Suche:obscur

2024 Repress

"I've never met Rod Modell (Deepchord) in person, but we have met through music. He found an obscure cassette of Chi music (from '86), sent it to Astral Industries and paved the way for the release (30 years later) of 'The Original Recordings' in 2016. Since then, we've exchanged ideas and good music. I sent Rod a preview of 'The Kallikatsou Recordings' - he really liked it - and here came the idea for a remix of 'Lanterns'. I started working on some random, lo-fi samples from Youtube, using Audacity, perhaps the simplest way of producing loops and samples. It's the only computer based system that feels like the tape recorders I used to work with. I sent the first sketches to Rod on Facebook, but they ended up in the wrong inbox. I forgot about them, but months later he came back saying he loved them. I decided to go back to working on them, maintaining the lo-fi approach. I began manipulating the samples: time-stretching, tempo and pitch-shifting, mixing different layers and adding old-school monophonic old speaker' effects, delays and loops. I used a few field recordings, voices and samples from my early ambient cassettes, and they matched. Ario from Astral Industries got involved and the experiment turned into a plan - a vinyl release - 'Red Lantern at the Kallkatsou''.

“The Castle II” is a collection of works composed and recorded by the Japanese artist Tomo Akikawabaya between 1986 and 1989. An album filled with obscure atmospheres, hypnotic rhythms, electronic melodies, experimental interludes and the unique and mesmerizing voice of Akikawabaya.

Since the release of the album “The Castle I” in 1984, Tomo Akikawabaya became disappointed with the music scene in Japan and thought that the only way to continue as a musician was to release his music abroad. After finish to record some new songs, he embarked on an adventurous trip to London in order to look for an opportunity for a new release. Unfortunately, after three months and despite meeting many artists and important people in the music industry, luck was not on Akikawabaya’s side and with time running out he had to return to Japan without a concrete proposal. In the following years, although he continued to work with his long-time partner Takaaki Han-ya with a project called Beata Beatrix, he never published anything and later focused to other activities. It was until 2015 that the New York label Minimal Wave released “The Invitation of The Dead” compiling songs from “The Castle” (1984) and “Anju” (1985), both originally released on his own label Castle Records. Tomo Akikawabaya is currently working under the moniker of Th, together with his wife Rinko, on a project called The Future Eve. They released an album in 2019 with the collaboration of the legendary Robert Wyatt.

Mystic Transfers is a label focusing on experimental music and club cuts from around the world, taken from the suburbs. MYSTIC VALLEY - Mystic Valley is the new musical project by Andrea B, architect, collector and producer from Florence, Italy. His sound is best described as a melting pot of Italian psychedelic influences, from obscure downtempo to new beat, as well as English breakbeat and German EBM. After years of Tropical Animals he started with Felis Oxiana the project ‘’Galattica’’ and from 2021 is one of the founders of Mizuna. Heading coach of the post punk group Zona Utopica Garantita, he began to work with them since they started to play, and together they launched the label ‘’Mystic Transfers’’, focusing on experimental music and club cuts from around the world.
SPO - Drummer in the ’00 of the underground scene in Florence fond of the 70s Progressive Rock sounds and experimental, co-founder in 2006 of the DIY label La Statua Sommersa Produzioni.
Currently in Florence after the experiences in Rome and 5 years in Berlin with many gigs around Europe and albums with his solo project Die Lust! and the italo-german duo Bloodygrave & Die Lust! establishing itself as a producer and composer in the electronic european musical scene Minimal Wave e Synth Wave. From 2017 began a new solo project named SPO (Solo Per Oggi).

It's been 40 years since Michal Turtle released his seminal, ground-breaking album "Music From The Living Room" into the world and promptly disappeared back into the aether.

An extremely obscure cult classic known only to deep diggers and aficionados of the finest order, it wasn't until Music From Memory reissued some of the tracks from it via retrospective compilations of Turtle's unreleased music almost 30 years later that his name become more widely known and a new generation were able to discover the artist's unique and pioneering style of experimental electronic music production, the majority of it very much ahead of its time, and to this day, still timeless.

Invisible Inc contacted Turtle in the summer of 2023 about releasing something else by him and it was during this exchange of emails that ideas were expressed about releasing not simply a straightforward reissue of "Music From The Living Room" to mark its 40th anniversary (the album has never been reissued in full) but rather a re-imagined/re-constructed take on the album bringing contemporary techniques, styles and newly recorded vocal and instrument parts into the mix and breathing new life into these wonderful compositions.

Collaborators old and new were brought into the studio and the songs re-created from the ground up. Familiar songs like "Are You Psychic?" and "Village Voice" get overhauled and echo remnants of their original counterparts but simultaneously sound like completely new tracks. The always mesmerising "Phantoms of Dreamland" is represented through a live recording at Café Oto featuring original album vocalist Lucianne Lasalle and regular collaborator HOVE on electronics. The remaining tracks, however, will be completely new to the ears of most people, never having been reissued or heard in these new forms ever before.

Regardless, whether in some way familiar or not, these hypnotic and repetitive pieces of beautiful sound art, all very different in style from one another, have an entirely new identity that even diehard devotees of the originals will fall in love with.

“Holy shit. This record is amazing. 'Are You Psychic?' is really something” dj_2button Dummy Hand / Weirdos Inc.

“What a record!” Cosmo Vitelli I'm A Cliché

“Amazing release. Probably your best release yet! Does everything an amazing record should and more...” Alexis Le-Tan Oddity Radio / Full Circle / Offen Music

Tiella Sound launched in 2023 with a self-titled LP from Perugian artist VAISA, setting the scene perfectly with its lo-fi maelstrom of field recordings, obscure rhythms and tribal textures.
Neapolitan artist Livio Improta follows suit with ‘Fondamentalismi’, a 10-track exploration of broken, slow-motion rhythms coated in vinyl crackle and layers of atmospheric dust. Another superb album that announces Tiella Sound as a vital new label.

T4T LUV NRG presents “Call Me G”, the new album by Brooklyn’s Russell E.L. Butler, their first full length LP since the release of 2018’s critically acclaimed “The Home I’d Build For Myself and All My Friends” on Left Hand Path. In the intervening years, Russell has experienced an accumulation of personal subjective experiences which are explored through captivating musical modalities and expressions on this sprawling, gorgeous, and deeply emotional album. Russell’s work on “Call Me G” can be described as a unique amalgam of early NY house music, dub techno and poetry. The album’s title track, as well as its instrumentals, are a kind of storytelling for histories that continue to exist without observation as well as for secrets and the power they hold in spite of their truth being obscured and sometimes lost.

Storytellers like Russell have the ability to collapse the past and future into discrete experiences of non-linear time through the emotional landscape of music and voice. Each song contains a palatable loneliness and hurt to which many in this modern world can relate, but each track also suggests the possibility of genuine connection and the formation of the self through communing and reintegrating with the natural world. These parallel concepts are the subject of “Accumulation”, a writing by Russell which accompanies the release of the album. The emotions, conflicts and resolutions that accompany Russell’s storytelling are felt acutely on tracks such as “I’m Dancing No One Is Watching” and “Stare Into The Light Beam”, among others.

On the title song, which closes the album, Russell sings “Can you call me? Will you call me? All that I want is for you to call me by my name...My name is G.” Context is part of interpretation and thus it is left to the listener to feel in the music and lyrics the concept that what may seem erased never truly dies, the traces still exist in the thing that takes its place. The T4T LUV NRG label is in part a continuing effort to facilitate the documentation of true stories that don’t get told—rather than representing a singular vibe or genre. Russell’s album is a stunning and profound entry in this evolving catalog of music and art. The beautiful cover of “Call Me G” is based on a hand drawn portrait of the artist by Diego Guzman.

Debut album of heavy Colombian salsa by the obscure and short-lived El Clan Antillano. Founded in 1975 by singer Jacky Carazo and radio personality / composer Mike Char and backed by a studio orchestra comprised mostly of Fruko Y Sus Tesos band members. The record has been remastered from the original tapes, with an additional three bonus cuts taken from two rare 45 singles, including the sought after track ‘Alma’. First time reissue. 180g Vinyl.

El Clan Antillano was an obscure, short-lived salsa group started in 1975 by singer Jacky “El Caballo” Carazo, originally from Cartagena, and radio host / song composer Mike Char, from Barranquilla. The band was active only until 1977, with a mere two albums to its name. Carazo and Char, “los amigos costeños” (friends from the Caribbean coastal area) created El Clan Antillano as a fresh start after the previous group Carazo had been the lead singer for, El
Afrocombo, had become inactive.

Char primary passion was music, especially songwriting. One of his skills in this area was adapting foreign songs, often in a different language, rhythm, arrangement or genre, and refashioning the tune in an uptempo Caribbean dance mode as a salsa or cumbia. This formula, as well as his own original compositions, soon brought him success not only with costeño friends like Carazo and Vicentini, but also with Medellín’s Fruko, allowing him to make a name for himself with record labels in that city. It was at this juncture, in 1975, that El Clan Antillano was born. This is their first album and was recorded with local studio musicians. It’s been said that most on the first album were from Fruko Y Sus Tesos (the voice of Joe Arroyo can be heard on coro) as well as others involved with various groups like La Protesta (de Colombia) and Juan Piña’s La Revelación.

The album kicks off with ‘Donde ‘sta? Donde ‘sta?’, a medley of costeño lyrical phrases quoting various popular porros. Gradually changing the vibe, this is followed by Enrique Aguilar’s ‘El baile del
ratón’, a humorous cumbia that changes into a salsa halfway through. As if El Clan Antillano were not entirely confident about featuring purely salsa from the start, the same cumbia/salsa hybrid formula is used in the third piece, a faithfully rendered version of Eddie Palmieri’s ‘Mi cumbia’.

‘Estás equivocada’ rocks hard like the best Venezuelan salsa of the time. ‘Esta mañana’ is a cover version of an obscure bolero from Curaçao’s Erwin Castaneer with Super Combo Castaneer. ‘En la oscuridad’ is an interesting mashup of Puerto Rican bomba and New York style pachanga. ‘El despertar’ is a sunny sounding pop song reinvented as a Nelson y sus Estrellas style salsa/cumbia hybrid with a fantastic ‘montuno’ section.

Up next is a hard salsa jam in the ‘pregón’ (street vendor’s cry) genre, written by Fruko Y Sus Tesos percussionist Álvaro Velásquez (composer of ‘El preso’). The original album track list closes out with a fantastic rendition of Puerto Rican singer/composer Bobby Capó’s classic ‘El negro bembón’ that the world first leaned to love through Cortijo y Su Combo. Three bonus tracks have been added to the album as it was originally very short. Interestingly, there were four songs from two 45 singles cut by the band that were never included on either long play. While the ephemeral El Clan Antillano may not be as well known as the groups it’s related to, namely El Afrocombo and Fruko Y Sus Tesos, it certainly deserves credit as a worthy participant in the historical evolution of salsa colombiana.

*Repress*

An artist as imaginative and unique as Ana Mazzotti doesn’t come around often. Dubbed a “super-musician” by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti’s short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti’s premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society.

Born in Caixas, in Brazil’s Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. When rock and roll hit South America in the sixties, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with.

In 1974 Mazzotti recorded her first album Ninguem Vai Me Segurar (1974), enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami who co-wrote several of the tracks and plays organ, piano and synthesizers on the album. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it.
Kicking off with the swirling samba-jazz-dance masterpiece ‘Agora Ou Nunca Mais’, the album hosts several groove-heavy Brazilian cult-classics including ‘Roda Mundo’ and ‘Eu Sou Mais Eu’. Deeper moments come in the form of the alluring future soul synth sounds on ‘Bairro Negro’ and ‘Sou’, and Mazzotti’s tender, hallucinatory version of ‘Feel Like Making Love’ (made famous by Roberta Flack) perfectly reflecting the idiosyncratic genius Mazzotti achieved with Bertrami’s visionary arrangements, and Romildo’s impeccable production approach.

Far Out Recordings is proud to present the official reissue of this cult favourite Brazilian treasure. Remastered and pressed to 180g vinyl, Ninguem Vai Me Segurar (1974) will be available on vinyl LP, CD and digitally from 13th September.

The 1973 album “El Violento” was the fifth full-length salsa LP led by Julio Ernesto Estrada Rincón, aka Fruko, and the second credited to Fruko Y Sus Tesos. Though it did not contain hits like ‘A la memoria del muerto’ or ‘El Preso’, it’s a collector’s item today in places like the US, Europe and Japan, perhaps precisely because it is obscure yet full to the brim with unrelentingly hard and heavy salsa bangers that never let up from start to finish (hence the title, which translates as “The Violent One”). A mix of originals and interesting covers, the LP is “all killer and no filler”, purposely designed to set the dance floor ablaze. It features Fruko’s two main vocalists that took over from the first pair of Humberto “Huango” Muriel and “Píper Pimienta” Díaz, namely the beloved duo of Álvaro “Joe” Arroyo and Wilson “Saoko” Manyoma. Los Tesos were a talented “wild bunch” who listened to their fearless leader, with Fruko holding down the bottom end on electric bass, Hernán Gutiérrez in the piano chair, the Villegas brothers on hand percussion (Jesús tickling the bongos and Fernando slapping the congas), augmented by Rafael Benítez on timbales and an ace horn section of Freddy Ferrer and Gonzálo Gómez (trombones) and Jorge Gaviria and Salvador Pasos (trumpets). The super aggressive sound comes directly from the South Bronx playbook of Willie Colón. The snarling trombones and soaring trumpet are somewhat sweetened by a nice little Puerto Rican cuatro guitar solo. Sonically lightening the mood somewhat, ‘Nadando’ (‘Swimming’) is a bouncy tune in the ‘Mercy’ genre (basically a hybrid of pop, funky soul, cumbia and salsa, in the style of Nelson y Sus Estrellas), gleefully sung by Joe Arroyo. The beats are complex and ever changing, with a little bit of mozambique, conga, bomba, jala jala and of course salsa thrown in for good measure. The side closes out with a brilliant, uptempo salsa reworking of the venerable ranchera chestnut, ‘Tú, sólo tú’. Side two explodes with the frenetic descarga jam session ‘Salsa na’ ma’—which is exactly that: nothing more than the hottest “sauce” to make the dancers go crazy. Fruko’s tune is dedicated to the Latin community in New York that listens to salsa from everywhere and dances to it so fervently on the weekend. The relentless percussion propels the listener along at breakneck speed as if hurtling down the Bronx Expressway, demonstrating that Fruko y Sus Tesos have mastered the ‘violent’ form of urban salsa that was having its transnational moment in the early 1970s. While “El Violento” may not be as well known as some Fruko records, it certainly deserves a new look and should be assessed on its own merits as a very powerful, confident entry in the historical evolution of Colombian salsa dura.Sleeve

All music was written, mixed, and produced by Pedro Vian & Raül Refree in Barcelona. Special thanks to the Blancafort family for providing the positive organ for the recording of the album. Also thanks to Mar, Gina, Teo, and Balthazar for the support.

Having explored rather obscure and downtempo territory with Mr. G's album Pearls Don't Lay On the Shore earlier this year, CHILDHOOD returns with another discernig 12" dedicated to the dancefloor. Welcome to PLACE OF CONNECT PT.01!

Ed Davenport, who has mainly focussed on his INLAND moniker in recent years, brings back another distinctive side of his personality delivering three unique, raw and pumping house cutz under his real name.

The A-side starts off with Suntazia, an acid break beat anthem that sheds light and euphoria onto any dance floor, and is followed by the true jacking groove that is Inertia.

The B-side is made up of Electricity, a wonderful testimonial to those magic moments on the dance floor, when everybody in the room just moves and moves... beyond the need of unnecessary gimmicks and sonic spectacles.

Tiella Sound is a project born in 2019 from the mind of Italian DJ Luca Bigote that started as a radio show currently airing on French LYL Radio, and now debuting in the record label ecosystem with its first official release, pressed in a limited edition of only 200 copies.

The vision and mission of the entire project are quite clear and based on the principle of musical eclecticism. Luca Bigote, in fact, from the very beginning has never wanted to set boundaries to his creature, which, following an open-minded approach, flirts with the most disparate sounds, not exclusively club-oriented ones, focusing on the quality and research that have always distinguished his path.

For its first release, Tiella Sound has chosen Perugia-born DJ and producer Daniele Tomassini, already known for his records under the Feel Fly moniker, who presents us with the first LP from his alter ego VAISA.
This work consists of unreleased tracks composed between 2014 and 2016, during the intense creative period that saw him involved in more experimental and alternative projects such as Palenque Pacal trio and Wunder Camera duo. This material finally sees the light, a few years after the inspiring live performance during the second edition of Esperimenti (January 2017), the music festival curated by Luca himself together with his friend and colleague Matteo Lieto in Gaeta, Italy.

“VAISA is a dense, raw, evocative project. A lo-fi maelstrom of field recordings, sound collage, mysterious vocal samples from ancient cultures, obscure rhythms and layered tribal percussions, ambient clouds, dub echoes, with the martial tolling of the kick drum beating out the slow electronic ritual” (Caveargento): a deep and timeless journey, ready to drive all the lovers of the most abstract and primitive sounds into ecstasy.

Akumandra’s newest release, DIGITAL WATER by German producer, Coss, offers a neat, rhythmically fluid sound that, like water, is both dreamy and soothing as well as energetic. In the first of the EP’s four tracks, ENTRY POINT OBSCURING, a syncopated beat exudes rhythmic energy as watersounding synths plunge us into the track’s intricacies, opening the possibility for rapturous introspection.


Track number 2, ESCAPE FROM PELOG SELISIR, contrasts a deep bass with modulated synth-progressions, to deliver a sound that calls for motion as well as reflection. LOVE LETTER FOR YOU emphasizes bright, upbeat progressions to maximize the ecstatic energy built up
throughout the track.

The currents of emotions stirred by the EP culminate with TWOWORLDS, the smoothest track in the EP. A hi hat groove sustains the rhythm as a bassy synth gives amplitude to the track, creating a subaquatic feeling of depth and wonder.

Janaka Stucky is a poet, performer, and author of two poetry collections published by Third Man Books & Records. Janaka’s poems are at once incantatory, mystic, and epigrammatic.

His esoteric & occult influences, combined with a mesmeric approach to performance, create an almost ecstatic presence on stage. Of his live shows, VICE writes, “Janaka Stucky performs poetry readings like he's part fire-and-brimstone preacher, part doom-metal frontman … For him, lighting incense, dropping acid, and creating some of the most ecstatic lines of verse you’ve ever read is just another day at the office.”

Praised by Jimmy Page as “riveting,” Janaka Stucky’s book length poem, Ascend Ascend, published by Jack White’s Third Man Books in 2019, gets a mesmerizing treatment on this album by the same name, accompanied by experimental cellist Lori Goldston. Goldston, known for her work with a number of acts—including Nirvana, Cat Power, and Earth—provides otherworldly layers of distortion and natural reverb over Stucky’s dirge-like vocal performance.
Recorded at the All Pilgrims Church in Seattle while Stucky was on a 7-city tour produced by Atlas Obscura in 2019, the performance is served well by the room’s ambiance and was recorded, mixed, and mastered by Mell Dettmer—who has engineered albums for acts such as Earth, Sunn O))), Master Musicians of Bukkake, and Wolves in the Throne Room.

The Key To Our Love compilation series is an in-depth exploration of Black & Brown American soul artists from back in the day.

Focusing on the sweeter side of these obscure singles, the album comprises of musicians who shared their hope & dreams through independent vinyl releases. The obscurity of these private pressed singles has limited their audience; originally released in small quantities and sold locally, the artists remained largely unknown but created some of the most poignant & timeless tracks.

Each song released in direct collaboration with the artists & producers.

Artwork by El Ponk

Bristol’s Remotif makes his highly-awaited debut on space•lab with his wormhole of a new EP, ‘Substation Fever’. Kicking things off on the A side, the title track enters the scene with spacious, organic drums, building in energy as we tunnel through its course; travelling from the cool, oxygenated air of a forest-scape into dazzling, far-reaching intergalactic realms.

Next up, ‘Substation Fever’ gets a dreamy reimagining courtesy of Leeds legend and space•lab regular, Adam Pits. Channelling the energy of Remotif’s original into a hazy, blissed-out cloudscape, this track was made for accompanying early morning sunrises where orange-hued dashes of light reflect off the surface of gently rippling water.

On the flip side, ‘Hi Tek Lo Life’, crackles with the fluctuating electrical impulses of a TV without signal or a radio between channels. Flecked with corroded vocal samples and billowing synthlines, this is a track that explores the inbetween - the moment when connection is almost lost, but not quite. There is a beauty in the roughened-edges of these partially obscured details.

The final track of the EP, ‘The Signal Prevails’ is perhaps an answer to its precursor. Opening out onto trip-hop-esque terrain, this track follows the path set out by a blurred-out, echoing vocal as it deftly works its way through narrow, winding pathways of powerful 90s-style breaks.

A much-loved DJ regularly making an appearance on space•lab’s lineups, we are delighted to now showcase Remotif’s skill in the studio with this mind-opening new EP.

It all started with waiting music for the city of Ghent information telephone line.


City composer Fulco Ottervanger (Cruise Lento) envisioned a music in which waiting time would serve as an invitation to stillness and presence. Long-term friend and producer Lieven Van Pée (Vectrex) turned out to be the ideal companion.


However, the music was never used, yet it had not missed its magical effect. The two gentlemen were now determined to make a full ambient album in which silence would play a leading role, both intuitive as well as elaborated down to the smallest unit of time... An additional approach was to make music to lull their newborn sons to sleep. With melodies simple, sounds sweet and silences deep.

Inspiration came from Haruomi Hosono's 1984 obscure classic Watering a flower, Eric Satie's Vexations and how could it be otherwise, John Cage's 3'44. What these progressive yet universal compositions have in common is a refinement of repetition and both a soothing and stimulating character.


As a listener you can't help but dive into the silence and experience an certain sweetness. The ideal record to rest to, to wake up to and enter a wider field.

Cristiano Grim produced Parisian multi-instrumentalist DJ SOLANGE for the second release on his sub label FINALE RECORDS.

DJ SOLANGE runs Radio Belleville, certainly themost vivid underground project in Paris not only for the obscurity of the program, because of its location: a deep cave under the classic Belleville neighborhood of Paris, a few steps away from the Cemetery of Pere Lachaise.

The EP has been recorded down to the center of the earth in 2019, right before the fall of the world. A journey into the idiosyncratic bond between dreams and frustration.

Oneiric, evanescent, rough (Fruste in french), dark, claustrophobic, morose, sexy, improv, lost: like a dream, it ends only when you open your eyes.

Harmonies is the new long player from underground super-producer Lord Echo. Hotly anticipated for the last few years by his growing entourage of fans, many were frustrated by his descent into obscurity in the industrial backwaters of New Zealand where he lived alone and went completely insane trying to complete the record.

The new album solidifies his already distinctive mutations of reggae and rock steady with disco, African soul, techno and spiritual jazz. In other words, the Lord has returned from the wilderness with a bounty for his followers. Eat of the bread of life and enjoy access to his crazy World of Sound.

SHDW & Obscure Shape return to their mothership label From Another Mind with their six-track 'Vergessene Welt' EP, signalling the first material on the imprint for 18 months.

Founded in 2015, the launch of SHDW and Obscure Shape's label From Another Mind saw the Stuttgart-based DJ/producers establish themselves via a wealth of self-released material while welcoming a long list of high-profile remixers, including Rodhad, James Ruskin and Dax J. However, the pair's evolution saw new ventures explored and attention focused wider afield with the launch of their second label Mutual Rytm in 2022. Utilising their A&R skills, the label has seen the duo curate and invite a selection of up-and-coming and established names while also delivering their first EP on the label in Summer, 'Poetic Justice'. Exploring the techno sounds of tomorrow while drawing on influences of the past, the label quickly turned heads and has become a go-to for many. Following a brief hiatus, the attention is now turned back towards From Another Mind as the pair explore their origins and the signature FAM sound once again, opening the New Year with six fresh productions across their 'Vergessene Welt' EP.

Opener 'Planet Der Sturme' is an exhilarating ride through driving basslines, menacing synth lines and hard-hitting percussion to march towards the peak hours and set the tone for what's to come. 'Der Urknall' is a trippy and murky dive through off-kilter textures and regimented percussion, while 'Das Gefallene Konigreich' ups the energy levels further with sharp metallic tones, skittering hats and subtle haunting melodies launching deep into the late night hours.

On the flip, 'Geburt Der Erde' brings a slice of paired-back, groove-led techno as a slick acid line takes control and ebbs and flows throughout the track's six-minute duration, before closing the physical record via the delicate yet compelling sonics of title cut 'Vergessene Welt' - showcasing a deep dive into far-reaching corners of the genre.

Drumcode is excited to welcome back Rebuke for his first release of 2022 with the sci-fi inspired three-tracker ‘Dystopia’.

The Irishman has been a standout contributor on the label since his debut in 2019 with ‘Rattle’, a classic of the form. Follow up releases ‘Obscurity’ and ‘Wasp’ subsequently stamped him as an infallible go-to producer for Adam Beyer thanks to his ability to create powerful techno music with a memorable sound signature.

A dynamic cut made for 4am raving, ‘Dystopia’ chops and changes between an unsettling melody line and a barrage of buzzing synths as it builds towards a propulsive finish. No surprise it was a thrilling highlight when Beyer played it at Gashouder during Awakenings’ Easter programming.

‘Utopia’ is the lightness to ‘Dystopia’s’ dark. A superbly inventive and colourful track, it soars skywards with reams of euphoric techno energy and multi-layered sounds and stands as one of Rebuke’s most interesting tracks to date. Those in attendance at Circoloco @ DC10 when the Drumcode boss played in May got an advanced preview.
‘Presidio’, so named after the park in San Diego that inspired the track, is imbued with a distinct melodic character reflective of the West Coast music scene. The track is driven by a soaring chord progression and gritty rock-orientated sonics and makes for an exhilarating closing track.

A floaty, smouldering underground bubbler, 'Quero Ver Você Sambar' is, to our knowledge, the only record by Homero França. Released on a 7" compacto on Chantecler Records in 1976; the song was co-written by Aloisio Silva, who was the composer behind the tripped-out, instrumental monster track 'Tema, R'. Hidden on the B-side of an obscure lost 7", 'Quero Ver Você Sambar' is soulful samba at its finest, with a beautiful call-and-response chorus, it brings the heat to the dancefloor.

Vocalist Silvinha Araújo graced us with a number of wonderful recordings in the 60s and 70s, including collaborations with her husband Eduardo Araujo. 'Mas Nao Deixe De Ir' is taken from Silvinha's 1969 album 'Caminho Sobre Nuvens' on Odeon Recordings. The backing track loosely resembles Archie Bell & The Drells classic 'Tighten Up', and here Silvinha's take gives the track a new twist, blessing it with her uniquely powerful, gravelly vocals that effortlessly ride the breakbeat. At just over two minutes long, it's short but powerful.

Drawing from a strong history of electronic influence, Tomashevsky has created his own underworld of foreboding techno. We enter this EP with Incoherent, which exudes ominous sounds - reminiscent of murky radar blips that may be heard deep underwater in the metallic bowels of a submarine. Bubbling electronic delays remain adjoined to these metronomic blips and oer lateral, spontaneous movement around an otherwise sturdy song structure. Jittery melodies scatter nervously under lead elements, remaining disjointed and resulting in increased energy and a darkened excitement.

As we move through the EP, we face ups and downs, both in tempo and mood. Leading on from the first, Rollback is destabilizing, energetic and mean in all the right ways. Wobbling low ends open into a mood of uncertainty, held in place only by the stability of the drums. Rollback suits a peak-time club atmosphere thanks to the gritty synth leads and fast-paced feel.

Ending with the two tracks on the B-side, Tomashevsky still seeks to surprise. Rejected seems to be a distant relative of the Incoherent, following the synthetic blip structure but allowing snares and other percussions to build more prominently. Finally, we arrive at the closing track which marks itself as more obscure. Leaning on kick drum patterns initially reminiscent of electro/breaks, the use of half-time tempo gives a change of pace and a platform for a slightly different song structure and mixing potential.

Mesmeric and entrancing, these songs give any DJ or listener to chance to turn mind chatter o and lock into a hypnotic groove. Drawing on classically techno foundations, Tomashevsky has tipped his hat to the founders of the genre whilst adding his own flavour and subtle techniques that make this EP shine.