Search:darkness

Dark industrial ritual doom techno sound... Intercontinental darknesses.

Your fundamental natural nature is pure chaos, without any concepts being added to it. The actions you perform were formed when time began. And so the light is merely a temporary twin of the darkness. And therefore evil is a part of you. Do not try to seperate it from you , for then it is given agency. Permisssion to be.

Embrace the tiger that exusts within you, it will only strike from a distance.

In Zen, the sword that kills is used to kill that which can be killed. To remove that which can be removed.

That which gets in the way of nature.

Veteran Techno producer *’Heretic’ returns with his solo project CATHARSIS and has evidently succeeded in refining his musical vision. With INTO THE HEART OF NOTHING he compliments a soundasthetic which had been initiated with his previous release A Purging of Demons.

Mastered by Black Mononlith Studios…

METAL HAMMER - 8/10 review (October issue) "A genuine album of the year contender...Okkultokrati have blown all notions of what Scando-punk is clear across the Barents Sea. The caustic Hidden Future harks back to their roots, yet its the rousing Ocular Violence - which wouldn't sound out of place on Killing Joke's Brigher Than A Thousand Suns - that proves the real highlight in a LP full of them. Stunning."

ZERO TOLERANCE - 4.5/6 review (Nov/Dec issue) "Like Venom meeting Warfare...Equally rocking and experimental - a rather brilliant balance to strike."

‘Okkultokrati has always been more than being a band, making music, touring and making music. Striving to be something beyond the mundane and trivial. It's an attitude. In defiance. To everyone and everything. To not chase after trends. To seek truth in music wherever it takes you. To be an outsider and an outlaw, even though it makes you a freak. La Ilden Lyse is music for the misguided, the conspiratorial, the unappreciated and unwanted. It's black outlaw metal. It's a beacon in the dark, for desperate times.’ - Dionysiac

La Ilden Lyse is an album of pure, cold, grim rawness. Themes of enduring life, transcending death, worshipping the moon, and triumphant, satanic darkness are all at play here, and the album sounds harder, faster, and more nasty than ever.

No more messing around. Keep it black, keep it metal, all the time.

In just a few years and with a handful of releases, the Canadian producer better known as Yves Malone has earned himself a reputation. In The Beginning of Nothing he continues working with many layers of analog synths and a keen sense of drum machines to create atmospheres and textures extracted from late twentieth-century collective fears of a dystopian future. Created as a sort of score to an internal elegy, Yves Malone creates soundtracks of the daily fear, regret, and resignation that is his waking life, an effort to isolate and negate this anxiety, which is a constant and unwanted companion. Sequenced on mostly working vintage gear, The Beginning of Nothing tries to extricate a bit of beauty from a rapidly darkening landscape.

Brave Wave’s first 3-LP vinyls colored (Red, Black and White) set , Samurai Shodown The Definitive Soundtrack will come in a box set featuring three LP sleeves decorated with artwork from the game, with the box set featuring the original iconic Japanese cover drawn by famed illustrator Shinkiro. Both 3LP and 2CD version includes booklet.

SNK and Brave Wave Productions are proud to reveal their fourth collaboration, Generation Series 010: Samurai Shodown for both CD and vinyl.

Known as Samurai Spirits in Japan and originally released for NEOGEO in 1993, Samurai Shodown is one of SNK’s most classic and timeless 2D fighting games, featuring fast-paced gameplay, beautiful graphics and catchy music.

The soundtrack, composed by Norio Tate, achieves the difficult task of producing traditional Japanese sound comprised of instruments such as the shamisen and shachihata while maintaining a distinct NEOGEO vibe. The result is a beloved soundtrack that is simultaneous timeless, yet historical.

There are two variations of the soundtrack: an AES version and a NEOGEO CD arranged version. Samurai Shodown The Definitive Soundtrack will include both versions, featuring the entirety of the original soundtracks remastered and restored to the highest possible quality, in collaboration and consultation with SNK.

The CD and vinyl editions will feature a booklet containing artwork from the SNK archives, in addition to in-depth liner notes written by some of the original creators of the game, including series creator Yasushi Adachi, as well as Tate. In addition, the booklet will feature an in-depth essay by Greg Kasavin of Supergiant Games on the impact of Samurai Shodown on video game culture and history.

Repress

Melodies Of Ancient Beats Depth or Deep, (with Dep also meaning beautiful in Indonesian) is the meaning of this newly created persona from the artist DemoDc. After many years of experimenting with music making, releasing digital eps and albums, Demo has come to an end of a cycle arriving to a mature state of craftsmanship, ready to deliver his dream onto the vinyl medium.

This is the 2nd ep that continues a volume of a 5 ep project. Its own kind of album type edition so to speak. Everything Eye Love is a piece of electronic music that embodies much of what is personally loved when it comes to innovative techno. Broken beats with a gentle gallop of hop, whisking away into what seemingly can be taken as over melodic madness at 1st, yet when letting go of any expectation, a delightful swim of glistening magic dances with dedicated playfulness expressing a deeper emotion of heart felt delivery. Behind the scenes are a very reminiscent display of Detroit techno chords combining to give the track the old yet new skool vibe. Heart Tribal, is exactly that. Cutting through the ego, battling the darkness with dark undertones seeking to find the jewel of light through the denseness of dark reality, to find true centre. With tribal reflections and electric ground of beats, Heart Tribal extends itself into bridging the soul from dense reality into light. It also pays respects to the fact that when finding clarity in any given moment in everyday life, it doesn’t last long within this complex world of manipulation and dark intention that we seem to be living in. However, this is the meaning understood by MOAB DEP, does it resonate with you? Or does it speak to you entirely differently?

Entitled ‘My Heart Is Hungry And The Days Go By So Quickly’ Danish singer and songwriter Jacob Bellens presents his fifth solo album. Thanks to his unique voice and his talent for heartfelt melodies, over the years Jacob, also known as frontman of I Got You On Tape and Murder, has become one of the most distinctive figures on the Scandinavian music scene. Slightly darker in tone than its predecessors ‘Trail Of Intuition’ (2018) or ‘Polyester Skin’ (2016), the new album lets us see the world through Jacob’s eyes.
Somewhere between left-field pop and a classical singer/songwriter approach, the songs were recorded in two sessions with producer Mads Brinch, drummer Tobias Laust, bass player Jonas Westergaard, keyboardist Malthe Rostrup and guitarist Tobias Fuglsang. “So many good friends and amazing instrumentalists have contributed to the sound“, explained Jacob. “And mostly, people were playing what they felt the song needed, which was an incredibly inspiring way of just letting the process develop naturally, and take on a life of its own.” As such, the recordings give off a distinct light-footed and organic feel. Rich in metaphors, the lyrics deal with personal perceptions based on everyday life occurrences that at the same time hint at the meaning of life in general - or at least suggest a higher perspective. The sonical expression is timeless but also modernistic and the lyrical point of view is refreshingly diverse, never just black or white. The sad songs have uplifting, often surreal qualities, and the lighter, uptempo songs also invite to a certain darkness. A flower basket full of difficult emotions, sprinkled with magical fairy dust that somehow makes everything worthwhile.

Colorful Electro darkness. Dibu-Z delivers his debut album Junk DNA on Dominance Electricity.

The German producer, who has been releasing Electro and Techno on various labels since the early 2000s, unleashes a dynamic package of carefully selected and sequenced songs, ranging from dystopic ambient pieces, epic Acid-Electro to powerfull, mechanical-funk-loaded Electro club bangers and some relaxed deep-space-cruisers inbetween.

The second collaborative album between alternative rock artist Matthew Sweet and Bangles singer/guitarist Susanna Hoffs. First released in 2009, on Under The Covers Vol. 2 the duo cover 26 of their favourite tracks from the 1970s. For this edition in the series, Sweet and Hoffs invited guests into the studio including Lindsey Buckingham on ‘Second Hand News’, Dhani Harrison on a cover of his father’s ‘Beware Of Darkness and Steve Howe reprising his guitar parts on a version of the Yes track ‘I’ve Seen All Good People’ Pressed on two heavyweight 180g green vinyl.

‘Visions’ is a new collaborative album from BADBADNOTGOOD co-founders, Matthew Tavares and Leland Whitty. The Grammy Award winning, multi-platinum producers have been performing and writing music together for 10 years. They have achieved international acclaim with BADBADNOTGOOD and Tavares’ recent solo single ’Self-Portrait’ has been championed by tastemakers such as Gilles Peterson and Benji B. ‘Visions’ is the latest upshot of their incredibly fruitful partnership.

Recorded in Toronto, it was produced by Tavares and Whitty - with Tavares also mixing the album and arranging strings. After a three-week writing period it was played in its entirety in one continuous studio session; almost all the tracks on the album are the first take. Tavares is on piano and guitar, Whitty on saxophone and flute. The rhythm section of Julian Anderson-Bowes on bass and Matthew Chalmers on drums completes the players. They make an impressive collective and are performing at the peak of their powers.

Conceptually the album is a canvas for a combination of composition and group free-form improvisation. Tavares and Whitty are the sole composers, but with some tracks collectively improvised, there is also a group dynamic running through the album. The outcome is a sublime melting pot of modern jazz, impressionist classical music and Arthur Verocai-esque arrangements. It is a sound that is hard to date; it is certainly of the now but is also reminiscent of a lost classic. Similar to the process of its creation, the optimal listening experience for ‘Visions’ is in its entirety. As a coherent body of work it draws the listener in with waves of intensity and crescendos that release back into tranquility - there is both darkness and light in the album’s narrative arc. There is also rawness and honesty to the music, which makes it feel like an intensely personal and intimate offering.

Mirror Glaze Lavish” is Marc’s latest effort in trying to depict his cynical and disillusioned view of the present-day music scene, seen through a sonic magnifier that emphasizes its greatest controversies, by juxtaposing different electronic languages as a challenge to the current levelling artistic trends. The artist personality is nullified, standardized to a state of placid non-critical thinking. Everyday’s emptiness emerges as the structure of reality and only the cracks in it still lead to life. “Great souls suffer in silence”, once said Friedrich Schiller, but what if silence becomes an audible, danceable image? As if all these electro cuts, differently permeated with a balanced mix of playful darkness, were populated by eerie animals that cannot find peace with their habitat and keep dancing relentlessly until the very end of their miserable existence. Seen in this context, each of Marc’s tracks must be interpreted as an irreverent and poignant act of self-assertion vis-à-vis his contemporaries. Morah’s reinterpretation of “Celexxa” adds value to the original track, taking us for a dirty ride on a psycho-electro-charged rollercoaster.

New year, new you, new crew! Another rising star from France, Marina Trench, joins the WOLF Music family, following up an inaugural EP on DJ Deep's highly acclaimed Deeply Rooted with this accomplished and diverse four tracker of house goodness.

Absorbed by house music from an early age Marina Trench is already proving herself to be a humble, yet highly talented, force to be reckoned with. Waterside EP is case in point. The title track is summertime ecstasy through and through. Undeniably catchy and packed with a club-ready punch, Trench sets off at pace, revolving the track around a pinging techy bassline as layers of percussion, echoing pads and delicate vocal refrains from Marina herself glide on through. Peak time, earworm business that bangs.

Get up, ‘Get In’. Moving through the downright ethereal to some tough, dancefloor darkness. Sweeping pads and glitching arps ease you in before the breakdown leads to an unleashing of brooding bass chords and reverberating top end counterparts that marry with a mean acid bassline. Tough, tactile and firmly focused on the club.

On the flip, ‘Train Call’ is a chopped jazzy deep house roller. Heavyweight piano stabs intertwine with deft twinkles as crisp hats dance around thumping kicks before ‘Straight’ eases you off into the depths of the night. A sumptuous little slice of deepness - meditative, trance-like calls from the ocean and pensive pianos provide a perfect soundtrack for the early hours.

Emerging this January with a duo of debut EPs, Black (Vegan Tinder Lord) and White (Hexxex) , Ϟᑢrəən ϟHAᗌ/W blends pummelling techno, industrial grit and experimental noise for a mood-spanning sound inspired by everything from Google Street View to visiting the dentist.

The Black EP gleans from the heavier end of the club music spectrum, plunging into a hardcore well of nosebleed kicks and synapse-frying synths that bang with raw dancefloor energy. The White EP pauses for reflection, transforming Screen Shadow's spiky reveries into tightly-woven technicolour dreamscapes.

Track highlights include the humour-spiced, pitch-shifted "Vegan Tinder Lord"— immortalised by its disembodied, Amnesia Scanner-esque voice — and the percussive, hardstyle-tinged assault course of "Scanna Hex". Inspired by the unpleasant act of a dentist drilling a tooth cavity, "Bodies" burrows deep into your brain, while the glitchy experimentalism of "Corridor" gets under your skin.

Across the two EPs, vocals are processed and reshaped into other sounds using the sculpture-primed Nord modulars. These '90s instruments have since been discontinued, but remain a staple in the Screen Shadow studio and the upcoming live setup.

Artwork and music go hand in hand, with logo designer Number III (Paul Nicholson, Aphex Twin logo designer ) cooking up the striking black and white imagery.

For Patrick Flegel, Cindy Lee is more than just a recording music project. It is the culmination of a lifelong exploration of art, the electric guitar, queer identity and gender expression. "Singers like Patsy Cline and The Supremes carried me through the hardest times of my life," explains Flegel, "and also provided the soundtrack to the best times."

Following the dissolution of Canadian experimental indie band Women, Flegel would delve deeper into songwriting that bends further toward high atmospherics and bracing melodies – a unique space where splendor naturally collides with experimentation. Delivering moments of sheer beauty through somber reflections on longing and loneliness, Cindy Lee is something to hold onto in a world of disorder.

What's Tonight To Eternity, Cindy Lee's fifth long-form offering, showcases the project's most entrancing strengths: ethereal snowdrift pop and sly nods toward classic girl-group motifs. Recorded at Flegel's Realistik Studios in Toronto and featuring younger brother Andrew Flegel on drums, the album travels hand in hand with a spectral guide.

Flegel found inspiration for Cindy Lee in the form of Karen Carpenter, drawing on the singer / drummer's early recordings as well as her look and style. "I found a deep interest and comfort in Karen's story, which is a cautionary tale about the monstrosity of show business, stardom at a young age and being a misfit looking for connection. The darkness and victimizing tabloid sensationalism she suffered is easily tempered and overwhelmed by her earnest output, her artistry, her tireless work ethic. Something utterly unique and magical takes shape in the negative space, out of exclusion. What I relate to in her has to do with what is hidden, what is unknown."

What's Tonight To Eternity remains a mix of pop culture indoctrination, pain and suffering, hopes and dreams, fierce confrontations and wide-open confessional blurs. Closing with the song "Heavy Metal" (dedicated to the memory of former Women bandmate Chris Reimer) and adorned by Andrea Lukic's Journal of Smack artwork, the album continues the bold and rewarding path on which Cindy Lee has embarked.

Peter Brown is one of the ultimate in Harlem underground music business entrepreneurs. From the 70's, all through the 80's he had a stream of releases on a plethora of labels, but ultimately under the
P&P banner. From soul, to disco to the birth of hip hop, he covered all the street sounds of New York and in a series of comps Demon are exploring his legacy. P&P soul and funk covers the 1970's with a number of rare, sought after masterpieces and some
equally essential obscurities.

From the former category we have the magnificent ESP by Four
Below Zero, Dennis Mobley's Rare Groove instrumental version of Superstition and Florence Miller's soul floor filler 'The Groove I'm In' Super rare funk is present from Wild Honey, Smokey Brooks and Flame & The Sons. The roots of disco is well represented with Magnetic Touch's original version of Ain't No Big Thing and Ella Hamilton's I'm Gonna Fool You.

March 2017: Alessandro Alessandroni's 'Afro Discoteca' is released on a blasting 12'' containing 4 cosmic/disco tracks drawing influences from African music – never published before these incredibly powerful and evocative recordings were rescued from an old dusty tape found in the Maestro's vaults.

The EP became an instant classic for diggers and worldwide tastemakers, bringing the name of Alessandroni to new audiences,
far beyond the circle of film scores and library music aficionados.

March 2019: Four Flies asks to a rock band (CALIBRO 35) and three amongst the most brilliant and visionary Italian DJs and producers (Jolly Mare, L.U.C.A., pAd) to rework the original tracks, giving them new life for refined modern dancefloors.

The result is a stunning collection of electronic/cosmic/balearic reworks, which respects the spirit of Alessandroni's compositions, projecting them into our present

A really, banging hardcore sound! At the frontier of 'Raw and Gabber' . Defenilty a rare style nowaday on, vinyl! Get your chance to catch one! ...This LP, regular pressed & designed on Green Coloured Vinyl.

French duo Double Mixte bring their digital thunderstorm of neon lit noire to the Italians Do It Better family on their debut EP. Mixed and produced by label head Johnny Jewel, Romance Noire opens the door to a new wave of Italians Do It Better artists coming in 2019.

Fresh Blood. New Tears. The title track arpeggiates and boils as waves of bass flow beneath. Rhythms are carried to the ceiling by a searing cascade of disintegrating color. A heavy backbeat anchors Clara Apolit’s poetry, ready to wear for a night in the face of oblivion.

The cinematic “Arlette” is a call for discovery through a darkness lit only by the glare of headlights in digital rain. Through all of this, Thomas Maan’s incantations search for the lonely, lost in the void of electronic fog. “November” finds in Clara an Anglophonic chanteuse, meditating on the cycles of time.

A blend of suspended sound and an uncertain melody contracts and expands before dissolving. Romance Noire is art that both contemplates and tanscends time’s firm grip. It’s a filmic journey inducing a vague sense of future nostalgia. Happy Valentine’s Day. Double Mixte is Clara Apolit and Thomas Maan.

The duo met in Paris and there was an immediate pull to create music together. They pooled their combined interest in powerful narrative & dark 70’s French film music to write lyrically vivid songs. In 2017, Thomas reached out to Johnny Jewel for what soon became a collaboration that expanded their vision into a haunting debut EP, out today on Italians Do It Better.

Inviting slow disco and spaced out ambient characterizes this new material from Golden Bug and In Fields on their collaboration-album ”Vibration Métallique”. Golden Bugs kind of extrovert and electronic sound is recognizable from his previous 7” release on Höga Nord Rekords and together with In Fields it gets dressed in a fluffier costume.

This album is the result of two persons with tons of respect for one another musically, two musicians who have been floating past and sometimes in two each others projects for the last couple of years. Their musical roots In ”Leftfield land” intertwine and reaches up above ground, connecting to different musical stems and holds together the sound; like sightseeing in a familiar town this album has outer limits but as unpredictable as the city can be, this record surprises you from one track to the other.

The album has a springtime feel to it in all it's brightness, but suddenly it shifts shape in a song like ”Lush”, picked straight from the factory floor. This album is both a standoff and a board meeting in electronic music. Golden Bugs metallic excentricity meeting with In Fields darkness and live feel creates an unpredictability and the music goes on an exploratory trip far away!

Beyond Space And Time is the new record label from Japanese music festival, Rainbow Disco Club (RDC). RDC has been welcoming music loving people to Japan for over a decade. Throughout the festival's history, RDC have been fortunate to constantly encounter performers and DJs who've collaborated with them in establishing a beautiful dance floor year in, year out. These relationships have lead RDC to start their own label, and now gives them the opportunity to reveal one of the best-kept secrets: What is in a DJ's record bag?

This time around, festival regular DJ Nobu kindly opens up his collection and shares the music he loves with us all. On visual duty we welcome Senekt - his representational yet contemporary drawing illustrates the emotion we feel from DJ Nobu.
We have much more music to come in future from artists that we trust and respect.

▼ DJ Nobu describes 10 tracks this way ▼

A1. Laurent Garnier - Water Planet
Highly respected French DJ/Producer Laurent Garnier has been releasing tracks for decades capturing the very essence of Detroit Techno and Breakbeat. He always manages to create something truly emotional. This is not his biggest hit, but it's my favorite.

A2. Mono Junk - Beyond The Darkness
This track represents the very early days of Techno with it's ravey atmosphere. It has a primitive feel, and the obscure mixdown sounds almost unbalanced. That said, this one really stands out when DJing. Very cool.

B1. Psychick Warriors Ov Gaia - The Valley
It was always my intention to include this track in a compilation if were I ever to do one. It has a fat underlying groove, with some indigenous spices thrown in. The whole thing is put together beautifully. No complaints!

B2. Melody Boy 2000 - Plenty Of Love
I wanted to include a track that had Jacking feel to it - that is my definition of dance music. This track mixes well in both Techno and House DJ sets.

C1. Drax Ltd. II - Amphetamine
This is my all time favorite track by Thomas P Heckman. It asks questions and strikes down all the boring 'wanna be cool' techno tracks. It is obviously a well known tune already, but I include it here because I'm often asked for it's track ID from new kids in the game. This is a classic that should be passed down.

C2. Dan Curtin - 3rd From The Sun
Curtin's refined synth grooves and bass lines make this a true timeless classic. It do not get tired of listening to his rhythms and melodies - he always gets it just right.

C3. Front 242 - U-Men.
The originator of Electric Body Music. Their husky vocals, hard rhythms and strong synth basslines made the group very popular at the time, and they are still to this present day. To me, this track represents what the Belgian New Beat scene is all about.

D1. The Prince Of Dance Music - E3 E6 Roll On
This is the track I played the most up until around 2006. It is a genuine house track that cuts through trends in music. A hidden floor killer.

D2. Pan Sonic - Lähetys / Transmission
Electronic music has existed for decades, and if you are to choose some of the best from all scattered & hidden places, Pan Sonic's 'Lähetys / Transmission' must be considered. The track emerges beautifully - breaking structures and transcending the past. Every layer of the piece is produced with such delicacy and care, that as a whole it magically drags you into the world of the unknown.

D3. Burial - Archangel
This track merges melancholic emotions with technological prowess at the highest level, and deeply impacted the dance music scene on it's release. I recently played this track at the end of my set at the forward thinking Terraforma Festival in Milan. It faded out to huge applause from the open minded crowd. A moment to be remembered.

Whether offering up dreamy, hypnotic deep house tracks or soft downbeats, Jenifa Mayanja's work has always tended towards the melancholic fields and cinematic soundscapes. Jenifa sets the bar always high, also in terms of quality and depth. She again delivers 5 extraordinary tracks, a mixture of elongated chords, playful smooth melodies and synth games, gentle new age jazz keys, all what your open minded heart can welcome. The mini album also contains a space ambient with pensive synth lines remix by Allstarr Motomusic.

Following his critically acclaimed 2017 debut album Apeiron, enigmatic artist Noumen, aka Andriy Vezdenko, returns to CPU with his second album 'Obscurium'.

Vezdenko demonstrates mastery in the studio again with his signature melodic, uneasy and challenging rhythms. Obscurium travels down a path seldom trod in experimental electronic music; thoroughly enjoyable and brimming with musicality.

Quintessential abstract electronics.

If you like Autechre's LP5 or Jega's Geometry you will love this.

For his return to Make Mistakes, Derek Russo ventures into the Belly of the Whale with three pieces of beautiful, retro future, dance floor chic.

Embryonic Speck opens up the record, evoking classic rave beats, in a crisp, clear, modern style. With this cut, Derek has crafted a late-night slayer for the discerning dance floor. A relentless groove drives the track along, creating the hypnotic, smoky dreams of rave’s past.

Night Sea Journey takes it down into disco depths. A wandering bassline swaggers through the track, crashing through dark waves of sound. Sexy and mysterious, made to drag the sweaty sea on the dance floor through the night.

Straddling, a piece of timeless, familiar house music, rounds things out by bringing in a touch more warmth and whimsy. Still for the darkness, but with a lighter mood, and booty wiggle bass. Deep, and grooving, with a playful sexiness, what more could you ask for?

“Consider the subtleness of the sea; how its most dreaded creatures glide under water, unapparent for the most part, and treacherously hidden beneath the loveliest tints of azure. Consider also the devilish brilliance and beauty of many of its most remorseless tribes, as the dainty embellished shape of many species of sharks. Consider, once more, the universal cannibalism of the sea; all whose creatures prey upon each other, carrying on eternal war since the world began.

Consider all this; and then turn to the green, gentle, and most docile earth; consider them both, the sea and the land; and do you not find a strange analogy to something in yourself? For as this appalling ocean surrounds the verdant land, so in the soul of man there lies one insular Tahiti, full of peace and joy, but encompassed by all the horrors of the half-known life. God keep thee! Push not off from that isle, thou canst never return!”

― Herman Melville, Moby Dick

Analog Fluids of Sonic Black Holes is a new full-length by Philadelphiabased artist, poet, and musician, Camae Ayewa, who performs under the name Moor Mother.
A sonic black hole is a place where fluid moves so fast that it traps all sound.
To be entangled in its gravity is to feel the pressure of an unjust system -- corruption so powerful that it drowns out whatever you throw at it. Analog fluids are resistance -- individuals who work to create and preserve community in the face of immense darkness and cosmic pressure.
Begun in 2017 as a sonic counterpart to Ayewa’s art show at New York performance space, The Kitchen, Analog Fluids was refined through exhaustive touring. It tracks Ayewa’s emergence into an expanded artistic ecosystem, with contributions from a distinctive set of friends and collaborators like Justin Broadrick (Godflesh, Zonal), King Britt, Saul Williams, Giant Swan, and Bookworms

Limited Edition Vinyl



Vinyl + Digital Ep

Vinyl includes a Bandcamp download

released Oct 25, 2019







The new release of Dusk & Waves is starring by Vicky Montefusco, Dj and producer from Italy, resident in Berlin for a few years. This EP is presented as his first work on vinyl with great force and originality. Whit a style, synthetic, analog, crude and influenced by the legacy of the 80s, has allowed him collaborating on labels such as Ninefont, Clouded Vision or Items & Things.



The EP begins with 'Justice', a low revolution techno track that with its line of acid bass and Martian sounds, added to the speech sampler of JFK, leads us to a state of deeply hypnosis. On the other hand, 'Roar' goes deeper into EBM territory. Above the starting of the arpeggio, it is built a dark track full of synthetic sounds and a nightmare atmosphere (somber, gloomy, baleful). 'During' keeps the darkness of the other two tracks; however in this case, the rhythmic guitar at the beginning adds a more 'funk' touch to the track. It is “a funk” with a narcotic and somber flavor thanks to the vocal and the synth sounds that accompany it. On the B side of the vinyl we find Blacknob's remix to 'Justice', which gives him a re-interpretation more club raising the bpms and creating a perfect track for dance in the late night. Finally, Jamie Braid´s remix offers a reconstruction of the track 'During' with electro beat, generating an odyssey of textures with a development that goes beyond the standard structures of dance music. Timeless!

Based in Munich, Germany, the producer, part-time DJ and Permanent Vacation label co-head Tom Bioly aka TB delivers new romantics, inspired by influences like The Cure’s „The Holy Hour“, Boards of Canada’s late 90s electronica, Miami Vice tropic percussion and Angelo Badalamenti’s Twin Peaks. Acid drops, string distortions, lushed melody bits, hushed robo vox and washed space guitars are being layered and sprinkled over machine beats and disco drums.

TB’s first release "Invitation To Love" made it on John Talabot's vinyl-only Hiverned 10" imprint and was voted amongst the best 10" releases by UK Fact magazine. GROOVE magazine wrote "..entirely superb..“, about the follow-up EP "City Girl" on Permanent Vacation, of which the title track has been licensed to the independent film „All These Sleepless Nights“ by director Michal Marczak.
In 2017 TB followed with “Heartbreak Hotel“, a double twelve-inch release with eight tracks of melancholic dance noir set in smoke-filled darkness. In 2018 he followed with the „Night Heat“ single, of which a RMXD EP with contributions by Gerd Janson, Sascha Funke, DJ Hotel and Bostro Pesopeo came out earlier this year.

White Vinyl

This is "Altair", a collection of kaleidoscopic post-breakcore on Love Love Records from veteran french surrealist Ruby My Dear. Presented with artwork by TAPT on white vinyl.

The lights are out and a strange alien force surrounds the periphery of your hearing.. The sound of a haunting music box flickering in the darkness draws you closer but as you begin to approach everything explodes into dank crossbreed DnB rhythms that punch you in the gut and send you flying. As the bombardment of breaks momentarily subside you realise you've been beamed aboard the mothership and are now surrounded by unknown and indescribable visions.

You are given a brief moment to contemplate before your legs are swept from underneath you by a flurry of amens that would fry the minds of the hungriest of junglist's epicures. Journeying deeper into the heart of the beast you become aware of distant and immense rumbles but are stopped in your tracks by grinding brutal machinery rising up on all sides. As quickly as it appeared it starts to collapse and you are plunged into near darkness once again.

Pulses of light slowly begin to stab rhythmically from behind clouds and you feel yourself begin to move faster and faster through a void that is now streaked by a spectrum of colour. Floating debris starts re-arranging around you at light speed and every fiber of your being is simultaneously stimulated with needle-like accuracy. As the last string plucks play out the darkness falls away and the cover artwork comes back into focus. You immediately leave wherever you are and encourage someone else to experience this music.

Blaue Blume are a Danish alternative art pop band with a deep connection to the romanticism of the early 80s UK scene. Referencing artists such as Talk Talk, The Smiths and Cocteau Twins, it's clear their influences are with the more sensitive, magical aspects of music - and the eternal questions of love, life and death. Following two singles (Lovable and Vanilla) the album Bell of Wool is finally with us. It’s suitably enchanting from start to finish. Two themes dominate Blaue Blume’s new album Bell Of Wool, darkness and adventure. With the record mostly made before singer Jonas Smith slipped into a depressive episode, the album’s lyrics and moods draw pictures of the darkness, anxiety and tension that would mark Smith’s depression. Sonically, the album sounds a distance away from anything they’ve done before. Indie and electro pop and rock are out, and instead the album is crafted from soft, glowing synthscapes, dawns and skies transformed into sounds. Even on hints of their older work, like on the acoustics of “Rain Rain”, the synthwork comes into the picture and swells the song into something bigger and more majestic. Opener “Swimmer” introduces the listener to the softness and subtlety of the new sound, whereas songs like “Morgensol” and “Bombard” show it at its biggest and more grand.

Klein's offbeat singular vision continues to defy classification. Her acclaimed, self-released records – Lagata, Only and CC – along with Tommy for Hyperdub and her theatre musical Care, have allowed glimpses into Klein's uniquely spirally perspective on vocal abstraction, disarming experimentalism and pop culture wonderment. Yet these chapters have also served as masks to conceal the artist's own personal crises of self-belief, misrepresentation and belonging.

An 18-month writing process led to her new album Lifetime. It's an unexpectedly literal body of work which Klein compares to "giving someone your diary." Lifetime embraces the inevitable cycles of existence, phasing through moments of brutality, vulnerability, estrangement and unexpected fortitude. Lifetime embraces the inevitable cycles of existence, phasing through moments of brutality, vulnerability, estrangement and unexpected fortitude. Every sound in Lifetime is intentional, every influence—from 'King of Gospel Music' composer James Cleveland, to early 18th century tonalities in the b side, the work of 'race film' pioneer Spencer Williams, the residue of the religious experience is deeply personal. The 12 songs of the album are pieced together like a puzzle; seamless transitions connect each of its compositions in a reverse chronology, while every chord from every song is echoed someplace else.

What's been hinted at in Klein's live performances is now realised in full for Lifetime. Less vocal work allows her to be even more expressive, and in eschewing a tendency towards brief, truncated sketches, each song serves as its own long conversational piece, committed to realities of a lived experience. The artist who once grappled with self-doubt has set about breaking the cycle of insecurity for others like her, while mindfully chipping away at the conventions of classical music.

Like its artwork, Lifetime addresses intersecting life cycles: the inner and outer selves, hypermodernity versus history, living nightmares and dream states, while seeking the light and darkness in both. Part 1 opens with unmistakable Klein flourishes on the title track. Gusty pads, anxious, frayed-edge static arcs, and craters of deep negative space, all of which melt down to the clean slate of "Claim It," which is a tribute to embracing one's own blessings. "Listen And See As They Take" and "Silent" form their own microcosm, as the sound of crackling kindling burns backwards into imposing structures of distorted strings and disembodied marching drums, before returning to heat and ash again. "For What Worth", in collaboration with sound artist and saxophonist Matana Roberts, explores the kinship between two artists whose shared exploration of lineage leads them both toward uncharacteristically sweet clarity.

Part 2 is further steeped in black expressive styles of the past. "Enough is enough" links the Lifetime narrative to the broader diasporic black experience, inhabiting every chamber of a harmonica with ghostly notes of the present and past, as fragmented gospel chords reflect spiritual bonds between self and the divine. "We Are Almost There" begins the journey with nothing but the looped structures of multitude of voices. The drums and dischord of "Never Will I Disobey" wordlessly create the conditions for "Honour," a near 10-minute composition where crossed boundaries and crossed wires are exposed in real time, and sharp expressions of hurtfulness, accountability and corrupted expectations are rendered beautiful in representational form, via sustained synth tones which hum, jab and flit in natural disharmony. The interlude "Camelot Is Coming" draws on the choir tradition to prelude the spoken word recounts the cycles of trauma and death that form "99." Lifetime closes with the dystopian swirl of "Protect My Blood" a composition which details an excruciating rift, before blooming into serenity as it draws to a close.

Klein's Lifetime is laid bare, from the end to the beginning, and cycled over again. From her place within her family, to their place within her, to viewing the fragility of culture through the lens of memory. It's a lifetime, an embodiment of young livelihood, and an end as much it is a beginning.

4 track EP “No Bad Decisions” is Pletnev's debut on Cologne based imprint Feines Tier. And here he matches perfectly with label requirements - hidden melodies, dozens of layers and sounds. Truly simple and addictive music for parties with soul, big or small.

For the recent few years Pletnev did a solid statement as a producer with releases for Lithuanian Le Temps Perdu imprint or french labels KUMP and Hard Fist where he always explored a variety of genres melting tribal, EBM and techno into one solid peace of gold. Originally Russian, Pletnev now settled in Vilnius where he represents incredibly booming local scene being a resident of Opium club.

Title tune “No Bad Decisions” is a noisy electronic boogie with drunk arpeggios & filtered bassline. Comemé based Ana Helder delivers more dance floor oriented version of the track. “Almost Equal” continues the general line of the EP with jumpy boogie beat & tribal percussions. “Norton Commander” makes a perfect balance and adds mystic darkness through running sub bassline & sliding atonal bells. And simple 808 beat makes out of tune a perfect trancy option for the late party hours.

After 10 vinyl releases exploring the leftfield side of electronic music, No Suit Records enters a new era with a new serie of Split EPs. Two artists per EP, offering a wider color palette, stretching styles and genres.

Cabasa is back on No Suit Records after the launch of a successful live act and many appearances in festivals and high profile clubs around Europe. On this release Cabasa navigates between luscious atmosphere, broken beats and polyrythmic patterns.
Crystal Clear is made of soft melodies and tickling bass —it is a reminiscence of the 00’s downtempo apogee and an invitation to accept your inner melancholy. More Than a Second is a slow awakening, a groggy musical move, a muffled request for a brighter future. Catching Fire Slowly is a contemplating ode, a call to take a deep breath and prepare yourself for the upcoming run.

Lost souls or flowers of hope, lurking into light and darkness, no one knows who Scaarlet are. The only certitude is that they always play with boundaries and enact performances between syncopated melodies, cut up sounds, wavy basslines and deep atmospheric sounds. They are back on No Suit Records and continue to develop their own intricate style, merging Drum’n’Bass and Techno influences into a politically and socially engaged music.
My Man translates the raw energy of riots and rebellion, powering a fusion of Drum’n’Bass and Techno. The River resumes some of the Yakusa women tattoos symbolism into a romantic pulsating 170ish bpm vibe. Advertising is an open critic of the fast fashion world and the supremacy of commercial communication, mixing polyrythm with a straight DnB kickdrum.

All tracks mastered by Pole at Scape Mastering in Berlin.

Razen celebrate their 10 yr anniversary with “Ayîk Adhîsta Adhîsta Ayîk”, an album that takes a paragraph from CG Jung’s Memories, Dreams, Reflections as a reference point to set off a journey that goes from light to dark, from day to night, from life to death, and back.

As much a reflection of primal imagery and rituals of knowledge as a way of coming to terms with anxieties about the chaos of the night, the album concerns itself with the question: who - or what - are we in the moments before (re-)birth, before waking up, in the state inbetween darkness and light?
On “Ayîk Adhîsta Adhîsta Ayîk”, the wind instruments and organ stabs of band leaders Kim Delcour and Brecht Ameel are expanded with Pieter Lenaerts’ five string double bass and sarangi, Jean-Philippe Poncin’s bass clarinet and chalumeau, and Paul Garriau’s hurdy gurdy.

The album sees the group explore new straight-to-the-gut emotional territory, while simultaneously showcasing Razen’s intuitive, continuous investigation of the acoustic properties and resonant possibilities of churches and chapels in the countryside around Brussels; after “Remote Hologram” (2014) and “ The Xvoto Reels” (2017), this time the St Agatha Church (St.-Agatha-Berchem) functions as the conduit for Razen’s acoustic sound jolts.

With the past ten years entirely devoted to the search for archetypical timbres and connotations by improvising on Early Music instruments, it’s no wonder that the world of Razen would one day collide with the world of CG Jung and take his writing as an inspiration.

A sonic hex tour de force from this unique ensemble, “Ayîk Adhîsta Adhîsta Ayîk” is a present-day, nocturnal emitter of the Coleridge quote that opens Jung’s Memories:
‘He looked at his own soul with a Telescope. What seemed all irregular he saw and shewed to be beautiful Constellations and he added to the Consciousness hidden worlds within worlds’.

RMXD Versions of TB’s 2018 release “Night Heat”. With contributions from Gerd Janson, Sascha Funke, DJ Hotel and Bostro Pesopeo it’s all in the game; tropic machine rhythms, dist Chicago grooves, pinball lazerfunk and a touch of newromance techno.

Producer, part-time DJ and Permanent Vacation label co-head Tom Bioly aka TB from Munich, Germany, had a first track released, on John Talabot's vinyl-only Hiverned 10" imprint, called "Invitation To Love", which was voted amongst the best 10" releases by UK Fact magazine. GROOVE magazine wrote "..entirely superb..“, about the follow-up EP "City Girl" on Permanent Vacation, of which the title track has been licensed to the independent film „All These Sleepless Nights“ by director Michal Marczak. In 2017 TB followed with “Heartbreak Hotel“, a double twelve-inch release with eight tracks of melancholic dance noir set in smoke-filled darkness.

Deliquent Delivery’s third EP titled U​ comes from Dublin based label head Stephen Mahoney, who contributed two tracks to the label’s last split EP.

Mahoney’s vision for Delinquent Delivery is visible on this release, showcasing his talents which range beyond A&R and delving into production. ​U features five untitled tracks, contrasting thumping dancefloor driven techno with spacey atmospheric ambient tones. With over twenty years experience as a DJ, Mahoney’s ear for precise, engaging rhythms and melancholic tones can be heard throughout​ U.​

A1​ sets the tone of ​U.​ A thumping kick lays the foundation for the track, with gritty, cutting melodies juxtaposed with polished, pensive tones. Rhythmic structure is a large component of Mahoney’s signature sound, with cleverly placed hats and snares audible on ​A1​. A strong link to the sounds of Detroit sounds of the ’90s is audible here, synonymous with Zenker Brothers et. all.

A2 c​ontinues down the path previously set out, with another dance floor directed track. More subtle than previously heard, Mahoney drives the track with a glossy lead, only to break the track up and juxtapose it with a gritty, murky underlying melody. ​A2 ​also focuses heavily on rhythmic structure, with well-placed spacing allowing energy to be retracted and reintegrated with more tenacity.

A3​ takes ​U​ to a different space with an ambient excursion. Mahoney here showcases that he is capable of creating lush, captivating soundscapes which transport the listener to a place of tranquillity. Dark, harrowing undertones are balanced with ethereal swells, maintaining the aura of the record established.

B1 moves back to the dancefloor, with a thumping kick and jagged, piercing tones. Mahoney’s versatility as a producer is evident here, as ​B1​ moves in the same vein as the A-side of ​U​ but is completely different in style. Prime-time dance-floor material, this track drives forward with ferocity and grace, cleverly being broken up with sparkling synth tones only to hit back harder than before.

B2​ closes out ​U. ​A bouncy kick drum sets the tone, with atmospheric, dark swells creating an engaging sonic tapestry. Sparse, delicately placed lustrous tones take the lead, with airy swells contributing to form a wonderful balance of light and darkness. Mahoney’s focus on precision within rhythmic structure is again noticeable here, with rhythmic elements forming their own melodies throughout ​B2​.

U​ is Stephen Mahoney’s first full release on Delinquent Delivery and captivates the essence of his vision as a producer entirely. Versatile, engaging and polished, ​U​ contains five tracks which all compliment one another wonderfully. ​U​ is a record which is as useful in a DJ’s record bag as it is for home listening.

With Dark Slice 02, La Dame Noir records is serving up 4 tasty re-interpretations of T21 classic "Take The Shock Away" in the line of their latest Darkness Has Never Been So Bright releases. Originally re-produced by co-founder Relatif Yann, long time resident Dawad and the amazing Mounissa on the vocal, the EP also presents 3 dancefloor remixes produced by indie band Vox Low and disco-house specialists Pete Herbert and Fred Berthet. Once again the Marseille-based, La Dame Noir record label is cultivating their love for disco basslines, sensual vocals, and new wave atmospheres.

What is the Inner Dance? A musically assisted trip through thought-movement. It is not a show, it is a party. The participation of a room full of individuals having their own personal experience. Like looking closer at the ground to see there is movement within, focus acutely and see the life within life.


Gene Tellem launches her own label Bienvenue Records, welcoming you to a world of sounds for all the extroverted introverts out there. With headquarters at La Rama in Montreal, we plan on assisting your journey through local & international sounds.


For this first EP Gene lays down the foundation for what is to come. Journey agent tracks for all looking to experience the music, an extended groove, more than just a drop & repeat. ‘Groove PM’ sets the scene, we play in the sun during the day and at night we smooth out the rigid edges of the hustle. ’N’ You’ is here to get you in touch with your natural swing, ride on the simplicity of moderate changes and witness just how much we have. ‘Tender As A Rhodes’ is an ode to that thing that changed it all, the universal jazz sound, dub it out, stretch it out, and watch the whole room come together. As the morning comes we get ‘Chipped’, dance ’til the next day comes and hit the streets with a little pep in your step. Crossing paths with your neighbours on the way home, they might not know but all who witnessed do, we who dance the night are the warriors that keep the light on in the darkness.


Thanks for joining us and please do stay tuned for more.

-La Rama

Two weapons grade Chi Town house jackers from Body Hammer resident Scott Fraser under his AOD guise. 100% dancefloor certified!

Called out by The Irish Times as “Ireland’s best new rock band” and named as an one of NME's “100 Essential New Artists for 2019," When I Have Fears is the debut album from Dublin, Ireland's The Murder Capital.

Produced by Flood (PJ Harvey, New Order, Foals) the album features both singles from the band so far, "Feeling Fades" and "Green & Blue", as well as the first studio recording of breakthrough track "More Is Less".



An exercise in both darkness and light, “When I Have Fears” only serves to highlight the early ambition in the band's sound. From the post-rock build and breakdowns of the two-part "Slowdance", to the tender, bruised confessional of "On Twisted Ground" and industrial pulse of closer "Love, Love, Love", there's a consistent intensity throughout that marks out The Murder Capital as a band arriving fully formed on their debut album.

Following sell-out shows on their April tour, the group have also announced a new string of UK & European headline dates for October and November 2019 - see below.

Maybe the best Alessandroni's album ever. A true holy-grail for any collector and worldwide music lover, which we can consider nowadays as the most sought-after record of the whole legendary RCA SP 10000 series, and as the rarest album from the king of Italian libraries.

Jazz, mellow-funk, downtempo breaks, and incredible rock blends, make this record a refined portrait of the 70's American way of life, viewed through the fully Italian lens of Alessandroni's sensitivity.

The magic around Spontaneous is that this album is not only beautiful and astonishing, but is certainly on of those amazing records to which time gives new life and freshness, making it sounds unbelievably contemporary.

After five years of exhausting research, finally Four Flies can give a light to this obscure and fascinating mystery, rescuing it from the darkness. It's not just another piece of Alessandroni's legacy that is finally put back in the right place. This should be considered as the definitive act to re-estabilsh Alessandroni's leadership into the library music scene, and beyond.

Available again from July 19, coming in 180gr black vinyl, housed in a hard tip-on sleeve cover.

Limited Edition 500 copies, don't sleep!

On ‘Ways Of Seeing’ Konx-om-Pax has switched up the mood and hit gold. He has made an album that is filled with joy and sunshine, saturated with the classic feel of Berlin Techno.

Tom Scholefield has moved on from the dark ambient and brittle rave of the first two Konx-om-Pax albums, which were a reflection of his hometown Glasgow's electronic music scenes. After a recent move to Berlin, the textures of Glasgow's musical strains have fused into an accessible and friendly mix of poppy melodic electronica built from a stricter 'less is more' sound pallete, closer in spirit to the music of his adopted city. It is also a record which was made in opposition to recent music he has been hearing, in particular the troubled, dark and noisy experimental music coming out of Berlin. Tom wanted to focus on more joyful qualities, making this a record imbued with warmth and happiness, a panacea to the darkness and disorientation all around in 2019.

Having a social scene full of producers has also influenced the album. The opening track 'LA Melody' came from staying with Ross Birchard (Hudson Mohawke) at his house in LA, hanging out in the glorious sunshine with him and Lunice working on tracks.
"Initially Ross asked me to write some melodies to use in a project he was producing, but I ended up liking it so much I decided to keep the riff. I generally write music alone, but being around other producers gave me a certain excited energy that reminded me of after-parties back in Glasgow where Ross and myself spent our youth together. Spending time in Clark's studio also helped me improve my workflow and sequencing the album by seeing the way he does things". On 'Säule Acid' he collaborates with Silvia Kastel and in 'I’m For Real' the vocals of Glaswegian DJ/producer Nightwave filter around the track.