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Founded by the visionary mind of Masedia, Lost In Sound ignited its vibrant inception in 2017 as an unparalleled recurring series of events pulsing through the veins of Stuttgart's underground scene in Southern Germany.

Now, Lost In Sound Recordings ascends to a new zenith, celebrating its very first release with a four-track EP crafted by renowned Italian DJ and producer Otis. Behold his Euphonia EP, a transcendent journey that weaves a tapestry of emotions and casts an indescribably radiant aura on hot nights. Prepare to surrender to the cascading waves of organic sounds that will unleash a flood of joyous hormones within you.

Otis' EP "Euphonia", a masterpiece of sonic fusion, seamlessly weaves powerful house bombs with captivating influences from electro, acid and trance. This sonic odyssey promises an unforgettable experience that defies categorization. Get ready for the upcoming arrival of LISR001.

Big tunes on this new Electronic Emergencies release!! Police des Moeurs deliver dark electronic turmoil on Sauvetage, Electronic Emergencies' 40th release. With four tracks full of gloomy soundscapes, gritty synths and beats leaning to hardcore, the duo from Quebec, Canada, show an uncompromising side of their character. Francophone lyrics are sparsely floating along, commanding at one time and velvety at the other. Sauvetage is pressed on solid gold vinyl and comes in haunting artwork that fits the mood perfectly.

The extraordinary trio creates a fascinating, atmospheric fusion of electronic sounds, piano, violin, percussion, field recordings, and mystical Ladino texts and chants with "Metamorfosa." Metamorfosa is a new band project founded by Marlene Schuen (Italy), Dimitri Andreas (Belgium), and Marc Romboy (Germany).

The arrangements, co-compositions, and production come from Marc Romboy and Dimitri Andreas (Music Man, Systematic). Marc Romboy has been releasing electronic music since 1991 and has performed worldwide in legendary clubs like Berghain, Rex Paris, Fabric London, and Womb Tokyo. Marlene Schuen's lyrics for Metamorfosa revolve around nature and stories of mythical creatures in the mountain world of South Tyrol, taking the listener into the world of her homeland.

Her impressive voice and singing style deeply touched and fascinated
Marc and Andreas from the very beginning, ultimately inspiring them to create this fusion of electronic sounds, atmospheric piano parts, violin, field recordings, percussion, and Ladino singing.

Discrepant proudly presents the Vinyl edition of Lebanese trio Malayeen. Malayeen is the project of Lebanese musicians Raed Yassin (Keyboards, Turntables & Electronics), Charbel Haber (Electric Guitar & Electronics) and Khaled Yassine (Darbouka, Percussion). Born from Yassin and Haber's love for the music of quintessential Egyptian guitarist Omar Khorshid, Malayeen disassembles and re-configures the work and style of the iconic guitarist innovative take on Arabic music. The final result makes for an original and unique update of Khorshid & belly dancing inspired songs from the past. Over the course of 7 compositions, appropriately named after Khorshid and famous belly dancers from the Arabic diaspora, the three musicians' varied backgrounds and techniques collide and coalesce in an experimental yet magical fashion, not actually playing Khorshid's music, but inspiring themselves from the cult guitarist's genius to create something completely new, modern and unexpected. A unique LP featuring the combined talents by key players of the Lebanese avant-garde. The Malayeen LP edition is released by Discrepant in collaboration with Lebanese exploratory label Annihaya effectively combining East and West musical strains of thought as well as conclusively deconstructing and displacing this particular form of 'popular' music. Design by Studio Safar S.A.L. Comes with full color poster painting by Omar Khouri Special vinyl one time pressing to 500 copies. "Uplifting, beat-driven pieces, often melodic, definitely Arabic, with destabilizing touches from external sounds, sound manipulations, and textural plays. The 17- minute 'Samia' is a roller-coaster ride culminating in a dizzying solo/duo between Yassine's darbouka and a darbouka track from a record played by Yassin. Great stuff. Monsieur Délire

`Gentle Confrontation', Loraine James's third Hyperdub album, opens a new chapter of her real and sonic life in which she examines her past and present. It's a positively languid, enjoyably disjointed set made while listening to her teenage favourites; math rock and emo-electronic such as DNTEL, Lusine and Telefon Tel Aviv. The album also features an ever more diverse set of peers, placing them in her unusual musical settings and drawing out sensitive and reflexive performances. At other times the album stretches out into a drifting ambience as if seeking a sense of bliss in the everyday. `Gentle Confrontation' is about relationships (especially familial), understanding, and giving back a little grace and care, while the tone of the record criss-crosses watery ambience with denatured rhythm and asmr beats. These 16 tracks are Loraine's best work yet, and a personal and musical leap forward, delivering a totally unique vision of electronic pop music.

Qnete’s back in the building for a third X-Kalay release and it’s an anticipated return for the prominent purveyor of prog. Four diverse but coherently related tracks with pit stops in deep house and electro territory.

We open proceedings with a dose of the lysergic sound that has become his trademark since debuting on the label in 2021. Evoking ritual and ceremony, ‘Going Short‘ commences with choral pads that beckon to the altar. A slo-mo exercise in dancefloor hypnosis with trace echoes of bleep.

Where ‘Wrapped’ takes a turn toward mellow, ‘Stepperals’, like its A1 counterpart, recalibrates trance tropes into something more chugging and restrained. Another example of Qnete smudging his third eye on a tunnelling, wormhole flex.

And finally, the Leipzig native signs off with a nod to the American Midwest. Opening cerebral gates in a way that recalls classic Detroit In Effect, closing track ‘Circuit Friends’ taps into the futurist utopia imagined by Detroit electro’s pioneers.

Now in its eleventh year and following hype for recent releases from Osaka's Kiji Suedo (Hosek EP & Riot album) and Edinburgh's George T (Roll On, King's Cross single), Edinburgh's Hobbes Music label burrows deeper into experimental ambient terrain with brand new signing Galun. With a discography over 15 years deep, Galun brings no shortage of his own props.

Galun is the solo project of Moscow musician, artist, and producer Sergei Galunenko (currently based in Tallinn), who has performed at numerous prestigious Russian events and collaborated on projects internationally in a career spanning more than 15 years, with a discography to match, turning his attention to myriad styles: IDM, funk, techno, juke, post rock, beatboxing, free improvisation, drone.

“In my project, Galun, I do not use musical instruments,” he explains. “All the sounds are produced with only the use of my voice through beatbox and special vocal skills. Some effects are used to produce electronic sounds.”

Hot on the heels of the new Golos album (out now via Berlin's One Instrument) plus a remix for US collaborator Alek Finn via Nevada's Mystery Circles label, Galunenko’s eighth studio album, Glagol (or Glagolь / Глаголь in Russian) is an ambient collection, recorded between 2013 and 2022. The title is an old Russian word which translates as ‘Speak’.

"This album consists of tracks written in different periods, so it turned out to be diverse," he says. "There are classic ambient tracks, as well as experimental ones in search of new possibilities for voice processing."

Why "glagol"? “Since the music on this album is 90 percent processed voice, it's a form of conversation for me," he reveals, “where I talk about my thoughts and mood, so speak music, while using my voice, is an amazing way of expressing.”

Five singles will be released on streaming platforms only, at intervals, over summer, with the full album released on digital 25.8.23 and a limited edition cassette plus lathe cuts out from 8.9.23.

"How gorgeous is that?! I have heard the rest of the LP and it is all equally gorgeous" DEB GRANT played ‘Mirror’ (New Music Fix show, BBC 6 Music, 17.8.23)

"'Glagol' translates as 'speak', an apt title when you consider 90 percent of the noises contained on it originated as recordings of his own voice, and that lends the ambient experiments here a very human, tactile feel. Closing tune 'Mirror' is a serene masterpiece, '1981' is an evocative phase-fest, the stuttery 'Stone' is endearing and enrapturing and Galunenko generally displays a knack for communicating clear emotions through abstract sounds. Recommended." ELECTRONIC SOUND
‘Really beautiful’ AVALON EMERSON (US)
‘Really loving the Galun tracks!’ INTERGALACTIC GARY (NL)

‘Super!’ JD TWITCH (Optimo, UK)
'Wow, this sounds amazing. Loving the atmosphere here, ambient with some groove somehow, really feeling this one.' DAN CURTIN (US/DE)

"Sounds great. Looking forward to getting into this properly" LORD OF THE ISLES

‘Wicked. It’s great stuff’ DRIBBLER (Pikes, Ibiza // Paradise Lost, Red Light Radio, Pure; SP)
‘Very nice, will play on Cashmere Radio here in Berlin. Keep up the good musical works x ALEX VOICES (DE)
‘Sounds really nice. The sort of thing I’d absolutely listen to on streaming etc’ AUSTIN ATO (UK)
‘Excellent stuff as always’ PAT BENSBERG (The Eccentric Selection, Phonic FM, UK)
‘Digging this one! Right up my street and just the ticket for my Radio Buena Vida show’ TOM CHURCHILL (UK)

Original soundtrack from the animated TV series 'Professor Balthazar' (1967 - 1978) by Tomislav Simovic.

Gatefold LP, cut from the original master tapes, liner notes by Zeljko Luketic and exclusive graphics by Boris Stapic.

Master tapes were considered lost; now found and restored for this unique release celebrating Yugoslavia's biggest cartoon export of the times.

Professor Balthazar was filmed from 1967 to 1978 in Zagreb. It was a huge international success: from large fan base in Scandinavia to broadcasting on USA television and countries like Germany, Italy, UK, France and even Iran. It's still aired on various TV programs and video platforms.

Animation style and content is widely praised for being one of the rare cartoons that does not feature any kind of violence or aggression. The character of Professor Balthazar solves problems in a peaceful way. He uses his inventions and science to help his friends. Distinctive visual influence is a crossover of bright, psychedelic colors, weird shapes and naive art, typical for Zagreb School of Animated Film. This soundtrack is mastered from original tapes, composed and conducted by Tomislav Simovic.

The music is busy, playful and mixes influences of jazz, modern classical and even electronica. Fox & His Friends Records, also the curators of the largest ever multimedia exhibition on Professor Balthazar series in Museum of Modern and Contemporary Art in Rijeka as a part of the European Capital of Culture program in 2020, present the masters without any interventions in sound. This album cut includes longer rare version of main credits, made exclusively for Zagrebfilmijada, an event of public screenings of Professor Balthazar and other cartoons in cinemas in 1970's Yugoslavia.

Ladies and gentlemen, it's 2023 and Rico Puestel doesn't get Techno anymore. What happened? They might have grown apart... So he just did his thing and after twelve months of not producing anything electronic, he just wallowed in independence of doing what he always loved...

Conrad Schnitzler (1937-2011), composer and concept artist, is one of the most important representatives of Germany"s electronic music avant-garde. A student of Beuys, he founded Berlin"s legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums. The red album ("Rot") from 1973 was Schnitzler"s first solo LP.

The return of one of the most individual producers in Detroit - Erik Travis.

With acts like HiTech, reconfiguring Ghettotech for a new audience, now is the time to check out his somewhat twisted take on electro.

It is a privilege to welcome Ed Upton back to Shipwrec for his sixth release with the label. An artist who has been at the forefront of electronic music for three decades, under his well-honed DMX Krew guise the British musician has crafted icy electro, thoughtful electronica and textured techno. It is a combination of these styles that culminate in Tree in Space. A steady kick tethers "Parasite" to reality, a thick earthen melody countered by twinkling refrains as soaked drums splash. Off-centre bleep and beats introduce the title piece. Solid basslines are lightened by playful brassy electrofunk notes as genre limitations melt into Summer warmth. Skeletal scales find themselves confronted by a bruising bulwark of bass in "Unbelief." Balancing these angular and globular tones are arcing keys that draw the disparate elements into unity. "Meltdown" is the closer. Blending a spread of sounds, acid, braindance and techno, DMX Krew serves up something truly special. Brooding notes are met by cracked percussion and simmering 303 squawk in a track that pursues its own path. An EP from a musician that continues to stretch boundaries and imaginations.

To be far ahead of your time sometimes means that you have to wait a while for the right moment to be understood. The visionary approach of multi-instrumentalist Johnny Lamas led him to experiment with a world of hybrid jazz-funk, ambient and electronic sounds while keeping the rhythms of Venezuelan traditional music alive. From 1993 to today, small recognition has grown into true admiration for this so specific sound and his "Danza Cósmica" masterpiece.

TrueClass Records are pleased to present as their second release a complete restoration of this gem, beautifully remastered and redesigned, making it available now for the first time in fine audio quality on vinyl and digital formats.

Mathis Ruffing & Tamila bring serious heat to International Chrome's second 12" of 2023. Three original tracks of breakbeat & electro featuring the bi-lingual vocal stylings of Miss Tamila on one side, and two fire remixes by Sinistarr, and DJ Fucks Himself taking things up and up on the flip.

As you'd expect from a label run by Jensen Interceptor and Assembler Code, this is 100% dancefloor stuff with serious sonic heft.

Originally released on Rocket Girl in 2000, Piano Magic’s third album proper heralded a seismic and surprising shift away from its more electronic predecessors, ‘Popular Mechanics’ and ‘Low Birth Weight.’ ‘Artists’ Rifles’ is Piano Magic’s first band-band album and marks their debut, actual recording studio appearance. Improvised on the spot and produced/recorded over just five days by John A. Rivers (Dead Can Dance, Felt), at his Woodbine St Studios in Leamington Spa, stylistically, the record could feasibly be described as the first (only?) baroque post-rock record, utilising as it does, consciously or otherwise, influences as broad as Bach and Codeine.
For ‘Artists’ Rifles’ the core of Glen Johnson (vocals/guitars/keyboards), John Cheves (guitars), Paul Tornbohm (bass) and Miguel Marin (drums/percussion) were augmented by guests Caroline Potter (vocals) and Adrienne Quartly (cello).
The success of ‘Artists’ Rifles,’ particularly in Spain, kickstarted a wealth of touring possibilities and over the next 16 years, the band toured all over Europe. It also caught the attention of 4AD Records, for whom they signed to the following year.
This 2023 vinyl re-pressing honours the original (Matt Dornan) sleeve design and beautiful photography of Royal Artillery Memorial (Hyde Park, London), by John Cheves of the band.
“Classic English folk music for the 21st century” – Record Collector
“Glen Johnson and cohorts explore a doomed English romanticism, boldly linking contemporary romantic mores with the lost generation of 1914 – 18…. strangely it works….” – The Wire
“Another endearingly odd record, drifting along the seawall between the macabre and melancholy. This is the work of 4AD obsessives who have learnt to love electronica.” - Q

Amy Dabbs might be one of the hardest working artists in the game right now. Making it in the current electronic music landscape is not an easy thing, which might be why this talented artist is so heavily invested in her musical output. With releases on Aus Music, Shall not Fade and her own Dabbs traxx, a monthly residency on Rinse FM and a tour schedule that seems to get busier by the minute, we’re happy to see her hard work is paying off. Add to that some support by artists such as Special Request, The Blessed Madonna, Jaguar and Cinthie and you know this Berlin-based artist is right where she belongs: in the spotlight.

With a love for all things high energy – including, but not limited to house music and breaks – Amy knows how to set fire to a dancefloor (or record for that matter). Her music has been described by Resident Advisor as “Elegant and soulful drum & bass, that’ll still catch the ears of house heads.” So here you go, house heads: Amy Dabbs on Heist. The ‘Only breaks can love your heart’ EP is packed with feelgood energy and comes with a Dam Swindle remix that has the duo laying down some pleasantly unexpected breakbeats on an altogether rush-inducing record.

Right from the start, you know you’ve got an anthem on your hands with ‘Everything alright’. The gorgeous vocals by Aika Mal give you that right amount of emotive, ravey energy and come wrapped in a package of solid breaks and mesmerizing chords. With a hint of acid and a couple of meticulously crafted breakdowns you’ll be singing along with this track before you know it.

The Dam Swindle remix drops the tempo a little bit, but with its 140 bpm, warm broken beat and UK bass, the duo delivers a curveball of a track with a lot of crossover appeal. They went for a more stripped back approach that combines introverted percussion with bouncy keys that complement the vocals perfectly for an altogether irresistible remix.

‘Crush’ is a signature Amy Dabbs tracks, with driving 909 percussion, female vocal chops, ethereal pads and classic strings. It’s a warmhearted affair laced with Amy’s feelgood DNA. On the flip you’ll find ‘Eleven eleven twenty two’; a classic deep house track with subtle hints of UKG in its sampling and bass. The pads and leads are moody and the skippy percussion gives this track the kind of energy you’d welcome when pulling an all-nighter.

Rounding off the EP, we’ve got the ep title track ‘Only breaks can love your heart’; another showcase of Amy’s knack to make house aficionados dance to drum and bass. There’s a certain contrast in pace – raging drums versus dreamy chords that makes you feel at ease listening to a fast-paced track like this. The vocals are equally hazy with a subtle 90’s and 00’s RnB feel. Bassface guaranteed on this one!

A Crimson Shore is Saåad’s first studio album since Présence/Absente in 2018. In the interim, Toulouse-based composer and producer Romain Barbot has enriched his experience as an artist through multiple collaborations, the composition of soundtracks and commissioned pieces, as well his involvement with the bands FOUDRE! and Sables Noirs.

This new chapter in the artist’s discography reflects this artistic maturity, evoking the project’s finest ambient recordings while revealing a new, unfiltered and decisive personality. Saåad’s use of a more direct musical language (exclusively electronic on this album) is intended to lay bare the inner life of its creator: the tracks are structured in a cycle of loops, vibrations and drones which respond to and confront each other like the torments of existence, torn between the twilight of sombre music reduced to its purest function of catharsis and the dawn of a new, luminous narrative journey.

A Crimson Shore is a raw, all-encompassing album, shot through with the fear of death, of growing old, of accepting it, of grief — past, present, imagined and future — and the search for a transcendental refuge.

Vienna has a storied history as a ground zero for new music. Radian, who call Vienna home, embodies the city"s spirit of innovation. Martin Brandlmayr (drums, electronics), Martin Siewert (guitar, electronics) and John Norman (bass) are stalwarts of the European contemporary music community. Distorted Rooms presents a dazzling new elevation of Radian"s employment and manipulation of microtones with a new emphasis on abstracted guitar motifs, often employing a more loop-based or electronic approach to the guitar"s sonics. Radian"s visionary approach to composition speaks to a lifetime of working in forward-thinking music. The trio expertly hone in on sounds often removed from the sheen of the recording process and mine them for unique, rich textural sound palettes which they then meticulously arrange. Distorted Rooms creative process began with multi-stage recording of often the smallest sounds, from pick-scrapes to an amplifier"s latent hiss. These slivers of sound are then restructured and processed through a variety of techniques that transform them drastically. Radian have always been interested in sounds that might be considered byproducts and maximizing their creative and aural potential. More minor gestures like switching a pedal on and off or toggling the guitar"s pickup are mic"d and spun into textures that crackle and froth to fascinating effect. Radian"s angular, expansive music delights in tension and contradiction, sound and silence, improvisation and composition. The trio employs a singular and wholly unique sense of microtonality. While their creation process is complex, the resulting music is emotionally affecting, creating an aura of suspense and at times unease. Brandlmayr, Siewert, and Norman share an unconventional, wildly imaginative approach to sound.

Flint, Michigan-based rapped MC Breed and his crew DFC (Da Funk Clan aka Dope Flint Connection) put the Midwest on the map in 1991 with the release of their self-titled debut album, an underrated gem of the early 90s. The lead single, "Ain't No Future in Yo' Frontin'" with a boomin’ west coast sound would get radio play across the country and video rotation on YO! MTV Raps, BET’s Rap City, and Ralph McDaniels' Video Music Box. The album’s second single “Just Kickin’ It” with MC Breed’s laid-back vocal style over a funky groove landed in the top 10 on the Hot Rap Singles Chart. Tracks like “Underground Slang” have an 80s electro vibe and “Better Terms” has Breed rapping a little faster over a Bomb Squad influenced beat with his DJ on the cut. MC Breed would go on to release another 11 albums and collaborated with artists such as 2Pac on "Gotta Get Mine" and Too $hortís "Gettin It” as well as features with Slum Village, Pimp C, Kurupt, Erick Sermon, and The D.O.C. among others. Breed passed away in 2008 from kidney failure, but his legacy lives on having influenced other Midwest artists including Eminem, Proof, D12, Common, and Slum Village. Out of print on vinyl since 2018, Get On Down is bringing back this Midwest 90s classic on limited edition colored vinyl.

The undisputed king of Japanese noise MERZBOW returns, as the landmark album Venereology celebrates 25 tinnitus-inducing years with its inaugural vinyl pressing! Remastered by James Plotkin (ISIS, ELECTRIC WIZARD, FULL OF HELL, and more) and featuring reworked art, this is the most extreme recording of harsh electronic sickness you will ever own! Venereology features a second LP with more than 20 minutes of unreleased bonus material. - Highly influential noise album from a scene torchbearer/pioneer - Remastered by James Plotkin (ISIS, ELECTRIC WIZARD, FULL OF HELL, and more) - Reworked cover art - 25th Anniversary - Bonus material with unreleased music For Fans of: Prurient, Whitehouse, Wolf Eyes, Masonna, Sunn 0))), Full Of Hell Select Press Quotes: - "A masterpiece..." - The Quietus - " severe and atrophic, but also entertaining, heterogeneous, energizing, malleable. " - Pitchfork