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Bristol's Jurango kicks off 2021 in fine style with the 'Retreat Ites' EP for the Livity Sound Reverse series.

From the paranoid echo of the title track to the dark mutant dancehall of 'Theeves', Jurango crafts heavyweight ice cold drum and bass rhythms exploring the outer reaches of soundsystem music in true school Bristol fashion, placing him amongst peers such as Laksa, Batu and Lurka.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Jon Hester returns to Radio Slave’s Rekids label with the second instalment of his ‘Converge’ LP, ‘Converge - Part II’.

The second part of 2020’s ‘Converge - Part I’, a body of music which saw enthusiastic responses from the likes of Surgeon, Lauren Flax, DJ Bone, Anthony Parasole and Jus-Ed to name just a few, sees the Berlin-based DJ/Producer and dancer generously expand on and refine his slick vision of techno on one of electronic music’s key labels.

By encompassing warm and soulful textures within club focussed grooves, Hester continues to explore the far reaches of both the musical cues picked up from his years as a dancer and formative time spent in the Midwest US, connecting influences from Chicago, Minneapolis, and Detroit.
Stretched across a double LP, the album opens with the spacious and icy ‘Stealth’ followed by the machine communications of ‘Artificial Intelligence’. The B-side sees a whirlwind of the synthetic in ‘Instant’ before ‘Contact’ swiftly picks up the pace with it’s warbling pads and slippery percussion.

On the second disc, ‘Circadian Slip’, custom-built for dancefloor pandemonium, continues with off-kilter leads and vocal snippets before ‘Shadows’ brings eerie syncopation to the proceedings. In the final stretch, ‘Silver’ maintains steady energy into the twilight hours, and the gorgeous ‘Wonder’ closes out the LP beautifully, providing a soft landing to an exceptional journey through Hester’s sound.

The music of porn movies of the 70s became the fad of diggers and Brigitte Lahaie an absolute icon of these years marked by sexual liberation. In 2020, feminist filmmaker Olympe de G. is embarking on the production of an inclusive and ethical

post-porn feature. Brigitte Lahaie, 64, activist for the right to die with dignity, plays the main role, driven by her deep desire to free the bodies and sexualities of women of her age. This film is certainly one of the most beautiful porn movies of the icon Brigitte Lahaie.

The soundtrack of the film is entrusted to Jb Hanak. A figure in the musical underground, this hyperactive has been multiplying projects for more than 20 years. With the group dDamage he formed with his brother Fred, he explored the frontiers of Hip Hop, IDM and electro. With Cobra, a punk rock group to be taken to the 14th degree, they crossed the lands of the absurd. At the end of 2020, he will release an album with actor Pierre Richard. At the same time, he exhibits his plastic works in art galleries ... hyperactive we have said.

Digging deep through old and new, Basso captures arcane woodland fusion, serene electronic suites and wide eyed Balearic bliss on this first Growing Bin compilation.

This collection celebrates those precious records which land in your life on their own terms. Even the most advanced digger will admit that chance is the secret ingredient in any successful haul. Sure, it helps if you know where to look, but if you arrive a day early at that secluded second hand shop, or an hour late at the convention, you might miss out on a rare sight of sound. But there are still ways to skew the odds in your favour. Even in the most crowded urban environment, a solitary tree soon becomes a nest, and Basso's fostered an abundant garden in his Hamburg hometown. A decade on and the Growing Bin is a safe haven for those exquisite sounds crowded out of the mainstream, the rare birds with the most striking song.

'Coffee' comes right after cocoa in the bin's headquarter, though start your morning with One Tongue and be prepared for a different kind of day. A witch's brew spiced with a hint of Durian and the early bird, this 1990 composition could be the blueprint for the Teutonic trance dancers beloved by the Salon set. A more meditative magic flows through the A2, a smooth blend of fusion guitar, softly syncopated drums and counterpoint keys from one time art-rockers Inandout. This Growing Bin favourite from their '93-95' LP sounds right at home beside the majestic melodies and spheric bass of Matthias Raue's 'Brücke am schwarzen Fluss 2'. Taken from the soundtrack to a TV drama filmed in Mali, this digital homage to African rhythm shimmies in step with New Age dancers from Mkwaju Ensemble and Louis Crelier. The A-side ends with the unbridled optimism of Kosmische maverick Hardy Kukuk. The synthesist hit the studio with friends Karsten Raecke and Andreas Schneider in 86, coalescing crystalline electronics and gentle guitar into tender chord progressions suited for sun bathing beside the Sea of Tranquility.

The second side slinks into motion with the deep beauty and sincere spoken word of Frank Suchland's 'Schnee', a subtle body in a cocoon of reverb which takes Sade's 'I Never Thought I'd See The Day' to another level of placidness. Melancholic Germans Die Fische met in Cairo for the first time, and 'Conversation Of Everyday Lovers' could be the theme for that great city. Underpinned by primal percussion and a restrained groove, the track twists and turns between a trio of ineffable motifs, eternal combinations to the catacombs of Abusir. From there we go sublime, soaring skywards with a ten minute triumph from Hugh Mane. Balancing concentric sequences and space age synth riffs atop an irresistible breakbeat and bubbling bassline, the British producer finds a sensuous sweet-spot between fellow Growing Bin affiliates Krakatau and Singu.

Lucky are we who hear the Bin's sounds.
Patrick Ryder

We are excited to introduce you the new exclusive label from Finnish producer Artificial Latvamäki known for his legendary releases on labels like Curle, Morse, Trapez & Cocoon.

Remixes from the North is an Electro/Techno/Disco vinyl record with 6 remixes from Artificial Latvamäki's Suunta Trilogy, featuring artists such as Recue and CRC (one half of Morphology). The two sides of the record explore two different approaches: murky and scintillating

People On Sunday is an original soundtrack to the 1930 silent film variously known as Menschen am Sonntag, Les Hommes le Dimanche and People On Sunday. The film is a key work of interwar German cinema, based on a screenplay by Billy Wilder.

Like Domenique Dumont’s earlier albums, Comme Ça and Miniatures De Auto Rhythm, People On Sunday evokes a more innocent, carefree time conjured by wistful electronics full of warmth and melody. Touching on the hazy exotica that made those two records so alluring, here Dumont draws on his love of classical music, library music and early electronic experimentation to create a timeless, optimistic sound. If his past productions possessed a certain Mediterranean quality, across these 13 new pieces Dumont’s shimmering synth-pop has an enchanting simplicity.

Part documentary, part fiction, the film People On Sunday follows a group of characters going about their business in Weimar-era Berlin over one weekend and shows normal life in Germany before dictatorship.

“The film shows people and their surroundings shortly before all of it was destroyed,” says Dumont. “Ironically, watching this movie with the eyes of today, it looks more surreal than documentary. And I can’t help but think and reflect about the times we are living in now. We might have similar desires people had a hundred years ago, but we now have a completely different approach to life.”

*People On Sunday is the third album by Domenique Dumont.
*Freshly signed to The Leaf Label, having previously released two albums on Parisian electronic/dance label Antinote.
*It follows on from the cult success of synth-pop exotica albums Comme Ça (2015) and Miniatures de Auto Rhythm (2018)The album was originally conceived as a soundtrack to the classic 1930 German silent film known variously as Menschen am Sonntag, Les Hommes le Dimanche and People on Sunday.
*It was originally performed at Les Arcs Film Festival, with plans for further film festival concerts when regulations allow.
*Watch the video for first single ‘People On Sunday’ featuring excerpts from the film.
*Artwork and design by artist Edward Carvalho-Monaghan.
*Support from Pitchfork, Resident Advisor, FACT Magazine, Gorilla vs Bear, KEXP, BBC 6 Music’s Tom Ravenscroft, Mary Anne Hobbs and NTS Radio’s Charlie Bones, among others.
*Dumont recently remixed Domino’s Jaakko Eino Kalevi, and has also reworked tracks by Cola Boyy and Mark Barrott.
*Festival appearances include Mutek Montreal, Dekmantel, Nuits Sonores, Milhões de Festa and the Venice Biennale.

Altın Gün return with a masterful album that widens their critically acclaimed exploration of Anatolian rock and Turkish psychedelic stylings to include dreamy 80’s synth-pop and dancefloor excursions. Yol (Road) brings together all vectors of the AltınGün experience and delivers their most compelling and individual album to date.

Amsterdam’s Altın Gün have built a strong reputation for melding past and present to make brilliantly catchy, psychedelic pop music, as seen with their Grammy-nominated second album, Gece. They are also a renowned live band with strings of sold-out shows on three continents, who have consistently brought a muscular groove to their recordings. Yol, their third album in as many years, excitedly continues these trends; while also digging in deep to unveil a new palette of sonic surprises.

Though it draws from the rich and incredibly diverse traditions of Anatolian and Turkish folk music, Yol is not just a record that reframes traditional sounds for a contemporary audience. The album often presents a textured, avant-pop sound as evidenced by the debut single "Ordunun Dereleri.” Mysterious and atmospheric, the track is a thrilling evolution for the band. It patiently coaxes the listener into a resonant soundworld of down-tempo electro beats, majestic synths and Erdinç Ecevit's yearning vocal of unrequited love.

The album also signals a very different approach in making and recording for the band. Singer Merve Dasdemir takes up the story: “We were basically stuck at home for three months making home demos, with everybody adding their parts. The transnational feeling maybe comes from that process of swapping demos over the internet, some of the music we did in the studio, but lockdown meant we had to follow a different approach.”

Yol displays a noticeable dreaminess, maybe born from this enforced time to reflect. And select elements of late 1970s or early 1980s “Euro” synth pop also shines through. This new musical landscape was nurtured by certain instrument choices; namely the Omnichord, heard on ‘Arda Boylari’, ‘Kara Toprak’ and ‘Sevda Olmasaydi’, and the drum-machine, an instrument that is key to the gorgeous closing number, ‘Esmerim Güzelim’. Dasdemir once more: “bass player Jasper Verhulst loved the song. He said, ‘it doesn’t sound like Altın Gün, this sounds like a Turkish kindergarten music teacher from the 1980s using an 808!”

As ever, the tracks are the result of a true group effort, with ideas on Omnichord, 808 and other elements - such as field recordings and new age-esque ideas - continually kicked about between the six band members. At a safe distance of course. The record also owes something special to its production team, the band working this time with Asa Moto (the Ghent-based producer-crew, Oliver Geerts and Gilles Noë) who mixed the record. Before this Altın Gün always recorded on tape with their own sound engineer.

It would be wrong to say that what made Altın Gün such a loved and successful band has been left to one side. The pressure-cookers ‘Sevda Olmasaydı’ and ‘Maçka Yolları’ are classic cuts from the band. And their signature employment of a dizzying array of ideas and approaches can be heard with the marked Brazilian feel of ‘Kara Toprak’ and ‘Yekte’. Cosmic reggae filters through the grooves of ‘Yüce Dağ Başında’, and there is a steaming version of ‘Hey Nari’ which gives the traditional composition by Ali Ekber Çiçek a kick onto the dancefloor.

But with Yol, Altın Gün have maybe patented their own magical process of reimagining and sonic path-finding, one probably not heard since the late 1960s and early 1970s British folkrock boom. Less of a reworking than a seduction, their recordings transport the listener to a world where the original songs never previously inhabited. Merve Dasdemir again: “After we worked on them, they got a whole new life of their own. Maybe we went a little bit too far (laughs).”

Kompakt welcomes 2021 with a new member that many of you will recognise. For over 3 decades, Orlando Voorn has been a force in dance music like few others. One of the first Dutch producers to establish a connection between Detroit and Amsterdam (check “Game One” his collaboration with Juan Atkins for Metroplex). He has recorded under a trove of alias that include Fix, Frequency, Format to name a few.

Orlando Voorn brings his extensive knowledge of Techno and House to the forefront for his Kompakt debut “Internal Destination”. We offer up the title track ahead of the 3 track EP’s February 19 release date. Spacial sounds connect perfectly together – the playfulness of the track feels like each moment is caught in mid-air but the beat keeps it all moving forward without hesitation. “Ride The Wave” rounds out this EP – an electro loop is serenaded by a funked up synth melody that jams to the drum in the most soulful of ways.

Kompakt begrüßt das neue Jahr mit einem neuen Familienmitglied, das dem ein oder anderen geläufig sein dürfte. Schon seit über 3 Jahrzehnten prägt Orlando Voorn die elektronische Tanzmusik wie wenige andere. Als erster holländischer Produzent werkelte er schon sehr früh an der Detroit - Amsterdam Achse (siehe "Game One" mit Juan Atkins oder die legendären Ghetto Brothers Releases mit Blake Baxter). Er hat unter unzähligen Pseudonymen wie Fix, Format oder Frequency Platten veröffentlicht, die heute Kultstatus haben.

Mit seinem Kompakt Debut "Internal Destination" zeigt er, dass seine Musik auch im Jahre 2021 tiefes Wissen verströmt und nichts an Relevanz eingebüßt hat. Der Titeltrack "Internal Destination" ist Groove pur. Räumliche Klänge verbinden sich perfekt miteinander - die Verspieltheit des Tracks fühlt sich an, als wäre jeder Moment in der Luft gefangen, aber der Beat hält alles ohne Zögern in Bewegung."Ride The Wave" rundet diese EP ab - ein Elektro-Loop wird von einer funkigen Synthie-Melodie begleitet, die auf gefühlvolle Art und Weise mit den Drums jammt.

Following the release of his huge summer singles ‘Chemicals’ and the Robyn and Channel Tres collaborative smash ‘Impact’, UK songwriter, producer and multi-instrumentalist SG Lewis announces the upcoming release of his long-awaited debut album, times. The LP, out 19th February via EMI Records, finds one of modern pop’s secret weapons stepping out front and centre, as he takes listeners on a voyage through soaring electronic dance and kaleidoscopic future disco, with the help of a few friends along the way. Released on CD and a Black Heavyweight 1LP with download code.

Hunt & Gather’s debut vinyl release comes by way of Pezzner’s cryptic moniker “The Native Language”. Written as a quasi-homeless man living off the rich in the San Juan Islands who writes music once per year to suffice his own delusions.

Walking the streets in these damp, anxious days that all run together lately, I was approached by a man who would blend right into the neighborhood, layered in flannel and sweatshirts for sleeping.

Rough, but for his shoes. (Never cheap out on anything that separates you from the ground.) “Pezzner,” he called out, from a safe distance. “What did the mangrove say to the marauding hordes.” My soul left my body for a moment and my voice responded on its own. “Petrichor.”

He caught my eye, nodded, left a padded envelope on the ground and vanished. The envelope had passed through many hands, slipped into the bed of a ferry-bound truck, passed from one fellow traveler to another, stashed under the counters of anarchist bookstores, left tucked between books at Little Free Libraries. The greenish stains suggested that at one point it had been swum across a lake. Another DAT, contents encoded here unabridged, and a letter from someone who called himself The Sentinel.

The Vessel lived out his days on Shaw Island, under a canopy of trees that gets smaller and smaller every season. His condition the same, any electricity lit his brain on fire, could only bring himself to compose one day a year, only at night, out of sight. Until he met The Angel, an eccentric with means, who built for him a device.

A Faraday Cage to block all electromagnetic emissions. Burlap walls, for atmosphere. A system of pulleys and levers, wood and rope, all running into a box that sat outside. An entirely mechanical control surface. No electrons in here. The Vessel lit fires, watched the shadows dance, closed his eyes and disappeared into the motion for hours at a time. The Sentinel came every morning to change the tapes. The Angel watched and pondered, his plans unknown.

The box sat sealed, bare except for another set of ideograms, scratched in day by day over time. Inside, the usual bedroom-producer shit. Outside, the ideograms told a story, passed from the Vessel to the Sentinel and drawn by the Angel, of a man who became another creature. Alert to the lowest frequencies, feeling music deep in the soil below their feet. Music that brings messages, from distant friends, warning of new creatures and the danger they brought. Skin alive to the world, so sensitive it can detect the landing of a single fly. A mind capable of keeping a map of the world inside. A mind that can look in a mirror and see a soul it knows well. A mind that can grieve.

After processing its contents, I filled the envelope with granola bars and walked it down to the market. The clerk gave me a knowing look as I placed it on the counter behind a stack of pork rinds from the previous century. As I walked out, a young man carrying a plastic bag and wearing impeccable shoes walked in.

Laurel Halo, Donato Dozzy and Teheran sound artist Tegh give us their "Glassforms Versions"alongside a new edit by Max Cooper. The works of Philip Glass are reflected and refracted in a myriad of ways by some of the most renowned electronic artists alive, making for a blissful, multi-dimensional listening experience.


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With "Glassforms", Max Cooper and Bruce Brubaker set out on an intimate, nuanced exploration of the works of Philip Glass. The resulting recordings, developed in a fluctuating exchange between the American pianist and the Irish scientist-artist, are an astounding testament to the innovation that artistic collaboration can achieve and what depths are yet to discover in Philip Glass' compositions. The two artists did not just rework, but fundamentally rewired the original songs using algorithmic software to process and augment the musical data it received from Brubaker's piano live on stage.

When approaching his remix, Donato Dozzy also tapped into that inspiration to create something new rather than just reworking it, which is one of the core motives that emanates from "Glassforms". The Italian producer and label owner is known for his drive to explore: he develops installations for public spaces and museums, uses obscure musical instruments and collaborates with classical singers or visual artists. "I chose "Two Pages" for it's hypnotic feel in the notes repetition", he says, "but I did not want to merely sample the piano, but instead ask someone I trust and admire to carve it from scratch and even go further." So he followed the lead of Brubaker and Cooper and teamed up with the renowned Italian percussionist and jazz musician Daniele Di Gregorio to completely rewire "Two Pages" into a gorgeous piece of endlessly modulating ambient electronica.

Laurel Halo, the second remixer on "Glassforms Versions", does not need a long introduction either: the American musician is at the forefront of electronic music in 2020, a bright star today after releasing her debut "Quarantine" on Hyperdub in 2012. Her remix of "Opening" brings to mind the string section of an orchestra tuning their violins before the performance - forever. They glide in and out of tune, sometimes individually, then together, then are accompanied by keys that are most likely a ghostly representation of Brubaker's piano, sampled and pitched down, but sound almost jazzy in the context of Halo's remix. It's a blissful listening experience, calling to mind her recent collaboration with cellist Oliver Coates on "Raw Silk Uncut Wood" and showing a deep understanding of Philip Glass' work.

Sound artist Tegh is the third on the remix bill - the electronic musician from Teheran delivers his take on "ƒTwo Pages", once again showcasing how versatile, how inherently complex the works of Philip Glass are. They can be interpreted in a myriad of ways - Tegh's version is a bounding, brooding piece filled with raw energy that feels like it is performed live, just for you, every single time you listen. His version is, at first, much more focused on the underlying moods, electronic undercurrents of the original than Dozzy's version, and yet, when the piano finally does break through, it becomes clear that we are listening to Philip Glass, reflected manifold: through the piano of Bruce Brubaker, the synths of Max Cooper, and then again through the mind of the artist Tegh.

Concluding the new "Glassforms Versions" is a previously unheard edit of "Two Pages". It's difficult to edit a piece of minimalistic beauty without losing it's essence, but Max Cooper - after many efforts and close conversations with Bruce Brubaker - managed to bring these shorter edit into a satisfying, conclusive form.

Born in Croydon, UK in 1960 and working in Switzerland for decades, Michal Turtle has led a storied career as a composer, arranger, technician and producer, consistently aligned with some
of the most exciting bands and projects within the realms of pop and experimental music. A figure as masterful in the realm of expansive ambient recordings as advertising jingles, it’s only in recent
years that Michal’s solo productions have gained acclaim and a cult following that continues to grow ever wider.
Turtle made a long-awaited return earlier in 2020 with the extended ‘On a Canvas Lived a Baby’, a one-sided twelve of new material released on Planisphere Editorial. Now, the Basel based label
invites a diverse and international cross-section of electronic musicians to reinterpret the artist’s back-catalogue, each delivering a thoughtful remix driven by the same sense of curiosity,
exploration and genre-blurring that Turtle himself helped pioneer. Each track on the remixes collection was originally recorded between 1980 and 1985, in between Turtle’s regular tours with established bands. Opening the collection, Laurel Halo adopts her LH alias for a textural and tripping revisit to ‘Phantoms of Dreamland’, transporting the haunting original to a hyper-detailed alternate dimension. Zoning back in, Neue Grafik finds typically eclectic form with ‘Men in Green’, turning the dials and blending ideas as if tuning between the emerging musical scenes that defined Turtle’s early-eighties life in Camden, London. In stark contrast, avant-garde polymath Felicia
Atkinson designs a ‘Fennel and Moon’ version, weaving between earthy field recordings and an aching piano line, conjuring an almost ritualistic atmosphere, far from the city. Radical musical turns continue to define the collection as son of Detroit, Jimmy Edgar takes
‘Rainwater Fijit’ down a dark, damp tunnel, expanding on the pitter patter of Turtle’s more outlandish studio experiments, blending vocal experiments with fresh funk. Colombian experimentalist Lucrecia Dalt pulls further bizarre shapes from a patchwork of samples, a heaving,
gasping industrial shuffle, before French producer D.K. returns a stronger rhythm, both building on Turtle’s lovingly naive tributes to the legacy of sample culture and his trusty ARP2600.

Ostgut Ton mainstay and Panorama Bar resident Nick Höppner proceeds to sensitively rewire ‘Maid Of The Mist’ into a blossoming, introspective celebration of melody and ambience, an
almost weightless experience that lends itself well as a breather before Luca Duran’s analogue, acid-tinged take on Spookie Boogie takes Turtle’s esoteric touches back into the direction of the
funk and italo records at the heart of his initial inspiration.
The Remixes final chapter continues to expand in distinct and wide-reaching sonic directions. London’s Object Blue seems to slow time itself across her sublime interpretation of ‘Ball Of Fire’.
Initially Turtle’s tribute to Howard Hawks 1941 film classic and the legacy of old Hollywood, worlds further collide into rolling, weightless bliss.

Fellow Swiss citizen Mehmet Aslan stirs an enchanting, percussive mystery that unfolds with great
pleasure on El Teb, while Parco Palaz conjures not one but two radically different remixes of ‘Are
You Psychic?’, demonstrating both their imaginative nous, as well as the depth of Turtle’s legacy.
Finally, an irresistible vocal contribution from Oso Leone adds even further colour and joy to ‘Maid
of The Mist’, sending off this ambitious collection on a transformative, dream-pop high.
With further details set to be revealed, there is an ongoing development focused around the
accompanying art and visuals. The Peruvian born and now Amsterdam based graphic designer
Jonathan Castro leads the art direction, along with visual artist Chris Harnan. Both artists look to
explore the intersection between sound, imagery and its reorientation, exhibited through the
musical contributors and visual translation.

“I am happy and honoured to have been the spark for this remarkable compilation.
The magnificent work done by this collection of very special people speaks for itself, so listen and
be transported. It has been half a lifetime since my original tracks were written, and I am gratified
to know that they are somehow still relevant enough to be reworked and reinvented.”

Steven Rutter aka B12 is one of techno’s most influential artists, famed for many releases on the iconic Warp Records including "Electro-Soma" that defined what is now the deep techno genre.

B12 was originally a duo before Steven Rutter took over the alias as a solo artist, but after a string of new releases on labels like Soma and Delsin, he decided to start producing under his own name.

Deciding it was time to look to the future with a new lease on life, Steven Rutter kept his sound the same, but shed the skin of B12 to mark a new point in his musical career.

Battling with personal demons, the B12 sound had become dark and introverted, and the Steven Rutter style keeps that same moody atmosphere, while adding upbeat rhythms and more jovial chord progressions without losing focus of the core sound that’s made his music so influential.

In addition to a numerous EP, “Riddle Me Sane” is the third album Steven Rutter has done under his own name, and it's in the timeless B12 style that's adored by his fans in all four corners of the world.

Cosmic melodies and sci-fi influenced textures with dystopian sound design, the thought provoking album paints pictures of alien landscapes, while its down tempo grooves also have the key elements needed for the dance floor.

Comfortingly familiar for those who love the classic B12 style, it also marks a distinct turning point in the sound that Steven Rutter has been looking to focus on.

Tracks like “Techno Prisoner” perfectly embody the style this release is aimed to purvey, but this masterpiece has been expertly programmed to play as a continuous piece of music rather than a selection of solo cuts.

Tape / Cassette

"Like water drops, gently hovering, slowly bursting one by one, reassembling themselves simultaneously." An imagery that shaped this shining debut album "klondike" by hanisii - a mysteriously operating artist who has been flying under the radar for half a decade now yet scattering some highly unique re-interpretations via Soundcloud.

After a no-contact-no-contract-deal with Rico Puestel about remixing and editing his music back in 2016 and 2017 (working out both stunningly and skillfully), it took three years until this album at hand emerged out of the blue. Adapted to the circumstances, Rico Puestel constructed a way of presenting this specialty item appropriately on his large-scale project "Time In The Special Practice Of Relativity": A "slight bit" beyond the usual, showcasing the entire album on a limited cassette tape together with an exclusive SD card, carrying its digital audio version + bonus material.

As one might cynically state that God created music, the devil the ones writing about it, it feels right to keep it short and simple about the album itself here: Setting the scene itself with an intro and outro of genuine beauty (letting even an old broadcasting signal sound like those multifarious water drops of elegancy), everything in between profoundly passes through the depths of electronic onomatopoeia in nine diverse yet coherent and organic shapes, melting the groovy energy of House music with a pervasive serenity and clearness of Techno aesthetics.

While "klondike" allows itself to only raise the singular claim of wanting to get listened to, the scent of a future classic might be floating around the ether...

‘I envisioned the record as a journey through human expression over the course of one day,’ says Chicago composer and ONO member Jordan Reyes.
When planning the album, Reyes wanted to consider the trajectory of American music, drawing a throughline from the oral traditions enmeshed in blues, country, folk to contemporary underground music, splicing together acoustic instrumentation with an experimental, electronic sensibility. The album begins with human-constructed wind on opening song ‘The Pre-Dawn Light.’.
From there, Reyes adds acoustic guitar, electric guitar, lap-steel guitar, trombone, keyboards, and an electronic drum to the compositional mix.’I wanted to push myself compositionally,’ he says. ‘My first album Close was all eurorack synthesizer, a lot of which was automated by control voltage, but Sand Like Stardust has no modular synthesizers, seeking to channel the warmth, immediacy, and vulnerability of hand-played instruments and voice.’

Ethno-alternative lo-fi absurdism from the mind of London based multi-instrumentalist & Primordial Soup member, Samuel Huxley. Expect everything from Hindu ceremonial music to dark lounge, post-punk & avant-garde, to Kabuki theatre score & world electronica, any number of which can be found within a single track.

The Romance of Baba Loco is the union of wisdom & madness, eastern mysticism & western folly, absurdism to catch you with yer pantaloons down… Bang bang smash to perennial illumination. Cling clang for funk monkeys. The bejewelled vistas beyond, nihilism be gone… The donkey was not ill-tempered after many blows, on the ass, from the stick. He smiled like a gentleman, and kept on clip cloppin’ towards the promised land…

The Romance of Baba Loco is the latest iteration of a recording project by Samuel Huxley that originally made ambient soundscapes for psychotropics (Paradise Dose). In 2017 Samuel was curating infamous venue and scene of a multitude of glories & horrors, The Five Bells in New Cross, SE London. One of his first acts to play was Primordial Soup, at that time a 3 piece absurdist art rock band. They quickly became friends & began performing semi-improv shows as a 5 piece, and later went on to form Primordial Soup Collective who’s main focus was esoteric experimental theatre & film, and rare multidisciplinary exhibitions.

This changing focus of Soup away from sound provoked Samuel to channel his musical compulsions in to his solo project which had by then ventured far away from ambient soundscapes to shrieking Indian and Moroccan oboes over African & Indian tribal rhythms, with the desire to create the raw lo-fi atmospheres of street music. Gradually guitar styles of South East Asia & Latin America were introduced, leading to backing track solo performances & outrageous live improv freakouts with Craig Deporto (ex-Flamingods) & Luke Bell (Ex-Wild Birds of Britain).

Finally two days before the glorious pandemic lock down, Samuel signed to Faith & Industry, which birthed new moniker “The Romance of Baba Loco” and 3 months worth of ceaseless creation. From the Hindu Ceremonial music of the Shehnai & Nadaswaram to post-punk, absurdism & experimental art, The Romance of Baba Loco finally united two seemingly dissonant sides of his personality in a manner he had not previously achieved. The old material was cast off, and these peculiar fruits of imprisonment, can be found on his first release, “Cling Clang For Funk Monkeys”.

LP Ltd edition PINK Vinyl (300 copies) + BONUS Fire Records Compilation CD. A Powys trio whose free-spirited invention and exuberant intensity flows through experimental pop: hypnotic, exhilarating and defiantly unique. The Welsh band Islet return with the release of their long-awaited new album, and now available on Ltd edition Pink Vinyl. Eyelet was recorded at home tucked away in the hills of rural Mid Wales. It took form the months following the birth of band members Emma and Mark Daman Thomas' second child and the death of fellow band member Alex Williams' mother. Alex came to live with Emma and Mark, and the band enlisted Rob Jones (Pictish Trail, Charles Watson) to produce. 'Caterpillar' described by Emma as "a song for my unborn child". It's followed by syncopated lullaby 'Good Grief' with its haunting keyboard hook and icy percussion thawed by Emma's yearning vocals about the quiet strength of generations of women. With nods towards Arthur Russell and Jenny Hval, 'Geese' is a mini symphony of driven electronica inspired by Welsh cultural theorist Raymond Williams' novel People Of The Black Mountains. Young Fathers inflected rhythm can be heard on 'Radel 10' that accompanies the multi-tracked variations of Emma and defiant lyrics that were inspired in part by The Good Immigrant - the landmark anthology of essays on race and immigration by BAME writers. "One of the best albums to come out of the UK in years" Louder Than War // "Unhinged, euphoric, wonderful." Pitchfork // "They create an ideology that fuels creativity" The Quietus // "They invigorate life on the margins with this whirlwind of psychedelic pop" The Guardian // "Full of reflective, explorative psych wonderment" ???? The Line Of Best Fit // Short listed for Welsh Music Prize 2020 // ????? The Vinyl District // ????? Buzz // ????? God Is In The TV // ???? AllMusic // Track

What is a shlundee is probably the first thing you’ll ask yourself when you hear this.
In short, it’s a mixture of every music genre that you could imagine, brought to you by Indy Erens. The one-man project Shlundee finds the balance between house, hip-hop & electro. "Himawari" explains that Asia always had a big influence on Shlundee, it's a classic samurai anime. Influenced by club music and the Baltimore / Jersey culture, Shlundee made this EP during lockdown. He had this idea of making something really vibey and different than what people usually expect of him. 'Wait, What?' perfectly represents how Shlundee can expand his boundaries and trying out other stuff. Shlundee is massively influenced by Anz, Lefto, Young Marco, Park Hye Jin, Jamz Supernova & Acemo...

Jupiter, the gas giant in our Solar System, with thunderstorms a thousand times more powerful than on Earth, rainfalls of diamonds in the atmosphere, temperatures below -100°C, plenty of hydrogen, 79 moons and a South pole that looks like an abstract painting, has just the kind of environment this music seems to emanate from.

Jupiter and Beyond, the second collaborative effort of composer/performer Rafael Toral and percussionist João Pais Filipe as a duo (after Saturn in 2016), is definitely not quite a record of Earth music. On the contrary, Jupiter and Beyond, is indeed gas music, unfolding over two long movements without solid body or any tangible outline, between ambient and noise. A music of sheer volume and beauty, icy, massive, in which the elements of Toral's signature, in particular his use of jazz-inspired electronics and feedback, dissolve to become a labile, nebulous, expansive material, occasionally struck by abyssal depressions and masterful densities, magnified by the return, after 17 years of silence, of the electric guitar in Rafael Toral's instrumentarium.

Towards the end of Beyond, the second piece on the record, lurking behind the volutes of feedback, a bell and a bass drum, one can detect from the distance... a barking dog, as a surreptitious and prosaic reminder of where we are here and now, a calling back to Earth. Between sadness and joy, anger and peace, movement and stillness, Jupiter and Beyond is indeed a mirror held out to us, music reflecting our times and that emotionally speaks first of all about us.

"While João Pais Filipe was drummer in the Space Quartet, we played a live duo set. During soundcheck we were jamming for a while on bowed gongs and feedback and lost track of time, it just flowed so well. I joked "we could make a whole record with this!". But later we took the idea seriously and set to record an improvised session at his cymbalsmith workshop (he made the gong on the cover and it was used in the recording). When we listened to the first take the mass of sound was amazing. At some point it reminded me of the complex clusters of sound in Ligeti's music as it appears on Kubrick's 2001 scene "Jupiter and Beyond the Infinite". In the end the title felt like an apt choice for Saturn's successor. Back at my studio I felt the need for some more layers of density in some sections. I thought of using trombones, but ended up picking up the electric guitar, which I hadn't used since 2003.” Rafael Toral

Analogue Productions (Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records!
6x platinum-selling album includes "New Sensation," "Never Tear Us Apart," "Devil Inside," and the No. 1 hit "Need You Tonight"
180-gram 45 RPM double LP release
Mastered by Ryan K. Smith from an EQ'd tape copy
Pressed at Quality Record Pressings
Tip-on old style gatefold double pocket jacket by Stoughton Printing

Kick, the sixth and best-selling 1987 studio album by Australian band INXS, has the unmistakable sound personified by its four U.S. Top 10 singles, "New Sensation," "Never Tear Us Apart," "Devil Inside" and "Need You Tonight," — which reached the top of the U.S. Billboard singles charts.

Between 1980 and 1984, INXS released four studio albums and had toured their native country Australia extensively. With Kick, producer Chris Thomas fused the funk and soul of their previous album The Swing with the mainstream rock of Listen Like Thieves. In an interview with MusicRadar, Andrew Farriss stated, "The melding of funk and rock was always in our heads. We were very excited about the idea of overlaying two types of songs and genres together."

Kick showcased a diverse range of musical styles, blending rock, pop, funk, and dance elements. This versatility appealed to a wide audience, making the album accessible to fans of different genres. It's four catchy singles became radio staples and were accompanied by stylish music videos, helping propel INXS to international stardom.

Incorporating elements such as electronic percussion and synthesizers gave Kick a modern sound, helping it stand out, together with Michael Hutchence's charismatic and sultry vocals that created a strong emotional connection.

All the hallmarks of a top-notch Analogue Productions reissue are here for you to savour: Mastered directly from an EQ'd tape copy by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.