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Lust Pattern slithers its way to Dark Entries with four tracks of deviant electro-wave on Stand, Scatter. Ryan Armbridge has graced Dark Entries several times via his project Linea Aspera, a revered coldwave revivalist duo with Zoe Zanias. As Lust Pattern, Armbridge draws hypnotic paths through the reverb-laden halls of post-punk and electro-funk, coursing in a gait uniquely his own. Built up from improvised jams, the four cuts on Stand, Scatter defy neat categorization while spanning a wide breadth of genres. Opener “Forming Lines” features Drexciyan squelch, silky guitar, and bursts of live drumming; this sounds like a lot, but it coheres into a perfectly simmering stew of funk. “Choreography” preserves the aquatic vibes but bumps the tempo up into space disco territory, complete with laser bleeps and Moroder-esque pads. It’s a mark of Armbridge’s craft that closing track “No Floor” - a searing motorik synth punk jam that recalls Suicide at their finest - sounds not at all out of place, but rather serves as a logical conclusion to this illogical picture. Stand, Scatter drifts across genres but never loses its focus on the unorthodox groove.

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

For our 50th release on Delusions Of Grandeur we're pleased to bring you seven exclusive tracks from a mighty-fine collection of both existing DOG artists and veritable newcomers alike.
Kicking off Part One we have Rush Hour regular Nebraska who manages to successfully combine elements of wait for it... trance and broken beat into an altogether more exciting and amazing way than that actually sounds on paper. Organic, sampled drums with plenty of grit and dirt lay down a groove whilst spacey synth arps and an almighty break (in a subtle way) make this something of an epic which all of us here have fallen for in a big way.
Quintessentials and Kolour LTD favourite Ugly Drums steps up next digging deep in his seemingly bottomless collection of brilliant of disco and soul to mine some killer samples and conjuring up a masterclass in deepest ravehouse in the process.
Rounding off Part One DOG mainstays and bona fide Retreaters Session Victim do what they do best on Came To Be Alive, turning in a completely blissed-out, dusty soul jam tailor-made as much for cozy nights in front of a log fire as for antipodean BBQ's under a hazy sun.

microCastle’s first offering of 2024 welcomes Adrian Roman back to the label for his second artist showcase. Hailing from Spain, Adrian Roman first rose to prominence in 2021 with a string of superlative releases which redefined his sound, resulting in an aesthetic that was both cutting edge and effortlessly cool. F, nmully formed within the creative confines of his Castello studio, Adrian’s first microCastle project, 2022’s‘ Disturbing the Perception’ succeeded in showcasing his inventive approach to composition, while remaining club-effective, and in turn earning play from Aera, Fideles and Jimi Jules, amongst others. Moving forward the next eighteen months have proved to be impactful for the young Spaniard, recording standout projects for AZZUR and Sum Over Histories, releases which continued to build on his creative acumen, while remaining in the playlists of underground tastemakers Ame and Dixon. With 2024 beginning with Adrian’s latest Sum Over Histories vehicle ‘Oratorical Ability’, the Spaniard now makes a welcome return to microCastle with a six-track showcase entitled ‘This Is What I Was For A Moment’.

From the opening monochromes of ‘Le Sabbat’ Adrian’s craftsmanship reveals itself across this slow-burning piece, one where grating growls, granular flares and panoramic arps ultimately set the pace for the groove-centric ‘Customized Reality’. It’s here where Adrian puts a greater focus on the dancefloor, marrying hopeful vocal phrasing and silky chord stabs for a rejuvenating experience, while a drum-driven drop ultimately charts the course for a finale of deconstructed sonics and post-rave bliss. The haywire electricity of ‘Faces of Belmez’ finds the Spaniard once again flexing his creative muscles, as corrugated bleeps and cataclysmic rhythms provide a vast sense of space, creating the ultimate backdrop for distorted synths to propel choppy rhythms into dark underground passages, and perhaps onto some of the world’s most adventurous dancefloors.

The collection’s midway point is marked by the hypno-architecture of ‘Mind Design’. Trickling reverberations and long sighs of tonal tension wade through its pulsating framework, with frayed effects and thumping rhythms submerged beneath a buzzing panoramic glow. Played by Ame and sitting as one of the project's most enigmatic tracks is ‘TAGDI’ (They Are Gonna Do It). Tinted with contemplative synths and guttural vocals, Adrian’s unique emotionality peaks here, as he crafts a low-slung, slow-building dystopian romance, all while weaving in cerebral manipulations for an unforgettable ride. The mist breaks instantly on the collection’s final piece, as your thrusted into the muscular grooves of ‘Fear Track’. Horrifying vocal stabs strike, leaving the gauzy purple skies of ‘TAGDI’ behind for a more robust romp, one where anabolic bassline, retro-arps and off kilter percussion bring the release to a feverish peak. A fitting conclusion to a diverse collection of music, one where Adrian creates a journey that speaks to the complexities of life against an immersive and challenging backdrop.

Artwork: Maurcio Seidel

Coral Morphologic and Nick León’s Projections of a Coral City marks a series of collisions between distant
worlds: the organic and the artificial, the Eocene and the Anthropocene, sea and cement—and even, perhaps, ambient music and activism.

Coral Morphologic are the Miami duo of marine biologist Colin Foord and musician J.D. McKay; since 2007, they have used a variety of multimedia projects to generate environmental awareness of marine biodiversity—most notably Coral City Camera, an underwater webcam streaming live from an urban reef ecosystem in PortMiami.

Their citymate Nick León is a linchpin of South Florida’s contemporary leftfield electronic scene, with releases for Tra Tra Trax, Future Times, and NAAFI, and credits on records by Rosalía, GAIKA, and Iceboy Violet, among others.

This collaborative project dates back to 2022, when Coral Morphologic mounted a monumental projection-
mapping installation on Biscayne Boulevard. For five nights in late November and early December, macroscopic films of corals played out across the exterior of Knight Concert Hall. The installation was, on the one hand, a glimpse into a possible future, imagining how the city’s skyline might appear if unchecked global warming and rising seas led coral reefs to colonize the built environment. But it also represented a look back into the deep past, a reminder that Miami is literally built from marine limestone mined from the Everglades. Its concrete foundations began life, eons ago, as a marine ecosystem—the same ecosystem that may one day reclaim them. As above, so below.

As an album, Projections of a Coral City is a suite of interconnected movements spread across two sides of vinyl. The tones are watery, the mood elegiac, the colors a washed-out pastel. Forms that appear static on the surface gradually open up to reveal hidden depths teeming with microscopic movement. You might detect resonances with other aquatically minded works—Jürgen Müller’s Science of the Sea, Harold Budd’s liquid piano compositions, even the slow-moving melancholy of Dr. Roger Payne’s Songs of the Humpback Whale. But ultimately Projections of a Coral City creates the impression of a world unto itself—a hauntingly beautiful space at the meeting point between sorrow and hope.

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Balmat is a label with a cloudy outline. Jointly shepherded by Albert Salinas and Philip Sherburne, two friends living in Cardedeu, Catalonia, and on the Balearic island of Menorca, Balmat grew out of Lapsus Radio, a weekly show born almost ten years ago. Balmat’s mission is simple: to foster new ideas, expand upon personal obsessions, and put enveloping sounds out into the world.

“Balmat” means “empty” or “void” in Catalan. But quite apart from any negative connotations, we prefer to think of it in terms of possibility: a space waiting to be filled.

DJ Support: Danny Krivit, Craig Charles (BBC Radio 6 Music), Hallex M, Jazzanova, Delite Radio, Mi Soul, Pointblank, Totally Wired Radio, XFM, Radio Solar, Tony Minvielle, Simon Phillips, Chris Phillips (Jazz FM), KCRW DJs, Ian Friday, Aroop Roy, Samantha Badd (Café Del Mar), Mr. V, Simon Harrison (Basic Soul), Greame Park, Mike Fossati, Timo Mass, Deli G, Servino (Horse Meat Disco), Hyenah.

‘Badly Written Songs’ is, of course, a tongue-in-cheek title. It comprises a carefully structured and well-produced array of songwriting, topped and tailed with live instrumentation, commanding vocal performances and high-end production: the result of years of sound engineering and music production experience. Since the last album, Ross Hillard has continually honed his skills whilst earnestly crafting this sophomore long player. As well as developing a range of audio plugins, Ross also manages recording sessions at his own Paddocks Recording Studios: huge live spaces boast cutting-edge technology, integrated with distinguished analogue kit. The studio is complemented by a collection of prized microphones, together with a fully-restored vintage Raindirk mixing desk.

The opening track and first single from this album is the positively-anthemic gem entitled ‘Good Morning Sunshine’. It tells a forward-looking story promoting the merits of getting back into the driving seat of life. It’s propelled further by superb jazz-inspired drums and live horns that build up to an exhilarating crescendo. Featuring the vocal talents of Sophia Marshall, the story she paints is supported by a wonderful, darkly humorous cartoon video. An animated cadaver hilariously acts out her notions of positive living.
Other tracks also destined for a single release include: ‘Loving You’. It’s a song written around love lost. A bouncing house composition lays the foundations for Sophia Marshall's beautiful vocal that narrates the many facets to be found in loving another person. ‘Better’ again echoes jazz-inspired drums behind Sophia's vocals, drawing attention to how so many people are lost on their devices, missing out on the awesome world around them. A catchy chorus chants the notion behind this song, i.e., that you ‘could be better!’ This single is also supported by another fantastic video featuring the same comical, deceased character introduced through the ‘Good Morning Sunshine’ video.

Los Angeles-based ASHRR are back with a new cut which comes from their forthcoming Sunshine Low album which they have re-interpreted as their ASHRR Soundsystem alter ego, while System Olympia also steps up with a remix on this fine new package from 20/20 Vision. In the hands of the latter, 'What's Been Turning You' is a remix with plenty of hi-fidelity cosmic details over mid-tempo deep nu-disco drums. The version from ASHRR is a chugging and Italo-tinged classic with loose-limbed and jumbled drum funk and plenty of bright, shiny arps. A great collection then.

DJ Feedback

Glenn Underground:
"Nice!"

Bill Brewster:
"ASHHR Sound System mix doing it for me."

DJ Sprinkles:
"Yes I like it."

Pete Herbert/ Disco Deviance:
"Yes Yes loving System Olympia versions herb. Dirty low slung biz."

Massimiliano Pagliara:
"Great stuff!!"

Max Essa:
"This is wonderful, love the System Olympia mixes!"

Franck Roger/ Real Tone:
"Yes!! I like the 3rd remix."

Sean Johnston / A Love From Outer Space:
"Really nice!"

Dicky Trisco:
"Loving this sexy stuff."

Sam Fawcett/ 6 Music:
"Added to the list of recommendations!"

The scenic artist and multi-instrumentalist CLARAGUILAR moves from performing arts to cinema as a composer and live performer. Over the last few years he has created soundscapes that blend electronics and sampled elements with orchestral arrangements, becoming one of the main names of the Spanish theater scene when it comes to soundtrack and sound design creation.

After her acclaimed EP 'Mystery is All' Lapsus is proud to present 'Figura', CLARAGUILAR's debut album, a heartfelt tribute to her connection with the scenic world, and especially with the operatic universe. The starting point of this project was born with the concept of an "invisible orchestra", an imaginary that aesthetically becomes a reality on stage thanks to the collaboration with the Barcelona studio Oscila, as well as with the help of the stylist Joan Ros, who has been in charge of the costume design.

'Figure' is a space in which electronica, ambient, and chamber-pop coexist; all under an operatic halo full of drama. Once again, the producer locked herself down from late 2022 to the beginning of 2023 to compose all the tracks in a very intimate and closed composition process. The album dives into the melodic landscapes, merged with orchestral samples and chopped voices containing mysterious messages inside.

Each track is a pixelated lightshow and a live electronic instrumentation, presented onstage as an elegant performance with an expansive emotional range

Repress.

MFM044 sees the reissue of the cult Spanish studio project Música Esporádica with their incredible one off, self-titled album.

Another Suso Saiz side project, this one grew out of his work with his band Orquesta De Las Nubes, who were themselves the subject of a Music From Memory compilation last year.

The idea of getting Orquesta De Las Nubes to collaborate with Glen Velez and Layne Redmond arose after the two American musicians visited Spain during a series of seminars on frame drum techniques in 1985. Having met Glen Velez some years before in Madrid whilst Glen was performing with the Steve Reich Ensemble, Suso Saiz and Glen Velez quickly formed a strong friendship over their mutual love of non-Western music and the potentials of repetition within music. The two would play, talk and drinks for many hours in Suso’s studio space whenever Glen was in Madrid.

During one such session in 1985, Glen and Suso would be joined by Orquesta De Las Nubes and Spanish friend and musician Miguel Herrero. With exciting new ideas flowing quickly and easily, Suso decided to immediately call Track Studios in Madrid to see if they might have a space to record some of the material. With just a few days available the group would record for about 12, with what Suso would describe as ‘incredible fluency’, by which time they would have recorded the album they would later title Música Esporádica.

After its release 34 years ago Música Esporádica sounds as stunning as ever and Music From Memory are delighted to be able to share the fluency, spontaneity and close friendship which fuelled the recording of this amazing album.

repressed !

Foremost international techno outlet Drumcode is delighted to announce the release of its next full-length album, 'Satellite', by enduring Italian techno talent Sam Paganini.

Though he has been active since the mid nineties, recent years have been hugely successful for Sam, with searing techno EPs coming on revered labels such as Riche Hawtin's Plus8, Sven Vath's Cocoon and of course, Adam Beyer's Drumcode. In his time he has been responsible for underground hits like 'Zoe', 'Polyester' and 'Fire In My Arms', all of which demonstrate his dynamic understanding of sexy, dark and hypnotic techno grooves and at the same time have earned him plenty of great Beatport chart positions as well as respect from the best in the game.

Incredibly, 'Satellite' is Sam's first full-length album. Informed by his DJ gigs at legendary places like Berghain in Berlin and Cielo in New York, the album starts with a dystopian bit of sonic scene setting, as if a space ship is charging up ready to take off.

Coming from a diverse background of equal amounts hip hop and rock, the producer behind the alias of nrl:ndr got into dance music late in his musical career. After playing in kraut-oriented bands like So Many Mammals, parts of that group reformed into the live techno outfit Tren Né, with the goal of fusing techno elements with live drums. Playing for illegal raves with a punk-like energy, nrl:ndr has cemented his relationship with his machines in service of the dance floor.

But his solo debut on blundar is quite far removed from that scene. To understand this music, one should be aware of the conditions under which it was manufactured. Reluctant to consider himself an artist in the traditional sense, nrl:ndr makes his music free of anticipation and without apparent goals. To glean into this outré musical space is like putting one's ear to the boarded up windows of the photograph that adorn the front sleeve.

The album makes extensive use of the Roland JV-2080, a sample-based synth rack from 1996 with a distinctly clean sound. Our producer dives deep into the expansion cards (labeled after genres like “Hip Hop” and “World”) for curious and sometimes cheesy samples. But he also forces the JV-2080 to do things which are not its forte, like the arduous task of programming decent kick drums.

Another technique that is testament to his experimental view on music making, is the idea of using sketches of unfinished tracks with different time signatures, and mash them together into something new - of which the results of one of these experiments can be heard on the closing track and its bilingual conversation between ambient and tribal.

Full of stunted rhythms and eerie melodies, the unclassifiable nature of the music of nrl:ndr lies somewhere in the vicinity of IDM, classical avant garde and private press synth. From the epic opening track - echoing the post-kraut drumming style of Michael Shrieve - to juggling with chopped up vocal samples and treading into almost trap-like territories on A4, he crosses into a multitude of genres without getting his hands too dirty with nostalgia.

We are so excited to present to the world the 3rd and final instalment in Danny Tenaglia’s GU Trilogy, Danny’s mixes have been a huge part of our DNA for many years, with his seminal Athens and London mixes forming the part of many people’s favourite DJ mixes of all time, Brooklyn is a stunning addition to that heritage and we can’t wait to release this album to the world.

This is the Vinyl Edition #2 of the album, curating a stellar selection of techno and melodic house. "As a native of Williamsburg, Brooklyn, this compilation is not only a celebration of my roots but also a tribute to the dynamic and ever-evolving nightlife that ignited and guided my musical career back in 1975.” Danny Tenaglia

Monty Luke release ‘Nightdubbing’ LP on Rekids.The Black Catalogue bosses' second album explores dub-infused dance music and, following the recent two EP drops on Rekids, will be released on Radio Slave’s imprint on 29 March. Succeeding part two of Monty Luke’s ‘Nightdubbing’ series on Rekids, the US-via-Berlin artist unveils an album of the same name on Radio Slave’s lauded Rekids imprint. ‘Nightdubbing’ encompasses the first two instalments and adds five more tracks of intricate sonic material, completing this gorgeous work of art already supported by Fred P, nd_baumecker, Louise Chen, and Laurent Garnier. Luke’s ‘Nightdubbing’ album starts in the club, with the rave-primed ‘40 Acres And A Terabyte’ utilising the rich melodies of deep house alongside the crushing weight of subs. It is followed by the title track, with ‘Nightdubbing’ taking a more traditional house route, its soothing sounds enveloping the listener while honing in on that reverb sweet spot. Black Catalogue boss and former Planet-E label manager Monty Luke’s timeless ‘Nightdubbing’ effortlessly traverses deep house and techno rife with bass-rattling low-end and experimental rhythms. It is no surprise, then, that the album is heavily inspired by ‘70s and mid-80s dub reggae, seeing Luke incorporate and modernise the genre’s iconic rhythms, spoken word poetry, and spacious bursts of harmony across the LP. ‘Bob Molly’ picks up pace with nods to Caribbean dem bow-like rhythms of old, Monty Luke filling the space between its infectious beat with tumbling percussion and echoing plucks. Tracks like ‘Supernova’, ‘New World / Old Future’ and ‘Starstorms’ return to the modern-day traditions of club music while ‘Future Mystic’ and ‘Avant Garde Dance Hall ‘, again find room in between the dancefloor and sound system listening sessions. Monty Luke spent ten formative years in Detroit, where the city's unique musical spirit influenced him immensely. He has since distilled this experience into the music he has released on labels like Rekids, Planet-E, Hypercolour, and his own Black Catalogue. His raw, dub-infused sound comes with plenty of futuristic designs, and this final complete iteration of ‘Nightdubbing’ continues to push the boundaries of his music.

Perhaps a drum is a space wrapped in material.

With some excitement the space and the material interact to produce vibrations, which we hear. Separately, yPLO prepared some sounds in advance of a performance based on the components of a speculative drum kit

ob TRU was performed and recorded live on 6/8/18 at Cafe OTO. During this live performance yPLO used amplified mylar, floor tom bass drum, mixers, audio recordings and microphones.

The recordings were mixed and edited into 8 discrete tracks.

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yPLO (Paul Abbott & Michael Speers) is a project about imaginary drums and rhythms, using acoustic percussion and synthetic sounds.

Michael Speers is a musician from Northern Ireland who works with various sound materials — using drums, computer, microphones, feedback — in performance, installation and composition. Other collaborators include John Wall, Louise Le Du, Olan Monk, Niklas Adam, Lee Fraser and Seijiro Murayama.

Paul Abbott is a writer, sound and performance artist. He has played at venues and festivals internationally and was a resident at Cafe OTO. He completed a PhD at the University of Edinburgh under the supervision of Florian Hecker and Nikki Moran, and is currently undertaking research at Royal Conservatoire in Antwerp. He is also the co-founder and editor of Cesura//Acceso, a journal for music, politics and poetics.

Bright Magus is an instrumental quintet born under the influence of Miles Davis' metaphysical electric period, a visceral and magical passion always shared by Giovanni Calella and Leziero Rescigno. Davis' most eclectic and psychedelic period, that of recordings for Columbia from 1969 throughout the 70s. Albums like “In a Silent Way”, “Bitches Brew”, “A tribute to Jack Johnson”, “On The Corner”, “Big Fun” made them immerse themselves in one of the most fascinating experiments that Miles has generated in his long and prolific career. We are talking about music that is difficult to fit into one genre, in these masterpieces you can feel the contemporaneity of that historical period. Electric Jazz, Funk, Psychedelia, Rock, Afrobeat, Ambient, drag you into something absolutely new, mysterious and sometimes furious. Just a year ago Giovanni and Leziero took courage and started recruiting musicians who had to have the right attitude and knowledge. Guitarist Alberto Turra was the first to be interested in the project, then came Mauro Tre, pianist and keyboard player and Gianni Sansone on trumpet. All seduced by Miles and in love with that magical period.

Before making the first album "Jungle Corner", the band did some live shows to amalgamate all the ideas that came out during the improvs recorded by Tullio Treffiletti in the trumpeter's home studio (later baptized Selim Studio). At the Isola Studio in Manuel Agnelli's space and with the help of the very talented Guido Andreani, Bright Magus then recorded in three days live all the material which in the meantime had been enriched with more structured melodic themes and less casual drafts . Mauro's contribution was very important in this. The finalization of the album was then managed by them in the small "Diabolicus Studio" taking care of editing, post production and mixing.

Guest on the album in two songs, Enrico Gabrielle of Calibro 35 on flute and clarinet.

The cover design is a work by Barba Ughi alias BAX.

A classic slice of mid nineties UK House Music with some of the key figures of that period all on 1 Record!

Armed with soft chords, slick 90's drums licks, and rolling low-ends alongside a vocal samples flipping at the heart of both sides.


"I want to explore deep space
and uncover the hidden treasures there
there is a land of just men"

Dr. Mateo, Blixx and LaRoxx continue to surprise and to release new hit singles. 6 years after the first LP, we finally managed to compile material for the second album. Chasing Ghosts, as this is its title, is also the title of the penultimate single that became a huge hit on streaming platforms. The album also includes such gems as VIVA LA VICTORIA, AT THE DISCO and STOCKHOLM IS CALLING.

Slush Records, the brainchild of London-based DJ Lora Mipsum, unleashes its first release, a much called for reissue of Andy Falconer’s finest EP from 1995 ‘Transmissions’. Remastered from the original DAT, it’s an introspective, absorbing and enticingly expansive roam through the realms of downtempo, electronica, progressive house and experimental sounds.

Best known for his work with The Orb between ‘91-‘94, you’ll also find Falconer’s name nestled in the credits of many other seminal works including albums from The Art Of Noise, Hypnotone and System 7. It’s no surprise then that the Transmissions EP, that landed in 1995, captures the essence of the early ‘90s expertly. An amalgamation of genres within each track, blurring the lines masterfully between them all.

Opening the EP, ‘Afghan Receptor No.9’ plots a driving orbit, rolling seamlessly from a dubbed out intro, into a progressive warper. A track that builds eagerly in intensity, with layer upon layer of mind-bending synths, a whomping bassline, and even Falconer’s old Canon printer sampled to top, tail and weave into the sonics of this track.

On the B side, the title track is an immersive, all-encompassing lunar excursion that engulfs you within Falconer’s soundscape odyssey. Centred around a spacey stuttering synth, hypnotising Roland S-50 harp and dream-inducing keys, it’s a spellbinding swell of emotive brilliance, interspersed with moon landing transmissions that reverberate through your brain.

Finally, like a slip back through memories in a dream, ‘Koda (Dreamscape No.1.1)’ is a psychedelic, ethereal and haunting slice of experiential ambience that provides the perfect closing sequence to this magical EP.

Transmissions takes all of Falconer’s knowledge and production prowess, creating three tracks that nod to those he’s worked with in the past, yet plotting its own course to a far off dimension.