Cerca:mac

Colophon creates electronic music using synthesizers and drum machines from the '80s and '90s that are no longer in production. Everything beeps and crackles, shaping atmospheric soundscapes layered with deep basslines and melancholic pads full of character.

'Dimension Six EP' delivers a six-track journey, moving through techno, acid, slow burners, and ambient. Imperfections are left intact, giving the music a raw, human feel rather than something overly clean, clinical, or artificial. It's the meeting point between old and new technology that makes the process so fascinating and inspiring - the endless places you can go, discovering new sounds within sounds.

Alongside producing music, Colophon also runs 'Loop of Life', a record label where music, fine art, and graphic design converge, releasing limited-edition vinyl with handmade artwork covers.

Reviews
'The excellent, excellent sounds of Colophon' Ben Sims on NTS Radio, London
'My favourite tracks of the moment' ASOK on Rinse FM, London

Spivak & Prins Emanuel - Imogen’s Lament

Three poems, three hymns, a lament…

Imogen’s Lament is the amalgamation of a slow-burning musical correspondence between Cypriot musician and lyricist Maria Spivak and Swedish composer and producer Emanuel Sundin, recorded over two years between Malmö and Limassol.

Imbued with a rectified balearic pop sentiment, these songs drift between myrrh-washed church pop and restrained machine dub—piercing through a veil of gothic haze as they trace the dimmer edges of an imagined Balto-Mediterranean continuum.

Returning with his first artist album in 13 years, revered techno innovator Mike Parker continues to shape out his explorations around 170 with his latest work for Samurai Music, Echo Disintegrator. Transcending genre lines with his unmistakable sonic stamp, the seasoned US producer crafts an extended trip through his exacting, lithe frequencies and brutalist rhythms. As evidenced on recent EPs Envenomations and Sabre-Tooth, Parker can comfortably slip into a hard-stepping D&B structure and make it his own. 'Earth Energy Imbalance' leaps forth with precision and purpose, wrapping atonal synth shapes around the stark beat in staggering high definition. 'Positronic Tentacles' finds a similar rolling momentum, even threading ruthlessly trimmed vocal snatches into the lyrical pulse of the lead tones. 'Radiative Force' teases its own mutant funk out of the envelopes shaping the molten sonics coursing through the middle of the frequency range. Elsewhere, Parker explores a variety of accented grooves around typical D&B tempos, remaining reliably broken while dipping into half-time space on 'Lunar Nocturne' and finding a low-slung swagger in the carefully deployed pressure of 'Ghost Rain' and 'Echo Disintegrator'. 'Beat Activator' pivots on a dense bed of bass with a crooked, off-beat slant before 'Dragon Bravo' casts a similarly dembow-informed beat into a dense tapestry of cyclical machine shrieks and snarls. There is a ruthless consistency to Parker's approach across Echo Disintegrator, riding the loops without flinching and forcing the focus deep into the minutae of every sonic element. Both brilliantly functional and profoundly subtle, there's a visceral, physical quality to the sound design that makes it a listening experience like no other.

Raw techno grooves meet sharp electro rhythms, colored by subtle Italo-disco undertones. Analog basslines, crisp drum machines and retro-futuristic synth work built for late-night dancefloors. Dark, hypnotic and strictly club-ready.

With one exception, this disc is a recording of a concert given at the Ateliers Claus in Brussels in March 2024. It was preceded by three short hours of improvisation the day before and the day before that, during which ErikM and I made a series of careful observations of each other's playing. It must be said that neither of us had skimped on transporting a few cases, the contents of which would have allowed us to play several concerts in a row without ever repeating ourselves. Erik had brought his turntables to Brussels, as well as sophisticated electronic machines, accompanied by a virtually infinite sound bank. For my part, I had both a mechanical orchestra and a range of acoustic instruments at my disposal. In two sessions, we eliminated the superfluous and the ineffective. On the evening of the concert, it was through close observation-of each sound, each direction taken by one or the other, each intention, each break-that we composed this record in the moment: vigilant and scrutinising, like the pairs of eyes on the cover of this album.

It's a realisation that the ground beneath our feet is alive, and we're all just passengers on its pulse. It's that hum of dread and wonder that defines Armed For Apocalypse's fourth full- length album: a towering, grooved- out, post- metal monolith carved from grief, power, and purpose. Formed in Chico, California between longtime friends Nick Harris (drums) and Cayle Hunter (guitar), Armed For Apocalypse is a what- if turned war machine. Over the years, the band has endured enough shakeups and setbacks to bury most acts: relocations, divorces, day jobs, family changes and not to mention complete lineup overhauls. But where others fractured, AFA sharpened.

Music From Memory presents inrain, a collaborative project by Rudy Tambala of A.R. Kane and Alison Shaw of Cranes, originally recorded in the early 1990s.

inrain brought together two artists who were at the time shaping distinct yet quietly influential currents within alternative music. Through A.R. Kane, Tambala had helped redefine the possibilities of guitar music, placing atmosphere, abstraction, and emotional ambiguity at its centre in ways that would later resonate across dream pop, shoegaze, trip hop and experimental pop. At the same time, Shaw’s work with Cranes was establishing a singular vocal presence and a deeply intuitive approach to mood and space. inrain emerged at the intersection of these sensibilities.

The project began after Tambala was introduced to Shaw by Geoff Travis, leading to sessions at H.Ark! Studios in Stratford, East London. Working outside the expectations of their primary bands, the pair recorded informally over several months, building songs from minimal foundations. Early sampling technology, drum machines, acoustic guitar, and voice were used sparingly, with arrangements left open and space treated as an active element within the music. Vocals were often improvised, first takes preserved, and the atmosphere of the studio — calm, unhurried — became part of the sound itself.

Originally released in limited form during the early 1990s, the recordings carried subtle traces of the surrounding musical landscape: the low-end experimentation of emerging jungle, dub-influenced rhythmic structures, and a restrained melodic sensibility shaped as much by classical textures as by contemporary underground culture. Though modest in scale, the music feels quietly expansive — intimate, patient, and emotionally direct.

For this release, all tracks have been newly remastered from the original DAT tapes. This edition also includes the additional track 'Biology', written and recorded in 2012

We are excited to continue our work with Art P / Art Programming by finally offering the first full-length work from this Bremen-based electronic group. Originally released only on cassette in 1983, the self-titled album has now been fully restored and remastered, complete with bonus tracks and unreleased mixes unearthed from a rare demo.

The LP opens with "Wesen vom anderen Stern" ("Beings from Another Planet"), a downtempo, 808-driven electro synth wave track with German lyrics telling a story of aliens capturing earth, becoming the new "Herren" (lords), while humans are reduced to mere "objects." Art Programming founding member Jens-Markus Wegener notes that this track has always been a favorite during live performances, and it's easy to imagine how the futuristic sounds would have blown people away at the time.

Next is the electro/proto-techno title track "Art Programming," which we previously issued on a limited 12" in its full-length form. With its straightforward Roland 808 rhythms, catchy synth lines, and vocoder vocals, it's a classic example of German electro, and one of the earliest proto-techno tracks - long before Cybotron claimed the techno mantle. Its extensive break and electronic twist make it an early precursor to the genre. Wegener recalls that this track was created exclusively by him and Grotelüschen, with Grotelüschen contributing most of the melodic elements, while Wegener focused on drum machine programming and vocoder vocals.

On "That's Me," the album welcomes back singer Claudia Roebke. Although it's an electronic composition, Roebke adds a rock-infused, almost psychedelic vibe to the song. The lyrics, written by Wegener, depict a person obsessed with their appearance, using irony to critique societal beauty norms, questioning the obsession with perfection and attraction.

The album continues with a series of uptempo electro tracks: "Videoscreen," "La Gare," and "Genscher Pull 'N' Push." The first two feature slightly different mixes from an earlier demo that we personally prefered over the versions that were available on the final cassette release. "Videoscreen" expands on the theme of social isolation, with lyrics reflecting on a world obsessed with watching video all day - a topic that resonates strongly with today's culture of doom scrolling and social media addiction.

Next up, "Genscher Pull 'N' Push" is an incredible electro/wave/proto-techno track recorded in October 1982 with a political edge. Originally omitted from the album, it was only available on the demo cassette we mentioned earlier. The song takes aim at German politics, with lyrics that shout "bitte geh nach links / bitte geh nach rechts" ("please go to the left" and "please go to the right"), referencing the shifting political allegiances during the 1982 coalition change, when Genscher's party, the FDP, left the Helmut Schmidt cabinet to join the CDU/CSU opposition. The track was never released as the political topic had become outdated just a few months later.

The album closes with "Light and Fire," which originally served as the album's opening track. Its quirky, upbeat vibe now makes for a fitting outro.

The gear used on this album reads like a dream list for early 80s electronic music production: Roland Jupiter 4, TR 808, TB 303, System 100, SVC 350, Korg Mono/Poly, Moog Prodigy, FRICKE-Sequenzer, Roland CSQ-100 Sequenzer, Coron DS-8, MM 12/2, Sony TC 399, TEAC-244 Portastudio, Ibanez DM 1000, EH-Electric Mistress, EV-Micro. This unique lineup of equipment sets the album apart from NDW releases of the era, lending it a distinct sound with heavy proto-techno leanings and that straightforward electro vibe we all love.

The album is being released as a very limited edition of 300 copies on transparent red vinyl, complete with a full picture sleeve and lyrics inlay. This is yet another rediscovered and restored 80s gem on our label that you definitely don't want to miss!

Since debuting his Black Eyes project on Lost Control 2097 back in 2022, Matthew Jesus has developed his own trademark take on deep house - a suitably aquatic and psychedelic affair that he calls 'Hydro-Trip'. Elements of that sound can be heard on his Selections label debut, alongside nods to Motor City deep house and more soulful flavours. For proof, check gorgeous and tactile opener 'Honeyfish' and the even more soulful warmth of 'Motor City Surfin', which doffs a cap to the likes of Alton Miller and Rick Wade. 'Seaweed Tongue' is a more drowsy, jazzy and immersive deep house workout with more sampled vocalisations, while 'Trippin' In Waves' pairs rubbery drums and P-funk bass and plenty of spacey electronics. Haf S reworks the latter via his 'JEEPMIX', a dreamy, hypnotic and spaced-out sunrise-ready delight.

Tauchen Sie ein in das glitzernde Lebensgefühl der 1970er Jahre! Mit „70s Disco Hits Vol. 3“ holen Sie sich die größten Dancefloor-Klassiker einer unvergesslichen Musikära direkt nach Hause – energiegeladen, zeitlos und voller Groove.

Diese exklusive Vinyl-Compilation vereint ikonische Künstler und Welthits, die die Disco-Welle geprägt haben:
• Donna Summer – Die „Queen of Disco“ begeistert mit ihren elektrisierenden Hymnen und unverwechselbarer Stimme.
• Barry White – Samtweiche Soul-Vibes und unverkennbarer Groove.
• Blondie – Disco trifft New Wave mit ikonischem Sound.
• Stevie Wonder – Funkige Rhythmen und musikalische Meisterwerke.

„70s Disco Hits Vol. 3“ bringt das Gefühl von Spiegelkugeln, Plateauschuhen und durchtanzten Nächten zurück – eine musikalische Zeitreise in die goldene Ära der Disco.

Let the music play – und machen Sie Ihr Wohnzimmer zur Tanzfläche!

Silicon Scally and Fleck E.S.C. need no introduction at this stage. Both artists are veterans not just of Sheffield's Central Processing Unit label but of modern electro as a whole, with the pair having decades of skin in the game at this point. Their new release, a four-track EP entitledSlipwhere Silicon Scally handles the first half and Fleck E.S.C. the second, carries itself with the adventurous confidence of a record made by masters of their craft.

Slipopener 'Phased Array' is exactly the kind of top quality machine-funk tackle you'd expect from this meeting of minds. The beat programming is deliciously tactile from the off, hissing and clanking like machinery in an old Detroit factory. The feel of 'Phased Array' is altered, though, when the chords come in, a series of alternating floating sounds which give the track an altogether eerier feel. When all of this is coupled with the otherworldly synth blurts that periodically force their way to the front of the track, the overall effect is a piece of real depth assembled by an expert practitioner.

'Phased Array' is followed up by 'Stax', another brilliantly propulsive number. Here we find the drum beat - one which is a little reminiscent of that Kraftwerk tune about the numbers, no less - once more offset by some decidedly more shadowy synth work, all while arpeggiated keyboard licks work against an intricate web of basslines, chords and unidentifiable flying synth tones.

Fleck E.S.C. opens theSlipB-side with 'Good Ride', a number where the nudge-wink title is borne out by a track built around looped snippets of sighing vocals. That said, with a bassline that sounds like a blurting old landline telephone, a ghoulish synth lead and all manner of motion-sick breakdowns, the 'ride' in question could just as well be aWipeout-style whizz through hyperspace as anything more suggestive. 'Good Ride' also sets itself apart from the other joints here by showing off a swaying halftime breakdown.

'Intox Remedy',Slip's closer, wraps the EP in a manner which continues some of the trends of the record's earlier tracks - richly tuneful chords, precision-engineered broken beat drum programming and a wide palette of delightfully unusual synth tones are all present and correct. However, there is also something about the chords here which pares back the eeriness of previous joints for a bit more of a wide-eyed, stargazing feel, and as such 'Intox Remedy' sees the record out by placing the listener firmly back in the cosmos.

Tough enough for the dancefloor and intricate enough for home listening, theSlipEP is a fabulous collaboration from two of the most respected voices in the electro game.

Mit „Golden Chart Hits Of The 60s & 70s Vol. 2“ erscheint eine sorgfältig zusammengestellte Vinyl-Compilation, die die größten Chart-Hits zweier legendärer Musikjahrzehnte vereint. Diese Schallplatte lässt den unverwechselbaren Sound der 60er und 70er Jahre wieder aufleben – voller Nostalgie, Lebensgefühl und zeitloser Melodien.

Die Auswahl reicht von mitreißendem Rock über eingängigen Pop bis hin zu unvergesslichen Evergreens. Mit legendären Künstlern wie Status Quo, Rainbow, Blondie, The Rubettes und Secret Service bietet diese Compilation eine abwechslungsreiche Mischung aus internationalen Klassikern, die Musikgeschichte geschrieben haben.

Das warme, authentische Klangbild der Vinyl-Pressung sorgt für ein besonderes Hörerlebnis und macht diese Zusammenstellung zu einem echten Highlight für Liebhaber analoger Musik

Sekhem opens a new portal. We are pleased to welcome Multivoq’s debut as Omega Tribe. He delivers four cuts engineered for the dancefloor, driven by razor-sharp grooves and strong basslines, with every element precisely tuned. Analog machines bring warmth, sequences pulse like coded transmissions, vocals drift through the mix as signals from space... Each detail shapes a journey built for powerful sound systems.

Continuing his inspired path into fractalised micro-dub-techno, John Howes lands his Paperclip Minimiser project amongst kindred spirits on Blank Mind. Crooked rhythms and tender machine hums hang in crisply defined virtual space — a gallery of science and soul that follows a natural lineage from the breakthrough years of the clicks n' cuts era by way of UK bass permutations.

Operating out of the UK's North West, Howes has been incubating a singular sound through his ongoing development of intuitive production and performance tools under the Cong Burn banner. The sometime record label and software stamp has a long-standing friendship with Blank Mind—the affinity is easy to hear in their shared exploration of modernist broken techno. Having just released a second album under his Paperclip Minimiser alias for similarly spirited West Coast US lodestar Peak Oil, Topology Transform extends the project's sound world with three tracks carved from the same period of studio orienteering. Free of the constraints of the LP format, these three tracks open up broader possibilities from Howes' customised systems, navigating the outer edges of the Paperclip paradox.

The A side opens on a 150BPM cascade of crunchy percussion and pin-prick ripples, driven by twitchy kinesis while maintaining a light-footed dexterity. If the first track finds its locomotion through double-time intensity, the second track celebrates the space that opens up around half-time pacing — two sides of the same tempo that radiate distinct energies. Conversely, the B side stretches out into an extended ambient repose. The consistency between this beatless excursion and the more propulsive A side speaks to the clarity of Howes' craft—a shimmering, blue-hued pool of advanced sonic treatment from a producer in command of a truly personal studio practice.

First released back in 1998, Random Factor's Too Fast Into The Future returns to wax and serves as a reminder of just how far UK mainstay Carl Finlow was already thinking ahead. The album was also a standout moment in the Leeds-based 20/20 Vision label catalogue that threads house, techno and electro into something more unsettled and brilliant. 'Lead Me Blind' and the title track fold processed vocals into stark machine rhythms, while 'First Principles' and 'When Daylight Fades' remain DJ touchstones. There is tension in every bar and introspection rubbing against dancefloor drive. Decades on, it still bangs.

The open skies of Ochre's new album, Oversail, replace the dense canopies of his last, Understory back in 2020. This time, UK-born, Netherlands-based talent Christopher Leary trades rhythmic intricacy for something more exposed and reflective on a record that unfolds in measured steps, with each passage revealing fragile melodies set against sparse, shifting frameworks. There's a tactile quality to the sound design, hardware elements clicking and sighing like ageing machinery still in motion. Tracks feel suspended and the focus is on slow revelation across the quietly affecting 'Casadastra', airy beauty of 'Meristem' and hopeful synth sequencing of 'Canthropa.'

The open skies of Ochre's new album, Oversail, replace the dense canopies of his last, Understory back in 2020. This time, UK-born, Netherlands-based talent Christopher Leary trades rhythmic intricacy for something more exposed and reflective on a record that unfolds in measured steps, with each passage revealing fragile melodies set against sparse, shifting frameworks. There's a tactile quality to the sound design, hardware elements clicking and sighing like ageing machinery still in motion. Tracks feel suspended and the focus is on slow revelation across the quietly affecting 'Casadastra', airy beauty of 'Meristem' and hopeful synth sequencing of 'Canthropa.'

The new label R.I.T.M.O. launches its journey with a clear statement of intent: VOID RIFT QUANTUM, a six-episode cosmic voyage by WHITE SOLAR DOG, complemented by two premium remixes from UNIVAC and PROMISING YOUNGSTER. The EP opens with “VOID RIFT QUANTUM” a dark, expansive electro exercise where crushing basslines, syncopated rhythms, and a dialogue between vocoders and acid lines evoke an interplanetary landscape. On “I.N.S.I.D.E.” the intensity ramps up through driving percussion, tribal voices, razor-sharp breaks, and an almost ritual force that propels the body into physical and mental trance.

UNIVAC’s reinterpretation of the title track unleashes his full arsenal: a steely remix of relentless energy that pushes the original into a hard-edged industrial realm, stamped with the unmistakable signature of the Catalan producer. “MOVE YOUR BODY” showcases WHITE SOLAR DOG’s most direct side: classic electro with heavy bass, pads, and bright melodies, where the machine calls the dancefloor to action without compromise. The journey reaches its most ethereal point with “SING TO ME” where a female vocal intertwines with broken rhythms, crystalline atmospheres, and fresh acid incursions—cementing WSD’s personal hallmark: equal parts intensity and spirituality. The release closes with Promising Youngster’s remix, which takes the vocal elements of “SING TO ME” and guides them into a hypnotic state, suspended between the dreamlike and the club. With VOID RIFT QUANTUM, R.I.T.M.O. presents its inaugural catalog, distilling the power of contemporary electro and the otherworldly vision of WHITE SOLAR DOG. A debut that clearly establishes its coordinates: impact, exploration, and progressiveness, introduces itself to the world through an inaugural catalogue that distills the present and future of electro: mysticism, power, and precision.

All covers are handmade. They feature a fluorescent strip along the sides for easy identification, and under black light, the Spanish version of the cover is visible. Each disc contains three handmade inserts: a pop-up of R.I.T.M.O., a template, and a paper synthesizer model based on the actual synthesizers used to create the album (a different one on each disc). Each disc comes in a plastic sleeve.

All covers are handmade. They feature a fluorescent strip along the sides for easy identification, and under black light, the Spanish version of the cover is visible. Each disc contains three handmade inserts: a pop-up of R.I.T.M.O., a template, and a paper synthesizer model based on the actual synthesizers used to create the album (a different one on each disc). Each disc comes in a plastic sleeve.

In September 2024, Nacho Piek, Rapha Mundi, Odd Signals and Ibai Machín gathered for four days in a beautiful house in Etxeberri, a small village in Navarre with barely 50 inhabitants. Isolated from everyday rhythm and surrounded by nature, the goal was clear: to create a production camp dedicated exclusively to club music.

The result is Etxeberri EP, the debut of Buenobueno Soundsystem — a work that captures that coexistence in the form of direct and timeless music, designed for the dancefloor. An organic crossing of influences ranging from House, Techno and late-90s Minimal Trance to contemporary UK Bass.

Etxeberri EP will be released on March 13 exclusively on vinyl, in a limited edition of 200 copies. Each record includes an inlay with photographs of the creative process and private access to an audiovisual piece shot by Jesús Iriarte documenting the experience and the spirit behind the project

No further introduction needed for this one