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In these dark times of Covid we still have our music. We have the sounds to soothe us, distract and take our minds away from the chaos and uncertainty.
We can't dance like we used to but we can hear and feel. Our release must be found in another way, we must look within. We find solace and grant ourselves space and time in the music.

Sam McQueen (Indio co-producer with John Beltran, Indigo Aera, Delsin Records, Furthur Electronix) presents his debut album Dreams In Sepia for Mojuba sub label a.r.t.less and hits us with a real time soundscape of the moment, an epic-like document of these times. The rhythms are subtle, sometimes broken, the time structures often complex, this is not primarily dance floor orientated music. These sounds are way more cerebral, for the heads. They reflect perfectly the complexities of life we are experiencing in 2020.

The edges are rounded with occasional strolling bass lines and comfy chords. Slabs of keys and spaced out female vocals like a psychedelic journey that scares you at first yet comforts you soon after. Sam McQueen's mediatory sounds give an overwhelming sense of the moment. The music makes you take time out and listen. Its purposeful manner suggests there are more hours in the day, like time slowing down a pause, like the sun slithering slowly behind the horizon. These are sunset sounds for dark back-rooms.

Daytime or night, it works. This is the soundtrack for the other room, the deeper sounds not designed to make you dance. This music doesn't get in your face, it creeps up and smacks you on the ass. There are elements of early nineties UK Techno, a warmth and delicateness that pervades a distinct lack of four four dance floor in the beat structures, a softer tone throughout than the harder Detroit techno sounds of the same era but still nods and acknowledgements to the D in the layout and way the sounds present themselves. Think John Beltran, Symbols and Instruments, Black Dog or Kirk DeGiorgio, mid 90s Berlin sounds from Basic Channel / Rhythm & Sound, but in lockdown. Music for today's modern lacking landscape. The sounds often familiar, analogue, the drums, hi hats and snares, shimmer, jazz style. They accentuate and push the rest of the elements around them.
?In a bygone era this would be crudely classed as Chill Out music. In 2020 Covid era its about how it makes you feel as you relax and really listen to it. It is about emotion and empathy, a oneness, a new unknown and a deeper train of thought for the listener. Much like 2020, Sam McQueen lays the pieces round the edge of the jigsaw and lets you fill in the rest.

Reissue of Mort Garson’s long-out-of-print soundtrack for the 1970 experimental film Didn’t You Hear?
•One of the first-ever all-electronic film scores
•Remastered from the original master tapes

Six years before the release of his landmark Mother Earth’s Plantasia LP, composer and arranger Mort Garson met experimental film director Skip Sherwood, who was interested in an electronic score for his new movie, Didn’t You Hear? While not much is known now about the exact nature of their collaboration, we have Garson’s magnificent score as a record of those heady, early days after his lifechanging discovery of the Moog synthesizer. Notable for being one of the earliest screen appearances by a young Gary Busey, Didn’t You Hear? also boasts one of the first-ever all-electronic movie scores. Though the score was first released in 1970, it sounds as adventurous and futuristic today as it must have then. Originally available only in the lobby of the theater at screenings of the movie in Seattle, the soundtrack LP went out of print shortly after the film’s release. It has been a sought-after record for collectors of Mort Garson and early electronic music ever since. Sacred Bones is honored to reissue Didn’t You Hear? as it was meant to be heard, taken from the original master tapes and given a pristine remaster by engineer Josh Bonati.

ABOUT MORT GARSON: Morton S. “Mort” Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His best known album is Mother Earth’s Plantasia, a 1976 Moog album designed to be played “for plants and the people who love them.” Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson’s catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

Metal is a collaborative endeavor between Bristol and London artists Jamie Paton and Mike Bourne of Cage & Aviary and Teeth Of The Sea, respectively. A shared love for modular synthesis brought the two together in 2018 for a series of improvised live performances and the tracks featured on this EP were born from rehearsals for those sessions. What draws ESP to this music is its paradigmatic nature. The tracks are exercises in improvisation yet there is a level of control in which the performance slowly comes alive. Jam sessions allow for artistic gratification, a freedom of form often at the expense of the listener, but when artists set forth exacting parameters, there grows an opportunity for alternate forms of fulfillment on both sides of the experience. As is typical among stylistic prototypes, a reduction of tools frees the artist to narrow their focus and explore more singular modes of performance.

Jamie and Mike chose texture as a concept, namely Metal, and following the aforementioned methods, minimized their instrumentation toward the aesthetic representation of that element. Operating in a void without the convenience and advantages of the infinite tools we’re now accustomed to, they exhausted a short list of granular details, honing their concept to a fine point. Throughout these three iterations on the theme, we hear timbres that depict metal literally, but moreover we gain a view into the duo’s visceral attachment to its materiality, abstractions of its surfaces, and an overall transgression from conventional constructs of beauty. The idea is simple, designed with discipline to romanticize both the crudeness and elegance in one of Earth’s most industrious and enigmatic elements. Metal.

San steps forward with idiosyncratic, textured jungle for the modern era on his debut 12". Anxious and introspective throughout, San's detailed sound design and close control of intricate drum edits clearly mark his pedigree. The jungle alias of a Bristol based techno producer, the San project reflects upon the rave landscape of 2020, and finds it to be a dark place.

To The Other Side is an electronic journey that express the inner visions of sound. Is the first album of The ReLOUD in a limited double vinyl.

All analogue synths + samples from Japan, Ireland, Sicily and the Mars wind from NASA.
It feature singers from Australia, South Africa, America, Europe including the world renown Deva Premal.

Colored Vinyl. 180gr. Triple Gatefold. Hand illustrated by the leading Berlin designer Maddalena Bireau.

Includes the exclusive Lenta Bellezza Vinyl version of 22 Minutes.

Mixed by the legendary Luca Pretolesi, Gianni Bini, Alex Trecarichi, Luigi de Filippo. Mastered for Vinyl by Guiliano Radiciotti.

In 1988, after their fifth album for the Virgin label, Martyn Ware, Ian Craig Marsh and Glenn Gregory decided to rest Heaven 17. In 1996, after various British Electric Foundation and individual projects, the ensemble re-grouped to record “Bigger Than America” (now available on DEMREC414 on orange vinyl).

In 1998, Heaven 17 decided to play live for the first time, and a concert was recorded and released in 1999 as “How Live Is”. Aside from a blistering version of “Temptation”, the album also features H17 faves “(We Don’t Need This) Fascist Groove Thang”, “Crushed By The Wheels Of Industry” and Human League’s “Being Boiled”.

The record is pressed on 140 gram clear vinyl.

Slak debut on his own imprint with 3 balanced breaks/electro deep cuts entitled ‘Desireʼ including a remix from Datafive.
‘Desireʼ is built on fuzzy breakbeats, dubby pads and vibrant sound effects whilst ‘Intreccioʼ is more rhythmical with itʼs lively 909 hi hats, acid synths-and solid low end. Atmospherical but punchy, ‘Textureʼ with vocal echoes combining it with ethereal pads and clean breaks. Furthermore we have an elegant dʼnʼb remix of the track ‘Desireʼ from the co-owner Datafive, delivering the usual accurate mix of sound design, drums and dub-tech influences.

Suzanne Ciani is a true electronic music pioneer. The five Grammy nominated Italian-American neoclassical composer is unquestionably one of the greatest minds that contemporary music has ever witnessed. After an incredible career spanning forty years, Ciani’s accomplishments have become a benchmark when discussing the origins of musical synthesis. For more than four decades she developed a body of work that transcends the music industry, composing for film, video games and famous advertising campaigns that have impacted popular culture. On December 14, 2019, after six years of sound experimentation, Lapsus Festival bid farewell to Barcelona’s Centre for Contemporary Culture. Its final event was entitled 'A Sonic Womb' and was dedicated to the musical roots of the synthesizer, with Suzanne Ciani headlining on the night. Ciani performed an exclusive show accompanied by her modular Buchla 200e synthesizer and enveloped in a specially designed multi-channel sound environment by Intorno Labs. It was a sonic voyage to the very heart of her beloved machine and a tribute to improvisation through an instrument that is said to possess its own soul. Suzanne described the night as ”an improvisation that I began using in the ’70s and continue to use now as raw material. Each performance based on this material has its own expression and one could liken it to jazz." Lapsus Records is therefore extremely honoured to present 'A Sonic Womb: Live Buchla Performance at Lapsus', a unique live recording of this extra special concert.

Pole is the project of ground-breaking electronic musician Stefan Betke. The new album ‘Fading’ is the first since 2015’s ‘Wald’. As with every new Pole record, it’s part of a continued forward trajectory but it also connects to a pre-existing sonic framework.
 “Every Pole record connects to recordings that I’ve made before,” Betke says, “in order to stay in this kind of vertical development. The ideas from ‘1’, ‘2’, ‘3’ up to now are connected. I keep the interesting elements, languages and vocabulary that I designed and add new elements.”
 ‘Fading’ follows the physical released on Mute of remastered versions of his iconic albums ‘1’, ‘2’, ‘3’ to much acclaim.
 Double vinyl in black gatefold sleeve and spot
gloss finish with digital download code.

Complete with more gorgeous artwork from our favourite graphic designer, Animisiewasz, DP number 28 pops up offering four dance floor ready edits from one of our favourite young producers.

London based producer, multi-instrumentalist and artist Hoffy brings us five explosive disco/house monsters tailor made for when the clubs re-open and everyone goes ever so slightly nuts. With a couple of ridiculously uplifting releases on Forgot Records and a remix or two for Wah Wah 45s, of course, he knows how to move a crowd. His productions illustrate his deep love of classic (but never cheesy) disco, and an ability to create surges of energy even on the most docile of dance floors.

We hope you enjoy this craftily concocted quintet of soulful stunners that could easily sit alongside O'Flynn, early Romare and Dave Lee on your shelves. Another essential slab of foot friendly heat courtesy of your favourite Dubplate provider!

The first of three volumes: stomping, rollicking gospel music, intermingling with raw soul, searing blues, hard-rocking doo-wop and jazz, and storming r&b.

Infused and incandescent with the hurting, surging indignation of the Civil Rights movement, here are twenty-four precious scorchers by giants like the Staple Singers and Jimmy Scott, alongside devastating sides by less celebrated names like the Harmonising Five of Burlington, North Carolina, and teen-group the North Philadelphia Juniors, culminating triumphantly with slamming, sanctified versions of Hit The Road Jack and Wade In The Water.

Gatefold sleeve, with full-size booklet; beautifully designed, with stunning, rare photographs and original Savoy artwork.

The second volume brings sublime crossings of gospel with the soul, funk and jazz of the Black Power era. Twenty rapturous cuts dot dazzlingly between Muscle Shoals soul, screwed breakbeat, Mizells-style fusion, disco and proto-house. Triumphant re-workings of Sly Stone, Donny Hathaway and Herbie Hancock’s Head Hunters will have listeners throwing their pew cushions into the air.

Full-size booklet; beautifully designed, with stunning, rare photographs and original Savoy artwork.

The pioneering electronic composer Mort Garson (Mother Earth’s Plantasia) • takes on supernatural phenomena with lush synth grooves on The Unexplained, his only release under the name Ataraxia. Subtitled Electronic Musical Impressions of the Occult, the album explores tarot, astral projection, seances, and more with Garson’s signature Moog synthesizer serving as the listener’s tour guide to the paranormal. The exploratory, whimsical spirit of its creator is evident throughout the release, but it also takes its subject matter seriously, making it essential for anyone interested in musical conjurations of the occult. This remastered edition marks the first official reissue of the album since its initial 1975 release, and it includes all the original liner notes.

ABOUT MORT GARSON: Morton S. “Mort” Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His bestknown album is Mother Earth’s Plantasia, a 1976 Moog album designed to be played “for plants and the people who love them.”

Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson’s catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

So here we are with another first – the next vinyl debut on Cheezy Crust Records as well as thefirst ever release for the two-piece project that is CVSO which is their „Basic Cuts EP“.
Comprised of Mainz / Germany-based producers Mint Huus who made his solo debut on Cheezy Crust in 2019 and Get In Touch head honcho Willberg their joint venture project CVSO caters a total of four tracks on limited to 200 copies 12“ vinyl, all aptly named after their individual
placement and position on the actual record itself.
Mastered by electronic music legend and pioneer Thomas P. Heckmann the trademark sound of CVSO presented on this EP is informed by classic early to mid-90s Techno and Intelligent Techno vibes with its ever evolving flow and stripped down aesthetic which fuses subtle harmonic changes, spatial meanderings within the stereo field as well as a hypnotic, time-dissolving attitude for heavy dancefloor abuse.
This said, CVSO are aiming for nothing less than their introduction to the ivy league of Techno with these „Basic Cuts“, providing classy, absolutely timeless and expertly assembled DJ tools which are aiming to perfectly blend in with and match the vibe of all those now classic tunes that have never left a DJs bag for a quarter of a century or more, even though CVSO are tackling their sound design and production approach with a modern contemporary twist.

The cassette (TWI 007) is a faithful reproduction of the 1980 original, complete with PVC wallet, 16 page booklet and tracklist insert.

Les Disques du Crepuscule is proud to present newly remastered vinyl and cassette editions of iconic compilation album From Brussels With Love, which was the very first release on the Crepuscule label back in November 1980 – and is now celebrating its 40th anniversary.
Originally released as a deluxe cassette/book package in a PVC wallet, From Brussels With Love featured 21 exclusive tracks from the international avant-garde and new wave, as well as contributions from the celebrated Factory Records roster. Then, as now, the featured artists include A Certain Ratio, Gavin Bryars, Harold Budd, Thomas Dolby, Dome, The Durutti Column, John Foxx, Martin Hannett, Richard Jobson, The Names, Bill Nelson, Kevin Hewick + New Order, Michael Nyman and Der Plan.
Running for 78 minutes, the cosmopolitan ‘cassette journal’ was curated by Michel Duval, Annik Honore and Wim Mertens, and also includes extended interviews with Brian Eno and legendary French film actress Jeanne Moreau. The cover art by Jean-Francois Octave, with additional graphics by Benoit Hennebert, Marc Borgers and Claude Stassart in the booklet.
From Brussels With Love quickly sold 6000 copies around Europe, earning rapturous reviews in the UK music press. “This is a reminder – without really trying, without being obvious – that pop is modern poetry. Is the sharpest, shiniest collection of experiences. Is always something new” (Paul Morley, NME). More recently, Dan Fox of art magazine Frieze described TWI 007 as “a masterpiece of distinctly northern European post-punk eclecticism.”
To mark the 40th anniversary of From Brussels With Love, Crepuscule will issue 3 remastered editions.
There is also a deluxe 2xCD ‘earbook’ edition (TWI 007 CD) presented as a 10-inch square hardback book, with two full length audio CDs and 60 page book including rare images, posters, sleeve designs and period ephemera, plus a detailed history of the Crepuscule label between 1979 and 1984.

The specially designed game and accompanying music video pertains to the overall theme of the EP, which shows an absurd society obsessed with social media descending into a dystopian world. It is a paranoid graphic vision, set in Brussels, Strapontin’s hometown, that puts you in control of a role playing game as you march round the city collecting social points with scant regard for others.

Besides being a dancer, performer and on-and-off “Madame pipi”, French-born, Brussels-based Strapontin is also a DJ and producer who mixes up slow and rough techno with thrilling soundtracks and groove driven disco. He has released on Nein and I’m Single amongst others and marks this 10th Hard Fist release in fine style.

Opening up the EP is ‘Nervous Days’, a gallivanting techno-disco groove with rugged loops and jumbled percussion that sounds like a rampage through a cityscape, as per the video. Then comes ‘But The Nice One!’, a stomping and rough and ready ride on lumpy drums and bass that is dark but playful. The quality continues on ‘Miss Mickey the Dumbs’, with some brilliantly heavy and reverberating drums making you jerk your body while sci-fi effects float and drift about up top.

Blindetonation label regular and esteemed modern disco man Thomass Jackson remixes ‘But The Nice One!’ In his capable hands it becomes a melon twisting workout with spangled synth lines, psyched-out synths and percolating drums that are finished with a vulnerable and eerie vocal. Last of all is a Damon Jee remix of ‘Miss Mickey the Dumbs’, His music can be heard on the underground’s most sought-after labels including Roam, Hafendisko, Suara and Sincopat to name just a few. His version is a more direct affair, with searching laser synths and a hypnotic space-techno vibe that carries you off to the stars at increasingly high speeds.

This is a fittingly brilliant EP from the vital Strapontin on ever-excellent Hard Fist.

The Fall is a deconstruction of November by Dennis Johnson.

Written for solo piano in 1959, November is the first example of minimalist music composition and was the inspiration for La Monte Young's The Well-Tuned Piano (1964). The 66 minute piece is a collaboration between legendary artist Lustmord and renowned classical pianist Nicolas Horvath, in which they reduces Johnson's original November to its core element and place it in a landscape of complimentary sound. The Fall echo's November but with further resonance.

Recorded in May-June 2019 in Los Angeles, and Misy-sur-Yonne, France.

Lustmord
Active since 1980, born of the original 'industrial' scene of the period. With its own distinctive approach, blurring the line between music and sound design Lustmord's work has featured in 45 motion pictures including The Crow and Underworld and also in video games, television and commercials. Recently Lustmord scored the music for Paul Schrader's movie First Reformed. While Lustmord is often credited for creating the 'dark ambient' genre there is much more nuance to its work than what that label implies. The music is not dark, but is a light that shines into and upon the darkness. Notable collaborations amongst many include Tool, Melvins, Jarboe, John Balance of Coil, Clock DVA, Chris & Cosey, Paul Haslinger, Karin Park and Robert Rich.

Nicolas Horvath
An unusual artist with an unconventional résumé, pianist and electroacoustic composer Nicolas Horvath is known for his boundariesless musical explorations. Horvath is both an enthusiastic promoter of contemporary music - he has commissioned numerous works (including no fewer than 120 as part of his Homages to Philip Glass project in 2014) and collaborated with leading contemporary composers from around the world, including Alvin Lucier, Mamoru Fujieda, Jaan Rääts, Alvin Curran and Valentyn Silvestrov - and a rediscoverer of forgotten or neglected composers such as Moondog, Nobuo Uematsu, Germaine Tailleferre, François-Adrien Boieldieu, Hélène de Montgeroult, Jean Catoire, Karl August Hermann.

Memoirs of a Geisha (2005) is the award winning drama film adaptation of the novel of the same name, produced by (a.o.) Steven Spielberg’s Amblin Entertainment. The original score and songs were composed and conducted by John Williams (the Star Wars & Indiana Jones trilogies, Jaws, Close Encounters of the Third Kind, and many more). The album won the Golden Globe Award for Best Original Score, BAFTA Award for Best Film Music and the Grammy Award for Best Score Soundtrack for Visual Media. It was also nominated for the Academy Award for Best Original Score.
Directed by Rob Marshall, the film stars Zhang Ziyi and Ken Watanabe, amongst others. The story revolves around a young girl who is sold by her family to an okiya, a geisha house. Her new family then sends her off to school to become a geisha. The story focuses on her struggle as a geisha to find love, while in the process making a lot of enemies. The film was nominated for and won numerous awards, including nominations for six Academy Awards, and eventually won three: Best Cinematography, Best Art Direction and Best Costume Design.

Available as a 15th anniversary edition of 1000 individually numbered copies on white vinyl. The package includes an insert and the D-side contains an etch.

In the album's music we find vintage influences, recalling the faded charm of 70s erotica, warm tones also rooted in psychedelia, disco, yéyé, and French chanson. The Montreal trio Le Couleur, created by Laurence Giroux-Do (vocals), Patrick Gosselin (bass), and Steeven Chouinard (drums), delivers rich and irresistibly danceable performances. Le Couleur polished their sound until it shined as bright as the late Studio 54's spotlights with EPs Voyage Love (2013) and Dolce Désir (2015), and then P.O.P. (2016), their critically acclaimed debut album. Thanks to precious advice from Giorgio Moroder, with whom the band had the opportunity of sharing the stage, Le Couleur recorded their new album adopting a completely different approach. Concorde takes its name from the legendary Franco-British airplane from 1965, nicknamed the "beautiful white bird" for its sleek and modern design. This avant-garde project that ended in tragedy has always held a certain fascination for Laurence Giroux-Do ; a deadly "crash" that inspired in her a sense of macabre sensuality. In the album's music we find vintage influences, recalling the faded charm of 70s erotica, warm tones also rooted in psychedelia, disco, yéyé, and French chanson.

Tape / Cassette

Ferdinand Domes is an all-round electronic music producer with a current focus on sound design and ambient tracks. Horror Childs Orient is a collection of live drum machine and syntheziser jams that were created live in Ferdinand’s studio. All tracks are a result of a flow in the moment, creating a sonic scene rather than an arranged track. The result is a collection of atmospheric rhythms, grooves and ambience. The focus is on the individual sounds and the characters of the different machines in Ferdinand’s collection; such as drum sounds from the MFB522 and TR626, synth lines from the Kawai 1M, Yamaha PSS380 and Mikrokorg. All run through tape decks and tweeked with Portastudio and guitar pedals creating a raw and warm analog sound.

MD Records, a small independent label started in 2018, are pleased to present the debut single from “Lost in Rio” on the new MD Gold series imprint.
Their debut single which will be out in August, ‘Little Piece of Heaven’ is a festival summer feel good slice of Latin pop featuring energetic musicianship and the vocals talents of Highland based Miss T.It is also something the guys are, rightly, very proud of.
The vinyl release of this single is presented as a double A side as both sides are phenomenal, with the remix bringing a NYC disco mix, designed purely for dancefloors with thumping bass, chic style guitars and soaring strings, think Studio 54 and the heady crossover soul of Philly meeting the early disco of New York.
Early plays by several funk and soul radio stations (Totally Wired Radio and FACE radio) has attracted interest from DJs keen to feedback with so many positive vibes and offers to collaborate on future songs.
Who Are Lost In Rio:
The band herald from the Highlands of Scotland. Inverness provides the base for a collection of musicians that have made their home here, whether they originated from Manchester, Melbourne, Malaysia or indeed the Highlands! The band has taken the funk and soul sound from their former incarnation, The Leonard Jones Potential (LJP) who were BBC6 Craig Charles Funk & Soul Show favourites with whom they undertook several live interviews on the show with Craig and also a popular live session as well as a number of joint live dates at Kendal Calling Festival, Inverness and Aberdeen. The guys were also asked to undertake some prestigious live work with world renowned DJ Carl Cox, on the bill at his personal request and alongside other acts such as Brand New Heavies, Danny Rampling, Gilles Peterson and of course, Carl himself.
The songwriting team behind all this - Anthony, Andy, Neil and Ruairi quickly set up Lost in Rio upon the demise of The LJP and began collaborating with a number of singers and a rapper (MC Butterscotch). They developed their sound into a smaller, tighter, groove based soul vibe.
From 2017 the grouped honed their sound with a number of live appearances across the Highlands including festivals and supporting acts such as Smoove and Turrell. Utilising guitars, bass, drums, Hammond and percussion, the guys set about leaning on key influences - Acid Jazz Corduroy and Brand New Heavies, dynamite disco guys Chic, Northern Soul, rare soul and a whole plethora of funky hip hop acts - The Allergies, The Herbaliser and Tribe called Quest to write a lot of new tunes. Latin influence comes to the fore in much of the groups new sound, particularly highlighting the impressive skills of Aussie percussionist Andy Pearce.
Live, the band have a good reputation and have been much sought after by promoters. Audiences have loved the tight rhythmic groove that these guys produce, meaning gigs are full of dancing and long encores. Recently the guys have been concentrating on driving up the already high standard of songwriting and production. This hard working band has plenty of material they are eager to share with those ears who are partial to quality funk, soul and pop and are looking for the right partners to work with and spread the message. Future releases will seek to exploit the wordsmith alacrity of MC Butterscotch who as well as Lost in Rio, also features as part of Scottish award winning hip hop act, Spring Break.
MD Records specialise in Unreleased soul and funk on its Yellow Series, contemporary soul and funk artists on the Gold Series, re-issue soul and funk on the Black Series and Missouri Soul and Blues via its Blue Lotus UK imprint.

Selva Discos keeps broadening horizons. Its next release celebrates the start of a new series called Novaterra, this time focused on showcasing the music of contemporary Brazilian artists. First up is Zopelar, known not only for his work with the anarchic-techno-punk act Teto Preto but also for the project My Girlfriend and his solo LP, both on Apron Records.

Novaterra vol. 1 by Zopelar is a mini-LP featuring 6 tracks that range from the introversion to the extraversion. In one hand you have an A-side banger like "Be Together", with its addictive looped-sample, and in the other, you get the laidback interlude of "Modo Avião", which sounds like one of those MF Doom's instrumentals – and between both, you will find a whole spectrum of music where you can experience the duel between super crispy beats (a signature in Zopelar's work) and the richness of melodies and harmonies that he's able to knit stitch close to perfection.

The opener "Livre" has a great deep house vibe that makes you think of Prescription Records and Jazzanova, featuring a catchy bossa ad-lib. "NOX" is a Hammond-led tune with a groove bassline and lead that gets you going in no time as if Cesar Camargo Mariano and Larry Young toured together in the late 70's, like, a big, fat jazz-funk tune. "Dias Tensos" is a nervous drum workout led by an automat Tony Williams as if jamming in a 16-bit version of The Tony Williams Lifetime. And to wrap things up, "Boogie da Paz" is one of those perfect comedown tunes – a true tearjerker that works its melody line like a good pill works your serotonin, making it one of those tracks that you keep under your sleeve for those special 6 AM moments on a dancefloor.

The artwork is courtesy of Colletivo Design Studio in Sao Paulo.

Black Truffle is proud to announce the first vinyl reissue of Rafael Toral’s Aeriola Frequency, originally released by Perdition Plastics in 1998. Toral made his name in the world of mid-90’s experimental electronics with two releases, Sound Mind Sound Body (1994) and Wave Field (1995), both now recognised as classics and reissued on vinyl by Drag City, which saw him exploring the potential of electric guitar and pedals to immerse the listener in seemingly endless waves of sustained tones. On Wave Field, inspired by the striking resonance effects he experienced during a Buzzcocks gig with bad acoustics, he achieved a synthesis—often imitated but never bettered—of rock guitar, Ambient, and the acoustic exploration of Alvin Lucier, a kind of "liquid, abstract flux of rock sound".

On Aeriola Frequency, Toral continued the explorations of Wave Field but dropped the guitar, creating a series of extended pieces using only a simple feedback loop designed to work with pure electronic resonance. The result is far more delicate than Wave Field, a steady but unstable flow of filtered tones that continually reorder themselves into new forms. On both the LP’s sides, the tones, like growing plants, imperceptibly shift from drifting freely in ambient space to weaving strangely natural melodic patterns, as the loops unfold and the resonance gently outlines recurring rhythmic shapes.

The overall effect is strikingly organic, as David Toop noted in the liner notes included in the original release (and reprinted in this reissue): “A crystal garden, the sound grows in reeds and streams, blown like spider web strands, glittering and invisible, pulsing with translucent colour, bubbling and imploding, fraying and powdering.”
A classic of the non-academic approach to electronics that flourished in the 1990s— and a big influence at the time on Black Truffle head honcho Oren Ambarchi—Aeriola Frequency ushers listeners into an endlessly fascinating world of gliding tones and shifting details that they might never want to leave.

- Recorded at Noise Precision, Portugal, December 1997 and April 1998. Remastered by Rafael Toral in 2020.
- Liner notes by David Toop and Rafael Toral.

In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, "There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate-more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead." Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. Visions of Bodies Being Burned is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. Before the release of There Existed an Addiction to Blood, Clipping and Sub Pop Records divided the material up into two albums, designed to be released only months apart. However, a global pandemic and multiple cancelled tours pushed the release of the project's "part two" until the following Halloween season. Visions of Bodies Being Burned contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore-the purposely absurdist hip-hop subgenre that flourished in the 1990s-the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. The final track, "Secret Piece," is a performance of a Yoko Ono text score from 1953 that instructs the players to "Decide on one note that you want to play/Play it with the following accompaniment: the woods from 5am to 8am in summer," and features nearly all of the musicians who appeared on both albums. Since their last album, Daveed Diggs-the group's Tony and Grammy Award-winning rapper-has starred in the TNT science fiction series, Snowpiercer, voiced a character in Pixar's Soul, and portrayed Frederick Douglass in Showtime's The Good Lord Bird. Writer Rivers Solomon's novella based on Clipping's Hugo-nominated song "The Deep" has been nominated for the Nebula, Hugo, and Locus Awards, and won the Lambda Literary Award for best LGBTQ SF/Fantasy/Horror novel. Clipping's song "Chapter 319"-a tribute to George Floyd (AKA Big Floyd) the former DJ-Screw affiliated rapper who was murdered by police officers in May of 2020-was released on Bandcamp on June 19th and raised over $20,000 for racial justice charities. A clip of the song also became a popular meme on TikTok, generating over 50,000 videos in which teenagers rapped the song's lyrics ("Donald Trump is a white supremacist, full stop_") directly into the frowning faces of their conservative parents. The band also contributed a Skinny Puppy-esque rework of J-Kwon's "Tipsy" to Save Stereogum: An '00s Covers Comp.

After two years since her debut full-length release, Grand River presents her second album “Blink A Few Times To Clear Your Eyes” on Editions Mego. The 8 track LP shows an evolution towards a more experimental side of the Dutch-Italian composer which is here superbly combined with her ability of creating melodies previously heard on her 2xLP “Pineapple”, released on Spazio Disponibile in 2018.

“Blink A Few Times To Clear Your Eyes” expresses how acoustic instruments can be perfectly merged with electronic and analog synthesizers to become one new organic whole. The composer, whose birth-name is Aimée Portioli, brings the listener along on her personal explorational journey of expressions within a certain genre. The title of the album indicates the desire to explore what is new and see what is around us from different perspectives.

The album opens with the track “Side Lengths”, a complex and dreamy sequence made with one of her favorite synthesizers, the Yamaha DX-7. From there we are brought from extended panoramic sound design and cinematic ambiences, back and forth to synthetic melodies, field recordings, strings and for the first time ever, Aimée’s own modified voice in the closing track “All There Now”.

Recorded primarily at her home base in Berlin, Grand River’s music is pure, magnificent and elegant which documents a solemn atemporal story where her experiences are translated into another language.

Our much in-demand series of classic Brazilian 45’s are back! Featuring a vibrant new design, we’ve curated yet more wants-list regulars and unearthed fresh finds from Brazil that are destined to become collector’sitems in their own right.

Number 81 is our Brazil.45 series sees further digging into the magical world of Jorge Ben’s lesser-explored 1980’s productions. ‘Ma Ma Ma Ma Ma (A Lingua Dos Anjos)’ is taken from his ‘Al Al , Como Vai?’ album from 1980, which is arranged, produced, and features keys by the don, Lincoln Olivetti. The song contains trippy lyrics singing about flying saucers and angels.

‘Dona Culpa’ finds Jorge featuring on a cool mid-tempo groove track taken from Cauby Peixoto’s ‘Cauby! Cauby!’ album (also from 1980). Singer Cauby Peixoto had a long and stellar career, recording and releasing music from the mid-1950’s all the way up until his passing in 2016.

You have reached the Infolines. Tonight, we send you on a journey packin’ east to play in the magnificent halls where thespians and rock & roll once played. ‘The Theatre’ features a compilation of cuts that inspire those who listen to sweat in the soon to be humid weather of Detroit.

Bendersnatch is back again, this time with their funky groove ‘Vice Versa’, tooled as a call to the dance floor with a kick that cuts, and bleeps reminiscent of the second wave of techno. Remote Viewing Party brings us a break beat rhythm joined by instrumentalists Ezuch & Bcota with ‘Outpost’. The duo brings shows us their depth creating an atmosphere that will bring you chills, and tears that you will probably think is sweat running down your face. Newcomer Dev-Lish is joined by Maxlow with their head banger ‘Faith In The Machine, in a collaboration inspired by the Detroit birthed genre ‘sludge’. Evil grinding tones with huge bass and dark vocals will make you want to breath. Last, but not certainly least is Francois Dillinger. This artist has been churning out his art and making waves in the electro and techno communities. He brings to the table ‘Lost Loops’ with nothing short of huge bass, large spatial tones designed to hit all frequency ranges leaving room for the crowd to breath while being taken on a journey.

As always, keep an eye on this space and be sure to call in for the waypoint to the party.

Missing Glastonbury this year?

It was a busy time - the massive touring schedule brought about by the success of Levelling The Land over the previous two years had cemented the Levellers as one of the most in demand bands in the country. They were rewarded with a slot on Glastonbury's main stage in June 1992.

Relive their electrifying performance on this CD, remastered by Jon Sevink. Released as a standalone album for the first time with fantastic new artwork designed by Jeremy.

In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, "There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate-more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead." Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. Visions of Bodies Being Burned is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. Before the release of There Existed an Addiction to Blood, Clipping and Sub Pop Records divided the material up into two albums, designed to be released only months apart. However, a global pandemic and multiple cancelled tours pushed the release of the project's "part two" until the following Halloween season. Visions of Bodies Being Burned contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore-the purposely absurdist hip-hop subgenre that flourished in the 1990s-the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. The final track, "Secret Piece," is a performance of a Yoko Ono text score from 1953 that instructs the players to "Decide on one note that you want to play/Play it with the following accompaniment: the woods from 5am to 8am in summer," and features nearly all of the musicians who appeared on both albums. Since their last album, Daveed Diggs-the group's Tony and Grammy Award-winning rapper-has starred in the TNT science fiction series, Snowpiercer, voiced a character in Pixar's Soul, and portrayed Frederick Douglass in Showtime's The Good Lord Bird. Writer Rivers Solomon's novella based on Clipping's Hugo-nominated song "The Deep" has been nominated for the Nebula, Hugo, and Locus Awards, and won the Lambda Literary Award for best LGBTQ SF/Fantasy/Horror novel. Clipping's song "Chapter 319"-a tribute to George Floyd (AKA Big Floyd) the former DJ-Screw affiliated rapper who was murdered by police officers in May of 2020-was released on Bandcamp on June 19th and raised over $20,000 for racial justice charities. A clip of the song also became a popular meme on TikTok, generating over 50,000 videos in which teenagers rapped the song's lyrics ("Donald Trump is a white supremacist, full stop_") directly into the frowning faces of their conservative parents. The band also contributed a Skinny Puppy-esque rework of J-Kwon's "Tipsy" to Save Stereogum: An '00s Covers Comp.

“Soul is My Salvation is a collection of dance friendly gospel songs. The mission is to simply uplift your spirit through music and word. Dance floor’s around the world mirror the reactions of Churches from the 70’s and 80’s when experiencing these recordings.” - Tone B. Nimble.

Released as a series of eight limited vinyl-only 45, when assembled together the covers reveal a beautiful design courtesy of designer Charlotte McCrae. A true collectors item.

Chapter 7 sees two prized cuts bursting with that unbridled gospel energy, Spiritual Souls 1982 number - ‘We Came To Show You The Way’ and Heaven’s Sound’s 1984 gem – ‘Fire’.

Played by: Tone B. Nimble, Greg Belson, Skymark, Darryn Jones, Sadar Bahar.

Five years after his critically acclaimed debut album Throwback, Glenn Astro returns with his deeply personal album Homespun.

Marking a change in course from his first release on Tartelet Records, Glenn Astro is set to showcase his sophomore album Homespun, a testament to a visionary artist who has come into his own. Made up of ten tracks spanning 45 minutes, the record twists and turns between electronic meditations, soulful vocals by Ajnascnet, and futuristic electro, carving out a world of spacey eclecticism that is as nostalgic as it is experimental.

“This album is in all facets different from the first one, which was a deliberate decision. No vintage sounds and references, no sampling, combined with futuristic sound design and song structures.I tried to keep it as current and intuitive as possible,” he says.

Known for his chunky beats and fuzzy textures, Glenn Astro has released on labels such as Ninja Tune and Apollo, leaving a distinctive signature on everything he touches.

But Glenn Astro has quietly been crafting a new sound for himself. Sometimes taking detours – morphing into his dark alter ego and experimenting with artist collaborations.

The sound of Homespun is a culmination of several years of reflection and artistic development – however, the album itself was produced in less than three months. “I set myself an ultimatum to finish the album within three months. If I didn’t make it, I’d
have to rethink my career path and keep music as a hobby, he says.

On the introspective first single and album title track “Homespun,” Ajnascent’s vocals lend a sincerity to the melancholic production. “It’s about the regret of not taking chances and giving in too much, but also about taking responsibility and being honest with yourself. Homespun is a nod to nostalgia and a desire for simplicity and prudence, being equally the culprit and the cure,” elaborates Ajnascent.

On “The Yancey,” an homage to J Dilla, Glenn Astro paints his vision of contemporary dance music with shimmering melodies, deep ambient soundscapes, and advanced drum programming. “Moreira” and “Look at You” feel like spaced-out electronic funk hybrids, while “Taking Care of Business” goes back to the future with Glenn Astro’s take on jungle. Other tracks such as “Mezzanine,” “Slow Poke Flange,” and “Viktor’s Meditation” provide the finest dubby electronics.

Green Vinyl

'2016 - My Generation”?: a momentous comeback for Mirwais, two decades on from his classic “Production” album.
It all started in 2016 with an idea Mirwais had for a music video to promote his upcoming single ?“2016 - My Generation”?.
The idea led Mirwais and co-founder of graphic design studio H5/creator of the Oscar-winning ?“Logorama”? animated short
Ludovic Houplain? ?to work together on a fascinating ten-minute short entitled “?My Generation?”.
Since its 2017 release, the film “?My Generation?”, produced and scored almost liturgically by Mirwais, made the rounds of
festivals, winning several prizes worldwide.
It presents itself as a backwards travelling shot during which all of our pop culture moment’s gimmicks collide at 100 km/h:
sex, the net, art, politics, sports, stocks, big pharma and big porno – from Hitler’s speeches to Trump’s contemporary
analogues.
Flash forward to 2020, and it is this very six-minute ?pop-litical ?critique of our era’s societal excesses that Mirwais chose
as the music video for his new single ?“2016 - My Generation”?, set to be released during the coming fall’s American
presidential election.
A sonic deflagration that heralds a new album from one of Madonna’s most iconic collaborators, succeeding, two decades
later, the now-classic ?“Production”?. A punchy, percussive single poised between hard techno and electronic disco,
sprinkled with choirs and distorted, psychedelic synths ?“2016 - My Generation”? is a dance floor-ready opus bearing
Mirwais’ inimitable signature. This way of mixing genres, of conjugating past and future, and of making pop experimental
and vice-versa, cements Mirwais’ reputation as one of times’ most singular composers.

RICO PUESTEL debuts on his TIME IN THE SPECIAL PRACTICE OF RELATIVITY label with a mind-boggling journey of 41 minutes — split in two parts to fit on vinyl! HEPTAKAIDEKA is what it won't be and will be what it never was: Something from in-between worlds, a place beyond far beyond, where time dissolves into relativity...

Every modern electronic music presenter should be able to find joyful, elevated, convulsing or simply useful moments within the extent of this track that is designed to have its inherent connecting factors and starting points in place for every DJ set — letting it be just a few minutes, well-placed groove looping or bigger amounts of its entirety for diving into a long night, bringing it to an end or making it standing out in-between.

Starting off with a hazy half-grasp hint of what's to come, a mysteriously pervasive bionic loop emerges, slowly coalescing with a bone-dry groove on the rise. Taking up a first quadrant of the track, already gnawing into the long-term memory, it manages to gradually establish itself along the pathway while the "rhythmatics" endure some subtle layer-shifting with occult-like strings come sliding in from somewhere unknown like an admonitory subtext.

Being halfway through (and all the way in), everything smoothly crumbles down to its basic framework, still shaking off its own reminiscences while foregone vestiges almost perilously try to reassemble themselves. All of that leading to a clearly unforeseen yet fortunate drift into a 1980's-like synth peak time section after about 27 minutes being in that track, finally cherishing an evolving emotional felicity and the climax of its own being that tends to feel like an overarching salvation.

As everything being eventually finite, the track starts to bring to mind where it came from by assuredly falling back into a story told before with the well-established bionic loop that once used to run free, sounding somehow different and more tamed now. Ending with dignity, the consistently resurfaced admonitory strings lead the way to its conclusion and possibly new beginnings, solely leaving behind the heartbeat-like booming that carried it all, now fading away...

Coming into existence during a series of multiple productions of exuberant proportions with Rico making the studio his citadel-like stronghold, this is an extensive story of desires, instincts, pride, fall, mirth, solicitude, tension, détente and basically life itself while subtly yet versatilely entertaining on a dodgy yet accessible level throughout the wingspread of Techno, House, Minimal, Dub, Electronica and Ambient influences.

The CD version not only brings you the title track in the guise of its non-split completeness but eminently churns out the extra drumming dub treat DEKAEPTA for a pleasurable groove-delight as well as the trippy bonus beauty VOSEM' that transits as a precious component of infinity.

German techno and house composer Tim Engelhardt takes you on a deep dive into his peculiar-yet-relatable world of musical meanderings with ‘Idiosynkrasia’. True to the nature of idiosyncrasy, the album is more than the sum of its parts.

‘Idiosynkrasia’ is an ode to the inspiration Tim finds in all kinds of spaces and places: each cut woven from the same cloth of meticulously formed melodic structures and expertly crafted harmonies, gently amplified and unfettered by genre. From the opening track it’s clear that Tim has a profound awareness of rhythm and sound, his background as a pianist lending an easy fluidity to the album as it expands and contracts to tell a story which is gentle, humble and reflective.

Using granular processed recordings of piano, floating strings and other instruments to transmute emotions like love, nostalgia, vulnerability and longing, the album shifts through meditative, flow-state inducing tracks, morphing into cuts designed for dancing it all out.

Take it straight, mix it up or down: ‘Idiosynkrasia’ is cinematic in form and orchestral in structure, each track is marked with Tim’s unique sonic signature and careful attention to instrumentation.

Inhale the spirited and lively flow; exhale and surrender into epiphanic moments: this is an album which will catalyse deep breaths, reflection and a different way of thinking.

We present to you our twelfth release on 7” format, a collaboration between Ojah, Chazbo & Yuuri Bamboo.

The A side contains the track “Resilience”, a melodica version over a 90’s inspired steppers riddim. The first verse is played by UK Dub legend Chazbo, while the second verse is played by Japanese melodica player Yuuri Bamboo, bringing to the table two unique and different yet complementary melodica styles.
On the B side we find a hypnotic and adventurous stripped-down dub version, reminiscent of those early morning dubs at a Shaka session, mixed live in analog by Ojah at his studio.

Limited edition of 350 copies, hand-stamped and hand-numbered, served in a thick custom reversed kraftliner sleeve.
Produced by Ojah, recorded at Alchemy Dubs Studio, London.
Melodica by Chazbo & Yuuri Bamboo, recorded at Roots Temple Studio, Japan.
Mixed & mastered by Oscar Pablos “Ojah" at Alchemy Dubs Studio, London, 2020.
Graphic design by Victor Castro.

all rights reserved

Counterchange presents 'Eigenlicht' by Portuguese-German multi-instrumentalist, producer and award-winning film composer John Gürtler.

Gently teetering between krautrock-influenced synth mantras and saxophone improvisations, down-tempo electronica, sound design experiments and moments of rich ambience, 'Eigenlicht' is a diverse album of electro-acoustic music. The 11 tracks were recorded between two studios and on location at Berlin's infamous Teufelsberg, the abandoned Cold War era US spy-radio and radar outpost named 'Field Station Berlin', surrounded by forest to the west of the city.

A document of Gürtler's development, many of the pieces here were first laid down in his bunker-like former basement studios at Drontheimer Straße in north Berlin, before he eventually elevated above ground - both physically and musically - building his current Paradox Paradise studio and becoming an established film music composer. In 2019 John won the European Film Academy Award for Best Score, for his soundtrack for Nora Fingscheidt's debut feature 'Systemsprenger' (System Crasher).

In recent years John collaborated on a number of projects with acclaimed German producer and composer Phillip Sollmann aka Efdemin, performing live and releasing the 'Gegen Die Zeit' EP on Sky Walking, a subsidiary of Dial records where he also remixed Efdemin's 'Parallaxis' under the moniker The Borderland State.

In part an ode to the Macbeth Systems M5 modular synthesizer, with its three oscillators, much of the album features the towering instrument, whose uniquely rich tone and rumbling, pure bass end characterises tracks like 'Eigenlicht', 'M5', 'Synthetics' and 'Five Voice'.

"The M5's built in spring reverb and huge sliders and faders - as opposed to all the tiny knobs on Eurorack synths - make it as playable as any acoustic instrument."

John's primary background is in acoustic music, coming from woodwind and keyboard instruments, improvisation and composition. The leap into working with computers and electronic instruments found him exploring ways to make synths and samplers sound as organic as possible.

Roman Flügel presents: Sister Midnight!
What started as a party series that saw Roman inviting friends and favorites is turning into a full-fledged label adventure now. Shaped to be the vehicle for old and new Roman Flügel music alike, unreleased surprises and previously released sure shots from the archives, it’s the first time after his involvement in the seminal Playhouse and Klang label universe, that he tends to such an enterprise himself - with the help and support of Running Back records.
Now, the journey of Roman Flügel’s own Sister Midnight label starts with the valuable Tracks On Delivery series. Originally released on the third jewel in the Playhouse crown (Ongaku Musik) from 2000 to 2002, it’s a meditation on and contemplation of techno. Remastered, recut and repackaged as a triple vinyl edition with the addition of two previously unreleased „Patterns“. Pristine sound design, hypnotic wizardry and dry then architecture let all of them appear as if they haven’t aged a day.
Or as Roman says himself:
“I’ve always tried to push myself into new territories since I started music production. Those new territories can surely be achieved by the endless possibilities of inspiration, chaos and will power. At the time of the production of my Pattern series as under the name Tracks On Delivery I was highly inspired by some of Andrew Weatherall’s Techno sets while visiting London for some of his Blood Sugar Parties. Tracks On Delivery is unthinkable without the crude ‚germanic‘ mixture of Detroit labels like Jay Denham’s Black Nation and Weatherall’s own UK Techno imprints like Emissions Output. The Pattern Series, back then created for the Frankfurt based Ongaku Musik label, and now I am very happy to be able to release 15 original Patterns along two unreleased Patterns on my own Sister Midnight label.“

House and techno mainstay Loco Dice is stepping out with En Couleur, a brand new label reserved exclusively for his own music.

The first offering opens with 'Don't Run,' a twisted piece of afterparty techno. Weird fx and alien sound designs squirm in and out of a firmly rooted, rolling groove and pressurised hi hats add to the tension as the kicks grow ever more powerful. 'Nasty Train' explores high quality stripped back house grooves that ooze a certain sense of funk. The timeless hi hats are straight from Chicago while the crisp boom-bap drums, frazzled pads and muffled voices all add details that keep you locked until things grow more wild and unhinged at the mid point. Last of all, 'Ya Free Just Move' is a manic and pulsating acid workout that will leave the club in a frenzy.

LTM presents a limited double vinyl gatefold edition (500 copies only) of B9, the definitive collection of cold wave and minimal electronica from Belgium, recorded between 1979 and 1983.
Originally released on Sandwich Records in May 1981, B9 featured 10 exclusive tracks by luminaries such as Digital Dance, Polyphonic Size, Kid Montana, Pseudo Code and Prothese, the latter the first recording project by Daniel Bressanutti of Front 242. Now digitally remastered, with 10 additional tracks on the second disc, this new deluxe vinyl edition also features Front 242, The Names, Marine, Siglo XX, The Neon Judgement, Berntholer, Allez Allez, Isolation Ward and more.
Cover op-art by Victor Vasarely. Design by Benoît Hennebert, based on a poster for The First Belgian Rhythm Box Contest (1981). Liner notes by James Nice. The existing CD version of B9 is also still available (LTMCD 2486) 

Repress!

Written and produced by Peder Mannerfelt.
Mastered by Helmut @ D&M.
Artwork and design by Sean Bell.