Search:planet future

Hailing From Nashville, Tennessee - A City Better Known For Being The Cradle Of Country Music, Jaundice And Dzee Form The Backbone To The Future Dz Duo, Which Has Way Less To Do With Johnny Cash Than With The Hague Sound, And Their Latest Offering For The Label They Help Co-run, Tram Planet Records, Although Tracing Rings Of Fire In Its Wake, Further Ratifies That Lineage.

A Shape-shifting Collection Of Post-apocalyptic Detroit Electro And Squelchy Acid Grooves Sieved Through Filthy Filters - Perfect To Play In Your Muscle Car While Speeding The Highway At Night, 'splint Mask' Finds The Duo At Their Most Epic And Unhindered. Premiering Today Through Our Channels, 'sawed Off' Is A High-octane 303 Fuelled Racer Blazing With A Hint Of Unit Moebius Weirdness And Off-the-cuff Rugged Hardware Spritz. If You Like Your Electro Scruffy, Grinding And Aggro Like We Do, Future Dz Have You Covered. Get In The Zone And Feel The Burn, You're In For A Treat.

2023 Repress

Now in 2017 and after six years of touring the planet with the live band, Shpongle return with a new 6th studio album,- 'Codex 6'. Though much has changed, music production isn't something for just enthusiasts anymore, and the tools needed to make an entire album in your bedroom or on a laptop are becoming increasingly available and affordable... yet this just makes Shpongle's return all the more welcome. In a time where more and more focus is put on commercialization and churning out quick hits and floor fillers, Simon and Raja's latest work on Codex 6 is a welcome breath of fresh air wedded to nostalgia and the future at the same time, and proves that the group isn't ready to become stagnant anytime soon.

Dan Morrow, singer of Funkwerkstatt, going to a world of music with a high atmospheric density.



Funkwerkstat-Sänger Dan Morrow wandelt auf Solopfaden. Wohin In eine musikalische
Welt, deren hohe atmosphärische Dichte zwischen poppiger Leichtgkeit und tefsinniger Melancholie oszilliert. Es sind klassische Songs, die er hier unter dem Namen 'i Am Halo' vorlegt. Denn immer ist es die Textur seiner einzigartgen Stmme, um die herum sich Rhythmen und Melodien kristallisieren. Dies geschieht mal mit tanzbarer, mal mit eher bedächtger Dynamik, mal mit orchestralen Motven, mal mit elektronischem Gefrickel, aber immer mit ganz viel Gefühl und Stmmung. So ganz allein ist - i Am Halo' übrigens doch nicht unterwegs. The Micronaut steuert einen Remix zu Litle Planet bei, in dem die jazzige Vertracktheit seiner Beats immer wieder punktgenau auf der Eins landet. Gluid hebt unter die ießende Melancholie des Titels Not Invented gradlinige Rhythmen, die das symphonisch anmutende Original voll und ganz tanzächenkompatbel machen. Und Mollono.Bass arbeitet sorgfältg die sonnigsten Aspekte von Queen of Queens heraus um sie zu einem ungezwungen Groove zu verdichten.

Mit der „TECHNO CLUB CLASSIX VOL. 1 - VINYL EDITION“ erscheint erstmals eine Vinyl-Ausgabe der beliebten Technoclub Classix-Reihe. Welche Tracks auf die farbige Doppel-LP kommen, haben die Technoclub-Fans selbst
entschieden: In einer Umfrage konnten sie für ihre Favoriten abstimmen. Das Ergebnis sind 13 Trance-Klassiker aus einer Zeit, die den Sound des Technoclubs bis heute prägt.

Mit dabei sind Chicane mit „Saltwater“, Nikolai mit „Ready To Flow“, The Thrillseekers mit „Synaesthesia“ und Veracocha mit „Carte Blanche“. Dazu kommen weitere bekannte TranceTracks in ausgewählten Maxi-Versionen und Remixen, unter anderem von Talla 2XLC, DJ Quicksilver und Rank 1. „TECHNO CLUB CLASSIX VOL. 1 - VINYL EDITION“ bringt die von den Fans gewählten Technoclub-Favoriten gemeinsam auf Doppel-Vinyl - für alle, die diese Trance-Klassiker damals gefeiert haben und heute noch feiern

It’s not just since James Bond and the introduction of World Overshoot Day that we’ve known: The world isn’t enough. We need an Extrawelt! Arne Schaffhausen and Wayan Raabe have been tinkering with this celestial body for over two decades, and it seems to be slowly nearing completion. You certainly can’t accuse Extrawelt of lacking ideas. They are, so to speak, the legitimate descendants of the legendary planet designer Slartibartfast from Douglas Adams’ “The Hitchhiker’s Guide to the Galaxy”. No doubt, the downright insanely creative bossa nova-techno bastard “Honey Hunter” will be mentioned in the same breath as Slartibartfast’s award-winning Norwegian coastlines by future civilizations. The other three tracks aren’t half bad either. Take our word for it.
Nicht erst seit James Bond und der Einführung des world overshoot days wissen wir: Die Welt ist nicht genug. Wir brauchen eine Extrawelt! Die Herren Arne Schaffhausen und Wayan Raabe werkeln seit über zwei Jahrzehnten an diesem Himmelskörper und er scheint so langsam bezugsfertig zu sein. Man kann Extrawelt nun wahrlich keine Ideenarmut vorwerfen. Sie sind quasi die legitimen Nachkommen des legendären Planetendesigners Slartibartfast aus Douglas Adam’s “Per Anhalter durch die Galaxis”. Der geradezu irrwitzig kreative Bossanovatechno-Bastard “Honey Hunter” wird von künftigen Zivilisationen in einem Atemzug mit Slartibartfast’s preisgekönten norwegischen Küstenlinien genannt werden. Auch die anderen drei Tracks sind nicht von schlechten Eltern. Glaubt’s und werdet selig.
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2026 Repress
30 years of Fuse means 30 years of road paving.

An ode to the past and a hint to the future, Fuse shares this milestone with its original guests from 1994 all the way to its fresh party goers of the past years as a promise to keep its dance floor focused on quality music and timeless moments.

In over a quarter century, the Brussels club has stood the test of time by rooting itself in ageless music and employing pioneering artists - large or small, international or local - to command the decks of Belgium's longest running dance floor. A celebration of this legacy and the renewed imprint is in order, coming in the form of a 30 track compilation of techno's best and brightest from around the world. One track for one year, this collection of recordings highlights the status quo of enduring club music, beginning with a nod to the past: a re-release of Jeff Mills iconic 'Step to Enchantment' from 1993. This glance to the past quickly shoots us forward into the current state of techno with legendary artists like Planetary Assault Systems, DVS1, Steffi, Rodhad, Donato Dozzy, DJ Nobu and many others who headlined the club in recent years. Cementing itself as a respected escapist institution, Fuse also calls on its growing local scene to prove why Brussels continues to remain a reference in the scene even outside of its own borders.

Timeless – yet always fresh: Regardless of the whims of the pop business, Planet Yello has been making its rounds for almost fifty years, repeatedly whisking us away to a world where past and future greet each other and James Bond joins forces with the Man in the Moon, Dionysus and Philip K. Dick.

"To the future, through the past"—with their fifteenth studio album, "Time Lab," Dieter Meier and Boris Blank put this maxim into practice more vividly than ever. Blank meticulously crafts his imaginary soundtracks from fresh samples and found objects from his own archive, which has accumulated a vast collection of sonic fragments, riffs, and motifs over nearly fifty years of creative work. Meier immerses himself in these parallel soundscapes, discovering within them his romantic tales of robbers, mysterious night creatures, and Dadaist wordplay. Essentially, every Yello track is both ancient and brand new at the same time. This principle is perfectly illustrated by the first single, "Around the Sun." It's based on a dormant Meier recording that was cut at the last minute from the selection for "Claro Que Si" (1981). Blank gave Meier's sonorous voice a fresh sonic makeover – the result is an elegant and flexible, thoroughly Yello-esque combination of past and present, romantic wanderlust and driving percussion. "Break Out" also plays with stylistic elements that can be traced back to Yello's earliest days: a dangerously prowling bass riff, fiery percussion, and storyteller Meier in hypnotic top form.

Time begins where it ends, or vice versa. Or, as Boris Blank says: "Yello's music doesn't really know time."

Abacus back in full effect — “The Earthly Pleasures” EP, a deep house gem celebrating 30 years since its original 1996 drop on 83 West.
Jazz-infused grooves, soulful rhythms, timeless vibes — this one still hits heavy.
A true classic from the Abacus catalog, reissued for the heads who know.
Pure deepness, no filler — essential wax.

Feedbacks:

Harri (Sub Club) : nice, will play and support
Hector Romero (Def Mix) : Proper deepness on Sunray - still sounds fresh! and the Bassline on Phonogrammeis a killer. Love it. H
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Pacific Coliseum (Dublab, Teen Daze, Noire & Blanche) : Moonbeamz is the jam for me; still sounds fresh all these years later!
Fred P : Nice..
Mr. V (Sole Channel Music / Strictly Rhythm / Salter Music / Defected) : Pure dopeness Thanks
Mark Farina : classic! nice.
Jimpster (Freerange) : Abacus doing what he does best and bringing the deep heaters! Loving all three tracks here.
Laurent Garnier : very elegant EP
Lea Lisa (Phonica Records / Folklor Club) : Play them since day one, good to repress for the new generation. Essential
Anthony Collins (Frank & Tony / Scissor & Thread) : great record
Franck Roger (Real Tone Records) : What a greta news to repress this old classic
Prosumer : 30 years later still hot AF
Red Eye (Crash Planet Rec, R.E.A.D., Red/Shift, Lavish Habits, Multipass) : Moonbeamz still out here holding its own!!!!
Felix Dickinson (Futureboogie, Rush Hour, Cynic) : Used to play Moonbeamz a lot when it first came out, nice to have the digis.
DJ Bone (FURTHER) : Crazy Hazy Days is really nice
Terry Farley : sunrays a legend
Antal (Rush Hour) : nice!!
Carista : love this thanks

2024 Repress!

The eye of the storm: welcome to Tornado Wallace's debut album! The accumulation of about four years of work, with tracks written in Berlin and Melbourne, 'Lonely Planet' is nothing like you may have expected from the Australian expat. No stranger to fans and followers of ESP Institute, Beats in Space and Music From Memory's sister Label Second Circle, Tornado Wallace's strain of releases so far merged functionality with a musical playfulness that led him to find himself as one of the producer's behind José Padilla's International Feel album. Here, he leaves the needs of the dance floor behind in order to create a magical mystery tour de trance into his and our inner jungle. How about some references New Age sounds meet new wave melodies, Grace Jones runs into the Dire Straits at Compass Point, while a Korg Mini Pops and a Roland CR78 make amends for Sly & Robbie's absence, Michael Mann pictures Joseph Conrad's 'Heart of Darkness', Robert Rauschenberg tries his luck at naturalism and an imagined Wally Badarou echoes through all of it. Sandwiched between the title track and the yearning beauty of the album's final point 'Healing Feeling', you get all of that as well as collaborations with and contributions of NO ZU, David Hischfelder and the voice of Sui Zhen on 'Today', who would easily make Anna Domino take her proverbial hat off. Tornado Wallace created an album that supersedes the requirements and expectations of a debut. Like a lost Island Records or a never released Made to Measure album, 'Lonely Planet' soundtracks notions and ideas that recall the nostalgic future in the past as much as it looks ahead.

Marking Dwarde’s debut on Up Ya Archives, the first single ‘Show Me’ from his forthcoming EP ‘Energy Exchange’ carries the torch of ‘94-style hardcore while sitting comfortably alongside the new-gen jungle spirit both the label and DJ himself hav e become known for. Built on the energy and rhythmic vocabulary of the old school, but bringing the rawness and euphoria of that era onto modern dancefloors.

Speaking on the single, Dwarde said:

“I was in the middle of making lunch as the house tune with the piano sample came on the radio. It’s a big fave of mine and I was surprised that although it’s 32 years old it hadn’t ever been sampled in hardcore before, so I made the tune immediately after - it came together really quickly.”

Hailing from Darlington and now based in London, Dwarde is a key figure in the contemporary breakbeat and jungle revival as a producer and DJ. With releases on labels like Future Retro and Deep Jungle, and gigs at parties like Rupture, Dekmantel, Distant Planet and Outlook - he’s established himself as one of the scene’s most distinctive voices.

‘Energy Exchange’ brings both sides of that sound together across four tracks: two jungle cuts and two leaning into the brighter, happier end of hardcore, each with big vocals at its centre. Speaking on the EP, Dwarde said:

“I wanted to represent both jungle and the happier hardcore styles, so I’m glad that two of each will be released, all with big vocals at the centre! They’re actually the first set of tunes I’ve finished in a couple of years so I was buzzing to put them all out.

Following the release of Electric Rescue's new album, "Different Horizons", Laurent Garnier's COD3 QR returns to its signature various artists format for a new vinyl-only release featuring six new tracks, by WheelUP, Rapson & Kathy Brown, Mirko Loko, Costello, Jules Wells, Rod20 and James Warburton.

WheelUP is West London producer and DJ Danny Wheeler who's released music on CoOperation Records, Jamz Supernova’s Future Bounce and his long-time home Tru Thoughts. After appearing on COD3 QR in July with a track alongside Blu James, he now teams up with regular collaborator, music producer, DJ and keys player, Rapson, alongside acclaimed US vocalist Kathy Brown for the intensely soulful "Music".

Mirko Loko is a prominent Swiss talent, known for his work as resident DJ at Couleur 3 and Loft Electroclub, artistic director of Polaris festival and releases on Planet E, Border Community, Cocoon and Visionquest returns once again to COD3 QR with the Detroit-influenced "Silent Failure".

French electronic DJ and music producer, Costello returns for his sixth track on COD3 QR, having also released on Solomun's Diynamic, Chloé's Lumière Noire and most recently Maceo Plex's Ellum Audio. His bright Techno groover, "Cocotte" closes the A-side.

Another COD3 QR regular, Jules Wells opens the B-side. Influenced by the Motor City, Jules has released on labels like Electrofunk, Submerge, Twilight 76, KMS, Planet E, Brique Rouge and Logos. Here, he takes the EP into atmospheric territory with "The Rooster".

Benny Rodrigues has previously delivered tracks for COD3 QR as The Lost Souldancer. But now he reprises his Rod20 alias with "Stars Of Bethlehem". Rod20 is the dedicated hardware-only techno project he began in 2020, which prior to its standalone vinyl imprint, launched with a self-released compilation, followed by a dual-part album on Jeff Mills' legendary Axis Records.

To close the EP is the experimental ambient work of "You Are Carried On Waves Of Endless Love" by James Warburton. James is a composer and multi-instrumentalist whose work has appeared on TV and film including Netflix’s "Squid Games", HBO’s "Succession", the title music for Channel 4’s "Manhunt" and the original score for Endemolshine/Banijay’s hit TV series "Murdertown" and NBC Universal’s "Faceless" podcast.

2026 Repress

Pianeti Sintetici ('synthetic planets' in Italian) is a new conceptual project by Davide Perrone (Primal Code) that draws inspiration from the factories of Magrathea, a planet in Douglas Adams' classic space opera The Hitchhiker's Guide to the Galaxy, where artificial planets are manufactured on commission.

'This concept has always fascinated me, and I chose the name to frame a hypothetical future of synthetic worlds, told with sound,' Davide says. 'I like to imagine the howls of creatures inhabiting solar systems outside our own. Rarefied atmospheres, alien sequences, and unfamiliar tonal scales. So, I see Pianeti Sintetici as an open-ended design research project where I can explore these inspirations.'

Esplora I ('explore') is the first record in a trilogy scheduled for release in 2023. It comes wrapped in a custom-cut embossed sleeve adorned with a captivating interpretation by Hypnus' visual artist Gabriella Holmstrom.

Early support from Brando Lupi, Iori, Takaaki Itoh, Unjin, Eric Cloutier, Forest on Stasys, Konduku, and Saphileaum.

12" , transparent vinyl with black dots

pdqb has been spending an increasing amount of time on the Blue Planet lately. From his perspective, this was never going to end well.
With an intelligence operating several evolutionary levels beyond anything currently available to humanity, pdqb identified the problem almost instantly. Humanity's operating system had developed a number of serious inefficiencies, and the planet was clearly heading in the wrong direction. Even artificial intelligence would not be of much help here: created by humans and trained on human knowledge, it remains, in pdqb's estimation, a rather primitive form of intelligence compared to the cognitive systems he carries within himself.
So pdqb has decided to intervene - personally, and in human form. His identity will remain undisclosed. His intervention, however, will be unmistakable: a brief intelligence boost, followed by approximately 10.000 years of world peace.
It will be fine.
Contact Imminent contains three transmissions from pdqb himself, carrying his characteristic Electro-Cognition signature sound - three pieces of evidence that the future is still worth saving.
For the B-side, pdqb selected two Earthlings whose music he already appreciated, but whose name was particularly appropriate for the occasion: Extrawelt.
Because after the intervention, this planet will no longer be what it was. It will not be the old world, nor simply a new one.
It will be an Extrawelt.
A slightly improved version of reality, with another 10.000 years to get things right.

5. VITAL SALES POINTS:
" transparent vinyl with black dots
" mastered by the infamous Andreas LUPO Lubich
" cover artwork by SUPERFLEX
" two remixes by Extrawelt

Hell Yeah welcomes back Tonarunur for an EP of future-facing Balearica straight out of his native Iceland. Someone Else EP is drawn from vast production archives and reveals two distinct sides to his sound, with artwork from Planet Luke.

Tonarunur last appeared on the label with a track for the Buena Onda compilation in 2021, and has also released his unique blend of electronic boogie and space disco on Citizen of Vice, Eskimo Recordings and Whiskey Disco. Whether laying down horizontal Sunday sounds or soundtracking the dance floor, he always brings a strong sense of personality.

Both A-side cuts feature Norway's bass player Arctander, starting with opener 'Someone Else' is a lithe mid-tempo groove with a playful, wriggling groove and sun-dappled 80s keys. The blissful 'Dawn' unfolds slowly through liquid rhythms, gently broken beats and cosmic melodies awash with good vibrations. On the flip, 'Lundur 1' drifts into the stars on shimmering pads and floating grooves and is romantic yet melancholic, before 'Lundur 2' closes with a more grounded rhythm and wispy melodies tracing patterns across a starry night sky.

Equal parts sunset escapism and after-hours introspection, Someone Else EP drifts effortlessly between the club and the cosmos.

repress !

On his latest offering, &ME is delivering quite the achievement. Co-produced with Black Coffee, the a-side „The Rapture Pt. III” obviously continues the narrative of its predecessors. But unlike in the motion picture business, where sequels tend to be watered down rehashes of the original, those Raptures are just getting better and better.

It’s all here, the dense and gentle build-up, the tender piano lines, the just overwhelming emotion. Safe bet, we’re dealing with a future classic here.

On the flipside you’ll find L.I.F.E, yet another score for the emotive peak of a clubnight. And that tune is brimming with life for sure, be it pulsating within its rhythmic architecture or it’s inhaling and exhaling dynamics. It salutes the children of planet earth and that message
lucidly comes through as it’s written in &ME’s distinctive, but utmost universal sonic language.

2026 Repress

The Universe evolution led to the emergence of life and we can only guess what forms of it can exist in the depths of Space. Maybe in the future a Moonrover will be launched to other planets and satellites. And this is only a small part of the huge research capacity of humankind. Using this capacity to the full we hope to find answers to the questions on the origin and existence of life.

Born from Ralph Lawson's pandemic-era radio transmissions into distant electro worlds, Exit Planet Earth returns from hiatus with a new chapter that finds solo artist EPs replacing the various artist format that came before. Australia's Reflex Blue inaugurates this next phase and arrives with serious credentials following a run of well-received records on Kalahari Oyster Cult, Limousine Dream and Fuse. Tripped out 4/4 floorfillers and syncopated breakbeats all feature, starting with the title cut, with its snappy breaks and plunging bass and retro rave sirens. Then comes 'Entropic', which has gurgling acid and chrome-plated drums, 'Thoughts Rewired' is a cyborg deep house sound in a 90s New York style and with a throbbing bassline, then 'L.L.L' closes with a light-footed future tech sound and some old school samples and scratching. A fine return.

Connecters Vol. 1: Original Recordings, 1992-1999 ist die erste Veröffentlichung von Larrison, dem Pseudonym des bildenden Künstlers und Musikers Larrison Seidle aus dem Mittleren Westen. Larrison komponierte, programmierte und nahm alles komplett auf einem Casio CZ-5000 auf, während der guten alten Zeit der selbstgemachten Experimente und Entdeckungen in den frühen 90ern. Er lebte in einer Traumwelt, die er selbst erfunden hatte, mit Soundtracks aus Space-Age-Pop-Vignetten, gespickt mit hypnotischen, überschwänglichen, vielschichtigen Synthesizer-Melodien. Mit 26 Tracks, die alle neu restauriert und aus den Originalquellen gemastert wurden, erfindet sich Connecters Vol. 1 Song für Song neu, überwindet die Zeit und trotzt der vorbestimmten Vergessenheit dieser brillanten, diskreten Musik, die vor drei Jahrzehnten entstanden ist. Larrison Seidle wuchs in den 70er und 80er Jahren in Greenwood, Indiana, einem Arbeitervorort von Indianapolis, auf. Er stammte nicht aus einer Musikerfamilie, aber aus einem Haushalt, in dem Musikalität gefördert wurde. Sein Vater kaufte eine elektrische Orgel, in der Hoffnung, dass Larrison und sein älterer Bruder das Instrument lernen würden. ,Am Ende saß mein Vater einige Abende an der Orgel, improvisierte und spielte immer wieder dieses eine Lied, von dem ich mich noch an die ersten Takte erinnern kann", erinnert sich Larrison. Möglicherweise war es in diesem Moment, in dem es zwar keine formale Ausbildung gab, aber viel Ermutigung und Entdeckungsfreude, dass der Künstler seine ersten musikalischen Experimente machte. Diese Erlaubnis, sich auszuprobieren, sollte seine kreative Arbeit in den folgenden Jahren deutlich prägen. Während in Larrisons Elternhaus klassische Rockplatten leicht zugänglich waren, lieh sich sein Vater 35-mm-Dokumentarfilme aus der Bibliothek aus, um sie im Wohnzimmer zu zeigen, die alle mit skurrilen Instrumentalstücken unterlegt waren. Als Teenager nahm er John Carpenters und Alan Howarths Endthema aus ,Die Klapperschlange" mit einem kleinen Kassettenrekorder neben dem Fernsehlautsprecher auf und liebte Tangerine Dreams Beiträge zu Ridley Scotts düsterer Fantasy ,Legend". Seine Faszination für diese weitgehend textlosen, synthesizerbasierten Kompositionen führte zu einem eigenwilligen Verständnis davon, wie Musik nicht nur das ergänzt, was wir vor uns sehen, sondern auch das, was wir in den Tiefen unseres Bewusstseins erleben. 1985, als er dreizehn Jahre alt war, überzeugte Larrison seinen Vater, ihm ein Casio CZ-5000-Keyboard zu kaufen. Wie zuvor die Orgel war auch dieses Instrument eine Neuheit im Haushalt der Seidles. Erst nach seinem Highschool-Abschluss 1991 und dem Beginn seines Studiums an der Herron School of Art in Indianapolis entdeckte er den in das Casio integrierten Sequenzer und begann, seine Kompositionen auf Band aufzunehmen. ,Das CZ-5000 und sein 8-Spur-Sequenzer sind die einzigen Musikinstrumente, die ich benutzt habe. Es hat eine fast unbegrenzte Funktion zur Erzeugung neuer Klänge", erklärte Seidle. Während seiner Zeit an der Herron School of Art freundete sich Larrison mit seinem Kommilitonen und Klangkünstler Michael Northam an, den er bei einem Konzert auf dem Campus kennengelernt hatte. Nachdem Northam Larrison für die Musik von Severed Heads, Throbbing Gristle und Roger Doyle begeistert und damit seine Zuneigung und sein Vertrauen gewonnen hatte, überredete er ihn, nach Austin, Texas, zu ziehen, das in den frühen 90er Jahren für seine lebendige Kunst- und Musikszene bekannt war. Die beiden wohnten zunächst bei Northams Freund Daniel Plunkett, dem Herausgeber und Verleger von ND, einem einflussreichen Magazin, das sich von 1982 bis 1999 mit DIY-Musik und Tape-Trading beschäftigte. In seiner Blütezeit hatte ND Tausende von Lesern, und Plunkett verschickte die Ausgaben weltweit. In den letzten Monaten des Jahres 1993 und Anfang 1994 schrieb und nahm Larrison mit begrenzten Mitteln und grenzenloser Intuition eine Reihe von Songs mit seinem CZ-5000 in einer kleinen Wohnung nördlich der Innenstadt von Austin auf, bastelte eine farbenfrohe, illustrierte Beilage, in der einige Songtitel durch Linien oder Pfeile dargestellt waren, und gab sie an Plunkett weiter, damit er sie für ND rezensieren konnte. Diese einzelne Kassette mit dem Titel Connecters sic war eine von 1200, die im Laufe des Bestehens der Publikation bei ND eingereicht wurden und die Jed Bindeman, Mitbegründer von Freedom To Spend, 2020 erworben und fast wie durch ein Wunder entdeckt hat. ,Ich hatte große Schwierigkeiten, mir die Kassetten in dieser Sammlung anzuhören", gibt Bindeman zu. ,Aber dann legte ich Larrisons Connecters ein und dachte sofort: ,Wow! Was höre ich da?' Die Kassette war von Anfang bis Ende einfach fantastisch." Mit Musik von genau dieser Kassette und anderen Aufnahmen aus Larrisons Experimenten in den 90er Jahren ist Connecters eine Übersicht über Instrumentalmusik, die sowohl durch vielfältige konzeptionelle Strategien als auch durch spielerische Neugierde geprägt ist. Seidle arbeitete unter Bedingungen, die viele Musiker als Einschränkung empfinden würden, und entwickelte technisch innovative Ansätze, um die Klänge und integrierten Effekte des CZ-5000 zu modifizieren. Das Gerät ermöglichte es ihm, die Wellenform, die Hüllkurve und die Tonart von Klängen mithilfe der Phasenverzerrungssynthese zu verändern und so im Grunde genommen Instrumente zu schaffen, während er Songs komponierte. Die Tracks zeichnen sich durch eine durchdachte impressionistische Vielfalt aus, die mal lo-fi, mal symphonisch klingt. Inmitten der Zerlegung und Verstärkung der Fähigkeiten des CZ-5000 gibt es auch einen geschmackvollen Rückgriff auf eine kindliche Interaktion und Erfahrung von Klang. Vielleicht ist es diese Erfahrungsqualität, die es so schwierig macht, Larrisons Projekt einfach als Ambient oder Elektronik zu verstehen. Sein Wille, die ihm zur Verfügung stehenden Werkzeuge zu transformieren, hebt die daraus resultierenden Kompositionen auf eine persönliche Ebene und verleiht der Musik einen bezaubernden Sinn für Mystik. Connecters ist ein Beweis für eine künstlerische Vision, die sich nicht durch Grenzen einschränken lässt und keine Angst vor Informalität hat. Diese Aufnahmen, die dreißig Jahre nach ihrer Dokumentation auf magische Weise an die Oberfläche kommen, zeigen, wie personalisierte Produktionsmittel die Zeit ausdehnen und verkürzen können. Larrison lädt die Zuhörer ein, sich auf die Wunder der auditiven Vorstellungskraft einzulassen - eine Brücke zwischen visueller Erinnerung, emotionaler Resonanz und der grenzenlosen Möglichkeit, mit den uns zur Verfügung stehenden Mitteln Musik zu machen. Larrison's Connecters Vol. 1: Original Recordings, 1992-1999 wird am 3. April 2026 von Freedom To Spend als Vinyl- und Digitalausgabe veröffentlicht.

WRWTFWW Records presents the first ever vinyl release for the Startled Insects’ 1984-1985 abstract/synth-pop/post-punk/electronic run compiled into one album : The Antenna Years. The Bristol music must-have comes as a limited edition LP with astonishing artwork, liner notes and a heavyweight sleeve.
The Antenna Years compiles the independent EPs/mini-LPs the Startled Insects released in 1984 (self-titled) and 1985 (Underworld/Black Spring), with two bonus unreleased tracks that were only ever played in their live shows (W.W.W and What A Waste, both amazing).
Astonishingly futuristic when they landed in 1984, the Startled Insects sounded like they came from another planet while staying rooted in Bristol’s underground. Abstract electronic, leftfield synth-pop, dub science, gamelan heat, post-punk edge, cinematic atmosphere : The Antenna Years delivers one beautifully odd voyage into the sonic unknown.

In the 90s, the band released two albums, including the classic Curse Of The Pheromones via Antilles New Directions (Island Records), then evolved into The Insects: film composers for BBC/National Geographic, Emmy winners, and key architects of the 90s Bristol orbit, working with Massive Attack, Goldfrapp, Tricky, and members of Portishead.

Four decades on, The Antenna Years still hits like a transmission from the future. Dive in with no fear.

Following her acclaimed 2023 release Flood City Trax, a dreamy, lo-fi take on footwork inspired by the crumbling rust-belt city she calls home, Nondi returns to Planet Mu with her second self-titled album, Nondi…While Nondi… retains some of the hazy, nostalgic atmosphere of Flood City Trax, it pushes her sound in bold new directions. “I made this album to capture the sense of freedom I used to get from music when I was first discovering it all,” Nondi says. “It’s meant to be cute, fun, kinda weird and emotional — but most of all, it’s a presentation of some of the prettiest tracks I’ve made.” Though she hasn’t really experienced club culture where she lives, her impressionistic productions evoke the surreal, lingering sounds of a night out — the melodic haze that hums in your ears as you drift off to sleep. Lo-fi and melodic, yet fluid and free, her music carries a sense of flight and intuitive logic. Nondi’s influences range widely — Actress, Aphex Twin, footwork, and the stranger edges of dub techno are all felt, yet she hallucinates them through her own weathered, dreamlike lens. Her tracks often build from clashing loops that evolve and transform organically, or from familiar genre elements reshaped by her instinct for misty, heart-wrenching melody. Some moments stay closer to genre, like Broken Future 175, a drum-and-bass tear-out that dissolves into lush, blurred chords, or Just Hanging Out, a bruised and beautiful take on 2-step. Lead single Tree Festival feels like a blown-out fusion of rave energy and sped-up new-age bliss, while Death Juke drifts through off-beat vocal samples, pulsing drums and 8-bit FX, reminiscent of early Steve Reich reimagined through a Game Boy. Nondi… is a uniquely moving and exploratory album that expands her sonic world even further. Lo-fi yet luminous, playful yet profound.

The new album by the collective that for
over 25 years has been among the most
representative names of the Italian dance
and electronic scene worldwide.
“BLOOOM”, this is the title of the new release,
will be available in all traditional stores and
on digital platforms starting January 16.
Set against the soundscapes that have become
the Planet Funk trademark, the lyrics by Dan
Black attempt to give voice to a fragile and
contradictory condition of our time: an
intensified sensitivity that, instead of
turning into openness and connection, often
becomes emotional overload. A generation
constantly overwhelmed by excessive stimuli,
relentless information, anxieties, and fears,
called upon to find its way in a world thaoffers neither pauses nor silence. In this paradox, sensitivity is no longer just a natural gift, but
a daily effort: staying open and receptive without being overwhelmed, trying to preserve a human and
vulnerable gaze in order, despite everything, to fully appreciate life and the present moment.
The single’s artwork—like that of the album—curated by Nationhood, visually conveys this tension: the
distant sirens of a city that amplifies feelings of disorientation and loneliness even when we are
surrounded by thousands of people.
“BLOOOM”, preceded by the single “FEEL EVERYTHING”, arrives at the end of an intense, creative year
full of music, which saw Alex Neri (DJ, keyboards, synthesizers), Marco Baroni (keyboards, piano,
programming), Dan Black (vocals and guitar), and Alex Uhlmann (vocals and guitar) engaged between
studio work, collaborations, and live performances in Italy and abroad. A journey that today
transforms into new energy, into an even more open vision oriented toward the future.
Exactly one year ago, PLANET FUNK released “Nights in White Satin”, a single that reached the top
positions of the radio charts and launched a season rich in concerts and DJ sets in Italy and around
the world. The subsequent “I Get a Rush”, the collaboration with Alfa and Manu Chao on the remix of
their hit “A me mi piace”, and the track “È Naturale” together with Francesca Michielin, confirmed
Planet Funk’s ability to renew themselves and engage with different musical worlds while always
remaining true to their own identity.
Throughout this journey, music has inevitably intertwined with life. The memory of Sergio Della Monica
and Domenico “Gigi” Canu, pillars and founding souls of the PLANET FUNK project, is a living part of
this new chapter. Their vision, creative spirit, and way of understanding music continue to be a
constant guide, a deep root from which new ideas and new directions can grow.
“BLOOOM” is also this: a personal and artistic blossoming that, starting from the legacy left by
Sergio and Gigi, transforms into a living process of growth, metamorphosis, and discovery. An album
that does not look back with nostalgia, but forward with awareness, momentum, and a desire for
renewal.
Founded in 1999, for over 25 years PLANET FUNK have represented one of the most important, solid, and
influential realities in the international electronic music scene. Born from the meeting of Souled
Out! (Domenico “GG” Canu and Sergio Della Monica) and Kamasutra (Marco Baroni and Alex Neri), and
following their debut with “Non Zero Sumness” in 2002 (a gold record and a turning point for the
band), PLANET FUNK have managed to reinvent themselves over time while maintaining a unique sonic
identity. This has led them to collaborate with internationally renowned artists, deliver iconic
performances around the world, create soundtracks and international advertising campaigns, and
continue to demonstrate constant creative vitality

The fourth chapter on Childhood intelligence alternate sub-division corporation “Sunrise Inc.”.

5 Neo-Braindance Artifacts have been discovered, written and produced by “Outer Order” of the Planetary Instinct Alliance. Mystic analogue rhythms and vintage sounds, a vortex of haunted synth landscapes & latin grooves, equipped with heavy SH101 low-end frequencies… intimately resonating with hypnotic melodies & voices. A homage to the past, a generational self-prophecy of a producer with music in their ancestry. Welcome to the sound of intelligence, which is another new sunrise, of a series of endeavors into a common future

The 12-track record is the first album on SHDW's influential label and explores the past, present, and future of techno.

Planet X label head and 20-year scene veteran Exos, hailing from Iceland, draws on his native country's influences in his work, which explores the interplay between light and dark, warmth and cold. His high-octane sounds over the last 20 years have appeared on vital imprints like Tresor, X/OZ, and, of course, Mutual Rytm, with his releases for
the label having been extremely well received, garnering support from the scene's key DJs. Whether dubby or hard, his techno is always authentic and channels the purity of the 90s style. This new album follows Exos's inaugural X-Release, the Infrared 10", the Icebreaker 12" from last year, and his track on the latest Federation of Rytm IV compilation. It's a real journey through all facets of his sound, including a trip back to his dub techno roots, ambient
explorations, and emotional vocal pieces with lifelong memories fused into sounds that reflect the artist's decades spent in Iceland.

'Sweet Dreams' opens with an atmospheric intro in the form of a 28-year-old collaboration with his father. This full-bodied analogue ambient piece is rich with the mysterious tones of the Nord Modular and was recorded during their shared studio days at D17 in Reykjavik. The title track is a hypnotic, linear groove with icy synth modulations and glistening melodies. 'Hinn Vioforli' then brings dub warmth while 'State of Mind' recalls the spirit of the legendary Reykjavik club 'Thomsen', a cornerstone of Iceland's late 90s underground scene. 'Glaour Og Reifur' and
'Fogur Er Hlioin'pay homage to the echoes of ancient Viking heritage, 'North of January' conveys the cold of Exos's homeland, and 'Hvarvetna' brings textured percussion and darker undertones before '101 After Dark' slows to a bass-heavy broken beat exploration of texture and post-dubstep pressure.

After the heady and atmospheric sound of 'The Dolphin Oracle', another key collaboration comes with 'Freefall', an emotional breakbeat piece featuring vocalist Amelia Rodriguez,' who also lends her voice to 'Shock', a magnificent track that channels Exos's modern techno energy. The album closes with a haunting paradox, 'Paradise Lost,' questioning whether our sweet dreams are truly moments of bliss or simply reflections of what we've already left behind. The three bonus digital cuts offer sleek minimalism, punchy deep techno, and suspenseful ambient.

A bit of backstory behind this release, I first met Hilton (Jack Horner) at an event in 2012 that took place in a venue called Crucifix Lane (also known as Jack's, now defunct due to expansion of London Bridge station). He's good friends with Krome & Time who were performing that night and I remember chatting with him about jungle (I was still a very eager young lad that was in his first year of raving and very keen to talk about jungle/hardcore/d&b to anyone that would be willing to endure it!) and he mentioned that he used to make jungle in the 90s. I asked who he was and when he told me he was Jack Horner, I went mental because I was a big fan of the 2nd release on Spectrum Records (The Hoover & I Got This Feeling) and to actually meet the person behind those tunes was a really special situation for me to be in.

Unfortunately, I was too shy to get any contact details for him and I never saw him again or knew anyone that had a way of getting in touch with him. That was until very recently, when he had started attending Distant Planet events in London & I got the chance to meet him again, only to be shocked by him telling me that he had been following me & my music and was a fan of me & my label! This time, I made sure that I was able to get contact details for him, I was not going to make the same mistake as last time!

Last December, he messaged me asking if I would be up for doing a remix of The Hoover & I was quite unsure about doing it because of how much I really enjoy the original and feel like it does pretty much everything it needs to do with the sounds used. But, I thought it would be worth a try so I gave it a go and Hilton really liked the outcome (which was a huge relief ????), even though I was a bit too scared to change too much of it haha.

He then asked if I would be interested in releasing it on Future Retro London, which I'd never considered doing because I thought he would have had his own plans for it but I was willing to try & see if we could make a release out of this. I messaged Dwarde & Kid Lib to ask if they'd be up for doing remixes of the same tune (at the time, we only had access to the samples from The Hoover) and they both were and they did great work taking the original track in different directions, each in their own way.

Around the time of making The Hoover, Hilton made another tune with similar samples called After The Pain, which was never released, but he still had the tune. The problem is that he only had it in the form of a cassette recording, which wasn't very good quality and probably would not be easily cleaned up for release. So, I decided to remake the tune from scratch, using the samples I had from The Hoover, as well as sourcing & recreating other sounds used. I was able to remake the whole tune arrangement & then Kid Lib mixed it down to make it sound more sonically similar to how it would have sounded when it was originally made back in 94/95.

Anyway, story time over, big thanks to Hilton for his co-operation & assistance on making this release happen, to Dwarde & Kid Lib for their remix work & a special shout going out to Hughesee for going through Hilton's collection of floppy disks to find & record the samples for The Hoover.

DJ support: Michael Bibi, Solomun, ANOTR and more
Rising duo Moontalk step into the spotlight on Planet X with ‘Hot Line 84’, a track that channels tightly wound grooves, warped guitar licks and infectious vocal touches into a rolling dancefloor cut. Built with a sharp focus on rhythm and texture, the single captures the duo’s forward-thinking approach and delivers a fresh statement of intent on one of the underground’s most closely watched labels.

Planet X head Ben Sterling completes the release with his own reinterpretation, steering ‘Hot Line 84’ into darker, hypnotic territory. Crafted live using various guitars and analogue synths, Sterling’s remix brims with raw energy, tunnelling its way through Indie Dance textures while retaining the future-facing edge of the original. A track already championed by the likes of Michael Bibi, Solomun, ANOTR and more, it’s another bold showcase of Sterling’s versatility as both a producer and label curator — and a reminder of Planet X’s commitment to cutting-edge, cross-genre sound.

Together, the original and remix strike a balance between groove-driven immediacy and late-night depth, capturing two distinct yet complementary sides of the Planet X universe. ‘Hot Line 84’ stands as a compelling snapshot of where the label is heading next: innovative, immersive and firmly in tune with the dancefloor.

The landscapes of Orlan 19 resembled the dream of a mad cartographer: cliffs were floating above the surface, horizons were bending and vanishing into infinity, and energy vortices were flaring up beneath their feet in psychedelic patterns. The familiar laws of physics didn’t apply here — gravity shifted chaotically, and time flew with unpredictable intensity. As Spacelunch, absorbed in thought, stroked the ground which distorted like a mirage under his touch, Cat’s grumbling echoed simultaneously from the past and future:

— Doc, don’t you think we’re just walking in circles?
— No wonder. That’s how inverse modelling works. Every action we take reshapes the surrounding space.
— Can you explain it in simpler terms? There’s only one genius here.
— Ever heard of the Philadelphia Experiment?
— Of course! You know how much I love sushi rolls!
— Well, I set myself up for this predicament… Back in my university days, we experimented with magnetic fields trying to program them by thought. You get where I’m going, don’t you? The planet is reacting to our intentions. So, focus on visualizing the portal.

The confusion on Cat’s face gave way to a mask of detachment. Clusters of matter began to tremble pulling the threads of reality to their breaking point before finally forming a vortex. Having devoured as much as it could, the vortex snapped shut with a loud pop and dissolved in a blinding flash.

As the scene began to take shape, silhouettes emerged under the soft glow of a desk lamp, evoking an overwhelming sense of nostalgia. A worn desk and a small bed stood by the wall adorned with faded photographs, while the floor let out a gentle creak underfoot. The clearer the interior came to be, the more paralyzing the realization, and the more elusive the explanation for what had happened became.

— Holy…! Cat, are we looking at the same thing?
— Yeah, but… This can’t be real.

Spacelunch slowly approached the window and froze still. A single thought raced through his mind: “The only force strong enough to pull me this far… was love.”

AN ATLAS OF LOSS

Do minerals dream of becoming semiconductors? Do they yearn to carry charges, amplify, switch, and convert energy into emotions comprehensible to humans? And what if, from the darkness of the underground, they had been listening to us sing in caves before the emergence of the first flute? Could they have guided us, through the course of history, to find them, extract them, and create new sounds through sinusoidal waves, to form valves and bend circuits?

If so, minerals would transition from what philosopher Eugene Thacker defines as the ‘planet’—that virginal and unreachable realm for humans that we study through geology, paleontology, and environmental sciences—to the ‘world,’ the space we inhabit, interpret, and synthesise in our daily lives. Sadly, we only remember the world when it erupts violently, through climate catastrophes or when a new virus emerges. Sometimes a tsunami collides with a nuclear plant, or viruses are cultivated as biological weapons in high-security laboratories, provoking a deep biological anxiety, hard to quell, which we all feel beneath our skin.

There exists a third realm, disconnected from both the world and the planet: the ‘earth’, an immense, dense rock floating in space alongside other planets, situated in the cosmological dimension. Relating to the earth is so complex that we only do so through theoretical speculations of a scientific nature or through science fiction, interweaving until one becomes the prophecy of the other, in an infinite, pendular dance. Beyond the darkness of space and Lovecraft’s cosmic horror, the fantasy of human extinction is the most recurrent: to reach a collapse so devastating that we do not survive it, even though the earth does, without us.

In a world where we quantify everything through body sensors, financial algorithms, nanometre-scale robots, and surveillance drones—a world in which everything that can be domesticated and controlled can also be commodified—a superior artificial intelligence would survive the collapse of the species (some speculate it might even cause it) and learn from our mistakes, thanks to our obsessive gathering of data.

Long after our voices fade, minerals will persist in the darkness of screens, in the silicon of chips, and in their pure form, still unexploited underground. Over the millennia, this intelligence might piece together fragments of our reasoning, as if an alien civilization finally connected with one of our spacecrafts loaded with messages cast into the void. It would sort through endless streams of data, unable to grasp the depths of emotion behind what it quantified, recreating simulations of our past, stripped of the nuance that once defined us and conducting experiments in sandboxes.

Some remnants of our existence—faint echoes of forgotten beauty—would be pieced together in an atlas of loss, buried beneath layers of numbers, decayed bots, and corroded hard drives. What will follow? Perhaps bison will once again roam—trotting to the strange pulse of techno, their ancient forms framed by the ruins of our cities.

Buildings will crumble, slowly dissolving under the soft touch of ambient music, and a thousand flowers will bloom with that ancient music created through electrical signals and computation. 7 songs for a future both improbable and inevitable—a final message from a world lost to itself, from planet Earth to planet Earth.

Alfons Pich, 2025

Melodic Techno 2025 – A New Era Begins ZYX Music kicks off its brand-new annual compilation series: Melodic Techno. Featuring over 30 cutting-edge tracks, available on CD and digital, this release is a must-have for fans of deep, driving, and atmospheric beats. Carefully compiled & mixed by Tom Franke, a true veteran of the global DJ scene.

With 25+ years behind the decks, the Koblenz-born artist—also known as DJ TOM—has brought his sound to clubs and festivals worldwide. Expect a powerful blend of rising talents and underground gems, alongside iconic names like Cosmic Gate, Ferry Corsten, Signum, and many more. Backed by RautMusik.FM, Europe‘s largest internet radio station, Melodic Techno 2025 is here to set the tone for the future of electronic music.

Anyone with a passing interest in footwork and juke will know of Traxman. Corky Strong has a long history of deep involvement in Chicago house, first releasing on the legendary Dance Mania label in the mid nineties, and since then splitting his productions between ghetto house, juke and footwork, releasing alongside Steve Poindexter and Fast Eddie and the late DJ Deeon and DJ Rashad, including an seemingly endless supply of self-released juke edits of whatever direction his deep knowledge of Black American music takes him. The third volume of 'Da Mind Of Traxman' is his first since 2014. In the intervening years he's kept things rolling, DJing regularly, releasing lots of music, becoming a grandfather and being a mentor for younger artists coming up in the scene.

This new album was crafted with the help of fellow Planet Mu artist Sinjin Hawke, who took on A&R duties to collate the best from hundreds of tracks dating back to 2005. Sinjin holds Traxman's status in high regard; "This album series is important and holds real documentarian value—working on it feels like the modern equivalent of curating a piece of Miles Davis’s catalog in the '60s and '70s." Volume 3 showcases Traxman's uncanny ability to take old music into the future without losing the feeling and energy of his samples and influences. He knows how to add a hi-definition modern chassis with the skill of someone who deeply and intuitively understands the craft of dance music. These are some of the purest, most innovative ideations of Chicago footwork.

a A1 Kill Da DJ (ft. Bobby Skillz & Sinjin Hawke) explicit


[d] A4 Where They At (ft. DJ Twan) [explicit]

[f] A6 I’ll Write The Hook [explicit]


[i] B1 Trust Me [explicit]



[m] B5 Talaban [explicit]

Fantastic Planet returns with its sixth release, "Survival Mode," a statement dedicated to the ongoing struggle for freedom in Georgia. This electrifying compilation brings together a diverse lineup of visionary artists, each channeling their own unique sound to amplify the message of resilience and resistance. Survival Mode - is a mindset, a relentless fight for existence when all other options have been stripped away. It's about the raw, primal instinct to keep moving forward, even when every door seems closed, and there's no way back. In this mode, every moment is a battle, a test of endurance and resilience. For the people fighting for freedom in Georgia, survival mode represents their unwavering determination to push through oppressive forces, refusing to be silenced or broken. It's the point where compromise is no longer an option, where you either rise or fall-but surrender is not part of the equation. This struggle is about more than just survival-it's about carving out a future, no matter the cost. Design Giorgi grdzelishvili

Repress
Patience is a virtue well-rewarded in techno; finding the right groove to build on then holding your nerve long enough to pay off the wait at the optimum moment is a much more skillful endeavour than it would seem for such a minimalistic style. And few display this talent better than Detroit originals Scan 7. Part of the hallowed Underground Resistance family, Scan 7 first broke out in the mid-90s with a series of jacking machine funk 12”s that showcased their savvy for self-control - a faculty they have demonstrated in releases year-on-year since.
Highlighting this continuous font of vitality, Tresor Records has returned to the source and is proud to announce the reissue of Scan 7’s debut LP, Dark Territory. First unleashed on the label in 1996, the album has been remastered from the original DATs by Mike Grinser, augmenting already powerful tracks such as the snake-like, teasing Unusual Channel (mixed by the master Blake Baxter), and the harder-edged VII resulting in music that will, without doubt, provoke an enhanced response when the pressure is finally released.
Repressed on vinyl with updated artwork, these tracks still sound like a blueprint for the future, testament to the prescience and assurance Scan 7’s leader, Trackmaster Lou, clearly had when writing “I hope you enjoy my records in the phuture to come” in the sleeve notes nearly 30 years ago.

Wellington, New Zealand-based producer, drummer and band leader Cory Champion aka Borrowed CS delivers his second release on Planet Trip Records ~ Rise N Shine EP, expanding the infectious outsider boogie sound he explored on ‘Mystic Shuffle’ (off 2020’s Balance/Ascend EP) into a six-song suite of neon-lit machine funk, mutant post-disco and uptempo future soul. Draped in synthesisers that sparkle and glitter like summer sunlight hitting the harbour waters, the programmed Roland TR-606 drums and keyboard bass on these club tracks absolutely snap, wobble and groove.

From the space-aged melodies and throwback electro bounce of ‘All My People’ (featuring the pioneering British electronic soul vocalist Steve Spacek) to the dialled-in dancefloor weaponry of the title track and ‘Potplant’, the A-side of Rise n Shine unfolds like Friday night at a 1980s roller disco. On the flip, Champion reconnects with the idiosyncratic Māori singer-songwriter Mara TK to pen another golden-voiced chapter in the hi-tek South Pacific future soul story with ‘Hearsay’ before diving into some deep mid-tempo body music on ‘Subsonix’ and ‘Mystic Dream’. One for the dancefloor dreamers, Rise n Shine, will be available in 12” vinyl (limited to 300 copies) and digital versions.

“Wild Boy …” is a reissue of the well-known 2016 release curated by Brian Chidester, renowned researcher and biographer of Eden Ahbez. Especially for this album, Brian wrote an interesting text about Abi’s life, which definitely became the decoration of the release.
With the new 2020 re-release, we went a little further and kept what is commonly referred to as studio cuts. It’s a few more minutes in the studio with ahbez himself, full of emotion and life. In addition, to the delight of fans, the edition includes an additional composition Nature Boy (Mantovani Orchestra).
Especially, it is worth noting the outstanding mastering prepared from practically decomposed tapes by the Grammy-nominated Jessica Thompson, which guarantees the deepest and warmth possible sound. Jessica a huge ahbez fan and we’re highly appreciated for what she has done to save his music for the future.
Eden Ahbez is definitely at the origin of psychedelic music and this release can be taken as further proof. Over the past twenty years, the iconic figure of the world’s first hippie Eden ahbez has become famous primarily for his 1948 song “Nature Boy”, praising universal love, and his amazingly solo album from the 1960s called “Eden’s Island” – one from the first concept albums in the history of music and probably the first psychedelic music album. “Wild Boy: The Lost Songs Of Eden Ahbez” deepens understanding of the origins of the psychedelic movement in the 1950s.
The disc contains a musical selection of works by Eden ahbez himself, written by him in the period after Nature Boy. The inclusion of songs such as “Palm Springs” – Ray Anthony Orchestra and “Hey Jacques” by Erta Kitt gives the listener the chance to discover for the first time the little-known recordings of world-famous artists composed by Eden ahbez. Through “Wild Boy” and “Surfer John” you can hear the author’s handling of absurd rock and exotic experimentation, as well as sweet psychedelic pop like Monterey (with Paul Horn on flute). Overall, Wild Boy: The Lost Songs Of Eden Ahbez offers an overview of the lost works of 1949-1971 with seven unpublished recordings and eight rare singles.
If in 2020 you are missing the hallucinogenic content in Eden Ahbez, it amazingly makes up for that deficiency with simple chords, expansive arrangements, and lyrics about travel, relaxation, free love, and spirituality. Thus creating the standard of psychedelic music. Eden Ahbez’s songs weren’t only fantasy and his personal philosophy was the real thing that he lived.

reviews:

“This carefully and extensively researched compilation culls covers by top notch mainstream artists juxtaposed with unreleased Eden recordings. What might sound like a mixed bag is actually more like a chronological, musical non-fiction novel about Eden Ahbez. While Eden was writing hundreds of songs and performing live and making recordings in various styles, his songs were also being picked up by popular artists like Nat King Cole and Eartha Kitt who recorded with a more polished mainstream style. There are also some early rock n roll style recordings here. Eden’s professionally recordings often end up as Novelty Pop records such as “Child of Nature” and “The Clam Man” but if you read between the lines and listen to the lyrics it is pretty eye-opening that he is singing about Eastern-religion-style and pre-hippie philosophies about being at one with the planet Earth.
All of this is explained in the lengthy liner notes inside the lp along with a few choice photos that establish Eden as a founding father of Southern California mystic/psychedelic music.” – Tiki_News
“Eden Ahbez’s life philosophy was summed up in the lyrics of his most famous song, “Nature Boy,” a 1948 hit for Nat King Cole: the song describes a “strange enchanted boy” who wanders the world in search of truth. “The greatest thing you’ll ever learn,” he concludes, “is to love and be loved in return.” Ahbez was a pre-cursor of California’s beatniks and hippies, and an exalted icon of ex-otica via his rare 1960 album Eden’s Island. Beyond “Nature Boy” and Eden’s Island, though, there were nu-merous lesser-known Ahbez record-ings. Ahbez biographer Brian Chidester has been doing an exemplary job of archiving and documenting that catalog of work. The Exotic World of Eden Ahbez (reviewed in UT#38) appeared a few years ago, gathering together 14 Ahbez-related rarities” – Ugly Things

fabric Records to announce the highly anticipated release of *fabric presents Confidence Man*, set to drop on 23rd August 2024. The mix features Confidence Man’s innovative sound and includes two exclusive tracks from the band, alongside new music from renowned artists Joe Goddard, Joshua James, and Mona Yim.

Confidence Man, celebrated for their infectious energy and distinctive style, bring their unique flair to this mix, offering a tantalizing glimpse into the future of dance music. The exclusive tracks, “BREAK IT DOWN (ON THE BASSLINE)” and “Let Them Bells Ring,” showcase the band's signature blend of high energy and catchy grooves, promising to be instant dancefloor favorites.

Complementing Confidence Man’s contributions are cutting-edge tracks from Hot Chip’s Joe Goddard, whose production mastery continues to redefine electronic music. Joshua James, known for his deep house and techno expertise, delivers a track that captures his club-ready sound. Mona Yim adds her ethereal touch with a fresh composition that embodies her innovative approach to electronic music.

fabric presents Confidence Man* stands as a testament to fabric Records’ commitment to curating pioneering music that pushes the boundaries of the genre. This release not only highlights the versatile talent of Confidence Man but also features some of the most exciting contemporary artists in the electronic scene.

The album will be available for digital download and streaming across all major platforms on 23d August 2024.

Los Angeles-based video artist and producer Laskfar Vortok makes his first appearance in the EVAR catalogue with "Erbsat Esrhosc." An unusual title that reflects the artist's interest in the bizarre, whether he's making music or producing videos and visuals, "Erbsat Esrhosc" bristles with erratic patterns, anarchic atmospheres and glitchy soundscapes. The Mexican-born talent explores ideas based on the hypothetical concept of a planetwide city, otherwise known as an ecumenopolis, weaving such ideas against a cinematic backdrop, nodding to his long-running love for cinema. Across the five-track EP, he also draws inspiration from the heated and hectic energy of L.A, where he's resided most of his life.

Produced in memoriam of Michael Gregory Harrison, aka Bad Timing, and following a period of introspection and creative and personal challenges, Laskfar Vortok began work on "Erbsat Esrhosc" in 2018. The EP honours Michael's brilliance as an artist and a friend;the title being an anagram of a phrase that they shared between them.

"Eclipse" opens the EP on a haunting note. A spidery melody and chilling pads punctuate the witchy soundscape before syncopated sequences collide with snafued textures, signifying a sharp left turn into breakcore. With its nebulous atmosphere, this track offers the first glimpse into the concept of an ecumenopolis. On "Hyperdrive", frenetic percussion dominates while zappy noises and a doomsday melody slink in and out of earshot. Bursts of broken wub exacerbate the uneasy mood while cinematic, almost ethereal chords twinkle in the background.

"Base" offers a moment to recover one's brain cells after the nosedive into the near future. A lugging kickdrum and broken, woody percussions swirl around the troposphere while creepy pads convey a sinister aura. "Mutation" catapults us back into chaos with claustrophobic polyrhythmic structures, smatterings of kickdrums, and a sporadic mad-scientist-type synthline, adding a jittery layer. An unexpectedly orchestral outro completes the bizarre nature of the track.

Closing out on "Send Off", Laskfar Vortok blends freezing-cold chords with snaggy synth notes and a tangle of drum constellations tied up with a gossamer melody and splattered across an eerie terrain.

Using Bitwig Studio, orcλ, TidalCycles and Renoise as his modus operandi, Laskfar Vortok produces a trip that intrigues but disturbs, serving a shimmering yet terrifying squint into a technoid-led utopia. And we're only just getting started.

2025 Repress

SHDW & Obscure Shape invite Invexis for his first 12" in almost 20 years as the German live act and producer returns to Mutual Rytm for his impactful EP, 'Odyssey'.

With an ethos of merging the past with the present and future, harnessing classic techno influences and shaping them into the sounds of tomorrow, SHDW & Obscure Shape's Mutual Rytm imprint has become an exciting home for rising talents of note and established artists to shine a spotlight on the genre. However, the next release on the label welcomes a long-awaited return from Georg Kohler, aka Invexis. Known for releases such as 'Kalibreur' on Salpeter Records and 'Chiffre' on Planet Rhythm Records, with further releases via Compound and Kazumi, the German talent crafted and shaped his own sound within the techno landscape in the early 2000s. Returning with his first EP release in close to two decades, late December welcomes a return to Mutual Rytm, following on from the inclusion of his track 'Elektronenwind' on the label's 'Federation Of Rytm I' release, as he delivers a selection of dynamic, melodic and driving techno offerings across 'Odyssey'.

'Silhouette' opens the package with authority as spirited drums and spiralling synths take hold of a twisting and turning lead effort, with 'Non Return To Zero' building a spiralling groove via frantic yet measured percussion, sweeping melodies and funky stabs. 'Red Storm' opens the B-side with a more up-front production combining harsher metallic tones with relentless drive and crashing hats, while 'Body Impulse' utilises dubby stabs and eerie atmospherics to balance light and dark. The title track 'Odyssey' closes the vinyl offering, with a euphoric and rapturous production harnessing resonant chords, looping drum grooves and elated leads to bring things to an impressive crescendo and deliver a record that will remain in the ears of listeners for a long time. As always with the label, digital purchasers are treated to an exclusive track as Kohler combines zig-zagging grooves, refined synths and off-kilter glitches and bleeps across digital exclusive 'Transition'.

The superduo formed by two authentic stars of the Italian dance scene is back with the ‘Rolling Wave’ EP on Mondo Groove. Daniele Baldelli needs no introduction; he has made a fiery mark on DJ history worldwide with his legendary sets. He built his eclectic and visionary style at the Baia Degli Angeli in the 1970s and Cosmic in the early 1980s, to the triumph of recent years, in demand at every latitude on the planet. DJ Rocca is one of Italy’s most inspired producers, his art forged in a mix of technique and passion, versatile enough to work alongside artists as diverse as Baldelli, Dimitri From Paris or one of the giants of Italian jazz, pianist Franco D’Andrea.

Daniele Baldelli & DJ Rocca are on fire in the four tracks of this new EP on Mondo Groove, which starts with the bleep sounds of the title track ‘Rolling Wave’, goes into orbit with the deep boogie of ‘Funk Infusion’ and a party number like ‘Marchin On’, and culminates in the refined disco-jazz digressions of ‘Focused Image’. A record that will be a future classic.

Pianeti Sintetici presents AI-37, entitled ‘Space Opera’. Conceived by Italian artist Davide Perrone, the Pianeti Sintetici (“Synthetic Planets”) project hypothesises the creation of future synthetic worlds as told through sound. Although split across two parts, the album is a singular organism that narrates a journey of boundless cosmic exploration. A sonic tapestry woven of intergalactic atmospheres, Space Opera’s imaginative sound design contributes to a richly spatial and haptic experience.

Taking place in the dimly lit crevices of deepest space, a swirling pool of chemical abstractions and extraterrestrial transmissions spumes out from the darkness. Elements weave through broad washes of drones and scintillating textures, contrasting a sparse backdrop with dense and multilayered passages. Composed with the use of modular synthesisers and intense audio manipulations, ‘Space Opera’ comes to life as an entity that transports the listener on an immersive journey into the mysteries of alien worlds. 

In spring,
Again.
But it's true this time.

In Spring is the second record by Tara Clerkin Trio, a Bristol-based group who appeared to emerge from below the radar of near-all in early 2020 and in the presence of one of the most captivating records of that year. This latest 23 minute, four song collection, recorded in various stages and locations over the last twelve months, does nothing to detract from those first impressions, refining the woozy and shimmering oddness of their debut into an avant-pop sensibility that is increasingly their own.

If the group did arrive fully formed, what that form was did feel supple and hard to grasp. They were, in a sense, essentially new sounding, or at least ghosts between the established lines, and with this new record have doubled-down on their inherently Delphian instinct. At its heart, In Spring is a record of subtle contrasts, experimental yet familiar in its intimacy, obviously modern though tied to certain lineages, and driven by a pop logic which is also free-form and seemingly improvised. Their approach to sound is perhaps the guiding principle here, less concerned with genre as it is texture and feeling, drawing from jazz, folk, modern composition, trip hop and downtempo electronica, yet evading all of those categorisations. Tara Clerkin Trio are too generous of heart to be ripping up any rulebook, they simply seem oblivious to its need.

Their geography does provide some context. Bristol's progressive sonic heritage inescapably bleeds into these four tracks, the enclave of open-minded artists around Planet Records in the mid 90s perhaps the closest point of comparison. There's that same magpie spirit which is both futuregazing and aware of its past, though is mostly set on finding its own path. This is in essence what defines Tara Clerkin Trio, feeling their way through freedom of instinct and curiosity, forging their own desire lines. Not so much taking the road less trodden, just walked at their own winding pace.

"Done before,
And I'll do it again"
Ringing in my head
While I try
To feel

Four years ago, Francesco Strippoli debuted on Bordello A Parigi with Universal Oneness followed by the analogue rich Prison Planet EP. Once again, donning his Armonics alias, the Bari based producer returns with four tracks for Future Echoes. The synthesizer warmth that has characterised past releases is immediately present. At the heart of “Floating High” is Strippoli’s keyboard work. Beats are crisp and understated as waves of melodic murmuration bob and weave to perfectly complement each other. A steady kick introduces the textured title work. Warbling notes give way to bolder chords, chords that are blurred by shimmering arpeggios as layers of harmony expand and unfold. Nostalgia meets the needle on the flip. “Retrospectiva” blends subtle shades with brassy extravagance, the sun and romance of southern Italy radiating in tempered brilliance. The energy of “Music and Lights” closes. Throbbing keys are further fortified by swirling synth stabs, the intensity being ratchetted up to boiling point in this dancefloor delight. Quality through and through.

Foundation is set in the future when the world is barely remembered and humans have colonized the galaxy. The record introduces Donnie Ozone, a brilliant visionary rapper and psychohistorian whose job is to use lyrics and rhymes to predict the future. It is divided into six chapters, each showing a part of the bigger picture portrayed on the outstanding cover by Infidel.

Teslasonic gathers together the galaxy's top scientists and artists on a bleak outer planet and sets out to preserve the accumulated knowledge of humankind and begin a new human galactic empire based on Art, Science and Technology. He calls his sanctuary the Foundation and designs it to withstand a dark age of ignorance, barbarism, and warfare that he predicts will last for a long time.

"Drums from heaven, keys from Mars, a bass made from mother earth's soil and guitars from a guy who's time-traveling from German Kraut in the last 60ies into the next 60ies and who happens to gift us today with this funky, dirty, pulsating, delicious music that's everything which music is supposed to be: ALIVE! (Note to self: Always keep a copy of this record in your suitcase!)." (Malakoff Kowalski)

"Afrokraut" is a stylistic expression of Krautrock, primarily associated with Can, and their creative use of time and space in music. "A Guide To Afrokraut III" is David Nesselhauf´s third and last contribution to the dusty shrine of this long forgotten style.

Next to "Afrokraut" (2016) and "Afrokraut II: The Lowbrow Manifesto" (2018), this album completes a humble sonic Trypticon in honour of David Nesselhauf's musical heroes. Experimentation was key in the immersive process of producing this album, which encompasses elements of Funk, Afrobeat and Krautrock as well as otherworldly Drones, early Elektronische Musik and even field recordings.

Inspired by the unfinished manuscript 'History Deletes Itself' by the late science fiction author Joseph Sabiers, Nesselhauf decided to produce a b-movie soundtrack to the original plot, ignoring the fact that there will likely never be a movie to this music.

In the original script, a virus has infected history, the resulting changes of historical facts leading to an unpredictable present and future for mankind. Every attempt to solve the problem – including time travelling – only worsens the situation. But three planets at the end of the known universe seem to be unaffected by the phenomenon, they become a sanctuary known as 'Afrokraut III'. Three brothers arrive there to start new lives. They are introduced to The Guide, their mysterious advisor...

The striking parallels to today's uncertainties, a strong feeling of hope and the idea to never stop exploring (come what may) certainly have encouraged the making of this album, which sees a belated release due to the obstacles everyone faces right now.

David Nesselhauf lives in Hamburg/Germany and appears as a bass player/songwriter in bands like Hamburg Spinners, The Drawbars, Diazpora, and Angels Of Libra.

Santa Cata Records was conceived in the record store, Santa Cata in Palma de Mallorca.

Founded 3 years ago it has become a hub for local artists, an essential digging spot for visiting DJs, as well as being open to all music lovers.

With the vibrant local scene producing so actively, setting up a label was a natural step for us, providing a platform for the artists living on our beloved island.


The first E.P. is from various artists living in Mallorca.

International artists Dani Casarano and Hamid now spreading their roots on the island, and local talent in the form of Planetary Instincts own Dojo Zone and Halbert.

The EP focuses heavily on the dancefloor, innovative modern music laced with old school influence.

The record boasts a dancefloor cut with a jacking touch, another breaky acid lines under modulated chords. Flipping it over a 90’s bassline accompanies trance pads, and finally a catchy melody that will be following you around for weeks.

For this uniquely personal retrospective spread over twelve vinyl discs, Sven Väth takes us back to the early days of his DJ career. On What I Used To Play we meet great pioneers of electronic music, gifted percussionists, obscure wave bands, and innovative producers of a bygone 'new electronic' era. Rough beats and irresistible grooves from the identification stage of house, techno, and acid remind us not just how far electronic music has evolved over the past four decades, but how great it was to dance to EBM, techno, and house for the very first time.

If there is one protagonist of the electronic music scene who has remained curious, innovative and at the very cutting edge of music for over four decades, it's Sven Väth. His multi-layered artist albums and Sound of the Season mix compilations have been defining the genre for over two decades, and even today, he is constantly on the lookout for the next top tune to add to the highlights of his next set. At least, that's the case when he's not producing them himself as an artist or remixer. "Actually, it's always been part of my DNA to think ahead," and nothing had been further from his mind than looking back at his past, but when in spring of 2020 the international DJ circuit had to be scaled down to virtually zero, the 'restless traveler' suddenly had time. Time to stop and reflect on "how it actually was back then, at the very beginning of my career..."

"It was a great trip and with every track, beautiful memories came flooding back".
In the London apartment, he had just moved into, Sven has set up a "little music room", where he cocooned himself for several days, "to look way back for the first time and review my musical journey through the eighties, so to speak."

The interim result was six thematically oriented playlists with a grand total of 120 tracks from 'early 80s' to 'Balearic late 80s', together with excursions into afrobeat, European new wave, and EBM sounds and a few epochal techno/house tracks from the USA in between. From these 'Best of Sven Väth's favorites', the project What I Used To Play crystallized. Sven remembers how the Cocoon team reacted to his proposal: "They found the idea of making a compilation out of it MEGA from the beginning and everyone said 'Sven, go for it', but then, of course, the work really started, namely, to clear the rights and to get clean sounding masters of the up to 40-year-old tracks. There was also disappointment, of course. We couldn't clear certain titles because the rights holders in the USA had fallen out with each other or simply disappeared from the scene. In short, it wasn't easy, but now I can safely say we got the most important tracks."

Finally, after two years of research, curation, design, and administrative fine-tuning, the "little retrospective" from 1981 to 1990 is available. The exquisitely packaged, and three-kilo heavy box set is not only physically impressive, WIUTP is also the definitive record of Sven Väth's musical development. On each of the twenty-four sides of vinyl, you can trace track by track, what influenced him during which phase, and how he took off as a DJ from his parents' Queen's Pub straight into the spotlight at Dorian Gray. There and at Vogue (later OMEN), Sven became the style-defining player in the DJ booth that he still is today.




1981 - 1990: Future Sounds of Now

In the early eighties, the crowd in clubs like Vogue and Dorian Gray danced to what nowadays we call 'dance classics' - mainly disco, funk, soul, and chart pop. It was up to a new generation of DJs, including Sven Väth, the youngest protagonist in the Rhine-Main area at the time, to create their own club-ready music mix. Good new tracks and potential floor-fillers were rarities that had to be sought out and found, in order to prove oneself worthy.
Without MP3s, internet streaming, or other digital download possibilities, music didn't just gravitate to the DJ, instead, it had to be tracked down. In well-stocked record stores in Frankfurt and Wiesbaden or even in Amsterdam, London, or New York, Sven and friends sourced the material for countless magical nights. On WIUTP we can follow Sven's very personal journey through this wild, innovative era in which synth-pop, funk, hip-hop, and disco were successively replaced as 'club music' by house, techno, acid, and breakbeat. By the end of the decade, it was clear to see that these once exotic 'fringe' phenomena would soon become 'mass' phenomena.



Early 80s

Dirty Talk by the Italian-American duo Klein & M.B.O. represents the most innovative phase of the Italo-disco genre in the early eighties like no other track. Mario Boncaldo (I) and Tony Carrasco relied entirely on the original synthetic drum and percussion sounds of the Roland TR-808, coupled with the raunchy vocals of Rossana Casale and guitar accents of Davide Piatto. Of course, other tracks from this period were also influential in style, most notably Unit by Logic System, which worked as the perfect soundtrack to the laser lighting system at the legendary Dorian Gray club. With stomping beats and robotic rap interludes, Bostich by Yello also belongs on Sven's eternal playlist - after all, it caught the attention of Afrikaa Bambaataa, who invited the Swiss duo to perform at the Roxy in New York in 1983.



EBM Wave - Mid 80s

From today's point of view, the almost ten-minute-long, downtempo track Giant by Matt Johnson's band project The The, would probably not be considered an obvious club classic. However, a closer (re)listen reveals the rhythmic intricacies of the percussion overdubs by JG Thirlwell (aka Foetus) on Johnson's composition, and it becomes clear why this exceptional piece of music is one of Sven's absolute favorites. Other classics from this phase include Kaw-Liga by the mysterious The Residents, the hypnotic-synthetic Our Darkness by Anne Clark (and David Harrow), and last but not least, the somber, monotonous anthem Where Are You? by 16Bit, one of Sven Väth's projects together with Michael Münzing, Luca Anzilotti from 1986.



US House - Late 80s

You certainly can't talk about Chicago house without mentioning Frankie Knuckles. The resident DJ at the Warehouse not only gave the name to an entire genre, but also produced epochal floor fillers on the Trax label like the timeless Your Love, sung (and moaned) by Jamie Principle. Acid house protagonists Phuture also hail from Chicago, and on We Are Phuture (also released on Trax) we hear the chirping acid sounds of the legendary Roland TB-303 in full effect. Another featured classic is No UFO's by Detroit's Model 500 aka Juan Atkins, who is rightly considered the 'Godfather of Techno' even if the genre-defining track from 1985 still breathes with the spirit of hip-hop and electro from the first breakdance era.





Afrobeat

Le Serpent, by Algerian-born Abdelmadjid Guemguem, is a track that sounds completely different from everything else on WIUTP. Made in 1978, it's a monumental, rousing groove created without bass or synths, just with five congas! Even though Guem sadly passed away in 2021, his immortal, acoustic beats are understood all over the world and will continue to enrich many thousands of DJ sets for years to come. Another classic that not only Sven appreciates beyond measure is Hugh Masekela's Don't Go Lose it, Baby. In addition to being one of the most important jazz pioneers, the trumpeter and freedom fighter from Johannesburg was very experimental, integrating electronic sounds into his music in later years, in a similar vein to Miles Davis and Herbie Hancock. Dutch jazz pianist Jasper van't Hof's afrobeat project Pili Pili has also aged well. The trance-like, almost sixteen-minute-long track of the same name, manages to fill a whole side on the seventh of twelve vinyl discs in the WIUTP box.



UK-US-Euro - Late 80s

Time for a change of scene, in the truest sense of the word, and from a musical perspective, this section is like landing on another planet. First up is Andrew Weatherall's classic remix of Primal Scream's Loaded, featuring the iconic Peter Fonda sample (lifted from the 1966 biker film Wild Angels) that came to personify the mood triggered by the British Second Summer of Love in the late eighties: "We wanna be free to do what we wanna do, and we wanna get loaded...". This period also saw the emergence of M/A/R/R/S whose only single, 1987's Pump Up The Volume, became a club classic with support from DJ legend CJ Mackintosh. In this most eclectic of sections, we also encounter New York house and reggae producer Bobby Konders and his seminal Nervous Acid.



Balearic - Late 80s

Those who know him, know that Sven had already lost his heart to the 'magic island' of Ibiza as a teenager, so with that in mind, the WIUTP project couldn't end without a Balearic chapter. Inspired by Manuel Göttsching's E2-E4, the immortal, eponymously titled Sueño Latino belongs in there without question. Equally popular on the island was, and still is Break 4 Love by Raze, which thinking about it, would also fit perfectly into the house chapter. Last, but not least, there's an overdue reunion with Sven Väth himself, in his role as frontman of the successful Frankfurt trio OFF. Together with Michael Münzing and Luca Anzilotti (later of Snap!) this 'Organization For Fun' created the off-the-wall club hit Electric Salsa in 1986 which incidentally turned into an international chart smash, putting Sven in the enviable position of having to decide between pop stardom and a DJ career. Well, we all know how that decision turned out and the rest, as they say, is history. A not insignificant part of his story is What I Used To Play. Enjoy!

Back in stock!

Presence Unknown is a new vinyl and digital label curated by longtime producer and DJ, Neil Keating aka Controlled Weirdness. Neil has been behind the decks and deeply involved in all aspects of club and underground sound system culture since the early Eighties. He has released his music on numerous underground labels and performed all over the world, from plush clubs to dirty warehouses. Worth a read are a couple of published articles by Neil regarding his experiences on the dance floor of underground clubs in London and New York in the Eighties. See links at the bottom of this page for these as well as a detailed biography and discography. There is also a link to a recent 40-minute interview with Distant Planet TV that explores his cultured rave history.

The second release on Presence Unknown contains four future-retro house grooves from Controlled Weirdness crafted using a variety of analogue and digital hardware in his South London studio.

Having crested the west coast modular-ambient wave in just a few releases - including 2018's Sharing Waves on the influential LA experimental imprint Leaving Records - Sean Hellfritsch has swapped the mossy analog synth improvisations of his prior output for refined melodic arrangements dressed in sprightly dawn-of-digital textures. Big Earth Energy plumbs the depths of Hellfritsch's multimedia mind and naturalist heart, spinning an impressionistic narrative world off of cultural touchstones like the PC game MYST, and the work of Studio Ghibli composer Joe Hisaishi. Inspired by the aforementioned, and guided by Hellfritsch's experience as an animator and filmmaker, Big Earth Energy is the soundtrack to a hypothetical video game with a pointedly ecological premise, and a twist of psychedelic charm. In Hellfritsch's imagined virtual journey, the player assumes the perspective of a treefrog sixty-five-million years ago, hopping epochs with each new level, forming a comprehensive picture of the massive changes the planet has gone through over the eons. The ultimate goal of the game is not to amass resources, defeat enemies, or gain power, but to fully witness the unfolding of one of the biggest systems of energy imaginable - or as the album's creator puts it - "to explore the incomprehensibly vast energetic expression and mystery that is Earth." Big Earth Energy is steeped in exploratory RPG intrigue, possibility, and contemplation, lovingly overlaid with Miyazaki-an sentiments and aesthetics. The through-composed, organic, meandering synthesis heard on previous Cool Maritime albums has been fully replaced by meticulous polygonal arrangements that recall the computerized sheen of late 80s work by composers like Hiroshi Yoshimura, and Yoichiro Yoshikawa - using true-to-period gear no less. Even given its referentiality, Big Earth Energy comes off as forward-facing where so much reminiscent music remains fixed to a bygone moment in pop culture. Hellfritsch has created a musical world where the endless verdancy of the biosphere finds its parallel in the golden age of early 1990s video games, and late 80s Japanese environmental music, all while pointing to a hopeful planetary and artistic future that vindicates the motives of all of these muses.

We are proud to showcase more Bay Area family with the release of a new EP by Doc Sleep who cut her chops as a DJ in San Francisco’s vibrant scene the past decade. In 2016 she made the move to Berlin and became a resident of Room 4 Resistance. Since 2013, she's been the co-owner of Jacktone Records, which specializes in techno, ambient, and experimental electronics. In 2016/2017 she released her first 12's on the Hot Mass-affiliated Detour Records and Bottom Forty. She also co-wrote a track with Bezier and Nicole Ginelli, titled “Stranger,” that we released on the ‘Primes’ EP in 2017. Her latest release, ‘Your Ruling Planet’, was released on Jacktone in March 2019.

We first heard “Creme Fraiche” on Doc’s soundcloud page and begged to release it. The track has the feel-good vibes you get on early morning dancefloors as things are winding down or up. Paired on the A-side is the pulsating dark jam “Never Eating Again” that previously appeared on ‘Run The Length Of Your Wildness V.2’ and, like that compilation, proceeds from this track will be donated to Ghost Ship Fire victim Cherushii's family. On the B-side are two remixes from close friends of Doc. First up is a fresh breakbeat remix from Violet: DJ, producer, boss of Naive records, co-founder of Rádio Quântica, and mina resident shaking up Lisbon's nightlife. Second is Berlin-based producer and fellow R4R resident, rRoxymore, who presents an innovative remix of future-facing techno and bass variations adding her own vocals on top. For this release we’ve teamed up with Jacktone to release a cassette version, our first in this format, featuring two peak-time bonus tracks. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each copy is housed in jacket designed by Eloise Leigh with neon pink and lavender gradients echo morning sunrises with a collage of dreamy elements using a photo by Doc of Club Toilet in Detroit.

David Norland is an Emmy-nominated English composer, known for his scores for drama and documentary, alongside his experimental choral and electronic music. Bringing stories to life through sound, he received critical acclaim for his debut solo album ‘Glam Tear Stain’ (2019) and is set to release follow-up album ‘La Source’ in June 2026 via Denovali Records.

Relocated back to his London home after many years in Los Angeles, and free from years of drug and alcohol problems, recent commissions for two choral works allowed Norland to return to the innocent origin of his musical world, and his experience as a parent prompted a lot of outward reflection. What kind of world are we leaving to our children?

Inspired by his score to the forthcoming silent black and white film ‘Carousel’ (2026), Norland found other music emerging that refused to be ignored. The film’s director opened the door to an entirely free scoring process – no temp music, no expectation, no guidelines, just pure intuitive expression. ‘La Source’ draws on this experience, alongside his childhood as a touring chorister, the honkytonk upright piano in the north-east London bedroom of his early 20s, his early recording experiments with a TASCAM 4-track cassette recorder, and his intense preoccupation with bells, flutes, stone architecture, and mysticism.

From the haunting, choral beauty of ‘E-Car Soul’ to the breezy album title track, Norland blends minimalist classical structures with electronics. A unified tapestry of blended voices, harmonies and textures, ‘La Source’ is a deeply emotional and melancholic journey for Norland. “In the end, I’m looking to find meaning through the music, like when I was a kid singing in choirs. But I get the most sense of meaning through transcendent experiences, rather than anything intellectual or dogmatic. I have to feel it, not think it. I’m trying to make work that’s luminous, wondrous, shimmering and strange, so I can keep having those experiences,” says Norland.

On his inspiration for the album, Norland adds, “I love making patterns in things and finding patterns. That’s why minimalism was so enticing to me, the patterns are so explicit. I love word play and anagrams. The big sadness coming through as I was making the record is this clarity over the future of my kids. Everything else is a complete distraction. This incredible nurturing planet and its ecosystem are being rapidly destroyed, and the forces destroying it are relentless and punitive. And they seem to be fine with consigning our children to live in an ever-more-hostile wasteland. You can’t pretend that’s not coming, if you do I think you’re lying to yourself. And perhaps eventually it will be the fact that people love their kids that will stir wider fear and action. It’s hard to think of anything more connected to the idea of spirit.” The result is the reflective, ecstatic, mystical and sad world of ‘La Source.’

Norland’s screen work includes the award-winning documentary Anvil! The Story Of Anvil (2008), directed by Sacha Gervasi, and since 2010, he has composed much of the music for US broadcasting giant ABC’s primetime news documentaries. His work for ABC is broadcast in the US and around the world on a daily basis.

In 2012, he was the music supervisor for Hitchcock (2012) featuring Anthony Hopkins, Helen Mirren & Scarlett Johansson and in 2017, he teamed up once again with Gervasi for the score to November Criminals starring Chloe Moretz and Ansel Elgort. The following year, he composed the score for the Emmy-nominated HBO film My Dinner With Herve, starring Peter Dinklage and Jamie Dornan.

Norland will be performing the score of Carousel later this year, and the score itself will be a forthcoming release on Denovali. 2026 will also see the release of documentary All Permits Secured, a valentine to the history of EDM, featuring Norland’s score.

This is both a blueprint and a definitive masterpiece. Effortlessly transcending eras and genres, Terumasa Hino continues to captivate audiences around the world.



His sound and presence are truly top of the tops. Long before Japanese jazz was labeled as “Wa-Jazz”, and even before the rare groove movement emerged, Hip Seagull has been shaking dance floors, stimulating listeners, and fascinating collectors alike. Since his debut album Alone, Alone and Alone, Terumasa Hino has remained at the forefront of the scene, consistently delivering works that can be called masterpieces in every era. Among them, this 1978 recording stands out as one of his signature achievements.



From the epic title track “Hip Seagull”, which unfolds from a mystical intro into a jazz-funk journey, to the mellow and cosmic “This Planet Is Ours,” the album is filled with tracks imbued with a truly unique atmosphere.



This is both a blueprint and a completed form. Hip Seagull continues to enchant the past, present, and future alike.

Anthoney J Hart continues to leave an indelible impression on the underground with his latest album as Basic Rhythm, returning to Sneaker Social Club after a string of incendiary EPs to deliver his definitive statement on 8 Bar Techno. The clue's in the name — a deadly fusion of grime sonics strapped to the pummelling locomotion of peak-time techno.

Hart's roots in pirate radio reach back to the 90s, forming a bedrock of uncompromising attitude that has permeated his work ever since. Between his work as Basic Rhythm, East Man and Imaginary Forces he's split the difference between incisive UK club sounds and experimental intention, applying artistic thinking to the physical impulses of grime, techno, D&B, drill and more. It's no wonder his work has been held aloft by labels as respected as Planet Mu, Metalheadz, Future Retro and The Trilogy Tapes.

On 8 Bar Grime Hart stretches out with a potent statement on his vision for club music in 2026. The thrust of the title track's opening 4/4 stomp is quickly interrupted by a none-grimier gun lock and load — an unambiguous thesis for the direction the album is heading in. The pressure stays high for the duration, barrelling through the distorted kicks and rabid wobble breakdowns of 'Weed Killer' before bringing the flawless flow of NyNy into the mix for half step sheller 'Vibez'. Elsewhere Lyrical Strally brings savage bars to 'Clutch' and Eklipse takes it deep and moody on 'Who, You'

In between the vocal spots, Hart maintains the flexibility to bend between styles with poise, edging a touch of UK funky's staggered groove to 'Teutonic' and wreaking havoc with a Drexcyian sound palette on 'More Pricks Than Kicks'. 12 tracks deep and without a moment of respite among them, the first Basic Rhythm album in five years finds Hart operating a peak strength, firing off neck-snapping payloads of ferociously infectious club gear for the more advanced kind of dance.

Is planet Earth weighing you down? 12 Tribes are ready to take you away. Mars is the destination and their music is the spaceship. Drop your past to join them in a future where humans from all walks of life build new traditions, and music is the language we all speak.

12 Tribes of Mars takes the basic elements of the Reggae, Ska, and Dub traditions and blasts them into outer space. A closer listen reveals that what might seem familiar at first has a truly unique and eclectic sound. Heavily influenced by the spirit of free improvisation, the music is as sexy and danceable as it is uncompromisingly gritty.

On stage 12 Tribes Of Mars really cast their spell: time and time again trance inducing acoustic grooves are torn apart by wild improvisations and electronics, before the musicians return to the rhythm as if nothing had ever happened. Concerts are both an intense, trippy listening experience as well as a high energy dance party, ultimately leaving the audience sweaty and wanting for more.

All members of 12 Tribes are trained jazz musicians that are most comfortable in the borderland between musical genres. In the past years, the band toured the festival circuit and alternative venues of Amsterdam. Now they are celebrating the release of their first full album, Hidden Sun, on a beautiful 12 inch limited edition vinyl and on digital.

JAPAN & PORCUPINE TREE SYNTHESIST RICHARD BARBIERI RETURNS WITH NEW STUDIO ALBUM 'HAUNTINGS' GATEFOLD 2LP EDITION, PRESSED ON CLASSIC BLACK VINYL. Richard Barbieri remains one of contemporary music's most distinctive voices. Emerging as a key architect of the late '70s/'80s synthesiser revolution with David Sylvian's art-rock ensemble Japan, his visionary synthesiser programming expanded the horizons of electronic music & left a lasting mark on artists from The Human League & Duran Duran to Gary Numan & Talk Talk. His subsequent & ongoing tenure with Steven Wilson's legendary progressive outfit Porcupine Tree across albums such as 'In Absentia' (2002), 'Fear Of A Blank Planet' (2007) &, most recently, 'Closure/Continuation' (2022) further affirmed his status as one of the most intuitive & unique musicians of his generation.

'Hauntings' is Barbieri's first studio album since 2021's 'Under A Spell', deepening the pensive, dark instrumental aesthetic of its predecessor. A diverse collection of immersive sound worlds, both dark & uplifting in equal measure, 'Hauntings' is influenced by a nostalgia for the past & future, & for things that didn't happen yet still manage to haunt the mind & soul. What is real & what is simulation? The album finds Barbieri at the height of his powers, his deft keyboard & sonic architecture conjuring a shadowy, creeping Lovecraftian atmosphere. The music wanders through the streets of a gloomy lamp-lit Victorian London & drifts into grain-speckled snapshots of Belle Époque Paris. These journeys into the past are contrasted with nihilistic but euphoric forays into the future, "Traveler" & "A New Simulation" bristling with the itchy modern anxiety that often runs through his best work. Contrasting the sound designs & electronics of Barbieri, the album features performances from renowned musicians Morgan Agren (drums & percussion), Percy Jones (bass guitar) & Luca Calabrese (trumpet). This 2LP 45 RPM edition of 'Hauntings' is presented in gatefold packaging & pressed on classic black vinyl.

Delsin is pleased to announce an extensive compilation series combing through the catalogue of landmark Dutch techno label Djax-Up-Beats. The series, curated by Rush Hour co-founder Christiaan Macdonald, launches with a look at the label's legacy in the development of acid music through the 90s. In total, this first entry in the Djax-Up-Beats 1990-2005 series comprises 20 tracks, presented as a main triple-vinyl album plus two additional 12" EPs. The compilation also features all-new illustrations from Alan Oldham, the Detroit-rooted visual artist who gave Djax-Up-Beats a distinctive visual identity from very early on, and design by Lost Communication. Each volume of the series also features liner notes from music journalist Oli Warwick. Crucially, every track featured on the series has been carefully mastered by Johanz Westerman, bringing the best out of tracks that often had very little post-production treatment before they were originally pressed to wax. Volume 1 - The Acid Trip focuses on an area the label is best known for - acid house and techno. After the pioneering breakthroughs Chicago-based producers made with the Roland TB-303 in the late 1980s, acid music creation was starting to become more widespread when Djax-Up started in late 1990. The rebellious, rave-ready sound was an instant draw for label founder Miss Djax, and so her label ended up reflecting the development of acid as it spread from the Chicago roots across the world. Volume 1 - The Acid Trip looks at the diverse approaches to acid taken by artists on Djax-Up. Tracks on the compilation include an early outing from Ludovic 'St Germain' Navarre and Bjorn Torske's Ismistik alias, as well as Dutch pioneers such as Edge Of Motion, Spasms, Random XS and Acid Junkies, and Chicago heavyweights Mike Dearborn and Gene Hunt. With five more, equally extensive, volumes to come in this series, Djax-Up-Beats 1990-2005 is a thorough exploration of a true totem of techno culture - a renegade label that operated on its own terms and carried surprises and slammers in equal measure.

A meteorite and a lost EP from an experimental electronic talent escape their grim fate: remain unknown to human civilization forever.

Around 2015, Gareth Smyth (aka Lumigraph) produced two tracks before uploading them on his Soundcloud page under the name “Canyon Diablo”, a tribute to a meteorite that crashed in Arizona 49,000 years ago. Amazed, the future co-founder of M+M Disques barely had time to download them onto his hard drive before they were deleted... until today.

Behind the extraterrestrial sounds of this 2-tracker, Lumigraph seems to want to establish communication with planet earth using its own means. In the dubby “Flamingo Drive”, he patiently builds up his sluggish groove before bringing in a reassuring and catchy bassline. On the B-side, the avant-garde “America Song” combines industrial rhythms, drone guitar, and Pierre Henry-ish noises.

* fine art printed insert + PVC sleeve

With »News from Planet Zombie«, The Notwist return to view after years of exploration and experiment with an album rich in both melancholy and positivity, sketched across a suite of thrilling, fiercely committed pop songs. It’s an album reflecting a chaotic world, but responding with warmth and generosity, to achieve creative and spiritual consolidation. Recorded in their home base of Munich, it reconnects with the security of the local to explore the troubles of the global: a guiding impulse writ large across this album’s eleven songs. It’s also the first studio album since 1995’s »12« that the entire band recorded together in the studio in its expanded live formation.

A new album by The Notwist is always a curious endeavour; their musical language is as consistent and resilient as the contexts for creativity are unpredictable and ever shifting. For »News from Planet Zombie«, the core trio of Markus and Micha Acher and Cico Beck embraced the plural possibilities of writing together, bringing songs to the collective and then arranging, rehearsing and recording that material live, in the studio.

The result is an album that’s energised, fully in ›the now‹, with spectacular moments where you can hear the magic bubbling up in the dynamic between the Achers, Beck, and fellow members Theresa Loibl, Max Punktezahl, Karl Ivar Refseth, and Andi Haberl. If »Teeth« begins »News from Planet Zombie« quietly and reflectively, by »X-Ray« everyone’s supercharged, blasting out future anthems with the collective energy cranked up high. The chiming keys of »Propeller« skim the instrumental’s surface like stones across burbling water; »The Turning« clangs its way into one of the album’s most heartwarming melodies.

»News from Planet Zombie« was recorded over one week at Import Export, a non-profit space for arts and music. You can tell, too; there are some pleasingly rough edges here, as though The Notwist’s striving for hazy perfection means they’re also confident enough to let the songs breathe and mutate between our ears. That openness to chance also takes in guest turns from friends both local and international, reflective of a cosmopolitan Munich: Enid Valu joins in on vocals, while Haruka Yoshizawa guests on taishōgoto and harmonium, Tianping Christoph Xiao on clarinet, and Mathias Götz on trombone.

The Notwist aren’t best known for cover versions, but »News from Planet Zombie« features two: a gorgeous version of Neil Young’s »Red Sun« (from 2000’s »Silver & Gold«), which the group originally developed for a theatre play directed by Jette Steckel, and a take on Athens, Georgia folk-pop gang Lovers’ »How the Story Ends«. They slot into the album’s narrative perfectly, nestling in like old friends, revealing The Notwist as poetic interpreters. Played well, the cover version is both acknowledgement of fellow travellers and act of generosity, and The Notwist nail both aspects here.

And that narrative, the way the album plays out? »News from Planet Zombie« acknowledges the distress of our current geopolitical impasse, while reminding us there are collective ways forward. Fed through the figure of the zombie, Markus Acher explores our anxieties: »In the title and some lyrics I reference B- and horror-movies, which is a reference to the crazy world at the moment, which seems to be like a really bad and unrealistic B-movie.« But there’s a reminder here not to lose the thread entirely, that these things, too, will pass.

»The river here in Munich I often go to has been there forever and will be there long after us,« Acher reflects, pinpointing an important source of succour for him, »always the same but always changing. Very calming, but also always reminding me that like this river time only flows into one direction and you can’t go back. Every moment is very precious.«

Artwork by Marie Vermont

The Notwist:
Markus Acher: vocals, guitar
Micha Acher: bass, sousaphone, euphonium, trumpet
Cico Beck: electronics, keyboards, guitar, recorder, percussion
Theresa Loibl: bassclarinet, clarinet, piano, harmonium, organ
Max Punktezahl: guitar
Karl Ivar Refseth: marimbaphone, vibraphone, glockenspiel, congas, percussion
Andi Haberl: drums, dulcimer
+
Enid Valu: vocals on 1, 2, 3, 4, 5, 7, 9, 10, 11
Haruka Yoshizawa: taishōgoto on 6, harmonium on 9, 10, 11
Tianping Christoph Xiao: clarinet on 4, 10, 11
Mathias Götz: trombone on 4, 10, 11

With »News from Planet Zombie«, The Notwist return to view after years of exploration and experiment with an album rich in both melancholy and positivity, sketched across a suite of thrilling, fiercely committed pop songs. It’s an album reflecting a chaotic world, but responding with warmth and generosity, to achieve creative and spiritual consolidation. Recorded in their home base of Munich, it reconnects with the security of the local to explore the troubles of the global: a guiding impulse writ large across this album’s eleven songs. It’s also the first studio album since 1995’s »12« that the entire band recorded together in the studio in its expanded live formation.

A new album by The Notwist is always a curious endeavour; their musical language is as consistent and resilient as the contexts for creativity are unpredictable and ever shifting. For »News from Planet Zombie«, the core trio of Markus and Micha Acher and Cico Beck embraced the plural possibilities of writing together, bringing songs to the collective and then arranging, rehearsing and recording that material live, in the studio.

The result is an album that’s energised, fully in ›the now‹, with spectacular moments where you can hear the magic bubbling up in the dynamic between the Achers, Beck, and fellow members Theresa Loibl, Max Punktezahl, Karl Ivar Refseth, and Andi Haberl. If »Teeth« begins »News from Planet Zombie« quietly and reflectively, by »X-Ray« everyone’s supercharged, blasting out future anthems with the collective energy cranked up high. The chiming keys of »Propeller« skim the instrumental’s surface like stones across burbling water; »The Turning« clangs its way into one of the album’s most heartwarming melodies.

»News from Planet Zombie« was recorded over one week at Import Export, a non-profit space for arts and music. You can tell, too; there are some pleasingly rough edges here, as though The Notwist’s striving for hazy perfection means they’re also confident enough to let the songs breathe and mutate between our ears. That openness to chance also takes in guest turns from friends both local and international, reflective of a cosmopolitan Munich: Enid Valu joins in on vocals, while Haruka Yoshizawa guests on taishōgoto and harmonium, Tianping Christoph Xiao on clarinet, and Mathias Götz on trombone.

The Notwist aren’t best known for cover versions, but »News from Planet Zombie« features two: a gorgeous version of Neil Young’s »Red Sun« (from 2000’s »Silver & Gold«), which the group originally developed for a theatre play directed by Jette Steckel, and a take on Athens, Georgia folk-pop gang Lovers’ »How the Story Ends«. They slot into the album’s narrative perfectly, nestling in like old friends, revealing The Notwist as poetic interpreters. Played well, the cover version is both acknowledgement of fellow travellers and act of generosity, and The Notwist nail both aspects here.

And that narrative, the way the album plays out? »News from Planet Zombie« acknowledges the distress of our current geopolitical impasse, while reminding us there are collective ways forward. Fed through the figure of the zombie, Markus Acher explores our anxieties: »In the title and some lyrics I reference B- and horror-movies, which is a reference to the crazy world at the moment, which seems to be like a really bad and unrealistic B-movie.« But there’s a reminder here not to lose the thread entirely, that these things, too, will pass.

»The river here in Munich I often go to has been there forever and will be there long after us,« Acher reflects, pinpointing an important source of succour for him, »always the same but always changing. Very calming, but also always reminding me that like this river time only flows into one direction and you can’t go back. Every moment is very precious.«

Artwork by Marie Vermont

The Notwist:
Markus Acher: vocals, guitar
Micha Acher: bass, sousaphone, euphonium, trumpet
Cico Beck: electronics, keyboards, guitar, recorder, percussion
Theresa Loibl: bassclarinet, clarinet, piano, harmonium, organ
Max Punktezahl: guitar
Karl Ivar Refseth: marimbaphone, vibraphone, glockenspiel, congas, percussion
Andi Haberl: drums, dulcimer
+
Enid Valu: vocals on 1, 2, 3, 4, 5, 7, 9, 10, 11
Haruka Yoshizawa: taishōgoto on 6, harmonium on 9, 10, 11
Tianping Christoph Xiao: clarinet on 4, 10, 11
Mathias Götz: trombone on 4, 10, 11