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Esteemed musical chameleon Brendon Moeller, renowned for his highly respected work in Deep Ambient, Dub Techno and a myriad of variations on these themes - turns his hand to 170 for Samurai Music.
Vacuum is the first fruits of this collaboration and encompasses a cross section of his approach to the tempo. Dub-wise 170 that hints at a deeper version of autonomic, but ultimately invents a new sound that only Brendon and his analogue dungeon could conjure. 30 years of mastering the art of the deep filtered through an all new tempo lens.
Vacuum is a gentle 6 track record that will become a close companion to those tuned to, or open to embracing the rewards of Brendons impeccable sound design and mastery of immersive, minimalist warmth.
Breathe it in

Following various single releases and remix projects, Benx is back with a strong new EP on their homebase Bouman Records. Slowly building their name, the duo are already receiving help from some of the biggest names on the underground circuit, with vocals by Colonel Redz and some high profile remixes. Techno legend Orlando Voorn provides a banging rework of 'Lets get wild', while DJ Crisps delivers a masterclass in dark & dubby 2step garage with his remix of the title track 'What you want'

2024 White Vinyl Repress

Next up for Time Is Now's white label series is Prozak - a Dublin-based producer who has garnered a growing following over the past year. Prozak, aka Zac Curtis, follows up an EP of remixes for Kiwi Rekords with Make Me Feel. The EP is 100% club gear dabbling in classic rave sounds and jungle before masterfully returning to his garage roots.

The title track "Make Me Feel" is equal parts euphoric rave vocalisations and growling bassy ruffage, with stuttering stop-and-start breaks thrown in for good measure that tear through the track - an instant classic that knocks you breathless.

"Missing You" builds from a gentle ebb into wobbling bass-heavy garage, Curtis chopping and changing the vocal samples into unrecognisable snatches with expert production. He then dishes up a glitching speed garage
tool with "Negative", still seasoned with a ravey edge that makes the record as a whole feel festival ready.

On the B-side, "Sunshine" is sweet buoyant UKG constructed from neatly cut up vocals that clamour against each other and a skipping irresistible rhythm.

Equally upbeat, "Falling" stands out as the most playful track, with mass appeal and large drops that shakes off some of the dark bassiness of the A-side.

The record closes with "Leave You", contrasting frenetic junglist breaks with blissed out vocals.

It's a dynamic offering from the up-and-comer that shows signs of great things to come.

2024 Repress

Double A sided release by Basic Bastard! 4 tracks of House infused Technosoul from the master Orlando Voorn!

The album was created in two versions - a limited "color in color", of which 100 numbered pieces were produced, and a classic version with black wax, of which 200 pieces were produced.

After 10 years, Kixnare returns to U Know Me Records with his fourth original album. "Asteria" is a step towards even more experimental and abstract corners of electronic music. Each of the seven songs on the album reveals a fascination with completely different musical areas - from dark ambient ("Plaga"), through oriental ("Mystic Journeyman") / dubbing downtempo ("Impass") to stronger acid ("Mutacja") and techno ( "Omnis"). What connects everything is a constant atmosphere of anxiety - a reflection of the times we live in. Despite a completely different musical climate, "Asteria" refers in its character to Kixnare's last album "Rotations" from 2014, continuing the concept of inter-genre collage. All this comes together in the weekly radio show "Rotations", in which Kixnare presents his recommendations from the world of underground and experimental electronics on Radio Kraków.

"Asteria" is an album consisting of seven songs - almost 38 minutes of an amazing journey, the sound of which was worked on by the legendary Stefan Betke from Berlin (mastering author). The cover is the work of the flawless Animisiewasz.

Bliss Point is proud to present the long awaited reissue of lost italo house gem Soft Keys – Bubbles.

Recorded in Trieste in 1993 by Edoardo Milani and Tullio Battisti, “Bubbles (Soap Mix)” is a slice of colorful, sun-soaked euphoria, a track delightfully leftfield and playful in a way so rarely found in club music. Originally released on Italy’s Promo Music label, it was quickly lost to time, a masterpiece locked away on an extremely hard to find 12”, soon growing in notoriety among DJs and collectors.

Bliss Point’s reissue of this classic includes two remixes from contemporary luminaries, each interpreting the timeless sound of Bubbles for the 21st century. Tokyo’s boys be kko explores the soaring complexity of the original, and New Yorker Olive T offers a thumping take on its deep and tender heart. The original “Acapella” version is also included.

This reimagining of Soft Keys – Bubbles is remastered and recut by Dubplates & Mastering, and features an homage to the original 12” sleeve designed by Brandon Oxendine.

Braulio Lam's Close-Up is a captivating soundscape that blurs the lines between music and photography.
Hailing from the border region between San Diego and Tijuana, Lam's inspiration stems from the vibrant cultural exchange and diverse musical traditions of the area. His creativity as a music producer and photographer converges seamlessly into this album, where he manipulates images and sounds, using light as a catalyst for his sonic experiments.
The album's eight tracks showcase Lam's eclectic sonic palette, ranging from electronica and dub techno to ambient and trip hop. The opening track, "Prologue," sets the stage with a haunting guitar echo and a spacious, downtempo beat. Angelic vocals float ethereal over the sonic backdrop, creating a sense of scenic grandeur. "Cinestill" immerses listeners in a sub-aquatic realm with its slow-pulsing beat and cavernous ambiance. "Buena Vista Social Dub" captivates with its sensual vocals, echoing drums, and hypnotic melody.
"Monika" evokes a sense of beachy tranquility with its electric guitar and ambient soundscapes, while "Mirror" transports listeners into an atmospheric swirl of broken beats and ambient textures. "Eastman" delves into the depths of dub techno, its hypnotic chords and airy soundscapes creating an otherworldly atmosphere. "Winter Light," showcases Lam's mastery of minimalism. Field recordings of natural sounds, sparse guitar plucks, and evocative imagery paint a stark but beautiful soundscape that lingers long after the music has faded. "Tiffen" closes the album on a serene note, its gentle island rhythms and floaty textures inviting listeners to relax and unwind.
Overall, Close-Up is a testament to Braulio Lam's boundless creativity and artistry. Its unique fusion of musical styles, experimental sonic textures, and evocative imagery makes it an immersive and captivating listening experience that transports listeners to a realm where the senses intertwine.

Suburban Architecture are pleased to announce the fourth in their 'Architecture Dubs' series of limited edition 10" vinyl releases, which sees some of the most revered names active during the mid 90s golden era of Drum & Bass deliver remixes of Suburban Architecture material in homage to that most innovative of periods.

Following on from the now sold out release of Architecture Dub #001 (featuring remixes from Peshay and DJ Trax), #002 (featuring Blame and DJ Trace), and #003 (featuring Nookie and DJ Crystl), edition #004 enlists two further legendary names to put their stamp on the duo's material.

Ray Keith is a DJ and producer who requires little introduction. From his beginnings in the Acid House scene of the late 80s through to the present day via Hardcore and, of course, Jungle, Ray's output has been a steady presence in UK dance music for over 3 decades. From manning the counters of legendary record stores including London's infamous Black Market Records to masterminding bonafide dancefloor hits such as 'Terrorist' and 'Dark Soldier', Ray has touched every corner of the scene. For this remix, Ray brings some of his trademark Dread flavour to 'The Drifter' injecting some tough Amen and Bassline energy to the track.

DJ Harmony is another DJ who cut his teeth behind the counters of some of the scene's pivotal record stores, having worked in Lucky Spin and Section 5, while releasing music on some of the most important imprints in the genre, notably including Moving Shadow. Today Harmony is best known as the driving force behind the brilliant Deep Jungle imprint which delivers classic, new and unreleased music from Jungle's heaviest hitters. Recent releases have come from names including Adam F, Dilinja, DJ Trace and, naturally, Harmony himself. Harmony's remix of 'The Believer' takes cues from classic Jungle with a half time break down, giving way to a smashing Amen workout accompanied by the rousing vocal refrain of the original.

Pressed on 10" vinyl and housed in brown Kraft paper sleeves, the series makes visual reference to the exclusive dubplate pressings which introduced so many classic cuts to the UK's dancefloors in the 90s.

The album was created in two versions - a limited "color in color", of which 100 numbered pieces were produced, and a classic version with black wax, of which 200 pieces were produced.

After 10 years, Kixnare returns to U Know Me Records with his fourth original album. "Asteria" is a step towards even more experimental and abstract corners of electronic music. Each of the seven songs on the album reveals a fascination with completely different musical areas - from dark ambient ("Plaga"), through oriental ("Mystic Journeyman") / dubbing downtempo ("Impass") to stronger acid ("Mutacja") and techno ( "Omnis"). What connects everything is a constant atmosphere of anxiety - a reflection of the times we live in. Despite a completely different musical climate, "Asteria" refers in its character to Kixnare's last album "Rotations" from 2014, continuing the concept of inter-genre collage. All this comes together in the weekly radio show "Rotations", in which Kixnare presents his recommendations from the world of underground and experimental electronics on Radio Kraków.

"Asteria" is an album consisting of seven songs - almost 38 minutes of an amazing journey, the sound of which was worked on by the legendary Stefan Betke from Berlin (mastering author). The cover is the work of the flawless Animisiewasz.

alphacut sets off into brushy tribal jungle

the early 2010s have been a prosperous era for a lotta fast dance and bass music. dubstep's magic was fading due to brosounds taking over but the idea of some fresh air inbetween drums and basslines was thankfully carried on into the jungles too. not only halftime but also tribal beats grew strong, whether it being in warm dubby or cold darker reincarnations.
speaking of living on, this plate is not only a sequel to that era but also a tribute to the one like morphy, who brought dubby tribal brushy jungle onto alphacut around that time. it light up a spark to head for new territories, its soul is vibing on in 45seven and especially in this new alphacut - post morphem!

rude operator are opening with a minimal dancehall feel, wriggling from 8bar to 8bar, switching tensions with patterns with a slice of footwork dna inside - zero chances to freeze!
rainforest is stepping on with enlightening skanks and mystic basses under a riddim one simply can't escape as well.
paradox effects is not only flipping sides but vibes pretty much too. keeping it tribal and one-seventy but much darker with an amen from the vaults in a bunker-conrete jungle - the raw and free sound of leipzig.
dreadmaul is closing with a masterpiece which could have been executed by the homaged dubbing don himself. moody pads meet distant dub sirens and robotic amen leftovers step up into a hypnotising groove, taking you back down in the woods.

we are happy to be back with a solid round-up package which should never leave your tribal crates again, zooom!

DJ Support: Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche


Kicking things off on our next 4-track vinyl sampler series is Toolroom's very own Martin Ikin who returns to the label with ‘Make U Sweat’! He was the Best-selling Tech House artist on Beatport in 2020 and 2021 and has over 1m monthly listeners across streaming platforms. Recent studio collabs have included Noizu and Joshwa and tours have seen him travel far and wide to the US, Brazil, Bali, Ibiza, Italy, Croatia and of course, his hometown of London. This new record is the follow up to 'Oscill8' that dropped in March 2023 and sits in a similar lane, in that it's pure, unadulterated club weaponry! Next up is Italian house legend Flashmob with the frenetic, high-energy club vibe of new cut ‘My Body’. Flashmob's sound, production and go-for-broke DJ sets have changed with the game, embracing the vitality of new house music rather than hankering after sentimental sunsets. His ethic and aesthetic move relentlessly forward, using the old and new to craft unique sonic alchemy from big festivals like Tomorrowland to the intimacy of small clubs on the international circuit. ‘My Body’ is typical of Flashmob's current sound, combining solid drums and some insane synths and fx, alongside an earworm vocal sample that results in yet another memorable club cut from an established master. Canadian Tech House maestro Nathan Barato debuts on Toolroom kicking off the B-side to the vinyl alongside studio partner, Matheo Velez with 'Weapon'. A record that has already caught the attention of the underground elite with Michael Bibi premiering the track at his first appearance back at DC-10 in Ibiza last Summer. Both artists are enjoying great success across key labels such as Viva, Circus, Snatch and RAWthentic. This is an addictive, bumpy club track

that packs a huge punch on the dance floor and actually features Nathan's very own 'Move me… Rock me' vocals! Rounding things off is UK DJ/producer duo, Jenn Getz & Alfie who are residents at Dubai's #1 nightlife destination, Soho Garden, where they warm up for legends such as Sonny Fodera, MK, Claptone, Solardo & Fisher on a weekly basis. In their relatively short 3 year career they have already released on Solotoko, Abode and Toolroom Trax and now debut on Toolroom with 'Vibration'. Both girls are incredibly passionate about house music and are also big advocates for a life centered around well-being and meditation, and the idea of this record was to combine their 2 passions in life, so they proceeded to co-write these original lyrics to accompany the track, which in itself is very inspiring! This is a super cool club record that will excite fans and DJ's alike, welcome to the Toolroom Family, Jenn Getz & Alfie!

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

Much appreciated reissue of R.N.A. Organism’s ‘R.N.A.O Meets P.O.P.O’ (first released by legendary Osaka label Vanity Records in 1980). A key document of the late ’70s experimental music scene in Kansai, Japan, R.N.A.O Meets P.O.P.O is a hallucinatory trip of dubby bass, churning guitars, sputtering rhythm boxes, twisted vocals and unidentifiable sound effects.

Carefully remastered by Stephan Mathieu from the original tapes, cut by Josh Bonati, pressed by RTI, and housed in a hefty Stoughton tip-on sleeve. This oedition also includes an expanded insert with an illuminating essay by R.N.A. Organism producer Kaoru Sato.

The long running vessel for Cameron Stallones' psychedelic excursions, Sun Araw, returns to Discrepant after last year's split with Tarzana via Keroxen sister label (KRXN033).
Without much precedent in his own - already wide-ranging - back-catalog, 'Cetacean  Sensation' discards the dubby vibes, psych-rock sunburnt jams, tropical visions, or stalking sensibilities of such classic efforts as 'On Patrol' or 'Ancient Romans' towards a deeply focused and vivid solitary approach, while still retaining this Sun Araw blissed out escapist feeling.
Composed of hydrophone recordings of whales and dolphins sourced during a summer in Galicia, 'Cetacean Sensation' paints an impressionistic and sensory floating canvas that expertly escapes both academic-like documentarian purposes and any new-age spa vibrations one could associate with such subject matter. Processing those raw recordings into alluring collages that flow gracefully between moments of clear eco-location  and submerged impressions of wildlife social dynamics. By the third track - Dance of the Minke - we're introduced to this ringing MIDI tone that evokes a CD-ROM era of mystic educational programs and click-and-deploy strategies  that still feel very much like an unfulfilled future, conjured again by 'Spider Crab Elegy's sparse keyboard pads and sound effects that give way to this properly elegiac tentative melody. 'The Spider Crab Point' ends the album on a more uneasy vibe, with synth tones pointing towards no particular direction, confounding and strangely inviting at the same time. As sensations often do.
Music written and produced by Cameron Stallones using hydrophones and digital synthesisRecorded in 2019 in Galicia, ES
Mastering by Rashad Becker

Hardway Bros teams up with Beth Cassidy on Rekids for a timeless ode to the legendary Murk Records The release includes a ‘coral way’ dub mix and a remix by Erol Alkan and Richard Norris’ Beyond The Wizards Sleeve.

Sean Johnston is the man behind Hardway Bros, an alias well known for wobbly, downtempo, and synth-laced disco jams which have appeared on the likes of Is it Balearic? Whiskey Pickle, and Throne of Blood over the last decade. On this single, which is a love letter to legendary early 90s label Murk Records, Johnston links with vocalist Beth Cassidy, known for her work as part of Manchester’s Sea Fever and Section 25.

Hardway Bros’ wonderful 'Murky' is deep and sensual house music. The vocal brings sultry charm, unfolding in soulful style over whimsical ambient pads and chunky drums. It oozes with character and harks back to actual songwriting of days gone by.

Beyond The Wizard's Sleeve is an alias of dance music pioneers Erol Alkan and Richard Norris. It was established to bring psyched-out, acid touches to the dance floor and has resulted in a critically acclaimed album on Alkan’s Phantasy Sound and much more. Their excellent Re-Animation is eight minutes of drawn-out disco chug, loose grooves and masterful chord work. Up last is a Coral Way dub that strips things back to the beats, layers in plenty of cosmic FX, and lets your imagination run wild on the tripped-out synth leads that pan between the stars.

First time out for this wildly raw dubplate, sister-recording to the Pablo master-rhythm, shot through with other-worldly, illusively allusive incantation.
Surely that's Family Man stalking a sunken cavern, and his bro battering all seven shades out of his drum-kit, like Meters on fire, and Chinna on guitar, glazed and violent. The mixing rears up right in your face.
Producer Gussie Clarke says Theophilus 'Easy Snappin' Beckford is playing piano, with the front removed so he can strum the strings (like he finally snapped) — but he credits the work overall to Augustus Pablo.
Transferred from acetate — fuss-pots don't grumble, just be humble — though the flip brings a clutch of criss, unmissable alternates, direct from Gussie's tape-room (where the files are entitled 'Classical Illusion / The Sun').
Heavy, heavy funk. Simplicity People dug in. Stunning.

*REMASTERED ROUGH TRADE 4 TRACK E.P LIMITED TO JUST 500 COPIES*

Everything on “Up Home!” is bigger, richer; the guitars are huge, as though they’re being played through the clouds, massive gusts of blue-green noise that move across the stereo spectrum like weather systems. “Baby Milk Snatcher” is built around face-flattening dub bass, with glinting piano and shards of guitar ricocheting through the song. “W.O.G.S.” is delirious to the point of expiration; “One Way Mirror” is their attempt at weird, lopsided ‘anti-funk’, the song’s melody crushed by avalanches of six-string interference. And the closing “Up” is AR Kane’s masterpiece, a disembodied thud pulsing at its heart as a six-note guitar melody spirals ever onward, Ayuli’s voice lost in its own reverie, hymning escapism via references to Jamaican political activist Marcus Garvey’s ‘black star line’.
• Jon Dale, lead review in Uncut Magazine
who grew up together in Stratford, East London. From the off the pair were outsiders in the culturally mixed (cockney/Irish/West Indian/Asian) milieu of the East End, with Alex and Rudy’s folks first generation immigrants from Nigeria and Malawi, respectively. The two of them quickly developed and fostered an innate and near-telepathic mutual understanding forged in musical, literary and
artistic exploration. Like a lot of second-generation immigrants, they were ferocious autodidacts in all kinds of areas, especially around music and literature. Diving deep into the music of afro-futurist luminaries such as Sun Ra, Miles Davis, Lee Perry and Hendrix, as well as devouring the explorations of lysergic noise and feedback from contemporaries like Sonic Youth and Butthole Surfers, they also thoroughly immersed themselves in the alternate literary realities of sci-fi and ancient history (the fascination with the arcane that gave the band their name), all to feed their voracious cultural thirsts and intellectual curiosity.

It was seeing the Cocteau Twins performing on Channel 4 show the Tube that spurred A.R. Kane into being - “They had no drummer. They used tapes and technology and Liz Fraser looked completely otherworldly with those big eyes. And the noise coming out of Robin’s guitar! That was the ‘Fuck! We could do that!
The duo debuted with the astonishing ‘When You’re Sad’ single for One Little Indian in
1986. Immediately dubbed a ‘black Jesus & Mary Chain’ by a press unsure of WHERE to put a black band clearly immersed in feedback and noise, what was immediately apparent for listeners was just how much more was going on here – a tapping of dub’s stealth and guile, a resonant umbilicus back to fusion and jazz, the music less a conjuration of past highs than a re-summoning of lost spirits.

The run of singles and EPs that followed picked up increasingly rapt reviews in the press, but it was the ‘Up Home EP’ released in 1988 on their new home, Rough Trade that really suggested something immense was about to break. SimonReynolds noted the EP was: Their most concentrated slab of iridescent awesomeness and a true pinnacle of an era that abounded with astounding
landmarks of guitar-reinvention, A.R. Kane at their most elixir-like.

If anything, the remastered ‘Up Home’ is even more dazzling, even more startling than it was when it first emerged, and listening now you again wonder not just about how many bands christened ‘shoegaze’ tried to emulate it, but how all of them fell so far short of its lambent, pellucid wonder. This
remains intrinsically experimental music but with none of the frowning orthodoxy those words imply. A.R. Kane, thanks to that second generation auto-didacticism were always supremely aware about the interstices of music and magic, but at the same time gloriously free in the way they explored that connection within their own sound, fascinated always with the creation of ‘perfect mistakes’ and the possibilities inherent in informed play.

2024 Reissue

Baricentro is an Italian funk-rock band founded in 1976 by two brothers Francesco and Vanni Boccuzzi; after the release of two albums in mid seventies (Sconcerto and Trusciant) for the major record company EMI; they recorded in 1983 the single "Tittle Tattle" representing a clear innovation in sound from their past, without believing that would receive a positive response in the New York City underground music scene and soon becoming a Paradise Garage and Loft classic. Best Record Italy today came out with this special reissue-project as a Limited Edition Ep, remastered from the original master tapes and containing for the first time all the versions from 1983 and 84 including the unreleased dub that was previously available as an acetate cut only for deejay play.

Dizonord is very happy to bring you the reissue of this French 1988 underground self released gem, re-mastered from master tapes!

Dubby, punky, politically engaged new wave with a sense of humour, we've always been touched by the voice of Agnès (bass) and the phlegmatic Michel (machines and graphics). We could have thought the language barrier would have stopped the pleasure of this record but obviously not, as Mobutu song is already an international digger classic!

We really hope you'll enjoy this collection of tracks and collages as we do so, once upon a time...

Octave One continues to visit some classic Never On Sunday tracks with a second installment of their Messages From The Mothership series. This latest 12" finds the pair release two different Mothership mixes of 'The Bearer' and 'Contemplate'.

The pioneering Detroit brothers have shown a different side to their sound with the Never On Sunday project, both back when it was devised in the early nineties, and more recently when they have looked back over some of the project's key tracks and added a contemporary spin to them. Already this year the Burden Brothers have offered up new takes on 'Price We Pay' and 'A Better Tomorrow' as well as dropping brand new cut 'Mirror Image' and now their fine form continues on this latest release on their own 430 West label.

The A-side features a new Mothership Remix of 'Contemplate' from 2022 that unfolds over an epic 11 minutes of enthralling deep techno. The synths bring classic Detroit soul and the impassioned vocals layer in emotion to the sleek, compelling drums. The Instruments Version strips out the vocals and places more focus on the sublime rhythm and drums.

On the B-side, ' The Bearer' from the 2023 album Never On Sunday gets a fresh Mothership Dub. It is another masterful and almost 12-minute journey that rides on compelling drums and is lit up with a majestic vocal that soars up high while the warm, dubby undercurrents keep things moving in dynamic fashion and smeared cosmic synths bring a great sense of scale. A Mothership Instrumentals version closes out the package.
These are for more fresh perspectives on timeless house and techno fusions from the ever-innovative Octave One.

The mercurial talent that is SW. back in the building with a new album, and if it weren’t already apparent, OYSTER45 goes some way to assert his place in the pantheon of pioneering producers. In fact, nobody can question his position right at the vanguard of forward-facing dancefloor dynamics.

myDEFINITION part II catches the SUED co-founder as vital as ever. Keeping it on that dusty, low-key flex that has long been his trademark, it harnesses ingenuity to conjure some of the most intriguing gear you’re likely to hear from a limited studio setup. Gone are the hi-tek jazz and ambient flourishes of the near-mythical ‘Untiled’ album, opting, instead, for pure dancefloor headiness. Precision-tooled breakbeats, opulent IDM cybernetics, tuff bleep n’ bass and late nite electro across 10 distinct trax.

Side quests into more abstract realms are fleeting. Dappled melodies evoke warmth in hues of pink and orange but any ambient-dub ephemera quickly dissipates into the peripheries in favour of club-ready pressure. The spectre of mid-‘90s dance music looms large but the SW. blueprint, with its captivating free-form approach, spins those vintage tropes into a distinct sound unto itself. Masterful, cinematic and hallucinatory.

Often drawing comparisons with B12’s seminal brand of ambient techno, SW. will surely be a stylistic reference point in his own right for years to come. Such is the indelible influence he has cast on contemporary electronic music.

As the winds of music blow, a wise heart navigates the spiral, finding wisdom in each of its twists and turns.

As the releases of DUBBLACK’s catalogue pile up, the novelty and exploration for new music keeps on thriving.


A brand-new record is approaching, as always available both on a 12” vinyl – limited to 300 copies – and in digital format, featuring the presence of two Masters from the Electronic Music scene: A2 Abd El Monim and Tocchitek.


The two-track EP baptised “Dark Side” includes the gems “Euriale” and “Steno”; two expansive compositions that, also due to their length, masterly observe the task of narrating two complementary stories, each with its distinct moments, yet marked by a strong rhythmic temper. Both tracks are planned to share similar sonic elements: a pulsating 160 bpm kick drum, ghostly pads serving as an inevitable backdrop, and indispensable rhythmic details enriching the whole structure and arrangement.


A2 Abd El Monim, born Alan Abd El Monim, is an Italian-Egyptian artist/composer. He expresses himself through the creation of music ranging from electronic to purely instrumental, and through the interaction between the arts. His poetics opens in a “dark” dimension that considers and interprets the facts through the notion of shadows and darkness but also through penombre. His “dark” vision stands as a filter through which he reads the world and its interactions, therefore using also the notion of light. His music has been performed in Festivals including Musica d’arte (Riccione – Italy), Luci d’Artista (Salerno – Italy), GAMO (Firenze – Italy), Spazio Musica (Cagliari – Italy), On Air – On site (Den Haag -Netherlands), Sound Spaces (Malmö – Sweden), etc.


He composed songs for the solo exhibition “La pelle degli oggetti” and for works Lui&Lei by the artist Giovanni Oberti. In 2020 he undertook a collaboration with the poet Milo De Angelis , putting to music the lyric “A volte , sull’orlo della notte, si rimane sospesi”. He wrote music for several theatre performances by director Emily Tartamelli and has written music for several directors films including Reto Gelshorn, Enea Francia, Paola Piscitelli and Fabio Corbellini. He collaborated with the London based fashion brand B DODI and was invited as an artist to participate in the collective exhibition “Instructions to Light-Keepers” (Milano – Italy). In March 2023, “Periodo Nero”, its interactive and generative installation music and video, was selected for the tribute to Picasso in the city of Florence, will be presented at the Certosa of Florence in September of the same year. In 2017 he won the International Competition of Composizione Silenzio Musica, in 2020 the diploma from President and Artistic Director of Winterreise International Composition Competition Moscow, in 2021 the Call For Scores banned by the Cultural Association Esecutori di Metallo su Carta. A2 Abd El Monim is signed to international label F.M.T Records and Dubblack Records, with which he regularly publishes his electronic music.


Tocchitek is an underground Tekno producer and performer born in Milan, Italy. He started playing live in 2007 as part of the “Approdo Caronte” sound system based in Milan. His first significant appearance as a live performer was at a “Mayday Parade” in 2008 in Milan. In 2009, he joined the “R909 Records” chapters crew based in Milan, bringing his live set to many local club dance floors. Meanwhile, he collaborated and played with many crews around Europe, spreading his music in the free Underground Tekno movement. In 2021, in Milan, he launched “F.M.T Records”.


Simplicity is often the hardest thing to achieve when producing this type of music, primarily designed for uncompromising dance-floors, but the duo successfully channels their message with purity and truthfulness.


The visual aspects of layout and design are once again entrusted to Vittorio Valigi, who puts a greyscale spiral at the center of the cover. A spiral within which one an eye can be glimpsed – the eye of the musical soul of DUBBLACK harmoniously fused with that of A2 Abd El Monim and Tocchitek, who become worthy ambassadors of the Dubblack’s sonic mission.

Keith Hudson was a one-of-a-kind musical innovator with an impeccable track record from the start: his first studio recording involved former Skatalites, and his earliest releases provided solid-gold hits for Ken Boothe (“Old Fashioned Way”, 1967), John Holt, Delroy Wilson, U-Roy and the others.

With Pick A Dub Hudson produced one of the best dub albums ever, and with The Black Breast Has Produced Her Best, Flesh Of My Skin, Blood Of My Blood he released the first concept album in reggae history, bringing his all-around talents to full fruition as early as 1974. Thematically dedicated entirely to Black history, the latter of these two albums is a masterpiece that captivates with an atmosphere that is as dark as it is deeply spiritual, charged by Hudson's eccentric vocals. Like Lloyd Bullwackie Barnes, his splitting from tradition was dynamic and all his own.

As his career moved on, Hudson found himself working outside of Jamaica, more frequently in London and New York studios and for transatlantic audiences, his dark experimentalism becoming increasingly better suited to the LP than the cardinal 7” reggae format.

Playing It Cool & Playing It Right was released in 1981 on the Joint International label, in NYC, with Lloyd Bullwackie Barnes as the executive producer. The Love Joys and Wayne Jarrett, stalwarts of Barnes' record label, Wackies, would also inimitably feature Hudson at the microphone. Like Bullwackie, Hudson was a devotee of Coxsone Dodd’s Studio One and Playing It Cool & Playing It Right follows Dodd’s then strategy of overdubbing his signature rhythms. The Studio One sides were aimed at the dancefloor and Hudson’s reworkings of tracks like “Melody Maker” are more psychological. Here, deep Barrett Brothers rhythms are made deeper with reverb, filters and distortion; everything pitched down and overlaid with new recordings of guitar, percussion, keyboard, and voice, often heavily treated.

Playing It Cool & Playing It Right continues Hudson’s psycho-acoustic journey into the abysses of existence, and overwhelms with the beauty of artistic self-empowerment. "Too much formula," sings Hudson, whose voice is occasionally reminiscent of Sly Stone or even Tom Waits. "Darkest night," answers an echoing background choir elsewhere. Even more fascinating is Hudson's production, which reflects Black history in even the smallest sound detail, the flashing whip of the slave driver still echoes in the sound of the snare drum. Rarely has a roots sound been made so electrifying, so expansive in all directions, so crystal clear, so bass-warm and echophonic as on these 30 minutes of music.

Playing It Cool & Playing It Right is legendary, strange, utterly compelling music that has possibly never been more topical than it is today.

London, UK – May 23, 2024 – The Original Gravity Label proudly announces the release of "Gravity Dubs Vol.1," the highly anticipated new LP from label boss and chief musician Neil Anderson, a.k.a Prince Deadly. This pioneering collection sees Prince Deadly masterfully dubbing some of the early Original Gravity Reggae releases, transforming them with his signature early dub style. "Gravity Dubs Vol.1" is a testament to Neil Anderson’s deep-rooted passion for reggae and dub music. As Prince Deadly, he has meticulously reimagined and remixed classic tracks from the Original Gravity catalogue, infusing them with a fresh, vibrant energy while staying true to the genre's authentic roots. This LP is set to be a landmark release, bridging the gap between the past and present of reggae music. Neil Anderson, the creative force behind the Original Gravity Label, has long been celebrated for his innovative approach to music production. With "Gravity Dubs Vol.1," he continues to push the boundaries, offering listeners a rich, immersive experience that honours the traditions of early dub while introducing contemporary elements. "Gravity Dubs Vol.1" features an array of reworked tracks that highlight the versatility and depth of the Original Gravity Label's early reggae releases. Each track has been carefully crafted, showcasing Prince Deadly's expertise in blending hypnotic basslines, echo-laden rhythms, and atmospheric effects. The result is a collection that not only pays homage to the genre's pioneers but also sets a new standard for modern dub music. "I've always been deeply inspired by the roots of reggae and dub," said Neil Anderson (Prince Deadly). "With 'Gravity Dubs Vol.1,' I wanted to take the ethos of the formative years of Dub, where studio creators re-visited the classic Studio One rhythms to create a completely new sonic landscape. "Gravity Dubs Vol.1" will be available on all major streaming platforms from 1st June and the vinyl is now on pre-order and will be shipping in early June.

Love Wonderland - The Best Twilights of Love Wonderland (CAM027)

Formed in 2018 by Takujuro Iwade, film director and drummer Kaya Koike and Mayumi Sakurai with the theme of " Lovers Rock from the other side," Love Wonderland performs reggae with a unique interpretation influenced by psychedelia and synth-pop.

The Best Twilights LP compiles tracks from three demos released between 2019 and 2024 and reflects their full spectrum from electronic dub to pop tinted reinterpretation of their peers.
Considered as the best kept secret of the Japanese dub scene, they continue to grow at each live performance with faith and passion.
Love Wonderland's main aspiration is to keep their motto alive.

Mastered by Krikor Kouchain and limited to 400 copies.

Marking one year following Phase Fatale’s (aka Hayden Payne’s) last EP on his label BITE, ‘Love Is Destructive’ is a clear shift into true techno territories, integrated with his distinct curation of narrative and sonic framework, imprinted with a musical diet of sleek, synthesised storytelling.The 4-Track EP reflects the turbulent ebb-and-flow found with emotional conclusion - a genesis soundtracked by raw energy and driving undercurrents. The Berlin-based DJ, Producer and Label-owner’s propensity for creating a symbiotic harmony by blending seemingly divisive elements from his genre defying repertoire, demonstrates his masterful understanding and control of the listener’s borderless, auditory journey. Exemplified by his marathon closing sets at Berghain, as well as techno arenas such as Khidi in Tbilisi (both of which he is a resident), Phase Fatale’s recent DJ performances and production endeavours reflect his fresh approach to pure techno sensibilities. The title track sets the tone with imperative grooves, energetic vigour and intrepid attitude. Following a progression of techno propulsion in ‘Magma Driver’, infused metallic textures and trippy, headier elements add depth, whilst the body of work’s cutting edge sound design echoes spacey vivacity and purification in equal measures. Dichotomy comes forward with tracks ‘Ambivalence’ and ‘Introjection’, processed vocal samples with dub techno leanings and hints towards broken rhythms are sculpted by Payne’s focused approach, resonating a feeling of hopeful resolution akin to resurgence. These romantic sensibilities offset by cold mechanical nuances are reflected in the EP’s artwork, depicting roses against the backdrop of engine-like machinery. ‘Love Is Destructive’ is dedicated to Juan, Simone and Luis. Featuring artwork by Silent Editions.

Big tip!

Revised eight track re-issue of Maria Somerville's much lauded debut album. This new edition features an additional cut 'Lakes' - a 5+ minute blown out instrumental recorded live on tour in 2019.

" Stirring and beautiful songs, with a consistent optimism underlying even the murkiest of moments."

Recorded in Connemara and Dublin. Mixed by Brendan Jenkinson. Mastered by The Bastard.

A sparsely documented yet iconic era for Ted Milton's psycho-funk afro punk fake no-wave pogo jazz group Blurt has been brought to life with an expansive collection of restored versions of live performances. Captured on early camcorders during the frenzy of counter-cultural activity that characterised Europe around the fall of the Iron Curtain, these recordings of Blurt, recently posted by fans on YouTube, are a visceral reminder of a scene whose influence is writ large on today's alternative music culture.

Ted Milton's trio have produced an impressive string of albums, not to mention his numerous solo recordings. Featuring 15 tracks spanning their extensive discography from their 1980 debut single – also the title of this collection – “My Mother Was A Friend Of An Enemy Of The People” to 1999’s “Eat Up Your House”, this live collection of performances have been digitised by whatever means available. The original sound captured by the inbuilt microphones of these camcorders and the videos concerned are in many cases the only documentation of an iconic era whose zeitgeist was so masterfully epitomised for many by Blurt.

Refurbished / restored/ repurposed using new AI tools there is a spectral roughness to them but surfing on these reconstructed waveforms, the inimitable machinations of Blurt ride out once again, emerging from a pixilated oblivion to put into perspective the peculiar absurdity of our human condition.

Dennis Quin is making his Eastenderz debut with an impressive four tracker. Bringing his signature sound with this masterclass EP, Dutchman delivers a timeless record that's guaranteed to work on the dancefloor. Limited run, Vinyl Only.

Essential business as always from Eastenderz.
DJ Support: East End Dubs, Prunk, Archie Hamilton, Kerri Chandler

2024 Repress

Released on Cherry Red in 1981, Threat To Creation spotted the collaboration between two mystical entities: Creation Rebel and New Age Steppers. Forerunners of the british dub scene the two bands shared several members, a who’s who of the On U-Sound school and key figures of the Bristol and London scene. Adrian Sherwood is – obviously – the man behind the desk a craftsman on its own, a character with no borders and one of the most sought after producer of the time. The supergroup is ran by post-punk stalwarts Bruce Smith (The Pop Group) on drums and Keith Levene (PIL) on guitar. Ari Up of The Slits sits on piano and organ, while masters Crucial Tony is both on bass and guitars. Members of African Head Charge – bass player George Oban, Eskimo Fox and Style Scott on drums – are welcomed addition to the line-up. Threat To Creation is still recognizable as an album ahead of its time, a futuristic blend filling the gap between the Jamaican heritage, the so-called (post) industrial revolution and the studio witchery of the whitey man.

"Return Of The Super Ape" was the final revelation from Lee Perry’s Black Ark Studio, a psychedelicized dub journey into uncharted sonic territories. The longplayer is now state-of-the-art remastered by Pete Norman (Finyl Tweek) and restored with original press artwork complete with inner disco sleeve!

The album from 1978 is the final chapter in the trilogy of albums in the period from 1976 - 1978 following "Scratch The Super Ape" (aka "Super Ape") and "Roast Fish & Cornbread". Produced, mixed and arranged by Lee Perry at the Black Ark Studio featuring on all tracks the skills of The Upsetters and additional vocals by The Full Experience on "Dyon-Anasaw" and "Tell Me Something Good". The frontsleeve artwork image was created by Lloyd Robinson (also known as the singer of the Studio One classic "Cuss Cuss").

Reggae expert Jeremy Collingwood says: "The Return Of The Super Ape that surfaced later in the year 1978 saw Perry way off the mainstream with a set that owed much to jazz with its loose structure and horn breaks. The title track took an early production from Perry, U-Roy's " OK Corral", and reshaped it into another futuristic outing - just like the original that had been a decade earlier. At the time few knew what to make of it and over the years its lack of proper re issue had meant it's remained a hidden Perry gem. It also marked the end of a hugely creative period at the Black Ark."

Tracklisting / side-split
Side One
A1 Dyon-Anasaw
A2 Return Of The Super Ape
A3 Tell Me Something Good
A4 Bird In Hand
A5 Crab Yars
Side Two
B1 Jah Jah Ah Natty Dread
B2 Psyche & Trim
B3 The Lion
B4 Huzza A Hana
B5 High Rankin Sammy

• Follow-up to the highly acclaimed dub album Super Ape, the album like its predecessor, was produced by Lee ‘Scratch’ Perry. This was the last album recorded by The Upsetters before Perry closed down his Black Ark Studio.
• The remastered album showcases the production skills of undisputed dub master with insanely layered textures and technical wizardry. With musical backing The Upsetters – Boris Gardiner, Mikey Richards, Sly Dunbar, Benbow Creary, Earl ‘Chinna’ Smith, Winston Wright, and Keith Sterling.
• Remastered by Pete Norman at Finyl Tweek
• Coloured Inner Bag

LTD 260 copies pressed / printed sleeves / Sealed

Jungle master Krak In Dub’s new album Catleya is a vibrant hommage to Colombia and its incredibly diverse musical culture. Entirely recorded in Bogotá with the who’s who of today’s Colombian music scene, the album casts a brand new light on the fusion of beats and Latin-American traditional rhythms and instruments, blending reggae, hip-hop, breaks and house with cumbia , afrobeat, ska, and bullerengue.
Standing out on this sun-soaked yet heavy-on-the-beats-and-bass adventure is the appearance of female modern folk trio La Perla, the Afro-Colombian combo Absalon & Afropacifico, and Bermudian singer Troy Berkley.

Audionaut sound adventurer Neil Stringfellow (aka Audio Obscura) makes a welcome return to Subexotic with his many-splendoured mixed media project Acid Field Recordings In Dub. Following years of avid field recording, Neil explains how it came about through a series of epiphanies: "It sort of started after I did a field recording introduction weekend workshop with the legend that is Chris Watson (the BBC wildlife team and ex-Cabaret Voltaire), just in terms of it being very inspirational and meeting like minded people. I've been sound recording for about 12 years now and have a good archive of sounds, and simply enjoy just listening and capturing the world. Since then over the years I've learned to really listen to the everyday soundscapes and as such I no longer walk down the street listening to a personal stereo anymore, the world can often be more exciting than music. A few memories of listening stick out which really helped form this album. I was walking up a hill in Norwich and a street cleaner was coming down pushing his cart, the broom attached to the cart but one end was bouncing up and down in the exact way a snare drum in a Dub reggae record might sound with the dub echo effect.. for a few seconds it was amazing and I stopped and stood still and just savoured the moment but of course did not have a microphone with me. Another time recording the dawn chorus in Lowestoft the chirping birds sounded intense coming from different trees and walking between the trees seemed to make the classic 303 acid squelch sound. part of this is in the middle section of the Babyloniacid track. Another time I was recording in a forest after a storm sitting under thick trees trying to keep the mics dry and the wind blowing the tops of the trees was like a swooshing synth line. I always liked the moments when the soundscapes felt like music and over time had a desire to marry music and field sounds together. Things really came together though when in summer 2022 I had a minor operation and was resting in bed after the operation, high on painkillers feeling quite spaced out. It was in the middle of a heat wave and the nurses had opened the ward windows, it was evening and I could see pink clouds but the sunset was out of view. I'd been listening to the Eno / Harmonia album and after that ended, I put on some Burial. I just lay there watching the clouds and the title Acid Field Recordings In Dub just came into my head... I could hear how the concept should be: made with field recordings, manipulating them and creating ambient soundscapes... dubby beats fractured in places and snatches of the acid 303. This is more or less what I wrote down that day and a few weeks later I started to create it... the process came easy and at first, I thought I'd need to spend some time making new extra field recordings but, to be honest, I has such an archive I pulled most of the sounds from that." Music, electronics & field recording by Neil Stringfellow. Design & mastering by Dan Seville. Test siren on 'Through Nuclear Skies' recorded by Marc Weidenbaum. Melodica on 'Hollowlands' played by Simon McCorry

X PROD presenta su primer vinilo bajo el sello X LABEL, cuatro de sus mejores cortes de los últimos meses que no necesitan presentación. Este proyecto mantiene en el anonimato la identidad del artista, ingeniero de mastering, diseñadores gráficos, productores ejecutivos, fábrica de prensado y todo el equipo del proyecto.
Breakbeat de primera calidad sin más calificativos…

"ECHOES PART 1 and 2 scheduled for release on 17th of May is the first of three singles set to introduce the next album project of Ulrich Troyer - TRANSIT TRIBE - to be released later this year.

Featuring the jazz vibes of Flip Philipp of the Vienna Symphony Orchestra, "ECHOES" has all the resonance of pure gamelan in dub, stately, processional and instrumentally rhythmic with its sparser second part isolating contrasting pulses as the complexity unfolds and dazzles.

Twenty years in the making, now the fully developed vision of multi-instrumentalist Vienna-based Ulrich Troyer can be heard coming to its final fruition. The interface of electronics and the unique warmth of human interplay is apparent on this track as well as all the other sounds to be heard on the album where a remarkable array of new and old friends contribute to the proceedings. Thematically the album, as may be gathered from its title, is a clear appeal for humanity to be shown as the people of the world struggle to cope with increasing problems, whether caused by movement or lack of movement."

Steve Barker (DJ, Radio Presenter - On the Wire, BBC 1984 – 2023,

now Slack City Radio & reggae/dub columnist and contributor to The Wire)

Credits:

Flip Philipp: vibraphone, c-marimba

Ulrich Troyer: analog synthesizers, drum-machine, sampler, field recordings, dub effects

Written & arranged by Ulrich Troyer

Recorded by Ulrich Troyer at 4Bit Studio & 4Bit Bungalow except Vibraphone, C-Marimba recorded by Ulrich Troyer at Konzerthaus, Vienna

Mixed by Ulrich Troyer at 4Bit Bungalow, Vienna

Produced by Osman Murat Ertel & Ulrich Troyer

Mastering & Lacquer Cut by Kassian Troyer at Dubplates & Mastering, Berlin

Cover Drawing by Ulrich Troyer

Kindly supported by the City of Vienna (MA7 - Kultur), Federal Ministry Republic of Austria (Arts, Culture, Civil Service & Sport), SKE-FONDS (AT) & Amt für Kultur, Bozen (IT)

Special Thanks: Steve Barker, Osman Murat Ertel, Eva Kelety & Flip Philipp

Warehouse Find!

Eddy & Dus are long standing and highly respected Croatian DJ and production duo Eddy Ramich and Zvonimir Dusper. They've been responsible for many classic remixes on labels such as Compost, Especial and Schema but after a long hiatus we're happy to say the boys are back, on their best form yet and now we can present to you the mighty A From B.
In its original form A From B is some kind of mutant afro techno
deep house jam that could probably only ever be conjured up in
Zagreb. It's almost as if all those incredible festivals that
dominate the Croatian coastline every summer have spawned their own new genre of house music where tropical beats clash with classic techno and blunted jazz sits right alongside the deepest disco. A From B could be seen as something of a flag-bearer of this genre- bending antics, evoking images of packed dancefloors dancing under the starry skies in the warm night air. Or something. Who better to take on the remix than one of the masters of true deep and soulful house, Osunlade himself. Knowing a thing or two about delivering legendary DJ sets at Dalmation festivals his Yoruba Soul Remix drips with the kind of musicality and integrity that many can only aspire to.
Finally we have a brilliant dub version of the original, going
heavy on the beats, keeping things tribal and hypnotic for those
heavier moments when all you want is to get locked into the groove.

Our 20th celebration year continues with a very special comeback! It’s exactly ten years now since the last Ben La Desh release on our label, his sublime “Stellar Talk EP” hit big waves and together with the “Midnight Rendez-Vous EP” from 2012 he cemented himself in the lo-fi deep space house scene as an artist to look out for, no one produced deep house like he did back then. After a longer break from releasing music he is back and we think stronger as ever, with analogue gear and well curated sampling and live field recording we present you his “Fine Rise EP”.

The opener “Heel Goed” is an amazing track with that distinctive 909 beat and DX bass driven “La Desh” flavour and a truly wonderful vocal sample from a 90s TV commercial, hilariously funny and brilliant at the same time! We can’t wait to see the faces of people, especially on the Dutch dancefloors, when they try to figure out and discover what the ladies are talking about! Second A side track is the super funky “Lift Adrift” that flanges itself to outer space, etherical with chopped break beats and various percussive and rhythmic Pearl Syncussion layers running through effect pedals, Lift Adrift!

On the other side we start out with the deep title track “Fine Rise”. Here Ben treats us again to his trademark spaced out effects driven sound and on top a killer bass line and synth lead melody, reminiscent of the golden age of (good) trance music. Followed by the break beat gem that is “Asanti”, cautiously cut up breaks and layered machine drums with bubbly Syncussion sounds, rain drops falling down on different surfaces recorded in a garden in the French Drôme and processed African Kalimba. Did we already say Etherical? It is!
Closing out this great new record is the ambient piece “Expanding Signal”, an analogue tune that consists of field recordings and deep dubby chords, a building Juno pulse, swooshes and again a profound DX bassline, think of “Sun Electric” or “The Orb”.

Enjoy this one and play it loud on the dance floors or silently in your bedroom, it works everywhere as far as we are concerned!

All tracks mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.

Warehouse Find! Test Pressing!

Time for one of Freerange's longest standing regular producers to return to the label for his first EP in three years. The Stepping Tones EP is absolutely classic Shur-I-Kan from start to finish with two original tracks plus a remix from the very excellent Berlin newcomers Kim Brown.

The title track opens with a big, bold, bouncing bassline and driving groove but as we hear the arrangement unfold the layers of keys build and drop bringing the trademark Shur-I-Kan musicality and energy to the track. In our opinion this is one of his strongest tracks yet and we're pretty sure this will be a firm favorite this summer, set to be heard everywhere from Croatian boat parties to Dalston basements and beyond.

Up next we have Kim Brown with their remix of Stepping Tones and what a job! The Berlin duo have made a big impact the last couple of years with their incredibly deep and beautiful Spring Theory and People's Republic releases on Just Another Beat. Completely sublime downbeat deep house is the key here, owing as much to ambient and orchestral music as to the rough and raw lo-slung club beats we're hearing from labels such as Dial and Smallville. Their remix brings rugged drums, dubby keys and lush strings to the fore with the addition of a twisted, filtering vocal enhancing the warm glowing sunrise vibe which emanates from this track.

Conundrum closes the EP with another deep, jazzy and cinematic Shur-I-Kan masterpiece and once again he layers up the textures and harmonic elements slowly and expertly, introducing the little hooks over time until before you know it you're bathed in a warm shower of lushness with tingles running down your spine.

2025 Repress

We are very happy and honored to present you Ricardo Villalobos on his own RAWAX series!

You will find here past & present releases from the Mastermind, starting with the 25 Years Anniversary edition of "808 The Bassqueen", formerly released on LoFi Stereo.

Special thanks goes out here to Christian Rindermann aka C-Rock!

Dream team trio Better Corners – Valentina Magaletti, Sarah Register and Matthew Simms – have completed a staggering new album Continuous Miracles: Vol. 2 for state51 Conspiracy, and where their debut LP joyfully opened the door to a brand new room, this one strides purposefully inside.

Renowned drummer/percussionist Magaletti (Holy Tongue, Vanishing Twin, Moin), avant rock musician and in demand mastering engineer Register (Kim Gordon, Talk Normal) and multi-instrumentalist and modular obsessed Simms (Wire, MEMORIALS) inject an all-too-rare sense of childlike wonder and joy into their own inimitable collage of experimental rock, wonky dream pop, analog ambient, tape experimentation, avant percussion, modular electronics and noise music.

It is this sense of fun that led to one of the band’s “uncovers”: ‘Modulating De Niro’ began with a solo piano version of Bananarama’s ‘Robert De Niro’s Waiting’ which was then sent on a very long journey through modular synth patches and FX chains until it became the unrecognisable to the original and the majestic beast it is now. The album centres round the colossal 16- minute-long ‘Career Test’, a dynamic trip through glitch-enhanced noise, machine dub and the ambience of amplified rock music, to a transcendent, mind-expanding modern raga.

Like an industrial Gamelan played by a future civilisation who have never heard it, only read about it in ancient books, the song is formed from bowed treated guitars, hypnotic hand drums, water bowl and bells. It also has a suitably macabre genesis, as Register reveals: “I was visiting my aunt's house and slept in her bedroom. In the headboard of her bed are places for curiosities and heirlooms. In these spaces she had box after box of the ashes of pets of hers that I had known over the years…”

METAL HAMMER - 8/10 review. FOR FANS OF : Lustmord, Om, Sunn O))) . “An exercise in freeform ambience, ritualistic repetition and the rapturous, womb-like power of bass…strange and affecting. We remain lucky to share in the great man’s vision.”

It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

Released periodically on three of 2024’s full moons – April 23rd’s Pink Moon, July 21st’s Buck Moon and October 17th’s Hunter Moon – the three-album cycle, “Triptych”, is (Steve Von Till from Neurosis) Harvestman’s most ambitious undertaking yet.

Guest musicians including Al Cisneros of Sleep / OM who plays bass on one track for each LP, of which he will also mix a dub version on the B-Side of each LP. Dave French of Yob, Sanford Parker and Wayne from Petbrick all make appearances.


Released periodically on three of 2024’s full moons – April 23rd’s Pink Moon, July 21st’s Buck Moon and October 17th’s Hunter Moon – the three-album cycle, “Triptych”, is (Steve Von Till from Neurosis) Harvestman’s most ambitious undertaking yet.

Guest musicians including Al Cisneros of Sleep / OM who plays bass on one track for each LP, of which he will also mix a dub version on the B-Side of each LP. Dave French of Yob, Sanford Parker and Wayne from Petbrick all make appearances.

It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

Bone White opaque + Black Galaxy effect vinyl in dub style jacket (jacket sleeve with centre hole cut out so label shows throug
Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, “Triptych” is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all.

Woven together from home studio recordings that span two decades, this fifth outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted though three separate strata. “Part One”, as with the forthcoming Parts Two and Three, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track “Psilosynth" orbits a grandfather-clock mechanism passing through a nebula haze, all waved on by an acid-fried deity. From there on, “Part One” journeys through the elegiac “Give Your Heart To The Hawk”, with the sampled poetry like a documentary retrieved from a long-lost world, Philip Glass wistfully attending a rescue beacon from the far corner of the universe on Coma, as well as percussion recordings performed by Steve and friend Dave French (drummer of Yob) on a rusted torn open stock tank outside Steve’s barn, treated bagpipes and old reel-to-reel recordings, all reiterated across the next volumes in ever more out-there contexts.

If “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with “Triptych” itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.