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Where Is Your Toughness Now (No Forgiveness) finds the listener surrounded by a sense of dread and imminent doom, a collection of shrilling glimpses and brooding ambiances, distant broken memories made sound and sudden disturbances. At the end of the track added piano notes will increase the creepiness, preparing us for what will come next. More More More More (Courting Insanity) dwells in deep power electronics territory, and we will find ourselves in a bleak sea of chaos and madness. Obsessive rhythmic patterns and majestic effects impose a robust march, evoking a mechanical world inside our vicious mind. Just when you think this is it an eerie melody complete the scenario. Breasts In Sight (Demand A Choice) surprises with delicate ambient synth sounds and crystalline atmospheres in a droning course, reaching after a while a stomping movement with martial innuendos and distorted kick drums. The listener finds himself in a complex mix of emotions underlined by melancholic notes and ominous soundscapes, perhaps showing us personal facts from the author’s life.

Lifestyle (After The Rise Comes The Fall) is a rhythmic noise affair with cinematic elements and abrasive atmospheres with suspended parts and heavily manipulated vocals. A nightmarish voyage into anarchic assaults and controlled darkness reaching orchestral greatness. Monogamy Rules (Not Belonging To Anyone) uses suspense as a device showcasing broken sounds and shrilling lines, conjuring an alarming sonic world for us. The tension grows as the highly cinematic crescendo reaches an industrial climax with sci-fi qualities. Inner thoughts and ideas become a compulsive soundtrack to the demise of our preconceptions and in-built credos, leaving us with a sense of uneasiness. The last track Masculine Norms (The Many Faces Of Manhood) drives the message home by the means of eerie soundscapes and cut-up sounds, giving us a crawling movement with sparse rhythms and soothing hidden melodies. Distant laments evoke a deeply disturbing portrait of struggle and mixed emotions.
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Imagine Plantasia was an animated film narrated by Jacque Cousteau and the musical score reminds you of your favourite library record. “Ambitus Of Beauty” invites you on yet another beautiful and timeless full-length journey through various magic moments, scenes and soundscapes created by Natureboy Flako. You will be floating on a vast stream of memories, ideas, thoughts, wishes and feelings translated into sound while your mind starts dancing gracefully and is likely to drift into nothing and everything at the same time. Carefully crafted with a great sense of oneness, this album is offering a mind travel to focus and re-calibrate. Music Heals!

For fans of Plantasia (Mort Garson), Brian Eno, Suzanne Ciani, Vangelis or Ryuichi Sakamoto.

Redlight returns to the UTTU after his previous City Jams EP on Hot Haus Recs. Here he reps Dance Trax with 2 insane mind bending breakbeat infused klub trax. Totally Enormous Extinct Dinosaurs &, Marquis Hawkes both rerun Gamma Ray in different directions providing the ultimate club package!

Cinthie’s 803 Crystal Grooves Collective Cuts returns this June with
a fresh four- track EP from S3A aka Sampling As An Art.
Parisian producer and DJ S3A has been releasing his take on soul-infused, sample heavy electronic music over the past decade via imprints such as Syncrophone’s Phonogramme, Lazare Hoche Records, 4Lux and Dirt Crew where he dropped his debut album. Here after the success of his debut LP ‘Pages’ and the ‘92’ Anthem’ track, which featured on the inaugural Collective Cuts release alongside music from Asquith, KETTAMA and 9th House, S3A returns to the imprint to conclude the story of his half acoustic half electronic album with the ‘« Pages » Epilogue’ EP.

The debut offering from Shakey, a new project from Silvia Kastel and Lizzie Davis (Wilted Woman). Shakey, then, is a syncretic meshing of both artists sensibilities, encompassing both’s love of digi-dub, jungle, musique concrete, and the fusing of ambient textures with abstracted rhythms.

Front cover and label artwork by artist Chris Lux.

Mastered and cut by Simon Davey.

If you know Dervaig is actually a small village in Scotland you begin to understand why the openingtrack of Sigward’s Balmung Beam EP sounds a bit eerie and dark. Long, long ago the Vikings came ashore at Dervaig (the word means ‘small inlet’ in Norwegian) but in the winter of 2019 Dutch producer Sigward uses it as a passage way to lead us into his new record. Balmung Beam is Sjoerd Sigward’s second EP for SoHaSo, the follow up for the well received Black Mambo-single from 2014. In the meantime Sjoerd moved from Holland to Germany, where he now resides in Berlin. This step has provided him with a cinemascope view on dance music, as his new EP clearly illustrates. Italo-esk flavors on the title track, meditative pulses on the beautiful Woodland Wells Inc and spacious Andy Stott-like tension on Jettison. DL/MS take Balmung Bean to new wave territories on their slumbering arpeggio-driven remix. You might just stick around in this small inlet.

CYCLE 1 is Standard 's debut album, the result of numerous "jam sessions", from which François Giesberger (François Ier) and Baptiste Malgoire (half of the duo Supernaive ) isolated the most conclusive elements, pushing their potential to the point of obtaining tracks with complex but resolutely accessible structures. The result, fruit of a permanent dialogue between the two musicians, is an album with diverse influences and a pronounced melodic dimension, navigating between electronica, ambient, breakbeat, acid and downtempo... CYCLE 1 , scheduled for release on October 30th, 2020, will thus introduce the first cycle of Standard Records ' activities.

Sunny & Deck Hussy bounce across the various Kniteforce labels with a speed and enthusiasm matched only by their music. But this EP is a little bit special. Capturing the early warehouse rave vibe perfectly, this is an EP of tunes for the breaking dawn of all night raves. That transcendent moment between night and day, when nothing seems quite real, and reality is a malleable future. Perhaps that is too much to lay at the feet of a 12” EP, but this EP brings that level of emotion, transporting an old skool head like me to that very moment…I am sure it will dot he same for others….

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Bristol based artist, Sunun with a killer 6 track EP - the first 12" of the year on Idle Hands (ran by Chris Farrell) . A member of the city's Young Echo collective she has made waves with her abstracted take on dub for Bokeh Versions and Cold Light Music, gaining praise from Adrian Sherwood along the way. Her most recent release was a collaborative EP with Giant Swan’s Robin Stewart.

Over these six tracks we are invited into her sonic world, described by the artist herself as “a step towards rhythm tracks, with shallower themes and confidence, with priority to the ancient components; the drum and voice”

Adventurous, brooding and unique - this is an EP you need to hear.

Proceeds from the EP will go to Ace, a charity organising 1:1 music sessions with teenagers in the local area where Sunun has been doing work.

“Ubaldo’s music is chaos and calm, like rivers of sweet lava erupting from a volcano” – Suso Sáiz

“Ubaldo is able to transport us to the most remote sounds, to places we have never been, but we are made to feel at home. He uses ambient, experimental music and minimalism with the simplicity of the masters of the genre to express textures, dynamics and melodies that capture and inevitably lift you. One of the warmest and deepest albums that we will hear this year.”
– Fernando Junquera a.k.a. Negro

“Urpa i musell are pleased to present the third album by Ubaldo, Casa. Ubaldo is the most personal project of Andreu G. Serra, the curious musician from the Ebro Delta, currently living in Brussels.

Andreu has a variety of music projects to his name, each with a very different direction. In Bimbo Picasso he demonstrates a modern look at his punk roots; whereas Or Sobre Blau — in collaboration with Kiran Leonard — is an intuitive dialogue established between two very different guitarists in the present day, where understanding and incomprehension complement each other. With Ubaldo, Andreu delves into his current frustrations and future yearnings.

Ubaldo’s second album, La pèrdua de l’estat (2017), was a genuine discovery, both by the label and the Discos Paradiso store. That is why it is a privilege for us to be part of the release of his third album.

Casa (‘house’ and ‘home’ in both Catalan and Spanish) is presented as a record of change. Andreu seeks freedom to make music and for that reason he has lived in several places over the last few years. This will involve unavoidable costs, such as a complex relationship with ones home, wherever that may be. This album was conceived to coincide with the arrival at his last destination —Brussels— and became the sound diary of that period.
At that time, Andreu was working on the renovation and extension of a friend’s house on the outskirts of the city. He did various tasks there: clearing the garden, trying to remedy an old, diseased tree, restoring burnt and crumbled walls, building various wooden buildings, etc. Each action became a lesson that went beyond the simple task at hand.
Casa was made while a house, and a link to the new place, was constructed, far from the Delta. The album is a meeting point between the two meanings of ‘casa’: the building we inhabit and the place where we feel we belong. In other words, Casa is the place that Ubaldo built to achieve a balance between interior and exterior.

When everything changes around us, and nothing seems stable, we tend to go into seclusion. During the processes of introspection we tend to focus on the most essential. This is the case with Casa. Andreu’s expansive capacity here is reduced to more precise and elementary gestures. The expressiveness that is so characteristic of him is concentrated to the essential, whilst avoiding formal perfection. The result —a seemingly imperfect reduction— cracks the congenital abstraction of music and gives us a glimpse of the naked Andreu behind it. It is unheard of to be as candid as he is. We feel truly privileged to present this record; we hope you enjoy it too.”

Mastered by Gonzalo Lasheras, design by Affaire, with drawings and handwriting by Yuval Frisch.

44 Tours unites it's local artists to fulfill the prophecy a drunk shaolin-cyborg once told them. The four robotic monks stepping up for this EP (Alder, Same O, Marino & Berg Jaär) have each developed their own secret breaksy adventure tactics to combat a future led by brotherhoods of wealthy capitalistic humanoids. ALDER opens up the fight in pure detroit-electro style. Nested pads nestled in a huge palette of colors and tones which takes us to a galaxy far, far away. Next is SAME O, despite being the youngest padawan is still showing some ghetto and ballsy moves. Wavy and snaky synthwork over a fast think-break pattern and a ravy bassline, no less of a banger here. Breaking through to the other side: the most loyal soldier on the team, MARINO aka the cat yelling at man. He delivers a 303-driven weapon that will break any cyborg neck for sure. The end is surely near, to finish up BERG-JAÄR drops a bassy polyrhythmic manoeuvre, the attention is focused on the complexity of drums and a minimalistic and grooving approach throughout the track. Fight is over, humanoids. The future is saved from the capitalist robots, their world of Confrérie, Pactole & Dividendes is over. Or is it?

Criminal Justice Act mega-rave debut is mainly filled with newcomers and unknown productions, offering an excellent introduction to our beloved local scene here in Lyon. A ‘chamboule-tout’ influenced by dark minds and the secret recipe to a crunchy party!

Repress

full colour sleeve + camo spot varnish / incl. dl code

Chrystabell’s smooth as silk vocals transcend the aether as she reinvents classic Cure songs in Strange As Angels.
Post-Punk, New Wave, Goth - for over four decades The Cure created alternative music so powerful that it redefined the mainstream. They didn’t just master genres, they transcended them. Throughout these varied styles the group maintained an aesthetic continuity, creating a world so vast and mysterious that there’s room for other artists to explore it.
And explore it he does on Strange as Angels, Marc Collin’s new collection of reinvented Cure songs, sung by the ethereal Chrystabell. Produced, arranged and conceived by Nouvelle Vague co-founder Marc Collin, he has again woven repertoire, performance, and his uniquely forged arranging aesthetic into something authentically new.

For Number 5 on his Label Kluentah recrutes the Luchador Chupacabras who had previous Releases on L.I.E.S. Records, Tutamen and Go Finger. 4 nasty and dirty Machine Jams straight out the gutter.

In 1991 Coil released the third of their early classic full-length albums “Love’s Secret Domain”, seemingly casting aside the gloom
and funereal beauty of its predecessors in favour of a painstakingly multi-layered hallucinogenic electronic beast, which unlike
some of their fellow ex-industrial contemporaries’ releases of the time wasn’t an attempt at easy accessibility or (the-godsforbid) danceability, but a vibrating psychedelic masterpiece unrivalled in their discography and still a landmark album.
To mark its 30 year anniversary Infinite Fog are beyond proud to present an expanded, fully remastered re-release of this fan
favourite available for the first time ever in its entirety on vinyl with 10 rare and mostly unreleased tracks and alternative
versions from the period added as a bonus to a luxurious 3LP/2CD set.
Love’s Secret Domain contains among its many highlights the Lynchian William Blake tribute of its title track and the
intoxicating single “Windowpane”, original versions of the later Coil live staple “Teenage Lightning” and the majestically warped
classicisms of “Chaostrophy”. Marc Almond guests on the typhonian “Titan Arch” and This Heat’s Charles Hayward provides
some amazing drum stylings.
This album is Coil pushing their sound ideas and probably their sanity to their very limits. Beyond the iconic Steven Stapleton
cover art here reproduced in unseen definition the doors of perception still open wide for both long-term Coil aficionados and
new-comers to this supremely innovative release to explore unknown depths. The long-overdue re-release illustrates how far
ahead of the curve Coil were with the sounds on this album, which still sounds as fresh and mind-blowing as it did back in the
early 90s.

The Equations Collective is an experimental sound project formed by a multi-disciplinary group of artists, active in the fields of music, photography, sound design & software development.

In 2018, the collective set up a temporary outdoor recording studio, 1130 meters above sea level, on the slopes of Mount Helicon in Greece, with the ambition of recording their work in a natural environment. A 'mobile and modular' construction, fully powered by solar panels, the design of the studio showcases the possibilities of a progressive, environmentally sustainable future through renewable energy.

Embodying ecological incentives, and representing an immersive engagement with the landscape, the 'Helicon Sessions' document this extraordinary residency, capturing a profound dialogue with the eponymous mountain region.

Situated in Boeotia, Central Greece, Mount Helicon has a prominent archaic significance. A historic location where stories of sacred springs and the epic origins of the Muses and Narcissus converge. Steeped in the heritage of ancient narratives, Helicon is seen as a principal symbol of poetic inspiration.

On the 'Helicon Sessions' the collective draw upon the inspiring topography and fabled mythological resonances of the area, unfurling an expansive, hypnotic suite of abstract electronics. Liberated by an open-ended, improvisational dynamic, the collective move through a mysterious, elemental cycle that mirrors the imposing scale and dramatic atmospheres of the setting.

Across an entrancing, fluid sequence of five designated 'cuts', the collective traverse the borderlands of drone, techno, dub, and acid, amplifying the acoustic traces of Helicon by integrating field recordings collected at the site into this arresting body of work. With these recordings, the collective delineate an odyssey of subverted 303s, sputtering drum machines and formidable, oscillating low end that drifts and coalesces like an amorphous mirage; a spellbinding sound world of clarity and shadow.

The 'Helicon Sessions' signify a symbiosis (between the terrestrial and the engineered, between wildlife and futurism, between the intrinsic and the synthetic, between the innate and the manmade) And with their conception of a portable, eco-friendly studio The Equations Collective focalize valuable ideas centred on ingenuity and evolution. The outcome of this project illustrates a unique collaborative exchange which acknowledges the deep nuances of environment and the enduring echoes of history.

The Equations Collective is a collaboration between Artefakt, Aroma Pitch, Aphelion and Sphera De Noumenon across Berlin, Amsterdam, Cologne and Hamburg. Together they have established an all night long live event in Berlin, starting at Sameheads and Acud Macht Neu, which eventually lead to their residency at OHM (Tresor).

For this format they have collaborated with the following artists: Alex The Fairy, Anna Z, D-IX, Eliad Wagner, Jón Friđgeir Sigurđsson, Orson Wells, Phillip Jondo, Philipp Matalla, PRSMC, Rabih Beaini, Sabrina Gricourt, Sébastien Robert, and Vida Vojić.

The respective members of The Equations Collective have released a range of output on the likes of Field Records, Delsin, Semantica Records, De Stijl, & Soul People Music.

Since 2018 their visual identity has been shaped by Elias Hanzer.

The 'Helicon Sessions' is their debut release.

Mannequin Records is elated to present for the first time on vinyl the reissue of Giovanotti Mondani Meccanici’s first video soundtrack, originally released in 1984 as an audiotape in less than one hundred copies. Giovanotti Mondani Meccanici (literally Mundane Mechanical Youth) or GMM was one of the most unclassifiable audiovisual experiences to emerge from Italy in the 1980s. Maurizio Dami a.k.a. Alexander Robotnick, a pivotal member of GMM, was responsible for the group’s music output.

Founded in 1984 by Antonio Glessi and Andrea Zingoni in Florence, GMM was an art collective whose production represents the quintessential expression of postmodern transmedia hybridity. GMM pioneered the genre of computer comics, created video installations, developed “multiple identity” performances, and was involved in fashion, media, and music productions, and later on produced cyberdelic environments, artificial reality projects, and proto-memes.

Alexander Robotnick’s first contribution to GMM was this soundtrack for the group’s eponymous first video, the animated version of a computer comics they coincidentally published on legendary Frigidaire magazine. Restored by Dami and reissued here for the first time by Mannequin Records, the composition was also split into two “suites” and released as an audiotape distributed by Materiali Sonori, also responsible for other releases by both Robotnick and GMM.

Determining in this work is Dami’s adoption of the alphaSyntauri, also known as the first affordable digital synth (priced less than $2000 when it was released in 1980), which was playable through its own software, “alphaPlus,” on the Apple II computer. The same computer was used by Glessi to “draw” the 3-bit strips scripted by Zingoni recounting the joyrides of the Giovanotti Mondani Meccanici, three merciless cyborgs in black suit and sunglasses dividing their time between nightclubs, rapes and murders.

As Robotnick, Dami developed an innovative formula of Italo disco that was attractive to the dance floor yet at the same time highlighted the expressive properties of the instruments he used, notably Roland drum machines and Korg synthesizers. For the soundtrack of GMM’s videos and installations, he left aside the danceable synth rhythmics in favor of ambient sounds that produced rarefied atmospheres, psychological tensions, and enhanced states of consciousness.

Dami’s scores for GMM’s artworks could be associated with Italian avant-garde music of the 1970s and 1980s, ranging from composers who adopted electronics flirting with pop and songwriting to minimalist musicians exploring seriality and drones, including Franco Battiato, Roberto Cacciapaglia, Francesco Messina, and Riccardo Sinigaglia. Analogies could also be traced with the playful and humanizing approach to personal computers that characterizes the music output of Marcello Giombini and Doris Norton.

The futuristic escapism of minimal synth and ambient music’s psychological nature is infiltrated by drifting harmonics typical of new age, as if in search of a spiritual dimension of technology. Characteristic of the postmodern ethos of GMM Suite, in line with the humanizing approach to technology that is at the base of GMM’s computer comics, is the melancholic take at speculative dystopias in which human beings would find themselves increasingly trapped into identity crises: a true cyborg’s melodrama.

2lP bundle of Helium - The Works reissue, the original as well as the unreleased mixes.

Long out of press, Helium’s seminal 1993 masterpiece ’The Works’ E.P. eventually sees the light of day again on Kalahari Oyster Cult. A head-turning slab of visionary house and trance music, ’The Works’ hasn’t aged one bit and its dancefloor appeal sure hasn’t lost any of its high-impact melodic beauty. Driven by the subs-towed harmonics of the wistful ‘Out There’ and fun-loving cowbell rides meet gut-churning 909 kicks of ’Try Me’.

An off-kilter ambientoid trip, B-side opener ‘Clouds’ draws closer to The KLF’s chromatic blends, whereas ‘We Are The Future’ expands the scope to further utopian apexes with its soothing assortment of nu-agey panpipes and slo, Sino-flavoured chug. Rounding off that mini-odyssey, breaksy pastoral closer ‘What Is The Human Machine’ takes us on a trip-hop-informed, acid-friendly ride in the wild.

3 unreleased mixes that have nothing to envy to the originals that have been unearthed: If ’Try Me (More Mix)’ does exactly what’s written on the tin, i.e. expanding the scope to further spacious, ambient-informed horizons, ‘Clouds (Captain’s Mix)’ opts for a more abstract, ASMR-like rendition, while ‘Out There (Jody’s Mix)’ reels out as a proper hypnotic, sense-awakening comber that’ll send off dancers straight into a blissed-out daze.

With a fundamental emphasis on the encouragement of genre hybridization, Evar Records, the Los Angeles-based imprint co-founded by Trickfinger (John Frusciante) and Aura T-09 (Marcia Pinna), continues its momentum with an expansive 9-track collection from Netherlands-based luminary, Limewax.

After making a strong first impression with its 2020 debut offerings, Evar Records has recruited Limewax to carry forward its mission of blurring boundaries and challenging conventions in electronic music. The Ukranian hard drum and bass hero happily obliged, referring to signing with Evar as a breaking point which allowed him, finally, to take full stock of his background in classical and electronic music simultaneously. Although Maxim Anokhin is widely known for his hard-edged breakbeats, releasing on labels such as Tech Itch Recordings, Position Chrome, Freak Recordings, and PRSPCT, the full scope of his artistry shines through on Untitled.

The opening cut, "Porcelaineworm," is a futuristic electro cut recalling IDM classics like AFX's "XMD5A." Of course, the virtuosic drum programming and hectic D&B sound which Limewax has built his reputation upon is here in spades on tracks like "Stay Lackey. Cuts like "Ushio" and "Whay1" are fascinating studies in contrasts—the former balances bludgeoning techno of the Ansome and Perc variety with a resolve that recalls Fennesz's pastoral glitch abstractions. "Whay1," meanwhile, is sub-rattling drum and bass nuanced by cinematic string themes. "Getupa" is an experimental beat track that truly bangs, its layers of texture and field recordings placing Limewax in the company of bleeding-edge acts like SVBKVLT's breakout star Hyph11E. The very next track, "19NB," is a subtle update to the original minimal technical template established by Detroit icons Robert Hood & Jeff Mills.

While most of the album hurtles forward at hard techno and D&B tempos, "Maleisae" is a sensual 70 BPM track mixing ghostly R&B and acid. That spectacular cut heralds Untitled's intricate denouement. The brief "Wernmqbram" effortlessly reconciles a baroque minor-key piano theme with the renegade snares of classic jungle. "Hasan" is a true "closing credits" master stroke, half-time acid giving way to gorgeous IDM-meets-Blade Runner synth leads.

Far from a genre-jumping hodgepodge, Untitled is a remarkably coherent full-length by a virtuosic artist free to explore the entirety of their creative influences. The Tilburg-based artist cites the poets Marina Tsvetaeva and David Whyte as influential on Untitled and also listened to works by 1771-1862 works by organ builders when crafting the album. The end result reveals Limewax as a masterful, diverse artist, capable of any style he pursues. It's a clear indicator of the boundless promise of Evar's core principle—a staunch refusal to put artists in boxes.

With or without a drink in hand, moderate temperature, no need to jump into the wet. One night AT the pool, not inside. Palm trees or succulents - not far from here, the vegetation has adapted to the situation. A soft rustling: Possibly crickets, probably also the wind. No traffic and certainly no civilization, which right now would probably only disturb with its long agenda of responsibilities. HYPNOSIS AND MUD - Healing hypnosis, healing mud. The half-frustrating, half-liberating feeling of saturated soil between the toes. A state of inner peace. Instead of a voice, you hear primitivist percussive explorations. A groping and grasping of the bare feet, with delicate toes. Abstraction is followed by the concrete: a walk through the ORCHIDEENGARTEN RUSE, an orchid garden close to the Bulgarian town and not far from the Romanian border. Digitally, but not unreal. Perhaps even better than reality - anyone can do that. The (unofficial) soundtrack to this would not only make the Canadian composer Mort Garson happy. A lady‘s shoe kindly looks at us. If you turn around, you arrive on the other side: A LINE HAS TWO SIDES. Conundrum-like images, dissolved one-dimensionality. Candid narrative ambiance. A clarinet calls to duty. Civilization and traffic after all? SUNBEAMS ON YOUR CAR. Urgency, a clamor of voices - both in their best form. Yet again – the clarinet, the blunt reality: ONE NIGHT AT THE POOL. We are still standing here, we probably never left. A three-part journey – with delicate transitions. Three destinations: Now forever united. Dissonant and yet pensive. In the far distance the advertisement for the collected works of Meredith Monk. Hair erect, the little skin nerves contract, goosebumps - at last!

Limited hand stamped copies..

First release from Binary Digit’s new label Postal Code Records! Limited copies..

Since 2016, Milkman has been a pioneer in India’s ever-evolving electronic music scene. From building the foundations of India’s warehouse-rave culture, to consistently curating international and local artists at the forefront of the electronic musical underground, Milkman has quickly become a formidable force. Both editions of its festival, ‘Terminal 1’ were highly well-received, and this year, Milkman brings its first ever release as a label to the world.

Azu Hoyvoy’s music feels like it has a toehold in the world of left-field dance-floors, while also being comfortable in any post-apocalyptic sensorium you can dream up. This peculiar trait should not come as a surprise. The chaos, darkness, and simultaneous beauty of the city from which he hails all make for a hard cocktail of deep-uplifting-frightening-introspective fervor, spilling appropriately into this record.

The twenty-three-year-old Mumbai-native’s previous music is largely dominated by RnB and Soul, and in some ways feels like the proverbial Jekyll to Future Literature’s Mr. Hyde. To the extent that Azu’s previous incarnation still resides in his darker counterpart, it shows in Future Literature’s multi-faceted grooves and syncopations that are relatively unique in this spectrum of electronic music. This collection of tunes finds a very suitable corner in the eclectic and forward-thinking home of Milkman, and the result is an enjoyably mind-expanding, if sometimes disconcerting record.

Small Moves level up with a killer debut EP from Dufi. Slick, skillful and precise, no button bashing here.

Freedom is the debut EP from South East London vocalist + DJ Ell Murphy for Shall Not Fade sub-label Time Is Now. The EP sees Ell collaborating with 5 acclaimed producers in the UKG scene; DJ Crisps, Stones Taro, Highrise, Picasso & Tuff Trax; each one hand-picked by Ell to bring their unique production style to the release; and made entirely during lockdown over the past year, working remotely with the producers based in Rotterdam, Australia, Japan & London.

Clear Vinyl

WRWTFWW Records is happy to announce the release of Para One’s new album SPECTRE: Machines of Loving Grace, available in half speed mastered 180g double lp housed in a heavy sleeve with UV spot varnish. Machines of Loving Grace, the new album by Para One, whose real name is Jean-Baptiste de Laubier could be called fiction. It is an object freed from constraints, formats, genres, territories: the gospel of a new world. Six years after Club, eight years after Passion, his previous LP, this lover of electronic music, who has also been putting his sensitivity to the service of movies (soundtracks for Céline Sciamma in particular) opens with this record a new dimension in his artistic career. “I needed to break away from patterns and systematisms of formats, and take unexpected turns. To do so, I had first to allow myself to do so”. Allow oneself and maybe above all confront oneself – with one’s childhood, with one’s childhood’s ghosts, and what fantasies, ideals, memories, and grey areas they harbor. He had to go back – without giving up on his position as an adult, as a full-fledged artist – to the sources of his imagination, to the moment when music was holding almost mystical power. And then revisit it to make something new out of it. Just like Sanity, Madness & the Family (the feature film directed by Para One that he just finished and of which it is a consubstantial part), Machines of Loving Grace has an investigation around a family secret and the father figure as its starting point. “When you go down the path – of a work, of a person, of the past – you never really find out what was. You find yourself

Just Another Label and Kniteforce bring you an absolute classic slice of remastered old skool with this much sought after EP. Perfectly preserved on DAT and now lovingly remastered, these 2 superb anthems from yesteryear are finally available again. These Vibes and Wishdokta remixes have been chased for years, and came out when they were at the peak of their talents!

CCF on mindcolormusic.

Welcome to Mold. Damp corners of a lonely room, kept barely heated by an oil stove, trap themselves in snares of darkness. The crushing of packed snow beneath chained tires, as a truck slowly crawls its way down a buried road. Down, down, down; there is nothing but the momentary glint of pitiless forms as the headlights pass by.

Recorded live on New Year's day in Yellowknife, this serves as official documentation of the sole performance of Funky Doodle. For those who remember it, now it remains.

Funky Doodle is comprised of James K, Draveng, and Dj Richard.
All tracks are taken from this live performance.

Furious debut from Kesa Getame. Precision drum programming and remorseless, uncompromising swing across four battle-ready tracks. It's music situated within dystopia, no doubt, but associations with only cataclysm and dread seem superficial. Vicious euphoria feels more appropriate, and it delivers this within a cutting-edge framework that manages to balance meticulous detail and raw expression whilst making it all sound effortless. Serious business.

"Neon Lies" started as a synth-wave bedroom one-man project in late 2015 by Goran Lautar while he was still singing and playing guitar in Modern Delusion and The Celetoids, prominent bands from Zagreb D.I.Y. punk and post-punk scene. Soon after that initial period, the project already became a full-time one-man-band adventure.

Since then, Neon Lies toured and played shows endlessly, releasing two albums (“Neon Lies” and “II”) and now presenting his third full-length album “Loveless Adventures”. The 9-track album is a result of one-year making and relentless touring and it’s a perfect blend of minimalistic lo-fi darkwave sound of Neon Lies’ early stages when Goran was revisiting his teenage crush for early minimal synth-punk and proto-industrial, and the second album, when he was more into exploring experimentation with repetition, noise, electro and up to date sounds and ideas from European underground dance floors.

This album, recorded and mixed, as always, directly on tape by the man himself, finally brings all of this together in one deeply moving and authentic intimate disclosure of personal loss and gain, euphoria, happiness, and sadness. But no matter how much this journey was loveless, it was profoundly loveful. Dedicated to all the loners and their dealers.

Eleventh album released by Odin Kaban. An album of electronic listening music, eclectic and with a strong personality. Each of the 7 themes that compose it is a unique journey that invites the listener to get carried away. A mature and creative work, full of brushstrokes of multiple styles and influences that make up a solid whole, that will delight the most demanding ears

The Solar Winds EP completes a trilogy of EP releases from London based DJ/Producer duo Suburban Architecture. Drawing heavily on influences from one of Drum & Bass's most innovative eras, the mid to late 90s, the duo's productions place a contemporary spin on sounds rooted in this golden era of dance music.

In a similar vein to the previous two EP releases (2019's "Visions" and 2020's "Alternative Futures"), this new 4 track EP delivers another collection of sounds that meet at the intersection of 90s and modern production. Title track "Solar Winds" laces rolling drums over melancholy piano riffs, ultimately giving way lively jazz drums, spacious atmospherics and unexpected bass twists. "Unwound" marries dreamy, swimming layers of pads and flutes with Jungle drum programming and a bubbling b-line to deliver a track that sits somewhere between '94 Jungle and Jazzy roller.

"Renegade Horns" meanwhile is all about contrast - subtle pads, piano and of course atmospheric horns clash with massive Dillinja-inspired drums and weighty bass. "Footprints" closes out the EP - an epic roller packed with textured Rhodes, female vocals, light synth lines and a distant guitar.

The second release on Club Qu Records is a pure sheller of an EP from two longtime friends with a mutual love for UK future sounds. Anthea, ancient greek for ,,blossom" is referring to Thrived as a concept of mutual growth. Cconsisting of four tracks threaded together by rolling percussive sounds and breaks. The two present a clear tendency towards modern UK Club sound, yet carrying a bit of past reminiscent Berlin Techno aesthetics. The artwork is created by the ClubQu community.