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A sublime techno reissue from the vaults of one of London's leading electronic labels of the last 25 years, remastered and re-presented for 2022!

Originally released in 1994 on Mr.C's cult UK house and techno label Plink-Plonk and composed and performed by Laggy Panteli and Zeno Messis (aka Megalon) in their London studio, 'Pandora's Box' is a truly unique record. Sleek, futuristic, fathoms deep and wholly original, the music contained on these 2 discs sounds as modern and as vital as it did on it's arrival all of those years ago.

Exploring a deeper vein of electronic music, Megalon craft their own sonic landscapes that are undoubtedly inspired by all forms of cerebral electronic music. Ambient, Detroit techno, electro, European electronics and of course the duo's experiences in London's early acid house and rave scene all filter through their lens to bring something brand new to the table. The arrangement, sound design and mix on the album is outstanding, lending a totally visionary and modern feel to the tracks that continues to echo today.

'Pandora's Box' is a record that has existed within the shadows for many years, with a hardcore cult following. The kind of record that one might hear deep into the early hours, at the hands of a seasoned selector or an 'insider' who has the knowledge. It is redolent of a time when innovation, ideas and imagination trumped the run of the mill and the homogenous, which goes a long way in explaining what makes this record so exciting some 25+ years later.

A totally essential mid 90's UK techno and electronic classic, as much a treat for the mind as for the body.

Reissued in full conjunction with the artists and remastered by Curvepusher from DAT and original source materials. Redesigned by Atelier Superplus and distributed worldwide by Above Board distribution, 2022.

Lee Gamble completes his ‘Flush Real Pharynx 2019-2021’ album cycle with ‘A Million Pieces Of You’, the third EP of a triptych written in a time when the subjective experience of overload came to a halt, giving way to an overbearing sense of loss, burnout and a desperate need for hope. These seven tracks feel more reflective, more human than the two preceeding EPs; the serpentine dopplers and seductive supercar engines of ‘In A Paraventral Scale’, and imploding motion sculptures of ‘Exhaust’. A deepfake of Lee’s voice appears from the chaotic slow-mo crash of ‘Balloon Lossy’, timidly telling of “garbled… good news”. The uncanny spectre of deep fakes, AI and deep learning models give way to the melancholic loneliness of the solo piano in ‘Empty Middle Seat’. Then glimmering, golden pads on ‘Hyperpassive’ slowly crawl into the hopeful, bright arpeggiations of ‘Balloon Copy’. ‘A Million Pieces Of You’ is a ride through a part-synthetic, part-modelled, part-imitation, part-taught, part-human, part1hopeful, part-reflective and paradoxically affirmative space – an involuntarily fitting finale to an album originally conceived in a world different to the one we now inhabit.

Romantic proto-acid written and composed by a young Ukrainian student Maxim Shubski in 2010 on a cold winter day in East Germany and subsequently released later same year as a limited run of 100 vinyl copies under “Andreuccio Torelli” moniker. This release was accompanied by a fake story about the lost & found master tapes by an unknown Italian producer from the 80’s. The story is still available as a PDF on the label’s website. Since the original vinyl stampers are long lost, Baran Records has made a new limited 7″ vinyl reissue featuring artwork by Pavel Golubovski from the “Elektroherd” band and careful mastering by Dunkeltier aka DJ Sneaker from Dresden/Berlin at Tail Out Mastering studio.

It’s incredibly easy to get a remix wrong — as the back catalogues of far too many major labels, whose slapdash commissioning of the latest hot remixer half-guarantees an unsympathetic mangling of the song, can attest. At their best, remixes can make you look at an artist as though positioned from a different angle or using a different camera; sometimes hearing a song in a different context gives it a completely new meaning. “So you take a piece of a vocal…blah” says master remixer David Morales. “That’s a remix? That represents the artist? That doesn’t represent the artist, it represents you.” In the hands of the insensitive a remix is like chucking a song into the washing machine for a 100 extra spins.

In the hands of a master, things are a little more complex. Heavenly was all but founded on the art of the remix; our departed friend Andrew Weatherall remixed the first ever release, and the label has built up an immense catalogue in the intervening years that demonstrates all that is good about the art form.

Assembled on this compilation are twelve sterling examples of the remix, from Hanspeter Lindstrøm’s reading of Doves’ ‘Jetstream’, which turns their glistening pop into Lieutenant Pigeon meets Italo-disco (in a good way), to Andy Votel’s gentle folk-funk version of Halo Maud’s délicieuse ‘Des Bras’. We delve deep into the vaults for Saint Etienne’s ‘Filthy’, Monkey Mafia turning it into a rump-shaking groove perfectly suited to Q-Tee’s rap, while more recently, Flying Mojito Bros, purveyors of Tex-Mex house groove, reimagine Katy J. Pearson as a lonesome Lone Star lover.

Though not purposely themed, beyond being judiciously chosen as the catalogue’s finest gems, there’s a tiny hint of psychedelia about this set that is hard to ignore. Firstly, there are the acid contributions from Gabe Gurnsey, who knows his way around a coruscating bassline, and from Graham Massey, whose impeccable credentials in 808 State are brought to bear on ‘Valleys’, by young turks Working Men’s Club (acid house being modern psychedelia, whether the rock press approves or not).

Jono Ma, meanwhile, flips Night Beats’ amazing ‘Sunday Mourning’ into ‘Warm Leatherette’ on benzos, creating a disorienting glimpse of a dystopian Sunday that most definitely doesn’t include a genteel read of the papers and a nice cup of tea. On the other side of the miasma is Beyond The Wizard’s Sleeve’s redemptive re-interpretation of M. Craft’s ‘Chemical Trails’, which, alongside Boy Azooga’s ‘Face Behind Her Cigarette’ (Mikey Young remix), Gwenno’s ‘Chwlydro’ (R. Seiliog remix) and and Katy J. Pearson’s ‘Take Back The Radio’ (Flying Mojito Bros Refrito Dub), is issued on vinyl for the very first time.


This dozen tracks — each one curated, remixed and delivered with love (and a teensy bit of impertinence) — is just a glimpse into the catalogue of one the UK’s finest indie labels.

In the alternative reality in which I’d prefer to exist, this what Top of the Pops might sound like; or, at the very least, the jukebox in the Korova Milk Bar. Pop disruption at its best.

Peggy Gou's Gudu Records proudly presents 'Jack's Jive' - a long overdue re-release of a legendary lost South African record from 1987. Out of print for years and never available digitally, 'Jack's Jive' is the stuff of legend: a bold, bright synthesizer-led cut that has been demanding Discogs prices upwards of £150 and both referenced and ripped off by contemporary artists since. Re-mastered for 2021 and cut to vinyl for the first time in decades, it's backed with two remixes by DMX Krew.

This archival release on Organic Analogue digs back into the prolific ‘90s period of Swedish techno maverick Jean-Louis Huhta, aka Dungeon Acid. These days he releases on iDEAL, Fit Sound, Börft and Klasse Wrecks, but he cut his techno teeth on labels like Hybrid, Svek and H. Productions. Clad in artwork details by Swedish graffiti legend Nug, Wormhole Of Time comprises unreleased cuts and long out-of-print jams spanning many of Huhta’s aliases. The release also comes with a zine featuring photographs and an interview reflecting on Huhta’s multifarious life in music.

Rare and highly sought after in its original format, Os Brazoes self-titled album was originally released on RGE Discos in 1969. It is a psychedelic masterpiece that fuses samba, r'n'b and rock 'n' roll influences using fuzz guitars, synths, percussion, lush vocals and effects.

Os Brazoes formed in Rio de Janeiro in the late 1960's. They backed Gal Costa during her Tropicalia period, yet apparently never recorded in the studio with her. Miguel de Deus, the bands front man, recorded the highly sought after 'Black Soul Brothers' LP in 1977, which became an important record in the 'Black Rio' movement. Mr Bongo released the title track from that LP, on the 'Brazilian Beats: Brooklyn' compilation in 2006 and recently as part of their Brazil 45's re-issue series.

'Os Brazoes' features covers of Gilberto Gil's 'Pega a Voga, Cabeludo' and Jorge Ben and Toquinho's 'Carolina, Carol Bela'


The Mr Bongo LP reissue is manufactured in Japan, presented in a super high quality card sleeve with replica original artwork. The CD is presented in a 4-page digi-pack.

Superb EP bringing in 3 fresh artists... A banging Acid Techno tune followed by an Hard Drum & Bass killer for a change : that's a bloody tune !
On the flip you'll get a long acid mental tune, here cutted in two parts for you to have a nice oversee on this liveset style tune.
Sweet and original again. A record that have something to say !

BIG UP !

Tough Love have partnered with West Coast imprint Mt St Mtn for the release of Free Advice, the instant slowcore/dreampop classic by San Fran four piece, Cindy. The full album is available to stream/download now, while a highly limited transparent vinyl pressing will be released on 20th November. Limited to just 250 copies, this pressing follows the long sold-out edition of 100 released earlier in the year and which was previously only available in the US. Free Advice offers a somber-yet-uplifting take on sobered dream pop. Imagine if Galaxie 500’s On Fire didn’t have a guitar solo or if The Trinity Session was stripped of its folk & blues roots; it’s just pure mood. Like sitting in a half-empty movie theater that’s playing Alphaville or Wild Strawberries and watching patron’s heads briefly illuminated from the screen; Free Advice (and all of the Cindy output) transfers you to these momentary worlds. Cindy is Karina Gill on guitar/vocals, Aaron Diko on synth/keys, Simon Phillips on Drums/Percussion, and Jesse Jackson on Bass/Keys + Simon and Jesse on backing vocals. The songs on Free Advice are these moments in mood: Phillips & Jackson’s rhythms create the foundation, while Diko’s keys rise and fall. Gill’s guitar rattles, vocals brood, and lyrics create these narratives that depict observers, not necessarily wronged rather, cautious and investigative of the world around them

Mammoth WVH is the debut, self-titled album of Mammoth WVH – the band created by Wolfgang Van Halen. This collection includes the chart topping and now Grammy nominated "Distance” as well as “Don’t Back Down,” “Epiphany,” “Mammoth” and more.

This stunning debut is one of hands down one of our highlights of the year and is still available on a lovely Black Ice Transluscent vinyl.

Wolf began to embrace his voice, inspired by everyone from his father, to bands like AC/DC, Foo Fighters, Nine Inch Nails, TOOL, and Jimmy Eat World. In addition to writing and singing every song on the self-title debut album, remarkably Wolfgang plays every instrument.

Mammoth WVH will be touring Europe extensively in 2022 supporting Scorpions in Germany and headlining shows in Paris, London or Zurich.

Scottish DJ Ewan McVicar is tipped for big things, having found support in the likes of Annie Mac and Fatboy Slim. After a stellar year crowned with a release on the hallowed Nervous Records, he makes his debut on Shall Not Fade's "Basement Tracks" series with five explosive earworms.

Amnocairn EP collects the most classic sounds from the dancefloor and melts them together, styles blending throughout songs to keep listeners on their toes and dancing. The title track is a sweeping marriage of insistent house piano and washy dub techno synths, leading into the sugary, hardcore "1001 Freestyle" that calls back to early Lone tracks. Then one for the after hours crew, "Ha Mez", a syncopated 303 techno roller.

McVicar keeps the party atmosphere close across the B-side, flexing laser-cut synth arps with a dark, big-room edge on "Stu Boy", before crowning the EP with a gorgeous sun soaked party number "See U Thru My Eyes", jazzy inflected house with a 90s aesthetic. This EP has something for everyone, bringing together eclectic influences into a smooth festival-ready record.

The third release on U-TRAX in 1993 was also a third debut, this time by Natasja Hagemeier and Jeroen Brandjes. Early in their career, they used several artist names, but became most commonly known as The Connection Machine. With their debut mini-album The Dream Tec Album they more or less described their style: dreamy techno. It became an instant Dutch techno classic and U-TRAX is proud and delighted to offer a fully remastered re-release, including three never before released bonus tracks (one of which is digital-only).

Natasja and Jeroen resided in Utrecht back in the 90s. In 1991 they assembled all their ideas and recorded the track "24 Hours" with DJ Paradize. Soon after this experience, they started to buy their own gear, all strictly MIDI (which wasn't too obvious in those days). In their early recording years, they had three producer-names (Syndrome, The Connection Machine and Bitch&Bites), that were all collected under the The Utroid Machine Missions umbrella, which was used for their debut on U-TRAX.

All tracks on The Dream Tec Album are The Connection Machine's earliest works, from the 1991/1992 years.

"An Overflow of the Mind" is a beautiful, dreamy track with almost divine sounds and strange voice-samples that serves perfectly as an introduction to their entire repertoire.

Their first production was "24 Hours", and what a brilliant one it is! A well-known jazz-musician talks about a "24 hour party going on", on top of a sinister and trancey rug, woven of sampled sounds from pioneers in electronic music and nailed down to the floor with a deep pounding bassdrum. At the time they made this track, 141 bpm was unbelievably fast...

"Evilish Cosmos" is all about a very sad and personal emotion, so everything we say about it will be absolutely wrong. Just listen to the meandering piano line, distorted voice samples - and feel it.

The first bonus track on this release is "Recognized Pain", which was intended to be part of the original The Dream Tec Album. It had appeared on the Phuture Classical Section C cassette in 1993, on the famous Drome Tapes label that formed the roots of U-TRAX. It truly is an amazing track: pure sonic terror with haunting rhythms, psychedelic synth lines and shards of voice samples that make the listener feel slightly uncomfortable.

"X_Manray" is many electronic music lover's favorite track. It is sooo deep that it is hard not to get hypnotized by it. Warm strings are coupled with deep beats that show up and disappear every now and then. Could serve perfectly to start off any DJ's set, as long as she or he has the guts.

Though "Braindrain" is probably the most danceable track on this album, it is carefully designed to tease the listener. Everything in this track drops in too late and every tone, melody or loop last exactly a few bars too long. Designed as a DJ-teaser and so it is.

The second bonus track, "Cafe d'Anvers", is another previously unreleased work, of which unfortunately no master recording was saved. All that is left, as far as we know, was an old VHS Hifi tape from the U-TRAX Archives. And that is where this bonus track was taken from. Mastering engineer Thee J Johanz managed to restore the quality of the recording somewhat, while at the same time maintaining its dark, clubby sound, a tribute to the famous club of the track's name in Antwerp, Belgium.

"Dream Affected Dream" is one of the most recent productions on this album. It was recorded with CNN playing live on top of it. At this exact moment, CNN was having an interview with David Koresh, the leader of the infamous Branch Davidians sect from Waco, Texas, while they were under siege by an armed police force. Natasja and Jeroen were just ready to record Dream Affected Dream, and spontaneously decided to mix in the audio from CNN. Not very long after that, the cult members set fire to themselves. A very strange and oddly funky track, that also serves as a time-document.

The final track is another bonus track. Like Cafe d'Anvers, "Voight-Kampff" is taken from on old U-TRAX VHS Hifi tape and masterfully mastered into a lovely relaxed dreamtech piece. Very suitable to start the Sunday after a long night of clubbing. This track is available for free to buyers of the complete digital album only.

Original release date: July 1993.

Utrecht label U-Trax welcomes 90s legend P.A. Presents for an enhanced re-release of his first two releases on this label, namely "Salicylic Acid" and "Flight Simulator".

Ironically P.A. Presents aka Peter Aarsman is the only artist on U-TRAX that actually is born and bred in the city of Utrecht. Even more irony lies in the fact that he hasn't lived in the city for 25 years and has only recently returned home. He was an early player in the hip hop and boogie scenes and long before house landed in Europe he was playing disco and Italo which helped establish him as a truly vital DJ talent. The two reissue EPs presented here marked his production debut back in 1993, both of which are hugely sought after and pricey techno records on second hand markets. In 2019 he returned to the music scene with two new EPs on U-Trax in the the form of Swirling Gas and Sax Madness and new releases are planned for 2020.

The release kicks off with 'Mesopmorph', an effervescent, nostalgic cut with a deeply buried techno rhythm that eventually takes over in tribal style. 'Pop' is a brilliantly tense and dense track wired up with fizzing synths, chattering claps and haunting effects as well as pending drums, then 'Theme' is cosmic industrial, with powerful hits and metallic sounds married to searching laser synths.

'Vera S' is classic 90s techno with mad vocal sounds and frantic synth lines darting about the mix, then things grow deeper and more heady on the stripped back intergalactic journey that is 'Flight Simulator.' The timelessness continues on the dancing analogue drums and hi hats of the classic Detroit styled 'Experiental' and 'A Gasp' before 'Vexillum' brings more warm solar winds and molten techno grooves whist 'Long Metal' closes out with pounding kicks, skewed synths and real sense of space travel.

These are essential early techno tracks that sound as fresh and relevant now as ever and come with remastering and restoration from Thee J Johanz.

Pressed on 2x12" 180 grams grey marbled vinyl.

Out Of Print On Vinyl For A Decade And A Half Mobb Deep’s “Free Agents” Hits For RSD Black Friday In A Never Seen, Never To Be Repeated Colored Vinyl Pressing. 5000 pressed worldwide. First released in 2003 on CD and LP. Out of print on vinyl since the mid-2000s. Mobb Deep redefined East Coast hip hop in the early 90s with their release “Juvenile Hell” and the break-out follow up “The Infamous.” As the group moved into the 2000s and parted ways with their long-time label, Loud, they released “Free Agents” as a celebration of their moving on to … well, free agent status. With Havoc handling production on all but 3 cuts and only two guest appearances (one being from long-time Queensbridge associate Big Noyd) “Free Agents” is uncut, undiluted Mobb Deep all the way through. The reaction from fans was solid catapulting the record to peak at number 21 on the Top 200 with a top 5 position on the R&B/Hip Hop charts. Out of print for well over a decade, this chapter in Mobb Deep’s legacy is back in effect for RSD Black Friday

Argentine producer Pedro Canale returns from a three-year sojourn with his long awaited third album. Originally coming out of Buenos Aires's famed digital cumbia scene, Chancha has notoriously broken way outside those boundaries to forge unprecedented mergers between Brazilian rhythms, Paraguayan harp, Andean mysticism and the solitude of Argentinian folklore - all processed through his own futuristic style of postdubstep.

Chancha's sound is without question truly unique and instantly recognizable to the point he has become a key reference point for an entire crop of artists that have begun to carry his genes.

Hailed by the Washington Post, the New York Times, Pitchfork, NPR and countless others, Chancha Via Circuito defies even the shrewdest of marketing geniuses. On one hand, he is something of a cult artist within micro-circles of electronic music, having been invited to perform at Montreal's MUTEK as well as the Roskilde and Vive Latino Festivals. At the same time, Chancha's music has found broad appeal outside of the avant-garde, most notably his magnificent remix of Jose Larralde's "Quimey Neuquen" which was heavily featured in 2013 as part of the final season of the critically acclaimed television series Breaking Bad. Fans of the show undoubtedly remember Walter White burying his millions in the desert, soundtracked by the wide and gentle grooves of Chancha Via Circuito.

Amansara is a natural progressing of Chancha's special strain of electronic South America. Lead single "Coplita" features the haunting vocals of previous collaborator Miram Garcia, while "Sueno En Paraguay" merges Andean folklore sounds with bleeps and blips and pounding drums in a way that sounds completely natural and ordained. "Jardines" features the driving vocals of Lido Pimienta merging with heavy synths, percussion and bells into an unforgettable track, while both "Tarocchi" and "Guajaca" ramp things up into deep, electronic dancefloor inna rainforest territory.

Art for Amansara comes from Argentinian psychedelic folklore painter Paula Duro who has crafted the look of all of Chancha's previous releases.

Cementing his reputation as the star toaster with the small but popular El Paso sound system, based in the Waltham Park area, Dennis Alcapone was one of the first deejays to rise to prominence following U Roy’s breakthrough in the late 1960s. Born Dennis Smith in the rural district of Culloden, he became immersed in sound system culture after settling in western Kingston. Once El Paso became big on the sound system circuit, dental technician- turned-producer Keith Hudson brought him into the studio for his debut recordings, which led to a debut album for Studio One and hit material for Duke Reid, some cut in concert with his deejay sparring partner, Lizzy. Alcapone’s longstanding links with Bunny Lee yielded the excellent Guns Don’t Argue album, first issued in 1972, on which the toaster raps with style over some of Lee’s all-time greatest rhythms, including Delroy Wilson’s Better Must Come, John Holt’s Left With A Broken Heart and Slim Smith’s rendition of the Temptations’ soul classic Ain’t Too Proud To Beg.

Legendary Utrecht DJ and producer P.A. Presents (Peter Aarsman) returns with his first new release since 2000 with this vintage techno stunner, Swirling Gas. This EP also marks the first new music on U-TRAX in more than 21 years, kicking the label s comeback into a higher gear.
Peter ironically is the only artist on U-TRAX that actually is born and bred in the city of Utrecht. Even more irony lies in the fact that he hasn t lived in the city (or stadsie in Utregs, the local dialect) for the past 25 years.
Peter knew he wanted to be a DJ since he was ten years old, in a time when this was still a very unusual career to dream about. Long before house music had landed in Europe, Peter was fiddling around with disco and italo 12 -es and all those years of training is what made him the superior DJ that he still is today. In terms of skills, flair, energy and feel for the dance floor, there are probably not a lot of DJs that can rival with Peter.
While the era of house of techno of the late 80s and the 90s brought him countless DJ gigs, his reputation didn t cross the city borders much, until he bought his first gear and started producing techno music himself. Again, his DJ background proved helpful with producing his tracks, as most of his tracks are dancefloor orientated and usually have an impeccable timing.
Peter debuted with the mini-album Salicylic Acid on U-TRAX in 1993, followed by the Flight Stimulator EP a year later. Both are classics today, but neither brought him as much fame as his 12 Entangled did on Deviate, a record label that was started by a couple of our friends from Utrecht a year prior to U-TRAX. Entangled made it to many charts and compilation albums, including Carl Craig s mix CD as part of !K7 s DJ-Kicks series.
Besides two releases on U-TRAX and three 12 -es on Deviate, Peter recorded a full length album for the latter label. Unfortunately, before the album ever saw the light of day, Deviate closed their doors and the tracks remained on the shelves for the next 17 or so years. These tracks still sound surprisingly fresh and original today and we are super excited to be able to release some of them on this Swirling Gas EP!
The title track Swirling Gas obviously gets its name from the documentary sample that the track kicks off with. The almost heartbeat-like electro rhythms, layered choruses and dreamy synths will give you goose bumps all the way to the soles of your feet.
Raw is quite another thing, but way more complicated and sophisticated than the title suggests. An in-your-face electro bass drum pattern supports layer after layer of additional rhythms, some even touching on salsa, and then big fat layers of pulsating synths take you away into deep space. A unique track that will instantly reward the DJ that has the guts to play it for her/his audience.
Drum Magic on the flipside is exactly that: a magic techno trip built around complicated syncopated drum rhythms, which should serve the adventurous DJ well as a foundation for mixing all sorts of weird stuff on top of. We can t wait to see videos appear with creative mixing ideas.
Final track Freaky is opening with some heavy pounding, yet jumpy beats before it opens up into a bit of a space trip around the 3 minute mark. Though the track has a touch of the Basic Channel sound, its echoing synth tones are very distinct and will light up any venue, no matter how big.
All tracks have been revamped and edited into more current lengths by DJ Zero One, blessed by DJ White Delight and mastered by Thee J Johanz. Label art by Bonk Artwork.

Legendary Utrecht DJ and producer P.A. Presents (Peter Aarsman) returns with his first new release since 2000 with this vintage techno stunner, Swirling Gas. This EP also marks the first new music on U-TRAX in more than 21 years, kicking the label s comeback into a higher gear.
Peter ironically is the only artist on U-TRAX that actually is born and bred in the city of Utrecht. Even more irony lies in the fact that he hasn t lived in the city (or stadsie in Utregs, the local dialect) for the past 25 years.
Peter knew he wanted to be a DJ since he was ten years old, in a time when this was still a very unusual career to dream about. Long before house music had landed in Europe, Peter was fiddling around with disco and italo 12 -es and all those years of training is what made him the superior DJ that he still is today. In terms of skills, flair, energy and feel for the dance floor, there are probably not a lot of DJs that can rival with Peter.
While the era of house of techno of the late 80s and the 90s brought him countless DJ gigs, his reputation didn t cross the city borders much, until he bought his first gear and started producing techno music himself. Again, his DJ background proved helpful with producing his tracks, as most of his tracks are dancefloor orientated and usually have an impeccable timing.
Peter debuted with the mini-album Salicylic Acid on U-TRAX in 1993, followed by the Flight Stimulator EP a year later. Both are classics today, but neither brought him as much fame as his 12 Entangled did on Deviate, a record label that was started by a couple of our friends from Utrecht a year prior to U-TRAX. Entangled made it to many charts and compilation albums, including Carl Craig s mix CD as part of !K7 s DJ-Kicks series.
Besides two releases on U-TRAX and three 12 -es on Deviate, Peter recorded a full length album for the latter label. Unfortunately, before the album ever saw the light of day, Deviate closed their doors and the tracks remained on the shelves for the next 17 or so years. These tracks still sound surprisingly fresh and original today and we are super excited to be able to release some of them on this Swirling Gas EP!
The title track Swirling Gas obviously gets its name from the documentary sample that the track kicks off with. The almost heartbeat-like electro rhythms, layered choruses and dreamy synths will give you goose bumps all the way to the soles of your feet.
Raw is quite another thing, but way more complicated and sophisticated than the title suggests. An in-your-face electro bass drum pattern supports layer after layer of additional rhythms, some even touching on salsa, and then big fat layers of pulsating synths take you away into deep space. A unique track that will instantly reward the DJ that has the guts to play it for her/his audience.
Drum Magic on the flipside is exactly that: a magic techno trip built around complicated syncopated drum rhythms, which should serve the adventurous DJ well as a foundation for mixing all sorts of weird stuff on top of. We can t wait to see videos appear with creative mixing ideas.
Final track Freaky is opening with some heavy pounding, yet jumpy beats before it opens up into a bit of a space trip around the 3 minute mark. Though the track has a touch of the Basic Channel sound, its echoing synth tones are very distinct and will light up any venue, no matter how big.
All tracks have been revamped and edited into more current lengths by DJ Zero One, blessed by DJ White Delight and mastered by Thee J Johanz. Label art by Bonk Artwork.

"(…) Pak Yan Lau, one of the most original pianists of the new European creative scene, has the ability to build complex formal architectures starting from minimal materials – insistent rhythms, barely hinted melodies, electronic effects as evocative as they are mysterious. Darin Gray uses his long experience as the backbone of many improvisational groups with a painstaking work on timbre and a deep and multiform sound, providing a solid support to extemporary creations that have the solidity of pondered compositions. The music of the duo develops on wide structural strings, elegantly combining the continuous surprise of free improvisation with the material suggestions of electroacoustic experimentation, in a game of references and narrative developments almost cinematic, which tell a fascinating sound world, strangely familiar yet constantly new and surprising."
(Nicola Negri, Centro d’Arte Padova, Italy)

London based label Right Angle Records returns for its second instalment, this time with its own Regan at the helm.

The A-side see's two super funky garage numbers in kickback, with a stellar remix from the French maestros Oden & Fatzo.

B1 sees a more atmospheric breaky number in The Big Beat Manifesto. B2 sees Leeds favourite Midge Thompson, adding a little more party to Regan's Other Side.

Believed to have been recorded in 1983, ‘O Filho Do Homem’ is a newly discovered and previously unreleased single by the late Brazilian composer and keyboardist Ana Mazzotti. Though it’s her only known studio recording of the decade, ‘O Filho Do Homem’ is one of several unreleased compositions Mazzotti and her band performed on TV Cultura and Programa MPB during the 80s.*

These performances showed Mazzotti had transitioned towards a harder edged and more daringly experimental sound in this period, while keeping the core components of samba, jazz and funk that characterised her two studio albums from the 1970s, Ninguem Vai Me Segurar (1974) and the self titled Ana Mazzotti (1977). This evolved 80s sound had evidently taken a similar path to that of her contemporaries and mentors, like Azymuth, whose keyboardist José Roberto Bertrami arranged her debut album, and Hermeto Pascoal who described her as “a super musician.”

Following the resurgence in appreciation for Ana’s music that arose from the 2019 reissues of her two studio albums, her son Toni Mazzotti was compelled to re-examine the archive of artefacts he’d inherited from his parents. Amongst the LPs, chord sheets, photos and VHS recordings, Toni stumbled upon a mysterious reel of tape, which he swiftly dispatched to the Far Out office in London. Toni and the Far Out team were delighted to discover the mystery tape was a hazy jazz-funk gem recorded by his mother (and father, drummer Romildo Santos) during the twilight of her short career; Ana Mazzotti sadly passed away in 1988 from lung cancer at the age of just 37. Aside from Ana on keyboards and vocals and Romildo who produced and played drums on all of Ana’s recordings, the line-up for the quartet is unknown.

“O Filho Do Homem” will be released on 7” vinyl and digitally on the 10th December 2021 via Far Out Recordings.

* taken from the digital version of bio-rhythm 3 and not included on the vinyl version of the album.

Network’s two groundbreaking bio-rhythm albums in 1990 were each accompanied by much loved 12” preview samplers of tracks from the iconic compilations.

For the third release - a mere 31 years after the first sets - Network have added a fresh twist. The sampler this time around contains 2 tracks from the bio-rhythm 3 vinyl release and 2 that will only be otherwise available on digital format.

It makes the sampler a must have for all electronica vinyl junkies.

Nexus 21 “Silicon”, a mainstay of the duo’s much acclaimed live sets, was recorded in 1991 but not released at the time. Memories are thin as it why such a gem was ignored but the most probable explanation is that the transformation of Nexus 21 into Altern 8 took attention away from the track. After being found in the tape vaults it has been remastered for the bio-rhythm 3 project.

It is joined on side A by the Octave One remix of 10th Planet “Strings Of Life” - which is not on the album vinyl. There is a proper labyrinthe story behind this remake of the Rhythim Is Rhythim classic of classics. Kool Kat, the predecessor to Network, arranged for Rhythim Is Rhythim to play live supporting Inner City at a London Town And Country Club concert in September 1989. The label recorded the show which featured Derrick May and his guest Carl Craig.

Fast forward to 1995 and the tapes were handed over to Ashley Beedle to reconstruct and remix for a release on Network under Ashley’s 10th Plane moniker, . On to 2003 and Network’s Neil Rushton was running the suSU label where an attempt to record a vocal of Strings Of Life with none other than Shara Nelson on vocals was made using the 10th Planet parts. That never came to completion, but at the time Neil was working with Octave One and they conjured up this recreation, which has only ever been previously released as a track on a suSU compilation. FIRST TIME ON VINYL ANYWHERE FOR THIS AMAZING VERSION OF “STRINGS OF LIFE”.

“Neurosilence” - Doggy is previously unreleased recording by Birmingham’s Peter Duggal. His bleep classic “Labyrinthine” would have been totally at home on Kool Kat/Network and in recent months both label and artist have both been shaking their heads as to how it didn’t happen. The release of the stark “Neuroslince” finally sees an 0121 alliance bond together.

The 4th track “In The Presence Of Beauty” is taken from the digital release of bio-rhythm 3 and is a truly beautiful “Reprise” take on the version on the vinyl album.

Repress!

‘The Nearer The Fountain, More Pure The Stream Flows’, the new studio album from Damon Albarn, is released by new label home Transgressive
Records.




‘The Nearer The Fountain, More Pure The Stream Flows’ was originally
intended as an orchestral piece inspired by the landscapes of Iceland.
This last year has seen Albarn return to the music in lockdown and
develop the work to 11 tracks which further explore themes of fragility,
loss, emergence and rebirth. The result is a panoramic collection of
songs with Albarn as storyteller. The album title is taken from a John
Clare poem Love and Memory.


The deluxe version of the album takes the form of a casebound book
with additional photography, original scanned lyrics and artwork from
Damon, alongside a clear vinyl version of the album and a bonus 7”
featuring an exclusive song from the recording sessions, plus a high
quality digital download. Also available on black vinyl and cassette.
A recent special Globe Theatre performance in London sold out
immediately and was streamed globally to 72 countries around the world and received rave reviews across the board.

Fueled By Ramen will be reissuing one seminal album from our 25- year history each month throughout the calendar year of 2021, again this will be on Silver Vinyl as part of the FBR 25th Anniversary.

FBR 25 Podcast

We are currently working on a 16 part podcast that will delve into the history of FBR, it’s cultural relevance and Global impact over the past 25 years. Each episode will look at the careers of some of our most important artists, and deep dive into the making of albums told by the artists themselves in their own words.

25th Anniversary Merchandise

We announced the 25th Anniversary around Thanksgiving last year with our first 25th Anniversary limited merch drop, and then will be working throughout 2021 on new and exclusive designs to drop throughout the year.














m 13. Good Girls Go Bad (Frank E Remix) [feat. Flo Rida]

Triumph breeds confidence, and with confidence comes an expansion of ambition, a focus of ability, an emboldening of audacity. De-Loused In The Comatorium had risked everything Omar and Cedric possessed on the wildest of gambits, the most impossible of dreams: making sense of the riot of influences ricocheting about Omar’s head, and memorialising their departed friend Julio Venegas through Cedric’s magical realist roman-a-clef. It Clouds Hill shouldn’t have worked. But it did, and with that fiendish tightrope act successfully accomplished, the duo stretched the wire even further and higher, over a figurative fiery pit peopled with lions, crocodiles, piranha and other sharp-toothed beasts not yet known to man. Because how do you make great art without taking great risks? Frances The Mute was no De-Loused Part Two. For one thing, the band’s configuration had changed, in the most painful way. Shortly before the release of De- Loused, sound manipulator and founder member Jeremy Michael Ward passed away, a wound Omar says the group never recovered from. But even though his inspired fucking- with-the-sonic-parameters is absent from Frances The Mute, his spirit and influence can still be determined, the album’s concept derived from a diary Ward had encountered in his day-job in repossession. “Jeremy picked up lots of interesting stuff when he was a repo man,” remembers Cedric. “Weird things, including this diary, He let us read it a bunch of times. It was by a guy who’d been adopted and was searching to find his real parents. It was very surreal, it didn’t make much sense – the guy might’ve been schizophrenic – but it was very inspiring. It felt like how certain music helps you escape your boring every-day life. The names and scenes in the diary directly inspired these songs.” Some of the tracks pre-dated De-Loused, having their origins in early demos Omar recorded at the duo’s Long Beach home Anikulapo, songs such as The Widow and Miranda The Ghost Just Isn’t Holy Anymore. Cedric had heard these jams in their embryonic state and began working in his mind on what he could bring to them. “I was attracted to The Widow like you would be to a lover, right?” Cedric remembers. “I sang over it with Omar while we were touring De-Loused in Australia on the Big Day Out, like, ‘Okay, I’ve got something for this.’” A potent ballad, laden with emotional crescendos and evoking the epic drama of Ennio Morricone – an effect aided by an elegiac trumpet part performed by Flea – The Widow would become The Mars Volta’s first song to chart on the Billboard Top 100, capturing the album’s potent sorrow and widescreen sprawl in miniature. Indeed, the lush sound of the album, the depth of detail and breadth of instrumentation, belies its grungy roots. Having tasted the luxury of Rick Rubin’s mansion, Omar veered in the opposite direction when recording Frances, cutting the album in what he describes as “a shithole... Basically a warehouse with one little air conditioner on its last legs, awful wiring and a console you couldn’t rely on. We were there night and day – I would literally lock engineer Jon DeBaun in there. He slept on a mattress in the vocal booth.” A considerably more complex and ambitious album than its predecessor – four of its five tracks lasted over ten minutes in length, with its closing epic Cassandra Gemini spanning over half an hour – Frances The Mute wasn’t recorded “live” by an ensemble, but with the individual musicians coming into the “shithole” and recording the parts Omar had scripted for them separately. “They had to have absolute trust in me,” Omar remembers, “Like actors trust their director.” In addition to the core band – now fleshed out with incoming bassist Juan Alderete, and Omar’s brother Marcel on keyboards and percussion – the album featured guitar solos from John Frusciante, saxophone and flute by future member Adrian Terrazas-Gonzales, a full string section, and piano played by Omar’s hero, salsa legend Larry Harlow. “It was a childhood dream come true,” Omar says. “We recorded with him in my hometown in Puerto Rico, and my father flew in to watch the session. Larry was a perfect gentleman, and a very lively spirit.” The album’s fevered intensity infected even the staid string section, Cedric remembers. “When they performed the part on Cassandra Gemini, ’25 wives in the lake tonight’, one of the guys in the orchestra played so hard he broke his bow, this real old, antique bow. And you could see his ‘classical’ side come out – like, ‘I broke this playing a fuckin’ rock song??’ He was pissed off. But I was like, ‘Fuck yeah, man, that’s on the record! You’ve got to realise things like that are cool.’” The album also features field recordings of “the coqui of Puerto Rico” during the opening minutes of Miranda That Ghost Just Isn’t Holy Anymore. “We took a page out of the Grateful Dead’s book there,” laughs Cedric. “They recorded air. We recorded fuckin’ frogs in Puerto Rico.”

“The Colchester quartet’s first offering for tastemaker label Nice
Swan stands up as a vital, visceral cut from a band of any
demographic.” - DIY
 “Anorak Patch are unquestionably an alternative godsend” - So
Young
 “Rising Stars” - Daily Star
 Already championed by BBC 6 Music, BBC Radio 1, Radio X,
Daily Star, BBC, i Paper, DIY, DORK, So Young and more,
Colchester’s Anorak Patch have been quick to grab the
attention of tastemakers across the UK. They were even
snapped up by label Nice Swan Records, who have put out
releases from some of the UK’s buzziest acts, including Sports
Team, Silverbacks, Hotel Lux, FUR, Courting and Malady.
 Following breakout tracks ‘6 Week Party’, ‘Irate’ and ‘Blue
Jeans’, the 4-piece share new single ‘Delilah’, a tale of wanting
more than the small town you call home, and further proof of
why Anorak Patch are one of the UK’s most exciting young
bands to emerge in recent times.
 Of the track, the band say, “‘Delilah is a story. It’s about a girl
who’s struggling her way through life... the song is sort of a
snapshot of how difficult life can be when you are in a bad
headspace without good people around you. It’s a lonely place
to be. The ‘town’ is just a reference to wanting something more
than the place you grew up in... I guess in that sense it’s a little
autobiographical. We are from a little place in Essex, it’s not a
bad place, but we collectively dream that by playing our music
we will have a chance to move out of its orbit.”
 Anorak Patch are also set to perform their debut headline
shows, including in their hometown of Colchester next month,
and in London next year.
 Keyboardist Effie Lawrence formed the group in late 2019 with
high school friends Luca Ryland (drums), brother Oscar (guitar)
and bass player Eleanor Helliwell. The drummer being just 15,
and the oldest member 18, the new single continues to show
the band’s immense musical talent at such a young age.

"In Vivo" is the result of the photographic work of Klavdij Sluban at the Fleury-Mérogis Young Offender Institution (France) from 1995 to 2016 Beds in addition to his work from Izalco prison, located in El Salvador, from 2008 [visiting rooms] connected to the music of Gareth Davis.

Gareth Davis is an artist, composer and musician living in Amsterdam. He plays clarinet(s), the result of a somewhat impulsive purchase whilst window shopping in Covent Garden, London, around ten years before the turn of the century. The serendipitous location of a rather wonderful (and equally important, rather cheap) second hand record shop less than 10m from the bus stop required for seven years of schooling, combined with delivering newspapers on a daily basis, lead to a somewhat eclectic, dusty and generally unclassified taste in music.

The result. Activity covering sonic art and contemporary classical music through rock, improvisation and noise with collaborations that have included the premiering of new written pieces by composers such as Bernhard Lang, Peter Ablinger, Toshio Hosokawa and Jonathan Harvey, soloist with orchestras including the SWR Symphonieorchester, Warsaw Philharmonic and Orquesta de la Comunidad de Madrid, performances with groups and performers ranging from the Neue Vocalsolisten and Arditti Quartet through to improvisers Elliott Sharp and Frances Marie Uitti, electronic artists Robin Rimbaud and Merzbow and multimedia work with artists including Christian Marclay and Peter Greenaway.

"In Vivo" is his second solo release after to have recorded a bunch of collaborative albums with artists such as Scanner, Machinefabriek, Steven R. Smith, Kleefstra Brothers, Frances-Marie Uitti, Merzbow, Adain Baker, Duane Pitre and more...

Klavdij Sluban, winner of the European Publishers Award for Photography 2009, of the Leica Prize (2004) and of the Niépce Prize (2000), main French prize in photography, is a French photographer of Slovenian origin born in Paris in 1963.

He develops a rigorous and coherent body of work, nourished by literature, never inspired by immediate and sensational current affairs, making him one of the most interesting photographers of his generation. The Balkans, the Black Sea, the Baltic Sea, the Caribbean, Central America, Russia, China and the Antarctic (first artistic mission in the Kerguelen islands) can be read as many successive steps of an in-depth study of a patient proximity to the encountered real.

His images have been shown in such leading institutions as the Metropolitan Museum of Photography of Tokyo, the Maison Européenne de la Photographie in Paris, the Rencontres d’Arles, the Museum of Photography in Helsinki, the Fine Arts Museum in Canton, the Musée Beaubourg, the Museum of Texas Tech University. His many books include East to East (published simultaneously by Actes Sud, Dewi Lewis, Petliti, Braus, Apeiron & Lunwerg with a text by Erri de Luca), Entre Parenthèses, (Photo Poche, Actes Sud), Transverses, (Maison Européenne de la Photographie) and Balkans -Transit, with a text by François Maspero (Seuil). Since 1995, Sluban has been photographing teenagers in jails. In each prison he organizes workshops with the young offenders to share his passion. First originated in France, in the prison of Fleury-Mérogis with support of Henri Cartier-Bresson during 7 years, as well as Marc Riboud and William Klein punctually. This commitment was pursued in the disciplinary camps of Eastern Europe –Serbia, Slovenia, Ukraine, Georgia, Moldavia, Latvia – and in the disciplinary centres of Moscow and St Petersburg as well as in Ireland. From 2007 to 2012, Sluban has been working in Central America with imprisoned youngsters belonging to maras (gangs) in Guatemala and Salvador. In 2015, he started photographing imprisoned teenagers in Brazil. In 2013, the musée Niépce showed a retrospective of K.Sluban’s work, After Darkness, 1995-2012. In 2015/16, he was awarded the Villa Kujoyama Residence in Kyoto, Japan. K.Sluban is member of national and international jurys, such as prix Niépce, prix de la Jeune Photographie de Niort, prix Leica, All About Photo…

‘Marathon’ continued SAGA’s long musical tradition and highlighted that more than 25 years into their career, the classic line-up consisting of Gilmour, Negus, vocalist Michael Sadler and the Crichton brothers Jim and Ian sounded as vibrant and exciting as ever. It’s in SAGA’s DNA that the new album nevertheless featured several surprises and exciting digressions. On the one hand, ‘Marathon’ included another three ‘chapters’ with more information about the story that was so popular with the fans and yet remained open to interpretation. At the same time, ‘Marathon’ sees SAGA celebrate once again the noble art of atmospheric songs, for example on ‘Rise And Shine’ or ‘Blind Side Of Your Heart’, which combine delicate melodies with an emotive instrumentation. Never been released on vinyl before, ‘Marathon’ will finally become available as 2LP Gatefold edition on heavyweight vinyl. The album is reissued with enhanced artwork and personal liner notes by Ian Crichton and will also been released as a CD Deluxe Edition.

When SAGA brought out their 14th studio album “House Of Cards” in February 2001, their fans realised only a few bars into the opening track ‘God Knows’ that, following the highly successful predecessor “Full Circle” (1999), the band had come up with another offering in their very own great tradition. ‘God Knows’ features all the classic SAGA attributes, from Ian Crichton‘s unique riff and solo guitars to Jim Gilmour’s frequent synchronous keyboard parts and frontman Michael Sadler’s haunting melodies. These thumbprints also apply to the subsequent ‘The Runaway’ with its lyrics about the novel fascination of the internet, as well as the progressively rocking ‘That`s How We Like It!’ and ‘Always There’ with its acoustic guitar parts. After being long out of print, “House Of Cards” will return on vinyl as an exquisite Heavyweight 1LP Gatefold Edition

Old Children is the latest multi-headed beast alliance of hip-hop minds HPBLK (HYPERBOLIC), Booda French and King Kashmere who takes the helm handling the production duties of the project.

On Push Start; HPBLK and Booda trade bars carved from out of this world imagery, left field references and forward-thinking quantum streams of thought over King Kashmere’s hypnotic futuristic lo-tech cosmic slop. A slick 6 track affair (also featuring Ramson Badbonez and DJ Jazz-T) this short but sweet project is a glimpse of what the magical trio have to offer.

For her second release on Now-Again, Eastside LA soul stirrer Trish Toledo stretches out, with help from Los Yesterdays and Tommy Brenneck (Budos Band/Menahan Street Band). “Sin Control” is a song as redolent of late 1960s Italian Library experimentation (think Morricone / Alessandroni / Nicolai, et al.) as the Latino soul of the great Los Angeles Negros. Recorded at Hollywood’s Sound Factory and produced by Brenneck and Los Yesterdays’ Gabe Rowland, Trish sings in Spanish, delving into the timeless themes of lost love and endless longing. The b-side’s instrumental features the greatest whistler recording today, Molly Lewis. You really couldn’t imagine a better combination, and it’s as predictably great as a pancho-wearing stranger taking down all of the baddies in a border town and riding off towards a dusty sunset

Acclaimed L.A. rapper Blu has left an indelible mark on the hip-hop landscape, crafting an impressive catalog instilled with the essence of the vibrant city he calls home. Now, the gifted lyricist is back with the new album "The Color Blu(e)". Among Blu’s most conceptual projects to date, "The Color Blu(e)" is an artistic thesis statement, celebrating and reflecting on a remarkable creative journey. The word “Blue” is featured in every song title, and “Blue” is also weaved into each of the album’s soundscapes. “This album is the ultimate cartoon series about myself,” Blu explains. “The Color Blu(e) is the cool breeze. Another day in the life of being Blu.” While he typically works with a single producer on each project, Blu recruited Sirplus, J57, and longtime collaborator Exile to shape the album’s sonic texture. An unapologetically personal collection with no features, "The Color Blu(e)" is packed with intricate wordplay and dynamic production, reaffirming the unique talent of the artist known as Blu

Brooklyn based drummer/producer Jason Nazary (of Anteloper) makes his We Jazz Records debut with "Spring Collection", released on 25 June. The album sees Nazary crafting some deliciously sparkly solo cuts plus working long disctance with choice collaborators Jaimie Branch, David Leon, Ramon Landolt, Matt Mitchell, Grey McMurray and Michael Coleman. This is essentially a collection of home recordings and the whole operation has an infectious feeling of immediacy to it. The result is improv adjacent electronic music, with modern production aesthetics transposed over spontaneous compositions.

Jason writes:

"With Spring Collection, my aim was to capture the spirit of spontaneity & collaboration lost in the absence of live music. Like most everyone else last spring, I suddenly had a lot of time on my hands and with all my work cancelled, and with an indefinite lockdown in effect, it became immediately apparent that most of my time – save a walk or two a day around the neighborhood – would be spent in the tiny one bedroom apartment I share with my wife and two cats.

What kind of music does one make during lockdown? I would begin my days with a cup of coffee and all the cables of my modest little modular set up in my lap, slowly discovering new sound worlds as I connected one cable after another – these became the beginnings for the pieces in Spring Collection. With these unformed sketches, I would record an improvisation, an exploration of sonics: a small kit of bells, shakers, pans, pots; their resonance captured in fine detail with ultra sensitive microphones. These became, in effect, a conversation first with myself, but later one I knew I had to open up, make social. In the desire not to diminish my collaborative impulses, I felt compelled to involve some of my favorite musicians in the process alongside me."

"Spring Collection" is released by We Jazz Records on 25 June on vinyl (neon orange & black vinyl editions), tape and digital formats. The vinyl edition comes with a booklet including original artwork and poetry by Todd Colby.

Alleviated Records is proud to present the Dovie Cote' EP as well as to present his first release with us & we hope you enjoy it as much as we enjoyed working on it. Starting of the EP with "My Desire" a future classic with warm and soothing vocals by Dovie. ''Change Lanes'' offers a urban-soul-funk style in the tradition of groups like Slave, Cameo or The Ohio Players. We hope you enjoy these selections at the club and at home for a long time to come. Musically Yours...

Moscow-based producer and Mutabor resident Zots is a regular guest of the EYA Records universe. He already contributed to two highly successful releases and is now back on Lonewolf 008 to showcase his unique sound once again.

‘Molecules of Life EP’ is fresh and playful. Zots skilfully blends acid lines, spooky vocals, and eerie melodies into groovy and ready for the dance floor drum patterns...it’s a cosmic mind affair. Don’t miss it.

Multi Culti launch a new quarterly 12" series in step with the seasons beginning with SOLSTICE I:

Post-pandemic lockdown inspiration can be found in the great planetary balancing act that has taken place since a cataclysmic impact with an asteroid caused mass extinction and set our earth’s orbit off axis. This AXIAL TILT, or obliquity, is responsible for the seasons, and life as we know it has evolved around these unleashed forces. As our lives and for many, careers, have spun dramatically off axis as of late, we look ahead to the coming seasons, with the hope that we can weather the changes, and maintain inner stability. To aid in this quest, Multi Culti promises to deliver sonic support with utmost regularity at the peak moments of cosmic significance, with each Solstice and Equinox.

Beginning this journey are some of the label’s most beloved artists. Israeli duo RED AXES provide a chakra-elevating soundtrack with their inimitable blend of psych-garage-tronica, a sun-kissed banger that signals a long-awaited return to the togetherness of the dancefloor.

ZILLAS ON ACID turn in a robustly wiggly jam that electrifies, frazzling zaps and frenetic percussion recall the fritzy tension of the past year, a cathartic shock-treatment for traumatized dancers looking to get back to prime spine-shaking shape.

Mexico managed to stay open for the most part, and TYU seems to have not skipped a beat here, still in perfect form after breaking out as one of the hottest young producers to emerge in recent years. Dark disco, Mexi-chug, call it what you want, but the emergent genre is never better represented than here… spooky, phosphorescent tribal dance, Tulumminati-tested and approved.

Finally, the big guy - MANFREDAS - whose remixes and edits have been highlight-reel material the past couple of years, delivers a long awaited original track with his requisite heavy-weight swag. Wonky tunings and a chunky downtempo beat underpin Manny’s trademark masterful arrangement style, building patiently, with breakdowns that managed to wring every last drop of impact out of an odd, other-worldy assortment of sounds.

Returnal sees Daniel Lopatin fine tune his craft for creation of deep atmospheres and texture even further.
"Returnal" is the fourth album from Daniel Lopatin's Oneohtrix Point Never project, after "Betrayed In The Octagon" (Deception Island, 2007), "Zones Without People" (Arbor, 2009) and "Russian Mind" (No Fun, 2009). All 3 albums being superbly compiled on the "Rifts" double CD (No Fun, 2009). It sees Lopatin fine tune his craft for creation of deep atmospheres and texture even further. Starting off with the mind blowing triptych of "Nil Admiari / Describing Bodies / Stress Waves", which fires off into a noise / rhythm excess before entering a zone of relative calm building to the melancholy of the final part. This sets the tone perfectly for the albums title track, a stunning out of this world ballad featuring Lopatin's near desperate vocal delivery, ending what could be seen as one of his most chilling and thought provoking sides to date. The atmosphere is slightly lifted as the darkened sun comes up over the ruins on "Pelham Island Road" and "Where Does Time Go", with the album closing with edgy broken beats and fourth world possible landscapes of "Preyouandi", which fades into the distance with echoes of the "Returnal" chorus, closing the loop. What's burnt into memory here is Lopatin's love affair with the long, slow path back home... the cycle... the hypnotic sector... the ghost in the machine... and whether people are making dance music or hip hop or space head music or metal, the ouroboros is present in every sector - as it was in Bach's study, and in the elephant songs of the Ituri forests. Available on CD in digipack and LP in gatefold cover.