Buscar:lo fi

For the 33rd release of the Acid Avengers series, we invited two projects made by four veterans of the french electronic scene. Fondzyo, a new duo composed of John Lord Fonda and Kazyo (half of Teenage Bad Girl), is delivering here its first release. Nomenklatur, the pair formed by the founders of Elektrofon, is already known for bomb releases on Module, Space Factory and their own imprint. On this new split EP, both projects offer a 303 journey made with mental groove, deep rythms and of course some pure acid techno. 5 tracks designed for the floor that are gonna kick your ass !

Following the lush listening LP outing by KAMM, the EG team is back in fine floorrocking form, this time with both label operatives on the dials as Rodney joins Dave Aju for his debut co-production. And what a debut it is: Highly-potent, raw, swinging house music of the highest order, complete with knocking 909 kicks, thick slapping snares, and a hypnotic melodic call-and-response tonal section that keeps things properly lifted and moving throughout. The vox evoke label boss Aju’s earlier catalog work, and he’s in particularly pointed mode here, spitting fire spoken word lines calling out various questionable corners of the dance music scene and humanity on the whole. A bold light-shining display during notably dark times, defending the once-sacred underground dance space against runaway trends of ego-driven capitalism, online image over actual skill sets, and the beyond low-ball barrier of entry into the arena. But by the time the soulful chorus lines hit and rise us up and onward toward the blissful musical finish, it is clear that this is in fact a unifying floor anthem and that indeed despite our differences amidst disheartening global chaos, at least “We Still Dancin". As always with the seasoned DJ-focussed three-piece Elbow Grease EP offerings, here we have the full A-side OG Vocal Mix cut at a crispy and tight 45rpm, a deliciously stripped and leveled-up EG Dub Mix on the B1, and finally the uplifting B2 Vibe Mix which doubles-down as half ambient instrumental builder and essential acapellacapella

Four years ago Andermay released their last album 'El Viaje Inesperado'. We missed the talent of Nemowave and the magical voice of May. It's been way too long but the wait is finally over! The new vinyl of Andermay is an EP including two great tracks.
On A side, El Olvido, a very personal but also catchy new track with an Electro Potato Remix more dancefloor oriented.
The opening track for the album 'El Viaje Inesperado', 1989, was originally intended to be an album instrumental intro but we thought it deserved to be a track itself. So, B side is the whole version of 1989, including a brand new Vocal.

Available on Splatterd red/black vinyl and on black vinil.

Visionary producer and one half of pioneering electronic duo The Chemical Brothers, Tom Rowlands returns to Phantasy with ‘We Are Nothing / All Night’, the first solo dancefloor material since his last appearance on Erol Alkan’s storied London label in 2013 with ‘Through Me / Nothing But Pleasure’.

Once again, Rowlands delivers a double A-side single in order to commit two progressive new productions to wax. Heavily road-tested across the world in Chemical Brothers DJ sets, the sprawling arrangement of ‘We Are Nothing’ trips through a decades-long obsession and subversion of house music and psychedelia alike. Imaginatively sampling Canadian outsider artist Bill Bissett, Rowlands uses the poet’s existential phrasing as the foundation for a rising slalom of acid catharsis, peppered with snatches of soul, analogue freakouts, and all-encompassing groove.

‘All Night’, meanwhile, finds a different, perhaps unexpected rhythm. Here, Rowlands’ unmatched studio instincts deviate in a different direction entirely, employing a searing tempo to embrace the analogue experimentation at the heart of his work, as well as an appreciation for electronic music’s willingness to barrel ever-forward; the result is a worthy head spinner from both label and artist alike.

Tom Rowlands will play a rare solo DJ set at Glastonbury's Stonebridge Bar on Friday 27th June, as part of Bugged Out's 30th Anniversary celebrations.

The Finnish nu school jungle label is back with an amazing Blade Runner sampling sci-fi jungle belter with three distinct remixes. Wasteman’s original version alternates between mystical storytelling and heavyweight amen salvos. Park Shadow’s dark cyborg vibed remix would make Metalheadz
proud, while Tim Reaper serves some absolutely smashing amens alongside a commanding bassline. Label curator ODJ Pirkka takes things to yet another direction with a long atmospheric jungle tune that builds on the original’s vibey Goemon loop, adding bunch of new instruments into the mix.

Solid Snake Series is the new VA line showcasing the next generation of cutting-edge electronic music, combining dancefloor functionality with multifarious layered sonic exploration. It debuts the collaboration of label boss Phase Fatale with Falling Ethics owner P.E.A.R.L., as well as fellow KHIDI resident Yanamaste, with a rare outing. Label mainstay Unhuman brings his sound directly into the techno realm alongside Nørbak and the first track together by Ne/Re/A and Clarisa Kimskii from New York City.

Double 12inch, four sides, twelve direct and powerful techno cuts giving away Decka's impactful style. Every side starts with a locked groove.

Charlotte de Witte releases single ‘The Heads that Know’ feat. Comma Dee, out October 2nd on KNTXT. It’s the final LP single to keep excitement building before her self-titled debut album ‘Charlotte de Witte’ drops on November 7th.

The single release marks the start of her 2nd-5th October London city takeover. Following the insane success of her NYC takeover, she plays 5 shows in 4 days in London, including The Shard, fabric, The Cause, Magazine + one TBA. This mix of intimate cultural spaces and large uncompromising venues celebrates de Witte’s love of the city and its rave scene over her 10+ year career.

‘I'm very excited to launch this single in London’ Charlotte says. ‘The city has played a massive role in my growth as an artist and I’ve had many memorable shows there, from the smaller and more intimate venues like Village Underground to Tobacco Dock, Printworks and Drumsheds and many summer festivals. The London crowd is special. I'm looking forward to playing different sets in different settings in your wonderful city to celebrate the launch of the third single of my upcoming album. This will be one for the books.’

The new single, the third release from the LP, is already a set highlight for de Witte, going back to May’s pop-up secret set on the Williamsburg Bridge. It features Welsh producer/DJ Comma Dee, D&B, Hip Hop, Rap, & Grime exponent. Says Charlotte, ‘it’s a poetic dispatch from the shadows. It's for the ones who move with quiet power. This track is a tribute to the underground. It's for the ones who move with certainty. It's for the heads that know.’

‘The Heads that Know’ feat. Comma Dee: Fast, rattling techno spiced with spacey sine wave sounds and an acid dose in the breakdown, supports a hypnotic high synth theme and Comma Dee’s rhyming rap double quatrain through a crescendo/diminuendo swoop.

London based label Natural Selection present their forthcoming release in the form of a 4-track 12" EP, courtesy of Swarm Intelligence, entitled "Radiance". Mastered by Alain Paul and cut by Simon at The Exchange Vinyl. Record Sleeve and labels printed to premium specification, featuring artwork by Kaan Ulgener.

Born in Dublin and now firmly based in Berlin, Simon Hayes aka Swarm Intelligence has cemented his place in the Techno underground with critically acclaimed LPs and EPs on labels such as 47, Instruments of Discipline and Voitax. He returns to Natural Selection, after releasing his track "Generative" on the label's latest VA release; "Natural Selection: Selected Works Vol. 1" in 2024. Featuring amongst an extensive list of heavyweight label affiliates such as SHXCXCHCXSH, Charlton, ASEC, Nørbak, MAEDON, Annie Hall & more. After further connections with the label via live performances at their regular label nights at FOLD London, it was inevitable that Simon would be invited to release a solo EP on their imprint.

His distinctive sound comes from over a decade of releases spanning multiple genres and tempos and oscillates between rhythmic noise, tense atmospherics, uncompromising levels of distortion, and stark, astute beats. This resolutely non-conformist approach to his productions has earned him a reputation as a true trailblazer in the realm of Techno and has led him to perform at some of the world's finest institutions including Berghain, Tresor and Basement NY.

For "Radiance", Swarm intelligence delves further into the sonic unknown, presenting a bold evolution in his uncompromising vision of Techno. Deep, fragmented textures form the backdrop for thunderous, distorted rhythms and IDM-laden drums and percussion, fused with meticulously designed cinematic soundscapes and powerful low-end muscle. Fierce, unrelenting, and deeply conceptual, all rules and boundaries are smashed to pieces and all tracks are equally suitable for blasting through the world's biggest club systems and rigs as they are for home listening.

Since his earliest days, Ben Frost has been fascinated by the cinematic qualities of the guitar. His output to this point has hinted at this, but with »Steel Wound« he makes a bold statement of intent.

Finding his way to a deserted stretch of Johanna Beach along the Great Ocean Road (Victoria, Australia) in early 2003 Frost set up a remote studio at a derelict cabin overlooking the icy waters of Bass Strait. With a constant wind flowing off the sea his only companion, Frost started work on a series of improvisations that would eventually become »Steel Wound«. A few months go by and Frost has made his way back to civilization. He begins editing the masses of treated guitar from the Johanna Beach improvisations and before long a theme takes hold - one that very much reflects the isolation of the environment where the tracks were created.

Each of the pieces on »Steel Wound« is a epic journey, coloured with a deep sense of filmic narrative and suggested dialogues. The textural quality of the works, laced with field recordings and lost vocal fragments, sketches out the emotional soundscapes Frost had unwittingly gathered during his time at Johanna Beach. Each piece is a splintered fragment in time – a forgotten memory beautifully rediscovered in a moment of introspection.

‘BORN LIKE THIS.’ is MF DOOM’s last solo album. Featuring Ghostface Killah, Raekwon and seminal American poet and writer Charles Bukowski with beats from J Dilla, Madlib and ol’ Metal Fingers himself. “I’ve been a fan of Bukowski for a while. It was a friend of mine – damn, I forget the n*gga name – from Life Sucks Die, it’s a graffiti magazine but it’s real kinda edgy, out of Minneapolis. They did an interview with me and then me and Andrew Broder was friends ever since then. He said, ‘Your shit reminds me of this dude Bukowski, you gotta read his stuff.’ I was a little apprehensive at first, ‘cos I was like, ‘What kinda weird shit is this?’ Then he gave me a book, The Most Beautiful Woman In Town, and after that I just got into it. “So for this album, to celebrate all us writers, emcees, if you look at it, it’s a lot of words that we say, and we all write those words: if it was written down on a piece of paper it could be a short story or like a good book. So I saw where Andrew was coming from where he sees the similarities. In tribute to Bukowski I said let me get him as a guest appear ance…” DOOM as quoted in HHC. “Whatever caused DOOM to scale back his output and go off the grid, he’s only come back from it sharper, stronger, and more powerful than before.” Pitchfork “DOOM still has the sickest vocabulary, broadest frame of reference, and densest, most quotable rhymes in hip-hop… he has created an album of sublimely half-assed super-genius.” Onion AV Club

Manchester-based Aiden Francis is at the forefront of the current prog house sound. His new EP cements that position with four more immersive club cuts doused in melody and subtle euphoria as well as hints of old school rave. 'Circuit Kween' is a punch one to start the harks back to classic Sasha & Digweed, 'Kompackt' hits its stride with an urgent low end and snappy finger clicks, 'Twizted' has a warped baseline and dark energy and 'Hex Klub' shuts down with more zoned out and trance infused feels with plenty of colour.

On his sixth studio release Roulette, the prolific producer, songwriter, pianist and MC Alfa Mist has created his own sci-fi universe - a vast dystopia where themes of revenge, forgiveness and redemption loom large.

Alfa Mist’s albums have always tackled big themes. This time, however, he explores an imagined near-future in which reincarnation is discovered to be a potent tool linking dreams and past lives. But with this discovery comes consequences: ethical, moral and philosophical. “If reincarnation is real, how does that shape society?” he explains. “If reincarnation means accumulation of knowledge, would you share it and enable everyone to understand more about the world? Or do you struggle for power? And do some people want to stop others from remembering who they were?”

Over 15 tracks, Alfa explores these ideas with heady potency. Each song is a spin of the wheel – a different song and character. The musician’s signature is still there – lambent keys, intuitive groove, free-flowing jazz improvisation – but Roulette is imbued with a smoky psychedelia. An immersive listen, this album is designed “to feel” on every level, says Alfa. It also contains some of his most impressive arrangements yet - see the eight-minute title track that effortlessly flips through time signatures – “because life’s like that,” says Mist; it’s not always linear.

Roulette underlines Alfa Mist as one of the most forward-thinking composers in UK music, with poignant, plaintive melodies that lodge deep in your psyche. “I’m exploring different parts of myself,” he says. “But obviously, as I grow, all of those parts change. Music is a constant; it’s my state of mind that I constantly chisel and work on and make sure that’s always growing and staying interested in new things. As long as I do that, it’ll come out in the music.”

On his sixth studio release Roulette, the prolific producer, songwriter, pianist and MC Alfa Mist has created his own sci-fi universe - a vast dystopia where themes of revenge, forgiveness and redemption loom large.

Alfa Mist’s albums have always tackled big themes. This time, however, he explores an imagined near-future in which reincarnation is discovered to be a potent tool linking dreams and past lives. But with this discovery comes consequences: ethical, moral and philosophical. “If reincarnation is real, how does that shape society?” he explains. “If reincarnation means accumulation of knowledge, would you share it and enable everyone to understand more about the world? Or do you struggle for power? And do some people want to stop others from remembering who they were?”

Over 15 tracks, Alfa explores these ideas with heady potency. Each song is a spin of the wheel – a different song and character. The musician’s signature is still there – lambent keys, intuitive groove, free-flowing jazz improvisation – but Roulette is imbued with a smoky psychedelia. An immersive listen, this album is designed “to feel” on every level, says Alfa. It also contains some of his most impressive arrangements yet - see the eight-minute title track that effortlessly flips through time signatures – “because life’s like that,” says Mist; it’s not always linear.

Roulette underlines Alfa Mist as one of the most forward-thinking composers in UK music, with poignant, plaintive melodies that lodge deep in your psyche. “I’m exploring different parts of myself,” he says. “But obviously, as I grow, all of those parts change. Music is a constant; it’s my state of mind that I constantly chisel and work on and make sure that’s always growing and staying interested in new things. As long as I do that, it’ll come out in the music.”

Troubadours is a tentacular collective oscillating around Laura Lippie, Kim Khan and Dr Winzo.

“Everything Is Being Recorded All The Time” is the result of three years of sonic explorations in Lyon, Abbecourt, Berlin and Den Pasar, carving hours long studio jams into deep, narcotic mutated funkiness.

Traditional instruments and high-tech ones are invoked to confront beauty and misery : the system is contemplated through dilated pupils. We’re beyond happy to welcome you on board for the journey : whether you find it nerve-racking or soul-soothing is no longer our responsibility. Expect the unexpected…

Mastered by Miles Whittaker

Artwork By Clara Cimelli

Design by Local Service and Arthur Naulot

Ixona ist das zweite Album des Chicagoer Komponisten Conor Mackey unter seinem Pseudonym Lynyn. Lynyns meisterhafte instrumentale Elektronikkompositionen, die hauptsächlich mit Hardware erstellt wurden, greifen auf eine Vielzahl von Einflüssen zurück, darunter Drum and Bass, Dub-Techno und Acid, und tauchen den Hörer in eine Umgebung ein, die sowohl weitläufig als auch überraschend intim ist. Während komplexe Breakbeats durch körnige Texturen und pointillistische Schwärme huschen, entsteht dieser Ort, der kein Ort ist, und erstrahlt. Als klassisch ausgebildeter Musiker und Komponist hat Mackey mit einer Vielzahl von Partnern zusammengearbeitet, von Symphonieorchestern bis hin zu Popsängern. Er spielt Gitarre in der Avantgarde-Jazzband Monobody und hat mit seinen Labelkollegen NNAMDI und Warm Human von Sooper Records Platten produziert. Tagsüber schreibt er funktionale Musik, die von neurowissenschaftlichen Prinzipien geprägt ist, für eine spezielle Streaming-Plattform. Mit seinem Projekt Lynyn taucht Mackey tief in die glitzernden Details fein gearbeiteter Maschinenmusik ein: wie sich Cluster künstlicher Fragmente zu lebendigen Bewegungen zusammenfügen können. Mackeys Arbeit ist geprägt von den dichten, treibenden Feinheiten von IDM-Künstlern wie Aphex Twin und Squarepusher, deren Einfluss auf Lynyns Debütalbum lexicon (Sooper Records) aus dem Jahr 2022 deutlich zu hören ist. In den Jahren nach der Veröffentlichung von ,Lexicon" vertiefte sich Mackey in den Minimal-Dub-Techno der Jahrtausendwende von Künstlern wie Pole, Basic Channel und Deepchord. Das Album ,Loop-Finding-Jazz-Records" von Jan Jelinek hatte besonderen Einfluss auf Lynyns nächste Schritte. ,Es ist ein Album, bei dem man sich richtig in die Couch sinken lassen kann. Es ist extrem weitläufig, aber es fühlt sich sehr nah an - sehr eindringlich, aber gleichzeitig beruhigend", sagt er. ,Es gibt diese kleinen Vinyl-Klicks und -Knackser, und die Percussion besteht aus Mikro-Sounds, und dann gibt es diese Ebenen von Pads und Loops im Hintergrund. Auf Ixona habe ich versucht, diese Komponenten in den Stil zu integrieren, an dem ich seit Jahren arbeite."

Nigerian-born, London-based singer, songwriter, musician and producer Steven Bamidele presents his keenly anticipated sophomore album, 'THE CRASH!' – a sonically rich exploration of purpose, doubt and personal reckoning. Written against the backdrop of an ever-changing world, the album combines soul, rock, jazz, acoustic and electronic textures, along with daydream-esque storytelling for a thought-provoking journey in pursuit of something real in an age of hyper-curation and superficiality.
At its core, 'THE CRASH!' is a soulful meditation on the weight we place on relationships, the fundamental cost of growth, and the search for direction in an imperfect world. It's a deeply personal project, shaped by Steven's own journey through faith, disillusionment and self-discovery. Raised in a strictly Christian household, Steven's first crisis of belief came at 17, when he began questioning the very foundations of existence. As his faith unravelled, music became his new guiding force – a source of direction, discipline and identity. But as he turned 30, disillusionment crept in once again. The stark realities of the music industry, coupled with global uncertainty, reignited that same despondent weight he had battled in his youth.
"It was an intoxicating feeling when I was younger and had no responsibilities, to foolishly believe I was the first person in history who'd worked something out that no one else had. It gave me this twisted sense of power and was a big creative motivator. Where I'm at now, nihilism is debilitating, boring and unhelpful. I've worked to find a way to channel those feelings into this project. I'm really proud of it."– Steven Bamidele

Having established a reputation as one of the most versatile and respected producers in the game - with over a decade at the forefront of UK bass music, spanning UKG, grime, bassline and drum & bass, Flava D needs no introduction. Now, with her debut drum & bass album Here & Now, she levels up once again, channelling years of dancefloor know-how into a project that's as weighty as it is emotionally dialled-in.

A self-proclaimed fan of Hospital Records from the age of 14 - the first drum & bass CD she ever bought being 'Hospital Mix Vol. 1' - Here & Now marks a particularly paramount milestone for the Bournemouth-born beatmaker. Across 15 tracks, Here & Now captures the breadth of Flava D's musicality, offering a bass-charged, genre-spanning statement that's rooted in experience but tuned into the present moment. With a star-studded bank of collaborators, including MPH, Anais, Unglued, SOLAH and more, the album highlights Flava D's curatorial ear and the strength of her network across the scene.

At its core, Here & Now is a meditation on presence - a fresh, fearless chapter from one of the UK's most consistently innovative producers. The album is equal parts masterful and functional, giving fans what they came for while revealing new layers of Flava D's ever-evolving sound. Through its stacked line-up of collaborators, Here & Now also connects voices who are helping shape the future of dance music, from the underground up.

After an initial European release in 1976 on the Isadora label Age Of Earth was re-issued on Virgin Records in Summer 1977 and fast became a beacon for electronic music and what was becoming known as ambient - Some cite its very title as helping introduce 'new age' music - This re-issue faithfully replicates the original 1977 Virgin Records release and is pressed on 180g heavyweight vinyl.
Guitarist and synthesiser player Manuel Göttsching formed Ashra after disbanding Ash Ra Tempel, the outfit he had led since 1971. Moving away from the space rock of his previous group, Ashra was a far more electronics-based project. Recorded in Berlin, between March and June 1976, the four pieces on the album represent the very best of what became known as Kosmiche: dreamily repetitive, glancing to the stars while keeping feet firmly on the ground.

New Age Of Earth is a record full of contrasts: the throbbing, techno-predicting Sunrain opens the album; with its waves and crickets sound effects, Ocean Of Tenderness pulses gently like a space-age early Fleetwood Mac; Deep Distance brings elements of surf music into glacial electronica. At 21 minutes long, Nightdust occupies all of the album's second side, a ruminative, slowly unfolding piece that, after its crescendo, gives way to Göttsching's impressively celestial electric guitar solo.

Shining lights in London’s queer electronic underground, prolific duo FAFF make their debut on Phantasy with the ‘A Few Good Days’ EP, featuring three tracks reverberating the smudged euphoria of the capital’s rave scene, both past and present. Drawing equally on peak-time club catharsis and the emotive experimentation of golden-era IDM and electro, these recordings meld the pair’s diverse DJ sets and ambient live work, which has captivated festivals including Draimollen, Field Maneuvers, and Body Movements.

The title track, ‘A Few Good Days, ’ melds hypnotic percussion, snatches of vocal euphoria, and a stuttering break for instant post-rave afterglow. Its wandering but compelling arrangement subtly invokes and updates the pioneering aesthetic of One Dove, Sabres of Paradise, or even William Orbit. The tempo tilts skywards for ‘Tracy’s Night Out’, a peak-time display of FAFF’s studio prowess that fuses choral techno drama with a shamelessly bouncing bassline designed to tear up any respectable sound system. Emerging from the sweat and strobes for a wide-eyed stroll home, ‘Tracy’s Daydream’ wishes away the EP with delicate, textural delight, floating gently on pure analogue reverie.