Search:mind to mind

Body Clinic joins us for our next 12” release with four tribal tech-house cuts, recalling the sound of early-2000s Pacha. With E-Talking on Papa Nugs’ label running the festival circuit this summer, he’s already become the talk of the scene—and this EP makes clear why.

Each track is driven by drums at the highest grade—rugged, weighty basslines locking in with sci-fi warped FX, keeping the floor in constant motion. Trippy vocal cuts thread through the grooves, getting deep into our heads and sending minds off into nearby dimensions. And that’s just the a-side.

Flip it over and Bongo Loco comes rolling in—a true cruiser. Built around a huge breakdown of layered bongos, it kicks back in with the kind of chest-rattling low end that have become Body Clinic’s signature. It’s the moment where hands shoot in the air, the rhythm carrying you further into the night. On b2, My Mate Dave shifts gears again—jumping off the old-school tech foundations and landing closer to the progressive sound we know BC for. It’s a peak-time anthem through and through.

Promo downloads have quickly come in from Chris Stussy, Josh Baker, Christopher Ledger, Roza Terenzi, and East End Dubs, marking it as one of the most anticipated releases of 2025.

FETISH 69 sind beinahe zurück - roh, radikal und einzigartig. Mit dieser streng limitierten Doppel-LP erscheint endlich ein echtes Juwel der österreichischen Underground-Geschichte. Das 1996er, nur auf CD erschienene Album "Purge", wird erstmals auf Vinyl erscheinen. Enthalten ist der bislang unveröffentlichte Track "Feed The Tumors", gepresst auf 180g-Vinyl im edlen Gatefold-Cover mit Download-Code. Das Artwork stammt von keinem Geringeren als Joe Coleman (The Waiting Room, 1990) - ein Stück Kunstgeschichte inklusive. Für Fans von Industrial, Hardcore und düsterer Ästhetik ein absolutes Must-have.Fakten: Doppel-LP, Gatefold - 180g Vinyl - Download-Code - Artwork: Joe Coleman - inkl. unveröffentlichter Track "Feed The Tumors"Marketing: Social-Media-Kampagne & YouTube-Release des Videos zu "Kickback".

You hear a pulsating rhythm. What does it mean when the intensity rises? Is it the blood rushing from the sound of the drum that brings meaning or is it the anticipation of what's next? Kasra V's returns to his budding V-sion imprint with its third installation. This latest offering brings us to the totality of physicality, where grooves and melodies do not require a resolution. The tracks bring to mind the unbridled maverick spirit of early Techno and Tribal House where the rulebook was tossed into flames and only the unfettered psyche remained. Keeping the spirit of experimentation alive, Kasra's affinity for manipulating samples and sounds in obscure ways shines through with playful nods to both industrial and early Midwest dance music alike. Unchaining the shackles of where dance music has gone wrong, Kasra is trying to maintain the connection to a time when bodies moved to the beat religiously and held reverence only for the speaker stack. Drum hypnosis is beginning now. Please enter the room and have a seat.

Leo Tunik returns to FE with four more solid, heady and club ready cuts. Comes in limited pink vinyl as well.

The Sator Arepo, or Sator Square, is an ancient word puzzle comprising five palindromes that's etched on various historical sites throughout the Western world. Its origins are unknown, but the square has long been thought to hold magical properties, used as a charm against illness and evil, to cure insanity or to determine whether someone was guilty of witchcraft. Self-styled "punk ethnomusicologist", acoustician and musician Julien Hairon uses this mystical symbol as the starting point for his debut Judgitzu album in an attempt to reconnect with his Celtic heritage, exploring how its hallowed messages might harmonize with contemporary Tanzanian dance music.Hairon has been traveling across the world for over a decade, collecting field recordings from countries such as Indonesia, Australia, Cambodia, China and Bangladesh, and presenting them on his Les Cartes Postales Sonores label, re-issuing any curious cassettes and CDs he came across on the PetPets' TAPES imprint. It was during this time that he became fascinated by rituals that involved spirits, prompting him to examine his own ancestry when he returned to Brittany. "Many artifacts in the landscape remain," Hairon explains, "and the power of spirits is still palpable." He represents this Celtic mysticism on 'Sator Arepo' with murky drones and magickal synth tones, using xenharmonic scales (tuning outside of standard 12-tone equal temperament) that reach back to the ancient world. These sounds are augmented with fast-paced, sci-fi rhythms informed by his time in Tanzania; "Singeli has contaminated me," admits the producer.The most astonishing example of this is 'Miracle', a thrusting soundsystem experiment that layers serpentine, bagpipe-esque electronic wails over extravagant clusters of blocky percussion. Driven by the frenetic 175BPM pulse that echoes through the streets of Dar Es Salaam - popularized globally by forward-thinking producers like Sisso, Duke and Jay Mitta - Hairon opens up a rare conversation, seeking to draw parallels between today's most urgent dance forms and the archaic rituals of antiquity. On 'Vitalimetre', Hairon drives his sonic palette into the red, harmonizing with Dutch hardstyle and gabber, and splaying distorted drones over maddeningly blown-out kicks and ratcheting percussion. 'L'or Des Fous' takes a more meditative route, prioritizing Hairon's eccentric tonality with expressive sheets of pitch-warped sound that ghost walk across energized, rattling beats.If you heard Hairon's last Judgitzu release 'Umeme / Kelele', described by Boomkat as "one of 2019's deadliest dancefloor sessions," then you'll know how mindboggling this material can be. And with 'Sator Arepo', the French producer deepens his reach, grasping a world that we've almost forgotten and juxtaposing it with a landscape most of us barely comprehend.

"The Burning Bright Light" is a mind-meld between improvisation trio "Dromedaries" (saxophonist Keir Neuringer of Irreversible Entanglements, Shayna Dulberger on double bass, and percussionist Julius Masri) and sci-fi writer/vocalist "Alexoteric" (Alex Smith), evoking epic sci-fi cinemascapes, vocabulary- and reference-rich underground writing, the liberatory jazz tradition, and playful avant-garde experimentation.

Recorded in a single high-voltage burst of cosmic collaboration on an October afternoon at Philadelphia's Rittenhouse Soundworks, "The Burning Bright Light" is a sonic document like no other. A mind-meld between improvisation trio »Dromedaries« and sci-fi writer/vocalist "Alexoteric" (Alex Smith), the album emerges organically on a foundation of speculative fiction, free jazz interaction, avant-garde textures, and freestyle refrains.

Shadows fold into colour. Memory dissolves into noise. You brush up against the walls of the mind. Touch is soft as breath. On ‘B side’, Areliz Ramos follows her work’s current into its more “fantastic and elusive… and even romantic” side; a place where fantasy loosens the bolts of reality and memory, and emotion is alluringly refracted into musical collages and loose-strung compositions. Across the album, voices drift in and out of an intimate space, while pensive guitar lines stumble and bloom like scribbled unresolved notes in a diary. Beneath its icy, often chaotic surface, ‘B side’ radiates a deep sense of joy and fragility. Ramos sketches out an entire world by free association, collaging notions and echoing quiet thoughts into deeply honest snapshots of daydreams.

Areliz Ramos is a Peruvian producer living in London, recognized for an evocative palette weaving lo-fi and downtempo threads into dreamlike, abstract emo narratives. While her debut ‘Frío’ (Where to Now?), orbited around homesickness and estrangement, ‘B side’ embraces imperfection, incorporating her guitar (named "Frank"), pedals, synthesizers, and her own vocal textures for the first time, privileging emotional immediacy over technical precision. The creative process behind this album reflects a conscious decision to let go, loosen control, let intuition lead, and engage her own ‘B’ side.

Rather than constructing a safe haven from hardship, Ramos offers a cracked mirror, staring right at it, embracing that vulnerability. The gentle and beautiful ‘B side’ explores fleeting satisfaction, or the elusive comfort sitting just out of sight.

Mister Water Wet returns to Soda Gong with "Things Gone and Things Here Still," an album that radically expands the project’s purview while preserving the homespun warmth and oblique tactility that have long defined Iggy Romeu’s work. Where earlier records tilted toward the dusty swing of sample-based beatcraft or spectral minimalist jazz, here Romeu opens the frame to a more ensemble-minded approach, inviting a stellar cast of supporting musicians, including SG alumni Memotone and K. Freund, into the fold.

The result is an album that feels both broader and more intimate, with live instrumentation such as piano, strings, and reeds woven into MWW’s signature lattice of hand percussion, production sleights, and slippery time signatures. Acoustic and electronic textures bend toward each other like plants angling for the same light: bowed strings blur into vaporous pads, brushed drums scatter under riffing guitars, a horn phrase lingers in the same space as a cracked cassette loop.

A tension between decay and presence - the “things gone” and the “things here still” - runs throughout the record. At times, the music evokes a chamber session refracted through waterlogged tape; at others, it recalls the afterimage of a hip-hop instrumental slowed into an oneiric haze. In the world of MWW, memory functions less as nostalgia and more as a living fabric - mutable and resonant. "Things Gone and Things Here Still" finds Iggy Romeu at his most expansive, offering up a generous record of open spaces and porous boundaries.

For those that don't know who Ocean Dawn is, it's a new alias from Kid Drama (1/2 of Instra:mental), mainly focusing on atmospheric jungle. I've previously worked with Damon (Ocean Dawn) on Ambien Sequence (which came out on Meeting Of The Minds Vol. 10, before he had established this alias for his solo atmospheric jungle tunes) as well as a track called Transitions, which came out on the Nine Windows (him & DJ Trace) album called Rule Of Thirds.

Last year, I booked him to play at one of the Future Retro London nights in Peckham Audio and I really enjoyed his set & his selection, which was mainly made up of his own work. He was quite keen on doing a release for the label so we started with Fingerprints.

Even though this tune is by just him, the original version of it is actually my remix, which was going to be a collaboration & was actually started by him. I finished the track & he liked it but thought it could be taken down a different path, so I sent him back the sounds and he made his own version from it, which is now the original & the "collaboration" became my remix of the tune.

Shortly after we had Fingerprints & the remix done, he sent me Progressive Future Music & Wax Cool which he had recently made and I loved both of those tracks, which give us enough tracks by him to complete the release.

Big up to Damon for his work on this release & look out for more to come from Ocean Dawn, including a collaborative release me & him are currently working on! :)

DC Salas is a Belgian DJ and producer from Brussels with Peruvian roots, celebrated for blending house, acid, techno, goa, and early ’90s progressive influences into a distinctive and timeless sound. His music bridges hypnotic grooves with emotional intensity, always crafted with the dancefloor in mind.

Already a part of the Time Passages family through the V.A. compilation Time Passages 24, where he contributed with the track “Perception Of Truth”, DC Salas now makes his full return to the label.

His new four-track EP, “Trapped Inside Your Mind”, expands on his trademark style with depth and precision. Shifting between raw analog energy and atmospheric layers, the record captures both the grit of underground club culture and a sense of introspective exploration—cementing his place as one of Belgium’s most versatile and forward-thinking electronic artists.

Joanna Duda Trio’s new album, 'Delighted' weaves a hypnotic tapestry of sound that immediately captivates the listener. From the very first note, the track invites you into a world where inventive rhythms and melodies dance with a mesmerizing intensity. The crispness of the percussion and the looming intensity of the double bass create a vivid sonic landscape that feels both fresh and accessible, while undeniably complex.

Duda’s composition is one of her strengths, having been sought out to compose the music for the first Polish film for Netflix Originals (Erotica 2022), and she again demonstrates her uncanny ability to blend subtle complexity with melodic piano hooks that ooze playfulness. Beneath the surface a darker, more menacing undertone that keeps the listener on edge.

"This delightful composition was worth the wait" (Twisted Soul Music) "Effortlessly interchanging some mind boggling time signatures, I love their precision" (Soweto Kinch, BBC Radio 3) "To say that Joanna Duda is a jazz pianist is an understatement. The artist transcends musical boundaries, often using jazz as a starting point for broader sonic explorations" (Polskie Radio)

The Trio has an extensive European tour planned to support her album release.

2025 Repress

“In stark contrast to the stress-makingly staccato assault of your average 'ardcore rave, Telepathic Fish was a wombeldelic sound-and-light bath"

Simon Reynolds (Energy Flash: A Journey Through Rave Music And Dance Culture)

The first-ever illustrated compendium recounting the seminal underground South London ambient party that surfaced at the axis through which the likes of Ninja Tune, Warp and Rising High flowed. Telepathic Fish shared fertile waters with Megatripolis and The Big Chill, moving the early 90s London back room chill-out space into the kaleidoscopic spotlight.

Documenting the sights and sounds of South London’s seminal Telepathic Fish ambient parties. Hosted by Chantal Passamonte (aka Mira Calix - RIP), David Vallade, Mario Aguera and Kevin Foakes (aka DJ Food) - collectively named Openmind. With the help of Mixmaster Morris (The Irresistible Force) and Matt Black (Coldcut), they put on some of the earliest chill out events in London.

Rooted deep in the heart of the electronic underground they started DJing and decorating house parties or squats with mind-blowing installations and wholly idiosyncratic design, hosting the likes of Aphex Twin, Andrea Parker and Tony Morley (The Leaf Label). Within a year they were playing VIP after shows for the likes of Orbital and illegal New Year’s gatherings at the disused Roundhouse whilst guesting on Coldcut’s Solid Steel radio show on London’s KISS FM.

Whilst collaborations with legendary club nights such as Megatripolis saw them share bills with Autechre, Higher Intelligence Agency, Scanner and Global Communication, they also created their own ambient fanzine - Mindfood – to document the scene evolving around them. A 20-page history of their parties is included in the release, richly illustrated with personal photos, artwork and memorabilia from their adventures between 1992-95. The gatefold sleeve also features their Telepathic Fish logo, mirroring an original T-shirt design they sold in Ambient Soho, a record shop three of the four worked in at different times.

The selections featured here are all personal favourites that were played at the Telepathic Fish parties during the 90s. Picked and arranged by Mario, David and Kevin who combed their collections for key pieces they associate with the time and Chantal’s music tastes. Over a hundred tracks were selected, totalling nearly 11 hours of playing time, before being whittled down to the essentials by the trio, forming a snapshot of their world back in the day.

KEY POINTS:

* Features long deleted and hard to find tracks by Caustic Window (Richard D. James aka Aphex Twin), Tranquility Bass, Spacetime Continuum and Global Communication (Mark Pritchard and Tom Middleton).

• Pressed on DJ friendly double black vinyl

• Includes A 20-page history of their parties is included in the release, richly illustrated with unseen personal photos, artwork and memorabilia from the Telepathic Fish crew’s adventures between 1992-95, as well as detailed liner notes courtesy of founding members Mario Ageura and Kevin Foakes.

• Cover includes horizontal obi sticker with quote from Simon Reynolds' book Energy Flash: A Journey Through Rave Music And Dance Culture, describing the Telepathic Fish parties' place in the dance music landscape.

• Lacquer cut by Beau Thomas at Ten Eight Seven Mastering

"Across eleven cinematic tracks — each a melodic treasure and short film — Dienel probes: What does freedom look like when rooted in presence, not escape? “Joy, especially queer joy, is revolutionary,” they muse. “Even in the face of everything else, I wanted to show that happiness is still possible — and necessary.”
The record was brought to life with an impressive ensemble of collaborators: producer Adam Schatz (Japanese Breakfast, Neko Case), bassist Spencer Zahn, guitarists Carly Bond (Meernaa) and meg duffy (Hand Habits), drummer Max Jaffe, mixing engineer Jake Aron (Solange, Snail Mail), and mastering engineer Heba Kadry (Björk, Sade). Breaking from their usual DIY approach, Dienel embraced the power of the collective — an experiment in trust, connection, and openness.
Tonally influenced by My Own Private Idaho and widescreen pop, such as Born in the U.S.A., My Heart Is An Outlaw is a warm-hearted exploration. Can we love fully without being domesticated? Can we resist cultural scripts by choosing presence and community over self-erasure? As they put it, “The heart has a mind of its own…It’s the thing holding you back that you have to set free on your own time, in your own way.”
From the early days of White Hinterland to the lush orchestral pop of her solo work, Dienel has consistently bent and challenged the boundaries of independent music. My Heart Is An Outlaw continues that legacy — an unapologetic, joyous declaration of queer love and creative agency."

Soulwax 's first new album in 8 years, entitled "All Systems Are Lying" and set for October 17th release. Available on CD & various 2LP fromats . The campaign will kick off July 9th with a double single “All Systems Are Lying / Run Free”, album announcement + pre-order launch. Since 1995, David and Stephen Dewaele have consistently pushed the boundaries of music into new and innovative territory by diversifying into many different guises. They are a band (Soulwax), djs (2manydjs), a record label (DEEWEE) and a sound system (Despacio, created along with James Murphy from LCD Soundsystem).

They are also widely renowned as one of the most innovative remix and producer teams around. They have released 7 studio albums to date, including the critically acclaimed ‘Any Minute Now’ and ‘Nite Versions’. Some of their already cult remix credits include the Grammy nominated “Work It” by Marie Davidson, as well as Peggy Gou, Fontaines DC, Roisin Murphy, Robyn, Arcade Fire, The Rolling Stones, Tame Impala, Metronomy, Daft Punk, The Gossip, Hot Chip, MGMT and Warpaint, among many others.

Stephen and David Dewaele are familiar to millions as 2manydjs, a project which undoubtedly moved the needle for modern DJing. Alongside like-minded allies such as Erol Alkan, Tiga and Jacques lu Cont, 2manydjs swept international dancefloors into delirium, gifting a rock ‘n roll attitude to club culture.

Swindly Cosmic Americana for the boxcar bound. Operating out of a suite in the Roanoke, Virginia Ramada Inn, Tiffin Music Enterprises International was but one of hundreds of gray-market record companies offering dubious services to Nashville aspirants. Cut in three days in 1975, 20-year-old Firebaugh wrote and played every bummed-out note, save a forgotten pedal steel-man. 50th anniversary edition remaster fits snuggly in your private mind garden.

Die schottische Folk-Punk-Indie-Band Brògeal veröffentlicht am 17. Oktober das Debütalbum „Tuesday Paper Club“ über Play It Again Sam. „Tuesday Paper Club“ vermischt Romantik, Verlust, Nostalgie und Unfug und kreiert einen Genre-Mix der kurz vor dem Siedepunkt steht. Das Album ist vollgepackt mit Instrumenten wie Akkordeon, Banjo, Bouzouki, Mandoline und einer flotten Penny Whistle. Es verbindet alte Folk-Traditionen mit dem Indie-Gefühl der Gen Z und kreiert einen Sound, der angesichts der Dunkelheit des 21. Jahrhunderts lacht, singt und tanzt.

Das Album wurde im Black Bay Studio, in einer ehemaligen Fischverarbeitungsfabrik auf der Isle of Lewis aufgenommen, mit einem atemberaubenden Blick auf die Bucht. Aufgenommen haben die fünf Bandmitglieder das Album zusammen mit dem irischen Produzenten Richie Kennedy, der schon mit Künstler*innen wie The Libertines, The Last Dinner Party, Interpol, Dua Lipa und U2 gearbeitet hat.

Zak Starkey had a concept. He ran it by Shaun Ryder (Happy Mondays); a super group based around Shaun's beat poetry and the sprawling peacock universe of Andy Bell's (Ride/Oasis) other-worldly guitar-scapes and the mind-bending, time-stretching, hypnotic insurrection of Bez's (Happy Mondays) maracas. Add to this one fifth dimension Noel Gallagher (Oasis/High Flying Birds), and Domino Bones full version became deeply etched into the gravity-laden grooves of this loudest of transparent top tunes. Travellers in the cosmos or indeed the third moon of the second seven solstices on a realisation it is, and was our, home. Special edition transparent vinyl 7" single.