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This package contains the special printed anniversary sleeve with the first two 12" vinyls (Side A, B, C & D).


Get ready to explore the depths of acid with the Time Paradox LP, a 3x 12" vinyl release with special printed sleeve featuring 15 acid techno tracks from SOUR.

Celebrating 25 years of Zodiak Commune Records, this album will take you on a journey through time and space with its mind-bending acid lines and pulsing beats.

Don't miss out on this incredible release!

10, 9, 8, 7, 6… the countdown to blastoff has started! Paris-based band Setenta is preparing for their upcoming 20th anniversary by releasing their sixth album, Apollo Solar Drive. The record is poised to be their best yet and is the culmination of an odyssey of artistic discovery. Setenta has been constantly striving for illumination through the years, yet also exploring the dark side of the human condition along the way. As the band describes it, this record is an Afro-Latin retro-futurist tribute to the sun. If their previous album, Materia Negra, launched the Setenta space shuttle crew into the void of “dark” matter and black holes, they now change course and valiantly approach the sun at full warp speed, taking us from darkness into the light. Miraculously, Setenta manage to bring some of the rhythmic and harmonic material they’ve explored on Earth with them, yet boldly dare to go where no one has gone before, challenging themselves to take their music, and their audience, to uncharted dimensions and new realms of existence.

In keeping with the themes of Materia Negra, FIP (Radio France) selection in 2020, Setenta’s sixth mission to explore “the great beyond” of “inner space” is aptly titled Apollo Solar Drive, emphasizing the band’s turning to the life-giving light of the sun for inspiration while playfully echoing the title of Eddie Palmieri’s Latin funk and social commentary masterpiece, Harlem River Drive. The overall vibe is warm and positive, propelled by the dual energy thrusters of funky, fierce beats and deceptively complex arrangements, yet going down smooth in the best sense of the word, like your favorite tropical cocktail or classic jazz dance fusion record of the 1970s. Of course this delicious treat is served with a special Setenta flavor all its own.

This time around, Apollo Solar Drive celebrates the trajectory of the band’s unique interstellar journey by deploying a resolutely jazzy, “funkadelic” angle to their beloved Afro-Latin music. Setenta’s band members tell their truths as a collective, with an emphasis on instrumental sections, focusing on the interweaving of multiple keyboards and guitars, while condensing the vocals to group choruses, as opposed to the solo voices of the past. The overall approach is more futuristic in its conception and realization, from the arrangements to the sonic engineering, although the rhythmic base still remains rooted in Afro-Cuban traditions as well as those of other Caribbean nations.

Pablo E. Yglesias (DJ Bongohead) of Peace & Rhythm (USA)

Bobbyy is a producer, drummer, and DJ based in Los Angeles. Known for his work with Seattle bands sunking and High Pulp, 2024 sees Bobbyy stepping out as a solo artist, working with the likes of Pink Siifu, Hi Tech, Blvck Svm, and more. Bobbyy’s debut album ‘Buckets’ is an homage to his deep love and understanding of music history, incorporating elements of Chicago House a la Larry Heard, alongside raw, sample-based production reminiscent of Madlib or Daedelus, all the while basking in 808’s.

Ulrich Troyer has been producing music now solidly for over twenty years within a largely genre free framework, but whilst navigating forms such as avant-garde, techno, leftfield, field recording, electronica, glitch and ambient it is the aesthetics of dub that guide his creative direction. Not really recognisable in an orthodox form as remixed versions of roots reggae songs but in the way sonics are manipulated with space, the application and layering of delay, reverb and echo that fixes his output well within the scope of what might be called futurist dub.

The nearest comparisons to his new album TRANSIT TRIBE can only be established by a synthesis of some of the more adventurous explorations in modern music such as African Head Charge, Jon Hassell, Pole (Stefan Betke), Bill Laswell or even Miles Davis; featuring a diverse selection of artists and friends not only from Vienna and environs but also from around the world, sounds are not so much fused but allowed to float along the continuous flowing tide of warm waves of bass.

Rather than to allow the names of Ulrich Troyer's collaborators be merely listed in the album credits, what they bring to this joyful affair needs to be outlined, albeit briefly: Co-producer credits go to Osman Murat Ertel from Istanbul, who employed a variation on the old foolproof Nick Lowe method for checking out the impact quality of his own sound productions by playing tracks through his car sound system speakers!

Murat is a member of the electro-psych-folk group Baba Zula where he plays electric saz, oscillators and theremin and played a key part in the creative development of the album. Mamadou Diabate, the balafon master originally from Burkina Faso and now resident in Vienna, has developed his own unique technique of playing solos that replicate the sound of three instruments playing in unison; however the multi-talented Mamadou is engaged here on singing and playing the talking drum. From South Tyrol Reinhilde Gamper is a member of the experimental trio Greifer who are bringing the sound of the zither into the twenty-first century using new playing techniques and electronic gadgets. Susanna Gartmayer is an Austrian composer and bass clarinetist specialising in improv and multimedia sound research. Diggory Kenrick has been engaged with creating new dub fusions and also re-energising classic rocksteady and roots reggae classics, renowned for his interventions on flute. Didi Kern is an electronic dance musician and drummer from Vienna with a focus on free improvised music. Hamidou Koita, a singer and multi-instrumentalist, is from a traditional Griot family in Burkina Faso but now resident in Vienna and a regular musical partner of Mamadou Diabate playing drums and calabash. Austrian Lukas Lauermann is both a studio and live musician playing cello, also working on electronic sound design and writing string arrangements. He has recorded extensively and appeared on stage with both Mark Lanegan and Hans-Joachim Roedelius. Martin Mallaun is a Tyrol-born specialist in both the development of the zither in modern music and also as a researcher in the effects of climate change on the vegetation of Alpine ecosystems. Mystica Tribe is the musical alias of Tokyo-based dub/techno producer Taka (Takafumi) Noda. He collaborated with Vienna's own Vegetable Orchestra on 2020's "Transplants (Mystica Tribe Version)". After studying classical percussion Flip Philipp is now a jazz vibraphone player and member of the Vienna Symphony Orchestra. Wolfgang Pfistermüller is a member of the Vienna Trombone Quartet and the developer of the incredible bass-trombone Aurora with its uniquely warm and resonant sound. Roger Robinson is a renowned British poet, winner of many contemporary poetry prizes and member of the experimental music group King Midas Sound. Kwame Yeboah is a Ghanaian born UK based keyboard wizard who tours regularly with Yusuf / Cat Stevens, Ms. Dynamite and Pat Thomas.

So contained on the album is an astonishing mix of musicians and instruments: sounds of cowbells recorded in the South Tyrolean alps processed by modular synthesizers and heavy analogue bass synths combined with instruments such as zither, bass-zither, electro saz, flute, talking drum, trombone, cello, vibraphone, marimba, djembe, contra-alto clarinet, melodica, Farfisa - all bound together by organic live-drums and dub effects.

Liner notes by Steve Barker

Back in stock soon !

First Word Records is very proud to present a brand new EP from Yazmin Lacey - 'When The Sun Dips 90 Degrees'.

This EP follows on from her two recent singles, '90 Degrees' and 'Something My Heart Trusts', both of which are included here, along with three previously unreleased tracks, 'Heaven', 'Body Needs Healing' and 'Burn & Rise'. This set illustrates again Yazmin's candid songwriting delivered in her uniquely laidback soulful style, whilst a glorious fusion of neo-soul and jazz performed by Pete Beardsworth and her trusty band rides throughout.

In recent times, Yazmin has made live appearances on Jazz FM, BBC Radio 4, 1Xtra and NTS, & received widespread acclaim across the airwaves, including BBC Radio 2, BBC 6 Music, Worldwide FM and Mi-Soul, plus Spotify love from the likes of The Independent and heavy support from DJs such as Gilles Peterson, Jamz Supernova, Tom Ravenscroft, Huey Morgan and Jamie Cullum. Yazmin appeared heavily in The Guardian / The Observer's recent extensive feature on the UK's new Jazz movement too.

Initially a Brownswood 'Future Bubbler' graduate, Yazmin self-released her debut EP, 'Black Moon', last year. This lead to a Maida Vale session late 2017 with Jordan Rakei, Moses Boyd, Oscar Jerome and now label-mates, Children of Zeus. She kicked off the year with a performance at the Worldwide Awards with Skinny Pelembe, and has recently done shows with artists such as Ezra Collective, Tall Black Guy and Fatima. Yazmin has a UK tour scheduled for later in the year, as well as several festival appearances across Europe locked in. There's a lot more to come from this Notts-based Londoner yet.

In Yazmin's words: "'90 Degrees' is about that time of the day / night when there's a shift in pace and energy. When you decide to lock off from the 'outside' world and create your own atmosphere, take some time to give thanks for what's breathing love into your life and smoke off the fuckeries. Everyone needs a little routine for self preservation."

Starting off the dance on the A side, we have Blaze pres. UDAUFL with 'Most Precious Love (DF's Future 3000 Mix)' featuring the iconic Barbara Tucker on vocals. The driving piano bass line gets you in the groove just before those unmistakable lyrics break you into song.

A2 gets us reminiscing about those 'good old days', letting loose on the dancefloor in New Jersey’s Club Zanzibar. A legendary club spot back in its heyday, championed by its resident DJ Tony Humphries. A strong club cut, produced by Jovonn with vocals bringing the track to life by vocalist LY.

On the B side, we start with 'Closer (King Street Moody Club Mix)' by Mood II Swing feat. Carole Sylvan. It's a real dancefloor banger produced by one of the best house duos in the game!

Wrapping things up is the euphoric 'Cascades of Colour (Wamdue Black Mix)' feat. Gaelle on vocals and produced by Ananda Project. It's a timeless track, perfect for any sunrise or sunset.

House heads unite. An absolute must have

he initial seed for this project was planted in 2020 when Nicolás Jaar wrote the song “Piedras” for a concert at the Museum of Memory & Human Rights in Santiago, Chile, which commemorates the victims of human rights violations during the military dictatorship led by Augusto Pinochet between 1973 and 1990. Between 2022-2023 it took on a new form as a radio play entitled 'Archivos de Radio Piedras', which was shared on a dedicated Telegram channel. In 2024, the play was converted into a 24 channel installation at the University Museum of Mexico City (MUAC), where it was exhibited for 5 months.

Piedras 1 and 2 is a collection of the tracks featured within the play, all new music by Jaar, but partly presented within the play as the music of Salinas Hasbún (the name a composite homage to Jaar's grandmothers, Graciela Salinas and Miriam Hasbún).

The play follows two friends mourning the disappearance of Salinas Hasbún, a musician and writer who vanished in the early 2020s. Although they live in a future where technology is advanced, they
resort to DIY radio methods because the anonymous group “Las 0cho” has launched a worldwide attack on undersea internet cables, causing a global internet blackout.

The play's central theme revolves around the idea that truths, memories and identities speak from the cracks (“rasgaduras”), or the "in-between" spaces ("en el entre"). This concept is supported by the
way much of the narration unfolds - in the liminal spaces between radio frequencies. The instability and transitory nature of a constantly shifting radio dial becomes not just a metaphor but the structure of the play itself. It’s in these moments of noise, static and interference that the deeper revelations of the story emerge. This disjointed, ever-changing medium mirrors the way memory and trauma operate within the play - non-linear, slipping through the gaps, found in fragments or ordinary moments, rather than direct transmissions of “official” historical accounts.

This notion reaches its climax at the end of the narrative, when a text is discovered in which Salinas speaks of finding a new number in a small pond in a cave mentioned in the first episodes of the radio play. This pond, inside the “cochlea of the world”, is seen as a way to introduce real-life randomness to computation. Embodied in the salt lakes of northern Chile, home to the world’s oldest bacteria, this randomness disrupts the rigid order of binary code, paving the way for a transformation of digital life.

First solo release by Nicolás Jaar since 2020’s Telas and Cenizas.

‘FAIXA’ is the eponymous debut LP from rural Valencian group FAIXA, emerging from a desire to fuse their curiosity for electronic sounds with experiences of living immersed in the folklore that resonates through the Valencian regions of l’Alcoià and el Comtat.

This atmospheric album speaks to a sound not often heard in the wider Spanish electronic music scene, but reminiscent of other modern revivals of traditional music fused with electronic sounds across Spain right now.

The sound of the album is a constant dialogue between the roots and the future of Valencian generations; traditional vocalists play an essential role in connecting oral traditions such as the “cant de batre” and marches of the “moros i cristians” with leftfield electronic, influenced by sounds typical of dubstep, jungle, or footwork. This historical quality resonates profoundly through songs where vocalists Noelia Llorens “Titana”, Carles Dénia, and Josep Aparicio “Apa” act as channels to a new sonic dimension of traditional music, where the classical and the modern intertwine.

Receiving great feedback across the country in a short period of time, FAIXA’s unique approach to electronic music has gained them mentions and interviews on national and local radio & TV.

Two global heavyweights collide in a proper showdown style. Having shared an admiration for each other’s music for some time, Batu and Nick León can now share four lethal cuts on this new EP entitled ‘Yiu’. The EP will see release on Batu’s A Long Strange Dream imprint.

‘Yiu’ is the work of two kindred spirits, brought together by a shared love for mutant bass artillery and galloping rhythms delivered with precision. Their pursuit of new futures for Latin and UK club sonics fuel each track on ‘Yiu,’ resulting in a slew of highly flammable, psychedelic charged club tracks.

Adventus is the Latin word for "Coming", which is a translation of the Greek word "Parousia".

A symbolic title for the introduction of two new artists to the Techno scene Eluna Vex & Olympios.

Both hailing from Greece, they are debuting with a high quality record that is proper, raw and very underground. It defines exactly what Renegade Methodz stands for. Music with the force of future!

Berlin-based techno duo FJAAK unleashes a series of powerful remixes of their FJAAK THE SYSTEM album from genre icons Kittin & The Hacker, DJ Bone and Mr. G, each adding a unique twist to their signature sound. Kittin and The Hacker dive into 'Mechanic Love' with razor-sharp synths and pulsing beats, transforming it into a hypnotic electroclash-techno hybrid set to ignite dancefloors with dark, futuristic energy. DJ Bone brings his Detroit-rooted minimalism to 'Scratchy', fusing relentless drums with meditative strings to create a stark yet entrancing remix that is both cerebral and body-moving. Rounding off the project, Mr. G delivers two contrasting takes on 'Unity': 'G's Dub', a dub-laden, introspective mix perfect for deep, late-night sets and the 'Time Jack' remix, a peak-time powerhouse with irresistible swing. Together, these remixes redefine FJAAK's originals with innovative flair, bridging intensity and depth across the techno spectrum.

Second instalment in the series, featuring reissues of Eddie Richard’s early unmissable tracks.

Join El Maquinista Hypnotica on a sonic voyage to the bygone era of electronic dance music with his latest release, "Chakra EP". This 4-track collection encapsulates the spirit of the late 80's and early 90's, drawing inspiration from New Beat, Techno, and Acid House.

Infused with the universal energies and the golden ratio concept, each track corresponds to the seven chakras, tapping into the ancient wisdom woven into the fabric of our being.

Utilizing genuine vintage hardware, El Maquinista Hypnotica brings four unadulterated techno sounds, embracing the origins of sonic creation with these timeless and potent machines, delivering a raw energy that echoes the purity of the original techno movement.

Chakra's EP visual approach serve as a testament to the fusion of technology and art. P2T has created an immersive experience that reflects the 'trippy', otherworldly artwork of the era using Bryce 3D (version 2.0), a program that was first commercially available in 1995. This antiquated tool was brought back to life via emulation technology, creating a universe that both musically and visually symbolizes the seven chakras and realigns the human body with it's ideal golden ratio.

El Maquinista Hypnotica is not only a producer, he's a magician, who hypnotically manipulates frequencies to light up dance floors. Every song combines the cosmic with the physical in an audio journey that is an alchemical fusion of the past, present, and future.

Get ready to be enthralled and invigorated by the mystical power of El Maquinista Hypnotica and his Chakra EP.

Hitch debuts on Just Waxx for its second release, presenting four dancefloor-focused tracks, with a remix by Belgian artist Innershades on A2.

The EP draws inspiration from samples that marked the Catalan producer's childhood, adding a unique and nostalgic touch to each composition.

A1, "Gran Torino," featuring samples from Starsky & Hutch, stands out as the highlight of the release, capturing immediate attention with its unmistakable character.

A2, the "Gran Torino Innershades Remix," takes a deeper, moodier turn. Innershades reworks the original with a brooding bassline and textured layers, infusing the track with a hypnotic, atmospheric quality.

On the B-side, B1, "Hannibal," incorporates samples from Hannibal Smith of The A-Team. The track’s crisp drums and subtle effects create a laid-back yet rhythmic groove, enhanced by intricate layers that bring a sense of progression.

B2, "Delorean," inspired by Back to the Future, rounds off the EP with its futuristic synths and retro influences, seamlessly blending nostalgia and forward-

ReKaB drops another strong four-track EP, rooted firmly in the Detroit sound with a nod to the soulful techno styles that shaped the UK underground in the 90s. His second EP for Cologne's YORE Records. The production, as always, is spot on—sharp, detailed, and endlessly listenable. While the tracks carry the weight of tradition, they’re not stuck in it. There’s a fresh, forward-facing energy here that keeps things exciting.

My Inspiration opens with classic metallic strings and a tight, robotic square bass that locks you in straight away. Just when you think you know where it’s going, the vocal drops—a bold touch that shifts the track into more human territory, giving it an emotional pull without losing its edge.

Soul Brother is a late-night cruiser. Rhodes chords, rolling bass, and lush strings set the scene for a proper cityscape vibe. It’s smooth, it’s warm, and it glides effortlessly, all while keeping enough groove to move.

Future Times kicks things up a gear with more tempo and bite. Acidic basslines and a writhing lead sit alongside deep chords, making it equal parts hypnotic and urgent. It’s the kind of track that turns heads in the club—direct and effective without being predictable.

Wrapping it up, Random Fragments pulls things back into a more reflective, dubby space. The layers are rich but restrained, with chirps and analogue echoes drifting through a hazy atmosphere. It’s introspective but not sleepy, the perfect comedown to round off the EP.

ReKaB’s consistency is something else—each release feels like it’s levelling up, pushing his sound forward without losing its roots. This EP is no different. It’s a tight package of ideas, all executed with precision and style. One for the heads, no question.

Fresh and direct from Toronto, Pacific Rhythm is pleased to welcome Emissive (aka Evan Vincent) for a solo cruise on the label. While Vincent has appeared on the label twice as part of house music duo Active Surplus (alongside Ian Syrett), this new EP entitled Wave Science sees the young musician push his sound into warmer and more melodic waters.

Vincent says the new tracks pay tribute to the Black American roots of electronic music; a historical fact the producer says is an ongoing source of motivation and inspiration in his work.

Indeed, this new four-tracker sees Emissive bring in a pinch of futuristic boogie and cosmic funk to his dancefloor recipe—versatile flavours that should go down quite well at a variety of Dance Opportunities in the very near future! All of the tunes were composed and mixed at Vincent’s home studio in Canada’s largest city, with the tracks getting a warm, Hi-Fi mixdown via Syrett’s Nagra IV reel-to-reel. Tech talk aside, Vincent says he wanted to avoid over-analyzing the production and instead summon the spirits of dance, love and seasonal warmth.

Or as the artist himself says: “Less thinking, more feeling.” Check it out and we’re sure you’ll agree his approach paid off!

For this fourth edition of CLUB REMIX, KNOWN ARTIST calls out the infectious energy experts.

Demi Riquísimo’s straight to the point effectiveness pushes “Polpogba” to the main stage with its heavy ends, cutting edge finger snaps and stabs.

Pablo Bozzi steps in with his signature EBM infused uplifting touch. Injecting a darker retro futuristic edge to the original track.

Fantastic Planet returns with its sixth release, "Survival Mode," a statement dedicated to the ongoing struggle for freedom in Georgia. This electrifying compilation brings together a diverse lineup of visionary artists, each channeling their own unique sound to amplify the message of resilience and resistance. Survival Mode - is a mindset, a relentless fight for existence when all other options have been stripped away. It's about the raw, primal instinct to keep moving forward, even when every door seems closed, and there's no way back. In this mode, every moment is a battle, a test of endurance and resilience. For the people fighting for freedom in Georgia, survival mode represents their unwavering determination to push through oppressive forces, refusing to be silenced or broken. It's the point where compromise is no longer an option, where you either rise or fall-but surrender is not part of the equation. This struggle is about more than just survival-it's about carving out a future, no matter the cost. Design Giorgi grdzelishvili

A bold reimagining of Scottish folk in a hypermodern soundworld, In a River Shadow blends prehistoric instruments, abstract electronics, and environmental recordings into a unique sonic landscape. The result is a futuristic, technoid sound that feels both organic and otherworldly, like a biomechanical artefact unearthed from a distant future.

In a constellation of influences including Yoshio Ojima, sunytty, and the hyperrealist work of Noah Creshevsky, "Birdhouse" is a dream of voices—human, non-human, and AI-generated—unfolding tranquillity into hallucinatory spectres. On "Star of the Sea," Poole confronts a complicated relationship with prayer by reworking the Catholic hymn "Hail Queen of Heaven, the Ocean Star," reformulating the prayer and stretching vocals to their limits, transforming the piece into a drum-driven, visceral interpretation.

Across this five-track EP, Poole combines personal exploration with collaborative influences, including a partnership with Considerate Digital, and collaborations with vocalist Celine Brooks and artist Gabo.

Music : Poole, additional vocals by Celine Brooks on Weila Waila, and Gabo on Selkie of Sule Skerry.

Buckle up, electronic aficionados! Queen of Coins is about to drop a six-track sonic odyssey that’s your one-way ticket to Electro, Italo-Disco, and Detroit Techno nirvana. This isn’t just an album, it’s a masterclass in psychedelic dancefloor alchemy, tailor-made for DJs who crave cutting-edge sounds while paying homage to the genre’s founding fathers.

From the slow-burning hypnosis of “Head Tension” to the heart-racing throb of “16K Cal,” this release is a BPM rollercoaster that echoes the spirits of legends like Legowelt, Drexciya, and Francisco. But make no mistake – Queen of Coins isn’t just rehashing the past, the Queen is propelling these influences into the future.

“Bring it to the top” is pure condensed energy, engineered to shake every powerful soundsystem while maintaining an emotional depth that’ll hit you right in the feels. Speaking of feelings, “Damaged Souls” is the track you didn’t know you needed – a poignant electronic love letter to all those “what if” moments that haunt our dreams.

But don’t think for a second that Queen of Coins is all melancholy. “Oreo Cake” swoops in with its irresistible bouncing bassline, serving up a fat slice of low-end theory that’ll give your mind, body, and soul the workout they’ve been craving. It’s a reminder that in the realm of Queen of Coins, the future is bright, and the beat goes on.

Remember the mantra, ravers: Queen of Coins is “Music to grow with Expanding your soul Thriving in Prosperity.”

This isn’t just an album release; it’s a coronation. Long live the Queen of the electronic underground!

Im Wesen der Natur verbunden, zu unseren Füßen grünes Land. Luden wir zu intensiven Stunden, der Alltag wurd aus uns verbannt! Kultur gemacht für bunte Kunden, wir bauen Türen in die Wand! Das Getraute der gewählten Runden trug Familie in den Forstbestand. So kamen geschwind, die Kindgebliebenen, denen’s gleich war – ob Tag – ob Nacht. Geladen zum exzessiv genießen über Bedacht wurd nur gelacht. Barfüßiger Tanz auf weiten Wiesen nur von Panoramen überdacht. Ihr Unikat ist weit gepriesen, da ihr Fest hat pures Glück entfacht.

Twenty-four strikes on Exarde with Parchi Pubblici, the hardware analog act from Italy who records his songs in one take and have been laying it heavily and steadily for a while, henceforth we can hear the result of it with our own ears. The release consists of four original works by the man himself with first three ready for peak time club cuts with the help of roaring analog machines. They are produced to ready to sweat the dance floor, these stories are followed by a great outro track to conclude this EP. “Pressed Trouble” which is the name of this disc describes the content of it perfectly, because sure as hell this body of work is on the mission to create trouble and trouble sometimes needed to construct the top-level audio trips. Having produced digital contents for the respected labels that you can look up, this is a debut physical vinyl release by the artist and it is a great honour to host him on the label and hopefully to many more to come in the future.

This is another classic EP from The Brothers Grimm, but where Exodus achieved almost instant fame and acclaim upon release, this EP grew in status slowly over time.

Once again, it is an innovative slice of early 90's jungle, pushing boundaries and inadvertently laying the path for all future jungle releases to tread...

To coincide with its 20th anniversary, Clint Mansell's haunting score to Darren Aronofsky's 2000 film, Requiem for a Dream, performed by Kronos Quartet, returns to vinyl. This was Mansell’s second of several collaborations with Aronofsky, following 1997’s π, and features arrangements by David Lang of Bang on a Can. The film stars Academy Award-winner Ellen Burstyn, Jared Leto, Jennifer Connelly and Marlon Wayans, and was adapted from the 1978 novel by Hubert Selby, Jr. (Last Exit to Brooklyn), who also wrote the screenplay with Aronofsky. Set on the rusted mean streets of Coney Island, Brooklyn, Requiem for a Dream tells the parallel stories of four people pursuing their dreams of better lives. The reissue features the original soundtrack, plus two bonus tracks.

Clint Mansell, a musician, composer, and founding member of the band Pop Will Eat Itself, first worked with Darren Aronofsky on the score for his 1998 film π. Also released by Nonesuch are Mansell’s scores for Aronofsky's The Fountain (2006), nominated for a Golden Globe, and Noah (2014). His other scores include The Wrestler (2008), Moon (2009), Black Swan (2010), Filth (2013), Stoker (2013), High Rise (2016), for which he received an Ivor Novello nomination, and Loving Vincent (2017).

For more than 40 years, San Francisco’s Kronos Quartet – David Harrington (violin), John Sherba (violin), Hank Dutt (viola), and Sunny Yang (cello) – has combined a spirit of fearless exploration with a commitment to continually re-imagining the string quartet experience. In the process, Kronos has become one of the world’s most celebrated and influential ensembles, performing thousands of concerts, releasing more than 50 recordings, collaborating with many of the world’s most eclectic composers and performers, and commissioning over 850 works and arrangements for string quartet. A Grammy winner, Kronos is also the only recipient of both the Polar Music Prize and the Avery Fisher Prize. Most recently, in 2019, Nonesuch released Kronos’s ground-breaking collaboration with composer Terry Riley, Sun Rings, and, in 2017, Folk Songs, featuring Sam Amidon, Olivia Chaney, Rhiannon Giddens and Natalie Merchant.

Introducing Access All Areas - FLO’s debut album. A body of work imbued with the girls unapologetic, contagious force.

Blending the rich tones and luscious melodies of R&B and soul with pitched up original samples, futuristic production,

contagious hooks and candid, relatable lyricism, the project feels like yet another arrival for the group.
Featuring songs such as ‘Walk Like This’ and new single ‘Check’, plus many more.

1 x 140g Crystal Clear Vinyl.

"Brothers In Arms" by Juan Dairecshion & Martin Vora


The new record label Mental Disorder, founded by Martin Vora (co- founder of Novi Orbis), makes its debut with the EP "Brothers in Arms", a collaboration between Juan Dairecshion (Montevideo Electric Recordings, SOEN and Osmosis Records) and Martin Vora.
This release offers a blend of tech house with elements of techno.


The EP opens with "Más de lo Mismo", a track designed for the closing of a DJ set. It combines passages of breaks and vocals, providing an emotional and memorable finish.


"Alma de Club" introduces a dystopian techno atmosphere. Acid sounds and deep basses create an immersive atmosphere, complemented by percussions that reflect the Uruguayan sound.


"Aux2" continues with acid rhythms and forceful percussions, offering a sonic journey that captures the energy of contemporary techno.



Finally, "Bienvenidos al Nuevo Mundo" closes the EP with a mix of dystopian techno and tech house, presenting dark and futuristic soundscapes.


"Brothers in Arms" showcases the creativity of Juan Dairecshion and Martin Vora, celebrating their roots in Montevideo while bringing a new perspective to the global tech house scene.

Repress
Patience is a virtue well-rewarded in techno; finding the right groove to build on then holding your nerve long enough to pay off the wait at the optimum moment is a much more skillful endeavour than it would seem for such a minimalistic style. And few display this talent better than Detroit originals Scan 7. Part of the hallowed Underground Resistance family, Scan 7 first broke out in the mid-90s with a series of jacking machine funk 12”s that showcased their savvy for self-control - a faculty they have demonstrated in releases year-on-year since.
Highlighting this continuous font of vitality, Tresor Records has returned to the source and is proud to announce the reissue of Scan 7’s debut LP, Dark Territory. First unleashed on the label in 1996, the album has been remastered from the original DATs by Mike Grinser, augmenting already powerful tracks such as the snake-like, teasing Unusual Channel (mixed by the master Blake Baxter), and the harder-edged VII resulting in music that will, without doubt, provoke an enhanced response when the pressure is finally released.
Repressed on vinyl with updated artwork, these tracks still sound like a blueprint for the future, testament to the prescience and assurance Scan 7’s leader, Trackmaster Lou, clearly had when writing “I hope you enjoy my records in the phuture to come” in the sleeve notes nearly 30 years ago.

As the tenth candle flickers atop the torta alla panna, Archeo Recordings play the Uno reverse card, breaking with tradition to give us a gift in celebration of its birthday: the first in a series of exquisite EPs on which the label's favourite contemporaries pay homage to past masters. Each re-polished gem is plucked either directly from the beatific back catalogue of the fine Florentine label or is at least Archeo-adjacent, perhaps a sign of future wonders to come. Like a musical version of Janus, who can be found at the heart of Bertoldo di Giovanni's frieze in the Medici villa, Archeo Recordings will continue to look forwards and backwards to provide sublime sounds for us all.
Pepe Maina officially joined the Archeo family in 2019 with the much-needed reissue of his 1979 masterpiece Scerizza (AR015), but his astounding music has been a constant companion to label head Manu for much longer. An inter-dimensional, multi-instrumental maverick, Maina weaves the frayed edges of prog rock, new age, organic jazz and global minimalism into a shimmering tapestry all of his own. The results are spread across fifty years and almost as many albums, largely self-released and always absolutely untarnished by commercial concerns.
Based in a small village in the hills of Brianza, just north of Milan, Maina translates the beauty of his surroundings into transformative tone poems, and the folkloric fusion of "The Infinite", originally released on his 2014 CD Tales From The Hill, is the perfect example of his practice. It opens with a recitation of Giacomo Leopardi's 1825s poem "L'Infinito" by famed Italian actor Vittorio Gassman. A leading figure in the romantic movement, Leopardi explores the idea of time and space within the natural world, and the peace that comes with an appreciation of the immensity of eternity. Manu, longtime digger and now a burgeoning producer, expands upon the original with tribal percussion, chirping electronics and a spheric bassline, folding Maina's elegant strings and gossamer pads into a new arrangement suited for a slow dance under the stars.
Unless you had a well-trained ear tuned to Italy's avant-jazz scene, chances are your first encounter with innovative flautist Roberto Aglieri came via the 2017 Archeo reissue of hisalmost untraceable LP Ragapadani (AR011). It's a true testament to Manu's digging credentials that he snatched this masterpiece out of the esoteric atmosphere and brought it attention it so richly deserved. A delicate union of digital synthesis and versatile flute - be it soft and silvery or
brilliant and clear - the 1987 album was a shapeshifting masterpiece, replaying scenes from Virgil, Verdi, Visconti and Pasolini with a neon glow. Quintessentially Italian, but uncanny and previously unimagined - Penthouse and Portico perhaps. Powered by a percolating prototechno sequence, cascading keys, hallucinogenic vocal snippets and a variety of tonal timbres from Roberto's reed, "Danza N. 1" long deserved the praise reserved for Jean-Luc Ponty's pinnacle, so many thanks to Manu for our collective introduction. The tall task of reinterpreting this particular paragon falls to Perugian polymath Daniele Tomassini AKA Feel Fly, whose peerless skills as both producer and musician have delighted DJs and dancers alike. Hot on the heels of his diverse and definitive remixes of Tony Esposito for AR027, Daniele delivers a radical rework of "Danza N. 1" perfect for both day rave sunshine and full moon party alike. Enhanced by snapping breaks and a rattling kick, the bassline gurgle emerges as a progressive powerhouse, laying the foundation for the trilling flute and circular keys to cast a psychedelic spell. As the slow-Goa revival picks up pace, this one is way ahead of the pack.
Archeo take us all the way back to the start of its story here - well almost. Though it bore the stamp AR001 (2015), this Radio Band reissue actually hit shelves months after Tony Esposito's "Je-Na' / Pagaia"; a false start perhaps but a true classic all the same. Radio Band were a group of DJs from Florence who all sailed the airways of Radio Fantasy in 1984 and whose one and only release was this super groovy slice of Italo-boogie. Following the example of Milanese DJs Band of Jocks but far surpassing their formulaic funk fizzle, Radio Band employed an intergalactic bassline, cosmic keys and that undeniably Italian style of rapping to deliver a sophisticated party-starter which even found its way to disco deity Ron Hardy. Back to the here and now, and if you've found yourself pumping an ecstatic fist to a supercharged Italian epic of late, chances are its from the mind of the mysterious Radiomarc. Operating on the ascendent Popcorn Groove imprint, this shadowy figure steers his country's lost classics into peaktime territories, finding a sweet spot between late Italo-disco, early Italo-house and contemporary cool. Pushing the tempo with a club-ready 4/4, setting the sequencer to stun and supplementing the original melodies with a series of synth riffs, the mystery producer send this one into orbit. Radio Band - Radio Rap - Radiomarc, the circle is complete.
Few have done more to develop cross-cultural musical exchange than Futuro Antico. A collaborative venture from musician, archeologist and ethnomusicologist Walter Maioli, keyboardist and tonal theoretician Riccardo Sinigaglia and multi-disciplinary artist and composer Gabin Dabiré, Futuro Antico formed in Milan in 1979, combining ancient international folkloric traditions with otherworldly electronics. The result is an arresting melange of Mediterranean, African and Asian instrumentation, mimicked by esoteric synth tones and hypnotic minimalism, which the group perfected on their acclaimed 1990 LP Dai Primitivi All'Elettronica. The meditative and transportive "Pan Tuning" belongs to their largely overlooked 2005 CD only release Intonazioni Archetipe, and has been amongst Manu's most loved tracks from the first moment he heard it. Who else is better placed to reshape this evocative opus into an immersive, transcendental dance floor journey than label favourites Mushrooms Project? The duo sows the original elements into a sprawling fifteen minute fusion of séance and science, at times propulsive with a ritualist rhythm of tuned percussion and crunching drum machine at others drifting off into ethereal ambience. Mushrooms Project continue to push the boundaries of the Afro-cosmic style, and this remix marks a new zenith.

Worthy 7" pressing of Georgia Anne Muldrow's future soul stunner 'Always' (previously only available on Sassy J's 'Patchwork' compilation). The B side features a bumping unreleased remix of L.A. jazz outfit Build An Ark from Club Diego (Diego Gaeta). Ltd Edition. Tip!

Leo Gibbon debuts his first solo release, as the first release on his own Mudline label with Happy Lovers, a four-track EP that immerses listeners in a sonically rich exploration of love’s complexities. Weaving a tapestry of sounds that seamlessly blends deep cuts, hard-hitting drums, and weighty low ends, creating an engaging landscape for both dancefloor enthusiasts and reflective souls alike.

From the opening track, you can feel the infectious rhythms that draw on a diverse range of influences. Glitchy house elements flirt with the raw essence of street soul, while nods to 140 UK rollers add an irresistible pulse. Each track unfolds like a chapter in a modern love story, capturing the tumult of falling in and out of love, all while maintaining a groove that keeps the crowd moving.

The EP’s production shines, showcasing a meticulous attention to detail. He masterfully balances emotional depth with dancefloor energy, making Happy Lovers not just a collection of tracks, but a coherent narrative that resonates on multiple levels. Whether you’re seeking introspection or an escape into sound, This Mudline debut offers the perfect backdrop.

In Happy Lovers, Leo Gibbon has established a strong foundation for his musical journey, inviting listeners to experience the highs and lows of love through an expertly crafted sonic lens. This is a compelling start for both the artist and his new label, one that promises exciting avenues to explore in the future.

Here at Mr Bongo we have been inundated with people asking us to reissue this release. Ana Frango Elétrico's petit cult classic masterpiece 'Little Electric Chicken Heart' from 2019, which was only ever released on vinyl and CD in Brazil and Japan, has fast become a collector's item.

Well received by fans, DJs, and reviewers on release, The Needle Drop expressed "Ana Frango Elétrico's authentically vintage fusion of chamber pop, rock, samba and jazz is a real blast!" listing it as one of its Top 50 Albums of 2019. The album's reputation has been slowly building ever since, gaining a Latin Grammy nomination in 2020, and now solidly cementing itself as a gem of contemporary Brazilian music.

Across the albums nine tracks, Ana blends elements and influences from MPB, Tropicália, indie rock, punk and pop, forging them together with a sumptuous dose of her signature style. The finesse of 'Saudade' kicks off the LP, one of Ana's most known tracks to a non-Brazilian audience. A sublime opener, beginning with a spellbinding piano solo before transcending into a beautiful dream-laden slice of warmth, complete with luscious jazzy horns and deft vocal delivery. ‘Promessa e previsões’ follows, the only track on the album not to be written by Ana, instead being penned by Chico França. It’s a swelling and sweeping twilight groover, building and breaking across absorbing peaks.

Other highlights on the album include the anthemic 'Chocolate', which was a firm favourite with a packed sing-along crowd when we heard Ana perform it live. Elsewhere, 'Se No Cinema' hits with its quirky allure, charm and catchy melodies before transforming into a carnival spirit.

Tapping into the richness of Brazil’s new wave of musical energy, the album also includes a heavyweight lineup of collaborations with artists such as Dora Morelenbaum (Bala Desejo), Tim Bernardes, Antonio Neves and Guilherme Lirio to name but a few.

A short, sweet and refreshing record, that leaves nothing to waste, marrying playful ideas with poignant themes. 'Little Electric Chicken Heart' is a future classic and will beguile fans of ‘70s Brazilian recordings, Gal Costa, Mac DeMarco, Stereolab, Superorganism, Caetano Veloso and more.

Matthew Dear's Black City Can't Be Found On Any Map. It's A Composite, An Imaginary Metropolis Peopled By Desperate Cases, Lovelorn Souls, And Amoral Motives. Like Most Literary Gothams, Black City Is A Place To Love And Hate, As Seedy As A Nightclub's Back Room And As Seductive As The Promise Of Power. Matthew Dear, The Musician, May Live In New York City, But The Matthew Dear Of Black City Inhabits A Sound-world Unlike Any Other: A Monument To The Shadowy Side Of Urban Life That Bumps And Creaks, Shudders And Wakes Up Screaming In The Middle Of The Night. Black City Is Matthew Dear's Third Album On Ghostly International, And It's His Darkest And Most Engrossing Work To Date.

From The rst Notes Of Album Opener "honey", It's Clear That The Love-obsessed Matthew Dear Of 2007's Asa Breed Has Given Way To A More Existentially Paranoid Entity, As Creeping Tempos Dominate, Cavernous Atmospherics Envelop The Listener, And Strange Distortions Crackle On The Horizon. In Black City, Nothing Is At It Seems: Leadoff Single "little People (black City)" Is A Nine-and-a-half Minute Disco odyssey, subverting its gleaming electronic lead with eerily giddy backing vocals and cryptic, ominous lyrics ("a frozen wasted heart / has died", "love me like a clown"); "You Put a Smell on Me" is a sordid sex romp set to hysterically chattering percussion and a serrated synth line that will set your teeth on edge; "More Surgery" at rst recalls the barely-there Krautrock of Harmonia in its burbling minimalism, until Dear's chanted chorus of "Alter genetics / to make my body glow / I need more surgery / there's so much more to know" sends the track hurtling into a dystopian future.

And yet, for all the foreboding moods on Black City, it's the album's sweeter moments that illustrate Matthew Dear's growing maturity as a songwriter. "Slowdance" is a futuristic lullaby in which Dear articulates a lover's helplessness ("I can't be the one to tell you everything's wrong") over breathy, Arthur Russell-esque cello swishes; the album-closing "Gem" is an achingly simple, reverb-drenched piano ballad that ends with a long, slow fade. Even in Matthew Dear's Black City, there is hope.

In the intricate maze of Tokyos neon heartbeat, Yuki Takasaki, known as Altone, creates a world where time and sound dissolves into dub techno. Altones work, steeped with an old-school sonic palette, is a symphony of resonating bass lines, rustic layers and delicate synths, crafting a port rait that connects the fleeting with the timeless. Altones music t ranscends mere sound, offering an invitation to explore the shadowy corridors of consciousness and minimal dub aesthetics. Each original track unfolds like a tranquil journey through an urban nocturne, haunting and beautiful in its harmony. Brendon Moeller, a master of dub techno, reimagines Altones >Self Replication< In two distinct yet sonic territories. The first remix pulses with a futuristic rhythm, its syncopated beats dancing on the edge of awareness. The dub remix, by cont rast, plunges into a vortex where liquid acid intertwines with hypnotic bass lines, conjuring a dreamscape infused with laser guided drums and crystalline texture. Through these remixes, Moeller crafts a sonic voyage that weaves through the complex tapestry of the dub landscape and keeps reminding us that the territory is still vastly unexplored.

Vinkepeezer’s third album is a meditation in sound, inspired by the merging of spirituality and conspiracy theories. Guided meditations, esoteric voices and a plethora of samples from the most paranoid corners of the internet are combined with organ sounds and electronic pop music.

Plunging his listeners in apparent chaos, Dutch artist Vinkepeezer (Ivo Bol) leads you through a wild and varied soundscape with many unexpected turns. Vinkepeezer reworks found sounds, old and new electronics, and excess sounds from vinyl records and tapes into a new musical future, that can be as soothing as it is funny, chaotic and devastating. Everything is a frequency includes guest appearances of Raphael Vanoli, Ties Mellema, Udo Moll, Tom Aldrich, Jayne Bordeaux and Esther Mugambi.

The 180 grams Green Vinyl ® LP is made in an energy efficient way from less toxic materials. Sounds just as amazing. Cover art is by Ben Giles.

E-bony returns to Distant Gaze with a full 6-track EP, diving deep into the unfiltered world of acid and Detroit, where roots meet modern.

This release delivers a range of moods and intensities through analog textures, heavy-hitting kicks, and gritty basslines that have become synonymous with E-bony’s distinct sound. As the EP unfolds, PRZ shifts gears into a futuristic electro soundscape, a glimpse into a sci-fi utopia. Clouzer wraps up the EP with a crushing rendition of ‘Let it Be’—a hard-hitting rave anthem.

This is a repress of a highly collectable record that was originally released on A Guy Called Gerald’s Juicebox label in 1993. Over the years it increased in value, making it a holy grail within the hardcore rave/early jungle collector’s market.

But luckily Vinyl Fanatiks were already working with the producers on another repress – to be precise the SDR & Subsonic release of ‘Ideology/Abstrax’ which came out last year on the label. Both records were recorded by the same producers in the same year, under two different artist names.

Digital Pressure was an alias they created for Gerald, whilst the bulk of their output came out on their own label Shoebox.

A limited repress of 350 units on 180g heavyweight vinyl. Mastered by Dapz at Compound Audio and cut onto vinyl by the legend Beau Thomas at Ten Eight Seven, who is very knowledgeable about this sound as he was in the early 90’s groups The Genesis Project/Intense.

Watch Dis Space as this will sell out!

Darone Sassounian’s debut album, ‘Synthetic Instincts’ is a full length journey that will allow you to be familiar with Darone Sassounian’s unique ability of sound sculpting. It’s an album that may seem pleasant on the surface, but becomes thought provoking and more revealing the longer you listen. Grounded on reality, the album takes from the world’s political landscape, loss of life and native land, and the trajectory humanity is walking towards. However, there is a sense of hope lingering, for the future may hold brighter days. Transcending borders and limitations, ‘Synthetic Instincts’ is Darone Sassounian’s deepest and most spirited milestone to date. Forward motion with a touch of history meant to move you, whether it is physically, mentally, or emotionally.

Ulrich Troyer has been producing music now solidly for over twenty years within a largely genre free framework, but whilst navigating forms such as avant-garde, techno, leftfield, field recording, electronica, glitch and ambient it is the aesthetics of dub that guide his creative direction. Not really recognisable in an orthodox form as remixed versions of roots reggae songs but in the way sonics are manipulated with space, the application and layering of delay, reverb and echo that fixes his output well within the scope of what might be called futurist dub.

The nearest comparisons to his new album TRANSIT TRIBE can only be established by a synthesis of some of the more adventurous explorations in modern music such as African Head Charge, Jon Hassell, Pole (Stefan Betke), Bill Laswell or even Miles Davis; featuring a diverse selection of artists and friends not only from Vienna and environs but also from around the world, sounds are not so much fused but allowed to float along the continuous flowing tide of warm waves of bass.

Rather than to allow the names of Ulrich Troyer's collaborators be merely listed in the album credits, what they bring to this joyful affair needs to be outlined, albeit briefly: Co-producer credits go to Osman Murat Ertel from Istanbul, who employed a variation on the old foolproof Nick Lowe method for checking out the impact quality of his own sound productions by playing tracks through his car sound system speakers!

Murat is a member of the electro-psych-folk group Baba Zula where he plays electric saz, oscillators and theremin and played a key part in the creative development of the album. Mamadou Diabate, the balafon master originally from Burkina Faso and now resident in Vienna, has developed his own unique technique of playing solos that replicate the sound of three instruments playing in unison; however the multi-talented Mamadou is engaged here on singing and playing the talking drum. From South Tyrol Reinhilde Gamper is a member of the experimental trio Greifer who are bringing the sound of the zither into the twenty-first century using new playing techniques and electronic gadgets. Susanna Gartmayer is an Austrian composer and bass clarinetist specialising in improv and multimedia sound research. Diggory Kenrick has been engaged with creating new dub fusions and also re-energising classic rocksteady and roots reggae classics, renowned for his interventions on flute. Didi Kern is an electronic dance musician and drummer from Vienna with a focus on free improvised music. Hamidou Koita, a singer and multi-instrumentalist, is from a traditional Griot family in Burkina Faso but now resident in Vienna and a regular musical partner of Mamadou Diabate playing drums and calabash. Austrian Lukas Lauermann is both a studio and live musician playing cello, also working on electronic sound design and writing string arrangements. He has recorded extensively and appeared on stage with both Mark Lanegan and Hans-Joachim Roedelius. Martin Mallaun is a Tyrol-born specialist in both the development of the zither in modern music and also as a researcher in the effects of climate change on the vegetation of Alpine ecosystems. After studying classical percussion Flip Philipp is now a jazz vibraphone player and member of the Vienna Symphony Orchestra. Wolfgang Pfistermüller is a member of the Vienna Trombone Quartet and the developer of the incredible bass-trombone Aurora with its uniquely warm and resonant sound. Roger Robinson is a renowned British poet, winner of many contemporary poetry prizes and member of the experimental music group King Midas Sound. Kwame Yeboah is a Ghanaian born UK based keyboard wizard who tours regularly with Yusuf / Cat Stevens, Ms. Dynamite and Pat Thomas.

So contained on the album is an astonishing mix of musicians and instruments: sounds of cowbells recorded in the South Tyrolean alps processed by modular synthesizers and heavy analogue bass synths combined with instruments such as zither, bass-zither, electro saz, flute, talking drum, trombone, cello, marimba, djembe, contra-alto clarinet, Farfisa - all bound together by organic live-drums and dub effects.

Laolu, the acclaimed Swiss-Nigerian producer and DJ, is set to release his highly anticipated EP titled Try, marking a pivotal moment as the first release under his newly launched record label, Siembra. Known for his transformative remixes and immersive club tracks, Try captures Laolu's signature blend of evocative beats and precise production. Leading the EP is the single ‘You Don’t See Me’, a collaboration with South African vocalist Nomvula, whose tender voice intertwines seamlessly with Laolu’s production. The track embodies the emotive, atmospheric qualities that have earned Laolu a loyal following worldwide while reflecting his desire to collaborate with one of the great voices of the vibrant South African music scene. The title track ‘Try’ features the distinct vocals of SeeMeNot, a standout artist from Defected Records additionally, the EP includes ‘Creature of the Night’, a track powered by one of house music’s most iconic voices, Starving Yet Full.

"Try EP marks an important milestone as the first release on my new label, Siembra. This record represents the latest evolution of my sound, a fusion that draws from both my European roots and West African heritage, seamlessly blending electronic and live music. It’s a sound crafted with both instinct and precision, embodying my deep love for dance music and a newfound passion for songwriting," Laolu explains. With these powerful collaborations and Siembra's commitment to artistic freedom, Laolu continues to elevate his creative journey. The EP sets the tone for Siembra’s future releases, offering fans a fresh, innovative blend of cultural influences in club music that moves both the heart and the dancefloor.

In the world of electronic dance music, Âme stand apart. Since 2003, the duo of Frank Wiedemann and Kristian Beyer have cut a singular path through techno, house, minimal, ambient and more with their anthemic singles and mixes. But 2018 reveals their finest achievement yet, their debut full-length album Dream House. It both sounds unmistakably like Âme and unlike anything you've ever heard from the duo, an evocative home listening journey enacted after 15 years spent crafting dancefloor weapons.

Spanish duo Los Suruba have done it all over the last 25 years, captivating dancers with their blend of House, Minimal, Electro, psychedelic, and deep vibes.

They have established their own network of record labels, with almost 250 releases, Nazca being the latest addition. They’ve also released music on labels like Crosstown Rebels, Diynamic, and Get Physical and have been remixed by international artists such as Solomun, Adriatique, Clarian, and Okain. They describe their music as "Memories of the Future," the motto of their brand Nazca.

As DJs, they’ve performed at the world’s best clubs and festivals, bringing their unique sound across the globe, holding residencies from Ibiza to London, and creating countless underground hits.

They are in top form once again with this latest journeying EP, where Los Suruba and their label Nazca return to vinyl releases, featuring two new remixers for this vinyl edition of the ‘+33 EP’.

Innovative opener 'Dial Banger' is a wonky house sound with wet claps and a gurgling bassline that gets ever more wild. It's a playful cut that teases and pleases in equal measure as the low-slung grooves, string stabs, and unhinged leads keep dancers locked.

'Elegancia La de Francia' is a more experimental house affair with eerie synth leads and freaky filtered vocals, making a dark and menacing atmosphere.
Warm melodies infuse the track with soul and make it perfect for the late-night hours.

First remixer Cristina Lazic launched her own label La Zic, earlier this year. It's a platform that looks to uplift and mentor exceptional female talents next to the Italian's own blend of minimal, deep and tech house sounds. Her fantastic take on 'Elegancia la de Francia' is stylish and stripped back with supple minimal drums and the muted synth sounds bubbling away over punchy kicks.

Romanian artist BRYZ has a refined minimal sound that has established him in the European scene over the last decade. He deals in intricate melodies, pulsating rhythms, and atmospheric textures on labels like Storytellers and Esente Records.

His version of 'Elegancia la de Francia' is silky and deft, with sustained pads locking you into a trance while gurgling bass and trippy melodic motifs add great detail to the rolling minimal house grooves.

Truth Manifest Records is proud and excited to release Beyond Jazz Volume 2, the second volume in this wonderful, futuristic four-part series!

This stellar vinyl release on Truth Manifest Records is from executive producer Malik Alston, with distribution from Mother Tongue. As we travel to the edge of our senses with Beyond Jazz Volume 2, it is immersed in poetry pulling on the heartstrings of urban reality. This is where live meets a hip-hop foundation, sped up and transformed into a dance jazz Afro-Cuban up-tempo banger, to tell the story of the groove. Put Volume 2 to a funky jazz lick phrase, reminding us that through the struggle, there is victory. Let your spirit shine as you feel the essence of boom bap jazz.

This powerful collection has special new remixes and edits based on Malik’s current radio show, Beyond Jazz

September 26th, 1994 - Jamiroquai released a song that still to this day sounds futuristic. Blending electronic, funk, jazz, soul & pop.

The record was then famously remixed by the legendary David Morales, taking the song to a whole new audience and anthem level… giving the band their first ever Billboard Dance #1.

The iconic music video was directed by Vaughan Arnell & Anthea Benton, and features Jay Kay dancing around a blue room with multiple versions of him and the other band members appearing and disappearing. The use of motion control photography allowed for a seemingly continuous shot as the camera pans around the room.

2024, Michael Gray delivers a modern club interpretation of the classic Jamiroquai anthem on his Sultra Records imprint.

Keeping the original funk, soul undertones of Jamiroquai, he takes us on a housey ride of funky disco rhythms laden with hi-pitched synths, a soul oozing chord melody and grooving drum pattern that sits relaxed allowing the emphasis on Jay Kay’s vocal and new worked bass line to do it’s thing. A lovely alternative to the dance floor classic we all know and love.

Written, Produced, and Mixed by: Antoine Eole (aka In da Woods) Vocals on Tracks A5, B1, B2 by: Alex Catrine Le Thomas de Selve Track B1 contains a sample of: “And Birds Are Still” by Takashi Yoshimatsu Mastered by: Stephan Mathieu at Schwebung Mastering Original Artwork by: Barbara Orsingher Layout by: Riccardo Piovesan Limited Edition of 100 copies transparent In da Woods is the sonic project of Paris and Berlin-based composer and sound designer Antoine Eole, formerly of the electro-rock band Bad Pilot. Known for his work across TV series, documentaries, theater productions, and major ad campaigns (MTV, Disney, Hermès), Antoine blends cinematic soundscapes with the raw edge of experi- mental and future garage music. With Nuit Blanche, Antoine explores atmospheric and bassdriven compositions, featuring the ethereal vocals of Alex Catrine Le
Thomas de Selve

Time Ghost Technologies - Ghost One - E-Control “Evasional Feelings” Mini Lp.

A Childhood Intelligence Project.

Our newest record label was born from the urge to represent electro music through our Childhood Intelligence Universe. “Time Ghost Teknologies” is an entity dedicated to timeless and futuristic electro—one of the genres with the deepest roots in the age of technology, which has established itself into the 21st century and beyond. Tales of sci-fi endeavors, forgotten technologies, UFOs and outer world civilizations, yokai and spirits — electro has united mysticism and magic as one of the ancient pillars in electronic history.

For its landmark 20th anniversary, Apnea Records proudly presents XX, a double 12" compilation that chronicles the label's journey from its inception to its current cutting-edge form. Featuring both original innovators and fresh talents from its recent relaunch, this release is a sonic time capsule and a forward-looking statement. Spanning from deep techno to Detroit-infused house, Jamal Moss's abstract house, electro, and E.R.P.'s signature machine funk, XX dives into the label's broad sonic spectrum. With contributions from Alex Under, Damian Schwartz, Jamal Moss, E.R.P., Dopplereffekt, Thomas Brinkmann, and Kyle Hall & Kero, this collection serves as both a reflection of Apnea's past and a bold vision for the future.

We are very happy to present our first vinyl release named The Sinergy between light and darkness.

We believe that when 2 forces as powerful as light and darkness merge, they create an omnipotent unit, giving birth to amazing creations, works of art like this release.

For this release, 4 tracks have been carefully selected that create a balance and synergy between light and darkness.



On side A we have Alquimic, curator of this project, with his track Reloaded, and Artesano Titer, a great Uruguayan artist who made us vibrate in the first edition of Cosmic Dance with his live set around the mountains of the Sacred Valley, and where he played for the first time this gem called Shake it.

Vibrant synthetic sequences, enveloping rhythms and bass lines and cozy melodies are manifested on this side.



On the other hand, on the B side we have Samuel Jabba, a great Colombian artist with countless incredible releases and a unique style with his track Schizoid, and Nicolás Longo, a great emerging Uruguayan artist who we had the pleasure of meeting and experiencing his music in the city of Cusco, with his track Secuencias en Capital.

On this side, dark and enveloping melodies, retro-futuristic atmospheres, vibrant rhythms and a lot of mystery are evident.

We’re teaming up with ELUCID and Fat Possum for a limited edition of 300 copies of a Rush Hour black ice coloured edition.

E L U C I D, one half of the illustrious duo Armand Hammer, is here with the full-length follow-up to 'I Told Bessie'. Further experiments in the sonic, expanding on the 'live' side of music paired with the embracing of chaos. Something you haven't heard, or not so for a very long time. E L U C I D is here to reveal the bleakness of reality.



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''There is never time in the future in which we will work out our salvation. The challenge is in the moment; the time is always now.''
James Baldwin

A raw, crackling urgency runs through rapper-producer ELUCID’s new album REVELATOR like an underground power line. There is no space here for sepia-toned reminiscences or indulgent self-mythologizing. Intellectual rabbit holes have been filled in with concrete and rebar ; there is nowhere to hide and no off ramp from the audio Autobahn that ELUCID has fashioned—a renegade Robert Moses with gold fronts, bulldozing the homes of the powerful and the complicit. REVELATOR brims with the energy of now, with a refusal to look away. Carpe diem in a murder one mask.

Born in Jamaica, Queens, ELUCID has been on the cutting edge of New York’s underground scene since the mid-2000s. From the beginning, he has defied both convention and expectation. He ran with Okayplayer darlings Tanya Morgan, but his own music eschewed their throwback charm for glitchy noise experiments and bass-swamped culture jamming. His 2016 debut studio project Save Yourself (re-released in a deluxe edition last year) announced him in earnest. But in recent years, his Armand Hammer releases with partner-in-crime billy woods have received significant attention and acclaim. Serving as a followup to his last solo album—2022’s comparatively balmy I Told Bessie—ELUCID hoped to “re-distinguish” himself with REVELATOR, setting himself apart amidst the increasing attention around the music he and his friends are making together.

For ELUCID, this meant setting bold new challenges for himself. One of these was diving further into live instrumentation than ever before—”getting my Quincy Jones on,” as he puts it. The testing ground for this approach was Armand Hammer’s most recent project, 2023’s We Buy Diabetic Test Strips’ Möbius strip soundscapes, warmed with instrumental flourishes and skin-shedding beat progressions. With REVELATOR, though, ELUCID strove to create an atmosphere of chaos, embracing experimental electronics and atonal sample bursts. He worked on much of the album with co-producer Jon Nellen, who comes from a background in avant-garde and Indian classical music. “I wanted to get as freaky as I could at this moment. I wanted people to hear things, maybe for the first time, or in a way they haven’t for a long while,” the rapper explains.

ELUCID arrived at the studio with a collection of noise sources: non-referential samples, glitches and noises. Together he, Nellen, and others created forms out of them and, as ELUCID recalls, “just started playing drums with it.” Their fried, distorted sound was directly inspired by Miles Davis at his most uncompromising—specifically, the tone-clustering funk track “Rated X” from his 1974 double LP Get Up With It. At times, the pairing of rap with avant-fusion sounds also brings Emergency! from The Tony Williams Lifetime to mind, perhaps in an alternate timeline where the late drummer was listening to Ice Cube’s AmeriKKKa’s Most Wanted.

“The World is Dog,” REVELATOR’s lead single, functions as the album’s aesthetic thesis statement. Like the Davis track, the textures are punishing, the tonality is in free-fall, and the driving breakbeat of a groove cuts in and out unceremoniously. Avant-jazz bassist Luke Stewart, who appears throughout the record, holds the whole thing together just long enough for ELUCID to tightwalk over the beat. This tension is exactly where REVELATOR sets itself apart; in a time of drumless loops, and safe soul samples, this is a high-wire act with no safety net. Similarly, the song announces the themes of the album within just a few phrases, evoking the way societies accept and adjust to new levels of debasement and brutality while suffocating under the weight of history: “Can’t clock the kill, all a mystery/Forced past will eating everyone eventually/The world is dog.”

Many of the songs on REVELATOR grapple obliquely with dissolution and disenfranchisement in America and across the world—the grim realities of our domestic sociopolitical climate and our involvement in foreign conflicts. “Much of my artistic and political sensibility comes from the Black arts movement here in New York,” ELUCID explains. “Recognizing the interconnected global struggles against oppression, artists and thinkers created works and actions in solidarity with freedom movements in South Africa and Palestine.” ELUCID cites intellectuals like Amiri Baraka, Kwame Nkrumah, Audre Lorde, Sonia Sanchez, and Nikki Giovanni among his heroes. (One track on the album is specifically inspired by Lorde’s work, “SKP,” citing the scholar’s paper “Uses of the Erotic: The Erotic As Power.”) Songs like REVELATOR’s insistent closer “ZIGZAGZIG,” find ELUCID applying up-to-the-minute messaging, making explicit reference to the conflict in Gaza: “Feed a war machine…from river to sea, in lieu of peace.”

Despite ELUCID’s preference for cacophonous system overload here, the rapper also provides moments of respite. Recorded at The Alchemist’s Los Angeles studio, the laid-back, wheezing “INSTANT TRANSFER” is a collaboration with billy woods, which crystallizes their shared sense of creative determination. “With much momentum behind us and even more on the horizon, I knew a purpose, and that every step was ordered to that purpose,” ELUCID said of the experience. Meanwhile, the jittery “HUSHPUPPIES” is a playful anomaly on the track list, providing a snapshot of ELUCID watching his grandparents in the kitchen while preparing for Friday night fish fry dinners.

“Love still rules over on this side,” ELUCID says. ”I’m raising a family. We are making meaning and finding joy in the midst of all the fucked up-ness of everything around us because the alternative is cowardice and slow death. We remain rooted. We celebrate our people and our wins. Struggle is necessary.”

“IKEBANA” is one of ELUCID’s strongest statements of purpose on the record, blending the record’s heaviest themes with its most hopeful sentiments. supported by a shoutalong refrain and an urgent prog-funk groove. Breaking away from images of dissolution and crumbling societal systems that populate REVELATOR, ELUCID notes that the only way to navigate life’s bleakest landscapes is to cling to love and believe in those around you—to look forward toward something better that may or may not be possible. For the rapper, one of the album’s most trenchant lines comes during a centerpiece of a beat drop: “Being alive/I must look up.”

“The lyric ‘being alive I must look up’ is important especially in the context of this album. Much of the album imagery is harsh and reflects the actual doom some of us experience. But still I/we exist,” ELUCID explains.

Every artist is, in one way or another, the product of their time, bound by life’s leaden gravity to operate within the space of that which is already known. But there are some who are able to shake free of these ties, to shape the culture as it unfolds, to make the present their own.
Revelation, as a concept, points to the scales falling from people’s eyes—something that has been hiding in plain sight becoming clear. “The revelator relates to things that have been talked about, things that have been forecasted,” ELUCID adds. “And now they’re really here, and everyone sees it. And there’s no escaping.” REVELATOR plays out with the unmitigated power of those storms, laying waste to any genre conventions in pursuit of a certain physicality. Here, ELUCID develops a wholly distinctive musical language to explore our fractured modernity.

REVELATOR's packaging was designed by longtime Armand Hammer / Backwoodz art director, Alexander Richter.

After two collaborative releases on raum…musik — first with Federico Molinari and then Giuliano Lomonte — Alexis Cabrera steps into the spotlight for the 118th release of the label. "Dreaming Of A Silver Future" is a club-ready 3-track EP exploring various shades of Tech House, solidifying his talent for crafting fresh dancefloor groovers brimming with swag.

The title track, 'Dreaming Of A Silver Future' (A1), is the most colourful offer of the EP — a relentless groover immersed in organ chords, synth stabs, addicting vocal samples and a fully pumpin' bassline. 'Your Name On My Arm' (B1) puts its wicked bass and hypnotic vocal samples at the centre of the stage, creating an atmosphere of frantic, slightly wicked vibes drenched in hip-hop swagger. 'Do You Wanna Wonder' (B2) closes the EP in full swing, forefronting yet again its ominous-yet-hypnotic bassline between bouncy drums, shuffly rhythms and quirky vocal samples reminiscent of some sort of hypermodern pop.

"Dreaming Of A Silver Future" continues Cabrera's reputation for delivering groove-heavy music for the hottest dancefloors, showcasing his ability to navigate, with style, the infinite nuances of the Tech House spectrum, all while keeping things undeniably club-focused. And raum…musik, known for its refined curation of underground top-shelf dancefloor records, is the perfect home for this release.

Michael Mayer albums don’t come round too often, which is one of many reasons why his fourth collection, The Floor Is Lava, is a genuine event. It’s been eight years since his last one, the collaborative & released on !K7; its predecessors, Mantasy (2012) and Touch (2004), took their sweet time, too. It’s no real surprise, given the many hats Mayer wears – globetrotting DJ, revered remixer, inveterate collaborator, and boss of both Kompakt and Imara – that his solo productions are relatively sparing. But this also speaks to their quality: Mayer’s name on a record sleeve is a sign of quality, of music that’s both looking to the future and calling back to the past, that balances the imperatives of the dancefloor and the loungeroom, that’s as exploratory as it is functional.

On The Floor Is Lava, Mayer seems to be taking the temperature of both the music that surrounds him (past and present), and the ides of the industry he works within. There’s that iconic album title, for a start. “The album’s mindset,” he says, reflecting on those four words together. For Mayer, it’s partly a critique of the way the industry boxes in both producer and listener, focuses them on genre, on market, on the next new thing: “Being a free minded spirit that transcends genres has become an uphill battle.” A battle worth fighting, though, and with The Floor Is Lava, the result is an album that’s varied, quixotic, idiosyncratic, charming, and deeply, addictively listenable.

Throughout, Mayer finds thrills in exploration and juxtaposition, allowing unexpected things to blossom and giving them their life, their platform, throwing the listener exciting curveballs: “It’s a DJ album by a DJ that’s easily bored.” Either easily bored, or endlessly curious, The Floor Is Lava is rich with ideas. It opens with “The Problem”, which looks back to look forward, embracing the rickety way early house productions threw samples together with gleeful abandon. Mayer mentions Pal Joey, and the scene around Rockers Hi-Fi and their Different Drummer imprint, as reference points, and you can hear that freewheeling spirit throughout.

It’s followed by “Vagus”, a slinky, sensual minimal house number that Mayer describes as his “musical catnip”. The flow of these two opening cuts defines the dynamic of The Floor Is Lava, defining the dialectical drive at its core: thesis and antithesis leads to synthesis, but with a welcome prickliness that means you’re always excited, always engaged. It’s also productive in the way it derives energy from rubbing genres and sounds against each other, in unexpected ways, for maximum musical frisson. There’s psychedelic techno on “Feuerstuhl”, more minimal techno with “Ardor” (Mayer mentions ‘Immer 1’ era 90s minimal as inspiration), slippery, Shepard-tone breakbeat through “Sycophant”, a lovely, lush vocal turn on the poppy “The Solution”.

The album closes with the melancholy “Süßer Schlaf”, where Mayer sets a poem by Goethe to one of his most haunted, moving pieces of music yet, in abstract tribute to a lost friend. It’s one of the most affecting moments on The Floor Is Lava. There’s also an update on 2020’s wild Brainwave Technology EP, with the surrealist glitter-stomp of “Brainwave 2.0” (check out those handclaps!),where Mayer’s thinking about the socio-political precipice of the now: “I’m reading with great interest about this whole complex of how humanity is about to cross so many lines and the implications that the resulting financial and educational inequality will bring.”

That’s The Floor Is Lava: then and now, brainwaves and nerve structures, problems and solutions, genres on fire; the real, the unreal, and the surreal. An album for the easily bored and the endlessly curious. Mayer has the last word, telling us all you need to know about the album’s spirit: “Burning for the cause, being zealous, being addicted to the heat of the night, the exuberant powers of music.”

Michael Mayer veröffentlicht nicht oft Alben, was einer von vielen Gründen ist, warum ‘The Floor Is Lava’ ein echtes Ereignis ist. Es sind acht Jahre vergangen seit seinem letzten Werk, dem Kollaborationsalbum &, das auf !K7 erschien; seine Vorgänger, Mantasy (2012) und Touch (2004), ließen ebenfalls auf sich warten. Es überrascht nicht wirklich, da Mayer viele Rollen gleichzeitig erfüllt – weltreisender DJ, vielbeschäftigter Remixer, unermüdlicher Kollaborateur und Chef von sowohl Kompakt als auch Imara – weshalb seine Solo-Produktionen eher sparsam ausfallen. Doch das spricht auch für deren Qualität: Ein Album mit Mayers Namen auf dem Cover steht für Qualität, für Musik, die sowohl in die Zukunft blickt als auch auf die Vergangenheit verweist, die das Gleichgewicht zwischen den Anforderungen des Dancefloors und des Wohnzimmers hält, die genauso erforschend wie funktional ist.

Auf The Floor Is Lava scheint Mayer sowohl die Musik um ihn herum (vergangen und gegenwärtig) als auch die Strömungen der Branche, in der er arbeitet, zu reflektieren. Da wäre zunächst der ikonische Albumtitel. „Die Grundhaltung des Albums“, sagt er, drückt sich in diesen vier Worte aus. Für Mayer ist es teilweise eine Kritik daran, wie die Industrie sowohl Produzenten als auch Hörer in Schubladen steckt, sie auf Genres, auf den Markt und auf das nächste große Ding fokussiert: „Ein freier Geist zu sein, der Genres überschreitet, ist zu einem steinigen Weg geworden.“ Ein Kampf, der sich jedoch lohnt, und mit The Floor Is Lava ist das Ergebnis ein Album, das vielfältig, eigenwillig, charmant und tiefsinnig, aber auch süchtig machend ist.

Im gesamten Album findet Mayer Freude an der Erforschung und Gegenüberstellung von Stilen, lässt unerwartete Dinge erblühen und gibt ihnen Raum, überrascht den Hörer mit spannenden Wendungen: „Es ist ein DJ-Album von einem DJ, der sich schnell langweilt.“ Entweder langweilt er sich schnell oder er ist unendlich neugierig – The Floor Is Lava ist reich an Ideen. Es beginnt mit „The Problem“, das in die Vergangenheit blickt, um nach vorne zu schauen, und die wilde Art, wie frühe House-Produktionen Samples mit fröhlicher Unbekümmertheit zusammenwarfen, aufgreift. Mayer nennt Pal Joey und die Szene um Rockers Hi-Fi und ihr Label Different Drummer als Referenzpunkte, und dieser freie Geist zieht sich durch das gesamte Album.

Es folgt „Vagus“, eine sinnliche Minimal-House-Nummer, die Mayer als seine „musikalische Katzenminze“ beschreibt. Der Fluss dieser beiden Eröffnungstracks definiert die Dynamik von The Floor Is Lava und den dialektischen Antrieb im Kern: These und Antithese führen zu einer Synthese, jedoch mit einer willkommenen Schärfe, die dafür sorgt, dass man immer aufgeregt und engagiert bleibt. Zudem gewinnt das Album Energie, indem es Genres und Klänge auf unerwartete Weise aneinanderreibt, um maximalen musikalischen Nervenkitzel zu erzeugen. Es gibt psychedelischen Techno in „Feuerstuhl“, mehr Minimal Techno mit „Ardor“ (Mayer erwähnt ‘Immer’ Ära Minimal als Bezugspunkt), gleitenden Shepard-Ton-Breakbeat in „Sycophant“ und einen lieblichen, üppigen Vocal-Auftritt im poppigen „The Solution“.

Das Album schließt mit dem melancholischen „Süßer Schlaf“, in dem Mayer ein Gedicht von Goethe vertont und eine seiner bisher eindringlichsten und bewegendsten musikalischen Kompositionen schafft, als abstrakten Tribut an eine verschiedene Freundin. Es ist einer der ergreifendsten Momente auf The Floor Is Lava. Ebenfalls gibt es ein Update der wilden Brainwave Technology-EP von 2020, mit dem surrealistischen Glitzer-Stampfer „Brainwave 2.0“ (hör dir diese Handclaps an!), in dem Mayer über den sozio-politischen Abgrund der Gegenwart nachdenkt: „Ich lese mit großem Interesse über diesen ganzen Komplex, wie die Menschheit dabei ist, so viele Grenzen zu überschreiten und welche Auswirkungen die daraus resultierende finanzielle und bildungstechnische Ungleichheit haben wird.“

Das ist The Floor Is Lava: Damals und heute, Gehirnwellen und Nervengeflechte, Probleme und Lösungen, brennende Genres; das Reale, das Unreale und das Surreale. Ein Album für die schnell Gelangweilten und die unendlich Neugierigen. Mayer hat das letzte Wort und sagt uns alles, was wir über den Geist des Albums wissen müssen: „Brennen für die Sache, leidenschaftlich sein, süchtig nach der Hitze der Nacht, den überschwänglichen Kräften der Musik.“

Following his debut on Planet E Communications last year to release Art-O-Fact, New Jersey-born and-based house music legend Junior Sanchez now teams up with longtime friend, label boss and techno icon Carl Craig for a brand new Remix EP. “Art-O-Fact (Detroit Remix)” injects the futuristic sound of Carl’s hometown, the EP also includes a ‘Beatless’ mix and a ‘Bass’ mix, which split the new Detroit Mix directly in half, with one focused on melody and the other on rhythm.

Sanchez initially brought “Art-O-Fact” to Planet E with Detroit in mind. “I loved so many records by Carl Craig, Derrick May, Kevin Saunderson, and Juan Atkins,” he says. “I let my inspiration guide me, and I thought about that city—what it meant to me and what techno meant to my heart.” To fully connect the dots, Carl Craig has hopped on the remix, reinforcing the eclectic synth work with a heavy new groove, a gritty bass line, and subtle, shadowy synth melodies. The result is a fortified connection between two scenes and eras that sonically toes the line.

dBridge - "So here we have it: the final plate of the Exit 100 series. I’ve been immensely proud of this project, and I believe this release is a fitting way to conclude it. We’ve curated a collection full of great music from artists I love, and I’m pleased that we’ve created a project that represents Exit’s future rather than its past."

Reissue of Future Sound of Melbourne's iconic "Melodia" EP. Originally released in 1992 as a maxi two song record, and now added two extra bonus tracks, this timeless collection of tracks, meticulously remastered by Damian Schwartz, promises to ignite dancefloors festivities with its infectious blend of techno, rave house, and breakbeat piano anthems. Bursting with retro-futuristic energy, each track transports listeners to the golden era of electronic music while retaining an undeniable contemporary allure.

Formed in 1990 by bass and drum producer Davide Carbone, bass guitarist and vocalist Josh Abrahams, and acid house DJ Steve Robbins, Future Sound of Melbourne crafted a sonic legacy that continues to resonate with audiences worldwide.

The EP kicks off with "Alien," a high-octane journey through techno's upbeat 90s soundscapes, setting the stage for an exhilarating sonic adventure. "Heaven" follows suit, delivering a euphoric rave house anthem guaranteed to lift spirits with its infectious energy. Next up is "Melodia," a breakbeat piano banger that harkens back to the glory days of underground raves, its infectious rhythms and haunting melodies captivating listeners from start to finish. Rounding out the EP is "Melodia 95," a reimagined version that offers a fresh perspective on the timeless classic, showcasing FSOM's versatility and innovative spirit.