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Contemporary and historical Porest recordings channelled from behind the somnambulistic event horizon. The now sound... The bleak oblique. The minimal and the maximal. Filmic chamber drones, meditative radio massage and forged spiritual violence bury pop ephemera into the swirling murk of de facto instrumental nihilism and orchestral context-free drama.
Side A: A harmful journey into sickness and despair. You get sick and die.
Side B: You are healed. You stand erect and live forever.
Layered field and radio recordings back electro-acoustic experiments via electric saz, strings, balypso, reeds & synths. Big drones, small ensembles and mood-anthems recorded by Porest and friends between 1995 and 2020 in West Oakland, Germany, Sumatra, Syria, Hanoi and London.

Events currently taking place throughout the world only serve to stoke a fire under the likes of Pillow Queens, who find themselves continually inspired by a Dublin that is no stranger to fighting social injustice. Street artists, fashion designers, musicians, film makers and more comprise a scene which routinely champions queerness and marginalized groups, and engages with and activates young people in response to the likes of the city’s ongoing housing and mental health crises. Pillow Queens’ songs of togetherness and unity ring out louder than ever before.

In their short lifespan as a band they've released two demo EPs, performed on a successful string of UK & Irish dates & festival appearances, had playlisting from BBC 6 Music, and found themselves opening for the likes of American Football and Pussy Riot, as well as stadium performances opening for IDLES and Future Islands.

With all this under their belt, the band began working with Mercury Prize nominated producer Tommy McLaughlin for their single 'Gay Girls' – which received a nomination for the RTE Choice Music Prize song of the year, as well as International pickup from NPR’s World Cafe and KEXP. The song also found its way into the heart of actor Cillian Murphy and his BBC6 mixtape show.

2019 saw Pillow Queens venture into mainland Europe, as they lit up the Eurosonic festival and completed a string of tour dates opening for Soak. The tour was a messy and joyous affair captured beautifully in the DIY video for the bands summer single 'HowDoILook'.

In Waiting is Pillow Queens’ debut album, the result of four years of brotherly love in a sisterly unit from Ireland’s most urgent, yearning, rock band. Crafted from our lives, and honed in a studio in rural Donegal in the northwest of Ireland, this is a record by queens in waiting and kings in the making. It’s an album about love; self-love, queer love, the anxiety-inducing fault lines of romantic love, and the love for a city and a country that simultaneously has your back and is on your back.

Tancade is the solo debut by experimental cellist Gaspar Claus. Following on from his previous soundtrack work and a wealth of collaborations (incl. Bryce Dessner, Sufjan Stevens, Jim O'Rourke), Claus brings forth a collection of pieces which free the cello from its own limitations. Majestic and adventurous, stormy and radiant, dreamy and rigorous, Tancade defies categorisation, evoking chamber music suspended in the fourth dimension, the soundtrack of an experimental film or the strange folk music of an undiscovered tribe.

Introducing Cutcross, created to champion the melting pot of bass-centric sounds teetering around 140 bpm. Heading up the concept is Sicaria Sound, a DJ duo who since their inception set out to explore and expand on the possibilities of these sounds whilst spotlighting underground artists. Cutcross is therefore their next step in supporting the forward-thinking music that they've drawn for when curating sets.

Partners in crime Ebb & Texture by way of New Zealand are at the helm of CXT004. Featuring a solo track each plus two collaborative efforts, all four tracks pack a punch via plenty of low-end and lively breaks.

"On October 15, 1965, tenor saxophone master and composer Wayne Shorter recorded The All Seeing Eye, a brilliant and ambitiously multi-layered album for Blue Note. Shorter’s goal for the album was to use “a wider range of colors and textures” while continuing his explorations of “life and the universe and God.” Joining Shorter in his quest are Freddie Hubbard on trumpet, Grachan Moncur III on trombone, James Spaulding on alto saxophone, Herbie Hancock on piano, Ron Carter on bass, Joe Chambers on drums, and, on one track, Wayne’s brother Alan Shorter on flugelhorn.
Blue Note Records’ Tone Poet Audiophile Vinyl Reissue Series is produced by Joe Harley and features all-analog, mastered-from-the-original-master-tapes, 180g audiophile vinyl reissues in deluxe gatefold packaging. Mastering is by Kevin Gray (Cohearent Audio) and vinyl is manufactured at Record Technology Incorporated (RTI)."

Far Out Recordings presents the peerless and criminally undervalued Quartin catalogue, beginning with the reissue of Jose Mauro’s forgotten masterpiece Obnoxius. Over the course of the 60s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato and Quateto Em Cy. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade’s first year, with Victor Assis Brasil Plays Antonio Carlos Jobim and the aforementioned Obnoxius. These singular gems in Brazilian music, difficult to categorise yet compellingly haunting, have for too long gone unheard.

Today, very little is known about Jose Mauro and as a result those searching for some kind of insight on the man behind the music must attempt to glean what they can from the music itself. One rumour claims he died in a car accident shortly before the album’s release, a fact that could have lent his brief musical career a touch of mythology were it not for how scant the details concerning any other aspects of his life are. The political turmoil from which the album emerged is significant also; recorded during an era of oppressive state censorship, the album, like all the Quartin catalogue, is the result of steadfast defiance in the face of a crushing military dictatorship. While many musicians of the era fled the country, preferring their prospects in the affluent, liberated USA, rebellious, young musicians like Mauro chose to stay and reflect their anger at the authorities through thinly veiled protest songs such as the stirring ‘Apocalipse’. Herein lies the basis for a more dramatic theory; that Mauro was in fact abducted by the military! Whatever the truth, the mystery remains unsolved, and all that remains is his bewitching music, all of which is composed by Mauro and Ana Maria Bahiana. Production on the record was cancelled after Mauro’s death and it was never sold commercially until its rerelease decades later. What appeal does Mauro’s music hold to today’s listeners, forty-something years removed from its conception? Simply put, there is very little else that sounds much like it all. Take the title track of ‘Obnoxius’. A wholly singular piece of music, blending string-drenched melancholia with orchestral pomp, sunny psychedelic strumming with propulsive percussion, topped off with Mauro’s yearning vocals. The result is indicative of Mauro’s unique blend of sounds from Latin Jazz and samba to psychedelic folk and baroque orchestration.

Today, Obnoxius retains its strange, otherworldly appeal – A firm favourite amongst a small circle of deep diggers including Madlib, Gilles Peterson, Floating Points. Jose Mauro’s mournful and melancholic vocals create a dark, brooding atmosphere that stands in contrast to the usual joyfulness and high-spirited rhythm of the more prominent Brazilian music of the era. Despite this air of foreboding, Mauro’s confident baritones, chord patterns and sumptuous arrangements have the ability to induce in the listener an almost trance-like state of ecstasy. Mauro’s long hidden masterpiece, a complex and uniquely stunning work is being offered the chance to be heard by the wider audience it has always deserved. A second Jose Mauro release, A Viagem Des Horas, compiling more incredible tracks unreleased in Mauro’s lifetime, will follow, alongside other unreleased jewels from the Quartin catalogue, from the likes of Piri and Victor Assis Brasil…

30 years since their creation, the unreleased Frankie Knuckles remixes of Electribe 101’s deep cut ‘Heading for The Night’ are finally unvaulted, available on 12“ vinyl

UK based electronic group Electribe 101 and their one album, Electribal Memories hold a legendary place in the annals of house and dance music. The band met after vocalist and writer Billie Ray Martin had placed an ad in Melody Maker in 1988: “Soul rebel seeks musicians – genius only”. Billie headed to meet the four responding musicians (Brian Nordhoff, Joe Stevens, Les Fleming, and Roberto Cimarosti) at their studio in Birmingham.
“I took three songs with me, one of which was the lyrics and melodies to (Electribe 101’s first single) ‘Talking with Myself’, as well as a copy of Julian Jonah’s ‘Jealousy and Lies’,” says Billie. “I told the guys: “I’ve heard the future, and this is what I want to do.” I had heard Julian’s track at the WAG Club and I still remember the moment I stopped my shimmying and just stood there, staring, then turning on my heels and going straight to the DJ to ask what this record was. The guys had already experimented with some more dance orientated tracks and were instantly sold on the idea.”
Originally self-released on white label and championed by pirate radio, ‘Talking with Myself’ caught the imagination of the UK club scene and saw the band sign to Phonogram Records. With the re-issue and its follow up, ‘Tell Me When the Fever Ended’, becoming bona fide pop chart hits, with daytime radio play, Top Of The Pops appearances, and magazine covers from Melody Maker to MixMag, i-D, the label were keen to galvanise the band’s success and for them to deliver an album quickly.
“Because we weren’t yet used to writing together, we tried different approaches,” explains Billie.” I brought along a few songs I’d already written with others. Other songs we wrote from scratch. ‘Heading for The Night’ is one of those songs. The guys had developed the music and I wrote and sang the melody and lyrics straight onto the track, without making any arrangement changes.”
The band had also found ardent fans in the US, with chart-topping success on the US club charts and mixes from some of the most in-demand remixers of the day, including Chicago House doyennes Frankie Knuckles and Larry Heard.
“Frankie had already done such an incredible job with ‘Talking with Myself’ and he was smitten with ‘Heading for The Night’”, recals Billie. “He enjoyed mixing it so much that he did six mixes, each one brilliant and soulful in its own way. His effortless and perfect vocal production while creating a more danceable version makes this another Knuckles masterpiece.”

While 'Heading for The Night' had been considered for single release, these legendary remixes never saw the light of day. Finally, Frankie’s work on this song finds its rightful place in both his and Electribe 101’s legacy.
This EP of remixes precedes the release of Electribe 101’s fabled second, never before released album Electronic Soul, later this year.

This live set from the 1971 Montreux Jazz Festival was co-led by tenor saxophonist King Curtis (who tragically would be killed three months later) and veteran blues pianist/vocalist Champion Jack Dupree. With guitarist Cornell Dupree (in excellent form), bassist Jerry Jemmott and drummer Oliver Jackson laying down the foundation, Curtis and Dupree find a great deal of common musical ground. Dupree has quite a few witty vocals (particularly the near-classic "Junker's Blues") while taking choruses of irregular length that keep his sidemen continually guessing. Curtis' distinctive tenor is also heard from, making one truly regret that this was his final recording. (All music)

Mondo and Madison Gate are proud to present the premiere vinyl release of Leo Birenberg and Zach Robinson's incredible score to the Netflix streaming phenomenon COBRA KAI. This 3-disc vinyl set features music from the first 3 seasons of the hit series, curated by the composers into themed collections.

This exclusive retail version comes pressed on red, white, and blue marble discs. Also featuring all new artwork from the incredible Matt Ryan Tobin and liner notes from composers Leo Birenberg, Zach Robinson, star Ralph Macchio, and showrunners Josh Heald, Jon Hurwitz, and Hayden Schlossberg.

Music from the first 3 seasons of the series curated into three collections of music:
Disc 1: COBRA KAI - a curated mix of music scoring the most badass dojo in the Vallely
Disc 2: MIYAGI-DO - curated selections from the music scoring Laruso Family, and its ties to the Miyagi legacy.
Disc 3: FINAL FIGHTS - the music from all three of the explosive season finale episodes.

All of the music has been hand selected, and in many cases expanded from their original form for the most definitive Cobra Kai listening experience available.

Italian experimental music is notoriously resistant to definition and location. If ever there was an object to encapsulate the spirit of that movement, it is the composer and musician Roberto Musci’s debut album from 1984 - The Loa Of Music. Recorded after a decade travelling the world - drifting between African, Indian, and the Near & Far East - studying music, making field recordings, and collecting instruments, not only is it a perfect culmination of such an experience, but a lens into the rigorously democratic and international spirit of the generation of artists to which Musci belongs. Phenomenally ambitious,The Loa Of Music entirely refuses the well trod path - distilling a remarkable range of sonic reference and reality. A work of field recording, musique concrète, electronics, synthesis, and instrumentation, pulling from countless musics from across the globe, the result is nothing short of brilliant and stunningly beautiful. A near perfect work - an egoless gesture, which rather than attempting to find consensus, offers every voice equity and cohabitation - harnessing the history music, with all of its cultural diversity, as a vision for a more ideal future. Geographies and their sounds intertwine, while Musci’s interventions and instrumentation thread a path. Ambiences ripple, sounds and voices converse in a vision of unity that may only exist within sonic realms. Unquestionably seminal, and one of the most important works to emerge from Italy in the last 50 years. Never before issued on vinyl since it’s original release, and surely not to be around for long, this is one not to miss.

Eight years deep into their existence, Paris-based Mawimbi are proud to present their debut album Bubbling.
Through their own label and events, the collective have championed up and coming artists who look to fuse african music
with the modern dancefloor. They’ve released records from Lya, Onipa, Afriquoi and James Stewart and brought
established artists and fellow travellers to such as Auntie Flo, Africaine 808, Awesome Tapes From Africa and Esa to
Paris. Now it’s time for the collective to unveil their identity as producers and musicians in their own right.
“Bubbling” refers to the many ideas, encounters and projects that the collective have come into contact with over
the past years. Through their events and their work as label curators and remixers (for artists such as Oumou Sangaré,
Blick Bassy, Cerrone, Onipa), Mawimbi have become known as ambassadors for “afro-electro” - whatever that might
mean - and their debut album buzzes with the contagious energy of the music they love. If you ask Mawimbi, Afro-electro
is about global and local inspiration, from both sides of the Black Atlantic. It’s about paying tribute to the forefathers and
the brothers and sisters in arms across the world. Afrobeat, highlife, South African bubblegum pop, Malian music,
maloya… Bubbling seeks to connect geographically separate but spiritually similar club sounds.
Hence “El Caribe” (feat. Ghetto Kumbé) is half cumbia, half Carribean dancehall, while “Ngana” (feat. Fatim
Kouyaté) has some elements of dub music and “Kakraa” (feat. K.O.G) nods to disco‐infused Ghanaian productions from
the 70s. Despite the influences, this is a record designed for home-listening, a nod to our present circumstances, but also
a deliberate step away from dancefloor. A moment of patience and reflection as much as joy and celebration.`
Above all, Bubbling is a personal record, about unexpected cross-pollinations and the collective’s individual
explorations of these musical territories. Mawimbi's own history is one of coincidences and chance encounters, and so is
“Bubbling”. All the collaborations were born out of the connections made over the last 8 years. A WhatsApp chat with
Zambian artist Mufrika, a spontaneous studio jam with Ghetto Kumbé in a Parisian Basement: these are captured
moments of real, vital connections made.
Like Mawimbi itself, Bubbling is a collage of relationships and shared experiences, shaped by nascent friendships
and musical encounters. It’s a truly DIY document in that sense, the sound of the last eight years of the Mawimbi
adventure: free spirited, passionate, warm and generous.

The soulful and elegant pianist Sonny Clark brings his A-game to My Conception, a program of all-Clark originals recorded in 1959 but not released until 1979. Joining the pianist are a cast of hard bop masters including Hank Mobley on tenor saxophone, Donald Byrd on trumpet, Paul Chambers on bass, and Art Blakey on drums. Highlights from this session include the lead-off track “Junka,” the fiery brilliance of “Minor Meeting,” and Hank Mobley’s sublime soloing on “Royal Flush. Blue Note Records’ Tone Poet Audiophile Vinyl Reissue Series is produced by Joe Harley and features all-analog, mastered-from-the-original-master-tapes, 180g audiophile vinyl reissues in deluxe packaging. Mastering is by Kevin Gray (Cohearent Audio) and vinyl is manufactured at Record Technology Incorporated (RTI).

Tenor saxophonist Hank Mobley had already led nine dates for Blue Note Records by the time he arrived at Rudy Van Gelder’s studio on February 7, 1960 with pianist Wynton Kelly, bassist Paul Chambers, and drummer Art Blakey, but on that day the quartet laid down what would become his masterpiece: Soul Station.

The crystalline six-song set was a showcase for Mobley’s lyrical flow from the breezy opening take on Irving Berlin’s “Remember” through bluesy originals like “Dig Dis” and the title track, and the swinging up-tempo numbers “This I Dig of You” and “Split Feelin’s.” Soul Station endures as a jazz classic for the ages..

This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

A double album of sumptuous, expansive downbeat luxury written by Pete Woosh - one half of the celebrated duo Digs & Woosh and Nottingham's DIY collective - with Andy Riley (Toka Project, Inland Knights) during the illness which would eventually claim Pete's life. Given the background of its creation, it's a blissfully peaceful and optimistic sounding collection.

The chilled disco/house hypnotism of 'Keep Yr Shape' and 'For Your Love', all slinky, hazy vocals and headnodding back room hedonism, are obvious highlights, but more reflective moments like 'Piano Fades' make this into a varied and enduring 'proper album' listen rather a mere collection of tracks.

All profits will go to the Spirit Wrestlers foundation, founded in honour of Pete's memory and devoted to good causes in his hometown of Nottingham.

In My Sleep is the debut vinyl release from French producer Margee. Having gained a loyal following last summer with a remix for Tommy Guerrero, released on Music For Dreams, this EP showcases his natural ability at creating low-slung, densely layered productions, perfectly aimed at the dancefloor.

The release also features two heavyweight remixes. The first of these comes courtesy of underground House legend DJ Nature, who takes the title track and gives it a completely new twist with his inimitable ‘ruff disco’ stylings. Hailing from Bristol (via New York), recent years have seen Nature release on Futureboogie, Golf Channel and Jazzy Sport.

The second remix on the release comes from Hardway Bros (AKA Sean Johnson). Having been an early champion of Margee’s work on his regular ALFOS streaming marathons, Sean took the second track on the release, Wrong Dream, and went into heavy-dub mode. The resulting remix clocks in at just over 11 minutes and is everything you’d expect from him, and more…

Margee said of the release ‘In My Sleep started while taking a shower. The bassline popped up in my mind and I ran out as quickly as possible to record it. From there, I got pulled into a deep emotional trip with groovy tones and dirty sounds. Wrong Dream is actually a lost project that I had to start over again. It turned out to be more fierce than the first one, experimenting with arps and fuzzy synths, while keeping a certain groove that was easier to reproduce.’

In My Sleep is the second release from London based label Other Goodness, following on from Bawrut’s ‘Divergent Emotions’ EP last year, which quickly became a mainstay of the live-streams and a DJs favourite.

'A Mythology of Circles' is the new album from Brooklyn-based composer and musical artist Faten Kanaan, her first to be released on Fire Records. Cyclical patterns and 'variation through repetition' are central to Faten's music. Harmony and counterpoint are composed intuitively and treated as narrative tools- with sound, silence, and the resulting mystical relationship between notes used as gestures to tell a wordless story. The album is separated into a 'dusk to evening' side, and an 'underworld/dream-state' side; highlighting the myths of Ishtar, Inanna, Orpheus, Persephone, and others. Inspired by cinematic forms and mythological story structures: from sweeping landscapes and quiet romances, to patterned tensions and dream sequences; Faten brings an earthy, visceral touch to electronic music. In symbiosis with technology is an appreciation for the vulnerability of human limitations and nuances. All the sections are played in real time, neither looped nor sequenced- allowing for subtle changes to unfold. The use of VST sampled choral voices in this album embodies the forlorn state of technological acceleration, and the desire to return to a vulnerable human sound. The album art also explores a complicated relationship with technology: the statue comes from a series of digital replicas, returning in its last stage to a more intimate and handmade feel. Composed, produced and mixed by Faten Kanaan, the album was mastered by Heba Kadry (Bjork, Ryuichi Sakamoto, Julianna Barwick). "Strangely haunting yet beautiful bouquet of nocturnal, electronic blooms ranging from poignant ambient vignettes to chamber-like pop, from Brooklyn's Faten Kanaan- a gifted musical story-teller" Boomkat

Raised on a healthy diet of The All-American
Rejects and All Time Low, Australian-born With
Confidence have made quite a name for
themselves in the world of pop punk with over 125
million streams across their first two albums and
multiple headline tours throughout the US, UK,
Australia and Europe.
For their upcoming self-titled album, the band will
be shedding a bit of their adolescent “get out of my
hometown” skin, opting in for a more adult, altpopinspired sound that draws influences from
everything from The 1975 to The Strokes.
The new album will be a follow up to the band’s
sophomore entry, ‘Love & Loathing’, which
debuted at #3 on the Independent Record Label
Chart and #4 on the LP Vinyl Albums Chart, selling
over 7,500 copies in the first week.
For fans of Neck Deep, State Champs,
Waterparks.
LP pressed on ‘Bone’ coloured vinyl.

Sammy Virji returns with ‘We’ll Be Alright’, an EP
full of summer heaters just in time for impending
freedom and the promise of a return to the
dancefloor.
Hot off the back of his triumphant debut album,
‘Spice Up My Life’, and energetic Shift K3Y collab
‘Runaway’, Sammy announced the EP with
‘Alright’ (ft Lucy Virji), an optimistic sizzler
characterised by his now signature skippy 2step
production.
Virji’s bass-driven production is now a staple in the
NUKG scene. ‘We’ll Be Alright’ satiates pop’s
recent appetite for modern Garage and cements
his ability in delivering yet another project set for
crossover success.
Sammy has been championed across the board,
from the likes of Annie Mac, Jack Saunders,
Toddla T, Mistajam and Majestic, achieved Top Ten
status in the UK Dance Albums chart and is now
streaming in the millions across all platforms.
Yellow vinyl 12” housed in a clear PVC bag
featuring hidden track ‘Quarantine Done’, a fan
favourite set for release by popular demand
following various plays on online DJ streams
throughout the pandemic but, as yet, unannounced
as appearing on the vinyl product.

Formed in Dublin in 1968 few would dispute that Thin Lizzy helped define the genre Hard Rock.

The band scored 8 top 20 hits over 8 years and place no less than 8 albums in the UK top 20, 3 of which would make the top 10 and 4 the top 5.

From the mid-70s onwards, they championed the use of two lead guitars, it gave them a unique sound which evolved down the years and influenced the likes of Def Leppard, Metallica and Iron Maiden

After numerous line-up changes, Thin Lizzy called time in 1983

With 1986 just 4 days young lead singer and main songwriter Phil Lynott died aged 36. All music’s John Dougan wrote, “As the band’s creative force, Lynott was a more insightful and intelligent writer than many of his ilk, preferring slice-of-life working-class dramas of love and hate influenced by Bob Dylan, Bruce Springsteen and virtually all of the Irish literary tradition.”

This 2-LP set contains all that is great about the band – the tracklisting overseen by Lizzy Expert Nick Sharp covers what is the best of the band’s output throughout the years.

After recording debut album The Return of the Durutti Column with producer Martin Hannett in 1979, virtuoso guitarist Vini Reilly purchased a TEAC four-track recorder from Bill Nelson and began producing his own material. These evocative demos were perfected by Reilly at Graveyard Studio with co-producer Stuart Pickering, with additional drums and percussion from Bruce Mitchell. Originally released by Factory Records in November 1981, LC is a key album in a body of work described by David Stubbs of Uncut magazine as ‘unique in rock, with Reilly’s scampering, watercolour guitar style building a tentative bridge between post-punk and the chamber sketches of Debussy and Ravel.’
On this expanded Factory Benelux the original ten tracks are supplemented by no less than 9 bonus cuts, including rare Sordide Sentimental single Danny/Enigma, and the three tracks Reilly contributed to A Factory Quartet in 1980 - his last recordings with Hannett, which feature Donald Johnson of A Certain Ratio on drums.
The remastered double disc set is housed in a gatefold sleeve printed on matt reverse board, with liner notes and archive images. The package also includes an exclusive 7-inch single featuring live versions of Sketch for Summer and Requiem for a Father, recorded at Leeds Polytechnic in October 1980. These are the earliest surviving professional live recordings of Durutti Column in concert.

This is incredibly Trees Speak's third album on Soul Jazz Records to be released in the space of one year - and it's amazing! Trees Speak's new album 'PostHuman' once again blends 1970s German electronic and 'motorik' Krautrock instrumentals (think Harmonia, Can, Cluster, Popul Vuh, Neu!), haunting and powerful 1960s & 1970s soundtracks (think Italian prog-rock Goblin and John Carpenter horror movies, Morricone and existential John Barry spy movies), together with a New York no wave electronic synth and guitar analogue DIY-ness (think Suicide, anything on Soul Jazz's New York Noise series or Eno's New York No Wave)! Drawing further upon German krautrock high-concept albums from the likes of Tangerine Dream and Klaus Schulze from the 1970s, Trees Speak create their own powerful new landscapes of sound that manage to be at once contemporary as well as both timeless and with a sense of science-fiction futurism. Trees Speak' segue together all these elements into 'PostHuman,' which follows on from their criticallyacclaimed debut LP 'Ohms', and 'Shadow Forms' released on Soul Jazz Records less than six months ago. This powerful new album is a high-concept collage of retro-futurist science-fiction music, fantastically illustrated by the artist Eric Lee, a dramatic vision of life after humanity. Trees Speak are Daniel Martin Diaz and Damian Diaz from Tucson, Arizona and their music often draws on the cosmic night-time magic of Arizona's natural desert landscapes. 'Trees Speak' relates to the idea of future technologies storing information and data in trees and plants - using them as hard drives - and the idea that Trees communicate collectively. The album includes an exclusive bonus 45 single 'Machine Vision' and 'Seventh Mirror' that will only be available with the first order of the vinyl edition of this amazing and ground-breaking new album. With 'PostHuman,' Trees Speak once again manages to take the listener deep into their unique musical world of unknown visions of the past and the future.

Far Out Recordings proudly presents two previously unreleased tracks of glorious Brazilian sunshine music. Written and recorded in 1978 by pianist, composer, sound engineer, studio owner and former amateur skateboarding champion Ricardo Bomba, ‘Eu Sei’ and ‘Flutuando’ were almost doomed to total obscurity when the master tapes were binned following a ruthless studio clear out. Luckily Bomba kept a cassette tape copy from which Far Out has remastered the release for 7” vinyl/ digital.

Throughout a varied career, which included a four year stint as bandleader of Jorge Ben’s live show (78-82), Ricardo Bomba had a string of idiosyncratic, underground pop hits throughout the 80s, including ‘Você Vai Se Lembrar’ which recently featured on Soundway’s Onda De Amor (Synthesized Brazilian Hits That Never Were 1984-94) compilation, as well as his then award-winning, now obscure solo album Ultralight (1988).

With the stunning vocals of Mariana Couto (the first wife of Chicago percussionist Laudir de Oliveira), legendary drummer Peninha who has recorded with the likes of Jorge Ben, Quarteto Em Cy, Lincoln Olivetti, Tony Bizarro and Gal Costa, and Brazilian guitarist Blimba Buarque, “Eu Sei” and “Flutuando” truly are lost gems of the late ‘70s Rio de Janeiro MPB scene.

*Disclaimer! This release was mastered from cassette tape, so the sound quality may differ from other releases on Far Out Recordings. We advise listening to sound clips before buying where possible... The music was simply too good to not release!

Matt Berry’s second album for Acid Jazz was the
astounding ‘Kill The Wolf’. Building on and
expanding on the sound of his label debut, it mixed
baroque folk with psychedelia.
Containing the well-received single ‘Medicine’, the
ruralistic ‘Gather Up’, as featured in ‘What We Do
In The Shadows’, and the nine minute ‘Solstice’, as
championed by BBC Radio 6 Music.
This is the album’s first reissue on vinyl and comes
as a reproduction of the rare gatefold issue,
complete with insert, this time pressed on bottle
green vinyl.

The '2Kings EP' is the debut release from Ash and Jay Shah, two brothers based in London. The record has come out on their newly formed '506' label via Kudos Records. Having produced for various MC's and vocalists in the past, this is the first time the brothers have teamed up to release something under their own '2Kings' alias.

Drawing on influences from the styles of producers such as Madlib, J Dilla and The Alchemist, the record blends obscure soul and jazz infused samples with incisive vocals to take the listener on an introspective journey across 6 tracks.

”Papered Up” and "Dark Corners" shows the pair team up with Detroit legend Guilty Simpson and LA wordsmith Blu over two soul-smoked instrumentals, with both MCs lacing up to provide hard-hitting verses. Guilty's gritty personal narrative of the daily struggles of living in the D is wonderfully counterbalanced by the spaced out, string-lead production; whilst Blu takes a more positive approach, his intricate west-coast flow interrupted only by the pitched-up vocal hook of the sample.

"Last Time", perhaps the standout song on the EP, is a rich, experimental piece of neo-soul embellished by gorgeous guitar riffs from Oscar Jerome (who has released on both Universal Records and Giles Peterson's Brownswood Records) and the velvet smooth tones of rising vocalist Douniah (signed to german based hip hop label Melting Pot Music).

Since the digital release, the EP has received widespread acclaim, with support from Tom Ravenscroft, Huey Morgan, Giles Peterson and Alexander Nut, to name a few. The brothers have been repeatedly championed by Jamie Groovement / Agent J (head music editor of Bonafide Magazine) having recently appeared on his Groovement Show on Reform Radio, and "Last Time" was also featured on Spotify's 'Fresh Finds' and 'Fresh Finds: The Wave' playlists.

The '2Kings EP' is definitely one to watch out for.

Influential continues its run of outrageously good jungle in the 93-95 vein, with this incredible EP from newcomers Champion Sound. Mashing up huge amen edits with deep dancehall vibes and samples, this EP is both authentically old skool yet full on bass heavy vibes for 2001

Schneider TM is the multidimensional music project of Dirk Dresselhaus which has been operating since the mid 90's. His latest opus is also his first for release for Editions Mego.

With an extensive catalogue under his belt, one may wonder where this one takes us? The 8 of Space orbits the realm of "pop" more overtly than the project has done for 14 years, residing in the line of works that temporarily ended with "Skoda Mluvit" from 2006. In the age of scattered streaming listening habits The 8 Of Space champions the classic album format with connected tracks that act like chapters adding up to what could be framed as an 'audio-movie'. The 'plot' revolves around a post-dystopian landscape which posits the make up of reality in the future.

The vessel is electronic pop music but one which takes inspiration from the spirit of a multitude of musical forms absorbed into a trans human sound world where biological & technological elements complement each other (We are NOT The Robots!). The music unifies the analog world of acoustic and electric instruments with electronic & digital possibilities that range from heavily processed acoustic & electric guitars and bass, tube organ, analog modular synth units, acoustic drums and percussion, analog & digital drum machines & effect units, hardware and software processing. Experimental & extended musical techniques build a world of musical elements that is sometimes upside down and mirrored. Electric guitar becomes rhythm machine & modular system, voice becomes sound object & synthesizer, effects are used as instruments, acoustic guitars are being modulated by voices etc. Reality and illusion are getting mixed up. One can hear short moments of longer recordings in the tracks which are snapshots of bigger musical pictures that lurk behind what's actually audible. Generative music, audio spirals like clockworks create ever changing musical combinations; thrown-in sounds, polyrhythms & cascades based on the concept of chance attributed to the service of the SONG.

The lyrics are a key component. Holistic, associative poetry acts as interactive trigger points for the mechanisms of existence in times of a paradigm shift that are open to the listeners discretion. Autobiographical elements combine with science fiction and dreams, protagonists shift where the 'I' or 'me' is not necessarily the voice of the artist, nor even the same person. Alongside a more naturalised voice another protagonist appears represented by a processed voice. This character, named iBot, evolved around the start of the millennium and has appeared on some previous Schneider TM recordings. It can be seen as a post-human, or even a trans-human character, a combination of human & technology, uncertain of the future, which lends iBot it's melancholic tone.

In the opening song "Light & Grace" iBot appears in an advanced form of AI, which managed to hack & hijack a commercial space travel program (eg, Virgin Galactic) to invite those rich, who profited most from the destruction of planet earth, for a holiday trip into space to unknowingly fly them directly into the middle of the sun. In this episode it seems to have developed higher ethics than humanity itself with ambition to save the planet with as much of its cooperative life as possible."Light & Grace" serves as an intro / opener for this album to be followed by 7 other tracks featuring different windows of consciousness represented by diverse characters & protagonists.

All the elements on The 8 of Space, the music, sounds, vocals and artwork fit together as a whole, creating a dazzling electro pop future questioning it's own certainty. This is experimental electroacoustic pop music featuring glorious melodies dancing along human/machine voices, each track is a small universe that triggers the physical mind and tickles the subconsciousness.

6 tracks including two new wigged out re-dubs from Paolo Baldini 'Dubfiles', demonstrating the effect of dropping an echo chamber down
a sink-hole. Upsetter magic at its finest. Comes in a grey house bag.

Latin-infused Hip-Hop project by The Breed and Richard Holzmann feat. FLKS, Cy Leo, Kid Taro, Phlocalyst and Franz. Cover photo by the legendary Estevan Oriol (Netflix / LA Originals)

It all started in 2020 when producer The Breed and guitarist Richard Holzmann decided to start their own project called PAPI CHURRO. The two german musicians came up with a unique combination of latin-folk and HipHop Sounds. Almost like a Lo-Fi Beat version of guys like João Gilberto or Carlos Jobim. But also the typical Mexican sounds of Druglord Movies like „Narcos“ are part of their soundcollage. In very short time PAPI CHURRO gained a fanbase and millions of streams on the net. Since all the instruments are played live the songs are not your average Samplebeat but come with some more complex arrangements. But still producer The Breed clearly references those „Chops and Breaks Roots“ on the songs.

Now it’s time for their first full-length LP. El Clásico features all of their recently released tunes but also comes with a bunch of new material. It features a lot of talented guest musicians. Blue-note artists Phlocalyst on some trumpet parts, Harmonica world champion Cy Leo from Hongkong. Lo-Fi producer Kid Taro and Bassplayer and producer FLKS appear throughout the record.

BBE Music is thrilled to announce the release of Modern Love, a diverse compendium of specially commissioned cover versions of rarities and classics in tribute to David Bowie. Featuring an array of artists such as Jeff Parker, We Are KING, Meshell Ndegeocello, Helado Negro, Khruangbin, Matthew Tavares, Nia and more, Modern Love seeks to champion Bowie’s lesser-known connection to soul, R&B, jazz, funk, and gospel. The prominent jazz influences throughout Bowie’s final album, Blackstar, were a key inspiration for curating this collection of reimagined Bowie songs with these artists. The resulting album is an eclectic tribute featuring a group of artists who not only fit together creatively, but who, like Bowie, straddle different worlds musically, with soul and jazz at their core. Modern Love offers a fresh look at Bowie's trailblazing career, aiming to highlight the often overlooked relationship between his back catalogue and musical genres traditionally pioneered by artists of color. The project was curated by music executive and DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah. "I felt that the connection between Bowie and R&B, jazz, funk, gospel and all things soulful, had never really been explored before — at least not so much in covers, which tend to lean more towards rock and pop,” says McFadden. “Certainly, there's been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction

There has always been a Reggae inuence in the music of El Michels Affair. From their cover of "Hung Up On My Baby" done in a Reggae style, to the general sound and approach that permeates Leon's production style. While recording Bailey's 2020 Ekundayo album, they did some straight forward reggae tunes inspired by different eras alongside some modern R&B tracks that would t more comfortably next to Frank Ocean than Jacob Miller. It is this same notion that old and new can live so comfortably together that birthed the idea of Ekundayo Inversions. Traditional dub came out of reggae in the late 60s and early 70s when pioneers like King Tubby and Lee Perry started taking the multi track recordings of songs and running them back through the board adding effects and additional instrumentation. These recordings are called "dubs" or "versions" and are typically instrumentals with ourishes of vocals from the original tracks. El Michels decided to use the blueprints left behind and make something using the inuences of today. He wound up straying so far from the traditional format that it didn't seem right to use the word `Dub', hence Ekundayo Inversions. All the songs are tied together by WhatsApp messages between Leon and Liam that perfectly narrate the story of this record and their working relationship. One of the highlights on Ekundayo Inversions is a guest appearance from the legendary Lee "Scratch" Perry on the "Ugly Truth" version. L$P switches between singing and talking, proclaiming his powers one minute and playing with the track's title the next. On "Awkward take. 2" Leon takes one of the most experimental songs from Ekundayo and actually straightens it out. A track that once seemed to be oating in space has now been anchored by the addition of drums and bass. "Faded", a version of "Paper Tiger", is given the full EMA treatment with the addition of emotive horns over an uncomfortably sparse rhythm track peppered with Liam's voice drenched in delay and echo. "Champions" features a verse from Black Thought of The Roots and halfway through, El Michels sends the rhythm section 50 years back. At the end of the day, Ekundayo Inversions is a testament to how strong the original songs are. Whether they're in a R&B style, reggae style, stripped down to their bare bones, or loaded with production, the songs will move you.

Calypso developed into its modern form in Trinidad around the turn of the twentieth century as a primarily English-language topical song associated with pre-Lenten Carnival. By the 1920s, Calypsonians, as the singers and composers were called, performed in “tents” (yards covered by a tarp, union halls, and such) for the people of Trinidad and for tourists. As early as the 1930s, the genre was gaining a following outside of its homeland ; for example the British writer Aldous Huxley visited a tent in 1933 and wrote with admiration about calypso singing : “ The Calypsonians of Trinidad live in another ‘Zeit’; so the ‘Geist’ they obey is not the same as ours. In that, it may be, they are fortunate.

‘Part I’ is the debut LP from Indigo, the moniker and ongoing project of Melbourne-based composer and arranger, Nick Roder.

The first release in what will be an ongoing three-part series, Part I features nine tracks for bass guitar and tenor saxophone. Part II, an exploration of a slightly larger, more sonically diverse musical world will feature string quartet and voice. Finally, Part III will collaborate with choreographer Siobhan McKenna, who alongside Nick will develop a percussive movement work that seamlessly intertwines with the musical work.

“My aim is to create music that is sonically and musically atypical whilst still belonging to an accessible contemporary scene. Each project, album or ‘part’ will set out to explore a single ensemble or group of instruments. In the case of Part I, that ensemble is hollow body bass guitar and tenor saxophone. “ - Indigo (Nick Roder)

The Indigo project itself was inspired by Saxophone & Bass Guitar by Sam Gendel and Sam Wilkes, which prompted Nick to write an album of music for the same type of ensemble. Having only just purchased a bass guitar for a different project, the instrument was still very new to him.

“I was curious to see what I would write with my self-imposed rule of not being able to overdub material, and further, how my limitations as a relatively green bass guitarist would influence the writing of the material. A strong focus on harmonic movement and melodic material was where I eventually found my happy place.”

The result is a phenomenal debut. Burrowing into the space between it’s sparse instrumentation and dulcet tones, Part I is the realisation of a minimalist and concise vision of what a symbiotic relationship between two instruments can yield.

About Indigo
Indigo is the moniker and ongoing project of Melbourne-based composer and arranger, Nick Roder. The Indigo project was conceptualised in 2020 and focuses on deep sonic exploration of little-heard ensembles in a contemporary space.

Since 2018, Nick has been composing soundtracks for video games including The Invisible Hand, Roadwarden, N1NE: Splintered Mind, This Dead Winter and Miska. Nick has also played in art-rock ensemble, Tulalah, exploring sonic textures, combining contemporary jazz/rock with chamber sounds. The modular ensemble released The Flood (Equinox Recordings, 2015) and The Question (Independent, 2017).

A desperate, desert-baked Midnight Highway of Lost Souls, Cuckolds, Wastrels, blistering Righteous Anthems and delirious Apocalyptic Fever-Dreams. This sublime collection of knowns and unknowns, battered Nashville legends and forgotten backwoods-poets features tales of Grisly Barroom Homicides, Jilted Lustmords, Grim Divorcees in Bedlam and Fiery Suburban Infanticides. Often originally waxed and distributed in unrewarding amounts, these Troubled Troubadours sing of Cowardice, Infidelity, Spurned Lover's Suicide Pacts, Tortured Jailbirds, Vengeful Inebriates and dubious Parenting Skills.
Years in the making – ‘Hillbillies In Hell’ (Volume XII) presents 16 timeless tribulations - Sinful Seductresses, Grinding Poverty, Nihilistic Murderous Horrors, Satan's Eternal Maze of Hardships and Temptations and God's blazing Light of Redemption.
A dank yet at times uplifting stash of marginal 45s - some of these sides are impossibly rare and are reissued here for the very first time. All for your prurient listening pleasure…

. Elton Britt - Lost Highway
, Porter Wagoner - Fairchild
, Justin Tubb - The Great River Road Mystery
, Sanford Clark - It's Nothing To Me
, Johnny Paycheck - You'll Recover In Time
, Stonewall Jackson - Somebody's Always Leaving
, Porter Wagoner And Dolly Parton - The Party
, Buddy Starcher - When Payday Comes
, Tommy Curtis And Bill Taylor - Devil's Stumbling Block
, Jody Reynolds - Devil Girl
, Henson Cargill - Going Backwards
, Lorrie Collins - Another Man Done Gone
, Bobby Braddock - Revelation
, Stonewall Jackson And The Brentwood Children's Choir - That's All This Old World Needs
, The Speer Family - You Can't Run Away From God
, The Singing Rambos - When Payday Comes",Witness...

Various Artists ‘In Bed With Marina’
Classic Indie/Chamber-Pop
2LP MA90 (Marina Records) £15.50
Deal: B/C: 4015698905656

THIS ONE MISSED THE DEADLINE FOR THE OFFICIAL RSD LISTINGS BUT WILL BE AN **UNOFFICIAL RSD DROP 2 ** RELEASE...LIMITED +NON-RETURNABLE..

Celebrating its 25th anniversary, this classic Marina compilation from 1996 makes its first appearance on vinyl. Packaged in a deluxe gatefold cover, In Bed With Marina features track-by-track notes, lots of photographs, two vinyl-only bonus cuts and a gorgeous poster.
Enjoy 24 stunning tracks on two groovy LPs incl. many unreleased cuts and exclusive contributions by Edwyn Collins, Shack, Teenage Fanclub, The Pearlfishers, Cowboy Mouth, The Bathers, Harpers Bizarre, Sugartown, Paul Quinn & The Independent Group, Jazzateers, Antonio Carlos Jobim, Malcolm Ross, The Secret Goldfish, and many others.

Natalie Chami and Whitney Johnson perform as a duo under the
name Damiana.
Both artists have built their own catalogs as multi-instrumentalist improvisers
and composers in the Chicago experimental scene, exploring the intersections
between ambient, electro-acoustic improv, and more legible songcraft based
around their voices and their work with synths and electronics -- all filtered
through their backgrounds in classical performance and education.
Chami’s solo recordings under the TALsounds moniker have appeared on labels
such as NNA Tapes, and Ba Da Bing!, and her collaborative projects include
the trio Good Willsmith. Johnson has released a series of solo LPs as Matchess
on the label Trouble in Mind, and has contributed to recordings and live performances by Ryley Walker, Circuit Des Yeux, and Tortoise’s 20th anniversary
performances of TNT, among other artists.
After meeting in the early 2010s, Chami and Johnson embarked on multiple US
tours together, and their informal duo collaborations naturally crystallized over
time into the Damiana project The duo’s debut album Vines presents their first
recordings after years of live sets and home recording sessions.
The album strikes a balance between the realms of deliberate compositional
sculpting and free-form improvisation, as Damiana’s evolving sessions of looping synth phrases and harmonized vocal lines emphasize austere beauty and
meditation as much as spectral disorientation and instrumental complexity.
While the tracks on Vines create the illusion at any given moment of a standing
cloud, often colored by Johnson’s lush viola and Chami’s effect-manipulated
electronics, a zoomed out perspective of each session reveals an undulating
story arc with contrasting emotional resonances and constantly shifting timbral
focus.
Treading the line between transportive stasis and upward motion, the duo has
honed their sense of when to push forward with a new texture or melodic
flourish without disrupting the atmospheres that they meticulously build together. Packaging: LP Black vinyl. Artwork by Heather Gabel (from the band
HIDE). Manufactured at 8Merch in Poland.

This fan-favourite soundtrack is stuffed with all manner of experimental electronic music by a sizeable composition team comprising Namco (now) veterans (collective credits include Katamari Damacy, Ridge Racer, Ace Combat, SoulCalibur and many more.)
This triple LP set features brand new vinyl sleeve artwork by illustrator Samuel Donato aka DXSinfinite. Tracklists have been curated by four-time Guinness World Record-holder, multi-game world champion and all-round fighting game community legend Ryan Hart.
As with other titles in our series of releases, TEKKEN TAG TOURNAMENT has been specially remastered by Joe Caithness and will be pressed onto 180g heavyweight black vinyl LPs housed in a deluxe gatefold sleeve.

The soundtrack for TEKKEN 4 was unconventional for the series and more broadly, breaking new ground in the types of electronic music heard in video games. This double LP features 35 tracks from arcade and console releases by Akitaka Tohyama, Yu Miyake, Satoru Kosaki, Hiroshi Okubo and Keiki Kobayashi (collective credits include Katamari, Ridge Racer and many more.)

TEKKEN 4 features brand new vinyl sleeve artwork by illustrator Samuel Donato aka DXSinfinite. Tracklists have been curated by four-time Guinness World Record-holder, multi-game world champion and all-round fighting game community legend Ryan Hart.

Celebrating 10 years since his first album, Tom Williams releases his most
eclectic project to date. ‘Follow The Leader’ represents a departure from
his previous output, and is comprised of a collection of songs which
comment on pre- and post-lockdown life, providing beautifully crafted
snapshots of modern Britain.
Having released six studio albums to date, Tom Williams has built a passionate
fanbase of discerning music lovers since his first album, Tom Williams & The
Boat’s ‘Too Slow’ ten years ago.
His 2017 album ‘All Change’ was voted by BBC 6 Music Recommends as one of
their Top Ten Albums Of The Year, and his last album 2019’s ‘What Did You Want
To Be?’ which was produced by Tim Rice-Oxley, was described by The Guardian
as “surging, vintage pop-rock” and championed extensively by Jo Whiley at BBC
Radio 2, Steve Lamacq and Lauren Laverne at BBC 6 Music, Huw Stephens at
Radio 1, Q Magazine and Clash. ‘Follow The Leader’ signifies a departure from
Williams’ previous output.
Self-produced, the album boasts rich orchestral sounds and full band performances, mixed with claustrophobic drum machines, synthesizers and deep sub
bass sounds.

The Staples do it again with another Ska classic that is guaranteed to get you singing along. This song is something of a good time anthem with happy vibes contrasting with some of the negatives that are around right now. With this song Neville and Sugary Staple really know how to put a smile on people’s faces. I can see this becoming a live favourite.

Dr Pete Chambers BEM, Coventry Observer

My goodness, the best of two huge talents. Husband and wife team Sugary & Neville Staple haven’t disappointed again! Feel good ska-based melody, toe-tapping and butt-shakingly good!TRISH ADUDU, BBC RADIO CWR

Well known for changing the face of music not once, but three times, 2Tone music legend Neville Staple (From the Specials), also known as the ‘Original Rude Boy’ and his super sidekick wife, Sugary Staple, release their brand new song, ‘Be Free Baby’, on the highly respected, Pickout Records.

A super ska track which mixes the original influences of Jamaican sounds, along with the 2Tone style that this dynamic ska duo, take on tour with them globally, alongside their top band of musicians.

Written by Neville Staple, who has scores of music awards from 40 years of 2Tone & Ska hits and albums, and his super talented sidekick, Sugary Staple and acclaimed record producer Lloyd ‘Pickout’ Dennis this song is a truly happy song, to take our minds away from the difficult days of Covid lockdowns, into a party mood of freedom and dancing. Fans will love the irresistible skanking beat, along with super feel-good lyrics to sing along to.

“After recently writing a song about the Lockdown, which related to the tough days of staying home and following rules and so on, I decided we needed some uplifting music too.” Explained Sugary, Frizzle TV Award Winner and Skamouth Festival Founder. “There is so much doom and gloom about in the news and we know how music can really be so good for the human soul. This tune has a lot of love and feeling behind it, as it encompasses all the fun, freedom and thrills that we have on stage, when we perform live. A whole year of global touring has been postponed, so we put the vibrance of a live show into this song.

Neville agrees, “I love writing with Sugary, as we are both on the same wavelength. We feed off each other. We were both in need of getting out there and performing for the masses but have had all our 2020 shows moved to next year, so we decided to bring the party to everyone through this song. We love the traditional sound and the bluebeat vibes too, with a twist of 2Tone magic. It makes me think about our holidays back home in Jamaica and beach parties, street carnivals, gigs and festivals. This is a happy tune for dancing away the blues!”

If Shelter swam through the serene side of the Library experience on GBR016, CV Vision blasts off in the opposite direction, riding an explosion of funk breaks and frazzled synths into the event horizon on his retro-futurist opus ‘Insolita’.

As contemporary life accelerates way past peak-weird, CV Vision leans into uncertainty and leaves Earth in the rear-view. Strung out on Simulacron-3, World On A Wire and Omaggio Ad Einstein, the Berlin-based musician imagines his own Brave New World, an alternate eXistenZ in a secret simulation.

Using the space age obsession of the Italian libraries as a launch pad, Dennis Schulze slathers a sonic storyboard with ferocious percussion, psychedelic fuzz and the pastoral electronics of Germany’s Kosmische movement. But this is less Can, more uncanny - and Schulze perfectly renders the cognitive estrangement of a simulated reality through his adventurous production. The monolithic live drums, recorded in a Neukölln garage on a battered Soviet kit are smeared with tape hiss, compressed to death and fired through LFOs, re-materialising on record in impossible scale. Time slips out of joint under the wow and flutter of the reel to reel, drum computers add digital interference to organic rhythms and the unfaltering slew of the 303 lends the hallucinatory thrill of the club sound system to an already psychedelic affair.

As Schulze’s imagination runs free, we’re taken through epic space battles and narrow escapes, moments of reflection and affection and a final resolution, all expressed through a dexterous control of movement and mood. For every explosion of break-fuelled adrenaline, there’s a cruise into cryo-chamber music and holodeck exotica. For each neck-snapping blast of acid funk, there’s a zero gravity lullaby waiting just around the corner.

So put isolation on ice and surrender to the strange, this is a trip you don’t want to end.