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returning, dream’ is the second album from Paradise Cinema – the‘Fourth World’ inspired project led by multi-instrumentalist Jack Wyllie (Portico Quartet/Szun Waves). While Wyllie’s other projects move between tightknit electronica, widescreen minimalism and improvised ambient sounds, ‘returning, dream’ contains nods to Jon Hassell, Terry Riley, Don Cherry and Midori Takada as well as more contemporary electronic, ambient and non-western music and even draws inspiration from physics and science fiction.

The first, eponymous, Paradise Cinema record, released in 2020, was recorded in Dakar (Wyllie lived in Senegal for a while in the late 2010s) and featured the dense rhythms of Mbalax music combining with Wyllie’s textural saxophone and synth playing, but here he takes a step into the unknown:

The music is no longer built primarily around the rumbling
propulsiveness of Mbalax, but takes its inspiration from the Many-Worlds Interpretation of quantum mechanics, which suggests that there are many different worlds that branch off from our own. Wyllie explains: “It is an imagining of what music could be like in a different time and space, ancient and futuristic from everywhere and nowhere at once. I was listening to a lot of physics podcasts when I created this record. I loved the many-worlds interpretation of quantum mechanics; about the multiple paths we are taking each time a quantum decision is taken. The different worlds then splitting off like branches on a tree. I could imagine different histories and worlds and multiple versions of myself, others and even other societies existing. In this album I’ve dug into these ideas andattempted to make music that would come from those different spaces, trying to poke my finger through to the other selves and stories. Effectively a form of composed science fiction, the music is an idea of what might be occurring or have occurred on a branch of the tree in a different world. But I like to think the tracks might actually have been composed somewhere or sometime.”

Created in London by Jack Wyllie with additional recordings from Dakar and Sydney, ‘returning, dream’ blends sounds that do not typically live together. It features Khadim Mbaye (sabar drums) and Tons Sambe (tama drums) who provide the dense Sengalese rhythms, plus Szun Waves colleague Laurence Pike, also on drums.

Since first splashing on to the Southern California circuit in the mid-aughts, Geneva Jacuzzi (née Garvin) quickly cemented herself as the queen of the Los Angeles underground. Her immersive and unhinged multimedia performances are the stuff of legend, a psychotropic gallery of masks, costumes, confrontation, and massive art installations. Jacuzzi’s recordings are equally revered, catchy hooks and cryptic moods dusted in 4-track grit. The arrival of her third official full-length, and Dais Records debut, is cause for such celebration. Triple Fire vividly expands and crystallizes Jacuzzi’s signature fusion of midnight melody and mutant aerobics across a 12-track hit parade of wildcard synth-pop and sly post-apocalyptic camp. Her enthusiasm for the album is as bold as her body of work: “Halfway through, we started calling this the record of the prophecy, the record that’s going to save mankind.”



Opener “Laps of Luxury” sets the template – a strobe-lit dreamer’s delight of swaggering synth bass, Haçienda drum machinery, and sultry vocal spellcasting (“Tragic mysteries I’ve known for centuries / I burned all memories and turned to fantasy”). The collection burns through shades of sardonic strut (“Art Is Dangerous,” “Nu2U,” “Keep It Secret”), coldwave kiss off (“Speed Of Light,” co-produced by Andrew Clinco of Drab Majesty), retro-futurist body music (“Dry,” “Scene Ballerina,” “Bow Tie Eater”), and cheeky glitterball pop (“Take It Or Leave It,” “Heart Full Of Poison” co-produced by Roderick Edens and Andrew Briggs). She likens the eclectic spectrum of moods to the continuum of human emotions: “Funny, sexy, sad, scary, witty, hopeful, menacing. Eventually it deconstructs, turns into a party, and then ends sweet and soft.”



Taken as a whole, Triple Fire comes as close as any document yet to capturing Jacuzzi’s kaleidoscopic alchemy of pop sugar and chaos energy, flickering between icy and ironic, chic and surreal, hungry and heartsick. Hers is a muse as rare as it is regenerative, forever reborn at the precipice of the next chorus: “Someone said that Alcatraz had fallen into the sea / Almost sounded like an angel calling me in a dream / I felt an electric shock when I picked up the microphone.”

Das international gefeierte 12 Ensemble veröffentlicht mit "Metamorphosis" sein drittes Studioalbum, aufgenommen in den legendären Abbey Road Studios. Von der göttlichen Natur der Transformation bis zu außerirdischen Visionen neuer Welten und Wiedergeburt erforscht das dirigentenlose 12 Ensemble Renaissance-Hymnen, die als futuristisches Gebet, altjapanisches Ritual, überirdische Opernarie und monumentale Elegie wiedergeboren werden, in denen das Ensemble seine bislang stärkste Leistung zeigt. Mit einem Vorwort des Autors Charlie Fox, Linernotes von Hugh Morris und Fotos von Greta Ilieva.

Lukas de Clerck brings us the ancient greek instrument, the aulos, of which his new interpretation of long form expression is coaxed forth on this tremendous recording. Lukas de Clerck explores a niche of archaeological research in music; the aulos is a historical Greek instrument that Lukas analyzed and reinterpreted by a luthier in modern times_navigating this impression as an artwork or living sculptural object, as there is an absence of historical partitions or written information about how to recreate technique on the instrument. Lukas de Clerck has interpreted information from the rare archaeological resources and visual art of the classical Greek period to recreate both playing technique and possible sound timbres with the instrument. With his contemporary approach to drone, post-minimalist music, and contemporary folk, we find a deeply satisfying and compelling, even playful set of songs, timbral exercises and compositions. An important document of new music meets contemporary archaemusicological research via Stephen O'Malley of SUNN O)))'s label Ideologic Organ. _ The telescopic aulos is speculative: might it have existed? It takes on features from the historical aulos, a double-reed instrument of which we know how it looked but little about what music was played on it or how it would have really sounded. It's an instrument without the limitations of canon or manual, providing creative freedom and awakening curiosity. The new instrument featured on this album is ancient and futuristic at once. The aulos has no tone holes; instead, each of the two tubes consists of three parts that can slide into each other. In this sense, the metal pipes bear a certain resemblance to the principle of a trombone. However, since both hands are already in use to hold both tubes, the sliding has to be done by way of gravity and the help of a «phorbeia», a leather mask which helps keep the reeds in place. The aulos's material is metal (instead of wood), which gives it a certain electronic allure and intensity, as well as a variety of sonic possibilities and textures. It produces overtones efficiently and allows them to play with their microtonality. The aulos Lukas plays on this recording was developed at Brasserie Atlas, a temporary occupation of a former brewery in the heart of Brussels where Lukas lives. It is quite a poetic coincidence that the birthplace of the instrument is named after the Greek titan condemned to carry the sky, while this instrument needs to be turned skywards to lower its pitch with the help of gravity. At Brasserie Atlas, Lukas has found collaborators who have shared in the process of building this new instrument: the collective Noir Métal has constructed the tubes, in this way becoming instrument builders; the phorbeia has been manufactured by Jot Fau; a former water reservoir in the vast cellar of the building carried the instruments' resonance for its first sounds. The place has left an imprint on this new instrument. With all of the telescopic aulos' layers, its sonic, musical and extra-musical components are still unfolding their potential as a medium for discovery and research, next to being an instrument of great musical potential. The music on The Telescopic Aulos of Atlas reflects this spirit. In several miniature pieces, it presents an encyclopaedia of musical possibilities that the instrument offers while keeping an intense and corporeal sonic specificity. The short pieces are studies that reflect on the sonic possibilities of this instrument that are yet to be explored. It meanders, searches and interacts with itself and the space. It needs to answer common expectations of old instruments being harmonious or pleasing. It transports a kind of experimental archaeology that, by formulating hypotheses in the present, allows us to reflect on what might have been in the past and simultaneously questions concepts of beauty, harmony or virtuosity. However, in the end, this instrument might have never existed before. -Julia Eckhardt

Dark Entries and Honey Soundsystem Records have teamed up once more to release the final volume of gay porn soundtracks by San Francisco-based musician and producer, Patrick Cowley. One of the most revolutionary and influential figures in the canon of disco, Cowley created his own brand of Hi-NRG dance music, The San Francisco Sound.' Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco in 1971 to study at the City College of San Francisco. He founded the Electronic Music Lab at the school, where he would make experimental soundtracks by blending various types of music and adapting them to the synthesizer.

By the mid-70's, Patrick's synthesis techniques landed him a job composing and producing songs for disco superstar Sylvester, including hits like You Make Me Feel (Mighty Real)', Dance Disco Heat' and Stars.' This helped Patrick obtain more work as a remixer and producer. His 18-minute long remix of Donna Summer's I Feel Love' and his production work with edgy New Wave band Indoor Life were both of particular note. By 1981, Patrick had released a string of dance 12 singles, like Menergy' and Megatron Man'. He also had founded Megatone Records, the label upon which he released his debut album, Menergy'. Around this time Patrick was hospitalized and diagnosed with an unknown illness: that which would later be called AIDS. Throughout 1982, he recorded two more Hi-NRG hits, Do You Wanna Funk' for Sylvester, and Right On Target' for Paul Parker, as well as a second solo album Mind Warp'. On November 12, 1982, he passed away.

In 1979 Patrick was contacted by John Coletti, owner of famed gay porn company Fox Studio in Los Angeles. Patrick jumped on this offer and sent reels of his college compositions from the 70s to John in LA. Coletti then used a variable speed oscillator to adjust the pitch and speed of Patrick's songs in-sync with the film scenes. The result was the VHS collections Muscle Up' and School Daze' released in 1979 and 1980. Afternooners' is the third collection of Cowley's instrumental songs, recorded in May 1982. These recordings were culled from two 23-minute reels in the Fox Studio vaults. All songs were originally untitled, so we've used the titles from Fox Studio's 8mm film loops. This compilation also includes three bonus tracks found in the archives of fellow Megatone Records recording artist Paul Parker and the attic of teenage friend Lily Bartels. Influenced by Tomita, Wendy Carlos, and Giorgio Moroder, Patrick crafted a singular sound from his collection of synthesizers, percussion, modified guitars, and hand-built equipment. The listener enters a world of forbidden vices, evocative of Patrick's time spent in the bathhouses of San Francisco. The songs on Afternooners' reflect the advances of the equipment available at the onset of the 1980s. Cowley's unadulterated electronic forms are stripped down and dubbed up. Lush electronic percussion, soaring synthesizer riffs and low slung funk grooves comingle on these magnificent soundscapes.

Featuring 70 minutes of music never before released on vinyl. All songs have been remastered by George Horn at Fantasy Studios in Berkeley, CA. The vinyl is housed in a gatefold jacket designed by Berlin-based artist Gwenael Rattke, featuring black and white photos of Patrick in his studio that opens to a full color array of x-rated scenes from the Fox Studio vaults. Included is a fold-out poster featuring a handmade collage using photography and xeroxed graphics of classic gay porn imagery and an essay from Drew Daniel of Matmos. For Patrick's 67th birthday, Dark Entries and Honey Soundsystem Records present a glimpse into the futuristic world of a young genius. These recordings shed a new light on the experimental side of a disco legend who was taken too soon.

Konerytmi's upcoming release is a captivating blend of retro charm and futuristic allure. Each track resonates with the spirit of the 80s, where the pulsating rhythms of old-school drum machines intertwine with the evocative tones of vintage synthesizers.

Drawing inspiration from the hooks and melodies that defined a generation, Konerytmi skillfully weaves a tapestry of sound that is both timeless and contemporary. These tracks are not just made for dancefloors, they are crafted to evoke emotions and stir memories, inviting listeners into a realm where past and present converge seamlessly.

Gregory T.S. Walker’s Minstrels & Minimoogs was self-published by a young, nomadic composer and virtuoso in 1988 to accompany an immersive multimedia performance at the University of Colorado Boulder’s Fiske Planetarium. Created with this outer, and other, world setting in mind, the four tracks find Walker stretching toward an ancient-to-future vision where Egyptian myths and Hieronymus Bosch-ian tableaus are rendered in a screaming three dimensional circuitry of electronic drums, synth guitars, and, of course, Minimoog. Given the musical terrains and outmoded topics traversed, and that this entirely DIY effort was originally released as a micro one-sided 12” edition, Minstrels & Minimoogs is as perplexing and euphoric a document lost-to-time as it is now found.

Born in 1961 into an intensely musical family spanning four generations, Gregory’s mother Helen Walker-Hill was a noted musicologist specializing in the rediscovery and work of historical Black female composers, while his father, George Walker, was the first African American composer to win the Pulitzer Prize for music. Both parents studied with the famed (and famously strict) Nadia Boulanger in Paris in the 1950s, and held to lofty aesthetic standards in their home life. Walker began studying the violin as a child, but when a burgeoning interest in the electric guitar and rock music as a teen manifested, it was largely verboten in the household. The rule was that the music played in the home was to be acoustic and classical. Although the elder Walkers eventually relented and allowed Gregory’s guitar to be plugged in for a brief interval on the weekends, the remaining days he settled for strumming it sans amplification.

Gregory, conditioned and eager for a life in music but looking to get out from under the influence and yoke of his famous composer father, ultimately chose to study computer music at the University of California at San Diego, where he earned a Master of Arts. This was followed by another MA in electronic music composition at that hotbed of West Coast experimental music, Mills College. Intermedia and multimedia in the arts was the rage in the 1980s, and Mills was one of the centers for it; audacious spectacle meeting visionary performance, such as one of the realizations for Anthony Braxton’s music for multiple orchestras a young Gregory performed in with his violin.

After a series of solo synthesizer concerts around California, Gregory followed a girlfriend on a mid-country move to Boulder, Colorado. After picking up yet another composition degree at University of Colorado Boulder, his life as a composer really started, writing a piece for extended technique for guitar, a passacaglia for vocoder and orchestra, as well as Minstrels & Minimoogs.

Envisioned as a multimedia performance such as the kind he’d experienced at Mills (which was all but unknown in Boulder at the time), Gregory roped in a number of college going or aged friends of varying skill levels and musical sympathies to accompany him with distorted sax or oblique spoken interludes. Confronted with a lack of finances, but driven to get his ideas captured in a complete musical package, the album was recorded in his brother’s apartment. If not every player assembled was on Gregory’s virtuosic level, so be it; it was more about capturing the spirit of his intentions and embracing the serendipity of mistakes.

An inspired attempt at world building, Minstrels & Minimoogs draws on the deep well of musical knowledge Gregory gathered from his parents and teachers, but all the while subverting that historical basis by incorporating mutant strains of prog and pop music. The work accumulated is not unlike the playful 1980s work of Gregorio Paniagua, where medieval estampies and rondeaus are wrenched into an anachronistic present where Hildegard Von Bingen and Kate Bush are contemporaries. Ars nova, new art, a 20th century minimalist jester and troubadour.

A one sided LP was the cheapest option Gregory found to have Minstrels & Minimoogs memorialized on vinyl, so somewhere between 50 to 100 copies were pressed. There was no distribution, outside of copies that were handed out to friends or sold at the performances at the planetarium. Gregory T.S. Walker’s cosmic-futuristic forays into oblique pop and baroque subversion could forever reside perfectly in both the domed simulacrum of our universe for which it was composed, in the formats it is being reintoduced now, and our own biblical firmament. For in the words of Gregory, straight from the original liner notes: “God Is A Minimoog”

Gregory T.S. Walker’s Minstrels & Minimoogs arrives again August 23, 2024 on vinyl and digitally as part of uncommon¢ (“uncommon sense”), an open-ended, serialized endeavor from Freedom to Spend that provides new meaning for rarefied recordings from music's outermost fringe.

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

Since first splashing on to the Southern California circuit in the mid-aughts, Geneva Jacuzzi (née Garvin) quickly cemented herself as the queen of the Los Angeles underground. Her immersive and unhinged multimedia performances are the stuff of legend, a psychotropic gallery of masks, costumes, confrontation, and massive art installations. Jacuzzi’s recordings are equally revered, catchy hooks and cryptic moods dusted in 4-track grit. The arrival of her third official full-length, and Dais Records debut, is cause for such celebration. Triple Fire vividly expands and crystallizes Jacuzzi’s signature fusion of midnight melody and mutant aerobics across a 12-track hit parade of wildcard synth-pop and sly post-apocalyptic camp. Her enthusiasm for the album is as bold as her body of work: “Halfway through, we started calling this the record of the prophecy, the record that’s going to save mankind.”



Opener “Laps of Luxury” sets the template – a strobe-lit dreamer’s delight of swaggering synth bass, Haçienda drum machinery, and sultry vocal spellcasting (“Tragic mysteries I’ve known for centuries / I burned all memories and turned to fantasy”). The collection burns through shades of sardonic strut (“Art Is Dangerous,” “Nu2U,” “Keep It Secret”), coldwave kiss off (“Speed Of Light,” co-produced by Andrew Clinco of Drab Majesty), retro-futurist body music (“Dry,” “Scene Ballerina,” “Bow Tie Eater”), and cheeky glitterball pop (“Take It Or Leave It,” “Heart Full Of Poison” co-produced by Roderick Edens and Andrew Briggs). She likens the eclectic spectrum of moods to the continuum of human emotions: “Funny, sexy, sad, scary, witty, hopeful, menacing. Eventually it deconstructs, turns into a party, and then ends sweet and soft.”



Taken as a whole, Triple Fire comes as close as any document yet to capturing Jacuzzi’s kaleidoscopic alchemy of pop sugar and chaos energy, flickering between icy and ironic, chic and surreal, hungry and heartsick. Hers is a muse as rare as it is regenerative, forever reborn at the precipice of the next chorus: “Someone said that Alcatraz had fallen into the sea / Almost sounded like an angel calling me in a dream / I felt an electric shock when I picked up the microphone.”

Originally part of an exhibition curated by Elysia Borowy last September, Scott Grooves' contribution to After The Dance transcends the dancefloor, exploring experimental expressionism in visual arts and electronic music. Critiquing capitalist culture and drawing from afrofuturism, his work prompts reflection on consumerism and futuristic themes. The CD release features deep ambient pieces that caccaompnied six thought-provoking installations: Sweet Dreams Anakin, Foot Work, Vinyl, For All-Dee People, Yellow Sun Bricks, and Found Sound. It shows another side to the deep house don's work and is just as essential.

-Daniel Zelonky (aka Low Res) has been producing records since 1978. Notable credits span from The Misfits to his own iconic club track "Amuck".
-His 2022 orchestral funk celebration of "Marvin Gaye's Trouble Man" has earned critical acclaim. This record, featuring many outstanding musicians, breaks the mold of history-conscious record making, eschewing the slavish copying of past styles which has become so common, and exemplifying the label’s stated mission of “Reimagining a futuristic past” where “weird vistas of fresh possibilities unfold before us...”
Suite Crude Revue is a rotating cast of outstanding performers committed to an unshackled aesthetic. Produced, composed, and arranged by Daniel Zelonky, this single presents songs for imagined films.
“Cowpoke Detox” might be termed “spaghetti jazz”. It’s a strange hybrid of spaghetti western style baritone guitar lines supporting jazz noir harmonies, creating a surreal backdrop for the tale of an unrepentant murderer, who feels regret only in terms of the consequences he’s facing.
“Blue Ramen #1” is a lover’s lament, set to what might be termed a “Hollywood samba”: One imagines Los Angeles session players emulating samba for a commercial film, not an authentic Brazilian band. The lush aural environment culminates in a dreamy closing vamp with the impassioned vocal set amid a swirl of improvised trumpet, violin, and piano. This haunting, yet ironic song may well have found its way into the popular consciousness ... if the movie had actually existed!

2024 Repress

Finders Keepers invite you to witness the incredible first ever Buchla synthesiser concerts/demonstrations providing a distinctive feminine alternative to The Silver Apples Of The Moon if they had ever been presented in phonographic form. This is history in the remaking.

This spring Finders Keepers Records are proud to release an archival project that not only redefines musical history but boasts genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we've come to understand it. To describe this records as a game-changer is an understatement. This record represents a musical revolution, a scientific benchmark and a trophy in the cabinet of counter culture creativity. This record is a triumphant yardstick in the synthesiser space race and the untold story of the first woman on the proverbial moon. While pondering the early accolades of this record it's daunting to learn that this record was in fact not a record at all... It was a manifesto and a gateway to a new world, that somehow never quite opened. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation/grant application/educational demonstration had been placed in a phonographic context alongside the promoted work of Morton Subotnick, Walter Carlos or Tomita then the name Suzanne Ciani and her influence would have already radically changed the shape, sound and gender of our record collections. Hopefully there is still chance.

In short, Suzanne was a self-imposed twenty-year-old employee of the Buchla modular synthesiser company, San Francisco's neck and neck contender to New York's Moog. Buchla was run by a community of festival freaks and academic acid eaters whose roots in new age lifestyles and the reinvention of art and music replaced the business acumen enjoyed by its likeminded East Coasters. In the eyes of the consumer the creative refusal to adopt rudimentary facets like a piano keyboard controller rendered the Buchla synthesiser the more obscure stubborn sister of the synth marathon, steering these incredible units away from the mainstream into the homes and studios of free music aficionados, art house composers and die-hard revolutionaries. Championed and semi-showcased by composer Morton Subotnick on his albums The Bull and Silver Apples Of The Moon, Buchla's versatility began to open the minds of a new generation, but the high-end design features and no-compromise modus operandi was often confused with incompatibility and, in the pulsating shadow of Moog's marketing, the revolution would not be televised nor patronised. Suzanne Ciani, as one of the very few female composers on the frontline (and also providing the back line) did not lose faith.

These concerts' are the epitome of rare music technology historic documents, performed by a real musician whose skills and academic education in classical composition already outweighed her male synthesiser contemporaries of twice her age. At the very start of her fragile career these recordings are nothing short of sacrificial ode to her mentor and machine, sonic pickets of the revolution and love letters to an absolutely genuine vision of and 'alternative' musical future. In denouncing her own precocious polymathmatic past in a bid to persuade the world to sing from a new hymn sheet, Suzanne Ciani created a bi-product of never before heard music that would render the pigeon holes ambient' and futuristic' utterly inadequate. Providing nothing short of an entirely different feminine take on the experimental records' of Morton Subotnick and proving to a small, judgmental audience and jury the true versatility of one of the most radical and idiosyncratic musical instruments of the 20th century. These recordings have not been heard since then.

The importance of these genuinely lost pieces of electronic musics puzzle almost eclipses the glaring detail of Suzanne's gender as a distinct minority in an almost exclusively male dominated, faceless, coldly scientific landscape. Those familiar with Suzanne's work, a vast vault of previously unpublished non-records', will already know how the creative politics in her art of being' simultaneously reshaped the worlds of synth design, advertising and film composition before anyone had even dropped a stylus in her groove. Needless to say this record, finally commanding the archival format of choice, courtesy of the Ciani and Finders Keepers longstanding unison, was not the last first' with which this hugely important composer would gift society, and the future of a wide range of exciting evolving creative disciplines.

You have found a holy grail of electronic music and a female musical pioneer who was too proactive to take the trophies. With the light of Buchla and Ciani's initial flame Finders Keepers continues to take a torch through the vaults of this lesser-celebrated music legacy shining a beam on these non-records' that evaded the limelight for almost half a century. You can't write history when you are too busy making it. With fresh ink in the bottomless well, let's start at the beginning. Again. You, are invited!

Comes with insert and download coupon.

Imagine a Latin remake of Back to the Future. The mad scientist is Arsenio Rodriguez (the godfather of salsa) and the young student who travels through time with him is Eblis Alvarez (Meridian Brothers). This album can only be described as the perfect soundtrack for that movie that never was.

After the massive buzz generated by his first solo album, Mentallogenic, Alex Figueira got back in the studio to work in a more collective fashion this time, carefully assembling the second album of his largest project to date, Conjunto Papa Upa; a team of 6 musicians, spanning 3 generations of some of the best talent in the Latin and avant-garde scenes.

In an era where tropical music is dominated by purely electronic and rhythmically uniform sounds, the ten songs encompassed in “Fruta Madura” (“Ripe Fruit”) wander through the most diverse tempos, rhythms, and motifs effortlessly. A real breath of fresh air that gracefully incorporates soul, funk, jazz, psychedelia, and electronics into a solid tropical, irresistibly polyrhythmic foundation, without ever succumbing to the many genre clichés.

The distinctive production and catchy songwriting of Figueira shine in a very distinctive light on this second full-length. Living up to his reputation (Miles Cleret, founder of Soundway Records, called him “one of the scene's truly authentic and eccentric producers”), he takes the opportunity to show he’s not afraid to keep walking his own path.

Taking the band for a wild ride through the traditions of Africa, America, and the Caribbean; contrasting them with a ridiculously wide plethora of vintage, contemporary, and futuristic sounds, and pivoting on the exuberant musicality displayed by his musicians; the result leaves no doubt: this album is destined to be considered a future classic of the exciting tropical psychedelic music of the 21st century.

Addressing the most diverse themes in this new collection of songs, things take on a much more mature tone, as the title clearly suggests.

The opening track “El segundo es más sabroso” (“The second one is tastier”) sets the tone in the most assertive way imaginable, with the band boldly declaring, through multiple metaphorical references (laid upon a crazy mix of Dominican merengue, Detroit techno, classic and free jazz, dub, and electro), that the bar will be set higher with this second album.

The remaining compositions touch upon the most diverse subjects, with a fair dose of humor, sarcasm, and postmodern “magic realism”. “El Algoritmo” (The Algorithm) is a parranda-cumbia hybrid (for lack of a specific term) about the omnipresence of technology in our lives. The sophisticated Latin soul of the titling track “Fruta Madura” makes a case for the beauty of the maturity process. Some key philosophical teachings of Marcus Aurelius (the role of causality, the impositions of “the logos” and the importance of self-control) get a twisted cumbia treatment on “Reos del Deseo” (Prisoners of Desire). “No le pongas Coca-Cola” (“Don’t put Coca Cola in it”) shows us the most satirical side of the band, accusing those who mix Coca Cola with Rum of committing "sacrilege", on a powerful base of Dem Bow (the grandfather of Reggaeton), intertwined with touches of soul, salsa, and Cuban comparsa.

"Háblame Claro" (“Talk to me clearly”) is a story of heartbreak that evokes in its first part the spirit of the erotic salsa of the 80s (a subgenre deeply despised by purists), and after an unexpected samba interlude, leads to the hardest salsa of the 70s (a subgenre adored by purists), to end up in the surprising form of pure Afro-Cuban ceremonial music.

“Tu mamá tenía razón” ("Your Mom Was Right") is an attempt to exalt the spirit of the Latin American soap opera in the key of “acid bachata”, to recount a real-life case, witnessed by the band on countless occasions: the partying woman who arrives at the show accompanied by her bitter husband, who obviously does not like to dance. A very cheeky song to talk about the very serious and pertinent topic of female empowerment.

“La misma vaina” (“The same thing”) with its indescribable blend of bantú, candomblé, and Mozambique rhythms with abstract synthesizers, is an ode to adventure in favor of the aversion to taking risks and seeking predictability.

“Amigas picadas” (“Salty friends”) is another humorous song recounting another real-life case witnessed by the band on countless occasions: a love encounter sabotaged by the girlfriend's friends, who all happen to fancy the same guy. A jazzy take on the ancient Dominican rhythm of pambiche (grandfather of merengue), with generous psychedelic touches, resembling the classy late 60s releases of Guadeloupe's legendary producer / label owner Henri Debs.

“Vinimos a hablar” (“We came to talk”) takes sarcasm to the highest level, to ridicule the absurdity (also experienced by the band firsthand) seen in live music venues where people pay a ticket to go and have conversations that could be carried out much better on any bar, where no band is playing. The music alternates between a delicate melody with loose, sparse percussion and a full-on, pumping Angolan semba, with a techno kick drum included; bringing things to an apotheotic grooving finale, where the peculiar swing of Venezuelan calypso from the Callao region is thrown on top of all the precedent elements; closing the album in the most uplifting, “end of the carnival parade” feel.

The artwork is a delicate and impactful oil painting by Colombian artist Kevin Simón Mancera, who has collaborated many times with the label before (“Maracas, tambourines and other hellish things” tape and the Lola’s Dice LP).

What the experts are saying:

“Alex (Figueira) dove into this work with a brutal cohesion between lyrics and synths. Timbre poetry, sound poetry (you name it). And that, superimposed on his always impeccable percussive base, confirms the title of “avant-garde visionary of our beautiful Latin music”".
EBLIS ALVAREZ (MERIDIAN BROTHERS)
“Papa Upa's infectious quirkiness is a balm against boredom. A mature album, but without an expiration date”.
GLADYS PALMERA

“Here there is a lot of strength, drum, cadence and psychedelia, lost dance rhythms, united in an intercontinental Latin/African/and Caribbean journey, a unique winning combination that we could consider the new “Ritmo Figueira”.
DISCODELIC

Conjunto Papa Upa are: 



Alex Figueira - Timbales, percussion, vocals. 

Gerardo Rosales - Congas, percussion, vocals. 

Ramón Mendeville - Bongos, percussion, vocals. 

Randy Winterdal - Bass.

Andrew Moreno - Guitar.

Nico Chientarolli - Organ, piano, synths.



All songs written by Alex Figueira. 

Arranged and performed by Conjunto Papa Upa. 

Recorded, produced, mixed and mastered by Alex Figueira at Heat Too Hot, Amsterdam.


Ten bad boy digi riddims from the myspace era by Copenhagen’s Maffi crew, dubbed out into 3D space by disrupt in 2024. Raw, minimalist CyberDancehall at its best, nostalgic and oddly futuristic at the same time, this album is quickly becoming RoboCop’s favorite playlist when going to work.
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Maffi Promotions a.k.a. Maffi Boys come straight outta 1773 Kbh V, Copenhagen, Denmark. Originally founded in 1990 by the two homeboys, lazy body Moog and Junior the Rat, Maffi Promotions have been a steady producer of simple digital riddims for years. Hanging out in the streets of Hummel City Junior & Moog used to entertain their friends with the primitve riddims of the Maffi sound. Not knowing that they would do the exact same thing fifteen years later, they continued to believe that one day they would move up the ladder, break out of the underground and reach for the stars.

Now, after finally adopting a little sense of realism, the two homeboys have realised that stardom is nothing compared to spamming people on myspace. So the two stoners decided to get a couple of friends together and turn up the bass online. Together with their sound crew FIREHOUSE, Maffi deal nuff weed and gyals!

Maffi Boys are very dedicated to the art of playing Sensible World of Soccer, rolling weed joints with Manitou tobacco and keeping it real in a Vesterbro-style. So watch out! And don’t test! We’ll be putting up new riddims on a weekly basis. We have nuff things brewing – including a delicious chicken!
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Growing up in the streets of Hummel City, Vesterbro, MOOG learned the pleasures of sleeping late, playing Sensible World Of Soccer and picking up hot gyals at an early age. He has spent most of his life trying to master these crucial skills. Taking a break from the dog race, Moog is currently focused on reaching a higher understanding of reggae-science and weedology.

JUNIOR experienced the necessity of rolling well-made spliffs at an early age. Incorporating the aestethic heritage of Scandinavian design, he has spent most of his life perfectionizing this old and traditional art form. Junior is currently taking his ph.d. in digital reggae by buying crates of 80’s 7″ and selecting for his sound system Firehouse.

Fractal Void is an avant-garde duo based in Düsseldorf, Germany. Their experimental music blends electronic and contemporary genres located somewhere in the field of musical tension between ambient, drone, halfstep and floor-affine IDM. During their live sets, Fractal Void create vertical reflections by processing sounds through software and interaction with real instruments in every unique musical performance like the Chinese contemporary calligraphic practice Dishu.

Their debut album Elemental Collection unveils a dense and lavishly layered transformation of artificial organic signals, sculpting an auditory world filled with emotive landscapes, overgrown polyrhythms and futuristic elements. Embedded within each track are field recordings serving as the heartbeat of the album. Through innovative and expansive deconstruction, Fractal Void create an energetic and sometimes contemplative experience.

The persons behind Fractal Void:
Back in 2008, their musical journey began with winning a Spectrasonics competition using field recordings of a locker door, that was implemented as a bass synth. Their collaboration was continued as producers of the eight-piece electronic jazz project „Mothers of Guru“.

Marcus Scheltinga is a composer, producer and multi-instrumentalist. Besides studying jazz trombone at the Conservatorium Hilversum and the Folkwanghochschule, he works as a musical director, lecturer and coach in 39 countries around the world. From ZDF sound design to live and studio performances with international greats, his own productions have included such as Grammy winner Larry Carlton and Peter Erskine. Mid-east and Indian inspired, Marcus is a true story teller as a musician and composer.

BORGBORG is a producer and DJ. She moves freely in different styles of electronic music with a focus on avant-garde driving techno, dark hypnotic vibes seamlessly blended with deconstructed beats, noise and timeless elements of IDM. She is a member of About Repetition, a group of artists dedicated to the research of repetition through artistic means, collaborating with a wide range of other collectives across Europe and co-founder of the techno event series „SCHLEIFEN“. 

“An Electric Storm” is the most renowned work of UK collective White Noise, an English experimental electronic music band consisting of virtuoso knob twiddlers and tape splicers. Although not very succes- sful on its initial release, the album is now considered an important and influential album in the develop- ment of electronic music. But beyond its historical importance, the harmonic progressions, among other things, are by no means taken for granted, and refer a lot to the Baroque and to classical composition in general. This album was obviously a labour of love, taking a whole year to complete seven amazing songs before sampling technology, synthesizers and digital equipment were readily available. There’s also chaotic humour at play on the feverish “Here Come the Fleas,” which contains more edits in its two minutes than the whole of Sgt. Pepper’s. Yet it’s the retro-futurist textures that still grab the ear most.

Dreamlogic and SW are two standouts in the outlier world of leftfield house music, and they find a perfect home on the equally out-there label that is Kimochi. This is the first time they have been on the same bit of wax (though both have been here many times as solo artists) and hopefully, it won't be the last. There is plenty of unusual rhythm work here with wonky grooves that are enriched with a world of superbly futuristic sound designs. All of these hard to define cuts are serious curveballs that bring a great element of WTF to any set, so do not sleep and add them to your arsenal ASAP.

Amazingblaze returns to home label KNTXT with an exhilarating new release that shows another subtle evolution in his style. His Touch The Sky EP features four standout new tracks that are sure to make a global impact.

Amazingblaze emerged as a pivotal tastemaker in the new school scene, marking his debut on KNTXT in 2022 with his Venture EP. Last year, he further solidified his presence on the label, with the release of two EPs and a remix of Charlotte de Witte’s single ‘High Street’. He has been obsessed with music since a young age and that shows in his productions which blend the inspirations of his youth with plenty of fresh contemporary style. His releases consistently aim to leave a significant mark on the club scene, and this latest EP is no exception. With powerful grooves and emotive synths, it sets the stage for another impactful experience.

Amazingblaze on his new EP: "Touch The Sky is a blend of emotions of early trance with the shape of a modern look. From start to finish it's catching you with pleasant pressure and doesn't let you go. Really proud of this one!"

Charlotte de Witte adds: “Amazingblaze is back and I'm just obsessed with these four tracks. They're all masterpieces, representing his very unique and distinctive sound. I'm very proud to be able to welcome him again on the label and continue to be a place he can call home.”

Opener Touch The Sky is a high speed and fresh techno sound that is laced with euphoric trance synths and a heartfelt vocal. It is sure to get hands in the air and dance floors locked into its spell. Kaleidoscope ups the ante further with more scintillating hard techno drums and flashes of synth that will chime perfectly with strobe-lit clubs. A spine-tinging breakdown features angelic vocals before the drums kick in and power things to the next level. Thank You, God Always is more straight up with hard edge drums and synths that spray about the mix with bright rave energy and futuristic soul and last of all is Habits, an urgent and high speed wave of lush trance techno with a classic vocal stab and more celestial voices drifting up to hypnotic effect.

This is another big release from Amazingblaze that shows he has plenty of new tricks up his sleeve.

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

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

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

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

‘Danse Cette Zik!’ by Parbleu is the debut LP from this enigmatic group of musicians and is a multi-cultural fever dream, wherein energized expanses of dynamic disco, futuristic funk, and cinematic jazz fusion are colored over by warming vibes of Caribbean dub, Latin tropicalia, and sunshine Afrobeat. Evocative instrumentals intertwine with breathtaking vocal performances, which move between sleepy-eyed soul serenades, mystical melodic chants, and expressive diva enchantments while pads swell in support—sometimes sparkling like ocean glass, other times raining down like a Morricone symphony.

Pianos and guitars converse via funk flourishes, reggae riffs, and jazz rock solos as blazing fusion synthesizers set the air aflame. Drums move between kinetic dancefloor urgency and islander rhythm relaxation and hand percussions both organic and electronic evoke rainforest ceremonials while basslines revel in 70s fusion fire and Italo synth-funk squelch. And the entire experience has been expertly captured and magically crafted by the sorcerers of sound at the West Hill Studio, resulting in a thrilling adventure of imagined exotica, one equally adept at scoring coastal paradises, filmic deserts, riviera cruises, or nightclubs sweltering in the light of a mediterranean moon.

(Words by Octagon Eyes)

The new Macadam Mambo release by Poperttelli is a great piece of music ! In the Ambient vibe of the originators Future Sound Of London or The Orb, this album concept around dreams travelling, brings us into tribal futuristic landscapes, dark atmospheres on heavy beats and trippy floatings. Poperttelli is not a new artist in the electronic scene, he has already put out few releases on labels like Lost Dogs, Brokntoys, Maturre or Pinkman more recently, and is definetely a name to follow if you didn’t alredy do…

UV & Nenor have been on a hot streak of late with great outings on the likes of the Fossils label and now they keep it up with a red hot new drop on the brand new Massa label. This tidy 7" packs a punch with two jams that will work the floor. The first is a slow motion but irresistible dub-disco fusion with squelchy bass and nice colourful, warm, gooey chords with vocals from Ranking Levy. On the flip is 'Tookey', a futuristic electro vocoder jam that comes to life with vivid synths circling round the mix and an unusual sense of swing. From laid back session at home to steamy club use, both of these are useful jams.

From the deep confines of the universe, we receive emissions of HC Records’ 21st release - Those Dark Whims by UHF, the production duo and Gladio Operations label heads José Castillo and David Aragón. An exciting digital LP from which a selection of tracks have been extracted for vinyl along with remixes by two label regulars, Estrato Aurora and The Lost Boys.

Skynet Was Shy opens both the LP and the vinyl, a hypnotic starting point in which the most vibrant and crystalline electro fuses with acid sequences to generate a state of pure trance, complimented and driven by spiralling sequences and mantra-like vocals. The second track on the LP and A2 on the vinyl is The Lost Boys' remix of Skynet Was Shy. A rough and sharp reinterpretation where the use of 303 sequences continues but focuses on more of a physical than a mental dance.

Hanging Baskets reactivates the state of infinite mental suspension that underlies this powerful and bold composition with deft and minimalistic use of elements: sharp broken rhythms, a dense melodic environment but with occasional moments of pure light and a new vocal message that ignites in our minds.

The B-side kicks off with Estrato Aurora's remix of Day Dream, which as usual in the work of the acclaimed Valencian producer, extends the original version to 8 minutes, giving it an unusual emotionality created by an amalgam of sound textures that interweave multiple pads, mutant melodies and pulsating percussion. Closing the vinyl, UHF's machines join forces with the lyrics of another electro heavyweight in Protestas En Las Redes Feat. Dark Vektor, a combative discourse in which the powerful and robotic vocal message of the Terrassan producer ascend alongside the futuristic melodies, extra-dimensional violins, spatial arpeggios, and metallic rhythms of the Madrid duo.

*REMASTERED ROUGH TRADE 4 TRACK E.P LIMITED TO JUST 500 COPIES*

Everything on “Up Home!” is bigger, richer; the guitars are huge, as though they’re being played through the clouds, massive gusts of blue-green noise that move across the stereo spectrum like weather systems. “Baby Milk Snatcher” is built around face-flattening dub bass, with glinting piano and shards of guitar ricocheting through the song. “W.O.G.S.” is delirious to the point of expiration; “One Way Mirror” is their attempt at weird, lopsided ‘anti-funk’, the song’s melody crushed by avalanches of six-string interference. And the closing “Up” is AR Kane’s masterpiece, a disembodied thud pulsing at its heart as a six-note guitar melody spirals ever onward, Ayuli’s voice lost in its own reverie, hymning escapism via references to Jamaican political activist Marcus Garvey’s ‘black star line’.
• Jon Dale, lead review in Uncut Magazine
who grew up together in Stratford, East London. From the off the pair were outsiders in the culturally mixed (cockney/Irish/West Indian/Asian) milieu of the East End, with Alex and Rudy’s folks first generation immigrants from Nigeria and Malawi, respectively. The two of them quickly developed and fostered an innate and near-telepathic mutual understanding forged in musical, literary and
artistic exploration. Like a lot of second-generation immigrants, they were ferocious autodidacts in all kinds of areas, especially around music and literature. Diving deep into the music of afro-futurist luminaries such as Sun Ra, Miles Davis, Lee Perry and Hendrix, as well as devouring the explorations of lysergic noise and feedback from contemporaries like Sonic Youth and Butthole Surfers, they also thoroughly immersed themselves in the alternate literary realities of sci-fi and ancient history (the fascination with the arcane that gave the band their name), all to feed their voracious cultural thirsts and intellectual curiosity.

It was seeing the Cocteau Twins performing on Channel 4 show the Tube that spurred A.R. Kane into being - “They had no drummer. They used tapes and technology and Liz Fraser looked completely otherworldly with those big eyes. And the noise coming out of Robin’s guitar! That was the ‘Fuck! We could do that!
The duo debuted with the astonishing ‘When You’re Sad’ single for One Little Indian in
1986. Immediately dubbed a ‘black Jesus & Mary Chain’ by a press unsure of WHERE to put a black band clearly immersed in feedback and noise, what was immediately apparent for listeners was just how much more was going on here – a tapping of dub’s stealth and guile, a resonant umbilicus back to fusion and jazz, the music less a conjuration of past highs than a re-summoning of lost spirits.

The run of singles and EPs that followed picked up increasingly rapt reviews in the press, but it was the ‘Up Home EP’ released in 1988 on their new home, Rough Trade that really suggested something immense was about to break. SimonReynolds noted the EP was: Their most concentrated slab of iridescent awesomeness and a true pinnacle of an era that abounded with astounding
landmarks of guitar-reinvention, A.R. Kane at their most elixir-like.

If anything, the remastered ‘Up Home’ is even more dazzling, even more startling than it was when it first emerged, and listening now you again wonder not just about how many bands christened ‘shoegaze’ tried to emulate it, but how all of them fell so far short of its lambent, pellucid wonder. This
remains intrinsically experimental music but with none of the frowning orthodoxy those words imply. A.R. Kane, thanks to that second generation auto-didacticism were always supremely aware about the interstices of music and magic, but at the same time gloriously free in the way they explored that connection within their own sound, fascinated always with the creation of ‘perfect mistakes’ and the possibilities inherent in informed play.

After the resounding success of their last album "Garden Island," released in 2021, the octet hailing from Tenerife is back with a new album titled "Ganzfeld."
While "Garden Island" drew inspiration from the philosophy of César Manrique and his groundbreaking ecological work on the island of Lanzarote, for this new album, Gaf & The Love Supreme Arkestra turn their creative gaze to the lowland areas of northern Tenerife aka Isla Baja (the low island). Here, they envision a retro-futuristic soundtrack for a misty coastal drive, filled with humid atmospherics and expansive jams featuring their trademark blend of avant-jazz, psychedelia, and freestyle rock.
Evoking a natural synergy to the proceedings, this new work presents the octet in a more ethereal tip than its predecessor. Saxophones, trumpet, bass, guitar, synths and marimba come together with added winds (Herreño and Vietnamese flutes) to create a wide spectrum of auditory escapism that, were it not for the band’s aforementioned natural instincts could result into a nightmarish vision. Instead they create an holistic esoteric sound where sea and earth come together in ecstatic ways conjuring images of peace and menace whilst never letting their raw, explosive energy go unchecked.
Another standalone work from a band that rejects banality, constant in their pursue of experimentation at the edge of the Atlantic ocean. Drive on!

It's a pleasure for us to present one of the most awaited albums of the MM Saturns saga, a record on which we have been working for almost 3 years, and it finally sees the light.

Corben introduces us to "Peachland," an introspective retro-futuristic journey where early electro and downtempo go hand in hand in order to create a cybernetic vision of the '80s subculture. It's like an inner spaceship that immerses you in infinite space, allowing you to reach unknown universes.

Pure no-wave nostalgia filled with contagious vocoders and hypnotic synthesizers that shape a dreamlike and unsettling landscape, in which Corben shows us what could be the most sentimental and human side of an imaginary and futuristic artificial intelligence.

12" compilation with new tracks by Eoism, Voertuig, Colkin and a lost gem by Peter Seiler featuring Sheryl Hackett. Picture sleeve with a bold artwork based on a sculpture by Hede Bühl. Limited to 500 copies.


Colkin (Raw Soul, Mauke Club) kicks off the a-side with a spheric acid house meditation. Next is a track by Peter Seiler which could be found on the extended reissue of his 'Flying Frames' debut LP on Innovative Communication in 1989. It features the soulful voice of Sheryl Hackett. An extraordinary groover that is meandering between song and jazz improvisation. Eoism (Pulse Drift, Undersound, Inch By Inch) complete the a-side with some low-swung electro flavors, driving you straight into sunset.

On the b-side Voertuig (Tonal Oceans, Cobra Club) hit us with a serious and raw acid jam - dark and dirty. On the following track they show us their experimental jazzy side and cool things down again. A track the 1990s downbeat era was missing. Eoism close the first volume of FUTUR with a floating, futuristic banger from their lab.

Benedikt Meger's aspiration for funkscapes was always to feature funk grooves, old and new, fresh and relevant for today. Whether some rare, not so rare or just under the radar recordings from the past or new productions from today's artists across different electronic genres. This idea now culminates into the selection for the compilation FUTUR.

Enjoy the ride.

Eccentric soundscapes, cryptic atmospheres, unexpected rhythms – with the second episode of the Intelliance series, the concept label Augmented Research once again holds up a mirror to the progressive present and provides various perspectives on the innovative electronic club sound of a new generation.

A1
Raär's music manages to draw the masses beneath the surface of common perception. The blend of deep, organic atmospheres, liquid sound design and supersonic drums awakens a deeply rooted but rarely accessible state of mind. "Riparian Zone" is a tool for transcendental experiences.
A2
There are only a handful of artists like Nebuchadnezzar who have made a name for themselves and demonstrate that rules in electronic music are meant to be broken. "Fidget" is a good example of the obsolescence of obsessive genre categorization. Unpredictable rhythms and glitchy, whipping drums feel like a race against time (extended to almost nine minutes).
B1
With "Sea And Bunkers", Sukkube proves her virtuoso and versatile handling of modular sound synthesis. The rapid, loopy beat, accompanied by a serious and simultaneously playful melody and hissing atmospheres, generates a mysterious, fresh mood. Influences from different eras form an interesting symbiosis of futuristic, uplifting techno and nuances of classic styles.
B2
If an artist were given the task of dealing with vintage drums in the most innovative way possible, while at the same time retaining a sense of nostalgia, "Pragma" would be the clear result. Edict has broken the rules of classic techno styles, pushing polyrhythm and distortion to their limits.

If you can judge an artist's quality by the company they keep, then FaltyDL is up there with the best of them. The label history of the producer known to his friends as Drew Lustman reads like a "who's who" of 21st century electronic music imprints - Ninja Tune, Unknown to the Unknown, Planet Mu, Studio Barnhus, the list goes on.

WithIn the Wake of Wolves, we can now add Central Processing Unit to this illustrious roster. The Sheffield label joins the party at a notable juncture - while FaltyDL has kept up an impressive clip of releases throughout his career,In the Wake of Wolvesis both the NYC-based producer's first LP for two years and his first full-length release away from his own Blueberry Records for almost a decade.

In the Wake of Wolvesproves to be both a great match for CPU and also further evidence of the label's burgeoning sonic palette. While CPU has built its reputation on top quality electro joints, recent releases have delivered adventurous electronica experiments (Proswell'sPeople Are Giving And Receiving Thanks At Incredible Speeds), hard-wired breakbeat techno (Baby T'sI Against I) and golden-age synth explorations (twenty-fifth anniversary reissues of Bochum Welt'sDesktop RoboticsandFeelings on a Screen, both of which first emerged via the legendary Rephlex Records).In the Wake of Wolvestakes things further still - this is a brilliantly genre-voracious record, one which marries the rhythmic cut-and-thrust that we have long known FaltyDL for with all manner of adventurous stylistic choices.

Those familiar with the FaltyDL experience will recognise the trademark blend of synthetic grit and harmonious softness in album opener 'I Need You'. This could pass for Four Tet or even Hannah Diamond at points, the steady build of pulsing synths and looped vocals recalling a more mysterious version of the PC Music sound. 'I Need You' stands shoulder-to-shoulder with any of FaltyDL's other great atmospheric album openers - no small feat given the competition. 'Further', the following number, is yin to 'I Need You's yang. This is a pulsating track which gleefully skitters between machine-funk, tubing darkside bass and breakcore-adjacent drum programming, all of which is peppered with some genuinely beautiful work in the higher synths.

'Further' sets the scene for several of the more club-facing cuts here. 'Minds Protection' similarly features all manner of strange percussive sounds to surprise the ear, and it also boasts a thrilling mid-section in which the bottom falls out the track to incorporate a short snippet of blown-out junglism. With its tunnelling low-end and clattering drums, 'Full Spectrum' kicks off a delightful run of grime-influenced joints which take cues from Mr. Mitch, Logos and many of those other producers who took the Eski sound to exciting new places in the 2010s. 'Forget Me Not', the album's longest track which is placed three spots from the end, feels like the record's climactic point - a pitter-patter post-house joint that has a hint of Caribou in its DNA, it'll take the clubs by storm.

But as much as FaltyDL may consistently bring the heat in terms of the beat programming, the thing which has long marked Lustman out as a special talent is the musicality of his compositions. No matter how much drums clatter or bass bangs, FaltyDL always hooks the ear back in with a sonorous synth or pleasing nugget of melody. Nowhere is this more apparent than onIn the Wake of Wolves' more weightless numbers, each startling in their prettiness. 'Half Spectrum' is a new-era beat track packed full of ear candy; the keening keys of 'GasGas' are potent with feeling; and on the album's closer, the evocatively-titled 'Mila Stans In A Meadow For The First Time Eating Strawberries', we get a gorgeous synth vignette that joins the dots between the modern mastery of Yung Sherman and the most emotionally affecting moments of Aphex's Twin's catalogue.

At once wistful and hopeful, archival and futuristic, FaltyDL's brilliantly unpredictableIn the Wake of Wolvesis a feather in the cap for both this seasoned producer and the Central Processing Unit label.

RIYL: AFX, Bochum Welt, Mark Fell, Mrs Jynx, Boards of Canada

A bit more than half a decade on from his widely acclaimed debut Vanishing Points from 2018, Swiss guitarist, composer, and improv musician Manuel Troller releases his new record Halcyon Future. A rhythmically dense and ambiguous, yet joyful ride for unstable times, a plea for warmth and hopeful resistance.

Troller’s mode of incorporating, zooming in, and expanding on small elements from improvised sessions creates a multilayered work of driving rhythms and abstract, vibrating textures. Opening with Halcyon Future I’s distinctive open pulse, this first piece guides us through subtle harmonic shifts that are almost unrecognizable as they take place over extended time, overlapping and creating a sense of ambiguity until the piece reaches an almost optimistic level with Mario Hänni’s unexpected introduction of driving acoustic drums. Relentlessly and with increasing excitement, heavy electronic 80s bass drums and an armada of layered hi-hats push them on, leading to the all-incorporating melodic finale.

The two long pieces Halcyon Future I and Halcyon Future II focus on forward momentum. In between them stands DNA, a purposely directionless contemplation on emotion as such. It is raw, naked, and confrontational, with a tender and subtly changing chord progression creating intimacy and proximity, abstraction and warmth, like a beautifully vibrant hologram for the listener to walk around in.

The B-side with its 20-minute Halcyon Future II features playful futuristic guitars, enhancing and challenging the stereo image that Troller is already well-known for. As it’s given time to develop and take root, the ever-varying guitar interactions densify and the staccato patterns jump out of the speakers with joy, creating excitement and building momentum. Compared to Side A, things turn to a slightly more complex rhythmical, melodic, and harmonic feel here. There are easy references, such as Manuel Göttsching’s E2-E4 or Pat Metheny performing Steve Reich’s Electric Counterpoint, but Troller goes a different and very much more concrete way. Although the piece has been recorded in various places and through a long process of overdubbing, there is an astonishingly strong live feel to it, from beginning to the end, from the slow rise to the full spectrum and the almost krautrock-like finale. Improvisers Hans Koch on soprano saxophone and Michael Flury on heavily fuzzed trombone join in, while Troller and Mario Hänni on many guitars, bass, drum machines, and acoustic drums provide a joyous driving entity, not giving up until it all breaks down again. There is overkill and brute force, though never without depth and a vision of future.

In the musical scope of Halcyon Future, there is no need for an absolute definition of things. A continuously changing interpretation of repetitive and variable elements fading in and out of focus tells a story of an excited sense of acceptance. Feelings of transcendence stem from Troller’s layering of constantly shifting rhythmic structures with unforeseen improvised harmonic changes. Drum machine parts overlayed with acoustic drums shift between musical modes, anchoring the album on the verge of a jazz-influenced, motorik, post-ECM balearic plateau. Abstract textural elements gently swirl around and behind all that is rhythm, providing a submissive counterpoint. As with much of Troller’s work, Halcyon Future is an album that unfolds slowly, revealing more of its richness, detail, and subtle beauty at each listen.

Halcyon Future is a joint release by three:four records and meakusma.

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


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



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



Haunted Plasma reveals:

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


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


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


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

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

For more than twenty years, +/- Plus/Minus has stood as a captivating fixture in the indie rock scene, defying simple categorization while blending futuristic odd-time signature pop with electronic elements and traditional rock instrumentation. The band's origins trace back to the friendship of childhood friends Patrick Ramos and James Baluyut, who would go on to play with 90s New York indie stalwarts Versus. Following the (temporary!) dissolution of Versus in 2001, Ramos and Baluyut welcomed seasoned drummer Chris Deaner, hailing from the Austin music scene, into the fold This fruitful collaboration led to the creation of five full-length albums, several EPs, a video compilation DVD, and extensive tours across the United States, Europe, and Asia, alongside acts including Death Cab For Cutie, The Wrens, Mates of State and more.

"Listen to This." As the original working title for Bitches Brew, the instruction and invitation resonates to this day as the best way to approach a record that shattered conventions, altered music history, and, more than five decades after its original release, still sounds far ahead of its time. The aural Mount Rushmore of jazz fusion, Bitches Brew is rightly ranked by virtually every significant outlet among the 100 greatest albums ever made in any genre. Sewn together with vibrant colours, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail on Mobile Fidelity's definitive 180g 33RPM 2LP set.

Sourced from the original master tapes and pressed on 180g vinyl at RTI, this numbered-edition version of Bitches Brew joins the audiophile ranks of other essential Miles Davis sets reissued by Mobile Fidelity. Having established new possibilities for studio-recording techniques, the record can now be experienced to maximum degree by way of a pressing that widens and deepens the soundstage, opens up separation between instruments, and broadens the dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.

Davis conceived Bitches Brew by having the musicians stand in a semi-circle, where he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves later spliced together by producer Ted Macero. On this reissue, these creations take shape with utmost realism. Compositions stretch across black backgrounds and paint abstract canvasses on par with those of Axis: Bold As Love and Abraxas. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.

And "verve" defines Bitches Brew. Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to "put together the greatest rock and roll band you ever heard." Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that thrusts rhythms into central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures with quixotic rock, funk, and R&B elements.

Conceptually, Davis described Bitches Brew as "a novel without words" and "an incredible journey of pain, joy, sorrow, hate, passion, and love." The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of this watershed effort lies in how it resists definitive interpretation and encourages free thought — the very principles with which Davis conceived the everlasting beauty and fascination that remain Bitches Brew.

The album will be released through Neurot Recordings in collaboration with Supernatural Cat, the record label of the rock ‘n’ roll graphic design collective Malleus, of which Poia and Urlo are part of.

Ufomammut formed in the late 90s by Poia (guitars, FXs) and Urlo (bass, vocals, FXs, synths), (rising from the ashes of past band Judy Corda), together with Vita (drums). With Levre taking over on drums in 2021, the band has undergone a rebirth, culminating in the release of the album Fenice and the Crookhead EP.

Over the course of 25 years, the band has developed a unique sound that combines heavy, dynamic riff worship with a deep understanding of psychedelic tradition in music.This has resulted in a cosmic, futuristic, and technicolor sound that fully immerses listeners.

The band has produced 10 records along with various other releases, such as compilations, EPs, and live albums.

Now, in 2024, as they celebrate their quarter-century milestone, the band is set to release their latest album, HIDDEN. This album marks a shift in the band’s musical composition, aiming for a more intense and heavy sound, and it’s the third release featuring Levre as the band’s new drummer.

The title, HIDDEN, reflects the concept of the presence of everything in our existence and the ability to bring to light what lies within us. With HIDDEN, Ufomammut delves into a sonic journey that traverses vast expanses of space and time.

From the crushing heaviness to the hauntingly melodies, from the textured compositions to the otherworldly atmospheres, HIDDEN testify the neverending evolution of Ufomammut and their mastery of creating immersive sonic experiences: a fitting celebration of their 25 years of sonic exploration and experimentation.

The album was recorded at Flat Scenario Studio in Piemonte, Italy, with Lorenzo Stecconi handling the mixing and mastering, and Luca Grossi overseeing vocal tracking.

“Depas strikes a fine balance between raw energy and subtle melodic hooks.” (DMY) “Throughout the pounding track Midnight Ride, the Italian beat smith expertly blends lush synths with intricate rhythmic components and gritty bass.” (EDM com)

“Depas' approach to techno is a veritable melting pot of influences, blending sounds from the 80s and 90s with contemporary symphonic and cinematic elements.” (Magnetic Mag)

Following his recent ‘Rave The Planet’ EP at the end of February, Milanese hard techno producer Maike Depas is back with a brand-new release on well-renowned label The Innovation Studio. His newest EP is named ‘The Age Of Chaos’ and features a five-track banger arsenal – including a special remix by Italo-American producer Matasism, which was also included in his recent BPtich Control mixtape.

“This EP is the result my own experience throughout an inner dystopic reality, where energy-ridden sounds and epics all collide into a very personal version of the hard techno legacy I’m devoted to.”

‘No Redemption’ is a proper big-room belter, with explosive drop divided by a big break and a statuesque vocal that feels like a claim: “Techno is my only drug”. Same goes for ‘Tesseract’ and it’s rave-like atmosphere and hypnotic hook. ‘Dystopia’ is pure groove and makes the listener dive into a distorted and futuristic metaverse, while ‘Cyber Attack’ and its remix include synthetic vocals tha aim to symbolize an artificial imposition: man against machine, fiction against reality.

‘The Age Of Chaos’ will be available from April 19th via The Innovation Studio.

"The outsized sounds emerging from the Excelsior Mill organ captured here constitute a unique chapter in the Sun Ra story, a dizzying phantasmagoria that offers a whole new view on what Ra could do. It might thrill you; it might unnerve you; it might strum your heartstrings; it might spook the living daylights out of you. Most likely you’ll experience all of the above before the jolting musical jeremiad is done. The CD includes the full uncut show with music not featured on the LP version!

When you’re Sun Ra, you don’t need synthesizers to evoke apocalyptic visions and interstellar excursions. You don’t even need a band.

Ra is most widely known for working with various iterations of his Arkestra, but he was no stranger to unaccompanied keyboard expeditions. His discography contains solo piano albums, solo Fender Rhodes records, and solo recordings on conventional organ, the latter going as far back as his home recordings from the 1940s. But none of those instruments ever offered Sun Ra the kind of sonic artillery that waited beneath his fingers and feet when he sat before the keyboards, pedals, and multicolored constellation of tabs controlling the Wurlitzer pipe organ.

Mystic and magisterial, Ra comes off here like a cross between a demonically riffing ‘50s horror movie villain and a futuristic congregation leader delivering the interplanetary gospel. Brassy stabs provide the kind of punctuation that could be graphically rendered as an endless string of exclamation marks in 500-point font. String-like swoops and swirls dance across the top of the carnage, cooling the flames just enough to keep the whole thing from combusting (for a while at least) but never dousing the fiery fury that Ra draws forth from the instrument.

2024 Repress

Released on Cherry Red in 1981, Threat To Creation spotted the collaboration between two mystical entities: Creation Rebel and New Age Steppers. Forerunners of the british dub scene the two bands shared several members, a who’s who of the On U-Sound school and key figures of the Bristol and London scene. Adrian Sherwood is – obviously – the man behind the desk a craftsman on its own, a character with no borders and one of the most sought after producer of the time. The supergroup is ran by post-punk stalwarts Bruce Smith (The Pop Group) on drums and Keith Levene (PIL) on guitar. Ari Up of The Slits sits on piano and organ, while masters Crucial Tony is both on bass and guitars. Members of African Head Charge – bass player George Oban, Eskimo Fox and Style Scott on drums – are welcomed addition to the line-up. Threat To Creation is still recognizable as an album ahead of its time, a futuristic blend filling the gap between the Jamaican heritage, the so-called (post) industrial revolution and the studio witchery of the whitey man.

Forest Green Vinyl

Seafood Sam is a futuristic artifact. If that description might sound confusing at first, it matches the eclectic dualities found in true originals. With his effortless cool and timeless style, the North Long Beach native defies convention and exact comparison. He's a virtuosic rapper, a stop-you-in-your tracks singer, and a symphonic producer. Welcome to the lavish life of a laid-back transcontinental man of mystery, rolling in old school Cadillacs, eating caviar with a blade in his pocket, and making plays in vintage Pelle Pelle gear. A blaxploitation icon for the Instagram age, blessed with the bars of a `90s legend and 23rd century swagger. Seafood Sam is a true hero of modernity. On his full-length album debut for up-and-coming label drink sum wtr (Kari Faux, Deem Spencer, Aja Monet) debut, Standing on Giant Shoulders, Sam splits the difference between Snoop Dogg and D' Angelo, Curren$y and David Ruffin. The songs reveal a forward-thinking sensibility rooted in ancestral soul. He creates spiritual hymns for the streets that tap into universal ideals and irrepressible groove. In an era plagued by short-term thinking, his ambitions reveal a crate-digging depth of music history and a meticulous ear for detail. The giant shoulders in the album's title refer to James Brown, Bobby Brown, and Miles Davis - the holy trinity who inspired Sam's process. From the Godfather of Soul, Sam took a perfectionist's rigor and focus. The example of Bobby Brown lent an unshakeable confidence and self-belief. While the constant artistic left turns of the trumpeter that birthed Ccool offered an aspirational archetype. The story starts in the glory days of Long Beach hip-hop. As a young child, the G-Funk era soundtracked rides in Sam's father's car. Some of his earliest memories are trying to memorize Snoop's verse on "Nuthin' But a "G" Thang." Beyond gangsta rap, the LBC has historically doubled as a capital of lowrider soul and carwash oldies. At any intersection, you could hear Dogg Food or Brenton Wood, Warren G or Barbara Lynn. This too was absorbed via osmosis. It also just so happened that the art of performance was always in Sam's blood. So at family functions, he and his sister supplied entertainment by singing karaoke renditions of The Isley Brothers. While his Harlem Shake remains a thing of local lore. Long Beach is a culturally diverse mecca of skate parks and gang life, street fashion and tricky dance moves. This is the place that raised Sam on a diet of Wu-Tang and Nelly Furtado, Lil Bow Wow and Allen Iverson. He was the middle ground between his two older brothers: one who gangbanged, the other who graduated with a master's degree from UC-Santa Barbara. But it wasn't until the end of high school that Sam started to take rap seriously. Alongside long-time collaborators like Huey Briss and Reaper Mook, Sam's name began to make waves on the northside of the city, but he was partially distracted by a modeling career that paid the bills and took him all to way to walk in Paris' fashion week. The first turning point arrived with 2018's "Ramsey," a self-produced, slick-talk anthem with over 10,000,000 streams across all platforms. With each subsequent release, Sam showcased his peerless consistency, building buzz both online and in the city streets. Spin hailed his "smooth and unhurried cadences and understated lyricism_ that sounds like nothing else in Long Beach." Clash raved about Sam's "evolution as an artist, cruising through nostalgic production with slick, witty rhymes." The culmination arrives with Standing on Giant Shoulders. It's the evidence of a master, a young sensei in the model of Quincy Jones. All rhymes, singing, production, and arrangements were handled by Sam - with an assist from his close Long Beach kinsman Tom Kendall from the group Soular System. It's hard-edged and lyrical enough for disciples of Larry June and Roc Marciano, but orchestral and melodic enough for fans of Anderson .Paak and H.E.R.

"Return Of The Super Ape" was the final revelation from Lee Perry’s Black Ark Studio, a psychedelicized dub journey into uncharted sonic territories. The longplayer is now state-of-the-art remastered by Pete Norman (Finyl Tweek) and restored with original press artwork complete with inner disco sleeve!

The album from 1978 is the final chapter in the trilogy of albums in the period from 1976 - 1978 following "Scratch The Super Ape" (aka "Super Ape") and "Roast Fish & Cornbread". Produced, mixed and arranged by Lee Perry at the Black Ark Studio featuring on all tracks the skills of The Upsetters and additional vocals by The Full Experience on "Dyon-Anasaw" and "Tell Me Something Good". The frontsleeve artwork image was created by Lloyd Robinson (also known as the singer of the Studio One classic "Cuss Cuss").

Reggae expert Jeremy Collingwood says: "The Return Of The Super Ape that surfaced later in the year 1978 saw Perry way off the mainstream with a set that owed much to jazz with its loose structure and horn breaks. The title track took an early production from Perry, U-Roy's " OK Corral", and reshaped it into another futuristic outing - just like the original that had been a decade earlier. At the time few knew what to make of it and over the years its lack of proper re issue had meant it's remained a hidden Perry gem. It also marked the end of a hugely creative period at the Black Ark."

Tracklisting / side-split
Side One
A1 Dyon-Anasaw
A2 Return Of The Super Ape
A3 Tell Me Something Good
A4 Bird In Hand
A5 Crab Yars
Side Two
B1 Jah Jah Ah Natty Dread
B2 Psyche & Trim
B3 The Lion
B4 Huzza A Hana
B5 High Rankin Sammy

• Follow-up to the highly acclaimed dub album Super Ape, the album like its predecessor, was produced by Lee ‘Scratch’ Perry. This was the last album recorded by The Upsetters before Perry closed down his Black Ark Studio.
• The remastered album showcases the production skills of undisputed dub master with insanely layered textures and technical wizardry. With musical backing The Upsetters – Boris Gardiner, Mikey Richards, Sly Dunbar, Benbow Creary, Earl ‘Chinna’ Smith, Winston Wright, and Keith Sterling.
• Remastered by Pete Norman at Finyl Tweek
• Coloured Inner Bag

"Es ist kein Gospel, kein Soul, kein Blues, kein Rock'n'Roll. Es ist alles davon - und das aus gutem Grund.", sagt der Künstler selbst über sein neues Album 'Cut To Black', sein erstes Studioalbum seit 'Know Where To Run' von 2016 und sein insgesamt zehntes. Wenn man so will die musikalische Fortsetzung seiner im September 2021 erschienenen Memoiren "Up Above The City, Down Beneath The Stars".

Nach neun Studioalben, darunter das 96er Werk 'Oedipus Schmoedipus', (mit Gastperformances von Jarvis Cocker, Nick Cave und Billy McKenzie (The Associates)), das Mercury Prize nominierte 'Soul Murder' (1999), und sein jüngstes Album, 'Know Where To Run', das durch eine US-Tour mit Nick Cave & The Bad Seeds - nach 23 Jahren - inspiriert wurde, bewegt sich das neue Album des Magazine, The Birthday Party und ehemaligen The Bad Seeds Bassisten, das Elemente aus Soul, R&B, Hip-Hop und Funk mit künstlicher Intelligenz kombiniert, Stilistisch von hedonistischen Limousinenfahrten durch die Disco der frühen Achtziger ('Manhattan Satin') bis zur futuristischen Klanglandschaft eines Stücks wie 'Was it a Dream?'. Im Zentrum stehen drei Tracks, die mit dem alten Aberglauben an den Blues als Musik des Teufels und der Kirche als Zentrum von Beichte und Erlösung aufräumen: 'These Would Be Blues', 'Please Don't Call On Me' und 'Amen White Jesus'. Wie immer erfreut sich Adamson an raffinierten Wortspielen und assoziativen Klang- und Bildwelten.