Cerca:cos

The latest from prolific producer and trumpeter Michael Leonhart (Steely Dan, Mark Ronson, El Michels Affair, Elvis Costello). The Leonhart Brass Band features members of Antibalas, the Dap-Kings & Red Baraat. The Leonhart Brass Band was conceived during the 2020 COVID-19 quarantine when trumpeter/composer/producer Michael Leonhart was unable to perform with his 18-piece orchestra at NYC's famous Jazz Standard. Leonhart began composing music for a small brass band that would be capable of playing outdoors without amplification. Building on the foundation of the classic brass bands (Dirty Dozen Brass and Rebirth Brass Band), Leonhart has infused elements of hip-hop and funk to create his own sound. The Leonhart Brass Band features members of Antibalas, the Dap-Kings & Red Baraat. "Jabbar" – Dedicated to and inspired by hooping legend Kareem Abdul Jabbar (aka Lew Alcindor), whose father was a transit police officer/jazz musician and whose mother worked as a department store price checker. In addition to Jabbar's storied career on the hardcourt, Jabbar grew up surrounded by jazz and has been a die-hard music fan his entire life, tragically losing his vast record collection in a 1983 fire that destroyed his LA home. Leonhart's tribute centers around an infectious bass riff in C minor, punctuated by brass stabs and solos by Leonhart on trumpet and Jason Marshall on the seldom-heard bass saxophone. "The Iceman" – The title is taken from basketball great George Gervin's famous nickname given to him during his years playing in both the ABA (American Basketball Association) and the NBA (National Basketball Association) for teams such as the Virginia Squires, San Antonio Spurs and Chicago Bulls. Legend has it the name came from Gervin's cool temperament on the court and his rare ability to play incredibly hard without breaking a sweat. "The Iceman" sees the Leonhart Brass Band horn section dividing into two groups as they play counterpoint melodies against one another. The tape echo effected bari sax solo is performed by Stuart Bogie

To celebrate the debut release on his own label, Hindwood extols the power of intuition, which has served as his guiding force since his childhood.

Fueled by love and a deep connection to the cosmos, he blossomed as an artist, attracting a circle of talented artists into his orbit, such as Brique and Local DJ. This EP is a sonic journey through his inner awareness and the web of cause and effect: an exploration of the invisible threads that bind us all together.

#1 “Guts’ feeling”, is resonating with the heartbeat of the universe and the pulse of ancestral memory, use of tribal sounds and deep bass. Through this track, he conjures a world of duality, where the darkness and the light coexist in perfect equilibrium, revealing the beauty of both.

#2 On “Third eye awakening”, he draws on the primal energy of deep, trance-like, and energetic soundscapes, and weaves a sonic tapestry that transports the listener to a realm of heightened awareness and connection.. The whispers of his soul and the song of the earth, intertwined in a harmonious dialogue that speaks to the deepest part of his being.

#3 Captivated by the mystical powers of Third Eye Awakening, Brique delivers a hypnotic remix. Appropriating the distinctive vocals and pads of the original track, he has fashioned an ode to never-ending nights animated by his own hazy memories of losing oneself on the dance floor. The deep and organic bass combined with the looping and trance-inducing acid will shake listeners to their core.”

#4 The local dj remix finishes the EP with a more atmospheric allure of dub. With a deep, throbbing bassline that anchors the groove local dj sets the pace, inviting movement and dancefloor immersion where elements evolve all along the track and keep the listener engaged from start to finish.

Christened ‘High Tide’ after the sudden rising of the LA River basin during a particularly epic and rare rainfall, this cosmic slop funk jam was born from the minds of Devin Flynn (Pixeltan) and Eddie Ruscha (Secret Circuit), two individuals with a deep connection to Los Angeles’ tap water sources. While traipsing through the aisles of an Atwater Village bodega, the two mustered up a plan to create a rhythmic piece so delectable as to turn peoples’ heads inside out and pummel the senses with a wobbly Jah Wobble bass sound and a toy drum machine ‘no toy’ style back beat. They figured if they laced it up with enough electronic scuzz, the masses would be sure to want to sip from its nectar.

When DFA got wind it was all systems go and, from then on, all relevant parties knew that they should sit on the track for at least five years before it was released, otherwise the world at large would not be ready for it. The remixes are by Eddie himself - as Secret Circuit - and Dr. Dunks, aka Eric Duncan, a fellow Angeleno (at least at heart). Eric and Devin rolled through the streets as small children, shredding curbs and tagging local ice cream trucks, so it was inevitable they would reconnect and jam on ‘High Tide’.

Devin Flynn is an animator, musician and teacher who has worked on projects like Gary Panter’s web series Pink Donkey & The Fly and MTV2’s Wonder Showzen. He has previously released on DFA with Pixeltan, a trio - Flynn, Hisham Bharoocha of Black Dice and singer Mika Yoneta - that recorded with The DFA at the label’s inception, creating two seminal singles.

Eddie Ruscha is another DFA veteran, having remixed artists including Wolfram and Museum of Love. He has been making music for decades, as Secret Circuit and with myriad other aliases and collaborators, in addition to recording under his own name. He has released on labels like Beats in Space and Emotional Response, among others.

For fans of Young Marco, Suzanne Kraft, Prins Thomas, Khotin, Gaussian Curve.

Shaka's new drop on Selections is a delightful one that combines real jazz melodies with authentic deep house. Opener 'Sacred Church' (feat Eve - main mix) immediately wins you over with the buys keys, Rhodes chords and eco-system of cosmic synths that busy about while the soulful vocal oozes cool. Jon Cutler's Distant Music mix pairs things back and makes it more of a smoky late night sound and 'Shaker Games' then blisses you out with dusty drum depths and incidental chords that are magically feel good. 'Get Me Higher' shuts down with some superb US house vibes.

A long-lost vinyl album is back in stock: for the last 20 years, Kosmischer Pitch by Jan Jelinek, originally released in 2005 on ~scape, existed only as a digital download. Right on time for the 20th anniversary the remastered album is available again on vinyl. The digital version includes two previously unreleased pieces from that period.

What the press said about Kosmischer Pitch back in 2005:

“For Kosmischer Pitch, Jelinek draws from the obsessed-over rock produced by his German countrymen in the 1970s. (…) Trance-inducing repetition is constantly modulated by variations that hover on the threshold of audibility. (…) one of the more remarkable bodies of work in electronic music.” - Pitchfork

„Like the cosmic compositions it delicately references, Kosmischer Pitch is proof that the higher and lower pleasures can triumphantly combine.” - The Wire Magazine

“ The old Jelinek approach can also be heard on the new album - not least the “Pitch” in the title, which, as Martin Büsser explains in the info sheet, refers specifically to Wild Pitch House, generally to manipulation/exploitation of the sense of time - but there are striking differences: clear vintage synth, guitar and drum sounds, very subtle club references.” - Groove

“t's impossible to know how many layers of sound Jelinek has stacked up on any of these eight tracks, but each one seems to take on a shadowy, ghost-like life of its own as it morphs across time and space. Minimalist, yes, in a way, but thick as a wool rug.” - AllAboutJazz

Unbelievably killer and super, super heavy brand-new Psyche/Krautrock album coming out of nowhere from Brown Spirits, new on Soul Jazz Records!
Brown Spirits are from Melbourne, Australia. Their stripped down and tight musical unit is a trio (think Cream or Hendrix!) of raw bass, drums and shared guitar/keyboards meets the D-I-Y attitude and punk/post-punk intensity, giving them a unique hi-octane sound.

Das Ende von DARK FORTRESS war unausweichlich. Ihre turbulente Reise vom ersten Vertrag beim amerikanischen Label Red Stream Records im Jahr 2001 bis zur The Cosmic End Tour (mit The Spirit und Asphagor) im Jahr 2023 war dabei voller Höhen und Tiefen - wobei die Höhepunkte ganz klar überwogen. Letztendlich zeichnete sich das Ende von DARK FORTRESS schon mit der Veröffentlichung ihres viel gelobten letzten Albums "Spectres from the Old World" im Jahr 2020 ab. Wobei ein selbst ge-wählter Schlussstrich immer eleganter ist, als am Tropf zu siechen und langsam in Vergessenheit zu geraten. Kaum jemandem war jedoch bewusst, dass das letzte Album den frühzeitigen Nekrolog der Band bedeuten sollte. DARK FORTRESS hinterlassen dabei mit "Anthems from Beyond the Grave" ihr einziges Live-Album und gleichzeitig pechschwarzes Testament.V. Santura sagt dazu: "Ich hätte nie gedacht, dass DARK FORTRESS jemals ein Live-Album machen würden. Nachdem ich mir Monate nach der letzten Show die Mehrspuraufnahmen aus Rotterdam und Bochum angehört hatte, traf es mich wie der berühm-te Blitz: 'Heilige Scheiße! Wir klangen echt unglaublich gut.' Und ich bin selten zufrieden mit unseren Shows. All unsere harte Arbeit hatte sich auf dieser Tournee endlich ausgezahlt. Als Century Media das Material hörte, stimmten sie sofort zu: 'Wir müs-sen es veröffentlichen - es ist zu gut, um es ungenutzt verschwinden zu lassen!' Wenn das unser Ende ist - und das ist es defini-tiv - dann ist es ein würdiges Ende für DARK FORTRESS.""Anthems from Beyond the Grave" ist nicht nur ein Live-Album, sondern funktioniert auch als perfektes Best of inklusive Linerno-tes, welches auf die 29jährige pechschwarze Geschichte der Band zurückblickt.DARK FORTRESS ist tot, lang lebe DARK FORTRESS!

Jet Set is a collection of 15 carefully crafted guitar-driven songs that prove to be the most diverse and inventive of Los Straitjackets' oeuvre. The album was recorded at The Pow Wow Fun Room studios in Los Angeles with producer and friend Janne Haavisto (of Laika and the Cosmonauts) and includes a few guest appearances by The Basic Cable Horns (from the Conan show) and Finnish actress and musician Irina Bjorklund. Jet Set delivers the high-energy rock and roll instrumental music fans have come to expect from Los Straitjackets. This pressing of Los Straitjackets' long-out-of-print 2012 classic is pressed on orange vinyl and limited to 500 copies.

Speedcore, flashcore, and finally arty hard music.
This album brings splendid insert, sleeves...
Like the two first records of this polish label we have here : a real aesthetic state of mind !

ENJOY !

First track is a real great 140 BPM acid techno sound, in the best of what could be a DBN continuum... Then comes the Anticore Broken speed Acidcore 160 BPM rolling kick nightmare (320 BPM?)... DBN style again... Next is more classic Acid nowadays ??? Mental acid Tribe based on a 170 BPM kicking sound... Number 5 is pumpin and acid mental as well... 168 BPM. Last track is the hardcore track, very in the Kille Me / Duracell style. And i love that:) BIG NARCOSIS !!

MAMMOTH is a grabber right out of the gate, every step they take is unleashed with deadly economical precision. They may flash on Lynyrd Skynyrd and other vintage southern rock traditions but the brilliant way the vocals are recorded and the to-the-point interlocking guitar moves will fire up anybody into any sort of hard rock. They can rip it up with hot leads, probably jammed out on these songs at live shows but lucky us, they laid them down for all times here with the sort of thought out unified force and construction that screams hit radio. Loads of personality, accessible, produced and mixed with the clarity of classic rock that never loses it's perfectly deployed impact. The uncluttered arrangements leave plenty of space, crafted with the kind of balanced mojo in the mix where every detail adds to the whole. Down and dirty but also achieving a universal pop-friendly appeal! The Mammoth LP was recorded in 1981 at Relayer Studios in DeLand, Florida with the two guitars, bass and drums quartet line-up sounding like it could have been a decade earlier. Buzz Fetters on lead guitar, Bill Abell on rhythm guitar, Joey Costa on bass and Ron Herman on drums… with everybody contributing to the vocals. Rather than having a strong up front emotive singer the lead vocals here are multi-tracked and integrated into the songs with plenty of attitude but also a genre-transcending presence… you can imagine the vocal ambience working in punk, glam, even psychedelic contexts. Mammoth have a sound informed by roots music but it is really in the rear-view mirror the way they roll. The songwriting here is terrific, they have a way of saying things that comes off as sincere but not too serious. You get plenty of in-your-face hard rock action but also several melodic tracks that have a more reflective charm to round out the trip. AND… when you hear their brilliant ode to southern rock titled "Southern Sounds" I challenge you to find any song about the subject more delightful. These guys keep it real, whether they're being bad ass or vulnerable they express themselves with 100% genuine feeling as contagious and life affirming as it gets!

- 2025 Repress
- Black Bio vinyl
- Cut at 45RPM for optimum sound
- Printed on heavyweight board outer sleeve
- Vinyl comes in black poly-lined protective bag
- Housed in a heavyweight PVC protective outer sleeve
- Hype front sticker

Blue Lake's new offering 'Weft' sees its creator Jason Dungan unearth new musical terrain
with a mini-album which presents the projects evolution. Finding inspiration in the craft of weaving and embracing a collective spirit as a band leader, all while readying a new studio album expected later in 2025.

It follows the lauded album 'Sun Arcs' (2023) with Pitchfork naming it (Best New Music, 8.3), amongst numerous other accolades. Blue Lake is the ongoing musical project of American born, Copenhagen based musician Jason Dungan which serves as his artistic platform as composer and collaborator. Developed over the period of 2024 and witnessed at live performances across a swath of European cosmopolitan cities and festivals, the project stands at a new creative juncture. The earthy title track 'Weft' emerges with a sense of ease and familiarity as looping guitar riffs in open tunings bed in around a warm cello pulse that provides the essential heartbeat. These interlinking parts align to create his most explicit version yet of an American writing country music in Scandinavia. Dungan named the release 'Weft' as a reference to the weaving practice of his partner, Danish visual artist Maria Zahle, whose work "Torso" is featured on the album's cover. With her works providing a constant source of inspiration to his music and practice as an instrument-builder, Dungan found a symbiotic connection between their mediums, which is reflected in the music on 'Weft'.

'Weft' is a collection of new works that casts a net into new sound territories with distinctive timbres yet always channelled through the refined lens of Dungan's prism. Infused with an ongoing connection to nature, it furthermore expands his unique meld of off-kilter folk, jazz, country and left-field experimental ambience. 'Weft' then is an accomplishment of growth, of bolder objectives and of collaboration with like minds. The Blue Lake project takes a dynamic step forward venturing into new creative spaces while leaving some clues along the way.

For its ¬rst release, Binding System introduces Acidulant's My Vision Of Space, a ¬ve-track EP that masterfully blends Electro, Acid, and Techno. Hailing from Malta, Acidulant is known for his raw, space-driven soundscapes and highintensity production, which are on full display throughout the EP. Each track is a journey into deep, otherworldly realms, with gritty basslines and sharp synths creating a truly immersive listening experience. The title track, "My Vision Of Space," is the heart of the EP, offering a hypnotic fusion of acid lines and cosmic rhythms. Belaria, the label’s founder, adds her own take with a slower remix that retains the original’s soaring energy, emphasizing its atmospheric depth while giving it a more expansive feel. My Vision Of Space is an ambitious and timeless exploration of sound. Available on vinyl and digital, this release marks a bold start for Binding System

Dopamine Dreams is the latest album by Berlin-based French producer Cosmo Vitelli and California-based Dutch experimental electronic musician Truus de Groot, the driving force behind Plus Instruments. Cosmo Vitelli’s third album, the acclaimed Medhead LP, released in 2022, featured de Groot’s lyrics and voice on several tracks. This collaboration went so well that both artists decided to work together again, and Dopamine Dreams is the result.

"Vangelis (29/3/1943 –17/5/2022) was a Greek musician, composer, and producer of electronic, progressive, ambient, and classical orchestral music. He composed the Academy Award-winning score to Chariots of Fire (1981), as well as for the films Blade Runner (1982), Missing (1982), Antarctica (1983), The Bounty (1984), 1492: Conquest of Paradise (1992), and Alexander (2004), and the 1980 PBS documentary series Cosmos: A Personal Voyage by Carl Sagan. Vangelis started writing music when he was 4 and performed his first live concert at age 6. He started his career as a member of The Forminx. In the sixties, he was a founding member of Aphrodite's Child along with Demis Roussos and Lucas Sideras. He also enjoyed succes as part of Jon & Vangelis early in the eighties. The Best Of Vangelis from 1993 is an absolute classic. It contains Vangelis classics like “Alpha”, “To The Unknown Man”, “Pulstar (Audio)”, “Spiral” and “So Long Ago, So Clear” featuring Jon Anderson from Yes. Now for the first time available on vinyl as a Limited Edition 2LP set, on white coloured vinyl.
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Philmore Greene's "The Grand Design" is a masterful blend of reflective storytelling and dynamic Hiphop. Deeply rooted in the rhythm and streets of Chicago, Greene is a luminary who epitomizes passion for music and undying love for the art form. The album weaves personal experience from the Westside of Chicago with sharp lyrical compositions. The follow up to Philmore's collaborative album with Apollo Brown (Cost of Living), The Grand Design continues the Chicago boom bap tradition with guest features from Bruiser Wolf, Skyzoo, UFO Fev, RJ Payne and Rashid Hadee

In 2019, Resistencia Sonora was launched as a collaborative project where urban resistances and ethnic-peasant rural resistances converge in the greater area of Montes de Maria, situated in Colombia's western Caribbean region. This initiative originates in one of the musical epicenters of ancestral sounds that have fostered a now global recognition for styles such as gaita, cumbia, bullerengue, son palenque and son de negro, as well as Sabanero accordion music like porros and pajaritos.

The aim of this extensive project has been to serve as a rare living archive of festive gatherings, conversations, knowledge exchange, and co-creative processes that have spawned specifically from the municipality of Ovejas, which sits in the Sucre Department of Montes de Maria. Resistencia Sonora's documentation in Ovejas is more than just a musical recording, rather an all-encompassing snapshot of a very real folkloric life within neighborhoods such as El Bolsillo, El Corea and La Ciudadela. The initial inspiration of the project can be credited to a specific call to arms from composer Andrés Narváez, who expressed the dream to record his own original compositions set amongst this region's local history. Andrés, like many leaders from the old sabanas beyond Montes de Maria, is a social leader and land-rights activist. He proposed not only to record his songs but also to invite other musicians and composers to take part in this documentation, an extended hand to uphold the legacies, knowledge, and traditions of the region's elders.

All songs recorded between 2022-23 on location in Ovejas and Bogotá, Colombia. Mixed in Brooklyn by Names You Can Trust and mastered by Frank Meritt at The Carvery, London. Limited Edition 250 vinyl press with included 12-page booklet and liner notes in English and Spanish.

Over 19 tracks, Wayfaring Strangers: Cosmic American Music mines gold from dollar bin country-rock detritus to reconstruct events as seen from the genre's wild west - Americana's vast private press substructure. As progenitor and contemptuous poster boy for the music that came to be Cosmic American, Gram Parsons found himself mired in a recording career spent mostly in scouting the perimeters of chart success. "He hated country-rock," Parsons collaborator Emmylou Harris would later reflect. "He thought that bands like the Eagles were pretty much missing the point." Parsons had been orbiting the idea of Cosmic American Music for some time. In 1968 he'd parted ways with the Byrds and was looking to take air with a new project. "It's basically a Southern soul group playing country and gospel-oriented music with a steel guitar" he told Melody Maker, on the subject of The Flying Burrito Brothers. So it was that when A&M's Burrito Brothers debut The Gilded Palace of Sin made it to shelves in February of 1969, early adherents to the Cosmic American gospel were already echoing its message from areas flanking Gram Parsons' Southern California hills and canyons. There was F.J. McMahon in coastal Santa Barbara, Mistress Mary further inland in Hacienda Heights, and Plain Jane of Albuquerque, New Mexico, each responding by committing their own private readings to tape before day one of the 1970s. Parsons himself might've disdained them, had he even been aware of such minor ripples, shimmering at the edges of his desert oasis. But these were true believers all the same, given over fully to his roots music concept, each filling vinyl grooves with non-rock instrumentation like fiddle, banjo, and pedal steel guitar, the last undoubtedly Cosmic American Music's most distinguishing stringed signifier. Only too predictably, big labels did the grunt work of confining and defining the movement, as ABC, United Artists, RCA, and more played catch-up with Asylum's raptor rock juggernaut, via backwoods crossover also-rans with names like Gladstone, American Flyer, and Silverado. Twang reigned, the shitkickers kicked shit, and the vaguely western-sounding guitar records piled up. Country-rock became "the dominant American rock style of the 1970s," as Peter Doggett's comprehensive Are You Ready for the Country put it much later. Wayfaring Strangers: Cosmic American Music picks up and dusts off golden ingots from the dollar-bin detritus of that domination, to reconstruct events as seen from the genre's real Wild West-America's one-off private press label substructure.

While she was waiting for her last album 'Pripyat' to be released, Catalan composer and producer Marina Herlop was restless. She was concerned about her (by then) uncertain music career, and felt emotionally unmoored. "Some days I used to sit on the balcony of my flat to catch some sun," she explains, "I would close my eyes and start visualizing myself as a gardener, pulling out purple weeds from the soil, every bad memory or emotion I wanted to expulse being one of the plants." As the days dragged on, the fantasy deepened, and Herlop discovered that parts of the garden was withering; the energy she had been putting into the non-musical side of her life had seeped into her creative pasture and poisoned it. She knew what she needed to do to overcome the blight: plant some seeds and tend to her art to help it blossom and bloom once again. 'Nekkuja' is a place for Herlop's warmest, sweetest sentiments to rise to the surface and crack through the topsoil. She describes the record as a way for her to seek and affirm inner light, and it's undoubtedly her brightest, poppiest statement to date. The forward-thinking, experimental touches that nourished 'Pripyat' are still present, but blessed with a level of positivity that's rare to find in a scene so entranced by darkness and melancholy. Skittering fragments of ornate acoustic instrumentation provide a serene welcome to 'Busa', punctuated by precise electronic processes that shuttle the sound towards abstraction and fantasy. Herlop's voice grows over the tangle of sounds from a childish giggle into a layered, matted mantra, sounding passionate, hopeful and full of energy. The vitality spills over into 'Cosset', where she wraps powerful motifs around ricocheting beats and dramatic piano rolls. Herlop's garden opens up dramatically on 'Karada' when bucolic field recordings crack like sunlight over harp plucks and willowy vocals. Her voice seems to bend around the whooshing streams and chittering of birds as if she's singing to the manicured land itself - a utopian paradise that Herlop employs as a metaphor for the creative process. In contrast to the view that an artist is an isolated genius or an idol to be worshipped, Herlop believes that the garden helps us see the process as closer to devotion or perseverance. A gardener brings order to the wild chaos of the outdoors, collaborating with nature to arrange something vibrant and enduring. Blending familiar sounds with fanciful concepts, Herlop traces an imaginary garden, imploring us to wander and wonder. And by the album's billowing final track 'Babel', it's flowered into a flush of pruned vocal phrases and delicately groomed orchestral rushes, painted in orange, green, blue and red.

Everybody Eats! debuts on RSD Black Friday in an exclusive clear red wave colored vinyl pressing. After endless requests for a Czarface and Dr. Octagon collaboration, the comic book inspired supergroup Czarface takes a turn for the cosmic, creating a funky full length adventure with the spacey Kool Keith! When the record is playing, they become a counterpart character that can even give the mighty Czarface a run for his money- Stress Eater! You can expect a rich blend of what makes both acts so special: block-rocking beats and bizarre, mind-bending lyricism...all served up with a cover from Czarface artist Lamour Supreme.

After the incredible interest in the KOSMONAUCI debut album, we created a dedicated version for the Japanese market. "Japan Edition" has an insert translated into Japanese. The vinyl is black (180g). The label also has Japanese markings. Each record also has a special Japanese OBI.

U JAZZ ME is a boutique label rooted in U Know Me Records.

"Sorry, nie tu"is the debut album of the boys band KOSMONAUCI. The album consists of original compositions by the band members that were created over several years and evolved with the artists. The music of the Cosmonauts derives from jazz and improvisation, but over time the musicians have developed many new ways and possibilities to draw from many other, seemingly distant musical genres. Songs characterized by improvisation and rhythm of drum & bass or hip-hop are one of the characteristic features of the album "Sorry, nie tu". The music of the band KOSMONAUCI is stylistically extensive and at the same time very coherent, thanks to the combination of beautiful lyrical melodies with catchy and often surprising polyrhythms or bold improvisations. KOSMONAUCI have been playing together since high school, which can be heard very well in the chemistry of the whole band and the emotions flowing from the album. On March 21, 2024, the premiere of the debut album entitled "Sorry, nie tu" will take place. The album will be released by U Jazz Me, a sublabel of U Know Me Records. It will be the inaugural sublabel album.

KOSMONAUTS– a boys band originating from jazz traditions, which in its musical language draws onhip-hop,drum & bassandimprovisation. The instrumentarium, which includes saxophone (Miłosz Pieczonka), bass (Bartłomiej Lucjan), vibraphone (Tymon Kosma) and percussion (Jan Pieniążek), creates a unique style of the group, balancing between emotional melodies and polyrhythmic structures. The roots of the band's music go back to the jazz traditions of the 1950s to the 1990s. Their current sound, on the other hand, is much more varied by the search for ideas in genres such as hip-hop, drum & bass, alternative pop or the contemporary London Yass scene. KOSMONAUCI have been playing with each other since high school and have known each other since elementary school. They went to school together, to the concerts and grew up together in the field of music as well. The artists have classical and jazz education, which gives them a wide range of possibilities in the field of improvisation, performance and composition. Each of them has an individual style and different inspirations, which find a common denominator in the band, allowing them to create a unique style of playing and sound. Despite the fact that they have been active on the music scene in Poland and abroad since 2018. Their first album is released in 2024. Over the past few years, KOSMONAUCI have had the opportunity to perform at renowned jazz festivals, collaborate with renowned artists and learn from the best artists in Europe. The resultant of all these factors is the band's debut album "Sorry, nie tu", which will be released on the sublabel of the U Know Me label - U Jazz Me.

46 tracks on a 3-LP collection – including: Adam & The Ants, Kate Bush, The Jam, Madness, Diana Ross, Lipps Inc, Paul McCartney, Orchestral Manoeuvres In The Dark,

Spandau Ballet, Ramones, Siouxsie And The Banshees, Odyssey, Kool & The Gang…

Swiss label Acquit welcomes back D'Funk for more of their no-frills techno. It's seductive stuff from the off with the opener 'In Your Hood' layers up mind-melting synth sequences with sleek beats. "Let's Play' is a more bulky cut with slamming drums and subtle percussive details then 'My Next Turn' pairs things back to rubbery drum loops and dubby chords that sound all gooey and gloopy. 'Glitch My Funk' picks things up with more taught kick drums that compel you to dance as the delicate cosmic vibes permeate the groove. 'Killing Me Deeply' is a nice raw analogue deep house closer that kicks like a mule.

"We are delighted to be able to bring you these gorgeous field recordings from the Sumedang Province of West Java which, over their 50 minutes, present two distinct sides of Sundanese musical and devotional culture.

Although West Java is a Muslim country, these recordings highlight currents of pre-Islamic animist beliefs and practices that continue to flourish in the small towns and villages of the highlands of West Java. The recordings showcase two forms of trance music that are essential to the spiritual life of the Sundanese people in the highland regions.

Tarawangsa trance music is a traditional ceremonial genre known for its deep spiritual and hypnotic qualities. This music is made using only two instruments, the tarawangsa, a two-stringed fiddle, accompanied by the jentreng, a seven-stringed zither, creating a unique blend of resonant, droning sounds. Historically, tarawangsa music has been performed as part of sacred rituals and agricultural celebrations to honor local deities and ancestors, particularly associated with the Sunda culture. The minimalist, repetitive melodies gradually build, guiding participants and listeners into a meditative, trance-like state, during which dancers can be possessed by the spirits of ancestors or deities from the spirit realm, the music serving as a link between the two worlds.

In stark contrast to the calm, medititive sound of tarawangsa, we also present here two long pieces from Panca Buana Reak Group. Sundanese Reak trance music is like the punk rock of Sunda folk music, combining powerful and driving rhythms played on a number of hand drums and percussion instruments with the buzzing sound of the tarompet, a double reed wind instrument often amplified through whatever mobile speaker system might be at hand. Sometimes the group will play gamelan gongs, as heard on the first piece on the album, although this remains a music that is popular mainly with the working class youth of the rural villages, many of whom will also be fans of Indonesia's burgeoning metal and punk scenes. Reak performances are often wild, anarchic events that feature masked dancers, costumes, public trancing and spirit possession.

These recordings were made by Xenia At during her travels through West Java earlier this year. The tarawangsa recordings were made in a home in the village of Rancakalong on the evening of 17th January 2024, while Panca Buana Reak Group were recorded during rehersals in the village of Cinunuk on 19th and 20th January 2024."

Limited edition of 100 copies.

The musicians:
Overture (played by Panca Buana Reak Group, musicians: Rian Hidayat, Daffa, Rendi, Haswa, Doni, Aconk, Bayu, Zidan, Iwan Uwak, ⁠Mahadewa Sehu, ⁠Bebet, Adi, Bebet).
Reundeu - Master Yayat (kacapi), Tedi Kurniadi (tarawangsa).
Degung - Master Yayat (kacapi), Teguh Permana (tarawangsa).
Pamapag__Gelar Mataram__Panimang__Limbangan - Akbar Nendi (kacapi) & Tedi Kurniadi (tarawangsa).
Reak Lugay Pusaka Pajajaran (played by Panca Buana Reak Group, musicians: Aconk (tong), Rendi (brung), Hendrik (tarompet), Ade (kecrek), Riki (bedug), Doni (talingtit), Adi (badublag).

Xenia would like to extend gratitude to:
Master Yayat, Tedi Kurniadi, Akbar Nendi, and Teguh Permana for their incredible talent that turned this recording into a magical experience.
Ibrahim Adi Surya for technical support.
The Juarta Putra and Panca Buana Reak groups for explaining the cultural significance of local traditions.
Anggun Tresnasari for sharing her deep knowledge of regional music traditions.
Igor Moskalenko, Kate Snap, Stasya Frolova, Roman Gold, Misha Maltsev, Ilona Popychko, Galih Muhammad, Wildan Wiliansyah, Rizalu Ramadhan, Rahi Rahmat, Fahmi Solihin and Muhammad Ismael whose unwavering belief made this project possible.

Hive Mind would like to thank Luigi Monteanni (Artetetra) and Palmer Keen (Aural Archipelago) for their invaluable work and research in this region.

Detroit's stalwart Kyle Hall is back on Apnea Records with "Crimson Clouds," his second release for the label following the acclaimed "Cosmic Touch." This acid-infused record is a tribute to Detroit's electronic legacy, drawing inspiration from the 90s sound of labels like Matrix and Underground Resistance, all while injecting Hall's unmistakable modern flair. Tracks like "Acid Tea" showcase Hall's acid-driven approach, delivering a dancefloor twister that's pure bliss. Meanwhile, "Nimbus" stands out with its syncopated rhythms and soulful synth lines, and "Told Them Before" brings raw, head-spinning techno energy to the forefront. With "Crimson Clouds," Kyle Hall delivers another essential record that bridges classic Detroit sounds with his unique modern twist. A must.

Record includes 2 page insert and download

Flipping rhythms from Guadeloupe, Cuba, Senegal and Puerto Rico, Time Capsule founder Kay Suzuki releases an acid-soaked collection of remixes that transcends time and space.

From the blacked-out basement of Plastic People to the psychedelic dancefloor of Beauty and the Beat, Kay Suzuki’s musical world has been shaped by some of London’s most iconic sound systems. High quality audio, he says, can open portals to new universes. Rhythm is time made plastic and beauty is the space between the beats.

Spanning over fifteen years of music from the prolific DJ, producer, Time Capsule label boss and one time Brilliant Corners sushi chef, this collection of remixes is the logical conclusion of Kay Suzuki’s musical thinking. Drawn to unique percussive or syncopated rhythms, he describes remixes as conversations between the original artist’s sense of time and his own. Weaving broken beat, house and dub influences into rhythms from across the Black Atlantic, these four tracks find each other kinship on the dance floor.

The A-side begins with a dubbed-out rework of the Gwoka celebration rhythm ‘A Ka Titine’ by Guadeloupe’s Gaoulé Mizik that was originally released by Beauty and the Beat in 2022. Layering electronic flares, dub sirens and space echo reverb across the shuffling toumblak beat, Suzuki leans into the track’s creole heritage, turning the track into a sought-after dancefloor jam, played by everyone from Colleen Cosmo Murphy and John Gomez to Yu-Su and Bradley Zero.

Skipping to Puerto Rico, Broki’s ‘Es Que Lo Es’ emerged from a collaboration between Bugz in the Attic’s Afronaut and Seiji and local musicians. Here Suzuki reworks the Afro-Latin percussion into a subtle bruk, conjuring a third space between London and San Juan that remains both of and outside the era in which it was made.

Blackbush Orchestra’s ‘Sortez, Les Filles!’ opens the B-side, taking apart the original and kneading the Senegalese percussion into a chugging Balearic house track, buoyant and full of life. Also first released by Beauty and the Beat, the track features new synth and structural elements that bring out the innate dancefloor potential beneath the surface of the original.

The final track on the collection heads back to the Caribbean and the island of Cuba, where Sunlightsquare a.k.a. Claudio Passavanti worked with vocalist Rene Alvarez and expert in Afro-Cuban percussion, Giovanni Imparato, on ‘Oyelo’. Here, Suzuki strips out the kick completely, leaving an implied rhythm which he calls an “imaginary four-to-the-floor” - a groove that is felt rather than heard, leaving the listener floating in another universe entirely.

Cosmocities returns with a sizzling six-track remix package of 'How It Feels To Be Loved' by American artists Erik Rico & C. Boogie. These jams are all ready for deployment in the club but come with a soulful signature that fans of Rico will quickly recognise. Tracks 'How It Feels...' and 'Love Everlasting' both get reworked by the one and only Josh Milan while Marc Mac, and Rico himself also step up with their own fresh twists. Milan's 'Honeycomb' mix infuses slap bass and acid-leaning grooves, his 'Floor Radio Vocal Mix' adds late-night soulful funk, Rico's 'Trench Coat Tribute Remix' delivers seductive P-funk vibes and Marc Mac's take on 'Love Everlasting' brings Balearic house magic.

Dark Entries celebrates its 15th anniversary with legendary synth-punk deviants Crash Course in Science. Dale Feliciello, Mallory Yago, and Michael Zodorozny formed CCIS in 1979 after meeting at art school in Philadelphia. As a gesture born of equal parts punk irreverence and brute necessity, the band incorporated toy instruments and kitchen appliances into their aggressive, angular sound. Their anthems “Cardboard Lamb” and “Flying Turns” from 1981’s Signals From Pier Thirteen EP have been staples in adventurous DJ sets for over 40 years - yet some of their finest work is to be found on Near Marineland, a full-length LP recorded in 1981 but remained unreleased in its time. Near Marineland shows the band moving into more diverse and polished territory (although it’s still as abrasive as sandpaper). Tracks like “No More Hollow Doors” and “Jump Over Barrels” highlight CCIS’s singular knack for embedding infectiously monotone hooks in their stiff-yet-funky grooves. Elsewhere we see CCIS going fully unhinged, like on the searing “Someone Reads” or the demented “Pompeii Spared”, where a spray of honks is barely glued together by a frantic synthetic pulse. While this masterwork of malfunctioning analog electronics has surfaced on a few occasions - this first time stand alone remaster includes four never-before-released bonus tracks and includes a lyric sheet. Near Marineland is crucial listening for all devotees of synth-punk and minimal electronics.

Stunning two tracker with an unreleased 90s gem from Good Looking Records Maestro PFM (You have got to hear this one!!) Equilibrium VIP is PFM at his majestic best with shimmering, stellar sounds with a drop to mash up the dance floor and send you sailing through the cosmos.

The flip is a brand new track from PFM and Greekboy. Icarus is a MONSTER track showcasing the talents of this amazing duo with with a dark and atmospheric amen journey that would be a peaktime highlight in most sets across the drum and bass spectrum

The package is rounded out by some serious artwork from Nick Purser (Good Looking Records 90s Art Director) Nick always delivers but in our opinion he has surpassed himself on this one.

14 Songs To Beat Jet Lag... For Intercontinental Sugar Daddies! You belong to the Jet-set? This Lp is for you! You don"t belong to the Jet-set but you dream to? This Lp willmakes you familiar with the pool parties!

Mount Jacinto is the creative vision of Costa Rican artist Sonya Carmona, formerly a member of Colornoise and Las Robertas. Inspired by the majestic Mount San Jacinto in Palm Springs and the expansive landscapes of Northern California, Sonya sought to embody a sense of freedom and openness in her new musical project.

The band lineup includes Gini Jungi of Annie Taylor on guitar, drummer Adrian Oesch, and a touch of Latin American flair with Peruvian Joel Morales on bass and Mexican Yan-Cey on synthesizer.

In their music, chamber music elements intertwine with gentle bass lines reminiscent of Air’s Moon Safari and melodic compositions rooted in raw alternative rock. Their debut EP, Outward Signs, released in March 2023, explores modern pop-rock psychedelia with a groovy touch of twang.

The album was recorded with JooJoo Ashworth from Froth and mixed by Alex Newport (Bloc Party etc.).
The title track, Silver Lining, is a standout on the album, showcasing the evolution of Mount Jacinto's sound over recent years. Sonya explains:
"This song is my favorite at the moment from the album. I think it kind of represents it well and reflects that there is always a 'Silver Lining' in everything, where something good can come from a difficult or bad situation. It’s very exciting to play it live and marks the evolution of our sound through this last year. It has its own character and creates its own sonic universe. It’s a homage to the synth wave era, a mix between Depeche Mode, Eurythmics, and Lebanon Hanover."

The debut album Silver Lining is more than a collection of songs—it’s a deeply personal journey through love, loss, and self-discovery. Created during a period of transformation in Sonya Carmona's life, it captures raw emotions and the resilience required to find one’s true self. Tracks like Forest delve into the path to self-acceptance and the importance of confronting inner struggles, whileThe Reason explores the inner dialogues we have during pivotal moments. The album blends heartfelt, intimate lyrics with lush, soulful soundscapes.
Musically, Silver Lining combines classic 60s and 70s influences with a modern indie vibe. It reflects the profound changes Carmona has experienced, offering listeners a moving musical journey.

Building on the promise of his standout Vacuum EP, Brendon Moeller returns to Samurai Music to dial his expert dub techno up to 170 for a full-length trip. Moeller is celebrated as a versatile operator applying cavernous sound design and decades-deep machine soul to a broad sweep of tempos and styles, and his pivot to D&B territory is as natural as it is original. It's a perfect fit on Samurai, where palettes, pressure and rhythms are continually yielding fresh results in this highly fertile zone of modern club music.

It's no secret Moeller is a prolific producer, and following his initial connection with Samurai he offered up a vast folder of tracks created in this latest furrow of his production. The label has since sifted through and puzzled out a sonic narrative, first realised on the Vacuum EP in June 2024 and now extended with Further. For anyone keyed into the deep, techno-informed innovations taking place at 170, there is a logical connection to Moeller's take on the sound, but at the same time these tracks stand apart from anything else out there right now. In the particular textures, the unfolding arrangements and monolithic reverbs Moeller threads together with hypnotic poise, his accomplished legacy shines through.

Whether it's the snarl of a delay feedback pushed a little further, a soaring synth swell sculpted into artful noise or a particular shuffle applied to a particular drum rack, Moeller's tracks unfold with a masterful poise, hitting the sweet spot between club-spirited physicality for the deepest of dance floors and introspective headphone trips. Teeming with detail, swathed in soul and engineered to perfection, the inspiration driving Moeller is palpable across the LP, and it's resulted in some of his finest work in a career studded with highlights.

Post-Nuclear Mind Music? Lizard Strategies? Void Spirit...? These bizarre titles are just a few of the self-coined terms that Australian electronic musician Ian MacFarlane has conjured to represent his eccentric sonic world. An artist whose unique style of electronic experimentalism has balanced dangerously close to the edge of popular convention, existing outside the mainstream and extending well beyond the fringe of any sanctioned independent scene. A futurist outsider whose extraordinary musical vision has explored the uncharted realms of consciousness and fantasy. Following a brief stint with the legendary Australian Krautrockers Cybotron, MacFarlane produced three independent solo albums throughout the late 1970s and early 1980s. His debut LP Void Spirit, an experimental album issued under the pen name 'Violet Lightning', was followed by a further two albums published under his own name, the cosmic influenced Back From Beyond and finally the privately issued electro-ambient suite Planetarium. Presented with hours of unreleased home recordings, The Roundtable has begun a dedicated search through the fascinating archives of this under exposed artist. Beginning with a vinyl release of the rare cassette-only album Planetarium; this private press sees MacFarlane armed with a bank of Roland Synthesizers, Drum Machines and field recordings, spawning a mutant amalgam of German Kosmische Musik, French Library electro and Private Issue New Age. Surrender to the stars and welcome to the first instalment of "Muzak To Moralize By".

2024 Repress

There isn’t many who would disagree with the underlying sentiment that electronic music makes us feel something extraordinary. Much in the same way, the possibilities for creative discourse and cosmic interactivity are accessible to anyone with an open mind. It’s in this place where these possibilities materialise, and it’s in this space where SYNCROPHONE 39 operates within.

You see, you won’t find cleverly constructed adjectives or nonsensical descriptors for the music presented here. It doesn’t need them. The music speaks for itself, much in the same way the artists do. Stojche has been carving out timeless techno for two decades now, working tirelessly without fanfare to enrich a scene that sits close to his heart. Whether that be through releases on his own imprint TANGIBLE ASSETS or the ever expanding a.r.t.less, his trademark sound signature is synonymous with the soul of Detroit. You may be hard pressed to find anyone else who’s been as consistent with this sound over the years as he has. On the other hand, Gerard Hanson aka Convextion has been doing exactly that without fault his entire career. So the combination of these two artists on this release makes perfect sense.

Syncro39 is a celebration of core values in music. Of devotion to a singular obsession crafted over the course of decades devoid of trends or cheap influences, social or otherwise. It’s that unwillingness to compromise and to put everything on the line in the pursuit of the dreaming process that makes this a special release.

One thing is for certain. Those who are inspired by Stojche’s signature original and the timeless journey of Convextion’s remix,
will carry themselves through the smoke and haze into the sunlight as it takes some time for the rush to subside. That’s probably an apt abstract for this release thus far. For the most part though, the narrative for Stojche has only just begun.

Zum ersten Mal alle großartigen Songs von Vladimir Cosma auf einer Doppel-Vinyl.

Darunter die berühmten 80er Jahre Titel "Dreams" und "Your Eyes". Vladimir Cosma (* 13. April 1940 in Bukarest) ist ein rumänisch-französischer Filmkomponist, Violinist und Dirigent. Vladimir Cosma wurde in eine Musikerfamilie geboren, sein Vater ist der Dirigent Teodor Cosma. Nachdem Vladimir Cosma am Bukarester Conservatorium den ersten Preis in den Fächern Violine und Komposition gewonnen hatte, setzte er sein Studium ab 1963 am Conservatoire national supérieur de musique in Paris fort, wo er mit Nadia Boulanger zusammenarbeitete. 1966 lernte er den Filmkomponisten Michel Legrand kennen, der sein Interesse für die Filmmusik weckte und für den er zunächst als Arrangeur arbeitete. 1967 begann seine langjährige Zusammenarbeit mit dem Regisseur Yves Robert, die bis zu dessen Tod im Jahr 2002 andauerte. Im Laufe seiner Karriere hat er eine Reihe von Regisseuren mehrmals die Filmmusik geschrieben, für Yves Robert (13 Filme), Pierre Richard (fünf Filme), Pascal Thomas (elf Filme), Claude Zidi (zehn Filme), Gérard Oury (fünf Filme), Édouard Molinaro (sechs Filme), Claude Pinoteau (sieben Filme) oder Francis Veber (sieben Filme). Er vertonte außerdem drei Filme von Louis de Funès und zwei von Jean-Paul Belmondo.

Step into the unknown as Dawn Razor launches his mind-bending new EP, “From another Galaxy”, on the UK label DEXT Recordings. Blending Electro, Breakbeat, and Techno influences, the EP explores a sonic landscape that's truly out of this world. The release features 4 original tracks alongside a cosmic remix by the renowned Techno artist Shed, sending listeners into uncharted territory with its otherworldly atmospheres and intense energy. We hope you enjoy the release!

A few years ago, Angel Olsen quietly formed somethingscosmic, a new imprint and a home for Olsen to have “the flexibility to release when and how I want to with the help from my longtime partners at Jagjaguwar.” Somethingscosmic’s second release, ‘Cosmic Waves Volume 1’ is a compilation reimagined as a dialogue; side A features artists chosen by Olsen, with each artist choosing their own song for the collection. Side B is a collection of songs from the same artists, but chosen by Olsen and recorded by her. Each song, unsurprisingly, illuminates a new artist Olsen finds spectacular. Hearing Olsen refract the artists’ songs back to them reveals the depth of Olsen’s imagination, while spotlighting multiple exciting artists at work.

“As someone that emerged into the music scene through a small tape label,” says Olsen, “I’ve wanted to continue the spirit of discovery and of my debut release, ‘Strange Cacti’, while supporting and collaborating with artists and friends whose music I have been moved by. I feel there is something unique and special about covering another artist's song,” she continues. “We all make it our own, or we try to, but I personally always learn something new about the process when I’m engaging someone else’s words and melodies in such a close way. Time and again I find that putting myself into various different styles of songs can lead to new ways of thinking and creating.”

The artists on “Cosmic Waves Volume 1” draw from a sprawling, myriad sounds, eras and inspirations. Poppy Jean Crawford’s magnetic growl and guitar-god heaviness; Coffin Prick’s reckless, psychedelic fuzz; Sarah Grace White’s hypnotic voice and melody; Maxim Ludwig’s expert minimalism; and Camp Saint Helene’s beautiful, big sky folk. “Thank you for listening and supporting this experiment,” Olsen says. “If you like what you hear, please support these artists by buying some of their music, merch, a ticket to their show, or telling your friends about them. It goes a long way. Love, Angel”

The newest single from Whodamanny’s Biloba sublabel of Periodica Records is “Volveràn,” a dark and delirious saxophonic strut given four different variations. In the Club version, gang vocals chant to the sky, pads hover like neon mist, and technoid synths twinkle through moonlit boulevards as basslines clad in black leather stomp over a futuristic disco dance. The Radio mix distills these characteristics into sorcerous display of pop songcraft, whereas the Dub goes elsewhere, omitting the sax completely in favor of delayed drum dynamics, cosmic chords climaxes, sunbaked guitar jangles, and vocals shrouded in a hallucinatory haze. And in a bold display of disco house minimalism, the Sax Only cut strips down to saxophone, bass, and drums, with accents of guitar and synth providing subtle pops of color.

Cosmic Breeze takes listeners on a neverending love trip through the cosmos, channeling the warmth of 70s funk grooves, the lush textures of modern Indie-Rock, and Knowsum's signature experimental flair. With it's infectious rhythms, raw synths, and psychedelic melodies, the album creates a soundscape that feels both nostalgic and futuristic.

Pacific Rhythm returns with a heady new offering entitled the “Deep Hows EP" from NYC based Producer and DJ, Arsenii under his Bliss Street Queens moniker. The EP effortlessly trips through the cosmic and psychedelic sounds of the hazy and hopeful 1990's in a refreshing and modern style, all while shining a light on Arsenii’s undeniable ear for rhythm, energy, and feeling on the dance floor.

This one can carry you from the chill-out room to the main stage and is an essential pick-up for all of the Interesting Audio enthusiasts out there looking for machine funk of the highest caliber!

Jorge Ben is surely one of the world’s greatest all-round musical artists. He is internationally renowned and vastly influential as a vocalist, musician, performer and phenomenal songwriter. Famed for penning ‘Taj Mahal’, which was the source for Rod Stewart’s ‘Do You Think I’m Sexy?’, and also ‘Mas Que Nada’, one of Brazil’s most iconic anthems, Jorge Ben is a powerful musical force. A simple glance at his impressive back catalogue reveals a master of his craft, with a depth and quality that is seldom paralleled.

For 'Tudo Ben' we take a side-step, focusing on Jorge Ben’s songs that have been performed by other artists. Complied by Mr Bongo, Greg Caz and Sean Marquand, this collection features the Brazilian legends Elza Soares, Claudette Soares, and Wilson Simonal, alongside prodigious artists such as Marijô, Os Brazoes, and Doris Monteiro to name but a few. The selection covers a wide range of genres including samba, bossa nova, MPB and batacuda workouts. Many of the songs featured have become staples in Mr Bongo DJ sets over the years and are some of our most loved classics. As with many of history’s great songwriters, Jorge Ben’s songs transcend genres and styles, they can be covered and reinterpreted, yet the quality of the writing holds up to the standard of the original.

In the dark days of the mid to late 2000s when the end of vinyl seemed inevitable, Mr Bongo released 'Tudo Ben' on CD only. Years later, we finally get to put this right and present it for the first time on vinyl with alternative artwork by Mr Krum.

Das sechste Studioalbum der Slomatics auf Belfast exklusiv erhältlich auf Coloured Vinyl in limitierter Auflage.

“Other Phases Of Sleep” is Amsterdam based artist Kennedy’s first excursion beyond his ever-consistent imprint “Dream Machine”. On this EP he further explores the ethos behind his creative process he describes as - "a series of thoughts, sensations and sounds occurring from a person's mind, translated by machines."

The EP calls to mind the effervescent and driving energy of early Metroplex material while also paying homage to the Vancouver Sound and the optimistic vibe of the early 90s. Playful, sophisticated, and life-affirming dance music for those looking to uplift their mind, body, and soul.

Pacific Rhythm alumni Space Ghost rounds out the EP with a masterful remix of “Asleep” that slows the energy down to a crawl and leans into his love of UK Street Soul and cosmic flourishes.

Vinyl reissue of 2021 cassette release: Tokyo visionist Soshi Takeda’s second album took shape across eight months of the winter and spring, inspired by an iconic mid-80’s photography book of Chinese landscapes. Scenes of lantern-lit fishing boats on misty mountain lakes seeded a mood of hidden paradise, with ancient waterways snaking secret paths into the past.

Recorded at his home studio using hardware synths and samplers from the 1990’s, the six songs of Floating Mountains (plus digital-only bonus track, “Deep Breath,” from the 2nd Life Silk compilation) evoke shrouded vistas of liquid skies and shining lakes, like some Li River twist on Balearic half-light house. Shades of cosmic drift and crystalline electronica ebb and flow within the nocturnal pulse, pagodas and pearls reflecting the waning moon: “I hope you can feel the cool and exotic atmosphere.”

All the music in the world is at your fingertips, and it's up to you to set the vibe_ So, what should we listen to? If you're having trouble deciding, turn on the radio. It's the perfect place to discover something new, or jam along to a tried-and-true station that'll never let you down.Tune In is due out 11/1/2024 via Chiefdom Records. The second of three installments in the Terrestrial Radio series, it's a carefully curated collection of instrumental fusion, designed to serve as the perfect radio mix for fans of jazz, hip hop, funk, soul, reggae and beyond. It's the latest release from Cincinnati based executive producer Doctor Bionic (Jason Grimez). As a DJ, producer, and former member of 90s rap group MOOD, Grimez' musical career revolves around hip hop. He's always preferred to sample songs from the late 60s and early 70s because of the authentic tone. "Growing up collecting and sampling records was an education, whether we realized it or not," he explained. Grimez records and produces music using analog gear to emulate the instrumentals that he's always loved as he works with some of the best musicians in the Cincinnati area to bring his ideas to life. Among others, Jonathan Luck Spaulding and Josh "Mojo" Cole made several appearances on guitar throughout the record. Every Doctor Bionic release is accompanied by a unique, thought-provoking album cover. For Tune In, Grimez worked with Refael Idan Suissa, a painter and digital artist based in Israel.Next time you're looking for some new instrumental tunes to set the tone, you can count on the growing catalog from Doctor Bionic. Tune In is available everywhere on 11/1/24.

"May Our Chambers Be Full" ist das erste aufgezeichnete Dokument der Zusammenarbeit zwischen Emma Ruth Rundle und dem experimentellen Doom Metal Sextett Thou. Roadburn Festival-Organisator Walter Hoeijmakers wusste von der gemeinsamen Liebe für das Schaffen der jeweils anderen und führte beide zusammen. Während ihre Musik recht unterschiedlich erscheint, haben sowohl Emma Ruth Rundle als auch Thou ihre jeweiligen Karrieren damit verbracht, an den äußeren Rändern der Heavy-Metal-Szene zu lauern, wobei beide mehr dem DIY-Punk und seinem spirituellen Nachfolger, Grunge, nahestehen. "May Our Chambers Be Full" bewegt sich sowohl musikalisch als auch thematisch auf einer ähnlichen, sehr feinen Linie. Während das Solo-Material von Emma Ruth Rundle eine Mischung aus Post-Rock und Folk ist und Thou typischerweise für ihre heruntergekommene, doomige Schlammschlacke bekannt sind, hat die Verbindung der beiden eine Platte geschaffen, die mehr in die Richtung des Seattle-Grunge-Sounds und dem davon beeinflussten Alternative Rock aus den 1990er Jahren geht, wobei die Kernidentitäten der KünstlerInnen weitgehend erhalten geblieben sind. Ebenso ist der lyrische Inhalt des Albums eine Mischung aus mentalem Trauma, existenziellen Krisen und der ekstatischen Tradition der expressionistischen Tanzbewegung. "Excessive sorrow laughs. Excessive joy weeps." Melodisch, melancholisch, schwer, viszeral. Für Fans von: Alice in Chains, The Cranberries, Eyehategod, Nirvana, Crowbar

BRUK welcomes the daring shapes and inquisitive textures of ELLLL for her debut album, Earth Rotation. Across 13 scuffed cuts and grubby miniatures the Irish producer shapes out a distinctive sound world, steeped in sample science and powered by low-slung grooves. There's no direct message permeating Earth Rotation, but burning issues around embattled ecosystems hang in the air as ELLLL pushes her sound palette until it bites. Extended instrumental techniques lend the album an in-the-room tangibility, while dislocated micro-loops speak to less grounded atmospheres. Starting from densely packed collages and diligently chipping away until spacious, head-knocking arrangements remain, the end results of ELLLL's process call to mind the wayward sample acrobatics that made trip-hop and jungle so emotionally resonant and eerily alien in the same beat. There's rarely anything like conventional boom-bap or a cosily familiar break, but ELLLL finds compelling rhythms in unlikely sources of funk, whether plucked, bowed, sequenced or sculpted. Even when teetering towards techno on 'Titan', her particular approach is gloriously skewed and, by extension, innovative. No matter how serious the techniques involved, Earth Rotation is a celebration of the magic that happens when sound gets mistreated. If there are foreboding ideas lingering in the album's tendency towards dissonance, ELLLL also knows how to inject her work with a necessary mischief, making her a perfect fit amongst the maverick BRUK alumni.

Warehouse Find!

Vega Records are proud to present the re-release of EOL Extensions by Elements Of Life, the second album from Louie Vega’s critically acclaimed live orchestral project. With an allstar cast of remixers the lineup is a who’s who of worldwide talent. On the repertoire are Jazzy Jeff, Kenny Dope, Dj Spinna, Joe Claussell, House of Rumba, & Dj Gregory, along with EOL Alumni lead vocalists Josh Milan, Anané & Raul Midon. The Vinyl release is in two parts, two double packs, get it on your turntable, close your eyes and listen to the cosmic sounds of EOL. The new tracks “Messin’ About”, “Our People”, and the unreleased mix of “Love Is On The Way” are ones not to be missed.

First detected in the 1950s, Quasars remained a mystery for years with the massive amount of energy seeming to come from a very small area of space. Over time, astrophysicists theorised and proved that these celestial objects are black holes forming the centres of galaxies. For the latest Micron Audio release, 6SISS creates a sonic exploration of the many aspects of these gigantic cosmological bodies resulting in a collection of tracks that reflect their density, power, and luminosity. Each of the four tracks, QUASAR I-IV, represents a different phase of interaction with a quasar's energy, from initial observation to a final, euphoric absorption into the quasar's core: fizzing and enigmatic synths suggest the radio waves that travelled for thousands of years before being detected, while other bassier sounds bring to mind the vast gravitational pull of galactic centres, slowly attracting stars and planets alike towards them. As with all Micron Audio releases, QUASAR reveals a deep appreciation of scientific discovery and knowledge. Whilst avoiding retro-futuristic clich?, the imaginative abstract storytelling genre of electro is perfectly represented in this collection, in which 6SISS yet again emits his own densely packed work to emanate across the universe with a bold radiant energy.

In the fall of 2022, celebrated UK chill-out institution Seahawks landed in Los Angeles for the first time in their 15-year history, with plans to record a sweeping new age downtempo "exploration of visionary California."

Instead, they immediately fell ill with flu (Fowler collapsed next to a taco truck; 911 was called), and were bedridden for the better part of a week. Upon recovering, they resituated at the synthesizer sanctuary of Brian Foote (Peak Oil, Kranky, Leech), channeling their post-sickness psychedelia into one of the band's lushest and most elevated creations to date: Time Enough For Love. Inspired by the "groove and mood" of Harry Nilsson demos, as well as its wider 70's wavelength - Rhodes, Wurlitzer, wood paneling - Seahawks transposed their classic post-rave ambient exotica onto a warm and woozy Golden State palette. Buoyed by the liquid touch of English maestro Kenny Dickenson on keys, the results rank high among the duo's smoothest and most multi-sensory voyages. "Sail Across The Moon" delivers on its title, a simmering, phaser-smeared cruise through the beauty of the night. "Messengers" echoes the cosmic lounge of Air's Moon Safari, shuffling, weightless, and ethereal, while "Falling Deep" reaches for the stars, pure cascading bliss, the ecstatic moment writ large.

The album skews steadily more astral as it progresses, drifting towards jazzy, galactic outer reaches. "Like A Grain Of Sand" opens with a spoken sample by the celebrated late American poet Rachel Sherwood ("The children watch, breathless / with the birds / They feel an emanation / from this shuddering place"), before taking flight on a Balearic trip through island house, PM Dawn gold dust, upright bass meditation, and kaleidoscopic light. A remix of the title track by Chicago trio Purelink closes the record in a suitably subdued and skittery state of mind. Time Enough For Love radiates color, complexity, and positivity, infused by the "life enhancing" nature of the band's time in Los Angeles - sunsets, sound systems, and sativa, framed by coastlines and cloudbanks, the city's mystic sprawl glittering beneath purple dusk.

Releasing now for well over a decade - Neue Grafik: known to friends as Fred, has successfully transplanted from Parisian rookie to one- man London Institution. Beginning as a solo producer and DJ,Fred spread his wings upon relocating to South London - at first with his Neue Grafik Ensemble and later with his now iconic twice-weekly Orii Jam - the latter of which has given agency to an entire new generation of musicians; spawning an aesthetic, nurturing a unique sound and becoming a launchpad for countless artists.

Dalston Tape Volume 1 is Fred’s attempt to fall back in love with beatmaking - taking it back to the roots of
where the project began. I say “attempt” because he’s simply learnt too much and made too many friends
along the way to make a mere DIY beat tape. Since his early MPC-led productions on Parisian label, Beat
X Changers, Fred has learnt to play the keys to a concert hall standard, he has become proficient in double bass and built up a dense network of collaborators who he has composed, recorded, engineered and produced for both at home in SE London and in the iconic Total Refreshment Centre Studios in Dalston.

This experience adds unavoidable dimensions to his toolbox - resulting in something more akin to a miniature-magnum-opus than a simple beat-tape.

Yes, we hear the influences of Pete Rock, Mad Lib, J Dilla and Al Dobson Jr but we also hear the musicality of D’Aneglo, James Blake and live contributions from an ever growing army of young graduates of the Orii School.

2024 Repress
In early 2023, Tresor Records will reissue the sole output from Shifted Phases entitled The Cosmic Memoirs Of The Late
Great Rupert J. Rosinthrope. Initially released in 2002, soon after James Stinson passed away, this LP plays a mysterious and
compelling role in the Drexciya journey. While other records of Drexciya and related projects have received numerous reprints
and editions, The Cosmic Memoirs... has remained out of print since its release. This rarity leaves it more open to
interpretation with its place in the Drexciyan storm series, as it became increasingly hard to find and underexplored.
Track titles Solar Wind, White Dwarf, and Lonely Journey of the Comet Bopp reveal a focus on cosmic realms, suggesting a link
with the Drexciya LP Grava 4 that moves from the underwater to the galactic. As it launches with mechanical blows on a
precise orbit, each repetition entrenches the gravitational pull in the galaxy of Shifted Phases. In many places, it sounds like
the readout of frequencies harvested from outer space, pockmarked with packet loss from the millions of kilometres distance
travelled.
The music is hard to contain, intuitively restless in motion through its unfolding universe and achingly resonant. It shapeshifts
across aectedly melodic sequences such as in Lonely Journey..., to the sparse, hard-hitting timbres found in Alien Vessel
Distress Call and the mangled reverse vocals in The Freak Show, somewhat reminiscent of another Drexciya side-project, Glass
Domain. The mythology of Drexciya is evident in how keenly James Stinson and Gerald Donald created their imaginary worlds.
In Crossing Of The Sun-Ra Nebula, there is an undisputable reference to another Afro-futurist who delved deep into a galaxy of
their own making.
This reissue does not merely close the loop on Tresor's reissue series of the Drexciya catalogue but brings Shifted Phases to
fresh ears more than other records. Accompanied by newly commissioned artwork from Matthew Angelo Harrison, the 3xLP
vinyl reissue also features the tracks Crossing Of The Sun-Ra Nebula and Alien Vessel Distress Call, which were previously only
on the original CD release.

Habibi Funk is excited to announce the release of Samh Almea'ad, a new 7" record by Libyan artist Cheb Bakr, hitting the shelves on December 6, 2024. Recorded in the early 2000s, Bakr’s music fuses the pulse of Libyan pop with R&B and hip-hop influences, bringing the energy of Benghazi to the dance floors of New York in the early 2000s. Cheb Bakr’s sound is a unique blend of styles that captures the essence of two worlds and includes production and vocals by Ahmed Ben Ali.

Our journey with Cheb Bakr’s music began when Yousef Alhoush, whose father Najib Alhoush led The Free Music from Libya, generously lent us boxes of cassettes to digitize. With the help of a journalist traveling from Tripoli to Cairo, we brought the tapes and a high-quality deck to Egypt. For three days in a hotel room on Zamalek island in Cairo, we sifted through nearly 100 tapes, finally landing on several from Cheb Bakr that dated back to the late 1990s and early 2000s. His albums stood out for their fresh, genre-defying sound—Bakr’s vocals flowed effortlessly over R&B and hip-hop beats with touches of jungle and drum and bass percussion, creating a fusion that crossed cultural and musical boundaries.

Returning to Berlin, we took a deeper dive into the digitized tapes, identifying bands, singers, and producers that excited us. In the process, we noticed familiar rap verses on a few of Bakr’s tracks—verses by none other than Ahmed Ben Ali, who was about to release an album with Habibi Funk. When we asked Ahmed about his connection with Bakr, he explained that they’d collaborated closely at Jamaica Studios in Benghazi, with Ahmed even producing some of Bakr’s songs.

Despite having lost touch for years, Ahmed helped us reconnect with Cheb Bakr through mutual friends. Their reunion took place in Bakr’s living room, where we joined them on a video call to discuss Bakr’s career and his influences. He explained how he sought to reinterpret eastern Libyan folk sounds for a new generation, blending them with contemporary genres.

This 45 marks the beginning of our work with Cheb Bakr, offering a glimpse into his unique musical style, with a full album to follow at a later date. The release includes two standout tracks that showcase Bakr’s dynamic range. Side A features “Samh Almea'ad,” a reinterpretation of a 2003 New York classic with Bakr’s signature spin. Since our first listen in that Cairo hotel room, it’s been played at every Habibi Funk set without exception. Side B, produced by Ahmed Ben Ali, features “Rjana Lamta,” a track that hints at American influences alongside a nod to Ahmed’s “Dameek Majeb.” Bakr’s artistry ties these contrasting elements into an original, dancefloor-ready track that remains as captivating today as it was two decades ago. As always, this 7" release comes with a booklet detailing some of the Cheb Bakr story. Samh Almea'ad will be out on vinyl December 6th.

Licensing info: These songs were licensed from Cheb Bakr. We pay the licensing partner 50% of the profits of this release. Only project related costs are deductible from the gross income, research and travel costs come out of our own share. Publishing was not included in our agreement (We feel it’s important to be transparent about these deals, therefore we will include these infos in all future releases).

Yellowstone is an American neo-Western drama television series. The series stars Kevin Costner, Luke Grimes, Kelly Reilly and follows the conflicts along the shared borders of the Yellowstone Dutton Ranch, a large cattle ranch, the Broken Rock Indian reservation, Yellowstone National Park, and land developers.

The first part of the fifth and final season premiered on November 13, 2022, with the second part scheduled to premiere on November 10, 2024.

Composer Brian Tyler, who once worked and performed in a Native American musical group, said he worked hard to blend his knowledge of traditional Native American music with the melting pot of western cultures in his score.

• 180 GRAM AUDIOPHILE VINYL
• INCLUDES INSERT
• GOLDEN GLOBE AWARD WINNING SERIES STARRING KEVIN COSTNER, WES BENTLEY, KELLY REILLY, LUKE GRIMES, A.O.
• SCORE BY MULTIPLE AWARD WINNING BRIAN TYLER
• LIMITED EDITION OF 500 COPIES ON RED COLOURED VINYL

“What I ended up doing was finding ways to incorporate some of the percussion, some of the woodwinds, some of the instrumentation and weave it into things like cellos, basses, cimbaloms and all these exotic instruments,” Tyler said.

This is a limited edition of 500 copies on red coloured vinyl. The package includes an insert.

San Jose slowcore/space rock outfit Duster returns with surprise album "In Dreams," continuing their of inclination of sonically capturing an open-ended question. These thirteen tracks hone in on their trademark dark, droning guitar tones, dialed back percussion, and alluring hard-panned vocals while expanding and exploring synth-heavy and drum machine avenues. it's the fifth duster album, ok

Aqua Tofana Colourless Vinyl. San Jose slowcore/space rock outfit Duster returns with surprise album "In Dreams," continuing their of inclination of sonically capturing an open-ended question. These thirteen tracks hone in on their trademark dark, droning guitar tones, dialed back percussion, and alluring hard-panned vocals while expanding and exploring synth-heavy and drum machine avenues. it's the fifth duster album, ok.

San Jose slowcore/space rock outfit Duster returns with surprise album "In Dreams," continuing their of inclination of sonically capturing an open-ended question. These thirteen tracks hone in on their trademark dark, droning guitar tones, dialed back percussion, and alluring hard-panned vocals while expanding and exploring synth-heavy and drum machine avenues. it's the fifth duster album, ok

Lamina is the moniker of multi-disciplinary French artist Clarice Calvo-Pinsolle. 'Olas Curativas' is Calvo-Pinsolle's first vinyl release. Taking influence from the natural world, works of hydrofeminism, and experiences with hypnotism, Calvo-Pinsolle prolifically performs and records her own refreshing take on ambient music alongside working as an established installation artist. She has previously released two full-length albums on Orila Records & Complex Holidays, as well as a joint LP with Kitchen Cynics, and a collaboration project with Bear Bones Lay Low under the moniker XAXI. Her discography is fleshed out by various contributions to compilations, including the opening track 'Soupire' on Twin System's 'Tendrils Lurched Purple In The Slush' tape series. Radio play of Laminas music includes Graham Dunning / NTS, Emil Mirzoev/ Kiosk Radio, Laura de Diaz / CAMPO BASE, xYsse / Radio Vacarme, Melina Despretz / Kiosk Radio, Chris Penty Alvarez / Noods Radio, Leoni Leoni / Radio Alhara, Laura Connant / Ola Radio, Bravo Tounky / Rootradio. Performances of material from 'Olas Curativas' include shows at Cafe Oto / London, Cosmos / Lisboa, TV Control Center / Athens, Iklektic / London, Braille Satellite / Lithuania, Slug Gallery / Leipzig, Spazio X / Treviso, Krut Festival / Ghent, Schiev Festival / Brussels, Woodblocks Festival / Brussels.


'Olas Curativas' was developed and written in 2022, with these pieces first heard as live jams at shows mainly around Brussels and Portugal, before being honed into this mesmeric full-length LP. Calvo-Pinsolle's effective use of manipulated field recordings and tape loops provide a backdrop for harmony that leans towards the mystical, brimming with melodies equal parts haunting and enchanting. Alongside harvesting a sound library over the past several years, Calvo-Pinsolle has developed an approach to composition using field recordings that informs both her musical and sculptural work. These recordings are transformed much like the ceramics seen in the record artwork; shaped, chiseled, and transformed. These ceramics were crafted and painted by Calvo-Pinsolle herself, and hints at this bridge between her two disciplines of music and sculpture. Although an expansive realm, throughout Calvo-Pinsolle's output there are consistent moods and qualities that are absolutely distinctive to this artist's creative worldview, and of which 'Olas Curativas' is a perfect encapsulation.

Chapter 3 der erfolgreichen Compilation-Serie. 14 moderne Kraut-Elektronik-Tracks (3 davon exklusiv und vorher unveröffentlicht) inspiriert von Kraftwerk, Can, Neu!, Cluster, Klaus Schulze und vielen anderen. Kuratiert und zusammengestellt von Compost-Künstler Fred und Luna. Die Collage auf dem Cover wurde - wie schon auf Vol. 1 und 2 - exklusiv von der fantastischen Künstlerin Norika Nienstedt aus der Kraut-Metropole Düsseldorf gestaltet.

Rainer Buchmüller aka Fred und Luna ist leider nach langer Krankheit im Januar 2024 verstorben. Er war ein herzensguter Mensch, begnadeter Künstler, Freund und Wegbegleiter. Wir trauern sehr um ihn. Rainer Buchmüller hatte uns ein paar Tage vor seinem Tod das Tracklisting für Vol. 3 (und auch schon Ideen für Vol. 4) geschickt, mit der Bitte, dies posthum zu veröffentlichen, es würde ihn sehr freuen, wenn seine Fans und alle die es noch werden, ein „Lebenszeichen“ von ihm erhalten. Gar nicht einfach oder im Grunde unmöglich, den Begriff „Kraut“ stilistisch zu beschreiben. Dennoch begeben sich Compost Records und Fred und Luna auf eine Zeitreise, um die unterschiedlichen Elemente deutscher elektronischer Musik der 1970er- und 1980er-Jahre und ihre Auswirkungen auf die neuere deutsche und weltweite Musikszene zu entdecken. Nach dem großen Erfolg von Volume 1 und 2 knüpft Vol.3 stilistisch an seinen Vorgänger an, und darüber hinaus – da dies eine der Grundideen der Reihe ist – das musikalische Spektrum Schritt für Schritt um neue krautige Elemente erweitert.

DJ Koze, Arnim Teutoburg-Weiß aka arnim, and the Düsseldorf Düsterboys enchant with a touching homage to Holger Biege - one of the legendary architects of East German soul. DJ Koze once again proves his unparalleled sense for the extraordinary. Around the line "Du hast erzählt, gelacht / Mir gezeigt, wie schön du bist" from Holger Biege's 1978 song "Bleib doch", Koze weaves a small masterpiece, infused equally with nostalgic depth and futuristic elements.

Arnim Teutoburg-Weiß aka arnim (frontman of the iconic Beatsteaks) opens our hearts with his heavenly radiant voice. With full sincerity - pure and straightforward - he sings the love declaration of a lifetime.
Floating on a cloud, the Düsseldorf Düsterboys sprinkle lyrical stardust with their brilliant harmonies - fluffy and bizarre at the same time. It feels as if this cosmic quartet boarded a time machine and returned to the present to plant the essence of days gone by into today's matrix.

"Wie schön du bist" is not just a tribute to Holger Biege's work, but a loving bow to his entire musical legacy. It is an anthem to the timeless magic of music and the enduring power of love that connects us all.
Koze, arnim and the Düsterboys have created something truly unique here: a gem-a homage, a time travel, and a love letter all in one. Music can indeed be something magical.

AA
"Amor," a dandelion of a song, was created in collaboration with Brazilian singer César Lacerda. It is an acoustic love letter in its purest form-warm, crackling, and everlasting.

Mit ihrem Debütalbum „Pairing Mode“ (2023) schuf Ray Lozano gemeinsam mit ihrem Co-Produzenten Samon Kawamura ein Werk mit Signalwirkung für die deutsch-asiatische Popkultur. Lob gab es unter anderem von Jamz Supernova, WDR Cosmo und Spiegel Online. Die deutsch-philippinische Sängerin und Produzentin wurde seitdem nicht nur mit dem renommierten Holger-Czukay-Preis und dem NICA-Artist-Residency-Programm gewürdigt, sondern begeistere Fans mit Konzerten in ganz Deutschland. Nun erscheint „Pairing Mode“ auch auf Vinyl.

Als ein Zusammensetzung aus zwölf musikalischen Kurzgeschichten, befasst sich „Pairing Mode“ mit dem zentralen Thema „Aloneness“ – Das zelebrierte Alleinesein. Großteils in den Jahren 2020 und 2021 geschrieben, spiegelt es das neu gewonnene Tempo des Lebens während der Pandemie wider. Für die visuelle Umsetzung hat sich Ray Parissa Charghi ins Boot geholt, die neben dem Artwork für Album und Singles einen ästhetisch detailverliebten Kurzfilm zu den Songs von „Pairing Mode“ produziert hat.

The album "Plural" celebrates the remarkable encounters and partnerships that have shaped Gabriel Grossi"s 25-year career as a harmonica player, composer, arranger, and producer. Featuring 10 of his own compositions, Grossi"s renowned virtuosity flows with deep sensitivity through various genres, reflecting the solid trajectory of one of the greatest instrumentalists and most creative musicians in Brazilian music. Collaborating with prominent names from both the national and international music scenes, "Plural" showcases Grossi"s music without borders, offering the world a glimpse of his extensive career. For this celebration, outstanding guests were invited to join the musical journey. Including Jacob Collier, Ed Motta, Hermeto Pascoal, Seamus Blake, Omar Sosa and others.

San Jose slowcore / space rock outfit Duster return with surprise album, ‘In Dreams’, continuing theirinclination of sonically capturing an open-ended
question.

These thirteen tracks hone in on the band’s trademark dark, droning guitar tones, dialled back percussion, and alluring hard-panned vocals while expanding and exploring synth-heavy drum machine avenues.

It’s the fifth Duster album.

LP available on Aqua Tofana coloured vinyl and black vinyl.

San Jose slowcore / space rock outfit Duster return with surprise album, ‘In Dreams’, continuing theirinclination of sonically capturing an open-ended
question.

These thirteen tracks hone in on the band’s trademark dark, droning guitar tones, dialled back percussion, and alluring hard-panned vocals while expanding and exploring synth-heavy drum machine avenues.

It’s the fifth Duster album.

LP available on Aqua Tofana coloured vinyl and black vinyl.

Die Slowcore-/Space-Rock-Band Duster aus San Jose kehrt mit ihrem Überraschungsalbum "In Dreams" zurück und setzt damit ihre Vorliebe fort, eine offene Frage klanglich zu fassen. Die dreizehn Tracks konzentrieren sich auf die für sie typischen dunklen, dröhnenden Gitarrentöne, die zurückgenommene Perkussion und den verführerischen, harten Gesang, während sie gleichzeitig Synthesizer-lastige und Drum-Machine-Alleen erforschen und erweitern. Auf dem Höhepunkt ihrer Lo-Fi-Power liefern Duster ein Album ab, das den charakteristischen atmosphärischen Sound der Band gekonnt einfängt und noch weiter ausbaut.

Earquake 1996 is the 6th part of the nineties cycle by Wolfgang Voigt, released as a double vinyl series on Profan. Besides the Mike Ink remix of one of his biggest techno hits Love Inc. R.E.S.P.E.C.T., Wolfgang Voigt dedicates this edition mainly to his most dust-dry, stoic, abstract-grooving minimal designs of that time. These are pieces with such sonorous, idiosyncratic names as Logorrhoee and Intoleratio, which enchant us back into a minimal techno cosmos of a very special kind.

It may be collected


Earquake 1996 ist der 6te Teil, des als Doppelvinyl Reihe auf Profan erscheinden Neunziger Jahre Zyklus von Wolfgang Voigt. Neben dem Mike Ink Remix eines seiner grössten Technohits Love Inc. R.E.S.P.E.C.T., widmet sich Wolfgang Voigt auf der vorliegenden Ausgabe vor allem seinen staubtrockensten, stoisch, abstrakt-groovenden Minimalentwürfen jener Zeit. Es sind Stücke mit so klangvoll-eigenwilligen Namen wie Logorrhoee und Intoleratio, die uns zurückverzaubern in einen Minimaltechno-Kosmos der ganz besonderen Art.

Es darf gesammelt werden

"Yellowstone is an American neo-Western drama television series. The series stars Kevin Costner, Luke Grimes, Kelly Reilly and follows the conflicts along the shared borders of the Yellowstone Dutton Ranch, a large cattle ranch, the Broken Rock Indian reservation, Yellowstone National Park, and land developers.

The first part of the fifth and final season premiered on November 13, 2022, with the second part scheduled to premiere on November 10, 2024.

Composer Brian Tyler, who once worked and performed in a Native American musical group, said he worked hard to blend his knowledge of traditional Native American music with the melting pot of western cultures in his score.

“What I ended up doing was finding ways to incorporate some of the percussion, some of the woodwinds, some of the instrumentation and weave it into things like cellos, basses, cimbaloms and all these exotic instruments,” Tyler said.

This is a limited edition of 500 copies on red coloured vinyl. The package includes an insert. "

We are thrilled to present the historical rescue of the only existing recording of Antihéroes, yet another mystery of the Argentine musical underground scene of the 80s, now available on vinyl for the first time. This obscure post punk band show their harshness and darkness in these only two songs they recorded, back in 1985, and which were distributed on a cassette that has today achieved cult status. This release is the result of the collaborative work between Twistin' Bones (Costa Rica) and Munster Records

Classic free jazz album reissued for the first time since the 70s. Old-style gatefold sleeve LP, with liner notes by Ed Hazell.

Noah Howard, an alto saxophonist and composer, was known for weaving intricate and innovative musical patterns, often likening his work to "sound paintings." His 1971 album Patterns, the first LP he self-produced on his Altsax label, stands as a testament to his experimental and spiritual approach to music. In interviews, Howard frequently used visual terms like "patterns" and "shapes" to describe his compositions, emphasizing the importance of melody and structure even in highly improvisational settings. For Howard, patterns and melodies were essential to guiding listeners through his explorations without alienating them, maintaining a balance between innovation and accessibility. Howard's quest for an original sound was deeply influenced by jazz greats like Charlie Parker, Ornette Coleman, and Jackie McLean. While he admired these legends, Howard avoided imitation, striving instead to develop his own distinct voice. His sound was unmistakably his own, and he felt a deep obligation to carry the jazz tradition forward through personal expression, not by mimicking others. His music was also rooted in spirituality, a legacy he traced to his upbringing in the Black Baptist Church. He believed jazz had always contained a spiritual essence, from Louis Armstrong to John Coltrane, and his work aimed to channel this cosmic, spiritual energy.

Patterns was recorded in the Netherlands during Howard's second stint in Europe, where he found a more open, less racially charged environment compared to the U.S. For the album, Howard collaborated with Dutch musicians such as Misha Mengelberg (piano), Han Bennink (drums), and Earl Freeman (bass). Despite the challenges faced by guitarist Jaap Schoonhoven, who felt out of place in the session, the album came together as a powerful mix of blues, jazz, and classical elements.

The music on Patterns is a high-energy fusion of American free jazz and Dutch improvisation. Howard's saxophone work alternates between leading with passionate, lyrical lines and blending into the collective improvisation. The album’s dynamic interplay, particularly between Mengelberg’s dissonant piano clusters and Bennink’s thunderous drumming, creates a vivid "sound painting" full of contrasting forms and colors. Patterns remains one of Howard’s most unique and celebrated recordings, showcasing his visionary approach to jazz.

Prairiewolf make easy listening music for an age of fracture. They almost do it in spite of themselves. No one can seriously question the head music bona fides of the members of this Colorado-based trio.

Guitarist Stefan Beck has already assembled a formidable discography of jewel-toned guitar zone-outs under his Golden Brown moniker. And keyboardist and guitarist Jeremy Erwin and bassist Tyler Wilcox have both made their reputations as chroniclers of the vast world of out-music. Erwin helms the indispensable Heat Warps blog, a performance-by-performance archive of Miles Davis’s labyrinthine electric period. And Wilcox has been covering the ragged edges of psychedelia and experimental rock at Aquarium Drunkard and other publications, not to mention his own virtual basement for heads, the great bootleg blog Doom and Gloom from the Tomb.

These guys come by it honestly. And yet, given their backgrounds, Prairiewolf’s self-titled debut last spring was remarkably free of face-melters, brown acid blowouts, and ascendant spiritual jazz odysseys. Instead, they dropped a record of beautiful, elegant, low-key cosmic groovers that sounded like the piped-in background music to a resort hotel on Jupiter. It was an unlikely psychedelia, brocaded with mid-twentieth century sonic threading from the hi-fi era: vintage synthesizers, smears of spaghetti western, luxe tropical details, the faint schmaltz of space age pop. Imagine something like a Harmonia residency in the airport lounge. And yet somehow it all worked brilliantly. Prairiewolf became last summer’s cool-down standard. After a year woodshedding around Colorado’s Front Range region, the Prairiewolf boys have fired up their trusty Korg SR-120 drum machine for another outstanding collection of suborbital exotica. The appropriately titled Deep Time operates in its own chronology, unspooling at its unhurried pace. All its incongruous period and stylistic references—the new age pulses, Hawaiian steel, shaggy hippie rambles, lysergic guitar spirals, and orchestral synthesizer flourishes—float atop the album’s own singular temporality. Deep Time makes its own time.

From the moment Beck folds his slide guitar, origami-like, into a sound resembling the call of gulls on the tranquil album opener, “Peach Blossom Paradise,” there is a sense of departure from everyday life. The shimmering “Lighthouse” has a similar sunbaked nonchalance, like an afternoon passed day-drinking in a seaside bar. That they named their lush, kaleidoscopic downtempo track “The Meander” pretty much says it all. The ranging, propulsive “Saying Yes to Everything” seems like a nod in the direction of Rose City Band’s brand of wookie krautrock. And the motorik noir of “Demon Cicadas in the Night” also goes hard. Beck and Erwin’s intertwined guitar jam on the eerie album standout “The Cold Curve” evolves into something that sounds like primitive computer music. A genteel bassline from Wilcox on another album highlight, “Revisionist Mystery,” sets the stage for a loopy space jazz turn from guest clarinettist Matt Loewen of Rayonism. The title of post-rock cowboy tune “Another Tomorrow” might refer to the alternative future that so many critics heard in the music of Prairiewolf’s first album. Or it might simply refer to the persistence of time, however deep. Either way,

I’m thankful for the way Prairiewolf make each of their tunes a little oasis or sanctuary, each subsisting according to its own crystalline little logic for a few minutes. It is no simple task to filter out the omnipresent anger and anxiety of everyday life these days. But Prairiewolf are out here making it seem easy.

Brent S. Sirota

REVOLT proudly presents its latest release, a powerful 4-track EP by Liou, recorded in his Athens studio. This limited vinyl-only release showcases Liou's signature blend of diverse sounds and influences, seamlessly weaving unexpected twists with rich sonic textures and immersive atmospheric soundscapes.

Night Warrior kicks off the EP with punchy basslines and epic vibes, enhanced by acid and cosmic vocals, perfectly crafted for peak-time dancefloor action. Dark Matter delves into a breaks workout, creeping up your spine and taking control of your movement, making it a secret weapon for any DJ set. With Atom, Liou offers deeply electrifying rhythms infused with twirling acid riffs and raw emotion, a track that resonates on a profound level. Equinox rounds out the record with energetic dreamy synths, ideal for those early mornings. Music destined to unite bodies in the rave zone.

Comes with a color-printed tracing paper poster designed by Angeriki, inspired by the paradox, the freedom of thought and the twisting of perception.

Tina Records presents Cargo Cult, six tracks from the Musci archives created using an extensive collection of traditional instruments combined with synthesisers and electronics, with remixes provided by Cut Hands and Nokuit.

Italian ethnomusicologist Roberto Musci, active since the mid 80s, has experienced a resurgence in interest since the 2016 Music From Memory compilation 'Tower of Silence', receiving endorsements from disparate influential figures. His music featured in a playlist Ryuichi Sakamoto curated for his favourite Japanese restaurant in New York, as well as in a 2019 Yung Lean playlist for The Opioid Crisis Lookbook.

Cut Hands is the alias of William Bennett, most well known as the originator of the Power Electronics genre with his project Whitehouse. Inspired by Haitian Vodou, under the Cut Hands moniker, Bennett has been exploring rhythm and percussive instrumentation since 2007 with releases on Blackest Ever Black and Downwards.

A film composer by day, Nokuit has developed a distinctive cosmology over a mutating series of releases on underground labels such as wannamarchi.club and NKT. He has performed internationally, including at Cafe OTO as part of a lineup curated by Flora Yin-Wong.

Influential DJ, producer, radio-presentator and founder of the Acid Jazz and Talkin’ Loud labels Gilles Peterson has handpicked his jazz favourites from the immense catalog of the Dutch jazz Timeless label. Included are Pharaoh Sanders’ cosmic jazz “Moonchild”, vocal-jazz from Carter Jefferson’s “Why”, danceable-jazz from Tom Grant “No Me Esqueca”, Art Blakey & The Jazz Messengers’ “In Case You Missed It”, making a total of 11 tracks.

In 2015, Peterson put together a Japan-only CD compilation of 10 of his favourite tracks, but for the vinyl version, the track list has been augmentend with the previously unreleased version of “Gibraltar (Alternate Take)” by Kirk Lightsey Trio feat. Freddie Hubbard, and “World Peace” by Timeless All Stars.

Timeless Jazz Classics Volume 1 is available on black vinyl and includes an insert with liner notes and track-by-track information by Gilles Peterson.

Continuing our quest to get all of the classic early AMT albums released on vinyl, we turn to 2006’s ‘Starless And Bible Black Sabbath’, and with the help of Makoto Kawabata’s studio wizardry, we’ve made it possible.

This latest instalment in the ‘Acid Mothers Temple Vinyl Archives - First Time On Vinyl’ series (as with the three previous SOLD OUT releases in the series) have all been meticulously put together with the help of Makoto Kawabata with the original CD artwork recreated for these vinyl editions from archive photos stored in the vaults at the Acid Mothers Temple in Osaka, Japan and the original audio remastered by James Plotkin.

Here’s what "Brainwashed" had to say upon it’s original CD only release back in 2006 …

“The title track is the meat of the beast, beginning with a minute of booms and gongs reminiscent of a thunderstorm before launching into some slow, heavy Sabbath-esque riffs. Squealing guitar and synth effects accompany the vocals of bassist Tabata Mitsuru, whose voice captures some of the sound and feeling of Ozzy's more than it does the melody. The pace is slower than most AMT fare, but things speed up considerably around the eight and a half minute mark. The group convincingly imitates the Sabbath guitar sound here and the rhythm section is particularly tight, giving listeners something on which to hang their ears or even providing them with a chance to gasp for air during Makoto's guitar explorations. Around the sixteen minute mark, everything comes to a wailing halt before the band returns to the dirge-like tempo that started the song. This pattern continues for the duration of the piece, until a couple of minutes before the ending, when the group makes a smooth transition to acoustic guitar and processed vocals to cool down.

Clocking in at nearly thirty-five minutes, the length alone may tax some listeners. However, the second track, "Woman From A Hell, "provides relief, which with a running time of six minutes is uncommon in the Acid Mothers canon for its brevity. This one condenses many of the ideas of the title track, and accomplishes much of the same evocation of Sabbath, but with the vocals in a more prominent role. The disc comes full circle, ending with thunderstorm sounds much like theones which started the album. Though the title track could have been shortened and perhaps an additional track included, this album remain some of the group's more accessible releases in some time and should please fans old and new alike.

According to the group's website, Makoto is reviving the Melting Paraiso U.F.O. line-up after a year of recording and touring with the Cosmic Inferno. This is a shame of sorts, since the Cosmic Inferno infused a much-needed vitality to the group that it had lacked since the departure of vocalist Cotton Casino. Yet the reformed Melting Paraiso U.F.O. has the potential to be even better since, if anything, Makoto seems to be the Mother of Reinvention.”

Acid Mothers Temple & The Cosmic Inferno are: Tabata Mitsuru - Bass, Vocal, Maratab - Hiroshi Higashi - Synthesizer, Dancin' King - Shimura Koji - Drums, Latino Cool - Okano Futoshi - Drums, God Speed - Makoto Kawabata - Guitars, Speed Guru

Lex first grabbed our attention following his brilliant release on B2 Recordings which became a staple vibe setter in Jimpster’s DJ sets and Sofa Sessions streams in 2021. Gaining his deep musical knowledge through his own revered record store Radical Soundz, the Greek DJ and producer has been immersed in dance music for over 20 years and considered one of the key figures in the Athens underground house scene. With releases and remixes on labels such as Leng, Samosa, King Street and Black Riot, Lex is making waves internationally with a unique sound that fuses live elements and expansive arrangements taking influence from masters such as Ron Trent but adding a warm, cosmic glow. Fellow Greek artist Locke joins pro- ceedings for this EP bringing his own psychedelic sound garnered from his years playing crazy events taking in South American jungle parties, burning hot African desert raves, the underground clubs of Berlin to the sparkling coastal shores of Baja California. Locke is more than just a DJ. He is a connector, educator and traveler whose soulful music has the crowds chasing the sun as he brings love and celebra- tion to the events he plays.

On title track 7 Day Path we’re treated to a beautiful spacious jam which unfolds across 7 minutes, driving, live percussion keeping the energy high whilst Herbie- esque synth leads help to create a beautifully paced and dynamic arrangement.

Next up we have Italian legend DJ Rocca onboard for a remix of 7 Day Path. The prolific producer and DJ has been a tour de force since the late 90’s collaborating with the likes of Howie B, Dimitri From Paris, Chris Coco, Daniele Baldelli and Jazzanova producing singles, remixes and albums for labels such as Sonar Kollekt- iv, Compost, Classic, Rekids, Futureboogie, !K7, Tirk, International Feel, Defected, Rotters Golf Club and Faze Action Recordings. Here he adds his trademark dubby disco wiggle pushing the original in a jazzy direction with live flute. Definitely one to be heard under the stars on a Croatian beach for maximum Adriatica effect!

Flipping over, things head deeper and darker with See No Ball featuring Locomot- ives, a more straight-up heads-down stripped back club jam with a repeated vocal, funky guitar chops and a smattering of improvised synth and Hammond B3 keeping things jazzy and musical.

Closing out this brilliant EP we have Catch Up With The Sun which drops the BPM’s for a low-slung cosmic jam loaded with good vibes.

DJ Support: Alex Kassian, DJ Cosmo, Lovefingers, Sean Johnston, Laurent Garnier, Massimiliano Pagliara, Moxie, Colleen 'Cosmo' Murphy

Following Alex Kassian’s massive ‘E2–E4’, he reunites with Hiroaki Oba as Opal Sunn. Opal Sunn have played live at some of the worlds finest clubs and festivals and are tipped by many as the ones to watch. This EP is the first in a trilogy of releases. ‘Elastic’ runs from deep electronic trance inspired dancefloor driven House on the A side, to reggae-tinged dub groover and a beautiful ambient version on the B side; both with more than a nod to Kassian’s Sound and Garden of Eden tracks. Yet again, you need this in your life. Buy or cry.

This one is highly recommended for fans of Khruangbin, Lord Echo, Leon Bridges or Fat Freddy's Drop.

Open is the sixth studio album from acclaimed composer, producer, filmmaker and multi-instrumentalist, Kutiman. It is an addictive & irresistible twelve-track trip taking in elements of classic soul, Middle Eastern psychedelia, Afrobeat, Thai funk, jazz fusion, cosmic library soundscapes and more.

The uptempo “Vanishing Point” opens proceedings, recalling both Abstract Orchestra’s 2017 Dilla tribute and the lounge OST/library music flips of Tosca and DJ Vadim fame.

My Everything introduces prominent guest & frequent Kutiman collaborator, Dekel, whose soul-pop vocals coupled with jangly acoustic guitar riffs tip to contemporary indie artists such as Michael Kiwanuka and SAULT. “A Day Off passes through” Anatolian psych and Khruangbin-esque Thai funk whilst the afrobeat/jazz fusion “Confetti” pays tribute to Kutiman’s other namesake, Fela Kuti.

Dekel rejoins for the beatdown, lilting dub-soul “Believe In You” with hints of Lord Echo and the sun-inflected New Zealand dub-soul sound. The Tuareg-leaning guitar lines on “Canoe” travel across the Saharan desert easterly towards Sudan and Ethiopia by the end, whilst meditative and Coltrane-adjacent album closer “Ripples” provides a final moment of reflection from a truly global excursion of soundscapes.

No prizes for guessing the motivation behind this new EP, 5 Years Of B2 Recordings. It is a tidy and tasteful celebration of half a decade of top quality deep house from a range of key players. This one opens with Frenchman Brawther getting dubbed out and deep as ever with some nice lounge chords and blissed-out pads. Bengoa's 'Neftina Dub' has a subtle US garage shuffle to it that harks back to the 90s and Lex & Locke then bring rich paint chords and withering synth motifs to 'Atenas Blues' before Zaq's 'Make A Wish' shuts down with some cosmic rays of positivity. A fantastic EP so here's to the next five years.

Sole Aspect takes us around the world and to the studios of artists based across Madrid, Switzerland, Los Angeles and Detroit on The Mystic Embrace EP. Opening it up is Ernes Joey & Robbin Hauz with 'U Should Know' (feat Shea Doll - Age Of Rage remix) which is a version by Dubbyman with some delightfully jazzy keeps, seductive deep house drums and aching vocals full of heart. The original is a stripped-back sound with less melodic luxuriousness but the still superb vocal front and centre. Dubbyman then mixes Klima Project's 'Sweetback' into a mid-tempo, cuddly back room deep house sound and Patrice Scott Reshapes it with some crystal-cut synth lines that bring cosmic charm.

DJ Support: Kevin Reynolds, James Baron, Hot Toddy, Pablo Valentino, Colin Dale

Suite For Chick is a heartfelt Homage to the late Jazz Maestro Chick Corea.

This collection features reinterpretations of City Gate, Rumble, Time Track, and Hymn of the Heart from the Chick Corea Elektric Band, as well as Return to Forever’s classic Romantic Warrior. These vibrant renditions celebrate Corea's enduring legacy in the jazz world.

Chick Corea played a crucial role in shaping Miles Davis's electric fusion era and was a key member of his Lost Quintet. He was also a founding force behind Return to Forever and many other influential groups.

Bangkok-based Maarten Goetheer collaborates with top Thai drummer Pong Nakornchai, blending Wurlitzer chords, Moog basslines, ARP leads, and signature Rhodes phasings. Nakornchai, a Master’s graduate in Jazz Studies from Mahidol University, leads his own quartet and embodies the progressive spirit of modern jazz in Thailand.

Maarten's inspiration stems from his musical upbringing; his father, Gerard Goetheer, was a jazz pianist. This environment fostered his deep appreciation for music. A pivotal moment came when he heard Masters at Work remixing Tania Maria, igniting his vision to merge genres and create something new.

With Suite for Chick Maarten wanted to incorporate a wider range of Modern influences that he became infatuated with throughout his Musical career such as Techno, Italo, Cosmic Disco, Dub, Acid, Boogie, Proto-House & Ambient Music.

To Maarten bringing these genres together is his current and unique interpretation of the JAZZ FUSION moniker.

Radio Support: Kev Beadle Radio support, Colin Curtis Radio support, RINSE FM mini album mix & interview on Tim Garcia show, BBC6 RADIO New Music Fix 16th Oct 2024

DJ Feedback:

DJ Harvey - Very cool collection of reworks

Terry Farley - so fucking good - house heads will be lovin’ this

Laurent Garnier / FG Radio France: Whaouuuu. That’s brilliant. Great album!

Lars Behrenroth / Deeper Shades Of House: This is so cool. Love the dub of City Gate, too. Great music

Jimpster / Freerange: Great idea to work up some contemporary interpretations of Chick classics! Was always a fan of Time Track so nice to hear this one included. These tracks strike a really nice balance of electronic/sequenced elements and live recording. I’m into it!

Tim Garcia / Rinse FM: I think this whole release is excellent and inspired, nice to see a tribute to one of my favourites work so well.

a A1: City Gate Rumble Original
[b] A2: City Gate Rumble [Reprise Dub]
[c] A3: Romantic Warrior [Original]
[d] B1: Time Track [Original]
[e] B2: Time Track [Reprise]
[Original]