quête:electro one

Trust in 6 was a one-off project by Torsten Stenzel, produced in collaboration with André Fischer (Recall IV, Technoline, Scope) and Lars Janzik (Scrot). Their sole release, “Life in Ecstasy”, came out in 1991 on Techno Drome International, a sub-label of ZYX Records, and earned a spot on the first volume of the legendary Techno Trax compilation series. The track fuses techno and EBM with a dark, driving energy-layering classic trance arpeggios, eerie pizzicato samples, and haunting, hypnotic vocals into a standout piece of early '90s electronic music.


Limited edition of 300 copies on black vinyl and 200 copies on clear vinyl, including both original mixes, the renowned Digital Mix (also known as Razormaid Mix), and a radio edit.


Motel d'amour - A Lost Electro-Funk Gem from the NDW Era Resurfaces

When we first collaborated with Collage member Markus Kammann on the EP project "Mit den Puppen tanzen" at the end of last year, we never imagined what would follow: Kammann approached us with a completely unreleased full-length album by his former band. Upon receiving the first three preview tracks, we were floored. One of them was "Nachtcafé" - a track that kicks off with a funky bassline layered over the punchy rhythm of a Roland TR-808. Add shimmering synths and Katrin A. Kunze's sharp, distinctive vocals, and we instantly knew we were hearing something special.

For a label dedicated to rediscovering lost treasures, this was exactly what we'd been searching for. The next two tracks - "Rendezvous" and "Casanova" - were just as compelling. When Kammann sent us the full album, we realized we were holding an electro-funk grail from the late golden days of the German Neue Deutsche Welle (NDW). We were listening to "Motel d'amour".

"Motel d'amour" is a concept album, offering a sharp, vibrant perspective from a confident, intelligent, and radiant young woman eager to experience nightlife, love, and music. Kunze's lyrics paint vivid scenes of flirtation ("Nachtcafé", "Rendezvous"), encounters with men ("Casanova"), the pulse of nightlife ("Die Nacht ist noch jung"), love ("Rotes Licht für rote Liebe"), one-night stands ("Motel d'amour"), and more. Rarely has a German album from that era captured emotional nuance and social dynamics so insightfully. Without veering into the overly personal, Kunze's direct, daring lyrical style was groundbreaking at the time - and remains refreshingly bold today.

While German listeners will fully appreciate the lyrical depth, the music speaks volumes on its own. Kunze's words are masterfully complemented by the production of Markus Kammann and Jürgen Grah. As heard on the in-demand "Mit den Puppen tanzen", their creativity seemed boundless. Each track is tightly composed, catchy, and full of character. While many German bands at the time leaned into rock, Kammann drew from the deep grooves of Earth, Wind & Fire, The Isley Brothers, Brothers Johnson, The Commodores, and the electro-futurism of Afrika Bambaataa's "Planet Rock" and "Looking for the Perfect Beat". The result: tracks with unmistakable electro-funk flair, powered by the classic 808 drum sound.

Though primarily rooted in funk and electro, the album retains flashes of NDW aesthetics - "Wir haben getanzt heut' Nacht" being a prime example. The instrumentation is a dream list for vintage gear lovers: Yamaha keyboards, Roland Juno-60, vocoder, Micromoog, Hohner D6 Clavinet, Fender bass, and a Telecaster guitar all feature prominently.
Recorded in 1985 at the high-profile Delta Studio by Richard Rossbach, the album attracted interest from Polydor. However, the label proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, "Motel d'amour" was shelved, and Kammann, Grah, and Kunze moved on to form Cold End.
The album cover features a rare archival photo of Katrin A. Kunze - rediscovered by Kammann and now finally seeing the light of day, 40 years later.

We believe Motel d'amour deserves recognition alongside cult German classics like P!OFF?, 1. Futurologischer Congress' "Wer spricht?", Ami Marie's "Verrückt nach Glück", the funkier cuts of Cosa Rosa, or Piet Klocke's groove classic "Heute ist nicht sonst". It's a record that fits into adventurous DJ sets but also rewards a full, start-to-finish listen.

A note on audio quality: Sadly, the original master tapes were lost. The tracks were restored from a vintage TDK cassette. Thanks to modern digital tools, we were able to remaster them to a high standard - but in some songs light distortions remain. We appreciate your understanding and hope you enjoy this lost and undiscovered gem.

Motel d'amour - A Lost Electro-Funk Gem from the NDW Era Resurfaces

When we first collaborated with Collage member Markus Kammann on the EP project "Mit den Puppen tanzen" at the end of last year, we never imagined what would follow: Kammann approached us with a completely unreleased full-length album by his former band. Upon receiving the first three preview tracks, we were floored. One of them was "Nachtcafé" - a track that kicks off with a funky bassline layered over the punchy rhythm of a Roland TR-808. Add shimmering synths and Katrin A. Kunze's sharp, distinctive vocals, and we instantly knew we were hearing something special.

For a label dedicated to rediscovering lost treasures, this was exactly what we'd been searching for. The next two tracks - "Rendezvous" and "Casanova" - were just as compelling. When Kammann sent us the full album, we realized we were holding an electro-funk grail from the late golden days of the German Neue Deutsche Welle (NDW). We were listening to "Motel d'amour".

"Motel d'amour" is a concept album, offering a sharp, vibrant perspective from a confident, intelligent, and radiant young woman eager to experience nightlife, love, and music. Kunze's lyrics paint vivid scenes of flirtation ("Nachtcafé", "Rendezvous"), encounters with men ("Casanova"), the pulse of nightlife ("Die Nacht ist noch jung"), love ("Rotes Licht für rote Liebe"), one-night stands ("Motel d'amour"), and more. Rarely has a German album from that era captured emotional nuance and social dynamics so insightfully. Without veering into the overly personal, Kunze's direct, daring lyrical style was groundbreaking at the time - and remains refreshingly bold today.

While German listeners will fully appreciate the lyrical depth, the music speaks volumes on its own. Kunze's words are masterfully complemented by the production of Markus Kammann and Jürgen Grah. As heard on the in-demand "Mit den Puppen tanzen", their creativity seemed boundless. Each track is tightly composed, catchy, and full of character. While many German bands at the time leaned into rock, Kammann drew from the deep grooves of Earth, Wind & Fire, The Isley Brothers, Brothers Johnson, The Commodores, and the electro-futurism of Afrika Bambaataa's "Planet Rock" and "Looking for the Perfect Beat". The result: tracks with unmistakable electro-funk flair, powered by the classic 808 drum sound.

Though primarily rooted in funk and electro, the album retains flashes of NDW aesthetics - "Wir haben getanzt heut' Nacht" being a prime example. The instrumentation is a dream list for vintage gear lovers: Yamaha keyboards, Roland Juno-60, vocoder, Micromoog, Hohner D6 Clavinet, Fender bass, and a Telecaster guitar all feature prominently.
Recorded in 1985 at the high-profile Delta Studio by Richard Rossbach, the album attracted interest from Polydor. However, the label proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, "Motel d'amour" was shelved, and Kammann, Grah, and Kunze moved on to form Cold End.
The album cover features a rare archival photo of Katrin A. Kunze - rediscovered by Kammann and now finally seeing the light of day, 40 years later.

We believe Motel d'amour deserves recognition alongside cult German classics like P!OFF?, 1. Futurologischer Congress' "Wer spricht?", Ami Marie's "Verrückt nach Glück", the funkier cuts of Cosa Rosa, or Piet Klocke's groove classic "Heute ist nicht sonst". It's a record that fits into adventurous DJ sets but also rewards a full, start-to-finish listen.

A note on audio quality: Sadly, the original master tapes were lost. The tracks were restored from a vintage TDK cassette. Thanks to modern digital tools, we were able to remaster them to a high standard - but in some songs light distortions remain. We appreciate your understanding and hope you enjoy this lost and undiscovered gem.

Pioneering British electronic musician Mark Van Hoen is set to release his latest solo album, The Eternal Present, on 23 May 2025 via Dell'Orso, a remarkable collection of tracks spanning nearly three decades of recordings from 1998 to 2024.
The Eternal Present embodies its philosophical title, inspired by Joseph Campbell's concept that "Eternity isn't some later time... Eternity is that dimension of here and now that all thinking in temporal terms cuts off." The album explores music as the ultimate expression of existing in the present moment, transcending time and creating a sonic experience that is simultaneously "spectral, ghostly, melodic, harmonic, and decayed."
An influential contemporary of Aphex Twin, Autechre, LFO and Boards of Canada, Van Hoen is best known for his solo work as Locust in the mid-'90s, which helped push post-rave electronic music into newly challenging realms. His extensive discography spans releases on influential labels including R&S, Touch, and Editions Mego. Van Hoen has worked on numerous collaborations throughout his career, including with Nick Holton and Neil Halstead of Slowdive under the moniker Black Hearted Brother—their album Stars Are Our Home was released in 2013.
The Eternal Present continues the lineage of Van Hoen's most significant works, with artwork by Ian Anderson (Designers Republic) reflecting the album's "eternal present" concept with a mysterious visual approach, allowing listeners to form their own imaginary landscapes. The mastering by Stefan Betke (Pole) enhances this document of the evolution of the artist over the years as he continues to hone his signature sound. Using a host of instruments including analogue synthesisers and employing various recording approaches, Van Hoen's equipment changed dramatically over the years—from early DSP processing used on his first solo record on Apollo ‘Playing With Time’ to various synthesisers, modular systems, tape machines, and digital workstations—contributing to the album's rich sonic diversity.
Throughout The Eternal Present, ideas are woven together through spoken word quotations and abstract vocals featuring notable collaborations from Rachel Goswell on the Slowdive cover "Shine" (from 1998), Megan Mitchell (Cruel Diagonals) on "Somewhere", and session vocalists Clare Dove and Dorothy Takev on "No-One Leave" and "It's Not You (In A Way)" respectively. The use of cleverly assembled vocal samples from an "undisclosed but very famous female vocalist" on "Multiplex" (2016) and the indistinct vocalisations on the Cabaret Voltaire-influenced "Only Me" (2017), constantly challenges and disorientates the listener through fluctuating, ever-changing musical elements.
The album was recorded across multiple locations including Somerset, London, Los Angeles, and New York—even beginning compositions during flights and in airport lounges—reflecting Van Hoen's changing personal circumstances, environments, and situations throughout the years.
Of Indian-Jamaican descent, Van Hoen was born and raised in England, absorbing diverse musical influences from his neighbors—African-Jamaican on one side and Punjabi Indian on the other. "Each family played their own music frequently, and I absorbed it." His musical foundations include Brian Eno, Kraftwerk, OMD, Tangerine Dream, Japan, Cabaret Voltaire, and Cocteau Twins, later finding inspiration in My Bloody Valentine, LFO, and '90s producers Robert Leiner and CJ Bolland.
These eclectic influences are evident on The Eternal Present, which contains snapshots of different periods in his life, with changing circumstances across decades creating a variety of textures and sounds. As Mark explains: "It holds the same sonic signature as many of my solo releases and early Locust albums. It's a natural development that has taken place in the last few decades. It's even related to the earliest music I made as a teenager, although perhaps more sophisticated."
“What a remarkably affecting, majestically broad and captivating work it is..what strikes you most is the album’s myriad diversity. Outstanding” (Electronic Sound)

“Whether channelling mid- 70’s Eno, early Aphex Twin or Neu! his vivid sounds shimmer with emotional weight” (Mojo 4*)

"Musically, Van Hoen belongs to a distinguished family tree. Originally influenced by the likes of Brian Eno and Tangerine Dream, and later presaging both Autechre's glitch and Boards of Canada's pastoral IDM." (Pitchfork)

LN000 presents three electro tools rooted in the essence of the D. “Black Elements”, the title track, is a hypnotic journey crafted for DJ and cruising use. The looping pads and percussive bassline entrance the listener as the bed of 808 beats keep the dancefloor busy. On the B-side, “KAH” offers an exploration in the realm of electro funk. Neck snapping snares, thunderous kicks, a tweaked out bassline, and heavy breakdowns can be found in this track; this one is for the dancers. “2 Motor” closes out the EP with an energetic electro excursion. Tight beats, an anthemic lead, crashing cymbals, a dope bassline, and some funky sound design drive this track.

In a flurry of angular beats and space age synth licks, Livity Sound welcomes Willis Anne to the fold under the guise of a new alias, FOREIGNER. Operating within the thriving scene around his current base Naarm, Anne brings a live, jammed-out focus to machine-rooted electronic performance that translates into his productions. All four tracks on this new EP crackle with improvised energy, whether it manifests in the dramatic synth shapes on 'Last Peoples' or tangled up in the beat exploration on 'Visible'. At its core, the EP makes its mark thanks to the clarity of Anne's ideas as he swerves the temptation to over-work the sound, ringing true with the immediate, spacious approach of Livity Sound's many-sided catalogue.

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.

2025 Repress

Forest Drive West returns to Livity Sound with the 'Dualism' EP, a tour de force of stripped dub aesthetics and swirling psychedelic rhythms.

One of the finest breakthrough UK producers of recent years, in a short space of time Forest Drive West has created an enviable catalogue across labels such as Livity Sound, Rupture, Echocord, Whities and Mantis. This new EP marks some of his best work to date.

The final track on the EP, 'Scorpion', features Melbourne based percussionist Lucky Pereira whose frenetic but tightly locked drums add a fizzing energy to Forest Drive West's deep atmospheric rhythm track.

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.

Emotional Rescue completes the series of non-defined reissues where the label licenses an all-time favourite, remasters and then reappraised with new interpretations by contemporary producers for today’s collectors.

After the series started back in 2019 with Hawkwind’s sprawling psychedelic electronics, featuring deep drone mixes by the esteemed digger Cherrystones (ERC074), the bouncing cosmic-Balearics of Thomas Leer with wonderful reworkings by friend and producer Bullion (ERC075) and then the post punk dubs of The Embrace and Timothy J Faiplay’s brooding italo-dub excursions (ERC076), there was always one artist and producer left out. Finally, then the percussive excursion of the early 80s band The Impossible Dreamers and their cult B side jam, Spin, coming with 9 minutes percussion-dub extravaganza of an extended reversion, plus a dub heavy reprise, by label go-to Dan Tyler (Idjut Boys /Noid), under his NAD moniker.

Started by a group of friends while at Exeter University that centered around Caroline Radcliffe, James Hood, Justin Adams and Nick Waterhouse, their debut 12” record is one of just three on the 100 Things To Do label. The other two releases have already been covered with the Hamburger All Stars ‘Swinging London’ 12” (ERC114) of 2022.

Recorded before the move to West London, ‘Life On Earth’ was a raw post punk vocal pop cut, with influences of dub, funk, hip-hop and African music shining through, there were in their own words, “young music fans starting out, with no agenda”.

However, it was on the B side that things got interesting. Enamored by the growing trend of extended 12” singles, they decided, with the A side wrapped up, to have some studio experimentation by recording a drumming jam, with all the members playing percussion, followed by some overdubbing. Memories are hazy, but at the time the band was an 8-piece, so the results a chaotic explosion, capturing the essence of that time. Featuring Nick and James on 4 hand piano, plus Caroline on Oboe, with some additional hollering and wooping vocals, Spin was a 5-minute burst of energy.

In effect, self-released in 1982, the band didn’t expect much to come of it, but the 12” acted as a calling card leading them to London and later signing for RCA. At the same time, Spin was being discovered in the early eighties alternative club world. On a trip to New York, the track was heard being played Downtown, and on enquiring it was discovered the DJ was playing a 7” that was never an official release but cut in the US solely for the club DJs there.

Its resonance extended further, to Italy and the Cosmic club of the resident, an ever-searching Danielle Baldelli, before being picked up a few years later by a young Andrew Weatherall during his pursuit of an alternative “Balearic” beat during the late eighties Summers of Love and has even recently received the Joe Clausell edit treatment back again in NYC.

For the remake to fit the label series, it was only right to ask label friend Dan Tyler to do what he does so well, putting the original through his array of dub machines and pedals, extending and cutting with aplomb to create an incendiary ‘Reversion’ that will send dancefloors literally in a spin. Teasing the percussion incandescent, looping and teasing, the piano held back before finally releasing in a haze of dub effects.

This is followed by the ‘Riddim Reprise’. Working with London based drummer Matt Bruce (Claptrap), this is the perfect DJ tool, taking the original idea of the band, to just jam see what happens, twisting it full of space echo and reverb, to offer a perfect 12” Extended Mix.

Repress

Hypnotizing acid-EBM-electro-wave masterpiece from Düsseldorf. Tolouse Low Trax is Detlef Weinrich, one of the members of German band Kreidler, DJ and co-owner of the Düsseldorf based club/bar ''Salon des Amateurs''.

Krautrock and EBM inspired post-industrial techno. Next-level electronic music made by one of The Hague's most original producers. Must have for fans of Unit Moebius Anonymous and Shitcluster.

Los Angeles trio sunking marry hip hop, and electronic influences on their 2nd album I DON"T LIKE MY TELEPHONE. Childhood friends Bobby Granfelt, a jazz drummer and self-proclaimed hip-hop head, Antoine Martel, a synthesist and composer, branched off their mainstay High Pulp to explore their polar opposite tastes and make music as sunking in addition to multi-instrumentalist Victory Nguyen. Their 2022 debut Smug, was more jazz-influenced, while I DON"T LIKE MY TELEPHONE is akin to the early work of beat-driven artists Thundercat, Madlib, and Flying Lotus. They hand selected artists Salami Rose Joe Louis, Niki Randa, Deradoorian, and Takoda to lend vocals and help capture that spirit. I DON"T LIKE MY TELEPHONE as a series of self-contained "micro-compositions," built around Granfelt"s drum loops and Martel"s new gear. In addition to, they were fueled by an increasing love for electronic music artists like Galcher Lustwerk, The Field, and Susumu Yokota, whose 1994 cult classic Acid Mt. Fuji they cite as a particular inspiration. The result is a record as vibrant as a kaleidoscope, and compact as one too, shuffling through more styles and ideas in neat, three-minute chunks of virtuosity.

State Change is the riveting new album from composer and performer Molly Joyce, out July 11, 2025 via FatCat Records’ 130701 imprint. Blending influences ranging from the 20th century modernist lineage to the spectral drones of Andy Stott, Missy Mazzoli, and Nico Muhly, State Change draws unflinchingly from the medical record of a childhood trauma for seven electro-acoustic tone poems — stark and oppressive in its medical aesthetic, yet ultimately cathartic and healing. Joyce crafted the album with Grammy-winning producer William Brittelle largely at Figure 8 Studios with engineer Michael Hammond.

When Joyce was seven years old, she was involved in a car accident that nearly amputated her left hand and required many intensive surgeries; to this day, her hand is still impaired. Joyce pushed through this life change, and over the past eight years, her reputation has swelled as one of her generation’s most daring, conceptually driven composers.

Joyce’s 2020 debut for New Amsterdam Records, Breaking and Entering, ruminated on this seismic shift in pieces for toy organ, voice, and electronic sampling of both sources. The New York Times noted her music’s “serene power”; The Washington Post described her as “one of the most versatile, prolific and intriguing composers working under the vast new-music dome.” Pitchfork lauded her 2022 album Perspective — a sonic portrait of disability built from interview recordings, also released on New Amsterdam — as “a powerful work of love and empathy that underscores the poison of ableism in American culture.”

The Sorcerers' latest long player lands in perfect time for the summer, offering a further progression into their unique take on Ethio-inspired jazz. Other Worlds and Habitats is, of course, released on ATA Records and is blessed with the analogue recording and painstakingly loving production we have come to expect from this boutique studio. This, The Sorcerers eagerly anticipated fourth LP, follows on from the success of I Too Am A Stranger, a record which garnered praise from BBC Radio 2’s Jamie Cullum, “I love this, this is so good!”, Ethio-jazz legend Mulatu Astatke, “I like the grooves, and it is good to see The Sorcerers interpret Ethio jazz in their own unique way”, and Nightmares on Wax, “This sounds great! Love the way it's recorded”.

Never ones to stop moving forward, and ever vigilant to avoid the realm of pastiche, The Sorcerers see the Ethiopique sound as a building block for their natural progression as a group, but a block that sits at the base of a much larger, ever expanding, structure, The addition of keyboardist Johnny Richards, whose use of the Jen 73 piano, Mellotron and Farfisa Compact Duo, alongside the core members of the group, has opened some exciting doors for The Sorcerers, fusing the future looking optimism of the late 60s and 70s (when artists began to experiment with the new electronic technology and synthesisers becoming more readily available) and more traditional sounds. Taking inspiration from Ethiopian keyboardist Hailu Mergia and Nigerian musician William Onyeabor, Other Worlds and Habitats, as the name suggests, showcases The Sorcerers' shift to a new, and deeply exciting, musical landscape.

The Sorcerers’ Other Worlds and Habitats is a natural progression in the world they have created for themselves. Richer for shared experiences, and accepting the rise of the machines, they prove that while their journey is always going forward, there are many different paths to take.

The debut album from Addy Weitzman, ‘Light Months Will Fly Over Us’ explores new-wave, romantic pop and art rock with elegance and ambition, drawing from Weitzman’s scattered network of collaborators, as well as a “frighteningly vast” personal archive of compositions. Sequenced by Seth Troxler and released on his Slacker 85 label, it represents a pivot in musical direction for the imprint, and a showcase for the songwriting craft Weitzman honed as a member of cult electro duo Footprintz, and Montreal synth-pop projects The Beat Escape and Dawn to Dawn.

The title Light Months Will Fly Over Us is derived from a line in a poem by the Russian writer Anna Ahkmatova. Weitzman was immediately struck by its “hopefulness, its mystery… it gives the feeling of being suspended, hanging in a dream-like state”. This interpretation has been translated to the album, rich in memorable songwriting that nonetheless invites the listener to lean in further. Delicately mixed by engineer Pierre Guerineau, known for his work alongside Marie Davidson, each of the eight tracks gently interrogates life’s greater mysteries; fear, love and salvation, each defining and revealing the human soul.

Opener ‘End of The Line’ invites us into an immediately lush space of lounge lizard existentialism, soft brass and piano helping Weitzman introduce “where the journey begins and the fantasy dies”. Across orchestral arrangements arranged by Adam Wilcox, whose sensitive, ambitious compositions are weaved throughout the album, ‘Beyond The Speed of Life’ brings to mind the laments of Scott Walker. Navigating vulnerability via grandeur, Weitzman’s earnest vocals flourish in wide-eyed call-and-response with the object of a transcendent love affair.

Alongside collaborator, Richard Lamb, the next chapter of the LP plunges into contrasting machine-driven moods; the wry, bubbling ‘Entertainment Is All I Wanted (And I Found It)’ is imbued with the playfulness and experimentation of 80s electronic pioneers such as Fad Gadget, while the tougher, icier ‘Stranger To Your Kind’ shifts in a more instrumental direction, recalling Weitzman’s dancefloor experience, as well as contemporaries such as Matthew Dear.

Album centerpiece and striking first single ‘Running & Returning’ is the first of a suite of three tracks in collaboration with Weitzman’s The Beat Escape and Dawn to Dawn bandmate, Patrick Boivin. Blending lush saxophones and angular guitars with a wistful melodic touch and lyrics, its irresistible art-rock rhythm provides the foundation for one of Weitzman’s most involving vocal performances.

It’s followed by an anthem for existential absurdity: ‘Ice Cream Candle’ provides a driving acceptance that “the more and more you learn, the less you understand”; Weitzman submits to this uncertainty with equal grace on ‘No Man’s Land’, as baroque invocations of “words swept through the fields” and meeting “where the water lilies grow” give way to a blistering guitar solo, humbly riding hypnotic percussion.

For the compassionate finale of Light Months Will Fly Over Us, Weitzman narrates the experience of ‘Gabrielle’, a woman slipping between rooms between shuttered blinds in the towering city, “where cigarettes and roses fill the air.”

As lyrically delicate as it is musically ambitious, Light Months Will Fly Over Us is a sublime debut album, enriched with care, love and much-needed enchantment.

This is their first new album in almost two years, which is rather short considering the time it took them to prove this theorem.
The songs coexist with a vast amount of musical information, including funk, hip-hop, hard rock, gospel, southern rock, and electronica, and sound open in all directions.

Noda's talent is astonishing, but at the same time, he also uses the metaphor of word play to poke at the truth. Noda's sensitive gaze toward
love and life, which exist side by side with despair, nihilism, and death, cannot be faulted in a work that carefully and skillfully translates such detailed sensitivities into sound. It is an unquestionable masterpiece.

The original Madlib instrumentals to Georgia Anne Muldrow’s critically acclaimed album; “Seeds” which was released in 2012 on SomeOthaShip Connect. Heralded as one of her most captivating and immediate front-to-back statements of purpose, a deeply spiritual collection of songs. It was the first time in her career where she handed over all production duties to someone other than herself, that someone being the legendary Madlib.
The beats on “Seeds” are naturally heavy, funky, soulful, abrupt yet hypnotic. All the characteristics of Madlib’s signature sound we know and love.

On the B Side of the vinyl is a collection of Georgia Anne Muldrow instrumentals from across 3 Dudley Perkins albums, “Young Spirit”, “Self Study”, and “Holy Smokes.” Beats with synths reminiscent of J Dilla’s electronic era but with enough G-Funk influence to melt your Raiders hat. Bass lines that could get The Click back together. Georgia Anne Muldrow is a master of her craft on the beats and the microphone. This record is a testament to that. Rediscover “Seeds”, the magical powers of Madlib, and why beat tapes will never go out of style.

Cluster can be counted among the most important international protagonists of the electronic avant-garde. Some credit them with having invented ambient music, others as pioneers of synthesizer pop, whilst to some they are firmly embedded in the krautrock universe. There is some truth in all of these notions. Cluster (or Kluster as they were in the beginning) were founded in 1970 in Berlin by Conrad Schnitzler, Hans-Joachim Roedelius and Dieter Moebius. A change in direction and musical differences moved Moebius and Roedelius to split from Schnitzler after which the duo recorded 10 regular studio albums between 1971 and 2009. Their debut album ("Cluster 71") was in Wire Magazine"s "One Hundred Records That Set The World On Fire" list. "Cluster II" is influenced by Berlin and Hamburg; situated somewhere in the middle of artistic happenings, musical outrageousness and drug abuse: an urban mixture.

Mayssa Jallad is a Beirut-based bilingual singer-songwriter, architectural researcher and teacher. Her work deals with the highly personal as well as the political, as with her first solo album "Marjaa: The Battle of the Hotels", which explores the histories of urban battles that occurred before she was born, during the Lebanese Civil War, through a collaborative musical and architectural lens. "(Marjaa) is, as one might expect, a sombre affair largely comprised of Jallad's delicate vocals backed by acoustic guitar and ethereal synthesizer. Elsewhere, co-composer and producer Fadi Tabbal adds the crackle of distant artillery and a ghostly wind between the high-rise blocks." - Daniel Spicer, Songlines, April 2023 "Historical trauma, strings, drones, metallophones and buzuks wrap around powerful stories and gossamer vocals on Lebanese singer's tender, intimate debut. With shades of Nico, Jarboe and Elizabeth Fraser, '80s' 4AD fans will rejoice." - Andy Cowan, MOJO `Marjaa_' (tr. `reference') combined Mayssa Jallad's two main vocations: music and urban research/architectural history. The album was co-written with Fadi Tabbal and based on Mayssa's Historic Preservation master's thesis (`Beirut's Civil War Hotel District: Preserving the World's First High-Rise Urban Battlefield'). The thesis examined a 5-month conflict that took place within Beirut's skyscraper-laden luxury hotel district of Minet El Husn near the start of the Lebanese Civil War. Addressing a post-war generation who have never been taught this difficult history, `Marjaa_' was an attempt to process trauma, and "a call to protest for the renewal, rather than the recycling of the political class that once destroyed the country and holds us, to this day, hostage of its violence". In 2013, Mayssa founded indie-pop band Safar with guitarist Elie Abdelnour, releasing debut album In Transit with Lebanese indie label Ruptured in 2017, and follow-up EP Studies of an Unknown Lover in 2019. Both albums were produced by Lebanese producer Fadi Tabbal at Tunefork Studios in Beirut. Mayssa's most recent multi-genre collaborations include "Madina min Baeed" (2022) with electronic musician/producer Khaled Allaf; "Bi Kheir" and "Fil Aatma" (2022) with indie supergroup Baada Ab (Dani Shukri, Ezra Tenenbaum and Omaya Malaeb), released by Thawra records and Found Sound Nation. Next is the Versions version of Marjaa, which sees Civilistjävel! (aka Swedish producer Tomas Bodén) apply a stripped, dub methodology to Mayssa's original rich stems, refracting the Arabic source through the hazy prism of Northern European electronica. 140gsm vinyl, jacket printed on 20pt board with aqueous gloss coating, with a 3.5mm spine and a black paper inner dust sleeve.

Repress!

Groovin recordings celebrates the release n° #100 repressing one of the most essential electronic-dance records of all times.

LTD Repress !

LIZZ is back on PlayedBy with Chapter II, a compilation of new and unreleased artifacts and other treasures from his dense catalog. Diverse and expansive, it captures his versatile musicianship and ever-evolving production style.

Broadly speaking, there are two types of tracks produced by LIZZ: on one hand rallying for the right to party, and on the other, nostalgic odysseys, sometimes lustful and sometimes wistful. Chapter II has a bit of everything. Thirteen tracks of club heat varied narrative that is worth listening to carefully.

Opener "Seamless" and its steady snare keep spirits high while the spacey keys provide a trippy, out-there vibe. On the flipside, "Clasic Dewan" uses elements we've heard before - warm pads, a percussive organ, and a looped vocal sample - but still makes for a great dancefloor track. Both tracks are a throwback to LIZZ's tried and true Terrafirma.

"Cynelmoon" unravels a labyrinthine universe twisting in and out of misty existence, with its snake-like rattles winding through a maze of synth bleeps.

Refreshing and zippy, "Dip Si M" stands out as a gritty reinterpretation of a great space and sounds like the most fun he's ever had on record. On the other hand, "Chemical Chords" is ethereal, meditative, with a hushed musicality that is almost stoic.

LIZZ takes the listener on a journey of vertiginous peaks and deep valleys as he leads "Round Around" into spiraling locked down looped club music.

Listening to "Nothing with Nothing" feels like a video-game on its own. It’s a bundle of joy and energy, peaking with a crescendo of color.

On "69" the energy builds with such careful, gradual restraint that even the most active listener might wonder how they ever got to this point. Chopped up shards of melody and vocals combine to create a kaleidoscopic funhouse with a strong Perlon-esque flavour.
"Roaki" is the dreamy track with an irresistible groove, where LIZZ combines smooth synth pads with dubby and distorted electronic drums that add a sense of cyberpunk feel, reconfirming's Playedby's fanaticism for this project.

A bubbling, percussive roller marks the beginning of "Jazzohub" and skyrockets from there. The track hits with an inviting vocal that dissolves into a fluid swirl of layered hand drums.
"No More High" is a a real banger. This one bounces hard with a bass-heavy beat and a military snare, leaving you no choice but to tip-toe with its groove all night long.

Chasing an ever-vivid muse,"Electronic World" hits with its drumming rhythms, labyrinth of synth bleeps and bold vocals reminiscent of tunneling club nights.

Closing track "I Am Cross" brings an unusual kind of dark atmosphere to the fore: it's cavernous and enveloping, almost as if the rhythm was an afterthought.

Chapter II is every bit as ambitious as its predecessor. Across thirteen tracks, LIZZ approaches the dancefloor forms of his earlier work with a fresh and voluptuous groovy attitude. Somehow, individually, we must reclaim our own experience.\5