Limited edition to 200 copies. Comes with printed inner sleeve + 20 page Photo-booklet. La Linea Gialla is a sonic exploration of space and time, consisting of processed field recordings captured by travelling through different Railway Stations across Europe. The Lp vinyl includes a collection of 16 tracks which aim to find a meeting point between the intricate simplicity of puristic sounds heard & recorded in the context of the "Non Places", and how they can be transformed electronically through active manipulation thereafter, rendering them new realities of their own.
Following the "Tribute to Harry Bertoia 100th anniversary" released in collaboration with Important Records and Sonambient the sound artist EMG uses the confines of La Linea Gialla to excavate new forms of production by filtering, re-sampling and re-arrangements through the use of different cassette record players. A unique and unconventional listening experience consisting of unedited live compositions blending the vast possibilities within Field Recordings, Sound Art, Industrial-Ambient and Experimentalism, supported by an accompanying - and visually representative photographic - artwork.
This is the BIG 30th release on RIOT Radio Records, our fiercely independent techno label based in Scotland.
Kaylah from Hackney, London is a forward thinking and driven artist who never fails to create or play the heaviest hitting big room destroyers with the most reaffirming explosive energy. Whether it’s his own music productions or when DJing, his tough captivating pace means he’s always ready for the rave.
Continuing with the ‘Limited As Fuck’ series of releases with some twisted screaming techno here that’s so perverted it departs from any usual or accepted standards of behaviour. All four tracks featured are bonified party stompers so full of debauchery and shamelessness you may be regarded as morally corrupt to persecute the dance floor into such a devout compunction of metamorphosis, transforming it into a stalkers paradise.
WARNING: CONDITION RED: HAS BEEN ACHIEVED, THE RIOT INVASION CAN COMMENCE
Originally Re Eff (pronounced Ri Èf) was a bunch of texts. One hundred and fifty pages that Julien Gasc wrote by trying his hand at the art of cut-up: a literary and political act of counter-fiction based on William Burroughs’s method. It was also Julien Gasc’s response to the isolation of 2020, while he was seeking refuge in the Southwest of France, with time as far as the eye could see, and a piano.
For a long while, it hadn’t been about songs, but about expressing the indescribable by cutting randomly from books and his own notes, attempting to fleetingly strike a balance, find a beauty, a happy accident. Incidentally, it was almost by accident, while recycling a piece that he’d composed for steel guitar pedal, that Julien Gasc sketched the first draft of “Ce soir les bouteilles dansent” (“Tonight the Bottles Are Dancing”). This was combined with a version of “Rosario Bléfari”, recorded on an inexpensive Casio synthesizer. These were Re Eff’s baby steps.
While everything was at a standstill, in stasis, Julien Gasc wanted to send a group message to some friends, to his family, a message from a confinee to those who weren’t answering, friend or foe, imaginary or otherwise. It was this collective recipient that he nicknamed Re Eff. The name comes from “re” (re-) and “effacer” (erase), words found during a cut-up and transformed into ri èf for added euphony, like a facetious grief (grievance, reproach in French) without the “g”.
Like its title, a kind of serious joke, the album is one long interplay between humour and gravitas, sense and nonsense, shadow and light, aiming to fully describe feelings in terms of their ambiguous and contradictory elements.
Through a return to regular piano practice, calm recovered at a holiday resort town, and literary experimentations, to which he added transcribed dreams, as in “La scie de la vision modern” (“The Saw of Modern Vision”), Julien Gasc composed ten demos on his computer. These demos were then rerecorded at Syd Kemp’s Haha Sound studio in London, in December 2021. The mix was completed there again, in February 2022, by Syd and Julian.
Play to play and write to write, those are the keywords of Re Eff, in which memories are freely combined (“À travers le regard de l’indienne” / “Through the Amazon’s Eyes”), the theme of enclosure and passion (“Amour velours” / “Velvet Love”), melodrama ("Délivrance"), and romantic novella (“Tout ne peut pas nécessairement donner quelque chose” / “Not Everything Leads to Something”). Music resolutely oriented towards the piano, towards bold and filmic harmonic movements that make a successful form of lyrical poetry possible. Because all in all, by singing about current events – his own and those of the world – in an elegiac tone, like bards, Julien Gasc was gradually transformed from pop singer into poet.
Re-introducing Uk producer Jay Strata, a Glasgow Scotland based Dj/Producer/Graphic Artist Since 1990; with releases & remixes on Soiree Records Detroit, Ozone Records, Jack Trax, Crayon... Previously called Jace Syntax.This is Jaces new pseudonym & a chance to reinvent Himself. This Selection reflects Jason's Unique Mystical take on Electronic Music with tracks compiled from a musical period of 15 years plus. Each track has their own Quirk, varying from Haunting Electro, Acid House, Hip House & Detroit Style Techno with live recorded vocals by Siouxla Le Sommer.
Number 20 of the new FLASH-X Vinyl series is dedicated to the two explosive Mython Remixes and two live versions recorded at HÖR and an Arte LIVE Concert in Berlin.
Cascading through kaleidoscopic stardust and forming in the outer reaches of the music universe, transcending time and distance, cosmonaut musicians Mo Morris & Zeben Jameson reconnect to write & record songs from opposite sides of their planet (Bali and London) written over the internet during the pandemic. Landing the much anticipated and eagerly awaited new A Mountain of One album "Stars planets dust me".
Welcome to the formative British psych electronic heroes A Mountain Of Ones 3rd studio album.
Mastered and reimagined and a full forthcoming album rework by electronic wizard, master selector & global superstar Ricardo Villalobos, featuring additional collaborations from 80s/90s Balearic legends "The Woodentops`s" front man "Rolo McGinty,”, Japan’s cult heroes ``Dip in the Pool" and "Unkle" and "Toy Drum`s" Pablo Clements.
UK Dub master "Dennis Bovell MBE" also makes an incredible appearance on the "Custards Last Stands" dub versions. Now available on a ltd Japanese 10". A beautiful artwork series generously loaded in by photography legend Dick Sweeney, and co-mixed by Dea Barandana in Indonesia. With its cosmic pop sound, soulful soaring, balearic sensibilities and feel good choruses it carries all the weight of a much needed revo- lution in psychedelic, conceptual ever popular music and sounds & feels like the infamous crossover album that promised to come from the heady days of the bands ascend last time round.
So here’s some back story, garnered from the hearsay, folk law, the myths and the legends, of 10 years ago, in case, like Mo & Zeb, if they'd remembered any of it, they probably weren’t there, after 2 much acclaimed albums and sellout shows vanishing in a cosmic cloud of dust the yin and yang brothers Mo Morris (ZSOU/Electric Stew) & Zeb Jameson (Oasis/Tricky/Pretenders) uncoupled and each em- barked on a pathfinder mission to equip themselves for their inevitable return... they just didn’t know it at the time... and as the global community ground to a halt 2 years ago they sought refuge from opposite sides of the planet in each other's company again.
The solace and rejuvenation it gave had them re-emerging as invigorated, inspired and wiser music creators, this has given rise to the evolution of their 3rd all important album‘s sound.
Zeb "our capacity as human beings is more phenomenal and limitless and way beyond the conventional thinking of society constructs but also in complete harmony with the intelligence and brilliance of advancing technologies".
Experiencing this energy together, as dedicated and devoted music pioneers, these great collaborative universal truths were revealed, imbed and steeped in their writing and recording experience as the music touched and resonated with all involved to create the fresh and fully formed A Mountain Of One 2.0.
STAREAWAY is Markus Guentner from Regensburg, of Kompakt- and Ware-fame, and Heiko Badje from Hamburg, the man behind saudade-driven pop-band La Grande Illusion. Exploring the possibilities of combining Guentners critically acclaimed adventures in ambient scapes and Badjes melodies and distinctive singing, their track 'Baghira", as an early result, was selected on Kompakts 'Pop Ambient 6 compilation in 2005. Their first EP as STAREAWAY, called 'Learn How To Love Me", was released on Hamburg-based label Couldn.t Care More in 2011 including a remix by deep house icon Osunlade crossing all borders, yet feeling so natural, and the somewhat timeless electronic pop reference 'Unwise". Now STAREAWAY come up with their first album 'No Life In This Ghost Town' (again on Couldn.t Care More); seven sketches between song and track deliberately carved from a shimmering wall of electronic sound by guitars, spiritualized voices and subtle melodies. It.s caressing and thoughtful, but there is also a darkness that makes you shiver. Glowing embers in far away windows. STAREAWAY combine a vision of sound with multitudes of micro-organisms which take turns no one can forsee. And what may appear as a mere coincidence is in fact a concentrated search. They are seekers of the things lying underneath. STAREAWAY's 'No Life In This Ghost Town' is mastered by Rafael Anton Irisarri. It will be available as Double Vinyl (+ Download-Code) and, of course, digitally. Layout by JL Prozess (Markus Guentner), artwork by Claudia Kugler.
AI-31 sees the debut release from a new collaboration between Samuel van Dijk (Netherlands) and Rasmus Hedlund (Finland). Both key proponents to the scene in Northern Europe, they come together with mutual understanding and a common vision to sound. Dialog acts as a conversational exchange that sees the interplay of dynamic frequencies, evocative imagery and contemporary sonic art. Spread across four sides, the album as a whole exists as a kind of metaphysical process, eternally growing and contracting — change is the only constant, marked by a continuous progression of sound and space.
Expansive, deep, and at moments arresting, Dialog unfolds with sweeping soundscapes and shimmers with tactile sonic details. A chasmic rift of scintillating drone structures, each layer exposes a series of ever-deeper shades. In a play of dynamic dualities, the pair harnesses both earthly materials as well as access to more ethereal dimensions in the music. Side A begins with sub-terrestrial ruptures, gestating in a process of constant elemental changes. Rattling hits sputter amongst a state of nascent chaos, yet continues to be maintained in self-regulating stasis. Side B sets a more introspective tone, whispering with ghostly artefacts and bubbling synth lines, before building into a driving energy of layered field recordings and mechanistic timbres. The essence of form continues to be contested, until it subsides into momentary calm on side C. A cleansing period of soft drones float into the space and the pace slows, washing away remnants of past. The journey continues with side D’s conclusion - a solemn contour that reaches its internal extent, to then finally return to its source.
Sound Transmissions returns with a bang. Fully loaded and equipped with booming basses and heartwarming synths that will melt all listening habits. Premis captures frequencies and developes soundscapes, a force to be reckoned with. The remixes from Double Precision, Thrived and Sha Ru are just showing what's possible if you explore the Transmissions minds! Don't you dare sleep on this
release!
AOP007 sees the return of Ukraine’s Artist Vladimir Gnatenko. On two of the tracks he collaborates with his friend Kai Noob , leaning on the more experimental side of things. The other two tracks, which are Vladimir’s solo work, are for the floor. Also returning to AOP is Warpque delivering another stunning cover for us.
The Havoc guys have been on an enforced hibernation through the winter due to a lurgy that had been affecting the planet. They have remained in the cave throughout this time huddling up to keep warm and exploring what had become their home away from home for months on end. One night, whilst lighting a fire, trying to find motivation for the next release (basket weaving had lost its appeal) they spotted a glint across the way – On further inspection, it was a small bottle and had a label of sorts – It looked to be medicine or smelling salts – Liquid Gold. Curious creatures they are they all took a long good sniff of this elixir. And just like that, they rummaged around the records stacked in the corner put some more coal in the old computer and began their work.
Soon the A-Side of the new EP was born. Most certainly a step up in the BPM from the previous A-Side off EP1. A1 kicks off with a Germanic Proto Throb Job, that's sure to cause errr...Havoc on the dance floor. Whilst A2 is a Bassline Driven, Reconstructed Austrian Euro Pop Monster. One for late-night Discos.
After a while they had stopped sweating, hearts had stopped beating quite so quick. Whilst the creative juices were flowing a few more records were dug out and a log put on the fire and a cup of fungus juice imbibed. B2 came rattling out the speakers in no time at all in all its chugging glory, the vocals take in a nod to god after the devil has done his dirty work.
At this point, the sun was starting to peek through the mouth of the cave and a new day was upon them. One last record had been found, earlier, that was decided would work at this time, actually after consideration, any damn time... B2 Is like a familiar Balearic Back rub with pop-infused French vocals and beats for days...So now EP2 is complete. Back out into the world our intrepid or is it tepid threesome went... Let's only hope their wives haven't left them after all this time locked away.
DJ Support:
Jim (HMD)
Bill Brewster
Kelvin Andrews
Eric Duncan
Al Mackenzie
James Holroyd (Begin)
Pete Herbert
Phil Mison
Nick The Record
Justin Robertson
Coyote
Mind Fair
Steve KIW
Craig Christian
Dr Rob
Dave Jarvis
Max Essa
Andy Simms (Soft Rocks)
Howler
Jaye Ward
Nancy Noise
Andy Taylor (WATS)
Graeme Fisher
Severino (HMD)
The next release in CUE Music's catalogue sees Butane teaming up once more with Riko Forinson for "Brainstorm" EP alongside Nima Gorji on remix duties. The record definitely adds extra magic to the label's discography, lining up to the previous releases from Elchinsoul, Sascha Dive, Sascha Sonido, Danilo Schneider, Dubphone, Heerd and label head Sven Jaeger, among many many others.
A firm believer that the long hours of studio work keep a musician grounded, Butane boasts an impressive discography, released by some of the most highly regarded labels in the business, such as Crosstown Rebels, Sci+Tec, Hottrax, Fuse Records, Lauter and Get Physical. As a label owner, he's the founder of three influential underground dance music imprints of his own, Alphahouse, Little Helpers and Extrasketch.
Riko Forinson is an Italian artist passionate about the sound of drums and piano which he studied intensively from an early age. After a while of exploring the acoustic dimensions of music, he immersed himself in the world of digital electronica, performing as a DJ at various events and releasing with labels like Orpheus Recordings, Lucidflow, Dushe Label and Bar 25 Music. Nowadays he's an author, composer and producer who loves to play with various techniques while integrating jazz, reggae or classical aspects into his compositions or sets.
In charge of the reinterpretation of the title track, Ibiza-based Nima Gorji is well-known on the international scene, with a career that spans more than three decades. In 1999 he founded Welt Recordings followed by NG Trax and Need For Sound, relentlessly following his passion for electronic music by releasing numerous personal works as well as promoting other artists. His rich discography includes materials published through labels like Sci+Tec, Deeperfect, Fuse London, Bondage Music, Out Of Orbit, Love Letters From Oslo, Indigo Raw, Out Of Orbit, Cocoon, Murmur, Natural Rhythm, Bla Bla Records, ÉTÉ,
One Tribe label-owner AMÉMÉ makes his debut production appearance on Crosstown Rebels next month with the three-track Drum Beat. The EP includes a remix by longstanding US house veteran Joeski, marking a major career achievement for the Benin-born talent.
The Latin influence is experienced right from the word go on Loca, as Saharan-esque elements build alongside resonant hats and playful, Spanish-like vocals. Tribal percussion drifts in and out alongside, whilst whirring key solos feature subtly throughout. Drum Beat comes next, manifesting as a welcome slice of contemporary Afro-house that’s packed full of raw instrumentals and authentic lyrical samples, before Joeski’s remix brings things to an up-tempo, club-ready close.
Specialising in Afro-leaning electronic music, AMÉMÉ has marked himself as one of the continent’s breakthrough talents in recent years. Head of One Tribe, his productions have been supported by the pioneering figure of Black Coffee since 2019, whilst his appearances on Watergate Records, Blond:Ish’s Abracadabra imprint and the mighty MoBlack Records have been equally well-received, firmly establishing his presence as one of modern dance music’s rising stars.
Joeski’s trajectory can be traced back to 1991, when he burst onto the NYC house scene as a founding member of The Chocolate Factory DJ collective. Since then, the US veteran has garnered a worldwide following thanks to his Maya label, which was first incepted in 2001, as well his keen ear for production that has seen him release on Crosstown Rebels, Relief and a myriad of other heavyweight imprints in recent years.
Group Modular is celebrating 10 years of cinematic space age funk with a new double-sider on Delights.
The new 45 is a follow-up to the duo's highly-acclaimed second full-length "Time Masters" and sees Markey Funk and Mule Driver exploring and expanding their sonic palette even further. The result is two drum-heavy cuts, that take their inspiration from the synth-driven sci-fi/horror sound of Goblin, John Carpenter and the late great Vangelis: the sinister and spiky "Per Aspera" ("Through Hardships") on side A and spacy and dramatic "Ad Astra" ("To the Stars") - on the flip.
Roughly two years after their triumphant return to our label, our close friends, the mighty Extrawelt are back with the corresponding remixes to their seminal „Jetzt Neu: Alles Wie Früher“ EP with quite the lineup of remixing artists! First up we have KMYLE, wo graced our label with an outstanding EP recently and worked his magic on this remix for Extrawelt, an act he´s been admiring for a long time! Next up, we have our good old friend Lars Sandberg aka Funk D´Void. Lars and Gregor have been friends for a long time, so it´s long overdue to have him finally deliver one of his trademark productions! Next up, we have quite a surprising collaboration, as Gregor teamed up with an absolute legend in the world of electronic Music: DJ Hell! Expect the unexpected! To round off the Vinyl, we have a remix by Artrik, hailing from Vienna and spicing things up for the bigger floors! So, dear friends - enjoy the remixes of one of our biggest releases recently!
FAST DE is the new band of Dutch composer and bassist Daniël Eskens. With a musical background in various indie and jazz-facing acts such as Jo Goes Hunting, Opera Alaska, and Karsu, years spent composing and experimenting in his studio gradually led to the creation of FAST DE. A diverse array of influences—Billy Strayhorn to Soulwax, Bela Bartok to Brian Wilson—culminates in a sound that is refreshingly unique, bridging electronic, jazz, psychedelic, and alternative pop. In its live setup, the band configuration consists of Dario Trapani on guitar, Jimmi Hueting on drums, and Daniël Eskens on bass and synthesizer. With its debut album Sight Inside on the horizons, FAST DE invites you into its kaleidoscopic world of complex rhythms, spirited improv, and playful melodies—a colorful choreograph in sound.
After their monumental rise from mask-sporting weirdos to forefathers of a new generation of mainstream metal, many wondered how or if Slipknot would manage to top their blistering self-titled debut, and its malevolent follow-up, 'Iowa.'
Hindsight paints doubts in curious colours, as 'Vol 3: The Subliminal Verses' is now regarded as one of the nine's most expansive, dynamic, and universally acclaimed works.
From the caustic anthem, 'Duality' to the surprisingly accessible 'Before I Forget', the collective managed the impressive feat of honing their craft to appeal to a wider audience while sacrificing little of the unbridled angst of their earlier projects.
Hearing frontman Corey Taylor let his guard down for gentle and hypnotic cuts like 'Circle' and 'Vermillion, Pt. 2', offered entirely new insights into a group known for their brutal intensity and little else. There's still plenty of that on display, with the venomous ode to their fanbase, 'Pulse Of The Maggots', ringing true with its abrasive composition.
Finally reissued alongside its predecessors, there's never been a more ideal time to finally lock down this seminal trilogy that would introduce, shock and cement Slipknot as legends of their own kind for decades to come.
Geier aus Stahl is one of the many artistic guises of Leonard Prochazka. No superfluous elements take away from the core experience of his sound. Somewhere a statement from David Byrne crossed our path, able to highlight something of the essence of Leonard's art: “No matter how alienated the subject or the singer might appear, the groove and its connection to the body would provide solace and grounding. But the edgy, uncomfortable stuff was still on the foreground”. The debut album 'Strapazen und Genesung' takes us to an exciting world that twists, squeaks and creaks, yet is grounded by an unmistakable groove.
Four years in the making, Duct Tape Project is the new brainchild of Tripmastaz in the realms of Trip-Hop and Downtempo. And it's a project that makes perfect sense to anyone familiar with Andrei's background (making Hip-Hop beats since his teenage years), musical capabilities and decades-long experience. Duct Tape Project joins Andrei with a troupe of stellar musicians not only from many different corners of the world but also from acutely distinct genres - Guti, Argenis Brito, Mad Dim, Denis Kaznacheev, Krussia, Damien Vandesande of DOP, Sarkis Ricci, Andrey Orenstein, and vocals by Inga.
Featuring all sorts of live instruments, drum machines, synthesizers and modular systems, Duct Tape Project brings forward a complex work brimming with musicality. Using Hip-Hop, not only its rhythmic structures but also its sampling techniques, as a foundation, Tripmastaz created a vibrant and fascinating ecosystem with enough sonic texture to leave one captivated, enraptured and lost at the edge of words. There are 13 musical compositions in total that explore all things Hip-Hop, Downtempo, Trip-Hop, Chill Pop and Lounge, forming a cohesive and deeply soulful album.
Daje Funk Records makes a triumphant return with the latest instalment to the spectacular ‘Slam Dunk’ series bringing you the Slam Dunk EP3.
First up on the A-Side of this stellar four tracker is Strange, with the acid laced disco burner, ‘Keep On’. From the intro of delicious 120bpm beats with added ‘Bongonaise’, the cleanest of guitar riffs leads to a hot disco bass with stabs of Rhodes keys lovingly applied. Just when you think you have it all worked out, the acid rug pull is a masterstroke. ‘Keep On’ has a classic (but often elusive) disco vibe with a wickedly acidic twist. ‘Strange’ will rule the summer, guaranteed. Any questions?
For A2, the considerable production chops of Ezirk are on full display with ‘Erotik’ - an 80s funk inspired taxi ride through rush hour traffic to the best cocktail bar on the planet. It’s infectious, demanding fist bumps and virtual high fives. It’s a melody that sets all the possibilities of a great night out through wielding the ultimate synth power. And that breezy sax? Heaven. Put the needle down and let it take you!
On the B Side, we start with label co-owner and master of the groove, De Gama and his carefully crafted ‘Higher’. The tempo is dropped right down here, with De Gama showing his darker and funkier side. Like a joint Gil Scott Heron and Robert Plant fever dream, ‘Higher’ is an intricate lecture in immaculate beats, unimaginable concepts and chord progressions. Serious grooves. Very serious.
Rounding things off on the B Side and closing the EP is ‘R.O.C.K.’ by Hungary’s The Magic Track. These boys know how to deliver a chugger from the MT workshop. You expect them to lure you in, and ‘R.O.C.K.’ does just that. One minute you’re in church, the next in a heaving club with retro beats, thumping bass and driving piano filling the air. The Magic Track are selling magic dreams and you’re buying. The whole bag.
The Slam Dunk EP 3 slam dunks with such force it shatters the backboard. Get it in your record boxes for the summer, and let it stay there!
Take a Trip was born of a love of Acid House and wanting to explore my mates 909 & 303!! The way they sing when programmed is mind blowing. There’s magic inside of them that creates something special. From Chicago’s Warehouse to London’s Shoom and Hedonism, Manchester’s Hacienda’s Hot and Nude nights, parties such as R.I.P., Spectrum, Zoo, The Trip, Apocalypse Now, Legends, the State, Rage an Sunrise. It’s a sound that will never fade.
Alan Dixon is back with his first ever acid track and it’s instant love. The disco producer hits the target with no compromise.
Over the past few years an increasing number of bands hailing from the former USSR have been appearing on the screens and the phones of the so-called Western world’s underground music enthusiasts.
With most of them being pretty obscure and only a very few ones having established a worldwide following (Motorama, Molčat Doma) the Sovietwave tag has worked usefully enough as a tool to identify a wide range of bands each one with a different sound and yet something in common. Whether it be the harsh weather or just the distance creating an exotic effect, there is some icy-cold touch with these bands that immediately makes you know they’re from Russia, regardless of the language they perform.
This goes for Blind Seagull too.
The trio from Kaliningrad, a small russian enclave on the Baltic Sea between Poland and Lithuania, has been around since quite a few years now, releasing tapes and limited edition vinyls on labels like Detriti, Sierpen and Pine Hill.
Finally taking up the challenge of writing a longer full-length (previous albums were seven or eight track long at best), the trio led by Denis Zarubin has created twelve new songs that shine a light on the impressive skills of this young combo to deliver very classic and yet extremely fresh and modern cold post-punk gems.
Keeping it short and sweet, their two-three minutes long compositions cut right to the chase of the darkwave soul: stomping drum machines, frozen guitar arpeggios, tense bass riffs. The formula is occasionally rocked by the intervention of laser synths, noise raids and gothic chorale, while the industrial pièce of the title-track and the IDM-tinged collaboration with experimental giants Xiu Xiu ‘Fear’ will show how this band stands out and how their upcoming, new album is the best proof of this.
First striking us with his exhilarating ‘Yakka’ EP, Bambi OFS has continued to surprise us with his musical output ever since. (…) The Belgium-based producer is carving out an almost unique take on dance music with a heavy debt of gratitude to the endless rhythms and percussion-centric styles of Gamelan, and other styles of music native to Indonesia and further afield (…) the revised ‘Kwon-9’ EP goes for the jugular and ties together the percussion-heavy originals on vinyl alongside phenomenal remixes from Don’t DJ, Georgia, Icon Template and Broken English Club.” Inverted Audio Super excited to bring this killer release on vinyl with a brand new remaster and remixes by Broken English Club, Georgia, Don’t DJ and Icon Template! Meshing together industrial mirages and ethnofictional mindscapes, Bambi OFS provides Antibody with a new suite of polyrythmic spins. Extending on his first ep YAKKA, KWON-9 blurs the line between the synthetic and the organic while pushing the Brussels-based producer’s interest in uneven grooves and mixed meters into sharper detail. Mirrored by the puzzling archaic-futuristic alphabet featured on the cover, this new set of trax softly draws the listener in an elusive and multi-faceted experience. Bambi OFS is Cédric Dambrain, composer, electronic musician and virtual instruments designer based in Brussels, Belgium. Dambrain’s approach to music is motivated by an exploration of perception thresholds, psychoacoustics, and the physiological impact of sound. This diversity of themes is matched by a wide range of productions which include electroacoustic computer music, compositions for ensembles, noise, sound installations and, more recently, club- oriented polyrythmic explorations. Dambrain has also been composing extensively for performance artists and music theatre.
UK rising star Alisha joins the Eastenderz family for her first EP on the label. Expertly translating her ability to read a dancefloor’s demands, she’s created four classy cuts of top tier tackle that sit perfectly within the Eastenderz sound.
‘Visions’ opens, a heads-down roller centered around a hypnotic bassline and deft synth touches, before ‘Hallucinate’ hits with a driving slice of late-night power. On the B side, a twisted melting pot of punchy grooves, synth contortions and tripped out vocals via ‘Burnen’.
The full frontal ‘Offenn’ closes out proceedings - swung, slick and stylish with a pumping bassline and wiggly textures to keep the crowd entranced.
DJ Support :
East End Dubs, Enzo Siragusa, Toman, Seb Zito, Joey Daniel, Okain
The debut album from Samuel Coates, AKA Setaoc Mass, crystallises the expansive, left-field vision that's been brewing in his techno-focused discography. Now, downtempo, drum & bass and electro-influenced soundscapes come through strong, as the Manchester-born, Berlin-residing artist combines a decade of dance floor experience and a lifetime of wide-ranging music tastes. The album's 14 tracks transcend the dance with rhythmic and tonal adventure. The urgency of Coates' techno records remains, though now suspended in an unbound space that switches between unpredictable body music and eyes closed moments of escape. Timeless melodies recall the golden era of UK electronica, while ultra-modern production drives the record's microscopic details home. A lovingly crafted collection of the tracks that have been kept for when the time is right. It's the sound of Samuel Coates, then Setaoc Mass - vulnerable but visceral music that demands your full attention.
Following on from his debut album ºs on AD93, conceptual artist Aboutface presents a new vaporous LP– a vital climate emergency-themed project which utilises poetry collected from his dreams alongside glaciology research and sound recordings captured during polar expeditions c/o the Alfred Wegener Institute – a centre for polar and marine research. Featuring long term Violin collaborator Taro and dream prose reciter Leyla Pillai, the album explores a surreal and abstract intersection between the collective dream realm and the disappearing polar cryosphere, evoking the interconnectivity between environmental change and the collective subconscious.
A self-release, all profits will go towards Extinction Rebellion’s legal fund to help provide counsel to those protesting against contributors to the climate emergency. Limited to 300 Eco renewable-energy recycled gatefold vinyl produced with Deepgrooves, NL. Downloads and streaming limited to one of Earth’s revolution of the Sun only– an ephemeral release for an ephemeral existence.
“ In search for unseen colours beyond the visible spectrum, Kangding Ray explored the outer fringe of club music and came back with a set of prismatic sonic crystals ”
“Sounds Like Freedom” is the second release from LA-based record label, Domanda Music. It was recorded in September 2021 in Verona, Italy and conceived by bass player Rosa Brunello with notable contributions from UK Jazz star Yazz Ahmed, Arabic experimental music pioneer Maurice Louca and Italian drumming sensation Marco Frattini. Each track is the result of spontaneous improvisations, which have been lovingly post-produced by Rosa Brunello herself and label founder Tommaso Cappellato.
Rosa Brunello is an Italian bass player and composer whose skills range from free radical improvisations to electric rock, dub and modern mainstream. She loves to blend acoustic and electronic sounds in order to challenge the boundaries between genres and live up to her motto of music without borders.
Mind Eclipse completes Deetron’s triptych for Running Back. After Body Electric and Ego Rave, it’s the missing part in a tale of youthful exuberance told by a seasoned raver and transported into the here and now. Taking the essence of the carefree energy of those days, its warehouses and fields minus the (sometimes!) aural clumsiness, Deetron delivers four studies in the transformation of said emotional states.
Mind Eclipse aka Trancehouzztool does exactly what it says on the tin: big synths, swirl and twirl during an extra long break down for an uproar – serotonin shower included. HG acts like an umbrella to that. Almost melancholic in its presence and meandering between highs and lows, it’s the perfect counterpoint and offset.
On the other side, Phoenix sounds like a lost Border Community hymn that found its way near a Roland 909 for peak time purposes, before The Shore closes the book in a hybrid state between electro and disco or the soundtrack to IDM supporters in a gym workout (also available in an alternative version digitally for those who like their beats straight).
It won’t eclipse your mind though that Deetron knows what he does in the studio, so expect finest artistry, crafty tricks and technical expertise. „’Til the sweatshirts are falling down of us…“
EYA Records continue to bring up some of the most inventive and forward-thinking Techno and Electro jams, this time welcoming back Berlin-based live performer and producer Otis.
Danger At The Tendo Dojo EP is flawless, trippy and explorative. A unique journey into the artist's mind through the rhythms and sounds of analog machines and synthesizers.
Rolling Blackouts Coastal Fever return in 2022 with Endless Rooms, the Melbourne quintet's third album proper. Described by the band - comprised of Fran Keaney, Joe White, Marcel Tussie and brothers Tom Russo and Joe Russo - as them "Doing what we do best: chasing down songs in a room together", Endless Rooms stands as a testament to the collaborative spirit and live power of RBCF. While initial ideas were traded online during long spells spent separated by lockdowns, the album was truly born during small windows of freedom in which the band would decamp to a mud-brick house in the bush around 2hrs north of Melbourne built by the extended Russo family in the 1970s. There, its 12 tracks took shape, informed to such an extent by the acoustics and ambience of the rambling lakeside house that they decided to record the album there. The house also features on the album cover. For the first time, the band self-produced the record (alongside engineer, collaborator and old friend, Matt Duffy), creating their most naturalistic and expansive document yet. The result is a collection of songs permeated by the spirit of the place; punctuated by field recordings of rain, fire, birds, and wind. "It's almost an anti-concept album," say the band. "The 'endless rooms' of the title reflects our love of creating worlds in our songs. We treat each of them as a bare room to be built up with infinite possibilities."
Headless Horseman, known for his sophisticated, experimental and adventurous productions and sound design has been a regular performer (live & DJ) worldwide since 2014. Not often seen on others labels, this original track featured was originally made as a direct support for a Various Artists (digital compilation called ‘Beirut Will Rise Again’) for Charity ahead of the horrific port explosion in Beirut in 2020.
Kind enough to agree to the track being featured on the 001 release of a new series of the System Revival Recordings label called ‘Minor Setbacks’ - a reflection of the struggles we have been facing over the last 3 years with the global pandemic and various ongoing social and humanitarian crises in the Middle East and beyond.
Stepping up in support of this project and offering a beautiful alternative takes of the original track are 2 pioneering artists, Berlin’s boundary breaking hero, Monolake and one of Detroit’s highly influential figures over the last 2 decades Erika.
Having crested the west coast modular-ambient wave in just a few releases - including 2018's Sharing Waves on the influential LA experimental imprint Leaving Records - Sean Hellfritsch has swapped the mossy analog synth improvisations of his prior output for refined melodic arrangements dressed in sprightly dawn-of-digital textures. Big Earth Energy plumbs the depths of Hellfritsch's multimedia mind and naturalist heart, spinning an impressionistic narrative world off of cultural touchstones like the PC game MYST, and the work of Studio Ghibli composer Joe Hisaishi. Inspired by the aforementioned, and guided by Hellfritsch's experience as an animator and filmmaker, Big Earth Energy is the soundtrack to a hypothetical video game with a pointedly ecological premise, and a twist of psychedelic charm. In Hellfritsch's imagined virtual journey, the player assumes the perspective of a treefrog sixty-five-million years ago, hopping epochs with each new level, forming a comprehensive picture of the massive changes the planet has gone through over the eons. The ultimate goal of the game is not to amass resources, defeat enemies, or gain power, but to fully witness the unfolding of one of the biggest systems of energy imaginable - or as the album's creator puts it - "to explore the incomprehensibly vast energetic expression and mystery that is Earth." Big Earth Energy is steeped in exploratory RPG intrigue, possibility, and contemplation, lovingly overlaid with Miyazaki-an sentiments and aesthetics. The through-composed, organic, meandering synthesis heard on previous Cool Maritime albums has been fully replaced by meticulous polygonal arrangements that recall the computerized sheen of late 80s work by composers like Hiroshi Yoshimura, and Yoichiro Yoshikawa - using true-to-period gear no less. Even given its referentiality, Big Earth Energy comes off as forward-facing where so much reminiscent music remains fixed to a bygone moment in pop culture. Hellfritsch has created a musical world where the endless verdancy of the biosphere finds its parallel in the golden age of early 1990s video games, and late 80s Japanese environmental music, all while pointing to a hopeful planetary and artistic future that vindicates the motives of all of these muses.
It might seem tongue-in-cheek on the surface, but the fact that the title of Eldritch Priest's sprawling debut vinyl release, Omphaloskepsis, is the Greek translation for “navel-gazing” unlocks something essential to the Vancouver-based composer and writer's singular outlook.
Perhaps even more telling is the title of Priest's 2013 book Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure (Bloomsbury), whose 300-odd pages read as though you've been dosed with potent hallucinogens. Throughout the text Priest addresses—celebrates, even—the titular elements via various musical examples, including that of his peers. What's so bewildering it is that his descriptions of how boredom, formlessness, and nonsense manifest are laced with the very tactics he's depicting. Passages tie themselves in knots, footnotes engulf the “primary text,” he even deliberately misleads the reader.
The restless stasis of Omphaloskepsis could be regarded as an extension of this book's wayward spirit. Things unfold fairly slowly and consistently but it'd be a stretch to describe it as properly contemplative. Like attempting to meditate with a high fever, any sense of tranquility is constantly derailed as one succumbs to queasy agitation. The piece's foundation is a seemingly endless guitar melody; an organic meander that neither seems to repeat or offer any concessions to narrative directionality. Priest unfurls this rambling cantus firmus in a rich, clean, jazz-like tone, but as it's played, it's repeatedly tangled with snarls of dense digital processing and shadowed by stumbling virtual “band.” These strident interjections blatantly contrast with the guitar, yet they aren't so violent as to offer more than a faint itch of distraction. As such, the distinctive amorphousness that this piece asks us to inhabit for its 54-minute duration leaves a strong impression, but also feels utterly intangible.
In addition to his recorded forays, Priest's disorienting music has also been performed by top-tier interpreters such as the Arditti Quartet, Quatuor Bozzini, Philip Thomas, Anton Lukoszevieze, and Continuum. While living in Toronto he co-founded the collective neither/nor with John Mark Sherlock, which featured a cross section of musician-composers playing each other's work including Eric Chenaux, Doug Tielli, Eric KM Clark, Heather Roche, and Rob Clutton. “Though the name refers specifically to a loosely knit group of composers and performers,” remark's the collective's website “neither/nor is also a sensibility that refuses art’s messianic pretensions and the gaping maw of commercialized society, opting instead for art’s right to be esoteric.” In 2021, when Eric Chenaux and Martin Arnold relaunched their neither/nor-adjacent Rat-drifting imprint, an album by Priest, Many Traceries, was among the first to be released. Perhaps unsurprisingly, Priest was a student at the University of Victoria, a school that's come to be known for fostering such staunch individualists as Arnold, Linda Catlin Smith, Allison Cameron, and Anna Höstman.
As a scholar, Priest writes from a 'pataphysical perspective and deals with topics such as sonic culture, experimental aesthetics and the philosophy of experience. Priest brings these interests to his job as an Associate Professor in the School for the Contemporary Arts at Simon Fraser University, interests that also inform his work as a member the experimental theory group The Occulture. In addition to Omphaloskepsis, his new book, Earworm and Event: Music, Daydreams and Other Imaginary Refrains,
100 Limited vinyl copies
It those times of a promised civilization collapse, truth revelations, questionings, and afflictions, spiritual ascension can
come as fundamental to avoid falling into the abysses. Psychotria isn't a release with the pretense to be of help for this, but this musical meeting of the versatile producer Cyberlife and the vibes explorer TrübTone appears as an attempt of bringing response to the eternal metaphysical question on why things are, as a liberating truth for the
mind. By this psychedelic exploration of music that breaks codes to go deeper in the sound, made of seven affirmed tracks, this release mixes together some elements of this complex puzzle that only transcendence reaches to complete.
The Tears of Joy label boss returns with an encompassing tribute to the power of the dancefloor. As a member of Pacific Horizons and under a host of other aliases, the Los Angeles-based producer has explored the breadth of dance music - from Mancuso-inspired loft house to bassbin rumblers that nod to his familial relationship with the U.K. - but his most personal statements have been reserved for the Live For Each Moon moniker.
As a result of this, and also by nature of its journey/trip sequencing, 'A Vision of Dance' reaches for a comprehensive sound, honed over decades of observation and participation. The producer's varied interests shine through, and they are pushed beyond genre experiment into new, hybridized shapes - sinewy, searching, warehouse techno shares space with crunchy, heaving breakbeat cut-ups and churning, slow motion chugs. While the overall pace leans toward the trancelike whirlwind, a few atmospheric, introspective interludes are cut in as kind of existential breathers - nods to LFEM's back catalog of haunted ambience as much as ravers' respites.
Hospital Records proudly present the debut solo album from drum & bass icon Grafix. ‘Half Life’ is an introspective glimpse into the influences and sonic development of the Bristol-based producer, who over the years has established himself as a pinnacle of the dance music world. Grafix’s first ever studio longplayer as a solo artist consists of 14 hotly-anticipated pulse pounding anthems, featuring killer collaborations from the likes of Metrik, Lauren L’aimant, Reiki Ruawai and Chrissie Huntley in his hit singles ‘Somewhere’, ‘Feel Alive’ and ‘Skyline’.
High-octane dancefloor energiser ‘Skyline’ sees drum & bass titans Grafix and Metrik collide for a third time on this futuristic drum & bass cut infused with pure uplifting soundscapes. Enter a world of powerhouse synthesis, relentless basslines and Metrik’s very own vocal performance. This is just the follow up you needed from the mammoth success with the duo’s previous collaborations ‘Overdrive’ and ‘Parallel’.
Grafix draws upon his love for rave culture on the acid heavy ‘Blast Out’ - a no-holds-barred drum & bass system shocker. Skittery vocal chops, shredding bass hits and minimal-funk drums show the side of Grafix well known for tearing up the dance - never afraid to drop a wild card.
From the hypnotic and distorted energies on the likes of ‘CTRL’ and album title track ‘Half Life’, to the forward-facing vibes on LP numbers such as ‘Accelerate’ and ‘The Chance’, the versatile flavours supplied by Grafix throughout are a testament to his years of experience in the studio.
Other album highlights include two tracks with the immensely talented Lauren L’aimant who boasts previous releases on staple dance imprints including Anjunadeep, Colorize and Protocol Recordings. ‘Watch The Sky’ is an anthemic stepper home to Lauren’s spine-tingling vocals and Grafix’s catchy synth hooks. ‘Feel Alive’ captures the pair’s undeniable ability to strike up a euphorically cutting-edge dance music banger.
The ‘Half Life’ LP also features the previously released tracks ‘Radiance’ as well as radio hit ‘Somewhere’ featuring New Zealand’s very own Reiki Ruawai. Both tracks of which are no stranger to worldwide drum & bass listeners.
Grafix’s debut album marks a signature milestone within his musical journey as a solo artist and his achievements so far only scratch the surface. The first single ‘Somewhere (feat. Reiki Ruawai)’ to drop from his album racked up global airwave support with an impressive number of plays from radio tastemakers including Danny Howard, René LaVice, Mollie Collins, the George FM crew in New Zealand and of course, Fred V. With regular support from big hitters including Sub Focus, Wilkinson, Friction, Camo & Krooked and more, Grafix’s music continues to talk for itself when racking up countless DJ spins as well as consistent landings across pinnacle industry platforms such as UKF. Keep an eye out for Grafix at Snowbombing, Hospitality On The Beach Albania and more throughout 2022!
Magnetic is a project which has been build on the principles & awareness of environment design and its importance. Every moment in our lives is influenced by the environment we are immersed in and music plays a huge part in this concept.
We welcome Sublee to curate the first release on the label, with his Until We Dance EP. The two tracks on the A-side, draws you into serene places before releasing you with textured Sublee baselines. Misto Sup, on the B-side of the vinyl is an energetic journey which is meticulously crafted providing a joyful experience for the listener.
We thank Max Binski for the ecstatic artwork design as we present you with Magnetic.
The 5th anniversary of Bravers was marked by a vinyl release and the start of a distinctive label. These European artists have done a lot for the electronic scene and are gathered under the auspices of the Bravers in this debut. They have been welcome guests at their parties and have opened up boundaries to new sounds.
The A1 is the combined work of Kovyzain D and Alexander. In ‘Modularity’ they've united shades of Belgium new-beat and EBM and have added rhythmic and futuristic synths. The result - a perfect closing track for a journey through the industrial and cosmic layers of electronic music.
A2 ‘Proven Witch Psalm’ is done by British sound producer Antoni Maiovvi. The track was written upon his arrival to the US and was designed to be a relentless funk of machine abuse and futurist analog arpeggios.
B side starts with the track ‘Espace’ done by Marselle’s musician Millimetric. He decided to explore the theme of space conquest, the fears and difficulties of interstellar voyages. This is captured through the use of a futuristic mixture of sturdy bassline and electronic anxious sirens.
B2 track ‘Vardi’ by Moscow DJ and Bravers founder Anton Levdikov is a mixture of arpeggiator roaring bass and Industrial stabs. The sound is complemented by a new-beat and Italo’s sound legacy.
