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“This device isn’t a spaceship, it’s a time machine. It goes backwards, and forwards… it takes us to a place where we ache to go again. It’s not called the wheel, it’s called the carousel. It lets us travel the way a child travels - around and around, and back home again, to a place where we know we are loved.”
(Don Draper)

Call Back Carousel is an audio time-travelogue, a slideshow of the mind’s eye - projecting Kodachrome memories directly into the listener’s mind by means of sound alone. It is a way of travelling without ever having to leave the home. A vicarious vacation for the imagination. Pure audio escapism.
Each episode is based on a found tape of a pre-recorded slideshow commentary. Most of these tapes were made by amateur tape recording enthusiasts and hobbyist photographers of the 60s and 70s. Their recorded commentaries would at one time have been used in conjunction with a sequence of 35mm slides but only the taped voices now remain. The recordings themselves come from Vernon's own archive of found reel-to-reel tapes that he has collected over the past twenty years.
Using these found slideshow commentaries as a framework, a series of musical soundscapes have been created to bring the absent images to life, activating the listeners’ imagination in the classic tradition of ‘cinema for the ears’. It’s a little like looking through a family photo album where only the hand written captions and mounting corners remain; the photographs themselves have all been removed. The evocative rattle and clack of the projector shuffles through different slides as the fragile voices of our tour guides accompany us on a sonic journey that fractures time - and through the cracks, the past bleeds through into our present.

Welcome to Soul4Real’s second album, a collection of originally unreleased tracks which feature a whole host of soul royalty.

First off are two songs from the inimitable Bobby Bland, both of which hail from his prolific period at Duke Records.

Sandwiched between two stunning Chicago recordings by Etta James is the later “I Never Meant To Love Him”, taken from a Philly session she recorded with Bobby Martin.

Fontella Bass brings this side to a close with a mysterious Chicago recording of which, to this day, hardly anything is known.

Side two transports us to Detroit, when Motown was at the peak of its output. 1966 was not a good year to secure the approval of quality control, as proven in the rejection of this wonderful Velvelettes´ version of “Your Heart Belongs To Me”.

It was in that same year that Ashford and Simpson arrived at Hitsville as both singers and songwriters. Their “Love Woke Me Up This Morning” was recorded by Brenda Holloway and produced by Norman Whitfield. Despite being overlooked at the time, its appeal was undeniable, and it later resurfaced on albums by Marvin & Tammi, Valerie Simpson, and the Temptations.

As an integral member of the Motown family for over 14 years, it is surprising that to date only three songs recorded by Johnny Bristol have surfaced. In collaboration with ‘Mickey’ Stevenson “Tell Me How To Forget A True Love” was completed in May 1964.

“One Lucky Day I Found You” was inexplicably not included in the ‘David’ project. Ruffin´s later work with Van McCoy is also featured on this album.

From almost the start of his career, Marvin Gaye had endeavored to project himself as a great balladeer, and nothing could illustrate this better than his rendition of “I Wish I Didn’t Love You So”, which brings this chapter to a perfect end.

Steyoyoke proudly presents “Couple Affair 10”, a remarkable double vinyl showcasing the collaborative spirit of the esteemed label members. This release features six tracks created through dynamic collaborations between Soul Button, Clawz SG, Monarke, MPathy, Haffenfold, Grammik, Lost Rhythm, and Michael Warren. “Couple Affair 10” serves as a testament to the unity and passion within the Steyoyoke family, further solidifying their commitment to the Ethereal Techno scene. With each track, this significant release beautifully encapsulates the creative synergy and collective talent that defines Steyoyoke, offering a truly immersive and transcendent musical experience. Vinyl enthusiasts and electronic music connoisseurs alike will be captivated by the sonic journey presented on “Couple Affair 10”.

Almost halfway through 2023, Voitax returns with a bass heavyweight of the highest order.

Marc alias Tymotica has been showcasing his musical ambitions not only as a founding member of the Munich-based label »Ruffhouse«, but also through his sonic ventures as a DJ and producer. Luca, on the other hand, an equally ambitious DJ and producer going by the name of DJ Ion, has his roots in hip-hop, jazz, and 90s techno. His debut on Don Williams’ a.r.t.less imprint proves that adequately. Their fusion turned out to be quite fruitful, as shown by their diverse yet well-centred record »Anthea« on Club Qu.
With »Bionic Gradient«, their promising collaboration enters another chapter, a representation of their precise curation of musical components, as well as an impressive design of their sounds. This progressive bass EP features dubstep-, grime-, trap-, and hip- hop influences, nuanced with dub and IDM. Through each track, the duo links crispy polyrhythms with well-chosen samples that perfectly complement the contemporary, high defined sound. Catchy leads, long reverb tails, metallic soundscapes, and detailed drum programming are carefully fused with the underlying warm bass body. All this comes down to an astonishingly eclectic bass EP that is built to be dropped on the dance floor, yet invites you to dive into an abstract and dreamy world on its own.

As both are continuously working on new material, we are more than excited about what is to come!

12" + 7" !

Mind Maze is, amazingly, Trees Speak’s fifth album to be released on Soul Jazz Records in the space of little over two years– an output matched only by the intensity of their music created during this short time.

The first pressing only of the album comes with a bonus seven-inch single containing two tracks that are not available on vinyl anywhere else.
As with all their previous releases, ‘Mind Maze’ is a mind-boggling tightrope walk across an array of musical influences that seamlessly create the unique present-day world of Trees Speak.

The band’s sound is characterized by a combination of German krautrock motoric-beat rhythms, angular New York post-punk attitude, 60s spy soundtracks, psych, rock, jazz, and 70s synthesizers and vocoders. There is also a cosmic spatial awareness to their sound; both personal inner space and galactic outer space, as well as a wilful pushing of sonic boundaries.

Trees Speak are a musical duo based in Tucson, Arizona, composed of Daniel Martin Diaz and Damian Diaz. Their music is heavily influenced by the cosmic magic of the natural desert landscapes of Arizona, creating a unique and captivating sound that is both experimental and innovative.

Here you will find the myriad sounds of 1970s German electronic music (everything from Can to Cluster, Popul Vuh to Tangerine Dream); 1980s New York post-punk and synthcore (from No Wave to Suicide); John Barry’s 1960s movies, John Carpenter’s 1970s horror. You will also hear the influences of French and Italian progressive rock (Magma, Goblin) as well as cosmic, new age and experimental space soundscapes …. an almost endless list of diverse influences that ebb and flow like an ocean of sound, in the process creating a truly unique soundscape that Trees Speak have made wholly their own.

The name Trees Speak reflects their interest in the concept of using future technologies to store information and data in trees and plants, with the idea that trees communicate collectively. This interest in nature and technology, combined with their passion for experimentation, has led Trees Speak to create a truly one-of-a-kind listening experience that is both unique and engaging.

If you ever wanted to hear Can, Neu!, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid, Tangerine Dream, Suicide, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one band - then this is it! Trees Speak are a band that defies categorization and offer an eclectic listening experience, both exciting and memorable.

The two bonus tracks (‘Seraphim’ and ‘Orpheus’) included with the album give us a further window into the complex mind maze of the group - two stunning acoustic tracks that explore a distinct early 70s sound of Yes, Argent and other progressive rock accolytes.

Montreal duo Bas Relief present a collection of rough-cut IDM and pitch-corrected emo on Insulary, a five-song EP out June 2023 on Brooklyn imprint Quiet Time. Written and compiled long distance from threads of bass music-inspired alt pop and guitar recorded in isolation, Insulary is the duo’s first substantial release since 2018. Granulated microglitches fill out the digital drum arrangements, calling on influences Baths and Loraine James, overlaid with warm piano progressions, melancholic guitar loops, and collaged vocal production.

These self-reckoning, forlorn vocals form a patchwork narrative, hazed like a shapeshifted memory, long reconfigured with each conjuring, coherence inconsistent but still there. Recurring dreams find home among recursive passages, self-referencing lyrically and with samples churned through plugins, recorded on loop until you fall upon the most satisfying aha! moment and lock it to the grid. At certain moments all the pieces combine to reminisce in sentimental shards of Porter Robinson or The Postal Service, while never straying from Bas Relief’s own vernacular.

Visiting the past in person simply by walking the routes you took in a life long past, that reenactment of memory, that attempt to capture that which you can’t – it might even be a future – is a central bolt of Insulary’s lyrical content. It’s sentimental, it longs for some past which might not even have existed, and it’s hopeful too, never capitulating to traditional structures in its embrace of unusual stylistic combinations. Insulary – brim-packed with fragments of drum and bass, uptempo electronica, and emo – is but a preview of Bas Relief’s exciting near future

This incredible new release follows a path along the electronic skyways first created by the German/Krautrock electronic pioneers of the 1970s such as Cluster, Ash Ra Tempel, Roedelius and Michael Rother. Hawksmoor is James McKeown.

He first created "Hawksmoor" five years ago as an imaginary hauntological soundtrack, inspired by the six Hawksmoor churches in London. Further releases have followed on Environmental Studies, the cassette-only label "Spun Out of Control", Castles in Space and The Library of The Occult.

For his debut on Soul Jazz Records, Hawksmoor has created a fascinating blend of these two sensibilities - a love of German electronic music of the 1970s alongside the British retrofuturism and cultural memory bank aesthetic of hauntology - Ghost Box, Mount Vernon Arts Lab, Advisory Circle, Focus Group etc.

Using strictly modular synths (Moog Sub37), electronic drum rhythms, and guitars, Hawksmoor creates an electronic landscaped music world that is both new and old, immediately identifiable and yet utterly unique.

Legendary Memphis soul brothers William, Bertram and Randy Brown released an album under the group name TEN-63 entitled FACING THE MUSIC, it was published in 2009, but recorded sometime earlier. YOU AND ME was played out and initially covered up by Mike Ward circa 1989/90 receiving cult status.

YOU AND ME and our pick for the flip SAY WE’LL STAY are beautifully constructed songs with each of the Brown brothers serving up a solo part, it cannot be denied their contrasting vocal styles and harmonies are supreme in the extreme!

The Browns’ contribution to the Memphis music scene is etched in history. William, who sadly passed away in 2015 was a member of The Mad Lads. Randy and Bertram were members of The Newcomers, Bertram went on to be a part of soul funk group Kwick and of course Randy had a glittering solo career with LPs on Parachute, Chocolate City and Stax as well as numerous singles; he is regarded by many as being one of the finest vocalists of his genre.

Following up on their accomplished first collaboration “Fever Dream” and its accompanying remix album “Parasomnia”, Snowbeasts & Solypsis head out on wax for the fantastic “Firelands” LP. The dependable industrial beats and synths of Snowbeasts programmer Robert Galbraith (also known to many as a superior mastering engineer), the haunting voice of Elizabeth Virosa, and the nefarious bass and electronics of the prolific Solypsis come together once again to produce a ride through a fiery terrain of slowed tempo, half-remembered nightmares, and cavernous low end. With vocals ranging from ethereal to evil, spooky grooves charting a pathway to inferno, and distortions applied at the perfect moments, Firelands is a memorable journey. Heavy on synthesizer funk, and intricate percussions to drive the beat, the album erupts with the black lava of downtempo destruction. Slow, driving horror and collaborative interplay make this a sophomore album worth taking home. For Fans Of: Scorn, Autechre, Insect Ark.drum

The Blood of Heroes is a amalgamation of artists re-envisioning worlds first created in the Rutger Hauer film by the same name. In “Nine Cities”, the trilogy is completed. The first self-titled album depicted the PRESENT post-apocalypse as depicted in the film. The second album,The Waking Nightmare, showed the world during the actual apocalypse in the PAST that led to the times in the film. This third album is the FUTURE – further past even post-apocalypse – “Nine Cities buried deep underground” – what had survived, and how did these cities evolve beyond the world-ending criteria of their creation and burial? Past the film inspired storyline, we have for the first time in many years, 2 members of the original Napalm Death collaborating with each other: guitarist Justin K. Broadrick is joined by Scorn beat master Mick Harris. With Submeged on bass, and Enduser on keyboards, the frame is set. Joined by all the artists depicted below, including returning vocalist Dr. Israel, and Fear Factory’s Burton C. Bell, this cast is full of surprising interactions, all masterfully mixed by Dadub’s Daniele Antezza. Original artwork is an extended booklet by Khomatech; these Nine Cities are a world of their own, illustrated by one of the masters of fantasial art.

Georgina's Rumba is a magnum opus in the field of latin music in the broadest sense. Gabriele Deiana Sardinian guitarist, composer, arranger, producer and lyricist brings together 36 musicians for this work, including the winners of the Latin Grammy 2021 Alain Perez and Ivan "Melon" Lewis. 15 Cubans, 12 Spanish gypsies, 5 Spanish and 3 Venezuelans give life to a musical biographical journey that ranges from latin jazz to bolero, salsa, flamenco-jazz, tropical, nordic
argentine style, son montuno and modern flamenco.

The record also features former members of the Paco de Lucia sextet including Jorge Pardo and Carles Benavent. The best of the best of each genre. The vinyl format is gatefold and contains a 6 pages insert 30cm x 30cm with photos and the history of the album.


A true and fascinating novel in that began in 1992. The cover is a hand-painted watercolor by the illustrator Gianluigi Concas and contains an encrypted rebus that can be solved by reading the novel in the insert.

The third vinyl release from CUE Music invites Jiggy (IT) to deliver three fresh tracks in the form of “Delinquentes EP” alongside Reboot on remix duties. The record delivers a solid dose of tech house and minimal techno, definitely adding even more magic to the imprint’s discography, which includes titles signed by artists like Butane & Riko Forinson, Elchinsoul, Sascha Dive, Aney F., Dubphone, Christian Burkhardt, Sascha Sonido, Bee Lincoln, Danilo Schneider, Nektar Agu, Triad, CL-ljud and, of course, label head Sven Jaeger, among many others.

Jiggy (IT) started mixing in 2008, exploring various genres and slowly creating his own style. For 8 years he lived in Ibiza, going from playing at small clubs and underground villas parties to memorable performances at Space, Privilege, Sankeys and Bora Bora while hosting weekly shows at Ibiza Global Radio. Throughout time, he released some of his works with labels like Innocent Music, Psicodelica, Variety Music, Ole Rec, Eisenwaren, Moan, Play Groove Recordings, Basswalk, Pild, Quanticman, Natural Rhythm, Konzept:Musique and his own Be Water Recordings which is more than just a label, it’s also a deeply spiritual lifestyle for him.

A selection of unheard tracks by argentine cult proto-industrial band Quum, recorded between the years 2012/2014. Xtraqt Vol. 1 is the second release of Tecnologías Elementales, a record label founded by Djs Diamin and F.A.N.G.O.

Formed in 1978, Quum is an argentine group (currently consisting of brothers and founders members Gustavo and Daniel Gatti) that offers hypnotic and rhythmical improvisations in the language of experimental electronics, with a great participation of randomness, risk and uncertainty. Their music is inspired by science fiction, Zen Buddhism, chaos theory, ecology, the UFO phenomenon and the wabi-sabi concept.

Quum subscribes to the driving attitude of the Madí Movement ("invent and create"), coinciding in a conceptual vector that unites their teachers Jorge L. Borges, Gyula Kosice and Xul Solar.

Quum is a quiché-maya word extracted from the Popol Vuh that means "the secret", "that which is hidden behind the apparent", or "the mystery". The symbol that identifies them is a replica of the huge spider drawn mysteriously on the Nazca-Peru plateau.

Quum is, in addition to music, a living gesture of alternatives to conventional paradigms and pre-established archetypal behaviors.

Some kind of dirty ambient, cybernetik trance and organic industrial music.

Contact our cult!

a A1 Traslación Activada Intro

CALAMITA = KARKHANA members TONY ELIEH, SHARIF SEHNAOUI and Lebanese drummer MALEK RIZKALLAH join forces with the Egyptian singer AYA METWALLI - the result is the improbable meeting between free jazz / improv, punk rock & Oum Kalthoum!

CALAMITA is the "rock project" of SHARIF SEHNAOUI and TONY ELIEH, two of the most active musicians on the Lebanese experimental scene (among others projects, both are members of the "free Middle Eastern music" collective KARKHANA). SEHNAOUI comes from a jazz and improv music background, ELIEH is primarily a rock musician and founding member of the Lebanese post-punk band THE SCRAMBLED EGGS whose work in the last decade has covered many directions from pop-rock to plain experimental. They are joined by Lebanese drummer MALEK RIZKALLAH (WHO KILLED BRUCE LEE, ex THE SCRAMBLED EGGS). As trio they develop instrumental pieces that draw their inspiration from artists as diverse as Tony Conrad, Last Exit or Oum Kalthoum.

AYA METWALLI is an Egyptian singer/songwriter, composer and sound artist currently based in Beirut. Grown up in Cairo, her father would play non-stop Oum Kalthoum songs on road trips to the beach and Aya's mother; known to have the most beautiful voice in the family, she always sang at home and at family gatherings, so long before Aya was able to form her own music taste, immense amounts of Arabic classic songs and melodies already settled in her subconsciousness …

After her first EP "Beitak" in 2016, Metwalli (named "a musical enigma" by The Guardian) started to integrate more experimental and eerie sonic excursions into her avant-pop, so the collaboration with CALAMITA feels like a natural or logic step.

The roots for "Al Saher" ("stay awake") were laid when SEHNAOUI and METWALLI first worked together in "Night", a dance piece by ALI CHAHROUR which included a wide collection of Arabic songs and ancient poems, later Sehnaoui invited her to work with CALAMITA. The four met in a recording studio in Beirut, using songs by "The Voice of Egypt" Oum Kalthoum as starting point.Together they aim to fully revisit the song format and explore the possibilities of classical Tarab songs, extracted from their origins and reframed within the music of the twenty-first century. The result is a mix of various styles and influences that often seek to stretch the contrasts to towering extremes - animprobable blend between free jazz & improv, punk rock & Oum Kalthoum!

Fans of American metal act Iced Earth have long hoped for a new sign of life from their icons. On 28 April 2023, the wait will be over at last: Guitarist and founder member Jon Schaffer has announced the release of two new EPs on ROAR! Rock Of Angels Records. Entitled 'Hellrider' and 'I Walk Among You', these releases will include rare recordings from the transition phase between singer Tim 'Ripper' Owens' and predecessor/successor Matt Barlow in 2007 and 2008, a particularly exciting and eventful period in Iced Earth's band history. The 'Hellrider' EP consists of the songs 'Prophecy', 'Birth Of The Wicked' and 'The Coming Curse', originally from the album 'Something Wicked This Way Comes' (1998), voted one of the best power metal records of all time by Metal Hammer. In late summer 2007, all three tracks were re-recorded, featuring Tim 'Ripper' Owens. Schaffer: "Before now, these releases hadn't been issued on anything other than CD. Now they've been remastered, with new artwork, new mastering, new formats on vinyl, picture disc, and they'll be available for digital download for the first time."

*MILKY CLEAR VINYL - 300 COPIES ONLY FOR WORLD!!* Technology + Teamwork’s fizzling synths, interweaving textures and punchy rhythms are beguiling on their long-awaited debut album We Used To Be Friends. However, at the heart of it all it’s the connection between the group’s two members, Anthony Silvester and Sarah Jones, the friendship the much-travelled duo have managed to maintain for nearly 15 years and a showcase of the slow-burning construction of the electronic world that they’ve surrounded themselves with. We Used To Be Friends is ultimately the tale of two storied artists in their own right, holding onto each other through personal and career twists and turns, relocations and broader movements through respective phases of their lives. Silvester and Jones first met and then collaborated as part of biting post-punk five-piece XX Teens in 2008, eventually breaking off to forge their own path together even as the latter’s demand as a drummer grew. Performing with everyone from Hot Chip, Harry Styles and Bloc Party among many others, Jones has been a constant percussive presence across the sphere of alternative UK pop music – she’s also found time for her own solo project Pillow Person and played on records by the likes of Puscifer and Kurt Vile. Silvester meanwhile has performed in art galleries across Europe including: Fridericianum in Kassel, Kölnischer Kunstverein in Cologne, and Vleeshal in Middelburg, as well as providing sound design and composing work for several art films. Technology + Teamwork is the constant throughout all of that though. “Technology + Teamwork's name perfectly describes how we work” Silvester explains. “Sometimes the teamwork is between each other and sometimes it’s between us and the technology.” Although going by the name Technology + Teamwork as far back as 2014, two events conspired that pulled the project into focus for the pair of them: firstly, Silvester spent a year constructing a soundproof studio shed on the border of London and Essex where he lives. Secondly, inevitably, the pandemic brought the globe-trotting Jones back home to just seven miles away from her long-time collaborator and friend. “We probably hung out more than we had for a few years” says Silvester. “Also, after all her Pillow Person releases Sarah had gotten really good with recording vocals and knowing what did and didn’t work and had a really good home studio set up. We still worked separately though, exchanging ideas via email and WhatsApp.” As with many artists through 2020 and early 2021, working separately was a new necessity that they were forced to adapt to. However, it became clear that there were creative benefits to it. “It really changed our sound and our sounds became a lot more focused as a result” Jones says. “I wanted to use the same ideas of improvisation that I might use while playing the drums for myself and apply that to melodies and lyrics.” The album bristles with hyperpop modernity. You can hear it in the manipulated vocals most prominently on Big Blue’s disco strut and on Moving Too’s heady mix of pitched up voice and burrowing sub bass. However, the pair also looked to San Francisco and the West Coast synthesis movement of the 60s, Silvester inspired by the likes of Suzanne Ciani and Don Buchla. The plaintive lo-fi and melancholy of Amsterdam incorporates Mutable Instrument’s Marbles by Émilie Gillet which – inspired by Buchla’s own synthesis work – outputs random voltages to give the track an air of unpredictability. It’s something that occurs throughout the album, the duo revelling in the happy accidents that disrupt the flow of their hook-laden pop. “The ‘Buchlian’ ideas of music having randomness and uncertainty, completely freed us up” Silvester explains. “It felt a bit like having more members in the band, machines that didn't do what you expected or intended.” Perhaps more subtly, is the influence of 17th and 18th century Baroque music, with Silvester drawing a line between it and the 90’s R’n’B he and Jones both love – exemplified perhaps best on K+B’s percussive claps and sultry grooves. The portentous juddering synthpop of the title track, meanwhile, alludes specifically to Handel’s Sarabande. It’s typical of an album that only needs a scratch of its seemingly glossy surface to unearth a myriad of contorted touchstones and reference points that’ve fermented beneath it. Thematically there’s an anxious sense to the record, with tracks often balancing above a quiet sense of unerring tension even at their most bombastic. Moving Too is the result of an existential doubt that hit Silvester while out cycling, with the outro refrain "it's not enough to die you also have to be forgotten" a take on something Samuel Beckett once said. These worries are echoed on the album’s closing track What A Year, which borrows a lot of lines from the late drag performer and fashion designer Dorian Corey including the grimly defiant "you're gonna leave your mark somewhere in this world just by getting through it”. Those clouds offer a counter point to We Used To Be Friends, but then isn’t that what great pop albums do? Technology + Teamwork undoubtedly love the craft of the hook and the song, but they always position themselves left of centre, prepared to scuff things up, pull something out of shape or manipulate something to leave it sounding warped. Much like their friendship, nothing here is particularly linear – and it’s all the better for it. Bio: Anthony Silvester & Sarah Jones first collaborated as part of biting post-punk five piece XX Teens in 2008, eventually breaking off to forge their own path together even as the latter's demand as a drummer grew. Performing with everyone from Hot Chip, Bat for Lashes, Harry Styles and Bloc Party (among many others), Jones has been a constant percussive presence across the sphere of alternative UK pop music - she's also found time for her own solo project Pillow Person and played on records by the likes of Puscifer and Kurt Vile. Silvester meanwhile has performed in art galleries across Europe including Fridericianum in Kassel, Kölnischer Kunstverein in Cologne, and Wleeshal in Middelburg, as well as providing sound design and composing work for several art films. Technology & Teamwork is the constant throughout all of that though. "We Used To Be Friends" proves that Technology & Teamwork undoubtedly love the craft of the hook and the song, but they always position themselves left of centre, prepared to scuff things up, pull something out of shape or manipulate something to leave it sounding warped. Much like their friendship, nothing hear is particularly linear - and it's all the better for it.

In the afterglow of her acclaimed 2020 album Silver Ladders (a year-end favorite of NPR, Pitchfork, The New Yorker, and others), Los Angeles-based harpist Mary Lattimore returns with a culminating counterpart release, Collected Pieces: 2015-2020. The limited-edition LP features new and previously unreleased material, Bandcamp-only singles, and other obscurities alongside standouts from her 2017
tape Collected Pieces. Beyond the vinyl compendium, an expanded tracklist on the cassette/digital version brings more of Lattimore’s archives together for the first time. Lattimore has described the process of arranging these releases as akin to “opening a box filled with memories,” and here that box continues to populate, accessible for both the artist and fans. Evocative material separated by years, framed as a portrait of an instrumental storyteller who rarely pauses, recording and often sharing music as soon as it strikes

Sardinian born E.L.I.A.S is an artist who’s always evolving and producing music that combines hard kicks with distorted synths and mean rumbling grooves in equal heavy measure. His enthusiastic mind grows with each step he takes musically, becoming more and more focused with every fist clenching beat he knocks out.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’re exploiting some other-worldly storming techno here for those club conquering moments in which you’d unconditionally establish full control over the dance floor with a warlike incursion into the bass bins.

Penetration directly into the minds of those who hear this invasive release will inevitably lead to a lack of all self-control as all members of the tribe will involuntarily bust some ferocious moves on their favourite pista da ballo.

WARNING: NOT PLAYING THIS RIOTOUS MUSIC WILL INSTIGATE AN ABOMINABLE SCANDAL