Cerca:electro

If one always looks at the sky, he will end up with wings, a wise French man once declared. Halifax, Nova Scotia based musician Jeremy Costello had wings, long before he looked up. Wings of imagination. Brandishing in his head, transforming deep-rooted emotions into poetry and sound. Since 2012 the Canadian self-releases music as Special Costello, a moniker under which he records solo or with local friends like Saxophone player Nick Dourado or guitarist Dave Burns. His lyrics are sincerely woven poetic enunciations that balance between introspective emotions and existential philosophical demands. Lyrics from a spirit that is in love without an object, unconditional, mirroring his very own subconscious inner being. The music reflects his tempers in many colours. Glimpses of Synth-Pop, psychedelic rock nuances, traces of new romantic utopia, infantile Casio minimalism, Shoegaze haze, drama wave: Special Costello blends many styles, uniting all in his very own musing grandeur of pop music.

After an array of digital releases, Berlin based label Marmo Music now publishes the Special Costello touch for the first time physically fabricated on vinyl. Seven songs featuring the longing voice of Jeremy Costello, sometimes in correlation with spoken words and dialogues by noted artists, poets, and scientists. All creations have been recorded by himself between Spring 2017 and winter 2020, using the extrasomatic help of instruments and machines like Farfisa Combo Compact transistor organ, Roland JX3P polyphonic analog synthesizer, Roland D50 linear synthesizer, Roland Rhythm Composer TR-08, Arturia Microbrute monophonic analog synthesizer or a Gibson Thunderbird IV bass guitar. In communication with his sensitive inner blues, they created an atmospheric voyage into the heart of Special Costello, that fulfils Arthur Russel’s sapient declaration: being sad is not a crime! Seven musical paintings full of intimate, vibrant feelings and existential thoughts, veiled in an antidepressant neo new romantic glam. An epic tune like “The Next Day”, in which Costello’s singing links with thought-provoking spoken word samples, sounds like Robert Ashley is meeting Hans-Joachim Roedelius in a psychic séance with Brian Ferry. In comparison, a song like “If Not Depression, Then What?” grooves with a pulsating wave bass figure and an overall gently floating electronic majesty, while Costello’s voice takes deep listeners to an unknown higher ground. On the other hand, a composition like “Unsetting” offers a nonchalant graceful funk drift with reverberant hand claps, minimal guitar strains and a chromatic synth pop grace. Above all the music Costello’s voice cries, screams, whispers, and weeps with a compelling introspective elegancy, that invites to associate intensely with the nonpareil Special Costello touch.

Written, composed, and recorded by Jeremy Costello between 2016 to 2020 in Halifax, Scotch Village and Toronto (Canada).

Instruments used by the artist: Farfisa Combo Compact transistor organ, Roland JX3P Programmable Preset Polyphonic Synthesizer, Roland D50 linear synthesizer, Yamaha DX7 Frequency Modulation/Programmable Algorithm Synthesizer and TX7 FM Expander, Roland Computer Controlled Rhythm Composer TR-08, Arturia Microbrute Analog Synthesizer, Gibson Thunderbird IV bass guitar, MicroKorg Synthesizer/Vocoder, Electro Harmonix Small Stone Phaser, Memory Boy Analog Delay, Alesis Quadraverb, and finally, their voice was recorded using Shure Beta57A and AKG D 330 BT dynamic microphones.

Hannah Zhalih Mickunas is a multidisciplinary artist currently living on the Northern California coast. After a first album recorded for eilean rec. in 2018, she comes back 3 years later on LAAPS with her second LP, "They Call".

All songs, voices and instruments by Hannah Zhalih Mickunas. Recorded between 2013 and 2021.

Beats/electronic by:
Michael J Collins on "Shadows from the sky", "Water", "Blue Dust"
Jake Holmen on "Like a Wave", "Seventeen", "Trouble"

Beth Navah co-wrote "Visions of Clay" and "Crying like a Lamp"

First ever vinyl edition of "Zeder" soundtrack, one of the best Italian thriller/horror movies ever!



The music composer is Riz Ortolani ("Mondo Cane" and "Cannibal Holocaust" stand out among his many works), here collaborating with director Pupi Avati for the second time: this soundtrack expertly blends electronic and symphonic music, the latter here consisting mainly of an orchestral string section often repetitive, hypnotic and insistent, that reflects the arrogance of the protagonist in continuing his research, no matter what the consequences could be. There is no shortage of funk-filled brighter themes and requiems, suspended songs full of tension and sudden vibe changes, melancholic melodies and eerie soundscapes.



"Zeder" is today a cult movie, released in theaters in 1983, at a time when hardly anyone dared to shoot anything that had to do with zombies. Pupi Avati went against the tide then, giving life to an atmospheric horror film set in a sunny Italian Romagna Riviera - a typical destination for cheerful summer holidays - which tells the discovery of ancient experiments by researcher Paolo Zeder on a special 'K terrain' that allow those buried there to return from beyond. Avati's stylistic approach, in which tension and fear arise from simply narrated situations instead of full-blooded scenes with a strong visual impact, finds here a perfect match with Maestro Riz Ortolani's score.

Wasted Cathedral is the solo project of Saskatoon-based musician Christopher Laramee (Shooting Guns, The Switching Yard, and The Radiation Flowers). This new album is the latest in an impressive line of releases that have explored a variety of sounds, from ambient drone and electronic disco to experimental chaos and downtempo electronica. I'm Gonna Love You 'Til The End Of Time is made up of seven songs and is undoubtedly influenced by the starkness of the Canadian Prairie and long Saskatchewanian nights. It serves well as a soundtrack to the setting of any number of listening experiences, particularly when experienced with headphones. No matter the direction Laramee has chosen to guide Wasted Cathedral, the result has always been intriguing and captivating. I'm Gonna Love You 'Til The End Of Time is certainly no exception.

Laramee describes Wasted Cathedral as incidental music, improvised soundscapes created in passing moments, like musical snapshots. This makes perfect sense, considering the likes of Sarah Davachi, Peter Kember, Terry Riley, and Augustus Pablo inform Laramee's approach to composition, as well as tone-setting and mood. According to Laramee, this collection of songs is a continuation of his previous work, albeit in a more stripped down fashion.

Wasted Cathedral is recommended for listeners of Flying Saucer Attack, DJ Shadow, Spectrum/Sonic Boom, Spiritualized, and Portishead.

After being championed by John Digweed on his iconic Transitions radio show, London duo The Pressure team up with Digweed and his long-time studio partner Nick Muir on Counting Down The Days, a soaring, hypnotic, emotive progressive house cut that points to brighter times ahead.

The Pressure are a London-based electronic band. Diverse production and energetic performance form the pair’s foundations, with influences from rave culture and performance-centric dance acts such as Depeche Mode and Underworld prominent across their releases and live shows.

2020 saw them self-release Ride and Planes: two tough club tracks with songwriting at the heart of them. A statement of intent from the duo, both cuts showcased a varied production approach reminiscent of the Bristol-era of UK electronica. Earlier in 2021 they made their debut on Undisputed Music with Saturday Night, a distinctive dance cut that sat somewhere between deep house and crossover electronica, and has to date clocked up more than a million streams across all platforms.

John Digweed is one of the most celebrated electronic artists of all time, and alongside Nick Muir is responsible for an incredible catalogue of music, so even before you listen to it you know this is going to be something special. Counting Down The Days is a stunning collaboration, combining the pure, driving progressive house of Digweed and Muir with the poignant emotion and raw talent of The Pressure to incredible effect.

Passionate about breaking records and being immersed in the music that fuels our most cherished dancefloor moments, Undisputed Music is doing just that with a coalition of existing and new artists spanning many electronic genres, lining up releases to illuminate audiences across the globe.

Founded by industry aficionados Tony Garvey and Marc Thomas, they share over two decades of experience between them. From currently running the UK Electronic roster for world renowned management company, Red Light, to many years within the walls of, Island Records, Def Jam, Priority Records, MCA / Motown, AM:PM, Defected Records, Strictly Rhythm and Universal Music Publishing, their wealth of knowledge is well earned.


DJ Support:

Pete Tong, John Digweed, Nick Muir, Taiki Nulight

The 2nd release of "fukuinn" label has brought together 4 groups of cutting-edge artists who are active in Europe.Do_1 & GGGG is the first. His details will not be disclosed, but it is a destructive sound by French nice guys who have been active in the electro and braindance scenes of the last few years.A2 is Weith. He presides over Brainwaves and has released tracks on many labels. Italian producer Caramel Chameleon who is also active in 030303 Records. The moving IDM sound is a must listen. Featured newcomer Tadan offers a clear electro track that is unique to him. This release is packed with variety of electro and acid tracks. Vinyl only!!

Green Vinyl

Have you ever wondered what would happen if the Spice Girls smoked crack and joined forces with the Power Rangers on acid? Meet BĘÃTFÓØT. These punk-infused electronic poltergeists and big-beat acid trio are Udi Naor, drummer and founding member of electronic duo Red Axes, Adi Bronicki (who also fronts Israeli garage-punk-folk band Deaf Chonky) and ace of all trades guitarist Nimrod Goldfarb.
The band have been launching warped stoner-acid-pop out of Tel Aviv with maniacal intent and are producing post-punk rave bangers that will scorch every dance floor with a huge lethal smile. BĘÃTFÓØT
are a DIY supergroup who describe themselves as sitting somewhere between Aqua, Beastie Boys and The Prodigy.
Their music endeavours feel akin to being hurtled through a kaleidoscopic waterslide, overflowing with the spirit of 90’s youth culture. The radioactive trio are DJ’s, musicians, songwriters and producers with a diverse range of individual projects and talents, their combined sonics map your journey across the hazy astral spectrum of hip-hop, big beat and rave music. Morph these radioactive pieces with the no New Release Informationnonsense attitude of punk-rock and the venomous spitting flow of golden-era rap and you might just come close to fabricating the freakish sound of BĘÃTFÓØT.
The band’s self-titled debut is set for release on 17th September on Manfredi Romano aka DJ Tennis’ Life and Death. Founded in 2010, the imprint curates soulful dance music with a post-rock aesthetic.
This refreshingly original and experimental LP from BĘÃTFÓØT marks a new direction for Life and Death this year and beyond.
“BĘÃTFÓØT” takes unsuspecting listeners on a wild ride of unprecedented musical madness (firmly without seatbelts). Fizzy synthesiser programming stimulates you effervescently through the album like the welcomed sting of sour sweets, surprising accompaniments appear in the form of manipulated vocal lines and quirky samples, all jovially mixed together in a gummy melting pot of wild conceptualisation and starry eyed rhythms.
Thirteen tracks of unprecedented dancefloor mutations send us triumphantly into the candy-covered kingdom of BĘÃTFÓØT with open arms and infinite imagery of fanciful gutter-glam escapades. This project fulfills the role of a musical bulldozer, flattening all previous conceptions of what it means to belong to a genre and leaving behind a hot mess trail of anarchic musical fragments in its wake. The undying spirit of the nineties.
With fans that include legendary Irish born singer, songwriter and producer Roisin Murphy, BĘÃTFÓØT are a breath of fresh air set to be igniting dancefloors this summer.

In March 2020, the Omakase team decided to gather some producers, musicians and singers they knew around a collective project, having the large electronic music spectrum as principal axis. From this idea was born, a few months later, a multiple opus, varied, rich of textures, shapes and influences going from trip-hop and bass to ambient, breaks, beat, house, lo-fi and jungle. This compilation, first record of the label, regroups several talented artists from the modern electronic
music scene who try to question sounds of today and tomorrow.

East Coast minimal wave institution Xeno & Oaklander’s seventh full-length further distills their iconic noir synth pop into a streamlined suite of gleaming, graceful retrofuturism. Inspired by ideas of synesthesia, scent, star worship, and obsolescent technologies, the duo of Liz Wendelbo and Sean McBride began conceiving the blueprint of Vi/deo while sequestered at their Southern Connecticut home studio during the pandemic. The context of isolation, streaming, and remote dreaming seeped into their chemistry, manifesting as both homage to and meditation on a certain cinematic strain of technicolor fantasy: the screen as stage, distance disguised as intimacy, where tragedy and glamor crossfade into one.



Opening with the precision synthetic melancholy of “Infinite Sadness,” the album marks a peak fluidity between the pair’s fusion of analog electronics and poetic melody, both refined and oblique, classic but contemporary. Wendelbo modeled her singing on “a young boy in a choir,” alternately holding notes and whispering them, with the lyrics clear, the voice elevated. McBride’s synthesizers serve as the perfect counterpart, tiered and polished, threading fluorescent architectures of a lost audio-visual age. Theirs is a... more

There shouldn't have been a debut album on Anjunabeats, gardenstate shouldn't have existed, and we should have stuck to our normal day job. This album is to everyone out there who has been told that 'you can't do it'." Be it through passion, determination, or just sheer stubbornness, gardenstate continues to bloom. A transatlantic labour of love from superproducer Marcus Schössow and club promoter Matt Felner, their debut album 'Inspirations' is out this year on Above &Beyond's Anjunabeats imprint. At the heart of Sweden's decade-long domination of club music in the 2010s, Marcus' fifteen-year-long career boasts a smörgårdsbord of styles. You've got electro with 'Swedish Beatballs', the mainstage energy of 'Reverie' and 'Ulysses', and the driving progressive of 'London / 1985'. Few artists have record sleeves from Axtone, Armada, Size, Spinnin' and Anjunadeep in their catalogue. Heavily invested in the early 2010's big room sound, he was a permanent feature in the sets of Swedish House Mafia and Knife Party. New Jersey native Matt Felner gave up his blue-collar job to follow his passion for electronic music. A respected promoter and performer, he's brought emerging artists to the clubs of New York and the East Coast. In 2008, he toured Marcus Schössow and they became close friends. Eleven years later, and here we are - a hotly-tipped duo with a debut artist album on Anjunabeats. Making music on their own terms, the gardenstate sound is a melting pot of '90s trance nostalgia, brooding melodic techno, peak-time breaks and poignant song writing. Few acts can worm their way into the DJ sets of Kölsch, Cristoph, Tiestö and Above & Beyond at the same time.

Pushing hardcore machine music into a new paradigm, with a combination of sonics and visuals that pull from the past and future in equal measure. It’s first release; a four track EP by Mani Festo (label founder) entitled ‘Higher’ captures its essence perfectly. Fusing breakbeats, soaring rave pianos, dark-side kick drums and industrial machine funk to soundtrack post-pandemic hedonism in a way that nothing else could.

The title track ‘Higher’ is a tale of long-lost raves, written during the summer of 2020. It reflects the first time in the history of electronic music that gatherings ceased to exist. The track is hopeful, but longs for the freedom of dancing in a field, something that seems like nothing more than a forgotten memory.

Horacio Vaggione (born 21 January 1943) is an Argentinian composer of electro-acoustic and instrumental music whose music is regularly played worldwide in major centers and festivals of contemporary music. "La Maquina de Cantar" (1978) is his first solo recorded work; originally released on the Italian Cramps Records label as the 18th volume of the Nova Musicha series dedicated to contemporary avant-garde composers, "La Maquina de Cantar" is now made available again on Dialogo in a faithful reproduction of the original gatefold cover artwork, including also an inner sleeve with the English translation of the liner notes

Kalipo prepares to launch his new album Happy Little Accidents, which counts with twelve electro-focused tracks as well as the participation of feature artists Rampue, Ira Atari, Oberst & Buchner and subkutan. Iconic 80s painter and TV host, Bob Ross is celebrated for his thirty-minute landscapes, recognizably soothing voice as well as the 'happy little quotes' he imprinted on pop culture. One of Ross' most memorable turns of phrase, "We don't make mistakes; we just have happy accidents," went on to encourage thousands worldwide. And not just painters. "For me, this album was about letting the songs develop very quickly and not evaluating them too much, or trying to avoid mistakes," says German electronic music producer, Kalipo (Jakob Häglsperger) who named his latest release Happy Little Accidents after Ross' signature phrase. "Bob Ross really impressed me as a child, he was always so accessible to everyone and demonstrated how easy it was for anyone to work creatively," says Kalipo, who translated Ross' fast and instinctive wet-on-wet painting technique to music-making on Happy Little Accidents. The 12 tracks that make up PART I and PART II of the album are a celebration of the method - sometimes it's a floaty journey with tinkering sounds, at other times dark fast beats create the core of the music, but there's always a sense of intuition and heart driving Kalipo's productions.

Piero Umiliani's Africa was released in January 1972, a years-ahead record that includes the prog-tinged black rhythm of "Africa To-Day", the 'fourth world' inspiration coming from Jon Hassell's "Green Dawn", the 'exotic' references in Martin Denny's style ("Lonely Village", "Echos"), the electronic new wave (hearing is believing!) of "Sortilège", the folk music ("Rite", "Folk-Tune"). An incredible album summarizes sounds and styles that will make the fortune of much more celebrated and popular musicians and artists.

SOURCE ⧺ WE MOVE finds Garcia reinventing her Mercury Prize-nominated album, Source, through new collaborations with several artists and producers, including; Dengue Dengue Dengue, Georgia Anne Muldrow, DJ Harrison and Moses Boyd. The reworked tracks retain the inspiring musicianship and blend of jazz and other influences found on the original, whilst also moving in a more beat-driven, electronic direction. The full track list is included below.



Garcia’s critically acclaimed debut album, Source, released in August 2020, is included in this year’s Mercury Music Prize shortlist. Garcia will perform at the awards ceremony, broadcast live on the BBC on 9th September.

Cinema' is a brilliant snapshot of both artists working together in unison, with Fabrice providing his trademark 'high tech funk & soul' sound alongside Wolfgang's keen, tried and tested ability to fuse clever pop inspirations and catchy vocals through the use of robotic mechanics. Perfect music which balances the headphones and dancefloors on the horizon.
Five versions are on hand with the EP, including the original version of 'Cinema,' a French version of the original, as well as a remixes from Detroit's Ectomorph, UK Electro kingpin Carl Finlow, and Dutch synthesis maestro Versalife aka Conforce.
The original version of 'Cinema' is a gorgeous slice of sonic wizardry designed for exploring the borders between underground electronic club music and pop sensibilities. Catchy vocals play alongside a multitude of synth textures, coexisting perfectly in a melodic mélange equally as pleasing to the ears as the dancing feet. Catchy and clever vibes in equal doses.
Detroit legend Ectomorph's 'Sinema Mix' strips away the main elements and twists the original into an analogue heavy, heads-down drum workout saturated with carefully calculated effect manipulations to the vocals. Equal parts trippy and relentless, the remix is a broken beat workout designed to melt minds, fully ready for a dark concrete warehouse when permissible.
Electro legend Carl Finlow (Random Factor / Silicon Scally) delivers an interpretation of the original which stays loyal to the playful pleasantries of the original version. The signature bouncy, staccato-tinted grooves from Mr. Finlow are at center stage, with the UK producer fully embracing the original vocals and musical elements. A crisp, clean and precise remix, just as expected.
Versalife (aka Conforce) brings his beloved Dutch electronic style to higher levels with his take on the original, fully utilizing (what feels like) each and every one of his favorite machines from within his studio. Aggressive, quickly moving mischief is the name of the game with his remix, complete with sharp, attention- grabbing synths stabs and punchy, powerful drum programming.
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3 electro techno at the ecletroswing frontier... Funkyest than ever !
And one speeder at the Electro tribe "electribe" Ixindamix style...

Assumed pumpin sound !

BIG !

Limited Edition 2 x LP vinyl with 13 remixes and more than 78 minutes of music, comes in gatefold double colour sleeve with exclusive photographs from the film, extensive liner notes and japanese style OBI strip. The score for a film by Oscar winning director Dusan Vukotic 'Visitors From The Galaxy' from 1981 (FOX001LP) was remixed by 11 artists from 9 countries. All original tracks from Visitors From The Galaxy (alternative titles: Gosti Iz Galaksije; Monstrum Z Galaxie Arkana; Gaeste Aus Der Galaxis; I Visitatori Della Galassia Arcana; Goscie Z Galaktyki Arkana; Los Visitantes De La Galaxia) are arranged, composed, conducted and produced by Tomislav Simovic. This compilation includes additional screen sounds from the unpublished tapes of composer Tomislav Simovic also featured in Dusan Vukotic film. With courtesy of Tomislav Simovic estate artists were given complete creative freedom to remix, reinvent and re-imagine the futuristic soundscape of first science-fiction film in Yugoslavia that was scored in analog, abstract, electronic and synthesised music. Alen & Nenad Sinkauz, Ali Renault, Anatolian Weapons, Credit 00, Drvg Cvltvre, Goran Vejvoda, Heinrich Dressel, Repeated Viewing, Security DJ, Tapan and Timothy Fife got the sounds from Tomislav Simovic score and embarked on a musical journey that had no rule or predetermined direction or genre; it was only their creativity inspired by Visitors From The Galaxy sound that led them to a new pieces, more or less experimental, abstract or dance floor friendly. The diversity of music goes wide and deep, it is modern and made by the stars of today paying homage to a composer who always retreated in being a star. As the remix projects of this kind are still very rare and include famous names like Ennio Morricone, Steve Reich or Peter Thomas Orchestra, Tomislav Simovic is now finally, one might say, at home.

Pink Vinyl

"CCR - Club Culture Rarities" the new record label exclusively dedicated to re-prints of cult and rare 12” taken form Expanded Music’s labels.

The 3rd release on "CCR - Club Culture Rarities" True Love of N.O.I.A. originally released on Italian Records in 1984 was included in the broad movement of Italo Disco. But True Love is something more and different thanks to its Electro Synth Pop sounds. A little gem reissued in a small print run on coloured vinyl, a real gluttonary for vinyl lovers and collectors.

Ask for it and stay tuned.