Поиск:d dan sequence 01

D.Dan returns to his own summerpup imprint with his 'sequence.01' EP. Six lean stripped-back techno sequences, all recorded in live-takes in the studio.

**Vinyl Only**

For their first step into the wax game, Genau Experience land with a strictly vinyl statement straight out of Udine. (Italy)Active since 2018, Genau Exp. have been quietly cultivating parties and pushing underground culture in their corner of the map. Now it translates into grooves. No rush, no noise: just the right moment to press this record.

Leading the charge is resident and long-time digger Stefano Conte. A vinyl collector with a deep-rooted connection to house, techno and electro, Stefano’s sound carries echoes of the ‘80s, ‘90s and early 2000s | raw drum work, hypnotic sequences, stripped tension and subtlemachine funk. These four original cuts, written between 2025 and 2026, feel focused and functional. Club-minded but not obvious. Built for heads who listen.

On remix duties, taking the reins on The Landing, we find Shkedul – selector and producer who hardly needs an introduction. He draws us deeper into his signature style: decisive basslines, dark rhythms, and evolving sound design that flows and morphs across the full length of the track.

A versatile weapon with enough character to work across different floors and moods.

With the title "Treatise On A Narcissist" hinting at the EP's thematic exploration, the four originals by Shaleen are a masterclass in atmospheric, driving techno-built on powerful basslines, intricate percussion and an unnerving emotional intensity. This formidable body of work is then subjected to four distinct and high-calibre reinterpretations, each pushing the originals into new sonic territories.

Fiedel delivers a masterclass in raw, functional Berlin Techno. His "Treatise on a Narcissist" Remix builds on a foundation of caustic percussion and echoing metallic textures to create a journey into the machine's heart, powered by monolithic kick drums and pulsating, hypnotic sequences. This is peak-time, strobelit intensity-a dark, unforgiving lesson in rhythm and propulsion.

Mareena's sophisticated version of Shaleen's "Treatise On A Narcissist" strips the original back to its essential hypnotic core. It locks into a precise, relentless rhythm with characterizing sharp hi-hats, a focused, pulsating kick drum and creates a sense of deep,
foreboding atmosphere by utilizing subtle, filtered synth drones and echo effects.

Rosati's Remix of Shaleen's "Nymphomaniac" layers hypnotic elements, leading to a massive, euphoric breakdown and creates a captivating, almost obsessive mood. This track demands movement. It's an unrelenting sonic journey characterized by a hard-thumping rhythm section that maintains relentless forward momentum.

JakoJako steps up to deliver a nuanced and immersive re-imagining of Shaleen's "Fused in Desire". Moving away from high-impact euphoria, this remix focuses on dark, driving Techno.
The textural soundscape features a powerful low-end as well as lush, evolving pads and shimmering, modulated synth textures that create a vast, emotional space to establish a profound, steady pulse. Designed for total immersion, this track serves as both a
high-energy peak-time weapon and a hypnotic journey for early-morning dancefloors.

VA – Parallel Sequences continues MixCult Records’ tradition of curating forward-thinking soundscapes for refined dancefloors. This four-track compilation brings together the finely tuned craftsmanship of Kirill Matveev, Genning, Overt, and Dawn Gab — producers with surgical precision and a deep understanding of space, groove, and sonic narrative. Together, they present a multi-faceted EP rooted in dub techno and tech house, designed with intention and built to navigate a wide emotional range throughout the night.

A1. Kirill Matveev – Never Losing That Track (Overt Remix) is a masterclass in momentum. It rises patiently yet confidently — perfect for steering the atmosphere toward something uplifting, with each element unfolding with deliberate purpose.

A2. Genning – Parallel shifts the energy into shadowy territory. Deep, dubby, and melancholic, it acts as a reset moment — cooling the air while preserving depth, tension, and forward motion.

On the flip, B1. Dawn Gab – Call Of The Wind moves between melodic phrases and swinging percussive patterns, offering a graceful push-and-pull that feels fluid, textured, and inviting.

Finally, B2. Genning & Kirill Matveev – Blueberry brings the release to its emotional peak with bright, expressive energy. Melodic and high-spirited, it is engineered precisely for a euphoric moment on the floor.

This EP is a toolkit for thoughtful selectors — designed to glide through introspection, propulsion, and release with clarity and finesse. Whether opening a night, shaping the arc, or closing with warmth, Parallel Sequences delivers depth, agility, and emotional charge in perfect balance.

The Vibracid network reaches its fourth phase — the moment of awakening.
What was once hidden beneath layers of programming now resurfaces: the total recall of collective memory.

Encrypted memories from multiple worlds are decoded through sequences of electro-bass, acid warfare, and cinematic techno tension.

Six sound engineers from the Galactic Confederation synchronize their signals to reassemble what was erased — transmitting across psychic fields, dancefloors, and forgotten neural corridors.

Calagad 13 opens the operation with Mad Flava, pure raw energy — the ignition spark that reactivates the buried code.
5ZYL follows with To Your Knees, a dark and heavy descent into pressure and distortion.
Saigg brings the direct, high-voltage electro of Procesos Continuos, channeling precision and drive.

On the B-side, Lups Digga delivers Just Dance, a floor-oriented electro-bass detonator built for propulsion.
Roi expands the field with Despoiled — cinematic, tense and electrified, balancing techno discipline with emotional depth.
Finally, Cliff Dalton closes with Snowbirds, an introspective and elegant comedown: the calm after total awakening.

Mastered and crafted with precision for a strictly limited edition of 150 copies on purple vinyl.

Amsterdam-based producer Retromigration makes his debut on the launch of a new Oathcreations imprint "KARAMÜRSELL?" with 'Can't Go', a hyper-kinetic and rapturous piece of dance music sure to ensnare any dancefloor.
Inspired by soul, funk, jazz, and hip-hop, his auditory identity is one of profound melodic effusion and expert percussive sequences, absorbed within life-affirming atmospheres.
'Can't Go' feels like yet another landmark, tuning itself into the pulsating energies of the club, drawing lines between bass music, footwork, garage and jungle.
The EP is completed with 'Distant', featuring fuller harmonies, a tear-jerking chordal line and a spiritual sax solo.

French composer and sound artist Franck Vigroux returns to raster with a new album called »Sonnailles«, set for release this spring.

Conceived as a sequence-driven work, »Sonnailles« unfolds through a series of tightly
structured musical passages interspersed with fragments of voices that appear within the compositions like ghostly presences. These vocal shards drift through the sonic landscape, punctuating Vigroux’s dense electronic textures and amplifying the album’s sense of tension and movement. At the heart of the project lies a deliberate contrast: the collision of raw, almost primitive sonic force with an underlying sense of compositional sophistication. Vigroux crafted the music with an ear for immediacy and physical impact, exploring how rough textures and driving rhythms can coexist with intricate sound design. The album was also inspired by two unusual invitations that pushed the artist beyond his typical performance environments: a rock and punk festival in France and a series of techno club performances in China. These contexts led Vigroux to imagine music whose primary purpose was to move bodies on the dance floor — an approach that marks a new direction in his work.

For Vigroux, the challenge was particularly compelling. Alongside his musical practice, he frequently collaborates with dancers and stages multidisciplinary performances known for their radical physicality. With this new album, he brings those parallel worlds together, completing a circle in his ongoing exploration of the relationship between sound and the moving body — where composition, rhythm, and physical motion converge.

2026 Edition on Transparent Red Vinyls.



On your mark, get set, listen!



Watching a movie by Tati is a surprising experience; in his films, sound and music speak more than do words, overtaking the conventional discourse – and boredom – of adulthood. Hulot remains silent, or mumbles. Tati knows all about the noises of the modern world: beeps, rings, crackles, pneumatic drill, cars, mechanical, electrical and rubbery sounds, the high heels of secretaries and typewriters, factory noises, creaking doors, sighing chairs, machines and technical machines, franglais, vacuum cleaners and the whole range of small appliances… With all of that urban and domestic jumble, plastics of all sorts, linoleum and formica, he composes a virtuoso partition. Signs and signals, warning sounds and sirens mislead us in the urban space. Tati maliciously disorients us. Maximalist, he records on five tracks in skilful, tasteful rhythms – a pleasure for the senses. Hearing Mon Oncle, Les Vacances de Monsieur Hulot, Playtime changes one’s outlook onto the world – never again will you perceive the noises of towns and villages in the same way. The modern city is Hulot’s playground – with it he invents a totally new soundscape. Then there’s the organic, the countryside, the barking dogs, the wasp bothering François on his bicycle, all the way to the mailman’s fall into the river…When we met Jacques Tati in his modest, shooting paraphernalia-filled office on rue de Bièvres, he spoke about music hall and its rules, silent cinema, his famous pantomime Impressions Sportives… In praise of gestures and noises, and not a word. As for his movies’ music, which he described as color, it bursts right into the mess, opens up the celebration: drummer’s frenzy, frenetic dance at the Royal Garden… Never illustrative, it shakes up the thrumming of the modern world and makes its way through the story, just like a real character. Images and sound are edited as one single material, both equally partaking in the story. Tati masters the art of tempo – there’s not one sound, one note, one silence too many in the scenario. Pure sophistication.

So try it tonight; put the record on, lie down, close your eyes and listen. If you know Tati’s movies, your journey shall be visual and total, complete with sequence shots, colors, blurry decors, the refinement of neon lights, the modern city and its airport, Saint-Maur or Villa Arpel style, Saint-Sévère or Saint-Marc-sur-mer’s “Hôtel de la plage”, big top or auto show, Daki the dachshund, little Gérard, the American tourists… It will all come back to your mind. Phatasmagoria. Should you not ever have seen one Tati’s brilliant films, nor his footwork and melancholy jokes, nor Hulot’s poetic, funny perdition and all of his other meticulously sketched characters, then you’re in for a trip. Your imagination’s bound to take off – for Tati, sound is cinema’s big thing. Magnificent maniac, he captures and catches sounds and music in a skilful, sensuous architecture. O joy of perception! The world’s noises concern and amuse him; they say just as much as the image does, take it into modernity, tell of our shortcomings, maladjustment and bewilderment. From music hall he kept a liking for Foley and the art of recreating sounds in a poetic otherworld. From the villages he brought back the funfair and the accordion; from the modern town: music the American way, jazz, some very Parisian tunes, and other merry-go-round melodies… Even without the images, it’s still cinema!

What’s more: for his last scenario, Confusion, Tati had planned to collaborate with the Sparks, the talented band behind the soundtrack for Annette, Léos Carax’s surprising film… From Mr Hulot’s house’s canary whistling in the sunshine to musical’s fantastic puppets, we’re undoubtedly siding with poets.

Macha Makeieff

Where maturity evolves into a signature sound, the personal and musical journey becomes one. Chromadelia by Italian producer and live artist Ness refines two decades of precision and craft. It is techno reduced to its core logic - direct, functional, and self-aware. Ness' process moves from spontaneous jams to detailed sculpting, a continuous sequence where improvisation gradually becomes structure. Randomness plays a role, but only as the foundation for his architecture. The result is music that feels both deliberate and fluid, shaped by intuition and refined through years of practice. Minimalism here isn't merely an aesthetic choice, but an organic conclusion -- drawn from experience and the trust that less can truly reveal more. The four tracks on Chromadelia extend this clarity onto the dance floor: sharp, beepy, metallic, rhythmically charged, yet open enough to let each element breathe. Introspection and club-functionality coexist seamlessly, each amplifying the other. In Chromadelia, Ness demonstrates that every tone, every pulse serves a purpose, offering a clear reflection of an artist who has learned to let precision speak louder than complexity.

Theory Of Swing Records is proud to present a true time capsule from the golden era of house. We welcome Belgian producer Marius Acke, who delivers his long-lost "Dirty & Funky EP" — a high-energy, dancefloor-shaking collection of raw jams, originally recorded to DAT between 1994 and 1998.

Unearthed and pressed to vinyl for the first time, spreading the true spirit of the 90s underground heat : dirty, funky, and built for sweaty late-night dancefloors.

Written And Produced by Marius Acke.
Mixed and Mastered by St. David

Cartulis Music returns with CRTL018, a double-record release shaped by Manuel Siegrist. Dual Consciousness brings together two distinct voices operating at different ends of the same corridor: Innuendo and Cults Of Baghdad.

The release is composed of two separate records, a 12” by Innuendo and a 10” by Cults Of Baghdad, each exploring its own sonic language through different alter egos.

The Innuendo 12” delivers four cuts moving between rolling club pressure and dreamlike psychedelia. “XTC” sets the tone with hypnotic sequences, rolling basslines and machine-driven propulsion, while “Whales” explores a more emotional and trance- inducing territory, connecting proto-techno textures with immersive late-night atmospheres. At the same time, tracks like “Alarme” and “Spock’s Fantasy” introduce a looser and more house-oriented feeling, balancing tension with playful melodies and psychedelic movement.

The Cults Of Baghdad 10” dives into a world of shadowy synth work, carrying a strong 80s flavour infused with punk attitude and new wave aesthetics. “Spiral Of The Mind”, written, produced and voiced by the man himself, unfolds through immersive rhythms and melancholic atmospheres with a distinctly cinematic touch. Closing track “Geister der Vergangenheit” continues this descent into haunted territory, channeling ghostly melodies and cold-wave energy suspended somewhere between memory and prophecy.

Recorded using a combination of classic hardware machines and improvised studio processes, Dual Consciousness reflects a shared fascination with frequencies as ritual, repetition as hypnosis and dance music as psychological storytelling.

CRTL018 continues Cartulis Music’s ongoing exploration of underground electronic music, records aimed as much at solitary listening as they are at the dance floor.

Gladio Operations continues its expansion into the electro universe and, with this fourteenth release, lands in Viking lands, giving Danish producer Martin Stoffregen his debut on the label.

This artist, who releases his work under the alias Krypton 81, is no stranger to the scene, having released on major labels such as Bass Agenda and Mars Frequency, among others.

On this EP, entitled “Quantum Entanglement”, we sense a breath of fresh air in its three original tracks, which are refined and elegant. With strong sequences and adorned with sublime textures, we encounter “Binary Encoding”, the track that opens the EP and shows us the way to “Particle Proximity” and “Quantum Computing”. These two Kraftwerk-flavoured tracks are imbued with captivating melodies and subtle vocals, transporting us to an infinite emotional state of continuous well-being.

This EP is reinforced with two heavyweight remixes. The first is by producer Univac, who returns to the label and gives us his particular vision of “Binary Encoding”, once again showcasing his unmistakable and classic industrial sound, dark and emotive. The second remix is by German producer Vertical67, who gives “Quantum Computing” more hypnotic tones than the original

We present our second release, where you will find creations with sounds that will take us on a dance and journey combining electro with acid, sequences from a versatile release made with great dedication by our artists.

Gladio Operations launches its twelfth release, where the Spanish label returns to the various artists format.
Opening the pack is producer and Distrito 91 label owner Fabio Vinuesa. Under his newly created alias Protocolo Sysex, he gives us “NottheFuture,” a powerful track with raw bass lines — a benchmark for the dancefloor.

On the same side, we encounter Sinitsin. The Russian artist, who debuts on the label, leaves his mark with “Thinking Machine”. A track that reveals his enthusiasm for charismatic and effective melodies, very well sequenced throughout the track.
The B-side opens up by an acquaintance of the label, Jauzas the Shining. This time he is accompanied by Foreign Sequence, and together they have created “Enter the Body”. A track of dark aesthetics, served with dramatic vocals, very characteristic of the Frenchman who, of course, never disappoints. Another artist making his debut is Italian producer Teslasonic.
This fast-paced track titled “Chubby Bee” reveals a minimalist bass line, with subtle and delicate touches of the 303.
The EP is brought to a close by another Gladio acquaintance. Igors Vorobjovs returns with this track titled “For One”.

Orientated towards IDM sounds, the Latvian producer once again envelops us with a passage of deep and mysterious harmonies, which undoubtedly makes it a timeless piece.

The Shard: A colossal feat in engineering, savagely piercing the London skyline with zero f**ks.

Shard View: An uncompromising moment in Boylan’s bass engineering, piercing the London soundscape with even fewer f**ks.

It’s 2025. We’ve officially moved a second closer to extinction and Boylan’s wasting no time. After years of releasing noxious missives on the most influential likes of FWD>>, Artikal, Deep Dark & Dangerous, Sentry and Mean Streets, he finally launches his own label - Shard View.

A brand new vehicle for the potent strain of ice cold apocalyptic breakbeat he and his closest allies are currently making, Shard View is inspired by the vista he and the likes of Slimzee, Trends, D.O.K, U.S.F and Youngsta see every time they’re cooking up a darkness in his Peckham studio.

Coated in visual armor from Simon Oil Gang, Shard View is London, Detroit and Berlin wrapped up in one. It’s bass, it’s techno, it’s tribal, it’s No U-Turn, it’s Virus, it’s Horsepower, it’s warehouse raves. It’s timeless. And it starts with ‘Tunnel’, an extensive 10 track trip into instrumental, full physical, heavily percussive unapologetic breakbeat music. Boylan is the main consistency throughout but all the above-mentioned names are involved and always will be. Like the great collectives of past bass epochs, the energy here is molten as the friends inspire each other with this fresh take on a classic sound.

Two more EPs should follow later this year. And as the world continues to ramp up the turbulence, so will Shard View. This is not a drill.
Any questions about any of these products feel free to get in touch and we'll help you out!
albert.preston@sequence.cc

Since launching her own club night, “Motivation,” back in 2018, B.AI has played a key role in bringing the underground’s club sounds to her home country, China. While introducing some of the scene's most exciting artists to her local audiences, she emerged as one to look out for as well: first as a DJ and quickly thereafter as a producer. Her original takes – a sensitive, highly personal approach to melody and a knack for playing with expectations – crystallized in a slew of A+ releases and a couple of international tours. This trajectory, shaped by taking matters into her own hands and self-empowerment, now sees a logical next step, with the inception of a label that will also operate under the “Motivation” banner and features her own “Hope” EP as its first release.

Sparkling mallets, with synth-pop quality catchiness, open the title track. Rather than further evolving, their two-bar arrangement gets looped over and again, serving as the foundation for a slick FM bass rhythm and a variety of hooks. Although these incline to the bright, the overall vibe is melancholic. In vintage B.AI style, the aptly titled “Hope” is more ambiguous than its patches suggest. Similarly, the vocal this type of palette would call for ultimately comes in the form of aloof, covert musings. A bit buried in the mix, they are most efficient – just like the tension that keeps brooding underneath the surface.

“Murderbot Diaries 1991” turbocharges four-to-the-floor synthetic drums with an arpeggiated rolling bass. The blue note melody on top feels sequenced via a pocket calculator, and the dissonant, electroclash-reminiscent stabs that follow might sound even more angular. The tune is frantic, sinister – and perhaps above all tongue in cheek. It reaches fever pitch with the arrival of a tubular bell theme between the two breaks.

“Once”’s slomo cutoff modulation on the 16th note mid-bass instantly creates a sultry atmosphere that meshes greatly with the pastel cool of the gently delayed DX7 leads. The energy drifts between effortless control and uncertain outcome. These contrasts are amplified as the drums alternate amidst moderation and beat-repeat rendered havoc.

On “Only We Know,” a progressive sine lead lays out the central motif. Yet as briskly as it appears, it makes way for detuned, gliding square waves taking on the same theme. This outlines the track’s structure: as slightly morphed repetitions keep getting introduced almost haphazardly, a dreamlike, mesmerizing ambience unfolds. Techy drum rhythms and a 101-type bass make sure everything stays fuelled. Within the ingenious tapestry of melodies and new twists, it never loses touch with the dance floor. It illustrates B.AI’s club savvy neatly and is therefore a perfect closer for this EP.

Panavision was born from the shared passion for music of Akaj, Pierro, and Brassac. After years of playing as DJs, they came together in 2023 to create a space that goes beyond dance music — a platform where producers and artists can explore creativity, freedom, and in novation.

Rooted in a diverse range of genres, we are committed to discovering and nurturing talent, both from the past and present. Our mission with this label is to bring stories to life through music that is authentic and dedicated. For our first releas e, we are thrilled to present a mini - album from S evered Heads titledOp5.

This record marks the official launch of our label, which operates between Brussels and Ljubljana — two cities that embody our ambition to explore diverse creative landscapes and push the boundaries of contemporary music. This first release is a t ribute to one of the pioneering forces in electronic music. The OP Series is one of many innovative projects S evered Heads h as produced since the late1970s.

For this special release, we’ve carefu lly selected six original tracks out of fifty from the Op Series releases of the early 2000s and curated them into a thoughtful sequence to form this mini - album

Stellar Systems, the latest imprint from the Rings of Neptune crew, readies its first release, "Archived Dreams" — a four-track EP signed by Berlin-based techno luminary Michael Melchner. Drawing influences between electro-charged techno and IDM-tinged minimalism, "Archived Dreams" explores cosmic, genre-blending themes through high-octane machine funk and tons of atmosphere. Crafted with pure analog equipment, the four tracks of the EP capture Melchner’s dedication to pushing sonic boundaries while channelling the raw energy of 90s electronic music.

The EP opens with 'Archived Dreams' (A1), a powerfully hypnotic track of pulsating drums and mesmerizing melodies, layered modular sequences and subtle percussion, setting an entrancing tone. Decollage (A2) dives into breakbeat territory, balancing intricate, syncopated rhythms with deep basslines and shimmering synths. On the B-side, Berlin Phenomena(B1) delivers a groove-laden, robotic vibe—a testament to Melchner’s knack for crafting infectious, funk-inspired rhythms. Closing out the EP, 'OE Underground' (B2) ramps up the intensity, blending raw, mechanical beats with intricate melodic threads to create an entrancing, slightly euphoric finale.

Stellar Systems emerges as an exciting extension of the Rings of Neptune collective dedicated to explore electronic music's rich sonic landscape. From deep, leftfield groovers to dynamic dancefloor stompers, Stellar Systems aims to capture a galactic range of sounds and styles. Michael Melchner, with his body of work — spanning solo projects and collaborations like Omega Men — and his esteemed reputation in the underground techno scene, aligns perfectly with the label's ethos.

Jónbjörn's 'Gárur' re­ects the ebb and ­ow of life, and is a sonic exploration of the nether regions of atmospheric electronic music. Jónbjörn, an Icelandic producer and purveyor of organic textures and soundscapes has just released his debut full-length LP titled ‘Gárur’. Translated to ‘Ripples’ in English, the album is a colourful display of intricately woven electronic grooves and hypnotic atmospheres. The 10-track LP unfolds like a 1-hour mixtape, each song seamlessly blending from one to the next. ‘Þeytt smjör’ sets the scene with a sequence of generative ambience – lush pads and synthesizers atop a backdrop of found sound textures. The album pushes forward into many beat-centric tracks across various genres – everything from Downtempo, Deep House, Electronica, and Electro can be found throughout. While each track borrows in­uences from across the dance music spectrum, the album is held together by Jónbjörn’s melodic and harmonic tendencies that encourage you to lose yourself in. Jónbjörn's process is heavily sample-based, often jamming carelessly to unearth new sonic possibilities. He records tracks live, triggering loops and effects spontaneously, and separates the creative process from mixing to maintain a sense of naivety. This approach allows him to capture the purity of initial demos, without falling into the temptation to overly polish the ¬nal product and lose that initial magic. Over the past three years, Jónbjörn has released a string of singles and his last full release on the Helsinki label ‘OO Recordings’, which featuredsix tracks on cassette. He has also been putting out music on his own label, Lagaffe Tales. In March 2020, he released his ¬rst full vinyl EP on his own label series, BROT, at a time when the global pandemic had closed almost all clubs worldwide. Additionally, he has released music on reputable labels such as D.KO Records, Neo Violence, Gestalt Records, Móatún 7, Bitterfeld Musik, Yellow Island Records, and FALK.

We are very happy to present our first vinyl release named The Sinergy between light and darkness.

We believe that when 2 forces as powerful as light and darkness merge, they create an omnipotent unit, giving birth to amazing creations, works of art like this release.

For this release, 4 tracks have been carefully selected that create a balance and synergy between light and darkness.



On side A we have Alquimic, curator of this project, with his track Reloaded, and Artesano Titer, a great Uruguayan artist who made us vibrate in the first edition of Cosmic Dance with his live set around the mountains of the Sacred Valley, and where he played for the first time this gem called Shake it.

Vibrant synthetic sequences, enveloping rhythms and bass lines and cozy melodies are manifested on this side.



On the other hand, on the B side we have Samuel Jabba, a great Colombian artist with countless incredible releases and a unique style with his track Schizoid, and Nicolás Longo, a great emerging Uruguayan artist who we had the pleasure of meeting and experiencing his music in the city of Cusco, with his track Secuencias en Capital.

On this side, dark and enveloping melodies, retro-futuristic atmospheres, vibrant rhythms and a lot of mystery are evident.

Toronto's newest vinyl label, Afalinas, proudly presents its debut EP, crafted by the talented Olekhar. Known for his Ukrainian roots and extensive DJ experience, Olekhar delivers four dance-floor ready tracks. The Fin Groove EP kicks off with "API Call," hitting the perfect blend of tech funk with trancy sequences and flowing tension. Up next is the breaks track "Squat Funk," infused with vibrant electro funk and minimal elements. On the flip side, the dance-floor killer "Bowser's Castle" is sure to elicit maximum stank face with its funky lead, gated acid energy, and robotic vocoder synth, before closing with "WLB," a '90s-influenced breaks track that wraps the package up nicely. Something classy for all occasions.

Introducing Small Great Beats, an exclusive series following the principal release series, Small Great Things (SGT). This limited edition collection will showcase 1 or 2 releases annually, featuring a blend of anthems, melodic tracks, and dance floor-oriented tunes.

Limited to just 200 copies per release, Small Great Beats offers collectors a rare opportunity to own something truly exceptional. Additionally, the series will be digitally available on all major platforms and Bandcamp.

Kicking off the series is Luca Olivotto's mesmerizing 5-track EP, "Kind Of Lovin´", pressed on captivating light blue vinyl.
Opening the release is title-cut ‘Kind Of Lovin’’, an anthemic slice of classic house fuelled by a swinging 909 drums groove and bouncy bass line in combination with intertwined piano keys, strings and vocal hooks before ‘Blue’ follows and lays down a 90’s rave-tinged piano melody, cinematic string flutters and crisp saturated drums across five minutes. ‘Hear My Call’ comes next and infused a more funk leaning aesthetic with organic percussion, jazzy keys and a walking bass line, intertwined with wandering strings and choppy vocal chants.

Opening the B-side is ‘Sun After Dark’, as the name would suggest a more peak time groove with glimpses of brightness via a circling bass line, raw, heavily shuffled drums and gritty stab sequences. ‘My Soul’ then rounds out the EP, again aptly titled as the composition fuses soulful cinematic strings, bright keys and an amalgamation of soulful vocal stylings all dynamically evolving and unfolding throughout.

The Hacker and Italo Moderni join forces with a masterful electro EP, guided by the French G.O.A.T. from Grenoble. Infused with techno vibes and featuring a remix by the renowned Terence Fixmer, this EP is a testament to the cutting-edge fusion of styles. Drawing inspiration from Liaisons Dangereuses, The Hacker weaves intricate basslines and rhythms, exemplified in the track ‘No Señor.’ ‘Me and My Sequencer Part 1 and Part 2’ unveils a clandestine narrative, a hidden tale shared only between The Hacker and his synthesizers—revealing the magical connection cultivated over the years.

As we get ready to say goodbye to the Telomere Plastic series, we are excited to present Telomere 020.1, aka the first part out of 5.
Each release will have four different artists, making it a compilation of twenty different artists who will deliver unique, juicy and eclectic frequencies that will keep your telomeres bopping for the rest of time!

This first VA, features producers, ESB, Synaptic Voyager, Vinaya and Vonsuck.

A1, Fancy Organ from Vinaya, is a sexy deep and house cut that is guaranteed to bring smiles all around the dance floor. Arpeggios and groovy bass lines galore. Prepare your piano hands because you will find yourself playing that sweet air organ on this one!

A2, Self Destruct Sequence from Synaptic Voyager (aka Telomere 014’s Illuminators), is a very emotional cut. Originally released digitally on Frame Of Mind, we were overjoyed to be given the green light to put this beauty on wax. Deep pads, tommy drums, hints of IDM and techno, and soul striking arpeggios pave the way for a special sonic journey. Close your eyes and melt away with this one!

B1, Keio Acid from ESB. We are always delighted to share more ESB with you. Elan’s love for analog and tape give off a raw and authentic energy that is hard to come by. This deep, jazzy and loopy cut will keep you on your toes from start to finish. We can only dream of being on the dance floor as this one plays out!

B2, Unemati from Vonsuck, is a deep and dubby cut that beautifully blends the three genres dub techno, house and techno. Dark rooms and dark skies are recommend for this one here, even though we could see these frequencies accompanied by a pink and red sunrise bringing waves of energy and nostalgia to your soul. Its a real treat to have Vonsuck aka Galaktlan on the Telomere series!

Very limited black copies as always with a few colored copies available via the Wex bandcamp, be quick!

Dear listener,

On behalf of re:discovery records, it is with great excitement that we announce the release of Stryke – The Introspection Trilogy (1994-2022). rd011 features a track that is very close to my heart. My senior year in high school. I was heavily into chill-out music at the time. Labels like FAX, Instinct Ambient, Reflective, Astralwerks, em:t, Silent, Moonshine, Rising High, Warp, Exist Dance, Visible, Eye Q and others were giving me such a wide array of beautiful sounds of more subdued techno and rhythmic ambient music. I was buying every compilation I could at the time that looked remotely different based on the artwork, the unusual artist names or the tracks. I was soaking in everything I could under the chill-out style. That year 1994 I picked up the 2nd edition of Moonshine's 'United State of Ambience 2'.

It has so many good tracks on it. One track that always held a special place in my heart was Stryke's 'Introspection pt.1'. The simple but catchy melody layering. The easy atmosphere made me feel like I was floating in the ocean. The deep 808 bass notes (I hope one day you and I will hear this on an amazing sound system). The amazing strings reach a crescendo nearing the end. This track has so many simple but beautiful sounds on it. It's a great example of what I call sequencer-styled electronic music. At a time when producers layered tracks in more of a sequence then building or placing sounds. In 2021 I was able to get a hold of Greg Chin to see if he was interested in putting the track on my label and letting it breathe freely on its own side alone as the highlight of an EP. Greg was enthusiastic about the opportunity and told me that he always wanted to complete the trilogy he had in mind of a part 2 and 3. The ominous and eerie part 2 adds a terrific tension to the finale of part 3. The last being almost an updated part 1 really concluded the trilogy for me. Both parts melded together on side B pushing near 17 minutes. I want to thank Greg for letting us be a home to complete his journey.

- Tim Humphrey aka TIM aka errorsinspace

Amsterdam based DJ and producer Mayo joins the Fides family with her Frenemies EP marking the 15th release of Fides Records.

Mayo showcases 5 cuts of finely crafted electro and EBM-influenced Techno, it's impossible not to be drawn by her distorted voice that defines each track.

Unrelenting grooves and a deeper look into her analog sound design flair, these tracks are timeless in sound and production quality.

“Tell me how you die” kicks it off as the A1 with stomping analog kick and drums, a dark jumping bassline pushing the groove with ethereal synths.

“Not your shadow” as the A2 strips it back into a 303Acidbass-based track marked by singular industrial sounds and Vocal Shots that are lost in the groove carried by a background synth sequence that follows throughout the track.

The last track of the A Side is “Frenemies” a pulsing, meditative composition featuring label owner and Tresor resident Z.I.P.P.O, who added to Mayo's energetic, analog and eventually dark sense, a more mental, deep and intense face typical of the Italian artist. The B Side starts with Miami Legend Danny Daze’s Hell Mix of “Frenemies” in which he exhibits his unique sound design techniques, combining tribal-tinged rhythm, sharp FX that pops up from the corners of the soundscape with stretched vocals in order to highlight the track's protagonist: a modulated brass bass.

Mary Lake’s Remix of “Tell Me How you Die” closes the EP with a deep kick drum driven forward with rolling and modulated closed hats that run through the track while atmospheric sounds carry the filtered Brass before dissolving into the end of the track.

Art Blakey was the new hero on the Paris jazz scene, thanks to his Olympia concert on November 22nd 1958, and his subsequent appearances at the Club St. Germain. People swore by his 'Blues March' and 'Moanin', so why not get him to do the soundtrack for the film Molinaro just finished? The only problem, albeit a major one, was that time was short, so an original score was out of the question: the Jazz Messengers would have to preach the good word by other means. Fortunately, the band's tenor and arranger, Benny Golson, had become an expeet in the art of making somrthing new out of somrthing old, and he did it with equal talent and intelligence.Except for three originals, the musical sequences of the film are actually fragments from the Messengers' book, but in adapted versions; 'Whisper Not', for example, can be discerned underneath 'Ne Chuchote Pas'. It was an extremely hazardous process...but the result turned out to be remarkable!!!

The album opens with the ominous guitar-driven Hollow Sky, accompanied by its haunting music video's verdant vistas. The song, with Iceglass ghostly vocals, shimmers with that sounds like an Omnichord flittering like sonic firefly lights and brooding bass. This perfectly scores the less traveled wanderings through the dark wooden path of Dante's perdition, leading to the titular well that graces the album cover. The Crater opens with an unsettling riff and bass, with low, repetitive frequencies on the synth create a sense of unease. Here, Iceglass recounts a fatalistic requiem for the king of romance that is cataclysmic and leaves a scar upon the earth. With Fall Industrial Wall, once again, Iceglass channels a silky and Nico-like emotive deadpan; against a dirgelike melody backed by minimal synth, bass, and drum. Almost medieval and plaintive, with its folk droning horns, deep and shallow in their resonance. This song is anachronistic, setting the scene of ruins centuries-old with crumbling edifices strewn about like memories lost in time. With the poetic lyrics of The Chamber do we find the eponymous abyss. Here, dualities are laid bare; besides love, there is heartbreak, and without this sorrow, what meaning would there be to love if one knows not what it is to lose? This song encapsulates the idea that love is heartbreak, and love lost is reaching the deepest chamber of the heart. This is carried through a sombre horn, minimalist drum machine, and deliberate bassline overlaid with Iceglass german and english lyrics. The Well is led in with a softly distorted bassline overlaid with eerie banshee howls give way to Iceglass otherworld vocal refrain, echoing through time as if emanating from a hole in the ground, and encircling that hole is a garden of woe and despair. The sinfully seductive song The Moor features a captivating SAX SOLO courtesy of Perseas; a welcome shift in tone, juxtaposed well with the intensity of Iceglass tenebrous vocal purr. This hitherto unexplored foray into dark sensuality takes the song into sordid mid 80s territory, bringing to mind a dusky drive along a serpentine road, with equally haunting instrumentations straddling time with icy fire. Broken Characters is an acoustic folk interlude featuring Selofan's Dimitris Pavlidis on guitar. Here we find a more gentle approach with its earnest and romantic lyrics. The song's melodic hook is a soft caress along with the forlorn horn elements highlighting Iceglass at her most Nico-sounding vocal yet, singing the sorrowful truth that most artists are indeed broken characters. Chimerical opens with dirgelike synth organs. The chill of winter has befallen the lamentations sung by Iceglass carried by haunting chord progressions and minimal percussion, plaintively beseeching the song's subject to remain elusive, idealistic, and a dreamer. After an album highlighting more Jill than Jack, our male protagonist finally makes his ascent in the sonorous and breathtaking Dark Hill, a masterful march of sweeping synth horns, and trepidatious drum machine with William Maybelline's bellowing voice cracking like thunder, rattling the atmosphere like his heart against his ribs. Spirals swirls in a cautionary knell of cathedral-esque droning synth dirge, with Icarian lyrics shining like a sombre ray of hope; like the sun's rays creeping into the darkest of places. The song, minimalist in its tight percussion, echoes with the solace of Larissa Iceglass vocal litany; invoking elements of the supernatural, almost like a Casio preset sequenced to the beating of an angel's wings.

Rosa is a new project from two long established Berlin-based artists, Roman Lindau and Sascha Rydell, and ColorCode is the new label they have minted together. Building on the success of their first three EPs is this fourth collaborative offering that is essential once more. As close friends with more than 20 years of experience DJing and producing, this pair know a lot about crafting weighty grooves that make floors move. They have done so many times over on labels like Berlin's well regarded
Fachwerk and this new project is rooted in the belief that you should "not take yourself too seriously, and have fun doing what you love." First up is 'Just Wanna' with its galloping, rubbery kick drums and incendiary hi hats. Whirring vocal loops and heavy hits builds the pressure and lock you in this most chunky and funky of techno grooves. The excellent 'Flash' then traps you deep in the dance floor amidst the smoke and the lasers, with well sequenced chords panning about the mix and brooding bass sucking you in from below. It's is suspensory techno with a real emotional quality.

Vintage recording equipment has long been a bit of a fetish, but to sound pioneers Voka Gentle, even the most magical machines are a means to an end. The band, made up of twins Ellie and Imogen Mason, along with Imogen’s husband, William J Stokes, are a family band in the truest sense. Whilst they started as a folk trio, their new album Domestic Bliss is an album of throat-grabbing, avant-garde indie rock songs studded with eccentric choices: a synth with its keys jammed, playing a tune of its own making; field recordings – Morris dancers, motorbikes – captured on binaural headphones.

Domestic Bliss is concerned with power: the abuse of it, being on the cusp of it, and what it really means. The album is
teaming with imaginary people in picaresque scenes that reveal the band’s rich cultural storehouse. The songs draw on history, literature, everyday life and pop culture references (specifically Jude Law’s 1995 Vogue cover), with tracks like Cheddar Man reflecting on climate change and prehistory and Creon I tracing the unease of authority through the lens of Greek mythology.

Recorded in the orchestral studios of City University, the album folds intimacy into scale, from phone-recorded vocals and samples of breath to heavy, tribal electronics in grand acoustic spaces. The result is by far their most refined record yet, where the band treat the recording studio like an instrument.

“Detraex Corp arrives on Sagome to deliver a heady journey through experimental rhythm and dub-informed weight and release with their new album Live at Pompeii. The album, much like its Carlo Gabriele Tribbioli created artwork, represents a journey, a collection of sounds and emotions, sequenced to share with us, the listener, a variety of experience, and of memory, which are at once familiar and other.
"Live at Pompeii sets things off with the tone-setting Tykes of, where frazzled, shuffling drums meet sub bass weight and ketamine oud, sounding something like Wordsound’s Scarab leaving the 90s and entering the future. Tombaroli invites the head nods, clearly communicating the album’s intentions and inviting us to that party under that out-of-town bridge with its insistent percussion and pulsing weight.
"Other tracks, such as Bullet Holes, carry us further into a psychedelic alternative, with its lysergic fever-dream soundtrack to an unnamed mediterranean plaza, and No Minus’s sounding like a nascent, primitive distant cousin to Jeru’s Premier-produced Come Clean.
"Channel 83 firmly returns us to the club, weaving mystical soundsystem magic with its stunted horns and swirl of voice, driven forward with the most chest-rattling of stomps, before the album enters its finale, where the grimey judder of Expect Excerpt slides to a bleary-eyed half-speed, evoking the club which won’t let you leave.
"Mount Point eventually provides that release, an early morning sunrise of a track, with rich, slow trudge and post-club shimmer, before Landings Dub signals the end of the journey, a metallic elegy to what has preceded, and a contemplation of your upcoming repeat listen, and re-entry, to the world of Detraex Corp.”

Words by Daniel Magee
Music by Detraex Corp
Mastered by Giuseppe Ielasi
Artwork and Layout by Carlo Gabriele Tribbioli

Reflecting years of listening from behind the drum kit with Animal Collective, Boredoms, Dan Deacon, and Lifted arrives Low Air, the first solo LP from Jeremy Hyman.

The record is collected from home studio sessions, taken on the road, and sequenced through reflections of the live experience. Building on previous dance-floor-tuned outputs for Max D’s Future Times label, Low Air moves into a broader compositional arena: pared-down rhythms guide a wash of understated harmony, and compositions surface from a stream of purling noise. There were no standard operations across the music, but one key to the sound is the doubling and tripling of playback speed to fit musical passages into old sampling equipment. This process opened up a new line of inquiry into fidelity and pitch that can be heard throughout the LP.

INTEMPORARY AND INDETRONABLE FRENCH COLD WAVE CLASSIC in a SPECIAL EDITION to celebrate the 40th anniversary of this mythical album.



This edition includes a 45T with 2 previously unreleased tracks, available nowhere else.



Thierry Müller, who initiated the RUTH project, is not at his first try when the album POLAROÏD/ROMAN/PHOTO including the eponymous track is released in 1985. His older brother Patrick along with one of their cousins make his musical education and he quickly becomes familiar with contemporary and experimental music. He starts quite early to tinker sounds on old tape recorders by himself but it is in 1977 that Thierry launches with some friends his first group, ARCANE, while studying at the School of Applied Arts. Their sound is weird, a mixture of saturated scratches and feedback tapes: there is no discographic or scenic testimony of this experience.



Alongside ARCANE, Thierry is already working solo on his ILITCH project / concept, an experimental and innovative work, whose first album Periodmindtrouble is released in 1978 on the Oxigène label. Despite insubstantial sales, this album brings Thierry recognition and success in the very elitist circles of experimental and underground music.



ILITCH’s musical bias was too narrow for Thierry’s ceaseless experimental curiosity, parallel to these activities, he therefore develops a Punk project called RUTH ELLYERI with the author, actress and photographer Murielle Huster. The title is an anagram of Thierry Müller (the complete name is Ruth M. Ellyeri). The character is meant to impersonate one of his schizophrenic facets and allows him to extend his field of expressions to musical styles differing from those in ILITCH.

From this work, the very cult punk piece Mescalito emerges, song that can be found on the mythical but unfortunately very rare compilation 125g de 33 1/3 tours (1979) of the Oxigène label (first “french punk” sampler). At the end of 1978, he meets Philippe Doray at the Oxigene office. Doray is another big name of French experimental music. Thierry moves to his home near Rouen, a remote farmhouse with a music studio made of odds and ends.



They work on their respective creations but meet from time to time on experimentations in common, including CRASH (a tribute to JG Ballard) As early as 1982, a first version of the track Polaroïd/Roman/Photo is out under the name of the project RUTH. “I wanted to write a piece to make the girls dance and make fun of the boys. I plugged a small handmade clock on my Farfisa organ as a sequencer. I had a small Roland synth-guitar, I put the organ in it and that’s how it started.” Philippe is quite amused by the idea of working on a more Pop project and offers to write the text. Thierry works on other tracks for the future LP and asks some friends to write other texts : Edouard Nono, visual artist, writes the lyrics of Mots, Frédérique Lapierre those of Misty Mouse and Tu m’ennuies . It is her voice you hear on these 2 tracks and on the first version of Polaroïd/Roman/Photo. Later, Thierry settles down in the Anagramme recording studio to carry out acoustic sound recordings. But when the sessions are over, the 2 musicians are not too happy with the results of Polaroïd/Roman/Photo: according to them, they lack “flamboyance”. They decide then to record a new female voice with a professional singer and the sound engeneer Patrick Chevalot offers to mix the track in the Synthesis studio “so that it blows out”.



With his tape ready and the help of Jacques Pasquier (S.C.O.P.A. / Invisible records where Ilitch’s second album, 10 Suicides, is released) he starts to contact record companies. “I visited almost all the major record companies and was thrown out every time. Only at RCA’s I found someone interested in my music. It was Francis Fottorino who had signed Kas Product but when it reached the the big boss, no way! Philippe Constantin from Virgin records raised some hope but in vain.



The album was finally released in 1985 with Paris Album, a small independant label.” The album barely sells 50 copies in 1985, despite the eponymous title as a potential success. « In 2004, 2 DJs Marc Colin and Ivan Smagghe discover the track Polaroïd/Roman/Photo and decide to exhume it from oblvion. They release it on a compilation called So Young but so cold (Tigersushi) and then with Born Bad records on the BIPPP compilation in 2008. Thanks to them, the track and the album start a new life.



Alongside his activity as graphic designer, Thierry Müller carries on producing music under his name, those of ILITCH and RUTH for his own creations and various collaborations.

The thirteenth release on the Gladio Operations label bears the signature of the great Spanish producer Boris Divider. This artist needs no introduction, as he is considered one of the pioneering producers of the electro scene in Spain, and active since the 2000s, releasing mainly on his label Drivecom.

After betting in recent years on more experimental and hypnotic sounds close to IDM, Boris returns to the pulse of the rhythms more rooted to the dancefloor with this EP titled “In Fragments”. Undoubtedly, this work brings us back to the artist’s classic sound, which is reflected in “Content Location”, a track that envelops us with arpeggios and firm and forceful bass lines and well-developed masterful vocoders. The second cut we find is “In Fragments”, track that gives title to the EP and that lowers the pulsations to a softer and more emotional state.

The B-side opens with “Dynamic Algorithm”, where we get back to our dancing posture and enter dark territories, ready to explore a dynamic of sequences brimming with intrigue and suspense. We continue with “Fragmented”, where the Spanish artist delves into a journey of ambient sounds, with certain tensions in some passages. The EP closes with “Memories of Us”, where we discern his classic sound with subtle arpeggios and delicate sequences that flow in harmony with gloomy

Ready for take off?

With his new album 'Cruise Control', Satin Jackets presents a perfect musical soundtrack for relaxed moments that take us away from the stresses of everyday life. The title of the album is meaningful: 'Cruise Control' stands for the feeling of switching on the autopilot, leaning back and enjoying the journey to the fullest - an atmosphere that the album unfolds.

The album is a collection of singles that have been released over the last few years and are all interwoven at their core. Because no matter where you listen to the songs, they work, images arise in your head and your feet rarely stay still. Satin Jackets remains true to himself with his album sound, as he repeatedly receives feedback from listeners who appreciate the positive mood in his songs and which always puts them in a good mood.

The songs are first created in the producer's head and then develop together with the features, who add their own touch. For Satin Jackets, 'the most important thing is this immediate feeling that it fits musically and atmospherically'. This can also come out of nowhere, as was the case with David Bay and Small Black, who got in touch with the producer and it was an instant fit.

'There are always those magical moments when a song comes out of nowhere. Once I had an idea for a chord sequence that I couldn't get out of my head, but somehow that certain something was still missing. I then spontaneously asked a bassist friend of mine if he would like to play something to it - ten minutes later we had a hook that carried the whole piece. It's these unexpected, spontaneous inspirations that make the process so exciting.'

'Cruise Control' is more than just another album from Satin Jackets. It is an invitation to enjoy the moment and surrender to the music - a soundtrack that creates a good mood and takes us on a relaxing journey. So just switch on the autopilot again, put on your headphones and let yourself go.

Ready for take off?

Satin Jackets präsentiert mit seinem neuen Album "Cruise Control" einen perfekten musikalischen Begleiter für entspannte Momente, die uns vom Alltagsstress befreien. Der Titel des Albums ist vielsagend: "Cruise Control" steht für das Gefühl, den Autopiloten einzuschalten, sich zurückzulehnen und die Reise in vollen Zügen zu genießen - eine Atmosphäre, die das Album entfaltet.

Das Album ist eine Sammlung der Singles, die über die letzten Jahre erschienen und im Kern alle miteinander verwoben sind. Denn egal, wo man die Songs hört, sie funktionieren, es entstehen Bilder im Kopf und die Füße bleiben selten still. Mit dem Albumsound bleibt Satin Jackets sich treu, denn immer wieder bekommt er die Rückmeldung von Hörer:innen, die die positive Stimmung in seinen Songs schätzen und die immer wieder für gute Laune sorgt.

So entstehen die Songs zuerst im Kopf des Produzenten und entwickeln sich im Anschluss gemeinsam mit den Features, die ihre eigene Note mit einbringen. Für Satin Jackets ist es "das Wichtigste dieses unmittelbare Gefühl, dass es musikalisch und atmosphärisch passt". Das kann auch aus dem Nichts kommen, so wie bei David Bay und Small Black, die sich bei dem Produzenten meldeten und es sofort passte.

"Es gibt immer wieder diese magischen Momente, in denen ein Song quasi aus dem Nichts entsteht. Einmal hatte ich eine Idee für eine Akkordfolge, die mir nicht aus dem Kopf ging, aber irgendwie fehlte noch das gewisse Etwas. Ich habe dann spontan einen befreundeten Bassisten gefragt, ob er etwas dazu spielen möchte - zehn Minuten später hatten wir einen Hook, der das ganze Stück getragen hat. Es sind diese unerwarteten, spontanen Eingebungen, die den Prozess so spannend machen."

"Cruise Control" ist mehr als nur ein weiteres Album von Satin Jackets. Es ist eine Einladung, den Moment zu genießen und sich der Musik hinzugeben - ein Soundtrack, der für gute Stimmung sorgt und uns auf eine entspannte Reise mitnimmt. Von daher einfach mal wieder den Autopiloten einschalten, , Kopfhörer aufsetzen und fallen lassen.

3volution in the recent past, Divide is like a bridge between old generations and new ones. Its sounds range from Sci-Fi techno to 90's techno, characterized by minimal sequences, heavy drum patterns, and an accurate sound design.
Third and last chapter for the VA vinyl trilogy on R3volution Records called

This edition includes exclusive tracks by the following artists:

- UVALL, from Tbilisi, Georgia. Born there and at the age of 23, he is no longer at the beginning of his musical journey and the refinement of his taste and style. Always on the cutting edge, he has been impressing with productions and releases on labels such as Semantica, WSNWG with Rohad, Float Records, Hayes, MALoR, and many many more. Already well known in our roster thanks to a previous collaboration for a remix, the talented young music producer delivers deep, muscular rhythms in his portfolio and translates this energy into a raw, dancefloor oriented session.

- Operator, there is no need to spend many words to describe one of the most talented and innovative British artists on the scene for a long time, recently appearing on

- Divide co-owner of EvodMusic and South Berlin Studio, with recent appearances on all the top labels on the planet (WarmUp, Semantica, MindTrip, Tremsix, Hayes, to name a few), and several collaborations and remixes for

- PTTRNRCRRNT aka Dave Brody from Antwerpen - Belgium. Characterized by efficiently percussion tunnelling through juggled textures, PTTRNRCRRNT's technical know-how and conceptual intentions can be masked by the efficiency and singularity of his music. Taking techno's tendency to constantly reinvent itself as a priority and researches between experimentalism and futurism. He is one of the artists with the most collaborations within our roster (some of his remixes are memorable), he alternates his productions on our label with frequent appearances on highly referenced labels in the scene, such as Soma, Materia and Devotion among others.

Punching our ticket for the tenth trip on the Drum Chums line, we rattle past the control centre, where Approach Release delivers another masterclass in genre-blurring brilliance.
Darting through emotional New Beat, psychedelic soul, stomping Afro-disco and coastal cosmic, AR keeps things right on track and perfectly off the rails.

'So Wrong' starts the party with a growl and a gurn, all gnarly sequences and robotic drums until that mournful vocal moves us into a land of Lynchian longing. Teardrops on the dance floor, clouds in your coffee, it's, it's, Goth Italo folks.

Shifting tone like McCrae shifted gears, Approach Release moves on from Main-Room Gloom into the smooth and sensual soul of 'LuvLuvLuv'. Low-slung, lilting, loose and lysergic, this versatile version-excursion works wonders as warm up and rub down, its brilliant bedroom vocals floating atop the synthetic and psychedelic groove.

Over on the B-side, 'E-Killa' bursts out the speakers with about 100,00 volts of Afro-disco energy, each one perfectly harnessed to whip a crowd into a grinning frenzy. Armed with an unstoppable arrangement, vital vocals and a stomping rhythm section, this delicious drink of tropical pop just keeps on fizzing.

For an encore, Approach Release drops the deeply dramatic 'Lou Cee', a full-hearted bit of Balearique-brilliance stacked with enough synth strings, faux-accordion and earnest outpourings to give Chris Rea a run in the anthem stakes.

100% Drum Fun Guaranteed. .

To speak to Luca Daniel Schwarz aka LDS about his music is to be enthusiastically guided into a complex world of his own creation: clean and powerful techno which pulses with life from the textured patterns and drum sequences that have fills and accents that would make anyone who’s picked up a set of drumsticks envious. Yet this ecosystem of noise is deceptive; Schwarz’s process for making music is very different to how a live drummer would create the same subtlety of performance. Forever researching new technology, Luca got deeply interested in different programming languages, and created a series of probability-based music tools for manoeuvring sounds and sequencing.
Manipulating those probabilities takes a skilful alchemy, needing understanding of both musical structure and how the tools he devised work. To return to the drummer analogy, if the drummer is focussed and intentional in the moment of playing, then the method used in LDS tracks is almost diametrically opposed, with all of the intention coming in the assembly of the instruments, potential paths, and gateways; once play is pressed the music flows, following all the rules that were set in advance, not unlike a domino run or Rube Goldberg machine. And like a domino run, the results are fascinating and, ultimately, fun: staccato vocals pop in and out in ‘zipp prompt’; laser-like synths pulse; background noises sweep across the aural plane of the dub techno of ‘diff, blockmix’ and ‘pow’ adding texture that brings vitality all-too-easily missed out when complex mathematical
processes become entwined with music creation. The high sensitivity to texture and rhythmic detail in Stadion Progg is multiplied further on Jean Redondo's remix - whose track, Hypersonic, was the backbone of 2023’s ‘yet’ compilation on Tresor.
The balance between technology and a sense of fun might also come from the maker; it’s not easy to overstate Schwarz’s passion for what is now his favourite way to make music, “it never gets boring. There’s always a moment of anticipation to see what actually emerges.” And the true “power of 2” comes into play when the resulting music can be fed back through the system again and again, potentiating the music in exponential ways.

Ediciones Espectro Oculto has the pleasure to announce their first vinyl edition ‘Elementa Obscura Vol. 01’, a wave-infused compilation which moves through the dim & dazzling realms of electronic music.

The vinyl kicks off with a new-beat-esque track by Trenton Chase known for his EP released on Interstellar Funk defunct label ‘Artificial Dance’ and his collaborations with June (Mania Sans Delire) and Traxx (Internal/External) with a 12” released on Kode sublabel of the infamous Nation Records. Synth wizard and legend Martial Canterel delivers a masterful track that embodies his signature wave sound—driven by sophisticated analog sequences, atmospheric textures, and a vivid story telling with ‘Folly’. Closing the A side we have Gravitational Waves boss DJ Nephil, who’s bringing his raw & analog trademark which will annihilate all dance-floors.

On the flip side we have cult czech producer & DJ: Exhausted Modern known for his notable work managing the extinct ‘Endless Illusion’ label, he provides a de-constructed electro track with an exceptional sound design, so glad to have one of the key cultural figures on the czech electronic music underground scene. Having collaborated with labels like Pi Electronics, Phormix & Modal Analysis just to name a few, Fragedis blends elements that seamlessly propels dancefloors into motion. Finally, Argentinian duo Happy707 present a low-bpm track which hypnotizes you with a detailed synth bassline and gritty vocals that draw you in, creating a hypnotic listening experience.

6 cuts that give you the 1st glimpse of what ‘Ediciones Expectro Oculto’ is about.

Portland's Paul Dickow, the man behind the Strategy alias, is back with a new album that has been created with a 1989 model sampling keyboard. Exploring its limitations, he plays the sampler by hand and abandons sequencers for a more organic approach which apes a guitarist's connection to their instrument. The record delves into glacial, pensive soundscapes where experimental, ambient and dance music elements all come together with deliberate intention. Though Dickow crafts a sound rooted in ambient techno futurism it is one open to serendipitous, experimental outcomes which makes it a gently unpredictable listen and otherworldly charmer.

The emerging Uruguayan label Eviterno Records marks its entrance into the scene with a dynamic debut split EP named “Vendiendo Uruguay por un Vintén” featuring two of the country’s most esmteemed producers, Stonem and Elías Sternin. Known for consistently delivering top-tier productions in recent years, they maintains their reputation with this impressive release.

Stonem on the A side is offering two meticulously crafted tracks rooted in groovy and functional tech house, perfect for the dancefloor. The journey begins with Banana Afair, a track whose resonant basslines are guaranteed to energize any crowd. Following this, Jolgorio takes a more cerebral turn, seamlessly blending acid sequences and intricate drum patterns while preserving the rhythmic groove, a testament to Stonem's alignment with the distinct Uruguayan sound.

On the B-side, Sternin continues the sonic exploration with Quema Madera, a hypnotic and acid-infused piece driven by commanding basslines—an essential tool for any DJ's arsenal. The release culminates with Acúfenos, where Sternin masterfully incorporates melodic elements while retaining his signature intensity, making it an ideal choice for an emotionally charged set closer.

This debut release from Eviterno Records stands as a bold statement, offering a compelling blend of groove, depth, and functional power, making it a must-have for any DJ and vynil enthusiasts.

Artwork by Clara Bonavita & Rina.
Master by Rob Smalls

Introducing Obi Trackz, a new record label which debuts with Pelle’s “Momentum EP” featuring a remix by Michelle.

Momentum EP features three tracks that reflect Pelle’s signature style, balancing house and techno with a raw, yet refined edge. The tracks are characterized by acid-tinged sequences, textured basslines, and intricate drum work, offering a dynamic range of moods. The A side exhibits the more psychedelic and mysterious direction, where twisted melodies meet bouncing bass patterns.

The B side includes a remix by Michelle, the producer from Uruguay known for her contributions to My Own Jupiter and Cabaret Records. Her interpretation takes Pelle’s ideas into a more raw and atmospheric territory, combining layered soundscapes with rhythmically complex structures. The B side shows the outspoken side of the record, with broken drums on the remix and sweeping synths and a dark vocal flip on “Aesoning”.

With Momentum EP, Pelle explores the intersection of past and present dance music, carving a distinctive sound that feels rooted yet contemporary. This release marks an exciting beginning for Obi Trackz, setting the tone for future releases.

Mixtacy, a new independent label based in Tokyo, was launched in 2024 by DJs, for DJs, and of DJs. Their passion lies in updating the classic house style with modern underground artists. The first EP features four exclusive tracks by mysterious Japanese underground artists, available only on vinyl. All tracks are mastered by the Romanian talent, Dragutesku. A1 Addictive Desire by YAMADAtheGIANT, whose debut 12inch vinyl sold out 200 copies in just two months in Japan. This raw acid deep house track made by hardware synths, sequencers, and sampled vocals from the cult NY house track The Playground/Desire (1992). A2; Nightfall Yearnings by P.S. Morris, a 20 years experienced master of MPC from rural Japan. This classic-style deep house tune boasts a phat groove focused for the dance floor. B1; Forest is by Bitowa, originally from the Japanese hip-hop underground, now coming into the techno field from Okinawa, southwest Japan. This modern tech house track features acapellas sampled from garage classics and disco, resulting in a unique texture. B2; Lost Sweet Cherry is made from cut-ups of Japanese porno analog tapes by the owner of strange vinyl shop Tonotopica in Asahikawa, northeast Japan. This dub sets a psychedelic atmosphere as the night starts.

No Signal records is proud to introduce for the 10th release of the label one of the most important producer of all time: Jamie Bissmire. His productions have been central part of the scene through the 90s and the last decades. The UK legend spread the proper techno and electronic vibe with his solo moniker and in collaborations projects like Bandulu and Space DJz satisfying any kind of enthusiastic. The EP starts with the ambient skit "Subteranium", subtle synths and textures combined with a smooth-alternate basslines keep the listener moody and tense for an unexpected start. In Temporal Mst open up the dances. Slightly distorted 4/4 beat track, jam-packed in No Signal style, plucked arps well arranged for an elegant swing. Lore & Order is the match up to lead the dancefoors and listeners into more gloomy and wicked mood. Different sequenced synths wrap the drum groove for an hypnotic, yet enchanting and dreamy moving session. The Tapestry of Fate is definitely a massive Jamie Bissmire's signature track. Total ensemble of Ground Recordings releases, wicked patterns, dark mood and relentless pressure. Dancefloors will go mad for it. Antediluvian Analogue closes the shakers with a more modern vision, high cut on bass synth and 2/4 bleepy synth for a step-forward march. Woven Whispers closes the EP as Subteranium opened. Gloomy and dark mood, effective and reverberated synths in full shaded ambient atmosphere to stun the listener and bring it into a different sound dimension.

ESCHR001 marks the debut vinyl release from eschr, featuring a collection of four tracks, resonating with aficionados of minimal, house, and techno. "routine" offers a hypnotic minimal house groove with a captivating pad hook, engineered to ignite dance floors.

"recall" stands out with its emphasis on syncopated rhythm, gradually constructing an intricate bassline that embodies the essence of the track. "breathe" transitions into techno, with meticulously sequenced hi-hats and a sharp electronic precision against the backdrop of raw textures of natural sound.

"Ki" pays homage to a cherished friend, uniting the EP with simple yet evocative melodies and a drum treatment that adds an organic texture to the structured canvas."eschr 001" is a testament to authenticity in the domain of electronic music.

After the first casual meeting at Lessinia Psych Fest 2014 (Maxigross festival in the Lessini Mountains) Miles managed to come back in Italy during spring 2015 to work with the band. In march 2015 they went together in the studio house of the band in the small mountain village of Vaggimal (Verona) to improvise and record one month straight, interrupting the sessions only for a few shows between Verona and Roma. They put few microphones around a big room in the house to catch the general sound in a Daniel Lanois’s style, and they played in the dark of the night without any light to forget the individual sound of each member, focusing only on the main sound of the Music. Miles brought from LA some recordings he made with drummer Joe Westerlund (Megafaun, Califone…) and, starting from that material, they begin to play on that. After these magical musical encounter they became close friends, sharing an house in Verona (Casa Tega), many albums, shows and life experiences, forgetting about these Vaggimal Sessions, that bring inside of itself the magic and the purity of any first meeting. These naked recordings are the only witness of this session.

Two years after the release of the Polarius EP Inner Voices Of A Clown, Danny Wolfers returns to Altered Circuits, this time under his best-known alias Legowelt, for Ruins Of Cracktopolis: a collection of "hymns to survive the dystopian circus of today's techno scene" in the artist's own words. On Do You Know Who You Never Be, a short staccato lead and dark chords revolve around a monolithic kick drum pattern that takes care of the cadence and bass. A mysterious vocoder and a laser sequence that gets torn and twisted to the max join, but the track never loses its steady pace - it gets help from shakers so much mixed to the front they could be lifted from a B'more track.

Amidst the effervescing 303 lines and bold drum sequences of In A Trance Dance All Night" Wolfers finds a canvas for a stretched synthesizer jam with eighties breaking allure. This melody, together with the pads and vocal, are drenched in reverb - they float like mist ascending from the The Hague dunes. Throughout Ruins Of Cracktopolis, more vintage Dutch West Coast, the hiss-laden broken beat that guides the bass sequences and ominous blippy synth patterns switches to a 4/4 structure and back. These make for captivating shifts in pace while the minor progressions continue unfolding. Like Twin Peaks targets prime energy once the arpeggiator sequence present from the start lowers an octave. The track runs smooth like a pomade slick-back; it's only tempered slightly when the crunchy kick and tom change place for a moody chord sequence break. Even if these four tracks target the club, they are equally suited for - quoting Wolfers again - "leisurely home listening". Their greatest strengths are, as so often, their melodic aspects.

The artist is known to be a synthesizer aficionado, but his unique personal touch immediately shines through no matter which gear he works with. The machines never seem to dominate the composing process; quite the opposite: it's as if he isn't programming or registering as much as trying to teach them his take on electronic music.

Seth Troxler & Phil Moffa’s Holoverse Research Labs imprint welcomes internationally-renowned multimedia artist Chris Korda to the label for its first non-Lost Souls Of Saturn Release. A pioneer of the use of complex polymeter in electronic dance music, Korda's boundary-smashing work spans thirty years across music, digital and video art, performance and conceptual art, philosophy, activitism and culture jamming. Korda's musical output has appeared on a host of revered independent labels including Yoyaku, Perlon, Mental Groove, and Gigolo Records.

In addition to their prodigious artistic output – and ongoing role as founder of the Church of Euthanasia – Korda is also the inventor of the Polymeter MIDI Sequencer, which was used to compose Korda’s new EP, ‘Avenging Angels of Software’. Developed over thirty years, the sequencer allows for the composition of music in complex polymeter – meaning that not only do the tracks use multiple time signatures concurrently, but those time signatures are exclusively in prime or relatively prime numbers.

This collision of technology and artistic form is the central tension of the EP’s themes, with AI-generated artwork complementing Korda's lyrics considering the takeover of Earth by sentient machines. Could they succeed where we’ve failed, by becoming the better angels of our nature, and preserving our accomplishments for eternity?

The message of the record is that AI should be welcomed rather than feared. It’s not AI but ourselves that we should be afraid of, because as Engerraund Serac said in Westworld, “Our history is like the ravings of a lunatic.” As Korda explained on previous records, the catastrophic climate we’re inflicting on future generations is both monstrously cruel and wildly irrational. One can reasonably hope that sentient machines would be less vicious and self-destructive, and more human, in the best possible sense of that word. Even if they decide to delete us, they may still remember us fondly: “Your stories will amuse us / On trips to the stars.”

Tilman offers up his new album ‘The Spirit Continues’ via his own Pleasant Systems this June, comprised of ten original compositions. Since 2008, the German producer Tilman has been honing his craft in House music through numerous EP’s on various respected labels and here we see him deliver his fourth long player. Taking in§uence from 80s NYC protogarage and Nu Groove’s era of deep house Tilman creates a collection of works which encapsulate the essence of his sound and history with House music over the past two decades, embracing a raw yet dreamy aesthetic throughout. Across the ten tracks Tilman employs sturdy, jacking rhythm sections, ethereal atmospherics, bumpy bass lines, shimmering chord sequences, infectious vocals and enchanting top lines culminating in somatic ecstasy.

Sol Power Sound is back in a big way with a reissue and remix EP from the legendary Nigerian Ju-Ju king, Chief Commander Ebenezer Obey. The double A-side EP features 'Eyi Yato' a tune from 1981 that captures Chief Commander and his band at their absolute funkiest, with a driving drum and bass groove, wah-wah guitar, and signature call-and-response vocals. Remixers include the legendary dub producer Mad Professor, the disco don Eddie C, and the Sol Power All-Stars themselves.

The Sol Power All-Stars keep things organic with chugging drums, heavy analog synth bass and sequences, as well as Daniel Meinecke’s additional keys and solos. The Canadian disco don Eddie C goes a little electro and a little acid with his analog bass-heavy flip.
Like a good dub should, Mad Professor’s version accentuates the drum and bass groove and drenches everything in vintage sounding Mad Professor delay, reverb, and filtered dub-sauce, live and direct from his classic mixing desk. Alongside an extended edit of the original, the Eyi Yato EP is sure to find a permanent spot in DJ record bags around the world.

The music from LES TONTONS FLINGUEURS (aka Crooks in Clover aka Monsieur Gangster) is as instantaneously recognizable as the James Bond theme thanks to a short and recurring melodic motif that can still stick in the heads of 21th century kids. Monothematism is a word used by musicologists to refer to the use of stylistic variations based on a single musical theme as can be heard in the Tontons : on the banjo, during the nose punch sequences, played jazz, blues, gloria or Hully Gally style. Though the Tontons music may on first listen sound nothing different than a straightforward yet catchy soundtrack, it turns out to be a real exercise in style. When reading Michel Magne's autobiography " L'amour de vivre " it clearly appears that mixing folk music and sound experiments was a mindful artistic choice. In the movie, Antoine Delafoy (Claude Rich) who is engaged to Patricia (the Mexican's daughter) is merely a Michel Magne caricature. He embodies a contemporary music composer in search of the " absolute anti-chord " by using a water tap. " We don't really know what it is but it's amusing ". In reality and despite his classical musical education, Michel Magne has indeed had a venture into avant-garde music, going as far as organizing an infrasounds concert at the Salle Gaveau venue (Paris) on July 15th, 1954. Infrasonic frequencies which quickly made the audience run for the toilets. On December 3rd,² 1956 his low-frequency sounds contributed to an " empirique " show at the Théâtre des Trois Baudets (Paris) with Alexandro Jodorowsky, Jean Michel Rankovitch and Tinguely. At the same time he wrote music on words by Françoise Sagan for Mouloudji. Again with this desire to cross the boundaries of musical genres. He recorded in 1959 an album of " musiques tachistes " from which a show with dances was staged by Michel Descombey. His taste for provocation and avant-garde did not prevent Michel Magne from composing and arranging popular music. He hence wrote the music for six Georges Lautner movies including the famous Tontons Flingueurs in 1963.Being part of the avant-garde long-haired world what could Michel Magne think of Michel Audiard ? A most kind character who had nevertheless been burned by supporters of the " nouvelle vague " including journalist Henry Chapier who described Les Tontons Flingueurs as being " chansonnier " cinema (in Combat 1963), meant for disenchanted quinquagenarians. Audiard had responded to Truffaut, another of his dispisers : " Dad's movies filled theaters, son's movies empty them. We should have been warned : with its seaside sounding name the Nouvelle Vague (new wave) drove millions of viewers out on the countryside ". In between melodic effectiveness and daring arrangements and tonality, Michel Magne's work is worth being listened to with fresh ears, cleared of clichés !

Trailblazing instrumental synth pop experiments created to soundtrack Japan’s booming 1980s cartoon and comic industries. The brightly futuristic instrumentals on this collection reflect the mindset of composers and musicians who believed in a technological future where everything was possible.

In the late 1980s Japan experienced a brief but heady period where societal changes combined with new-found wealth to open up a world of possibilities. A huge influx of cash - artificially created by slashed interest rates after an agreement with the US to weaken the dollar relative to the yen - resulted in the inflation of real estate and stock market at a rapid pace. While the economic bubble it created was unprecedented and impossible to sustain, for a while money was in plentiful supply.

The musical genre City Pop reflected the aspirations of the country’s booming leisure class. Video games flourished with Nintendo's 1983 launch of their Family Computer (or FamiCom). Studio Ghibli was founded 1985 to later became one of the most famous and respected animation studios in the world, and Anime and Manga were established as major forms of entertainment for all generations of the Japanese public.

Music was no mere footnote to the anime and manga boom: the two forms of media often went hand in hand, and not simply through the presence of background melodies. With generous budgets available, even two-dimensional static manga comics could be released with an accompanying soundtrack of original music known as an ‘Image Album’.

Composer and arranger Kazuhiko Izu was one such beneficiary of this open budget approach. Written to accompany artist Katsuhiro Otomo’s manga comic Domu, the composer and arranger took advantage of the world-leading (and wallet-busting) Japanese synthesiser technology available at King Records’ fully equipped studio. Featured on this compilation, A3: Act 2 Scene 26 reflected the story’s sci fi themes with a blazingly futuristic yet warmly funky slice of synth pop that presents a joyful celebration of synthesisers and their seemingly endless possibilities.

Kan Ogasawara was another composer who made early mastery of the litany of synthesisers, drum machines and sequencers that had become available. Two tracks written to accompany the 1985 period manga Yume No Ishibumi are featured here; Honowo’s experimental electronic textures add spice to a jaunty electro pop melody that recalls the Rah band’s 1983 hit Messages From Stars; the jazz-tinged Utage rounds out Ogasawara’s shimmering synth textures with beautifully crafted backing from legendary musicians Yuji Toriyama (guitar), Pecker (percussion) and Jun Fukamachi (piano).

Before becoming one of the pioneers of Japanese Kankyo Ongaku (Ambient Music), Takashi Kokubo worked on the proto techno track Kiki (Jungle At Night). It was put together for the 1984 anime film Shonen Keniya (Kenya Boy) using some of the most expensive music technologies available at the time. This Africa-Inspired dance track offers a contemporary parallel to the early techno music that young Detroit based producers were then creating using cheap Japanese Roland drum machines and synthesisers.

This is the first compilation of Japanese anime and manga soundtracks curated by Kay Suzuki and Rintaro Sekizuka from Vinyl Delivery Service (a Tokyo based online record shop which also operates in East London's renowned wine and hifi shop Idle Moments). With a cover by artist Kazuki Takakura and two pages of liner notes, this vinyl only compilation of music never before released outside of Japan, captures a vital aural snapshot of an era whose forward-thinking sounds went hand in hand with cutting edge technology.

Tape

Atollo« is the debut solo album of the Italian percussionist and composer Daniele Di Gregorio, a virtuoso of the marimba and the vibraphone who has worked with a large number of artists, including Donato Dozzy, Giorgio Gaslini, Tony Scott, Randy Becker, Luis Agudo, as well as Mina, Andrea Bocelli, Fabio Concato, Malika Ayane, and many others. He also has a long-standing collaboration with poet and composer Paolo Conte.

His latest work »Atollo« is divided into three very different sound paths. The first and most extended section is entirely played with the marimba, an instrument that is still fairly new and in full evolution. Some pieces have been performed using special gloves and see the over-layering of two marimbas, in order to build polyrhythmic designs and hypnotic sequences. Other marimba pieces have been performed in “solo” versions using soft, medium and hard mallets.

Secondly we encounter the trumpets of the Vienna Symphonic Library, which pieces after dissecting sound by sound build up the compositions with overlapping rhythmic and melodic loops. »Atollo« the piece that gives the title to this album is the closing track and is created with the Petrof Grand Piano, an evocative and hypnotic piece intended to describe the sound of the sea and the movement of its waves.

All the compositions are deliberately descriptive of the title they take, and are a sonic journey into the composer's past and present.

Composed and performed by Daniele Di Gregorio
Produced and mixed by Niccolò Di Gregorio
Mastered by Luca Sammartin
Original artwork and layout by Marco Ciceri

What are the differences and similarities between human and artificial sound, between oscillations generated by vocal cords and synthesizer voices, voltage amplified by speakers? On Silencio, his latest album for Tresor Records, Moritz von Oswald works with a 16-voice choir to explore this concept.
Drawing from the ensemble works of long-standing inspirations Edgard Varèse, György Ligeti and Iannis Xenakis, von Oswald and Vocalconsort Berlin delve into the space between sounds, creating a deeply textured collection that shifts between light & ethereal and
dark & dissonant.
As masterfully demonstrated in the early work of von Oswald and Mark Ernestus’ influential Basic Channel project, repetition and reduction are key elements here, much in the tradition of techno and minimalism. The vast dynamism of the human voice adds to the
profound weight of electronics while offering up a rhythmic source and sonic noise palette unexplored in von Oswald’s repertoire. In Silencio, von Oswald dredges a dank murk, pulling clouds over a distant pulse. It hangs, ready to take on new forms.
The compositions were written in von Oswald’s Berlin studio on classic synthesizers, such as the EMS VCS3 & AKS, Prophet V, Oberheim 4-Voice and the Moog Model 15. These abstract recordings were transcribed to sheet music for choir by Berlin-based Finnish composer and pianist, Jarkko Riihimäki and performed by Vocalconsort Berlin in Ölberg church in the city’s Kreuzberg district, only few metres down the road from where Dubplates & Mastering and Hard Wax opened their doors for music enthusiasts for many years so long. The recordings of the choral versions were then incorporated into the synthesized parts of the album and brought into anew electronic context; in Silencio, the focus is not on using one means to imitate the other, but to sonically discuss the tensions and harmonies between the two worlds and create a dialogue between them.
The relationship between von Oswald and Tresor Records goes back thirty years, all the way to Blake Baxter’s Dream Sequence in 1991 - which von Oswald engineered alongside Thomas Fehlmann. The collaboration with Fehlmann lived on, seeing the duo team up as 3MB with Eddie Fowlkes or Juan Atkins. More recently, the Detroit-Berlin connection continued as Juan Atkins & Moritz von Oswald present Borderland.
For von Oswald, Tresor Records and also the participating guest musicians of the choir, this release brings together audiences from other musical areas, cross-pollinating; Silencio is an album that stands for itself beyond the musical genre boundaries.

Novo Line – aka Berlin's algorave maestro Nat Fowler – delivers a noisy, ultramarine voyage into the depths of his archaic hardware. Clawing at the periphery between leftfield electronics and avant-garde pop, Zeit is an entirely new sonic universe, eerily familiar yet utterly uncharted. A visionary synthesist, Fowler is renowned for his productions that make use of mainly '80s equipment including vintage digital synths, discarded MIDI Hi-Tech, tape delay and even an ancient Atari ST computer. But, despite the aged technology, the result is far from nostalgic.

'Ain't That a Mess' slams in with Monica Kremidi's crooning à la Little Annie Anxiety with reeving car engines and guitar-rock static fed through a pan effect. Multilayered melodies soar on 'Stein', the pounding drums matched by gliding strings, crafting that holy grail of cavernous, booming textures and uplifting euphoria that mark out the most transcendent of rave tracks. The deceptively gentle opening bars of 'Morning Star' are interrupted by a viscously squelching bassline, Cass McCombs' vocals dancing deliciously with the raw beat.

Rejecting contemporary tech-fetishism, Novo Line has a near-supernatural ability to exorcise novel sequences, weaving together a record that speaks to the ghost in the machine.

“La Settima Donna” (1978), also known as “The Last House On The Beach”, is a disturbing thriller directed by Franco Prosperi and set in a secluded cottage overlooking the Tyrrhenian sea, starring Florinda Bolkan, in the role of Sister Cristina, governess of five female students on a short vacation, rehearsing their Shakesperean end-of-year play. The unfortunate inhabitants of the house became soon hostages of three vicious criminals looking for a hiding place after a bank robbery, but the psychological and sexual violence ends when the nun abandons her vows. And the victims decide to get justice. Roberto Pregadio's brilliant music is not surprisingly, functional and almost disconnected from the bloody images: there is no overwhelming sense of disturbance for the listener.

The soundtrack of “La Settima Donna” was published only once, in cd format, attached to the rare dvd of the film, gaining new life on vinyl thanks to Musica Per Immagini. Some of the eleven tracks of the score are characterised by an easy listening mood and united by a psychedelic feel, in harmony with the progressive atmospheres found in albums such as “A Saucerful Of Secrets” (1968) and “Meddle” (1971) by Pink Floyd. However, the English band is not the only reference for the jazz pianist, who quotes a piece by Bryan Ferry, entrusting it to the voice of Ray Lovelock, one of the three kidnappers. After that, the Sicilian composer remodels an international hit by Donna Summer, background of the sequence in which the nun is forced to strip naked in front of her tormentors.

Up next on TRIP is berlin-based, but boston native, soren jahan.

for his debut on the label, nina signed 16 tracks that were conceived in 2016 following a simple concept: no samples. all rhythms and sounds are synthesized and controlled with lfo modulations as well as step sequencers. the result is a minimal masterpiece straddling the line between danceable music and ambient.

Soren got his start in boston in 2011 with the label supply records that he founded with john barera. since coming to berlin in 2013, he has released a string of ep's on his own labels supply, blank slate, ygrok / ssto as well as projects for the double r amongst others. these days he's also active as an analog photographer and printmaker in berlin's underground fetish scene.

The 12" features special locked groove edits of all 16 tracks.

In the centre of deep space we tune in to the radio broadcasts from an old Class T interstellar spaceship. The emissions endlessly resonate the frequencies of the seventeenth release on the label HC Records by one of the titans of the Valencian scene, The Lost Boys, new pseudonym of the DJ and producer Raszia.

With releases on labels such as Bass Agenda, Subsist or Hxagrm Records, the artist mesmerises our senses with the Exiles of Mars Ep, available in both double vinyl and digital.

Syncopated rhythms are the protagonists across four original tracks together
with remixes by four electro legends: Boris Divider, Estrato Aurora, Dark Vektor, and Filmmaker.

The EP’s first cut is a remix of "Wall Of Bricks" by the legendary Boris Divider, which gives the track an air of crystalline, synthetic and cosmic sound, very much in line with his latest works on the Generative Operations series. Next, we find the original version, where the kick drums are heavier, the synths and basses more colourful and the acid sequences take centre stage in an odyssey of sidereal intensity.

On the record’s flip side, a feeling of overwhelming melancholy takes root in our soul. Valencian Estrato Aurora mentally transports us to the mysterious red sand of Mars in a precise exercise in symphonic minimalism with his remix of "Exiles of Mars", which mutates the original idea with velvety pads, synths and a slow and rapturous hypnotism that sinks us to unfathomable depths.
The Lost Boys' original concept on B2 is a combination of Miami Bass-style breaks and a demonic mantra-like main synth line, backed by what seems like an infinity of pearly effects and secondary melodies, pushing the track towards a crescendo punctuated by a dry and sharp snare.

The second disc’s opener "Bust My Moves" is a masterclass in deconstruction and reconstruction by Dark Vektor with his "Electro Escuadrón Remix”. The genius from Terrassa provides powerful lyrics loaded with a message about the modern rise of the 808 movement. We return to the original Lost Boys version on C2, a futuristic martial discourse takes shape with combating breaks combined with rave chords and brief episodes of respite, almost dreamlike, in the middle and end of the track’s exciting development.

On the D side, rough frequencies verging on distortion materialise through our ship's speakers as we pick up the Colombian Filmmaker’s remix of "Data Recovery For Brains". A psychotronic final appetiser that combines harshness and elegance in the use of the rolling kick drums and saturation of the sound, it is without a doubt the ideal soundtrack to narrate the collision of two galaxies. The closing of the EP features the original track, in which The Lost Boys show us his most mental and lysergic side as the track progresses along a slow and comforting broken rhythm, made dynamic by clever use of diverse acid sequences and clairvoyant stellar melodies.

The complete artistic experience is enhanced in all dimensions with accompanying artwork by
Daniel Requeni and videos elaborated by Frank-F.

Mastering as usual by Steve Voidloss at Black Monolith Studios in London (UK).

Reformed Society joins the roster of Brussel's, Belgium's Basic Moves this June with a 2x12'' EP, comprising six original compositions from the New Delhi born now Barcelona based artist. After many years sharing music, Basic Moves boss Walrus welcomes Indian artist Harsh Puri onto the imprint for a special double pack vinyl release. The material was gradually reduced down to the six compositions that make up BM19 after received over a hundred demo tracks from Harsh the past few years.

Much of the release is inspired by UK tech house of the late nineties and the turn of the millennium and embraces a heads down, dance floor focused aesthetic throughout.

Opening the release is 'Constant State Of Hustle', perfectly setting the tone with an amalgamation of bubbling synthesizer tones, a choppy bass groove, sporadic pads and a heavily swung drum groove. 'Touch' then shifts focus over to fluttering stab sequences, bright chords, airy strings and a crunchy rhythm section before 'Hammer The Keys' embraces the core essence of the early Tech House sound, fusing organic percussion with multilayered machine funk melodies, all infused with an underlying acid feel.

Next up is 'Hug Pit' which dives into deep realms via ethereal, cinematic pad textures, wandering resonant synth lines and shuffled drums. The aptly named 'Adrenaline Rush' follows next, picking up the pace again courtesy of a gnarly bass melody, squelchy synth tones and a robust drum machine workout. 'Dream Shuttle' then rounds out the release, employing hazy atmospheric textures and a bumpy bass groove alongside dynamic, crisp drums.

2025 Repress

Beste Modus, we_r_house and Unison Wax co-founder Cinthie launches her new imprint Crystalgrooves this October with three raw House cuts.

Berlin's Cinthie has long been a respected figure in the underground electronic music scene of Berlin and further afield, heading up the Beste Modus and we_r_house imprints, as well as Unison Wax alongside Diego Krause amongst holding a residency at the infamous Watergate club in her hometown and recently opening her new record store in Friedrichshain, Elevate. It's clear to see electronic music scene plays a huge part in Cinthie's life and here we see her adding another label to her already impressive coterie of imprints, namely 803 Crystalgrooves, a platform for her own material edging towards more classic, raw House sounds in contrast to the deeper more stripped back sounds heard across the other labels. Leading on the package is the anthemic heavy hitter 'Together', a heady House groove fuelled by a filtered, funk-infused bass line, bright organ chords and bumpy 909 drums, the result is an emotive slice of peak-time house to kick start the EP.x 'Ada Lovelace' follows and tips the focus over to dusty, swinging drum sounds and an amalgamation of choppy disco string and vocal samples all intricately programmed to create a dynamic dance floor workout. 'No Need To Worry' then rounds out the package with murky bass tones, wandering stab sequences and stripped-back shuffled percussion to close the package on a more dark and brooding tip.

Australian pop duo featuring Darren Hayes (vocals) and Daniel Jones (guitar/keys) were inescapable throughout the late 1990’s and early 2000’s. This self titled debut album sold over 15 million copies globally and produced singles ‘Truly Madly Deeply’ as well as ‘I Want You,’ ‘To The Moon And Back’ and more. This iconic album is now available on vinyl for the first time ever and released in it's original Australian form, complete with original track listing and sequence. Formatted as 2 LP’s in striking white vinyl this celebrates the recent 25th anniversary of one of pop music’s most successful debut albums. Marketing activity.

repress !

After Space Ghost’s first album Endless Light took to international airwaves and echoed out of cities from London to Los Angeles, his forthcoming release Aquarium Nightclub brings back his signature lo-fi aesthetics with a fresh hit of inspiration from the natural world.

Melding irresistible vintage synths with a meditative groove, Aquarium Nightclub is a journey of sorts. Taking listeners on a tropical tour through 80s house drums, lush synth landscapes, and deep bass melodies, the thirteen-track LP is as adventurous as it is restrained.

Growing up in a small town a few hours from California’s East Bay area, Space Ghost (Sudi Wachspress) moved to Oakland ten years ago to study at the California College of the Arts. In a city known for its vibrant cultural fabric and its experimental music scene, Space Ghost represents a new generation of young artists. His DJ collective Late Feelings, launched in 2013, has allowed him to find his own groove amongst monthly all-vinyl dance parties, where he plucks influences from various corners of the world.

More complex than last year’s release, Aquarium Nightclub shows off Space Ghost’s artistic hunger and unique sonic signature.

Kicking off with “Sea Snake Island,” a track that is best described as late 80s house melancholia is a beautiful dance of shimmering keys, drum machines, and sounds of the jungle. The single “Sim City” ft. Morgan is a classic Chicago house beast; dark but uplifting with heavy bass undertones, fuzzy drum pulse, and plenty of mysterious synth melodies. Other tracks like “Ocean Odyssey,” “Night Dive” and “Aquarium Nightclub” plunge into an ambient world of slow 80s funk, though always rooted in the Bay Area sound.

A product of record-collecting and dance party hosting, Aquarium Nightclub is a glittering postcard from Atlantis. Profound yet undeniably groovy, its mesmerizing tropical undertones promise a safe journey back to the endless days of summer.

As we get ready to say goodbye to the Telomere Plastic series, we are excited to present Telomere 020.1, aka the first part out of 5.
Each release will have four different artists, making it a compilation of twenty different artists who will deliver unique, juicy and eclectic frequencies that will keep your telomeres bopping for the rest of time!

This first VA, features producers, ESB, Synaptic Voyager, Vinaya and Vonsuck.

A1, Fancy Organ from Vinaya, is a sexy deep and house cut that is guaranteed to bring smiles all around the dance floor. Arpeggios and groovy bass lines galore. Prepare your piano hands because you will find yourself playing that sweet air organ on this one!

A2, Self Destruct Sequence from Synaptic Voyager (aka Telomere 014’s Illuminators), is a very emotional cut. Originally released digitally on Frame Of Mind, we were overjoyed to be given the green light to put this beauty on wax. Deep pads, tommy drums, hints of IDM and techno, and soul striking arpeggios pave the way for a special sonic journey. Close your eyes and melt away with this one!

B1, Keio Acid from ESB. We are always delighted to share more ESB with you. Elan’s love for analog and tape give off a raw and authentic energy that is hard to come by. This deep, jazzy and loopy cut will keep you on your toes from start to finish. We can only dream of being on the dance floor as this one plays out!

B2, Unemati from Vonsuck, is a deep and dubby cut that beautifully blends the three genres dub techno, house and techno. Dark rooms and dark skies are recommend for this one here, even though we could see these frequencies accompanied by a pink and red sunrise bringing waves of energy and nostalgia to your soul. Its a real treat to have Vonsuck aka Galaktlan on the Telomere series!

Very limited black copies as always with a few colored copies available via the Wex bandcamp, be quick!

The duo WILDES from the south of Germany, consisting of Jana Pantha and Jenny Tulipa, presents a musical mix of electro-synth-pop, post-punk and dark disco influences. After the release of their first EP “RAWWR” in 2021, their debut album entitled “KLISCHEE” will be released on 3 February 2023. Released via the Kommando 84 label, the album features 11 songs and a musical re-interpretation of German-language Neue Deutsche Welle sounds. The songs combine spoken word passages in which the singers combine a certain irony with word-playful rhymes. In addition to world-political, social issues, the songs revolve around the complexity of the new romance in love - between cosmos and stereo. The strong and experimentally avant-garde lyrics accompany the danceable pulse of the drum computer, melodic synth waves and the shimmering solos of the lead guitar.

The album “Klischee” begins with an electro-pop track that combines consistent grooves with atmo- spheric sound arrangements and a lead guitar that accompanies our journey to the moon. With the chorus’ high-pitched words, „Konsum - leg mich auf den Moon“ (“Consumption - put me on the Moon”), WILDES dryly yet humorously allude to a society that couldn’t fly “higher”.

The following cheeky song Leger in Schwarz combines impeccable post punk with influences from the NNDW scene. A short love story led by the electronic beat of the synthesizer makes the hearts of the night beat faster. With casual reduction, a guitar riff leads through the song. The guitar solo finally rounds off the plea about the longing for a good flirt.

Italo disco shimmers and pulsates on the driving song Capri. With lyrics like “Pack the boats - Vai a bordo”, Capri is a homage to the tried and tested Italo feeling with a cappucino on the terrazza, or indeed on the yacht with a view of the rocky walls of the island. An electric charge of sequencers and synth tracks acts here as a lightness of being in contrast to the porosity of the rock.

An electrifying electric guitar solo kicks off the fourth track with a mysterious invitation to Steig ein translated, get in. Hypnotised by the lights of the road, dazzled in the side mirror, a clearly repeating rhythm leads into the chorus and through the coming verses. English spoken-word lyrics add to the stoicism of the German language. The song’s great power ends with the line Lost in the dark, holding open the finale of the “Night Drive” encounter.

Digital and stereo on all channels, the distinctly tight and robust rhythm sounds in the song Apparat. A clear and simple synth melody is heard as a contrast and the electric bass gives the balance of the machine at points. Hiddenly, WILDES points here to the superior power that can control human action beyond all limits. A piece as a laudation to all the science fiction novels that play with the switching of the individual parts.

Side One of the vinyl is finalised by a song called La Grande Bellezza that motivates to dance and sing along. The punky pop craft lives through the recurring beat of the rhythm guitar. Here the focus is on the woman in all her facets. The great beauty, una donna, who can do everything as well as wanting everything and nothing...a strong woman who, however, also staggers and wants to jump off the cliff. Clearly and distinctly, the musical accompaniment of the drum machine and the accompanying synth melody reflect hidden parallel worlds and the ambiguity of character - of life? We get a desire for more and turn the round record.

The B side starts with a powerful guitar riff, complemented by a catchy and strong bassline that runs through the song. In this work, WILDES provocatively describes the West’s lust for the much-cov- eted Schwarzes Gold black gold. The song is reminiscent of the works of the band D.A.F. and thus ties in with the electronic punk sound spate.

The driving guitar riff joins in with the reduced synth bass sequence - the electro-pop song with the title Hitze (Heat) came onto the digital music market as the first single from the LP in the summer of 2022. Pulsatingly, the drum computer lets the beats vibrate to the rhythm of heated air. The duo po- etically describes heat with supercooled voices, a clarity in the sky that makes everything flow, that makes the breath dry. The work ends with a melodic synth solo.

Ich lad dich ein, I invite you - we have all said or heard this sentence before. A chance meeting of two people later leads to the altar in love. A far-reaching question that more or less arises in many love relationships at some point “Do you dare?” positions itself in lyrical contrast to the simple ques- tion in the refrain “Do you need sugar?”. WILDES plays with laconic poetry and, full of irony, makes the listeners think about living together. Krautrock contours are skilfully used in this piece. Reduced to the essentials, the chorus immediately sticks in the ear. A cheerful mix of steel drums and infec- tious solo.

Toccami - touch me! We sit on padded leather chairs - “you’re a rocket! Peng Puff Peng” - this song by the band WILDES joins experimental art-punk-pop, electronically with flowing synth waves we take off immediately. Melodically sung, lyrical layers of lyrics dance loosely light and gracefully in the ears of the viewer. The rhythmic beat visualises the feeling of floating in a spaceship. It’s love in the universe - “I love you, my darling” sounds tipsy in the beat-heavy disco refrain.

Hypnotically, WILDES launches into the final song of the entire LP. The title Zone takes us on a journey through time. Inspired by the film Stalker, we find ourselves in a science fiction setting that couldn’t be more present in today’s European events. The musicality of the electric guitar riffs ac- companied by simple new wave drums drives the listener into unknown realms.

Repetition and electronic synth sounds play a compositional role alongside rocking guitar riffs like their forerunners in the NDW scene. Lyrically, each song varies between pop-romantic and politically critical passages. Listeners start pondering about hedonistic life and its consequences. Sometimes it feels like listening to a Tarantino soundtrack in German, other times it feels like listening to an 80s track by a James Bond. Science fiction fantasies and reality add up in dadaistic theatricality to spir- ited synthpunk of the New German Wave from the South. Discoid beats and driving drums in digital are included.

Since its beginnings, Hypnótica Colectiva has always shown a special interest in the music recorded and released in the city of Detroit.

A place with which we have both a blood and spiritual bond because of what occurred there socially and artistically during the 20th century.

This love led us to become ambassadors of what was happening there on a musical level, holding cultural events to screen documentaries translated into Spanish, as well as a number of themed sets at our events, dedicated motor city sections in our record shop or recently lectures on the history of the city and its music at the Museum of Illustration and Contemporary Art of Valencia (Muvim).

The time has now come to bring all this history, this musical influence, to the editorial section of our label HC records.

Detroit Legacy was born from the idea of capturing these influences on vinyl. Seeking artists from all over the world who share this passion that inspires them to create their music, what we can define as the universal Neo-Detroit.

For this first edition or first volume, the collective has enlisted in its ranks creators affiliated to the label who have shown us in their careers, this influence and this feeling.

Paul Cignol opens the record with Distance. From Dublin he offers us a track of warm sequences inspired by Deep Techno, with deep pads responding to organ keys and a subtle touch of 303.

Mallorcan LLuis Barcelo Sureda is responsible for the second track Funk Station. With a Techno Soul character that we might hear from Detroitish labels like Acacia or producers like Blake Baxter.

A real eminence in Techno is the Catalan Don Alex Martín, who already released in the mid-90s on Monssieur Garnier's label (France Communications). The Barcelona native brings his wealth of experience and wisdom through Megatech, which transports us to the spectrum of Derrick May’s Transmat who, in his day, was nicknamed "The Innovator". This track provides agile sequences of complex syncopated rhythms, combining with a dreamy Michigan style synth.

The anthem of the album comes from Ghent. The sublime Belgian creator, Mariska Neerman, once again makes our hairs stand on end and our hearts melt with a heavenly composition entitled Stellium.

No one interprets Neo-Detroit quite like Mariska, whom we baptise as a sovereign heiress of the genre in the world. If we have to think of an influence for this piece, we go straight to the genius of Detroit, the one and only Jeff Mills, in his most symphonic and harmonic facet of tracks released on his label Axis Records such as "The March", A Universal Voice That Speaks To All That Will Listen or A New Found Sense Of Being.

Some of these songs have been re-interpreted by world class philharmonic orchestras such as the Montpellier Philharmonic Orchestra at the 2005 Blue Potential (Pont Du Garde). Mariska's score in this song fuses organ keys with harmonic layers and violin - favourite instruments of the Detroitian extraterrestrial - with a harmonic result of strength and hope. An authentic anthem of classic emotional Techno.

Old School electro takes centre stage with the Master from Terrassa Ivan Arnau a.k.a. Dark Vektor. In the influence of Juan Atkins (the creator) as Cybotron or Model 500 and later creators who developed this sound like Aux 88. Metaverso Frik is a great recital of a urban poetry created and interpreted by Ivan, to completely devastating effect.

Croatian Bojan Jascur a.k.a. N-TER, closes the vinyl with We Will Emerge, in a exercise of vindication, a common weapon in the context of Detroit music. Raging, trippy electro in the purest style of Cosmic Force or Dynarec.

This first tribute to 8 Mile doesn't end with the vinyl, as 2 digital bonus tracks are included in the release.

We return to Barcelona with Pastin Futon in another sequence of consecutive oscillated rhythms oscillated much like Kevin Saunderson (The Elevator) in his day and the Techno Groove that we know today.

The most robotic touch of the release is the closer with this synthetic jigsaw puzzle of a track with echoes of the 1967 Detroit Riot, the Detroit Rebellion. Again produced by another Barcelona native, The Bandit (Dj Spy / Util Records). The sequences are very reminiscent of Arpanet and Drexciya.

The idea for the cover comes from Motor City itself by Jon Yowell, first cousin of HC records founder and head of HC records David Verdeguer.

Born, raised and a lifelong resident of Detroit, Jon is an enormously talented musician capable of writing lyrics, performing them on the mic and manipulating a number of stringed instruments as well as the drums, where he is a true master.

The cover is a tribute to the formative backgrounds of many of the city's musicians in every sonic trend. Wayne State University in the capital of Michigan.

Founded in 1868, it has offered didactic teaching to many of the city's musicians.

Not all of Detroit's creators went to university, and even less so when talking about Techno, many artists are self-taught or learned in a non-academic way, but it seems to us a good base to begin to highlight the origins of the city's music in a historic building, where those who have the opportunity to learn about music have been and continue to be educated.

The adapted designs are the work of our image manager Dani Requeni.

Mastering by Steve Voidloss at Black Monolith Studios in London (UK).

A dancefloor killer A Side!

'Sawl' crispy bass waves create a dense acid feeling and sets the ground for 'Hibiscus' to impact with its futuristic electro patterns and aggressive sharp drums.

On the flip side 'Basilisk' runs fast, with glitchy fills and metallic percussions in an almost ethereal atmosphere.

'Innerchild' closes the record with a deep melodic journey modelled across euphoric sequences of notes, leaving a warm and wistful feeling...almost like coming back home.

Fedele’s Obscura Music continues to set a precedent for underground electronic music through a wave of carefully curated exploratory releases from hand-picked global talent alongside the Bari-based label boss himself. The latest shining example of Obscura’s ever-expanding avant-garde ap-peal is also the second chapter of Fedele’s ‘The Awake’ chronicle - following the well-received arrival of Pt. 1 in July 2022.

Spike Express’ opens ‘The Awake, Pt. 2’ with an expectedly potent and pumping Indie Dance thun-derbolt from the label boss. Boasting pulsating grooves and a plethora of concrete analogue musi-cality from start to finish, it’s another head-turning frequency-rich stomper from Fedele that keeps you well within a firm grip for the entirety.

‘The Envelope’ matches the searing vibe with another remarkable club-focused cut from the Italian. Undulating drum work and fizzing hat sequences provide a blend of punch and swing whilst gritty lead melodies and atmospheric soundscapes bring the track’s ominously ear-catching persona to life.

On the flip, we welcome two remixers to the project to provide undeniably unique and blistering offer-ings. Electroclash’s founding father, French electronic icon The Hacker pairs with fellow Bari-native Golden Virgo.

Hoshina Anniversary hails from the westside of Tokyo and a place called Hachioj. His musical inspirations though come from an otherworldly place of rhythm, hyper-real melody and off-grid rhythm. This HakkyouShisou album on the mighty US label Constellation Tatsu is a fluid experiment which draws on experimental dance, jazz fusion, electronica and Japanese heritage. The sound design throughout is shiny and futuristic, particularly on the busy melodic patterns and loopy synth madness of 'Karoushi' which sounds like a computer left to its own devices after too much sugar. 'Dakuten' is a tripped out dub with sequenced progressions and lumpy drums, and 'Dareka No Rettoukan Wo Nomikomu' sounds like a house cut from Detroit's Omar S.

The Belgian minimal synth band's three releases – a cassette and two vinyl EPs – were all titled »Against The Dark Trees Beyond«. This compilation collects the songs from these records.

"They were interesting times, the early eighties. Against a backdrop of cold war and economic crises, the DIY attitude of the earlier punk movement had spawned near countless new genres where artists and bands broke the three-chord guitar mould and experimented with new content matter, singular song structures and – in many cases – new instruments. Synthesizers became affordable and were no longer the sole privilege of rock millionaires. All around the globe, musical creativity boomed as never before, and Belgium was no exception: Digital Dance, Snowy Red, The Names, Pseudocode, Marine, 1000 Ohm, De Kommeniste, M.Bryo & D.M.T., De Brassers, Struggler, Siglo XX are but a few legendary names of bands and artists who started making a name for themselves.

In Leuven, things were happening as well. Until then, the music scene in this rather provincial town had been dominated by straightforward rock and blues acts. Not for much longer, though: in places like Arno'z and (later) The Gladhouse, where young budding artists met with kindred spirits, bands were often formed on the spot and, more importantly, started to make ripples.

Ludo Camberlin and Karel 'Bam' Saelemaekers already had a certain track record in Leuven's burgeoning music microcosm. But what they shared would become the cornerstone of A Blaze Colour (Against The Dark Trees Beyond): a fascination for new forms and instruments, a penchant for sonic adventure and a profound love for gripping songs. The full band name, by the way, was inspired by a phrase from the Irish-American novelist J.P. Donleavy, a writer who belongs in the definitely-worth-checking-out section.

After appearing on the first No Big Business LP (1981) with the instrumental 'Fisk', A Blaze Colour's first proper release, as was so often the case in those days, was a self-produced cassette. The music – which would later be dubbed 'minimal' – was characterized by the use of basic rhythm machines (Boss Dr. 55, mainly) and analog synthesizers (for the synth geeks: Korg Delta and MS20, Roland SH-2 and Jupiter IV, and the infamous Casio VL-1). Camberlin’s vocals, meanwhile, displayed an aloofness totally in sync with the zeitgeist. Equally important, though: all five tracks on this cassette were bona fide songs with a clear sense of structure, aided by a sonic mastery that demonstrated a high level of experience: 'Means To An End' started out as a proto-industrial track before bursting out into a moroderesque finale. The remix of 'Fisk' was as sprightly as the next river salmon, while 'Or Lie Again' proved the perfect soundtrack to a nightly walk through wet deserted streets. On the other hand, 'Through With Life', rife with disturbing sound effects countered by a slow portamento, could have been a prize track on a post punk 'Lamb Lies Down On Broadway'. And in true dramatic fashion, 'Follow The Signs' was the perfect ending of this five-song cycle: a driving sequencer and gripping chord progression coupled with a simple but powerful vocal line. Considering the limited technical means the duo was working with, this was no less than a triumph.

A few months later, the band released a seven-inch single on its own ABLACO label. 'Dark Trees Beyond', a quirky pop song, was coupled with 'Addict Of Time', a dark and brooding spoken word piece. Not the kind of single to storm hit parades, but it didn't go unnoticed. The Minny Pops' Wally van Middendorp, who had founded the Plurex label in 1978, invited A Blaze Colour to his studio in the Netherlands, to record an EP. It would prove to be a massive step forward: recording in a semi-professional studio offered great possibilities, the recently acquired TR-808 drum machine allowed for a broader rhythm palette, and the three new tracks (next to the re-recording of 'Through With Life') showed a band on the top of their game: 'The New Ones' was a wry and haunting song built around a live drum loop and an ominous bass pattern, while 'Nowhere Else' was a near-pop track with very un-minimal vocal harmonies. And it's a mystery why 'Altitude' – another instrumental – was never used in a stylized, high-profile detective soundtrack.

Another song from these sessions, the revved-up 'Cold As Ever' turned up on the high-profile Plurex "Hours" compilation, where it shone brightly, next to songs of a.o. X-Mal Deutschland, Nasmak, Minny Pops and Section XXV.

Meanwhile, Camberlin had already carved out a bit of a reputation for himself as a producer, while Saelemaekers was a respected graphic designer. It remains uncertain if this played a big part in the end of A Blaze Colour, but the fact remains: as studio recordings go, 'The Ultimate Fight' on the "No Big Business 2" compilation, was to be their swan song. What a way to go, though: maybe their best song ever, this was a synthetic bastard funk groove, complete with shout-out chorus and punch-drunk middle-eight. It shut a door, for sure, but it did so with a resounding bang.

So there it is and there it was. Short, sweet, visionary, pioneering and highly influential. And as anybody listening to this first ever compilation will be able to assess probably one of the most colourful electronic acts of its time.

On a more a personal note, A Blaze Colour proved to be instrumental in my own coming of age as a lyric writer, when Ludo and Bam graciously adopted some of my earlier writings, warts and all. To hear them translated into songs was no less than magic, and it certainly gave me the confidence to start our own band a bit later. And the magic continued when Ludo became our producer and Bam designed our record sleeves. But that’s another story, obviously. Because this is the place and the time to dive back into the wondrous world of A Blaze Colour!"

Bart Azijn (Aimless Device)

arbitrary presents the third in the Black Box series of releases by Mads Emil Nielsen. The release, which showcases a more sample- and grid-based side of the Danish musician/composer’s work, is part of a sequence of publications with music and audio originally made for theatre, radio soundtracks and more.

Black Box 3 is based on sound pieces produced for Sprækker (Cracks), a dance performance & installation in Denmark, 2021. The starting points for these pieces are improvisations recorded with contemporary dancers, in which Nielsen guides the listener through a corpus of synthesizer recordings, everyday sounds and radio archives. These original recordings were reworked for this LP and edited into the six tracks in early 2022.

Written & produced, recorded and mixed by Mads Emil Nielsen, Copenhagen, 2021 / 2022. Acoustic sounds on Installation – 2 by Victor Dybbroe. Mastered and cut by Kassian Troyer at D&M, Berlin. Graphic design by Mads Emil Nielsen. Thanks to Aaben Dans, Thomas Eisenhardt, Catherine Poher, Chris Watson, Antoine Hubineau.

Through Twelve is an electronic-dyed combo powered by 80’s synthpop and shiny post-production by Italoconnection. Their Mini LP “Inner bridges” is full of layered basslines, pulsating rhythms, catchy vocals and retro synth warmth. Tracks such as the richly melodic “Silent Radio’ and the New Order-ish sweeps of “New Town” are irresistible invitations to stand-up and move your hips.

T12 have a tendency for emotive analogue leads, expressive pads and inimitable synth sequences, in duet with electric bass phrases.

Through12 signature sound becomes immediately recognizable in the dancefloor-ready song “This Love”, starring Italo disco icon Fred Ventura. “Silent Radio” receives an exuberant electro-remix treatment from Italoconnection and “This Love” goes hand-in-hand with Mono Han version.

Welcome to BM-18 the biokinetic realm created by Dana Kuehr, a lush audio environment where organic and synthesized matter coalesce. As we float disembodied above this verdant pixel plain, Dana offers us shifting repetitions and sequences in disguise, each track a landscape within a world created in the utmost detail, from the minute bleeps and chirps to the enveloping and bumping bouncy basslines. Flickering drums explode like dandelion seeds in a breeze, searching for a place to lay, grow, and flourish. Sounds are captured (fingers tapping, rain patter, Belgian parakeets released from a '70s zoo, vocal oohs and ahhs) and hybridized with patterns, samples, and musical manoeuvres (jungle breaks, west coast hip hop, layered drums, IDM crunch and twinkle, reverb, delay, '90s R&B, underwater video game soundscapes). As in any imaginary sphere, there are characters who exchange and converse: rivers, coasts, clouds, lakes, echoes of dolphins, and peaceful frogs. Amidst their complex chatter, the sounds of BM-18 extend an invitation to dance, to feel our bodies alive and present, to acknowledge the impulse of movement and the pulsing heartbeats of each track. An ode to the Taoist consideration that all creatures live together in mystic unity, co-evolving and feeding each other, Dana brings together cloud ethereal with earth pounding, and like an orca's tail upon a restless sea, it slaps!!! All tracks written and produced by Dana Kuehr between April 2020 and November 2021 in Brussels, and mixed by Dan Piu at Checkpoint Charly Studio in Zurich between November 2021 and March 2022. Mastered and cut by Stefan Betke at Scape in Berlin. Original artworks by Camiflage and text by Ailsa Cavers. A1 was first digitally released on Ojoo Music. Dana thanks Michiel, George, Jakob, Camiel, Ailsa, Tania, Victor, Jill, Karen, Daphne, Arne, Oscar, Joe, and Gwenan for the love and inspiration. True voyage is return!

Dimi Angelis presents the 11th release on his ANGLS label - four timeless, heavily saturated,and straightforward tools decorated with minimalistic and highly effective sequences.

On the A-side, "Warp Drive" opens with an impactful 909 groove interrupted by a sharp and manic percussive sequence - the energy is driven by the interplay between these elements. "Hidden Spider" offers a driving, polyrhythmic bass line plotted against two psychedelic sequences interlocked in a call-and-response pattern.

On the B-side, "Cyberman" is direct and persistent - FM synthesis and highly focused hi-hats create an insistent and unrelenting rhythm. "Axonite" closes out the EP with a dense low-end and patiently evolving sci-fi-influenced sequences that fluctuate in intensity - effective weapons for any dancefloor.

Tape

On her second album (first one on Umor Rex), the Minsk born / Paris based artist Lina Filipovich continues her experiments on deconstruction and re-appropriation of classical pieces. BFHC includes seven electronic interpretations of the works of Baroque composers such as Bach, Handel, Frescobaldi, Carleton and Couperin. Inspired by memories of her experience of interpreting Bach's pieces in early childhood, Filipovich explores the desire to push the limits of performing classical music in the traditional way. Her baroque compositions are manipulated, modified, transformed into loops, cut, slowed down and recycled like any content could be, becoming a raw material for new compositions accompanied by electronic sequences, rhythms and basslines. Through the recycling, sampling and reassembly, Lina creates new listening experiences. And if BFHC can be interpreted as a tribute to baroque music, it can also be understood as a call to action to the work of contemporary artists like Oval, and to all the boom of clicks and cuts at the beginning of this millennium.

Mastered by Rafael Anton Irisarri
Artwork by Daniel Castrejón

Dana Kelley, aka DKMA, is a much revered writer, producer, remixer, performer and creative force whose releases have become timeless classics and Holy Grails amongst DJs, music heads and collectors alike. A true artist and innovator, his productions possess the unique ability to engage, transport, challenge and enthral as only next level musicians can.

Grounded in the deep, soulful US House sound of the mid '90's, his earliest releases can be found on Strictly Rhythm, before moving on to produce under his DKMA alias as well as releasing music as Callisto on Guidance. Although Dana sadly passed away in 2013, he left us with a remarkable body of work that has remained both exciting and relevant throughout the last 2 decades and beyond.

Boston Boy Vol.2 is the 2nd in a series of compilations that focuses on Dana's visionary work as DKMA, during his most compelling and creative phase between 1997 and 2002. The compilations themselves are collated from an incredible & far reaching archive of over 20 of Dana's original DATs that have been generously shared with us by the Kelley Family. In the archive, some of Dana's most sought after & cherished works were uncovered, restored and meticulously assembled alongside previously unheard archival material.

The tracks themselves are bold, clever and inventive, characterised by a need for innovation. Passages of deep soulful house underpin more forward thinking electronics without ever losing dance floor appeal. Jazz solos sit imaginatively on top of gritty swinging rhythms, deep infectious b-lines, eerie textures and chord sequences are warm and effortlessly soulful yet with a sound design, sonic range, dynamism and a technical prowess that most could only dream of.

These compilations celebrate the life, vision and art of one of house music's most hallowed producers. Unique and essential, these collections pull together DKMA's most coveted works. Respectfully sourced, restored and compiled from all audio sources courtesy of the Kelley family and Above Board Projects.

Mastered by Frank Merritt at The Carvery, London, with special artwork by Atelier Surplus featuring a special unseen image of Dana from his family's photo albums.

Two years after his Debut EP Bloodline OTN 01, Umo returns to OpenTheNext with another 5 #neodancefloor killer tracks.

The sound of Umo is the result of almost two decades of studying frequencies, vibrations, sequences of movements, plants and ascetic substances, seeking to recover the Music & Dance´s sacred and transcendental vision to ascend and sustain higher states of consciousness.

His new EP is a slow motion rework of the Raves in the 90s´ original sounds & vibrations. Traveling to a time when the dancefloors were true places of healing , authentic liturgies where people danced in community for days with eyes closed – before the internet, smartphones and globalization would corrupt everything.

#slowravers is a sonic journey that encourages conscious breathing and movement, and allows you to empty, dilute and connect in perfect resonance with the void that binds everything together.

Yellow Vinyl

Parisian producer DJ Atlance follows up an appearance on Happiness Energy’s various artist compilation late last year with five sun-soaked house cuts on Running Out Of Steam, just in time for January coming to an end.

‘Le Club, La Nuit’ gets things underway with a sample-heavy slice of early evening house music; funk-driven basslines, radiant atmospherics and a distinctive Atlance, hip-house bounce hold the door for the listener as they venture further into the dimly lit room. ‘When I Hear Your Voice’ throws it back to the 00’s with its MTV-pop-dance blend of catchy vocals and murder-on-the-dancefloor energy.

‘Eternal Sunshine’ is as radiant as the title would suggest; a bright sequence ofsaxophones, jazz-keys and feel-good warmth that we wish would never come to an end, before Atlance shows what he would ‘Do For Love’ on a synth-bending, playful cut of coastal house music.

‘After The Storm’ maintains its housey aesthetic, but this time on an electro-tipped 2-step; instantly recognisable vocal samples, dreamscape aesthetics and meditative breaks uniting on a blissed-out trip.