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The Joy Of Flying (German title "Silvia im Reich der Wollust") is a porn soundtrack from 1977 which doesn't have a parachute. It going directly into heaven without return. Similar situation as with the prices on the Discogs of the 1978 Hongkong compilation soundtrack featuring some songs of this movie, the prices are astronomical' Finest Comic, Disco, Bossa, Ambient album by legendary Gerhard Heinz from 1977. Reminding over long passages of classics like Richard Schneider "Dreamlike Land or Wolfgang Maus" Children Of The Universe, both produced also in 1977. Official first time ever full LP album soundtrack release. First pressing with 2 foldout bonus posters

João Pais Filipe delivers three acoustic solo percussion works for Ondes HXCX. The tracks were originally recorded for an exhibition called "Membrana" which took place in a church in Northern Portugal, using only drums. Different odd time signatures were extensively explored on each of the tracks. 18/16, 19/16, 23/16 and for the first time, a technique called "omission" was also introduced. It consists of omitting notes of the Rhythm without changing it, creating a sense of illusion and changing the perspective of the Rhythm. Burnt Friedman, an accomplice of João's studies on odd rhythms focused on blending counter-rhythmic electronic elements into the 23/16 track.

Ink stamped artwork.

EYA Records gets off to a strong start of 2022 by inviting ‘The Nothing Special’ producer Oli Silva and Argentinian hardware maestro Manuk for their 16th release.

A1 ‘ Mirage man’ by Manuk is a wonderful, expressive techno and trance infused number, while A2 ‘Mutant Mindset’ by Oli Silva has a raw breakbeat impact with classy eerie chords, haunting vocals, and a killer bassline.

B1 is the result of the joint effort by the two producers, ‘Multiple Minglings’ is a very impactful psychedelic journey. The EP is completed by a ‘Freestyle’ remix of B1 by UK legendary producer Dave Campbell aka HI-Ryze.

re:discovery records is proud to announce the reissue of 1993's 'Synaesthetic' by A Positive Life. This seminal release is revered and beloved by fans and followers of early 90's electronic, IDM, techno, dub and chill out music.

Key tracks include the Orb-esque 'The Calling', the magnificent
'Pleidean Communication' and the chill out dub classic 'Aquasonic' among others.

This new reissue also adds the track 'Warehouse 5am' which was
orginally only releases on the American cd version and not the original vinyl.
Spread across 2 vinyl with new updated artwork by Grid Pattern and insert input from the label and the artist themselves, this will surely be the reissie highlight of 2021.

Analogical Force is kicking off 2024 with a stellar "all things Electronix" album from well known producer Vertical67 (who also runs the Vortex Traks label)! It's hard not to have heard of Thomas Pahl in the electro underwater depths after multiple appearances over the course of more than a decade and under a ton of aliases. With the illuminating title of 'Changes', Thomas gets rid of corsets and presents an entrancing voyage into post-euphoria, displaying a radiant and emotive side which the artist's new discordant sound emerges. A defiant cry in the face of existential angst. Navigating between breaks, dreamy melodies and reflective landscapes 'Changes' could be defined as a deep introspective journey into the machines. Cop while u can.

Japanese ambient owes a great debt to Masahiro Sugaya, whose work has been re-assessed and taken on all the more importance in recent years. The now cult musician and composer released his The Long Living Things album in 1988 for the performing arts company he belonged to, Pappa Tarahumara. Though it was overlooked for many years, it is now in sharp focus and gets a deserving reissue on vinyl for the first time ever by P-Vine which he also belonged to, and has long been overlooked by all but a few enthusiastic music lovers. One track from it was Grammy-nominated and rich of the record is minimalistic, with soft interwoven sequences that keep you afloat amongst the warming pads.

“Palindrome,” the latest EP by Electro Affair and produced by Herodot, marks a bold departure from his previous sound, revealing a very different side of him as a producer.

The EP stands as a unique exploration into diverse genres, including breakbeat, electro, dub, downtempo, and trip hop.

Electro Affair's “Palindrome” EP highlights their unique approach to music, capturing their artistic vision through an eclectic and innovative blend of styles.

Unreleased themes from Kornelije Kovac for commissioned documentary short 'Raport iz Sarajeva', directed by Miodrag Zdravkovic in 1982. This music themes precede the official songs, idents and audio logos for the XIV Winter Olympic Games Sarajevo 1984 opening ceremony made by Kornelije Kovac in his Belgrade based studio from 1982 to 1984. Sourced from the original master tapes with full color artwork by Eric Adrian Lee. Includes insert with photographs from Kornelije Kovac private collection and liner notes by Zeljko Luketic. XIV Winter Olympic Games in Sarajevo 1984 had immeasurable status in the history of Yugoslavia and is widely recognized by organizing committee to be the best in recent history of the Games. However, they were also the pop-culture melting pot of the times, with posters by Andy Warhol and famed local designers and the music by Kornelije Kovac, leading the selected best-of-the-best composers of the times. The recordings on this release share the same musical approach to melody and structure Kornelije Kovac (1942 - 2022) was using at the beginning and the mid of 1980s: while exploring the possibilities of synthesizer, fresh from his collaborations in London with famed composer Hans Zimmer, and almost a decade since he shared Eurovision Song Contest stage with ABBA in Brighton with his Korni Grupa, He also collaborated with Bernie Marsden (Whitesnake), Paul Jones (Manfred Mann) and Andy Pask (Landscape) among others. Kornelije Kovac always insisted on the freshness of the harmony layers combined with DJ friendly rhythm backing track. With the warm analogue feel that resonates in today's digital world this was chosen for a purpose to be an old-school 12'' maxi-single, as it was intended to be, cut loudly for the sakes of all lost and existing discotheques in Sarajevo and all over the world.

DON'T surfaces as an organic collaboration, born from the accidental union of Lamusa II and countless artists active in the arts scene, seamlessly merging into a singular entity.

Conceived, crafted, and captured entirely in the streets of Milan, DON'T finds its essence rooted in the ethereal realms of trip-hop and the pulsating energy of 90s electronic rock. The culmination is a mesmerizing exploration, a kaleidoscopic embrace of his fluid artistic evolution, solidifying his position as a seminal figure in Italy's contemporary music scene.

The album features collaborations with several artists, including Canadian electronic musician and producer Marie Davidson, the Italian artist Zara Colombo and the mysterious music duo Assembly Group.

2024 White Vinyl Repress

Next up for Time Is Now's white label series is Prozak - a Dublin-based producer who has garnered a growing following over the past year. Prozak, aka Zac Curtis, follows up an EP of remixes for Kiwi Rekords with Make Me Feel. The EP is 100% club gear dabbling in classic rave sounds and jungle before masterfully returning to his garage roots.

The title track "Make Me Feel" is equal parts euphoric rave vocalisations and growling bassy ruffage, with stuttering stop-and-start breaks thrown in for good measure that tear through the track - an instant classic that knocks you breathless.

"Missing You" builds from a gentle ebb into wobbling bass-heavy garage, Curtis chopping and changing the vocal samples into unrecognisable snatches with expert production. He then dishes up a glitching speed garage
tool with "Negative", still seasoned with a ravey edge that makes the record as a whole feel festival ready.

On the B-side, "Sunshine" is sweet buoyant UKG constructed from neatly cut up vocals that clamour against each other and a skipping irresistible rhythm.

Equally upbeat, "Falling" stands out as the most playful track, with mass appeal and large drops that shakes off some of the dark bassiness of the A-side.

The record closes with "Leave You", contrasting frenetic junglist breaks with blissed out vocals.

It's a dynamic offering from the up-and-comer that shows signs of great things to come.

Ladies & gentlemen,

We hereby bring forth a series of purified strains and upgraded weapons from a pulparallel world.

It all started with a circular piece of bronze 10” vinyl which, 3 years later, deserved to be recornditioned. Therefore, we’ve revisited said piece with the intention to bring levels of euphoria to yet another level. Cut and pressed on 12” vinyl for longer grooves and optimal DJ performability.

In other words, when PULPCORN001 is a star, PURECORN001 is a black hole.

Own at your own risk.

Constant Sound is one of the many labels Burnski aka Instinct is heading up right now and they are all as good as each other. This one focuses on house and tech sounds and welcomes Adam Pitts to the fam with three standouts. 'Gadget Crew' opens up and has a big, high-energy groove with plenty of oversized drum sounds and a retro melody paired with an intriguing soulful vocal. It has a dark garage tinge and is perfect for late-night action. 'Just This Once' is tough and physical, with warped and naughty bass and thwacking great hits irresistible to all. Last all comes a Skins Junglist Crew remix which is exactly that - a fine one for the jungle heads.

A kaleidoscopic sonic riot, Nandakke? is the hotly anticipated debut album from Japanese-Belgian duo Aili. Featuring 10 tracks of surreal electro-pop, joyful electronica, house music and more, Nandakke? is a euphoric album that sees Aili Maruyama and Orson Wouters more than fulfil the promise of their acclaimed debut EP.

Recorded over the course of six months in Orson's studio, packed full of vintage synths, Nandakke? captures the spontaneous spirit and creativity of those sessions. Exchanging riffs and rhythms, bouncing sounds and samples off each other, Aili and Orson would let the music take them where it wanted. The result,an album full of wild ideas and bold, playful experimentation.

More than anything an exhilarating feeling of discovery courses through Nandakke?, leaving you never sure where it will go next. One minute a pulsing electro-pop number featuring Aili's dad discussing his takoyaki (battered octopus) recipe, the next an explosive high energy workout song like Up & Down.

Certainly Aili was surprised to find herself singing in her own unique version of Japanese again.

"I thought that I was done with that after our debut EP, but apparently not as I speak even more Japanese on the album!" said Maruyama. "Every time we were in the studio these words would just tumble out. It's a complicated language but I just love to play with it.

"In many ways I'm an outsider, I left Tokyo aged 7, so there's a lot I notice as someone who is not a native speaker and it doesn't always make sense, there's a lot of mistakes in it.But in a way that sums up the whole philosophy of the album and how Orson and I work together."

That notion of duality, a sense of belonging but feeling apart, of being between two worlds and inventing your own captures the spirit of Nandakke?, itself a Japanese word that roughly translates to "Well, what was it?".

"It's something you say when you're looking for a word, like you know it but have forgotten how to say it. That's literally how I communicate with my dad the whole time," Maruyama explains. "The main feeling I have when I go to Japan is that I know the language, I can speak it, but part of me still feels like it doesn't have all the vocabulary. There's a gap there that nandakke has always filled for me. All the lyrics come from that place, that seven-year old trying to speak Japanese."

Whether Aili's singing about the language she invented with her father over the years to bridge the gap between them (Nandakke?), the idiosyncratic Japanese relationship to fashion (Fashion) or riffing on children's playground songs (Yubikiri) the result is a remarkable album that defies easy categorisation.

Bursting onto the Belgian scene in 2021 with their acclaimed debut EP, Dansu, its lead track spent 8 consecutive weeks at the #1 spot of Radio 1's VOX list and saw the band nominated for Studio Brussel's De Nieuwe Lichting ('New Generation') award. Since then Aili have appeared playing live on the Belgian TV show Roomies, been tipped by the likes of Rolling Stone, become regulars on tastemaker stations like KEXP and KCRW in the US and Nova in France, toured across Europe and, just recently, played their first sell out shows in Japan.

Well Curated is a series of releases and parties that - in its own words - "reflects the ethnomusicology of the last 50 years of music" - and aims to reach into all genres, merging classic styles and breaking down barriers. Steve Spacek occupies the A-side with the breezy broken beat and soul-in-space of 'Alone In Da Sun', while Lukid's 'Hair Of The Dog' is a more intense counterpart, with wobbling sub-bass and swirling, surging atmospherics hovering above.

Surface Air is the lovechild of a long relationship between Malka Tuti & Black Merlin. After remixing Tapan and Shari Vari for the label, as well as being part of Spectral Empire who released Iron Muscle with us on 2018, George has always been an inspiration for us, both sonically and spiritually.

His new record, Surface Air, in which the A-side is accompanied with vocals from Dallas artist Aura Nox, is a slow burning deep record for the late emo hours of the night, for you trippy after hour or your late night drive. On the B-side you can also find a Remix from an artist we’ve been following for years here in MT, and that when his name came up in a conversation with George (BM) as a possible remixer, excitement levels went through the roof.

The Remix Wata Igarashi delivered is a stripped down epic ambient track, ala late 90’s Pete Namlook endeavours with some 2022’s Wata Igarashi unique sonic aesthetics.

Following their contribution to the 2022 International Women’s Day compilation, and a co-production credit on “Dreaming is Essential” by Byron Yeates, Eoin DJ drops their first release on Radiant Records, Total Body. The 4-track EP is replete with mind-bending, lustrous tracks waiting to be spun out to sweatbox dancefloors.

“Total Body” invites movement from its first seconds. Layers and layers of snares, shakers and rhythmic synth stabs build tension before the pulse of a rolling bassline cements the elements into a cohesive hard house groove. Fragments and chops of sensx’s vocals wrap in and around the sonic field, leaving wisps of reverb and echo in their wake before repeating the track’s Total Body mantra in the breakdown. The result is a lushly-scored density of sound, with a relentless stomp that never feels overcrowded or too heavy.

Angel D’lite’s remix takes a more skeletal approach to “Total Body”: a snare and clap march beneath chiming vocal stabs, rumbling low end and rolling breakbeats, flipping the original into a modern bass-heavy hybrid number. The rhythmic synth from the original, reversed and efex’d, ushers us in, and then out of the track, around extra bass stabs and pitch shifted “Total Body” chops.

On the B side, “Ultra Soft” lifts off with a firm kick and a rolling 3-note bassline. Despite the title, the track hits harder than “Total Body” and sings with Eoin DJ signatures: swirling funnels of processed vocals, rich, ear-itching textures, stripped back percussion and rave-ready samples are sprinkled with 303s, to create a track that sits comfortably with both classic trance and techno and contemporary “Progressive” dance music.

The EP’s closer, a remix of “Ultra Soft” by Byron Yeates, compresses the astrally-inclined scale of the original track into shining slices of sound. A playful, chiming melody starts off the track alongside the kick, working through precise grooves, knife-sharp snares, a throbbing bass and chopped-up, smokey vocals. The result: 6 minutes of total embodiment from the Radiant Records boss.

Optimo (Espacio) started life as a weekly club night. It was born at The Sub Club in Glasgow on a wet, windy, wintry November Sunday night in 1997. Run by JD Twitch and partner in crime Jonnie Wilkes. Optimo was a reaction against what felt like an increasingly conservative musical soundtrack in clubs here at that time. Clubland felt as if it had become very bland and a bit too serious; it was the era of the dawn of the Superstar DJ. Clubs often felt like bastions of male energy. It seemed dance music and culture was going somewhere far, far away from where it was meant to be. The notion of fun had got lost.

It was no longer the world they had devoted ten years of their lives to already, and lots of their friends felt the same. When the opportunity came up to do a Sunday night at The Sub Club it felt like the perfect opportunity to rip it all up and start again. So they did. There was nothing in the city (or possibly anywhere) like it. As the club believed wholeheartedly in what they were doing, there was no pressure from The Sub Club to fill the club. So, they embraced the freedom. Groups of people who had never been in the same room at the same time before came together. A community of kindred spirits started to emerge.

Word spread, slowly. Lots of people checked it out. Many loved it, some hated it. The core of the Optimo idea was to embrace music they loved that might work on the dancefloor from whatever era or genre they thought felt right. It might not seem very radical now but at that time it was revolutionary.

After about a year and a half, the club went from having 100 people attending most nights to suddenly one week having 500 people turn up. It was very weird. It was as if a collective light bulb went off in people’s heads in Glasgow. From that week on, until the very last weekly Sunday night at the Sub Club, in 2010, over a decade later, it was packed.

There were 550 Sunday Optimo nights. A LOT of music was played. So, what was the music? People often find it hard to pin down exactly what Optimo is. This has been a positive but also a negative as we live in a world where people want easily defined “brand identities”. The simplest definition of the music played is “music for dancing”, which of course is a very broad definition. Even better than trying to define it in words, we have these 2 volumes of music that give a hint of what that might be.

This is not a “Best of Optimo” or a “Greatest Hits of Optimo” compilation. For people who come to, or used to come to the nights there are of course “Greatest Hits”. But, over such a long timespan they are “hits” belonging to a certain moment in time and space. Someone who came to Optimo in 1997 would have a completely different notion of the big tracks at the club to someone coming in 2003, or 2010, or today. This compilation is just a snap shot missing several genres that might make up the DNA of Optimo. There is though a broad sweep through lots of music Optimo loves, that they believe is amazing. Music that they know will rock a dancefloor, that they have played between 1997 and 2023. Of course Optimo nights were not all about rocking the dancefloor. The first hour was always a time for them to play music they loved that often was far removed from the dance. Side 1, Volume 1 of this compilation is the kind of music one might hear at the very start of an Optimo night.

Optimo have always loved a good slogan. The most long lived, and fitting Optimo slogan is "We Love Your Ears", which is in essence what it is all about to them.

Daljit Kundi and Ludvig Cimbrelius have Indian and Swedish backgrounds but actually came together in the UK music scene and specifically ambient jungle. They set off to explore that world totters and did so with aplomb across several great albums and EPs.

This new album was actually nearly done many years ago but was shelved owing to struggles with record labels. When Past Inside The Present heard it though they encouraged the album to be finished and so here it is. It's an emotional work which "attempts to represent a psychic darkness that is as deeply restful as it is ripe with creative potential." It's absorbing, beautiful ambient from a pair of real dons.

Childsplay presents 4 XXXplosive elektro traXXX 4 the cyb3rR4v3 4 the XXX-rated debut from 19-yr old ukrainian ghettotek superstar Soft Grunge. 100% of profits go 2 support the kyiv-based artist and local Ukrainian charity.

It's time to clock up more Air Miles here as the small but well-formed label invites Supreems for another excursion into emotional yet robust breakbeats. 'Being' floats above the dancefloor on perfect frictionless drum loops that lurch to and fro and 'Touch' is a deep space trip with pensive cosmic pads and delightfully delicate but dynamic breaks. There is more weight and crispy texture to the zoned out sounds of 'Running Back', then 'Soft Spring' brings a heart aching female vocal to a loose cluster of beats, breaks, hits and churchy chords. 'Yunnan' shuts things down with a dark yet alluring energy. There is great craft in these cuts as well as plenty of dancefloor clout.

Although you had to wait a couple of years between IFSXXX002 & IFSXXX003, the next release in the series is dropping in rapid succession. Afterall, they say the best things comes in pairs and Infernal Sounds have enlisted the musical talent of Bukez Finezt for their 4th outing. Both tracks provide the German's trademark sound, bringing together a monsterous dubplate in 'Jupiter' and a remix of Sir Hiss' track 'Danny Uzi Vert' (IFSXXX001), which has been one of the most sought after dubs for the last few years. The A side 'Jupiter' kicks off proceedings with a brute-force, low end medley and a spacey soundscape, while the remix of D.U.V twists the original on it's head, invigorating the movement on the drop whilst keeping the melody as it's main lead, but in a energetic, twisted fashion.

As with the previous XXX series, the release is vinyl-only (never to be released digitally) and will not be repressed.

These days, singer-songwriter and actor David Blue tends to be remembered only in relation to Bob Dylan. A member of the supporting cast in mid-60s Greenwich Village and The Rolling Thunder Revue. Yet to categorise Blue in this way is reductionist, and does him an injustice. He was something of an archetype of the 60s generation of Greenwich Village singer-songwriters. Yet, esteemed by his peers, he was overlooked. He released seven albums in a decade, and his acting career was shaping up when he died suddenly at the age of just 41. His passing was barely noted in the rock press, and in the subsequent years Blue was all but forgotten. Of late, though, that’s

changed. His albums started to reappear on CD on small labels and, in 2020, both Rolling Stone and Mojo magazines published major reappraisals. Blue – at last – was getting the attention denied him in life.



It wasn’t until 1965 that Blue, as Dave Cohen, released his first recordings – three songs on Elektra’s Singer Songwriter Project. All betrayed a debt to pre-electric Dylan. But then again, so did much else coming out of Greenwich Village at the time. Elektra contracted Blue to do his own album, and in 1966 David Blue was released – his first recording to appear under that name. Electric folk rock with a garage band attitude, somewhat in debt to Highway 61, it didn’t sell well. Shortly after the album’s release Blue formed and toured with The American Patrol, a four-piece rock band, recording an album for Elektra that was never released.



Now, for the first time, Hanky Panky and Mapache release those historical abandoned American Patrol recordings, along with the three tracks included on Elektra’s 1965 LP Singer Songwriter Project, as David Blue And The American Patrol The Lost 1967 Elektra Recordings & More and David Blue, his self-titled 1966 debut album, on two exclusive vinyl editions limited to 500 copies

Originally issued on Science/Virgin in September 1997, Modus Operandi established Rupert Parkes as an unmistakable force within the realm of drum and bass and downtempo - Modus Operandi is presented here with scrupulous attention to the detail of its original UK first pressing and is available on three 140gm LPs.

Whether replacing a much-loved original, or adding to a collection afresh, this is a superior way to enjoy such enduring and influential music.

Born in Suffolk, Parkes, learnt saxophone as a child, but by the early 90s, he like many others, got into electronic music, and by the middle of the decade was making inventive, skeletal, drum and bass. Photek was first heard on his own label, with releases such as Seven Samurai and U.F.O, which brought him to the attention of Goldie, who released his calling card Natural Born Killa EP on his Metalheadz imprint. Photek's slower take on what was then known as 'jungle', produced a half- step breakbeat, adding a glacial, mellowness to the relentless beats.

By the time of his signing to Virgin, Photek was truly making waves, and Modus Operandi was trailed by The Hidden Camera mini album, which reached the UK Top 40, as did the single Ni Ten Ichi Ryu. Modus Operandi was a critical and commercial success, reaching the Top 40 and establishing him as a go- to producer and remixer. The space around his beats and his ample yet judicious range of effects can be heard on tunes such as The Hidden Camera and the jazz
influenced title track.

Photek has not released a new album in over a decade. He now is an established film and television composer in Hollywood. However, his work is fondly remembered and still sounds as fresh as a drum and bass daisy.

Piezo’s Ansia imprint returns for its 8th outing ‘Imago’, inviting Berlin’s Unity Vega for a split EP of uptempo dancefloor explorations that mine that fertile space between footwork, drum’n’bass, dancehall and experimental contemporary club sonics.

Unity Vega leads the charge with ‘No Body No Mind’ - a waterlogged darkside skanker that sits somewhere between the half-stepping jungle of the UVB-76 crew and the kind of oddball dancehall deconstructions often peddled by Ansia's extended circles. 
Appearing again on the flip, Vega ups his pace on ‘Set Em’ - a nervy footwork roller that pits gully hip-hop vocal chops against rising bell chords and washes of delayed noise. Think Rashad dubbed out by Kevin Martin and you’re in the right ballpark.

Label head Piezo’s contributions continue along similar lines, albeit in his own unmistakable style. ‘Toughts, Heavy’ also finds the midpoint between d’n’b and dembow, this time marrying a gurgling acid bassline with a euphoric-turned-paranoiac trance lead. 
Up next, ‘Nel Frigo Ah’ strips things back to the raw, banging basics: a looping vocal call pinned down by a frenetic crescendoing drum workout.

To close, Japanese legend Foodman delivers a pots-and-pans rework of ‘Thoughts, Heavy’ - a true curveball tool for the adventurous DJs amongst us.

Type steps up to the plate next, with the 'Deeper Still EP' - his first solo release on Rupture.

Setting the dance alight with his Jupiter debut last year with the long awaited 'Hummer', he comes correct with a full EP in 2024. This time led by another heavily demanded Rupture dub - the mighty 'SK85'.

Here comes the 11th act of our 10" series. Another fusion of obscure 60/70s grooves, epic 90s conversations and other unknown elements from outer space.

12" compilation with new tracks by Eoism, Voertuig, Colkin and a lost gem by Peter Seiler featuring Sheryl Hackett. Picture sleeve with a bold artwork based on a sculpture by Hede Bühl. Limited to 500 copies.


Colkin (Raw Soul, Mauke Club) kicks off the a-side with a spheric acid house meditation. Next is a track by Peter Seiler which could be found on the extended reissue of his 'Flying Frames' debut LP on Innovative Communication in 1989. It features the soulful voice of Sheryl Hackett. An extraordinary groover that is meandering between song and jazz improvisation. Eoism (Pulse Drift, Undersound, Inch By Inch) complete the a-side with some low-swung electro flavors, driving you straight into sunset.

On the b-side Voertuig (Tonal Oceans, Cobra Club) hit us with a serious and raw acid jam - dark and dirty. On the following track they show us their experimental jazzy side and cool things down again. A track the 1990s downbeat era was missing. Eoism close the first volume of FUTUR with a floating, futuristic banger from their lab.

Benedikt Meger's aspiration for funkscapes was always to feature funk grooves, old and new, fresh and relevant for today. Whether some rare, not so rare or just under the radar recordings from the past or new productions from today's artists across different electronic genres. This idea now culminates into the selection for the compilation FUTUR.

Enjoy the ride.

Wake up sleepyheads; after another rotation around the sun and the fog of the early year drifting across the realm, what better way to break through than breaks. Spray is once again on the archival quest, dusting off jewels for the dancers, with this time’s excavation taking us to a 1994 North London bedroom (heard that before huh?). Originally released on D*Fusion Records, at a time when the ever-rising pulsating amphetamine twitch of hardcore was side stepped, with some furthering their fury into jungle, and others receding into more cerebral and ethereal realms. This collection of huge tunes falls into the latter from the producer Anoesis; a release for the post-post generation, when bygone specters of trance dance mania become the ghouls of the moment, the need for Rave ever increasing.

All in all it takes about 15 seconds to know that ‘Heavy Water’ is an essential massive break your speaker hit. Gated vox pop out like sirens in the smoke and lasers, calling you to engage with the eternal/internal rhythm that is the acid squelch break. A perfect dose of psych deviates the song to a higher path. For the remix contemporary audio savant D. Tiff strips away the buzz saw grind of the original, encouraging hypnosis and trance-infected desires, with a touch of mooood.

On the flip Diact is super keen for an ascension. A menaced freaky overlord, pulling at the strings that the dancers are mere puppets to follow, channeling a big beat essence. Trouble Down Groove assumes the form of the classic break and vocal flip, full of twitched sampling hype; 1 for the dancefloor headspinners. Aligned to the Anoesis sound, it’s mutated with a certain type of alluring growl, a sonic signature, and the key sound running through this EP.

Building off of the themes of identity, storytelling and experimentation on her critically acclaimed debut album, Khonnar (2018), Deena Abdelwahed’s upcoming album Jbal Rrsas is the next chapter of a reimagining of what club music could be. The album spans seven tracks of bass, techno, and experimental music, with Abdelwahed consulting with masterminds like Tunisian composer and multi-instrumentalist Khalil Hentati, aka Khalil Epi, and Iraqi-British multi-instrumentalist, composer, and researcher Khyam Allami, as well as Egyptian mastering engineer Heba Kadry, to help realise her vision.

Jbal Rrsas starts with the seductively apocalyptic opener, The Key to the Exit, a deconstructed sha’bi production. With tracks like Six as Oil and the delightfully intense Violence for Free, Abdelwahed leads users to a desert rave, where industrial rhythms are left unbridled. Abdelwahed’s vocals on Complain and Pre-Island are powerful and exposed, confidently placed on dizzying avant-garde productions. The Wire previously said “Khonnar is an assured debut that sits on the edge of a whole swathe of possibilities, not only sonic but also geographical, social and political.” With Jbal Rrsas finds Abdelwahed deftly navigating through those possibilities, frequently pushing against genres, labels, and social identifiers, while elevating club music to otherworldly heights.

Part two of the DJ Phantasy Unreleased series. These tracks were discovered over the past few years on the DAT’s that Phantasy has had in storage since the early 90’s. These two tracks were recorded in 1993 at Jack Smooth’s studio and were engineered by Alex Reece.

Dark, moody and melodic – the trademark sound of DJ Phantasy around this time, drawing from the endless raves that he was playing in 1993. But in 1993 the scene and the sound was constantly advancing and tracks were sounding dated within a month or two, so they were not released back then. But now they sound fresh and futuristic and we at Vinyl Fanatiks are so lucky to be able to work alongside Liquid Wax to be able to share them for the first time.

Released in a high quality gloss Liquid Wax housebag and white inner sleeve.

Science Cult presents the 7" remix vinyl of drøn's 'Numerator' with remixes from the found sound and experimentalist Maude Vôs along with label co-founder Syrte!

Originally released in 1993 on DJ Phantasy’s Liquid Wax label, it has now been repressed in conjunction with Vinyl Fanatiks on coloured vinyl.

For this release Phantasy teams up with Lynnford Jones from Rufige Kru. In fact, neither of them remember doing these remixes back in the day until they spoke together about them and the memories came flooding back! These are remixes of a Liquid Aliens track previously released on Liquid Wax via Vinyl Fanatiks, but long since sold out.

As always with anything on Liquid Wax, these tracks are big club releases as Phantasy was testing them out at all the raves in the early 90’s. But Phantasy always has a trick up his sleeve that makes his music sound incredibly original and still fresh to this day, 31 years later!

LIMITED PRESSING.

Dark Grooves Records starts with the aim to rediscover cult tracks from Deep-House to Uk Garage and old-school Techno. This third release comes from the Philly producer Dozia Blakey, who put out this ep on 1996 under the alias Music From The Trees. The whole EP is a quality Deep House / US Garage record, also including a remix by King Britt (Dynamics Birthday Mix). On Side B we also find "Back to Basiks" which which showed up as the first track on Prosumer Boiler Room mix from 2012.

Originally released in 1993 on DJ Phantasy’s Liquid Wax label, it has now been repressed in conjunction with Vinyl Fanatiks on coloured vinyl.

One of DJ Phantasy’s many aliases alongside his pal Robert Chimiel. The lead tune is a total rave anthem – hands to the lazers business! The flipside has a such a sweet chugging bassline that takes you on a trip!

As always with anything on Liquid Wax, these tracks are big club releases as Phantasy was testing them out at all the raves in the early 90’s. But Phantasy always has a trick up his sleeve that makes his music sound incredibly original and still fresh to this day, 31 years later!

LIMITED PRESSING

2023 marks the tenth year of Music From Memory; a decade of groundbreaking archival releases, cross-generational collaborations and long-standing creative partnerships with our ever-expanding community of artists.

To celebrate this milestone, earlier this year we asked our roster of artists to submit a piece of music for an anniversary compilation. As submissions gradually came in, we were blown away by what we received and slowly began to piece them together into what was to become “10”.

Featuring work from artists who were present during the formation of the label, such as Gigi Masin, Joan Bibiloni and Michal Turtle, as well as artists like The Zenmenn, RAMZi and Dea, who have helped the label expand over subsequent years, “10” serves as a natural bookmark of where we are musically, whilst simultaneously reflecting on the label's rich musical past.

In keeping with the Music From Memory ethos, the music of “10” spans both time and space, with submissions ranging from Vito Ricci's 'Da Hamptons' (1985) to Yu Su & J. Wilson's 'Mitti Atar' (2023). It crosses the globe, with a total of 10 countries represented across 17 tracks. The final result is an immersive musical compilation that flows perfectly from start to finish.

Tragically, during the last few weeks of finalising MFM066, label co-owner Jamie Tiller passed away in a sudden accident. “10” was always intended to be a way to reflect on the journey of Music From Memory. The fact that it is now also one of the last releases that the team all worked on together adds a whole other level of reflection and makes it all the more special.

Part 3 of Cignol's Lost Cignal series! 4 tracks that carries all the fine Furthur Electronix trademark sounds of IDM/Breakbeat/Downtempo. Limited hand stamped copies..

De Leon returns to Mana, following their 2018 LP, offering a suite of new material that adds further waypoints to the map of their cryptic soundworld, deepening and expanding the direction of travel they began within the Aught collective.

The dual legacies of Javanese gamelan and minimalist composition remain clear touchstones on this second, untitled album, which employs architectures of repetition and microtonality and evokes the musical heritage of the Bay Area whilst folding in the arid landscapes of Tucson, Arizona, where its compositions were conceived in part.

Featuring a broad vocabulary of source material, notably Daniel Schmidt’s gamelan at Mills College and the spherical gongs on the album’s cover, combined with a homespun collection of prepared instruments and faint vapors of synthesis, De Leon crafts a distinct signature sound that evades alignment with conventions of academic composition and contemporary electronica but nods to both as it carves out its unique direction of travel.

This album inscribes itself into a tradition of works that enable listeners to perceive deeper valences of time and psychedelic aesthetics of scale. Percussion and metallophones fluctuate within the virtual space of the recording and the sounds avoid stasis, rather undulating restlessly or flickering in and out of perception in a manner consistent with the mercurial sensibilities of their early De Leon recordings.

Texture Lord DJ Heure spreads his wings on ILIO003.

ILIO aims to give the artist the time, space and freedom to create music of variety and meaning. In approaching the 'Distant Hawaii' and 'All my thoughts' staple, Dj Heure stepped up to the challenge through an already challenging year.

'Out of Context' evolves beautifully from start to finish, with 5 tracks all exploring space, movement and an unavoidable feeling of emotion. Mysterious and enigmatic 'J.Pauler' joins in for a tension building congo romp on the A1 'Desperado's' While Heure ensures the rest of the EP will digest just as well in the home as it will behind a sub when we can all hug again.

Stay safe, the sun will shine again. Limited to 300 copies - ILIO

A legend return to Sheffield's Ozone Recordings with some Rage style proto - hardcore vinyl. Frankie Bones reprises his legendary “Bonesbreaks” series for 2022. The sounds that influenced Fabio & Grooverider over 30 years ago sound as fresh as ever.

“That's How We Living” reworks elements of a classic old skool tune with other hardcore tropes into a fierce electro groove.

“Cause You Want It” adds a bit of UKG flair into the mix blending saccharine vocals with horrific early hardcore darkness & gritty techno kick drums.

“Bust It” is full of bombastic breaks & huge bass wobbling soundage.

“They Nail You” propels the listener into an eerie sci fi b movie soundscape. The jagged lead riff rains fire over clean & crisp phat breaks.

An EP perfect for ravers, techno heads & the more experimental DnB DJ's.

Temples of Jura is proud to present ‘The Great Beyond’, the ninth studio album from Ilija Rudman. The concept of the album is the afterlife with words from Nikola Tesla, Slavoj Zizek, Jim Morrison, JF Kennedy, Charles De Gaulle, WH Auden, Azar Nafisi and Eleanor Roosevelt woven together to tell the story of ‘The Great Beyond’ and what may lie ahead for us all. The voice itself was created by Ai (let’s call him ERIC) and is set beautifully to music that has a timeless cinematic quality. Ilija only uses pure Analogue equipment in the creation of his music, resulting in a rich tapestry of basses, drums, chords and lead sounds. He’s been a prolific producer for over 20 years now with a discography that runs deep with more than 100 Vinyl EP releases and 8 studio albums, but we feel he’s reached the pinnacle with this concept album. We’ll leave the final word to ERIC “You gain strength, courage and confidence by every experience in which you really stop to look fear in the face.”

A new album by one half of the mighty Pilotwings crew. Guillaume Lespinasse convenes a sublimely alluring, ambient seance, invoking the spirits of Jon Hassell and Terry Riley, and befitting the soundtrack of a dreamt Jacques Rivette movie. Imagine an impossible, questing collaboration between Les Disques Du Crepuscule and deep ECM. Imagine the long-awaited return of Berceuse Heroique and pinch yourself.

'Sounds From The Northern Hemisphere' is a collection of live-recorded takes, registered between 2021 and 2023. The Icelandic extraterrestrial scenery was the main inspiration for this work. Similarly to the nature of each landscape, every composition was crafted with a genuine and spontaneous approach, entirely avoiding digital instruments.

A methodical sound research was enacted, exploring the analog behaviours of classic and modern machines. The result is a minimalistic and intense merge of sounds: simple, but meaningful.

Andreas Tilliander released his first album as Mokira at the very turn of the Millennium on almighty Raster Noton. 11 years later, the latest Mokira album Time Axis Manipulation was issued on Ulf Erikssons Kontra-Musik and now it's time to pick up where we left off with 'Chill Out'. There's an air of happy retrospect and light solemnity surrounding the new album - enhanced by the fact that it marks Kontra-Musik's 50th release. With 'Chill Out', Mokira attempts to bring back the dreamlike state from those magical late nights of his youth spent in front of MTV's Chill Out Zone; to go back to his ambient roots using contemporary techniques and perspectives. The result Well, imagine Lee Scratch Perry and KLF enjoying an episode of Stranger Things on a crappy vintage TV after being hard at work burying old tape recordings in Perry's tropical garden. Imagine them sitting together totally at peace in a big, cosy sofa while a heavy haze is building up in the room, pleasantly affecting the eerie images on the screen. We always knew Kontra-Musik's 50th release had to be something quite out of the ordinary. As expected, Mokira didn't disappoint us one bit. The vinyl LP is accompanied with a download code for a mixed version of the album, containing almost double the amount of tracks. The mixed version makes it easy for the Chill Out listener to just sit back and let go of reality for a while, just like Mokira did 25 years ago in front of his old TV.

Science Cult presents the Kinetic Series: A limited edition of Picture Discs with kinetic artwork crafted by Chris Dowding. First up are Odd Oswald and Stephan Barnem with their “Horror Haus” EP, an homage to 1980’s Horror movies accompanied by a funky electro remix from Jensen Interceptor. Unique moving artwork is present on both sides, including markers for track start and end points.

The second instalment in the Titrate series marks the debut of Pagan Red. This 180g vinyl album, housed in 350gsm reverse board print packaging, contains three experimental compositions featuring subtly enveloping drone, weightless percussion and immersive tonal resonance. Field recordings interweave with the synthetic, sparse rhythms emerge and dissolve, absorbing textures layer and evaporate. Exploring the symbiosis between the natural and the nonmaterial, Materia guides listeners on a journey across the threshold.

Placid Angles, alias of seminal electronic artist John Beltran. Back to is roots on this one, tip!

Denver producer and visual artist John T. Hastings aka RUMTUM returns to Bastard Jazz for his second album on the label, "Arcadian Daze". The album is a contemplative drive down a nostalgic highway, reflecting on a period of his late adolescence growing up in Ohio, spending time at Arcadia Beach on Lake Erie and discovering the likes DJ Shadow, Madlib, Fila Brazilla, early Four Tet, the original Ninja Tune roster and more. Revisiting these coming of age memories, John purchased an older MPC 2000XL and set out to musically capture the excitement of putting his first nascent loops together, inspired by this pivotal era of electronic music that has since birthed movements like such as Lo-Fi/Chillhop, Vaporwave, LA's mid-2000s Beat Scene / Low End Theory, etc.

The end result of "Arcadian Daze" is indeed filled with that nostalgic spirit paying homage to those aforementioned sounds, but also presents a forward thinking musical palate that's very much grounded in RUMTUM's sensibilities as a producer and time spent learning to program new & vintage outboard gear. The album moves away from the warm, dreamy sounds of last year's "Isles in Indigo" LP, and touches more into a mystical, pensive vibe with elements of darkness and light.

A - The Prophet
Drenched in a thick haze of layered synthpads, "The Prophet" builds up from muted, dissonant percussion and little drum-fills. A few vocal-snippets recorded on the street give way to a slowed down jungle-jam, that winds down before things intensify for the rollout. One for the twilight hours.


B1 - Meatpie
Clearly the thug of this bunch, "Meatpie" is a mean technostomper, driven by distorted drums and a thick underbelly of call-and-response basslines. Midway through, rather unsubtle tribal drums switch things up and introduce a dramatic pad, before the carnage resumes. Supported by Violet (Naïve), Peach, Imre Kiss, JASSS and ASOK (Lobster Theremin) amongst others.

B2 - Contadini
You fool around with some classic old samples, finish the tune for a laugh, it works great but in the meantime a dozen other tracks come out with the same break. What to do Sleep on it for way too long and finally stick it on the runout of your B-Side, that's what you do. Go have fun with this!
All props to the Vicks-crew.

This compilation is a research project commissioned by Urvakan with the support of the Goethe-Institut. It archives a selection of recordings contributed by some of the artists from post-Soviet countries who were meant to play at Urvakan 2020 - a festival that never really happened. The artists were asked to explore the idea of "collective memories" in sound by using aural techniques capable of evoking reminiscences in the subconsciouses of people from fairly different locations, but that are in some ways similar in their cultural codes. The submissions we received were not only inspiring, but also quite accurately fell in line with Urvakan's declared focus on "hauntological" music practices, referenced in the festival's name itself - "urvakan" is the Armenian word for ghost, phantom, or spirit.

The ufo has landed for another time to bring you the rawest
electro sounds to earth. Vaust is the name of our alien
brother from cologne. A real 'Tausendsassa' when it's about
music. Three breakdance/subway party banger to make
windmills on and on. Includes a geniusly produced IDM
emix by Dust Control. The perfect record to bring celestial
vibes into your dance§oor.

BufoBufo (Klasse Wrecks, Dream Ticket, Cabaret) and Qeta (Further Electronix, Wave Function, brokntoys) join forces for an eight track split LP, diving into aquatic synths, sliding breakbeats and amphibious atmospheres. Moving from the galactic leads and drum & bass tempo of BufoBufo’s ‘Caloris Basin’ to the dreamy melodies and trip-hop beats of Qeta’s ‘Art II’ , it ends on the expansive, horizon-gazing tones of their collaboration ‘Gloaming’, all shimmering interwoven bleeps and hefty breaks.

Michael Diekmann from Morphology, here under his CRC alias with a high quality acidic breakbeat EP. Limited copies and printed sleeve.

Peter Andersson, aka Lina Baby Doll, is the man that sustain the heavy structure behind Deutsch Nepal. A legend in the scene of industrialism, avant-garde, music and art in general. He is capable to re-create and re-design old school industrial and electronica, taking elements from apparently dissimilar concepts such as Dadaism and Tribalism, or “contradictory” ideas such as Heathenry and Christianity and converge them into a typical cocktail blend that characterises a unique and now famous style. Manic rhythmic redundancies, strange indefinable samplers, metallic sounds, distorted guitar chords are common elements found in all his works. His main goal?. Mesmerize the listener to subjugate the mind and put the spirit into reverberation mode.

It is difficult to reduce his works to a simple description. All of them seem to be the evolution of an early idea, a baby that grows old, getting monstrous and divine while doing so. The music itself is a never ending universal paradox in where beats and rhythms have a primary role. Deutsch Nepal is surreal landscapes strongly conducted and cut through with the violent and precise pounding of the repetitive aspect of percussion. It’s a black and white obsession, changing shapes and tonality.

This boxset compiles the first five albums released by Deutsch Nepal throughout the 90’s (“Deflagration of Hell”, “Benevolence”, “Tolerance”, “¡Comprendido!… Time Stop! …And World Ending” and “Erosion”) plus an extra record (“Dystopian Selection”) with a selection of tracks taken from old compilations. Limited edition of 535 copies with six vinyl records on individual sleeves, three postcards set, numbered certificate and a sticker.

The Doubling Riders were born in the middle of the '80s from the ashes of the great experimental / minimal wave project A.T.R.O.X. around the trio of Francesco Paladino, Pier Luigi Andreoni, and Riccardo Sinigaglia (Professor of Electronic composition at Milan's Conservatory) .

Starting from an electronic music approach and working freely with ethno, folk and wave elements, the sound of the Doubling Riders was extremely original and hard to classify. Mostly quiet meditative stuff, with folk, experimental electronic influences and some unusual vocalisations, some sang in a strange italian dialect.

Even if often compared to the more intellectual electronic experimental bands like Tuxedomoon, Coil or Vox Populi, Doubling Riders can be easily considered a unique project within the Italian new music scene.

Remastered from the original files. 180 gr vinyl with insert.

If you can judge an artist's quality by the company they keep, then FaltyDL is up there with the best of them. The label history of the producer known to his friends as Drew Lustman reads like a "who's who" of 21st century electronic music imprints - Ninja Tune, Unknown to the Unknown, Planet Mu, Studio Barnhus, the list goes on.

WithIn the Wake of Wolves, we can now add Central Processing Unit to this illustrious roster. The Sheffield label joins the party at a notable juncture - while FaltyDL has kept up an impressive clip of releases throughout his career,In the Wake of Wolvesis both the NYC-based producer's first LP for two years and his first full-length release away from his own Blueberry Records for almost a decade.

In the Wake of Wolvesproves to be both a great match for CPU and also further evidence of the label's burgeoning sonic palette. While CPU has built its reputation on top quality electro joints, recent releases have delivered adventurous electronica experiments (Proswell'sPeople Are Giving And Receiving Thanks At Incredible Speeds), hard-wired breakbeat techno (Baby T'sI Against I) and golden-age synth explorations (twenty-fifth anniversary reissues of Bochum Welt'sDesktop RoboticsandFeelings on a Screen, both of which first emerged via the legendary Rephlex Records).In the Wake of Wolvestakes things further still - this is a brilliantly genre-voracious record, one which marries the rhythmic cut-and-thrust that we have long known FaltyDL for with all manner of adventurous stylistic choices.

Those familiar with the FaltyDL experience will recognise the trademark blend of synthetic grit and harmonious softness in album opener 'I Need You'. This could pass for Four Tet or even Hannah Diamond at points, the steady build of pulsing synths and looped vocals recalling a more mysterious version of the PC Music sound. 'I Need You' stands shoulder-to-shoulder with any of FaltyDL's other great atmospheric album openers - no small feat given the competition. 'Further', the following number, is yin to 'I Need You's yang. This is a pulsating track which gleefully skitters between machine-funk, tubing darkside bass and breakcore-adjacent drum programming, all of which is peppered with some genuinely beautiful work in the higher synths.

'Further' sets the scene for several of the more club-facing cuts here. 'Minds Protection' similarly features all manner of strange percussive sounds to surprise the ear, and it also boasts a thrilling mid-section in which the bottom falls out the track to incorporate a short snippet of blown-out junglism. With its tunnelling low-end and clattering drums, 'Full Spectrum' kicks off a delightful run of grime-influenced joints which take cues from Mr. Mitch, Logos and many of those other producers who took the Eski sound to exciting new places in the 2010s. 'Forget Me Not', the album's longest track which is placed three spots from the end, feels like the record's climactic point - a pitter-patter post-house joint that has a hint of Caribou in its DNA, it'll take the clubs by storm.

But as much as FaltyDL may consistently bring the heat in terms of the beat programming, the thing which has long marked Lustman out as a special talent is the musicality of his compositions. No matter how much drums clatter or bass bangs, FaltyDL always hooks the ear back in with a sonorous synth or pleasing nugget of melody. Nowhere is this more apparent than onIn the Wake of Wolves' more weightless numbers, each startling in their prettiness. 'Half Spectrum' is a new-era beat track packed full of ear candy; the keening keys of 'GasGas' are potent with feeling; and on the album's closer, the evocatively-titled 'Mila Stans In A Meadow For The First Time Eating Strawberries', we get a gorgeous synth vignette that joins the dots between the modern mastery of Yung Sherman and the most emotionally affecting moments of Aphex's Twin's catalogue.

At once wistful and hopeful, archival and futuristic, FaltyDL's brilliantly unpredictableIn the Wake of Wolvesis a feather in the cap for both this seasoned producer and the Central Processing Unit label.

RIYL: AFX, Bochum Welt, Mark Fell, Mrs Jynx, Boards of Canada

Sex Tags Amfibia presents Norwegian/Sami multi-crafted artist Geir Tore Holm's landmark sound piece "Writing in snow" - a typically poetic, funny and down to earth approach to nature, sound and every day reflections in the artists trademark style. Holm has since the early 90's been part of breaking down the established notion of ruling institutional qualities in Norway with countless projects involving sculptures, food, installations, farming, photography, video, sound & music (also incl. on AMFIBIA 10 - Sørfinnset Skole/the nord land 10"). This piece is feat. on a one sided flexi disc - an easily transportable and physical presentation of a sonic piece - outside the galleries and museums, and rather in peoples homes.

Jusant is an action-puzzle climbing game by DON'T NOD highly anticipated for its unique vertical gameplay, graphics and story. Its OST was composed by the piano genius Guillaume Ferran influenced by neoclassical artists like Nils Frahm or Max Richter: it follows the game’s meditative vibes with 23 minimalist orchestral tracks that give each instrument its place in a colorful soundscape.

Jusant is an action-puzzle climbing game by DON'T NOD highly anticipated for its unique vertical gameplay, graphics and story. Its OST was composed by the piano genius Guillaume Ferran influenced by neoclassical artists like Nils Frahm or Max Richter: it follows the game’s meditative vibes with 23 minimalist orchestral tracks that give each instrument its place in a colorful soundscape.

AKO are proud to present Equinox on the AKO10.


Equinox is one of our favourite producer/DJ and there's something special when he goes on a mellow, atmospheric tip.
2 beautiful tracks that will take you on a journey, and we hope you enjoy.

Since his first album, Labelle has been dovetailing the techno that so captivated his imagination as a teenager, with traditional Maloya music - native to the French overseas department where he grew up and still lives.

His new album submerges itself in the darker recesses of the psyche. NOIR ANIMA is a reflective portrait of a soul enshrouded by the darkness of night, inching towards a euphoric morning.

Over the last decade, the Réunion Island-based composer has made a name for himself exploring syncretic religion and philosophy throughout his work and, for his fifth studio album, his search for truth has turned inwards. On NOIR ANIMA, we are offered a glimpse into the emotional state of the artist making this extraordinary and dynamic music.

French duo Nabil Vortex is back with fresh sounds! This new record blends hard electronics, acid, and bass music with traditional and popular Algerian music. This EP highlights these underground pioneers, turning their unique style into unforgettable dancefloor bangers.

On behalf of re:discovery records, it is with great excitement that we announce the 2nd EP in the 3 part series that highlight the music from the 1990's Norwegian electronic act Neural Network. Picking up from where EP #1 left off, the A-side features the title track from their first album 'Brain-State-In-A-Box'. Originally, this was actually an edit from the 30+ minute live version that was played in 1993 where Keith Flint and the Prodigy crew gave them the thumbs up for being a great opening act for them to take stage to. A pinnacle UK rave track in all the essence, give this one a proper go. All 16 minutes of it! The B-side features our favorite ambient cut from Neural Network's 2nd album 'Modernité'. Titled 'Part 3' it is a deep, emotional and moving ambient track. Goosebump material to those that knew it orginally. All 3 of these EP's come with notes from the band on those special early days of their music and their inspiration. All these tracks are on vinyl for the first time with excellent artwork from UK's Grid Pattern. Bring back the Chill Out Rooms!

Earth, Our Planet?”: A call for environmental awareness. This time, Pedro Vian - the founder of Modern Obscure Music - presents his fourth solo album (following his 2020 release, "Ibillorca"). Due for release in spring 2024, "Earth, Our Planet?" promises to immerse us in a moving odyssey, crossing the boundaries of musical genres to provoke an urgent meditation on the protection of our planet. On this occasion Vian has composed the album influenced by the myth of the eternal return, the compositions are long and repetitive, generating states of pure trance.
Pedro Vian, singular for his fusion of genres and styles, ventures into even more complex territories in "Earth, Our Planet?". From the first listen, it is evident that this work treads the line of convention and breaks the boundaries of electronic and experimental music with artistic dexterity. The album weaves together texture, hypnotic rhythms and melody. Each track reveals his distinctive ability to create immersive landscapes, guiding the listener into deep emotional introspection. This is not just music; it is a transformative experience.
The beauty of this album lies not only in the musical vision. The album features high-calibre collaborations that add layers of creativity and elegance. Trumpeter Pierre Bastien, whose early productions left an indelible mark on Aphex Twin's Reflex label, infuses "A Day in Rotterdam" with a unique emotional resonance. Violinist, Asia, renowned for her avant-garde approach and ability to conjure unique landscapes, elevates the album's opening tracks "Urobóros" and "Les Tambours Subterraniens". Their skill and sensitivity intertwine perfectly with Vian's artistic vision. In addition, Italian producer Daniele Mana, with whom Pedro Vian collaborated closely on his previous album "Cascades", known for his experimental approach and talent for creating extraterrestrial atmospheres also contributes to "Les Tambours Subterraniens". His artistic perspective adds more complexity and texture to the piece, pushing the boundaries of contemporary electronic music. There is also a collaboration with Raül Refree, an artist with whom Vian worked with last year, presenting “Font De la Vera Pau”, an album that The Guardian defined as "a wonderful piece of electroacoustic music, a captivating mix of strings and analogue synth drones which sometimes flirts with Alice Coltrane-ish spiritual jazz". With "Earth, Our Planet?", Pedro Vian not only offers up some of his best work to date, but it is also a call to reflect on our relationship with the natural world. As a part of a planet where environmental awareness is more crucial than ever, he urges us to protect and preserve our world as an extension of ourselves. This extensive work is a statement, Vian addresses the notion that too often we prioritise immediate needs over the well-being of the planet. It highlights the fact that we often consider the Earth as a possession when, in reality, we are but a part of it.

A contemporary product of relentless capitalism has been a trend called slowness for several years now. In order to counteract the perceived fast pace of the times in which we live with a little deceleration, sustainability and relaxation, phenomena such as Slow Food, Slow Travel, Slow Fashion or even Slow Cruising, the tourist sailing of the world's oceans with somewhat smaller cruise ships "away from the mainstream", have been introduced into the world.

That slowness is more than the opposite of speed, that elements, things, sounds that move as if in slow motion unfold a special power, precision, aesthetics and beauty, doesn’t need to be explained twice to ambient musicians. The 23rd edition of the Pop Ambient compilation, compiled as always by Wolfgang Voigt, is no exception, but instead provides the proof. Already with the first tracks of Leandro Fresco/Thore Pfeiffer, Gen Pop (Burger, Pfeiffer, Würden), Morgen Wurde feat. Tetsuroh Konishi and Max Würden up to Triola's gloomy and melancholic "Kupferblüte", the feeling of a slowness and calmness not experienced before, of an exceedingly lively standstill, creeps over us. A mental state that resembles dreams, in which we follow strange events as if paralyzed, yet awake and sensory.

The Cologne-based Sono Kollektiv, an association of experimental artists Annie Bloch, Stefanie Grawe, Joel Jaffe, Alex Linster, Luis Weiß, Moritz Riesenbeck, Lukas Schäfer, Emily Wittbrodt and Max Würden, is represented for the first time with two contributions on Pop Ambient. The two works, the fragile "Bolzano Sessions IV" and the rather light-flooded "Bolzano Sessions V" (only available on CD and in the digital version) nestle perfectly into the musical whole of this year's compilation, not only in terms of their majestic leisureliness.

In Jens-Uwe Beyer's "Nero", melancholic guitar chords reduced to the bare minimum are carried away by the wind like leaves, the reverberation holding the last note so long that it almost comes to a stop in the ear. If you like it synesthetic, look at the once again ravishing cover artwork by Veronika Unland right at this moment. Colors and shapes in which there is both everything and nothing to discover. Both feel equally right.

The final third of Pop Ambient 2023 begins with Reich & Würden's herbaceous "Receiver," a track so dignified and carried by pads reminiscent of the sound of bagpipes that it would have perfectly punctuated her majesty the Queen's 8-hour funeral ceremony - a wonderful example, by the way, of the spiritual confluence of deceleration and precision that eventually turns into trance.

The slowness is joined by togetherness at the end: Pop Ambient veteran Joachim Spieth cooperates with American sound artist zakè on his literally weightless "Air", Thore Pfeiffer co-produced the wonderful "Instinct" with Scottish brother duo Andy and Mike Truscott aka Kinbrae. California duo Patrick Hills and Morgan Fox aka Blank Gloss close out the vinyl version with the yearning "Down At The Heel," while that honor falls to debutant Ümit Han on the Pop Ambient CD. "Sieg über das Ungute" (victory over the unpleasant) in all its beauty brings us painfully back to reality.

Ein zeitgenössisches Produkt des nimmermüden Kapitalismus ist bereits seit einigen Jahren ein Trend namens Slowness. Um der gefühlten Schnelllebigkeit der Zeit in der wir leben etwas Entschleunigung, Nachhaltigkeit und Entspannung entgegenzusetzen, wurden mal eben Phänomene wie Slow Food, Slow Travel, Slow Fashion oder sogar Slow Cruising, das touristische Befahren der Weltmeere mit etwas kleineren Kreuzfahrtschiffen “abseits des Mainstreams”, in die Welt gesetzt.

Dass Langsamkeit mehr ist als das Gegenteil von Geschwindigkeit, dass Elemente, Dinge, Klänge, die sich wie in Zeitlupe bewegen, eine besondere Kraft, Präzision, Ästhetik und Schönheit entfalten, muss man Ambient-Musikern nicht zweimal erklären. Die 23. Ausgabe der Pop Ambient-Compilation, wie immer zusammengestellt von Wolfgang Voigt, macht da keine Ausnahme, sondern tritt stattdessen den Beweis an. Bereits mit den ersten Tracks von Leandro Fresco/Thore Pfeiffer, Gen Pop (Burger, Pfeiffer, Würden), Morgen Wurde feat. Tetsuroh Konishi und Max Würden bis hin zu Triolas düster-schwermütigen “Kupferblüte”, beschleicht uns das Gefühl einer so noch nicht erlebten Langsamkeit und Ruhe, eines überaus lebendigen Stillstands. Ein mentaler Zustand, der Träumen ähnelt, in denen wir wie gelähmt, doch wach und sinnesscharf dem seltsamen Geschehen folgen.

Das in Köln beheimatete Sono Kollektiv, ein Zusammenschluss der experimentellen Künstler:innen Annie Bloch, Stefanie Grawe, Joel Jaffe, Alex Linster, Luis Weiß, Moritz Riesenbeck, Lukas Schäfer, Emily Wittbrodt und Max Würden, ist erstmal mit zwei Beiträgen auf Pop Ambient vertreten. Die beiden Werke, das fragile “Bolzano Sessions IV” und das eher lichtdurchflutete “Bolzano Sessions V” (nur auf CD und in der digitalen Version enthalten) schmiegen sich, nicht nur was ihre majestätische Gemächlichkeit betrifft, perfekt in die musikalische Gesamtheit der diesjährigen Compilation.

In Jens-Uwe Beyers “Nero” werden auf das Nötigste reduzierte, melancholische Gitarren-Akkorde wie Laub vom Wind davongetragen, der Nachhall hält den letzten Ton so lange fest, dass er im Ohr beinah zum Stehen kommt. Wer es synästhetisch mag, der schaut sich genau in diesem Moment das einmal mehr hinreißende Cover-Artwork von Veronika Unland an. Farben und Formen, in denen es sowohl alles als auch nichts zu entdecken gibt. Beides fühlt sich gleichermaßen richtig an.

Das letzte Drittel von Pop Ambient 2023 beginnt mit Reich & Würdens krautigem “Receiver”, ein derart würdevoller und von an den Klang von Dudelsäcken erinnernden Flächen getragener Track, dass er in Dauerschleife die 8-stündige Beerdigungs-Zeremonie der Queen – übrigens ein wundervolles Beispiel für das spirituelle Zusammenwirken von Entschleunigung und Präzision, das irgendwann in Trance übergeht – perfekt untermalt hätte.

Zur Langsamkeit gesellt sich am Ende die Zweisamkeit: Pop Ambient Veteran Joachim Spieth kooperiert auf seinem im wahrsten Sinne des Wortes schwerelosen “Air” mit dem amerikanischen Klangkünstler zakè, Thore Pfeiffer hat das wundervolle “Instinkt” mit dem schottischen Brüderpaar Andy und Mike Truscott aka Kinbrae zusammen produziert. Das kalifornische Duo Patrick Hills und Morgan Fox aka Blank Gloss beschließt mit dem sehnsüchtigen “Down At The Heel” die Vinyl-Version, während diese Ehre auf der Pop Ambient CD Debütant Ümit Han zufällt. “Sieg über das Ungute” holt uns in all seiner Schönheit schmerzhaft zurück in die Realität.

Electro, EBM and experimental wave are brought together on the upcoming STRD release. Coming from the thriving Zurich music scene, XINDL manifests an analogue yet very familiar sound and delivers a nostalgic 90s feeling on its debut album “11”.

Sumer Is Icumen In is Quentin Thirionet's (Dhavali Giri, Pairi Daeza) debut album. Still, his musical escapades are vast and varied, based almost entirely on improvisation and live recordings, of which he occasionally distributes tapes without further information. Elusive to categorization and identification, unwilling to fix his musical activity under a stable pseudonym, his projects have ranged from gypsy jazz guitar swings, French traditional songs from Auvergne, and various experimental collaborations. Increasingly closer to electronic instrumentation, he crafted what Belgian label KRAAK presents here as Maibaum, his first ever solo output. As the title goes, this may be a maypole on which his multicolored sonic visions spring about.

Former rope access worker and currently a farmer of organic greens, Thirionet lives up to these lines of work as a musician. He assembles precisely what seems like a subtle balance between high manmade structures and soft fertilized soils; a high voltage pylon placed in a biotic landscape. It's all an even blend, spontaneous and steady, but this contraption comes from profound considerations. "I chose these tracks among many others," says Quentin, "because I heard the melodies all the time in my mind, and because I cried while playing them without really understanding why."
Armed with nothing more than a blackbox, a sequencer, a freeze pedal, and a tape player, Thirionet orchestrates a vivid rite of polished futures. At times reminiscent of Hans-Joachim Roedelius' enveloping arrangements, Maibaum's ambiances rely on mild repetitive patterns subsequently textured by prickling sprouts, mechanic dislocations and revamps that stoke and brighten the stirring motions. Jim O'Rourke's I'm Happy and I'm Singing comes to mind in terms of its detailed and prismatic nature, but Sumer Is Incumen In has its particular narrative. It's a tale of regeneration, of spring's delicate procedures and allure, a celebration of gracious and fortunate junctions between nature and machinery.

The album unfolds like a massive engine being made flesh to drift along the ether of a sultry land. The terrain turns pleasant and fertile in the title track; the colors and melodies of May start to unravel. Chromatic columns rise and define the scenery's depth of field breeding a synesthetic stream between crystal lights and warbling organisms. Grande Albero Buono Magico Uoma's brisk kaleidoscopic arpeggios sound like scanning a tree's litmus foliage. Then Ciguri takes us back to the foggy swamp of the beginning but is suddenly lit by an insect’s labyrinthine roundabout. The Jeweled Grid is a poem Quanta Qualia's lustrous metallic voice recites as a report of the album's phenomena. "Shiny revelations jump out. Pearls of thought flicker about." Images from within that distill to swirl around among us. The thicket dissolves as the album concludes calmly in Le Concept De Chien N'aboie Pas. Swaying under sieved solar light, leaves and branches tingle until the winds grow weak. All the warm creatures gathered along the way, and all those who danced around the maypole's splendid equilibrium now withdraw, folding up small to foster rebirth once again.

José Badía Berner

Abul Mogard and Rafael Anton Irisarri’s partnership unfolded serendipitously at the sold-out opening of the SoundSet Series at Madrid's Condeduque cultural center in 2023 - a program that featured performances by legends such as Autechre and younger artists like Caterina Barbieri and KMRU. The duo's encore that evening, recorded for Spain's Radio 3, resonated deeply with the audience, igniting a creative spark that propelled them to work remotely in their respective studios.

At the heart of their effort lies a delicate balance of restraint and innovation, evident in the live concert track "Waking Up Dizzy on a Bastion." This piece, inspired by their musical sensibilities, serves as a testament to their shared vision and mutual respect. Utilizing a familiar parallel chord progression, the track builds from a simple melodic motif played live on synths that transforms into a call-and-response interplay between Mogard's synth lines and Irisarri's bowed guitar loops, creating a dialogue-like interaction between the musicians. As the piece moves forward, we are greeted by melting guitar patterns (recalling Kevin Shields most lysergic moments on Loveless), followed by an intense subsonic full body massage - the visceral physicality of the Ampeg bass amps and cabinets stacks on full display.

Building upon the energy of that live performance, Mogard and Irisarri crafted "Place of Forever," a companion piece that combines Mogard's Farfisa organ and modular synthesizers with Irisarri's signature guitar tones and looping techniques at his Black Knoll studio in New York. Starting with a somber and minimal tone, the track gradually evolves, unfurling layers of deep bass tonalities draped in blissful gauze as it progresses during its 17-plus minute duration.

The resulting album exudes a profound sense of alchemy, effortlessly weaving intricate soundscapes that feel simultaneously faraway and intimate. The cover artwork, by Marja de Sanctis, depicts a vase sculpture made of unfired clay. Created and photographed by herself, it reflects lights and shadows of fragility. The rawness of the material mirrors the purity and the delicate nature of the improvised duet’s performance. Daniel Castrejón’s design responds to the image transforming the shape of the vase into lines and empty spaces. His typography on the vinyl jacket features a spot varnish, creating a tactile reflection.

Through these joint pieces, Mogard and Irisarri have created a work that encapsulates the dichotomy inherent in its title: impossibly distant, impossibly close.

--

Abul Mogard is an alter-ego created by Guido Zen, an Italian producer known for the immersive textures and mesmerizing drones of his compositions. Moving beyond conventional boundaries of melody and rhythm they transport the listeners to a dreamlike auditory landscape.

Rafael Anton Irisarri, an American composer and mastering engineer, crafts compositions adorned with layers of lush, ethereal sounds, enveloping the listener. Whether through the sullen guitars gracing his solo albums or the intricate sonic tapestry of his many collaborative projects, Irisarri delves into themes of introspection, melancholy, and humanism.

Catalogue number zero on Gelly. Dedicated ambient rhythm textures by Antep Haze.

Debut vinyl by Cruz Perro Maldito, a Tenerife based trio forever imbued in the collective imagination and folklore myths of the magical and misty mountain of Agua García, located in Tacoronte district at the foot of Teide Volcano (Tenerife/Canary Islands). Their music is an explosion of free jazz improv where sophisticated sound textures emerg-ing from modular synths and processed guitar create abstract and random rhythmic patterns with complex saxophone lines guiding the ensemble from quiet to menacing passages of sudden bursts of noise and frenzy.


Entitled Truquetin Resorte, the album takes inspiration from the rich history of mechanical automata, such as Talos, the bronze giant who defended the island of Crete and was eventually defeated by Jason and his Argonauts. Or Apega de Nabis, a replica of King Nabis’ wife whom crossed unsuspecting victims with its iron spikes hidden in the device's lower arms, hands and breasts.

Or even René Descartes and his infamous daughter- like Automaton replica, an eerie creation from the renown philosopher to evoke his dead daughter
These myths and more serve as reminder of a mechanical world’s past, a world of complex automata stories with me-chanic ‘imitating’ beings as its problematic protagonists. An eerie counterpoint to our current uber modern digital world and its rapid advancing A.I.s.

Irlam's infamous upstarts DJ Absolutely Shit are at it again with four more tracks to rattle yer spines and rupture yer spleens.
Utilizing the classic approach of sourcing a sick sample, adding a rugged breakbeat, then tweaking out the buzz for maximum enjoyment, the pair deliver an explosive EP of global hypercoloured mayhem that burns hotter than an oz of 'Ells Angels sputnik.

'Bridge To Your Heart' grabs Sade by the hand, shoves two purple doves down her throat and queue-jumps to the front of Bowlers for an endorphin-rushing hardcore workout full of modern beat engineering and sample manipulation.

Switching approach, 'Bolivia' shuns the dreamy feminism for an altogether more masculine affair - roping in the Wu for an argy-bargy, elbows-out speaker shaker full of hi-definition laser stabs and destructive, land mine subs.

Hitting the accelerator, 'Rocking You Eternally' traverses the jungle boarders in a blacked out Nova, Ab Shit's flair and panache at drum programming and contemporary production chops beautifully on show throughout this big system roller with a carp-hunting vocal hook.

'Gong' closes off proceedings, merging moods inna more seductive flavour. E-soaked pianos and a gentle throb coaxing us to that end-of-night climax that'll have us humming the piano line all the way down the M65 home.

No jokes cru, this is some of the best tackle to emerge outta the DJ Absolutely Shit studio to date. One of two, vinyl-only EPs and ahead of their debut album that follows on C90 tape.

Boing boing boing, boing boing boing, boing boing!!

It's the one all the massive have been waiting for! Part 2 of the Salford sage - DJ Absolutely Shit's 'Memoirs Of A Crust Monster'. More hyped up tear outs, soundsystem ruffage, and bass 'n breaks love songs from our Hell's Angel-dodging beat freak.

Kicking things off with glowing neons and super-charged subs is 'Higher', a modern jungle monster decorated with classic hip-hop samples and a well known diva vox squealing through the melee.
A serious 'watch your bassbins' track - RL HQ have safety tested this on the most robust car stereo systems and so far have yet to avoid any cabinet damage - proceed with caution!

'Lost In Space' rolls outta the speaker stacks with a b-boy swagger and loose breaks. A tribute to classic breakdance electro galvanized with Ab Shit's intricate trademark production chops. You'll want to crack out your finest red Puma classics and a slick tracksuit for this one.

Onto 'Out On Love' and between you and me, someone needs to call the social service for samples - as it's unlikely you'll ever witness a more blatant case of sample molestation. Squeezing every last drop out of a catchy piano lick, TV snippet and drum break; the track really does highlight the unrivaled programming prowess of our Irlam renegade who's taken SP1000 trickery to its absolute zenith.

'Money Talks' sees our cheeky ragamuffin dictate a life affirming sunrise over Pomona - pre-gentrification of course; a thousand smiles and memories of old Mancunia shimmering in the early morning industrial haze. And an abject slight at those who put profits above people - another poignant ode to our changing cityscape driven by the most addictive boogie-based groove and clattering Linn drums.

Spine-tingles and fanny flutters guaranteed ALL DAY on this one cru!
Look out for the full 16 track album due on C90 cassette and digi download coming very soon...

RL x

LSB's Footnotes label returns in 2023 with 'I Remember' from DRS, Tyler Daley and Calibre alongside 'Too Late' from DRS, Tyler Daley and LSB himself.