quête:mind

Lane Shi Otay Onii, known professionally as Otay:Onii, is one of the most inquisitive and genre-defying artists of her generation. A multifaceted creator whose work spans performance art, composition, installation, and avant-garde music practice. Otay:Onii is the first ever artist selected for the three-year Triennium Residency at Roadburn Festival. She was a contributing composer and performer in Florentina Holzinger's groundbreaking opera production `SANCTA` and has performed at festivals world-wide such as SXSW, Roadburn, CTM, Fusion, Creepy Teepy, LGW, Fekete Zaj, and Full of Lava. Otay;Onii has already been celebrated with many awards worldwide, included the Global Music Awards `Bronze Prize for Best Female Vocalist` and `Best Sound' at Audiovisual Arts Industrial Incubator Awards. Otay:Onii's new album `Love is in the Shit', is a deeply intimate album that reaches a striking balance between control and chaos. Harnessing her ability to move from serenity to madness, `Love is in the Shit' is an exploration in representing trialing conscious states. Drawing-in and challenging the listener, the songs play with comfort and discomfort, deliciously crafting the sonic arc of the story so that intention is undeniably felt. Low frequencies vibrate with a bodily presence, while sharp, high-frequency textures cut through with urgency. There is a sense of movement embedded in the sound; music that pulses, sways, and surges, never settling into static forms. Even at its most aggressive, there is an undercurrent of precision and intention. Her voice becomes increasingly elastic and versatile through the service of melody, spoken poetry and pain-ridden wails. "Many songs begin with a need to sing - I sing to summon grace at the peak of anger and tournament, I sing to summon tranquility from a 6 hour panic attack, I sing to get out of my mind which shows mercy for fear.

Lane Shi Otay Onii, known professionally as Otay:Onii, is one of the most inquisitive and genre-defying artists of her generation. A multifaceted creator whose work spans performance art, composition, installation, and avant-garde music practice. Otay:Onii is the first ever artist selected for the three-year Triennium Residency at Roadburn Festival. She was a contributing composer and performer in Florentina Holzinger's groundbreaking opera production `SANCTA` and has performed at festivals world-wide such as SXSW, Roadburn, CTM, Fusion, Creepy Teepy, LGW, Fekete Zaj, and Full of Lava. Otay;Onii has already been celebrated with many awards worldwide, included the Global Music Awards `Bronze Prize for Best Female Vocalist` and `Best Sound' at Audiovisual Arts Industrial Incubator Awards. Otay:Onii's new album `Love is in the Shit', is a deeply intimate album that reaches a striking balance between control and chaos. Harnessing her ability to move from serenity to madness, `Love is in the Shit' is an exploration in representing trialing conscious states. Drawing-in and challenging the listener, the songs play with comfort and discomfort, deliciously crafting the sonic arc of the story so that intention is undeniably felt. Low frequencies vibrate with a bodily presence, while sharp, high-frequency textures cut through with urgency. There is a sense of movement embedded in the sound; music that pulses, sways, and surges, never settling into static forms. Even at its most aggressive, there is an undercurrent of precision and intention. Her voice becomes increasingly elastic and versatile through the service of melody, spoken poetry and pain-ridden wails. "Many songs begin with a need to sing - I sing to summon grace at the peak of anger and tournament, I sing to summon tranquility from a 6 hour panic attack, I sing to get out of my mind which shows mercy for fear.

The highly anticipated collaborative album, GOLDFISH, sees two of contemporary hip-hop's most revered and distinct production minds, Hit-Boy and The Alchemist, finally join forces for a full-length statement. Far from a simple beat-swap, this project is a masterclass in sonic cohesion, blurring the lines between their signature sounds to forge a new, golden-hued identity. Beyond production, the duo step from behind the boards to behind the mic to trade verses throughout the project, adding a personal layer to their creative vision.

GOLDFISH is a deeply immersive listen, perfectly balancing the West Coast muscle and polished, anthemic quality of Hit-Boy's work with the dusty, abstract texture and cinematic suspense that defines The Alchemist's aesthetic.

The result is a sound that feels both street-tested and museum-worthy. A collaborative manifesto, showcasing the infinite possibilities when two generational talents decide to link up, creating an instant classic in the canon of producer/MC albums.

Pete Lambrou, the visionary composer and multi-instrumentalist behind VLMV (pronounced "Alma"), is one of the most singular voices emerging from the ambient, post-rock, and experimental scenes in the UK. With a career that spans atmospheric solo work, film and television scoring, and evocative live performance, Lambrou has carved out a distinctive sonic universe he describes as "ambient-ish post-something" (Pete Lambrou) a playful yet accurate summation of a sound that is at once genre-fluid and deeply immersive. The album takes its title from Sara Teasdale's 1918 poem and Ray Bradbury's later short story, both of which imagine a world continuing quietly after humanity's disappearance. This idea became the gravitational centre around which the record formed. Written during a period of deep engagement with climate fiction and ecological thought, `There Will Come Soft Rains` reflects on humanity's legacy, its technological ambition, and its uneasy relationship with the natural world. A century on from Teasdale's poem, the balance of power feels less certain, and Lambrou's music inhabits that tension with remarkable subtlety. "The initial ideas stem mostly from chaos, randomness or sound exploration and then get shaped as I go. Typically, and certainly for this album. It's evolved since album 1, which was more song / chord based. It's a fun process of finding the sound and then working out whether it's speaking to me - or merely just a cool noise. That's fun, but it sometimes can't evolve or progress, so then begins the long journey of shaping it into some sort of song format - which doesn't have to be a-typica,l but whatever feels right to me. The subject matter and overall theme is important too - it's got to all make sense within itself. There's no point having a slowly creeping theme and then rush the music." (Pete Lambrou) VLMV embody an emotional honesty that works with patience and nuance. Whether you're encountering his music for the first time or returning to its quiet depths, VLMV offers an aural space that resonates long after the final note fades. Lambrou's singular sonic language sits at the intersection of ambient, post-rock, modern classical, and experimental electronic music, while remaining unmistakably human at its core. "Instrumentally it's far more synth based - as soon as I had the concept, I wanted to make sure technology clash and marry with traditional instruments (at different times) in a sort of slow-moving dance I suppose. One is nature, one is human development and technology. Sometimes working together and sometimes in opposition. On my previous albums I'd say that at least half of the tracks started life as songs, whereas with `There Will Come Soft Rains` I think the majority (if not all) started as experiments in sound." (Pete Lambrou) Sonically, the album is VLMV at its most cinematic and textural. Warm, intimate piano figures and elegiac string arrangements are set against unstable modular synthesis, fractured rhythms, and evolving sound design. The organic and the artificial are locked in a slow, shifting dialogue, mirroring the album's central themes. At times the music feels tender and nostalgic, at others unpredictable and mournful, yet it never tips into despair. Instead, a quiet resilience runs throughout the record. "The album is slightly unusual in that it was mixed in Dolby Atmos before being mixed down to stereo. Most, if not all, do it the other way round. That's because I got to work with a superb mix engineer who just happens to live opposite. It was extremely random and lucky, moving to a tiny hamlet in the South of England and there being a Dolby Atmos studio opposite with a genius of an engineer. We had in mind that we would do it this way round and enjoy the mix process and give everything its own space - it still had issues when folding down to stereo, but overall a more pleasurable mix!" (Pete Lambrou) There Will Come Soft Rains has a geological sense of time: themes creep, expand, erode, and reform, resisting conventional structures in favour of something more patient and immersive. Each sound exists because it needs to; they move, recede, and emerge with a three-dimensional clarity that enhances the music's cinematic quality, giving each element room to breathe while maintaining an enveloping sense of cohesion. Lambrou's unique voice is Intimate and fragile, his vocals hover above the instrumentation, a guiding thread through the expansive soundscapes, drawing listeners closer into the emotional core of each piece. "Long time vocal collaborator Anja Madhvani did lots of harmonies on the album - I wanted to include her voice as much as possible on this album. In terms of string players - 3/4 have been long term collaborators with me. Marie Schreer actually recorded all strings on my first album ALMA, and Fraser & Clodagh have worked on every album (and occasional live shows) since Stranded Not Lost. In terms of art - Joel Cammarata designed the cover, and accompanying art - he designed Sing With Abandon and I absolutely adore his work, but also - he's so great at understanding and developing and capturing the concept." (Pete Lambrou) Layered harmonies drift through the music like distant signals or half-remembered voices. Madhvani's presence adds a human fragility to the album's vast soundscapes, reinforcing the sense of memory and longing that runs beneath the surface. The strings, performed by a close circle of trusted collaborators, further ground the record in warmth and physicality, acting as a counterweight to the synthetic elements that threaten to unravel it. "Despite the heavy subject matter, I wanted to create an album that imparts hope and optimism, marrying traditional instrumentation as nostalgia, with technological innovation through the randomness of modular synths." (Pete Lambrou) The partnership with Pelagic Records feels both organic and significant. Known for championing artists who value emotional weight, sonic ambition, and artistic integrity, the label provides a natural home for VLMV's work. Lambrou's music shares Pelagic's ethos: immersive, patient, and unafraid of scale whether intimate or vast. With There Will Come Soft Rains, Pete Lambrou has crafted a work that feels timely without being didactic, expansive without being overwhelming. It stands as a quiet, but powerful statement that lingers long after the final notes fade. FOR FANS OF Sigur Ros * Olafur Arnalds * Radiohead * Keaton Henson * This Will Destroy You

Pete Lambrou, the visionary composer and multi-instrumentalist behind VLMV (pronounced "Alma"), is one of the most singular voices emerging from the ambient, post-rock, and experimental scenes in the UK. With a career that spans atmospheric solo work, film and television scoring, and evocative live performance, Lambrou has carved out a distinctive sonic universe he describes as "ambient-ish post-something" (Pete Lambrou) a playful yet accurate summation of a sound that is at once genre-fluid and deeply immersive. The album takes its title from Sara Teasdale's 1918 poem and Ray Bradbury's later short story, both of which imagine a world continuing quietly after humanity's disappearance. This idea became the gravitational centre around which the record formed. Written during a period of deep engagement with climate fiction and ecological thought, `There Will Come Soft Rains` reflects on humanity's legacy, its technological ambition, and its uneasy relationship with the natural world. A century on from Teasdale's poem, the balance of power feels less certain, and Lambrou's music inhabits that tension with remarkable subtlety. "The initial ideas stem mostly from chaos, randomness or sound exploration and then get shaped as I go. Typically, and certainly for this album. It's evolved since album 1, which was more song / chord based. It's a fun process of finding the sound and then working out whether it's speaking to me - or merely just a cool noise. That's fun, but it sometimes can't evolve or progress, so then begins the long journey of shaping it into some sort of song format - which doesn't have to be a-typica,l but whatever feels right to me. The subject matter and overall theme is important too - it's got to all make sense within itself. There's no point having a slowly creeping theme and then rush the music." (Pete Lambrou) VLMV embody an emotional honesty that works with patience and nuance. Whether you're encountering his music for the first time or returning to its quiet depths, VLMV offers an aural space that resonates long after the final note fades. Lambrou's singular sonic language sits at the intersection of ambient, post-rock, modern classical, and experimental electronic music, while remaining unmistakably human at its core. "Instrumentally it's far more synth based - as soon as I had the concept, I wanted to make sure technology clash and marry with traditional instruments (at different times) in a sort of slow-moving dance I suppose. One is nature, one is human development and technology. Sometimes working together and sometimes in opposition. On my previous albums I'd say that at least half of the tracks started life as songs, whereas with `There Will Come Soft Rains` I think the majority (if not all) started as experiments in sound." (Pete Lambrou) Sonically, the album is VLMV at its most cinematic and textural. Warm, intimate piano figures and elegiac string arrangements are set against unstable modular synthesis, fractured rhythms, and evolving sound design. The organic and the artificial are locked in a slow, shifting dialogue, mirroring the album's central themes. At times the music feels tender and nostalgic, at others unpredictable and mournful, yet it never tips into despair. Instead, a quiet resilience runs throughout the record. "The album is slightly unusual in that it was mixed in Dolby Atmos before being mixed down to stereo. Most, if not all, do it the other way round. That's because I got to work with a superb mix engineer who just happens to live opposite. It was extremely random and lucky, moving to a tiny hamlet in the South of England and there being a Dolby Atmos studio opposite with a genius of an engineer. We had in mind that we would do it this way round and enjoy the mix process and give everything its own space - it still had issues when folding down to stereo, but overall a more pleasurable mix!" (Pete Lambrou) There Will Come Soft Rains has a geological sense of time: themes creep, expand, erode, and reform, resisting conventional structures in favour of something more patient and immersive. Each sound exists because it needs to; they move, recede, and emerge with a three-dimensional clarity that enhances the music's cinematic quality, giving each element room to breathe while maintaining an enveloping sense of cohesion. Lambrou's unique voice is Intimate and fragile, his vocals hover above the instrumentation, a guiding thread through the expansive soundscapes, drawing listeners closer into the emotional core of each piece. "Long time vocal collaborator Anja Madhvani did lots of harmonies on the album - I wanted to include her voice as much as possible on this album. In terms of string players - 3/4 have been long term collaborators with me. Marie Schreer actually recorded all strings on my first album ALMA, and Fraser & Clodagh have worked on every album (and occasional live shows) since Stranded Not Lost. In terms of art - Joel Cammarata designed the cover, and accompanying art - he designed Sing With Abandon and I absolutely adore his work, but also - he's so great at understanding and developing and capturing the concept." (Pete Lambrou) Layered harmonies drift through the music like distant signals or half-remembered voices. Madhvani's presence adds a human fragility to the album's vast soundscapes, reinforcing the sense of memory and longing that runs beneath the surface. The strings, performed by a close circle of trusted collaborators, further ground the record in warmth and physicality, acting as a counterweight to the synthetic elements that threaten to unravel it. "Despite the heavy subject matter, I wanted to create an album that imparts hope and optimism, marrying traditional instrumentation as nostalgia, with technological innovation through the randomness of modular synths." (Pete Lambrou) The partnership with Pelagic Records feels both organic and significant. Known for championing artists who value emotional weight, sonic ambition, and artistic integrity, the label provides a natural home for VLMV's work. Lambrou's music shares Pelagic's ethos: immersive, patient, and unafraid of scale whether intimate or vast. With There Will Come Soft Rains, Pete Lambrou has crafted a work that feels timely without being didactic, expansive without being overwhelming. It stands as a quiet, but powerful statement that lingers long after the final notes fade. FOR FANS OF Sigur Ros * Olafur Arnalds * Radiohead * Keaton Henson * This Will Destroy You

Double live album out by one of the most exciting live bands in earth, Mohama Saz! "Ven al fuego" captures their unstoppable stage energy in its purest form. "Ven al fuego" is the perfect compilation and representative of the powerful unstoppable force from the band on stage. Play this album, play it loud and you will be enjoying one of the most memorable live shows that explores musical horizons emancipated from British rock tradition. Mohama Saz from Madrid, Spain are one of the most exciting live bands in the world today, a mind -blowing manifestation of pure psychedelic exotica. Within minutes of taking the stage they have the audience completely under their spell, dancing in wide-eyed bliss to their uniquely intoxicating music. With an electrified Baglama Saz as their lead instrument they fuse elements of Turkish and Armenian folk music, Mediterranean psychedelia and mesmerizing Middle Eastern-flavored ragas with galvanizing go- go discotheque grooves. Mike Stax (Ugly Things Magazine / The Loons) Experiencing Mohama Saz live is a meditative ritual of excitement and pure emotion. One of the best live shows I can think of today, they are truly something special! Jake García (The Black Angels) Album Credits: Recorded live in February 2025 in Madrid (Sala Copérnico, February 22, 2025) and Reus (Lo Submarino, February 15, 2025) by Tommaso Galati. Mixed by Tommaso Galati and Mohama Saz. Mastered by Carlos Díaz. Artwork: Mario Feal

40 Thieves have been part of the Leng family since 2011 during which time they have released many quality singles and EPs as well as their sole full-length album, 2014’s epic The Sky Is Yours. Even so, double A-side ‘Love Is’/’Let Me Show You’ still marks their first release on Leng for almost three years.

In keeping with their signature sound, ‘Love Is’ is trippy, hallucinatory and gently mind-altering, with psychedelic guitar sounds, echoing percussion, and a heady lead vocal courtesy of crew member and Alona, all of which rides a chunky dub disco bassline and chugging mid-tempo beats. Richard Sen, a DJ and producer known for his love of dubbed-out sonics and pulsating grooves, delivers a typically spaced-out and otherworldly rework. Rooting his revision to the dancefloor via an undulating electronic bassline that throbs away restlessly throughout, Sen stretches out the track and emphasises its more trippy elements before introducing dreamier chords and heady vocals with a brilliant interpretation.

On ‘Let Me Show You’, 40 Thieves step things up to deep house tempo while remaining firmly rooted in 21st century San Francisco nu-disco with rich, dubby bass guitar, tactile piano chords, futurist synths and knowing nods to Patrick Cowley productions of the late 1970s and early ‘80s. The track is presented in two forms: the superb ‘Vocal Mix’, where Alona’s vocal rises above the groove and intoxicating electronics, and a genuinely radical and out-there dancefloor focused ‘Dub’. Pushing the track’s wilder and more out-there elements to the max via stripped-back arrangements and a smorgasbord of effects, 40 Thieves re-wire the cut as a heads-down psychedelic disco chugger topped off with wonderfully loved-up chords.

First Word Records proudly present the second single from Above The Clouds (aka kidkanevil & Magic Manfred), taking on another underground hip hop classic, 'Change'.

'Change' was originally performed by Shadez of Brooklyn, produced by Da Beatminerz and most notably appeared on DJ Premier's legendary 'New York Reality Check 101' mix compilation back in 1997.

This 7" vinyl release follows on from last Summer's MF DOOM cover 'Arrow Root', which received strong support from the likes of Japan's DJ Koco and Philadelphia's DJ Jazzy Jeff.

This new instrumental reinterpretation also features cuts by Leicester-based turntablist, Jon1st - a DMC World Online Champion, as well as being a producer & musician in his own right, collaborating on music with a number of hip hop, D&B and electronic artists.

One of the original First Word roster, UK Producer/DJ and all-round laptop music geek kidkanevil has developed a distinctive and progressive sound over the years, gleefully exploring the beats and bleeps of the electronic music universe to international recognition. Leeds born, sound system bred and raised on a (un)healthy diet of video games and anime, his solo work inhabits the curious space between bass frequencies and otaku culture. But as a devoted teenage backpack rap nerd, somewhere in the back of kid's mind was a lingering desire to reconnect with his first love, hip hop.

Not long after moving to Berlin he joined a studio space in graffiti plastered Kreuzberg, where he met multi instrumentalist wizard Magic Manfred; a disciple of all things boogie, disco, funk and soul. Born and raised in Berlin, and currently a touring musician for many an act, Manfred's musical map joins the dots from piano lessons at four, to starting a band with his teenage friends, leading him to his true calling - the bass - via the club vibrations of his hometown, which introduced him to the world of DJing and production, and a stint studying in the explosive London jazz scene to finalise his Jedi training.

Bonding over their mutual love of '90s hip hop, a friendship and musical kinship developed, coupled with a desire to honour past eras but push things forward, Above The Clouds was born; named after their joint favourite DJ Premier beat, with a touch of irony regarding their basement based studio of a windowless variety.

kidkanevil explains further "We started the project with a few covers, just as a way to get warmed up and in a certain creative headspace, of which 'Change' by Shadez Of Brooklyn was one. We both loved DJ Premier's 'New York Reality Check 101' mix when we were teenagers and this track was a favourite. The elements really lent themselves to live interpretation, and as an instrumental there was space to bring some nice movement with the bass and stuff. Hopefully we found the balance between paying tribute and finding our own pocket. For the final seasoning we hit up the homie and turntable wizard Jon1st to recreate the cuts, of which he did an immaculate job of course.

The b-side 'Urgh' is one of our favourite beats we've made so far; the title is just how it makes us feel! We actually recorded the piano with two iphones as left and right and it sounded kinda cool so we went with it..."

'Change / Urgh' is released on limited 7" vinyl & digital platforms, April 24th 2026.

Budapest-based concept label, Blue Sun is launching their new line of vinyl focused releases, aimed primarily on DJs and collectors: the Blue Series. A counterpart to the Orange Series launched last year that showcases a more upbeat side of the label, the new collection presents a darker, more experimental, and introspective musical vision.

The first release in the Blue Series is a six-track EP by Budapest based multimedia artist, Virág Réti. Choosing her legal name as her artist persona (“Flower of the Meadow" in Hungarian) also with the track titles capturing the folk names of local fauna, Peremidő evokes the artist's innate connection to nature as a place of refuge from the noise of Eastern European urban life.

The EP’s motifs point back to early memories of sitting by a river, simply observing time flowing by. The arc of the songs follow the passage of a day, beginning with the hesitant sounds of early morning, gradually moving on toward more defined, rhythm-driven forms. As the airy textures slowly give way to structure and percussion comes to the forefront, the sense of direction becomes clearer, letting moments of gentle disorder and unexpected sounds to surface.

Virág previously appeared on the label’s Blue Sun VA II compilation with her track Bíbic. Since launching her ambient music project in the fall of 2024, she has become one of the promising newcomers in the Hungarian experimental electronic music scene. Her debut EP, Minden Ami Megmaradt (All That Remains), was released last November as the final offering of temporary nites label (2023–2025). She is also the founder and organizer of the Budapest-based experimental electronic event series Still Places.

The third release on Children of the Sun welcomes Argentinian mastermind Dani Labb.

We are delighted to present this EP, a body of work that perfectly captures Dani Labb’s sonic wizardry. Through a collection of versatile tracks that engage the mind while retaining a deep emotional undercurrent, the record resonates deeply with the ethos behind the COTS aesthetic.

Each piece unfolds with its own character, blending hypnotic rhythms and emotive textures into a journey that reflects both the artist’s vision and the spirit of the label.

AOP 11 Welcomes the Italian GNMR to the family for another psychedelic offering with the 'I Love You EP'

A1 opening with the title track I Love You with a no nonsense tribalism, taking us stumbling through a muddy Peruvian forest trip - after loosing & finding our minds

A2 follows with the deep and introspectif Sunrise Reprise. Slower broken drums guide, accompanied by moody groans and a nagging synth that weaves through the vines and trees.

B1 Bunda returns to the tribalism for a gated giddy dance ritual - clatterings drums, stuttered chants and rhythmic movements.

B2 rounds off the EP with Constantinople From The Mindset. Cleverly programmed loose percussion and trippy chants, a chundering bass and a solid kick, the track progresses craftily and confidently, gradually arriving at a euphoric and climatic.

Rooted in the deeper corners of minimal house and micro-driven grooves. UTROWAX001 marks the first wax chapter from Utro Records with Hive Minded EP, a refined and elegant three-track selection by Peter Zherebtsov, Vid, and Herck. Rooted in the deeper corners of minimal house and micro-driven grooves, this release brings together subtle textures, reduced rhythms, and a strong sense of late-night atmosphere. Wrapped in beautiful artwork and backed by a great minimal track selection, UTROWAX001 is a tasteful debut that captures the essence of understated dancefloor functionality and timeless after-hours appeal.

A tribute to Bob the Landlord from Rotterdam. Bob the Landlord became known in Rotterdam after appearing in a documentary about the harbor cafe Willems Kantine. He was a loud and direct landlord who rented small rooms to people around the area. Bob was famous for his strong Rotterdam attitude and the way he spoke to people without filtering his words. One of the most famous moments was when Cowboy Jos asked him for five euros. Bob angrily replied, "Five euros? On your face!" This line later became a well-known quote in Rotterdam. Even though he could be rough and strict, Bob became a memorable character and a small cult figure in the city. 4 tracks on one very special release. A1 by Doctr - Our Minds Belong Together. The long awaited super nu italo hit already played by David Vunk at many festivals and clubs where everyboday is waiting for! A2 by Theo Scuera - Your Virus. Club banger and Dancefloor filler with crazy sexy bassline and pumping rhythm section. Half electro half techno. Endmix legendary by Endrik schroeder. A1 David Vunk and Ben la Desh - Unrealized prophet. Long time friends Ben la Desh and David Vunk team up again with another super deep techno house track, layered analog sequencial prophet 5 synths sound, Erica Perkons drums and fx. All of this comes together in an exciting tech break with space-like sounds. Be prepared for this secret wapon. B2 Patricio Diaz - Come To My Hell A Parisian space house techno track with energetic beats and 90ies vibes. Pure energy. Get your 10000 steps on this one. Hint: Most likely people will already buy this just for the cover. So be quick for this release and don't miss this.

Originally released on CD in 2006, It's A Feedelity Affair marked a formative moment in Hans Peter Lindstrøm's early career, compiling key tracks from his first wave of 12-inch releases between 2003 and 2006. Now, twenty years after the founding of his Feedelity label, the album is presented for the first time as a newly remastered vinyl edition.

"Listening back now, I hear an artist still figuring things out, but with a clear instinct for where I wanted to go. It was a period defined by freedom - no rules, no expectations." - Hans-Peter Lindstrøm

Released at a time when electronic music was shaped by extended runtimes and physical formats, It's A Feedelity Affair captured a club culture rooted in patience, atmosphere, and spatial awareness rather than immediacy. Its long-form approach remains central to the album's lasting appeal and resonates strongly with today's renewed focus on vinyl and immersive listening experiences. The album stands as a document of an era marked by experimentation, expansive club tracks, and an open-ended vision of electronic music.

Upon its original release, the album received widespread international attention, including a Best New Music rating (8.4) from Pitchfork. The track I Feel Space has since become one of Lindstrøm's most enduring and recognizable works. The album also documents some of his earliest collaborations with Prins Thomas and Christabelle, resulting in tracks such as Boney M Down and Lovesick.

Lindstrøm relaunched Feedelity in 2024, with the label returning in 2025 alongside his most recent album Sirius Syntoms and the single Cirkl, marking a full-circle moment for the imprint. A new studio album is currently in progress and expected in autumn 2026.

Double 12" release

The Story — From the Streets of Rome to the Male Productions Label
In the early 1990s, Rome lived in a kind of suspended moment. The city was still tied to its historic clubs, yet in the outskirts—inside abandoned warehouses, quarries along the coastline, and the wooded parks north of the capital—something new was beginning to stir. A nocturnal, constantly shifting movement fuelled by a hunger for freedom and a sonic curiosity that reached far beyond the mainstream.

Moving through this ferment was Francesco “Chicco” Furlotti. First an organizer of unconventional parties and underground nights, he soon became one of the driving forces behind Rome’s itinerant rave scene. Furlotti sensed that a wave of change was about to sweep across the city. It wasn’t just about parties: it was the rise of a culture, a new way of thinking about music, community, and belonging.

It was within those nights—later held with official permits, properly built sound systems, and an ever-growing crowd—that Furlotti recognized the existence of a distinctly Roman sound, and the need to capture it, preserve it, and give it tangible form.
So, in 1991, he decided to take a bolder step: to found an independent record label—small, determined, and far removed from the commercial logic that dominated at the time.
That was the birth of Male Productions.

Male was not a label like any other: it was a workshop, a gathering point, a creative hub where DJs, producers, friends, and wanderers converged. Within that environment, an artistic core took shape—Stefano Di Carlo, Leo Young, and Mauro Tannino, along with other collaborators orbiting around Furlotti. From their synergy emerged a project whose very name declared its mission:

The True Underground Sound of Rome.

The collective did not simply aim to release music; it sought to tell a story of Rome through sounds that defied categorization: house, techno, ambient, electronic mysticism, psychedelic visions… a unique blend, instantly recognizable, emotional, and experimental. The sessions unfolded using essential yet razor-sharp gear: Roland drum machines, analogue synthesizers, Akai samplers, stripped-down mixers. Few tools, endless imagination.
The first result of this work was the 12” Secret Doctrine, released in 1991 in an extremely limited run—around 500 promotional copies, according to accounts. The record captured something that until then had floated only in the air of Roman raves: enveloping atmospheres, deep rhythms, melodies built to make the mind travel far beyond the dancefloor. A sound that did not imitate what was happening in Detroit, London, or Berlin, but absorbed those influences and re-sculpted them with a distinctly Roman sensibility.
Yet, precisely because it was independent and detached from commercial circuits, Male’s output remained sparse: few EPs, few copies, irregular distribution. Over time, those records became rare artifacts—almost mythical objects within the Italian electronic scene. The legacy of Male Productions seemed destined to survive only in the memories of those early years, in the stories told after raves, and in the private archives of a handful of collectors.
Many years later, thanks to the almost accidental rediscovery of a few original copies of the first two releases issued by Male Productions, it became possible to undertake a meticulous process of recovery and restoration of the audio etched into those grooves, with the aim of preserving as fully as possible the quality and character of that unrepeatable sound.

We are therefore able today to present — at last in a complete and faithful form — the first two mixes created for Male Productions, now released on a double vinyl that brings back into the present the exact moment when it all began: the nomadic nights of the raves, Furlotti’s vision, the creativity of Di Carlo, Young and Tannino, and the sonic identity of a Rome in the midst of transformation.

This is not merely a reissue.
It is a historical document.
A fragment of a culture that changed the city.
The authentic sound of the Roman underground, finally returned to the world.

Fossils in Transit dropping their first EP with diverse club focused features. The label
wants to express their love for timeless pieces and extrapolating it to their own vision.
Brussel based duo Kappen & Latence showing their musical spectrum on the A-side. On
the B-side Ennio Tyson debutes his take on timelessness.
A1 is a warm and slowly building track guiding the listeners through a blissful state. This
percussion driven piece sets the perfect mood for sunrises/sunsets. In A2 the rebellious
nature is defined by punk vocals, an acid bassline and crunchy percussion. Produced for
dark clubs and peak-time slots. B1 ventures into a bass-heavy realm where scattered
perc-like vocals and stabby synths create an ominous atmosphere. Keeping the body in
check while the mind wanders. Closing the EP on B2 with an off-the-wall minimal tech
house roller. Balancing a steady energy level to keep a tight grip on the dancefloor.

This is a highly limited pressing, please order your desired quantity and we’ll see what we can supply.

We are pleased to be back with the talented Groof, the experienced producer from Madrid’s legendary electronic music scene, who is responsible for our eighth release and his debut on Kontralamakina.

We welcome you to “Simulation.” This EP/LP consists of a collection of 5 tracks that explore repetition and dynamism, with structures generated by various noise sources and algorithmic sequencing with a raw and forceful sound. It consists of excellently stomping techno rawness exercises.

Plus 1 remix by the techno legend Oscar Mulero Remix; Outstanding mind bending tools, Expertly careful Drone treatments, Stunning, deep, atmospheric but energetic Techno voyage.

While brothers Simon and Robin Lee have kept themselves busy, both with EPs as Faze Action and numerous offshoot and solo projects, it's been almost 12 years since we last heard a fresh, full-length excursion from the long-serving duo - at least under their most famous moniker. Predictably, Distant Dreams was worth the wait, with the Lee siblings continuing their richly organic approach - think live bass, guitars, strings, keys, flute and percussion alongside synth sounds and drum machine beats. Musically, it draws on their now well-known influences - warming disco, jazz-funk and Balearica with nods to other musical cultures - and delivers eight impeccable tracks that undoubtedly sit amongst their classiest work to date. It's good to have them back.