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For 'Music For Dreams’ collector’s series, we aim to bring you something a little different, something a little out there. After eclectic contributions from Jan Schulte, Moonboots and most recently Basso, we’ve lent the slot to Belgian sonic globetrotter DJ soFa. As always, he’s been granted supreme curatorial sovereignty, and trust us, he held us to our word on that one. For elsewhere Jr I, soFa takes us on a trip to the alluring and magical reality of childhood - and a trip, it is.

This double LP features both new and old compositions from a wide range of countries, all centered around the youngest citizens of planet earth. The compilation has been 2.5 years in the making, with soFa collecting obscure pieces from all over the world and inspiring young collaborators to produce new tracks mostly by means of analogue synthesizers and vintage drum machines. The result is a thematically and sonically homogenous collage of cosmic children’s music.

'soFa' starts us off with Milo Kolarov’s exercise in sonic imagery ‘Analogue Beam’, a story about animal characters, presented to us as distinct motifs of bleeps and blitzes. Next up is the surreal jigsaw puzzle dub ‘Totti und Pippo’ by Jah Limonardi and 'Die Kleine Gräfin Dubski'.

Here, we come bouncing on giant, iridescent mushrooms, lulled deeper and deeper down the rabbit hole by incantations of a child’s voice. Throughout, the record is full of these synaesthetic properties, immersing the listener in creative ways, nudging you down hidden experiential pathways.
All of the tracks, more precisely ... they were pleasantly engaging, often blooming with charming grooves and provided with a whimsical melody.

In an effort to dive back into electronic music like in its early pre-jazz days, the 40-year-old dinosaur of a label IGLOO is teaming up with fellow Brussels-based and significantly younger label Le Pacifique Records. The latter selected two tracks from Manu Louis’ latest album “Cream Parade” and gave them to producers for a dancefloor-friendly remix treatment, marked by a strong sense of paranoia.

The Belgo-Italian duo Front De Cadeaux went for a trademark slow, dark, trippy rumbler with their “Tinfoil Hat Mix” whereas the Frenchman Too Smooth Christ opted for a more housey, melancholic interpretation in his “Heartbreak Mix”.

But who is this Manu Louis guy whose tracks were the starting point?

– Wearing a tinfoil hat has stopped the government from spying on me; however, it has also stopped my wife from loving me. Buy this record so that I can build a tinfoil house –

Les Edits Du Golem return with a 45 release featuring two spaced out francophone oddities. Side A is a slow disco burner lamenting an evening getting lost while disco dancing. On Side B things simmer down even further with a doped out dad rock track.

Gafacci is well known for notable artist collaborations, eclectic edits and his Asokpor productions. On this new four track EP, he steps out of familiar soundscapes, driven by his steady desire to ex-plore a more melodic side of his own production style. This led him to experimenting with the ,Lo-Fi' and infuse it with afrobeats as well as diverse tropical sounds.
Over the past three years, the Accra based producer, DJ and songwriter Gafacci had been circulating around the term ,Low Fidelity' and he dedicates this album to all those across the globe who can relate and support the music.
The Title ,TASH BNM', meaning ,Tash bought new music' is inspired by the notifications of a music connoisseur's weekly purchases on bandcamp.

Noteworthy are also the featured artists, from multi instrumentalist Nii Quaye to Chefbanku, singer Amaarae, Ghana Music's OG Kyekyeku and rappers Tinuke & Lazee, each guest complements to this timeless piece of music in their own unique way.

Midnight Tenderness continues to solidify his presence within the Australian music scene following contributions via "Ken Oath" and "OTIS" records, as well as continual growth via his partnership with "Rings around Saturn" as the iconic "Turner Street Sound". ILIO001, his first release on the new imprint, ILIO, explores areas of funk, dub and 80's synth pop, melding warm chords, powerful basslines and captivating drums. An essential for the conscious listener and the caring DJ.

ILIO Records, founded and curated by Hank YM in Melbourne, Australia. Made for those aiming to dig a little deeper and dance for a little longer.

Limited to 300 copies - ILIO

Tempo Dischi's second release is one of electronic music’s seminal albums; 1798 Italian space disco album: Automat by Automat.

A year after the release of Oxygène by Jean Michel Jarre, a milestone for electronic music, “Automat" was released in Italy, a timeless record that has influenced the years to come. Released in 1978 by EMI Italia, the album has been produced by two veteran italian songwriters and composers, Romano Musumarra and Claudio Gizzi after meeting Mario Maggi, one of the major innovators in the manufacturing of electronic instruments in Italy. Maggi invented the first programmable monophonic synthesizer ever made: the MCS70. Its sounds have been the basis for the production of the whole Automat album. That synth was used only for this record and remained a prototype, leaving a halo of mystery behind this record.

The album moves in the furrows of an atypical space disco, with abstract classical arias alternating with more sustained rhythms, which combine electronic experiments, progressive psychedelic journeys with cinematic themes. The A Side, composed by Gizzi is an electronic disco-tinged suite divided into three parts (The Rise, The Advance, The Genius). Ater a brief spatial intro, the insistent arpeggio expands into a soundtrack theme with a sumptuous melody, which slowly fades away to make room for a progressive psychedelic journey. The B Side, composed by Musumarra, is made by three tracks, including ‘Droid‘, one of the most representative songs of the electronic music of the early eighties. A magic sequence between the bassline, the electro drums, and the spatial disco theme with a futuristic and cinematic mood. This is a record that has influenced the music of our days and after 40 years may still sound contemporary.

Fresh from offering up a “Claremont Editions” compilation packed with previously unheard gems, Claremont 56 has taken another rummage through the archives and delivered a 12” single containing magical revisions of back catalogue favourites.
On the A-side long-term friends of the family 40 Thieves offer up an epic new treatment of Jack Cutter’s “Serpent Strut”, a gently psychedelic fusion of glistening acoustic guitars, hazy slow-burn grooves and David Harks vocals that the California-based duo produced for Claremont 56 back in 2015. The San Francisco duo has rebuilt the track from the ground up, delivering a 10-minute take that opens with three minutes of blissful acoustic guitar and atmospheric field recordings before morphing into a spacey dub disco chugger rich in intergalactic electronics, eyes-closed electric guitar solos, hazy bass, drowsy chords and echo-laden snippets of Harks’ vocal. It’s a breathtaking revision that takes the beautifully understated original version in a feverish, mind mangling new directions.
When you’ve got your breath back, head over to side B where a previous single by psychedelic disco-nauts Almunia is given the remix treatment by fellow Italians Leo Mas and Fabrice, a production partnership that has been active since the original Balearic era. They’re experienced remixers and in the past have put their stamp on tracks by Roisin Murphy, Dj Rocca, the Woodentops, Underground System and Ruf Dug. Here they offer up a deliciously trippy Balearic dub revision of “Pulsar” album favorite “View From a Blue Train”. Their spaced out “On Air Dub” brilliantly breaks up the beats, emphasizes the original’s superb bassline and smothers select snippets of guitar, synthesizer and electric piano in Lee “Scratch” Perry levels of delay. It’s an inspired revision, all told, and as out-there and intergalactic as a shuttle ride to Jupiter in the company of DJ Harvey, Dennis Bovell and Adrian Sherwood.

Vinyl Only. Produced by Ollie Marland of De-Lite and Jah Wobble's Invaders Of The Heart fame Label logo by manga legend Shintaro Kago. Archival reissue of rare 1984 jazz-funk fusion diamond in the rough by German-Australian-British madcap ensemble Bells of Kyoto, produced by Ollie Marland of De-Lite and Jah Wobble's Invaders Of The Heart fame. Fusions grooves with Orient-funk detours and looking out the window of a Swissair aircraft moments of cool mid 1980s contemplation.

Highly recommended to porthole dreamers, seasoned mind travelers, inventive dancefloor adventurers, and dogs who like to stick their head out the car window.

Drums - Alex Friedrich
Electric Bass - Peter Drefahl
Mastered By - Rico Sonderegger
Piano, Bells - Peter Waters
Producer - Bells Of Kyoto, Laurie Carls, Ollie Marland
Recorded By - Laurie Carls, Ollie Marland
Synthesizer, Guitar, Percussion - Ollie Marland

DJ Mad A (Adam Embleton) & Dr. Stevie The Ambient Guru (Stevie Hewitt) originally met when Adam picked up the Saturday shift at 'Record Mart', a record store run by Stevie back in the late 80's. They quickly bonded over shared tastes and enthusiasm for the growing dance club culture in England.

'Balearic Beat' had arrived from Ibiza, house music was taking over, and clubs were pushing boundaries, encouraging DJs to experiment with the dancefloor. Stevie was a regular selector at classic venues like 'Club Havana' and 'Flixx', where he blended house, electro & techno for the loaded English youth. Adam had signed to Island records, at 17, the first signee for newly appointed A&R rep Darcus Beese. Their collaborations in the Island studio is where the early 'Mad A' production techniques were cultivated.

With Adam behind the programming and Stevie on guitar, the two assembled a few songs to add to their explorative DJ sets. They printed a white label tiny pressing of 'The Mad Vibe', four tracks, "sending out waves that shock", their sound was a frantic blend of electro and house. The E.P. sold out fast locally, with their tune, 'Levitating Pharaohs' catching the attention of Drum 'n' Bass duo 'Spring Heel Jack' and labels like Mo'wax. As the 90's rolled on, the two continued to DJ as residents at clubs like Corner House, Brody's, Arena & Dickens.

Smiling C 2019 repress of this cult 12". Remastered and housed in a die-cut 12" jacket with pharaoh's head sticker.

"Play The Trax. Feel The Vibes. Mad as....."

When Air’s Nicolas Godin released his debut solo album, Contrepoint (2015), he channelled the influence of Bach into a rich, resonant and hugely rewarding spread of musical explorations. One soundtrack (A Very Secret Service) later, Godin builds on equally fertile conceptual foundations for the follow-up. Released through Because Music on 24th January, Concrete and Glass is an exquisitely crafted set of variations on architectural reference points: mounted with minimalist precision and delivered with an abundance of pop warmth, it finds Godin in his element, working seductive wonders with poise and style to spare.

For Godin, the album circles back to his formative work as half of ground-breaking French electronic group Air. Revered modern architect Le Corbusier was an influence on the young architecture graduate’s music, notably on his 1997 debut “Modular Mix”. Twenty-plus years later, Le Corbusier featured on a list of modernist architects Godin was invited to compose tributes for, tributes intended to be heard as the soundtrack to site-specific installations around the world.

In its soft ambient pulse and melting minimalism, lead track “The Border” is a perfect entry-point to Godin’s hymns to buildings, arranged and co-produced with Pierre Rousseau. Its levitating synths, vocoder vocals and scudding bass hove into view with understated elegance, all the better to accommodate the discreet slow-build of delicate details within. As with Air, Godin makes gorgeously light work of every angle: this is music that seems entirely unperturbed by gravity, occupying an elevated atmosphere of its own.

Elsewhere, the title-track’s clean synth lines, crisply apportioned arrangements and tender timpani offer another inviting entry-point, sculpted with architectural clarity. While Godin’s vocoder vocals also hark back to Air’s early work, the album accommodates a diverse spread of guest vocalists elsewhere. Hot Chip’s Alexis Taylor guests on the falsetto-soul dream-pop of “Catch Yourself Falling”, one of Godin’s sweetest melodies yet. Oxnard singer/activist Cola Boyy brings soul to the righteously engaged “The Foundation”; the squelchy synths and buoyant grooves burn slow, allowing the stealthy arrangements and message room to resonate. Psychedelic soul singer Kadhja Bonet sings with measured serenity over tremulous synths on “We Forgot Love”, while Russian experi-pop artist Kate NV brings a gracefully aching romanticism to the blissful swoon-pop of “Back to Your Heart”.

Additionally, Australian conceptual provocateur Kirin J Callinan contributes a vocal of restrained drama to “Time on My Hands”, a midnight-drift soft-pop ballad with a silky allure. One of the quickest tracks to record for the album, it emerged in collaborations between Los Angeles (”During some lively sessions in Mac DeMarco’s studio,” notes Godin) and Paris. After he missed his flight home, Callinan stayed in France for a day as the guitar solos were recorded, complementing the song's air of sleek luxuriousness.

Between its title-track and the sultry, smoky jazz stylings of closer “Cité Radieuse”, Concrete and Glass is an album that truly travels, in tune with its global pitch. For Godin, it marks another milestone in a musical journey that began when Air’s 1998 debut album, Moon Safari, became the sublimely weightless soundtrack of its time. For Concrete and Glass, Godin builds on his storied past with tremendous finesse, charm and fluency, opening fresh windows of perspective at every lovingly executed turn.

Chilled Classics is the follow-up to the chart-topping 2016 and 2017 albums Classic House and Ibiza Classics, which saw the revered DJ, broadcaster and dance pioneer rework classic tunes with the orchestra, conducted and arranged by Jules Buckley.

This third collection sees Tong and Buckley introduce a number of new tracks, fitting seamlessly in amongst the classics as if they too were unearthed from the vaults. "We’re trying to make timeless music,” says Tong, “and we think these fit in.”

Carlos Nilmmns returns to Ornaments with another slice of artful songwriting ranging from classic
deep house, Detroit inspired techno, dubby sketches, a pinch of acid, some New York jazz downbeats
and stunning soundtracks.

EBM, Electro, New Beat, Acid, Balearic Beat…
a perfect compilation for the lovers of the old-school darkside of the dancefloor!

Since debuting on the label in May 2017, East London duo Earthboogie has been part of the extended Leng family. In rhat time, Izak Gray and Nicola Robinson have delivered a swathe of superb singles and a fine debut album, 2018’s critically acclaimed Human Call. Here they present their sole single of 2019, a two-track fusion of intergalactic, terrestrial and tribal elements reflective of their by-now trademark style. Fittingly, lead cut “Creepy Steve” – a previously unheard workout recorded during the sessions for Human Call – contains many of the musical ingredients that made Earthboogie such an enticing proposition. It boasts a raw, fuzzy and driving analogue bassline, densely layered tribal percussion, dub disco-influenced guitars, woozy electronics and sporadic blasts of African style chanting. As if that wasn’t enough to get the blood pumping, Gray and Robinson have also thrown in some extended, rock style guitar solos and more cowbells, bongos and timbales than you can shake a stick at



It comes accompanied by a previously unheard remix of “Human Call”, the title track from their superb debut album, by friend and fellow musical fusionist Joel Harrison. His version is warm, woozy, driving and percussive, brilliantly re-imagining Earthboogie’s original version as a supersonic slab of peak-time ready deep house. The band’s original chanted vocals, guitars and melodies slowly rise above bustling, all-action drums, weighty bass, alien-sounding electronic flourishes, poignant trumpet parts and seriously dreamy sustained chords.

Music From Memory's sister label Second Circle returns with their first release of 2018, this time with a 4 tracker EP from French producer and Antinote via Melody As Truth affiliate D.K. aka Dang Khoa Chau. Titled 'Mystery Dub', this new record features two percussive house cuts on the A side with two more evocative compositions on the flip. Recorded in his studio in the 11th district of Paris, the release showcases a wide yet characteristic palette of sounds and textures the Parisian artist has been sharpening over the years: atmospheric/hypnotic strings, warm pads, dreamy landscapes and spacial rhythms.

Mysterious trio Mount Kismet are dropping debut single ‘Teenage Fantasy’ on Oct 11th, and their debut album “Warmer Lanes” on Nov 15th via Disco Halal.
Strung together by the dark, alluring vocals of French-Canadian artist C.A.R., the 1st single, ‘Teenage Fantasy’ combines sparse, synth-driven cold wave with the kind of Middle Eastern electronic elements that have become synonymous with Disco Halal. The track will feature alongisde 9 other tracks on Warmer Lanes.
Based between Berlin and London, Mount Kismet is a project driven by an eastern music obsession and a taste for the heavy pulse of drum machines and the rumbling of analog synthesisers. The group’s only other release, the track ‘Prunes & Dunes’, was included in Perfect Strangers, a ‘various artists’ compilation put out on Disco Halal last year.
An established artist in her own right, C.A.R. has previously collaborated with the likes of Maceo Plex, Red Axes and Bawrut.
Based in Berlin, but firmly rooted in the diverse and forward-facing musical scene of Tel Aviv, Moscoman’s Disco Halal label hails from beneath the minarets of the Holy Land. The imprint exists to present a tight-knit and growing community of musicians and producers, each transmitting their unique musical identity, yet each united by a unique sensibility, as well as a harmonious balance of rhythm and experimentation

Following on from last year's Clarinet & Piano: Selected Works Vol. 1 - which saw Group Listening covering ambient classics such as works by Roedelius, Arthur Russell, Brian
Eno and Robert Wyatt, the duo return with a new offering for 2019 - a sultry and smoky remake of Fatima Yamaha's slow-burn classic What's A Girl To Do backed with a double header of the Durutti Column songs Messidor / Danny.

From Far Out Recordings’ in-house producer, Daniel Maunick’s debut solo album Macumba Quebrada conjures scenes of collective hedonism from start to finish. Spanning Afro-Brazilian spiritual dance ceremonies, late-eighties Detroit techno parties and jungle and broken beat raves in nineties London, Maunick celebrates our instinctive, age-old desire to come together and lose our sense of self.

Daniel Maunick practically grew up behind the mixing desk. As the son of Brit-funk legend Jean-Paul ‘Bluey’ Maunick (of Incognito fame), he found himself immersed in music from an early age, and quickly became involved in London’s drum n’ bass, acid-jazz, house, broken beat and soul scenes, releasing his first production at the age of sixteen on Gilles Peterson and Norman Jay’s Talkin’ Loud label. Since then, he has produced albums by the likes of Azymuth, Marcos Valle, Terry Callier, Incognito, Ivan ‘Mamao’ Conti and Sabrina Malheiros.

Reflecting his dual residence between Rio de Janeiro and East London, Macumba Quebrada features deep house stompers and broken bangers littered with Brazilian rhythms - in the form of both dusty percussion and Maunick’s intricate drum programming. But the album sees Daniel draw inspiration from across the black music continuum, and the rich histories of communal celebration in Detroit techno, Chicago house, London D’n’B and New York disco. Bringing all this together in explosive peak-time club tracks, moments of eerie ambience, South American swing and tribal earthiness, Macumba Quebrada expands on Maunick’s recent vinyl-only EPs ‘A Vicious Circle’ and ‘Sombra Do Dragao’, with a 13-track double LP and 14-track CD and digital release.

Taking its title from a syncretism of South American spiritual practices, the cover art is photograph taken by acclaimed French photographer and self-taught ethnographer Pierre Verger, who travelled the world documenting civilizations that would soon be effaced by progress. Settling for good in Salvador, Brazil, Verger became initiated into the Candomblé religion, eventually officiating rituals and ceremonies within the community. Without having become an ordained priest, Daniel Maunick shares both Verger and Far Out Recordings’ love for Brazil: its people, its culture and its music.


"He's been producing Azymuth and all kinds of great musicians in Brazil, and finally his debut album is about to be released." Gilles Peterson (BBC 6 Music)
"This one is a good one. Thanks!" Derrick Carter
"Wow couple of killers on there so it sounds!! Thanks a lot" ?? San Soda
"He is always brilliant!" Voclov (Neroli)
"Energetic, summery and full of groove. "It's like Theo Parrish went to Brazil and never decided to come back." Errol (Touching Bass)
"Super dope release from Daniel! proper Venom / Viper Squad vibes!!" Pablo Valentino (MCDE/Faces Records)
"Organic and bumpy...healthy dance music!" Mad Mats (Local Talk)
"really diverse, great sound" Chris Todd (Crazy P)
"super dope" Nick Tyson (XOA)
"Keep em coming man! ... Nice one" Earl Jeffers
"Feeling this! As always with Mr Maunick." Opolopo
"Dirty Trix is real nice!" Jkriv (Razor N' Tape)
"This is great!" Danny MoodyManc
"He's right on the money with this one, isn't he? Deep, profoundly funky stuff that Larry Heard would be proud of. You can feel it!!!!" Mark Webster (BBC 5 LIVE)
"this is so dope" Alex Attias (Visions Recordings)
"Love these tracks" Serkan Cetin (SunSplash)
"Great release, I love It! I-Robots approved!" I-Robots
"This is excellent. Dirty Trix and Somra Do Dragao are the ones!" Dane (The Love Below)

The Our Starry Universe label is proud to announce it’s official launch with the debut release by Nick Chacona & Tim Wagner’s A Separate Reality. A hot, hand stamped test press limited to 100 numbered units, is already making the rounds in Ibiza and New York, and this is just the beginning. Expect more Cosmic, Psychedelic and Balearic Jams from A Separate Reality & other artists on the OSU label in the new year.

ASR is a collaboration of veteran NYC producers Nick Chacona (2020VISION/HECTOWORKS/MOODMUSIC) & Tim Wagner (Amy Douglas, 33HZ, Sunrise Highway). A sonic realization bursting with sunny & distant synth pop sounds. Balearic vibrations felt in your very soul… while wearing sunglasses forever and listening to the dancehall banger playing three blocks away. Optimistic and cynical? Maybe. Claude Monet-beautiful for sure. This is the new age.

LIMITED EDITION X 300 SCREEN PRINTED. HAND NUMBERED 1/300.
DJ Harvey's Mercury Rising at Pikes Ibiza celebrates its 5th year. To celebrate and in loving memory of Tony Pike Harvey's has compiled his second collection of music inspired by and that represents the party. Never Mind the Balearics Here’s DJ Harveys Mercury Rising volume II.

For the first time this massive tune by Esnard Boisdur is pressed on record..One of the standouts in the Gwo-Ka genre.. Comes with a rework on the flip by Africaine 808 (Hans Reuschl & Dirk Leyers) - they used the original stems and added drumcomputer and extra live percussion, synthlines, little dub effects.. Not the ''usual standard threatment'' here!! This is class!

“You don’t need to be a fan of Gwoka or even Antillean music in general to fall in love with the deep, expressive voices of the singers of the genre. Artists like COSACK, ANZALA and ESNARD BOISDUR have fascinated music lovers around the globe for decades. It’s not only the drumming style accompanied by their beautiful melodic intonation, but also the revolutionary spirit of these songs that make them a unique and powerful document of the culture and the history of the Antilles and the Caribbean.

Montreal / Paris record label Cosmic Tones is back for its sophomore release. CT002 is a Various Artists EP showcasing the work of six talented producers from the Canadian underground.
URA-DUST – Dream
CT002 opens with this downtempo collaboration by URA from Vancouver and Dust-e-1 from Montreal. Hazy and ethereal, the tune is driven by a broken beat, ecstatic melodies, angelic choir stabs, and lush pads. There are elegant cosmic vibes on this dreamy cut, somewhere between IDM, celestial dub and forward-thinking Balearic.
M Salaciak – Degra’s Vision
The cosmic voyage carries on with this catchy and starry-eyed tune by M Salaciak of Montreal. Here, the interplay between 303 and 808 creates a vibe both heavenly and sensual, full of understated lysergic euphoria and with the compelling syncopation of a bona fide electro beat, reminiscent of Mid West electro’s trippier excursions.
Priori – Glide
With a shuffling 909, a 808 cowbell, miscellaneous percussion, oceanic sounds, deep pads, brilliant use of space and gliding melodies, this cut by Montreal-based artist Priori is a nod to the golden age of IDM and those compilations on Warp. But there’s a twist that comes through the track’s warmth and its broken beat: this isn’t techno, nor is it purely electro, but something wonderfully unique.
Bunzinelli – Hyperloop
A bouncy beat sets things in motion on this mid-tempo tune from London-born and Montreal-based artist Bunzinelli. Analog synths, airy pads, hard-hitting drums and what can only be described as a space didgeridoo coalesce gloriously. It’s an ecstatic tune with both aural fractals for your mind and your feet.
Dust-e-1 – Live By The Leaf
Behind this name is a Montreal fixture behind the Little Tape project (a mix series, a web radio show and occasional events). With a focus on generous breakbeats and innocent melodies, there is an undeniable sun-drenched atmosphere, perhaps of a Balearic persuasion, on this tune. In any case, it’s the sort of track that instantly puts a smile on any dancefloor.
R Weng – Sound Of The Breeze
Closing the EP is this plodding downtempo tune that sounds like a lost bedroom recording from the UK’s ambient house era, where a synthetic rhythm section and precious melodies are blended with dreamy guitar licks. The result is a soothing tune that gently caresses its listener like a summer’s breeze.

A collection of bedroom-engineered rhythms, psyched out slow jams and 4-dimensional steppers by GF. Very low business risk. Brought to you by Max & Can. Fictional Background: The cinematic vision of an unfinished short film project entitled ULAM SPIRAL served as the main inspiration for the score composed by Gerry Franke. Farcically over-dimensioned, the film was impossible to realise from a financial and practical perspective - a psychedelic blast of visual concepts, that lead to the unique narration style in which Franke tells an exotic story of death, a madness created by obstinacy, intrigue and coincidental creation. In 1963 Stanislaw Marcin Ulam (1909-1984) discovered a remarkable spiral formation while sketching with numbers during a mathematic lesson. He drew the natural numbers starting with 1, continuing in a left spiral and highlighting all prime numbers. Soon an unexpected pattern emerged from the sketch: The Ulam Spiral. An unexperienced director, who everyone referred to only as "Stab", was determined to realize an optical idea that alledgedly came to him while being on a trip to Jordan reading about Ulam and his spiral discovery, which initiated ideas of the connection between regularity and coincidence in Stab's mind eventually leading to the abstract script for the short film in 1993. When Franke was approached by Stab to compose the score of the film, he loved the wild imagery and the complex themes and decided to record music for ULAM SPIRAL in early 1995. A few months later Stab disappeared and Franke took a break from producing the soundtrack to focus on his band. In 1998 Stab reappeared with new ideas and convinced Franke to proceed with the score for the film, only to vanish again a couple of weeks later. Fed up with the inconsistency of the project, Franke decided to finish the soundtrack for his own listening pleasure in 2001 and kept it a secret - until today.

2023 Restock

Be With Records and Emotional Rescue team up to present a special release of US jazz vocal group Rare Silk and their cult song, Storm.

A diggers cut for many years, more recently it's become an algorithm "hit". Presented here as a stand-alone limited 10" release, the song is backed by a spellbinding echo-drenched remix by New York's exemplary electronic sonic explorer, Arp.

Originally formed when sisters MaryLynn and Gaile Gillaspie met Marquerite Juenemann in southern California in the late '70s, with the arrival of Teddy Buffa the trio quickly expanded to a four-part harmony vocal group. Signed to Polydor, they rose to prominence over the ensuing decade with the release of three albums that gained them multiple Grammy nominations.

Taken from their 1985 album American Eyes, Storm is based on a Stanley Turrentine song of the same name, from his 1971 album Salt Song. With additional vocals written by MaryLynn, as with much of their music -underpinned as it is by an otherworldly exotica - the artisanal, crafted care of the instrumental and vocal arrangements, featuring lush, rich phrasing, is evident in their exquisite reading of the song.

When deciding how best of present the song it seemed right to ask a favourite of both labels. Having appeared on Emotional Response in 2017/18, Alexis Georgopoulos returned to his Arp project with last years' much-heralded Zebra album on Mexican Summer. Stripping out the vocals, the remaining instrumental is rearranged, rebuilt and then soaked in heavy tape echo. The result is a discerning dub to act as the perfect accompaniment.

A Vision Of Panorama continues his synth exploration, expanding his vision towards new synthesizer motifs and dreamy chords on a vast array of late night cosmic g-funk grooves, modern funk and boogie inspired tracks. This time covers a different spectrum of sounds and atmospheres which merge to form a harmonious whole that can stands on territories of accomplished future soul, jazz and funk. Distinctly deeper and visibly more emotive deep house than just a technique of smooth Balearic instrumentation.

Between a secluded cabin sanctuary, tucked away in the vast the stillness of Topanga Canyon, California, and a remote 18th century finca on the Balearic island of Mallorca, Spain, BATO BATO's debut album was patiently guided into being.

Three years writing and recording between these two locations brought the group's collaborators - Julian Smith and Henrik Jakobsson, with Balearic legend Nestor Casas Oche on trumpet - to their most natural sound conclusion.
The music of Bato Bato does not just reflect its organic sound habitats; it absorbs them - the duo set up studio and outdoor field sessions capturing various local environments including percussive field recordings and ambient cave sounds.
The album is an exploration in sound somewhere between the influence of exotica, psych, and dub - metered with latin / afro rhythms merged with experimental studio process and mixing.

"In 2016 I released Cascades. Francois K got in touch with some very kind words about the track and offered to remix it, initially in surround for his 2016 show at the Ministry of Sound and later on in stereo. Here it is. It's deep & luscious. Enveloping and all encompassing. A melted chocolate fountain of warmth & joy minus Augustus Gloop.

Roberto Lodola Is One Of The First Italian Deejay And Producers Devoted To The Afro And Balearic Sound From The Early Eighties And Still Active In The North Side Of Italy. Best Record Has Rediscovered His First Studio Project From 1986 marimba Do Mar' With The Precious Addiction Of Two Outtakes : Feeling Of The Sun And Hey George!. Four Essential Songs For Everyone Involved In The Balearic Genre, Now Very Hard To Find But Finally Reissued As A Remastered Limited Edition !

After a string of succesful singles, “Deixa Musica A Tocar”, “So Vejo Voce”, “E A Felicidade” and the Dj Harvey supported “ Te Faz Bem” and “Serei Seu”, The Danish / Brazilian quartet constellation Copenema (Copenhagen / Ipanema = Copenema) are ready to release their debut album “Deixa Musica a Tocar”.
The album mixes European electronica influences with Brazilian songwriting style. The sound becomes unique and some would say Balearic.The albums leading single “Te Faz Bem” a funky downtempo track with live saxophone, flute and rhythm guitars and a baseline to die for has become somewhat a national Ibiza balearic anthem over the past years and spread worldwide especially due to the massive support from Djs incl from Harvey to Dj Pippi to Pete Tong. “Serei Seu” the second single another Ibiza fave is a funky party track that sounds like a modern Jorge Ben. The single “So Vejo Voce” is Stan Getz meets the beach vibes, “Festa De Relaxamento” an Alfredo fave is jazzy Brazilian funk vibes with heavy live drums and a bass line that wants you to move.
“Lullaby For Impanema” is sunset material. The bands first recording the 12 min beautiful jazzy cosmic downtempo Pat Metheny influenced and Leo Mas supported “Some Di Some Day” is pure bliss and a sunset fave amongst the Balearic community.
The album has three added bonus tracks (Vinyl Only) - Can’t Sleep and Nada Mais both recorded in a Music For Dreams writers camp recently and the 12 minute journey of Serei Seu by Danilo Braca

Leifur James released his debut album A Louder Silence in October 2018 on Late Night Tales original artist label Night Time Stories; home to Texan trio Khruangbin and the iconic Late Night Tales series. The record attracted immediate support from Pitchfork, KEXP, XLR8R, Mixmag 8/10, Future Music UK 9/10, Electronic Sound 9/10. In April 2019 ‘Wurlitzer’ was the first piece of music he revealed from a new creative period after those sessions. The video was created by animator/director Balázs Simon, premiering on Boiler Room and was nominated for the BMVA Berlin Music Video Awards in the experimental music category, airing at the British Film Insitute BFI Southbank London.

Now in September 2019 he has prepared a remix EP 12" of the debut album A Louder Silence, featuring a slew of the finest musicians in electronic music today. Blueberry Records founder FaltyDL aka Drew Lustman comes first with a deep, skipping 2-stepping reversion of Mumma Don’t Tell. Bruce coming off the back of his hugely well received debut album for Hessle Audio has a “resymph” of Osho in typical mind-bending austere electronic style. Whities producer and Tirzah/Mica Levi collaborator Coby Sey reconstructs Suns of Gold with his sampler, and also accompanying it, is Leifur’s own remix of suns of Gold.

Emerging slowly from understated beginnings, 'Running Into The Sun' sees Komodo deliver the kind of expansive tones that easily establish a vibe on the dancefloor, nodding to progressive house's fundamentals while borrowing plenty from earthier, more organic-sounding ends of the four-four scene.

Eric Duncan does the business on the remix, taking it into tougher territory and throwing in a cacophony of drummy intersections that help build the atmosphere, placing the whole arrangement on a knife-edge. 'Slow Burning' does what it says on the tin, growing and grooving its way through spiralling synths and acidic inflections, adding some gentle chords to bring in some welcome melody.

Latrec evidently has a different understanding of the phrase given his remix, cutting back to throbbing kick drums while allowing just enough of the harmony to enter earshot, with trance-like results.

"Triangulo" ist das zweite Album des italienisch-slowenischen Duos Keope (Toni Druma & Marcus Rossknecht), das mit seinem nicht-linearen Produktionsansatz und aussergewöhnlichen Stilmix aus Baleraric, Folk, Psychedelia und Electronica vollends überzeugt und zuletzt auf dem Berliner Sacred Ground-Festival, kuratiert von Frank Wiedemann (Âme, Innervisions) und Ry X, das Publikum begeisterte.

Strangelove’s latest release turns left somewhere near the edge of the Atlantic, with Electricidade Estética” documenting a vibrant window into the musical landscape of 1980’s counter-culture Portugal. Compiling early un-issued works, DWART’s organic Ash-Ra Balearics meld with spikey Iberian electronics, coalescing around the floating beauty of ‘Mate’, reissued for the first time on vinyl. With emergent music technologies of the era enthusiastically adopted by Lisbon’s avante-garde, there was a collective desire by DWART and their contemporaries to push existing sonic boundaries;- Post new wave sounds melded with distinctive local sensibilities. Vítor Rua & Jorge Lima Barreto of the legendary Telectu (whom Antoñio currently tours with) were regular collaborators while composer/ guitarist Nuno Rebelo and guitarist/singer Bernardo Devlin feature throughout. Antoñio & Manuela Duarte’s search for an artistic language melded a continuing curiosity with aural and physical dualities: experimental pop integrated with performance art, mathematics sound-tracked on canvas, organic found sounds at ease alongside synthetic drum machines. The 9 songs found here document the early emergence of their own ‘Electricidade Estética’ (Big shouts to Invisible Cities & Steele Bonus- early champions of ‘Mate’) Vital Sales Points: Follow up to the labels previous releases - Frank Harris & Maria Marquez ‘Echoes’ and previous Portuguese release Lena d’Água ?- Jardim Zoológico

Mlin Patz is a solo project of Chillera band member Polina Matskevych (electric guitar), an outlet for her experiments with sound collages, field recordings and dub sound — all accompanied by a warm southern guitar sound.

Sunlimit — exotic electronic dub with electric guitar and tape hiss, can be used for both — for listening rooms or dancefloors.

Inspired by well-known dub pioneers and recent RAMZi, Jan Shulte and DON’T DJ.

Perfectly comes together with Chillera - Pro Fun 10” on the same release date 6 September 2019!

Chillum Trio started out as a collective of like-minded musicians in 2002, however, after releasing an album together (which was supported by the likes of Laurent Garnier) the project slowly become the solo act of founding recording producer, Geza Szekeres.
At that time he discovered West-African music, latin jazz and the universe of soul and funk, these new directions have been shaping his musical evolution ever since.

In 2014 he turned out as one of the winners of Gilles Peterson's Havana Cultura remix contest that gave him the opportunity to travel to Havana and record music with the creme of the Cuban jazz scene.
One of his songs recorded in this session got released on Brownswood Recordings compilations Havana Cultura Mix and Havana Cultura Anthology.

Budabeats Records is more than proud to release Chillum Trio's first ever 12" single called Cosmotropica with two dancefloor friendly tracks mixing broken afro-house with tropical and cosmic influences.



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Imagine yourself chilling on the sunny sea coast during summertime, among mountains, salty air, cypresses and junipers, listening to dub and wistfully nodding your head to the rhythm. It is not a meditative mantra, though. It is the Odessa band Chillera, listening to which, you can easily move yourself to these landscapes.

Not only their creativity but the whole atmosphere of our conversation suggests such associations. Anya Brizhata, Polina Matskevich, and Nastya Marikutsa speak smoothly and confidently. Their speech sounds tranquil and connection with nature seems unquestionable. As if the environment and the rhythm of the southern resort town found in them the very embodiment they searched for.

Chillera started in Crimea where Anya and Polina worked together at a construction site. For three summer months after a hard day’s work, they played musical instruments, listened to hi-life and King Tubby, and enjoyed the beauty of the Crimean landscapes. Some workers wore jackets with “Chillers” labels of air conditioning systems, that turned into the band’s name “Chillera,” that signifies relaxation, meditation, and chill.

“One musician said that our band is a group of profanes (Rus. Profan – ignorant, incompetent). We thought that, in principle, it makes sense. Profan is like a ‘professional fan.’ So we made a track. We began to imitate some jazz-funk stuff and joke about it. That’s how the idea of Pro Fan. came about.”

The title might also be read as Pro Fun, or ‘About Fun,’ if transliterated. That’s where the unique charm of Chillera is, in their ability to find a positive meaning in the things far removed, transforming it into the source of their main strength. It is the music, which paints breezy summertime landscapes in our imagination.

Repress

Pacific Coliseum's Ocean City finally lands on vinyl. Perfectly relaxed house vibes to kickstart the summer.

“Bandiera Di Carta” represents the ongoing collaboration between instrument builder and composer Pierre Bastien and the
London based experimental duo Tomaga (Valentina Magaletti and Tom Relleen).
Bastien has been called a “mad musical scientist with a celebrity following” by The Guardian (UK) having collaborated with the
likes of filmmaker Pierrick Sorin, fashion designer Issey Miyake, singer and composer Robert Wyatt as well as Aphex Twin,
who released three of his albums on his label Rephlex.
Tomaga have made more than a dozen records since forming in 2014, pursuing a path of fearless experimentation and sonic
brinksmanship that has won them fans and plaudits from far and wide, including Thurston Moore, with whom they collaborated
on the CAN Project with Malcolm Mooney, Deb Goodge and others in 2017, as well as Wire, Silver Apples and Stereolab, with
whom they toured extensively in summer 2019.
The artistic collaboration between Pierre and Tomaga began with two commissions: from Fructose Festival in Dunkirk and the
revered underground festival Supersonic in Birmingham UK. Recording initially at a studio in the industrial port of Dunkirk, the
uneasy bond between borders and states seems to have been a theoretical motor to the collaborative sessions, as well as the
bleak landscape of the seaport frontier. This inspiration found further manifestation in the cover image for ‘Bandiera Di Carta’.
Resembling a white paper flag, it is, in fact, a photograph of Bastien’s paper and air sound machine installed on stage at
Teatro Carignano in Turin as part of the trio’s performance there. This charged, ambivalent image of a blank flag evokes the
transcendence of the national, a prescient visual motif that meditates on the contemporary uncertainty around notions of
national identity and borders but perhaps also a ‘carte blanche’ for the artists involved, in which they can deviate from the
confines of their usual practice into new and strange territories.
For each piece, Bastien’s unique sonic style: by turns his kinetic mechanoid motors, capriciously arrhythmic pipes, or the
peculiar susurrus of paper, creates a world in which Tomaga introduce their musical palette. Magaletti’s percussion anchors
these sometimes chaotic forces into beguiling syncopations, with Relleen’s synthesizer and organ work creating harmonic
counterpoints and interruptive provocations, to which Bastien responds with lyrical turns on prepared trumpet, rubber band, tin
foil and bass ocarina.
The results are curiously evocative of free jazz by the likes of Sun Ra or Art Ensemble of Chicago paired with the percussive
sound worlds of artists like Francis Bebey or Muslimgauze along with unique and sometimes bizarrely exotic tonal landscapes
of composers like Catherine Christer Hennix, Carl Stone, or Egisto Macchi. All three musicians seem to find space to bloom in
ways that are markedly different from their individual work and the resulting album is a strikingly original and powerfully bold
affirmation of what can happen when venturing beyond the normal in pursuit of the other.All tracks written & produced by Tomaga (Tom Relleen & Valentina Magaletti) & Pierre Bastien.
Mixed and mastered by Rashad Becker.