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Proudly presenting, ‘Калі ты запытаеш (If You Ask)’, a brand new, blissed-out pop production with a ‘70s AOR touch, by the ever-on-point SOYUZ (СОЮЗ). Coming at a period between albums, the single features guest appearances from the sensational musicians, Biel Basile (O Terno, Sessa) and Anthony Ferraro (Toro Y Moi, Astronauts, Etc.). Friends of the band, they add their signature touch on the drums and synth respectively. To complete the package, SOYUZ back the title track with a short but sweet, Wurlitzer-laden, MPB-tinged number, ‘Tenório’.

‘Калі ты запытаеш (If You Ask)’ tells the story of lost dreams. A track that can be interpreted either as a bittersweet longing for childhood times, or for a native place you can’t return to. For the writer Alex Chumak he suggests, "In my case, as in the case of many Belarusians, it’s both".

For this song, Alex chose to sing in his native Belarusian tongue. As he explains this language "to me feels underrepresented in pop music, also it’s a beautiful legacy and sonority that I wanted to share with the listeners of our project around the world". One of the key inspirations was a Belarusian band “Песняры” (“Pesniary”), who produced a host of great progressive folk, jazz fusion and AOR, from the ‘70s to the ‘90s, predominantly sung in Belarusian.

Another key influence was the music coming out of the Brazilian state of Minas Gerais in the ‘70s, drawing inspiration from the sentimental and harmonious music of Beto Guedes, Lô Borges, Fernando Oly and Wagner Tiso.

Having parted ways with their drummer Anton, SOYUZ needed to find a new way to produce songs. The answer was to go remotely. Alex contacted the brilliant Biel Basile, who had recorded Sessa's contemporary classic ‘Estrela Acesa’, in which Alex also participated. Utilising Biel and Sessa’s newly built studio in São Paulo, SOYUZ had Biel record the drums directly to tape to get the rich sound they were after. Adding the final magic into the mix, California’s Anthony Ferraro provided a beautiful Solina String Ensemble synth arrangement, with drummer/recording engineer Albert Karch expertly assisting with the production.

To capture the essence of the single visually, Alex and the Brazilian one-man-industry visual artist Gabriel Rolim, spent a blazing sunny May day in Berlin shooting film and stills – one of which became the perfect cover image. We hope you enjoy this little nugget of SOYUZ mastery, a sweet taster to savour while the new album is recorded.

In the intricate maze of Tokyos neon heartbeat, Yuki Takasaki, known as Altone, creates a world where time and sound dissolves into dub techno. Altones work, steeped with an old-school sonic palette, is a symphony of resonating bass lines, rustic layers and delicate synths, crafting a port rait that connects the fleeting with the timeless. Altones music t ranscends mere sound, offering an invitation to explore the shadowy corridors of consciousness and minimal dub aesthetics. Each original track unfolds like a tranquil journey through an urban nocturne, haunting and beautiful in its harmony. Brendon Moeller, a master of dub techno, reimagines Altones >Self Replication< In two distinct yet sonic territories. The first remix pulses with a futuristic rhythm, its syncopated beats dancing on the edge of awareness. The dub remix, by cont rast, plunges into a vortex where liquid acid intertwines with hypnotic bass lines, conjuring a dreamscape infused with laser guided drums and crystalline texture. Through these remixes, Moeller crafts a sonic voyage that weaves through the complex tapestry of the dub landscape and keeps reminding us that the territory is still vastly unexplored.

The world was a different place in June 2020. Most of us were coming out of a first lockdown and accepting limitations, new fears, and changes in our lives. There was some hope things were going to be better, optimism in the summer, a new beginning. For some, like Molero, it was. He released his first album in June 2020, one he had been working on over the previous years. “Ficciones Del Trópico” felt like a discovery, the synths approached a new world, raw, full of wonder, fresh. It was the sound we needed, the horizon we were longing for.

Four years have passed. Molero spent most of that time thinking about and creating the music for “Destellos Del Éxtasis”. If “Ficciones Del Trópico” lived in the depths of the Amazon jungle, “Destellos Del Éxtasis” releases itself from a physical location/idea and creates upon symbolism and the abstract. The more we listen to it, the more we get lost in how he created music that is shapeless, no angles, constantly morphing, transforming into something else.

Like magic, alchemy, but also like visions, hallucinatory visions, or dreams if dreams could step out into reality. And the more we get lost, the more we are convinced the music from “Destellos Del Éxtasis” is part of us, of our body, present as a permanently passing cloud. It gets into dark places, moving constantly into new ground, testing feelings, emotions and how they gravitate with sound. There’s something different in each track. Like magic. Not magical music (but there’s an argument for that). We prefer music for magic. Ritualistic, celebratory, transformative and increasingly visual. Close your eyes, it will open your perception. Follow the ecstasy, let yourself go. The reward is here.

The most famous and highly successful trance compilation worldwide is Talla 2XLC’s Techo Club series that always topped the charts and download shops. After 67 magical episodes in February 2023 Techno Club has celebrated its 25 years anniversary with the ultra large Best of 25 Years 4 CD edition. After 25 magnificent years of DJ battles and exceptional DJ mixes between DJ Talla 2XLC and his brilliant globally known guests including Taucher, Kai Tracid, Tom Wax, Scot Project, Cosmic Gate, Aly & Fila, Jerome Isma-Ae, Alex M.o.r.p.h., Woody van Eyden, Markus Schulz, Allen Watts, Ralphie B, Metta & Glyde amongst many others, trance fans can experience the mouthwatering and highly satisfying recap with the Best of 25 Years shinning edition. Two Mixed CDs perfectly arranged by the trusted hands of Talla 2XLC and the resident Techno Club DJs LXD and Bluefire to keep you dancing 24 hrs and 2 Unmixed CD’s with eternal trance classics for club and radio DJs who wish to educate their audience and incorporate these timeless jewels in their digital collection and DJ sets.

After thousands of requests via Talla 2XLC social media ZYX proudly presents the vinyl edition of Technoclub 25 Years vol.1. In two brilliant vinyls, trance aficionados will enjoy 12 of the most highly requested trance classics from the vaults of the iconic Technoclub compilations.

The 1st vinyl includes the legendary Jam & Spoon Watch Out For Stella Remix of the most significant trance track of all times Age Of Love, then the balearic Ocean To Shore Club mix of the melancholic On The Run by the late legend DJ and producer Tillmann Uhrmacher. Final track in A side the highly energetic Fly Away by Vincent De Moor in the most powerful remix by the German duo Cosmic Gate. On the flip side Jorn van Deynhoven Remixes RAM’s eternal beauty RAMsterdam. The legendary team of Nalin & Kane represented by their remix on Lustral aka Space Brothers blissful and oceanic Everytime. Lastly the well known Sunrise by Ratty aka Scooter side project with the rough tribal main section and the sunkissed feel good breakdown. The 2nd vinyl will bring tears of joy with Talla 2XLC remix on the highly euphoric Sky by Dito. The epic Ronski Speed remix of the countless times remixed trance classic 1998 by Binary Finary and finally the still crowd pleasing Dreams by the Australian Quench. The D side is all about Talla 2XLC productions including his brilliant remake of the fantastic The Meteor, followed by the highly uplifting Xijaro & Pitch remix on Pull, the epic Talla’s co-production with Junk Project. The final track is dedicated to psy-trance community with Zyrus 7 aka Talla 2XLC psy-trance project with the fast moving anthem Lost in Space. The growing fanbase of trance vinyls will adore this great collection of the finest trance anthems from the past, present and future carefully selected by Talla 2XLC and his Technoclub team mates.

Celebrating the 30th anniversary of Jhelisa's classic debut album 'Galactica Rush' the album has been remastered at Abbey Road by Miles Showell, who mastered the original version, and remixed in Dolby Atmos/Spatial Audio by Jimmy Douglass.

Remastered from the original 1/2" tape, the album will be available in Hi Res digital and re pressed on Vinyl.

'An album of exquiste quality and class from one of the UK's finest Soul singers' Music Week Oct 8 1994

Cuttin' Grooves series return on TNT Records. Mental and raw reissue of some of the
best tracks from master Todd Terry. Ultra-Rare Old School stuff!

Since ten years Galerie Kurzweil enriches the electronic club scene and has made a name for itself worldwide, not least thanks to excellent bookings and its impressive sound system. To celebrate its anniversary, Galerie Kurzweil releases a 3 x color vinyl compilation with beautiful artwork by Jofeca and exclusive tracks by renowned artists Gerd Janson (aka DJ Oyster), Cinthie, Lauer x Johannes Albert, Sound Support, Wolfram, Move D and its residents Thomas Hammann (aka Retina Dreams), Terry Lee Brown Junior, Lui Hill, Phonk D, Lukas Lehmann, Levitation Venue and Accent Circonflexe. If you want to get hold of this sexy collector's item, you should pre-order directly – the compilation is limited to 400 copies.

A sonic portal to a parallel universe where neon-soaked dreamscapes transform the stark realities of a post-pandemic world. Music for a forgotten future, where echoes of the 80s cast long, enigmatic shadows through a rich tapestry of emotion that charts a journey from isolation and fear towards healing and hope. This is the journey of Season One and Season Two, the debut companion albums for the solo project of Italian composer Battaglia, both out this fall on Four Flies Records.

In 2020, as the world retreated onto itself due to the COVID-19 pandemic, Battaglia entered the recording studio. Driven by a desire for experimentation, she decided to focus on the classic synths that have made history to create a sonic and emotional alchemy that reimagines the 80s to resonate with our current experiences and sensibilities.

Drawing inspiration from the cinematic magic of iconic early-80s films, and especially the haunting soundtracks of Tangerine Dream and John Carpenter, she crafted a soundscape that goes beyond nostalgia to capture the spirit of a generation navigating uncertain times.

Season One and Season Two explore the complexities of a world grappling with lethal pandemics, climate catastrophes, and nuclear disasters through themes such as longing, fear, and hope, set against a scenario that blends elements of dystopian and post-apocalyptic science fiction and, at times, horror.

Season One delves deeper into the darker aspects of this new reality, evoking a sense of unease and uncertainty, occasionally interspersed with soothing flashes of light. In Season Two, while darkness still lingers, the sonic landscape is infused with a sense of optimism and determination, offering glimpses of a possible salvation.

With Battaglia's signature blend of dark wave, synth-pop, suspenseful electronica, and cinematic vibes, Season One and Season Two create a sonic world that is at once hauntingly familiar and utterly captivating -- the perfect soundtrack, one is tempted to say, for the countless sci-fi/horror-fantasy series that have been flooding streaming platforms in the last decade.

The covers of both albums were designed by Eric Adrian Lee, who conceived them as two sides of the same image, two versions of a world in crisis but whose ruins contain the potential for rebirth.

Battaglia's Season One and Season Two will be available on black vinyl LP starting from October 25th. Digital versions of both albums will also be released on the same date, featuring five bonus tracks (two on Season One and three on Season Two).

A sonic portal to a parallel universe where neon-soaked dreamscapes transform the stark realities of a post-pandemic world. Music for a forgotten future, where echoes of the 80s cast long, enigmatic shadows through a rich tapestry of emotion that charts a journey from isolation and fear towards healing and hope. This is the journey of Season One and Season Two, the debut companion albums for the solo project of Italian composer Battaglia, both out this fall on Four Flies Records.

In 2020, as the world retreated onto itself due to the COVID-19 pandemic, Battaglia entered the recording studio. Driven by a desire for experimentation, she decided to focus on the classic synths that have made history to create a sonic and emotional alchemy that reimagines the 80s to resonate with our current experiences and sensibilities.

Drawing inspiration from the cinematic magic of iconic early-80s films, and especially the haunting soundtracks of Tangerine Dream and John Carpenter, she crafted a soundscape that goes beyond nostalgia to capture the spirit of a generation navigating uncertain times.

Season One and Season Two explore the complexities of a world grappling with lethal pandemics, climate catastrophes, and nuclear disasters through themes such as longing, fear, and hope, set against a scenario that blends elements of dystopian and post-apocalyptic science fiction and, at times, horror.

Season One delves deeper into the darker aspects of this new reality, evoking a sense of unease and uncertainty, occasionally interspersed with soothing flashes of light. In Season Two, while darkness still lingers, the sonic landscape is infused with a sense of optimism and determination, offering glimpses of a possible salvation.

With Battaglia's signature blend of dark wave, synth-pop, suspenseful electronica, and cinematic vibes, Season One and Season Two create a sonic world that is at once hauntingly familiar and utterly captivating -- the perfect soundtrack, one is tempted to say, for the countless sci-fi/horror-fantasy series that have been flooding streaming platforms in the last decade.

The covers of both albums were designed by Eric Adrian Lee, who conceived them as two sides of the same image, two versions of a world in crisis but whose ruins contain the potential for rebirth.

Battaglia's Season One and Season Two will be available on black vinyl LP starting from October 25th. Digital versions of both albums will also be released on the same date, featuring five bonus tracks (two on Season One and three on Season Two).

Tim Bourne gets the sub-label rolling with a hard-hitting four-track release!

The Bali-based producer leaps head-first into concocting the sounds he knows and loves best, resulting in an ornate collection that gleams on the dancers as they blossom through the late hours.

Mike Shannon & Felipe Valenzuela team as Calcio Club to deliver a stellar package of minimal house grooves.

Not so long ago in 2017, the first release on Michiel Claus' and Ailsa Cavers' Basic Moves saw the light of day and especially the shine of night. Produced by founding father Walrus, BM01 set the tone for a record label that focuses on releasing hidden archives from the 90s, whilst combining them with modern club music from the here and now. By highlighting the musical heritage of the Belgian electronic music scene, the label illustrates the continuity between past and present, history and shaping identities of 21st-century artists, undeniably building on the strong foundations of their forerunners. Seven years and nineteen releases later, Basic Moves is rounding off the series with BM20, a final double 12'' by one of the major figures from the Belgian underground: Circadian Rhythms also known as Dj Deg. After many years of collecting, deejaying and producing music, his musical spectrum ranges from synth, library and wave, to jazz, funk and disco, from house to techno. His journey started in clubs like Bocaccio (1988 - 1993), and La Gait? (1979 -1989), where young Deg came across deejay's like Olivier Pieters or Eric Beysens who made him choose the path of becoming a devoted disc jockey himself. BM20 is a sonic witness of Deg's first musical encounters with his machines, revealing a withdrawn selection of six bedroom patchwork tracks produced between the years of '93 & '99, a time without the internet or user manuals to help you solve the riddles of technology. Though only at the very beginning of his creative process, Deg's unique personality is nevertheless already clearly identifiable: blending techno with jazz, where the sharp edges of 16-step drum-sequences are smudged and bent in different directions. In the lower countries, the second half of the 90s was a period of fast & funky, happy Detroit, 140 BPM techno. Whenever Deg was not oscillating between record shops or gigs and had a moment on his own, mostly during morning hours after the club, he would spend his leftover energy in the studio. Either by himself or with his loyal ally Mike DMA, he would benefit from these moments to slow down and give space to a different, introverted sound - processing moods, feelings and thoughts. This record therefore gathers only a few of many (unrecorded) one-shot live sessions which were never intended to be shared - and only existed for the love of music and its power to take you beyond all things known. Thank you Deg for sharing your music and giving us a glimpse of your universe. Without your productions, your memorable warm-ups and closing sets - many of us would not be where we are now, and Basic Moves might never have been founded. As a last note to a closing song, BM20 is about being fully committed to the music and the club, a medium and place of fruitful settings for encounters, creativity and growth. Where dreams and ideas have a chance to exist, being almost ready and thought out to shape future times to come - and many party nights. Gurl, December 2023

A full tank of gas, the gentle glow from the radio dial, & stretches of open highway await, Forever Gamblin’ On You meanders through miles of soulful AOR, funky folk, & dusty soft rock obscurities. A follow up to Sky Dust Drifter, this compilation was gleaned from American private press oddities & rarities of the 70s & 80s, all of which are seeing their first official reissues on this album. A celebration of love, rebirth, and exploration radiating like the warmth of a loved one from the passenger seat.

Featuring “Feeling The Fire”, a jazzy, AOR grooving declaration of love and desire taken from the sole release from The Mad Brother. The compilations’ title track “Forever Gamblin On You” by Petroc And Pals, features an echo-laden folk rock recollection of hard feelings delivered with swelling guitar in a mournful soft psychedelia. Angie Pepper’s “Miss You Too Much” dwells on a past love, rolling along with an effortlessly cool rhythm section, while Roy McComas croons of his manifested “angel of love” on the swirling psych folk rocker “Girl Of My Dreams”.

Forever Gamblin’ On You unfolds as a hopeful yet equally melancholic collection of nomadic anthems, primed for a memorable journey along the back roads of familiar American landscapes.

Kirk Degiorgio is back on Neroli with a follow up of his acclaimed 2023 ‘Robe Of Dreams’ album. In this new record, aptly entitled ‘The Statement’, Kirk widens the jazz/modern jazz palette and it almost feels like an extension of the previous one, but this time exploring more unbeaten paths. Free-jazz drums meet ambient pads, soaring vocal harmonies from Beauty Room vocalist Jinadu meet funky breakbeats, some channeling of classic Lonnie Liston Smith/Marcus
Miller era jazz-funk all adds up to another feast of sonic delights from
Degiorgio.

Lucky number seven arrives on our Prozpektiva series and for this record we turn to Cyan85. To date more so known for his electro-breaks sounds and although is technically not a new and up & upcoming artist we are happy to present a new sound which sees the producer turn to House Jams only on this record, serving a variety of vibes from dreamy to creepy, over funky to stumpy.

**Big Tip. Wild (fully licensed comp of truly all sorts - put together with love**

Over the course of the last few decades many wonderfully talented musicians have made some amazing, unique, and sometimes lost music. Here is some!
Spanning Gospel, House, Zouk, Experimental, Techno, Disco, Folk & Electro 'Second Chapter' in the 'Compassion Cuts' Compilation Series

Dark Entries picks up Severed Heads yet again for Ear Bitten, a double LP reissue of some of the band’s earliest material. As originary Aussie industrial legends - although founder Tom Ellard would balk at being branded as such - Severed Heads shaped the continental subcultural sound with their kitchen electronics, chaotic tape loops, and quietly infectious nursery-rhyme-esque melodies. In 1979 Ellard, Richard Fielding, and Andrew Wright abandoned the moniker Mr. and Mrs. No Smoking Sign and adopted the edgier name Severed Heads “to pretend to be an industrial band such as Surgical Penis Klinik & Throbbing Gristle.” Noise-rockers Rhythmx Chymx had placed an advertisement in a local shop looking for a band to share the costs of pressing an LP. The Heads set about recording a Dadaist racket on a pair of open reel dictaphones and a cassette deck using a TRS-80 computer, Kawai Synthesizer 100F and Korg Mini Pops drum machine. Ear Bitten was released in 1980; original copies now fetch obscene sums, in part due to most of Severed Heads’ copies perishing in a fire at Richard’s home. The band’s next endeavor was a cassette titled Side 2, a collection of free-form experiments fashioned as Ear Bitten’s second side. For this reissue, Dark Entries has collected both Ear Bitten and Side 2 on the first disc, presenting the album in its full form. Disc two includes the original first version of Ear Bitten, which was only unreleased because it was recorded in a format not suitable for pressing. The album comes in a gatefold sleeve designed by Eloise Leigh and includes photos, liner notes, and reproductions of the original Xerox inserts from the 1980 issue. Ear Bitten delivers 22 tracks of pain you can dance to!

Calm's superb Before album is the gift that keeps on giving as Hell Yeah serves up a collection of the best remixes from it. Willie Graff, Gallo and Aura Safari all step up on a fresh 12" that lands this summer.

Before arrived on double vinyl in 2022 after a CD-only release in Japan in 2021. Since then it has become a Balearic mainstay and go-to record for lovers of lavish downtempo sounds. Now, remixes of three tracks from it all appear on this one record with Ibirican-American Willie Graff going first. He is a deep house don who has held several key residencies around the world while dropping his sublime sounds on the likes of Leng, Music For Dreams and many more. His remix of 'I Love You' is a gloriously horizontal one with blissful piano keys rippling over the bubbly drums and bass. Yearning reed melodies add an emotional romantic edge to make this a standout in any setting. Then comes Gallo, the Balearic Gabba Sound System member and resident at Berlin Balearic nightspot Buena Onda. His 'Tropical Hinterhof' remix of 'I Love You' is expertly exotic and soothing as mellifluous keys rain down over a groove as smooth as silk. It's a heart-achingly beautiful sound that will make for truly special moments on the dance floor.

Italian collective Aura Safari then offers two different remixes. They are master musicians who have served up a superb double album Islands Dreams here in late 2023 where they showcased their escapist blend of dub, jazz, Afro-cosmic, Balearica and boogie. First up, 'Feel It' (Aura Safari Desert mix) is six minutes of oriental melody over loose drums. There's a playful feel to the dancing piano keys and richness in the percussion that makes this one a sophisticated sound for both early evening warm-ups or moments of late-night reflection. 'Kunpoo' (Aura Safari Daydream mix) has a nineties feel with its gentle breaks, hypnotic string loops, and sustained chords. They break over you in gentle rays of earth and euphoria to ensure utterly blissed-out results.

These four versions all bring sophisticated dance floor energy to the timeless originals.

This project in a “12 inch form has been created to push the talent of the students from the online music production courses of Alex Font. Giving the students the first chance to sign a record on their names and got fully promoted under the Acmé branch.

Here you can listen to a variety of sounds that we are sure will fulfill different scenarios or set time of your forthcoming performance.
AF MPC (Alex Font Music Production Course) goes live online weekly • if you want to be part of the group just go to the IG page for more info.

Repress!

Can you feel it? It’s the “Rush Fantasy”…Striking whilst he is hot is Berlin based Norwegian - Henriku. He follows on from his sought after “New York Popcorn” EP with another atmospheric house and minimal exploration, laced with distinct rave energy. The animated four-track vinyl lands on Oslo based, Det Gode Selskab, an ongoing chemistry between artist and label have led to this hedonistic trip, captivating club sounds from a producer in his element. Live out your fantasy, and your wildest dreams.

Taking the lead is “I Do”, a seductive trip of house nostalgia, driven by chunky drums and a pulsating bass line, teased into the trip by the provocative vocals. The title track “Rush Fantasy” strips things back mechanical minimalistic movements converse with a hypnotic sub heavy bass, swaying under the influences of the after party.

On the flip is another steamy encounter with “Pillow Talk”, the vintage samples go hand in hand with the rugged and raw energy of the track. Mysterious textures melt your mind in “Nicotine 4 U”, a smoky vibe for the small hours of the night.

Henriku’s free spirit lives up perfectly to the DGS ethos, a safe haven for artistic freedom, making this a perfect home for the “Rush Fantasy” experience. “It Feels Sooo Good!!”.

Warriors Of The Dystotheque begann als Onlineprojekt des irischen DJs Jonny Mac gestartet und ist nun zur vollständigen Band gereift, die sich zum ersten Mal im wirklichen Leben traf und ein Album mit kontrastierenden Sounds, Ideen und Einflüssen aufnahm. Aufwachsen in Nordirland, die 90er Rave-Tage, Leben im sonnigen Florida, ein Mashup aus Live- und elektronischer Musik, Freundschaft und Verlust, Ibizas Sonnenlicht und dunkle Wolkennächte, Verzweiflung und Erleuchtung, die Kraft der Musik, sich aufzurichten und Freude und Harmonie zu schaffen. Jonny Mac: "Es fühlt sich an, als hätten wir die Punkte auf diesem Album verbunden, es klingt mehr nach einem Zusammenkommen der Band als nach einem Onlineprojekt. It's a beautiful thing." Lp mit 12x12" Artprint.

Samosa Records cranks up the summer groove with another sizzling release in the outstanding (Re) Funk+Head series – a collection of juicy tracks from the Samosa back-catalogue selected and re-edited by the man himself, De Gama.

This sumptuous vinyl cut of ITALO Funk and Boogie kicks off with Mexico’s finest, The Funk District and the enigmatic ‘La Rapina’. This is pure, unfiltered Funk District chemistry from the first bar. Snake hips guitar, rolling bass and that super-solid 4-4-4 beat pound into your consciousness whilst the hypnotic chant and Latino-infused vocal tempt you into sin.

Next up on the A-side is Samosa head honcho DeGama and his deliciously refreshing ‘Piňa Colada’ - a new edit of the original 2011 version never previously released on Samosa. And what a mystery box it is. Tight beats, punchy bass, looped synth and house-tinged high-hat lead us to a haunting, melodic vocal breakdown. There’s a subtle Afro flavour to this one, definitely for sipping cocktails in a hammock or Caribbean beach bar.

On Side B Italian Maestro Paul Older takes the beats down several notches with the explosive ‘Daboom’ – the DeGama Re-Groove of Paul’s first vinyl release way back in 2019. This is a straight up, mid-tempo peacock strut down Funksville Boulevard. Possibly wearing a Zoot Suit. Imagine having breakfast with Herbie Hancock and you might get an idea of just how funky this tune is. He’s passing you the eggs and you’re buttering the toast.

The last track sees DeGama delve into his dark magic box for the mind-melting, film noir themed ‘Higher’. The tempo is scaled right back to 92bpm for this portrait of pain, joy, lust and hallucinogenic dreams. ‘Higher’ reveals a side of DeGama that we know lurks in there, but only sometimes makes it to the surface. Smokey, sassy and sultry, this is definitely one for the dimly-lit after party.

The latest episode in the (Re) Funk+Head has set the Samosa bar even higher. This simply has to be in your summer record box and don’t you dare leave home without it.

THE WORLD'S FIRST EVER 'LIVE-TO-DIGITAL' ALBUM RECORDING, RELEASED IN 1979.
This album - dedicated to Einstein on his centenary - is now viewed by fans as one of the highpoints of Giorgio's career.

Cash Box magazine named Moroder as Producer of the Year on the basis of this album. American music trade paper Record World rated 'E=MC2' as 'unquestionably Giorgio's most accessible work'.

Giorgio rode the disco tidal wave of the Bee Gees in the 1970s and went on to become a legendary producer, performer and composer. In 2013, he was once again at the forefront of a major comeback, through his work with award winning act Daft Punk, and his high profile continues to date.

Pleasure Planet's kaleidoscopic debut album has been a long
time coming, but good things come to those who wait.
Developed over years of late-night studio improvisations,
'Pleasure Planet' is an affectionate and colorful patchwork of
the New York City-based trio's knotted in§uences that's
suspended between the rave and the chill-out room, weaving
glistening pads and chunky basslines into vocal earworms
and warm, saturated rhythmic cycles. Bandmates Andrew
Potter, Kim Ann Foxman and Brian Hersey enter into a
lysergic dialog with their discrete personal musical histories,
drawing inspiration from vintage EBM, ambient music and
heady early '90s West Coast rave sounds and launching
these classic elements into a transcendent new sonic
universe.

DJ Support: Jamie Jones, Reboot, Dennis Cruz, Raresh, Reelow, Dimmish, Fabe, Archie Hamilton, Rich NxT, Chicks Luv Us, Christian Burkhardt, Terry Francis.

This EP is inspired by love and dreams and continues her quest to find the perfect blend of emotional yet minimal melodic beats. Opener 'L'Amour' radiates Lazic's signature sounds with a slick bassline and melodic chords that convey meaningful emotions under female spoken words. It's a seductive world of warm pads and silky beats that cast a hypnotic spell. The fantastic 'Todo El Universo' features the vocals of Lazic's Spanish friend Monica. The title translates as 'all the universe' and is a favourite line from Paulo Coelho's novel The Alchemist about accomplishing your dreams. It's a deep and comforting groove with soft drums and pillowy pads that soothe the soul and are perfect for more intimate dance floors.
Remixer Nu Eau is a pivotal part of Romania's minimal scene with a meticulously crafted sound that has taken him to the likes of Gettraum and Memoria Recordings and he also co-founded the Uvar imprint. His version of ‘L'Amour' is more up tempo but no less heady, with lush cosmic synths doing an elegant dance over the compelling beats.

Spanish pair Los Suruba have done it all over the last 20 years - released hundreds of tracks, played thousands of gigs, established their own network of record labels, held residencies everywhere from Ibiza to London and crafted countless underground hits. Their remix of ‘L'Amour' is serene and cerebral with paranoid voices drifting through the mix and rippling chords keeping you afloat in the cosmos.

‘Diré’, Idrissa Soumaoro new album, comes as a surprise to Malian and international audiences. Composer, singer, guitarist and master of the kamalen n’goni Idrissa Soumaoro presents here a beautiful collection of songs on his third album, Diré, named in honor of the town where he met his wife and where his first daughter, who is no longer with us, was born.
In 1971, after his studies at the INA in Bamako, Idrissa was transferred to Diré to teach music at the lPEG (Pedagogical Institute of General Education). He was 22 years old when he arrived in Diré. Idrissa has always been nostalgic for this beautiful place in the 333 Saints of Timbuktu region. As Idrissa sings in ‘Diré taga’ (Going to Diré), the track that opens the album, the city evokes deep emotions for the artist, as if it were a long-lost friend or lover. Celebrating the memory of the city of Diré leads the artist to retrace stories and lived situations that marked and animated him in years gone by: ‘I really miss the people, the colleagues, the friends and that period. Despite the time that has flown by, I would ardently wish to see Diré again’. Today, at the difficult time Mali is experiencing, remembering the city of Diré in the 1970s also means for the artist not giving up hope for peace: ‘The memory of Diré, a beautiful town in northern Mali, strengthens my hope for peace, union and real independence for the happiness of my people’; as he sings in ‘Sababou’, ‘Without hope, there is no life. Together we will succeed’.
The ten highly original compositions of the album are strongly based upon traditional music of Mali, but Idrissa’s life experiences, travels, education, collaborations and personal musical career have led him to compose and perform music with other influences. As Idrissa quotes: ‘My inspiration generally comes from the donso n'goni, a Bambara instrument played by and for hunters throughout Mali. This is a pentatonic instrument, similar to the blues exported to the USA by black African slaves. I've also spent so much time playing a variety of music that my music also reflects rumba, salsa (as well as Bamanan blues and a few derivatives: jazz, country, soul, rhythm and blues) etc. I have looked for and hope to have found my own form of expression from these influences’.
Throughout the album, his strong, clear voice sings in French, Bambara and English. It rides seamlessly upon a complex rhythmic sea of distinctly West African stringed instrumentation and percussion with accents of flute and balafon. There are keyboards in a few songs, but these, happily, do not dominate the music as we hear so often in today’s music. This album presents the music of a mature artist who has ‘been there, done that’ and returned to celebrate his country, his roots and his dreams in a flawlessly produced collection of songs of love, reassurance, fatherly advice and hope.
The album already has a long history: it was initiated in 2012 by Marc-Antoine ‘Marko’ Moreau, former producer and manager of Amadou and Mariam. Moreau had plans to produce the album and invited Idrissa Soumaoro to start recording in Manjul's studio in Bamako. When Moreau suddenly passed away, work on the album was still missing. The pandemic still added time for the production to continue. With the help of Climax Orchestra, arrangements and orchestrations were finalized in France. At the artist's behest, 'Diré' will finally be presented to the public by Mieruba, the independent label based in Ségou, the home of the blues in Mali. 'Let's stand together so that Mali can flourish': from conception to production and distribution, this is the message that 'Diré' carries.

It is 1983 and you've just stepped into your Ford Capri with your girlfriend Julie. You live in Harlow, but in your head you're really somewhere near Salou in Spain, next to your yacht. But the thing you really love is soul and they play nothing but at Sups in Loughton. OK, so It's not 1983 at all. It's 2014, but listening to this electrofied soul, will put you back in the zone. Tom Findlay, one half of Grammy-nominated Groove Armada, has put this collection together: a stamp of authenticity in itself. Tom has also put a few of these through the edit wringer, reworking many of the tunes for maximum towelling sockability.

You'll probably recognise a few tunes. There's Mtume's incredible 'Juicy Fruit', still sounding advanced and modern, while 'I Specialize In Love, mixed by disco legend Tee Scott, is even older yet sounds equally perky.

The 1980s was a period that was pretty much owned by Minneapolis thanks to Prince and former cohorts Jam & Lewis and the latter weigh in with a pair of killer productions, Thelma Houston's 'You Used To Hold Me So Tight' and Alexander O'Neal's 'What's Missing'. And since this is Late Night Tales, there is always our exclusive cover version, this time done by Findlay and Tim Hutton's Sugardaddy, who've delivered an ace version of 'Don't Look Any Further'.

Grab yourself a bar stool, order a cocktail, take a sip and make believe you're lying on a shagpile carpet with the soul star of your dreams.

Bill Brewster

Automatic Soul, like my previously compiled Late Night Tales Music For Pleasure, is based very much on a sound. It's a sound that I feel has been overlooked: 80s R&B-infused music, with drum machines, synths and invariably brilliant vocals. It's formed the bedrock of my rare groove sets for all the years I've played. It's not the most fashionable, but to me it's the perfect marriage of technology and soul, hence the title for this album, Automatic Soul. There are plenty of songs I could have included, and no doubt some that I shouldn't, but I've tried to represent what's best to me from this era. It's not a classic Late Night Tales. It's a pretty personal journey, which I hope some of you might be willing to share... Tom Findlay Groove Armada September 2014.

The Mental Groove Classic series returns with a treasure trove of rare and hard to find tracks plucked from the personal collection of label founder Olivier Ducret, a pivotal figure in Switzerland's acid house and rave-era party scene.

On Volumes Two and Three of the series - the first installment hit stores in 2017 - the Mental Groove and Musique Pour La Danse label founder takes us back to the turn of the '90s, a time he spent promoting parties in fields, squats, forests, warehouses and former factories in and around Geneva and behind the counter of a record shopof the same name. While others in Switzerland's emerging dance music scene gravitated towards US house and garage, Olivier and his crew opted for a bass, breaks and techno-focused sound inspired by regular trips to clubs, raves and record shops in the UK.

Drawing directly from his own record box and a memory bank full of snapshots of euphoric dancefloor moments, Mental Groove Classics volumes Two and Three sees Olivier reaching for cuts of near-mythical rarity, genuinely overlooked gems, and undeniably brilliant tracks that have left a long-lasting impression on the local raving landscape. It's an autobiographical audio document, historical archive and personal musical statement all rolled into one, inspired by a moment in time where musical boundaries were being redrawn in a wave of carefree optimism and freedom inspired new rave scenes across Europe and far beyond.



Matt Anniss

Original artwork by Soho's Brain Club co-owner and artist of early British club culture Mark Wigan.

File under house, breakbeat, techno and warehouse rave music

Coordinate is back after a break, marking the beginning of a new chapter for the imprint with this 4 track EP produced from one of the mind behind the label, Denaila. Expect an evergreen, energetic house oriented record, with a deep and emotional feeling.

"Deep Dancefloor Jams of African Disco, Funk, Boogie, Reggae & Proto Electro Music 1977-1986reggWhen a passionate DJ and crate digger intuitively selects music for a DJ compilation, without artistic compromise and without the burden of trends, AfroMagic vol.1 emerges from the depths of his soul. Herewith we present the new favorite phonomancer’s tool for all the DJs who experience the dance floor as a sanctuary and a source of freedom and love.

The most fundamental thing that defines African music is that it was created for dancing. In African dance, there is often no clear distinction between ritual celebration and social recreational entertainment – one can seemlessly merge with the other. Because dance and rhythm have more power than gesture and more richness than words, and because they express the deepest experiences of human beings, dance is in itself a complete and self-sufficient language. It is truly an expression of life with all of its emotions – joy, love, sadness and hope – without which there is no African music and dance. For the African people, dance and music are integral parts of the body and soul, thus depicting the expression of life, current emotional states, visions or dreams. Through hypnotic repetitive music and dance, people communicate with each other and with the souls of the dead, the animals, the plants, the stars, the Gods… They free the body and the spirit through ecstatic states, reaching a healing sense of freedom, happiness, and satisfaction.

Throughout history, this transcendental perception of rhythm and dance originating from Africa, influenced popular music worldwide, thus creating new living and breathing forms of musical genres – freeing them from their industrial mold. Funk, disco, soul, boogie, reggae, dancefloor jazz etc., developed in parallel all over the world. It is foolish to perpetually discuss where they originated from and who were the creators of all these fiery dance floor genres – being obvious that they directly or indirectly originate from the African continent and its people who were as well, over the centuries, influenced by disturbing socio-cultural factors of colonialism. However, no one can enslave the soul. The seeds of free and uninhibited dance and rhythm, true to their original form, initially first sprouted onto the USA’s fertile fields of clubbing and popular music while later evolving in other parts of the world.

The disco funk club culture manifested itself as a phenomenal explosion of artists and grooves in the second half of the 70s in the USA. Shortly it spread around the world continually reigning over charts in its various forms – to this day. Clubs emerged where the DJ is an almighty shaman and the dancers are a tribe united under one roof. This urban ritual had and still has a single goal: togetherness, freedom, and love. Clubs have evolved into temples where we free ourselves from the burden of a consumerist lifestyle and suppressed emotions – a place where we receive love and give love – to be who we really are.

Disco funk clubbing was such an influential global phenomenon that its influence can be observed in various other genres from the disco funk era i.e. progressive rock, which mutated by layering complex rock arrangements with a disco funk groove resulting in hybrids, highly sought by today’s diggers, producers and collectors. The profit-hungry music industry of the 80s very quickly commercialized the original disco funk sound by amputating of its original Afro groove to be able to easily ‘sell’ it globally. So, the original disco funk groove became underground again, and it has remained so until this day. Today, for a DJ to unearth that ravishing groove that will lead the dancers to the stars, he must dig passionately like a true musical archaeologist in search of that groove that picks you up after just a few initial beats. That groove which forces the atoms in your body to vibrate, that groove which unites the body and releases the burden.

The AfroMagic compilation series is created as a tool for real DJs who stick to the aesthetics and essence of clubbing.

This continuation of the Afromagic compilation by DJ Borovich was created in a private jam session which served as an escape route from intense and complex love problems.

Unconsciously driven by intuition and emotion and following a live mix tape framework where many tunes are arranged instantaneously, Borovich narrates his story with a strong rhythm that cuts loose even the most blocked off energy nodes and restores happiness to the spirit and the body.

The musical experience of the groove is completed by the lyrics of the songs, which symbolically give DJ Borovich universal answers to his questions arising from questioning the boundaries, nuances and other forms of love.

When considering that Borovich’s selection was created to facilitate an escape from the burdens of reality through rhythm and dance, we can be sure that Afromagic Vol. 2 will have a 100% uplifting, energized and spaced-out effect on the listeners.

The intro to A1, “Feeling Happy” by the Apostles, introduces us to an experienced and slow, cool and irregularly tight groove containing a confidently sung chorus that instantly gives a sense of freedom and hints at the remainder of Afromagic Vol. 2: “I’m gonna feel happy, ´cause I know I’m gonna be myself.” After the anthemic song mantra of the Apostles, Aigbe Lebarty uncompromisingly continues with a dirty disco rhythm. Acidified by accented synths that elevate it to shamanic levels and held together by a female tribal choir, we embark on an uncompromising ritual disco journey. Without a moment to take a breather the prog funk band Mighty Flames and their Road Man launch a highly vicious and raw, thick funk groove spiced with acid synths and dirty RnR breaks, raising the bar for the A side. Jimi Hendrix himself would surely praise it given the ultimate freedom and virtuosity in the solo sections. With the last tune on A side DJ Borovich decides to burn the floor with Geraldo Pino’s psychedelic, acid furious groove and lyrics which describe this HEAVY part of love problems: “The way she walk, the way she talk, the way she does a funky dances, she is really really heavy – that woman”.

While the A side represents a compact intoxicating afro groove machine that separates us from reality and lifts us up to the stars in over 23 minutes, the B side is a treasure trove of proto sub-genres gems. This selection represents the mission of the Afromagic: to find singular events in African recorded discography of popular music from the 70s and 80s that give evidence to the birth of new modern genres on the Dark Continent even before they emerged in the U.S.A. or Europe. The beginnings of electronic music influenced genres are represented back to back with 80s synth jazzy pop, all painted in African colours.

The B side opens big with Jake Sollo and a huge reggae blues number singing about the humiliation of a man – goosebumps guaranteed! “You think I’m nobody that’s why, you don’t know the way for me, I’m somebody I know, I found myself at last”. Adolf Ahanotu then enters the scene with a hard sliding tackle at B2 and an exotic rare disco funk dancefloor napalm. A ‘Sensation’ that would ignite even the coldest of introverts. While we approach the end of the compilation the narrative revolves again and takes a different turn. No less and no more than to the proto-electro that Baad John Cross serves us in “Give Me Some Lovin´”. The fat and repetitive broken electro synth groove, championing many early 90s electro tracks, is presented here without hesitation and with constant tension accompanied by a mantric chorus “Gimme some, gimme some, gimme some looooovin’, EVERBODY!!!”. Finally, we’re guided to the end of Afromagic Vol. 2 by Eji Oyevole’s 80s synth pop style presented in an authentic afro manner, giving us a glimpse at yet another released Afromagic edition, as well as giving an answer to DJ Borovich’s love problems. A smoothly broken electronic rhythm resembling electrified highlife sounds, carried on the wings of a virtuoso dreamy saxophone on top of which Eji presents the most intimate parts of himself. Finalizing the track with a symbolic chorus, on the surface referring to the dancefloor and simply having fun, but in actuality referring to the skill and happiness of living: “I´m a dancer, I can dance”. So, get up and dance among the stars with DJ Borovich and Afromagic.

Junee (Fhunyue Gao and Zoé Sjollema) is an encounter between a violin, a theremin, two voices and two synthesizers. An intimate investigation into the formation of the duo, which mirrors the take-off into imaginary worlds, sometimes obscure, sometimes celestial. The point of friction between experimental and pop opens up in-between worlds of melodious stories, non-places and sonic squeaks. After several successful concert tours since 2021, the duo were keen to work on a first musical release bearing the name Océan Oublié / Assordante and containing seven songs of different lengths and stylistic colors for a total duration of 30-35 minutes. The album was recorded in Geneva by Augustin Sjollema and was developed on the compositional foundations already acquired, during residencies at SMEM (Swiss Museum Of Electronic Music) and « Südpol Theater Luzern » and will be released provisionally in spring 2024, on the Geneva-based label Stone Pixels Records.

Océan Oublié / Assordante will represent the first official release of the Junee musical project. The two-part title evokes the very source of the duo's thinking around the concept of duo. A project with two names, an interstice between two universes, a two-sided album: on one hand, Océan Oublié tends towards melancholic pop, and on the other, Assordante is more experimental and theatrical approach to the « JUNEE » Sound.

Now-Again Records presents catalog-wide reissues of Latin music propellant Joe Bataan’s legendary Ghetto Records. Next up in the series - La Fantastica. This brash, big band Latin orchestra from Brooklyn debuted on Ghetto Records with an underground Salsa album which also contains the beguiling, English-language Psychedelic Soul of "Latin Blues." Ghetto Records was Joe Bataan’s way to get over on “The Man” and out of the ‘hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in its discography languished out of print - until now. These are the definitive reissues of these albums, licensed from Joe Bataan, with his oversight and input into a 16 page oversize book by Pablo Yglesias that details Bataan’s larger-than-imagination life and his little Latin label that could.

Adiel's "Il Significato Delle Parole Remixes" EP Returns with Captivating Remix Package includes Donato Dozzy & Pinch

In the ever-evolving landscape of electronic music, where sonic landscapes morph and intertwine, Adiel's "Il Significato Delle Parole" EP stands as a testament to the power of artistic collaboration and sonic exploration. Now, this boundary-pushing release returns with a mesmerizing remix package, featuring reinterpretations by acclaimed artists Donato Dozzy, Pinch and Adihell.

Originally conceived as a collaborative effort between Adiel and musician Flavio Accorinti, "Il Significato Delle Parole" delves deep into the intersection of techno and experimental sounds. Its tracks serve as conduits for a journey through fragmented realities, weaving together elements of cyberpunk futurism and introspective dreamscapes.

Leading the remix charge is none other than Donato Dozzy, whose masterful touch breathes new life into the EP's ethereal atmospheres. His reimagining of "Nulla Resta" takes listeners on a hypnotic voyage, layering intricate textures over a pulsating rhythm, while maintaining the track's emotive core.

Joining him is Pinch, a visionary producer known for his genre-defying approach to bass music. His Remix of "Sospesa" injects the track with a sense of urgency, blending dark trip-hop aesthetics with futuristic sound design to create a truly immersive sonic experience.

The EP also includes Adihells' captivating remix of "Nulla Resta," returning after leaving an indelible mark on the original release. This rendition adds another layer of depth and intrigue to the already mesmerizing collection. It's worthnoting that Adihells isn't merely an alias but rather a darker iteration of Adiel, embodying a distinct sonic persona.

Adiel is a visionary artist whose sonic explorations defy conventions and push boundaries. With a keen ear for intricate soundscapes and a fearless approach to experimentation, she continues to captivate audiences worldwide.

With these remixes, Adiel's "Il Significato Delle Parole" EP transcends its original boundaries, inviting listeners to explore new dimensions of sound and emotion. As words continue to shape our understanding of the world, this release serves as a reminder of the transformative power of music to unite and inspire.

Embrace the journey and let the music speak for itself.

All those creatures, standing there, making time. Fury eyes, golden dust on artificial fog. Dancing on glass, repetitive poems, looping long after the last loop looped away. Oriental acid, frenzied samples, low hanging film noir suspense. This is DALO. Or not. She is many. Dry maniac downbeat is her craft. Or dark-ish pop-not-pop. There is dub, trance, techno, too. She is known for releases on labels like ESP Institute, WARNING, or Tresor. She is part of bands like Init. She played them all, those clubs, that matter, and those that matter more. Live. Alone. As an artist. With a band. Here she comes with her first album. On the R.i.O. sphere. Her homebase. A trusted zone for experimentation. She brings “Duster”. Seven tunes twisted in different dreams. Fast, slow, veiled, enchanted, haunting trenchant. She sings. These songs. To dance. For a different, stripped-back trance. DALO. Her record longs for a stage. Exporting grace, face to face. A work like a mirror. Hypnotizing. A psychedelic portrait of a performer. Nuanced industrial veils ceremonial journey music. Claps, Jungle. Desolate vocal snippets. A whirlwind of words. All those chords, hanging there, kick drum time. Fury eyes, golden horns amid acid fog. Dancing on glass, cyclic synth-lines. DALO. Duster. A-round-and-a-around. Circulating the ritual.

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…

Mit "New Blue Sun" veröffentlicht André 3000 ein unerwartetes, rein instrumentales Album, auf dem Andre Flöte spielt und von anderen talentierten Musikern begleitet wird. Auf dem von Andre 3000 und dem Multiinstrumentalisten Carlos Niño koproduzierten Album "New Blue Sun" spielen Nate Mercereau, Surya Botofasina, Deantoni Parks, Diego Gaeta, Matthewdavid, V.C.R., Diego Gaeta, Jesse Peterson und Mia Doi Todd.

Diese limitierte 3-LP-Vinylauflage ist auf 180 g schweres schwarzes Vinyl gepresst und verfügt über ein ausklappbares Poster, bedruckte Innenhüllen und eine Notiz des Künstlers.

Argentinian artist and Calypso’s Dreams label hear Richer guides a tour of integration and transformation with his new release The Globalization. The four tracker enticed summer early with the opener Tropicana and makes her stay with Catch the Rhythm’s playful yet spacious grooves.

Side B continues the tour from bass to house, stopping for catchy layered classic house drums in Bring That Bass and closing with modern electro synths in The Global House.

Ja, funky Leute, hier kommt eine neue frische Veröffentlichung der großartigen Betty Black. Nach den ersten beiden Cover-Releases "Cry Me A River" und "Sweet Dreams" hat Skyline Recordings nun die Ehre, Bettys Originalmaterial herauszubringen. Pandora's Box ist somit geöffnet und voller Schätze. Frech, funky und vorgetragen mit der unglaublich sinnlichen, aber bissigen Stimme von Betty, einer Sängerin, die man sich nicht entgehen lassen sollte.

The oblique and annihilating transmissions emanating from the workshop of Polar Inertia have been issued intently and surely over the last decade and more. Environment Control grants access to the biggest consignment to date, with eight tracks of mesmeric play that are fraught with clinical impulsiveness and astringent rushes.

Opening with a didactic panegyric to transmutation, Polar Inertia swiftly counter our recoil with an ominous display of pressure on 'Smothering Dreams'. The intensity is sustained—as if to suggest that there's now no way back—until the menace relents on 'Artic Horizon', its shimmering gravitational pull amounting to an idealism after the unease that delivered us here.

Brownswood Recordings releases the 7th edition of their Future Bubblers Compilation. An expansion of Gilles Peterson's network supported by Arts Council England, the ongoing talent discovery and artist development scheme focuses on developing unsigned talent and building audiences for new left-field music. With support from PRS Foundation as Talent Development Partners, the professional recording, manufacturing and physical release of Future Bubblers 7.0 is made possible. Unlike any other initiatives within music, the compilation acts as a springboard for the musician's careers, with the cooperative model providing direct revenue to the artists by a share of the profits, resulting in a sustainable income to work from. Previous Future Bubblers include artists such as Yazmin Lacey, KinKai, MC Snowy, Forest Law, Victoria Jane, NeOne The Wonderer and Kayla Painter, to name a few.

The 8-track compilation is a musically diverse collection of tracks, fusing genres across Alt-R&B, Dance, Electronic, Jazz, Rap and Trip-Hop. Opening the project, ROMY NOVA flaunts her hypnotic harmonies on a tender offering, 'The Way', whilst Sheffield-born Jackie Moonbather delivers a Funk performance on 'Separate Ways'. Up next, Ney Liqa's 'Blomster' captures a blend of Trip-Hop and Swedish-Pop, fusing her earliest musical influences before Birmingham's very own Landel's cloud-Rap excellence on '2 Many'. Maintaining the ethereal sonic, Petrelli Purple's 'Brisk' is reflective of his ability to curate a "miscellaneous north" sound, followed by MARYSIA OSU's 'Stryder' that highlights her self-coined "harps, beats, and dreams" ethos. Michael Diamond showcases his ability to float between jazz and electronic landscapes on 'Aether' before COEX rounds off the project nicely with 'Reflections'.

Repress!

When Network Records originally issued “Innovator” in 1991 we knew that the music contained within was timeless. At that time, of course, we had no grasp of how well Derrick’s epic soundscapes would time travel. We christened the collection - “Soundtrack For The Tenth Planet” - because it seemed like the music (and Derrick) had indeed arrived from another world.

The release has been acclaimed as iconic because Derrick, the madcap and maverick philosopher of Detroit Techno, introduced the concept of dance music with a musical and emotional agenda way beyond anything that had come before. Beats with beauty. Literally the strings of life. Where fellow musical geniuses Chic had previously urged everybody to simply "Dance, Dance, Dance" mood alchemist Mayday merged simple yet cerebral dreamscapes with strange and urgent complex dance rhythms and invited us all to Dance And Dream. And in a strange juxtaposed way helped birth the hedonistic Acid House scene with classics “Nude Photo” and “Strings Of Life”

The energy is frenetic, but merged with a new age ambience. The gems collected on this offering were iconic in 1991, now they cause mass hysteria when Derrick turns his one time musical experiments, created in a tiny room in Detroit, and turns them into epic concerts with orchestras and musicians across the globe. “Hand In Hand” existed in 1991 and we wanted to release it then, but it’s taken until now for the complete 13 minute recording to finally meet the world.
It will be revered, because like all of Derrick May’s music it is life affirming. Emotions Electric indeed.

The original “Innovator” release was housed on one single slab of wax. This time around we have expanded it to two discs to make space for “Hand Over Hand” and also so everything elsewhere - masterpieces remastered - can be presented in a complete and superior fashion. Whatever the tweaks, changes and updates etc all these years on, this music still sounds gloriously alien and groundbreaking. But there’s still no Tenth Planet.

"Innovator" remastered by Curvepusher, London 2019. Re-presented by Network Records in conjunction with Derrick May.

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.

Round two of Leo Zero's edit archive series sees four more favourites given the LZ treatment.

On the A you'll find a killer housed-up version of an New Wave classic, alongside a tight n' tidy beefed up slo-mo disco remaster and chop of a west coast rock beauty. On the flip, a chunky remake of Brit soul bomb as well as a curveball dubby, wonked out version of an alt rock rhythm that's flipped this one into a deep 5am groover.

Closely following a busy 2023, GiGi FM announces her brand-new record label, offering “Kiwi Synthesis Diary Vol. 2” to mark the debut. Sea~rène takes aim at dreamlike and ethereal electronic music to reconnect the subconscious and the cosmos through immersive storytelling. As the identity quote of the label says itself “We are Sea~rène swimming in-between supernatural tides, forever following the emotional waves of the universe”.

Already quite accomplished in her milieu through an acclaimed release on Bambounou’s Bambelabel, where she explored the relationship between bodily technologies and music, as well as through her residency on NTS Radio where she explores inter-dimensional sounds and shares her own musical palette, GiGi also continues to perform at strings of performances in the past years in settings like Berghain, Rural Japan, Draaimolen, Fabric, De School, Primavera, The Bunker New York, and Sustain Release. The French/Italian artist takes her productions further with this first release of her imprint. A continuation of her first self-released project, “Kiwi Synthesis Diary 21k,” in 2021, GiGi FM celebrates the exchange between her, as the owner of the journal, and its reader through euphoric soundscapes and vibrant psychedelia. Taking a step back from lockdown introspections, blurred lines between dream and reality like ambient and drony atmospheres, GiGi gives us a bent club record full of colors and life.

GiGi FM guides us through dreams of sonic environments and the adventures to be had through them. Some are characterized by evolving fractals and shifting landscapes like in the healing mushroom journey of ‘Amadamushies’ and the mythical Japanese Heron ‘Tsuru’. Combining steady rhythm and immersive ambiances, the result intends to soothe into a state of openness through kindly familiar territories. Sifting through the tracks, we find ourselves traveling fast through cosmic ecosystems like in the spiritual and cosmic teaching that “Tevora'' represents, as well as ‘Househopping (Keroppi)’ and “Sly Xupete Di Barcelona,” conveying the urgency to feel and create, even within difficult circumstances, while “Spazio Teletrasporto'' takes us on a hypnotic whirlwind trip into the depths of the cosmos and our inner consciousness. Through these chapters of a journey, a connection between the mind and the beyond is implied, and its importance is highlighted.

Deeply influenced by astrology, philosophy, and the cosmos; for GiGi, music is both a tool for expression and introspection. As a multi-hyphenate artist, she continues on her quest to push artistic boundaries and hold space for unique audience experiences. Whatever medium she may adopt, the result is a rich embodiment of the interconnectedness of sound, color, movement, and metaphysics.

Following a release on 3XL in the spring of 2023, k2dj, aka Ben Bondy, delivers an astoundingly diverse, gorgeously realized album with Por. Subliminal pop iterations, fever dreams of the anthropocene, love letters sketching the heat of bodies in motion; disparate sensations woven with care, delight, and total wonder.

TOBI's Nila Quest imprint follow-up on the debut success of the 'Arrival Of The Nila' EP from earlier this year with a brand new side series entitled Argentinian Breakfast. Volume One brings together a talented cast featuring Jovit and Ian Puchetti on the Dream Side with Bruno, TOBI and Dual Sense on the Sunset flip side. Dreamy, wispy, top shelf floaters from South America are the order of the day.

"Welcome To My World" is a collection of some of Daniel's most-beloved songs and is now available on vinyl for the very first time. These are the songs that built the legend...a must-have for the legion of devoted Daniel Johnston Fans as well as the perfect introduction for new listeners.

Welcome To My World serves as an introduction to Daniel Johnston, housing a number of his most acclaimed works. Johnston's music captivated fellow artists and fans with its childlike elements and lo-fi elements. The singer-songwriter and artist earned a cult following in the early '80s, sharing homemade cassette tapes of his music, and his prominence was established after Kurt Cobain was publicly seen wearing a shirt with Johnston's illustration.

I Talk To Water, the fifth album for Kompakt by Danish producer Kölsch, is the artist’s most personal statement yet. While all the trademarks that make his music so popular and powerful are still present – lush, melodic techno; swooping, trance-like figures; sensuous, shivery texturology – I Talk To Water is also a deep and intimate rapprochement with family and history, a beautiful, finely detailed document of loss and memory, and a tracing of the long, unbroken thread of grief that runs through our lives once we’ve lost those we loved.

The emotional core of I Talk To Water, then, is a cache of recordings by Kölsch’s father, Patrick Reilly, who passed away in 2003 from brain cancer. With time rendered elastic by the pandemic and its associated lockdowns, its sudden, alienating shifts in everyday living, Kölsch found himself reflecting on his father’s passing and ongoing spiritual presence, thinking about how best to memorialise such a significant figure in his own life. Those recordings opened a gateway, of sorts, for Kölsch to move through – a way to bring past and present together and entwine them in a sensitive, poetic manner.

Kölsch’s father was a musician – “touring in the sixties and seventies, in the Middle East especially, he was doing the whole hippy trail, playing guitar, and wrote some songs over the years,” he recalls. “But all in all, he decided to focus on family rather than pursue a musical career.” Reilly kept playing and writing music over the years, though Kölsch hadn’t listened to the material for some time: “I’d never had the guts to listen to it, because I just felt too fragile listening to his voice. It’s such a tough thing to go through.”

During the pandemic, though, Kölsch listened through the fragmented body of work that his father had produced over the years. “I decided I’m gonna finally release my dad’s music twenty years after his passing,” he reflects. “This whole album is about the process of loss, and for me it’s been one of my main driving forces in my musical life, the whole emotional aspect of whatever I’ve done has been based in that feeling that he’s not there anymore.”

Recordings of Reilly appear on three songs across I Talk To Water. His guitars drift pensively across “Grape”, offering a lush thread of melody that Kölsch wraps with clicking, driftwood rhythms and droning, melancholy bass. “Tell Me” is a lovely three-minute art song, a sadly beautiful reflection, minimally adorned with gentle keys and a muted pulse. And on the closing “It Ends Where It Began”, Kölsch lets his father’s acoustic guitar take centre stage for a lament that’s unexpectedly folksy, a guitar soli dream, which Reilly originally recorded in 1996. “He actually recorded it for my first album that never came out,” Kölsch reveals, “and I had it sitting around forever. That is purely him.”

These three imagined collaborations between father and son are poised and delicate. But their relationship also marks the gorgeous music Kölsch has made across the rest of I Talk To Water, from the itchy yet lush “Pet Sound” (titled in tribute to one of Reilly’s favourite albums), the flickering synths and yearning vocal samples that slide through “Khenpo”, the ecstatic shuddering that marks “Only Get Better”, or “Implant”’s slow-motion pans and subtle reveals.

There’s also the title song, where Kölsch is joined by guest Perry Farrell (Jane’s Addiction, Porno For Pyros), singing a mantra for internal reflection: “I talk to water / Searching for myself / Looking for answers / Oceans of you.” Farrell’s appearance brings another timbre, another spirit to the album, aligning neatly with his recent interest in electronic music. “He was completely taken by this idea of talking to water,” Kölsch says, thinking about the ways we collectively lean towards the natural world as a comfort and a listener, a guide through mourning, a way to map out the terrain of the heart. This mapping is something that Kölsch has proven remarkably adept at through the years; dance music for both body and mind, but also both for the here-and-now, and for the hereafter.

“I Talk To Water”, das fünfte Album des dänischen Produzenten Kölsch für Kompakt, ist zweifellos das persönlichste Statement des Künstlers bislang. Während alle Markenzeichen, die seine Musik so beliebt und kraftvoll machen, immer noch präsent sind – üppige, melodische Techno-Tracks; schwebende, tranceartige Elemente; sinnliche, fiebrige Texturen – ist “I Talk To Water” auch eine tiefe und intime Annäherung an Familie und Geschichte. Es ist ein wunderschönes, fein ausgearbeitetes Dokument des Verlusts und der Erinnerung, und es verfolgt den langen, ungebrochenen Faden der Trauer, der durch unser Leben läuft, sobald wir diejenigen verloren haben, die wir liebten.

Der emotionale Kern von “I Talk To Water” besteht aus Aufnahmen von Kölschs Vater, Patrick Reilly, der 2003 an Hirnkrebs verstarb. Durch die Pandemie und ihre damit verbundenen Lockdowns, die plötzlichen, entfremdenden Veränderungen im Alltag, fand Kölsch sich in Gedanken an den Tod seines Vaters und seine fortwährende spirituelle Präsenz wieder. Er überlegte, wie er eine so bedeutende Figur in seinem eigenen Leben am besten verewigen könnte. Diese Aufnahmen öffneten ihm sozusagen ein Portal, um Vergangenheit und Gegenwart miteinander zu verbinden und sie auf sensible und poetische Weise zu verweben.

Kölschs Vater war Musiker – “er tourte in den sechziger und siebziger Jahren, vor allem im Nahen Osten, auf dem Hippie Trail, spielte Gitarre und schrieb im Laufe der Jahre einige Songs”, erinnert sich Kölsch. “Aber alles in allem entschied er sich, sich auf die Familie zu konzentrieren, anstatt eine musikalische Karriere zu verfolgen.” Reilly spielte und schrieb jedoch im Laufe der Jahre weiterhin Musik, obwohl Kölsch das Material lange Zeit nicht angehört hatte: “Ich hatte nie den Mut, es anzuhören, weil ich mich einfach zu zerbrechlich fühlte, seine Stimme anzuhören. Es ist so schwer, das durchzustehen.”

Während der Pandemie hörte sich Kölsch jedoch durch das fragmentierte Werk, das sein Vater im Laufe der Jahre produziert hatte. “Ich beschloss, die Musik meines Vaters zwanzig Jahre nach seinem Tod endlich zu veröffentlichen”, reflektiert er. “Dieses ganze Album handelt von dem Verlustprozess, welcher für mich generell eine der Hauptantriebskräfte in meinem musikalischen Leben ist. Der ganze emotionale Aspekt von dem, was ich getan habe, basierte auf dem Gefühl, dass er nicht mehr da ist.”

Auf “I Talk To Water” sind Aufnahmen von Reilly in drei Songs zu hören. Seine Gitarren ziehen nachdenklich durch “Grape”, bieten einen üppigen Melodiefaden, den Kölsch mit klickenden, treibenden Rhythmen und dröhnendem, melancholischem Bass umwickelt. “Tell Me” ist ein schönes dreiminütiges Kunstlied, eine traurig-schöne Reflexion, minimal geschmückt mit sanften Tasten und einem gedämpften Puls. Und auf dem Abschlusstrack “It Ends Where It Began” lässt Kölsch die akustische Gitarre seines Vaters im Mittelpunkt stehen, ein überraschend folkiger Klagegesang, den Reilly ursprünglich 1996 aufgenommen hatte. “Er hat es tatsächlich für mein erstes Album aufgenommen, das nie veröffentlicht wurde”, enthüllt Kölsch, “und ich hatte es ewig liegen.”

Diese drei erdachten Kollaborationen zwischen Vater und Sohn sind ausgewogen und zart. Aber ihre Beziehung prägt auch die wunderschöne Musik, die Kölsch im Rest von “I Talk To Water” geschaffen hat, angefangen bei dem nervösen, aber üppigen “Pet Sound” (benannt als Hommage an eines von Reillys Lieblingsalben), den flimmernden Synthesizern und sehnsüchtigen Vocal-Samples in “Khenpo”, den ekstatischen Erschütterungen in “Only Get Better” oder den langsamen Schwenks und subtilen Enthüllungen in “Implant”.

Es gibt auch den Titelsong, in dem Kölsch von Gast Perry Farrell (Jane’s Addiction, Porno For Pyros) begleitet wird, der ein Mantra für die innere Reflexion singt: “I talk to water / Searching for myself / Looking for answers / Oceans of you.” Farrells Auftritt bringt eine weitere Klangfarbe, einen weiteren Geist in das Album, der gut zu seinem jüngsten Interesse an elektronischer Musik passt. “Er war völlig fasziniert von der Idee, mit Wasser zu sprechen”, sagt Kölsch und denkt darüber nach, wie wir kollektiv zur Natur als Trost, Zuhörer, Führer durch die Trauer neigen, um die Gelände des Herzens zu kartieren. Diese Kartierung ist etwas, in dem Kölsch im Laufe der Jahre erstaunlich geschickt war; Tanzmusik für Körper und Geist, sowohl für das Hier und Jetzt, als auch für das Leben danach.

A true work of art - opening things up in epic fashion with the lucid dreamscape.
Another adventure for Maximilian, another expertly curated EP touches down courtesy of EVIDEON Studio records.
Somehow, the world keeps turning and with it the MIKROKOSMOS universe keeps.

Better Together Records, a label created with the idea of unity at its core, aims to share the sounds of the beloved harbour city, Sydney/Eora.

For the first release on BTR, label boss Chetch takes the reins and delivers six analog ethereal cuts from his hard drive, creating an oasis of escape from the drivel of modern day.

By believing passionately in something that still does not exist, we create it. The nonexistent is whatever we have not sufficiently desired... In this OASiS we believe in the unreal and manifest the nonexistent...

Solace in unity at the end of eternity.

CHIWAX welcomes DJ Soch to the artist family!
We are very happy to present you this great DJ & Producer from Italy on our 39th edition. 'Keep On keep On' is a fantastic Disco House release with an outstanding remix byTurbo Jazz.

Kompakt unveils the third volume of Jörg Burger’s Velvet Desert Music compilation series, dedicated to music that hits the sweet spot between the cinematic, the (pop) ambient, and the psychedelic. With Velvet Desert Music Vol. 3, Burger and his friends wander afar, taking trips away from, or adjacent to, the dancefloor that’s acted so long as the crucible for the Kompakt aesthetic. Like its predecessors, it’s a gorgeous, lambent collection of late-night mood music.

Because it’s such a broad church, Velvet Desert Music admits all kinds of new experiences, as well, with Burger looking for music that "leads out of the desert into the velvet universe". Indeed, of all the volumes in the series, this third instalment feels closest to an album made by a true collective. The roster has changed, with new contributors Flug 8 and Seb Martel, both with his trio Las Ondas Marteles and with Chocolate Genius and Zsela as La Finca, joining regulars The Novotones, Mount Obsidian, The Golden Bug, Paulor and Sascha Funke.

Burger himself reappears, too, alongside Fritz Ackermann (of The Novotones), Max Würden and Thore Pfeiffer, in The Velvet Circle. Their contributions are pure lush life electronica: “Our Tribe” hitches a ride with a low-slung groove, flickering psychedelic reels of acoustic guitar traipsing across moody bass and taffeta layers of drone; their opening remix of Flug 8’s “Puerto Rico” gently introduces the album with softly tangling electronic tones, while guitars, drenched in reverb, pirouette in the background. A Mount Obsidian remix of “Sacrosanct” by Burger’s The Black Frame -project is a swirling treat for the ears.

La Finca’s electronics and voice miniature, “What Clouds Say”, is a masterclass in poetic restraint; Martel’s “Dark Mambo”, remixed by Burger, is one of the collection’s big surprises, for it indeed does what the title says, a drifting, surrealist take on the mambo form, full of pensive chords, rich with unrequited longing, a breathy saxophone whispering under the song’s sly rhythmic carriage.

Elsewhere, The Novotones chime in with a slyly propulsive, Krautrock-esque charmer, “Liberty Bell”, and the guitar-led tone-drift of “Valley of Oblivion”; Paulor’s “The Last Coke in the Desert” is a chiming, lilting dreamscape; Mount Obsidian are joined by vocalist Charlotte Jestaedt for two modern takes on early-hours art song, “Marole” and “Fade”; Sascha Funke’s “Mathias Rust” is a lavish dancefloor dream, vocal samples drifting through the song as it slowly envelops the listener in its opulent radiance.

This is just a taste of the rich pleasures of Velvet Desert Music Vol. 3, a triumph of a compilation that takes the psychedelic visions of its predecessors and looks for the desert within, a dusty kiss, a road-movie hallucination flickering on the listener’s eyelids, a cinematic projection from deep inside the mind.

'Imagination Is A Weapon' lautet der Slogan des neuen GUNSHIP Albums. Diese Aussage fasst das Kernthema ihrer dritten Platte zusammen. GUNSHIP lädt seine Zuhörer ein, die Macht der Vorstellungskraft zu feiern und sich auf die Suche nach dem Einhorn in ihrem eigenen Leben zu begeben. Taucht schwelgend ein in die Fantasie – findet Euer Einhorn. Die entschlossenen Träumer werden die Welt verändern, wenn ihre Visionen in die Realität umgesetzt werden. Mit ihrem dritten Album UNICORN sprengen GUNSHIP weiterhin die Grenzen des Synthwave-Genres. Zu den besonderen Gästen zählen: John Carpenter, Gavin Rossdale (Bush), Dave Lombardo (Slayer), Carpenter Brut, Timmy Cappello (Lost Boys), Health, Tyler Bates (John Wick, Guardians Of The Galaxy), Lights, Power Glove, Charlie Simpson, Britta Phillips (Jem) und Milkie Way (Wargasm).

What is a dream computer? With the right input we can compute our dreams, this means that you are a dream computer and so are we and if you have the chance to create your dreams, don't hesitate, you might surprise yourself.

For Fans Of: Laibach, Trepaneringsritualen, Ulver, Skinny Puppy, industrialized Dead Can Dance, Celtic Frost. FORGOTTEN SUNRISE is a band both legendary and current; inventors in one era, and innovators in the present day. Celebrating their 30th anniversary this year, the group has evolved and morphed over time into its current formation of Anders Melts, Kadri Sammel, and Jaan Pullerits. A huge part of the Estonian cultural landscape that comprises dark music, Forgotten Sunrise began life as a death metal band in the early 90s, part of the movement that spawned groups such as Amorphis, Beherit, Anathema, My Dying Bride, and Katatonia. As styles converged, and electronics entered the picture, the group incorporated newer techniques and a more industrial approach over time, consolidating their methods into a unique strain they call “OUTDUSTRIAL” – outsider industrial. elu is the first album in the “HALL-ELU-JAH” trilogy. Starting in the middle, the band has an expansive story arc set across 3 albums. In this first presentation of the trilogy, elu synchronizes the classic Death Metal style vocal with ethereal female voice, horror atmosphere, and pounding EBM rhythyms to create 8 memorable and visceral tracks. From high-energy dancefloor-fillers like “Orthotoxic Waste” and “Deep Emoceans” to heavy industrial grinders like “Near Bye” and “iSaid” to the emotional close of “Meating 8:08” into “Elukas”, the album provides a serene metamorphosis, guiding the listener through the many-worlds-as-one experience of Forgotten Sunrise. – Forgotten Sunrise are: Anders Melts – Vocals, bass, guitars, cymbals, djembe, thunder tube, knife and fork. Kadri Sammel – Vocals, bass, keyboards, shaman drum Jaan “Suva” Pullerits – Controlling the arrangements of chaos Ants “Ank” Lill – B(l)ack vocals on “Elukas” Recorded, mixed, and mastered at In Dreams 2020-2022 Artwork by Rene 13 Cover Picture by hellish.cav Executive Producer for Ohm Resistance – Alexandra Portaluppi

The dynamic duo of Komponente & Kurilo from the Ukrainian label Trance Pandemic are preparing for their next sold-out record. This “Defenders” EP is made from tracks, that were made before the full-scale Russian invasion in Ukraine and also it is the continuation of “For A Brave” EP.

The main track of the release, also called “Defenders” is a signature piece for their duo. Moderately slow and calm, that evolves into something bigger around the third minute. The mayhem of sounds with that hell’s bells also. And there’s a little Easter egg at 1:29. If you know the sample – you’ll smile for a bit.

The record starts with “Victory”. Bold, a bit broken at the beginning piece, that is also evolving. This time we’re talking about the structure. The straight one comes after that broken start. “Kharkiv Mnemonic” also has some bells inside, paired with a nice, bubbling acid and a heavenly melody a bit closer to the end. The calmest track on the release.

Last, but definitely not least (the choice for the pick was between these two from the B-side) is “Broken Dreams”. Still can’t get enough of that break that we know lately from Alec Falconer’s release on Art Of Dark (not that lately, to be honest) and a dozen of other tracks. Here it’s hidden a bit in the back, so we can hear another kinda trancey and melancholic melody in full.

Blending ambient, drone, krautrock, psychedelic, house music elements into a unique sonic universe... that's what Cloudland Canyon is known for! This American experimental music project led by Kip Uhlhorn comes with the release of their new self-titled LP on the always trustworthy Medical Records! The band continues to explore the boundaries of sound and space, taking the listener on a journey through lush soundscapes and immersive textures. Formed in 2002, Cloudland Canyon has released several critically acclaimed albums, including "Fin Eaves," "Lie In Light," and "An Arabesque."

Their recent releases have been produced by Sonic Boom from Spacemen 3/Spectrum. With each release, Uhlhorn has pushed the envelope of experimental pop music, collaborating with various musicians and producers to create intricate and otherworldly compositions. This time around Uhlhorn collaborated primarily with AI to generate and create a compositions that sound like they are meant for an alternate realm where both beauty and suffering are both present, but not at odds with one another. AI has helped Uhlhorn take one step further into the transfigurative looking glass.

The new LP, marks a new chapter in Cloudland Canyon's journey, expanding their sonic palette to include elements of techno and electronic music while still retaining their signature dreamy atmospheres. The album is a journey through a sonic landscape that is at once futuristic and nostalgic, evoking the feeling of driving down an endless highway into the sunset. Past musical collaborators have included some of the most exciting musicians working today, including Sonic Boom from Spacemen 3, Wayne Coyne & Kliph Scurlock of Flaming Lips, David Scott Stone of the Melvins, Unwound,& LCD Soundsystem, Dean & Britta from Galaxie 500 & Luna, and Jody Stephens from Big Star to name a few. "S/T" is a testament to Cloudland Canyon's ability to collaborate and create music that is both innovative and accessible. Whether you are a longtime fan or a newcomer to Cloudland Canyon's music, "S/T" is a must-listen for anyone interested in the possibilities of experimental music in the 21st century. With its combination of analog and digital textures, hypnotic rhythms, and expansive soundscapes, it is a journey you won't soon forget.

From the mountains to the sea as the region they were born in. Sometimes it's better to listen than to speak. Dmfl post-rock instrumental band deals with dreams and desires through its oneiric and cathartic compositions. Dmfl once again collaborated for their visual representations with the international street artist Millo, whose cover artwork,    tuned up and focused on how listening is a way to go deeper into the emotions, descending into the core of the sound.

2023 Repress

2023 Repress

Born under August sun,
in year of the dog,
brings luck for great times,
like a pup in summer.

D.Dan launches his own label, summerpup, as a home for his unique blend of deep, groovy, rolling sounds steeped in psychedelia. The label's playful name and mantra derives from heritage knowledge from his Korean roots passed down by his mother, based on his time of birth.

Expansion is the 7th EP on Belgium based Nightflight Records. On several levels it is a deft alignment of the label’s emotional techno aesthetic with Mihail Petrovski’s ability to deliver exquisitely poised music that drives deep into the mind and soul. The EP is a fine addition to his discography presented by the likes of Ferox, Common Dreams, Verdant Recordings & Distant Worlds over the last half decade.

Petrovski possesses an incredible appreciation of the history of deep techno and evidently distils that into his own craft, whilst adeptly melding a sound that is undoubtably his own. This 4 tracker, all original compositions, manifests an uncluttered platform to fully appreciate those talents. Elegantly programmed percussion is balanced with sumptuous basslines and pads but leave wide open spaces for heart warming melodies on each of these tracks.

Tsuris is arguably the most urgent on the record with a warm pressing kick. Omec switches around a superb elastic bassline. Dream Thief brings the tempo down but its innocent celestial melodies linger in the mind. Closing out with Circadian Rhythms, its broken percussion becomes the focus with a sophisticated nod to the finest of mid 90’s UK deep techno.