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London's elusive Lukid has never been one for convention. In the few short years between 2007-2012, he struck out on a seemingly effortlessly impeccable run of releases on fellow iconoclast Darren 'Actress' Cunningham's mighty Werkdiscs imprint, as well as his own label Glum. Those albums and EPs flaunted genre distinctions and embraced a freewheeling approach to melody, rhythm and atmosphere that felt at once exotically psychotropic and yet grounded in a resolutely english eccentricity. Thus, they feel like especially-prescient recent classics that continue to find new fans.

In the intervening years, Lukid's energy has been poured into his stunning monthly transmissions on NTS while his output has been sparse aside from a pair of mindbending EPs via Liberation Technologies and Glum, respectively. Those radio sets serve as a telling blueprint for his contribution to the ongoing Arcola project. From low slung Memphis rap mixtape cuts to clattering industrial cassette rarities, turbulent grime and outsider synth hallucinations there is a warped palette that comes vibrantly alive across the four included tracks here. The stormy bump and spectral melancholy of 'The Drip' and 'Clappers' seems to wed them together as thematic bedfellows across both sides of the EP while 'Head Shrinker' tries to squeeze an overcast psych-pop opus out of a rack of malfunctioning hardware. Spit out the other side of this ride you exit to the chopped-and-screwed goth grime of 'Conked Out', having had your brain smeared with the uniquely viscous ectoplasm that only Lukid can excrete. Perfectly slimy.

Private Lesson: Project from Los Angeles comprised of

Damon Palermo (Damon Eliza Palermo, Magic Touch)
Nick Malkin (Nick Malkin, Afterhours, Post Geography, La Vampires, Sun Araw)

Featuring contributions from

Vocals/Lyrics: Takako Minekawa
Production/Mix: Sam Eaton
Master: Gabriel Schuman

Frédéric Gassita discovered music at the age of five. A little later he quickly proved to be a gifted young musician and have already played on a number of instruments. In 1977 he left Gabon to study in France, his mother offered him his first guitar. His tutors in France spotted the talent of the young man and decided to enroll him at the Conservatory of Music in Châteauroux, where he learned classical music, composition, and perfected his practice of piano, bass and guitar.
Back in Gabon in 1983, Frédéric decided to form the band "Surprise" with his longtime friend Jean-Jean Gateau, his musical influences – his parents introduced Frédéric to a lot of music: Afro-Cuban music, Jazz, Soul or RnB. - forged the sound of the band as well as a strong inspiration from the US funk that invaded the radio waves of Gabon: Earth, Wind & Fire, the Commodores, Maze by Frankie Beverly .... The Guitarist Célestin Assélé Bongo joined the band and provided them the necessary means to record an album. Florence Nang Ekomye, a talented self-taught jazz singer, is immediately recruited, being the voice of Surprise.Benefiting from the unique recording conditions of Studio N'Koussou in Libreville (the recording studio gabonese star Patience Dabany set-up in the early 80s): probably one of the handful studios in the planet to use a Digital 48 Tracks recorder at the time, the young musicians had the strong desire to get the perfect sound: "It took us almost a year to finish the album. We were young and we wanted to do the best we could so we dithered a lot on the choice of songs ..." The result is a sensational production, the use of synthesizers is slamming and the charm of Florence’s voice make the recording quite unique.Beleive Me is an outbreak considering what was being done in Gabon at the same time. Indeed, the vast majority of small Gabonese bands were still mimicking the sound of James Brown in cabarets… The record unfortunately did not meet the success the band expected and seemed to have never really benefited from a real marketing. A year after the release of “Beleive Me”, Frédéric flew to the U.S. and joined the Berklee College of Music in Boston where he studied for six years; the band never recorded together again.Totally unknown until recently, Surprise, primarily an early work from the great composer, still sounds fresh and crisp and we hope it will now get the attention it did not get upon release. Lovely crafted tip-on sleeve. Remastered. 700 copies.

Part One Of A Three Volume Compilation Project By Tunisian Collective Arabstazy, Establishing A Picture Of The Contemporary Electronic Music Scene In The Arab World. This Musical Journey Stands For The Diversity Of This Scene, And Deconstructs The Occidental Perceptions That Sees The Arab World As A Culturally United And Homogeneous Entity. It Is A Manifesto For The Burgeoning Wave Of Post-revolution Futurism.
Arabstazy Is A Multidisciplinary Artistic Platform With Bases In Tunis, Paris And Berlin. It Is Dedicated To The Research Of The Connection Between Heritage, Identity, Culture And Digital Arts. Founded As A Collective By Tunisian Electronic Musician Mettani, It Has Since Then Relentlessly Questioned The Meaning And Relevance Of The Supposed Arabic Unity. Following The Arab Spring Events That Brought A Major Change To The Maghrebi Cultural And Artistic Ecosystem, The Collective Explores How The Arab World Is Perceived And Perceives Itself, And Lays The Foundations Of What Could Be Part Of A New Wave Of North African And Middle Eastern Futurism.

Arabstazy's Vision Is To Create An Autonomous And Singular Form Of Mindset, That Is Aware Of Its Representations. An Identity Quest Immersing Its Roots Into The Future, While Highlighting And Transmuting Its Traditions. This Mindset Is To Evolve Into A New Artistic Language, That Would Have Been Released From The Colonialist And Orientalist Perspectives. A Process That Will Eventually Focus On The Interactions And Connections Rather Than Shape Or Style. With This Objective In Mind, The Idea Of A Musical Compilation Emerged. It Would Be The Assessment Of How Diverse, Shattered And Intricate The Arab World Actually Is. Paradoxically, It Would Be The Cement Of An Independent Arabic Underground Electronic Scene. A Scene That Doesn't Need Common Aesthetics Nor Similar Codes To Build A Sense Of Belonging, Because That Belonging Eventually Relies On The Similarities Found In The Constant Struggle From Which The Creative Process Arise. In The Frame Of Political, Social And Religious Dictatorships, This Is A Creative Process That Is Born Under Frustration.

Following This Artistic Direction, The Collective Gathered Tracks From Various Artists That Connected In Their Own Way To The Concept Of Frustration Constrained Creation. With No Imposed Genre And The Strong Will To Build A Mosaic Heterogeneous Project, The Compilation Eventually Featured Tracks Ranging From Indie To Idm To Club Music To Abstract Noise. This Is Quite An Unsettling Tracklisting For Those Who Were Expecting The Usual Oriental Electronic Bland Cliche´. This Process Eventually Echoed With The Work Of Parisian Label Infine´. Infine´ Defines Itself As A Space Of Diversity, Away From Any Kind Of Genre Or Ethnic Compartmentalization. Since A Dozen Years, It Has Developed These Values Through Several Projects, Including The Compilation Series « Explorer ». Through This Compilation, They Discovered One Of Their Latest Revelations, Deena Abdelwahed. She Herself Led To The Encounter With The Arabstazy Collective, And The Label Found Much Sense In Supporting The Under Frustration Project, In Professional, Political And Spiritual Ways.The First Volume Pays Special Attention To Tunisia And Egypt, With A Touch Of Paris & Berlin. Alexandrian Band the Triangle, Releasing Their Very First Track, Dramatically Opens The First Side With A Song Evoking War Refugees That Have No Choice But To Abandon Their Homes And Risk Their Lives On Makeshift Boats. ismael, Member Of The Kairo Is Koming Collective, Comes Right After With A Cranky, Cracked Batch Of Grimly Forward Club Music. He Is Immediately Followed By shinigami San, Founder Of The Tunisian Collective World Full Of Bass, With A Metaphorical Experimentation Depicting How A Fragile Melody Can Arise Despite Of Being Crushed By A Brutal Rhythm. Then Comes Mettani, Founder Of The Arabstazy Collective, Showcasing Esoteric And Syncretic Aesthetics, Blending Sacred Church Choirs And Muslim Awakening Call Into Industrial Grooves. Paris-based Artist terra Aziz Closes This First Side With An Very Introspective And Esoteric Track Evoking Iranian Leper Kids. Second Side Starts With muudra, A Moniker For An Artist Who Keeps Himself Anonymous And Connects To Kurdish Culture. His Track's Hypnotic, Mantra-like Beats, Combined With Cinematic Soundscapes, Reflects On The Hemshin Tribes Vibes. Then Comes deena Abdelwahed, With A Very Early Work She Composed While She Was Touring With The Arabstazy Collective. tropikal Camel, Berlin-based Composer And Mc Born And Raised In Jerusalem, Then Seizes The Scene With An Apocalyptic Track Picturing A Hopeless Prophet Whose Heart Is Made Of Smoke. Relief Comes With Beirut-based Egyptian Artist aya Metwalli, Who Offers A Touching Song About Love And Mourning. This First Volume Ends With A Poetic And Abstract Soundwork By Tunisian Artist mash, Releasing Her Very First Piece, Closing The Record Like It Opened. The Spectrum Of The Questions That This Peculiar Theme Arise Is Broad: Personal, Political, Sexual, Religious, Familial, Societal... From Ways To Free Ourselves From This Frustration, To Ways To Accept It As It Is. We Have To Deal With A Lot Of Mutual Misunderstandings, Binary Shortcuts And Manichaean Attitudes That Have Long Proven Unsuccessful To Overcome These Situations.Amongst All Who Experience Frustration, Some Will Cope Through Artistic Expression. We Decided To Relate To This Frustration As A Great Source Of Inspiration. Arabstazy Chose To Give All The Benefits Of This Project To The Lebanese Ngo Basmeh & Zeitooneh, And Most Specifically To Their Yearly Art Event - "seen" - Which Highlights Unseen Artists And Breaks Stereotypes About Refugees.

Burning Rose is proud to announce a repress of Buzz Kull’s 2017 LP, Chroma. The seminal album is a mass of jagged synth lines and pounding drum machines, a testament to Marc Dwyer's personal sonic exploration over time. Each song on Chroma transcends the traditional archetype of darkwave by pushing pop sensibilities, focusing on different emotional states and boundaries.

Since Chroma’s release, Dwyer has given the world a sophomore album, tackled multiple tours abroad, and continues to remain an elusive but omnipresent figurehead of darker electronics within his hometown of Sydney.

The second pressing of Chroma will be available on June 1st, to coincide with Buzz Kull’s European tour with Zanias.

After his first release on Soundtravels, the Aspiration EP ST003, Dircsen is back with another astonishing EP which you can easily call a sequel to Aspiration EP.

Four heavyweight dancefloor bombs with Dircsen's signature, well worked out, 303 basslines, accompanied by moody synths. Dircsens tracks are always built to perfection, distinguished and raw at the same time. Timeless tracks which will last a lifetime. Don't sleep on this one!

4 underwater trippers extracted from another planet featuring Konsistent, Second Life, Jack Patern & Andy Rantzen.

The second of the Luna-C Remasters serves up 4 classic and much sought after original tracks, and as ever, these have been sourced from the orginal DAT recordings, lovingly remastered and cut to the highest standards available! Featuring the amazing Sublove remix of Edge of Madness, this is a classic repress of some classic tunes!

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

Original released on Underdog Recordings in 1993

The second ever release by Mad Dog and the third release for Vinyl Fanatiks. Originally released in 1993 on Bournemouth based Underdog Recordings, this record brings Dave ‘The Rave Doctor’ Wallace and Shaun ‘Aurora’ O’Hara back together again. Recorded at 116 Avon Road, Bournemouth AKA The House Of Rave.

This record is the last of the Jungle Techno tunes they made together. They dropped the 4/4 bass drum for their next release together (Fugitive – forthcoming on Vinyl Fanatiks in 2019). As Shaun reminisces – “I don’t have much memory of this recording session but I do remember being heavily influenced by the breakbeat patterns and use of reverb that was coming out of the ‘dark’ scene that was being led by people like DJ Trace”.

Olly Underdog recalls – “All the early Underdog tunes got hammered on the pirates and made it onto tape packs of the day which is pretty impressive, we never posted any promos out because we didn’t know any of the DJ’s, so they must have bought them, although I think Mo’s Music Machine, who distributed the first 2 Underdog releases, did allow for 10 records to be paid for for promo use”

Vinyl Fanatiks brings you two more highly sought after, classic UK Jungle tunes that are fetching high prices on Discogs. Remastered for 2019 and cut by Simon at The Exchange. Simon use to cut all the classic jungle tracks from the 90’s and he still has the same cutting equipment in his studio which helps create a highly authentic end product.

Answering a need for sincerity and intimacy in overwhelming times, Berlin’s Perila
makes her striking solo debut on sferic with a suite of sonic erotica, ASMR and sensuous
ambient environments.
Born in St. Petersburg and based in Berlin, Alexandra Zakharenko aka Perila cut her
teeth as in-house designer and programmer at the recently defunct Berlin Community
Radio (BCR) before co-founding the Russian online station radio.syg.ma, which hosted
one of her early productions on the ‘SYGMATURE’ compilation in spring 2019. Perila is
also founder of WET (Weird Erotic Tension), an online community exploring ideas of
sonic sexuality in podcasts mixing spoken word, poetry, ASMR and field recordings.
‘Irer Dent’ stems directly from two WET podcasts, revolving readings of an erotic novel
and a collection of poems by Nat Marcus and Inger Wold Lund, each set to absorbingly
hypnagogic backdrops, and both accompanied by quietly seductive, original instrumental
works.
In five parts the album traces a filigree line between reality and fantasy in a more literal
way than the label’s previously all-instrumental releases. On ‘Nat’s Poems’ the voice of Nat
Marcus regales a poetic account of Berlin nightlife woven with classic house lyrics from
Rosie Gaines and Mr. White over 12 minutes of tumescent subbass and phosphorescing
pads. Where sensuality is implied on that piece, it’s quietly explicit in the LP’s other
vocal piece ‘Sweat’, which revolves around Inger Wold Lund recounting a dream about
suppressed sexual desire in a hushed and unaffected manner amid a shimmering
forcefield of spectral energy and meridian birdsong. Both pieces are complemented by
extra subtle originals, including the barely-there, pink/purple hues of ‘Mouth Full of Tahini’
and the warm endorphin flush of ‘Message From Another Table.’
Slipping very sweetly into sferic’s liminal ambient space alongside Space Afrika, Echium
and Jake Muir, ‘Irer Dent’ lends a distinct new shade of modern, adult, atmospheric
emotion to the exploratory, Manchester-based label.

Having started out throwing DIY raves in Toronto Canada, the Forth collective became influenced by the city's hunger for self-expression. Various Artists Vol. 2 is the second instalment in a series of compilations that gives Toronto artists a chance to realise their ideas on the local and international stage.

At long last Komodo Kolektif have brought us the long-awaited follow-up to their outstanding 2017 EP “Sumantras”.

With “Sundada” we see the group delve even deeper into hypnotic territory with an even stronger focus on their Indonesian gamelan instruments, wall-shaking basslines and trance-inducing percussion. A dual focus on tribal primitivism in parallel with a futuristic vision of the possibilities provided by their vast arsenal of electronic gear and processors, the overall outcome has produced something beyond 'world music' that is positively ritualistic.

Again aided by veteran Seattle-born multi-instrumentalist Jon Keliehor (James Brown, The Doors, Peter Murphy/Bauhaus, The Daily Flash, Emotional Response, Optimo Music) on suling (Indonesian flute) and percussion, Komodo Kolektif seem to have explored even more meditative and profoundly esoteric avenues than they did with “Sumantras”.

Much of the material is a refinement and distillation of what has been featured in their live shows for almost a year and a half and which has been met with rapturous applause at the likes of Convenanza festival in France to Sonic Cathedral & Ulrich Schnauss' Ambience Chasers in London.

Other pieces are the result of improvisations; experimenting with the Indonesian sarons, gendèrs and kempul at their disposal (courtesy of Gamelan Naga Mas of which two of the group are long term members) to create new patterns that resonate to both eastern and western ears.

Komodo Kolektif have received praise and plays from Hardy Fox (The Residents), JD Twitch (Optimo), Andrew Weatherall, Peter Power (Multi Culti / Voodoohop) and many more.

Pantene was a live performance art-pop group that existed in Berlin, Germany in 2015. Its four core band members; Marijn Degenaar, Molly Dyson, Olle Holmberg, and Rahel Tierbach took a DIY approach to instrumentation and arrangement, where intergenerational low-fidelity samples collide with subversive and pithy lyrics. Using laptops, MIDI, samplers and effects units to deliver re-contextualised pieces of music, Pantene explored issues surrounding cultural constructions of power, identity and sexuality with effortless aplomb.

Limited tape, companion piece to the 12" and features contributions from D Tiffany and Hashman Deejay amongst others.

Rotterdam based drum & bass label Citrus Recordings presents its 60th vinyl installment. On the bill we find long time veterans State Of Mind and exciting newcomers Soligen & Type-2 delivering two hard hitting pieces of dark, neuro flavoured drum & bass.

We kick off with 'Long Term Effect' by SOM pushing boundaries on this annihilating piece of dancefloor drum & bass. The pounding drums, rough bass and mid section will definitely light up the dancefloor. You can't go wrong with this one!

On the flip we find one of the freshest recent discoveries in drum & bass, Soligen & Type-2. Working out of Lincoln, UK they come correct on 'Biology'. It's a bouncy stepper with unique synth play, techy vibes and perfectly timed, catchy vocals. Great sounds from two producers on the rise!

The 4th release from Bring Back Records is dedicated to all selectors and dj's, who support vinyl and continue to help give to it new life every day.
The A-side is the title track of the record with a mysterious atmosphere, bells, voices and stretched amen-break in the best traditions of 93-94 jungle style.
The B-side contains two tunes with summer vibes, one is a 4/4 jungle tek tune with sweet vocals and a nod to early rave music, the other one has killer breakbeats, funky moods and references to gangsta rap.

Together as AceMoMa for the first time, AceMo (Adrian Mojica) and MoMa Ready (Wyatt Stevens) have crafted a sound that captures the contrasting grit and shimmering new energy that can currently be found in New York City's electronic music scene. Booming drum & bass and four on the floor house beats are paired with airy synth leads and watery vocal samples, giving the tracks a sense of strong forward momentum as well as a softer, more introspective side. Their new four track EP sounds like what a long night out in NYC feels like in 2019.

Jenkem Recordings is the music imprint of Jenkem Magazine , a skateboarding and culture media outlet, based in the same neighborhood Mojica and Stevens are creating and performing their music. Jenkem Recordings’ main goal is to continue to push the strong connections between music and skateboarding by finding new artists to support who have a strong connection to both communities. The AceMoMa EP marks Jenkem Recordings second release, with many more to come in the future.

Together as AceMoMa for the first time, AceMo (Adrian Mojica) and MoMa Ready (Wyatt Stevens) have crafted a sound that captures the contrasting grit and shimmering new energy that can currently be found in New York City's electronic music scene. Booming drum & bass and four on the floor house beats are paired with airy synth leads and watery vocal samples, giving the tracks a sense of strong forward momentum as well as a softer, more introspective side. Their new four track EP sounds like what a long night out in NYC feels like in 2019.

Jenkem Recordings is the music imprint of Jenkem Magazine , a skateboarding and culture media outlet, based in the same neighborhood Mojica and Stevens are creating and performing their music. Jenkem Recordings’ main goal is to continue to push the strong connections between music and skateboarding by finding new artists to support who have a strong connection to both communities. The AceMoMa EP marks Jenkem Recordings second release, with many more to come in the future.

Algebra Suicide was a Chicago poetry-music duo consisting of poet and visual artist Lydia Tomkiw and musician Don Hedeker. They formed in 1982 and self-released a 4-song EP that year. It featured a 60's Vox Guitar Organ, a precursor to the synthesizer guitar, and a Multivox Rhythm Ace drum machine. In 1984 they released their 2nd EP ditching the guitar organ for a Casiotone MT-40. Their debut album ‘Big Skin’ was released in 1986 on cassette and featured 13 new compositions with more complex arrangements. A vinyl compilation album, "The Secret Like Crazy", was released in 1988. It collected 20 tracks picked from ‘Big Skin’ and the first two EPs plus unreleased songs. In 2012 Dark Entries released an 18-track compilation of their first 3 singles with bonus tracks.

‘Still Life’ is a 16 track compilation that collects the 9 remaining songs from ‘Big Skin’, 3 songs from ‘The Secret Like Crazy’, and 4 songs from various compilations. Lydia and Don call their approach "Avant Garage" citing inspiration from Patti Smith, Frank O'Hara, Leonard Cohen and Lou Reed. Don plays guitar in a hauntingly stark style like Glenn Branca, Tom Verlaine, or Vini Reilly. He then adds Casio keyboards and minimal electronic percussion, creating a moody, atmospheric backdrop for Lydia's poems. Lydia's words span a broad range of twisted real-life observations, and are delivered in a deadpan fashion with her distinct Midwestern accent.

All songs have been remastered by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a jacket designed by Eloise Leigh and includes a 16-page booklet with lyrics, press clippings and photos. Though Lydia passed away in 2007, her genius lives on in these recordings. Please respect her decadence.

Cut live from The Tunnel, Geneva - DJ Laxxiste A debuts on the label with a four track release of boosted club cuts fed through Dub FX units, U.K club tropes and street electronics. Aimed at DJ's loathed and lauded worldwide it's strictly limited to 300.

John Beltran, Mark Archer, Future Beat Alliance and max 404 line up on this third 10 years anniversary 12" for De:tuned. Both John and Mark deliver a timeless, Detroit tradition indebted techno vibe, resulting in 2 dancefloor-friendly tracks. While FBA and max 404 activated their DAT recorder, culminating in unheard crisp yet sensitive cuts.
Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Alchemy Mastering, pressed on 180 gr vinyl and a separate digital version will be available from the usual digital shops. Stay tuned!

The HACKER/LARRY McCORMICK/COSMIC FORCE/DEFEKT

Hot off the heels of MonoTrax Volume 1, Monotone is not letting up with this vinyl only compilation of what could be considered some of the best Electro has to offer. To prove that things get started by legend The Hacker with this pure Electro outing. This one is a littler slower but still a powerful number that will put you into the groove. The second cut on this plater comes from the Monotone boss himself with Root Code. This is actually one of the hot tracks from his Intelectro album however this has not seen wax until now. This jam picks things up with his patented solid drum patterns while the rhythms build up until the middle breaks off into epic keys that lift the track even higher until the end drop into the bass. Side B starts off with the Dutch hero Cosmic Force. Maximilian of Roma is a hybrid of grooves and textures throughout. The energy on this carries the track throughout. Just the unique composition you expect from the Utrecht ninja! Last but far from least. The Irish man comes with a nice riding flow as DeFeKT shows why he is one of the hottest Electro/Techno artists at the moment. I Am Here is proclaimed as this riding tune is relentless and shows why this record is a diverse group of artists yet the spirit of MonoTrax is even clearer. To bring together top notch Electro producers for an exciting compilation series.

For this third EP, Parisian label Forest ill Records artists invites fresh producer Muelsa to join them on this record. Follow them to a trip in the universe of 4 of the best Parisian producers. Fasten your belt and take place to the spaceship.

PAREDO presents new and exclusive works by three female japanese music producers: KOPY, TENTENKO and MIKI YUI who are based in Osaka, Tokyo and Düsseldorf respectively and a radical reinterpretation using elements of the featured works by Lena Willikens, the PAREDO MEGA MIX. All four contributions showcase their highly individual approaches to contemporary electronic dance music. Paredo is directly informed by multi-directional encounters of four musicians and their close observations of musical production and reception in practice.

In 2017 Lena Willikens and TAL founder Stefan Schneider have both, though independently from one another, been invited to Japan under the auspices of the Goethe Institut. While Schneider researched electronic noise music cultures in Osaka, LENA WILLIKENS and her artist partner SARAH SZCZESNY developed aspects of audio mix and filmed footage for their collaborational art project PHANTOM KINO BALLETT while in residency at Villa Kamogawa in Kyoto.

"While in Kyoto, we often went to Osaka or Tokyo to explore the diversity of the music subcultures there. It was fascinating to witness how Japanese underground cultures adopt influences from abroad and turn them into something original and very much their own. We also saw live performances by KOPY and TENTENKO whom we quickly befriended."

KOPY is a consistant part of the vital electronic music scene from Osaka. Besides a few performances at Düsseldorfs famous SALON DES AMATEURS, she has also been invited by LENA WILLIKENS to her showcase at the MEAKUSMA FESTIVAL in 2018.

TENTENKO begun to enter into the japanese music scene with a steady flow of experimental cdr productions as well as collaborations with members of the legendary japanese noise band Hijokaidan.

MIKI YUI originally from Tokyo has lived in Düsseldorf for more than two decades now. Besides albums of her solo work for LINE (US), or more recently, for Cusp Editions (UK) she also collaborates with Carl Stone in the duo REALISTIC MONK (on the Meakusma label) and was a member of Klaus Dingers last band JAPANDORF (Grönland Records).

LENA WILLIKENS who has a background in fine art, first honed her unique approach during a long residency at Düsseldorf’s Salon des Amateurs. Outside of the club, the Cómeme label was home to her first EP, 2015's Phantom Delia. In 2017 she has released a remix of Kenyan singer OGOYA NENGO for the ON MANDE EP, TAL02.

"Continental" is the new full length solo record by Milan-based multi-instrumentalist Nicola Ratti, following recent releases on Where to Now? and Room40. Conceived of by Ratti as a "series of big rooms or places to get lost in, full of small details and characterized each by a single flavor or perfume" it is a surprising and vibrant collection of music. Working with a palette of spare, expertly deployed percussive synthesis techniques, Ratti's work here is both labyrinthine and concise. These eight tracks are able to evoke spaces real and imagined with startling efficiency and clarity. Sprawling old world libraries, cliff caves inhabited by dripping water and rock doves, an automaton nearly slipping its axis but recovering just in time and finding a new sense of purpose in the process.

Ecstatic welcomes Abul Mogard to the fold with his debut LP 'Circular Forms', a suite of 4 analogue synth pieces.

Abul Mogard was born in Belgrade, Serbia and spent most of his life working in a metal factory. He approached music only in old age after his retirement.

Following two highly regarded cassette releases on Steve Moore and Anthony Paterra's VCO Recordings label, and a series of compilations and split releases, Abul Mogard makes a surprising departure on this debut album for Ecstatic Recordings.

Ecstatic offer a deeply arresting and definitive collection of Works by erstwhile Serbian factory worker-turned-synthesist Abul Mogard; containing selections from two cassettes released in
2012 and 2013 on Steve Moore and Anthony Paterra's VCO Recordings, as well as a cassette only release last year on Ecstatic, never before available on vinyl. Abul Mogard's relatively unusual path to releasing music is well documented, but bears repeating here. Upon taking retirement from a job at a factory which he held for decades, Mogard craved the mechanical noise and complex harmonics of the industrial workplace, and found that the best way to fulfil that need was through electronic music - using a limited set-up of Farfisa organs, voices, samplers and a self-built modular system to realise a peaceful yet haunting, sweetly coruscating sound that resonates uncommonly with music from Leyland Kirby to Alessandro Cortini, or Fennesz and Tim Hecker. The nine tracks on Works are soused in an emotional richness that's hard to forget once experienced. Broad daubs of distorted bass and naturally glorious harmonic progressions paint
panoramas of wide open, grey-scaled skies whilst equally conveying the intimate feel of a person with their nose to the machine, toiling for a sound or feeling that really means something to them, and by turns, us.
The fact that Mogard hails from an area hardly well-known for its synth music, and that he's of an age where most people take up gardening or lawn bowls, rather than synth music, only helps to aid the enigma and magick surrounding this remarkable artist and his addictively emotional music.

Above All Dreams is Abul Mogard's beautifully absorbing new album for Ecstatic - his first since the Circular Forms and his popular Works compilation.
Counting six original pieces in its 66 minute wingspan, there's no mistaking that Above All Dreams is the most expansive solo release by Mogard to date. Taking into account its intangible divinity and cinematic quality - the result of no less than three years diligent work - it is arguably levated to the level of his master opus, presenting a modular distillation of Mogard's most intoxicating strain of hauntology.
Consistent with Mogard's music since the sought-after VCO tapes c. 2012-2013, the allure to Above
All Dreams lies in his ability to evoke and render feelings which are perhaps purposefully avoided in more academic echelons of drone music. Rather than a purist expression of physics thru maths and geometry, Mogard voices his soul, improvising on modular synth for hours, days, months and years in the same way a more conventional band' develops group intuition.
While hands-on, the intuitive evolution of process locates a newfound freedom in his music that implies a recognition of the metaphysical or post-physical, while Mogard explicitly points to influence from the Brazilian music of Tom Zé, Antonio Carlos Jobim and Chico Buarque, whose approach to shape and density, or perceptions of light and delicacy, also go some way to explaining the ephemeral intangibility of Above All Dreams.
The results are best considered as the ephemera of non-verbal communications. From the gaseous bloom of Quiet Dreams to the opiated depth of Where Not Even to the starlit awn of Upon
The Smallish Circulation, and through the B-side's keeling, 16 minute+ panoramas of Above All Dreams and The Roof Falls, the power of Abul Mogard's dreams above all transcends sound, feeling and physics in a truly remarkable way that evades words or concrete notation. .

After 10 years of vinyl pressings on Lapsus Records it's now time for our first ever "vocal" release!

Many of our Lapsus Radio (Radio 3) followers may already be aware of our fondness for synth-pop, however as a label we have never dabbled with this often unfairly maligned genre, until now...

From the moment we first heard the material from British artist Circa 2000 something magical transpired. William Wiffen's production blueprint signals a new twist in this forty-year old genre. ‘Thoughts In Vias’ –the album released in 2017 on Computer Club, the sub-label of influential Sheffield label Central Processing Unit– offered the first opportunity for us to witness the work of Circa 2000, the UK producer and composer residing in the costal city of Brighton. After his debut, in 2018 William released the ‘The Sun To The Waxing Moon’ EP on the multifaceted Chilean platform Infinito Audio, in which he delved into his more experimental production side.

Circa 2000 now joins Lapsus Records to present ‘Faith Healer’, his most personal work to date and a palpable tribute to the work of Scottish composer Alex Harvey, during his time leading The Sensational Alex Harvey Band. ‘Faith Healer’ is a seven-track album that revisits the nascent days of new wave and synth. It is an exercise in raw and analogue electronics that transports us back to the golden era of synthetic electronica, in which bands like Deux, Victrola and Monoton redefined minimalism and underground pop.

‘Faith Healer’ will be released in July and available on limited edition vinyl and all digital formats. As always, the Basora studio has once again provided us with stunning artwork for this release.

For more than half a decade Alexander Dorn has shaken electronic sounds, stirring shapes and forms as Credit 00 that adhere to few genre tags. His Bordello A Parigi debut is no exception. The alumnus of Uncanny Valley and Ratlife arrives with four tracks under the banner of The Cosmic Funk collection. Drawing on a spectrum of influences, the Leipzig based musician melts reimagined house with broken beats, blends Eastern acid aromatics with jazz abstractions and achieves a sound that is stunningly unique. Within this sonic cocktail you'll also encounter dashes of samples, a peppery head of 90s anthems and a liberal glug of freestyle funk. A one of a kind record from a one of a kind artist.

Artikal and Chestplate combine to form Chestikal. A meeting of labels and also a meeting of production minds as Distance meets J:Kenzo for this special release.

Spanning the BPMS from 140 - 160 halftime, tribal and dark two heavy crafted tracks from the chambers featuring 'The Offering' and 'Dhyana'.

“True Lies” was originally released in 1999 on Daft Records and showed Dirk Ivens (The Klinik, Absolute Body Control) once again changing the game to create another refreshing and groundbreaking album. Suggestive industrial with distorted vocals, metallic rhythms and noises perfectly balanced with up tempo dance beats and technoid rhythms.

Production on this work is shared with the talent of Ivan Iusco (Minus Habens Records, Nightmare Lodge) and Eric Van Wonterghem (Insekt, Monolith).

"True Lies" is available for the first time on vinyl record with all original songs plus extra tracks from the singles "Two Faced Man" and "Broken Meat", some old compilations and a bunch of cover versions to classics by Suicide, The Normal and The Klinik. Limited edition of 550 copies on double blue colour vinyl with gatefold sleeve, printed inner sleeves and numbered card.

Last year John Also Bennett appeared on three collaborative full length releases – the CV & JAB album Thoughts Of A Dot As It Travels A Surface for Shelter Press in February, a fourth Forma album Semblance for Kranky in July and Outside The Disc, a new album for his Seabat project with Forest Christenson in October. He also appeared on Christina Vantzou’s solo album No. 4 (Kranky) in April. Whilst work continues on these long running collaborations (as well as other projects with artists such as noted Minimalist composer / performer Jon Gibson), 2019 will start for John with his first full-length solo release – Erg Herbe.

JAB says the record was gestated for nearly a decade while he worked out how to fully express his own sound and ideas. He notes that “My personality is all over this music”, elaborating that “the goal is to create nice, strange, and thoughtful music that reflects a genuine inner vision of self. I’ve been recording solo music for a long time without releasing any of it because I’m not able to let anything out that doesn’t satisfy this criteria.” Finally, Erg Herbe began to emerge during 2017 and 2018, recorded alone during spare moments between collaborative projects. JAB uses a mixture of synthetic and organic instruments throughout the album, including modified Aphex Twin DX7 presets played using a just intonation tuning system, eurorack oscillators “tuned according to intuitive structures using intervals of 30 hz,” and a number of flutes including a Chinese “dizi” flute borrowed from his father, noted avant-garde poet and mail-artist John M. Bennett (a contemporary of New York underground poets Richard Kostelanetz and Steve Dalachinsky). Through this unique mixture JAB creates a record which moves outside the conventional. Part New York minimalism, part ambient, part classic electronic yet uniquely JAB.

Primarily recorded at The Schoolhouse, the Brooklyn loft where he lives and works (that will also serve as the site of a launch event for the album this spring), Erg Herbe taps into the rich history of New York loft music, recalling downtown artists like La Monte Young, Phill Niblock and Laurie Spiegel. He also cites Takehisa Kosugi, Dominique Lawalrée, Jon Gibson (who JAB toured with in 2017 & 2018) and Pauline Anna Strom as important influences – “Their music seems to express their personalities so well, at least my perceptions of them. And those personalities are relaxed, inquisitive, friendly and unique – how I strive to be.” If you add his list of inspirations and his past projects, as well as his time spent working behind the scenes with noted NYC imprint RVNG Intl., then it becomes clear how much JAB is working within a very distinctly New York tradition of experimental, classical and electronic music. His various projects with filmmakers and installation artists like Peter Burr also add to this vivid impression of a New York artist out and about, working on many levels at once. The sound of Erg Herbe reflects this cross fertilization of artistic activity.

Beyond the cuts recorded in Brooklyn there’s also “Chanterai por mon coraige” derived from the 13th century French troubadour song by Guiot de Dijon, on which two flute improvisations upon a theme were recorded blind from each other and then combined afterwards, producing some exciting, unexpected harmonies. Appropriately “Chanterai por mon coraige” was recorded inside a decrepit mill in the French countryside at night – not far from where Shelter Press is headquartered. The title cut “Erg Herbe” features flute recorded inside Tilapia, a reverberant sculpture by Katsuhito Nishikawa at the Museum Insel Hombroich in Germany, which was then processed and overlaid with synthesizer in New York.

“Erg Herbe” in an invented turn of phrase – erg being the term for a sea of desert sand dunes, and herbe being French for grass – summoning the dreamlike image of a green, rolling dunescape. A fitting title for an album that combines worlds: minimal and lush, serious and playful, real and imagined. “Distant Patterns” – the longest track on the album at over twelve minutes – juxtaposes dry, pulsating oscillators with pillowy, occasionally dissonant pads, while a raga-like alto flute melody glides and dances over top, like a bird soaring across a landscape. Dreaming of distant places while absorbing what’s around him, and traveling the world while keeping one foot in New York, JAB has finally conjured up the unique, surreal sound world he has been looking for.

Erg Herbe features original artwork by Zin Taylor, who JAB collaborated with previously on Thoughts Of A Dot As It Travels A Surface and is mastered by Rashad Becker at D+M.

Liquid needs no introduction. A master from the old skool, bringing a huge 8 track double EP full to the brim of proper original rave styled madness. From piano classics like Good Love to Euro styled mayhem such as Monofunction all the way through to proto jungle tracks such as Clerkenwell Sound, this EP is an absolute banger, and an absolute must for any serious old skool head.

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, Liquid, Hyper On Experience, Ant To Be, Ponder and many others

MiguelA.Ruiz is a veteran experimental/electronic musician from Madrid, Spain that has worked under numerous monikers since the early 80s as Técnica Material, Orfeón Gargarín, Codachrom, Dekatron II, Michel Des Airlines,Funeral Souvenir, etc. Some of these projects still active today.

Entering the world of Ruiz is a wonder to the mind and ears, each project yields authentic masterpieces of experimental electronic music. "Climatery" was originally recorded in the summer of 1986 and was published by the Madrid label Proceso Uvegraf and later again by Esplendor's Geométrico label (EGK 017). Its Ethnic Industrial sound of mantric loops and futuristic soundtracks draw similarities to Muslimgauze, O Yuki Conjugate, Cabaret Voltaire, and the avantgarde world rhythms of John Hassell.

"Six long environmental themes with ethnic and exotic touches, within a repetitive minimalism and layers of Korg Polysix synthesizer, combined with loops created with a sampler. Sequenced tribal rhythms, leathery and dragging, remind us of the origins of Techno and Industrial music. To the mix we only need to add the connective tissue of experimentation and the avant-garde, which make each theme acquire its own distinctive body" - La muerta tenía un blog

This is the first time this record is released on vinyl. Remastered by Miguel A.Ruiz and Sountess studio. Limited edition of 300 copies.

Following Not Waving’s stellar recent recordings with Jim O’Rourke , Colin Potter & Jay Glass Dubs,
‘Downwelling’ finds him in a striking Pas de deux with alt. rock god Mark Lanegan (Screaming
Trees, QOTSA). It’s one of those rare link-ups that truly transcends the sum of its parts, with Not
Waving’s rolling range of nuanced electronics acting as backdrops for Lanegan’s smoky barritone
storytelling. Delivered in a husky but pliable voice that has come to define the American alternative
rock scene since the early ‘90s, Lanegan inhabits the songs with a reserved presence that has
served him well for decades, but which has never been heard in quite this context.
Pairing music recorded by Natalizia between London, Italy, and Paris over the past five years,
with vocals recorded by Lanegan in LA, the duo arrive at dreamy non-place that’s not defined by
geography or time. Instead the album offers a timeless insight into human behaviour, as reflected
in the sleeve art details from the ‘Lights of Canopus’, a Persian version of the ancient Indian book of
animal fables, the ‘Panchatantra.’ Thanks to Lanegan’s classically dusty tone - famously described
as being “scratchy as a three day beard yet as supple as moccasin leather” - and the breadth of Not
Waving’s production, the results draw listeners deep into the artists’ shared plane of world-weary
but quietly hopeful conception, emphasising the power of closeness and empathy.
Their songs come on like waves lapping a shore that’s ever-shifting, ever the same. This cycle is
epitomised on the opener, ’Signifying The End’ with Lanegan’s raspy tone met by honeyed synths,
before scaling the nocturnal heights of ‘City Of Sin’ and coolly channeling Suicide in ‘Burn Out
Babylon.’ The waters calm again for ‘Persimmon Tree’ suitably set to harp-like arps, while the
deathly croon and impending throb of ‘Murder In Fugue’ comes to rest in the serene resolution of
‘The Broken Man’ in a manner that’s entirely modernist but speaks to eons of human emotion.
Echoing everything from latter-days Scott Walker to David Sylvian at his most strung out, and even
the odd energy of Moebius, Conny Plank & Mayo Thompson’s ‘Ludwig’s Law’ album, or the arcane
creak of John Duncan’s ‘Bitter Earth’, Natalizia & Lanegan’s efforts will surely realign listeners
presumptions of both artists and place them in a category all of their own.