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US based label, Lurid welcomes Spanish producer Señora for a stunning new double gatefold album entitled ‘Fósil’ that showcases his unique take on hypnotic rhythm, found sounds and sampling.

Señora became a firm favourite with the likes of Andrew Weatherall (R.I.P.) and Sean Johnston for his rugged grooves and innovative approach to production, melding the sounds of machines, animals, electricity and other weird noises in a flurry of FX and sonic experimentation. He debuted on this label in 2017 and has also landed on Shango Records, Night Noise and LNDKHN since then. Now based in Berlin and a regular at clubs and festivals round Europe he offers up a debut album that features nine stunning pieces that ”aim to reflect on the next evolutionary steps of the human race".

The otherworldly ‘Preludio: Ocaso Hominido’ kicks off with a swampy bass sound overlaid with cosmic details and downtempo drums. It’s a brilliantly mysterious opener than leads on to ‘Antropoceno’, a spacious soundtrack with bubbling synths, undulating drums and plenty of sonic details that paint a picture of a starry night sky up above. The tumbling drums of ‘Segundo Sexo’ sink you into a dubby reverie with bird calls and wordless vocal sounds mixing with percolating percussion.

The excellent ‘El Elefante Que Siempre Andaba Solo’ is a perfectly flabby and chugging dark disco cut with bright chords and scintillating drum work while ‘Código y Marfil’ is a futurist landscape in outer space with modulated synths and deft astral details making it colourful and cinematic. This most escapist of listens then plays out through the supple bass warbles and spacecraft sound effects of the entrancing ‘Papaver Somniferum’ and churning drums and twisted bass funk of the brilliantly slow burning ‘El Último Discurso’ before closing on ‘Fuga: La Gran Desconexión’ a downbeat offering with myriad pads circling the skies above a deeply rooted rhythm.

This is a hugely atmospheric album of perfectly realised inter planetary sounds, the whole thing taking you on a cerebral and evocative journey far away from here.

Supported by: Tim Sweeney (Beats In Space), Dr. Rob (Ban Ban Ton Ton), Balearic Mike, Elena Colombi (NTS), Andrew Wowk (Decoded Magazine), Faze Magazine Germany, DJ Mag Espana, Future Music UK, ClubbingSpain, and others.

Zehn Jahre haben die Fans auf ein neues Album der millionenfach gestreamten Gothic-Metal-Band Lake Of Tears gewartet. Das neue Album „Onimous“ umhüllt den Hörer mit wohliger Einsamkeit in gewohnt schaurig-düsterer Manier und ist ab dem 19.02.2021 erhältlich.
Mit ihrer neuesten Veröffentlichung haben LAKE OF TEARS den perfekten Soundtrack für die kurzen, grauen Tage und langen, kalten, dunkle Nächte erschaffen. Nach fast einem Jahrzehnt des Schweigens nimmt uns Daniel Brennare, Kopf und Herz der schwedischen Pioniere der dunklen Musik, endlich wieder mit in seine sinistre Gedankenwelt.

Zehn Jahre haben die Fans auf ein neues Album der millionenfach gestreamten Gothic-Metal-Band Lake Of Tears gewartet. Das neue Album „Onimous“ umhüllt den Hörer mit wohliger Einsamkeit in gewohnt schaurig-düsterer Manier und ist ab dem 19.02.2021 erhältlich.
Mit ihrer neuesten Veröffentlichung haben LAKE OF TEARS den perfekten Soundtrack für die kurzen, grauen Tage und langen, kalten, dunkle Nächte erschaffen. Nach fast einem Jahrzehnt des Schweigens nimmt uns Daniel Brennare, Kopf und Herz der schwedischen Pioniere der dunklen Musik, endlich wieder mit in seine sinistre Gedankenwelt.

Children Of Tomorrow will celebrate soon its 10 years anniversary. The label was created by Emmanuel Ternois back in the day and being joined by Arnaud Le Texier in 2011. Since then they focused on Techno producing amazing artists, to name few: Terrence Dixon, Zadig, Tensal, Antigone, Oscar Mulero, Jonas Kopp, Samuli Kemppi etc... Children Of Tomorrow is now presenting the first album from Arnaud Le Texier. After almost 30 years Dj-ing around the world and almost 20 years producing. Signing many releases over the years and always busy delivering dance floor releases, it's been a long wait to finally get an album from ArnaudOn his first album we can feel that he wanted to tell a story and to express something deeper with his production experience. There is a different variety of Techno that stretches from ambient / broken beat / hypnotic / raw Techno along with subtles grooves, wondrous atmospheres & sonic textures. On A side the album opens with Dusk, an ambient atmospheric mid-tempo track with sonic sounds that is a perfect intro.Pattern 2 starts with drones and blip sounds and a broken beat groove follows with a pad that sounds like a voice coming from the space. The track ends with some modular click sounds that make the whole track clever. Followed by the album title Granular Therapy, a deep techno track with modular bass line and melancholic pad. A perfect track to play in after or to warm up a party.The B Side is more dedicated to the dance floor with Black Nympheas that is a proper dark modern techno with a grinding bass line and magic drones. A simple beat makes the track evolve in a nice way. Blade Pass frequency is 4/4 effective Techno with a 909 kick, a syncope acid bass line and a pad that sends you to another dimension. It is a powerful track but with a sense of deepness and sensibility that Arnaud can achieve sometimes. This side closes with Binary Sun Dawn which is an ambient track with melody that has a jazz feeling mixed with dark atmospheres, sonic drones and water drops. The C side opens with Mono Driver, a minimal track with a little synth that stays until the end repetitively until it makes you travel and lose your mind. Deep and dance floor at the same time.

Then Snapper is a more percussive track with some shinning bells and a grinding modular bass line.

The last track Virgo Consortium is a cosmic broken beat with dark atmospheric drone, simple bass and phasing efx. The D Side starts with Midi overdub which is a beauty. A mix between ambient and broken beat. The pad has the deepness that transports you somewhere else with an angel choir on top. The beat is spacial and groovy at the same time with smart high hats. This reminds Arnaud's past ambient production but with a modern approach. Surely a special track of the album.

Hideous Engine is more dance floor with metallic bass line and 4'4 beat going towards a sonic pad that closes the track.The last track Dawn is ambient with drones and blip sounds and an acid bass line modulate. A perfect end of the album.This album is an accomplished journey that makes you dance and travel from dusk till dawn. Arnaud Le Texier shows a coherent vision and illustrates his vast diversity in the techno world. Hopefully we won't have to wait 20 years to get another one.

Research Records continue their voyage into Elite Beat's extraordinary back catalogue with their second compilation Selected Rhythms Vol. 2. The chosen tracks are lifted from the Portland collective's three-part cassette series Casual Rhythms; a treasure chest of meditative and genre-defying instrumentals where percussion and dub accents prevail.

Remastered for the first time on vinyl, Selected Rhythms Vol. 2 adds to the immersive and interstellar tapestry of Elite Beat. The compilation delves deep into the healing and hypnosis that characterises the collective. For those who were inevitably left looking for more withSelected Rhythms Vol. 1, here's a no-brainer.

Coma World is a new collaboration between Maxwell Hallett, a.k.a. Betamax (The Comet Is Coming/Soccer96) and Pete Bennie (Speaker's Corner Quartet) bringing together their potent chemistry in an intoxifying debut LP. Betamax drives the duo with his signature 'rhythmadelic' drum rapture as Pete elegantly pummels bass tones into an assortment of wonky pockets. Both layer on a blanket of electronic dark matter to create a sonic womb-like world laid out for the brave listener to explore. This is dub and jazz reduced to the raw fundamentals of experimentation, trance and spontaneity. Inspired by a friend's recollections of being in a coma, the duo delve through the mysteries of consciousness and return with a striking array of colourful sound artefacts. From Cosmic flushes that wouldn't sound amiss on a record by Byrd Out collaborator the late, great Andrew Weatherall, through to drowsy groove meditations and explosive eruptions, the album plays by its own rules but demands attention. The two artists sling their dirty funk through cold clouds of darkness leaving psychedelic trails of bleeping fractal spillage. The sonic experimentation is distilled through analogue studio relics followed by a rugged 'all hands on deck' live mix down performance from 1/4" tape. The result is a spontaneous collection of sonic debris that will be administered to willing participants through 12" vinyl format.

Steven Rutter aka B12 is one of techno’s most influential artists, famed for many releases on the iconic Warp Records including "Electro-Soma" that defined what is now the deep techno genre.

B12 was originally a duo before Steven Rutter took over the alias as a solo artist, but after a string of new releases on labels like Soma and Delsin, he decided to start producing under his own name.

Deciding it was time to look to the future with a new lease on life, Steven Rutter kept his sound the same, but shed the skin of B12 to mark a new point in his musical career.

Battling with personal demons, the B12 sound had become dark and introverted, and the Steven Rutter style keeps that same moody atmosphere, while adding upbeat rhythms and more jovial chord progressions without losing focus of the core sound that’s made his music so influential.

In addition to a numerous EP, “Riddle Me Sane” is the third album Steven Rutter has done under his own name, and it's in the timeless B12 style that's adored by his fans in all four corners of the world.

Cosmic melodies and sci-fi influenced textures with dystopian sound design, the thought provoking album paints pictures of alien landscapes, while its down tempo grooves also have the key elements needed for the dance floor.

Comfortingly familiar for those who love the classic B12 style, it also marks a distinct turning point in the sound that Steven Rutter has been looking to focus on.

Tracks like “Techno Prisoner” perfectly embody the style this release is aimed to purvey, but this masterpiece has been expertly programmed to play as a continuous piece of music rather than a selection of solo cuts.

Herself is the moniker of multi-instrumentalist Gioele Valenti, also known as JuJu in more recent years (Fuzz Club) or as part of the psych project LAY LLAMA'S. Herself's work was described by critics as the harmonious meeting between Sparklehorse, Gravenhurst and Will Oldham. Valenti's songwriting takes inspiration from low-fidelity apocalyptic folk, crooning and pop; boasting a rather extensive discography. Well rooted in tradition, his music often ventures in the realms of subtle experimentation. His new album "Rigel Playground" prepares the listener for a journey through cosmic folk, in which traditional Brit Pop flirts with an alt vein, as if the Beatles and Sparklehorse would meet the torments of Nick Drake and the intimacy of a Mike Scott. Continuing a long list of illustrious collaborations (Amaury Cambuzat of Ulan Bator, John Fallon of The Steppes,Capra Informis of GOAT, among others), the prestigious guest on this record is Jonathan Donahue from MERCURY REV, a group of absolute prominence in the international indie panorama, which in addition to having lent his voice to the single "The Beast of Love" - as Herself says - informs the essence of the entire record. Not surprisingly Mercury Rev chose Herself to support them during their Italian tour last year.

Just when you thought every loner folk genius had been outed/discovered, hyped, and pontificated about, a new/old challenger lurks in the murky depths of time...and Maine. Sure, you have your Skip Spences, Dave Bixbys, Stone Harbours, and Perry Leopolds already, but have you heard the lonesome sound of Bill Stone? Well, don't feel bad or "unkool", hardly anyone has--unless you lived in rural Maine in the early 70s and grabbed his barely-ever seen LP in the day. Titled simply Stone, Bill's mysterious album was pressed in the micro-est of quantities, covering wistful, airy psychedelia on par with the UK's Mark Fry's classic Dreaming of Alice, while still evoking the earthy, evening-hour melancholy of Leonard Cohen or Tom Rapp. Stone was also especially influenced by one Donny P. Leitch, one Robby Zimmerman, and much trad folk, while growing up in his hometown of Old Town, Maine. Stone started out playing in a few small folk ensembles while also moonlighting with occasional solo gigs, finally recording this lone platter in 1969 in a pottery studio (!?) on a 2-track Panasonic tape recorder in Boothbay, Maine (where he says, they competed with a cat in heat). The LP features Tom Blackwell/Bill Stone-guitars, Arthur Webster-bass, Bob Blackwell/Skip Smith-drums, Bill/Beth Waterhouse on vocals. It also seems cover artist Doug Bane went on to become an acclaimed cosmic painter--committing loads of animals, psychedelic scenes, and Native American portraits to canvas, who knew? But we digress--anyhow, seems Stone's solo career slowed down after marriage hit, and he transitioned to playing covers in bars for cash, but after acquiring a masters and doctorate in education, he moved into the teaching walk of life. Bill published books and articles on subjects as diverse as school counseling and chaos theory--but now retired, he's returned to music, even recording a new album of originals and traditional numbers, based on his experiences as a cab driver (another wrinkle in the Stone Saga we must hear more of someday - but for now check out). So with Bill back in action and the world slowly crawling out of a disillusioning haze, now seems like the perfect time for a first-time-ever reissue of this incredibly rare, happy-sad, gently delicate, Stone(d) classic of a downer song-cycle.

LP Ltd edition YELLOW vinyl (300 copies), DL card + BONUS Fire Records Compilation CD. New album from kosmiche folk-rock quartet Modern Studies on LTD edition Yellow vinyl. A glorious compendium of haunted disco hallelujahs, mercurial krautrock chorales, cosmic pop adagios and euphoric, resilient, anthems. 'The Weight of the Sun' sees principal songwriters Emily Scott and Rob St John further their warm, esoteric field studies with Pete Harvey and Joe Smillie, as previously reconnoitred on 'Swell To Great' (2016) and 'Welcome Strangers' (2018). "The exact point where Fairport Convention meet Jim O'Rourke at a remote Scottish railway station."

Melbourne-based violist/violinist and orchestral composer, Tamil Rogeon, returns to his jazz roots on his soaring and celestial new album, Son Of Nyx coming soon on Greg Boramans' new imprint Soul Bank Music (part of the !K7 Music Group). From conducting the Melbourne Symphony Orchestra at the 2500-seated Hamer Hall to writing and co-producing his first full-length album in three years and one of the very few viola-led jazz LPs of our time, Rogeon joins forces with several stars of Melbourne's thriving and acclaimed jazz scene (Allysha Joy, Sam Anning et al.), channeling the cosmic energy of Yussef Lateef, Herbie Hancock and the like. Whilst often not an instrument typically associated with jazz, violin greats from Jean-Luc Ponty, Stéphane Grappelli to Billy Bang, have gone on to become iconic figures in the jazz canon, yet little can be said for the viola. Often considered the older sibling to the violin, the viola is larger in size and the tone is a lot deeper, something Rogeon was keen to make use of on Son Of Nyx. "I didn't want to make a bebop record. I wanted to make a modal jazz record and there just aren't that many on viola. I wanted to speak with a heavier voice, more akin to a tenor saxophone. The viola is darker and thicker. It speaks slower".

Hot on the heels of our tentacular project "The Most Famous Unknown", Planet Phuture is proud to welcome rising French talent Cuften to the fold. A most fitting match for PP's phuture-facing vision, Damien Peltier has been pushing some of the finest techno around over the last couple of years, landing a handful memorable cuts via the likes of Parisian label Tripalium and his own imprint, Purusu. Cloaked in dim-lit atmospheres and open-ended post-apocalyptic narratives, his debut solo 12" blends in all of the elements that made his sound stand out from the crowd of releases coming up these days - traversed by dogged primitive rhythms and reassessed 303-infused Detroit'isms, but also stamped with his signature no-frills rave elegance.

Speeding up the cosmic highway like Deckard roams San Fran's neon-splattered alleys on the hunt for replicants, Cuften takes us on a full-immersion journey into dystopian electronic soundscapes. Full-beam on, "Solar Ashes" has us drifting amidst ruins of a devastated city - its lysergic bass languidly threading its way across brutalist concrete facades and cold ember set for reignition. A more martial affair, "The Black Rain Order" pulls out the rattling drums, slo-boiling arpeggios and moebius-strips of wistful acid to score a supremely tense crescendo, both optimally tasted on and off the dance floor.

Moving up closer to the free-spirited vibe of the '90s open-air raves, "Rise Of The Neo-Humans" unleashes a baroque firestorm of sucker-punchy toms and hyperventilating shuffle, woven against an endlessly expanding corolla of hallucinogenic shapes and fluttering harmonics. Sinking further deep into all-dark dubby grounds, "Lasttt Batttle" extrudes its obsessive melody out a thick gangue of squelchy chords and bleepin' engineering to form the kind of brain-washing hybrid pumper that'll roast your last remaining neurones. Trouble-brewing isn't over though and the droney "Kjhfskjoize" shall take you to places unknown through eleven minutes of envelope-shifting shamanism, thinking noise bake-off and gravity-defying arrangements. Bend your mind.

Hailing from Buenos Aires, like a massive tentacular burst of lightning, electrifying everything and everybody along their way, SUSPENSIVOS INFLAMABLES since 2001, have been blasting stages and dancefloors across south america with unprecedented sonic and ultra sonic power. Flowing unobstructed between lavish dubs and feverish psych punk rock, this 8 member ensamble performs live submerged on a visual psychedelic orgy of self designed animations and video footage projected onto themselves. This new EP was composed, performed and recorded from their houses in the middle of Quarantine and Social Isolation.

Repress of the self-titled debut album. Their self-titled debut album is an instrumental bluesy heavy rock with no DOOM taste. A lot of improvised double guitar solo and a very special groovy rhythm section.
The release got a real unexpected awesome response all over the world. All the tracks are 100% original, except the cover of the blues classic "Going Down".

BIOGRAPHY:

"Sonic Flower" were formed as a side project of "Church of Misery" in 2001. Tatsu Mikami (bass) and at that time Church's guitarist Takenori Hoshi (guitar on Church of Misery's 2nd album "The Second Coming"), teamed up to play more bluesy & non Doomy taste instrumental Heavy Rock. They were influenced by famous 70's heavy rock bands like CACTUS, GRAND FUNK RAILROAD, GROUNDHOGS,SAVOY BROWN etc.

Soon female guitarist "Arisa" and drummer Keisuke Fukawa joined the band. In 2003, they released the self titled debut album "SONIC FLOWER" on Japanese Heavy rock label "Leafhound Records". All instrumental bluesy heavy rock and improvised doubleguitar, they got a tons of good response from all over the world. They also played some shows as support for some foreign band's Japan appearance like Electric Wizard, Bluebird (Amen's side project), Acid King etc.

In 2005 they went to studio for new recordings. At that time the band has some problems and after the recording quit. So this recordings were long years sleeping in the vault. Totally unreleased studio materials. In 2018 Tatsu decided to re-form the band. He has already tons of new songs. This time he teamed up with old Church singer and his old friend. A new album is in progress and will be released in 2021.

Nach Crazy Rhythms Of Mata Hari, Shake Your Bones, dem Cool Cat Club und Born To Hula! Folgt nun der 5. Teil der DJ-Set Serie auf Stag-O-Lee. Wie auch bei den Vorgängern handelt es sich hier um einen auf 80 Minuten eingedampftes DJ-Set von einem verdienten Recken der Zunft - Keb Darge. Gaz Mayall folgt direkt mit Volume 6. Linernotes: Rockabilly didn't cross my world until the early nineteen eighties at a Dirtbox weekender in Bournemouth, until then I was a pure northern soul boy. I didn't really get stuck into collecting the stuff until a decade later, but when I did what a wonderful world of tunes opened up to me, and I went wild on it. I was very lucky to be doing a record stall in Camden market at the time just across from Boz Boorer and Neil Scott's stall. They along with other serious collectors Dave Vickers, Barney Koumis, Cosmic Keith, Jim Fox, Dave Crozier, and many others taught me all I needed to know. I only ever made one great rockabilly discovery which none of them knew, "Little Bit Lonesome" by Charles Ross, but I was happy enough buying all their recommendations as they were all new and exciting for me. I have done several rockabilly comps before, but sadly the Philippines typhoon in 2013 destroyed my village and forced me to sell the bulk of my collection. Here are some of my favourites that I never got round to putting out before that happened. Two of the aforementioned collectors are no longer with us. I therefore dedicate this comp to Dave Vickers and Cosmic Keith who both had a huge influence on my life and my musical taste.

Floofy - An ear-bugging flute, a huge Moog bassline and cosmic synths, what more do you need for an ecstatic club anthem?

Charlize - Let’s add a “Spacer Woman” style handclap towards the lush pads. Rex club dance floor approved.

Lezaki - Inspired by a fond memory of a one-time festival at the polish seaside, a fusion between disco and trance elements. Long-lasting friendships will develop while you get lost in the song.

Fabrizio Lapiana continues to offer up deep musical escape from these troubling times with another expertly crafted techno EP, Cantamen, on his own Attic Music label. It features four of his own original cuts and builds on the success of his latest release, Collective Chaos, back in March.

For more than a decade, this Italian artist has been at the forefront of a techno scene that deals in deep and rolling drums, well sculpted synths and cavernous grooves that are rich in ambient detail. His Attic Music label has been at the centre of that thanks to careful A&R and always innovative releases, while he has also released on cult imprints such as M_Rec Ltd, ARTS, Figure Jams and Out-Er and many other collaborations.

Sleek opener 'Demons' is a mind melting and widescreen deep techno groove. Groaning synths creep across the face of the track as all manner of earthy and organic motifs drift by, as if you're racing through an underground network of caves. It's music for the mind as well as the body, and the hugely atmospheric 'Cantamen' is just the same - fizzing synth details and alien life forms fill the airwave with tension as the smooth and supple kick drums pound away down below.

The hypnotic masterclass continues on 'Kura' with rattling snares and harder hitting drums making you move your body before coarse claps and a majestic arpeggiated synth hook repeats up top and takes you to another level of rapture. Last of all is the fantastic 'Back Home', which has a skeletal electro groove run through with late night sci-fi pads. Its vast sense of cosmic infinity leaves you feeling floating adrift amongst the stars.

These are four evocative and cinematic techno tracks that take you into another dimension.

Terry Gross is an engrossing trio composed of guitarist Phil Manley (Trans Am), bassist Donny Newenhouse, and drummer Phil Becker. The trio are also connected as owners and engineers at Bay Area recording spot El Studio, where they began improvising together as a way to test the boundaries and gear of the studio. Their loose, organic chemistry burgeoned into a deep camaraderie and a sound both expansive and exacting. The three experienced musicians crafted their first fulllength album through the pure joy of playing together with no expectations. With the tapes rolling on their rehearsals, the band captures the exuberance of live performance and elevates those recordings through a deft use of the studio as their collective instrument. On their debut LP Soft Opening, Terry Gross channels their cosmic powers and considerable chops into a gleefully mesmerizing odyssey fit for an arena. Soft Opening took shape over the course of 2016-2019, with Terry Gross writing and refining their songs. "Space Voyage Mission" and "Worm Gear" parallel one another as sinuous jams that pulse with adamantine fervor. Each mountainous epic churns spellbinding repetition and simplicity into dizzying gallops that take hairpin turns into sinewy riffing and elysian vocal melodies. Phil Manley's guitar takes on a constellation of tones across "Space Voyage Mission" with drifting delays soaring over the Newenhouse and Becker's driving rhythm section which all succumb to frothing overdrives that spin the song into entirely new pastures. The hypnotic throb of "Worm Gear" grows all the more enchanting as Newenhouse and Becker add subtle shifts to the single-chord barrage. "Specificity (Or What Have You)" contrasts these two in its more traditionally pop-oriented structure while retaining its predecessors wide-eyed energy and delves further into the album's lightheartedyet-earnest take on sci-fi tropes from space and time travel to the singularity. As Terry Gross, Phil Manley, Donny Newenhouse, and Phil Becker are sonic scientists traversing the borderlands of rock. Soft Opening captures the simple joy of a no-holds-barred trio in stunning detail, transporting the listener into the splendor and freedom of rock.

Recorded and produced sometime, somewhere between the back streets of Hackney, Margate and Sydney, this release brings together 4 deep and diverse tracks from UK producer Mike Misiu (previously seen on Razor n Tape and Pleasure Unit among others). It also marks the maiden musical voyage of his new label Heads High.

Opening track 'Darkness Falls' floats a dramatic filtered string section over a driving dub-disco-house beat, spacey synth plucks and euphoric swells.

Track 2 'Cascade' builds on a tumbling synth bass and moody chord stabs with jazzy rhodes, strings and filtered vocals to create an infectious shuffling deep House groove.

On the B side 'For Your Love' is a bubbling psychedelic cauldron of hypnotic synths, piano lines and soulful vocal echoes which come together as a driving electro-discoid-funk jam.

Closing out the E.P. is 'Bala' is an uplifting percussive number with a vibe that transports you to an Afro-cosmic dancefloor beyond the stars.

New Jersey music man Rex Hush, privately pressed ‘Pull Over’ in 1983, it’s an outstanding slab of funky soul, great vocals, cosmic synths and a strong message.

Internet history reveals only a handful of copies of the 45 have ever been sold; along with this proven rarity there’s another treat on the flip!

Recorded at the same session, but never seeing the light of day, we present ‘Summer Breeze’, a beautiful ballad with original, thought-provoking lyrics and masterful musicianship.

Mastered from the original studio reels, these contrasting sides sound absolutely amazing.

Dexta and Crypticz are delighted to announce their long awaited 12" single, 'Together', featuring two remixes from Munich-based Danny Scrilla. Two years in the making, the project will finally see the light of day on 10th November 2017 via Diffrent Music.

A fusion of Drum & Bass, Jungle, House and Garage, 'Together' is built for the dancefloor. The track borrows vocals and breaks from the early '90s, while blending drum machines, bass samples and vintage effect processes crafted by Dexta & Crypticz.

Danny Scrilla debuts on the label with a pair of remixes. The 'Reslice', is a great example of signature Scrilla, manipulating the original parts into an exploration of dubby, half time soundsystem music. His 'Reflop', meanwhile, is a 140bpm re-think, splicing chopped up breaks and bass stabs from the original along with strong percussion lines and weird vocal edits.

Since his outing on Hospital Records in 2015, and his debut 'SE4 EP' on Diffrent Music last year, Dexta - otherwise known as Londoner Chris Royle - has released the third part in an ongoing series for None60 Recordings, honing tracks for dancefloors and stereos alike.

Somerset's Crypticz (aka Jordan Parsons) has had quite an eventful 12 months, with his 'Echo Sound EP' on Doc Scott's 31 Recordings, and more recently the 'Forever EP' Om Unit's Cosmic Bridge imprint, while evolving his club performance from a DJ set to a custom live show consisting solely of his own music and explorations in sound design. This single comes two weeks after his latest release, the 'Access You EP', also on Diffrent Music, which set a new benchmark for Jordan, refining his sound to its highest quality.

Danny Scrilla (born Daniel Pirkl) has gone from strength to strength this year, dropping a cassette tape project on Cosmic Bridge, compiled of 16 synth and hardware-led experiments. Last month Dan also released a collaborative 12" with Sam Binga called 'Weird In Munich' - a superb effort, pushing boundaries from both their usual styles - before putting out an EP for Amit's AMAR imprint in early September.

'Together' will be available as a limited 300 run of 180gsm coloured 12" vinyl, and will be officially released on 10th November 2017. An exclusive small batch will be available at the Clashmouth D&B Label Market on 28th October 2017 at Cafe 1001 on London s Brick Lane.

A lucid dream meeting of synth waves, aquatic jazz spirits and drum-triggered electronics.'Linha D'Água'translates as 'water lines', fitting for an album that traces boundaries between water and air through an echo chamber of dizzying oceanic layers and free flowing ideas.

This is not a record based on genres. It's an album that navigates through atmospheres, through explorations and discoveries, through curiosity and dialogue. The eight tracks were recorded in a single day in the studio, but it is the result of more than two years of collaborations.

Mauricio Takara and Carla Boregas are two towering figures of the Brazilian underground/experimental scene, where they provide the rhythm section for demented genre-bending trio Rakta. While that band is all ritual percussion and red-blooded passion, as a duo they're a blue-water flowing counterpoint. From the drums, Takara fires melodies and, with the synthesizer, Carla sculpts the sound. The result iscaught somewhere between abstract improvisation and propulsive rhythm. Each song's an organic layering of manipulated synthesizers and acoustic sounds; teasing new rhythms from the drum kit via MIDI (and a near-telekinetic bond between Carla and Mauricio).

Sometimes'Linha D'Água'driftsclosest to ambient music, as in the title track, in 'Mãe D'Ouro' and 'Bocca Chiusa'; sometimes it runs into free jazz, as in 'Traçado Entre Duas Linhas'. There are moments when Carla and Mauricio explore a universe of tension that comes closest to the cosmic music of 70s Germany, as in 'Rosa de Areia' and 'Constante de Distância'; in others they evoke the metallic sounds of Indonesian gamelan (on 'Execution').

Carla Boregas is a founding member of the band Rakta, which started in 2011. She co-founded Auta, a DIY space dedicated to adventurous music in São Paulo hosting artists like Feminine Hi-Fi and Deafkids. She is also part of the transdisciplinary duo Fronte Violeta.

Mauricio Takara also plays drums/percussion with the bands Hurtmold and São Paulo Underground (with trumpeter Rob Mazurek from Chicago). Takara has played with a dizzying array of improv / experimental / jazz figures such as Pharoah Sanders, Damo Suzuki, Yusef Lateef, Joe Lally (Fugazi), Naná Vasconcelos, Prefuse 73, Makoto Kawabata and more.

2023 Restock

Within the elusive confines of this film awaits an unreleased album that defies categorisation by a musician who in a different time and space would be revered amongst some of the most important exponents of progressive rock, dark ambient, Krautrock and pioneering synthesiser composition - not to mention sound design and art-house film scores. As a protégé of François Bayle and Luc Ferrari who had studied classical music before immersing himself in found-sound manipulation and oscillators, Alain Pierre quickly became an enthusiastic go-to man for sound sculpture and technical studio proficiency in Belgium’s small film industry.

To the many generations of dedicated fans of the visual work of Philippe Druillet it might seem virtually impossible to adequately “score” the alien, futurist landscapes of the man who many called the “space architect” (on account of his space age reductions of Gothic cathedrals, Art Nouveau, and Indian temples), but once you have heard the sonic reactions of Alain Pierre on this the first-ever dedicated Druillet documentary, Ô Sidarta, complete with his own equivalent sound palette, it will be difficult to “hear” Druillet’s world via any other composer. Despite Druillet’s truly incredible record sleeve designs for projects like cosmic disco ensemble Black Sun, concept albums such as Attention by Jean-Pierre Mirouze (composer of Le Mariage Collectif), Parisian metal bands like Sortilège, gatefold portraits of Jimi Hendrix, later period albums by William Sheller and most relevantly on albums by Igor Wakhévitch (Docteur Faust, 1971) as well as separate releases by both Richard Pinhas and Georges Grünblatt (both from the cosmic prog outfit Heldon), it is fair to say that this criminally unreleased album by Alain Pierre would conjure up the closest synergy between sound and vision that either artist would come close to.

The almost twelve of continuous music that Alain Pierre supplied for Ô Sidarta in 1974 fortunately appears in its entirety, unedited, as it does here for the first time ever away from its original broadcasts. Broadcast on Belgian and French TV that autumn, the film received a warm reception from Druillet fans, prospective film producers and space rock fans lucky enough to catch the short feature.

Throughout his career Alain’s commitment to conceptual music excelled within both cinematic realms as well as with the live arena. Never shying away from the constraints of transporting heavy synthesiser technolog and unpredictable analogue equipment to public spaces, Alain took his self-initiated “live” work very seriously. It was within his lesser-documented performances that you would find the closest sound to the music on Ô Sidarta, proving that the Druillet collaboration was naturalistic and conceptually close to Alain’s personal stylistic agenda. A rare recording of a one-off concert at the Université libre de Bruxelles in October 1976 reveals a very similar set of movements and soundscapes found on Ô Sidarta. This rare artefact has been included on the second side of this record under its original title Notions de physique intérieure (Notions Of Interior Physics) and stands as a perfect companion piece to Ô Sidarta - complete with a very similar “kit list” including the welcome addition of an Arp Sequencer, a Korg Vocoder and a Theremin (a back line whose total would far surpass any stationary studio of the era never mind a live show!).

By looking back at his original composition for one of his very first solo soundtrack commissions, Ô Sidarta, you can hear that back in 1974 Alain had already successfully managed to combine more unlikely musical influences, experimental techniques, and previously unheard soundscapes and studio tricks in to one twelve-minute score than most musicians fail to cram in to a whole discography. But still there is so much music yet to be discovered and Ô Sidarta is just the tip of the iceberg in the middle of a cosmic sea. Much like a character from one of Philippe Druillet’s books, Alain Pierre is a rogue pilot, steering his own ship in to the unknown, uncharted, unnoticed and quite unbelievable.

COLOR VINYL LP

Indie Retail Exclusive *Cosmic Moment* Color Vinyl LP Multidisciplinary abstractivist Rob Mazurek has made an indelible impact on creative music over the past 30 years. Emerging from the musical nexus of the 1990s Chicago scene, he's written more than 400 compositions and is featured on more than 70 recordings (including International Anthem's very first, IARC0001, Alternate Moon Cycles). He's led many ensembles - including the Chicago Underground (Duo, Trio, Quartet & Orchestra), Isotope 217 (alongside members of Tortoise), Pharoah and the Underground (feat. Pharoah Sanders), and a duo with Jeff Parker. He's been on the cover of WIRE Magazine twice and is well-known as one of the prime 21st century progenitors of "The Chicago Sound."

We are back on wax again with a very special release. It means a great pleasure for us to have one of the pivotal figures of the Madrid underground techno scene on board, Herr Unkle Fon.

Some years ago, Madrid clubscene was formed by conventional clubs in conventional locations with conventional opening and closing times and usually, conventional programming. Manuel Cano then founded Utopía Secret Society and things changed forever for the city’s underground nightlife.

Now as you may have noticed there is no club scene at all, neither conventional nor illegal, sign of the times.

Musically speaking, Manuel started as a guitarist and soon evolved into studio engineer, label owner, club promoter, record shop owner (Ater Cosmo), social agitator… and adventurous character that reflects in his productions all his knowledge of the dancefloor.

Jisatsu is a slow paced broken beat surrounded with smooth textures, soon joined by a repetitive synth line that adds the hypnotic component.

Genroku Ako follows with a cosmic approach, continuous percussive and synthetic lines run together on a fast BPM exercise obsessive, linear and mental.

On the flip side, 47 Ronin uses dreamy stabs over a relentless groove mixing liquidity with tension.

Closing the release Shuppatsu is an almost beatless exercise, just with 909 rimshots, toms and snares spiced with ethereal components

A timeless futuristic release that can wait on your record bag until things go in better directions.

The first release of Eclectic Beats Music is from Portuguese artist and record label owner Fradinho! On ‘A Bright Future’, he blends a syncopated beat structure with an overall jazzy soulful funky groove
with Latin and Brasilian percussion, an engaging bass line and cosmic synth licks. Along with the original there are 5 remixes from the likes of the established Afronaut (Bugz In The Attic) that also features Mark de Clive-Lowe on keys, a wonderful Karmasound House remix, a Born74 Boogie Beat Mix, a Bruk Roller Mix from up and coming Mancunian producer Szajna and a darker, heavier and
dirtier UK Garage approach by Porto based LSK.

The full 11 minutes 49 seconds was too long to be included on the vinyl release of the recent Family of Swede LP 'Family Album.' We believed that it deserved it's own 12" space to ensure that the strength of the song could be heard in full. It's a cosmic soul extravaganza that takes us on a journey through space, with some excellent playing from the group and a lead vocal that glides effortlessly alongside great harmonies. 'Mellow' also features on vinyl for the first time with a funky clav lead and a mad percussive break that rocks. The song itself slow's down into a slower groove that's worthy of it's own platform. We've also chosen 'Life' to close the 12" off with it's swinging modern swagger.

Amsterdam based Spill Gold ( who previously released on Portland's Beacon Sound) with a jaunty 7 track mini album for Knekelhuis. sleeve art from Jacob Hoving.

The label say:
"The summer breeze has gradually turned into a cold wind and the trees showcase their typical variegated color palette; autumn has clearly arrived in all its golden glory, a transition exemplary for Spill Gold’s work. The Amsterdam duo’s music is every bit as colorful and moving as its seasonal counterpart, where one moment a cold and stormy wind swarms the air and other times calm and stillness prevail.

On Highway Hypnosis, their first album on vinyl, Spill Gold masterfully juxtaposes darkness and light, playfulness and control, enhancing the transcendental character of the material at hand. Based on strong pop structures, the songwriting here traverses a world of Krautrock and cosmic influences at once catchy and alienating, opening the possibility for catharsis.

They’re a wonderful addition to the versatile nature of Knekelhuis. And they’re crazy good live as well."

Right after the beautiful album " The Aquarius Years", Cali-Soul queen Tiombé Lockhart is back again on Mother Tongue with a special follow up.
"Sexy Suzy on a Sunday" receives two cosmic treatments from jazz-star Christian Scott and Intergalactic Don Carlos Nino.
Expect to be transferred into another (Soul) galaxy!

The Amorphous Androgynous return with the symphonic, 40-minute prog/space-rock concept album ‘We Persuade Ourselves We Are Immortal’. The album contains 5 epic parts, featuring the legendary Peter Hammill (the Van Der Graaf Generator) on vocals alongside a host of musicians including: Paul Weller (piano and guitar), Ray Fenwick (Spencer Davis Group/Ian Gillan) onlead guitar, Brian Hopper (Caravan/Soft Machine) on sax.The Chesterfield Philharmonic Choir and a 25-piece live orchestral string section round out this sumptuously-recorded album.

‘We Persuade Ourselves We Are Immortal’ opens with the 13-minute epic of the title track (written with Peter Hammill and Paul Weller).The themes of mortality/immortality are then musically and conceptually catapulted to the far-flung corners of the AA sonic multiverse over 40+ minutes. Channelling A Space Odyssey,the dystopian choirs and moog of ‘Hymortality’ crash full-force into the John-Bonham-like drums of ‘The Immortality Break.’Meanwhile, ‘Synthony On A Theme of Mortality’ lives up to its name, utilizing the classic 70s Yamaha CS80 synth before progressing to a female wailing aria against classic vintage guitar rock. The whole cosmic trip cascades finally into the harp daydream reverie,choir and romantic strings of ‘Physically I’m Here, Mentally Far, Far Away.’

Hypnotecho’O is Pho Bho’s second release made and arranged by Matteo Coffetti, label’s co-founder along with Federico Spini. The record’s distinctive feature is its original fusion between ethnic samples beaten by violent kicks and sharp snares from the rawest techno. What it generates it’s a unique rhythm-flow ideal for the dancefloor. The collaboration with Filippo Zenna is the result of the two artist’s anxieties and fears over a past that is no longer here and a tomorrow that strives to come.

The Cycle is the fifth album by Mourning A BLKstar. It’s the Clevelandbased collective’s masterwork -- a double LP spanning 20 songs and three singers, touching on neo-soul, hip-hop, and the cosmic expanse in between/beyond. It is a humble addition to the long legacy of James Baldwin’s adage of the artist as witness. It is their song cycle, written in a time that just may need a song or two in support of and in love and power to the living.

Hungarian “minimalist” instrumentalist/composer Tibor Szemző is considered a genius by many, although his accomplishments as an artist are sometimes overshadowed by the likes of superstars, Steve Reich and Philip Glass. Snapshot From The Island was originally released by Leo Records in 1987 and now 33 years later the album gets the proper reissue on his own label.

Snapshot From The Island is a wonderful excursion into ambient-electronic-acoustic dreamscapes which could also be considered an offshoot of what many call the “minimalist movement” The title track, “Snapshot From The Island” is a 24-minute tone poem featuring Szemző performing on computer drums and flutes of various pitch. Here, Szemző provides a soft rhythmic undercurrent to balance the somewhat ethereal and delightfully hypnotic motif as he also electronically emulates bird and animal sounds which magnifies the mood or imagery of a far away “Island” paradise.

Szemző is a true artist, a painter with a fertile imagination, as he invites the listener into his introspective world of thoughts and dreams. Szemző’s lush, yet subtle flute work evokes a surreal landscape on ”Water-Wonder”. On this piece, Szemző pursues circular passages while also intelligently utilizing a dash of echo to enhance the aura of a magical or mystical place, which for all intents and purposes seems timeless or otherworldly. “Let’s Go Out And Dance” is a dream-laden piece, featuring Szemző’s “cosmic” flute performances atop a soft pulse and László Hortobágyi’s synthesizer backwashes which conveys a sense of fulfillment or perhaps a scenario of – peaceful celebration. Again, Szemző offers up more visions of paradisen, which could very well have been a subtitle to this beautiful recording. The overall organic nature of Tibor Szemző’s music makes it all seem so real or something that our imaginations can easily grasp. There are no hidden clues or underlying mysteries behind all of this as Szemző’s artistry speaks for itself. A museum piece for the ears.

Tibor Szemző - flutes, voice, drum computer, sound installation
László Hortobágyi - synth. on "Let's go out and dance”
Mixed by László Hortobágyi and Tibor Szemző
Remastered by István Szelényi 2020

New album from Bologna trio Oké, led by veteran Italian producer Andrea "Katzuma" Visani who began his career in the 1990s as part of Italy's foundational hip-hop group Sangue Misto.

Featuring production from Katzuma alongside percussion from William Simone and keys from Andrea Calì, Oké's new album Deserto is inspired by library music, cosmic jazz, and afro-house. It features 16 new tracks alongside two covers: one of Tony Esposito's 1974 fusion classic "Rosso Napoletano" and one of Dizzie Gillespie's 1940s standard "A Night In Tunisia." Also featured on the album are various musicians from the Bolognese scene including Venus Rodriguez on vocals, Nico Menci on keys, and Valeria Sturba on violin.

Deserto is a double vinyl LP featuring artwork from Andrea Casciu.

CoOp Presents an all-new double-album compilation entitled 'Plug One'. It features a plethora of global talent from in & around the world of bruk and beyond - some already well-established in the field, some very much on the come-up and some brand new artists - this compilation is an acknowledgment of a continually evolving sound from the label formed by IG Culture & Alex Phountzi a few years ago. 'Plug One' affirms this electric movement, with a deeply fluid current running throughout, with tracks ranging from the cosmic psych jazz of LCSM, to the classic UKG tweaks of Groove Chronicles, to the thought-provoking vibes of Reginald Omas Mamaode IV, to a veritable who's who of 2020 bruk talent including Xtra Brux, Sivey, EVM128, Cengiz, Wonky Logic & many more.

From its beginnings as a classic club night and label in the early 2000's, CoOp always carried an undefinable and potent creative energy. A sense of freedom and uninhibited exploration was positioned at the core of CoOp's sprawling community and consciousness, communicated via movement and sound. From this seed and throughout the years that followed, this same energy permeated the worldwide underground music ecosystem. As CoOp's legacy continued to influence new generations of music makers far and wide. The syncopated rhythms, soulful keys and infectious grooves synonymous with the broken beat sound, now known simply as Bruk, became entwined with new concepts and progressions, leading to new movements carrying on the essence of the bruk energy.

IG Culture and Alex Phountzi took the helm of their CoOp Presents label in 2018, with the vision of championing these new waves of emerging artists, continuing the all-important exchange of energy at the heart of the original CoOp movement, but also giving room for the music to be pushed into new and uncharted territories. With burgeoning producers from around the globe being drawn to the explorative and expressive nature of the project, an incubator was created, providing a space and platform for these ideals to take on new shapes and sounds. Just as every generation must rewrite its own history books, CoOp Presents was born from a combination of influences, ideas and personalities, and in turn is now encouraging the next generation to do some re-writing of its own.

'Plug One' will be released on vinyl & digital on CoOp Presents in November 2020.

The Diabolical Liberties release their debut album "High Protection & The Sportswear Mystics" via the boundary breaking On The Corner Records label - a bastion of oddball jazz and electronics from the worldwide underground. Comprising Rob Gallagher (vocals, guitar, bass) and Alex Patchwork (head of squarepushing), the duo's debut longplayer is a rough, unpolished gem of a record that falls clumsily in the gaps between post-punk, electronica and jazz. Lead single 'Sliders' embodies this identity crisis, simultaneously honouring and deriding the ubiquity of said footwear over resonant breakbeats, plonking cowbell and the screeching horn of Ignacio Salvadores (King Krule / Gal Go). Elsewhere, the brilliant Emma Jean Thackray sprinkles 'High Protection' with cosmic dust, 'Bigger Than You' is a ramshackle (but no less respectful) homage to the 70s Ghanaian disco/fusion purveyed by legends like Ebo Taylor and Pat Thomas. All produced and recorded in a shed, on train platforms, trains, tubes and occasionally Caffè Nero in Cheam when it was quieter than home.

marbled blue & white vinyl

Mireia Records’ maritime-themed color-splash series “We'll Sea” hits edition number four. Gathered here we find an illustrious quartet of today’s most proficient captains of the night: Das Komplex (Steps, Love on the Rocks), Tecwaa (Höga Nord, Les Yeux Orange), Jacques Bon (Beats in Space, Mule, Smallville) and Achim Maerz (Don’t Be Afraid).
Hear satellites roaming the atmospheric edge of our planet as if it would be just another shore. Listen to breaking waves of light.
Stargaze while dipping toes in the sands of time.
Time to leave the planet - at least for the length of this record.

Birds are singing, a soft female voice embraces the stars, then the funk hits the fan: the second album of mysterious Japanese singer Nadja haunts immediately and marks one of the most exquisite reissues in the ever-growing catalogue of Studio Mule. Originally released in 1989 as promo only CD on the Japanese label Polystar, the album features some of the finest eighties pop funk fusion arrangements of the era. A deeply enchanting lost gem, that gets listeners instantly into heavy repeat addiction.

All ten songs are arranged by a group of grandmasters of their art. Japanese saxophonist, composer and music producer Yasuaki Shimizu, man behind the electronic ambient fusion classic “Kakashi”, was in charge for tunes like “Wac-Wack”, a neon light funk pop song, full of soft big city eroticism, ultra-slick synth lines and real funkateer explosions. It’s followed by “夢のとりこ”, the most stirring pop tune on the album, that originally was written by French composer, multi-instrumentalist, actor and singer Areski Belkacem, known for his and long-time collaborations with French avantgarde singer Brigitte Fontaine. Shimizu transformed the song into a low hanging funk jewel, with a cool rolling bassline, dub depth and synths that cry for cosmic help. Above all Nadja signs with a sexy chill, that somehow could only emerge in the 1980ees, when the cold war even made pop music real cool. The follow up is named “真珠のように”, features again music by Belkacem, this time transformed by Shimizu into electronic erotic pop - dreamy, witchy and precisely musical composed.

The B-Side opens with “Velvet Rain”, a funky urban boogie composition by Japanese keyboard player, composer and producer Akira Inoue, enlarged with glimmer camp kitsch, that immediately puts a smile on the listeners faces. It gets followed by “Paradise Catcher”, a soft pop tune with longing string and horn sections, arranged by legendary Jamaican rhythm and production duo Sly & Robbie. It somehow marks one of the strangest songs in their longstanding career, as it is largely minimal orchestral but yet super tight when it comes down to the rhythmic magnitudes. The next tune, “Private Tripper”, also stays soulful, funky and horn driven. Always pleasing the super tight, yet feathery voice of Nadja, that is dancing about boogie grooves and illuminating melodies with a seducing tragical coolness. Finally the album ends with a stylistic break in the overall musical atmosphere. It comes from Japanese musician Hiroaki Goto, it’s called “地図をずっと南へ”and features Afro-Brasilian voodoo rhythms, pan flutes, cosmic piano notes and Nadja, singing like a rain forest sorceress from outer space.

Ten arrangements by a bunch of high-grade arrangers, that all left Nadja’s voice enough space to widespread her talent as a supremely seducing singer, who wrote all lyrics, vocals and chorus by herself in order to present her touching vocal class in a vivid, bewitching timeless style. Come in and get ensnared!

Electronica duo Echaskech have been part of the Balkan Vinyl family since the very first releases back in 2010, but this is their debut solo outing. A mini-album of deep space electronica and cosmic ambience. A soundtrack across our solar system and interstellar travel onwards for 27 million light years.

Available on a limited edition of 30 hand-numbered cassettes.


A1: Dawn Over The Red Planet
A2: Kuiper Belt Life Support
A3: Andromeda
A4: Oort Cloud
A5: Machine Code
B1: Into Eta Carinae
B2: Disorder
B3: Pluto At Night
B4: Onset Of Panic
B5: Escape From Tau Ceti
B6: Messier 63