a strong sense of nostalgia. But this isn’t just nostalgia; it’s also proof that this sound world continues to evolve when you ease off the throttle.

For the faithful — crate-digging ravers, speed-run obsessives, and design nerds — this is an essential expansion pack: compiling rarities, restoring context, and reframing the emotional core of wipE′out′′ for late nights and early mornings alike. Bridging memory and momentum, club and console, rush and afterglow. Strap in.

Detailed tracklist, with annotations by Tim Wright aka CoLD SToRAGE

· Scratch Pad 1: “This track was composed using incomplete tracks that were developed around the time of the first wipE′out′′. It’s so long because it was used for a marathon-length Psygnosis promotional video.”

· Messij Received: “Messij was a firm favourite with wipE′out′′ fans, so it made sense that there’d be more where that came from — this was one of those re-workings.”

· God’s Gift: “I was always very fond of Erasure’s track Love to Hate You with the canned crowd FX sounds. God’s Gift was a tongue-in-cheek reference to how some musicians think they are just that. This was way before I even played live as CoLD SToRAGE.”

· Tentative: “I wasn’t sure about introducing some wacky beats and distorted sounds into one of the tracks, because it was kinda heading away from the other tracks, hence Tentative — but it turned out OK.”

· Canada 2048: “When wipE′out′′ 2048 was launched I decided to re-make Canada as a kind of tribute, but in a slightly new-tech, laid-back way, using Propellerhead Reason and all software synths.”

· Wiped Out: “Based on a few riffs from a MIDI file unused at the time of the original wipE′out′′ game compositions, this featured on my debut album MELT.”

· Body in Motion (Body Plus Mix): “A more trippy interpretation of Body in Motion that featured on non PlayStation versions of the game e.g. Sega Saturn.”

· Onyx (“Dark Side of the Moon”): “Onyx was my sole contribution to wipE′out′′ Pure on the Sony PSP handheld gaming console. This version was something I developed in a darker style, that eventually erupts into a crescendo.”

· Messij Received (WSTWGBE Mix): “Like I say, Messij was a hit with most wipE′out′′ fans, so when I was asked to compose more music for non-PlayStation versions, I adapted this tune into a parallel-universe version for PC and Sega Saturn. By the way, WSTWGBE refers to Who Said This Was Going To Be Easy?”

· Canada (Drunken Ausländer Mix): “In early 2018 I released a fresh album called Ch'illout′′, a re-working of many of my wipE′out′′ tracks in an ambient, Sunday-morning vibe style — it was a few years’ work, here and there.”

· Tentative (Woffenfum Mix): “Another chilled re-working of one of my wipE′out′′ tracks, the mix named with a nod to a good friend of mine, Carl Woffenden — someone who I've worked with for many years in the games industry.”

· Messij (Bobbing Boat Mix): “A nice cheesy computer blip-blop start belies its deep and upbeat chilled-out melodic finale.”

· Body in Motion (Timeless Techno Mix): “Another classic track given the chilled-out vibe mix, as featured originally on my Ch'illout′′ album. This one’s a really trippy, deep-space take on the original.”

· DOH-T (AM / FM Mix): “The idea with this chilled-out mix was to imagine all the melodic parts of this varied track being broadcast on terrestrial radio, so each theme drifts in and out through the radio static.”

· ’95 Future Echoes: “Originally developed as a companion album for wipE′out′′ HD, this track actually has its roots in a tiny loop of a song that never progressed to anything special back in the mid-’90s when I was composing for the original game.”

· Turbine: “Also from my wipE′out′′ HD album, it leans heavily into the upbeat, uplifting tunes from the original game, but also steals a bit of vibe and energy from The Prodigy, with those distorted flute sounds.”

· Pencil Neck: “This excerpt from my wipE′out′′ HD album features lots of sounds centre-stage and forward from Propellerhead Reason’s Subtractor virtual synth. I learned to love this more than my JD-800!”

· Messij 2005 (New Science Mix): “Yet another take on the track that still raises a smile, this time through a mix of samples from the original and Propellerhead Reason — the ‘new science’ when compared to an Amiga 1200 running Bars and Pipes.”

Follow up to last years 12" on Voyage Direct from this active Amsterdam DJ/Producer. TIP!
.
" Back in December 2014, Elias Mazian debuted on Voyage Direct with a 12' that perfectly encapsulated his open-minded but interconnected approach to electronic music. He'd already showcased this ability to blend sounds and styles by becoming one of the most talked-about DJs on the Amsterdam scene. With Future Times' (and its superb flipside, They Don't Know'), Mazian gave notice of his undeniable production credentials.

Fast forward to the summer of 2017, and Mazian is ready to drop an EP that not only confirms his status as a rising star of Dutch dance music, but also showcases a newfound ability to combine a finely-tuned sense of what works on the dancefloor with the kind of compositional skills that can take a lifetime to perfect.

The Duplicate EP is an altogether more mature proposition than his debut 12', but retains many of the sounds and influences that marked out his first appearance on Voyage Direct - not least his love of spacey electronics, mood-enhancing chord progressions and sparkling synthesizer motifs.

This can be heard in particular on the title track, an ear-catching club jam that wraps chiming melodies, Mazian's own rapped vocal refrains and electro-era synths around a gently jacking, Chicago style house groove. It's deep, poignant and attractive, with subtle nods to the dreamy Windy City deep house of Larry Heard, the retro-futurist boogie business of Moon B and Dam Funk, and the kaleidoscopic electronic funk of Parliament.

Further proof of Mazian's increased musical maturity can be heard in the breathtaking Dream Mix' of Duplicate'. Featuring a yearning, almost melancholic vocal from the producer himself, the remix offers an analogue style deep house interpretation bristling with cascading melody lines, classic Chicago house bass and bubbly, deep space electronics.

The EP closes with superb bonus cut Ride That Shit Baby', an expansive chunk of mind-altering analogue deep house full of restless ride cymbals, crunchy drum machine hits, starburst electronics, delay-laden organ lines and swirling chord progressions. It's as intricately programmed and produced as anything Mazian has released to date, and twice as emotion-rich. In some ways, it's the perfect end to an EP in which Mazian brilliantly showcases the depth and breadth of his emerging talent."

Two years after he first appeared on Balmat with 1977, Mike Paradinas returns with 1979. The sense of continuity between the two records is clear, and not just from their titles. Both capture the Planet Mu head venturing into the wilderness, seeking something—half-formed memories, thoughts caught in midair—in some of the most abstract, searching music he has released.

Just like 1977, 1979 surveys a synth-heavy array of ethereal soundscapes, ominous crevasses, and strange, psychedelic fugues. Like its predecessor, the new album’s atmospheric cast sets it apart from much of the work Paradinas has released as μ-Ziq on Planet Mu. It’s not strictly an ambient record, but it’s close, as close as this famously mutable artist ever comes to inhabiting a particular genre.

Paradinas’ inspiration for the record began on visits to the Spanish cities of Ávila and Majadahona, where his family hails from. That might account for the sense that there are spirits flitting through this music, presences you can intuit if not quite grasp. But 1979 is also a record to meet on your own terms, and to find your own meanings in.

It’s a stunning record, every track a world unto itself: the mysterious contours of “Majadahonda at Dawn”; the playful melodic fillips of “Clari”; the airy melancholy of “Galletas”; the full-scale breakbeat abandon (yes, you read that right) of “Houzz 14,” the rarest of dancefloor detours for Balmat. There are echoes of classic braindance and isolationist ambient and golden-age IDM; there are easter eggs and recurring themes and hidden symmetries. Every time we listen, we discover something new. Despite what the title might suggest, it’s less a trip back in time than a portal to another universe, a destination for(to?) which only Mike Paradinas knows the exact coordinates. – Philip Sherburne, Balmat

The interstellar electronics are once more pushed to the fore on closer '80 Axes', where jaunty synth lines combine with soft bongo hits to create an instinctive rhythm, and intergalactic melodies sprint between the speakers. You can dance if you want to, but lying down is very much encouraged.
As part of the label's mission to champion Dutch talent, Voyage Direct has always promoted new, up and coming, and little-known producers. Boss Tom Trago's master plan includes building a family of artists, in part through helping unheralded local producers to fulfill their potential.

On the label's latest release, he continues that approach, serving up a debut 12' from a mysterious young producer known only as Darling. Those paying close attention to the wider Dutch house and techno scene may have spotted his recent rework of Awanto3's 'Star Butchers' on Dekmantel, in which the man or woman of mystery added some killer keys to the Amsterdam legend's woozy, deep house original.

While that rework was undoubtedly superb, Jacob's Lead offers a truer reflection of the shadowy producer's previously hidden talents. As debut EPs go, it's a bit of a cracker.

The title track, in particular, is a beauty. Its' restless, hypnotic rhythm tips a wink to classic Dutch techno of old, while the undulating, analogue electronics and swirling pads recall the far-sighted retro-futurism of vintage Motor City material. Throw in some of Darling's trademark spine-tingling keys and a deliciously loved-up breakdown, and you have a choice chunk of life-affirming techno.

On the flip, Darling heads towards deeper territory with the bubbling melodies, starburst electronics and saucer-eyed chords of 'Video'. Unashamedly positive in sound and intent, it sounds like the kind of track that will be cited as a classic in two decades time. Melodious and infectious, it casts Darling as the Netherlands' answer to Larry Heard.

Yamaha's DX series of synthesizers has long been a source of inspiration for Tom Trago. The DX7, in particular, appeals to the Dutch producer thanks to a unique sound that he describes as glassy but classic and icy'. 34 years after it went on sale - the same year as Trago was born, interestingly - the synthesizer's sound still bristles with futurist appeal.
.
Trago, who was partially trained in how to use the DX7 by studio friends Bok Bok, Sterac Electronics and Juju and Jordash, has decided to pay tribute to this most distinctive of synthesizers by using it as inspiration for Serene Waters, his first EP for Voyage Direct since 2014 epic Hidden Heart of Gold.

Across the course of five sparkling, spacey and melodious tracks, the Voyage Direct chief showcases the variety of sounds that can be teased from the DX7. Compare, for example, the delicate and rush-inducing melodies of dreamy, deep electro opener Harvest' and the two contrasting mixes of Opulent'', variations on a throbbing, futurist techno theme rich in glacial melody lines, bustling synth-bass and spacey chords. The dancefloor possibilities of the synthesizer's sound palette comes to the fore on the stripped-back Within Mix', where Trago's rolling stabs and cascading melodies are wrapped in tougher, denser drums.

The sparkling nature of the DX7's trademark sounds also come to the fore on XYZ', a crunchier and snappier electro outing that recall the effervescent brilliance of Trago's sometime label mate, Sterac Electronics. The track's combination of darting bass and mind-altering, alien electronics is as kaleidoscopic as they come.
Nestled slap bang in the centre of the EP is Red Room', where Trago manipulates his machines to get a far more psychedelic sound. While there's vibrant warmth thanks to some seductive background pads and stretched-out chords, it's the bubbling electronincs and futurist tunefulness that catches the ear. Like much of the rest of the EP, it tiptoes the fine line between poignancy and rush-inducing colourfulness.

Influences and inspirations come from far and wide. Sometimes they can be household names or pioneers. Other times, they can be lesser-known outfits; less known, but no less influential. Futuro belong to the latter category for Italo Moderni.

Javier and Raúl are two Spanish synthesizer sorcerers who are steeped in the traditions of italo disco and the analogue sounds of the 1980s. While Italo Moderni was still in its infancy, Futuro were a shining light with a young upstart by the name of Adrian Marth even making videos for their tracks. From these beginnings, a mutual respect and friendship developed. Now, the circle is complete with the six tracks making their way onto Accidenti; an EP that marks Futuro’s debut on Italo Moderni.

The collection showcases the breadth of Futuro’s sound. With all instrumentation played through classic analogue machines, the six works journey through neon-streaked city nights, deep uncharted jungle and sun-kissed beaches. Drawing on the music of Rimini, silver screen soundtracks and arcade innocence, this is an EP that remembers and reimagines the 1980s. Intent is immediately set, with the tense and textured “L’assalto” delivering movie score synth stabs alongside crisp percussion. “Matador” is pure elegance, panpipe playfulness countered by glacial refrains and shimmering key shifts. “Iguazu” transports the listener to the wildlife and wilderness of the Amazon; cascading chords glisten as the canopy sings. Futuro takes to the skies with the sonorous swoops of “Il sogno dell’aviatore” before the lovelorn landing of “Fantasma d’amore”, a sumptuous synthesizer serenade of unrequited romance. To close, we’re firmly on the ground for “Sotto le stelle.” Under these sparkling stars, glimmering notes glow with warmth in a finale fitting for such an EP.

And, it is fitting to finally have Futuro on Italo Moderni. A group that has inspired and will continue to do so well into the future. An accidental discovery, mutual respect and a partnership rooted in a love of synthesizers has brought Accidenti into being.

Metalheadz and Quartz present Interloper, a body of work years in the making that captures the evolution and persistence of a truly singular producer. Sparked by an invitation from Goldie in 2018, the project developed organically into a statement piece, shaped by shifting environments and a relentless drive to refine his craft. Quartz, also known as Elliot Garvey, has long stood apart from the noise. A Welsh producer with little interest in visibility or self-promotion, he has built a reputation on substance alone. Interloper reflects that focus: textured, brooding, and meticulously detailed, balancing grit and clarity while maintaining the looming tension that defines his sound. The album’s title hints at Garvey’s place within the culture - present but never fully belonging - and the music carries that same sense of quiet defiance. Intense without theatrics and deeply personal without pretence, Interloper is a record that doesn’t ask to be seen, only to be felt.

Legendary Hiroaki Sugawara in the form of Sergio Maria Saguaro presents Rain Guitar.

Step into paradise alone to deeply savor an exotic experience.

“I first learned about this album thanks to GOKA, who built the sound system for my record shop, CELLAR RECORDS. Around 2019, it was praised by some connoisseurs, but it’s different from the so-called “popular ambient” sound that was in vogue at the time. This work is a Japanese obscure pop album created in 2002 by Hiroaki Sugawara, who goes by the name “Sergio Maria Saguaro,” mixing all types of exotic moods and completed in a secluded space. In particular, A-2 “Window with a Dog” and B-5 “Washing Machine” are truly a sonic paradise. When you put this record on your shelf, be sure to place it next to Tatsuhiko Asano’s excellent soundtrack “Following in the Footsteps of Doshin,” which was happily reissued in 2022, or Steve Hiett’s “Down On The Road By The Beach.”” -浜公氣 (Cellar Records)

“This sophisticated sound file paints natural landscapes, depicting rich and abundant scenes while floating through them, creating a world that is as beautiful as a kaleidoscope, appearing in the soundscape in a way that is always gentle, natural, and organic. It makes extensive use of four types of stringed instruments, modulators, flutes, and ethnic instruments, possessing a refined sense of elegant ambiance.” -Walearic / Gokaine Sound Research Institute

Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Enrico Sangiuliano)

Pioneering, avant garde yet chart-storming sound designer/producer/live performer Enrico Sangiuliano drops EP ‘Order In Chaos’ as release #1 in his self-destructing countdown imprint ‘NINETOZERO’, out 20th November. The EP’s three tracks respectively represent a triptych of sound exploring tension, release, and dissolution, with violinist and composer Vito Gatto joining Italian techno/melodic maestro Sangiuliano for tracks 1 and 3. The EP blends electronic, classical and electro-acoustic genres, resulting in a fresh, unique product that defies typical techno expectation, as Sangiuliano and Gatto explore the concept of disorder as a creative playground.

‘With this chapter, we dive into chaos – something that can be uncomfortable, but is the place in which you can find unexpected or new ideas. Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Sangiuliano)

The ‘Order In Chaos’ EP continues a momentous year for Enrico Sangiuliano, and heralds his upcoming all-night-long SOLO show at Nitsa in Barcelona (Nov 28th, tickets here). His highly acclaimed NINETOZERO label has also previously featured Charlotte de Witte, Antonio d’Africa, Mattia Saviolo, GMS, Alex Lentini, STOMP BOXX, Zimmz, Secret Cinema and About Sofiya.

Vito Gatto is a Milan-based violinist, composer and sound explorer. He is the founder of label/collective NeMu (‘Neutral Mutation’) producing Italian projects at the interface of electronic and organic sound. His self-description as ‘Making sounds, looking for silence’ makes him the perfect collab partner for ‘Order In Chaos’, which ‘embraces the paradox: chaos births order, and order dissolves back into chaos.’

‘Whilst classically trained, I have always been fascinated by the world of electronic music, in all its expressive forms’ Gatto says. ‘I use real instruments and natural sound sources processing them through electronics to enhance their unpredictability, always remembering that the core of music - whether classical or electronic - is communication and storytelling. This philosophy guided our creative synthesis on this release.’

The collaborative workflow combined remote and in-person studio work over roughly a year, culminating in these three key tracks reflecting different musical and conceptual layers.

‘Order In Chaos’ EP tracks:
Enrico Sangiuliano & Vito Gatto ‘Adaptation for Strings and 909’: A cinematic overture built from the raw intimacy of Vito Gatto’s violin, processed and layered with unquantized 909 drums. Out of grid, out of rules. Drama and turbulence surge until thunderous kicks strike like sudden storms. ‘This track symbolises both of us. Vito sent the strings, I added the iconic Roland 909. It has no structure and no grid, the arrangement is not precise, it’s a very pure track and a great example of disorder and freedom.’
Enrico Sangiuliano ‘Order in Chaos’: The title track is a pure techno weapon and dancefloor igniter: rolling, stripped, euphoric. A shape-shifting lead synth constantly mutates, flirting with disorder until the kick restores gravity. Chaos becomes dancefloor order.
Enrico Sangiuliano & Vito Gatto ‘Dissolution’: The closing moment. Strings and drums dissolve into a weightless drone. Beatless and infinite, it invites surrender into space. ‘This cinematic track slowly melts ‘Order in Chaos’, adding processed organic sounds and field recordings from the mountains.. coming back to nature, and silence.’ (Gatto).

Still #0 to go in the NINETOZERO countdown… And then what? With Sangiuliano, it’ll be something unexpected and brilliantly innovative.

Metalheadz and Quartz present Interloper, a body of work years in the making that captures the evolution and persistence of a truly singular producer. Sparked by an invitation from Goldie in 2018, the project developed organically into a statement piece, shaped by shifting environments and a relentless drive to refine his craft. Quartz, also known as Elliot Garvey, has long stood apart from the noise. A Welsh producer with little interest in visibility or self-promotion, he has built a reputation on substance alone. Interloper reflects that focus: textured, brooding, and meticulously detailed, balancing grit and clarity while maintaining the looming tension that defines his sound. The album’s title hints at Garvey’s place within the culture - present but never fully belonging - and the music carries that same sense of quiet defiance. Intense without theatrics and deeply personal without pretence, Interloper is a record that doesn’t ask to be seen, only to be felt.





e B3. One Last Word ft. Selena Jones (Posthumous) Outro





e B3. One Last Word ft. Selena Jones (Posthumous) Outro





e B3. One Last Word ft. Selena Jones (Posthumous) Outro





[e] B3. One Last Word [ft. Selena Jones] (Posthumous) [Outro]





[e] B3. One Last Word [ft. Selena Jones] (Posthumous) [Outro]





[e] B3. One Last Word [ft. Selena Jones] (Posthumous) [Outro]





[e] B3. One Last Word [ft. Selena Jones] (Posthumous) [Outro]





[ft. Selena Jones] (Posthumous) [Outro]





[ft. Selena Jones] (Posthumous) [Outro]