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This album follows intergenerational trauma, fugitives of Christian violence in a twilight called Puruma, returning to Mama Cocha, the sea that theorists call Nowhere. Dedicated to the life of Paul Sousa, who while incarcerated, worked years as an inmate firefighter across the Sierra Nevada of California. Also dedicated to the work of Sage LaPena and Dr. Gretel Mendizabal Nolte. (Includes misreadings of Jimenez, Saenz, Claudel, & Wright). Not one, not world, not body, not god, not salvation, not zero; only a ceaseless approaching toward, with, and as the great mystery, by Grace, Tatamama. Jallalla.

ORCORARA 2010 was commissioned and released in 2018 by Centre d’Art Contemporain, Geneva, CH for the first floor at the Biennale de l’Image en Mouvement 2018 ‘The sound of screens imploding’.

It is with distinguished sensuality that Mazargues Affair have crafted this release for Sentaku, an EP effortlessly blending the sizzling sunshine of Southern France with the decadent personality of Tokugawa Ienari. By infusing their melodies with a delicate touch of extravagance and an intoxicating yet delicious buzz, the collective are set to captivate the imaginations beyond their local scene of Marseille. Electrifying beats pulsate throughout the tracks, with intricate and vigorous sonorities reverberating against the floating soundscape. This indulgent house composition is reminiscent of the Edo nightlife under the reign of shogun Tokugawa Ienari, a time where the senses are consumed by nothing but absolute pleasure.

Principe’s sibling label Holuzam returns with a provocative exploration of western exoticism and all its romanticised and questionable aspects. It’s the work of Venezuelan native Alexander Molero, here playing on sounds familiar from the works of Martin Denny, Jürgen Müller, Andrew Pekler and Mike Cooper, as well as Venezuela’s own electronic pioneer Alfredo del Mónaco’s pastoral wonderings.
Now living in Barcelona, Molero has experienced first hand how his own cultural heritage has been romanticised by people he’s met in Europe. Taking inspiration from “the tropical lowlands to eternal snow”, a book written by German naturalist, painter and graphic artist Anton Goering (who spent several years in Venezuela in the late 19th century and who is perhaps best known for his drawings of Venezuela’s native birds), the music on ‘Ficciones Del Trópico’ is a sort of meta work of sonic fiction, an artist from the outside looking in to his own culture.
Using a Yamaha CS-60 Synthesizer, a space echo and a world of midi flutes, pipes and nature sounds, Molero imagines a utopian voyage inspired by the tropical and exotic desire of European traveller’s first contact with foreign and unexplored lands, creating soundscapes evocative of travellers that faced the vast unknownof the Amazon forest in the 19th century. Of course, all of that has a world of connotations; colonialism, appropriation, slavery - making this not only an absorbing and highly evocative listen, but also a multifaceted and thought provoking one.
Highly recommended.

Dread Recordings have remained on the forefront since they began releasing music in the early 90s. Since then, both drum & bass and the imprint have moved from strength to strength, with Dread staying true to the sound which remains a pinnacle of the genre's roots. And alongside head honcho, Ray Keith, the British legend that played a pivotal part in the early jungle scene, their A&R skill has remained the same since their first signing. Their subsequent LP 'Ray Keith Presents: Margaman' is a testament to this, rolling out a definitive part of the Dread Recording's roster to bring this 2 track 12" sampler to the thirteen track album which once again puts their commitment to drum & bass on a podiu

Watching Shackleton’s music morph from dislocated bass experimentation into psychedelic electro-jazz fusion has been a joy. This latest is his most cosmic set to date, following last year’s heady Tunes Of Negation LP “Reach The Endless Sea” with an undulating trio of organic/electronic collaborations with Polish clarinet virtuoso and multi-instrumentalist Wacław Zimpel.
In a world seemingly hellbent on tearing itself apart, it makes perfect sense for two musicians from such disparate backgrounds and disciplines to come together to create a new musical vernacular. Sam Shackleton, returning on Cosmo Rhythmatic after his previous outing on the label as Tunes of Negation, and Polish clarinetist/multi-instrumentalist Wacław Zimpel have joined forces. Their offering is a new album for the label: three long tracks of spiritual introspection and ascensional energy. A work of unison and solidarity.
Both boasting a track record of successful collaborative projects, the two artists have united after being introduced by mutual friends, in wake of a shared interest in minimalism and a broad set of influences rooted in different musical traditions. Joining Zimpel’s demanding multi-layered experience in Avant-garde jazz with Shackleton’s mathematical, esoteric lyricism, the pair have used all the tools at their disposal, aiming at a new form of ritual trance music. This fierce fusion of styles brings out the very best in each other, showing unique clarity and force.

soundsystem testers, built and ready for festival season.

After the success of their first release, DSC - Far Reaching/Too Hard, Holding Hands is back with their sophomore outing and as before it is taking no prisoners.

Inspired by a Nicolas Lutz set as he warmed up Fabric for Villalobos a couple years back, the Furnace has a break beat that will push the subs of any club to the limit. With every build and drop it increases in momentum until you are left with no choice but to throw down on the dance floor with unbridled passion. The Furnace may be all about the big beat but it is no one trick pony. The tune has a depth and weirdness to it that will certainly keep you coming back for more...

The Sorcerer is a collaboration with good friend of DSC's, Guava. It is made up largely of recorded percussion and vocals at DSC's studio in South London, which gives it a very special swing on the dance floor. The track lulls you into a false sense of security for the first third before finally letting the big freakiness out of the box. This is one for any DJ that wants to leave clubbers going nuts and scratching their heads at the same time.

Both tracks are produced and sculpted for the club. They want big sound systems and dark rooms.

Close your eyes, hold hands and experience transcendental space flight...

In 1967, 1968 and 1969 most of my works were happenings loosely based on Lewis Carroll’s The Hunting Of The Snark, a not-so-cryptic poem that, to my mind, gave clues to free the theatre in the same way the “new music” had freed jazz. It never made it to record and I gave up on the idea when I met Sunny Murray and Alan Silva when they arrived in Paris in the summer of ‘69. Few concert venues would have anything to do with us but we didn’t want that kind of connection with the public – famous or not (Jacques Higelin joined on occasion!) – which more often than not would join us on stage to bang percussion, sing, dance, freak out. Our favorite part was when we shut down the lights near the end, silently left the stage, and when the light went on for the curtain... The public had formally taken our place.

Galleries, museums and art/theatre/dance festivals, on the other hand, were open to this early multimedia event – complete with films, masks and early electronic devices (Bernard Vitet, the trumpet player, brought an early portable reverb system to the proceedings). The reels and cassettes we rescued from my basement are rather evasively labelled and the following data is far from precise. The core group was me on piano, Bernard Vitet on trumpet and electronic treatments, Beb Guérin on double bass, Daniel Laloux (who later had tremendous success in film, theatre and voice acting) as MC, Jean Frenay and Jean Vern (who did the artwork for le nouveau jazz) on saxophones, Michel Kurylo, Annick Astier, Lambert Terbrack and my then wife Françoise Tusques “singing” and “acting”, so to say. Jacques Thollot, Aldo Romano and later Noel Mcghie were on drums.

I know for sure side A is a studio recording carried out in august 1968 by the comité action musique, an activist group of artists and engineers aiming to reclaim the means of production from the “record industry”. The line-up is me, Vitet, Guérin, Laloux, Frenay, Vern, Astier, Françoise Tusques, no drums (everyone doubling on percussion), and Michel Portal on bass clarinet and saxophone as guest. Side C is a montage of the surviving bits of the happenings that took place at La Vieille Grille between August 1967 – March 1968 (sometimes on a daily basis in ‘68!), the museum of modern art during the May ‘68 demonstrations, and the Biennale Of Paris in February 1969. Sides B and D are less theatre oriented and may have been recorded either at the American center in October 1968, the international students center in November 1968 (Barre Phillips on bass and Barney Wilen on sax guested on these dates but I’m not able to confirm they are on the tapes), or in the winter and spring of 1969. However, the cassette for side b only read “Snark 1969”...

The name of the group (it changed every time it ventured out), the title of the concerts and accordingly the cuts on these LPs were all lifted randomly from Lewis Carroll’s poems and novels.

Back then, I described what we did in this way: “Composers, directors, writers, band leaders, those people are vampires sucking the blood of musicians and actors. They are byproducts of the current state of our society. Yet, someone who has something to convey needs performers... Unless a cultural revolution happens soon, I think it’s impossible to overcome those contradictions. Therefore, I wish that this rendition of the hunting of the Snark would be the last ever rendition of any work of art, and that the next stage of evolution is that any individual craving for expression will have the physical and intellectual means to create without constraints, to freely associate with others, without bearing the weight of so-called geniuses and nobodies. We want to bring to the stage the same revolution that happened in jazz with the new music.

Francois Tusques

Another limited edition Puss release, each copy with a unique, real human kiss mark.

Following the reissue of the V-Neck EP Auto, Emote have sprung back to life with some lost DAT recordings of the band from the late 1990s.

These semi live recordings made at the Spike Studios in Fulham where a back to basics project and a deliberate move away, from computer programmed music.

The project was heavily influenced by the albums Drastic Season by African Head Charge and Get Up With It by Miles Davis. The tracks contain an array of random procession instruments ranging from African pianos to kitchen utensils, vintage synth tones and drones are provided by an Arp Odyssey and a Korg MS-20

The tracks where then recorded on to a 8 track real to real AKAI X-1810D

By the time the delayed Dub Fiction album came out in 2000 the duo had decided to go their separate ways and the project was abandoned.

Your record collection will have to be modestly far out not to find this record modestly far out!

Supported by Alex Night (Fat Cat Records) and Chloe Alice Frieda (Alien Jams)

Faces Vol. 1 - The Many Faces of Killer Smile is available both digitally and on limited edition blue and white marbled vinyl with hand stamped label.

In 1986-87, years before their 1993 debut record, guitarist Øystein Aarseth (aka Euronymous) took a musical pilgrimage to Germany to solicit collaboration with one of his musical heroes. Øystein, who tragically was destined to be murder by former member Varg Vikernes in 1993, bought an Interrail ticket and travelled from Norway to Germany to seek out experimental musician Conrad Schnitzler. Conrad was the founder of West German Krautock incubating club the Zodiac Free Arts Lab in West Berlin in 1968 and a former member of Tangerine Dream and Kluster (key experimental groups in the development of industrial music and Kosmiche electronic music).

Do we see what is really there? On the EP titled “Kelly”, the artist Eden Burns touches the topic of perception. How do we perceive and how do we channel our out-of-body experiences? The 4 tracks on this EP are the result of the artist’s extensive exchange with 4 objects. One track = One Object. The objects will not reveal themselves to the listener when experiencing the music. Not showing the objects alongside the music is a choice made deliberately. The meditative music is shifting, layers of sounds invite to form entirely new objects in one's head. Do we hear what is really there?

When one considers the American post-rock bands that emerged at the outset of what would become the modern era of the genre, the moment when a once fringe experimental form transitioned into a recognized faction of contemporary alternative music, there are only several still active today. Salt Lake City's I Hear Sirens are a member of that circle, having released their debut EP in 2007, followed by two LPs including 2013's Between Consciousness and Sleep, an album that has achieved a place of high regard with fans. However, the moment of their greatest acclaim has since stood as their culminating statement. But now their highly anticipated new record Stella Mori marks the continuation of their inspired exploration into instrumental music and its power to foster emotional release, invite reflection, reward vulnerability, and become the artistic abstraction of a limitless number of interpretations for each individual listener.

We are extremely excited to bring you this first album from French composer/pianist, Julien Boulier, entitled, "A Film Not Yet Made". Just as the title suggests, the nine cinematically indicative and modern classically influenced tracks on this record will indeed transport you into a mysterious celluloid fantasy of sorts...of places and people not yet filmed, of emotions not yet brought to the inner screens of your mind. At times ethereal, and at others dramatic...the piano and other instrumentations ebb and flow in a filmic stream of beautiful dreams and imagery...fairytale like...windswept...romantic...and ultimately grandiose and life affirming. Put this music on and begin filming...!

Kicking Ragga Jungle

Dematerialisation du son.


LTD 300 - Printed Sleeve - Sticker

The third, and final part, of Luke Vibert’s entertaining and infectious cavort through some of dance music’s key motifs, delivers a singular collection of tracks that the creator defines as Rave Hop.

‘Luke Vibert presents Rave Hop’ finds the British producer and musical trail blazer kick back on a bunch of lazy hip hop breaks and breezy samples. Soulful vocals, suave raps and buoyant riffs are expertly infused with dope as fuck beats and booming basslines.

‘Rave Hop’ concludes Vibert’s trilogy of albums for Hypercolour that has gifted us absorbing musical dispatches from the breakbeat and rave frontlines. With an enviable recording career that has taken in countless projects for labels like Ninja Tune, Warp, Planet Mu and Rephlex, Luke Vibert still holds the crown for king of the beats

Originally released in 1986 under Luis Delgado's cult imprint El Cometa de Madrid'

Produced by Luis Delgado (Finnis Africae, Mecánica Popular) and performed by Patricia Escudero, this beautiful record dives into Erik Satie's compositional work thru an experimental optic.

Entirely recorded on Synthesizers, and making heavy use of FX and timbral manipulation, this recording brings out a Satie that's never heard before.


-This record was remastered and cut from the original tapes. However, those tapes were highly affected for what is known as the Sticky Shed Syndrome, and were very deteriorated.

Even though that was professionally taken care of, it was a very long process to get a result that exceeded our standards to be pressed. That being said, there are very few parts were you might find an slight change on sound that was impossible to eliminate completely, due to the above mentioned issue

Clear Vinyl Repress

Shinichi Atobe’s fifth album for DDS, his first in two years. Deep and sublime, the classic Chain Reaction Chicago House vibe, but this time with a swarming Drexciyan undercurrent,
somewhere between DJ Sprinkles, Dopplereffekt and The Other People Place, still 100% Shinichi.
It’s odd working with an artist without ongoing dialogue; no context or an exchange of ideas. It’s all conjecture. Here’s another CD of material in the post from Shinichi, two years more or less since the last one. No words except for the track titles. Oh, a photo this time.
‘Yes’, positivity, hope. But the album starts with a dystopian vision; something like Dopplereffekt’s sound-chemistry experiments, a tense builder. Big optimistic chasms open up, the Piano House euphoria of the title track, beautiful sunset closer ‘Ocean 1’. But there’s a noticeable change too.
‘Lake 2’ is more fraught sci-fi, ‘Lake 3’ a sort of percussive Chain Reaction monster, ‘Loop 1’ on a Drexciyan tip.
It’s all coated in that weird - some people say infuriating - toppy production, witnessed this time in a more tempered and different formation courtesy of an amazing Rashad Becker master, all precise but loosely swung arrangements. Everything slow to unfurl but, also, everything in exactly the right place.

For the third time, we smash the history books with remasters of some absolute classic Sublove tracks. Some of the best in his catalogue, but thats no surprise, Sublove is an artist with no duds. Limited double vinyl as always, bound to sell out as always...This EP comes with 6 much sought after classic tunes, with the added bonus of a recently discovered version of the huge underground anthem..er…”Underground” as well as a brand new remix of 140 by Luna-C & Lowercase. All In all, an essential double pack for any true old skool lovers.

Traditionally the liner notes of an album take on a kind of third-party address, where a writer is delivering their thoughts about how an album makes them feel without breaching that space where they are representing themselves or the moment in time directly to the reader. The goal is typically a kind of timelessness, but as we live in unprecedented times, unconventional methods take on new life, and hopefully importance. In the spirit of that idea... man, is this the kind of album we all need right now. So many of us feel like we're constantly walking a tightrope, are feeling like we can't unwind, are in genuine need of a few moments of respite. Every so often an album emerges from an artist that most likely did not realize when they were composing how timely the results would be, and Lofi Dimensions is exactly that kind of record. It doesn't really matter why it's coming when it is, what's important is that it's here, offering peace to the perturbed and inspiration for the downcast. The American Dollar have long been one of those artists operating in a kind of middle ground, a band with a long history of creating moving instrumental rock that has somehow avoided ever becoming synonymous with modern American post-rock acts. They retain a sort of autonomy in a valued position just outside the boundaries of classification. Blending electronic textures with moving guitar and keyboard melodies, their music has always traveled somewhere in the spaces between trip-hop, electronic, post-rock and ambient, and this inability to be defined is ultimately what sets them apart from the trappings of genre, allowing them to be whatever they want The American Dollar to be in a given moment, always on their terms.

A stream of time and space is surrounding the latest Deeptrax release of versatile and mysterious artist The Jaffa Kid.

Carefully compiled, long awaited 'Tone Poetry' takes you on a journey into the mind of the talented producer. Longing for rave afters and acid sunsets, all in a misty Braindance Rephlex landscape.

Kaleidoscopic deep pads, jungle- rhythms, IDM-moods, robotic drums and aquatic bleeps as well as dramatic ambient tracks are creating a one-of-a-kind album that reflects the influence and passion of the Newcastle- based talent. His very own sound is reflected in every single of the 12 tracks on this remarkable 2xLP that is about to crack homes and clubs alike.

After releasing under labels such as Gated Recordings, La Beauté Du Négatif and Brokntoys, Deeptrax Records is proud to share one of their favourite artist’s work on their own imprint and is excited to share this immense stepping stone with its fans and friends.

* The Death To Digital series continues to go from strength to strength, and this latest installment is perhaps the strongest yet. Paul Bradley brings some proper old skool jungle flavor with his track 'Terror Dread' while Alex Jungle does what he does best and flips the whole piano anthem on its head with 'A Sunny Day In May'. Meanwhile, The Timespan and Mr Arthur make a tune so obvious it become sublime, and new signee Disrupta channels that combo of jungle and hardcore that only existed for a few months in '95 to create 'Lost in Time'

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

The four-track ‘Dream On’ EP is a perfect encapsulation of the pair’s style, seamlessly infusing their sounds to create a unique and refreshing project whereby the duo have once again tested the boundaries of D+B moving into the realms of garage and lo-fi jungle.

Kicking off the EP is ‘Higher Dimension’, a synthwave-infused D+B number with a dark twist. Dreamlike vocals drenched in reverb combined with nostalgic synths and an unforgiving bassline set the listener up for what’s to come. The minimal yet soulful ‘Escape
From U’ follows, bringing crisp percussion and melancholic vibes to this sublime stepper.

‘Lo-Fi Romance’ leads the way for the second half of the EP. Airy pads and bare-bone breaks lay the foundations for this simple yet sophisticated liquid roller. Switching up the vibe yet staying true to the distinct Bop x Subwave sound, ‘Haze’ rounds off the EP, taking things down to 130BPM territory. A clear homage to the sounds of the UK underground with garage-influenced drums and a hard hitting sub.
After the success of their debut EP ‘Love & Other Drugs’ including a number 1 track in the Beatport Garage chart, appraisal from key electronic music publications such as DJ Mag and Resident Advisor as well as radio support across BBC Radio 1, Rinse FM and
Reprezent, it’s set to be a huge year for the duo project.

Punk icons Crass have announced details of their latest EP, ‘Normal Never Was’. Featuring two new remixes of tracks from their seminal 1978 album, ‘The Feeding of The Five Thousand’, with the profits going to charity Refuge.

Heading up the remixes are Richard Russell, head honcho of XL records (under the guise of rLr), and synth-pop artist Glasser. Each of them tackling tracks, ‘They’ve Got Bomb’ and, ‘Do They Owe Us A Living?’ respectively.

Limited red vinyl 12". Edition of 1000 copies.

Hey Existeers!
The new Pudel Produkte release has arrived!

This time, it’s more like a record for yellow press readers – due to the high celebrity density on the two tracks! First, there’s Richard Fearless. The guy has been on the “Mission Impossible” soundtrack and he was famous in New York and London as DEATH IN VEGAS. He composed the music on this record and recorded it together with the slackers of Circuit Diagram, which is why the project was aptly named DEATH CIRCUIT. That’s logical, that’s correct, excellent!

One track of theirs is called “Strom Dub”, and the full length of it has been pressed onto the A-Side of the record. It sounds like Synthesizer music usually sounds: Sexy and warm and cold. The tears of technology dripping onto your head for eight and a half minutes while the spirit of the 80s sneaks in through the back door.

Like the B-Side, this track is a grower, a slow creeper you’ll want to hear again and again. Ac-cording to science, this is just what the people need in these days of unhealthy acceleration. And yes, the B-Side: There’s the track “Teeparty am Waldbrand” which translates to “Tea Party at the Forest Fire”, and it features the fat-mouthed DAS BO and RALF KÖSTER. Trust us, it’s just as hard for native speakers to decipher what they’re saying, but we were assured there’s even a “political dimension” to the track, so I guess we’ll have to listen again. Soundwise it’s a beautifully clut-tered mess, a cold wave sprinkled with bizarre brittle that lures you out into nature.

Ah yes, Pudel Produkte – it’s still minority music from the planet of the apes for people that know where to go, and that is elsewhere than the others.