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“Avada Kedavra Deluxe,” by Seattle rapper AJ Suede, is a 21-track, self-produced, self-referencing, double-vinyl labyrinth of experimental boom-bap. Building on a signature style that SPIN magazine describes as “stream-of-consciousness rhymes, containing everything from socio-political commentary and blunted cinematic allusions to psychedelic visions,” Suede’s creation is as compelling as it is unclassifiable. On the first LP, Suede demonstrates his substantial skills as a beatmaker and rapper, chopping up what Seattle’s KEXP calls “the smoothest, jazziest, weirdest samples” and overlaying parkour bars about Grunge, success, and social justice. From the first cut, “Nebuchadnezzar,” which New York’s Major Stage describes as a “powerful chant-like hypnotic loop,” these 10 tracks capture an elusive mood of too many hours inside watching YouTube and trying to piece together fractured connections. The album’s title is derived from an Aramaic spell: “Let this thing be destroyed.” On the second LP, Suede invites 13 guests to “destroy” the original songs. This disc of remixes and reworkings showcases underground voices from across the Northwest (Seattle’s Wolftone, Khrist Koopa, Portland’s Fines Double), from across America (New Jersey’s Fatboi Sharif, California’s mudwater, Ohio’s Lord Olo, New York’s Bloodblixing), and around the world (Tel Aviv’s Argov and Japan’s Wazasnics). Seattle rappers Astral Trap, Blake Anthony, Mika’il, and Greg Cypher are featured on a bonus “posse” cut. AJ Suede has been grinding for years in the underground, building a solid, devoted global fanbase. He’s released acclaimed cassettes and CDs through respected labels such as Fake Four Inc., Candy Drips, Chong Wizard, and Blackhouse. In May 2022, a 100-copy vinyl run of his album “Metatron’s Cube” sold out in less than four hours. With “Avada Kedavra Deluxe,” AJ Suede has tapped into the moment, using what Deeply Rooted Hip-Hop calls “a subconscious steeped in the mystical.” As KEXP says: “Quite predictably, the whole album bangs.”

The new album Octagon Sphere by Duesseldorf duo Strafe F.R. comprises of four pieces recorded in 2020 and 2021 at the group's own studio. The work features heavily treated female vocals and includes rhythmic patterns and electronic sounds contributed by invited guest musician Detlef Klepsch (of the group keit). The overall atmosphere is tense and moody, both dark and uplifting at the same time. Octagon Sphere was mastered by Kai Blankenberg at Skyline Tonfabrik.

Octagon Sphere is the sister release to last year's CD Soundless Sphere – both albums are tied together by rhythmic alchemy and sound manipulation in highest detail.

STRAFE FÜR REBELLION was founded in 1979 in Düsseldorf by the two artists Siegfried Michael Syniuga and Bernd Kastner. Conceived as an experimental project rather than a band, the duo is active since the early 1980s, they continue to work together to this day.

They demonstrated their subtle abilities in numerous performances and concerts. The members of STRAFE FÜR REBELLION see themselves as researchers on different visual and acoustic levels; they always make use of their idiosyncratic and unusual humor. The duo emphasize that they not only explore the world of music, but also incorporate elements of knowledge, and thus all usable influences, into their experiments. Working plans, storyboards, and composi­tional schemas usually serve as the basis for new musical projects.

Their texts reflect their interest in science, history, philosophy, as well as everyday phenomena, mass media, and popular culture: in their experimental sound expe­riences, performances, and installations STRAFE FÜR REBELLION are absolutely avant-garde, working at the forefront of research-performatively, acoustically, visually, and in a variety of media. Their motto always remains aesthetically uncompromising with serious pleasure.

Though severely cut, Red Circle doesn't exactly sweep along. It has a deliberate pace as Kallabris sets up the score of thirteen chance acquaintances who plan and carry out the sacking of our acoustic consciousness... Understatement is the method of these compositions for a small modular synthesizer. If there ever was something like heist music, this here surely is. (Vincent Canby, with a few minor changes and adaptions).

Kallabris is a musical project that was begun in the mid 1980ies out of the scene around Coitra's Clan. Since ist inception Kallabris has persistently neglected any usage of advanced recording technology. Ever since not technical or compositonal innovation is at the core of the group’s work but, the active engagement with the limitations and the objects of every day life. This sound positivism can result in stylistically varied outputs ranging from chanson or country blues to musique concrète – while all musics live by their surfaces. Save the surface and you save all.

Faitiche presents Groupshow’s Greatest Hits: The ten tracks on this first vinyl album by Groupshow (Hanno Leichtmann, Andrew Pekler, Jan Jelinek), recorded between 2005 and 2018, document concert recordings and studio improvisations by the trio.

In improvisation there are no mistakes, only missed opportunities. Groupshow found their first opportunity in the routines of live performance and they used this opportunity to break with these routines. The trio consisting of Jan Jelinek, Hanno Leichtmann and Andrew Pekler came together in the context of Kosmischer Pitch, playing live versions of the music from Jelinek’s 2005 studio album of that name. During this project, the musical interaction between the three participants quickly emancipated itself from the original programme, departing from fixed roles and finding a distinct form in constant change.

Groupshow sessions – rehearsal, concert or recording – are always improvised. The interplay of the various sound sources, converging from the directions of “electronics”, “percussion” and “guitar”, does not follow the Krautrock wave logic of crescendo and morendo. Jelinek, Leichtmann and Pekler have established a method of transparent density in which links and breaks are not concealed but remain audible. The music works through attraction and repulsion, with a loosely organized structure that always leaves enough room for the next intervention.

The principle here, repeated even in the smallest units, is that of duration. Groupshow think of their music in terms of an installation: no starting point, no dramaturgy, and ideally no end. Concerts take place not raised up on a podium, but in the middle of the room on a level with the audience, who only enter the space with the musicians and instruments once their interaction is already underway. In 2008, Groupshow used this approach to create a live soundtrack for Andy Warhol’s film Empire, over the full length of eight hours and five minutes.

Recordings in general and the “Greatest Hits” format in particular are another key aspect of this ongoing work on a collectively modulated continuum. The ten tracks on this first vinyl album by Groupshow, recorded between 2005 and 2018, document the ephemeral capturing of opportunities that were not missed. Extracts and essences of an endless movement of searching. The sprawling form of the whole, suspended in succinct, separate units.
To paraphrase Lao Tzu and Roland Barthes, one might say: Once their work is done, they are no longer attached to it. And because they’re not attached to it, it will remain.

Arno Raffeiner, 2022

• Gil Scott-Heron was twenty-one years old when he was signed to Flying Dutchman by Bob Thiele to make an album of his poetry. The resultant “Small Talk at 125th and Lenox” was recorded before a small live audience and, released in 1970, sat perfectly in a world where the Last Poets had just tasted Top 10 success with their debut LP. “Small Talk at 125th and Lenox” opened with a spoken word version of ‘The Revolution Will Not Be Televised’ and also featured poems and musical pieces like ‘Omen’, ‘Brother’, ‘Plastic Pattern People’, ‘Paint It Black’ and ‘Everyday’ that reflected on the black community and its condition within America at this time.

• The starkest of these sharp observational pieces from Scott-Heron was ‘Whitey On The Moon’, which recounts the US Government spending billions on landing a rocket on the moon at a time when, “a rat done bit my sister, Nell”.

• Like its follow-up – “Pieces Of A Man” – “Small Talk at 125th and Lenox” is a classic album and we are delighted to serve it up again on vinyl in a gatefold sleeve with the original liner notes.

• With current “Big Talk” of going back to the moon, whilst injustice still prevails for many black people in America, “Small Talk at 125th and Lenox” still conveys a message that resonates today.

Amber Run is a British indie rock band from Nottingham, consisting of Joe Keogh, Tomas Sperring and Henry Wyeth. They recorded their debut album with Sam Winfield and Brit Award-winning record producer Mike Crossey, who previously produced albums for Arctic Monkeys, The 1975, Twenty One Pilots, Walk the Moon, Foals, Keane, Jake Bugg and Yungblud. The album was originally released in 2015 and peaked on the UK Album Charts at #36. The album features the singles “I Found”, “Spark”, “Just My Soul Responding” and a re-recorded version of “Noah”. “I Found” was even awarded with a platinum status in the US.

When it comes to deep and jackin' Techno with a touch of funk, Jackmate aka Michel Baumann was in a league of his own. As a producer, working in the house-techno spectrum he was able to keep a level of high quality, always trying to push himself and never afraid to try out new ideas. You never new what he would do next and that was probably why so many of us kept following him, checking out a new release and playing his music.

One of the many projects he was working on before he sadly passed away was collecting and preparing a compilation of Jackmate music from his vast archives. The idea was to present tunes from back in the day, or as Michel called them 'Jackmate classics'.

The compilation would also include some of Michel's favourites which he reworked and of course new music, there was always a new Jackmate track waiting to be finished. This vinyl sampler contains all new Jackmate music plus a Jackmate rework of the Soulphiction classic "Masai Mara"

While the theme of the four elements has been a constant source of inspiration in the arts, its setting to music using electroacoustic techniques seems highly auspicious, since the notion of matter and its transformation is consubstantial with the concrete approach. In »Sphæra«, Daniel Teruggi precisely addresses this question, transcending matter with the help of novel digital audio techniques so as to draw out forms, trajectories, layers, and musical objects, all of which result from the merging or sublimation of primordial sounds. Indeed, this is where Daniel Teruggi’s music and compositional approach stand out: by engaging sounds, with strength, will and inspiration, in a close encounter with energies, whether tectonic or electrical. Such collisions, such metamorphoses, are then appeased in the whole space of the composition, a fascinating landscape, the final destination of all transmutations. (François Bonnet, Paris, 2021)

"Between 1984 and 1989, my acousmatic work was focused on processing and merging the four fundamental substances. Each 'element' gradually became articulated with the others, thus crystallizing my subjective perception of their materiality. Over the years, helped by the enthusiasm of a Greek friend who propelled me into the Socratic universe, what started out as an exploratory path has become a circular, spherical unity, in which each occurrence simultaneously belongs to one of the four substances as well as the whole.

These four sections, of uneven durations, embody the different resonances of each 'element' upon my imagination. The movements are ordered compositionally and range from the intangibility of the air to the extreme density of the earth.
In Eterea, the dual nature of air, a space for the dissemination of sounds and an environment for mobile masses, shaped the work and the development of its forms. Whether it be the vast expanse of particles as organised movement or the displacement of sources in our three-dimensional perception, ethereal air fills the space and drives the immaterial motions and gestures.

Aquatica locates the materiality of water in relation to its amazing extremes: from the drop to the ocean, an extensive journey unfolds through the various phases of the reinvented liquid. Still waters, deadly waters, raging waters follow one another, leading to the aerial fusion of a primordial equilibrium eventually retrieved.

Then comes Focolaria and the unsteady fires, the elusive and wild will-o’-the- wisps that open and adorn the gates leading to the depths of the earth.

The land of Terra is devoid of atmosphere, a land of matters before the advent of life. The sounds of the original matter merge and evolve into purer forms. The motions trigger progressions towards new equilibriums of forces, the ultimate fusion, the very last attempt, needed for the emergence of life.

The sphere is now complete, the world ready for creation..." (Daniel Teruggi)

Time for some rare late 70s soul royalty out of Memphis, Tennessee, a top rung rarity on the collector scene, Coco & Ben - Good Feelin'. Ben Robinson was recently tracked down by friends of the label Daniel Mathis and Robert Garcia, lucky for the world he was still sitting on the tapes for this slightly longer take (as well as some unreleased tracks) allowing us to cut this disco floater as a nice loud 12" for the first time, now sounding better than it ever has, don't sleep on the flip either. Utterly essential record.

Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.

Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.

Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’

The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such?

Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.

A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.

It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

Cyrk with some fierce ruling electro tracks that fit perfectly in a Helena Hauff dj set. The title track Attack of the Blow Up Dolls is a robotic electro cut, while the other three tunes are smooth and at times remind us of some of the classic I-f releases with bubbly analogue basslines, frantic synths and relentless electro beats. Another strong Cultivated Electronic release!!

Credit 00 is back on track with four monsters in his bag that are almost too dangerous to get unleashed. The Uncanny Valley regular from Leipzig sends us down into the electronic vortex while taking some detours to places that haven't been visited in a long time. Thanks to his DIY attitude and an open mindedness for all kinds of music, you can find traces of jungle, garage, trance or even 90s pop and gabber in this hard rocking machine funk. He's juggling with sounds and genres like no one else. It's just so much fun to listen and dance to these tunes. Indeed, there is no other...

"Island Time" is the latest album from Joel Sarakula and his first since relocating to The Canary Islands at the height of the pandemic. From his home in the UK he accepted an invitation to perform a special concert Alfredo Kraus Auditorium in Las Palmas, Gran Canaria in November 2020 not realising it would change his life.

"Island Time" is a collection of songs covering themes such as island life, city life, loneliness and romantic love and our relationship with nature.

Stylistically covering soft-rock, soul, disco and reggae, "Island Time" and its first single "Tragic" is broad in scope but ultimately a cohesive record, with the production focusing on a small group of musicians featuring Phil Martin (Dawn Patrol, Martin & Garp) on drums and Xav Clarke on guitar and bass. Building on his previous records "Love Club" and "Companionship", Sarakula expands his palette with a broader use of synthesizers and drum machines and makes stylistically adventurous choices such as the AOR samba of "Dinosaur" and the 70s-cod reggae inspired title track "Island Time", a tribute to escape and re-invention. Sarakula sings "Don't bother me I'm on island time, don't bother my mind once again." For any overworked and over-connected city-dweller, this plea for isolation in a tropical island is a beautiful fantasy.

"Island Time" will be released on Jan 20th, 2023 with Sarakula bringing some tropical sunshine to the freezing European winter in January and February with performances already confirmed in The Netherlands and Germany.

This September sees the fourth release from the label Either. Label founder Jamie Clarke is behind the title track ‘Angor Animi feat. Emdee’ and a second track featuring Emdee, the third track is a remix of the title track from Romania’s Barac.

Either is built on Clarke’s sure feel for early hours dance floor tunes. The releases to date are enriched by remixes from Pablo Mateo, Ryan Crosson, Silverliining…

On Clarke’s title track Emdee’s vocals carry us along over squelchy acid bass, gritty stab lines, saturated drums and tribal-tinged percussion. On track 2 ‘Extraction’ Clarke picks up the journey theme. Here the mood brightens and trips-out, Emdee’s chanting vocal carry us over sonorous organs, swinging rhythms. Track 3 returns to the dynamically processed elements of the title track, Romanian minimal maestro and Moment Records Boss Barac sweeps us into a twelve-minute rushing tide of organic drums and swaying subs.

The mysterious hill producer makes a sensational comeback on the cult label SKYLAX RECORDS with 4 high-flying tracks ! On this occasion, he joined forces on 2 wonderful slices of spiritual house with the legendary Detroit born Javonntte. But let's start at the beginning, on A1 we find the magic of the first releases he did under the HILL moniker, namely a punchy, borrowed and sample loving disco house via "land of funk", a whole program ! The same goes for the fantastic "Summer holidays in Rimini" which reminds us the glorious hours of the French touch, Thomas Banglater in the lead. On the B side, he delivers us with "Away" a more contemplative and sensual house with the ultra talented Javonntte, it is a real technical prowess to bring together on the same record the universes of soundstream AND Franckie Knuckles, for their fans, this 12 inch is clearly for you and the mystery remains completely unresolved. Note that on the label's bandcamp, with the purchase of the vinyl, you can get 1 exclusive bonus track : Hill « It's a jam »

Back in stock!

Following in the footsteps of the landmark 1966 double-quartet recording by Joe Harriott and John Mayer, Indian born musician Amancio D'Silva produced some of the most adventurous and sophisticated recordings within the canon of 'indo-jazz', a term used to define a pioneering east meets west synthesis that reflected the shifting musical and cultural landscape of post-war Britain. An experiment which reached a pinnacle in 1972 with D'Silva's seminal recording Dream Sequence by Cosmic Eye (The Roundtable TRZY001), an adventurous fusion of modal jazz and Indian classical music viewed through the psychedelic lens of swinging London. Exotic third-stream jazz conceived by a visionary composer whose virtuosic technique and deeply emotive guitar playing defined his two earlier and now legendary 1969 UK jazz albums Integration and Hum Dono with Joe Harriott, both recorded for the much celebrated Lansdowne label.

Also recorded in 1972 although not released at the time was Konkan Dance, an unofficial sequel to Dream Sequence that further explored the unchartered possibilities of an Indian music-jazz fusion. Featuring many of the same personnel, this session also included support from Don Rendell and Alan Branscombe, two giants of the UK jazz scene who add serious credentials to D'Silva's singular and intimate compositions. For reasons unknown the album was cancelled by Lansdowne at the time and never saw the light of day until being resurrected again in the 2000s. The Roundtable are pleased to once again showcase this important artist and present a new addition of this incredible and almost forgotten piece of the Amancio D'Silva story. Pressed on 180g vinyl and packaged in a custom 1960s-style flip-back sleeve.

Unreleased British Jazz from 1972.
Sequel to Cosmic Eye - Dream Sequence
Includes liner notes and rare photos.
Custom Flipback sleeve.
180g Vinyl

The makossa man part 2 is back after a hiatus of 18 years with timeless cover versions done this time by Simoncino, Carlos Nilmnns, DJ Soch, Lukas Lyrestam & Joe Lewandowski ! Limited edition, for DJ use only.

G&D back with their 5th Volume of edit series, but this time they have special honor to have on the label The Maestro "LTJ X-perience”

and his fantastic groove with the Rain Machine (Dirty groove edit) on A1 side and the great duo from Germany "First Touch" with another

great version of the Rain Machine ( Italo Boogie Edit ) on B1 side.. A2 and B2 are The Boogie Afro "Ziddy" and The Bossa Disco "Gusto”

edited by G&D duo with their dancefloor style as usual.

Essential!! Supported around the world by the best Disco Djs.

Louie Vega is launching a trio of Double Pack 12” releases that includes special unreleased versions of select titles from the Expansions In The NYC album project. Each package also features unique customized art by celebrated artist Andrew Thiele who also created the art for the album jacket as well. This package is a tribute to two of Louie’s musical heroes, namely the late Patrick Adams and Larry Levan. Legendary producer Patrick Adams was the writer of Chimi and Atmosphere Strut, and equally legendary DJ Larry Levan was instrumental in breaking Bernard Fowler’s early releases with The Peech Boys at The Paradise Garage before Bernard was catapulted into worldwide fame as one of the featured back up singers on tour and in the studio for the Rolling Stones. Chimi and Atmosphere Strut also feature collaborations with Louie’s renowned Elements of Life band and New York based House and Hip Hop DJ / Producer extraordinaire DJ Spinna.

Mystery Circles is busy at the moment with a great series of tapes, albums and 7"s all dropping in relatively quick succession. This one is a nice heavy 180-gram vinyl long player with only 100 copies pressed. It's Brooklyn's Tyler Gilmore, aka BlankFor.ms, at his best, if you ask us. His highly textured ambient uses gorgeous spinet piano, dusty and degraded tapes and analog synthesisers to make for something that evokes deep memories and transports you to places you had long forgotten. It is a touching record that leaves an indelible mark.

One of our all-time favourite artists and extended Circus Company member The Mole returns to the label for a proper presentation of his album The River Widens. Originally a limited, cassette-only release via fellow Canadian Eddie C’s Red Motorbike, we are proud to offer this album in its full glory for the first time on all formats.
Never one to shy away from synth deep dives, or raw sample flip collaging, this collection of 21 works checks all the boxes. Ambient trippers to straight up neck-snapping instrumental beats. Not forgetting tastes of the more uptempo, highly-assured and hypnotic dance floor feels the world has come to love The Mole for. Moments of casual chillin are interspersed with effortless, emotive angles, some evoking the charm of his Little Sunshine release for us in 2017.

X-pert Profat opens the set with sly statements that give way to relaxed and subtle keys over gentle, midtempo rhythms. Things switch up nicely into easy, Northwest Coast boogie-meets-beatdown feels inBreak For Ma, followed by a solid array of almost Jaylib-schooled boom bap twists, like the aptly-titled Drums 2002 and Jo Barker. Ambient cuts like AR Dayand New Family offer a refreshing tap of the brakes, setting the scene for the gorgeous, Jarre-esque Weak Stranger. We also get treated to Repepepater’s nod to Detroit house, urban-mode Balearic feels on They Work For Mr. O, and sneak
attack lo-fi future funk in the form of UFOs Over Egypt, with Montreal co-pilot Cristobal on a wild shisha-lit vox narrative, earlier versions of which have blessed many of our label comrades’ DJ sets, from Dave Aju to Vincent Lemieux.
The River Widens expands beautifully on the breadth of unique musical directions The Mole is capable of taking us in, now spread across fresh 2x12” vinyl and available digitally for the first time, along with another limited edition cassette run - we hope you enjoy the ride as much as we do!

Dj T-Kut y Dj Player proudly present a essential tool for begginner and advanced deejay players. You can practice skratch endless. 12 Loop tracks. You can find 2 different speeds 100 BPM and 133 BPM for UltraPich use, optimizing at maximum the use of the vinyl. This is a new limited version presented in 7" format in colour highlighter yellow vinyl to enjoy in both ways of this wonderful LP. Great release for the veteran guys in the house.

For Mal-one’s sixth single he has chosen to use what he calls his Punk Art Poetry to shine a light on one of Malcolm Mclaren and Vivienne Westwood’s most controversial / stylistic garment, the ‘Anarchy Shirt’.

Vivienne had made the prototype of the ‘Anarchy Shirt’ on some stock of ‘Wemblex’ shirts that Malcolm had acquired and had shown it to Malcolm who said it needed to say more. So, he added the text and the quotes from ‘Situationist’ related saying’s ‘Try Subversion’ to quoting revolutionist Durutti ‘We are not afraid of the ruins’. The text over the shirt front, made using their kids ‘letraset stencil’ would say ‘Dangerously Close To Love’ or ‘Only Anarchists Are Pretty’…. sounds like a good chorus for a song. Only fifty of these shirts were originally made but like all design classics have been copied many times.

‘Some say Only Anarchists are Pretty… or Dangerously Close to Love’

Hope you enjoy the story told on this 500-copy single backed with a dubbed-up version on the B-Side.

It's an all electronic affair, harmonically maximalist, predominantly symphonic-synthetic, requiring active listening. Some pieces function as challengers of musical structural habits, provoking the short attention span culture, others present a problem-solution scenario, collectively via a neoteric noise aesthetic and detailed melodic weaving. Ultimately, the objective was to engineer an assortment of works full of sound, euphonic and vivid in nature.

The making of this album was intentionally a very personal process, going into self therapy territory at times interpreting the composer's contemplating mind dealing with tolerance, destruction, compassion, misery, grace and tyranny in an auditory manner. Some pieces function as challengers of musical structural habits, provoking the short attention span culture, others present a problem-solution scenario, collectively via a neoteric noise aesthetic and detailed melodic weaving. Ultimately, the objective was to engineer an assortment of works, awash with euphonic sound vivid in its essence, with a deep focus on various synthesis techniques within a compositional framework.

Dedicated to Peter Rehberg aka Pita

Ata 'Sote' Ebtekar composes music with a deeply-held conviction that rules and formulas should be deconstructed and rethought. He alters musical modal codes from their original tonality and rhythmic tradition to achieve vivid, synthetic soundscapes. Over the last three decades, his work has been published by labels such as Warp, Sub Rosa, Opal Tapes, Diagonal, Mute and Morphine, among others. In 2018, he founded a new label called 'Zabte Sote', which focuses on releases by Iranian experimental electronic composers from around the globe.

Known for creating compositions that range from the delicate to the abrasive, using sounds both of acoustical and electronic origins, Ebtekar sees music as the expression of cultural habits in sound and anti-sound (silence). Seeking to expand such traditions he creates music that, while rooted in many cultures at once, belongs to none in particular. Sote's work deals with various blueprints, in particular his solo all synthetic music, his electroacoustic audio/visual group project, and his multi-channel sound installations. Sote is on the jury panel of The DAAD Artists-in-Berlin Program, and has created commissioned work for and performed at a.o. Berghain and CTM Festival (Berlin), Unsound Festival (Krakow), Cafe Oto (London), Jazzhouse (Copenhagen), TodaysArt Festival (The Hague), Bozar (Brussels), Ultima Festival (Oslo), Donaufestival (Krems), Donaueschinger Musiktage, Mira (Barcelona), Terraforma (Milan), and many more.

To celebrate the 10th anniversary of Cloud Nothings' seminal album, Attack On Memory, the band has announced a very special limited edition vinyl pressing. 3000 copies worldwide.

It’s housed in a foil jacket with all new colorized artwork, is pressed on Sky Blue vinyl, and includes two bonus flexi 7"s with two never-before-released tracks, "You Will Turn" and "Jambalaya" from the original sessions at Steve Albini's Electrical Audio.

In 2009, Cleveland’s Dylan Baldi began writing and recording lo-fi power-pop songs in his parents’ basement, dubbing the project Cloud Nothings. His music quickly started making the Internet rounds, and fans and critics alike took note of his pithy songcraft, infectiously catchy melodies, and youthful enthusiasm. Baldi soon released a string of 7”s, a split cassette, and an EP before putting out Turning On—a compilation spanning about a year’s worth of work—on Carpark in 2010. January 2011 saw the release of Cloud Nothings’ self- titled debut LP, which, put next to Turning On, found Baldi cleaning up his lo-fi aesthetic, pairing his tales of affinitive confusion with a more pristine aural clarity. In the interval since the release of Cloud Nothings, Baldi has toured widely and put a great deal of focus on his live show, a detail that heavily shapes the music of his follow-up album, Attack on Memory.

After playing the same sets nightly for months on end, Baldi saw the rigidity of his early work, and he wanted to create arrangements that would allow for more improvisation and variability when played on the road. To accomplish this desired malleability, the entire band decamped to Chicago—where the album was recorded with Steve Albini—and all lent a hand in the songwriting process. The product of these sessions is a record boasting features that, even at a glance, mark a sea change in the band’s sound: higher fidelity, a track clocking in at almost nine minutes, an instrumental, and an overall more plaintive air. The songs move along fluidly, and Baldi sounds assured as he brings his vocals up in the mix, allowing himself to hold out long notes and put some grain into his voice. Minor key melodies abound, drums emphatically contribute much more than mere timekeeping, and the guitar work is much more adventurous than that of previous releases.

For all of early Cloud Nothings’ fun and fervor, Baldi admits that it never sounded like most of the music he listens to. With Attack on Memory, he wanted to remedy this anomaly, and in setting out to do so, Baldi and co. created an album that showed vast growth for a very young band.

Comet Records present the new reissue out of the Comet new reissue series, Dilijans by Ayizan. A mind-blowing session of Spiritual Jazz recorded in NYC in 1984 led by Haitian genius Alix Pascal blending traditional Ra Ra elements with modal/spiritual melodies. The result was like nothing else coming out of Haiti or the Haitian exile community in the US at the time. Dark, mystical, lyrical and abstract, with its otherworldly shifting rhythms, Dilijans came off like a Haitian version of Bitches Brew.
The album sounds less like a stylish mini-jazz performing in a hotel dancehall than like a cry of ancestors emanating from the spirit world to lament over the complications of modern Haitian society.

2023 Repress

Bump 'n Grind Wax strikes again in 2022! A close friend of the Bump 'n Grind camp, Jacques Renault brings disco flare and funky house to two infectious edits on this limited release 7". One to make the vinyl diggers salivate.

The Let's Play House records boss shows off his affection for the baby-powered dancefloor on the A-side, "That's What You Are". A progressive tune that eventually leaves the listener swinging from a disco ball suspended from lush clouds overhead. Playful cymbals and guitar stabs decorate the sing-a-long hook, reminding us: we are all diamond-drenched dancing fiends.

Jacque's B-side edit of "My Love is Guaranteed" is a funky chokehold of a groove. A driving bassline of love leaves no doubt. A song filled with golden horns and a glimmering sample becomes the perfect selection for a DJ playing at a massive festival... or a wedding. Versatility!

Der Grundstein für "Quiet The Room" wurde vor zwei Jahren gelegt, als Helen Ballentine einen Song gleichen Namens komponierte und aufnahm. Im Gegensatz zu den meisten anderen Songs von SKULLCRUSHER wurde dieser auf dem Klavier geschrieben, dem erklärten Instrument ihrer Kindheit. Während Ballentine im Sommer 2021 den Rest des Albums schrieb, flogen ihr Visionen aus ihrer Jugend zu, wie die Fledermäuse vom Dachboden, während sie in der schwülen, stickigen Hitze durch ihre Wohnung in Los Angeles lief. Das Bild eines Hauses entstand in Ballentines Kopf, als sie die innere Welt ihrer Songs mit den äußeren Räumen, die sie jetzt umgab, zusammenfügte. Sie dachte dabei viel an ihre Kindheit in Mount Vernon, NY, die sie als größte Inspiration für die Platte bezeichnet. "It's like layers of tracing paper, like someone is trying to make a drawing and you're seeing the entire process", sagt Ballentine über die Entstehung des Albums. Bei der Durchsicht älterer Heimvideos fielen ihr die scheinbar harmlosen Aufnahmen auf, die durch das Fenster gemacht wurden und sie am Klavier oder beim Spaziergang im Garten zeigten. Versteckte Bedeutungen, die über die Ränder der Bilder hinausgingen, eine sich abzeichnende Dunkelheit, die außerhalb des Blickfelds schwebte (ihre Eltern stritten sich, waren auf dem Weg zur Scheidung usw.). Das Haus schaffte es nicht länger, sie alle unter einem Dach zu beherbergen. Ballentine versucht nicht auf "Quiet The Room" die oft zitierte Unschuld der Kindheit einzufangen, sondern will diese in ihrer intensiven Komplexität darstellen. Das Ergebnis ist ein atemberaubendes wie leise bewegendes Werk geworden, das die Reisen widerspiegelt, die wir durch unsere körperlichen und geistigen Sphären unternehmen, um uns der Welt zu präsentieren.

After spending his debut album exploring techno and mechanical sounds in the depths of the Pas-de-Calais mines, Toh Imago looks up to the sky, with an open breeze on his face, as tree branches and canopy filter out the sun’s rays on Refuge. All the machines used during the album recording are tuned at 432hz, carrying the mystical benefits of Earth’s resonance. Spending just seconds with the opening track, the listener is drawn into the safety that Refuge was intended to provide, and each subsequent piece pulls you deeper and deeper into the album’s forest.

Textextext - (add your write up)

‘Refuge’ was recorded on the edge of the Mormal forest, in the North of France. With nature as a setting and studio accomplice, the album features synthesizers, field-recordings, as well as the acoustic qualities of reverbs from the nearby forest. As the artist’s inner world and nature converge in moments of self-reflection, so the album’s 11 recordings harmoniously unfold in a cavalcade of machines and organic sonorities.

While the first LP 'Nord Noir’ explored his family’s mining past, ‘Refuge' is about being present and the desire to re-contextualize the relationship between nature and humans. It is a record of uplifting tones that is filled with optimism, imbued with the lightness of those who finally reconnect with nature, their roots, and the feeling of groundedness.

Like the steps taken on a walk in the woods, the 11 tracks sonically tell the story of an inner journey divided in three chapters. "Asile sauvage", "Sylve barbare" and “Avril Mormal" take the listener into a fast-paced progression of rhythms. When the heart of the forest is reached, the journey becomes intimate, revealing a sacred space where breathing becomes the leading tempo ("Locus Neminis") and the traveller becomes a spirit lost in space ("Cosmos Intra”). The journey's climax is reached with "Monde intérieur". The album closes with "Chiff Chaff" which accompanies the listener back to a reality, hopefully a more reassuring one.

Across the album, Toh Imago finds inventive ways of opening a dialogue between nature and machine, both literally and metaphorically, creating a soundscape that both feels like and was created by the natural world that surrounds him.

The album offers a shelter from a predetermined world. It’s a story told through ambience, racy and subtle electronics, and the memories of lichens clinging to shoes.

"Following this year’s VA ‘Marmo’, a collaborative offering co-released with XCPT, Baroque Sunburst releases its first Various Artists EP. Tracks from Taro, Pugilist, Slacker and Flørist, create a statement record championing subtle yet hybrid club-oriented sounds.

Buffalo, NY's Taro ignites the white label 12" with ‘Gas Burn’, a dreamy, rarified IDM zipper. An off-kilter UK funky remix from Flørist follows (his second appearance on the imprint after 2020's Intermedia 1 EP). The B side drags us into a half-time, downtempo sideroom, with tracks from Slacker (Aqueduct) and Pugilist (Symbiosis) slowing pace but maintaining intensity."

Limited to 300 copies.

From over the hills and far away, the cobblers and their boots are here to stay. The sartorial scallywags return with another collection of kaleidoscopic, Italo-tinged party pleasers.

First off the block, London royalty Super Drama team up with homeboy Kayroy for ‘Something New’, a cut of propulsive glitterball synth-funk, with just the right amount of cowbell. Next up, Italy’s Disco Mortale and Futuristant take us for a tour of the dark side, with cyborg vocoders
and cyberpunk arpeggios painting a vivid dreamscape of neon and steel. ‘Until Forever’ flirts the line between sinful and sincere, abandoning you to the rise of the machines, and a dance-off to the death!

Flip that wax and step on the gas because Gabto reunites with collaborator Kauan Marco for the colossally cool ‘Ki Ko Ho’. These brilliant Brazilians have delivered a bonafide gem, complete with drums that hit you in all the right places, and a killer synthesiser solo – brilliant stuff.

For the cherry on top, Marching Machines bring their intoxicating and hypnotic flavour of Belgian chug and psychedelic dark disco to the table with the festival-ready epic ‘Seraphic’ – molto bene! An electrifyingly eclectic and adventurous collection of toe-tappers and hip snappers, made with love and coming soon to a discoteca near you.

BLUE MOON PHASE VINYL

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.

Mitka is a sound engineer and musician from Ekaterinburg, who mainly works in the film industry. We’ve contacted him after listening couple of his tracks on the web, his music amazed us, but we didn’t knew anything about Mitka himself. He doesn’t play live shows, doesn’t post on social media and in general it feels like he has an ascetic lifestyle.

For “Sound2” album Mitka has been recording drums in the forest, because “acoustic there is better than at home” and he didn’t had money for a studio. He made a guitar by himself because regular fret position is not for him, many of his compositions are played in quarter tone. The titles of the songs on the album are just Mitka’s notes, for understanding harmonies and tunings.

“Sound2” gives you the mystical and cinematic feeling, but at the same time sounds warm and familiar. While listenin this album you can imagine your walk through the green forest covered with fog. You might not know the way out, or how did you get there, but your mind can stay quiet and calm, because Mitka will be your guide.

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.

Orange Vinyl

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.

Red Vinyl

It has been exactly ten years since Finders Keepers first intrepidly entered Andrzej Korzyński’s cavernous musical vault, but it is only today that we are able to proudly announce the safe retrieval on what we consider the true heavy psych holy grail of the Polish composer’s mind-bending oeuvre. By cruel coincidence this welcome event has sadly come during the same year as the composer’s tragic passing. However, in true Korzyński style, alongside his previous Finders Keepers releases, the legacy he has left behind in this one final lost soundtrack project alone has come with musical riches beyond anyone’s wildest expectations.

The comprehensive elusive archive of the deeply psychedelic soundtrack to Andrzej Żuławski’s forbidden film Diabeł (The Devil) is perhaps the most detailed dossier one could wish to find – including audio sketches, rejected proposals and pre-butchered variations that play out like an intense and veritable creative conversation between the director and the maestro, both of whom are widely recognised as true mavericks of socialist-era Poland’s fertile artistic landscape. Never intended for anything as conventional as a straightforward movie tie-in promotional disc (state owned Eastern European record labels rarely did this), the music in this archive has required special forensic inspection. Let’s say the devil is in the detail. The 7” record you are now holding is more than just a companion piece, and it is far from a selection of the (non-existent) poppy title themes to promote a full feature-length album. This standalone release is wholly unique in its own right, giving Finders Keepers listeners a final access all areas snoop into the mind of one of the pillars of our alternative musical community.

As those familiar with Żuławski and Korzyński’s long-running relationship will understand (a methodology best exemplified in the schizoid soundtrack to the film Possession), their exchanges were deeply nuanced and often complicated, with lots of artistic “tennis” thrown into the mix. The key plot in this behind-the-scene fable is that after delivering his original off-kilter psychedelic score to the director, maestro Korzyński was asked to make the music “totally unique, like something from another planet”, to which Korzyński took his tapes, pulled down the vari-speed to a guttural grind and continued to recompose over the top using avant-garde electro-acoustic techniques while deploying psychedelic skills of guitarist Winicjusz Chróst. This limited record release proudly boasts Korzyński’s original uptempo awkward psychedelic pop music prior to the doom laden growls that make the official films soundtrack a true Goliath of Eastern European soundtrack composition. Which, when recontextualised, will stand as a veritable face-melter for stoner rock fans. As one of Finders Keepers deepest conquests, we are delighted to share The Devil Tapes… What is a grail without the wine.

A pure journey inward into the headspace of an artist, that reveals his gaze at the earth-ly zones he walks in: “Song for Joni”, the new album by Japanese musician Shunji Mori, brings pure natural music full of artificial nuances who create in conversation with ana-logue tones a new kind of musical nature, loaded with vibrant seasons, unknown to us, the unwise humans. moreover, the album is a fine continuation of Japan’s rich ambient leaning music traditions, carrying them into Lorren Connor’s like pending guitar galaxies.

In the 1990s Tokyo based Mori was part of the trip hop, nu-jazz, deep house, and down-tempo duo natural calamity, releasing a string of albums and EP’s on labels like legend-ary London based imprint Nuphonic, Japanese Idyllic Records or Down 2 Earth Record-ings.

In 2003 he launched the instrumental guitar duo Gabby & Lopez with his buddy Masayuki Ishii. Together they created three albums and performed live. Additionally, Mori plays improvisational concerts with Japanese musician, multi-instrumentalist, and stage direc-tor Daiho Soga and finds time to invent his very own, charismatic guitar music.

His solo work now finally gets introduced with a full-length album for Studio Mule, con-sisting of recent and a decade ago compositions, all merely recorded with the electric guitar, pedals, and field recordings.

In the center of “Song for Joni” is the guitar, spreading longing, drifting melodies. Free floating, yet deeply felt compositions, performed in an accurate journey music style. around the string notes, ambient landscapes soar and vanish.

In some moments, the guitar works like a slow-mo yacht rock lead, flying speed less over and under imaginative sonic clouds. Then, Mori’s music distributes psychedelic ef-fects in the tradition of krautrock legends like Günter Schickert, just without the echo fuzz.

Additionally, in warm vibrating seconds, his creations remind on the calm flashes in the musical work of English photographer, musician, and artist designer Steve Hiett, while Mori’s ambient spheres come close to the magic vibe of records like “Pier & Loft” by his fellow countryman Hiroshi Yoshimura.

A mixture, that transports considerate listeners into the meditative world of Shunji Mori, a calm island of bliss, made for all those that follow the heedful path of life.

Released in partnership with SEGA of Japan and composer Tomoya Ohtani, The Music of Starfall Islands is a collection of beautiful instrumental and classical-inspired tracks which are used as the background music for the various islands in Sonic Frontiers. The music for each island is presented as a suite, containing several movements that layer upon one another and build up to a climax, each with its own distinctive tone and feel, much like the islands themselves, which range from green meadows, to arid deserts, volcanoes and beyond. The music, composed solely by Tomoya Ohtani, is often stripped down, melancholic, and unexpectedly experimental, featuring an array of unusual sound sources (including Iranian percussion, Celtic vocal samples and Armenian folk instruments). In other moments, it is often rhythmic and emotive, with the addition of subtle electronics and the grandiose strings of The Nashville Scoring Orchestra.

While this release is by no means the complete soundtrack to Sonic Frontiers, we are thrilled to be able to present these beautiful and intriguing tracks as a collection on their own. With its downbeat tone and new compositional approaches, this music is unlike any Sonic soundtrack that has come before and may well subvert the expectations of some long-term fans, but should also surprise and delight audiences both new and old.

As Tomoya Ohtani explains in his liner notes for this release: “I wanted to create an atmosphere for each song that, despite the sadness it carries, also has a glimmer of hope. I do not believe there are many other pieces of Sonic game music that focus so much on the atmosphere as the tracks on Sonic Frontiers do.”