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Toshihiko Mori – a former keyboard player with Riuichi Sakamoto – has made an EP for Biophon Records using the legendary Prophet 5 synthesizer as the main instrument.

Toshihiko Mori was born and lives in Tokyo. He toured with Riuichi Sakamoto all over the World in the 90s as a keyboard player and rhythm arranger. He also did all the drum programming on Sakamoto´s album Smoochy released in 1995.

Jinen is a different affair though. It contains no drums or sequencers, only improvisations on the Prophet 5, plus the occasional vintage Yamaha VSS-30 8-bit sampler, a few granular guitar pedals and some field recordings from Mori´s walks in the Japanese forests and mountains. Jinen is Japanese for Spontaneity.

"I was thinking Japanese culture, hi-tech and nature, Shinkansen, film directors like SABU, Masaki Kobayashi and Akira Kurosawa, and Riuichi Sakamoto´s first solo album B-2 Unit when I heard his music." (Geir Jenssen, aka Biosphere).

London-based Kouslin's Le Chatroom imprint presents LCR003; a percussion-heavy release of four tracks from close friends and affiliates.

Taking inspiration from rhythms around the world and the uproar within the new-gen UK Funky scene, Le Chatroom once again exhibit their ethos of eclecticism that has found them in the record bags of the likes of Ben UFO and Call Super.

Big Brothers' frontman Amor Satyr (also of Parisian collective Boukan Records), channels heavy baile funk on 'Hohohoi', with razor-sharp low-end separation and haunting harmonies.

Soreab (Baroque Sunburst/BeatMachine) serves up a hearty cut of low-slung, tribal drum funk with a groove synonymous of Hessle Audio sets.

Having recently featured on an R&S Records compilation, plus a release on More Time Records, rising artist DJ Tess presents her new “Mala Femmina” alias and offers up a triplet-based 4x4 groove with relentless icy blows and rotating polyrhythms.

Livity Sound's Cando close out with a remix of Soreab's 'Cave Walk'. Racing away with dancefloor panic, the intricacies of the remix shine through via its claustrophobic and pristine mixdown.

The multi-media project Kraftwerk was started in Düsseldorf, Germany 1970 by Ralf Hütter and Florian Schneider. They set up their electronic Kling Klang Studio where they conceived and produced all Kraftwerk albums.

Kraftwerk created the soundtrack for the digital age of the 21st century. AUTOBAHN 1974, RADIO-ACTIVITY 1975, TRANS EUROPE EXPRESS 1977, THE MAN-MACHINE 1978, COMPUTER WORLD 1981, TECHNO POP 1986, THE MIX 1991, TOUR DE FRANCE 2003. Their compositions, using innovative techniques, electronic sounds and synthetic voices combined with computerised rhythms, had a major musical influence on Electro, Hip Hop, Techno and Synth-Pop. 

The totality of the many in one: Cologne Tape, an on and off gathering band from all over the world, did not call their second album "Welt" without reason. The collective incorporates the nucleus of the label Magazine and consists of the artists Ada, Barnt, Jens-Uwe Beyer, Jörg Burger, John Harten, Philipp Janzen, Mario Katz, John Stanier and Axel Willner. All members live scattered between Berlin, Cologne and Hamburg. They meet rarely and abruptly, but each of them always has the feeling that something relevant needs to be done. The ensemble's name represents a city and the musical recordings that are made in it.
Their "rst release, "Render", marked the start of the label Magazine in 2010 and found the way into DJ sets by famed artists like Dixon with music, which does not necessarily have the dance#oor in mind. Subsequently, little, absolutely sublime pieces of Cologne Tape appeared in the public.
Sometimes in the middle of a Magazine mix for London's online magazine Dummy, or on compilations like "My Heart's In My Hand, And My Hand Is Pierced And My Hand's In The Bag, And My Heart Is Caught" a double-vinyl sampler for an exhibition by British video artist Phil Collins.
And now, after six years of more or less overwhelming silence, "Welt" arrives and brings the world eight musical arrangements, all of which answer to the same name and only differ numerically in their title. They were performed and recorded at the Dumbo Studios in Cologne as part of a happening, during which the nine Cologne Tape members gathered in a room to play a solemn concert for themselves without a given frame.
Un"ltered emotions, which were later, re"ned with drums and synth sounds by John Stanier and Axel Willner and then arranged into a dramatic story arc under the direction of Jens-Uwe Beyer. Furthermore some of the recordings feature friends of the collective such as Mexican artist Rebolledo, the guitarist Burkhard Mönnich and the singer Isis Lace, who all happened to be close by and joined the band spontaneously during in their musical ritual. Now the recordings of their time without time will see the light of the day.
They all tell - together and alone - stories of deeply felt musical
experiences, which quickly become profound experiences too for those who listen to Cologne Tape, when they play the grand piano, synthesizer,vibraphone, organ, drums, guitar and more while celebrating afreewheeling ceremony. Panoramic music that enables the listener to enter a world of sounds and rhythms, which all re#ect in depth what Cologne Tape is as a band and a piece of art.

7am. Tilburg. Black room. Strobe light. Dutch Soundsystem Wirwar. "Party Like It's '96" celebrates 23 years of musical debauchery, rinsing BPMs and battering bodies in forests, squats or wherever a PA system could be plugged in. Five tracks from five different aliases make up this descent into drum beat battery. Noses are up against sweat drenched wall from the needle drop, the thundering pace of Trippy D's maniacal offering being elbowed in the ribs by Bart Bral's nosebleed inducing "No Shit, Sherlock!" Distortion slices into squalid acid lines in the blazing "Water On Mars" by RAF before broken beats are blended and blitzed by Just So Nah. The night, or morning, comes to an end in Roel's nightmarish fairground ride. "Wurlitzer Express" minces chiptune cuteness with splintered snares, cracked kicks and mutated percussion to leave hearts, minds and souls thoroughly stained.

Alex Cortex delivering the heat!! Mr Cortex is kicking hard with a direct and mental techno tracks! Oscillon, A1, is a bleepy affair, direct and repetitive, but please, play it loud and watch. Rheometric is in the same alley as Oscillon but bringing the bleeps and glitches trip even more in your face. Combined with the fat but quirky bassline, it does the peak time techno thing extremely well. B1's title "Shear Wave" does the track justice. Backed by a fat downtempo beat, the distorted 303-reminiscent synth line cuts through the mix in a way that's impossible to ignore. Strain Rate Tensor rounds up the previous three cuts, also in a very dancefloor-friendly manner. Bubbly main lead and anxiety-inducing pad sneaking in the background seem to be the main thing, until another synth hits you as a counterpoint and flips everything upside down. Proper no-nonsens stuff!! (comes on 180grams vinyl)

Listening to Linja’s debut LP makes one think of Polish director Yuri Norstein’s gloomy melancholic (yet playful) movies, or perhaps just of a rainy day, or Chopin.

Velvet Noise is a collection of 7 experimental pieces made by Linja sometime around 2016-2017, using drum ma- chines and a lot of modular synthesisers. The album is woven with Simple melodies that crack through the squeaks and the bleeps, eery pads that fill the voids all sorts of FX. The atmosphere becomes filled with tension when it is playing in the room, as if something is clearly about to happen. Linja’s album is not so easy to describe, and yet due to its coherence and storytelling it has a certain feel and per- sonality of a good book rather than just a record. “It transcends its existence as a record”.

Bradley Zero celebrates five years of his Rhythm Section International imprint with 12” compilation SHOUTS Vol. 1 & 2. Vol. 1 represents the more club ready side of the label whilst Vol. 2 explores more mellow territories. Famed by Mixmag as one of the Top Ten DJs of 2019, celebrated as a “figurehead for the exploding south London scene”, and “responsible for spreading the gospel of the city’s new Jazz sound”, it’s clear to see why Bradley Zero is quickly becoming the taste-maker of his generation and Rhythm Section INTL as one of the most respected outlets for authentic global cuts. A go-to label for the
connoisseurs Rhythm Section INTL is a UK staple. The raison d’être has always been to unearth and nurture new talent, not just via the catalogue but through the now established network of radio shows,
concerts and club nights Rhythm Section has become known for. The SHOUTS compilation and accompanying celebratory tour is a continuation of this mission. SHOUTS is a nod to the online radio culture that birthed the movement. SHOUTS is the label using its
voice to amplify its peers. SHOUTS is Five years of Rhythm Section International.

When Tim "Avicii" Bergling passed away on April 20, 2018, he was close to completing a new album. He left behind a collection of nearly finished songs, along with notes, email conversations and text messages that painted a picture of what he wanted the music to sound like. The songwriters that Tim was collaborating with on this album have continued the process to get as close to Tim's vision as possible.



Since Tim's passing, the family have been determined not to keep the new music locked away – instead they have wanted to share it with his fans all around the world. The album, titled TIM, will be released on 6th June. Avicii's net proceeds from the album will go to the nonprofit Tim Bergling Foundation and the purposes it will work for, among other things, to prevent mental illness and suicide.

Aber mich macht’s traurig ("But It Makes Me Sad") is Kai Althoff’s first regular release after several records as Fanal and before with his band Workshop. The music for the double album was recorded by Kai Althoff between 2016 and 2019 with numerous instruments - including synthesizers and various flutes, guitars and African drums, rattles, cymbals, ratchets and Japanese string instruments.

"Nobody had to bear this music, neither was it thought out by anyone, played by none, nor dedicated to someone. Also, one no longer is, and therefore this utterance generates itself and is music to nobody’s ears.

Organizing the entombed power structures, paving alongside the most beautiful nettle-seamed trickle of remembered civilization on one’s own authority, which eventually gives in to its assumption; its mouth pasted (over) with the dried-up vomit of its intentions, never to open again. It carries this desparate melancholy, always ready to ridicule all of its (own) forms, to get to the bottom of all matter. Poking in the flesh of doggedly pursued gnosis with fingers, with weary despisement, deflating to crinkly tissue after life’s bloating :Oh, seriously! How could I be sad, the way they carry themselves and sing as they do that Alas, those whose fingers these are, just take those flutes and instruments! —- in liberation without the Idol, to no longer play something."
A.M.

- LIMITED EDITION COLOURED VINYL -

Legendary UK outfit Future Sound Of London kicks off with a trippy head jam to soothe the mind of electronic dreamers. Berlin's Monolake aka Robert Henke follows with a beat-driven and heavy industrial piece of clattering sounds and whirring rhythm mechanics. David Morley completes this sixth EP of the 10 years series in style: "Traytor" brims with depth and floaty atmospherics pushed further by low range beat parts. Real endorphin material.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Alchemy Mastering, pressed on 180 grams vinyl and a separate digital version will be available from the usual digital shops. Stay tuned!

Killer Compilation That Sheds Light On Oddball Tunes Made In Australia And New Zealand During The 70's And 80's.. Tipp
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For Musicians Inhabiting The Antipodean Countries Of Australia And New Zealand During The 70's And 80's, It Was A Geographically And Culturally Isolating Environment. Boutique Shops, Community Radio And Mail Order Exchanges Championed Independent And Contemporary Music From Across The Globe. It Was, However, This Isolation That Caused A Number Of Small Community-focused Scenes To Evolve, Creating Their Own Unique Interpretation And Reappropriation Of Outside Influences. Through Both These Scenes And Government Initiatives, A Vast Amount Of Music Emerged On Self-released And Independent Labels.

Yet, Even Among Small Scenes That Were Creating Unique Sounds, A Number Of Artists Seemed To Be Making Music That Was Neither Here Nor There, Often Meshing Together Numerous Genres And Influences To Create Anomalous Sounds. Artists Like Olev Muska Along With Ingrid Slamer Meshed Traditional Folk Songs Of Their Estonian Heritage With Cutting Edge Computer Technology. Ngahiwi Apanui Used His Native Language Of Te Reo And A cheap Drum Machine' To Create A Pulsating Tale That Highlights The Creation Of Aotearoa (the Maori Name For New Zealand), While The Free Radicals Would Sing Through Pvc Pipes To Construct Their Vision Of Post-apocalyptic Tribal Music. Sydney's Nic Lyon Used His Classical Training To Craft A Distinctive Gem Which Matched Eastern And African Influenced Instruments With Synchopated Drum Machines, While Artists Like Delaney Venn And Toy Division Managed To Challenge Their Post-punk Sensibilities By Blending Both Dub And Atmospheric Sounds Respectively.

Compiled By: Chris Bonato And Umut Turkeri

Various Artists: Introduction to Dungeon Rap ushers in a new movement in underground hip-hop. With a sound pulled from war time machinery, rituals and ancient runes, this 7" sampler pulls together cuts from the long sold-out tape release, with tracks coming from DJ Armok, Pillbox and DJ Bishop.

The music of Black To Comm is as powerfully intoxicating as it is subtly unnerving. The solo project of shapeshifting German producer and sound artist Marc Richter, his mastery of sonic manipulation is matched only by his astounding clarity of vision.

Following the acclaimed ‘Seven Horses For Seven Kings’ released just a year ago, ‘Oocyte Oil & Stolen Androgens’ applies Richter’s wild imagination to an exploration of the human voice, standing as some of his most immediate and affecting music to date.

Each of his phantasmagoric works is meticulously constructed from an omnivorous array of smudged samples and other sonic detritus, painstakingly collected by Richter from across the history of recorded music or his immediate environment and altered into beguiling new shapes. Sound sources seem tantalizingly familiar and yet often just out of reach, flickering at the edges of the subconscious.

Available on CD, translucent green vinyl and black vinyl. All vinyl packaged with digital download card.

Emotional Response is delighted to present a special project, a collection of music from Bartosz Kruczynski, recorded for "Selected Media" and presented here as a time-piece of his continuing works.

Initially known as one half of sample based project Ptaki (The Very Polish Cut Outs / Transatlantyk), Kruczynski first appeared for Emotional Response as The Phantom for the first series of SchleiBen in 2015. Featuring two works of deep 'fourth world' sounds, they highlighted a shift to more mellow, synthetic and hazy compositions.

His break out came, however, when he explored this sound further on his eponymous album Baltic Beat, for the acclaimed Growing Bin Records. This has been augmented with the recent club based music as one half of the wonderful Earth Trax (Rhythm Section International / Phonica Records) project.

Here though, Kruczynski returns to the ambient and ethereal - plus a touch of dub techno - to showcase his expansive collaborative work with Polish studio, TVP Culture. Given free artistic license, the 15 'short form' recordings included here were for programming, in the main, on modern Polish Art including the likes of Magdalena Abakanowicz, Miroslaw Balka and Tadeusz Kantor, as well as some international aspects for Enrico Prampolini, Ai Weiwei and Monica Bonvicini.

Taken from over 70 episodes the material included recollects imagery, video and memory to present a series of short vignettes that together create one whole. Minimal and hazy ambience (V, VII, VIII, XI, XII) envisages classic melodies and chords and is accompanied by further 'fourth world' pieces (I, II, III, VII, X) that present an oeuvre that is recognisably the music of Kruczynski, while remaining fresh and perfectly meditative.

A counter can be found in the atmospheric dub works (IV, IX, XIV) that hint at echo chamber environs to get infinitely lost in. As an album then, "Selected Media" can be heard as a snapshot to Kruczynski's music journey, a meeting of art and music that is oft overlooked but very much essential.

Mark Lanegan and his wife, Shelley Brien (Singrid Lund) pursue a gothic wave and washed-out techno muse in a deliciously cranky follow-up to Lanegan’s acclaimed ‘Downwelling’ LP with Not Waving last year.
Featuring members of the Mark Lanegan Band including Martyn LeNoble (Porno For Pyros) on bass, Black Phoebe play up to their passions for the gloomy rumination of PIL, Siouxsie and The Banshees, Sandwell District, Bauhaus and Joy Division across a perfectly unpredicted suite of Lynchian techno dirges and strung-out songwriting.
Like the ‘Downwelling’ LP before it, Black Phoebe’s starkly affected craft is bound to surprise and enthral Lanegan’s legion followers (accumulated thru work with everyone from Screaming Trees to QOTSA) and likely to lend your listening space a ripe sort of LA vibe recalling everything from a fantasy of John Duncan jamming with Vatican Shadow, to the likeminded glumness of fellow husband/wife duo Tara & Mike Connelly’s Clay Rendering.
Scowling opener ’Come To The Shadow King’ epitomises the project’s brooding allure with nearly 9 minutes of driving dance and LeNoble’s skulking bass buried beneath gaunt organ pads, forming a dank bed for the vocals which are placed high in the mix but sink down, down into dread feeling and “bloodstained streets” described in the lyrics. LeNoble’s snaking bass is also a crucial anchor to Lanegan’s more bruised vox in ‘Saturn Rising’, and perfectly underlines Shelley’s sultry delivery in the blacklight darkroom rave feel of ’Shiva Danced Me Down’, before ‘Rising High Water’ carves back to Lanegan’s more typical aesthetic with dusky croon matched by hazy, bluesy organ refrain that beautifully brings the album to rest.

Dots written by Atom™. Recorded 1994 at "Sel I/S/C", Frankfurt/M.
Under exclusive license from the AtomTM_Audio_Archive.

One of Detroit Electro's most unique producers Erik Travis is back!

Next in the compiler hotseat for seminal mix series ‘Back to Mine’ is the legendary DJ and producer Fatboy Slim. Having sold over 10 million records and embarked on a number of sold out arena tours, the esteemed record collector and all round great selector delves deep into his weighty collection at his home to create a heady journey of funk and soul. The collection opens with Dave Barker & Ansell Collins ‘Monkey Spanner’ – a reggae single released in 1971 from the Kingston based duo working for the infamous producer Lee “Scratch” Perry.

There are a few rare finds, Donal Leace ‘Today Won’t Come Again’, Wind ‘Grooving With Mr Bloe’ and George Rene ‘Smokey Joe’s La La’. And the most recognisable for many no doubt is Betty Chung’s 1968 classic ‘Bang Bang’ thanks to the vocals of the Nancy Sinatra cover being sampled in the Audio Bullys rework in 2005.

'We Attack Before Dawn' is the 3rd instalment in the 'Sonar Base Transmissions' series on Deeptrax created by the long standing Dutch Electro pioneer Frank De Groodt under his Sonar Base alias. After the Deeptrax reissue of the legendary first album 'Sonar Bases 4-10' and the first vinyl issue of the mini album 'Dark Matter', this next chapter is yet another collection of savage, clever and spooky electro tracks.

First issued on vinyl by Cultivated Electronics in 2012, this reissue of 'We Attack Before Dawn' features a somewhat different tracklisting.

It opens with the full bodied, TB-303-smeared electro of 'The Deadly Storms of Uranus'. Slices of snare tear through an acrid acid line with shadows stalking the backdrop - a turgid and terrific opener. The second one, 'The Soul Of e1-Q42z' was only available as digital download before, but this track with pitch-dark haunted synth sounds and rolling beats would perfectly fit in a horror movie soundtrack and fully deserves a vinyl release.

The 303 is once again employed for 'The Journey Home'. But the aggression of 'Deadly Storms...' is pared back, with Sonar Base lowering the BPM for a meandering work of dereliction. 'The Swarm' is a hardy piece of raw electro too, but in comparison to the first trio of mechanized militia 'The Swarm' is sheathed. Last one, 'Photon Filers' is also on vinyl for the first time, and much like 'The Soul...', it sends you severe shivers up and down your spine. Don't say we didn't warn you!

Frank de Groodt started releasing in the early 1990s, on Djax-Up-Beats (as The Operator, Optic Crux, Urban Electro) and on U-Trax (Sonar Base, Pieces of a Pensive State of Mind). Two of his later releases as FastGraph (on Klakson) got reissued in 2018. He is also involved in projects like Ultradyne and Random XS and one anonymous project...

Moderne Recordings Split EP 12 vinyl release: The Revolving Eyes & Nelson Bishop. An excursion between Exotic/Slow/Disco/Body/Wave.

The optimum effect of Music of the Five Elements will be achieved if each side of this recording is played through, from beginning to end without interruption. Music of the Five Elements, when used as a meditational or body work tool, rather than entertainment, will increase in effect over time. Overplaying or improper use, however, may eventually diminish its designed effect'
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Music is the healing force of the universe. It's an ancient idea bandied about by Pythagoras and Plato. In the last century, music as medication has been explored by musicians as diverse as Albert Ayler, Spacemen 3 and Pauline Oliveros. Nowhere did this concept gain more traction than in the so-called realm of New Age Music, an entire movement of synth droners and echoey flautists recording home-baked healing mantras on 4-track. In recent years, thanks to cassette collecting devotees and open-minded music journalists, New Age has shed its flowing robes and is being mined for the truly incredible music that swells under its pastel surface. Musician/acupressurist Sam McClellan's 1982 Music of the Five Elements is one of those revelatory discoveries, an unrivalled work of intense research and focus, simultaneously a near perfect work of art and a scientifically sound elixir for body and mind.

After studying electronic composition at Hampshire College with Randall McClellan (no relation), Sam McClellan became intrigued with the possibilities of healing through music. He explored this idea by applying the ancient Chinese philosophy of medicine to the principles of musical composition. Using the pentatonic scale (the traditional scale of Chinese music), McClellan related each of the notes to one of the five elements (Wood, Fire, Earth, Metal Water), and created five variations for each. He experimented with tempo, beat, pitch, duration, and sound quality, studying the effect on people's energy levels. Using the results of his tests he developed a comprehensive theory of sonic healing and spent the next year composing an album designed to help people achieve inner balance, reducing anxiety and energy depletion.

Music of the Five Elements is not only the acoustic massage' that McClellan set out to make, but is a fully realized and peerless piece of music. Taking cues from Minimalism, American Primitive guitar (Fahey & Basho) and even psychedelia, the album is a continuous sound voyage for voice, synthesizer, guitar, bowed bass, piano, effects and ciao (Chinese flute) all played by McClellan himself. Although divided into sections, the journey is best undertaken as a whole, without distraction.

"Torino" is SONAR's sophomore album. Once again music was produced by Lukasz Stachurko, pianist Artur Boguslawski and drummer Rafal Dutkiewicz with beautiful vocal from Lena Osinska. With this4
album SONAR would like to make you dance.

It's been just a year and a half since the release of SONAR's debut 'Petle'. The band returns with an album of 11 premiere songs! Among which you can hear Lena singing in English for the first time. SONAR's collaboration with US-based singer Miles Bonny and rapper from Chicago - Squair Blaq presents that distance is not an obstacle to
create good music.

Several people are responsible for the lyrics -Mateusz Holak, Wanda Berger, Arek Sitarz (Ras) and Lena.
Michal "Eprom" Baj was responsible for mix and mastering. Karolina Zajaczkowska designed the cover and made all the photos. Album also features incredible hand-painted artwork from Zbiok Czajkowski.

CD and digital verison was released on March 2018 and received great response:

SONAR "Hidden Garden" (official video http://youtu.be/KCg8bkQ0bHE more than 590k views)

SONAR "Face The Sun" (official video http://youtu.be/ji9x1rxlhi4 more than 660k views)

The vinyl version was released on 180g black vinyl with printed inner sleeve. 300 copies only.

Gravity Graffiti is reborn from the unknown space with this explosive split EP. Two jazz-influenced gems by Marcello Napoletano and Richeart through the roots of rhythm! On the A side the third chapter of Ra Toth's saga, after Mathematics and Berceuse Heroique, with a diabolic trance dance. Flip side for a killing-edge banger by the emerging producer Richeart, a new definition of Acid Jazz. Let the spirit move you! Supported by Jamal Moss, Funkineven, Soichi Terada, Raybone Jones, John Swing and Robert Crash.

Melissa Guion’s second offering for Kranky retains the glassy gauze of her debut, 2016’s Precious Systems, but shaded starker and darker, framed by mechanical rhythms and humid industrial moods. She speaks of Sour Cherry Bell as something of a reckoning with her tools of creation: “I was curious to see how far I could go with them, even if that meant reaching the ends of their capacity to do what I wanted. But I never exhausted them and they never exhausted me.”

Utilizing her trusted combination of instrumentation, Guion tracked the record between her New Orleans home and rehearsal space, capturing chemistries both intimate and expansive. The songs sway between twilit shoegaze, downer ballads, and gothic pop, mapping a delicate palette of electric melancholies, though in retrospect she cites as her primary muse the notion of power: “lost and found, corporeal and cerebral, harnessed and exploited, of one and many, in this reality and the next.” Sour Cherry Bell reverberates beyond the here and now into scenes unseen, worlds unheard.

'Mallumo' is the introspective and therapeutic works of Nottingham born musician, producer and composer Neil Tolliday.
Known to most simply as Nail, on this his first solo LP under his given name, Tolliday releases four meditative dark ambient pieces recorded between 2010 and 2015 that explore the depths of his psyche.Made as a direct response to a period of clinical depression this self therapy gave birth to soundscapes that branch between hope, tranquility and torment as a man searched for solace through sound and his own creativity resulting in the listener being taken on a heady ride through their own subconscious mind. Limited to 300 copies, this 180 gram double vinyl LP comes with your own Utopia Project incense and a download code for the full hour long versions of each movement.
Cover photography shot and printed by Michael Bradley, Design and curation by Alexander Bradley for Utopia Records, London 2019.

Recorded in London by David Ros, 12th March 2019

Mastered by Simon Scott @ SPS Mastering

Collector is the solo project of Jason Campbell who resides in Newcastle, Australia. Forced Extraction is his first release for Beat Concern following an LP on the Melbourne-based Drawing Heat, and tapes for seminal labels, Night People and Clan Destine Records. Campbell has honed his unique take on experimental techno over the last few years by building compositions with all analogue hardware and modular synthesis. Forced Extraction sees Collector at his most incisive, carving out four pummelling tracks across the 12". Piercing feedback, foreboding synth movements and bass drones are anchored by rigid drum programming with an attention to heavy industrial rhythms. An exciting peek into the coal-face of underground Australian electronics.

One of Detroit Electro's most unique producers Erik Travis is back!

Some more semi live machine tickling by DSG, this time 6 rough & ready tracks.

On August 21st rising DJ/producer Haider presents the ‘Endless Clouds’ EP on his own label Breaker Breaker, where pristine future electro meets high tech funk and raw, jacking house. This new release follows praise from a wide selection of world-class DJs and media for his past 12”s, not to mention achievements as label owner, party promoter, canny early spotter of talent and general proactive instigator. Now based in Berlin but originally from Sheffield via a stint in London, there’s a commonality throughout all of Haider Masroor’s music that links both thematically and geographically. His
productions recall both Steel City bleep and its distant younger cousin bassline, using only sparse elements, with beats and bass at the fore, to deadly effect. London is audible too via
the spiky energy of grime and the swinging shuffle of UK funky, and so is Berlin, evident in the sleek sheen and efficient precision.
On ‘Maracuja’ lush pads, pitched-up vocal snippets, bleeps and proper electro beats ride atop a deep, purring bassline that unfurls like giant waves, with sub bass punctuation adding further hefty depth.
The bouncy, punchy beats and pristine gleam of ‘I Came To Destroy’ are somewhere between celestial Miami bass and the aquatic grooves of Drexciya, again propelled by gigantic slo-mo bass tones.
A modern take on the cut-up samples of 90s house, on ‘Grove Street’ Haider mixes elements of classic French touch, Chicago rawness and low fi outsider grit, to create something very enticing indeed.

Good Company Records awakens from a deep slumber to present two new West Coast dreamscapes, proudly written and recorded on Noongar boodja (its local country). Up first is GCR009, the debut LP from Leaving (Rupert Thomas), featuring deep drones and gutsy ambience recorded between 2013 and 2017 - available digitally and as a limited edition 12” (release forthcoming). Thomas’ inimitable wavescaping is complemented by local photographer Duncan Wright’s aerial landscape on the cover, and speaks to the record’s special connection to its country – sound and image forming the perfect package for a cheeky meditation on your morning commute, first brew of the day in hand, or cuddled up somewhere comfy, resonating harmoniously with your beloved.

Welcome To Unreality Records Has The Pleasure To Presents For The First Release Dean Dennis Aka Sector.
Selected Tracks From The Sector Debut. Made In Sheffield During 1993-1994, Having Finally Left Clock Dva In Late 1992, Guy Fawkes Night To Be Exact.
A Mix Of Techno, Downtempo And Drum'n'bass That Makes This Ep A Trip Into The Uk Electronic Music Scene Of The 90's.