Pop & Rock Vinyl New Releases - News

There are few instruments more uniquely suited to capturing the beauty and ennui of the rural American midwest than the acoustic steel-string guitar. In the hands of a master, the range of evocable emotion and experience is truly limitless. Daniel Hecht is one such master. His 1973 self-released debut album, simply titled Guitar, is an indispensable piece of the endless puzzle that is instrumental Guitar Soli music.

Guitar was written and recorded while Hecht was living and working on a commune in Madison, Wisconsin. In between harvesting his own food and studying the music of Andrés Segovia and Mississippi John Hurt, Hecht found himself playing host to legendary itinerant street performer, Moondog.

On Moondog’s insistent urging, Daniel decided to record some of his recent guitar compositions. Released on his own Dragon’s Egg imprint, Guitar fused Hecht’s complex classical preoccupations with his country folk influences. The album eventually found a fan with guitar godhead, John Fahey, who eventually helped land Hecht on the eminent new age/ instrumental label, Windham Hill.

As Hecht’s playing and composition grew in complexity, he found peership with labelmates like Michael Hedges, William Ackerman, and Alex DeGrassi. But it is his debut album that remains the greatest document of Hecht’s talent and ambition in first bloom. A rolling, blissful trip through rural America, guided by the ambitious hand of a guitar master. Morning Trip is elated to release this gorgeous and seminal document of acoustic exploration on vinyl for the first time since its initial 1973 offering.

12inch release of highly sought after Colored Music edits by Tokyo's, Chee Shimizu (Organic Music). The two cuts originally featured on the the bands seminal self titled album (from 1981) that remained a cult DJ secret weapon, for many years, all over the world. This heavy EP includes an alternative version of 'Heartbeat' that featured on the Japan only "Individual Beauty" LP of 2018 (also compiled by Shimizu)

Vox Populi!'s cult and highly sought after debut LP is finally reissued here after 30 years. Recorded after their first single - Ectoplasmies (1983) - between 1984 and 1985, the original band of Mitra and her (then) 14 year old brother Arash and Axel Kyrou, evolved from 2 early cassettes and the 7"s' rudimentary, idiosyncratic and improvisational structures to more cohesive edges. Living together, but with no formal music education, the nature of the disparate elements led to a sparseness of the recordings. Influenced by his mother, the concrete music pioneer, Mireille Kyrou and her work at GRM (State Institute for Musical Research), Axel challenged his creativity by utilising their Vox Man studio as an instrument. Building on minimal synth, rhythm box, hand percussion and Persian poetry, they experimented with tape manipulation - layering the music with forward, backward and echo simultaneously - creating a leap in the band's development. The dark nature Myscitismes was reflected in their increasing interest in industrial and ethnic music, with a great fascination for the religious traditional music of Tibet. Ceremonial, gothic, drone-folk, the progression is apparent; onward perceptions.

"3x12" - Vinly Only.

The second instalment of minimood's multidisciplinary fusion series features Die Wilde Jagd with an extensive rework of the neo-romantic ’Morgenrot’ as well as a vast array of diverse remixes by Ancient Methods, CV313, Luigi Tozzi, Roman Flügel, Rude 66, Steve Bug, The KVB, Vactrol Park, and Variant. This gatefold 3x12" vinyl only release is visually enhanced with intricate hand-drawn artwork including inlay by Dusseldorf based artist Susanne Giring. Written and recorded by Sebastian Lee Philipp with his Uhrwald Orange studio collaborator Ralf Beck, ’Morgenrot’ originally appeared on Die Wilde Jagd's debut album in 2015.

For this release, Philipp and Beck re-visited the song: the ensuing ‘Fangschuss Version' enjoys an augmented arrangement, additional instrumentation and a haunting guest vocal by New- Zealand based singer Nina Siegler. In Philipp’s words, the 'Fangschuss Version' constitutes “a venture to capture the spirit that has been guiding this fusion release - a desire to explore the concepts of friendship, time, distance and memory. An attempt to unveil fragments of the unseen and to reveal the surge of a distant remembrance in an embracive listening experience." 'Morgenrot' subsequently gets a highly varied remix treatment by a range of carefully selected artists.

While Vactrol Park navigate the original audio material into beautiful ambient territory, Ancient Methods showcase an epic masterpiece of enchanting medieval-vibed techno. The KVB turn the track into a dreamy cold-wave trip and Rude 66 dives into a dark, primetime, anthemic dimension. For Roman Flügel, it’s a slow, organic, starry-eyed approach and Luigi Tozzi transforms 'Morgenrot' into hypnotic & loopy, minimal, deep techno. The rework by Steve Bug plays with the original's melody and a danceable kosmische-infused house cut emerges.

The final two remixes are both crafted by legendary Echospace Detroit mastermind Stephen Hitchell: absorbing deep trips into mesmerizing dubtechno by CV313 and into foggy lo-fi ambient by Variant.

Die Orangen back on the adventurous Malka Tuti with their sophomore album ZWEI ORANGEN. It’s been two years since their debut album Zest animated the underground scene, merging obscure samples, field- recordings, krautrock motifs and a spattering of humour and self-perception into their newly forged genre: Krautback. The Australian duo - Kris Baha & Dreems - return with 2 more years of wisdom tucked under their hats to deliver a matured, developed sound. The industrial sonics & propen- sity for a dusty bush-beaten tone remain, however the sam- ples and ambience take a backseat, handing the map over to the guitar riffs, vocals and song writing to navigate the al- bums vast terrain. Collaborators Jono Ma (of Jagwar Ma), Alex Akers (of Forces) and Hayley Morgan expand the al- bum into a diverse journey across zones and styles, offering their own observation of the spacious musical world of Die Orangen. These 11 tracks will make you contemplate, they’ll will make you reminisce, they’ll give you friendly advice, they’ll ask you to dance, and they’ll question the direction of your compass... Fear not, however, this is music for everybody. As the Oranges say "Saft für alle”

Synth ambiences, acoustic landscapes, deep songwriting and subtle candombe percussions

This LP is the first in a series of full-album reissues that Vampisoul (co-produced in collaboration with Little Butterfly Records) is releasing as a valuable add-on to its recent and largely acclaimed compilation “América Invertida”, a work that focused on the obscure leftfield pop and experimental folk scene from ‘80s Uruguay, making some of these elusive and essential albums available again.
The intricate melodies and Estela Magnone’s exquisite voice invite comparisons with Elizabeth Fraser’s vocals and the ethereal pop of the Cocteau Twins. The strange textures of the Juno synthesizer and drum machines bring to mind bands that appeared after this album such as Broadcast or Stereolab. Find extremely sophisticated harmonic arrangements or songs where a mere sprinkling of elements creates a dreamlike and almost mantric ambience such as ‘Tras tus ojos’ (already supported by DJs like Gilles Peterson, Bradley Zero or John Gomez in their radio shows).
“Mujer de Sal Junto a Un Hombre Vuelto Carbón” is reissued here on vinyl for the first time, in its original artwork with an extra OBI and including a 4-page insert with liner notes by Uruguayan music writer Andrés Torrón.

"From a galaxy far away, they came to earth and decided to stay". You could call them Visitors... but they might have arrived here long before we did.

Staatseinde spent their recent earth time creating their third EP called Darüber Reden Wir Nicht. Combining their own Neue Niederlandische Welle with synthwave and EBM, these three extraterrestrial musicians adapted four European languages to spread their message.

First track on the A-side is Staatsanthem, a heroic soundtrack meant as a hymn to their home planet. Next up is title track Darüber Reden Wir Nicht, followed by No Return. Two bold, minimalistic EBM like tracks performed in a much harder style than they've ever done before.

Moving to the B-side. Laat Het Gebeuren warns about the selfdestructive nature of mankind, and sometimes mother earth answers. Grenztruppenführer is about the strict door policies that some nightclubs have, a wall between east and west, politics versus freedom, will you get in? Grenztruppenführer decides. Closing off with Vi Åker Dit, which started off as the Swedish translation of their hitsong Ruimtevaart Vooruit. A call to fly away, to another dimension.

Even though this EP was created on earth, it's already much spoken about beyond the boundaries of our solar system... and now it will find you.

TFGCX - 10 Jahre TFGC

It all started many moons ago during a night at Salon des Amateurs in Düsseldorf, where the courage and motivation and most important off all the music was found to start a label.
Themes for great cities.

That was 2009.
Fast foward 10+ years you have the most prominent tracks of that specific Düsseldorf based time period on one record.
For all the already fans to enjoy in one ride and for all the people just discovering us, you’re welcome.

Toulouse-based trio Blind Delon like distorted basslines, dirty beats and cold synths. On that new post-punk-ebm-techno 4-tracks EP, “Drugs”, they invite french industrial veteran HIV+ for his harsh lyrics and his smashed voice under the influence of psychotropic substances. Including a post-apocalytic remix from russian producer Alexey Volkov !

Improvised Suites For Analog Machines celebrates the most influential analogue synthesizers of the 70s and 80s. Each track is uniquely dedicated to a different synth, experimenting with the variation of sounds possible to produce while telling a story of their past. The whole album is a mesmerising improvisation demonstrating what each instrument is capable of, while maintaining a wonderful fusion of old and new. Performed and composed by Erik “Keysie” Ritfeld and Arp Frique. TIP!

Mannequin Records is elated to present a double-LP compilation of the Dutch industrial-experimental heroes Doxa Sinistra.

Preciously selected by the expert ears of Frank Brinkhuis, head of Trumpett, "Universo" is spanning from 1982 to 1988 through their entire discography.

Doxa Sinistra was formed in Amsterdam, The Netherlands, early 1982. On the strength of live performances at Paradiso and Ultra venue Oktopus, the two piece band was invited by Trumpett to record an album in the Freakowitz & Einstein Studio in Den Burg on Texel. Armed with their Korg MS-10 and Korg MS-20 synths they took the ferry to the West Frisian island, and spent a week recording in the legendary Trumpett HQ. The result, the debut cassette Via Del Latte, was released in June 1982. Just months later band member R. K. kidnapped the band name, formed a new duo and played one live date. After that the project fizzled out.

Until early 1984, when Trumpett and Doxa Sinistra received an invitation from Italian cassette label ADN to record a new album. The invitation was accepted and Doxa Sinistra Mark II was born. Conveyer Belt, recorded between June 1984 and February 1985, appeared as an ADN/Trumpett co-release in August 1985.

After the move of the Trumpett Studios to Amsterdam late 1986, Doxa Sinistra started demoing a new album in the Summer of 1987. California based Undergroud cassette label Ladd-Frith were keen to release the ultimate results. Recorded early 1988, Newsflashes, the group's third and final album, was released as a Ladd-Frith/Trumpett co-release in the Summer of 1988.
Limited edition of 300 copies.

Limited and remastered from original tapes. Available for the first time on vinyl.

Insert with band history and unpublished pictures.

After the repress of their single "Eyes / Morning Rain", Camisole Records is proud to announce the reissue of Coldreams tape « Crazy Night ».

Recorded in 1984-1985 by a gang of young students passionate about Post-Punk this record represents the culmination of the band first period.

Haunted lyrics and melancholia were already the basics of their sound and from "Don't Cry" to "Crazy Night / Burning Passion" it's difficult to imagine that they were only 18 to 19 years old at that time.

"Bulbs and Bubbles" and "Turn the Button" show their pop appeal which definitely takes them apart from their contemporaries and all-around gloomy feelings infuse these six tracks which unveils another part of Coldreams history...

'Voices In The Night' is 23rd Underpass' third full-time length album, and Costas Andriopoulos has not lost a bit of his talent to write classy and catchy yet dark synth pop-infused Italo disco tracks. Again aided by Nadia Vassipoulou, John Britsas and Panos Papapetros on vocals, the album is comprised of eight brand new tracks including smash hits 'I Hear Voices In The Night' and 'Together Forever', for you to dance on your favourite disco's dancefloor, alone at home or just to dream away on Costas' haunting melodies.

Art Kinder Industrie was a band
from Tarbes, south of France. Formed in 1988 by Xavier Vincent (R.I.
P.) and David Carretta it was the first EBM act in France to have
distilled the legacy of DAF, Front 242 and Nitzer Ebb. Active between
the end of the eighties and beginning of the nineties their output
consisted of a few self released tapes and various live performances.
Lux Rec selected 6 tracks produced between 1988 and 1990 to be
released on vinyl. Andrea Merlini remastered them analogically, truthful
to the spirit of that age. In collaboration with Unknown Pleasures
Records.

This Modern Day is a dry, somber, hopeless statement. Kinder aus Asbest releases is first EP on Lux Rec and delivers five ghostly tracks, the perfect description of his world. The title track is a revised version of old material, the remaining four are made specifically for this EP

XXX009 provided by a really talented guy from the east of the Netherlands who goes by the name of Luca dell'Orso. Full on italo on this ep from high energy italo to more sophisticated slow burners. This ep is showcasing what Luca dell'Orso is capable of.
Machinegewehr on remix duties who takes one of the originals into a more darker approach suitable for dark basements when we're able to party again.

Already played and supported by Black Madonna, Massimiliano Pagliara amongst others

Artwork by: Niels van Haaften. For this sleeve, instead of using conventional methods for image production, graphic designer Niels van Haaften decided to code his own image processing algorithm from scratch.
The algorithm translated an image of flowers into this colorful and abstract album

First release by new southswedish experimental dancelabel Brutal B Records from Helsingborg started by Nimam Spregleda who is associated with Borft and other swedish labels and a long time underground DJ and exeprimentalist. This debut contains a parade of local artists such as DinSync who runs the nearby RE-303 label, here contributing with a funky wobbly minimal techno track. Also featured is local Synth/Ebm act Goz Mongo Allicance with a unusually funky midtempo driver with the labelboss himself on vocals. The B-side continues with a psychotic yet straight forward Karlskrona style track from Villa bo followed by Nimam Spregleda with a out of sync chicago style acidy track that will challenge and amaze both DJs and dancefloors with its magnificent jacky wobbliness. From Helltown with love.

Rat Life Records presents Various Rats! A compilation of ultimate Party Hits for the downfall of society. Happy Doomsday everyone! If there is a rat there is life!

Plastic Ivy, who has made a name for herself in the underground spheres of analog synth experimentation, has released her first full length for Kraftjerkz, entitled “Spots of Time.” The album is as much a lyrical treasure as it is an analog synth dream, brought to life through abundant melodies and arpeggiations, alluring vocals, and a somber emotional tone that courses through the veins of the album.

Plastic Ivy’s influences are wide ranging; sonically, the nod to cold wave, the new romantics, and early indie is clear. Lyrically, the album draws influence from William Wordsworth to historian Timothy Snyder to jazz composer Billy Strayhorn. “Spots of Time” should be listened to with an ear held close to the lyrics, which are earnest yet detached, cooly crooned, and above all else—poetic. Standout tracks like “Images,” and “New Eyes” are entirely dance-worthy. Plastic Ivy casts a range of emotions in these new pieces: from vulnerable, lonely, and contemplative to nostalgic, romantic and transcendent. Overall, “Spots of Time” is an exquisite example of experimental synth pop.

Plastic Ivy, who has made a name for herself in the underground spheres of analog synth experimentation, has released her first full length for Kraftjerkz, entitled “Spots of Time.” The album is as much a lyrical treasure as it is an analog synth dream, brought to life through abundant melodies and arpeggiations, alluring vocals, and a somber emotional tone that courses through the veins of the album.

Plastic Ivy’s influences are wide ranging; sonically, the nod to cold wave, the new romantics, and early indie is clear. Lyrically, the album draws influence from William Wordsworth to historian Timothy Snyder to jazz composer Billy Strayhorn. “Spots of Time” should be listened to with an ear held close to the lyrics, which are earnest yet detached, cooly crooned, and above all else—poetic. Standout tracks like “Images,” and “New Eyes” are entirely dance-worthy. Plastic Ivy casts a range of emotions in these new pieces: from vulnerable, lonely, and contemplative to nostalgic, romantic and transcendent. Overall, “Spots of Time” is an exquisite example of experimental synth pop.

Old sound, new group! Belgian style...TIP!

"After they shook hands, the walls started closing in.
Fatigue kicked in, but De Nooit Moede decided to keep up appearances.
Time for coffee, or an alcohol-free beer. Pretending without pretense.
After all, the grass is always greener on the fool's side.

De Nooit Moede is a six-headed formation conducted by Victor De Roo, with
guitarist-vocalist Jente Waerzeggers, bass player Ferre Marnef, and singers Eva Kleeven, Felix Poffé and Arthur Roels. This debut EP is the first outing of the Kontakt Group (KG001). It was mixed in collaboration with techno demigod David Morley, mastered
by Mathieu Savenay and graphically designed by Emile De Geyndt."

The record’s structure was inspired by the study of the fusion of two galaxies. During this process, the two celestial bodies are drawn to each other, but also risk being destroyed if they combine inharmoniously - as can be the case with human relationships. The result is a powerful, organic and sometimes dreamy music where rhythms and textures embrace; a record of a touching singularity, beautifully sublimated by Léa Desirolle’s album art.

Minimal Wave Records and Bitter Lake Recordings present their first collaborative release, a double LP by mythical Japanese underground electronic trio Portray Heads.

Their self-titled double LP spans all their recordings to date including the songs from their rare Elaborate Dummy flexi (1985), follow-up Oratorio (1986) and several incredible newly discovered demos. Influenced by early 1980s European New Wave and Japanese synthpop, their songs range from circular poppy synth gems to moody dark new wave anthems – all led by strong female vocals. It’s an absolute honor for us to release this long lost Japanese minimal synth classic.

The release is limited to 999 copies pressed on 160 gram black double vinyl, presented in a high quality matte gatefold jacket featuring a rare photograph and the story behind the band.

Described by Crack Magazine as a 'hypnotic slow-burner' and noted by Ransom Note as one of the most interesting albums to emerge in 2017, not only did Dollkraut's second album 'Holy Ghost People' herald the launch of Jennifer Cardini and Noura Labbani's adventurous new label with fitting mystic gusto... It also gave us a beguiling LP that keeps on giving, exciting and inspiring over a year later. Proof can be found in these three superlative remixes. Subversive Berlin duo OTTO take the lead with a warm, Arabic twist on the album opener 'Bonnie Says' by lifting the groove with a little organ-squeezing spring while maintain its faraway haze and mystique. Accurately hyped Romanian-also-in-Berlin Borusiade follows with an overwhelming floor-ready update on 'Have I Told You'. Already a familiar face with the label, she weaves a chasm-like new-wave narrative that sucks you deep into the mix and galvanises the pundit attention she's getting right now. Finally Mannequin Records founder Alessandro Adriani joins the party with a tunnelling twist on the somnambulant aesthetic of 'Valium'. Flipping the dreams for a much darker 3am reality, it will leave your dancefloor pining for more. Don't worry, there's plenty more to come. Dischi Autunno are only just warming up...

Steve Von Till has charted an extraordinary musical path over the last several decades, from his main duties as singer and guitarist of the boundary-breaking Neurosis to the psychedelic music of his Harvestman project and the gothic Americana he's released under his own name. But No Wilderness Deep Enough is truly like nothing you've ever heard from him before—an album that's devastatingly beautiful and overwhelming in its scope, reminiscent of the tragic ecstasy of Nick Cave and the Bad Seeds' recent work as well as the borderless ambient music pioneered by Brian Eno, late composer Jóhann Jóhannsson's glacial compositions, and the electronic mutations of Coil. 

FOR FANS OF : MARK LANEGAN/MICHAEL GIRA/NICK CAVE.

Over the course of recent time, an aching, growing void has developed where our normal way of life has resided. Uncertainty abounds, and Steve Von Till's No Wilderness Deep Enough provides a voice of existential wisdom and experience to offer comfort and perspective in an era of uncharted territory. These six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world's mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that's as haunting as it is holistic.

Von Till’s fifth solo album is a swirling and iridescent blend of ambient, neo-classical, and gothic Americana that swan-dives into the darkness of modern life, with the resulting emergence a sonic document of rural psychedelia that transcends the physical world—towards a greater spiritual acceptance that connects naturalism, spiritualism, and the corporeal form.

With a foundation of simple melancholy piano chord progressions embellished with mellotron, cello, french horn and electronic treatments Von Till's scorched ache spreads across the terrain of No Wilderness Deep Enough like a brushfire, adding a tactile level to his sonic creation as well as an inviting level of friction to the burning beauty painted across the album's framework.

With a foundation of simple melancholy piano chord progressions that came to fruition during jetlagged nights in his wife’s childhood home in Germany, No Wilderness Deep Enough was further embellished with mellotron and electronic treatments in Von Till’s home studio in North Idaho.  Viewing the emerging result as an ambient instrumental album, he consulted friend and engineer Randall Dunn (Marissa Nadler, Earth) about adding live cello and french horn and piano in a proper studio.  After enlisting Brent Arnold on cello and Aaron Korn on french horn, he challenged Von Till to sing over the music and make it his next solo album—which is exactly what happened, with final work being completed at Tucker Martine’s (the Decemberists, Neko Case) Flora Recording and Playback in Portland.

Steve Von Till has charted an extraordinary musical path over the last several decades, from his main duties as singer and guitarist of the boundary-breaking Neurosis to the psychedelic music of his Harvestman project and the gothic Americana he's released under his own name. But No Wilderness Deep Enough is truly like nothing you've ever heard from him before—an album that's devastatingly beautiful and overwhelming in its scope, reminiscent of the tragic ecstasy of Nick Cave and the Bad Seeds' recent work as well as the borderless ambient music pioneered by Brian Eno, late composer Jóhann Jóhannsson's glacial compositions, and the electronic mutations of Coil.

Over the course of recent time, an aching, growing void has developed where our normal way of life has resided. Uncertainty abounds, and Steve Von Till's No Wilderness Deep Enough provides a voice of existential wisdom and experience to offer comfort and perspective in an era of uncharted territory. These six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world's mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that's as haunting as it is holistic.

Von Till’s fifth solo album is a swirling and iridescent blend of ambient, neo-classical, and gothic Americana that swan-dives into the darkness of modern life, with the resulting emergence a sonic document of rural psychedelia that transcends the physical world—towards a greater spiritual acceptance that connects naturalism, spiritualism, and the corporeal form.

With a foundation of simple melancholy piano chord progressions embellished with mellotron, cello, french horn and electronic treatments Von Till's scorched ache spreads across the terrain of No Wilderness Deep Enough like a brushfire, adding a tactile level to his sonic creation as well as an inviting level of friction to the burning beauty painted across the album's framework.

With a foundation of simple melancholy piano chord progressions that came to fruition during jetlagged nights in his wife’s childhood home in Germany, No Wilderness Deep Enough was further embellished with mellotron and electronic treatments in Von Till’s home studio in North Idaho. Viewing the emerging result as an ambient instrumental album, he consulted friend and engineer Randall Dunn (Marissa Nadler, Earth) about adding live cello and french horn and piano in a proper studio. After enlisting Brent Arnold on cello and Aaron Korn on french horn, he challenged Von Till to sing over the music and make it his next solo album—which is exactly what happened, with final work being completed at Tucker Martine’s (the Decemberists, Neko Case) Flora Recording and Playback in Portland.

Lydglimt by Klaus Schønning - an otherworldly blend of ethereal ambient, new age with inherent discofied undertones - reissued! Pressed at Pallas in a 500 copy run only & comes with a beautiful booklet !

Years of Denial joins Pinkman Broken Dreams and deliver an EP with four devilish and cataclysmic electronic body tracks. The duo's sound combines influences of deranged experimental music with vocals surrounding themes of isolationism and dark romanticism. The outcome is stunning in its very own way, as the music creates a deeply immersive atmosphere, and is abundantly vigorous to keep dancers on their toes and moving from the night's darkest corners to the dawn of day.

Any botanist will extol the virtues of cross-pollination, and musical hybrids are a Growing Bin speciality. For the latest release Parisian outfit Maât splice jazz with Balearic, dub, house and Afro to create a free thinking LP dedicated to world fusion fore-runners Codona.

If Singu found calm amongst the chaos of Tokyo for ’Siku’ (GBR017), then Maât map out a Sunday stroll through the sun dappled streets of the Parisian banlieue on ’Solar Mantra’. Humming reeds converge into a pre-dawn chorus before dewy sequences and drifting syncopation signal sunrise over La Vilette, a perfect place to start ‘The Walk’. Skirting the Périphérique, the Parisian ensemble pick out a street percussionist by Boulevard d’Algérie then detour to Pré-Satint-Gervais to draw a bassline out of the Metro Area, adding an Environ cool to the uptempo ‘Jaki & Bryn’. With icy bells, brooding guitars and melancholic vocals, ‘Feuglace’ transports Miko’s garten to the 20th arrondissement while the polyrhythmic patter and micro-tuned guitars of ‘Solar Mantra’ see out the A-side with a fourth world hymn.

Chakras cleansed and ready for a B-side rebirth, Maât take us dancing through Père Lachaise via organic house bomb ‘Quetzal Pacino’, an emotive exploration of rhythmic mallets, dreamy pads and propulsive bass, which moves like the Innerzone Orchestra re-arranged by Jon Hassell. Rest comes with the soothing pianos and swelling sine waves of the pastoral ‘Clarière’, a hazy homage to the noon sun on a clearing. Circular motifs, limber grooves and dubby bass mean we’re on the move again, slipping into Montreuil with the echo-drenched scat and firm back beats of ‘Mount Beuvray’, before ‘Llomé Dub’ takes us home in time for a cool beer and much needed smoke on the balcony. Acoustic guitar, lilting piano and a gorgeous female vocal ride the punchy bass and clattering drums to perfection, keeping us company until the day fades into a contented haze.

Patrick Ryder

Freakish Synthetic Oddity from pervert teenagers living in the remote countryside of our beautiful France.

Seven unreleased tracks meticulously chosen from the Schrock archive crossing and blending multiple genres from electro, wave, kosmiche and new age by Dallas analog synthesist Jake Schrock. With a literal arsenal of vintage equipment, Jake forges a wonderful, almost 80s soundtrack vibe with deep emotive washes and playful and gentle classic drum machine patterns and beats. all mastered by Martin Bowes. Original art by Telepath Design.

Belgrade's infamous club night launching the label with a split 12" by these hidden jewels of the city's underground. Slow, dark and to the left.

December returns to Pinkman Broken Dreams with 4 hybrids of arranged chaos where rugged rhythms and breaks wrestle with dystopian melodies and occult vocals. A complete meltdown which viciously takes you into a delirious state. The future is near...

"KIKAGAKU MOYO state that with improvisation they can freely explore beyond consciousness as they make ‘free music’ and you can well imagine this as they take you on a journey through inner space with Mammatus Clouds. Here we are treated to meditative waves of ritualistic music as sitar player Ryu is to the fore on these recordings as the band stretch out to infinity, falling somewhere between the collected works of Bo Anders Perrson, George Harrison’s sitar exploits and The Taj Mahal Travellers"

2020 repress

Fundamental Records' electro music project called ''Electric Eclectics'' does not end with the monster release of 21 vinyl records in a wooden box (with tracks from Arpanet, Cygnus, Carl Finlow, Cignol, Jensen Interceptor and Microlith to name a few), but comes with the additional ''Ghost Series'', that literally fit perfectly in the remaining space of the ''Electric Eclectics'' box. Each record is a picture of the electro music released in the line that Fundamental Records has us accustomed, each sleeve silkscreen printed by hand in the same color of the vinyl record. Talk about the music itself is something that Fundamental Records try to avoid in each release, if you want to know why you only have to check the project Music for The Other People Place to find out more about their philosophy.

MFM048 sees the release of a special collaboration between two unique voices within the ambient landscape, Suso Sáiz & Suzanne Kraft (SK U KNO), with their collective debut album ‘Between No Things’.

Whilst having first connected at a Gaussian Curve release show in Amsterdam back in 2017, in which both musicians also performed, the two really got to know each other during a three day recording session that followed immediately after; “We would have good chats and laugh setting up and in between long takes but, for the most part, we almost didn't talk when recording.” An instant apparent chemistry between both was present and which, via effortless experimental jams, resulted in over 30 hours of raw material that would sit silently untouched until the tracks were slowly narrowed down to a potential album in late 2018.

Treated with overdubs and edits by the duo at Suso's studio in Madrid in 2019, the album slowly began to take on it’s final form. It would eventually be completed when Suso sent one final piece, resulting in something of a remote jam session between the two, which would become the closer of the record as well as the title song. Fully improvised, ‘Between No Things’ is an honest musical reflection of a new friendship between two kindred musical spirits, in its purest form.