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Mariano DC, returns to Sequel after a VA, with his techno full of groove and old school detroit style.
Full color cover and 180g vinyl, limited edition.

Sub Oscillator AKA Russ Gabriel has been part of the UK dance music scene since 1992, spanning everything from Breakbeat, Hardcore, Techno, Electro, House, Acid, Broken Beat and Ambient. But his first releases were under the guise of Sub Oscillator, releasing 3 EPs during 1992.

This is EP 2 that was originally released on Stu J’s Adrenalin Recordings out of Southampton and was dropped frequently at the legendary Madisons club in Bournemouth, where Stu was the resident DJ.

The most collectable of the 3 EPs under this name, it brings together the sounds of the hardcore rave scene, breakbeat and even some proper hardstyle Euro techno vibes too.

»Informations of Death« is a key single from the proto-ebm Florence band Neon, their 1980 official debut with an early duo line-up comprised of Marcello Michelotti and Stefano Gasparinetti. The single is now released on double vinyl, accompanied by a 1979 live performance, recorded at the legendary Bananamoon Club in Florence.

After a short hiatus, the dynamic duo of VSK & Conrad Von Orton return with their collaborative project, Symmetrical Behaviour.
After a steady stream of releases via Soma over the last couple of years. The pair took time out to focus on solo projects but return with a vengeance with the "Superconducting Harmonic Oscillator" EP which furthers their experiments in sound design and high-powered Techno.

Title track "Superconducting Harmonic Oscillator" kicks off the EP at a furious pace as highly charged atmospheres create and emphatically large sound for the pairing's suitably tough beats to hammer through. "Quantum Interference Device" goes down a more direct path as expertly crafted rhythms overlap against a backdrop of highly evolved drones and synths.

"Amplitude Spectral Density" keeps the tempo moving but leans on a more industrial tip with crashing beats submerged against articulately mangled synths that drive home the true force of the track. "Resonant Antennae" closes out the new EP from Symmetrical Behaviour and really has them show off their production prowess.

Jarring and off kilter rhythmic structure combine to deliver a truly head pounding track complete with the pairs stylistic atmosphere manipulation.

All Tracks Mastered by Conor Dalton @ Glowcast Mastering.

Next up on Magic Feet is a release by Dark Strands.

Tony's first release came via the first Magic Feet label sampler. Since then his releases have caught the attention of a number of acclaimed DJ's, with Daniel Avery citing one of Tonys tracks as one of the best he had heard last year.

This is Tonys first full vinyl release and shows exactly what he is capable of.
The title track 'Return Of The Oscillator' has had people running to the booth every time its been played from London to Croatia, as well as being fully road tested at ALFOS by Sean Johnston who also provides a superb remix under his Hardway Bros guise.

The second track 'Galactic' slows the pace down and is perfect for those warm up sets.

DJ and producer David Holmes is welcomed to the Late Night Tales fraternity with an evocative collection of personal songs and music, peppered with exclusive new material and rare gems. By now, I think we all know David Holmes, right There's acid house Holmes, with bone-rattling Chicago jams and Detroit destroyers, break-digger Holmes responsible for the grittily shaking 'Let's Get Killed' and seminal Essential Mix compilation (which brought Sixto Rodriguez to people's attention, and then there's soundtrack Holmes. His most enduring and vital source of musical inspiration - cinema - plugged into David's rst solo record 'This Film's Crap, Let's Slash the Seats' and inspired 2000's 'Bow Down to the Exit Sign', created as the soundtrack to a not-yet-made movie. Ofcial soundtracks have been bountiful, including scores for Soderbergh's Out Of Sight and Ocean's trilogy, '71, Hunger and Good Vibrations. In a series of personal songs sung by himself, David's last solo album 'The Holy Pictures' explored inuences of La Düsseldorf, The Jesus and Mary Chain and early Brian Eno. His Unloved collaboration with Keefus Ciancia and Jade Vincent then took us on a musical journey full of raw 60s pop-noir, psychedelia and French Ye Ye with a contemporary twist. Somehow he's also found time to produce records by Primal Scream and Jon Spencer Blues Explosion. Unsurprisingly, for someone au fait with matters cinematic, this Late Night Tales conjures up its own mindmovies. It's not only packed with the judiciously selected nuggets for which his mixes are noted but also stuffed with original material, including collaborations with BP Fallon and Jon Hopkins and an amazing new reading of 10cc's 'I'm Not In Love' by Holmes-produced Song Sung. In fact, there's a Celtic thread running through the whole journey with Stephen Rea's reading of an extract from Seamus Heaney's AENEID BOOK VI - Elsewhere Anchises. Among the other gems included here are David Crosby's lush 'Orleans', Buddy Holly's celestial 'Love Is Strange' and the Children Of Sunshine's 'It's A Long Way To Heaven'. David Holmes loves music. It's a way of expressing the sometimes inexpressible or the inconsolable, a questing desire to nd out just what is over the next hill. It's no surprise to learn he's a keen walker. Always on the move, headphones on, lost in some reverie or piece of music, the soundtrack to his life, the stuff that feeds his imagination. I walk a lot. It's amazing for listening to music: your phone or your emails aren't going and you're just in the forest listening to music. It's so intimate. Anyway, I was listening to the KLF's Chill Out album, which still sounds amazing, but it triggered an idea with concrete sounds through travelling and movement. And one of the things I was trying to do was to use this idea not just break up the moods but also as a metaphor for moving through life and arriving in different destinations or arriving at different stages in different parts of your life. Memory, Love, Living, Family, Friendship, Healing, Death and The Afterworld are some of the themes I wanted to explore within this record. Although these strong themes and tracks are personal to me, I also wanted it to be a great listen that was unpredictable yet had a seamless ow - a journey that was personal to me yet to the listener a great compilation of music that they may or may not have heard before. I hope I've succeeded in the later.' David Holmes 2016

Trees Speak is an experimental rock band that transcend mainstream influences by incorporating elements of Avant-garde, Neo-psychedelic, Minimalism, art and electronic - along with violin-bowed guitar, Theremin and a glut of effects pedals, and it's an ear-bending rush of lush soundscapes.

Trees Speak - as much a sound laboratory as a rock and roll band - is the musical venture of acclaimed visual artist and musician Daniel Martin Diaz (formerly of Blind Divine and Crystal Radio). For the debut double-LP Trees Speak is joined by Michael Glidewell (Black Sun Ensemble), Gabriel Sullivan (XIXA, Giant Sand), Connor Gallaher (Myrrors & Cobra Family Picnic), Damian Diaz (Human Error), and Julius Schlosburg (Jeron White Acoustic Trio). The studio itself should also take top billing, because in the tradition of krautrockers Can and Bitches Brew-era Miles Davis, the band takes its winding, incandescent motoric rock and roll improvisations and edits them into coherent compositions using the mixing desk after recording. And that's where the sound lab half of the equation appears. The end result is flowing and droning ambient proto-punk reminiscent of fellow travelers NEU!, Stereolab, - Joshua Levine

Our intention is to create music with an unrehearsed minimalist approach performing simple beats, riffs, and sequences that take one inward. We attempt to create a sonic environment to set one's mind free and to become aware of the nuances of tone, melody, and structure. We organize our recording equipment with the same approach, in a transparent manner. Our recorded performances are never rehearsed. Our belief is that a brilliant rehearsal is a lost opportunity to capture a magical moment. We are chasing the mystery of music and tone. We let the musical performance sculpt its own destiny and create imperfect perfection. Our tool of creation is the anxiety one feels when they are unrehearsed or prepared for a performance. We believe this approach brings us closer to the authentic self. The result is genuine music without an agenda that captures the unfiltered spirit.
- Trees Speak


The music was recorded live in one room with no overdubs or repairs, only using edits to create arrangements. All tracks were written over a 5 day period at Sacred Machine Studio and Dust & Stone Studio.

With brand new interest in beats and rhythm once again coming into play, Puzzlebox label owner, Keith (K-1) Tucker, has now decided to revise and revisit the music from his catalog as "Puzzlebox Classics." The very first release is a valued gem of an EP called, "Atomaton", featuring:

"Nemesis" - An instant classic, which brings on Tucker's signature Electro/Techno beats (Aux88), a tough as nails funky bassline, and his trademark eerie strings. Robo-vocals recall us to remember that "The future of the electro movement is upon us"... Believe it.

"Oscillator (bonus beats)" - Brings us the perfect beat, a dramatic bassline, and swinging percussion attitude to the fold.

Sure to be a hit with new ears as well as "heads" from its mid-90's release. Additionally brought to popularity in Detroit by WGRP TV's, "The New Dance Show", as a favorite go-to party recording. Made with the intent of DJ's, by a DJ.

"(Techno) On My Mind" - Mind-bending arps and clicky pecussion shoot this off-world thumper into overdrive for your ears. While the relentless hard snare battles for attention against a triggered piece of electrofunk provided by a 'K-1' bassline, weaving itself around anything constant in the tune, listeners are guaranteed transport to a realm within an alternate universe and the urge to move their feet. A mental-mover, indeed.

#thetimeisnow
#getthisenjoythis'AUX QUADRANT' for what it is.

The 15th release from Arsenik is a mini album by Dold. It consists of selected tracks made in a 2 year period that for various reasons never got released. Time and space is a common theme amongst techno producers. Is and always has been. Maybe there is a connection between the exploration of abstract sounds and the mystery concerning time and space. That which cannot be explained can only be understood through experience.

This release contains 8 techno and ambient to electro-leaning tracks and will be his first and last journey to space.

It gives me the greatest honour to finally be able to announce the release of this amazing triple vinyl masterpiece by log(m) and Laraaji on Invisible, Inc.

It's been over a decade since Laraaji first joined forces with log(m) in their Canadian studio in early 2007. In those ten years the trio recorded many hours of music. Over time these recordings, beginning essentially as live jams, were polished, dissected, processed, re-arranged and then finely and painstakingly distilled down to the 105 minutes of music that now form this album, which finally reached completion just earlier this year. The wait has been more than worth it.

The Onrush Of Eternity is a melding of minds like no other. Ever the pioneer of experimental ambience, Laraaji's signature hammered dulcimer, zither, mbira, auto harp, sruthi drone box and of course his exceedingly positive vibes are here combined with log(m)'s unique vision of gronky hi-tech psychedelic space dub. The resultant voyage into deeply meditative ambience and trance-inducing dub is as unexpected an outcome as it is a bona fide "Eureka" moment. It sounds neither like log(m) OR Laraaji....but of course like both. It is one of those rare collaborations that is, without a doubt, even greater than the sum of its already great parts.

Log(m) started making waves in the early '90s as Legion Of Green Men with their visually striking 12"s, complete with eternal opuscules (locked grooves) and mathematically inspired titles, all lovingly issued on their own Post Contemporary imprint. These deservedly got the attention of Richie Hawtin who promptly asked the duo for an album on his own classic Plus 8 Records. 20+ years later and the music (much like their name) has morphed into something more sophisticated: even more complex, atmospheric and deeper than ever.

Laraaji's reputation of course precedes him: he first came to wider attention when Brian Eno released his "Day Of Radiance" as part 3 of his Ambient Series in 1980. Since then, Laraaji has released over 40 albums, yet his stellar path seems still to be on the ascendant - a recent landmark being the 2017 "Sun" series of albums for the wonderful All Saints' Records.

This unique triple LP in tri-fold sleeve is limited to 200 copies on coloured vinyl and 300 copies on black vinyl featuring ten of log(m)'s signature eternal opuscules and cryptic engravings on all three discs.

Paneadores, it's about time !!

Here you have, the snippets of our third release. This time VCO join us with one track. We want to say; as many paths in life, music it's a way to express ourselves. Therefore, this time we want dedicate this vinyl with all our love, to Charliemoon.

Awesome banging techno from Spain's undiscovered Gem 'EL BOSCO'...

Starting in 1990 recording for Sheffield label Ozone records under the name of Panic with a release called Voices Of Energy, which was then licensed to Buzz in Belgium, Buzz 001, Buzz then went on to release classics by Carl Craig and Derrick May. He set up his own label in the same year Solid Groove Records. The label had 30 vinyl releases over thirteen years and tracks were licensed by Derrick May, Terry Francis, Pete Tong, Adam X, and Carl Cox.As well as this he ran another four other label's, Textures, Dark, DOT, and Cheap Knob Gags.

Steig ein in die neueste Mega-Firma von Seattle, Telehealth. Sind sie Rebellen, die mit Synth-Punk/New Wave die Grundlagen unserer techno-kapitalistischen Hölle untergraben wollen? Oder sind sie Unternehmer, die Marken aufbauen, um die Märkte zu stören und die Massen auszunehmen? Der einzige Weg, das rauszufinden, ist, ihr Debütalbum für Seattles älteste Mega-Firma, Sub Pop Records, zu kaufen. Green World Image folgt auf eine ausgedehnte US-Tournee, ein selbst veröffentlichtes Album und eine knackige 7"-Single aus dem Sub Pop Singles Club aus dem Jahr 2023. Für Fans von B-52s, Water From Your Eyes, Devo und Snooper. Die Kalshi-App ist ein ,Prognosemarkt für den Handel mit der Zukunft", eine Plattform, auf der Leute auf das Ergebnis von fast jedem realen Ereignis wetten können - von der Genauigkeit der Wettervorhersage bis hin zur Frage, ob in Gaza offiziell eine Hungersnot ausgerufen wird oder nicht. Als der Mitbegründer der Plattform, Tarek Mansour, Ende 2025 als offizieller Wett-Partner zu CNN kam, meinte er nach dem Deal: ,Die langfristige Vision ist, alles zu finanzieren und aus jeder Meinungsverschiedenheit einen handelbaren Vermögenswert zu machen." Telehealth wurde in dem chancenreichen Umfeld des Post-COVID-Seattle als skalierbares Musik-Startup mit ähnlichen Zielen gegründet. Das Unternehmen wurde 2022 von dem Ehepaar und Glücksspielbegeisterten Alexander Attitude (Synthesizer/Gesang/Gitarre) und Kendra Cox (Synthesizer/Gesang) gegründet, zu denen sich die langjährigen Mitarbeiter Ian McCutcheon (Schlagzeug), John O'Connor (Bass) und Dillon Sturtevant (Gitarre) gegründet. Die Gruppe will alle Meinungsverschiedenheiten darüber, wie die chaotische lokale ,Musikszene" weitergehen soll, zu Geld machen. Kann man DIY sein und gleichzeitig eine gute Suchmaschinenoptimierung haben? Kann man progressives kulturelles Ansehen und bares Geld gleichzeitig verdienen? Ist Kunst, die durch ,Kulturförderungen" der Tech-Industrie finanziert wird, irgendwie langweilig, authentisch gorpcore (junge Männer leben laut der New York Times den ,Quarter-Zip-Lifestyle") oder ironischerweise punkig? Für Telehealth ist die Antwort auf diese Fragen nicht ja oder nein, sondern eher eine unerschlossene Lücke im Musikmarkt, die auf eine Band wartet, die visionär und verrückt genug ist, auf die Verbreitung zu setzen. Produziert von Trevor Spencer, Green World Image, ist das zweite Album von Telehealth (nach dem Debütalbum Content Oscillator und einer Veröffentlichung des Sub Pop Singles Club, beide aus dem Jahr 2023) und sein Börsengang mit den Angel-Investoren Sub Pop ein vertikal integriertes Kunstwerk für die Post-Grunge-, Post-Flanell-Seattleiter und Konsumenten auf der ganzen Welt, die ebenfalls bereit sind, ihre eigene Leidenschaft für Musik zu finanzieren. Das traumainformierte, ergebnisorientierte und äußerst tanzbare Weirdo-Punk-Album ist inspiriert von Attitudes Zeit als ehemaliger Architekt in einer Climate PledgedÖ-Stadt, die mit ihrem Netzwerk aus effizient zonierten 5-über-1-Gebäuden die Kunst der ,Green World"-Architektur perfektioniert hat. Der PNW-Post-Punk von Telehealth schafft ähnliche architektonische Räume, in denen sich die glänzenden, futuristischen, techno-industriellen Rhythmen und Synthesizer des Seattle der Bezos-Ära mit dem rohen, unabhängigen Underground-Sound vermischen, den die Stadt aus kulturellen und Marketinggründen liebevoll bewahrt. Das Ergebnis? Stell dir XTC, REM und YMO vor, mit einem stärkeren Fokus auf ROI. Stell dir The B-52s vor, aber B2B. Stell dir einen intelligenteren Brainiac, einen transhumanen Gary Numan oder einen terminalen Online-Pylon vor. Endlich eine Band mit so vielfältigen Talenten, dass sie sowohl in deinem Keller als auch in den Amazon Spheres spielen kann.

[a] 1[USER ONBOARDING SEQUENCE]

After a series of successful outings alongside sidekicks Ofofo and Zongamin, studio wizard MYTRON turns in his debut solo full-length for Multi Culti World Records. With contributions on Invisible Inc, Calypso, Bongo Joe, Kalahari Oyster Cult, LYO, Codek Records and Earthly Measures, Mytron has carved out a name for himself in a carefully-curated left-field quadrant of the indie-dance galaxy. Tuning his oscillators to myriad sounds — from dub and disco to krautrock — the London-based producer perhaps most notably channels the pristine compositional style of Kraftwerk. While most apparent in the use of vocoder, there’s a consistent efficiency of arrangement that recalls the man-machine in effervescent, idealistic fashion. Mytron manages to keep it simple, funky and musical — whimsical tunes that bop along with analog grit, wilderness, and wonk. There’s a warmth and wit that shine through every synth line, an understated confidence that speaks of years spent tangled in wires and waveforms, with an inclusive sonic eclecticism that flattens hierarchies between genres, geographies, and generations. Each influence is invited to the table, treated not as pastiche but invited to dine and dance in a space where kosmische dub disco and Afro rhythms can coexist without borders. The sleeve design echoes this philosophy: video-feedback patterns hinting at our modern screens, both portals and filters — coloured, distorted intermediaries through which we perceive the world. In the trippiest sense, the record is both reflection and refraction — a sonic mirror held up to an interconnected, glitchy reality. Tailored equally for DJ use and home-listening head trip, the album is meticulous, mischievous and merry.

BanBanTonTon review:

On Mytron’s debut long-player for Multi Culti groovy 21st Century leftfield house gear collides with Daniele Baldelli and Beppe Loda’s hugely influential `80s afro / cosmic. The 9 tracks are chunky, chugging and full of funky, funny noises. Old school B-lines mixing with eccentric electronics. Spinning, spiralling sounds.

Sugar is an electro-pop, vocoder confection, cut from the same sonic cloth as cult classics like Codek’s Tam Tam. Created from tough trap drums, splashing effects and a mutant Giorgio Moroder bass arpeggio. The title track, Propellor, pits Kraftwerk-esque hardware harmonised vocals against a bongo loop and a whistling hook. Playground has simian shrieks surround tumbling tom-toms. Highway Maintenance adds kosmische synths to a dance of woodblocks and buzzing bottom end. Keep On Dubbing is an organ-led, clip clopping percussive canter.

Tracks such as Speaker Can Talk, shot through with disco lasers blasts and recalling Curt Cress’ Dschung Tek, also lift the tempo up, but the bulk of the music here is a mid-tempo, techno drum circle. Squelchy sequences gurgling in and out of programmed percussion. On Quasar, spiky acid edges in and slowly takes over.

Key references that come to mind are Baldelli’s own turn-of-the-2000s Cosmic Sound Project productions, and Wolf Müller’s scene shaking sides on Themes For Great Cites, from around a decade later.

Roland Corporation's MKS-50 form 1986 is a rack-mount version of the Alpha Juno. It has the same synth engine and architecture, but with added features like 16 programmable chord memories, the ability to store velocity, volume, panning, de-tune, portamento and other similar parameters within each patch you create. The optional PG-300 gives traditional slider type control of all editable tone parameters which include DCO (digitally controlled oscillators) LFO, bend, ENV, pulse, waveforms, noise, PW/PWM, high pass filter, VCF (filter) with freq/env/res/LFO/kybd, VCA envelope, chorus, and more. Adapta delivers a project based on this legendary MKS-50 synth. Tracks created with technology from the past, aimed for the future. Techno!!

Repress.

Opik follow up their debut ‘Feel Yourself’ release on Pork Recordings from 1992 with more gold from the archives. Featuring two unreleased gems in ‘Lovekraft’ and ‘Oscillator’ backed with a special 15 minute version of ‘Travelling Without Moving’, originally featured on the cult ‘Feed Your Head’ compilation.

2025 REPRESS ON TRANSPARENT GREEN VINYL


Compiled by Philip King “And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang bang but with a cheap, synthesized, emasculating whimper.” NICK KENT, NME. All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure. Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels that exploded with the advent of punk music in 1976. While the music that sprouted out all over the globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms, ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course) these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother of invention. At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records). The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased track You Will See, released April 12th 2025. There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk / underground music that also featured The Petticoats. Selwin Image were from San Francisco and featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now. Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division instrumentation, previously only released on a long-forgotten and super rare, self-released EP. Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7” and lost until now. The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with doomed chord progressions and massive sounding drums turning into at least 3 different songs in the course of the track. Before you wonder what’s going on the song resolves with a glorious return to the main refrain. The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes imagined a computer programming people to dance - how prescient - and ended up with a propulsive, robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master demands the listener to “come to paradise!” In a frankly terrifying manner. All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School Daze Records describe a much more complicated world: along with the austere, Brutalist children of Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the two things are interchangeable. What if it’s all science fiction?

Xadenx Records returns with its second release from Uruguayan producer Lanzieri. Known for his uncompromising sound, Lanzieri delivers a heavy blend of warped electro, murky techno, and traces of hypnotic trance. These tracks rise with weight and intent—driving forward with cold precision and raw pressure.