Beats News

An anthology of the intensely arresting work of Robert Fesler (1936-2023), revealing many of his compositions (1975-1987) created with his self-built synthesizers, with as pinnacle the μP RPF78. All music composed and recorded by Robert Fesler at his home on rue Cour Boisacq in Bierges, Belgium. Except one, all tracks are previously unreleased.

With profound simplicity and devotion, Fesler paints a hermetic inner world with strong emotions of confronting solitude, sensual alienation and traumatic angst. His music was as much a therapeutic treatment as an artistic expression. Fesler quotes, »Building my synthesizers and working with them enabled me to sublimate my anxieties.« Most tracks were played and recorded real time, often with two synthesizers (the Synthese 756 and the μP RPF78), capturing the heat of the moment in one take, without multitracking. The austere and reductionist approach reinforces the overall spirit of his work, resulting in an engaging, mysterious solitary journey. It’s quite incredible how one person can put so much technical cerebral content in the development of a machine and use it in such an emotional way.

The music of Robert Fesler might be considered as very Belgian. To situate it within a close entourage, one can say it has: The endurance of Baudouin Oosterlynck The purity of Dominique Lawalree The mysticism of Arsène Souffriau

2024 Repress

Two old souls creating music not of this plane, taking you to a dream world...

Antibody presents this new opus by Berlin based Japanese artist Tot Onyx (Tommi Tokyo, formerly of group A).» Satire Of Desire« is her second solo album to date. Here, performance and sound art meet post-industrial deconstructivism. It’s radical, ferocious, wonderfully free and powerful.

Written under the covid-19 pandemic, "Satire Of Desire" is her radical criticism on the man-made catastrophe and sonic response to the cacotopic world that seemed less realistic than the surreal dreams of flying turtles. »My dreams started to become more realistic than the empty streets of Berlin. That's when I began wondering the difference between dream and reality, conscious and subconscious, how we distinguish them and what that even means. That was the beginning of creating this album. The beginning of the future i was unwillingly stepping into.«

The 5th release from Drifted comes through featuring Anna Wall & Corbi who have collaborated for DR005 and it’s a banger.

The release opens with the title track, "Satellite", a thumping 4x4 style club cut that immediately sets the tone for the rest of the EP. This track has a relentless beat that will keep the club jumping. "XTC" follows on the A2, a composition that showcases true rave textures. On the flip side, "Mind Sweeper" is a real bad boy that is sure to melt the dance floor. Rounding off this latest output on the London based imprint is "Basement Damage", a beautiful atmospheric design with fierce break drums.

This EP is a true testament to the power of collaboration and creativity in the

I recently discovered a bunch of atmospheric drum & bass I had written around 2006-2008 on an old backup drive that I thought was long gone. Upon discovering the contents, I found a group of tracks that I had totally forgot about, so it almost felt like hearing them for the first time. Clear Skies was due to be released on vinyl around 2007 (I think?), but for reasons I cannot recall, it never happened. Instantly, the thought of putting this out on vinyl came to me and here we are. I felt that out of this specific batch of tracks, Nimbus was the one that complimented Clear Skies the most, which is also a nice dichotomy between having a clear sky and having one full of nimbus clouds. This marks the fourth white label release for the series, and something that might open the way for more releases in a similar vein. - ASC

Following on from 2018’s Echo Principle LP, the Pleasure System full length sees Steve Hyland return to the crisp drum programming and colorful IDM soundscapes that dominated his debut on the FILM label. A veteran of music production back in the driving seat after a long hiatus, Hyland’s approach on this latest offering draws on the isolation of modern life for inspiration. Pleasure System sees the British artist ruminating on his place in the world, and the mournful synth flourishes and washed-out drums, paired with more hopeful moments of electronic abstraction communicate a delicate yin and yang, constantly working against one another to find balance.

Batu returns to A Long Strange Dream for a deep dive into otherworldly ambient soundscapes, after infusing his interest in beatless forms in recent releases.

Drawing inspiration from the ambiance of chill-out rooms and their ability to channel the intense emotions of rave, he presents an entrancing voyage into post-euphoria, where self-exploration lives at the border of lucid dreaming and reality.

By recontextualizing his signature studies of the frontiers between organic and synthetic sounds outside of dancefloors, the multi-faceted producer displays a blissfully radiant and emotive side throughout an ecstatic journey.

Tectonic is very proud to welcome Lamont to the team!

Bristol’s bendy-beats whizz kid is mainly known for dropping jaws with his releases on Swamp 81 and it’s various offshoots. This time, he’s been chipping away at 4 fine-cut gem, especially for Tectonic - bringing some darkside vibrations in addition to his usual bounce.

‘Hold Dat’ runs at 135bpm, sitting in-between grime, dubstep and housey/techno/whatever that thing Lamont usually does! Charged with a disgusting, totally greasy bassline, this one drops hard and keeps going - quality moves for (now, mostly imaginary) dancefloors.

‘Push’ takes it down a notch, to 130 for a more heads-y work out, laden with crackling, fizzing sonics - and heavily punctuated by sub bass hits. The energy levels step back a touch, while building intensity.

‘Brain’ sees Lamont working more familiar territories - sending a pounding 4/4 kick drum out to hold together a series of collapsing percussive hits and warping melodies - as a ‘brain’ sample, simply haunts your brain.

The EP closes off with ‘Open Letter’, taking things into a dread-space; dub wise, deep and dangerous. The lurching bass hits take charge and push you through layers of echo’ed hits and micro-melodramas, to round off this great EP in fine style.

Travis Stewarts Reise zur Entstehung von „3FOR82“ begann passenderweise am 4. März. An seinem 41. Geburtstag, am 4. März letzten Jahres, wagte er sich in den Joshua Tree National Park in Kalifornien, um Klarheit und Inspiration für sein nunmehr elftes Studioalbum als Machinedrum zu finden. Zwölf hochintensive, nachdenkliche Tracks, die die Nadel zwischen seinem vergangenen, gegenwärtigen und zukünftigen Ich spannen.

Angesichts der Tatsache, dass Ninja Tune eines der Lieblingslabels des jungen Travis Stewart war, spricht dies für ein Mantra, das die Platte leitet: Nostalgie durch eine zeitgenössische Linse zu betrachten. In den stillen Weiten des Joshua Tree durchforstete Machinedrum alte Festplatten mit seinen Beats aus den späten 90er Jahren: Viele von ihnen wurden mit ‚Impulse Tracker‘ erstellt, einem groben Freeware-Programm, das fast ein Vierteljahrhundert lang unangetastet blieb. Nachdem er einen DOS-Emulator gefunden hatte, auf dem ‚Impulse Tracker‘ lief, nahm er sich selbst auf, wie er diese Beats spielte, um „3FOR82“ zu bauen: Sample für Sample erstellte er originale Sound-Datenbanken, die in eine eigene Bibliothek eingespeist werden konnten und „3FOR82“ einen unverwechselbaren Klang verliehen. Ausgewählte Zitate werden als Monologe oder Samples in die Musik eingeflochten - der Opener von „3FOR82“, „Oracle“, beginnt mit Reflexionen von Aja Monet über das Tanzen allein. Auf der Leadsingle, „ZOOM“ erzählt Tinashé von jugendlicher Lust auf der Tanzfläche; an einer Stelle in „KILL_U“ erinnert Tanerélle mit ihren beruhigenden Tönen daran, dass man manchmal „verloren ist und dann wieder gefunden wird, und dass man so viel erreichen kann.“; in „U_WANT“ sagt sich KUCKA selbst, dass „es bessere Tage geben wird“, während ROZET in „RISE“ riffet, dass sie „vom Boden in den Himmel wachsen wird.“. Die Wirkung, die das Thema auf „3FOR82“ hat, ist zart und eindringlich und verbindet diese Stränge von R&B, Pop, Jazz und Drum & Bass miteinander.

Venerated heavyweights Surgeon and Speedy J cement their Multiples collaborative project with a long-form album of tweaked experiments past the outer reaches of the techno realm. Recorded over the course of two days at Speedy J's STOOR lab in Rotterdam, Two Hours Or Something is what happens when decades-deep experts in the field plug their hardware in and jam without time constraints or crowd expectations. In these raw, one-take, no-edit sessions there are propulsive moments of techno and electro balanced out by extended beatless passages and a constant experimental instinct which drives the music forward into parts unknown. Following a string of knockout club and festival appearances, this is a fitting document of just how far out Multiples can go when you combine two such experienced and inquisitive minds (and their respective gear). The album comes in a special gatefold designed by Atact, and with a download-code including 5 bonus tracks.

London-based producer Otik releases his first album 'Cosmosis' on Martyn's label 3024. The 11-track LP signifies the fourth album on the imprint across its ten-year tenure, showcasing a more introspective side to Otik's musical output.

The album leans into delicate melodies, hazy atmospheres and lush analogue sounds, often evoking blissed-out feels and ripples of brilliant colour. Produced three years ago during lockdown, 'Cosmosis' comes after a period of spiritual struggles, where Otik questioned his faith, religious beliefs, and the concepts of right and wrong. While the pandemic allowed ample time for reflection, Otik translated these thoughts into music from his Peckham-based studio, later finding a home on 3024's evolving discography.

Following Otik's EP 'Soulo' in 2021, 'Cosmosis' marks the second release from the Bristol-born DJ and producer on 3024. This time, his sound stems from a broader palette, touching on slower, aerated ambient notes through to rugged D'n'B, displaying the far-reaching breadth, vision and maturity of Otik's aesthetic.

Keen to release a body of work that explores the journey of enlightenment and the struggles to get there, Otik drew inspiration from the luminary filmmaker Terrence Malick and how Malick portrayed ideas and philosophies in films like The Tree of Life and Voyage of Time. As a result, the record conveys a compelling narrative of rebirth, told through exquisite sound design and a push-pull pace that oscillates across the album.

The lead single 'Cosmosis' binds astral breakbeats with a star-lined melody stitched against a spacious backdrop. Sparse, celestial vocals punctuate the soundscape and add a spiritual feel, culminating in a dazzling trip at just over five minutes.

Pedro Vian and Merzbow release their first joint work, an unbounded expression of creativity and experimentation. Over the album's forty-minute duration, listeners can experience a blend of field recordings made by Pedro Vian at the DIA Bacon Foundation in NYC, specifically inside Richard Serra's sculptures. These recordings are interwoven with the ambient percussion and melodies characteristic of Vian's work, alongside the piercing and sharp computer frequencies produced by Merzbow, one of the most acclaimed artists in the global noise scene.

"Inside Richard Serra Sculptures" is both a complex and spontaneous piece, an abstract journey into the unconscious that may be difficult to grasp for closed minds. This work stands as a masterpiece of contemporary expressionism, merging ambient sound and noise in a way that challenges and redefines the boundaries of sound art.

The collaboration between Vian and Merzbow is notable not only for its innovation but also for its ability to transport listeners to a space where sound becomes an immersive and visceral experience. The use of Richard Serra's sculptures as a source of inspiration and sonic material adds a unique dimension to the project, emphasizing the interaction between physical space and musical creation. Photo by Alba Ricard

* Spearhead Records bring back some of the most requested tracks from the back catalogue.
* Tracks from Seba, LSB, Technimatic, Utah Jazz, Lenzman, Muffler.

For its second release, following SALO"s feverish self-titled debut album, Berlin-based platform Kuboraum substantiates its musical perspective, bringing together an eccentric set of tracks from friends and family. Each artist was invited personally by the platform to write a piece of music inspired by Kuboraum"s philosophical and aesthetic principles. This Kuboraum Editions compilation that features tracks from Space Afrika, LABOUR, Moin, V/Z, o-Ziq, Lucy Railton, Alessandro Adriani and many more.

Repress

* Having co-written tracks like Remind Me, Grow and More Than Words, the combination of BCee & Charlotte Haining won’t be an unfamiliar one with fans of the Spearhead Records sound.
* The duo bring you ten absolutely brand new tracks plus two remixes of their biggest anthems. Drum & Bass legend Logistics put his spin ‘First Love’ while Kove switches up their collaboration with Blu Mar Ten ‘Grow’ up a gear and injects some extra energy like only he can.
* Each track is its own story, combining lyrical content to tug on the heart strings combined with bass lines that you can’t keep still for.
* As if the voice of Charlotte wasn’t enough, DRS and Tempza also make apperances to add a little extra lyrical content.
* Hospital Records own Etherwood and Spearhead’s new signing Emba also collaborate on production on Little Bit Lighter and Home For Good.
* Support from BBC Introducing, Radio 1 d&b show, Rene LaVice, London Elektricity, Nu:Tone, and loads more.

Sunk in quicksand, doused in prosecco and soundwaves of glitches and Croatian choons, Bolka

is stuck in the raw state of desire. This love came into being under the sad ceilings, bearing traces
of fantastically naive melodies shredded by claws of intruding noises of the artist's debut EP.
And yet, radical sensitivity and optimism on the new EP do not remain just on the beach.
Žiadzasamy (loosely translated as Yearningforus) include love songs about love read in cards,
about overcoming insecurity, about scratching up the slippery walls of reality towards the dream
source of warmth that only SHE possesses.
Syrupy pop tunes in "nech sa ti páčim" ("i hope you like me") are led by a nursery rhyme about
the complex embrace of infatuation, from the head down to the shoulders, knees and toes of the
desired person. The sound wizard of peculiarities goes by the motto "let anything I wish for
come true", whether it's his white buttocks shining in the dark sea or him sweeping past barefoot
in search of seafood delicacies, and the same is heard in his music where euphoric and childish
moods sink arbitrarily to the depths of corroded and distorted rhythms of anxiety. "A smutek
utek" ("and the sadness is gone"), though, sets a new direction for the Bolka's musical piece;
after a slow mo deflation of the balloon of hopes, after wallowing in oozy and sticky blend of
delirious melodies, Bolka gets to spin the wheel of the real Balkan soap opera.

"More, mám ťa veľmi rád" ("sea/man, i like you very much") is the pinnacle of absolute
infiltration and absorption with infatuation and suddenly, the amusing nods to stereotypical
Croatian hits make it clear that all the joy and high spirits do not stem from holiday idleness. In
žiadzasamy, Bolka indulges in the ideal notion of love that is closer to reality with each passing
kilometer, impatiently speeding up the Latin tempo in the hyper-pop escalation in order to
venture into the most radical decision – that all will end well.
Žiadzasamy is hedonism injected right into one's vein, an ashtray always aglow with a lit
cigarette and a musical burst of new-born love that sets the Bolka's sound world on a single
course: from siesta to fiesta, and so on and on.




[d] 04: Žiadzasamy (Remix) [feat. Viktor Jenčuš]

Originally released on Firstcask Records in 2003. A selection of my styles and ideas at the time, ranging from drum n bass, ambient, acid etc etc

Having released 2 killer and totally unique EPs on Cold Recordings, the British-born, Berlin-based Eric Baldwin aka Cocktail Party Effect, lines up his first for Tectonic. Across these 4 dynamic 130bpm cuts, CPE demonstrates his sharp ear for creating tracks full of energising percussive twists, melding hard-charging, dynamic techno textures and while running wild with a UK sense of bass-heavy and percussive manoeuvres.

First up is the mesmerising and off kilter ‘Shattered Retina’. Setting the mood for the EP it begins with a hypnotic chime sequence, before rising in tension to release the contained frenzy of drums and swaying bass it held back..

Following on then is ‘Triops’, which breaks out from it’s regimented bleeps in the intro to a broken rhythm that picks itself up just as it’s falling over again.

Flip for ‘When The Gun Claps’, which takes a more UK-percussive tone, rolling out a tribal dance floor beat as the vocal sample cuts in and out. Last up is ‘I Feel Sick’, which takes things the hardest mood on the EP and is an absolute banger! Hard, broken techno with sub shaking bass; twists and turns from the offset.

“I’ve absolutely hammered all 4 of these tracks over and over - I love this EP! Cocktail Party Effect is smashing it at the moment, no doubt.” Pinch

DJ Support from: Martyn, Pinch, Madame X, Loefah, Lamont & many more!

Scraped out from the gunk of the Brussels cult underarm comes the sole outing of a band that perhaps never existed. Crash Toto is like a fever dream cooked up by some deranged scenester chef deep in the zone, where figures from seminal acts Carrageenan, Lemones and Christophe Clébard band together to belch out rancid riffs, chaos drumming, and electronic warfare that assault all sense of orientation. You’ll never see these guys live but their energy plays on mercilessly through the single demented trip that is The Riptoffer EP. Excess and nihilism as the cornerstones of trash rock, with these three tracks (and a bonus digital one) converging towards the communal sludge of our shared post-pandemic catharses. Limited to 200 copies.

The discography of the phantom Gruppo Sound exceeds over thirty titles published in an undefined time frame between the Eighties and the Nineties. However, there is very little information about this curious pseudonym. it is possible to find a library music album by Gruppo Sound inside the Canopo, Deneb, Flower, Monosound Records and Teams catalogues, all managed by Flipper Music publishing group, but both the creators and the musicians have never been the same. Gruppo Sound is only a collective name, maybe to identify a certain number of 'new' productions characterized by an electronic background And, not by chance, the author of “New York City” is a single artist, the multi-instrumentalist Gabriele Ducros. Son of the prolific composer Remigio Ducros, he first followed his footsteps in the field of music libraries and soundtracks and then become the author of many tracks for television commercials of a certain relevance, winning some international awards.

“Some of these tracks may have been associated with a pornographic film. Others were, however, made as brief comments for a theatrical show, perhaps never made”, remembers Gabriele Ducros. What unites the thirteen pieces is the same musical language, which derives from a widespread funk and jazz matrix. Both genres are thus declined through a different approach and taste, in line with the fusion trends of the time, when the early synthesizers were used by few artists. A handful of electric guitar notes for a 'urban' mood, the acoustic ones from a dreamy morning awakening. Electronic keyboards to arouse a sense of nostalgia in the listener, while flute and saxophone always punctuate different atmospheres. A computer melody, a theme for children and a sophisticated ode to the fusion sound of the Big Apple, perhaps true source of ispiration of the work. “New York City” is not a concept album, but one of the best cross-sections of Gabriele Ducros' great creativity.

Some time ago, Lennart Heyndels sought refuge in modular synthesis after injury prevented him from playing the double bass. In 2019 he continued this research into the physics of sound in a small hut in Norway and came back with this album.

Malmö’s Mod Sens arrives on Programm LDN with an electric intersection of soundsystem styles and taut techno and electro. Pushing inventive, bassweight dance music through his Melt club night in the city he calls home, the wildly talented Swedish producer brings an international outlook to his subtly crafted workouts.

“These four tracks were all made at a time in Malmö when electro was completely dominating the underground scene,” says Mod Sens. “That had a strong influence on the creation of these tracks, but I was definitely more urgent to create my take on ‘UK’ Sounds.”

The sound on Misperceptions EP is introspective by design, cast in melancholic pads which balance the rugged impact of the crafty drums and upfront low-end. Mod Sens himself describes exploring the tension between wanting to run and feeling ‘stuck’, and that yearning sensation culminates in four elevated cuts that uphold Programm’s commitment to advancements in club music.

Visual director Blackwall and graphic designer Alfie Allen responded to the tangible mood of the EP, resulting in an accompanying visualiser and sleeve design which round out the emotion Mod Sens was reaching for while working on the music. As a complete package, it’s an audio-visual statement which leaves a lingering impression, as any art worth making

Introducing USA based artist Jon Linskey aka ‘Sectra’ to Tectonic! With a truly unique sound, Sectra’s music sits among the crushing, claustrophobic weight of Shapednoise drone spaces, the percussive dexterity of a Detroit techno wizard and summoning the power of DMZ with sub bass sonics designed to hug your ankles.

‘A Demon In My View’ runs at a dangerous 90bpm, a total night stalker of a beat riddled with menace and the deep stench of fear. You will be scared, but that’s OK, we’ll get through this. ‘Counter Culture’ runs at 126bpm and projects us far out into distance space for a Sci-Fi adventure to a distant galaxy with a techno shaped rocket to propel us out there (well, there’s a 4/4 kick in there at least..).

Flip for ‘Ashes’ where we get a hint of dubstep influence melded with mangling technology and more perfectly placed sounds. Lastly we turn to ‘Bedlam’ which takes the pace down a few notches and we find ourselves hypnotized in a half-step, rocking gently, wrapped in a blanket, slowly shaking off the trauma.

Serpentinenartige Grooves, rasselnde Bässe und clevere Melodien – die kraftvoll-hypnotisierenden Tracks des Pariser Produzenten Sylvere mit Wurzeln in Französisch-Westindien fangen die magnetische Kraft der Soundsysteme ein und machen ihn zu einer der aufregendsten neuen Stimmen der Bassmusik. Mit dem radikalen Kunstkollektiv LA CREOLE zelebriert er den unauslöschlichen Einfluss der Kultur und Identität der Karibik auf die moderne Dancemusik. Seine Parties und RinseFM-Radioshow schlugen schnell Wellen im globalen Untergrund (Dazed & Confused, The New York Times, u.a.). EP3 ist der letzte Teil einer EP-Trilogie für Monkeytown und der perfekte Abschluss einer Serie, die Sylveres Vielseitigkeit und Können als Produzent unter Beweis stellt.

Musique Pour La Danse is proud to present this 2 x LP limited edition reissue of THE PURPLE UNIVERSE, an album originally released in 1993 by Swiss duo SYNECTICS (Marco Repetto & Stefan Riesen) on legendary braindance label REPHLEX ran by Richard D. James (Aphex Twin) & Grant Wilson-Claridge. Bearing CAT number 06, this early release is one of Rephlexs best-kept secrets. We are re-releasing the album in a lush limited 2 x LP edition which includes 3 tracks from the CD version, never available on vinyl before.

The year is 1992. Electronic music is experiencing a golden age of sorts. Equipment, inspiration, people, and music are less and less tied to specific places and scenes. Cross-pollination has just begun. Marco Repetto is driving somewhere in Bern, the car stereo locked on Radio Couleur 3. The Young Gods are being interviewed, and the pioneering Swiss industrial band mentions the word psychedelic enough times for the driver to take heed. Inspired by a magical performance by the same band a few days later, he decides to experiment by injecting a dose of psychedelia into his techno productions. The result is The Final Moment, a 24-minute trip which begins as a club track before quickly turning into an ambient and yes, psychedelic tune, reminiscent of progressive rock forays but entirely synthetic, with an unusually long length for the era, clocking at 24 minutes.

Repetto then meets Riesen, and the pair produce more tracks in the same vein. While some are resolutely geared towards the dancefloor, others would not be out of place in a chill out context while some are more ambient, even experimental pieces. Demos are sent to labels with The Final Moment accidentally included in the package. Rephlex was enthused with all tracks on the release but was especially impressed by The Final Moment and released THE PURPLE UNIVERSE soon after.

This album is of course neither the first nor the only one to blend electronic music and psychedelia, nor is it the first attempt to push the limits of dance music through experimentation. However, its sincerity and candid approach are immensely touching. It is a reminder of the sort of naiveté and creativity prevalent in the pre-Internet era. Today, scenes, ideas and styles seem so porous, but there is no doubt that this record must have felt like the soundtrack of two worlds and two aesthetics colliding with glorious results, that of hedonistic club music on one hand and psychedelic experimentation on the other. It is ironic that a Swiss duo can be credited in part with writing the template for post-Detroit British techno, proto IDM and braindance. But it is not surprising either that this record was originally released by REPHLEX, a very logical decision in hindsight.

THE PURPLE UNIVERSE is a versatile album. It contains a few club-ready bangers full of emotion, some more experimental cuts that feel both introspective and forward-thinking as well as THE FINAL MOMENT, a universe in itself and a masterpiece of sorts, an important artefact of a time where it became more and more obvious that electronic music and dance music did not have to be safe, straightforward or tame. Much to the contrary.

Step into the unknown with URN's latest masterpiece, 'Surprise Me.' In this kaleidoscope of sound, genres intertwine like threads in a tapestry of boundless creativity. Led by the enigmatic Jakub Volovar, each track is a journey into the depths of emotion and imagination.


From haunting melodies to pulsating rhythms, 'Surprise Me' defies classification, inviting listeners on a sonic adventure through uncharted territory. Like a meticulously crafted collage, it weaves together elements of jazz, trap, and beyond with effortless grace.

While a sense of doom lingers in the shadows, it never overwhelms; instead, it adds depth and texture to an already mesmerizing landscape. With 'Surprise Me,' URN proves once again that true art knows no boundaries.

A bold first creation set in motion, Yore is the fantastic debut solo release from Charlie Hill. Yore captures the excitement and naïve creativity of Charlie’s new journey as a producer after studying and performing as a jazz drummer.

A mixture of club-ready basslines, earthy space funk and ethereal Trip Hop, Yore follows Charlie’s 2023 collaborative Galaxy EP alongside fellow Meanjin producer Sampology.

Middle Name Records are proud to present this project, the first release on the imprint that is not of a solo or collaborative Sampology record.

There is an exciting energy currently bubbling within the Meanjin/Brisbane music scene and Charlie’s debut work as a producer has reflected this instinctively. Recorded performances from local jazz ensembles, his vocalist singer as well as his own drumming were utilised as samples throughout the EP.

Cotenius X is an exploratory improvisational project of the Ukrainian sound artist Daria Redkina and the Russian experimental vocalist Varya Pavlova aka Lisokot. Improvising together since 2017 they incorporate folk, electronic and musique concrète elements into their spontaneous compositions. “Plastic Bag” is a testament to collaboration - an archival reflection of the time the duo spent experimenting together. Their theatrical performances involve impersonation or adoption of different characters and are informed by social, political, historical, and site-specific narratives. The duo has been compared to The Residents and see themselves carrying the psychedelic absurdity of the US group forward by giving it a feminine twist.

The Knife’s Olof Dreijer continues his new adventure as a solo producer with a three-track EP, also marking a unique sonic chapter in his work.Olof has been pushing the borders of electronic music for two decades, both as a part of The Knife and with the secret pseudonym Oni Ayhun - releasing music that traverses experimental avenues, exploring themes surrounding gender.

The Coral EP draws inspiration from the lively steel-drum experiments featured in last year's "Souvenir" EP with Mt. Sim

Vibrant compositions and distinct melodies create an ambient progression where electronic and acoustic sounds delicately dance together, forming friendships and blending seamlessly, reminiscent of white magic.

Olof has recently co-produced several tracks on Fever Ray’s critically acclaimed 2023 album “Radical Romantics”, produced Tunisian multi-instrumentalist and composer Houeida Hedfi’s debut album “Fleuves De L'âme”, as well as helped create music with Planningtorock and Zhala.

"Parrish Smith is never one to let you breathe easy. As a globally renowned DJ, he’s become synonymous with high-velocity sets that cut and collide through his distinct array of obscure sounds. Meanwhile, however, the artist has been carefully constructing his own musical idiom. Manoeuvring his most delicate and most defiant feelings, Light Cruel & Vain (Dekmantel Records, 2022) is the first fruit of that painstaking process. A compilation of ‘imperfect music’, the record is shrouded in the artist’s characteristic veil of mystery. As always, his sound cuts and chokes – sometimes cruelly, sometimes soothingly – yet this record offers a new, longer, lighter gulp of air. Here, Parrish Smith bares his most private process so far: one of personal transformation and becoming a better version of oneself.

Light Cruel & Vain was developed over the course of nearly three years, following nearly a decade of individual experimentation. Where on the one hand, LC&V reflects an inward pilgrimage (aka Parrish Smith facing the world and Parrish Smith facing Parrish Smith), the project simultaneously reflects the birth and growth of a band. Each track on the record is originally based on a solo idea, moulded and fine-tuned in conversation with contributing musicians Sofiane Brahmi and Javier Vivancos, then finalized by the producer. The collaborative process brought together niches that wouldn’t typically share territory or sound, allowing music to emerge that transcends each of their boundaries. In the making of LC&V no conventional studio sessions occurred; due to covid-19, the full collaboration process was a remote affair of sharing snippets, (re)working recordings and, most of all, exchanging thoughts and feelings.

Those who know Parrish Smith a little, know his long-standing mantra: ‘No elitism, no prejudices, no genre. Hypnotic, tense, comprehensible – a state of mind.’ It’s this dictum that best describes the LC&V sound(s). Tapping into all irreverent niches close to his heart – noise, punk, industrial, electronic, and even pop – Parrish Smith refuses to foreground one influence over another, instead layering and warping his personal interpretations of each. To categorize his seeking sound would be to limit the artist who, more than anything, thrives in limbo. ‘You could call it a concept album because the sounds are so far apart. But perhaps that’s not a concept, perhaps that’s just me…’

Parallel to his extensive musical experimentation, the past years have allowed Parrish Smith to zoom in on his writing. The resulting fragments form the foundation of LC&V’s collage-like, soul-searching lyrics. Never, however, does the artist take his words to the front of stage; instead treating his voice as a malleable instrument, just one of many shifting layers in a bigger picture. The distorted lyrics, as such, are an statement: ‘It’s alright to be insecure about some of your qualities. In fact, the key is to embrace just that, to take matters into your own hands.’"

Parallel Minds' 4th label release comes via a long-time friend of the label and one of the city's most idiosyncratic artists, Vibrant Matter. A drummer, producer, film composer, DJ, and a veteran of the city's experimental pop scene, Kieran Adams' music has intrigued us at the label for a long time. From label co-founder Ciel's early days as a local promoter/DJ, she had been inspired by Adams' psychedelic & percussive DJ sets and found a kindred spirit in someone who shared similarly diverse musical interests. After two distinct & spellbinding releases on ACT!’s (fka Egyptrixx) Halocline Trance and beloved experimental label Seance Centre, PM cofounders received a batch of demos from Adams that felt too ideal to pass up. Encompassing everything from abstract improv performances, sound poetry, dub riddims, voice notes from friends, jazz drum breaks — the tracks were simultaneously confounding while still firmly rooted in club music.

Syncrete began in 2019 as sound experiments made with the artist's newly purchased Moog Matriarch. Chopping breaks, working with field recordings, and utilizing the instrument's delay, gate, filter, Kieran recorded himself doing long jams of synth and percussive textures that were formed into new rhythmic sequences and variations. Two years later, he went back to those sessions and plucked out his favourite loops and built new tracks around them, which you find here in this collection.
For Kieran, this was an exercise in distillation and shedding, aided by the passing of time. In following this process, he was able to combine many different facets of his interests, and with time, pinpoint the most touching parts of each recording. There’s this really beautiful and haunting quality when for a moment through the fog of these compressed sounds, you can momentarily pick out a human voice, or a distant echo of a breakbeat, this feeling of a barely discernible shape in the sonic mist is what gives the EP a haunting emotional resonance & distinct musical texture.

Farron enters faster territories on this record, telling the story of the hunt after the mysterious jade antique that is hidden in the infamous 'House Of Traps'.

After entering the house, one already feels the oppressive atmosphere. The ubiquitous feeling of not being welcome here is obvious when the golden walls invert and you come to face countless swordsmen ready to attack. The vigorous atmosphere of 'Penny At The Chain' boosts up your confidence for what is about to come.

But what if the intruder is skilled in kung-fu? The mob retreats automatically and bars of iron come down to confine you. 'Wilshire 1015' and its driving bassline, warm pads and whirling breaks will calm you down a bit. But what's next?

In the twinkling of an eye, a field of razor-sharp nails come through the floor that you are standing on, and the escape route up the stairway becomes perilous as the stairs suddenly form into an array of sharp blades. 'Hiatus Phase' keeps you focused and light-footed, so you can manage the jump up to the next floor.

However the next stirring event quickly follows. The moment you feel safe, a giant golden net unexpectedly launches from every direction and traps you in the middle of the room, hung over the floor. As if this wasn't enough, the mob is rushing back again - armed with bows and arrows. But the varied atmosphere of 'All In CST', its floating pads and filtered breaks energize you, and so you are able to make a getaway from the most lethal attack.

After dodging the giant blades suddenly swinging in from each side, you are finally there. The golden cage and its arcane content. The warmth of 'Conback' and its sparkling pads slowly fill the room as you open up the cage. Another trap, or a bright future? Find out...

Kevin McCormick's unreleased bedroom studio tape material (1982-1984). Moods similar to Durutti Column, Woo, Crosby’s spacey moments, and Boards Of Canada’s nostalgia.

Following the release of Light Patterns in 1982, Kevin recorded a series of songs onto tape that explored the sonic possibilities of a solitary guitarist. Shedding the acoustic sound of his previous effort, he adopted a swelling electric palette to apply his moods to. These recordings are a shift in direction to a sparse and ambient style, and their hazy, repetitive movements create room for evocative melodies.

Kevin fills a deficiency of guitar-forward music with his minimalistic approach that is somewhere in the space between ambient, rock, jazz, and avant-garde. On Sticklebacks, he casts away the morning elegance of Light Patterns and leans further into the introverted feelings of the small hours. It is a nascent springtime journey that shows just what Kevin is capable of with six strings.

Highly active in the electronic music scene in South Korea, Livigesh releases his 6th official album "303 Romance" via No Slack Records. Livigesh has immersed himself into acid house, 90's hiphop and 70's funk music while making "303 Romance." His extensive use of the 303 "ACID" basslines are present throughout the album. "303 Romance" is a look into Livigesh's musical influences. Squelching acidic and funky basslines, breakbeats and abstract vocal samples present Livigesh in his most uplifting, playful and simple to date.

The duo formed by Andrea P. Latorre and Sergi Algiz is a specialist in shedding skin and gladly combines new heteronyms in Fake is Real, their sophomore album after their self titled debut in 2018 and subsequent EPs Against Strong Thinking and Maybe a Body, which have been full of reinterpretations and remixes.

Another sign is that they trust their modus operandi to mutation and the idea that nothing is ever quite said. It’s been three years of work, growth and numerous performances in venues and festivals throughout Europe.

In Fake is Real, SDH go out once again in search of nightclubs that are familiar, but never obvious.

The occasion is tremendous and the list of honorees is select: beginning with the producer Kris Baha, who has provided forcefulness to the rhythmic base and prominence to the voices. The dress code transcends the categories of dark wave, to dress as mischievous EBM, with accessories from new dance, acid house and disrupted but melodic techno, with structured twists that come to caress the electronic psychedelia.

Ready to play? Let’s play. Let’s change our epidermis, let’s confuse our coats in the dark. Knowing that only in the dark is where everything unpronounceable can have a place, SDH go all-in. Their darkwave résumé allows the duo to blend diverse electronica and leftfield sounds such as big beat, eurodance, synthwave, hard trance and body music in a very personal and emotional way.

You may hear influences drawn from Da Blitz to the Prodigy, Yves Deruyter to Faithless, yet everything is so SDH you just can’t mistake them with any other band out there.

Not unlike early 90’s-era Coil, the music here is as important as the idea behind the band, a unit conceived to explore and operate on the margins of the music genres it supposedly belongs to, making it hard and therefore so damn interesting to define what’s been done.

A work open to so many influences, that it gives a pleasant vertigo to be involved in it. If you’ve ever been afraid of the night, Fake is Real offers you a reconciliation with all its rhythms that invites you to move together in the club.

Swiss based artist Androo, who previously released on MFM sub label Second Circle, returns with his debut LP 'Club Salon Theatre'.

Far from an album in traditional form, 'Club Salon Theatre' explores its potential as a musical collage of sound. Recorded during 2021 and the beginning of 2022, it is the result of Androo's desire to draw connections between diverse fragments of music and art.

Originally born out of the Dub sound-system scene in Geneva and with a continued love for the modal music of the likes of John and Alice Coltrane and Pharoah Sanders, Androo has long put improvisation at the center of his practice. His understanding of dub music as an integral part of the experimental music tradition, with ties to the school of Musique Concrète for instance, and with trap music as another vital ingredient, has as much to do with the form as with the method. With the studio as a laboratory for experimentation, Androo utilizes a variety of outboard instruments as well as working in-the-box, but it’s his classic “dub style” technique of mixing at the hardware console that leaves its quintessential mark throughout the whole record.

'Club Salon Theatre' is a rich patchwork of imagined scenes, emotive melodies, flying rhythms, harmonic changes, loose improvisations, with an almost romantic thread running through it. Like a collection of musical poems, gently arranged in what is sometimes sparse musical language. Far from a patchwork of scattered and disjointed inspirations, there is a real unity and singularity at work, resulting in a record which can be enjoyed as a collection of sonic poems, simultaneously nonchalant and earnest, sentimental and playful.

Introducing De Mond's debut LP, 'Glow.' Stijn Wybouw (also known as Kramp) and Arno de Bock (who provided drums for Hermann among other projects) throw you into a maelstrom of bold sounds and rhythms. From squiggly synth bursts to kaleidoscopic loops, they push the outer parameters of 21st-century musical art.

To describe an album as "electronic music" has long been an understatement. "Romanticismo siempre" is a good example. Recorded mainly using synthesizers, the album travels a territory that borders on the experimental and the dancefloor, entering at times in both fields.

Andrés Téllez, Delone, states in its title a clear commitment: "an ode to life, to never lose that passion that is the engine that pushes everything, no matter how many obstacles there are along the way, such as love, madness or death". The need to express this is at the origin of the record.

His musical language is rich and varied. Among synthesizers, analog experimentation, drones and psychedelia, many of the subcultures that have shaped what was once called "electronic music" appear. Flashes of trip hop, new age and proto-electronics are amalgamated throughout the album, together with hints of mutant house, breakbeats, IDM and trance. Other genres peripheral to club sounds, such as post-rock or kraut, also appear.

The idea of creating something that could almost be considered a soundtrack is present, but Delone's singularity has taken the album down a different path, using his own musical vocabulary to articulate a narrative that leads him towards his desired destination, keeping experimentation and dance culture, constants in his career, very much in mind.

In 2014 and together with his partner and friend Carlos Trujillo, Andrés created Riverette, a record label that became a record store in the center of Madrid, with his studio in the basement. From there he unleashed his productions as Dos Attack and his first works as Delone. Riverette quickly became a key creative pole in the Spanish electronic underground, and the label has released records by Legowelt, Kornel Kovacs or HAAi.

Throughout the eleven tracks of "Romanticismo siempre", a story materializes in which the protagonism falls on the adrenaline of passion. Through a very personal sound, with a certain introspective vocation, Andrés tells us a wonderful tale with the help of exquisite arrangements and a rich expressiveness.

"Romanticismo siempre" is a polyhedral album that can change with every listen, with every track, and reinterpret itself almost with every playback. It is a complex record, delicate and full of nuances, at the same time charged with a powerful and primitive energy.

With his new instrumental album Ventas Rumba, the French composer (and singer) returns to his signature instrument, the piano, blending it with warm synth tones. This album represents a "return to his roots ", allowing Ezéchiel Pailhès to reinvent himself in a seamless way while still exploring ballads and ritornellos, halfway between light-heartedness and melancholy. Ezéchiel Pailhès has been meaning to write a solo piano album for as long as he can remember. Hardly surprising, of course, for this academically-trained pianist, brought up on classical music and then studied jazz. Yet, since his 2001 debut with the electro-pop duo Nôze, and his subsequent four albums, the artist had constantly postponed this project that was so close to his heart. Then in 2022, just as he was getting ready to start producing an album of new songs, this long-standing aim finally materialized.
The melodies he wrote seemed to stand on their own naturally, spurring him on to compose this series of fourteen tracks, recorded in sessions split between France and Latvia.
A new piano: the Una Corda
Ezéchiel wanted this project dedicated to the piano to begin a new narrative, to explore new instrumental terrain and new tones, something far removed from the familiar piano he has been playing all his life. He opted for the Una Corda piano, designed by David Klavins, a groundbreaking instrument builder renowned for his distinctive pianos with vertical shapes and frames.

The Una Corda, created in 2014, is an upright piano with a single string per note (unlike three strings on traditional pianos). Enticed by the "crystalline and unique" tones of this instrument, which is hard to find in France, Ezéchiel travelled to Kuldiga, Latvia (where David Klavins set up his workshops and studios), to record the first part of the album. Although the title of the album may initially conjure up images of a distant, sensual dance, the reality is quite different. Ventas Rumba indeed refers to the waterfall and rapids (in Latvian: rumba) of the river Ventas, which runs near this small village in the western part of the country. Ezéchiel chose to blur the lines, as the sound and musicality of the title likely evoke both his short stay in the Baltic country, and also a form of distant exotic imagery perfectly in tune with his own mischievous wit. Tracks as short stories

Back in France, Ezéchiel enhanced the first tracks recorded in Kuldiga with subtle synth tone layers, and added other tracks composed and recorded at his Montreuil studio. The album reflects a deliberate and sensitive orchestration of piano, synth keyboards and digital effects, as he puts it: "playing to erase the differences between the tones of the various instruments", as if each instrument's texture echoed the others. According to Ezéchiel, you can listen to Ventas Rumba as you would leaf through "a collection of short stories", through compositions that rarely exceed three minutes and evoke figures of movement, lightness, curves or modulation, such as "La ligne", "La valse des singes" or "Fly Finger". Others more seriously relate to a kind of spirituality, which quietly infuses such different tracks as "Ferveur", "Éclair" and "Louanges". Ezéchiel adds: “I’m by no means religious, but I like what God has managed to get musicians to achieve (laughs)". "Louanges", for instance, despite its electronic edge, "refers to Olivier Messiaen, a very devout composer who I greatly admire". Other tracks are directly inspired by the classical music he listens to on a daily basis. For example, Chopin's “8th Nocturne” formed the backdrop of “Pianovado”. Likewise, the harmonic structure of Beethoven's “Waldstein Sonata No. 21” inspired “Opus 53”. Aside from these multiple references and inspirations, which quickly recede behind a style that is uniquely his, Ezéchiel Pailhès keeps exploring ideas already found on his first solo albums, this time in an instrumental format, undoubtedly purer, fostering an imaginary world that evokes the shapes and themes of ballads, ritornellos, light-heartedness, passing time, reverie or a universal subdued melancholy.

2024 Repress

Pilot is one of the many labels in the orbit of the unstoppable production force that is Burnski aka garage innovator Instinct. It deals in proper club tackle from a wide range of artists and here it is Hatori Hanso that offers up the brilliance.

'Hardcore' opens with old school ragga vocals and crispy breakbeats that bring the rave, new school style. 'Cherry On The Cake' is a lively house cut littered with James Brown samples and screwy synths that keep the pressure on. 'Don't Know Why?' is a more cool and breezy tech house cut with sci-fi designs then 'See You On The Other Side' shuts down on a deeper tip.

Terra Magica Rec. first 7’’ release „Chiqui Tan“ by the label heads Hektisch Sprengen DJs will be limited to 250 copies. The A-side hits the listener with some 1980s early Electronic-Downtempo-Cumbia-Colombian-Venezuelan-Tablemountain-Dub-Grooves. This reminiscence is leading to an extra full blown up 21st century Bass-Queen alert. And these HSDJ dials hit you into a stripped naked sample of Nigerian-Swedish DJ-dentist-mainstream-star Dr. Alban and his Eurotrash-90s-Pophouse-anthem “No Hash Hash, No Cocaine”. This is for sure no “Ottonormal”-90s-revival thing!

On the flip side Hektisch’s haptic wood razzle move covers the classic 1994-Liquid-Deep-Netherlands-Trance-House-Track “Paper Moon” by 51 Days which back then sampled the rare 1972-MPB-Funk-Cover-Version of Carol Kings “Corazón”. Guess what! It drops like a late 1990s-Ed-DMX-London-classic gone Electroboogie-Miamibass-Break with a SH101-baseline and Sprengen’s take on Spanish-90s-Trance-Vocals. Watch out 4 TERRAMs “Asi me gusta” title caps series as well! Trigger warning: That hidden Sequential Circuit Sixtrack loves you like a windy horse on Acid. Loads to experience on this little innocent wax disc!

Many people consider the Tbilisi scene (thanks to the artists that turns around Khidi club) as one of the most advanced and influential in the entire world. Giorgi Kolbaia (aka Downwell) & Giorgi Kharanauli are a good example of those talented georgian artists. They have made partnership as Initial Light to present a more relaxed work in relation to their solo acts stuff, “40 Degrees In The Air” is a blend of Italo, breaks, synthwave and modern ebm / new beat keeping a common pleasant industrial taste in the 6 tracks included in their vinyl debut.

Belgian artist Jennifur is a bit of an enigma in today’s contemporary music climate. While most bend over backwards to satisfy the algorithm’s constant need for content, Jennifur (real name Hector Devriendt) has been quietly crafting spell-binding music that stands the test of both time and decreasing attention spans, blurring genre and emotion seamlessly through a sonic DNA that is diverse and colourful.

Having locked himself in his basement for eighteen months in order to produce the soundtrack for PS5 and XBOX ONE snowboarding game Shredders – which was later released by Jennifur himself under the title Nowhere, Now Here – the Ghent based artist is preparing the release of his next full length; Things Don’t Change Until They Do on Supreems’ new label Sweet Sun.

Tears-on-the-dancefloor aesthetics meet with polyphonic, nostalgia-inducing patterns, coming-of-age breakbeats and heart-string tugging classical ambient on an album that sounds completely unlike anything else you will hear this year.

ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLUE vinyl. All tracks have been specially remastered for LONG CUT vinyl by Daniel Hallhuber at Young and Cold Studios (Germany)

Finnish Recue debuts on Analogical Force with 'Paramnesia EP', where Riku Annala explores the murkier side of electronic soundscapes with distorted and gritty undertones. With impeccable production, Recue guides us through this expedition in his highly distinctive style that blurs boundaries between bass music, idm and reflective electro-nix. 'Paramnesia EP' takes you on a cinematic journey through post apocalyptic soundscapes full of deep bass, textures and nuances. Some of Paramnesia's tracks have accompanied Recue in his live sets, acting as a counterbalance for the most nolanesque moments, when the music starts driving the listener forward in full speed. Some have started as reworks of other material, gradually morphing into something completely different, leaving only a memory of something that never came to be. The release is the result of a dialogue and curation together with AF, and the end result is something that sits comfortably in the sound that is Recue and undertone that's Analogical Force. You know what to do!

2024 Repress

Steve Rachmad's richly melodic strain of techno has resulted in a huge body of work he has been growing since the early 90s. His sound is the perfect distillation of machine soul - dubby atmospherics and crisp, danceable dynamics balanced in perfect unison. Amsterdam's Delsin Records gathers together some of the Dutch techno figurehead's most important, sought-after works in a new EP series, all remastered from the original DAT tapes from Steve's archives. His flagship Sterac project is present - most notably the Asphyx EP, with a long-standing titling mistake now rectified on the iconic 'X-Tracks' comes first. Four absolute classic Sterac works dating from 1995. The Delsin Sterac series will focus on long-awaited represses and hard-to-find deep cuts from the Rachmad archives. Adding to the weight of this series, the accompanying artwork is being created by Boris Tellegen, aka legendary graffiti artist Delta who first began designing sleeves with Secret Life Of Machines. Since then he created many works for labels including Delsin.

Supreems music has been circling the globe for a few years now, slowly but surely culminating in support from renowned electronic artists such as Bicep, Four Tet and Ross From Friends, just to name a few. His releases have generated very real excitement for his next moves, as he appears to be seeking personal connection through his sound, more intimate than many of his contemporaries. Nachtschone,
Supreems debut album, is a prime example of that. The LP is his most personal and complete body of work to date.

Exploring styles and aesthetics previously unattached to the hazy-house and melodic breakbeats traditionally known for the artist. Nachtschone sees Supreems connecting the dots between new and old, delivered in his unmistakable cinematic style.

Another Terra Magica release is coming! The new ‚Axisdance‘ - Various Artists (TERRAM003) double-vinyl 12″ compilation coming out this summer August/September on Terra Magica Rec.

With artists from all over the world such as Poly Chain, Mogwaa, Jacques Satre, Jai, DJ Normal 4, Imogen Soundsystem – Ilija Rudman and Antonio Zuza, Gee Dee, Rambal Cochet, Listensport, Johnmon and Hektisch Sprengen DJs.

Every track has its own spirit, in a kind of a 90s journey way. The compilation is a fascinating mixture of weird cosmic and slow goa vibes to more emotional places with powerful bassdriven downtempo techno and slightly trance influenced anthems as well as distinctive tribal acid easiness with epic melodies. Furthermore it involves faster loaded minimal hypnotic synth sounds and dark UK-House with a big-beat touch to it. Raw liquid floating old skool breaks melts into rave stompers which are inhabited by sensitive living microbes vibrating jungle atmospheres.

Open Air Jungle Dub. Pure Old School Breakz.

The next release on Phase Group is a truly singular and original album from Rotterdam-based producer Ayaz.

With ‘Unpinned’ Ayaz presents a window into a uniquely crafted and highly personal sonic environment, where intercepted radio broadcasts tune in and out of focus, modulating drones echo through cavernous space and the sound of experimental synth explorations are layered over heady dub-laden beat work, deep bass lines and expertly programmed traditional sampled artefacts from the music of his native Azerbaijan.

This is an uncanny and evocative sound universe both cinematic and driving, music that would work equally scoring science fiction cinema as in the most avant-garde club environments. Mind-bending and visionary music for those that explore.

From a Balkan basement comes an EP so filthy that we had to cover the record with a color photo. KRI records first installment oscillates between EBM and electro, ready for sweaty dancefloors and those extra long afterhours needing some “warm leatherette”. A well crafted five tracker journey is a debut collab by two veterans, Christian Kroupa discovering his darker shades coming off of an LP on Natural Sciences under his Alleged Witches moniker, while Le Chocolat Noir is no stranger either with seals of approval on Return to Disorder and L.I.E.S among others. Get ready for plenty of melodies, massive chords and menacing vocals spiced with an epic acid remix by the Mannequin boss Alessandro Adriani.

For the third label’s release, Clouzer returns to Distant Gaze with “Call of the Abyss,” a six-track EP featuring three originals alongside three remixes from acclaimed artists Damon Jee, Zakmina, and Berlin’s emerging talent, Zee Mon.

At the helm of the EP is Clouzer’s captivating journey, “Voices from the Abyss,” extraterrestrial echoes and pulsating broken beats, embarking on an exploration into the depths of the unknown. The EP’s second track emerges as a powerful stage presence, guided by the haunting vocals of Valentin Henning. Blurred and delayed textures immersing the listener in a mind-altering experience. Pulsating rave energy of “Perpetual” fuses cosmic elements, broken beats, and dark disco bassline, embodying Clouzer’s distinctive sonic identity.

Adding to the EP’s allure are three remixes, each offering a unique interpretation. Zee Mon’s rendition of “Perpetual” channels darkwave energy, infusing the track with an irresistible pulse, a primetime banger on vibing dance-floor. Damon Jee’s remix of “Stalactites” delivers his trademark full-throttle dance-floor oriented dark disco, elevating the EP to the next level of intensity. Finally, Zakmina’s broken beat journey serves as a beautiful sublime culmination of the EP, evoking the feeling of a perfect closing track for an enchanting morning DJ set.

2024 repress.

Five years ago, back in September 2016, Stefano Gentile published a photographic book entitled IL SILENZIO DEI TUOI PASSI (The Silence of Your Steps), which collected a series of 56 pictures, both in b/w and colour, dedicated to the nights in Venice. The book was a journey through the most remote "calli" and "campi" (streets, alleys and squares, as they're called in Venice) in search of the true 'breath' of the city, far away from the hordes of tourists who 'attack' it every day during daylight hours.

On such occasion, renowned musician Gigi Masin composed a 30 minutes epic ambient track entitled VENEZIA 2016 which was the perfectsoundtrack to the images included in the book. The track was published on CD and released bounded with the book itself in a limited edition of 480 copies only, and has been unavailable for years now.In 2021 Gigi Masin returned to that great piece of music and to its timeless sounds. Finally, Silentes can now offer PLAYS VENEZIA, Masin's latest work contanining a re-edited version of that 'pearl', accompanied by two unreleased tracks composed and recorded in the same period.

Once again inspired by the city, Masin created an enduring and wonderful ambient masterpiece, a sort of return to the origins, to his home. Adding to the intrinsic quality of the originals, the tracks were beautifully mastered by Brandenburg Mastering in Amsterdam. PLAYS VENEZIA is simply an unmissable release and one of Masin's greatest accomplishment in a long carrier that never ceases to amaze us.

* CASSETTE VERSION **
Five years ago, back in September 2016, Stefano Gentile published a photographic book entitled IL SILENZIO DEI TUOI PASSI (The Silence of Your Steps), which collected a series of 56 pictures, both in b/w and colour, dedicated to the nights in Venice. The book was a journey through the most remote "calli" and "campi" (streets, alleys and squares, as they're called in Venice) in search of the true 'breath' of the city, far away from the hordes of tourists who 'attack' it every day during daylight hours.

On such occasion, renowned musician Gigi Masin composed a 30 minutes epic ambient track entitled VENEZIA 2016 which was the perfect soundtrack to the images included in the book. The track was published on CD and released bounded with the book itself in a limited edition of 480 copies only, and has been unavailable for years now.In 2021 Gigi Masin returned to that great piece of music and to its timeless sounds. Finally, Silentes can now offer PLAYS VENEZIA, Masin's latest work contanining a re-edited version of that 'pearl', accompanied by two unreleased tracks composed and recorded in the same period.

Once again inspired by the city, Masin created an enduring and wonderful ambient masterpiece, a sort of return to the origins, to his home. Adding to the intrinsic quality of the originals, the tracks were beautifully mastered by Brandenburg Mastering in Amsterdam. PLAYS VENEZIA is simply an unmissable release and one of Masin's greatest accomplishment in a long carrier that never ceases to amaze us.

Four warehouse breaks, bleeps and bass bangers.

2024 Repress

"Communication", das erste, wirkliche Soloalbum des Ex-Kraftwerkers Karl Bartos, kam 2003 in die Läden und damit 13 Jahre nach Bartos" Ausstieg bei den Düsseldorfer Elektronikern. 2016, und damit wiederum 13 Jahre später, erscheint das Album, komplett remastert und mit dem Bonustrack "Camera Obscura", erneut. "Communication" ist jedoch keine bloße Wiederveröffentlichung. Es ist der Reload eines Pop-Klassikers, der heute thematisch aktueller ist denn je. ""Communication" handelt davon, wie Bilder unsere Sicht auf die Welt bestimmen und wie sich durch elektronische Medien die Inhalte unserer Kultur verändern", so Bartos anlässlich der Veröffentlichung im Jahr 2003. 2016 hat dieses Thema an Dringlichkeit und Wahrhaftigkeit nichts eingebüßt. Ganz im Gegenteil. Heute ist die Medienwelt, die das Album beschreibt, so alltäglich geworden, dass ihre Wirkmächtigkeit gar nicht mehr wahrgenommen wird. Spannend: Obwohl zehn Jahre früher erschienen, kann "Communication" energetisch nahtlos an Bartos" gefeiertes letztes Album "Off The Record" (2013) anschließen.

On 1984's Chomolhari, new age pioneer Karma Moffett eschews the arsenal of Tibetan bells and resonant singing bowls, which he usually uses to conjure his healing ambient works. Instead, he opts for the shimmering arpeggiation and gentle glissando of the Moog synthesizer. With this aural palette, he soundtracks a rich inner voyage of peace and reflection. Bookended by the calming drone of the Tibetan longhorn, the trip to Chomolhari and back is one worth taking again and again.

Karma Moffett reminisces: “Chomolhari. Bhutan’s deeply venerated guardian peak. While living in San Francisco, I wandered into the first Tibet Shop in the city. I met Dorje Lama, the creator.He became my good friend and guide, and introduced me to His Holiness the Dalai Lama, the 16th Gyalwa Karmapa, the venerable Kalu Rinpoche, and Tai Situ Rinpoche. He opened the door to the path of an inspired and enlightened journey for me. After reading ‘Seven Years in Tibet’, I created ‘Chomolhari’ as a mystical journey to the higher planes of the majestic mountains. Dorje would say: ‘The wildest dreams of the Americas are the facts of Tibet.

An overview of Laraaji's earliest works, "Glimpses of Infinity" gathers selections from his 1978 debut "Celestial Vibration" and six additional studio sessions from the era. Full of discovery and wonderment, "Glimpses of Infinity" is a miraculous chronicle of new age's most fabled artist.






d KALIMBA 1 (GLIMPSE)




d KALIMBA 1 (GLIMPSE)

Mathis Kolkoz (Blind Delon’s alma mater) joins forces with Pablo Bozzi (renowned for his previous works as Imperial Black Unit and Soft Crash) and with Abu Nein’s voice Erica Li Lundqvist to release one of the most amazing synth-pop works listened in recent time. In between low beat electro, soft ebm and even modern new beat, LOST HIGHWAY sounds harsh but romantic with great rhythm patterns that make it impossible to stop dancing.

This debut EP comes with three original tracks plus one blasting remix by our partner in crime CURSES, a plastic bomb ready to fire up any darky dance floor. Comes presented in a one-off truly limited edition of 300 copies lacquered pressed on 180gr. high quality solid black vinyl.

All tracks have been specially remastered for long cut vinyl by Daniel Hallhuber at Young and Cold Studios.

A year on since the collaborative Mystic AM project in 2022, Rod Modell returns solo to Astral Industries with AI-35. The album - entitled ‘Ghost Lights’ - comes as a gatefold 2x vinyl LP, showcasing the latest epoch of Modell’s signature soundscapes. Spread across four parts, ‘Ghost Lights’ draws out a wide, cinematic sound - with long arching contours, rippling textures and cavernous sound design.

Woven with layer upon layer of hidden fragments and supernal transmissions, each chapter takes the listener successively deeper into the twilight zone. Harking to dramatic off-world topographies and interstellar spaces, the work glistens with opulent sound treatment and monumental grandeur. Dense pulsations move with oceanic force, marked by washes of celestial light and subterranean drones. Exercising another side to Rod Modell's typically atmospheric productions, this album comes with an ambitious framework and a more assertive sound. Featuring some of Modell’s most epic storytelling to date, ‘Ghost Lights’ delivers a powerful immersive experience.

In times where fantasy worlds seem in danger of extinction, Saturns Drive created his own. ‘Next Stop Nebula’ combines oceanic slide guitars, early synth digitalism and 90s-inspired inspired rhythms to get any sailors ship sailing. The result is a fearless space where machines and guitars come together in a psychedelic pop meltdown.
Saturns Drive is a Berlin-based music project created by Elfy, a producer and DJ from New Zealand who draws inspiration from early sci-fi, exotica and library music, cosmic disco synthesizers, italo grooves and arpy electronics. He has recently been featured on the track "Parallel Panorama" by Saeko Killy and performs regularly along with other artists of the Berlin music scene.

Mesmerising debut release of Soft Traffic, a new family member of the ever classic Sushitech Records.

Meltem is a studio collaboration EP with dub vocalist Prince Morella. Super limited hand-stamped vinyl release!

Since releasing on Reinforced at the age of 16, Dominic Stanton has always remained one of most influential producers in the west London broken beat scene. Those early adventures via numerous successful aliases laid the foundations for Dom's sound, eventually leading to the launch of 'Sonar's Ghost' in 2013.

Welcoming Sonar's Ghost to Metalheadz is now long overdue, so it's a pleasure to be showcasing 'The Fall and Rise Of...' as part of the Metalheadz Platinum series this July. Consisting of 5 collabs, 4 of them making the vinyl cut, the release draws inspiration from the rich heritage of jungle and breakbeat, effortlessly weaveing together intricate rhythms and immersive textures. Outrage & Scale feature on 2 tracks each, whilst Acid_Lab also gets in on the virtual collaboration bringing together a complimentary selection of styles.

Let's celebrate 20 years of WeMe records!

YUKI is the debut solo record by Basel-based multidisciplinary artist Yanik Soland. Inspired by film scores and sound design, YUKI is a 40 minute audio-piece in 11 chapters. Musical characters, each assigned a specific sound (such as a sampled quarter tone cembalo or synth voices) reappear across the chapters. With a background playing bass in bands, Soland utilises various collaborative modes on YUKI: his partner Marianna Angel appears on overdubbed iPhone-recorded piano, Stefan Tcherepnin plays guitar over one chapter, and a rehearsal recording with Gleb Glonti forms the canvas for another. YUKI--the name Soland's parents had planned to give him, if he were a girl--is Japanese for snow, snow-princess or luck, and is here used as an alter ego within Soland's practice. YUKI's touchstones include Laurie Spiegel, Mark Fisher, Ruins, Dean Blunt, Maryanne Amacher, Tyler The Creator, Heather Leigh and Gyorgi Ligeti.

Nestled beside the sea and a cluster of palm trees, La Malvarrosa, the neighborhood in Valencia where Cooper resides, derives its name from a fusion of "Malva," meaning mauve, and "Rosa," meaning pink. Here, La Malvarrosa serves as the primary backdrop for the recordings, symbolizing two distinct colors and artistic approaches.

These hues become the emblematic colors of a fictitious flag from an imagined island located on a forgotten expanse of ocean. From this ethereal site, melodies emerge, seeking to unravel the essence of certain insular music while intertwining with Cooper's post-everything sensibilities and Kòlar's minimalist electronics. "Mauve/Pink" navigates the delicate balance between playfulness, intricacy, and simplicity, blurring boundaries between tradition and innovation, reality and imagination, change and repetition.

The album serves as a showcase for contrasting methodologies and viewpoints, acting as a sonic document of an ongoing conversation between generations, where Cooper and Kòlar's efforts illuminate a boundless creative process and timeless aesthetics.