Search:cosmic machine

The follow up album to 2019's Dusted Jazz Volume 3. Pressed on 180 gram, White & Orange Marbled Vinyl. Jenova 7 emerges once again as a beacon of auditory innovation with his latest opus, Lost Sci-Fi Movie Themes. Released under the banner of Cold Busted, this collection of 16 tracks serves as a time machine, whisking listeners away on a journey through dimensions both familiar and uncharted since his last foray with 2019's Dusted Jazz Vol. 3. Jenova 7 has meticulously crafted an album that resonates with the essence of ‘90s trip hop nostalgia while propelling us into the cosmos of futuristic soundscapes. The album's standout tracks—“The Future 1995,” “My Zero G Love,” and “Downtown Lost In The City Of Lizards”—are masterclasses in genre-blending and atmospheric storytelling. "The Future 1995" envelops one in a nebula of boom-bap beats, cosmic sound effects, and b-movie vibes, creating a sonic experience that feels like intercepting radio signals from a distant, funk-infused galaxy. Meanwhile, “My Zero G Love” floats the listener through the velvety darkness of space with its sexy lounge feel, portamento synth lines, and the undeniable funk that glimmers under starlight—evoking the sensation of grooving in weightlessness. Then, there's “Downtown Lost In The City Of Lizards,” a track that saunters through the urban jungle with sparkling keys, evocative guitar spurts, and strutting jazz bass, painting a picture as vivid and surreal as its title suggests. Jenova 7's skill lies in his ability to fuse moody, jazz-inflected samples with grooves that draw one into a distinctly atmospheric sound—a cinematic journey through time, space, and emotion. His tracks are experiences, wrapping the listener in a cocoon of vibrant soundscapes that are both introspective and expansive. Lost Sci-Fi Movie Themes is an invitation to explore the unknown, to lose oneself in the depths of imagination and emerge on the other side transformed. For DJs looking to transport their audience to another dimension and for music fans yearning for a taste of nostalgia wrapped in the allure of the future, Jenova 7's latest release is a must-discover treasure. Dive in and let the odyssey begin

Legalize Lambada is back and there ain’t no moldy gorgonzola in this Italo homage! Legendary cosmic captain Albion returns to Lambada-land and starts this edit compilation with 'Nucleare', a robotic jam seasoned with Italian vocals which serves as a great intro to the release. Ric Piccolo’s 'Disco teacher' on A2 and 'Alright' on B1 are serious floor fillers, possibly ready to injure part of the Boston dynamics fleet after inducing uncontrollable dance moves. At the end it’s Hysteric’s 'Moment' on B2 that prompts a soulful side of italo for some deep machine learning.

Whisper it quietly, but Andrew Meecham’s ninth album as The Emperor Machine, Island Boogie, may well be the long-serving producer’s strongest set to date. Of course, all his albums ripple with vintage synth sounds, colourful lead lines, dub-flecked electronic disco grooves and lashings of cosmic intent, but this one just feels a little more special. Island Boogie is certainly special. Meecham’s “most personal” full-length to date, it was inspired by his experiences at the Rotation Garden Party – a beloved micro-festival promoted by a group of friends (including sometime Bizarre Inc and Chicken Lips partner Dean Meredith), renowned for the quality of its custom-built Klipschorn soundsystem. “The album’s title sums up the vibe that you get from Rotation,” he explains. “It may be held in a landlocked venue but it gives a wonderful sense of isolation – it is an audiophile paradise.”

Meecham road-tested rough versions of the album’s eight tracks at Rotation 2023, with the feedback and dancefloor reaction guiding the sound and arrangement of the final mixes. Fittingly, Meecham will return to the event to showcase the album at Rotation 2024 this July. Given the inspiration he’s drawn from previous editions of the festival, that will be a very special occasion. Musically, Island Boogie offers the most fully functioning and expertly constructed expression of The Emperor Machine sound yet, a style Meecham describes as “electronic cosmic disco-boogie”. It’s a sound that takes cues from early ‘80s NYC punk-funk and dub disco, vintage electro, proto-house and left-of-centre synth-boogie, but one that’s instantly recognisable to those who have followed Meecham’s career over the last three decades.

Island Boogie also sees Meecham continue his blossoming working relationship with Severine Mouletin, whose stylish and distinctive vocals previously graced his popular ‘Dance Por Amor’ and ‘Your Own Style’ singles. Here Mouletin features on four tracks: the acid-flecked retro-futurist wave-boogie of ‘La Cassette’ (featuring additional percussion by Rupert Brown); the infectious, bleep-sporting headiness of recent single ‘Devoilez-Vous’; and the squelchy analogue synth-funk of ‘Wanna Pop With You’ and ‘Vas-y-Le Chat’. Meecham also finds space for a cover of Fox’s 1976 pop-rock classic ‘S-s-s-single Bed’, one of the Stafford-based artist’s all-time favourites. His version, featuring headline-grabbing lead vocals by Michelle Bee and guitar from Dave Atherton, re-imagines the track as a subtly Chic-influenced slab of infectious electro-pop rich in kaleidoscopic synth sounds, sing-along choruses and shuffling drums.

The instrumental foundations of the classic Emperor Machine sound come to the fore on the album’s three other cuts. There’s the jazz-funk-flecked warmth of the LP-opening title track; the sparse squelches, bleeps, TB-303 style bass and brightly coloured electronics of ‘Walk The Dog’; and the exotic, slow-motion cosmic electronica of ‘Cha Murrah Etem’, a warm but poignant affair dedicated to his late father. Heady and intoxicating, with hints of Balearica and digital reggae, it offers a fittingly beautiful and tactile conclusion to Meecham’s most expressive and accessible album yet.

Sun Reflector is the debut LP collaboration by Heffernan (Ivan The tolerable, All Structures Align, King Champion Sounds, University Challenged) and Pärk (Black Tempel Pyramid, Teeth Of Glass, Kosmonaut). Sun Reflector is steeped in a haze of primitive drum machines, fanned phase and sustained scuzz-rippled guitar chimes, an ambient electronic creation with emphasis on repetitive trance-inducing rhythmic pulsations of electronic sound and subtle counterpoints that slowly unfold as the rhythmic drive marches forth utilizing the Motorik 4/4 beat with the lysergic kosmische sonic textures of Cluster. With Heffernan (bass, guitars and drones) based in the Northeast of England and Pärk (synths, drones and loops) based in Colorado USA on the border with New Mexico - the portal they opened up between these environments creates a travelogue that unites physical and inner space, a series of trance induced states rendered in vivid colour, a delirious portal into the ether. ‘Harmonic Coast’ opens and is a heady downtempo affair, an earthly vibration that slips effortlessly between peyote peaking trekking trips & Balearic sunset vibes. The somnambulistic drift of 'The Sun' sets the stage with a series of shimmering, circular synth pulses where hidden details slowly emerge over multiple listens. Album closer ‘Fever Mirage’ creates a clear-eyed appreciation of the pastoral beauty that surrounds us, it’s a journey that summons up an occult-like dream of glacial arpeggios and whispering synths that pull your attention in to this hypnotizing listening experience. Sun Reflector is a collective sound in which a lot is allowed, and a lot is done. That combined with the compositional ingenuity where the heterogeneous timbres create a time travelled cosmic mysticism that summons up the spirits and visions of Harmonia, Cluster, Eno and Phillip Glass. Shimmering and transcendent we present to you for your listening experience ‘Sun Reflector’

Island Boogie arrives four years after Meecham’s previous full-length, Music Not Safari, and sees the veteran producer deliver his most ‘personal’ set yet – a collection of kaleidoscopic, cosmic-leaning, dub disco-influenced neo-boogie excursions inspired by his love of the custom-built soundsystem at Rotation Garden Party, an annual micro-festival founded by a group of friends including his former Chicken Lips production partner Dean Meredith. It's fitting, then, that the EP begins with a superb interpretation of ‘'Dévoilez-Vous’ by T-Kutt, AKA Meredith and long-term studio partner Ben Shenton. The pair’s ‘AM FM Club Mix’ sits somewhere between classic Prelude-style electrofunk, NYC proto-house and early British interpretations of American house music. Séverine Mouletin’s chopped-up improvised vocals weave in and out of sun-bright keyboard riffs, colourful synthesiser motifs, heady synth-strings, D-Train style synth-bass and delay-laden machine drums. It’s a superb re-imagination of one of the album’s most stellar moments.

The EP’s other headline-grabbing remix comes courtesy of Leng co-founder Paul Murphy AKA Mudd. He reworks title track ‘Island Boogie’, teasing out the spacey synths and languid jazz-funk grooves of Meecham’s original mix and dialling them up to the max. The resultant revision sparkles with crunchy clavinet licks, mazy synth and electric piano solos, and spacey chords rising above a mid-tempo dancefloor groove. To complete a strong package, Meecham adds two dubs in his distinctively stripped-back, tape echo-heavy style. He first takes on EP title track ‘Dévoilez-Vous’, wrapping vintage drum machine hits in oodles of space echo and dub delay while devoting more time and space to the killer bassline, Rupert Brown’s infectious hand percussion, and Mouletin’s vocalisations.

To round off the EP, he dubs out album epic ‘La Cassette’, another collaboration with Mouletin that also features additional percussion by Brown. Like the original synth-powered dancefloor dubs of the early-to-mid-80s that have long been an inspiration, Meecham’s ‘La Cassette’ dub features key musical elements – many drenched in trippy effects – popping in and out of the mix, while his sturdy drums and memorable bassline spar with Brown’s percussion below.

"Learn To Die is a bold new step for a group of musicians, artists, and writers that has at least nominally been considered a punk band. A stylistic overhaul. For those who have been following along, it’ll carry some surprises. Slender began over a decade ago as a semi-improvisational cassette recording project, a casual collaboration between a few friends that was initially documented by two self-titled cassette-only releases released in 2014 and 2015 respectively, now both unavailable and out of print. Most fans, however, will know Slender for their two most recent releases, Walled Garden (2017) and Time On Earth (2019), both released on the tastemaking London art-punk label La Vida Es Un Mus. "Their prior work has earned them comparisons to anarcho-punks Crass and The Snipers, lo-fi flagbearers Swell Maps and Pink Reason, and artrockers Cromagnon and Amon Düül. Here, however, such comparisons feel largely unfounded and the band feels somewhat peerless. Moments of artpunk brutalism, lo-fi experimentalism, and kosmiche detours grace the fabric of Learn To Die, but the album reaches for more than pastiche. Teasing the rarified worlds of chamber music and musique concrete, Slender manages something intangible and strange. A vocoded voice intones multi-lingual poems alongside tinny guitars and sampled strings and flutes. Three chord janglepunk anthems arise suddenly out of a cosmic mist crafted by analogue synths reciting the poetry of machines. The album moves in ways reminiscent of works by artists as varied and singular as Nobukazu Takemura, Chuquimamani-Condori, Coil, and Robert Wyatt, but it doesn’t necessarily occupy the same realm as any of them.” – Leah B. Levinson

Supernatural meditation, with a drum machine, from California's mysterious mail order mystic. 1975's Music Of The Godhead is the ambient alchemy that established Burchette as the white wizard of tremolo theurgy. Warning: Inner peace lik ely!

Supernatural meditation, with a drum machine, from California's mysterious mail order mystic. 1975's Music Of The Godhead is the ambient alchemy that established Burchette as the white wizard of tremolo theurgy. Warning: Inner peace lik ely!

The phenomenal three-piece band includes members of Oranssi Pazuzu, K-X-P, Grave Pleasures and Aavikko


Svart Records is proud to release the debut album, I, from Haunted Plasma, a powerhouse of futuristic synth in symbiosis with the super violent atmospherics of kosmische Black Metal. Haunted Plasma is “man meets machine” in a cybernetic wasteland, set to a conceptual backdrop of William Gibson and Phillip K. Dick style mind-melt. The highly evolved creatives at the heart of Haunted Plasma’s sound, cite Terry Riley, Massive Attack, a contemporary take on Krautrock hypnosis, psychedelic Black Metal and 90s Techno, resulting in an orgy of mutant sound.



The phantoms at the beating nucleus of this unearthly machine are Juho Vanhanen (Oranssi Pazuzu, Grave Pleasures), Timo Kaukolampi (K-X-P, Op:l Bastards) and Tomi Leppänen (Circle, Aavikko, K-X-P), transmitting a music form evolved from a life of redefining sonic boundaries in their respective projects. Also featuring guest vocals from Mat McNerney (Hexvessel, Carpenter Brut, Grave Pleasures/Beastmilk), Pauliina Lindell (Vuono, Dust Mountain) and Ringa Manner (Ruusut, The Hearing). Haunted Plasma promises an extraterrestrial experience from some of the foremost contemporary musicians at the heart of the Finnish heavy and avant-garde musical underworld.



Haunted Plasma reveals:

“We are liberated futurists, embracing free-form and natural composition, mirroring the merciless forces of cosmic creation. We have a motto to stay true to our feelings, to spawn a sound that’s never been heard before. Servants of music. Energizing, radical and pure”


The first single from Haunted Plasma’s cascading debut, Reverse Engineer, is a creepy, slowly erupting, synthetic nightmare, of a downloaded being waking up in the wrong future. Ghostly vocals demand the listener to “give us what we want” in an Orwellian glimpse into the current dystopia we live in, where information is controlled, and thoughts are bought and sold. As McNerney intones the words “technology of power” he describes the threat of a malevolent and omnipresent artificial intelligence, as much as describing the oppressive and electromagnetic sonar pulse of Haunted Plasma’s sound itself. Psychedelic guitar hypnosis from Vanhanen snakes around Kaukolampi’s molten and morphing synths, while Leppänen’s uncanny man/machine rhythms pull our strings and animate their other-worldly mechanisms. Have a look at the official visualiser of "Reverse Engineer" on the Svart YouTube channel here


Culminating in the full-blown fast Krautrock of the final self-titled track, oozing with blistering noise elements and enigmatic vocals from Ringa Manner, the album's journey reaches its zenith, taking you to unknown territories on a Kubrikian space trip. I is a rare record of talented musicians coming together to create a completely new sound, which is entirely their own, boldly glowing, where no light has shone before. From the dreamy psychedelia of Echoes to the discombobulated Spectral Embrace, Haunted Plasma is a willful force of deliberate sound contortion.


Whether you want to give in to Haunted Plasma’s sound or not, you are being watched, you are being recorded and your every move is monitored. Haunted Plasma will enter your system on the 31st of May 2024. Turn on your phantom circuits and be prepared for an interdimensional excursion into Haunted Plasma’s alien dreams.

The debut album from Haunted Plasma will be packaged in a beautiful tip-on sleeve, swirling fog artwork, complete with 12” booklet and pressed on 3 exclusive vinyl colours: 300 copies on Standard Black Wax, 500 copies in Amber + Black Smoke and 200 copies of Svart exclusive Turquoise/Black Marble. The album will also be available on CD and digital platforms.

Bosconi Records Presents Datafreq’s Electrifying EP: “Circuit Garden” Toronto’s electronic music scene luminary, Dave Rout, known as Datafreq, is set to unveil his EP titled “Circuit Garden” on Bosconi Records. With a musical journey as Datafreq spanning 2 decades, and a continuous presence since the mid-80s, he has become a cornerstone in the electronic music scene in Toronto. “Circuit Garden” is a six-track collection that pays homage to Datafreq’s distinctive blend of video game music and electro sounds. A true sonic pioneer, he brings forth his unique musicality that has resonated since he started the project in 2004.

This EP features select tracks from his debut album, “Fun for the Whole Family,” originally released in 2006 on the esteemed Berlin label Das Drehmoment. Notably, these tracks, (never before available on vinyl with the exception of “Just Like 1981”), have been reimagined with slight remixing, editing, and remastering to seamlessly align with the vinyl format. Two brand-new tracks make their debut on this release, adding an extra layer of exclusivity and elevating the EP to a truly special status.

The unmistakable “Datafreq” sound is prevalent throughout the EP, characterized by eclectic electro techno and vocodered tunes. Infused with a melodic approach, the tracks remain dancefloor-friendly, showcasing Datafreq’s exceptional talent for crafting engaging melodies. The EP is adorned with cosmic arpeggios and space synthesizers, reflecting his prowess in creating immersive sonic landscapes. “Circuit Garden” not only celebrates Datafreq’s enduring legacy but also signifies a new chapter in his sonic exploration, inviting listeners to immerse themselves in Bosconi Records’ consistently precise and insightful musical universe.

030/313 – Berlin/Detroit, the fundamental techno union. Now Carhartt WIP, whose roots can be traced to Detroit, Michigan, join forces with Tresor for a collaboration that celebrates the enduring spirit of two music metropolises. Referencing the early 90s compilations like “Tresor II – A Techno Alliance”, they present a 12” mini compilation with exclusive material from both cities.
The compilation opens with “I.D.L.E.”, a lost Model 500 track, of essential funk that touches the techno soul of The Motorcity, with trippy melodies and cosmic drilling traversing electrified Mojo freeways. It’s followed by another true Detroiter: Ectomorph’s “Searching (Live At Globus)”, a first extract from their live set at Globus in 2021, which BMG and Erika played on borrowed equipment after Erika’s case was lost on a flight. The A-Side stays in Detroit and finishes with “Your Body”, an exclusive track by AMX, also known as The AM, one of Detroit’s freshest funk techno sensations. She carries on the mentorship mindset by having learned from two of the greatest: D.I.E. and Scan 7. “Your Body” is a classic techno feel swinger, where subtle chords meet drum machine funk in the spirit of early Detroit techno.
DJ Stingray 313 opens the B-Side with a bang. Precisely hacked techno, full of dark funk and that special industrial jack, that the man in the mask has made his own. A total “Dynamic Instability”. Magic & furious. The thrill continues with “Metal Goat”, by JakoJako, one of Berlin’s brightest synth sensations. She provides an introspective grower that slowly evolves into a fast-paced techno grinder, laden with micro shifts and magic twists. The final tune comes from Erik Jabari, a newcomer from the 030 zone, emerging from the Hard Wax peers with haunting modular synth techno–a feverish minimalistic trip of motorized kicks. DJ Pete performed as spiritual guidance on this one. It’s floor proven. An overall cachet of “030313” - the small compilation with a huge techno heart.

Aerials live, dials tuned, Transmission Towers broadcasting. On either side of the river Mersey, transcendental communications are traded back and forth. Two late-night revellers, one firing messages filled with music, the other returning them laced with lyrics. The result, a dopamine hit of oddball machine soul, melded with a highlife, Afrofuturist touch. Wonky and murky yet deeply emotional, Transmission One, is a debut album that also marks the first release on Luke Una’s É Soul Cultura label, encompassing expertly the off-kilter atmosphere the label sets to orbit.

A synthesised landscape with a Northern charm, Transmission Towers marry the musical worlds of two artists that last collaborated over a decade ago. 10 years have passed, lives have been led, but a gravitational pull has placed Mark Kyriacou and Eleanor Mante back in each other’s spheres on opposite sides of the city of Liverpool. Energised with a newfound desire to strip it all back to the sounds that influenced their formative years in the late ‘80s and ‘90s - astral travelling, intoxicated on Motor City techno, Black Dog IDM and mystical Sun Ra.

Mark half Irish, half Greek Cypriot, Eleanor half Nigerian, half Ghanian, the music contained within is an alchemy of those roots and the pivotal acts that buried deep into their minds. A cosmic contrast, part machine-made, part distinctly human. Take the opener ‘UP’, an ESG-channelling, sci-fi punk beatdown or the polychromatic hyperspace anthem ‘Roller Skater 23’.

Transportive throughout, you ride the solar waves, pace and emotion ebbing and flowing. Tracks like ‘Go Slow Heart’ and ‘Cosmic Trigger’ step to a slower beat but hit with a punch. The former, a slo-mo blast of celestial tenderness, the latter an otherworldly, chugged-out lunar excursion, micro-dosing on whacked-out Wah Wah and Eleanor’s ethereal vocals. Beaming love letters to space and back, ‘Sparse’ marries the organic with the artificial, pianos and percussion circling around synth pads and broadcasting bleeps.

Elsewhere, vibrations move faster. ‘Mega’ strikes, fusing sonic tribalism with psychedelic swirls, as ‘Everything’ sweeps you up in its extra-terrestrial new wave grip. Synth stabs and basslines fizzing from every angle.

Demos of Transmission Towers music surfaced on Luke Una’s radar, making him stop in his tracks. Something magical was emerging, perfectly aligned with the E Soul guardian’s tastes. Guidance followed, quickly turning into conversations about Transmission One becoming the first release on Luke’s own label.

Escapist and futurist yet grounded and relatable. Transmission One is synthesis meets sentiment with a deep, spine-tingling soul at its core.

The prolific and versatile Ian Martin arrives on Shipwrec with four tracks that make up Future Dawn. Cosmic Garden opens. A piece that blurs genre lines; soft synth-lines are coupled with ruffled rhythms that immerse the listener in gentle orchestral ebbs and flows. Sounds of isolation introduce Future Dawn, modulations reaching over an ever-widening expanse before strings descend. Drums arrive late in this atmospheric journey, one that pulses with a primal energy while conjuring vivid images. The ominously titled Dead Calm opens the flip. Soundtracks have always been an inspiration for Martin and the scores of the silver screen are at the forefront of this work. Brittle beat patterns are the bedrock on which melodies whirl - a bitter acid bass bubbling as tension builds to paranoic peaks. Darker skies loom with the marine chop of Phantom Machine finishing. A flotsam and jetsam of hi hats swirl in the liquid undulations of distorted bass and aquatic echoes, rougher rusted rhythms providing ballast to the eddies and maelstrom of Martin's machines.

Combining elements of post-rock, trip-hop, and industrial music, HAAL have quickly become cult favourites in the UK live scene. Their psychotropic blend of samples, DIY pedals, and monolithic instrumentation, has seen the band play and tour alongside the likes of Kyoto Kyoto, WEB, Deliluh, Treeboy & Arc, Katy J Pearson, and Gurriers, as well as appearing at festivals such as ArcTanGent, Dot To Dot and more. Coming off the heels of their recent singles “Janus” and “Judy” (and subsequent remixes by Water From My Eyes and Crimewave), the new EP “Back To Shilmarine” arrives as a blistering snapshot of the band’s protean dynamism.

The band celebrate their late-90s / early-00s influences in a caustic yet melodic blend of tracks that nod as much to the output of labels such as Dischord, Touch & Go, and Nothing Records, as they do their contemporaries in the UK scene such as SCALER, Famous, deathcrash, and LICE. The EP sees them bring all these touchstones together to create a unique and uninhibited maelstrom of sound that spans everything from intricate math-inflected guitar lines and pensive vocals to propulsive drumming, totemic riffing, and warped synths.

Arguably some of HAAL’s heaviest material to date, “Platform 1, 18:19” offers the first look into this new material melding motorik rhythms and hypnotic riffs with sudden explosions of noise and power. However, as ever with HAAL, there is more than meets the eye – the track also features samples completely abstracted from their sources, for instance, the drone that begins the song is taken from a video of frontman Alfie Hay and his friends beating Bop It.

Elsewhere on the EP, the lyrics explore themes of cosmic existentialism, absurdism, meaning, transhumanism, inner reflection, science, history, and general philosophy. “All the lyrics are musings or verses that I wrote at very different times in my life” says Hay. “I then had to fit them around the music, despite being written at wildly different periods.” The record was once again recorded with long-time collaborator Alfie Tyson Brown (Katy J Pearson, LICE, Lazarus Kane) at The Louisiana in Bristol. The band have a tight knit collaborative circle around them, this is particularly notable around the band’s imagery

Foil Jacket - White, Blue and Gold Merge with Splatter. DEATH, die von dem legendären Gitarristen Chuck Schuldiner gegründete
Heavy-Metal-Institution, veröffentlichte ihr legendäres viertes Studioalbum Human 1991 und erntete weltweit großen Beifall der Kritiker. Die komplexe und progressive Musik und die introspektiven Texte des Albums markierten einen massiven stilistischen Wandel weg vom primitiveren Frühwerk der Gruppe, und Human wurde zu einem der einflussreichsten Metal-Alben in der Geschichte des Genres.

Introducing BinarySound's 8th vinyl release, a sonic journey into the dimension of analog machines mastery.

On the A side, Future Buddha, the latest alter ego of the renowned Italian artist Riccardo, now weaving sonic tales from the mystical landscapes of India.

On the B side, hailing from the vibrant Canadian scene, Cosmic JD brings his soundscapes, steeped in the raw essence of analog synthesis, promising an interstellar voyage for the listener.

SAICOBAB channels the vital energy of living music traditions through ecstatic performance. NRTYA, Sanskrit for "dance", explores the shared roots of Japanese and Indian spiritual practices in a tangible, intoxicating form. YoshimiO"s experiments in this field are well documented and legendary from her work in OOIOO to her work in the Boredoms. Multi-instrumentalist Yoshida Daikiti reveals the human hand that shapes living traditions, as much through his fluid playing as his own collection of handmade instruments, while percussionist and multi-instrumentalist Motoyuki "Hama" Hamamoto embodies the metaphysical power of rhythm. YoshimiO"s wild vocal acrobatics and inimitable range shift from hypnotic chants to ethereal atmospherics and darting melodies, ducking and weaving around Daikiti"s serpentine sitar figures and basslines. Hama"s solid rhythmic architectures and deft polyrhythms are here enhanced by additional drums from Taketawa Yo2ro, slipping from subtle pulses to thundering grooves that drive the music. SAICOBAB"s music exudes a true reverence for living musical traditions while remaining unbound by orthodoxy. The electrifying energy of the quartet"s performance is palpable in every track, eliminating established hierarchies with performer and listener alike entwined in the same cosmic dance.

Straight From the Republic of Bashkortostan (!), the Excellent Dj Producer Apollon Telefax (Who Was Already in the Band Arash & Quasar for Their Last Release on Mellah - One of Our Sub-Label), Is Back This Time on Skylax Records Alone. "Fantasia Planet" Is a Captivating Journey Into the Realm of Balearic-Inspired Melodies and Italo Disco Vibes. This Ep, Meticulously Crafted by the Talented Electronic Artist, Showcases a Fusion of Leftfield House and Disco That Will Transport You to Euphoric Soundscapes. the Mesmerizing Opening, "Mbira," Sets the Tone With Its Intricate Rhythms and Ethereal Melodies. "Not Wet Wipes" Follows Suit, Captivating Listeners With Its Infectious Groove and Hypnotic Basslines. as You Delve Deeper Into the Ep, "Macarena" Unveils a Blend of Nostalgic Sounds and Contemporary Beats, Igniting a Dancefloor Frenzy. the Titular Track, "Fantasia Planet," Takes You on a Cosmic Voyage With Its Cosmic Arpeggios and Pulsating Synths, Creating an Otherworldly Atmosphere. "Sex on Astrakhan Fur Coat" Seduces Your Senses With Its Seductive Melodies and Sensuous Rhythms, Offering an Irresistible Invitation to the Dancefloor. Concluding the Journey, "Moodoom" Embraces a Darker and Mysterious Tone, Immersing Listeners in a Captivating Blend of Intricate Percussion and Haunting Melodies. Apollon Telefax Is a Versatile Musician, Multi-Instrumentalist, Dj, and Illustrator. With an Extensive Collection of Vintage Synthesizers and Drum Machines From the 80s, Pavel Masterfully Combines Elements From Various Musical Traditions, Infusing Them With His Own Unique Touch. His Dedication to Remixes and Constant Exploration of Rare Vinyl Records Ensures a Constant Flow of Intriguing and Innovative Compositions. Experience the Magic of Apollon Telefax's "Fantasia Planet" Ep and Let the Irresistible Rhythms and Captivating Melodies Transport You to a World of Boundless Musical Enchantment. Unveil the Secrets of This Extraordinary Release, Where the Past Meets the Present in a Harmonious Embrace of Sound and Creativity....

**Ltd First Pressing on Black/Red Splatter Vinyl** Introducing Observers “The Age of the Machine Entities” an instrumental heavy metal reimaginin of Stanley Kubrick and Arthur C Clarke's 2001 A Space Odyssey. Observers is a new project fronted by Martin Kennedy whose ambient rock band All India Radio has seen music used in CSI, One Tree Hill and many more. Canadian metal titan Devin Townsend even covered an All India Radio song that he fell in love with while on holiday. Kennedy has also released over fifteen albums with Steve Kilbey of psychedelic rock legends The Church. Kennedy says “I’ve been fascinated by 2001 A Space Odyssey ever since my mum took me to see it in the 1970s. It blew my mind. I started making my own 2001 inspired super 8 movies, I collected everything I could afford and I’m still obsessed with it into my adult years.” “The Age of the Machine Entities” is entirely instrumental and takes us on a cosmic journey through melodic metal, atmospheric riffs and psychedelic ambient sequences with echoes of Gojira, Black Sabbath and Tangerine Dream and the early 70’s work of Pink Floyd. Indeed treats us to a searing metal version of the obscure but fan favourite “The Narrow Way Part 2” from the Floyd’s Umma Gumma. The album was mixed by Joe Haley from Tasmania’s legendary Psycroptic and the line up is Rich Gray (Annihilator) on bass, Chris Bohm on drums, and guest soloists including Joe Haley and Jake Weber. The all important visual aspect is brought to life by Ryan T Hancock (known for work with King Buffalo, ᴀɢɴᴏxɪᴀ, Robot God), who created the mesmerizing album artwork. Observers' "The Era of Machine Entities" is a fusion of artistic brilliance that pays homage to the timeless mystery of "2001: A Space Odyssey.”

As the fable goes: pre-discogs, intrepid disc jocks would often take trips to Italy (many tricking their spouse into believe it was a ‘holiday’!) to source records from the seemingly endless supply of top tier Italo, disco and cosmic record shops across the country. According to legend, the classified sections of local yellow pages and information booklets which would contain the addresses of the record shops and dealers in the area would often be ripped out unscrupulously, thwarting – or at least making it more difficult for – the next vinyl tourist to source out the rare gems amongst the rich seams – a wild west vinyl gold rush if you will.

Such stories are a rarity these days, with youtube making some of the most underground tracks common knowledge, and discogs almost making any record obtainable – at a price of course. Upgrading his digging methodology, Bosco has developed a secret New Technique to side-step the machine and in doing so obtained a clutch of amyl-soaked fluffers that are so rare, that upon writing they aren’t even listed online! Seriously, he must be communicating with some interdimensional, upper echelon Italo overlords; taking us on a primo-thrust tour through the most unexposed recesses of the Italo disco galaxy.

Don’t be hoodwinked by their sheer obscurity however; we wouldn’t give a toss if they couldn’t tear the arse off the dancefloor. But they’re all fuckin rhodium grade tackle peeps! Eight neon-drenched late night roman candles of Italo disco decadence that’ll defo have you jizzing rainbow skittles over the dancefloor as you search desperately through the fog for another huff of poppers off Darren.

Total Discogs market value: as yet undetermined

Pharoah Brunson’s Pyramid Points: 9999999999999

Warehouse find!

While the German producer Martin Matiske averages a new release under his given name every few years, there was a long stretch of time in which sightings of his Blackploid alias were much more rare. After dropping an EP for Frustrated Funk in 2006, fans found further material hard to come by over the next decade or so. However, Matiske has reinvigorated Blackploid in recent times, with the project making a few compilation appearances and dropping a couple of EPs across 2020.

That run now culminates inCosmic Traveler, a four-track affair which marks Matiske's debut appearance on Sheffield's Central Processing Unit. Given the long wait, it's great just to see Blackploid back among the fray once again. But for the project's CPU curtain-raiser to be an EP of such high-quality techno jams? Now that really is spoiling us.

Cosmic Traveler's title nods towards the sort of stargazing aesthetics one finds in classic Detroit techno. However, while there are undoubtedly ties to the Motor City in this music, the record ultimately steers less towards spacious atmospherics and more towards the taut, lean machine-funk of seminal practitioners like Dopplereffekt.

Matiske sets his stall out from the off. Opener 'Electric Engine' begins with a run of stiff-necked 808 kicks before hissing hi-hats, a grizzly bassline and all manner of futuristic sounds enter to warp the tune into hyperspace. Following cut 'Night Drive' repeats the trick of 'Electric Engine' but adds a pleasingly dinky synth lead in order to nudge itself slightly towards bleep-techno territory.

The two cuts on Cosmic Traveler's B-side are pure late-night goodness, a pair of mid-set heaters primed for dark basements. 'Pleasure Activism' delivers on the promise of its title and then some, pushing the Kraftwerk template to extremes by bringing a load of gnarly synth lines into play over a wobbling acidic chug. Finally, EP closer 'The Race' is reminiscent of both the twisted machine-funk of Gerald Donald's Japanese Telecom project and the playful modern evolutions of artists like fellow CPU high-flyer Jensen Interceptor.

The resurgence of Martin Matiske's Blackploid project continues withCosmic Traveller, an EP of timeless electro-funk and techno.

FFO: Dopplereffekt, Japanese Telecom, Jensen Interceptor, Cardopusher

First album in seven years from Maple Death Records founder James Jonathan Clancy (Italy/Canada), and the first under his birth name following previous ensembles His Clancyness (Fat Cat, Maple Death) and Brutal Birthday (Total Punk, Improved Sequence). In the interim between those projects and this latest, ‘Sprecato’, Clancy has refined and honed his vision —steadily and carefully drawing from a host of disparate influences to create a new kind of singer-songwriter album that bridges the divide between cosmic loner-folk, proto-ambient music, and the epic, intricately arranged world of vintage Italian soundtrack music. For ‘Sprecato’, Clancy has assembled a transnational cast of renowned guest collaborators; including Stefano Pilia (co-producer/guitar/modular/synths/bass), Andrea Belfi (drums), Enrico Gabrielli (flutes, PJ Harvey/Calibro 35), Francesca Bono (piano, Bono/Burattini) —while the core of the band features Dominique Vaccaro (guitars, J.H. Guraj), Andrea De Franco (synths, Fera) and Kyle Knapp (sax, Cindy Lee/Deliluh).

Written and recorded between London & Bologna, the initial spark for the album was to be found in the book length work ‘Gli Sprecati’ (Canicola Edizioni), by visionary Italian comic’s artist Michelangelo Setola, who ultimately provided Clancy with the graphics

that grace the album’s cover and overall visual sensibility. Something of Setola’s near apocalyptic pastoralism runs through the record, even as Clancy’s themes grow beyond the seed they’d originally planted. Drum machines that sound as if they’ve been excavated from the earth meet detuned pianos and guitars; bucolic traces of synths stretched beyond all reckoning. While the band is both loping and epic —with shades of Pentangle’s Terry Cox in the live drumming in particular —there’s a new emotional depth and

‘WAVES’ will make you dive deep in bodies of water, making you get lost in a mixture of downtempo, modern music with sounds of nature and passing time. The dualities of sounds were gathered on a sampler and used to produce beats, rhythms, deep reverbs and delayed echoes via a vintage drum machine.
The opposites of nature are felt through this release, side A containing Cosmic dance tracks and side B relaxing tunes to meditate to at any time. Take it easy and enjoy the slow, lapping atmosphere.

With lush seascape artwork on body and case insert, two inserts with download code.

Repress!

Little Dragon return with a spectacular second album offering in August, a pulsating electro pop epic that Prince would be proud of (only fronted by a beautiful Swedish lady with a sultry voice). A bold and surprising side/two step onwards from their self titled debut, released two years ago to great acclaim especially among specialist circles. Machine Dreams, with its nagging hooks and gloriously infectious tunes, should finally see the band break out into the mainstream.

Recorded in their home city of Gothenburg, Machine Dreams is a gigantic leap on from previous material but still maintains a distinct sound that can only be Little Dragon. Be it Yukimi s warmly inviting vocals, Erik s dextrous drumming, the vast array of synths and bleeps created by Hakan or Frederik s bubbling bass lines, together they don t sound like anything else around right now. The move towards a more electronic sound was a conscious one, as Yukimi explains; The title Machine Dreams seems obvious. These days, humans seem more and more like machines, and as technology evolves, machines feel more human and it becomes fuzzy and beautiful and science fiction-ish. We feel dependent on our machines to create and live, and their sounds reflect us .

Album opener A New breaks us in gently with a single whirring note on the synthesiser, an almost alien sound that gradually morphs into a slow, thumping bassline. Yukimi s vocals flow alongside Hakan s assortment of sound effects interspersed with militaristic drums breaks. A magical opener that sets the scene and seems to sink into itself, taking us with it, until the pace is swiftly ratcheted skywards with Looking Glass , the massive snare, crisp driving beat and experimental synths revealing the band s current penchant for the 80 s. This influence continues apace into stand out track My Step . Utilising a solid drumbeat that nestles next to jagged and playful synthlines, the track breaks down into motorik propulsion with a scuzzy techno bassline that Yukimi works with ease.

Upcoming single Feather finds Yukimi s voice at its most detached and blaze, seemingly nonchalant yet magnificently seductive. Backed by Hakan s keyboard atmospherics, the song creates a soundscape reminiscent of Tears For Fears more reflective moods. Gradually layering more vocals, synths, echoes and reverb, it builds to a quietly psychedelic, dreamy cosmic swirl. Runabout brings forth a mini Airto style percussive breakdown at the tail end of yet another Little Dragon pop gem. Swimming bursts forth into vision with stabbing keys and reflective bass alongside yet another wonderful vocal performance from Yukimi who sings of young love and now so many years have past, my memories as clear as glass . The song is over as quickly as it started, flowing into the next miniature masterpiece in the form of Blinking Pigs

The album closes with the stunning track Fortune , which has already caught the attention of none other than DJ Shadow. It s no wonder really, as the textured melodies blend with the drifting percussion, creating a blissful sonic mood. With a smattering of drums and bass and the magic of Yukimi s voice and Hakan s electronic dynamics floating on top, it s the perfect track to end this fascinating journey through Little Dragon s brave new world.

With disparate influences from Depeche Mode to Prince, LCD Soundsystem to James Holden, Dancehall to R&B, Jazz and Soul, Little Dragon take their place among artists who straddle many genres, yet somehow create their own and in doing so create sounds that make time stop (Yukimi). Futuristic yet somehow retro, Machine Dreams sees Little Dragon achieve something timeless; that elusive pop classic.

2023 Repress

Here after a long time the first EP release on Best Record containing new unreleased music. Afrodesia project born from a close collaboration between Periodica Records and Best Italy featuring Mystic Jungle & Whodamanny.
Afrodesia took inspiration from the italian afro-movement that lasted for few years during mid-eighties expecially from those songs produced at the legendary Les Folies Studios in Milan. Afrodesia sounds balearic boogie afro and cosmic with heavy use of original past synths and drum machines programmed and played by Dario Di Pace, Raffaele Arcella and real acoustic instruments thanks to the musicians : Giulio Neri (Tenor Saxophone and vocals), Andrea Farias (Guitar), Davide Di Sauro (Bass) and the late George Aghedo (Percussion).

Taipan Tiger Girls’ third and final LP is a hypnotic, cosmic freakout that combines analogue electronics, drums, guitar and the mammoth drones of the Melbourne Town Hall Grand Organ. Recorded live at Melbourne Music Week in 2017 in front of an ecstatic sold out hometown crowd, this record marks the zenith of the short but incendiary career of an extraordinary band. An instrumental outfit with a relentless drive to experiment, Taipan Tiger Girls are composer, producer and all-round electric statesman Ollie Olsen (WhirlyWirld / Max Q / NO / Third-Eye / Psy-Harmonics), experimental drummer and synth obsessive Mat Watson (Boredoms BoaDrum / E.S.G / ULMD / Other Places), and feedback guitar droner and organist Lisa MacKinney (Mystic Eyes / Hospital Pass / Super-Luminum). On Live At the Melbourne Town Hall they are joined by very special guest guitarist Bonnie Mercer (Grey Daturas/Hospital Pass/Breathing Shrine) with MacKinney commanding the historic Melbourne Town Hall pipe organ. Live at the Melbourne Town Hall is a monument to the combined talents of a group of phenomenal musicians whose fusion created a magic elixir made all the more precious by its temporary nature. Showcasing the improvisatory prowess of the band at the peak of their powers and bolting off into the stratosphere in a thrilling surge of psychedelic expansion. GENRE: EXPERIMENTAL, DRONE, ELECTRONIC, ANALOGUE SYNTH, LIVE, PSYCHEDELIC, IMPROVISED Released in conjunction with Heavy Machinery Records

More than 3 years after the release of his last EP "Dance Machine", DJ Reiz is coming back with "No Man's Land", cruising between Trance, Hard Trance and Acid.

The opening track "Break A Leg" gives you the tone with a rolling bassline punctuated with Acid notes and cosmic gates to completely break up to an old school Dance line.

The following and main track of the EP "No Man's Land" will take you back to a nostalgic trip through a melancholic melody, evolving on retro stabs over the tune.

In 3rd position, “Soleil Froid” (Cold Sun) is a track telling a story beyond the music.

The chords are inspired by the iconic "Laura Palmer's Theme" by Angelo Badalamenti, the composer of the original soundtrack from David Lynch’s series « Twin Peaks ». Through the melancholic melody, the music gently encourages the listener to dig into their imagination.

DICA is completing the EP with his own vision of "Break A Leg" in a powerful Acid Trance remix.

Supported by KI/KI, MCMLXXXV, Daria Kolosova, Bad Boombox, Eargasm God, Amazingblaze & more

'Tema di Susie' is one of the main themes from the soundtrack composed by Alessandro Alessandroni for the 1976 Italian noir Sangue di sbirro, known in English as Blood and Bullets, as well as Knell, Bloody Avenger (the Susie in the original title refers to the female love interest of the film's hero, who is on a mission to seek revenge for the gangland murder of his policeman father).

At once sweet and sentimental, haunting and melancholic, 'Tema di Susie' stands out from the other tracks in the film, which are more action oriented. Like the rest of the score, however, it exemplifies the way in which, during the '70s, Italian film composers created their own version of the sound of American blaxploitation cinema, with its groovy blend of funk, jazz, and soul. It is no coincidence that the film's director, B-movie specialist Alfonso Brescia, specifically requested music in the style of Shaft, the iconic film that defined that sound in 1971.

Though seemingly simple, 'Tema di Susie' is a perfect example of Alessandroni's style – in particular his unique ability to effortlessly blend groove and melody, funk and feeling, into one musical piece. So, we invited different artists with different backgrounds, influences and approaches to bring their individual take on this elegant and now timeless tune.

Neapolitan duo Fratelli Malibu have taken Alessandroni's melodic theme and woven it into a mesmerizing tapestry of rhythmic beats, world percussion and ethereal atmospheres. Drawing inspiration from funk/Afrobeat, synth-pop and Italo-disco, they've conjured a psychedelic-tinged, afro-cosmic groove that's bound to transport you to another dimension.

As the music unfolds, you'll feel like you've stepped into a vibrant, fantasy world. The breaks, outro, and intro are woven with a psychedelic thread that leaves you yearning to return once the final note fades away. And that's not all – they've injected an irresistible pop sensibility into the track with the use of drum machines and synths. The result? A rework that not only amplifies the dreaminess of the original but also seamlessly marries the past with the future.

We love the track so much that we decided to double the fun with a vocal retouch version, courtesy of the Italian funk/soul collective Banda Maje. Their vocalists, Chiara Della Monica and Cristina Cafiero, elegantly infuse cinematic and Balearic vibes into the mix, paying a wonderful homage to Fratelli Malibu's exquisite arrangement.

'Tema di Susie' is one of the main themes from the soundtrack composed by Alessandro Alessandroni for the 1976 Italian noir Sangue di sbirro, known in English as Blood and Bullets, as well as Knell, Bloody Avenger (the Susie in the original title refers to the female love interest of the film's hero, who is on a mission to seek revenge for the gangland murder of his policeman father).

At once sweet and sentimental, haunting and melancholic, 'Tema di Susie' stands out from the other tracks in the film, which are more action oriented. Like the rest of the score, however, it exemplifies the way in which, during the '70s, Italian film composers created their own version of the sound of American blaxploitation cinema, with its groovy blend of funk, jazz, and soul. It is no coincidence that the film's director, B-movie specialist Alfonso Brescia, specifically requested music in the style of Shaft, the iconic film that defined that sound in 1971.

Though seemingly simple, 'Tema di Susie' is a perfect example of Alessandroni's style – in particular his unique ability to effortlessly blend groove and melody, funk and feeling, into one musical piece. So, we invited different artists with different backgrounds, influences and approaches to bring their individual take on this elegant and now timeless tune.

Neapolitan duo Fratelli Malibu have taken Alessandroni's melodic theme and woven it into a mesmerizing tapestry of rhythmic beats, world percussion and ethereal atmospheres. Drawing inspiration from funk/Afrobeat, synth-pop and Italo-disco, they've conjured a psychedelic-tinged, afro-cosmic groove that's bound to transport you to another dimension.

As the music unfolds, you'll feel like you've stepped into a vibrant, fantasy world. The breaks, outro, and intro are woven with a psychedelic thread that leaves you yearning to return once the final note fades away. And that's not all – they've injected an irresistible pop sensibility into the track with the use of drum machines and synths. The result? A rework that not only amplifies the dreaminess of the original but also seamlessly marries the past with the future.

We love the track so much that we decided to double the fun with a vocal retouch version, courtesy of the Italian funk/soul collective Banda Maje. Their vocalists, Chiara Della Monica and Cristina Cafiero, elegantly infuse cinematic and Balearic vibes into the mix, paying a wonderful homage to Fratelli Malibu's exquisite arrangement.

The cosmic force that is Brighton"s Wax Machine return with The Sky Unfurls; The Dance Goes On, a new album of lush, ambient and psych-toned folk that expands and unfurls across 9 blissed out tracks, with Brazilian-born, Italian/English-raised Lau Ro continuing their personal journey with psychedelics and recently found obsession with water that has been heightened by a long overdue trip to Brazil.

The third album by Canterbury's own Caravan, originally released in 1971. This was the last album to feature the original Caravan line-up, before David Sinclair left to form Matching Mole with Robert Wyatt (Soft Machine) later that year. In The Land of Grey and Pink is of the defining albums of the era, deemed one of the Greatest Prog Rock Albums of All Time (Rolling Stone) and Best Cosmic Rock Albums (Q and MOJO). This reissue set features a pink and grey marble 2LP, which features live BBC live sessions tracks made available for the first time on vinyl.

Named for the rewind mechanism on the reel to reel tape machine on which the band tracked the album, Auto Locator coils up the chemical trails of ribbon binding old places and head spaces to our consciousness. Static and hiss leach between analog track layers, blurring the normal and paranormal to remind us that no memory is totally separate from a fiction - just like no drum track is totally separate from bass.

Over Auto Locator's ten songs, Del Paxton rip shit like a band entering their second decade of existence. On-the-nose opener "Freight Train Metaphor" throws listeners face first into the band's first album since 2017, with a syncopated pulse and arpeggiating guitar foreshadowing a record replete with punkish, serpentine composition. "Up With a Twist," the album's lead track, deals in Del Paxton's crashing punk vibrance, through which the band explores and laments the uninspired architecture of American sprawl.

Second single "Chart Reader", whose origins trace back to a psychedelic dream inspired by Wayfaring Strangers: Cosmic American Music, sees the trio dabbling in emo Americana, even featuring a nod to John Denver's "Take Me Home, Country Roads." Such unashamed references abound throughout Auto Locator, which takes further inspiration from bands like Mock Orange, Third Eye Blind, and Jimmy Eat World, all of whose influence can be heard on "Palpitations" and third single "Spiritual Gymnastics."

Edinburgh (via Bristol) producer, DJ and balearic psychonaut takes us on a playful exploration through his cosmic arboretum on the Memory of Stolen Bush EP, with four of his own tracks and a very tasty remix from Berlin’s Glenn Astro. Café Lotito draws us into a world of atmospheric chug with dreamy whistles, rich, saturated pads and sneaky acid lines sitting atop a tasteful break and a steady, thudding kick. Gottlieb's Lament drops the tempo further, into a shimmering, melancholic lagoon of dubby psychedel ia, with marimbas and melodicas dancing amongst the mournful, lysergic synth work.
The B side steps straight into the dance with the EP’s namesake In The Shadow Of The Oleander, a pulsing, acidic drum machine workout, bustling with percs and bleeps and cru nchy rhythms, all set to a backdrop of soaring pads and drifting harmonics. Glenn Astro’s remix of Oleander pumps things up into an epic, maximalist realm with huge synth lines and a squarely pounding rhythm section turning the playful roller into a peak ti me thumper. Finally the digital bonus track Memories of Hare uses surrealist snippets of colour to pay tribute to a much missed former Bristol haunt, dropping the tempo back down and putting melody and atmosphere front and centre, with a ghostly marimba l eading the procession beside staccato guitars and shimmering synths unknown

DJ Bone is a Detroit titan. He plays on the decks with high energy and next-level skill that few can match - which is why they call him the Terminator. He pulls no punches in the studio either, crafting all killer no-filler club weaponry as exemplified here by his new album Further. This is top-level techno on his own Subject Detroit label with lashings of machine soul, futuristic ideals and evocative atmospheres. Some cuts sink into deep inner grooves and take you on a mindful trip and some are more wildly expressive, but all of them bang in the club.

Dan Lacksman is a Belgian electronic music pioneer who co-founded the Electro Pop Dance formation Telex and is credited for their classic 'Moskow Diskow.' He also worked under the Transvolta name but put out only one single, 1978's impossibly hard-to-find classic 'Disco Computer.' Dan himself has carefully remastered the original for this special 12" reissue. It's still a retro-future sound all these years later with the signature talk box vocals and sleek drum machines under cosmic synths. On the flip is a long version of 'You Are Disco' which is a similar vibe but with a slightly more lively groove and vocal. Two serene dancefloor gems by any standards.

Essential South African jazz, funk and soul - An anthology dedicated to the legendary Black Disco ensemble. Distilling the group’s recorded output into a single commemorative document, Discovery 1975-1976 compiles cuts from the lauded Night Express album alongside rare gems from the group’s long-out-of-print first and third albums. The newly remastered selection features previously unissued single versions of the mighty “Night Express” itself, a funk juggernaut with piercing flute whistles and rapturous sax cries as well as “Dawn” from the album Black Disco 3, a trippy, flute-driven awakening of soft light and gentle colours.

With a Yamaha organ and a dream, Pops Mohamed started his musical journey in the mid-1970s as the bandleader and composer of Black Disco, creating a hip melange of chill-out jazz with futuristic drum machine sounds and spiritual overtones. His cosmic organ transmissions were accompanied by two of the most sought-after session players on the South African scene, the sax and flute wizard Basil Coetzee, who had risen to fame in 1974 as one of the soloists on the hit “Mannenberg,” and Sipho Gumede, the young bass prodigy who was already rubbing shoulders with the old guard at the outset of his career. Backed at first with polyphonic beats from Mohamed’s electric organ and later taking on a drummer, Black Disco created a signature sound and a trilogy of innovative albums in a burst of studio creativity between 1975 and 1976.

On the heels of their epic various artists compilation, As-Shams Archive have produced a doozy of a compilation of some very essential South African jazz.

Organic Analogue makes it to double figures with a sublime new split EP from HVL and Gacha Bakradze. The A-side is opened up with 'Infinitesimal', a stripped back and icy bit of minimal dub techno, then 'AgneffC01' gets more rhythmically physical with scattered beats and hits and 'Collective Genius' is tense, kinetic techno with a real sense of paranoia. 'Routes' is the first B-side joint with Gacha Bakradze bringing some direct but economical drum machine grooves under meticulous percussion and then 'Chain' layers smeared cosmic pads with twitchy details and 'Widow' ends with a heavy heart.

Jay Tripwire has popped up a lot recently, which is always going to be good news for fans of those freaky late-night tech sounds that he is so well known and loved for. He kicks off Serenity's fifth release here alongside Jehr on 'Magic Man', a deep cut underlapping drum funk and lots of whirring machine sounds.

Parisian space techno talent Cyberduck then takes care of both tunes on the flip - firstly 'Arzach', a deep and dynamic cut that hurriedly scans a vast cosmic world with silvery drums and lush melodies. Then 'Cerclon' gets a little more edgy, with dark and nagging baselines moving up through the mix as the crisp, well-swung tech drums power along.

Tibi Dabo unveils his long-awaited full-length ‘Vista’ on Crosstown Rebels this September, with the kaleidoscopic nine-track album showcasing his diverse and rich sound palette.

Born in Barcelona, DJ, producer, and musician Tibi Dabo has proven himself adept at mixing the classic and the cutting-edge. From his early days touring Europe and the US with a band in which he plays the drums, the foundation for his experimentation for his work within the electronic sphere, he has since grown to become an exciting and much-loved DJ and producer, adding to his growing reputation as a Crosstown Rebels favourite. Stepping things up once more, his spirited new album ‘Vista’ is a perfect fusion of futuristic synths and compelling house grooves, all of which are masterfully designed and full of character. Following three well-received singles across the summer, the full-length is a complete sonic statement that explores deep house, leftfield sonics and widescreen cosmic vistas.

Opener ‘Water Is’ layers up fresh sound sources and playful melodies on nimble basslines that soon make you move. ‘Somewhere Beach’ is then a silky groove layered up with diffuse pads and aching synths that convey real romance, while ‘Licht’ is another masterful display of original drum programming with bursts of cosmic synth and elastic bass. ‘Useless Ideas’ then gets deeper on more low-key drums and bass. Instead, the focus is on the deft percussion and well-treated vocals that swirl and smudge around the mix to a woozy late-night effect.

The elegant ‘Mundo’ channels the machine soul of early Detroit techno, before ‘Mangabeira Manifesto’ featuring Dudu Bongo layers up wonky drums and bass with curling, soft acid sounds and a playful vocal line. ‘Triple Frontier’ picks up the pace and heads out on a high-speed cosmic house journey, all before ‘Overture’, another far-sighted astral trip with starry melodies and rich, rubbery bass, closes the package in fine style.

An expressive and adventurous yet coherent long player with a range of moods, feelings and grooves taking you to all corners of the house world, ‘Vista’ showcases Dabo’s most in-depth project to date and an album which provides the perfect platform for him to display his rich sonic universe.

The invasion from outer space continues! Timothy J. Fairplay plays regular live shows at festivals like Digital Tsunami’s Camp DT or the Intergalactic FM Festival in The Hague. His new EP Why Are They Here? is the follow-up to Chariots In The Sky on Archaic Future Sounds that was supported by Lauer, Jennifer Cardini and Curses! Cosmic and cinematic Acid House produced only with synthesizers and drum machines. Analog mastering by Grey People.