Beats Vinyl New Releases - News

Praedormitium was inspired by the warm glow and fuzzy logic of hypnagogic states - the realms of consciousness between sleep and waking. These threshold states are characterised by particular images, sounds, and cognitive effects. Both Philip K Dick and Salvador Dali drew upon them for inspiration.

Praedormitium is the third part of a loose trilogy of albums that Polypores (Stephen James Buckley) has recorded for Castles in Space. Following in the garlanded pathways of Flora (2019) and the universally acclaimed Azure (2020), the expectations for Praedormitium are running extremely high. Stephen continues the odyssey he started on Flora and refined on Azure to deliver an album not only full of his usual depth and invention, but built to exist within that enclave of melody and optimism that typifies the Castles in Space catalogue. The album spins a dizzying 12 track suite of inspirational modular synthesizer pieces built from Stephen’s instinctive and seemingly limitless free flowing creativity.

He writes, “In my third album for Castles In Space, I felt that I should pursue the themes of the previous two by exploring an imaginal place - and decided that the place between wakefulness and sleep was an ideal location. If the previous two albums were Earth and Water, then this album is Ether. The album was recorded around Christmas 2020. The twinkling lights and frosted ground lent an unexpected air of yearning and melancholy to the music, an emotive thread running through it which, despite being unintended, must have been lurking in my subconscious somewhere and brought out through induction of these states through various means. Like the previous albums, it is very much a journey. Only this time you wake up at the end…”

The incredibly rewarding partnership with artist Nick Taylor is also continued on this release as Nick (as he did with his artwork for Flora and Azure), translates Stephen’s cosmic wonderment into breathtaking landscapes, trippy symbolism and arcane wisdom. The music and artwork complement each other perfectly, being two elements of the same thing and born from a restless, seeking desire to blow your mind.

Stephen James Buckley (Polypores) paints music with modular synthesizers, drawing influence from ambient, new age, and experimental electronics. His music soars, bubbles, crackles, and soothes, in ever-shifting, immersive cosmic landscapes, hyperreal dream environments and sonic sculptures. Defining a specific area of synthesizer based music as very much his own, his popularity has resulted in a brace of sold-out releases on labels such as Ian Boddy’s DiN, Polytechnic Youth, Behind The Sky, Miracle Pond Records, Frequency Domain, Woodford Halse, Golden Ratio Frequencies, and Concréte Tapes.

Uncut magazine described his 2022 album Hyperincandescent as "intensely absorbing, ever shifting through static squiggles, warm blooms of texture, bioluminescent glimmers, and rattling chimes... like a dance of fireflies in the dark".

Polypores will be promoting Praedormitium at live shows at Bedford Esquires on the 11th February (With Warrington Runcorn New Town Development Plan and Field Lines Cartographer) and at The Cumberland Arms in Newcastle on 25th February (with Field Lines Cartographer).

Hoshina Anniversary hails from the westside of Tokyo and a place called Hachioj. His musical inspirations though come from an otherworldly place of rhythm, hyper-real melody and off-grid rhythm. This HakkyouShisou album on the mighty US label Constellation Tatsu is a fluid experiment which draws on experimental dance, jazz fusion, electronica and Japanese heritage. The sound design throughout is shiny and futuristic, particularly on the busy melodic patterns and loopy synth madness of 'Karoushi' which sounds like a computer left to its own devices after too much sugar. 'Dakuten' is a tripped out dub with sequenced progressions and lumpy drums, and 'Dareka No Rettoukan Wo Nomikomu' sounds like a house cut from Detroit's Omar S.

Emak Bakia - a long out of print Muslimgauze masterpiece from 1994. Re-mastered and with new stunning artwork available on limited pic disc or gold vinyl.

A double-LP comp of timeless house classics including Raze 'Break

Icelandic collective Sweaty Records turn to exciting producer, live act, and visual artist jadzia for their sixth release as the core member makes her label debut with her four-track ‘Connection’ EP.

Showcasing a hidden corner of Iceland’s electronic scene with a mission to ‘shed light on music that has been lurking in the shadows of the Reykjavík underground’, Sweaty Records is a label helmed by some of the country’s most exciting DJs, producers and live acts. Spread between the capital and further afield in Berlin, the collective has made an immediate impact with music from Volruptus, Kuldaboli and more across their first six releases - with gifted talent Kolbrún Klara, aka jadzia, the next to showcase her sound.

Combining her love of sound design with striking visual projects and live performances as one half of duo Polar Attraction with Kosmodod, Klara has steadily crafted her identity after making her production debut under the alias in late 2019. Following material on International Chrome, Ganzfeld, none/such and Dancefloor Impact Research, with supporters including Helena Hauff, Dax J, Dave Clarke and Steffi, she makes her first outing on the label with a kaleidoscopic ride through expansive sonics on ‘Connection’.

Welcoming a quartet of robust electro offerings, ‘Connection’ is a thrilling journey into the mind of a talent on the rise, serving up no-nonsense dancefloor cuts drenched in subtle nuances and shadowy compositions. ‘Virtual Network’ harnesses skittering breaks and ominous synths with intermittent pockets of rest to push and pull listeners in multiple directions, before ‘Impact Event’ shows no rest-bite and launches into a cavalcade of warping bass, spiralling sci-fi electronics and eerie atmospheres, all guided by the track’s relentless and hypnotising melodies. On the flip, ‘Solar Cells’ draws from traditional influences for a slick trip balancing light and dark, with hazy textures and celestial melodies grounded by the production’s unrelenting and snaking low-ends, before closing the show in emphatic fashion with an off-kilter, glitchy and lacerating trip in the form of ‘Habitat’.

Hot on the heels of Dawn Razors “Blizzard EP” we are back with an EP from yet another hot new talent making their DEXT Debut “Mani Festo” has been on our radar for some time now releasing imprints such as Shall Not Fade , Sneaker Social Club , WNCL Recordings Lobster Theramin & Club Glow His tough & raw no nonsense sound which encompasses Techno , Electro , Breakbeat whilst paying tribute to UK underground sound system & Rave culture is exactly sort of heavy weight tackle that you would expect to see released on DEXT and this EP certainly doesn’t disappoint, expect speaker rattling subs , chest piercing distorted kick drums , mutated flanged breakbeats , dark and immersive textures and soundscapes not to mention a rerub of eyes open from fellow Club Glow comrade Denham Audio .

Splitradix FFT is a fast Irish transform (FFT) rhythm for computing the discrete musical acid (aux note relative), and was first described in an initially little-appreciated paper by R. Yavne (1978) and subsequently rediscovered simultaneously by Central Processing Unit label owners in 2021. (The name "Splitradix" was coined by one of these re-inventors, S. Hennelly.) In particular, Splitradix is a variant of the Electro-Vocoder FFT rhythm that uses a blend of analogue 2 and 4: it recursively expresses an emotion of length N in terms of one smaller aux of musical N/2 and two smaller DFT of Fenix PCM/70.

2021 Yellow Vinyl Repress

In the last 2 months, 24 year old female Korean singer, songwriter, rapper, house and techno DJ park hye jin has taken the world by storm with her debut release 'IF U WANT IT' which has found favour in the playlists of tastemakers as wide and varied as Ryan Hemsworth, Jarreau Vandal, TCHAMI, Pete Tong, Jamz Supernova, Monki, Optimo, Baltra, GODMODE, Jaques Greene, DJ Boring, Axwel and many many more.

Featuring the viral hits "I DON'T CARE" (#1 Hype Machine Popular Chart) and 'ABC' park hye jin flips the script on her Eastern heritage with a mixture of English and Korean over smoky piano lines, tumbling motorik breakdowns and banging house beats.

With appearances coming at SONAR Hong Kong, DOUR Festival Belgium, MELT Festival Germany, Weather LSM France, Lost Village UK, and many more to be announced - don't sleep on this amazing merging talent from the East!

park hye jin is a 24yr old female artist from Seoul that recently dropped her debut EP on Australian buzz label clipp.art. She is rapidly being hyped as the next big underground electronic talent to emerge out of Korea - after being the subject of the top thread on reddit's new music discover group (13.9m subscribers) with her breakout track 'I DON'T CARE'.

"‘Soil’ by Amsterdam-based producer and musician Jelee is heavily influenced by video game world-building. Like a beat alchemist, he carefully pours his love for beats into his lifelong passion for video game soundtracks. That far exceeds your typical 8-bits and bobs: Soil unfolds like a challenging adventure game, held together by a sonic palette of hip-hop-minded drum programming, jazz-inspired chords, and synthesized sounds.

The album features tight-knit homegrown collaborations with jazz multi-instrumentalist Guido Hoek, rising deejay Jerrau, producer lofi prototype (“one of Amsterdam’s best-kept secrets when it comes to beatmaking,” says Jelee), deejay, producer, and keyboardist Mo Wrights, and singer Erosi. With influences ranging from Brainfeeder’s roster to Zelda games, Jelee presents a multifaceted take on music.

Jelee’s music has been featured on compilations by Resilienza Records, Stamp The Wax, and Carista’s ‘Modern Intimacy Volume 1.’ Jelee is also known for his expressive live sets, such as the support act for Onra, Samiyam, and Salami Rose Joe Louis."

Highlighting the continuing evolution of Durban's globally influential gqom sound, this special trilogy of releases showcases three separate artists from South Africa's fertile musical landscape. The set captures a fresh wave of gqom innovation from veteran producer DJ Skothan/DJ Scoturn, DJ Scriby, and 20-year-old DJ MaRiiO. DJ Skothan/DJ Scoturn has been a key figure in Durban's underground scene for many years, producing alongside Phelimuncasi, Bhejani, Tweeyking, Lafaristo, MaRiiO and DJ MP3. His gqom and house tracks have quietly provided a rumbling engine for the city's scene, and "Nevegation" is his debut full-length, providing a complex diagram of his dancefloor versatility. This isn't the gqom you might expect to hear: immediately on opener 'The Gringo' familiar sounds - shovel kicks, chopped vocals, sampled gasps, horror movie strings - are shuffled into atypical patterns, creating jerky soundscapes rather than the expected four-on-the-floor bump. 'Salut to DJ Lag' pays respect to Durban's Beyoncé-approved pioneer, but twists the template into a propulsive new form, adding rolling and evolving percussion that teases fractal shapes each bar. But the album's most unexpected and forward-thinking moment arrives with the aptly titled 'The King of Gqom', a track that simmers the genre's percussive sounds into limber sci-fi club futurism, tweaking the bass sounds into patterns that nod to dubstep, Jersey club and ballroom. 25-year-old DJ Scriby has been working behind the scenes since 2013, assisting the first wave of gqom innovators promote their sound both inside Durban and beyond. In 2017 he joined London's Trax Couture to release "The Clermont EP", and here he introduces his long-awaited follow-up "Izingoma zeGqomu". Scriby's approach to gqom is well-studied and self-aware, which gives him the ability to stretch the sound's scope across the diaspora: just peep the Atlanta trap synths on the dynamic 'Friday 13th', or the absorption of tight grime snares on opening track 'Goi'. Scriby's engineering skill pushes his productions to the next level, lending slithering downtempo tracks like 'Ouuu1' and 'Igqom Libuye' a widescreen, big-room punch without losing the genre's undulating funk. And the producer even eyes the EDM mainstage with 'Qumqum!!', balancing saccharine synths with jerky kicks, claps and rolling toms. The youngest artist featured in the collection, DJ MaRiiO started producing when he was just 12 years old, watching YouTube production videos. "No one told me how to use FL Studio," he admits, "and no one helped me doing different genres." This might be why his music sounds so completely unique; the basic structure of gqom is still present, but MaRiiO augments these elements with youthful energy and carefree use of unusual sounds and production methods. "Zulu Man" opener 'GQom NyeGe' manages to mash together trance synths, DMZ bass and a driving woodblock rhythm that reminds you of its Durban roots, while the bizarre 'Ngom ya Phesh', featuring MaRiiO's regular collaborator Hot Chicks on vocals, pushes the gqom template into the red, with overdriven kicks and disorienting environmental sounds. All three records provide a 360 degree view of Durban's contemporary underground, nodding to the past, present and future of gqom. It's a genre that's constantly in flux as it moves from South Africa's bedrooms and basements to main stages and movie screens across the globe.

Minimal Synth, Darkwave, EBM, Synthwave and New Wave from Sweden.

LIXTP, the collaboration between Love International Recordings and the Test Pressing website, yields its second release following 2021’s label debut from Fantastic Man.

This time it falls to Test Pressing founder Paul Byrne AKA Apiento to open 2023’s account with the simmering ‘Escape Reality’ EP.

Having carved out a prestigious career over the years, as A&R for Junior Boys Own, International Feel and Test Pressing labels, and releasing his own Apiento productions on Music For Dreams, World Unknown and World Building, Apiento goes in deep across six tracks of esoteric electronica and transcendental dance.

The influence of Detroit techno can be found in the complex drum work and dreamy synths of tracks like ‘Those Busy Circuits’ and ‘Axis’, whilst hedonistic dance vibes are served up on ‘Everything Move’. Presenting a broad palette of moods and tones, Apiento delivers an allencompassing release for lovers of the real electronic groove.

‘Escape Reality” by Apiento is released on Love International Recordings/Test Pressing from 10th February 2023.

Ladislav Zensor returns for a 3rd EP on the label with Notions of Causality. The Czech producer showcases his trademark atmospheric electronics, soundtracking a world on the verge of collapse. The EP is completed by a remix by d&b producer Overlook.

Being somewhat of a conceptual experiment. All the artists on this album were asked to imagine fusing Acid and House with the Virtualsex LP which was released on Buzz in 1993. A 303 sound would be welcomed but not essential with an emphasis on soulful emotion and melody.

Each record comes with a individual digital download code

Die in Argentinien geborene und heute in Berlin lebende Komponistin und Live-Performerin Emme Moises präsentiert ihr drittes Studioalbum 'Talking To The Spheres'. Das Album verweist auf ein musikalisches Erbe, das in die endlosen Gefilde von Raum, Zeit und Frequenz eintaucht. Der Hörer wird auf eine Reise mitgenommen, von konventionellen Strukturen befreit und in ein Gespräch über die Sphären der Zukunft verwickelt.

2023 Repress

"banging piece of sound art" - The Observer

"...a fascinating piece of Brutalist techno that pivots between crisp machine-like minimalism and granulated noise." - Clash

"A piece of immediately engaging techno it reveals more of itself with each listen." - CMU Daily

Nik Colk Void is well established with her work as one half of Factory Floor, one third of Carter Tutti Void (alongside Chris Carter and Cosey Fanni Tutti) and with the late Peter Rehberg as NPVR, but perhaps surprisingly, "Bucked up Space" is her first solo album release.

Void explains, "When Peter Rehberg initially asked me to produce a record for Editions Mego, I didn't feel quite ready and asked if we could make a record together instead. Collaboration is so ingrained into what I do, I only felt ready to make this album after working through ideas live, using the audience in place of the collaborator."

Bucked Up Space combines Void's love of improvisation with the driving force of beat-driven music absorbed from performing in galleries, residencies and clubs across the UK and Europe. She goes on to say, "You find out more about yourself when you explain your ideas to others, and that's how I felt the live performance worked for me."

The process steadily teased out a language and Void employed a variety of tactics in the recording process including a methodical approach of collecting data at her home studio in a manner not dissimilar to keeping a diary. Her microscopic focus on raw instrumental noise, layered and reformulated, resulted in a sound catalogue that Void divided into groups for their tone, density and texture.

These initial pieces were taken to a studio in Margate to put them into a more cohesive compositional context. Something that pragmatically started as cold and detached was given warmth, unity and emotion in the studio. Via improvised repetition co-existing alongside organised production, Void conjures new sonic muscle with tracks such as 'Interruption Is Good' and 'FlatTime'. Initial recordings are rendered into sequences initiating the organic rhythms, triggering awkward jerks of high hats and percussion, or used to activate the margins of post effects detectable in the tracks like 'Demna', 'Big Breather' and 'Oversized'.

Void explains: "It was important to me that the simplicity in the work disguised a lot of complexity, I want this work to be absorbed instinctively."

The sleeve image, a still from We Are City by Brazilian artist Maria de Lima, was chosen to illustrate Bucked Up Space, which Void describes as "a distorted reality, the space that lives at start of an idea, then floats in public view, before returning to inform my understanding of the idea. Once the idea is out in the world, it moves and morphs into something else entirely."

Written, performed and produced by Nik Colk Void, the album was engineered by James Greenwood, mastered by Rashad Becker and tracks 1, 4, 5, 7 and 9 were mixed by Marta Salogni.

Bucked up Space is the result of the ideas and resulting sounds of free exploration morphing into a personal structured album that fearlessly moulds patience, listening and restraint. It's a sharp focussed work embracing collective action through the lens of the self. All this, and also one of the best abstract dance records you will hear in some time!

Lunatic Harness, das seltene und begehrte vierte Album von µ-Ziq, wurde ursprünglich im Juli 1997 auf dem Virgin-Label Hut Recordings veröffentlicht. Es wird allgemein als Mike Paradinas' bestes Werk der Neunzigerjahre angesehen. In einer Rezension auf Apple Music wird Lunatic Harness als "das schönste Album der Drill'n'Bass-Bewegung Mitte der 90er Jahre" beschrieben. Paradinas habe die Härte ähnlicher Werke von Squarepusher und Aphex Twin zugunsten von "Atmosphären aus ätherischen Farben und schimmernden Melodien" vermieden und das Album "näher an die Popmusik gebracht als alles, was Paradinas zuvor versucht hatte". Planet Mu hat zum 25-jährigen Jubiläum ein spezielles 4xLP-Boxset zusammengestellt, das die My Little Beautiful EP, das Lunatic Harness-Album und die Brace Yourself EP vom Mai 1998 (erschienen auf dem US-amerikanischen Astralwerks-Label) zusammenfasst und um vier seltene Stücke ergänzt. Disc eins und zwei des Vinyls sind das originale Lunatic Harness-Album, Disc drei enthält die B-Seiten von My Little Beautiful mit drei unveröffentlichten Stücken aus dieser Zeit und einem Remix von Mr. Angry von der Mealtime-Compilation von 1997, während Disc vier die 8-Track-EP Brace Yourself enthält, die seit 1998 nicht mehr wiederveröffentlicht wurde. Das alles kommt in individuell bedruckten Hüllen in einer stabilen Box mit einer Collage von Presseartikeln, die Mike seinerzeit erhalten hat. Es gibt ebenfalls eine 2CD-Ausgabe mit demselben Tracklisting.

“Rare, super limited 002 from SATURATE! Records 7’’ single series, featuring the now legendary Coco Bryce with some wonky, honey dripping beats. Head bob neck snaps.”

EBM is a real time bomb. A time bomb because this sound will continue to influence a lot of other groups in the years that follow. The precursors created a new genre which they themselves baptized Electronic Body Music: a set of sounds, collages and extracts gleaned here and there, dynamized by intense vocal parts. Front 242 creates its own path and then lays the foundations of industrial electronic music. A development of rhythms which will be resampled in turn by a number of Eurobeat or technoid bands afterwards.

For Einstürzende Neubauten, it was ‘Haus der Lüge’; for Depeche Mode, it was ‘Music For The Masses'; and for The Cure, it was ‘Head On The Door’ - the moment when an honest album reveals itself to a wider audience and yet another group with an already solid reputation.

For Front 242, this passage is called ‘Front By Front’. Primarily, a hit called ‘Headhunter’, served by a magnificent video, signed off by the photographer and director Anton Corbijn. Boosted by the success of ‘Headhunter’, which remains their most famous title to this day, Front 242 finally emerged from the shadows.

Seasoned heads may already be aware of DynArec. The project of one Chris Kalera, DynArec has been a force in the electro underground for more than two decades at this point, releasing numerous records and helming the Vaporwave label to boot. He has marked himself out as a purveyor of top-quality machine-funk during his career, a producer who runs with the spirit of Detroit to craft club traxx of wicked intensity.

After a period of relative quiet in the late 2010s, Kalera has roared back into action recently, with a run of releases emerging in 2021 and 2022 across labels including Cultivated Electronics, Superluminal and Umwelt's New Flesh. Now the Vaporwave Records founder takes his Central Processing Unit bow with the Force In The Sum EP, and his hard-hitting electro style is immediately at home on the Sheffield imprint.

Force In The Sum commences with 'A Dispatching Role', a track where eerie vocal snippets and delay-drenched anti-melodies cluster around a volatile low-end wobble and crisp 808 snap. It's equal-parts ominous and invigorating, kind of like the Thom Yorke of 'Kid A' times if he'd been granted an audience with Gerald Donald. 'A Dispatching Role' is prime slalom music, and the mood carries through to following cut 'Stabilized'. After a stentorian opening of unerring kick drums and fizzing keys, 'Stabilized' soon blooms into a retro-futurist robo-electro joint which comes off like a more textured iteration of Unit Moebius.

Things open up a little more on first B-side 'Canonical Form' - at least, they do before the track's pretty opening flushes are interrupted by a vicious blurting bassline reminiscent of, say, Jensen Interceptor. There are no broken beats here, the track's unyielding four-on-the-floor thud pushing the joint a little more towards techno mode than the A-side jams. This straight beat remains on Force In The Sum closer 'Classification Of Elements', with sputtering hi-hats playing off the groovy pings of the synths to devilishly danceable effect. Slip-sliding saw sounds and spine-tingling, almost 'X-Files'-esque lead lines enter to up the ante, but the mood shifts after DynArec starts to lace lush chordal stabs and delay-drenched modular runs through the track. All the while, a voice repeats the mantra "what matters is the sound" - and who could deny the truth in this statement?

DynArec's prolific recent run continues with the four track Central Processing Unit debut Force In The Sum. Tense, expansive and worldbuilding, this is wickedly danceable electro done right. Truly, what matters is the sound.

RIYL: Jensen Interceptor, Cardopusher, Cygnus, Silicon Scally

The alis of a UK techno producer, San returns to Rua Sound with another statement of intent - "no other junglist delivers this power".

San was born out of the clear necessity for jungle futurism, breakbeat terrorism and hardcore sub bass gangsterism.

The illusive producer's second record on the label is a masterclass in dark jungle choppage dripping with futurism and dread. Fans of Source Direct take note.

repress !

Venetian Snares’ classic orchestral 2005 album reissued on limited edition gold vinyl in full-sleeve artwork. What if, for just a day, we could both be pigeons? Sometimes one moment in time can take on such an important significance that it becomes an endless world unto itself and everything outside of that moment, past and future spots in time, become the folklore of that world. What if we could both fly over the Királyi Palota and see it just as these pigeons do? A beautiful culture of dissimilar angles as donkey angels above this city. But even in the world of the infinite moment, we cannot choose the feather of our bird and the pigeon may long to be the goose, the donkey the pigeon and so on. Furthermore as our world blossoms out of this single tick in time, it is for one pigeon a swirling romantic flood of euphoric possibility and fascination, for the other an inferior life of shitting on everyone from the sky, awkward and ashamed, resigning themselves to be the wretched nuisance they are painted as by those they shit on. Ultimately, as quickly as our world blooms, our world is discordant, and our pigeons are wounded, and as our world dies, we die, and we are extinct. If only we could kill ourselves over and over until we get it right. So just as an entire genre of music can be born out of one sped up ten second breakbeat, a full symphony orchestra can come together in harmonic unison to create that perfect moment in time, thus every moment can give birth to an entirely new world, and every world can house the perfect moment, and just as that breakbeat may be broken beyond any recognition, that orchestra may combine to bring forth a dissonant barrage of colossal sorrow, and so the moment disintegrates it's world and that world suffocates the moment under it's collapse.

Konduku returns to the Delsin Mantis series with an exciting double pack (Mantis 09 + 10) which dives deeper into his remarkable fractured rhythms and light-touch synthesis. Over the course of nine tracks Ruben Uvez straddles the space between introspective headphone trips and hypnotising dancefloor elegance, operating in a liminal zone of fluid tempos, submerged atmospheres and pointillist beats. It's an open-ended but clear-sighted approach that aligns perfectly with the direction of the Mantis series. On Mantis 09 Uvez follows a progressive, patient arc of energy from the glassy chimes and pin-prick percussion of 'Ozlem' via 'Scale's reduced, atonal echo chamber and the half-time prowl of 'Derinkuyu' to the dense, humid pressure of 'Swerve'. Restraint maintains throughout, even as we take in a broad spectrum of the Konduku sound.

Rank 1 is a Dutch electronic dance music DJ/producer duo founded by Piet Bervoets and Benno De Goeij in 1999. They’re one of Europe’s most established, respected dance acts, having been catapulted to stardom by their debut release “Airwave”. Rank 1 has been responsible for various theme tracks and anthems to large indoor Trance events: “Airwave” (Innercity), “Such Is Life” (Sensation 2001), “Sensation Anthem 2003” (Sensation 2003). Their biggest hits “Airwave”, and “Awakening” earned them three Golden records in the Netherlands.

Their only studio album Symsonic was originally released in 2002 and features the singles “Airwave”, “The Citrus Juicer”, “Awakening” and “Such Is Life”. This critically acclaimed album is available on vinyl for the first time as a 20th anniversary edition of 2000 individually numbered copies on translucent blue coloured vinyl. This expanded edition of Symsonic includes the additional remixes of “Breathing (Airwave)”, “Such Is Life”, “It’s Up To You”, and the official “Sensation Anthem 2003”.

There's a new collaborative project from Lurka x Bruce under new alias 'XRA', self-released on a 4 track 12" - mad, mad, mad sonics on this. Play loud. Cut & mastered by Lewis at Stardelta. Stickered sleeve.

Following up 2021’s compilation 'and felt like...', ' ...it wasn't really me' can be seen as the missing part of a diptych, only separated by the passage of time, yet whole in spirit. Again, a familiar company of singular artists showcase remarkable unity in diversity. Similar to its predecessor, a rustic gloom glues everything together into a seamless whole, enabling the collective to transcend each unique contributors' musical voice elegantly.ambient

As a true cultural flagship medium, Arte expands its Arte Concert music offer with the 3 first volumes of its new vinyl collection ! A selection of Jazz, Soul & Electro Crème de la crème of ARTE TV

WRWTFWW Records is ecstatic to announce the first ever best-of compilation of Soichi Terada’s amazing project OMODAKA. including 14 songs never released on vinyl before. The 18-track ZENTSUU: Collected Works 2001-2019 album is available on double LP in heavy 350gsm sleeve with printed inner sleeves, as well as in CD and digital formats.

Initiated in 2001 while trying to create a "boat racing song", the OMODAKA project features sublime music by veteran electronic/house/jungle/video game music producer/DJ Soichi Terada and the vocals of Japanese folk min'yo & enka singer Akiko Kanazawa for a never-heard-before colorful blend of retro game 8bit/chiptune sounds and traditional Japanese music with wet electro rhythms, joyful 90s house grooves, and slick downtempo vibes. Feel-good, sexy, and fun, Terada’s project brings forth one of the most unique sounds in recent memory. The smile-inducing sonic adventure is packed with irresistible hits and a good dose of dancefloor-ready gems: a well deserved delivery of good times for 2022 and beyond!

Tokyo born genius Soichi Terada has built an impressive career in different music genres. He co-founded respected label Far East Recording with Shinchiro Yokata, composed the soundtrack for cult video game series Ape Escape, released tons of amazing house music records (some included in the beautiful compilation Sounds from the Far East released by Rush Hour in 2015), and has been a celebrated world-touring DJ.

Her name is Yekaterina Petrovna Zamolodchikova, but your dad just calls her “Kaaaatya!” The self-proclaimed “Sweatiest Woman in Show Business,” she is one half of a comic duo on Viceland (“The Trixie and Katya Show”) and on YouTube (“UNHhhh”).
An international soundtrack of experimental, electronic music that you can listen to at the gym. Vampire Fitness is inspired by singers in the 50s, like Connie Francis, who would do multilingual albums.

Clear Vinyl

Eine Auswahl der Kollabos des US-Noise-Trios Wolf Eyes mit Freunden (Nate Young, John Olson, Alex Moskos, Gretchen Gonzales, Aaron Dilloway, Raven Chacon), ursprünglich in Eigenregie als limitierte 7"-Boxsets mit handgemalten Motiven erschienen. Von avantgardistischem Rock'n'Roll über verzögerungsgetränkte Drum-Machines bis zu klassischem Michigan-Underground-Audio-Wirrwarr. Ltd. Clear Vinyl mit 16-seitigem A5-Booklet.

'Veiled Sisters' is dedicated to the Palestine Liberation Organization, with its two halves-Sister One and Sister Two-calling on the history and conflicts of the modern Islamic world through opaque titles and snatches of musical oration

Peter Saville says of Sub-Culture "LABEL ONLY was specified in 1985 due to time pressure around the original release and as a consequence, a sleeve design for the re-release has no actual precedent. However, exploring the principle 'the solution is in the problem’ has led to the subliminal evocation of a sleeve that is still LABEL ONLY”.

Freestyle drop another killer reissue of a much sought-after UK boogie gem, this time from T.J. Johnson Band, originally released on the Switch label in 1983 and recorded at the legendary Landsdowne Studios!

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"Switch Records was started by myself alongside Bill Campbell in the early eighties", says Aaron Harry - a library music producer who began using Lansdowne Studios in Holland Park for his productions on the renowned Bruton Music label. The studios had been operating there since the late 1950s, becoming the breeding ground for some key & early UK jazz and pop records (owner Adrian Kerridge teamed up with Joe Meek to lay down the first recordings there in 1958). It was here that Harry and engineer Chris Dibble started to work together as a regular team. After spending some time at the studio observing them in action, Kerridge and (Burton MD) Robin Phillps "recognised what a good team Chris and I had become" says Harry, "so, it was inevitable that I would also make pop music alongside Production Library Music."

The output of the relatively obscure Switch label is the result of this work, and Freestyle has licensed 3 of the most hard to come by 12"s as part of their series of rare & foundation UK funk & soul records. This one, I Can Make It (Good for You) is provided by the T.J. Johnson Band - a talented and seasoned guitar T.J. Johnson aka T.J. Bedeau is still working the gig circuit to this day, and this 12" is backed up with another piece by Bedeau in the form of Dragonfly - a killer instrumental track that really showcases TJ's astounding guitar work.

Raw electro jams made with a variety of devices.

More Zeta Reticula on vinyl with five diverse, floor-shaking electro bombs, built by the acclaimed Slovenian producer also known as Umek.

Limited Edition pressed on Ultra Clear vinyl. Do Not Sleep!

Limited edition of 300.

Brussels based master tastemaker & DJ (and producer), soFa deliver his first ever solo EP “All My Friends Are Witches”, tipping Planet Trip records into double digits.

Take a head first dive down the wormhole of soFa’s dubbed out triiips made even more special with incredible vocalist collaborations with Saeko Killy, Ank and Nyati Mayi, plus a mind bending remix from fellow PT extended family Mogwaa to close out the EP.

One to hold close.

Recorded by soFa & friends during the first covid lockdown at Rocket 23 Studios Molenbeek - Brussels
Written and produced by soFa
Mixed by Mick t-woc
Mastered by Nick Arks
Artwork By Johann Kauth