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War Jacques Greenes Debütalbum "Feel Infinite" (2017) der Soundtrack zum Vorglühen, so ist sein Nachfolger der Reflektionsmoment nach dem Rave, hochempfindsam, voller latenter Möglichkeiten. Gleichzeitig ist "Dawn Chorus" sein bislang kooperativstes Werk, an dem Filmkomponist Brian Reitzell ("Lost In Translation") und Cellist Oliver Coates teilnahmen, während Ambient-Künstlerin Julianna Barwick, Rapper Cadence Weapon und die kanadischen Sängerinnen Ebhoni und Rochelle Jordan Vocals beisteuerten. Statt Clubmusik macht Jacques Greene Musik über den Club, er remixt Radiohead, produziert Katy B und Tinashe und tourt mit The xx.

DEAIK is SJ Tequilla’s third record on his own imprint Shot Of T.
A solo affair, where the Berlin based Japanese artist keeps on exploring a variation of different sounds on his new 12″. Thumping Acid, moody ambient, Acid house for a club night, and some more familiar mellow drum machine and melodic pieces.
SJ Tequilla’s most varied record to date. Also with an interesting approach to tempo, where each side shifts between 33-45 by preference of the listener. Essential Shot Of T!

The sought after LP from Zann ‘Strange Ways / Inside Jungle’ originally released as a private press in 1990 finally receives a full reissue.

Zann started life as a 7-member live band in 1982. Founder member Udo Winkler had been a part of New Wave & Post Punk band Konec touring extensively and releasing one LP on Polydor titled ‘Schrille Blitze’. Zann was an outlet for more experimental works heavily influenced by Brian Eno's collaborations with David Byrne and Jon Hassell, German bands like Embryo and Dissidenten, David Sylvian and middle & far eastern music.

In 1988 Udo and Hjalmer Karthaus built a small basement studio with a 4 track tape machine and musical experiments began in earnest. After the limitations of playing live it was an acoustic wonderland and they gave themselves no musical boundaries. The unlimited studio time meant they could pick up ideas and develop pieces gradually, friends would come to the studio to play and songs evolved from extensive jamming sessions. The resulting LP has Middle Eastern instrumentation at its core, particularly wind & string instruments such as the Tabla and Gong, and is a melting pot of influences incorporating elements of Ambient, Jazz and Folk with strong synth programming on a number of tracks. The band pressed up a handful of copies and sold them exclusively at record fairs in Germany and in the intervening years the LP has become highly sought after with copies changing hands for 150 Euros.

The LP has been fully remastered from the original DAT tapes with new full sleeve artwork from Bradley Pinkerton and is pressed on 180 Gram Vinyl.

In a world awash with negativity and fear, you are invited to climb aboard the Mocambo mothership where all colours and creeds are celebrated. The Mighty Mocambos have returned - stronger, tighter and hungrier than ever.
Carrying blistering funk lines in their fingers and worldly influences in their hearts, the unique and distinctive Mocambo sound is not one to be confused with retro bands trying to recapture an era. Eschewing traditional recording methods, this DIY crew are
committed to driving forwards, and 2066 sees them at the height of their powers, broadcasting a call for unity.
After reaching new audiences worldwide and earning critical praise for their two long players on Brooklyn's Big Crown Records in their tropical guise as Bacao Rhythm & Steel Band, the band have reassembled and refocused in their original form, the workhorses behind dozens of 45s on the Mocambo label and beyond. Crossing generations, this album introduces some of the world's youngest funk talent to step up and rub shoulders with soul and rap legends, soul sisters, an elder statesman composer/arranger and a brand new emerging artist out of New York.
___ As with all Mocambo releases, the two sides of the record have been meticulously sequenced by the
band. Side A welcomes us aboard with joyous instrumental stomper Preaching To The Choir, and a call to build bridges from Mocambo chanteuse and percussionist Nichola Richards, duetting with emerging raptalent,NewYorkMCJSwiss.B-girlsandb-boysarecalledtothedancefloorasS uperstradaand Concrete Stardust commence, all buzzing synth lines and relentless drums. New Jersey legend and Big Crown associate Mr Lee Fields is guest of honour for Where Do We Go From Here before a horn workout brings us to a close with Macumba. It's time for a breather.
The B side kicks off with the grand return of the Golden Girl of Funk, Gizelle Smith, a sister who's been busy taking on the world. Composer and presenter Peter Thomas narrates a Return To Space to mark the centenary of the debut of his score to sci-fi show Space Patrol, which first broadcast in 1966. We're back down to Earth and the mean streets for the furious drums and car chase workout of Golden Shadow. Today slows down the pace for a reflective ballad with Nichola front and centre - and here's the next generation: the Mocambo Kidz sing along to their parents' instrumentation for Here We Go, a new kids' block party anthem... with no sleep 'til bedtime. The album closer makes it clear that the Mocambos are nowhere near powering down as Ice T and Charlie F unk bring their A-game for an old school attack which, since you're up bouncing anyway, gives you no excuse not to flip the LP and drop the needle right back on to Side A. Onwards!
___ A summation of their journey so far and a celebration in anticipation of what's to come, the album is set
to take its place in a legacy of open minded, organically recorded music, showering listeners with the crew's maze of tantalising sounds pulled from funk, Afro, hip hop with cinematic composition and storytelling.
Agent J












l 12 Bounce That Ass (RMX) feat. Ice-T & Charlie Funk

Another fine slab of that Disco goodness from the mighty Kojak stable. Toronto party machines & re-edit maestros The Patchouli Brothers step up to the plate this time with 2 monstrous sides of peak-time Disco heat.
'BDSM / Gert A Chance' will not leave your bag, these cuts are primed, ready and able to lift the roof off of your discotheque, road-tested by the bros and deemed suitable the gods at Kojak Giant Sounds & Disco Promotions. Say no more. Essential wax for the discerning mirror ball fiend right here. Limited, as always. Do it!

It's a strange new post-everything musical landscape we occupy.
The machines - you could argue - have been playing the humans for some time, and the conversation became pretty one-sided.
But you know, not everyone is singing from that hymn sheet. That Man Monkz enjoyed the apprenticeship at House PLC more than the opportunity to progress to middle management. Itchy musical feet meant extended exploration of fertile avenues of interest like the Madison Washington & Pan Amsterdam Hip Hop projects, meanwhile the pull of the 4/4 was never far from the studio door, and all accomplished with an assured versatility that shines.
Musical alliances formed in the disparate but related playgrounds of Detroit, Sheffield, Berkeley and Atlanta, all underpinned by an emphasis on seeking out collaborations and gigs, which represented a real exchange of energies, rather than a bank raid.
Letting things percolate in this more measured way means we've arrived here, a follow up of sorts to 2016's 'Columbusing'
This is Monkz allowing the ear ringing of gigs to feedback organically into bright dance floor flashes, which by virtue of their careful crafting are destined to last much longer.
On Zero Sum, we get a much greater economy of elements on the pared down dance floor ammo like 'Freaks N Prophets' & 'Chai Tea', a perfect counterpoint to beautifully realised pieces like 'Them Thangs feat Ms Fae' & 'After Dark with Nikki O' interspersed with funk-heavy workouts and sample jams like 'Easy Still', 'LvnLmtd' & the unashamedly KDJ influenced shamanism of 'WhatUthinkIDo'
It's a pick 'em and stick 'em ride of individual gems and a cohesive whole too. The opposite of thrown together, this has been worked and weathered, naturally. The House always wins, but sometimes...just sometimes.

Casino Times? aka Nicholas Church and Joseph Spencer
from London have been betting against the house for
close to 10 years already, winning big with releases on
Wolf Music, Needwant, Omena and their own Casino
Edits label. The pair also hosts the radio Show “What’s
My Derivative?” on Bloop Radio.
Since Mireia Record’s big cheeses RSS Disco have been keen to gamble with the Time’s
music, routinely lighting up dancefloors with it, a loose connection and mutual admiration
formed over the years and eventually lead to this fine record here.
RUSH & KAWAI
Casino Times demonstrate their cunning yet natural and flowing sound with two originals:
“Rush” and “Kawai”. Both tracks are a proper trip of its own, psychedelic pinball machines
that’ll catapult you to the further edges of the known sphere.
An arpeggiated melody line leads the “Rush”, while a rock solid foundation of hard hitting
drums keep you steady. The melody filters into acidic fringes and a strange voice guides the
traveler to the core of this outer-body experience.
By intertwining a pulsating E-Bass with sharp percussions and a brazen guitar chords,
“Kawai” steers the travels even further out of world’s reach. A whole ensemble of sirens and
vocal fragments warn of imminent rapture. After this, it’ll be hard to return to the mundane.New Release Information
KAWAI (Conga Fever’s Belgian Fries Remix)
Leading the string of three remixes is Mireia’s Conga Fever. Known by now for impeccable
and inspired productions he might just have outdone himself again with this interpretation
of “Kawai”.
Taking cues from Belgian New Beat while sounding unconditionally modern at the same
time, Conga Fever has crafted a bona fide festival anthem. After confidently building up
tension and taking his time in the breakdown, the remix manages to release an incredible
amount of energy. We’ve seen people out of their minds and literally stage dive to this one.
KAWAI (Rigopolar Remix)
A new face and dream cast to the label: Rigopolar aka Menio Brown. The Brooklyn-based
producer and DJ has been on our radar for some years with a string of captivating releases
for Tom Tom Disco, Nazca Records and an upcoming EP on Duro. Especially “Sun Of
Lemuria’s” hypnotic brittleness turned our heads.
Adding a new high point to his repertoire, Rigopolar’s take on “Kawai” is an expansive, dark
journey into the void. Powerful lasers and strobe lights appear to lead the way, emergency
broadcast voices beckon the dancers to the floor. The clobbering bassline and twitching
melody help to reach previously unseen heights.
RUSH (Filburt Remix)
Working his signature slow-burn magic on his remix of “Rush” is Filburt. More than happy to
welcome him back to the label. The O*RS label head, DJ and producer is responsible for
some of our favorite material in the past and does not disappoint with this remix either.
Lush pad sounds oppose salient drumming, slowly tightening the atmosphere while a robotic
voice evokes a melancholic mood. The whole night’s rooted on this fervid bassline and it’ll
carry you into next Monday

Dutch techno duo D&S - or Dennis & Stephan to their parents - hail from Rotterdam and have a penchant for the classic sounds of Detroit. Their previous releases on SK Black, Orbis Records, Indigo Aera's AEX compilations, ARTS and Girada Unlimited have earned them support from the likes of Adam Beyer, Marco Bailey and Ilario Alicante, and this tasty new EP for Abstract Reasoning looks set to find similar favour.

The pitter-patter of classic drum machine hi-hats drive the title track along with swooping, filtered pads and gentle licks of acid, the track gradually evolving into a veritable bubble bath of 303 goodness and gated synth swells. Incidence continues the theme, with gentle cymbal rides splashing over continually evolving acid blips and bleeps while mystical waves of chord melody envelope your senses in a foggy haze.

The second half of the EP flips the script beautiful with two broken beat tracks that show they have a real prowess for melody as well as rhythm. Lost In Sequence's thumping kicks are punctuated by the rolling tribal percussive elements and looming, sorrowful pads. Intricate rhythms and beautiful use of reverb and other FX create a dreamy atmosphere throughout. Partisan sees a morphing, resonant synth motif pulse over another pleasingly thick kick rhythm, and swirling, ethereal layers of atmosphere. All in all it's a superb release that has something for the dancefloor as well as the home stereo.

What are the best non-physical landfills for discarded thought? Do waves transition between naturally occurring substrates and audio signals? Does adrenal fatigue and replenishment in the human brain relate to cycles of euphoria and dysphoria in music? What is the mental effect of visual versus aural repetition? Is all music fictional? Can the language of objects and memories impregnate sound? Are bodies out of fashion? What is the music production equivalent to a green screen in film? What is the best non-physical preservation method for sound? Is film editing a way of ordering memories? Is repetition therapeutic? Are all films fictional? Have physical forms slipped into obsolescence? Did Erik Satie have an anxiety disorder? Is background music parasympathetic? Are physical players more virtuosic than virtual instruments? Is thought finite? Is physical music a fetish? Is reality fictional? What is the most elegant way to float between corporeal and ethereal forms? Do memories deteriorate and fade like audio signals exposed to the elements? Can thought exist without the body?

DJ Richard's first release of 2019 sees him drop four invigorating electro tracks on Flexxseal titled "Eraser".

Emerging from the Providence noise scene, DJ Richard forges a path of disciplined selectiveness as a producer and DJ with his idiosyncratic style allowing him to make impressive, self-assured connections between 80s EBM, new beat and Italo disco, electro, techno and "post-minimalist" house. DJ Richard's feral approach evolved from the roots of his White Material imprint which quickly achieved cult status after early releases from himself and co-founders Galcher Lustwerk and Young Male.

As a solo artist, DJ Richard continues to push the boundaries of his talent and influences reflected in his two utterly distinctive and bewitching albums released in alliance with influential German electronic label, Dial. "Eraser" sees him join up with fellow American Christopher Joseph and his Flexxseal imprint as DJ Richard masterfully maintains his skill in propagating ephemeral and raw sounds with his aptitude for electronic body control.

"Critical Damage" kicks things off with resilient oscillations fused beautifully with angelic leads and thudding percussion reflecting a post-punk aesthetic while "Eraser" delivers tough, acidic swirls undulating beneath sharp, broken grooves and growling undertones.

On the flip, a slow, chugging drum sequence balanced with haunting modulations and machine-like vibrations that echo throughout take the focus in "His Threshing Floor" before "Casca's Theme" concludes the EP with meandering, robotic synth flutters and distorted bass resonations driven by hypnotic rhythms and world-ending atmospheres in this powerful electro cut.

"Nicolas Gaunin's surreal sound experiments lift you out of the everyday and transport you to an off-world Tiki lounge set high amongst the tree tops of a tropical rainforest, where you're surrounded by bizarre, colourful creatures and weird psychotropic plants. Noa Noa Noa is modern Dada, a neon soundtrack to your most outlandish fever dreams.
Nicolas Gaunin is the alter ego of Nicola Sanguin, part of the vibrant experimental music scene around Padua, Italy where he plays in outsider rock groups The Lay Llamas and Orange Car Crash. Nicolas Gaunin is his solo electronic project, a bright and playful cosmic mash-up that uses the rhythms of traditional African percussion groups and skews them slightly to create unsettling, off-kilter grooves. These drum machine experiments are laid over a teeming microscopic sound world of bird calls, insect chatter and weird jingles reminiscent of advertising earworms or video game soundtracks.
Noa Noa Noa takes its influences from music from around the world, and inspiration from high and low culture; from composer Gyorgy Ligeti to the cosmic sounds of Italian DJ Danielle Baldelli, from the experimental music of Moondog or Harry Partch to the playful sounds of Francis Bebey or the exotica of Martin Denny, from Iannis Xenakis to 8-bit video game music. Noa Noa Noa ends up sounding something like the imaginary soundtrack to the Nintendo Gameboy version of a lost William S. Burroughs novel.
Incredibly, most of the tracks on Noa Noa Noa were recorded live in one take with the express intention of creating music that is, in contrast to much of today's electronic music, bright, sunny, light-hearted and mischevious. The resulting album is both totally essential and also completely throwaway.
These tracks were originally released in 2018 by Artetetra Records (Italy) as Noa Noa (cassette & digital) and Danse de l'Oiseau (digital only). Hive Mind Records are proud to present Noa Noa Noa on vinyl for the first time."

Die besten musikalischen Außenseiter sitzen nie lange still. Sie mutieren stetig, verwandeln sich in neue Formen und weigern sich, in Schubladen gesteckt zu werden. Floating Points hat so viele Gestalten, dass es ohnehin nicht einfach ist, ihn irgendwie einzuordnen. Da ist zum einen der Komponist, dessen Debütalbum „Elaenia“ im Jahr 2015 begeisterte Kritiken erhielt, darunter als Pitchforks „Best New Music“ und Resident Advisor's „Album of the Year“ - und ihn von den Tanzflächen auf die Festivalbühnen weltweit brachte. Dann ist da wiederum der Kurator, dessen Plattenlabels gefühlvolle neue Klänge in den Club gebracht haben, und der auf seinem geschätzten Imprint Melodies International alte Klänge wieder zum Vorschein gebracht hat. Ferner ist da der Traditionalist, der Disco-Typ, der Maschinenmusik macht, der Digger, der stets auf der Suche nach unentdeckten Edelsteinen zwecks Wiederveröffentlichung ist. Und dann ist da noch der DJ, dessen offener und zugleich mutiger Umgang mit dem Genre ihn einst ein 20-minütiges Instrumental des Spiritual-Jazz-Saxophonisten Pharoah Sanders im Berghain spielen ließ.

Nach der Veröffentlichung seiner Zusammenstellung von funkelnder, analoger Ambient- und Atmosphärenmusik für die geschätzte „Late Night Tales“-Reihe, stellt Floating Points' erstes Album seit vier Jahren, „Crush“, alles, was man über ihn zu wissen meint, wieder auf den Kopf. Nicht minder als ein knallender Donnerschlag elektronischen Experimentalismus’, dessen Titel auf den langsam überkochenden Schnellkochtopf anspielt, den die aktuelle politische Gemengelage in der Welt suggeriert, in der wir uns derzeit befinden. So hat Shepherd einige seiner bisher härtesten und treibendsten Tracks produziert, mit Blick auf die britische Bass-Szene (aus der er in den späten 2000er Jahren selbst hervorgegangen ist), wie beispielsweise die zuvor veröffentlichte markante Lead-Single „LesAlpx“ (Pitchforks „Best New Track“). Auf „Crush“ sind allerdings auch einige seiner ausdrucksstärksten Songs zu finden: seine charakteristische Melancholie ist in den erhabeneren, sanfteren Momenten des Albums oder im Buchla-Synthesizer zu finden, dessen unheimliche Modulation das Album prägt.

Sein neues Album fühlt sich augenblicklich an - und lebendig. Es ist der Klang der vielen Seiten von Floating Points, die schließlich miteinander verschmelzen. Es bezieht sich auf die „explosiven“ Momente während seiner Sets, die normalerweise auftreten, wenn er unerwartete Genres zusammenwirft, aus dem ganz einfachen Grund, weil er sich darüber freut, diese Platte „jetzt wirklich laut hören zu können“ und dann die Nadel aufsetzt. Es ist „genau wie das, was passiert, wenn man zu Hause mit seinen Freunden Musik spielt und diese sich überall im Raum ausbreitet.“, erklärt er.

Second release by Saverio’s Out Of Tune, this time including a remix from the Chicago based producer Steven Tang, under his alias Obsolete Music Technology.

’La Macarena’ is one of the brightest lights in Barcelona’s glimmering nightlife, and a landmark of the Spanish techno scene. 17 years in daily business brought thousands of electronic artists behind the decks and countless dancers and electronic music lovers on the floor of the legendary micro club. The new music label ’Macarena Musica’ features musical contributions by ’Macerena’ resident artists and special guests - all of them share a big love for ’La Macarena’ and Barcelona. The passionate crafted releases come as limited vinyl-editions and extended digital packages, complete with expressive black-and-white artworks, capturing the atmosphere of the club and the streets of Barna.

For the debut release, ’Macarena’ longterm-resident Patrick Zigon teamed up with his friend Paulo Olarte for ’Belleza Tropical’ - a declaration of love to the club and the heart warming vibe of Barcelona, which is strongly coloured by the latin way of life. It’s not surprising at all that this beautiful inspiration led Patrick Zigon to a tropical excursion into the deep cosmos of latin-infused Techno and House music. As in many previous collaborations, Paulo Olarte refines the productions of the Berlin-based producer with his naughty vocals, resulting in a poetic and love-driven statement for the latin familia. ’Belleza Tropical’ is the first glimpse into Zigon’s third studio album ’Between The Lines’, coming up in summer on his ’Traumraum’ imprint. Beside the Original and Instrumental versions, the single features remixes by the Spanish master of hypnotic techno, señor Eduardo De La Calle, Paulo Olarte and Blanali (digital only). Desde Barcelona con amor!

“This is my 1st solo rocket.
Tracks presented here were matured at the museum for few years and actually some of them came to
me at my very first attempt on solo music, being myself only involved with bands till then.
Everything was recorded at home exposed to machines i didn't know, using older and newer gear. At
some point midi samples were also used, taking advantage of my computer promises #anythingoes.
Turns out that cold meat lights no fire so attached to this music are ghosts of my life transcribing their
emotions into techno. First half of this rocket is more on a negative tip, the second half is more
positive, like we all should take it. Either way you should listen to both sides cause they complement
each other, so try to relax and enjoy the ride, or get off your ass and jam…"
Tiago’s (LUX/DFA) seminal solo album.

7"

As we continue our project with the Foundation voce of UK Reggae - Sandra Cross - the next instalment is the electrifying 7"| Sound System weapon called 'Jah Love". This monster riddim has been shaking up speakers across the dub world all summer.

Sandra Cross needs no introduction, she is a true legend whose career begun at the age of 14 with a no.1 hit in the UK Reggae charts. Since then she has gone on to be one of THE defining female voices of British Reggae. Sandra’s award winning career has seen her hook up with the likes of Mad Professor and Sly & Robbie for a near endless round of hit singles & albums.
Vibronics, the future sound of dub, have been vibrating the world with bass since 1996. Their music is at the forefront of the UK Dub scene, proven by over 60 releases on their own legendary SCOOPS label as well as a host of albums, singles and remixes for a myriad of other labels such as Jarring Effects, Dubhead and Jah Tubbys. In the studio they have worked with Michael Prophet, Iration Steppas, Macka B, Aba Shanti, Brain Damage, High Tone, Big Youth, Gaudi and an almost endless list of dub & reggae luminaries.

Debut release from Australiain artist Destiny71z, the first part in a trilogy of EPs specializing in wild analog experiments in house, techno, electro and garage.

Created using Buchla Music Easel, Buchla 200e System, Various Eurorack Modular Synths, drum machines and synthesizers. Four mind-blowing tracks of bubbling electronics. The full EP's will be vinyl only with select singles dropping digitally.

Essential music for fans of Legowelt, Mr Ozio, Floating Points, Pepe Bradock etc.

The Force Dimension was formed in the late 80’s by René Van Dijck and Tycho de Groot. After some demos and appearances on compilations, the band signed a contract with the Belgian label KK Records. Their self-titled debut was released in 1989 curiously on two different versions, one produced by Luc Van Acker (Revolting Cocks) and the other co-produced by Dirk Ivens (Klinik, Dive). The duo continued developing a very unique sound mixing EBM, industrial and different electronic influences. In 1990 they finished what is considered their definitive work, “Deus Ex Machina”, followed by the mega club-hit “Algorythm”. The band released another single next year, “New Funk”, and after a couple of compilations stopped to work together in 1997. During the next years there were some failed attempts to reunite but it wasn’t until 2013 when The Force Dimension was resurrected by René Van Dijck.
“Deus Ex Machina” is being now re-released on an expanded edition with all original tracks plus some bonus including remixes of “Algorythm”, some rare tracks from old compilations and new versions of the unreleased songs “Fatal Erection” and “Scanners”. Limited edition of 500 copies on double vinyl and gatefold sleeve.

2x12" Repress


January 1981 found Gudrun Gut and Bettina Koster in Christopher Franke’s Berlin-Spandau Studio recording their first Malaria! EP (Zensor Records). Christine Hahn of The Static with Glenn Branca and Barbara Ess, joined in from New York, and Manon P. Duursma fresh from Nina Hagen’s O.U.T. project and Susanne Kuhnke completed the Line-Up.

Malaria! started touring intensively soon after the release of their 12”, commencing with a concert with New Order at Brussel’s Ancienne Belgique, and going on from there to concerts with Siouxsie and the Banshees, Birthday Party, The Slits, The AuPairs, Raincoats, Nina Hagen, John Cale, Einstuerzende Neubauten. They played venues as diverse as the Mudd Club, Peppermint Lounge and Studio 54 in New York, the Documenta in Kassel, the Bat Cave in London, Les Bains Douche in Paris, Milky Way and Paradiso in Amsterdam, ICA in London, the Piazza Santa Maria Novella in Florence and Markthalle in Hamburg and naturally, again and again, at the SO36 in Berlin.

While touring, Malaria! used their time off to record in Studios in New York, London, Brussels, New Orleans, and in Berlin (How Do You Like My New Dog? 7”, Weisses Wasser 12”, New York Passage 12”, Revisited MC, Emotion Album). At the BBC studios in London Maida Vale Malaria recorded an Kit Jensen and a John Peel Session.

Malaria! took a break in 1984 - Bettina and Christine re-located to New York, and Gudrun and Manon stayed in Berlin to form, with Beate Bartel, Matador, but not before they recorded their Mini-Album, Beat the Distance. 1992 Gudrun, Bettina, Christine, and Manon met up in New Orleans with Jim Thirlwell (Foetus) to record Elation 12”. Elation was followed by Cheerio, Album, which again was recorded in Berlin.

Chicks on Speed did their own version of Malaria’s song, Kaltes Klares Wasser in 2001, and the Remix went into the German Top 10.

Malaria has been an instrumental part of Berlin Music History, as recently presented at the „Zurück zum Beton“ at Düsseldorf’s Kunstakademie, Kunsthalle Wien „Punk!“, „Geniale Dilletanten“ Goethe Institut, and in B-Movie.

BIBA KOPF 2019
The theme song for that great German road movie yet to be made, Malaria!’s 1981 single “How Do You Like My New Dog?” etched the E into the motion music of their soon-come debut album Emotion with its trail-out line “Immer vorwärts, nie zurück...”. Always forward, never back: from West Berlin to London, Paris, New York and Tokyo... from here, there and everywhere to eternity, the Autobahn goes on forever, with Malaria! at the wheel, spinning new moves from timelines crossed in records and songs right on the money evoking Zarah Leander, fighting the power, staring down Death, and a whole lot more. In all, one merry hell of a ride, and on the evidence of Compiled 2.0, it’s not over yet.

MARK REEDER 2019
"Even today, their originality in everything from sound to style, has proven just how relevant Malaria! are. In my opinion, their music has stood the test of time. To me, Emotion sounds as good today as it did when it was first released and it was a pleasure to revisit it. They might not have had any zillion selling albums, and their image might have been copied, while their sound could never be. They remain exclusively unique and their influence and legacy will reach far into the future. This band is both an inspiration and a statement and they prove what five very creative girls can achieve, if given the right support to allow them to evolve, and it is exactly that, which has made Malaria! Germany’s most successful and renowned, all-girl band...“

DIEDRICH DIEDERICHSEN 1991
"...Malaria! put across so many clear, manifest, attractive, certain, muscular, and harsh symbols, just as they refused - defying the customs intrinsic to these symbols and the worlds in which they circulate - to weave all these things into a readable, reproducible and manageable, generic text..."

Beijing-based techno producer HWA (aka ELVIS.T) is releasing his first 12" EP "Granular Line" on Ran Groove, the sub-label of Bejing's Ran Music. This EP has 2 Deep Pulsating Techno tracks included as well as one Droning Ambient track produced using his customized modular synth system. As one of the leading figures in China's techno music scene, HWA's left-field experimental sound design, delicate poly rhythmic beat groove, dark and twisted massive soundscapes and the full hardware workflow, have earned him a reputation across China's dance music scene. Granular Line is the crystallization of HWA's persistent efforts on using the modular synth to produce techno music, it is the new envelope of his techno sound aesthetic.

HWA was born and grew up in Taipei and kicked off his DJ career in 1998 and soon started to produce his own music. He relocated to Beijing in 2006 and immediately became a part of China's electronic music scene, which had just emerged a few years before and was on its fast-rising phase. HWA is considered a brute force in the promotion of techno music and culture in the country, he was the early co-founder of Beijing's Lantern club, the most influential techno club in China's capital, he was also the co-owner of Acupuncture Records, which is the only techno label in China back in the 00's. In the past decade, he has played in the finest clubs and festivals in Europe, such as Tresor in Berlin and ADE festival in Amsterdam, as well as the top clubs in Toyko, Seoul, and Taipei, where Asian's best dance music scene exists. In 2016, he appeared in China's first ever Boiler Room event with his modular synth system, created the climax of that night and his live set was considered one of the best moments of Boiler Room China.

HWA has deeply embraced modular synthesis in recent years and it has become the centerpiece of his music production workflow and live performances. He attempts to explore randomized beat sequences and experimental sound design furthermore. He's one of the initial members of The Modular Commune, a Beijing artist community focused on the use of modular synths, which has gained a lot of attention across the globe. Through his music work and live sets, HWA's unique athletics and understanding of techno music made by machines, has become a unique label of his.

Pregnant Void returns with another of their deeply involving and thought-provoking albums, this time from Berlin based sound designer and live-performer Francesco Devincenti.

Devincenti has been making music all of his life and quickly established himself back home in Northern Italy. To further his talents he headed to Berlin to study at the S.A.E. Institute and soon went on to a job at Analogcut mastering studio. As such he is a sound design wizard with an exceptional ear for detail and someone who can get real meaning and soul of out the machines he often solders together himself. He is part of a couple of live hardware duos - MORK and TDV - and always fuses ambient, techno, distorted grooves, jungle beats and dub moods into his immersive recordings.

This new album draws on ten years of life experiences and uses music as a way of telling his own autobiographical story. "With the album I try to explain what I have inside in a way I cannot using only simple verbal communication: those moments of Brutal Reality where you lose something very important and cannot fully express yourself." Though always obsessed with finding his own musical voice, Devincenti is also inspired by studio masters like King Tubby, Adrian Sherwood and Mark Ernestus. His experimental music follows no existing path and is made on modular systems that result in unpredictable and unconventional ambience and rhythms. A number of collaborations add more flavours to this most rich and rewarding album, including friend Hi.Mo, label boss Simone Gatto and vocalist Alice Lobo.

Brutal Reality is filled with truly freeform electronic music - sounds without borders, but with very real narrative and an absorbing sense of emotion that makes it a moving listen in more ways than one.

"We Can Do Anything We Want Because They Say We Can't Afford The Police"

Talking Heads lost in Ancoats. Prince in a Berghaus. The Compass Point All-Stars meet the Piccadilly Gardens Spiceheads.
Welcome to the world of SEE THRU HANDS.

Here to bring salvation to a Broken Brexit Britain, See Thru Hands is a fresh band from Manchester with hooks for days and a SERIOUS live vibe. Their debut EP on Manchester legend RUF DUG's label RUF KUTZ - "The Hot City EP" - brings you two new songs backed with remixes tested on the world's best dance floors.

Opener HOT CITY's energetic punk/funk conveys a dark story of British city life outside the London bubble.
Our councils are fucked, our public services neutered and all anyone cares about is when Deliveroo is gonna be available in their neighbourhood. Throw away your post-apocalyptic fantasies because it's already like that - the only option is to dance. It's grim up north.

After dancing ur arse off and simultaneously coming to the realisation that we're all fucked pls don't worry - See Thru Hands are here to pick up your pieces with NOTHING TO LOSE, a whimsical modern pop banger with shades of New British House that will instil in you a sense of freedom and ease all your worries.
Yes we are all going to hell in a handcart but with See Thru Hands as our companions, I think it's all gonna be just fine.

The package comes backed with a pair of deadly remixes - boss man RUF DUG strips back Hot City to the bare bones, rigs up a couple of jazzy neon lights and a DMX drum machine and brings you his 'Metrolink Vibes In The Area' version, while young upstart METRODOME completes the all-Mancunian lineup on this record with a twisted Marmite 2-step interpretation that is either gonna make you buzz or spew. It's not for everyone.

Warehouse Find!

Flight Mode makes a welcome return to Delusions, this time joining forces with Joel Brittain to come up with another killer release in the form of Burn This. Those who caught his last one It’s So Nice last year will know the drill…. epic, rolling, dubbed-out loopy uptempo house based around a classic disco bassline which patiently builds, increasing in intensity Wild Pitch style. Burn This treads similar waters with subtle arpeggios floating around an incessant groove whilst layers of vocal pads build to a crescendo over a beautiful ten minute ride. Completely flipping the script we’ve got the man like Medlar stepping up for remix duties and delivering just the kind of bonkers reworking we were hoping for. Keeping the trippy vibe of the original in place but opting for a more drum machine-programmed groove Medlar’s remix turns the shuffle factor up to ten and adds a rude bassline and intense synths which make it a real ear worm. Finally, Flight Mode gives us his own Tricky Dub of Burn This which adds a straighter 4/4 vibe and goes heavier on the FX creating a perfectly bubbling track which seems to simmer without ever boiling over.

Halav Av is a Tel Avivian super-group consisting of members of the Israeli alternative music scene. Alonzo and Amitkes of The Crotches, Niv of Red Axes, Yovav of Shame on Us and Adiel of Hila Ruach & Future Shock.

This summer the band will release their first album, the first singles to meet the public’s ears will be To Live, Talk to Me and Mt. Beitar. These singles and the rest of the album were recorded by Uri Mixmonster of The Apples straight onto two-inch tape like the good ol’ days.
In addition to Mixmonster’s recording expertise, the album features Cello virtuoso Noa Ayali of The White Screen and Keyboardist Shay Landa of The RPS Surfers.

Wrapped up in a cover by the praised Israeli artist David Tartakover, the songs in this album are meant to be short and ticklish just like a father’s bristles. Because Father’s Milk is the essence of male gentleness. It is romantic, optimistic, nostalgic and naive. It’s childhood. It’s longing. It’s longing for childhood. Father’s Milk is the feeling of fatherhood, even if without offsprings. Father’s Milk is love, it’s music, it’s nourishing music.

Half of the dark synthwave duo THE HUNT ,Herbert West is a French electronic producer heavily influenced by 70’s and 80’s horror soundtracks. This artist tends to use vintage, analog and modular synths and It ́s important to point out that he has released with the Hunt two albums through the well-known labels Giallo Disco (2014) and Bordello a Parigi (2018).

Vortice Mortale is his new project in which he mixes space disco and dark synth music.It is clear as water that Herbert West loves Italian horror movies and French disco music of the past decade considering that this work “Memento Mori” is perhaps a perfect combination of powerful beats, enigmatic passages and wicked catchy melodies.

Shovel Knight began as a modest, yet highly promising Kickstarter project in March 2013. Billed as 'a groundbreaking love letter to 8 bits!' by Indie developer Yacht Club Games, this 2D side-scrolling platform game released in June 2014 to universal praise and accolades. Fans and industry professionals praised Shovel Knight for its charming retro-2D visuals, humorous story, fun characters and strong gameplay design, which all came together to offer a game that is nostalgic yet very modern. The efforts of Yacht Club Games paid off when Shovel Knight was won the prestigious 'Best Independent Game' award at The Game Awards 2014. The game's chiptune soundtrack, composed by Jake Kaufman and Manami Matsumae, is integral to the game's modern-retro identity and has been similarly praised for its outstanding arrangements, memorable melodies and strong technical composition. This definitive soundtrack contains all music from the original Shovel Knight game released in June 2014, with a vinyl tracklist crafted by Jake Kaufman himself. The package cover and inner-gatefold have been designed exclusively for the soundtrack by Hitoshi Ariga; an interview with co-composer Manami Matsumae; and character artwork from the game.

Having spent the past few years quietly building up a dedicated crowd of followers and dancers as a club night, Scenic Route step out for their first offering as a label with three expertly crafted club cuts from Desert Sound Colony, an artist whose pumping productions have provided some of the parties’ most memorable moments. Since his debut release in 2014 on New York’s Scissor & Thread, Desert Sound Colony (real name Liam Wachs) has been refining a deeply personal club sound with releases for the likes of Futureboogie, Me Me Me, his own Holding Hands imprint and most notably of late, Nick Höppner’s Touch From A Distance. In addition to his productions garnering support from the likes of Midland, Raresh, Andrew Weatherall and Lena Willikens, Wachs himself is also a highly sought after DJ whose skills have seen him land bookings at some of the world’s most well respected clubs and festivals, including two stints at Berlin’s Panorama Bar already this year.

His prowess as a DJ has undoubtedly informed the music featured on the Cartographer EP. All three tracks are primarily designed for club use yet their intricate arrangements and undulating instrumentation ensure they remain captivating, despite the effectiveness of their functionality. The EP’s opener, “The Cartographer”, is a sleazy machine-driven odyssey, continuously building and evolving until snapping back into its original groove with a vengeance. “Gypsy Moth” sees Wachs team up with fellow Holding Hands affiliate Guava (real name Bradley Hutchings) for a dangerously syncopated drum workout doused in warped agogo bells, spliced vocals and a two-note bassline with a distinctly London flavor. Rounding the release off is “Budapest”. The combined power of the track’s interlocking kick and bass provide a solid stage for Desert Sound Colony to unleash an eerie arp and pads combo alongside a flurry of stuttering percussion and twisted samples while intermittently sprinkled with an unintelligible and downright ominous pitched down voice.

Mais Alors !!?... c’est à l’envers is the first release of new French Label ICI BIENTÔT (Here Soon ...), launched by Paris Fleamarket’s Record Shop, Geminicricket. On the Menu... Suspended Time,
Unsung Heroes, Hidden Records and Next Door Marvels.
In 1983, NEF released their first and only album, Mais Alors !!?... c’est à l’envers. At that point, the band already had a long history, interwoven with that of various musical trends and alternative
movements from the late sixties to the early eighties. That’s certainly what makes this record so special and able to conciliate such different worlds as Electronic Prog, Film Score, New Wave …
The band’s destiny was most certainly tied to their native region, the South of France, an idyllic environment that attracted a number of musicians during the 1970s, allowing the group to attend many
concerts or share the bill with several groups that have gone on to become well known: Can, Ash Ra Tempel, Magma, Catherine Ribeiro, Zao, Chêne Noir, Art Zoyd …
Founded in 1975 by Richard Lorenzi, NEF started as a kind of Free Rock band with multiple influences, going from Prog to Musique Concrete, in which any method of making sound, any way of
bringing out sounds was good … 2 musicians and a photographer, full member of the band who was projecting slides over the music and influenced their dreamlike universe. In 1978, Vincent Tronc came on board with his keyboards and synths. While the group had been influenced by electroacoustic techniques until then, Vincent broadened NEF’s horizons, bringing in a host of new influences: Ash Ra Tempel, Kraftwerk, Klaus Schulze … the beginnings of electronic music. When the album is recorded in 1983, new directions were taken and changed NEF’s usual sound.
First, the idea of playing the accordion, clearly not a common thing and a new Drum Machine, the Roland CJ-5000. Pressed the day a figure of French Chanson died, NEF’s pressing is botched up, a
good part of the records were unusable since the records came out totally warped. Then, at the end of the eighties the small stock of remaining records is lost in the sadly famous flood of Nîmes. 2000
records had been pressed, but very few survived! All the more reason to reissue Mais Alors !!?... c’est à l’envers, an unsung record, free and multifaceted, a quirky and daring musical ovni, transcending eras and genres, between synthetic
Krautrock and Film Score, reminiscent of NEU! (with a red nose), François de Roubaix and Pascal Comelade.

Vinyl Only

Jack On Black consists of Jib Rafill and Joe Le Groove, the pair met 6 years ago when Joe was djing in Malta. Their love electronic music, machines and old school sampling techniques sparked a desire to collaborate and organically work towards writing various genres of music, including Dub, House, Techno, Downtempo and even Film Scores.

Their music is made from passion, a love of technology and Roland outboard gear. Both have been on the scene for many years and separately have their own unique journeys and projects. Joe Le Groove started producing in the mid-nineties and was taught the basics by Darren White aka D-Bridge. He currently has projects on labels such as Desolat, Defected, Moon Habour,Snatch, Defected, Heidi's Jackathon

The pair also have released music on Cesare vs Disorders Serialism and written scores for forthcoming independant films.Their sets are performed live using outboard gear, mics, turntables and EFX. Expect the unexpected from this unlikely duo...

Plutonian Funk is an EP that has been crafted for lovers of House & Techno. It has been destroying dance floors across the world by a handful of the scenes elite, such as Seth Troxler, Quenum Richy Ahmed, tINI, Cesare vs Disorder, Carlo Lio, Victor Calderone, Marco Carola, Audiofly, Dubfire and more.

The EP is split across vinyl and digital, all the tracks on vinyl will never be released on digital format.

The boys have been working hard over the past few years to develop their sound and forthcoming live performances with visuals

Enter Jack On Black…

Finally, the long awaited follow up to DJ Duke's house classic "Old Skool Deep Sampler Vol 1, which featured homages to Marshall Jefferson (Jefferson), Fingers Inc (Fingers), Larry Heard (Heard) and Ron Trent (Trent). This follow up E.P. (Vol. 2) features another string of worthwhile homages to the late Frankie Knuckles (Knuckles), Farley Jackmaster Funk (Farley), Chip E (Chip E.xtacy) and Boyd Jarvis (Jarvis).

Duke has always respected the pioneers that created the house/club scene and set the grounds for what's become of the biggest music crazes in the world. For example, Boyd Jarvis used to play live on air with Timmy Regisford on NYC radio station 107.5 WBLS using drum machines for the beats and then play keys on top of it. Duke tried to keep the tracks as close to the feeling of these pioneers, selecting the right drum machines, sounds, and overall vibe, but still keep the tracks fresh and not derivative.

The 6th Bodytrax release is the first in a new series and marks the first appearance of artists other than Bodyjack on the label. He has invited some of his favourite kindred spirits along for some duelling action over the machines with the simple premise for each EP; both deliver a track apiece, which is then remixed by the other. It is with great pleasure to say that the first to step-up to the plate is Fiedel (MMM, Ostgut Ton, Berghain etc). The Berliner whose work has featured in Chris's DJ sets for aeons, has been behind some of the music that has without question influenced the Bodytrax label since the outset. His idiosyncratic production style meshes perfectly with Bodyjack, and it's safe to say fans of both will not be disappointed to have this duel kick off the series.

For their second release Anopolis Records' presents a versatile V.A. compilation with 4 tracks ranging from breakbeat to lo-fi house and techno while acid vibes are evident throughout.

FETISH features legendary POISON IDEA members Steve “Thee Slayer Hippy” Hanford and Eric “Vegetable” Olson, and later-era Poison Idea guitarist Brandon Bentley.
Engineered by legendary producer Billy Anderson (Melvins, Neurosis, Cattle Decapitation, Sick of it All, High on Fire, etc.)
It also includes 3 of the members of the Portland punk rock machine that is LONG KNIFE, Colin Jarrell, Scott Goto, and Chris Reid.
With a single already out and a vicious onslaught of new material put together, we here at Blackhouse are honored to be putting out their debut full length album, “WORLD EATER” in its entirety in physical form.

Future Times is very pleased to announce that our next release will be a 7" single from Oakland's Motoko & Myers! This duo is made up of Wonja & DJML, both of whom have blessed electronic music in numerous ways recently together and individually, via releases on Jacktone, DJing together for their Herzog Hideout radio transmissions, and their amazing album from 2018, Basis Key, released via Bass Clef's digital imprint Open Hand Real Flames.
M+M make music from a really special place, wild tones, drum-machine-breaths and weird, pitched synth space combine with a sense of rhythm that folds in on itself. B-Side "Whimbrel" represents this perhaps best of the two songs, with a loping, wandering-on-the-beach sense of synth space and not-quite-dancehall drums. "Plover", however, is a perfect set-starter for the techno freaks, with the lightest drums coming in halfway over a thick, shifting loop of perfect glass techno for the DJs. Tip!

There's a distinctly UK thread throughout Off Grid; from the broken drum machine workout on Isit and the acid bass line on New Levels to the jungle- influenced breaks on High And Mighty and Turnin', Romaal Kultan has produced a compelling EP that will provoke plenty of gun fingers as well as nodding heads.

Jatinder Singh Durhailay and David Edren released Tea Notes as a cassette back in April of 2018. London-based Jatinder Singh Durhailay is a painter and student of Indian Classical music. He has trained in both the sitar and the Hindi singing technique, Dhrupad. He also plays two traditional Sikh instruments; the bowed, stringed Dilruba and Taus. Poetic Pastel Press issued his solo debut, The Last Ballad Of Mardana, in 2017. David Edren`s expertise lies with machines and modular synthesis. His Kosmische and New Age-Inspired electronics have featured on numerous cassettes, and compilations, produced for imprints from the current Belgian underground, such as Jj Funhouse, Social Harmony, and Ultra Eczema. These recordings appearing, since the turn of the millennium, either under his own name, or the moniker DSR Lines. Jatinder and David’s collaboration, Tea Notes, is a celebration, a meditation, on both the beverage, and the communal time shared imbibing. The coming together to partake in its ritual. Each of the six tracks represents a different infusion. The opening piece is a tribute to semi-oxidised Oolong, from China`s Wuyi Mountains, with hammered dulcimer-like glissando. Gongs shimmering, gently crashing, as if signaling a change in the weather. A calm of thin, stretched synths and Ai angels introduces Tulsi from India. The Holy Basil of Hinduism, used in the worship of Vishnu, Krishna, and Rama. A traditional herb of Ayurveda and Siddha medicine. Automated arpeggiated sequences raising a vibrating wall of hallucinatory sound. Pairing swooning strings with a racing robot heart. Ceylon is a modern twist on the classical raga. Serving to tell the story of a tea smuggled into Sri Lanka in the 19th century. Plants stolen from South West China, where the brew had been enjoyed since the days of the Shang Dynasty (1766 to 1122 BC). The contraband founding fresh industry in its new home when the indigenous coffee crops failed. Muted organ and sleepy, treated sine wave microtones describe Kava, the Polynesian fireweed root, whose extract serves as both sedative and euphoriant.Shincha are the first young leaves of the season. Picked in Southern Japan and steamed to prevent oxidization, retain their flavour and green / gold colour. Their musical counterpart finds Edren establishing an ecclesiastical drone, while Durhailay`s strings chart an ancient romantic ache. Sonic stars shine. Singing out to the infinite, the universe, before dissolving into knots of Radiophonic Workshop noise.Melodies treated with subtle sustain and delay denote Pu-Ehr, from the Yunnan province. The only truly fermented black tea - made distinctive by the action of bacteria, moulds, and yeasts. Its musical themes hovering in the vapour trails, the atmospheres, they themselves create. Spiraling, soaring, reaching for the heavens, while pretty music box glitches - tiny chimes turned in on themselves. Catching, reflecting, like light at play on fresh running water. (words: Robert Harris)

The Juan Maclean return to DFA with a compilation LP of 12-inch singles they’ve amassed over the past six years – re-edited, re-mastered, and ready for fans who may have missed the tracks the first time around. From the dub house sway of 2013’s “You Are My Destiny” to the high-energy stomp of this May’s “Zone Non Linear,” and featuring two never-before-released tracks, “Quiet Magician” and “Pressure Danger,” The Juan Maclean once again justify their longevity as a musical force that is more than capable of repurposing club tracks for every setting.

The Brighter The Light is put together in a way that lends itself to appreciating the sheer banging quality of the songs while simultaneously being able to dance to them in your living room. For example, take “Feel Like Movin,’” which Pitchfork called “gloriously beatific” and “pure DFA gold.” In the new remastered version, the fullness of the keys and the kicks takes over, unfurling across the listener. Deep house rhythms, sparkling synths and a certain spaciousness are what’s emphasized across the record. Gone is the slow-motion melancholy disco from their recent full-lengths – The Brighter The Light is all fierce enthusiasm and dance floor missives, perfect for those who aren’t quite ready to let go of summer.

Juan Maclean is a DJ and producer who has been a mainstay of the New York club scene, as well as maintaining a rigorous international touring schedule, since the release of his first records on DFA in 2002. Vocalist Nancy Whang is his longtime collaborator, best known as a founding member of LCD Soundsystem and a busy touring DJ. Together, the two artists have released an extensive catalogue of 12” singles and full-length albums for DFA, including 2014’s seminal In A Dream LP. The proper follow-up studio album will follow in 2020.

RMXD Versions of TB’s 2018 release “Night Heat”. With contributions from Gerd Janson, Sascha Funke, DJ Hotel and Bostro Pesopeo it’s all in the game; tropic machine rhythms, dist Chicago grooves, pinball lazerfunk and a touch of newromance techno.

Producer, part-time DJ and Permanent Vacation label co-head Tom Bioly aka TB from Munich, Germany, had a first track released, on John Talabot's vinyl-only Hiverned 10" imprint, called "Invitation To Love", which was voted amongst the best 10" releases by UK Fact magazine. GROOVE magazine wrote "..entirely superb..“, about the follow-up EP "City Girl" on Permanent Vacation, of which the title track has been licensed to the independent film „All These Sleepless Nights“ by director Michal Marczak. In 2017 TB followed with “Heartbreak Hotel“, a double twelve-inch release with eight tracks of melancholic dance noir set in smoke-filled darkness.

"Celebrity clouds" is compiled of four songs, which have been produced and recorded in 2018. It's an online collaboration of Alexandre Kordzaia (kordz) and Natalie Beridze. These two came up with the concept of the record uneventfully, after recording their first track "Celebrity clouds". Beridze's lyrics came out completely irrelevant to Kordz's music, that adopted a flair of humor and sarcasm to it. After that, they decided to stick the line of weird lyrics on top of synth, piano and ambiance recordings, played live by kordz. Musical ideas belong to kordz. Beridze would complete the tracks, adding few instruments (or none, in some cases), wrote lyrics and recorded vocals.

The artwork of the vinyl, made by Georgian artist Thea Djordjadze, resembles the concept of the music nonetheless. As though having nothing to do with neither celebrities, nor their clouds, it shows the sadness and the beauty of half-molten candle.

Alexandre Kordzaia aka kordz is a Georgian composer. After moving to Switzerland at a young age, he professionally studied piano and drums, audio design and recording acoustic music. shortly after he started producing electronic music.

Kordzaia is currently studying in Hague, Netherlands, where he is accomplishing his master's degree in composition. He releases on labels such as: Prrrrrrrr Records, Medschool Records, Hospital Records, Majestic Casual Records. Kordzaia also writes for acoustic instruments and orchestras with live electronics: for the Junge Norddeutsche Philharmonie, the Georgian Philharmonic Orchestra, the Residentie Orchestra (The Hague), the Dortmunder Philarmoniker, the Zagareli String Orchestra, the Nieuw Ensemble (Amsterdam) and Kluster5 (The Hague). To pack his music into popular categories is not easy: "His music is a mesh of carefully balanced oppositions: deliciously snappy transients punctuate shimmering soundscapes, gently morphing into funk; a melancholic post-soviet feel pays sentimental homage to a private vision of the 80s. Acoustic instruments sit side by side with analogue synthesizers and drum machines; field and foley recordings blend the recognizable into the fuzzy and surreal.

Natalie Beridze (tba) is a Georgian music composer and songwriter, considered a pioneer of Georgian electronic music. She has released over 10 records on labels such as Cologne based Max.E, Berlin based Laboratory instinct, CMYK, Chainmusic, CES Records and Berlin's Monika Enterprise, which has become her main label. Beridze's collaborations include: Thomas Brinkmann, AGF (Antye Greie), Gudrun Gut, Joerg Follert, Marcus Schmickler, Nika Machaidze aka Nikakoi, Sonae, Ryuichi Sakamoto, Gacha Bakradze, Alex Kordzaia.

Beridze works on music for acoustic instruments, orchestra and choir.

Her recent work - "Mapping Debris" was written for Swiss "Mondrian Ensemble" piano and string trio and electronics, performed in Zurich, in 2019.

Beridze collaborates with a Georgian string ensemble "Zagareli and strings", composing pieces for electronics, strings and viola.