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RYSY - 4GIVE LP

RYSY

4GIVE LP

12inchDYS09
U Know Me Records
12.09.2025

This limited edition of the album is on "galaxy" 180g vinyl and printed inner sleeve.

The third studio album from one of the most acclaimed electronic music projects in Poland.

The duo RYSY consists of Łukasz Stachurko (also known as Sonar Soul) and Wojtek Urbański. RYSY have been making music together since 2015, and the vinyl edition of 4GIVE marks exactly 10 years since the release of their debut LP, "Traveler."

The material encompasses genres such as techno, acid techno, trance, and tech house. Album is incredibly polished and full of danceable energy, satisfying the expectations of both fans of electronic sounds and enthusiasts of more melodic compositions.

The 4GIVE is released by Dyspensa Records with distribution support from U Know Me Records.

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28,53
Various - Refractive Index

Various

Refractive Index

12inchGREYEXPO005
GREYSCALE
10.09.2025

The fifth installment of Greyscale’s Exposure series is nothing short of essential. Pressed on stunning clear 180g vinyl, Refractive Index is a masterclass in dub techno and dub house - deep, textured, and endlessly playable. Built for selectors and sound purists alike, this release embodies the timeless beauty of the genre and the label’s unwavering commitment to vinyl culture. A future classic.

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11,72
Boys' Shorts - Athena EP

Phantasy are delighted to introduce Greek duo Boys' Shorts for their debut EP on the label, ‘Athena’. The project of music obsessives Vangelis and Tareq, the Boys’ Shorts sound has helped redefine timeless strains of disco, house and Italo for Europe’s queer club underground, with similar charisma spilling into their collaborative productions on labels including Live at Robert Johnson, Permanent Vacation and Polari.

Boys' Shorts appearance on Phantasy is coupled with their most ambitious and fulfilling songwriting to date. Featuring a rare vocal performance from beloved selector and cosmic disco expert Budino, appearing alongside Elisa Paradiso, the instantaneous lead cut ‘Summer’s Here and Summer’s Missing’ recounts a sun-drenched romance cut short. The duo’s soft, bittersweet synthesis mingles with Budino’s Italian-language lyrics, gently pulsing to find closure, or at least further pleasure, while up late in a Balearic discoteque.

Under those same hot lights, Boys' Shorts go deeper still with the leading oscillations of ‘Stereo on Acid’, in which classic, wobbly-hearted 808 sounds flirt playfully with a bassline that bumps like downtown traffic on a sweltering Athens afternoon. Reflecting the hidden pleasures and true underground culture of the city after nightfall, title track ‘Athena’ is a sensual and sophisticated groove with an epic yet understated touch, that one can imagine soundtracking a future soiree or centuries of ancient history alike.

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15,34
ALFREDO PERIA - RITORNO DAL LIMBO EP

Ottagono Italian Dojo presents the second release on the Ottagono Retro outlet imprint label through South America. This special occasion marks the opening of a second Ottagono headquarters in Argentina, introducing an exclusive project that blends the essence of the Italian music family. If you’re familiar with Latin American music genres like Rock, Post Punk, Industrial, Minimal Synth, New Wave, Synth Pop, and the broader electronic music scene of the last 40 years, you’ve surely heard of iconic bands such as Virus, Soda Stereo, and Sumo. Among these bands, having in common their birth in Argentina, Alfredo Peria is another influential music pioneer and key figure in the entire Latin American underground movement. In the mid-80s, he founded the techno duo Mimilocos. Because of this, over the years, Alfredo has been renamed the “Juan Atkins de Latino America”. Later in the 90s, he joined major labels like Polygram and BGM, living between Spain and the United States. He founded another project called Limbo with Julio Moura, a member of Virus and brother of Federico Moura. In the late ’90s, he released his first solo album with Fonovisa. After spending years travelling the world, Alfredo returned to Argentina and, alongside Cecilia Olariaga, founded his own production company, Pulpería Discos. The music world once again showcases the strong connection between Argentina and Italy, evident in the heritage of artists and figures like Maestro Alfredo Peria and la familia Ottagono, including the new Latin America manager, Federico Luchetti.

A.1: Sentidos is a new wave Latin American classic! After over 30 years, it finally received its first vinyl release. Originally written in the early ’90s by Alfredo and Julio Moura, then members of Limbo, a band formed after Virus disbanded following the passing of Federico Moura, Julio’s brother, Virus frontman. This updated version, enhanced with synthesizers and additional production by tech wizard Franco Colombo , transforms the original lyrics into a retro-futuristic club anthem with 80s vibes, It captures the essence of early Depeche Mode, Nitzer Ebb, and the Chicago Warehouse scene, while also being a great fit for fans of Juan Atkins and Yellow Magic Orchestra as well.

A.2: Yo soy su Cuba – 3.0 Adicta mix is the latest version inspired by the original demo from the 80s. This mix showcases Electro Tech Synth Pop music created by Alfredo, Rudie Martínez, Joaquín Franco, Juan Pablo Bidegain, Germán Moreno, and Pablo Torterolo, collectively known as Adicta.

A.3: Castillitos de arena – original ’87 demo, it’s a classic in Argentina underground music movement, among fans and people lost in club culture, even though it never got an official release in any format. This was frequently performed during the early years of Mimilocos live shows, but it was never officially released. A few years later in Spain, a Latin pop tropical house version was released, presenting a fresh and entirely different take from the original’s obscure essence marked by minimal synth, EBM, and deep, atmospheric sounds, which thanks to Ottagono family will see the light.

B.1: Gesell – From Villa Gesell to Ibiza, from Alfredo with love to another renowned
“Argentino” known as DJ Alfredo. This is an Ottagono tribute to one of the Isla masters and the Balearic sound. Gesell feels like a fresh 90s UK track by Farley & Heller or DJ Harvey, immersed in the emotive Alfredo Peria landscape—something you could easily hear at Café del Mar during sunset, played by another maestro we all miss, José Padilla.

B.2: Yo soy su Cuba – Now available on vinyl for the very first time, featuring the original demo. There’s not much to add—just sit back and enjoy this pure 80s treasure in all its glory.

B.3: Over the past months, Claudio and Federico have listened to many unreleased
demos and tapes from Alfredo’s extensive musical career. Among them, “7 Days” stood out for its simple beauty and potential as a hit for underground enthusiasts. This track seamlessly combines post-punk, new wave, and tropical Balearic vibes. From ’95 to ’25, it has remained fresh and innovative, once again proving that the Ottagono crew understands the essence of timeless music.

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15,34
Santos - Human Factor EP

Santos

Human Factor EP

12inchMUSIK119
raum...musik
29.08.2025

raum…musik welcomes Italian producer Santos for his debut on the label with Human Factor EP — a versatile four-tracker blending tech house, deep house, minimal, and acid, crafted with the finesse of someone two decades deep in the game.

The EP opens with “Some We Are,” a deep acid house track driven by a steady groove, bubbling 303s, and teasing vocal snippets. Atmospheric pads and warm chords emerge as the track evolves, balancing dancefloor function with rich detail.
“Paragonal” shifts gears with sampled breaks and emotional synth stabs layered over a 4x4 pulse. Hazy vocals and spacey effects give it a bright, euphoric edge while keeping it floor-ready.

On the B-side, “Done Everyday” leans into swing-heavy deep house territory. Shuffled hats, micro-programmed percussion, and a solid sub-bass glue everything together — minimal house with punch and precision.
“Kink In Me” closes the record with a more experimental mood. Sparse and hypnotic at first, it patiently unfolds into a deep, quirky, and rhythmically rich groover of jazzy chords and dubby textures.

With Human Factor EP, Santos delivers a polished and dynamic record that speaks to seasoned diggers and fast-moving dance floors alike. raum…musik continues its tradition of top-shelf, club-focused curation with this timeless release.

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13,24
The James Taylor Quartet - Wildflower / Guiding Light (7")

JTQ Return to Acid Jazz… At the very birth of Acid Jazz there was the James Taylor Quartet. Hammond player extraordinaire James Taylor was fresh from the split of The Prisoners when he recorded Herbie Hancock’s ‘Theme From Blow Up’ and signed with Eddie Piller’s Re-Elect The President label, the precursor of Acid Jazz. Then, in 1993, after albums for Polydor and Big Life, Acid Jazz and James hooked up again and released ‘In The Hand Of The Inevitable’, for many the finest JTQ album. In March this year James found himself backstage at the Royal Albert Hall - The Brand New Heavies were about to take the stage - with Acid Jazz’s Eddie Piller and Dean Rudland and a plot was hatched... James returns to the label with this brand new 7-inch single: ‘Wildflower’ b/w ‘Guiding Light’.

The A-side is Bossa-nova tinged slice of sunshine pop featuring James’ vocals. It sounds like an old private-press 45, unearthed in a dank warehouse basement in Oregon, and is another JTQ classic. The flip takes us into jazz funk territory. Presented in a one-o^ version of the latest Acid Jazz house-bag, with classic labels.

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14,24
Feral - Ultraviolet Radiation

Feral

Ultraviolet Radiation

12inchHYPNUS025RP
Hypnus Records
28.08.2025

180g
Repress

Supported by Deepbass, Svreca, Pris, A Sacred Geometry, Amandra, Etapp Kyle, Takaaki Itoh and Abstract Division to name a few.

The Hypnus clergy is proud to present the 6th solo record by Feral. 'Ultraviolet Radiation' throws us head first into a sound that's been brooding for a time and now finally started to blossom, revealing the massive potential of this gifted producer. Those who heard his contribution to our latest Various Adepts record or have managed to catch one of his mind-bending live performances will recognize his uniquely psychedelic deep techno sound.

Marked by an awakened sense of depth, Feral consistently carries a thread of spirituality throughout his work. Embodying the sound of deep techno through his passion for audio engineering, hardware experimentation and fascination for percussive instruments, as well as an affinity for the shamanic becomes apparent when we swirl in tribal timbres and rhythms.

Finding comfort in the solitude of his studio; the sounds of Feral unearth the path of his multidimensional world, transporting the listener to a haunting, yet grounding refuge within.

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12,82
Sylvia Striplin - Searchin’/Instrumental

The original 12”, first released in 1981, is extremely rare and has exchanged hands for in the region of £200, and since the recent loss of the legendary Roy Ayers from our music world, his songs and productions have become increasingly more in demand. TOTALLY EXCLUSIVE TO THIS ISSUE, the ‘B’ side is a never before issued instrumental version, both sides capturing the essence of the period of music and genius of the late producer Roy Ayers. Sylvia previously sang with Roy at Polydor, sang lead momentarily with Aquarian Dream and one album with Eighties Ladies. “Searchin’” is taken from the album “Give Me Your Love”, also on Expansion.

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21,81
V/A - First LP 2x12"

First LP in new series from Finland, this subdue jazz drone album has the quality of dusk, but is never darker than the Nordic summers. Atonal & forceful at times, still padded and invitingly warm, it has 4 classy pieces that enjoy being on the fringes while slowly capturing the ear when organs drone, the TR-808 thumps, the percussive double bass and the saxophone layers fog of melodic growing waves of groove.

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15,34
Bart Skils & Weska - Torn Clouds

Bart Skils & Weska

Torn Clouds

12inchDC331
Drumcode
26.08.2025

Bart Skils and Weska extend their musical partnership, linking for the superb ‘Torn Clouds’. The duo shares a special sonic kinship, collaborating regularly for outstanding results. From ‘Shades of Summer’, to ‘Polarize’ and ‘Something More’, the duo balance rhythmic flair with timeless melodies for euphoric results. Their fourth offering is no less memorable. ‘Torn Clouds’ rides on a wave of rolling grooves and uplifting melodic tension, capturing the moment the storm clears and euphoria rushes in. It’s accompaniment ‘Dusk till Dawn’ is a late-night anthem built for the long haul — hypnotic, wandering, and made to move the night into light. Together, the tracks showcase the duo’s unmistakable synergy: plump, percussive foundations wrapped in crisp synthwork and immersive vocal layers that have ignited dancefloors including Awakenings, Ultra Resistance, Space Miami, Avant Gardner, Amnesia, Factory93.

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13,87
Boldy James & Antt Beatz - Hommage LP

Boldy James & Antt Beatz

Hommage LP

12inchERE1137
EMPIRE
22.08.2025

Hommage is the 20th studio album from prolific Detroit rapper Boldy James. In following the formula that has brought him success, Hommage continues the series of full-length collaborative albums that his fans have come to love, and marks his first project with fellow Detroit producer, Antt Beatz (formerly of Team Eastside, production credits for Lil Baby, 42 Dugg, Eminem, Tee Grizzley). Steeped in the styles and sounds of Detroit, Hommage does exactly that – pays homage to the city that Boldy & Antt Beatz came up in. From the beats, to the tasteful features (all from fellow Detroit artists), to Boldy’s iconic style, it’s hard to come across an album that represents The Motor City better - polished and magnificent yet undeniably gritty and humbly hardworking. Previously released singles include “Super Mario,” “Dead Flowers,” & “Street Cred.”

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22,27
Nagat - Eyoun El Alb

Nagat

Eyoun El Alb

12inchWWSLP78
WeWantSounds
19.08.2025

FIRST-EVER VINYL RELEASE OF CULT 1980 CASSETTE-ONLY ALBUM BY EGYPTIAN SINGER NAGAT EL SAGHIRA, CURATED AND ANNOTATED BY DISCO ARABESQUO. INCLUDES PRODUCTION BY EGYPTIAN FUNK LEGEND HANY SHENOUDA

Following the highly-acclaimed "Sharayet El Disco" compilation, Wewantsounds is delighted to team up with Disco Arabesquo for the reissue of Nagat El Seghira's cult 1980 album "Eyoun El Alb"

Originally released only on cassette on the Egyptian label Soutelphan, the album has since become a sought-after classic on the Arabic groove scene and this is the first time it is released on vinyl. Consisting of four tracks, the album features two tracks produced by Hany Shenouda whose group Al Massrieen is a reference on the Arabic disco funk scene.

Remastered for vinyl by Colorsound Studio in Paris, the album features the original cassette artwork plus a two page colour insert featuring liner notes by Disco Arabesquo.

When it comes to Arabic Divas, Oum Kalthoum, Fairuz and Warda usually take the lead in the poll list. But in her native Egypt, singer Nagat Al Saghira comes very close to this triumvirate. Born in Cairo in 1938, Nagat began singing when she was still a child gaining her stage name "El-Saghira" ("the young one") at this occasion as she started giving concerts at the age of seven, pushed by her father, the famed calligrapher Muhamad Hosny (Nagat's half-sister is the renowned actress Soad Hosny).

Nagat quickly rose to fame in the late forties and became an essential part of classic period of Arabic music, interpreting songs by such titans as Mohamed Abdel Wahab, Baligh Hamdy and Kamal Al Taweel. She also sang the works of Syrian poet Nizar Qabbani whom she introduced to a mainstream audience. Nagat started singing shorter songs but then upgraded to longer ones, often performing/recording them live as it was the trend in the 60s and 70s.

One such song is "Eyoun El Alb" ("Eyes of the Heart") which makes up the whole of Side 1 of the original cassette. Written by Mohamed El Mougy and Abd al-Rahman al-Abdouni, Eyoun El Alb is a love song made up of several distinct sections enhancing Nagat's hypnotic singing, accompanied by a percussion-heavy, traditional Egyptian orchestra.

Side 2 is the "diggers" groovier side featuring two floaters,"Bahlam Ma'ak" ("I Dream with You") and "Ana Basha El Bahr" ("I Adore The Sea") produced by cult Egyptian musician and producer Hany Shenouda, whose albums with his group Al Massrieen are highly sought after on the Arabic funk and Disco scene. One Al Massrieen track features on the "Sharayet el Disco" set compiled by Disco Arabesquo who notes that "Hany Shenouda had made waves with his new musical style that weaved in western funk and disco sounds into Egyptian music"

Both tracks feature an infectious slow-burning groove and incorporate funk influences with fat bass and lines of synth and clavinet that adds a funky tone to Nagat's soft singing. The third track "Fakra" ("Do You Remember") brings the best of both world with a syncopated rhythm and arrangements that are slightly more traditional than the Shenouda-produced tracks.

Originally released in Egypt on Cassette in 1980 on the venerable Soutlephan label, the album is now making its vinyl debut on Wewantsounds annotated by Disco Arabesquo and remastered for vinyl by Colorsound Studio in Paris for the joy of Arabic funk and Global beats worldwide.

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33,57
Stefan Wesolowski - Song of the Night Mists LP

The writer Max Sebald often pondered over the nature of human memory, specifically, how our thoughts and desires - and their results - overlap and mutate over time. In A Place in the Country, he writes of the significance of what see as “similarities, overlaps and coincidences”. Are they the “delusions” of the self and senses, or manifestations of “an order underlying the chaos of human relationships, ... which lies beyond our comprehension”?

Song of the Night Mists, the new album by post-classical composer Stefan Wesołowski, often feels it draws on Sebald’s premise.

On a simpler plane, the one where the market dictates the neatly ordered information we consume, Song of the Night Mists can be described thus: recorded in the main by Stefan Wesołowski in Gdańsk, both in his studio and in Saint Nicholas' Basilica, the album incorporates acoustic instruments - piano, violin, double bass - and classic synthesizers such as the Roland Jupiter-8, the Soviet Polivoks. A Roland Space Echo RE-150 tape delay was also pressed into service as an instrument. We also hear the basillica’s organ and field recordings from the Tatra Mountains. Other musicians were Maja Miro, who played the flute parts on ‘Glacial Troughs’ and brother Piotr Wesołowski, who played the organ on ‘Wilhelm Tombeau’. Sound engineer was Marcin Nenko, who was also on hand to record the basilica organ parts. The album was mixed in New York by Al Carlson (Oneohtrix Point Never, Jessica Pratt, Zola Jesus, Lady Gaga, and Liturgy) and Rafael Anton Irisarri handled the mastering.

Ostensibly, Song of the Night Mists is the last in a trilogy, following on from albums Liebestod (2013) and Rite of the End (2017). All three deal with existential matters such as love, death, decay and “an ultimate end”; apocalyptic and Promethean in spirit, and betraying very human conceits. The Sebaldian nature of the new record starts to make itself felt when Wesołowski talks of how he used sampling. One element is unexpected, that of sampling himself: “I go back to dozens of my own unused sketches and recordings, treating them as raw material to cut, slow down, reverse, and transform in every possible way.” Memory as sound, to be reemployed by the listener through their own imaginings.

Another set of samples made by Wesołowski plays another role. These are field recordings, originally created for an audio illustration of the formation of the Tatra Mountains, and used in a film by sound designer Michał Fojcik. Wesołowski: “You can hear cracking ice, streams, footsteps in the snow and the wind, and a real avalanche, recorded from the inside.” The “Tatra connection” on the album is also found in samples referencing composer Karol Szymanowski. The album’s title alludes to a poem about the mountains by Polish poet, Kazimierz Przerwa-Tetmajer.

Wesołowski’s Tatra recordings are “about a world without humans - about the fact that the world existed, was beautiful, and had meaning long before people arrived, and for the vast majority of its history, it was a place without us.” Wesołowski, using one iteration of the natural world, plays out in sound Sebald’s idea of another order, underlying the chaos of human relationships lying beyond human comprehension.

These feelings play themselves out on the five album tracks. Sonorous and rich, they illustrate tectonic shifts we have no control over. Wesołowski hints that the overall sound is a “meditation on the metaphysics of the non-human set against the spirituality that human presence has brought into it.” In that light, the opening number, ‘Core’, with its slow build, and crackling and straining sound effects, create an effect of the earth groaning into life in a creation myth. Once the piano part raps out a simple melody and modulated tonguing trumpet samples add to the overall atmosphere, the listener can certainly find a cue in the “spiritual”, or “human” side of the story. Human versus nature: from the strains and harmonic muscle stretches of the second number, ‘Glacial Troughs’, through to the powerful and filmic ‘Stalagmite’ and heart-on-sleeve romance expressed in closer, ‘Wilhelm Tombeau’, we listeners are cast as Friedrich’s wanderer, looking out over a landscape that will appear only if we engage with it.

Formations of melody appear incrementally, almost appearing by chance - like hidden footings in the rock shelves to give us something to grasp onto. Rhythms are used sparsely: the prolonged percussive taps on ‘Glacial Troughs’ are an anomaly and maybe there to give pace to the album to come; essentially to keep the listener strapped in. Elsewhere, percussion is used as an aid to mood, the two thudding, timpani-style passages on ‘Peak’ there to offset the short, beautiful, kosmische passage that splits them.

Elements of the borderline religious spirit that drove German electronic music in the late 1960s and 1970s also find a place on Song of the Night Mists. The swells and recessions of the organ find their emotional climax on ‘Wilhelm Tombeau’, a track which summons up echoes of the “mountain magic” vistas created by Popol Vuh or Tangerine Dream, especially with the slightly atonal wobble of the Mellotron that counters it.

This is a dramatic album, but it does feel a strangely short, or curtailed listen on ending, evoking the feeling one gets when waking from a dream, and, for all its incipient grandeur, a track like ‘Stalagmite’, for instance, ends on a minor note. Wesołowski admits that Song of the Night Mists is born of the all too human process of temptation, doubt and recalibration - Sebaldian overlaps and coincidences forming something that must live another life, away from its creator. In Wesołowski’s words, the album is “a newborn foal must stand up and walk right after birth.” Now it is yours to ponder.

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28,53
Shapednoise - Absurd Matter LP

‘Absurd Matter’ is a labyrinthine sonic conundrum that spirals around the two poles of extreme noise and hiphop. It's Berlin-based Italian producer Shapednoise's first album in four years and confidently advances his narrative into the next chapter, building on the groundwork of his prior abstractions to emerge with a coherent genre-warped fusion of urgent rap, crushing bass weight and idiosyncratic sound design. After spending years scrupulously deconstructing club music, Nino Pedone has rebuilt it brick by brick in his image.

The album is the first release on Pedone's brand new imprint WEIGHT LOOMING, a multidisciplinary label platform that's set to explore the depths of bass music, textured noise and abrasive transcendence. It follows a slew of acclaimed releases for Numbers,
Opal Tapes, Type and his own Cosmo Rhythmatic label, and forward thinking collaborations with Kenyan beat alchemist Slikback and Hyperdub-signed Angolan producer Nazar. Pedone's most ambitious project to date, ‘Absurd Matter’ taps into kinetic energy from a hand-picked selection of collaborators, including New York rap duo Armand
Hammer, French DJ/producer Brodinski, Bruiser Brigade's ZelooperZ and vanguard Philly poet, musician, and activist Moor Mother.


On ‘Family’, Billy Woods and Elucid weave a dismal, apocalyptic landscape with their razor-sharp anecdotes. The duo’s macabre imagery is given artificial life by Pedone's industrial scrapes and rattles that curl around their worlds like thick smoke. It's still rap, just about, but lodges itself in the back room of a factory, machines running themselves to an early death. Pairing with techno-rap trailblazer Brodinski, Pedone edges further towards the sound system, spatializing rhythms in four dimensions around Detroit rapper
ZelooperZ's playful expressions. This is the Italian producer's sci-fi tinged liquefaction of radio echoes, a way to fire familiarity into the void and sublime the human voice into weightless mist. When Moor Mother arrives shouting "me me me" on the aptly-titled 'Poetry', it sounds as if all of Pedone's loose threads are being tightened into a knot. His misshapen neo-grime beats sound like a broken jet engine, but smartly cede power to Moor Mother's resonant rhymes. "You can't cancel me" she assures. ‘Absurd Matter’ is a defining personal development for Pedone that not only appraises his career so far, but diverts its logic into frighteningly new sonic territory. From great loss, the producer has determined his work's cardinal themes, and sounds more strident and far heavier than ever before.

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20,80
Definite Grooves - Disco Light EP

DJ Support: Tedd Patterson, Michael Gray, David Penn, Mousse T, Brian Tappert, Hector Romero, Derrick Mckenzie.

Definite Grooves 'Disco Light' EP is a vibrant, disco-infused collection that merges classic grooves with modern production. The title track, 'Disco Light', is a fun disco gem, capturing a Disco 70s mood with a fresh House twist. 'Getting Stronger' takes the funk further, building up to a filtered disco crescendo that's perfect for late-night floors, oozing with energy and sleek edits. On the flip side, 'Sundown' offers a happier vibe, giving the EP a well-rounded feel with its rich bassline and Vocal Hook. Finally, 'Let It show' is catchy and playful, bringing a polished sound that keeps the rhythm flowing. Altogether, 'Disco Light' is a solid pick for those craving both nostalgic and modern dancefloor moments.

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14,24
Blackploid - Cosmic Drama LP 2x12"

In recent years, Blackploid has come to be one of Central Processing Unit's signature artists. The German producer has averaged more than a record a year for the Sheffield imprint since he first landed on CPU in 2021. This prolific run continues withCosmic Drama, Blackploid's second LP for the label. The album takes the baton from its predecessorEnter Universein style, delivering twelve tracks of top-quality machine-funk that draw down from electro's classic artists while also imbuing proceedings with a playfulness that very much gives things a signature Blackploid-ish flavour.

Cosmic Dramasets its stall out from the off. The opening run of 'Alien', 'World Construction' and 'Virtual State' all deliver piston-snapping beats which anchor pleasing melanges of B-movie synth lines. Alongside this, Blackploid adds little flourishes which add buoyancy to each joint - a syncopated bassline reminiscent of I-f's late-90s classic 'Space Invaders Are Smoking Grass', crackling robo-voiced commands, skittering synth chords which wash across the mix and so on. It's the work of someone completely at ease with their craft, comfortable enough to take risks without upsetting the apple cart of their sound's core appeal.

Blackploid's idiosyncratic approach to synth work is something which distinguishesCosmic Dramafrom the pack. Electro has long been a genre which prides itself on innovation on the keys, but few producers are willing to push their sonics as far as Blackploid does - take the seasick churn of pads and processors on 'Multiverse', for instance, or the way John Carpenter-esque single-note lines dovetail with gurgling synthetic pulses and eerie, spacious chords on 'The Lab', a highlight ofCosmic Drama's midsection.

Cosmic Dramaskips along at club tempo throughout - every one of these joints will get bodies moving in dark rooms across the galaxy. However, even when tracks maintain their single-minded pursuit of machine-funk perfection, they never forget to deliver on the hooks. Blackploid has lead lines (and counter-melodies) to burn here, and each track knots them together in ever-more intriguing ways as they plough onwards. Drexciyan heads will be thrilled by the sci-fi delights of 'Species', for instance, while Blackploid brings melodies as cold as they are catchy on the aptly-named 'Polar Dunes'. By the timeCosmic Dramahits upon the vroom-vrooming bassline line of closer 'Contact', you're fully enthralled to the album's combination of broken-beat heft and synthetic melodiousness.

Central Processing Unit mainstay Blackploid comes through with another delightful dozen of electro heaters for the Sheffield label.

RIYL:Drexciya, I-f, Cygnus, AFX

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22,06
Gianfranco Reverberi - Rivelazioni Di Uno Psichiatra Sul Mondo Perverso Del Sesso LP 2x12"

Four Flies is thrilled to present the very first release of Gianfranco Reverberi's hidden masterpiece: a mind-blowing soundtrack, possibly his wildest and most daring. This Italian score is sort of a Holy Grail for fans of the spaghetti sound, especially thanks to the legendary track "Psicolimite".


In 1973, a mysterious 45 rpm single surfaced under the name 'Sharon Chatam e la sua Orchestra.' The single seemed to be a harmless cover of the theme from Last Tango in Paris, complete with a typical image from the film. But behind the innocent facade, a secret was hidden: the B-side track, "Psicolimite," was actually the main theme from Rivelazioni. When someone in the United States figured this out and realized the 'Sharon Chatam' moniker was a pseudonym for Reverberi and his team, the price of the record skyrocketed, making it a coveted collectible.


This makes the discovery of the full soundtrack even more exciting, considering that the music Reverberi composed for the infamous film by Renato Polselli - one of the most outrageous and uncompromising Italian genre cinema directors - was thought to be lost forever, perhaps vanished into the depths of some film processing lab. But thanks to the sleuths at Four Flies, this enigmatic masterpiece has been resurrected and presented in all its glory. It's available now as a luxurious gatefold double LP with original artwork by the brilliant Eric Adrian Lee.


While the film, despite some critics praising it as "psychotronic," is a bizarre mishmash of rambling pseudo-psychoanalytic theories and sexual deviance voyeurism, the music stands out as a foremost, vital element, able to exist on its own.


Reverberi's reputation as a serious, refined producer (for artists like Lucio Dalla, Gino Paoli, Luigi Tenco, and many more), however, led him to keep his distance from exploitation films like Rivelazioni. To maintain his image, he had his friend and former schoolmate Umberto Cannone take credit for the score – a tactic he also used for Polselli's next film, Mania (1974).


But this anonymity might have unexpectedly increased his creative freedom, for the score he put together and recorded is experimental, at times raw, and driven by a relentless rhythm section where bass and drums lay down the groove. The use of electronic instruments is impressive for the time, with drum machines and spacey synths creating a dark and dreamlike atmosphere. Psychedelic flutes, piano phrases, crazed percussion, filters, compressors, and jazzy improvisations on sax and vibraphone complete the mix.


The full soundtrack was recovered following the discovery of the original 1-inch, 16-track tapes, which were transferred, mixed, and mastered for optimal listening on both vinyl and digitally, with the digital version featuring 8 bonus tracks.


Available from November 22!

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34,03
Cortex - Cortex (LP)

Cortex

Cortex (LP)

12inchCAM028
Camisole Records
05.08.2025

For the first time on vinyl a collection of tracks by Cortex, Alain Neffe (Bene Gesserit,Insane Music) experimental spoken-word project originally released on tape in 1984.

Cortex was never intended to be a conventional musical project.
From the very beginning it was centered around free live performances. These encounters were stripped down and highly visual: Alain Neffe constructed a trapezoidal fluorescent white screen lit by black light.

The narrator—la récitante—was only illuminated in the face, while the rest of the stage remained in complete darkness.
This created a ghostly effect where the audience could see only her glowing face and dark silhouette. She was a beautiful young woman, with a striking presence, and beside her, Alain Neffe played synthesizer and created sonic effects.
The aim of Cortex was to deliver a minimalist and emotional experience, one centered on text and the voice of the narrator.

Most of the tracks that exist today were recorded informally during rehearsals, using two microphones placed in front of Marshall amps, captured directly to cassette.
La récitante could choose a text from a collection of hundreds. Then, the music was improvised in real time around her voice. That process, simple, direct, and instinctive produced a body of work that’s rough around the edges, but full of presence. It’s not polished, but that’s the point.

Cortex was focused entirely on the connection between voice and sound.

Limited to 300 copies

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21,81
DJ Slush - Model Collapse

DJ Slush

Model Collapse

12inchPREP01
Polytechnic
24.07.2025

Detroit’s DJ Slush presents his debut solo EP “Model Collapse” with five versatile tracks inspired by classic stripped down Midwest house & techno. The EP marks the launch of Polytechnic Recordings - a new sublabel of Mark Grusane’s Disctechno Music - run by Eric Schwab (DJ Slush) & Grusane. Following his productions on the Midwest Rhythms series, “Model Collapse” delivers more jacking drum machine programming, spacey & melodic synth lines, and a few psychedelic elements, with nods to the early years of deep house & proto-techno, packaged in a full color jacket sleeve.

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15,92
Analias - Falling Falling Falling

Informed by all the sub strains of UK Bass music and the Hardcore Continuum, Analias’s hazy sound straddles both poles between melancholy and euphoria, with an underlying greying hue in the center where all the disparate colors of the underground meld into one. Preferring to let the music speak on his behalf, (You will not find him on social media) Analias’s already substantial discography is an accomplished body of work that deserves all of the attention and praise soon to come his way. LGHPS is incredibly happy to help amplify this phenomenal artist to the world.

Drenched in mournful atmosphere and longing tones, all four cuts hold an emotive, introspective motif with subtle drum work that holds back the bubbling aggression of the punching 808 B lines brooding underneath. “Falling Falling Falling” loops sensual yet familiar vocal chops into a hypnotizing hook while the drums and bass step with enough weight and grit to make this the perfect set opener. “Cardio” up’s the tension to the boiling point with undulating strings churning the waters before unleashing a monster B line tidal wave. The sun ray’s break through the clouds on “Pass Me By” as the pummeling bass is tempered by lively Rhodes keys. The mood ascends further on the playful stomp of “Again n Again” using morphing 303 melodies and upbeat handclaps with Mood II Swing club sensibilities.

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14,08
Hardspace - H007 12" transparent purple - with full cover print

For the seventh installment of his Hardspace series, Len Faki selects three standout tracks from his personal vault - polishing them up with signature flair for maximum impact.

The A-side features a powerhouse mix of Jimmy Edgar´s Strike. Len Faki brings extra drive and spatial depth to the mix: sizzling hi-hats pan sharply across a tight stereo field, vocal chops flicker in and out, and the groove is stripped, slick, and forceful. A subtle reverb treatment adds atmosphere without compromising punch.

On the B-side, Faki dives into Robert Armani's 1994 album Right to Silence, revisiting two Chicago-style jacking tracks that are nodding to the Dance Mania era.
Up rides on a fierce hi-hat shuffle and a pounding stomp, centered around a bold vocal loop that captures the rough, battle-cry attitude of classic Chicago jack tracks. Faki's edit sharpens the angles and tightens the structure, giving the track even more bite.
Road Tour originally leaned on a harsh, detuned lead synth. Len´s Hardspace version removes the abrasive top line and lets the looping arp take center stage, which subtly shifts in tone and pans across the stereo field. The groove doesn't push forward so much as it sways side to side, creating a warped sense of motion. A pitched-up vocal sample-half command, half tease-injects just the right dose of jack attitude.
HS007 channels the raw, functional energy of vintage Chicago trax through Faki's modern lens - respectful to its roots, but fully tuned for today's sound systems.

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14,71
Loose Joints - Tell You

Loose Joints

Tell You

12inchDVAULT004
DFP Vaults
16.07.2025

Loose Joints – Tell You (Today): A Rediscovered Classic Reimagined

Loose Joints was the disco brainchild of Arthur Russell - a visionary composer and producer who helped shape the sound of New York’s underground club scene. Unlike many of his contemporaries who chased polished perfection, Russell embraced rawness and spontaneity. A classically trained musician, he mastered the art of crafting “perfect imperfections,” infusing disco with a punk attitude and an intellectual edge.

“Tell You (Today)” emerged from the same legendary Blank Tape Studio sessions that gave birth to the cult favorite “Is It All Over My Face.” Like its predecessor, it features a cast of handpicked studio luminaries and disco outliers, all guided by Russell’s distinct vision. But while the DNA is similar, this track veers more toward leftfield pop, buoyed by Russell’s unmistakable vocals.

On the A-side, DFP presents a masterfully updated take on Larry Levan’s original remix. Blending unreleased outtakes with refined sonic upgrades, this “Special Version” stays true to the source material - making only the most delicate adjustments to optimize it for today’s dance floors.

The B-side is a gem in its own right. It features the elusive New Shoes Mix with Parts I & II edited here for seamless, continuous play. Long shrouded in confusion due to misprints and misattributions - from the 1983 release to various reissues - while labeled as New Shoes it has in most iterations been a variation of the Larry Levan mix.

Now, for the first time, DFP Vaults is proud to present the New Shoes Mix in its full, 15 minutes, intended glory - finally giving this lost version the recognition it deserves.

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24,16
Halina Rice - EVOLVE

Halina Rice is a London-based electronic music artist known for her groundbreaking approach to music production and live performance.Rice has established herself as a leading figure in the contemporary electronic scene, blending complex soundscapes with immersive visual elements.

Her previous releases have been praised for their innovative use of technology and emotional depth, earning her a dedicated following around the world.

EVOLVE came about through her work in spatial audio where sounds are separated into granular objects and combined to create highly textured compositions.

Rice has toured the album extensively across the UK and Europe with sold out headline shows as well as festival appearances including a recent appearance at Polygon London live on the lineup with adjacent artists Jon Hopkins and Max Cooper.

Press coverage for the album includes Mundane Mag, Narc Magazine and previous support for the artist project includes feture length articles in Electronic Sound Magazine, DJ Mag, Mixmag, Decoded, Earmilk and Headphone Commute.

"EVOLVE's audio palette is a mix of organic and industrial sounds and beats that capture moments fleetingly. As the album title suggests they evolve and shift... exhilarating as the buoyant energy of the sounds grab your ears' attention, eager for your body to move."

Narc Magazine

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20,96
Tommy Guerrero - A Little Bit Of Somethin'

2025 Repress

It's rare that a certain sound is entirely an artist's own. Although undeniably a stew of impeccable influences - from blues to folk to Latin to dusty funk, soul and hip-hop - one cannot hear a Tommy Guerrero song without immediately recognising it as his - and his only.The cult skater from San Francisco is globally renowned as one of the original members of the legendary "Bones Brigade" team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who've basked in its blissful glow.There's something elemental about this music that really stirs the soul. Strikingly beautiful and instantly addictive, it's a kind of funk-fuelled, melody-driven, groove-based magic. There's a serenity and heart in the playing that radiates warmth and splendour, as if crafted for endless sunsets. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it's two of his most vital LPs that we're honoured to reintroduce.The originals were quietly pressed on to a single piece of vinyl so we've worked closely with Tommy this year to bring you these fresh, limited editions. They have been lovingly remastered, cut nice and loud on to heavyweight double vinyl and presented in deluxe gatefold jackets.A Little Bit Of Somethin' is a quietly majestic gem. Brimming with Guerrero's horizontal "loose grooves", these brief but innovative instrumentals demonstrate a rich variety and, as such, comprise an LP that is aptly titled. An enchanting start-to-finish listen, it was instantly regarded as essential upon release via Mo Wax in 2000. It has aged remarkably well.Throughout this inspired collection, simplicity is key. In deploying it, Guerrero presents a beautifully crafted melodic soundscape. The distinctive, mellifluous approach of his guitar style, blending Brazilian, Cuban, Mexican, soul and jazz motifs, is at once startlingly new and tantalisingly familiar. Set against unrushed percussion, the music releases a crystal clear stream of healing frequencies to create a fragile, hypnotic atmosphere.Each track clocks in at around three minutes and, with a lack of studio polish or commitment to traditional song structure, it's a wonder how this enigmatic record demands your attention. However, through its gentle dynamism and impressive playing, it does just that. Whilst resolutely low-key, this lo-fi aesthetic feels genuinely organic and remarkably personal, its powerful intimacy truly connects. It's what makes this album so beloved of those lucky enough to be already familiar with it. From Margaret Kilgallen's truly iconic cover artwork to the music contained within, it's all brilliantly effortless.Guerrero's musical ideas are consistently compelling throughout, making it impossible to select highlights. The album's laconic drift touches upon jazz-fusion workouts and slow-mo hip-hop drums, Tortoise-style experimental post-rock and cinematic sound textures. It's at once hazy, light and bouncy yet sombre and bluesy. The Latin soul of El Chicano blends with the breezy jazz of Grant Green. By employing guitars and drum machines to create a stripped down rhythmic tapestry of spellbinding, addictive songs, there are even traces of The Durutti Column. A little bit of country, a little bit of rock & roll. A Little Bit Of Somethin', indeed.

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27,69
Alpharisc - Remain Seated

Alpharisc

Remain Seated

12inchMR-029RP
Mutual Rytm
11.07.2025

Aussie techno innovator Alpharisc returns to Mutual Rytm for a second standout EP.

Shane Yates, aka Alpharisc, has been living and breathing techno for over 30 years. He first began producing in the mid-90s and has amassed a fine hardware collection that lends his sounds a raw, rugged feel. After breaking through with the Wetmusik party and label collective, he has let his music do the talking and isn't afraid of colouring it with a hint of nostalgia. Previous material has come via several notable labels over the years, but his most recent outings have been on SHDW's Mutual Rytm imprint, with his solo EP 'Ram Face' from 2023 becoming an underground favourite alongside a fine outing as part of the label's 'Federation Of Rytm II' and 'Federation Of Rytm III' compilations. Once again, he returns in style, uncovering an impactful selection of gems across his new 'Remain Seated' EP.

The opener 'Peace Be With You' is a straight-up techno weapon with urgent synth flashes peeling off the groove like a police siren. The drums hit hard in true Alpharisc style before 'Hail' builds on that with a more hard-edge groove topped with frosty waves of white noise that electrify the dance floor. 'Remain Seated' brings a hint of trance-leaning energy with its bright sheets of synth lighting up the driving drums and saw-tooth bass loops. Next, 'Look At This' is another brilliantly forceful techno sound with slamming drums and rusty synth loops, layering melancholic pads up top and adding a cerebral edge, while closer 'In Your Mind' is from the Jeff Mills school of synth-laced and serene deep techno with lush pads radiating cosmic light. As a bonus, digital-only cut 'Expedition' brings some backlit celestial synth work to a rubbery and pummelling drum pattern for pure techno escapism.

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11,72
Starfish Pool - Sampler

Starfish Pool

Sampler

12inchBRUTAZ-17
Brutaz
10.07.2025

A series of non-dogmatic loops from the 90s Belgium. Coming from conspirator operating on the intersection of techno, post-punk and deathly ambient music, currently a scuptor and a visual artist For fans of Muslimgauze and 90s Mark Broom alike... and inquisitive goths in general, this sampler EP is also a good representation of the sounds rrrkrta's Brutaz used to broadcast on the innocent youth of Poland.

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13,24
Various - Pattern Gardening LP

Various

Pattern Gardening LP

12inchWSDMLP009
Wisdom Teeth
08.07.2025

Facta and K-LONE’s Wisdom Teeth imprint returns to the V/A format with ‘Pattern Gardening’: a new collaborative project that leans head-first into the label’s love of minimal-, micro- and tech-house, carving out the label’s distinct, contemporary take on the sound - one that swims between warm, bleepy, rolling, dubby, psychedelic and bass-heavy channels across its duration. The vinyl sampler brings together 6 highlights from the wider 22 track digital project. Wisdom Teeth heads Facta and K-LONE appear alongside longtime label associate Lurka and new signees Polygonia, rRoxymore, Sub Basics and Jichael Mackson.

By now, Wisdom Teeth and its founders are well known for their unabashed love of minimal and tech house, which - alongside ambient, UK club music, experimental electronics and a broad palette of other influences - makes up a key cornerstone of their distinctive sound. The duo’s DJ sets often see them mixing ‘00s gems from labels like Perlon, Mosaic, Minibar and a:rpia:r with more contemporary club sounds, creating a hybrid style that sits somewhere between Balearic terraces and dark UK club basements. Likewise, the label has become known as a go-to outlet for artists occupying a similar crossover space, with names like Jorg Kuning, Parris, Steevio, Duckett, Leif and LUXE all known for pushing house and techno into experimental and refreshing new territories.

‘Pattern Gardening’ follows loosely on from the label’s previous V/A releases ‘To Illustrate’ (2021) and ‘Club Moss’ (2023), which explored downtempo (100bpm) and uptempo (150-170bpm) styles respectively. Here, the focus is fixed on lush, groovy, quirky 4x4 jams, joining the dots between a global spread of producers that bring new energy and perspective to these well-explored frameworks.

As is always the case with Wisdom Teeth’s output, the results fit somewhere between the club and a more contemplative, home-listening headspace, with texture, melody and mood afforded as much significance as rhythm and functionality.

The artwork features photography by Hong Kong-based photographer Jimi Chiu, who captures seemingly ordinary corners of city life in glossy, cinematic detail.

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19,96
Various - Gabriele Poso presents: Ritmo Italiano 'Unspoken sounds of Italian Tamburo' LP

Mr Bongo proudly presents Ritmo Italiano ‘Unspoken Sounds of Italian Tamburo’ a captivating compilation of percussive-driven, Italian gems curated by Sardinian multi-instrumentalist, percussionist and producer, Gabriele Poso. A journey into the heart of Italian musical history, it celebrates Italy’s rich rhythmic traditions, showcasing a selection of genre-traversing, Italian treasures from the ‘60s to the early ‘90s. Honouring the timeless rhythms of Italian percussion masters, alongside a brand-new exclusive composition by Gabriele, ‘Ritmo Italiano’ shines a light on the universal, primal language of the drum.

A connection sparked from an early age; percussion has always deeply resonated with Gabriele. It led to years of studying percussion traditions across Cuba, Puerto Rico, and Brazil, crafting his own songwriting skills in the process. An acclaimed producer and compiler, his releases on Yoruba Records, BBE and Soundway Records have garnered global support. Yet a growing need to rediscover the essence of his country’s cultural heritage laid the foundations for this new compilation.

In Gabriele’s own words, “Italy has always been a crossroads of civilizations, with influences from the Mediterranean, North Africa, the Middle East, and Europe converging over centuries. Ports like Naples, Genoa, and Venice played a crucial role as gateways for musical exchange, a melting pot of sounds and cultures brought by sailors, merchants and travellers. These influences blended with Italy’s own folk and religious traditions, creating Italy’s unique and emotionally resonant rhythms.”

Across the 12 absorbing tracks, there’s jazz influences, Italian library music aesthetics and experimental beats mixing with Afro-Cuban and Mediterranean rhythms. It’s a broad selection anchored by the drums. The synth-heavy, ‘80s jazz funk flavours of Gegè Munari's ‘Police Man’, sit side-by-side with the samba-infused ‘Napulitano D' 'O Brasil’ by Don Marino Barreto Jr. Tribal, earthly energy radiates from Naco’s ‘Volando Con Milton’, with Tullio De Piscopo serving up cosmic disco brilliance, and blistering jazz funk mastery coming courtesy of Agostino Marangolo. Taking the name of the compilation, a new original track by Gabriele, ‘Ritmo Italiano’, blends traditional rhythms with contemporary energy, Afro-Latin influences with Italian jazz essence. Recorded live in one take, it captures a raw, unfiltered vibe.

“Each track tells a story, connecting the past with the present, and highlighting the deep-rooted traditions that shape Italy’s rhythms. The collection also offers a glimpse into the diversity of Italian music with a variety of styles from the organic, earthy beats to the more experimental and modern takes on traditional rhythms. It’s a reflection of how these rhythms have not only shaped Italian culture but also influenced global music.”

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25,17
Jo Tongo - Sa Discossa LP

Jo Tongo

Sa Discossa LP

12inchEDGE-031
The Outer Edge
30.06.2025

A pioneering force in African music, Jo Tongo has always been on top of the game. Since the late 60s he has been recording music under his early Jojo L'Explosif moniker. His debut album "Jo Tongo" was released 1976 on Fiesta/Decca and features classic tracks like Jangolo and Piani. Now, after decades of underground influence and global recognition, his second album Sa Discossa (1980) is re-released for the first time. Being an electrifying fusion of African rhythms, disco, makossa, reggae and funk it is reflecting his lifelong journey of musical exploration and cultural storytelling and claims its place as an essential recording in the Afro-disco movement.
Jo Tongo's music is inseparable from his life's story-a journey that spans continents, struggles, and victories. From his early years as a leading African musician before the global rise of Afrobeat, to his deep roots in classical training, and his time performing in France and Germany, his sound is shaped by a rich blend of influences. Having played in bands across Europe, from American military bases in Germany to the jazz and soul circuits of Paris, he absorbed the pulse of multiple musical worlds, creating a sound uniquely his own.
"My music is my life. I never saw it as a way to become a star-I am a simple man," Tongo explains. "I came into music to say something, to tell about life, to share my experiences with the world." His perspective on fame and artistry is deeply rooted in his Cameroonian background. "I wasn't interested in business. I wanted to build something with music, to create a sound that was mine."
But Jo Tongo's music has always carried a deeper message. His work reflects his strong political stance against colonialism, social injustice, and oppression. "I cannot stay silent while my people suffer," he says. "Music is a way to resist, to stand strong, and to remind people of their dignity and their power." Throughout his career, Tongo has used his platform to advocate for African identity and independence. His songs, layered with messages of social consciousness, have continued to resonate with younger generations who recognize the relevance of his words even today.
Sa Discossa is more than just a disco record. It embodies Jo Tongo's philosophy of resistance, identity, and celebration. The title itself is a blend of "disco" and "makossa," reflecting the seamless fusion of African groove and the dancefloor energy that defined the era. Tracks like Bunya, sung in his native language, carry messages of love, gratitude, and resilience-sentiments that remain as relevant today as they were nearly 50 years ago. As Tongo describes it, "Every day, give thanks and praise to your Lord. Every day, show me your love. Every day, let me show you my tender love."
Tongo's musical journey also took him through the world of reggae, inspired by his exposure to American and Caribbean artists. "At first, I didn't like reggae-it was too slow for me," he admits. "But then I heard Bob Marley, and I realized the power in its simplicity. The rhythm, the
message-it was all connected to something bigger." He later found himself embracing reggae as an essential part of his musical DNA. "I realized that my music and reggae shared the same roots. We are all connected, all telling the same story in different ways."
Having spent much of his career performing across Europe, Jo Tongo reflects on his connection with international audiences. "I've played everywhere-from Africa to Germany, from Paris to other cities in France and what I've learned is that music speaks a universal language. You don't need to know the words to feel the message."
Despite taking a step back from the stage in recent years, he remains open to new possibilities. "Music is like a fire-it never truly dies. I have a lot to say, and music is the best way to say it."
For Jo Tongo, music is more than entertainment-it's a language of truth, a testament to history, and a bridge between cultures. The rhythm of Sa Discossa lives on, stronger than ever. With Sa Discossa returning under the African Edge series on The Outer Edge label, Jo Tongo's legacy continues to resonate, proving that real music never fades.

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21,81
Black Sites - R4 (LP 2x12")

Black Sites

R4 (LP 2x12")

2x12inchTRESOR379
Tresor
27.06.2025

On June 27, 2025, a long-dormant signal reactivates from Hamburg’s hidden places: Helena Hauff and F#X return as Black Sites with R4 on Tresor Records—their first full-length album and the first release under the moniker since 2014. Like a hieroglyphic recently discovered and translated, R4 feels more like a long-awaited resumption than a comeback.
Recorded to tape with minimal editing or post-production the record is a classic example of the symbiotic relationship that can come from the interaction of human and machine. This punk ethos isn’t invoked through distortion alone, but through method; in the album’s breaking from the received wisdom of hardness tethered to speed as most of the tougher pieces are lower BPM and vice versa (with one notable exception in the mind-melting stomp of BLOKK).
Across ten tracks, Black Sites traverse a landscape where genre dissolves into intention. It migrates through electro’s danceability, acid house’s corrosion, and into the liminal realm of machine funk—a genre coined by Andrew Weatherall, which sounds like the results of technology dreaming of soul where the emphasis is on live execution, on immediacy over perfection—a sound forged in the act of creating, not polishing.
In a 2013 interview, around the time of the first Black Sites EP, Hauff was quoted as saying that she wants “things to fit together properly, but on another level, I really want them to make sense together.” That principle animates R4: The album’s form reveals itself in time, with each movement echoing and amplifying the others to create a synergistic whole.
From the opening crawl of C4 (a name that like the music foreshadows the explosions to come) to the end-of-the-night bliss of MOTHERJAM via the intense peaks of BLOKK, 707, and classic acid track 3D it’s clear that R4 is a work made with serious intent; a refutation of a world where streaming has made the two-minute single the dominant musical form again. R4 demands immersion, not just attention. It is not a collection of tracks, but a singular, recursive experience: a mirror in which sound and listener repeatedly rediscover one another.

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22,65
JE MOVEMENT - MA DEA LUV

JE MOVEMENT

MA DEA LUV

12inchAFS057
Afrosynth
27.06.2025

J.E. Movement's groundbreaking ‘Ma Dea Luv’,

Toward the end of the 1980s South Africa's recording industry was booming. Searching for a sound that could cross over to all in the country's segregated society while also eyeing international success, a new duo emerged that quickly rendered its 'bubblegum' predecessors obsolete. Drawing on international trends and crafting lyrics for local ears, J.E. MOVEMENT — a duo made up of James Nyingwa and Elliot Faku — exploded onto the local scene with their debut album, 'Ma Dea Luv'. The future had arrived.

A talented bassist and composer, Nyingwa was at the time employed as an in-house producer at TRS Studios in Plein Street in downtown Johannesburg, run by two Greek immigrants, George Vardas and Chris Ghelakis. Together they formed a close bond as friends and musical partners at what would become CSR Records, recording original hits with acts like the NEW AGE KIDS and SIDNEY, while also cashing in on cover versions as BLACK BOX.

The six tracks on J.E. Movement’s 1988 debut give firm nods to UK Street Soul, New Jack Swing and Stock Aitken Waterman's 'Hit Factory' sound and infuse them with an African rhythmic flair and homegrown lyrical sentiment. Though not expressly political, the title track was received by many as a play on words referencing then-jailed and banned Nelson Mandela (coming after the similarly styled 'I'm Winning My Dear Love' by Yvonne Chaka Chaka in 1986 and 'We Miss You Manelow' by Chicco in 1987), giving it an added potency for those in the know. 'Jack I'm Sorry' was an underground hit in the townships, while 'Marco', 'Friends', 'Funkytown' and the eponymous closer are similarly bass and drum-driven, with hiphop-styled vocals.

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20,38
Yazz Ahmed - Polyhymnia LP 2x12"

Yazz Ahmeds Album "Polyhymnia" (2019) feiert weiblichen Mut, Entschlossenheit und Kreativität. Im Auftrag der Tomorrow's Warriors schrieb sie 2015 ein längeres Werk für deren Nu Civilisation Orchestra, das am Internationalen Frauentag beim Women Of The World Festival in der Londoner Queen Elizabeth Hall aufgeführt wurde. In Anlehnung an Polyhymnia, die griechische Muse der Musik, Poesie und des Tanzes, schuf Yazz eine Reihe von Sätzen, die herausragenden weiblichen Vorbildern wie Rosa Parks, Haifaa Al-Mansour und Malala Yousafzai gewidmet waren. Dieses Album steht im Kontrast zu ihrem vorherigen Werk "La Saboteuse", das von ihrer inneren Zerstörerin oder Anti-Muse getrieben wurde.

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28,36
Polcari - I Will Try To Imitate The Birds

Hell Yeah have been busy making musical connections and reaching out to like-minded beatmakers once again. This time, it is Pier Paolo Polcari aka Polcari, a founding member of cult Italian band Almamegretta, who steps up with the magnificent new album I Will Try To Imitate The Birds. The eight-track record also features Adriano Viterbini, another Italian music icon and guitarist with the revered Bud Spencer Blues Explosion and I Hate My Village as well as Ubjk, San Ignacio and Sergio Dileo.

Label head Marco first got in touch with Polcari after he remixed Italian cultural hero Sergio Messina's cover of 'Fly Away' back in 2021. The pair began sharing music, discussing their favourite records and, eventually, the natural next step was to work towards the album now served up here.

The multi-talented Polcari is a master of downtempo sounds and as well as several solo projects that fuse trip hop, folk, dub and world music, he made a global mark as part of Almamegretta. The revered Naples band formed in the late 80s and has worked with greats like Massive Attack and Adrian Sherwood across more than 15 albums and are currently on a special 30th anniversary tour. Also playing on the album are Adriano Viterbini, a composer and member of blues-rock outfit Bud Spencer Blues Explosion, San Ignacio who is a downtempo and cumbia innovator behind the much sought-after albums like La Identidad Es Una Trampa and Sergio Dileo, sax player in the much-loved Naples band Nu Genea as well as being a busy jazz collaborator.

Opener 'Jardino' Feat. San Ignacio sets a laidback vibe from the off with gently breaking drums topped with whimsical melodies. 'Vita Nova' is cavernous dub with more lush instrumentals, xylophones and wispy synth motifs making for a world escape and 'Mundo' (Feat. Ubjk) has an air of Eastern melody with delicate pads and glowing keys floating above the pillowy drums. 'The Birds' (Feat. Adriano Viterbini) has fluttering harp strings that bring real beauty to a downtempo groove packed with vocoder vocals, synth smears and organic percussion.

'Orcos Ou Fadas' carries on with a rich blend of strings and percussion, shuffling rhythms and curious moods, 'Raifuki' lurches on moody drums and introverted melodies and 'Ligea' Feat. Sergio Dileo brings some romantic Latin rhythms and seductive clarinet while 'Superluna' completes the odyssey with more wavy dub and magnificent collages of melody and percussion.

I Will Try To Imitate The Birds will lift you off your feet and carry you away to a lush world of cathartic, sun-kissed musical pleasure.

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20,97
ROBERTO MANOLIO / GIUSEPPE ANGELORO - TANGLED WAVES EP

Bosconi Records is proud to present Tangled Waves, a dynamic split EP that brings together the sonic identities of two emerging Italian talents—Roberto Manolio and Giuseppe Angeloro—each making their debut on the label.

Like currents colliding below the surface, Tangled Waves reveals a natural convergence—where distinct styles drift together in subtle harmony.

The A-side features Roberto Manolio, known for releases on Cosmological, Nugs on Board, and Musek Records. He kicks off with Deeply Red, a UK tech house-influenced stomper driven by a fat, aggressive bassline and dreamy delayed chords. A haunting Russian voice sample adds a cinematic, retro-futurist edge—like a lost transmission from a 60s space mission. Next up is Machine City Road, a raw, gritty weapon where grinding synths and sharp textures drive the track forward with the force of a distorted electric guitar. It’s dark, edgy, and full of tension. On the B-side, Giuseppe Angeloro—previously featured on Cimedirapax, Havalon, and Polarity Records—brings a touch of italo-flavored euphoria with A Night Among the Trees. Lush arpeggios and nostalgic synth lines conjure up a dreamy atmosphere, building into an epic, cinematic anthem. Closing the EP is Mind Trip, a gentle, psychedelic excursion built on floating melodies, delayed vocals, and hazy atmospheres. It’s a reflective, emotionally rich track—perfect for the final moments on the dancefloor. Tangled Waves offers a meeting point of two unique sonic voices, flowing along parallel—but deeply connected—paths, resulting in four essential weapons built to last.

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13,40
LES ANIMAUX SAUVAGES - FUTURESPECTIVE LP 2x12"

“Futurespective” is a remastered compilation featuring the very best releases from the iconic Bulgarian band Les Animaux Sauvages. For the first time ever, these timeless tracks are available on vinyl. Presented in a ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

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38,61
Wh0 - The Girls & Boys

Wh0

The Girls & Boys

12inchREKIDS266
Rekids
17.06.2025

Wh0 arrives on Rekids with ‘Girls & Boys’. The Grammy-nominated producer’s next single comes with a remix from Catz ‘n Dogz.

Wh0 lands on Radio Slave’s Rekids with new single, 'Girls & Boys', out 13th June 2025. A full-throttle piano jam, the track distils a range of House styles into one expressive, infectious, modern-day classic. Powered by a raw, rolling bassline and loopy chords, it brings unrelenting energy built to raise hands in the air all summer long.

Polish duo Catz ‘n Dogz step up on remix duties with a chunky dub mix. Stripping things back, they reimagine the original into a thudding Techno cut, complete with eerie vocal chops and a deliciously deep, driving groove.

Formerly a member of legendary House duo The Rhythm Masters, Wh0 has since made his mark as a solo act with sold-out shows at places like Printworks, XOYO and Fabric. The Wh0 Plays and Wh0 Worx label boss boasts production credits for artists like Ten City, Royksopp and Idris Elba and collaborations with the likes of David Penn, David Morales and Nile Rodgers, with his work often topping digital charts and his Spotify clocking up more than a million streams a month.
Radio Slave’s Rekids was founded in 2006 and has since spawned successful off shoots with the Techno-focused Rekids Special Projects in 2017 and its newest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been crucial in developing early artist careers and has become a haven for established acts operating in House and adjacent genres, having recently featured the likes of Harry Romero, Tal Fussman, Spencer Parker, The Hacker, and many more.

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13,24
Various - LCR001

Various

LCR001

12inchLCR001
Le Chatroom
13.06.2025

Le Chatroom, a record label established in 2016 by the English producer Kouslin, searches for the missing link between underground bass music and outer national sounds. Its music is defined by the blend of synthetic and organic tones, modern / classic instruments and low- end heavy percussive rhythms.

Pushing artists from all around the globe that share the same love for this newfound sound, Kouslin's aim with Le Chatroom is to promote musical diversity, open-mindedness and experimentation at a time when unity between cultures is crucial. With 'LCR001' the label advances into a new physical environment from which this release should be experienced.

Real talk and native percussion establish the steady climax of 'Brothers', the A-side of Le Chatroom's inaugural wax release. Kouslin cuts through this sediment with a bright flute, before the state of the sound switches into something far darker and meditative. By placing several samples at irregular intervals, the Londoner achieves a fascinating charm that'll unite us all.

Booming bass in 'Gyals' lingers with a steady pace while percy tribal hits forge a raw groove that's far from common. With this movement, the producer from Bristol disintegrates the sense of a generic production and sticks to his true nature. Through this it becomes clear that Galtier has his polyrhythms down to a science.

Londoner Sheik clinches the B-side with a craze that unveils a nearly psychotic sense of sample architecture. Pushing crystal clear 808 kicks in- between the haunting atmospheres and a wall of pressure simply becomes one of his most inventive takes documented on wax. If you love to swerve through a minefield, the odd 'Oxram' would be your favourite pick off this first outline.

The three producers that feature on 'LCR001' pass on their fundamentals to conjure Le Chatroom's philosophy red-handed. Together they do the imprint's name justice by handing over critical bass repertoire that'll excite many!

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11,72
Soul Jazz Records presents Trash - Priorities/Look

Exact replica picture sleeve seven-inch reissue of this hidden super-catchy punk/power pop 45 from the very short-lived punk group Trash. The music is raw, naive three-chord genius!
The group Trash were from Weybridge, Surrey and found little success at the time. They released just two singles to absolutely no fanfare at all in 1977 and 78 despite being signed to Polydor Records.
Trash's 'Priorities', the group's debut single is now available once again for the first time in nearly 50 years on Soul Jazz Records in a very limited edition one-off pressing of 300 copies.

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15,76
Azzurro 80 - Flashback

Azzurro 80

Flashback

12inchFLIES74
Four Flies
06.06.2025

Azzurro 80's new album—his first ever on LP—is a beautifully faded Polaroid that, like a true flashback, plunges listeners into the heart of the 1980s. It's a sonic journey that captures the essence of a decade, distant yet vividly etched in our collective memory.

The Roman producer unleashes his sonic vision with even greater intensity than before, weaving through dreamy italo-disco, electric atmospheres, soundtrack-worthy synth-pop, and boogie-funk grooves.

Each track opens a window onto an era the artist experienced only fleetingly as a child, yet he evokes it with a powerful and refreshingly original touch. Much like a classic library music record, these tracks conjure a wealth of images, scenes, and visual sequences—perfect soundtracks for imagined films or evocative advertising campaigns: as seductive as a perfume ad, as desirable as a car commercial, and brimming with the bright future the 80s promised.

It's no surprise that cinematic references spring to mind even before musical ones. The album echoes the dreamy atmospheres of early 80s Italian cinema, particularly films like Carlo Verdone's "Acqua e Sapone" (1983) and Carlo Vanzina's "Amarsi Un Po'" (1984). Meanwhile, flashes of New Romantic aesthetics and hints of electro-funk transport you to a neon-lit dance floor where a DJ is spinning the vinyl copy of Flashback.

Azzurro 80's new album is a vibrant, energetic work, balancing groove and emotion in equal measure and infused with a sense of nostalgia that feels remarkably contemporary.

Available May 9th on LP and Digital from Four Flies Records!

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31,05
RICHARD NORRIS - MR NORRIS CHANGES BRAINS - CHAPTER 3 LP 2x12"

"Throughout all my time as a musician and producer, ever since Jack the Tab, I've been focused on developing a single idea: Blending psychedelic sounds and effects with rhythm." Richard Norris, Strange Things Are Happening White Rabbit 2024

Over the past few years Eskimo Recordings have invited some of the best crate diggers aroundto curate compilations that don't just reveal the hidden contents of their record bags but something about themselves too. Now, following in the footsteps of the likes of Bill Brewster and Psychemagik, producer, musician, DJ, writer and more, Richard Norris, takes us on a globetrotting psychedelic journey with the epic 42 track collection, Mr Norris Changes Brains.

For over forty years Richard has played a part in many of the UK's most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle's Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard's career has continually seen him work to expand both hisown and the public's musical horizons.

With Mr Norris Changes Brains it's the most recent part of his mercurial career that he's focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard's Sleeve, alongside Trash's Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem.

"A lot of these tracks are fairly recent discoveries, things that I've discovered from around the time I started working with Erol and going right up to today," Richard explains. "Whether that's from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything havingto sit in its specific niche, but more and more people are open to new sounds and that's allowed for a much broader selection."

Despite their disparate origins what does unite these tracks is that they aren't just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. Mr Norris may change brains but his DJ sets also move feet, and whether it's their killer guitar riffs, oscillating synths floor shaking drums or soulful Hammond organs these are all cuts that from festival tents to underground clubs have proven time and time again to get people dancing.

"With a lot of these tracks there's a kind of fun element in them," says Richard. "It's still psychedelia, but they've also got these solid, funky grooves. They sound phenomenal on the dancefloor and as much as these records might excite old psych heads, this compilation is also for a new generation out there who might have never heard anything like this before and, just like when I was 18 and heard The 13th Floor Elevators for the first time, think 'Oh, my God, what on earth is this and more importantly what else is out there?'"

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26,26
Various - PRIMARY FOREST 03

Various

PRIMARY FOREST 03

12inchCEEXYZ05
CEE
03.06.2025

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

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23,95
SCANDINAVIAN ART ENSEMBLE WITH TOMASZ STANKO - THE COPENHAGEN SESSION VOL. 1
 
2

For years, whispers circulated through the jazz scenes of Denmark and Poland - rumours of a lost recording session featuring the legendary Polish trumpeter Tomasz Stanko and a group of Scandinavian and Polish musicians. Now, nearly a decade after the session and seven years after Stanko's passing, these long-awaited recordings are finally seeing the light of day. The project originated at Vallekilde Højskole in Denmark, where Stanko was invited to teach at JazzDanmark's annual Summer Session. A storied program that has hosted luminaries including Bill Frisell and Anat Cohen, the summer school became the birthplace of this unexpected ensemble. Here, alongside a dynamic ensemble of young musicians, Stanko found renewed inspiration, embracing their compositions as much as his own - a rare occurrence for an artist known for leading his own groups. Scandinavian Art Ensemble with Tomasz Stanko is the result: two albums of expansive, deeply expressive music that merge the melancholic depth of Polish jazz with the spacious, atmospheric qualities of the Scandinavian sound. As trumpeter Tomasz Dabrowski recalls, Stanko wasn't just a mentor - he was an equal, driven by curiosity and the desire to push boundaries. "He wanted to play our music. He was always listening, always searching." Across these two albums recorded at The Village Recordings in 2016, listeners will hear Stanko's unmistakable tone interwoven with compositions by both himself and the ensemble members. Pieces like 'The Dark Eyes of Martha Hirsch' and 'Before the Rain' showcase not just his signature lyricism, but also his willingness to step back, listen, and let the younger generation shape the sound. Beyond his unmistakable sound, Stanko's influence was about energy - his presence elevated those around him. Bassist Richard Andersson put it simply: "He brings together the energies, and makes us all play better than usual." This project captures that essence: a legendary artist meeting the next generation on equal footing, creating something entirely unexpected. A decade after the session, the members of the Scandinavian Art Ensemble have forged their own paths, shaping the jazz landscapes of Copenhagen, Malmö, Reykjavik, and beyond. But the impact of their time with Stanko remains profound. "Releasing these albums is about more than just the music," D?browski says. "It's about preserving the spirit of Stanko - his generosity, his curiosity, his way of bringing people together. Even after all these years, his presence can still be felt in every note we played."

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24,79
pq - wiggle room

Pq

wiggle room

12inchBLIP010
Blip Discs
03.06.2025

wiggle room is the long-overdue Blip Discs debut from pq - founding member of Nihiloxica (Nyege Nyege Tapes, Crammed Discs) and long-time label affiliate.

On the A-side, “igglewiggle” and “aliens!” augment UK styles to deliver two bassy heavy hitters. The more experimental B-side starts off very B2 with “ketty stepper anthem” and its wonked-out polyrhythm, before a stripped-back VIP of “aliens” closes the record.

Having made his mark as a core force behind Nihiloxica — the Bugandan-techno outfit whose explosive live shows earned global acclaim — pq now hones a functional club sensibility he first showed on Lapsus Records and his own label Spooky Shit.

wiggle room balances an adventurous energy with serious bass-weight, never stopping to stroke its proverbial chin even once. A definitive, forward facing statement that expands the peripheries of the dancefloor in an ever evolving UK bass-music continuum.

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14,71
John Spring - MyCn18: Engraved Hourglass

Introducing the second release under the Statica imprint “MyCn18: Engraved Hourglass”

STATICA002 comes from Berlin-based artist Johannes Mai aka John Spring. John's productions have gained legendary notoriety over the past decade with his early releases revered for their timeless sound and experimental edge, whilst always keeping to a ritual of dancefloor compatibility. An influential artist who pushed the boundaries of minimalism and helped lay the foundations that have sculpted the sound of the present. It's a great honour to be releasing his first EP in over 13 years with 3 never before heard tracks from the mid 00’s.

“Train Ride” is an energetic A1 with pacey drums and a marching topline, while the A2 “Ravebehave” delves deep into spring reverb mastery and wavering synths. The B1 “Melodic Ten” begins with rolling percussion and uplifts with the whispers of enchanting vocals. B2 comes as a remix of Melodic Ten by Fabric resident and stand out London artist Harry McCanna aka Henry Hyde! stripping it back even further and introducing his own sinister synths, growling bass and groove-led drum patterns. It's a pleasure to have Harry featured on the release.

MyCn 18 is a young planetary nebula in the southern constellation Musca. It was discovered by Romano Coradi and Hugo Schwarz in 1991. MyCn 18's hourglass shape is produced by the expansion of a fast stellar wind within a slowly expanding cloud which is denser near its equator than its poles. The central star of the nebula is unknown.

Credits-:

A massive thank you to John Spring & Harry McCanna for their Contributions. Distributed by Deejay.de. Mastering by Justin Drake. Design and Curation by Alix

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11,72
SHIFTING HEIGO - TO MODEL PHENOMENA LP

“To Model Phenomena” is a scientific concept that describes a computer’s ability to emulate, regardless of whether the emulated phenomenon exists outside its circuits or is purely imaginary.

Modeling communication platforms enables us to interact with each other or with computers. Modeling behavior patterns, nuclear fusion, or, as in the case of scientists from the Human Brain Project, a virtual human brain, allows us to simulate cognitive processes such as perception, memory, and decision-making, providing insight into the nature of human thought.

In this record, the phenomena modeled are those moments when the mind leaps into the void, confronting new paradigms. For instance, when science, art, or mass media introduces new information, propelling us into a transformed reality.

From this starting point, European musician Shifting Heigo maps a path between realities, evolving his narrative as his music unfolds. This work draws inspiration from Curtis Roads (vice chair of Media Arts and Technology at the UCSB) and his studies on granular synthesis and time scales, where each track on To Model Phenomena evokes a sense of movement, where nothing begins or ends in quite the same way.

A musician with strong ties to new technologies, Shifting Heigo has collaborated with the University of Málaga (Spain) in its PH Degree Program in video game design, composing interactive music, while also singing as part of the tenor section in the Qatar Concert Choir, affiliated with the Qatar Philharmonic Orchestra.

Currently based in Abu Dhabi, he is now part of a circle of electronic musicians surrounding the New York University Abu Dhabi, an institution that supports electronic and experimental music across the Middle East.

To Model Phenomena is the result of his search for a unique voice as a musician, where ternary rhythms, noise, and silence shape the narrative. This is a discourse from a musician’s perspective on the changes that science, technology, art, and the rapid flow of information demand of us. A direct gaze into the fear of change.

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18,28
Tripmastaz - Politics As Usual EP

Da bossman Tripmastaz delivers two cuts of "Politics As Usual" a summer-themed track in classic golden-era house style – full of positivity and sunshine beams.

On the B-Side "Coffee Smack 4 Dat Azz" balances the EP with Tripmastaz’s signature crunchy beats and gutta flows for the real heads – hits like a perfectly brewed cup of coffee. "Scarp" wraps up the record nicely with proto-digger vibes and fun acid basslines.

And the cherry on top: for the collectors, this time around we pressed just 50 copies on green marbled vinyl – a true gem for the heads.
Summer is here.

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13,40
Alex Puddu - Professione Reporter LP

It was less than a year ago that Italy-born but Denmark-based musical artist Alex Puddu released his latest album Deliria, an enticing blend of erotic disco, soulful grooves and electronica inspired by Italian pop music of the late 70s / early 80s, which went on to enjoy extended radio play across the globe including on BBC 6, NTS, KCRW, and national Spanish station Radio 3, to name a few.

But it wasn’t long thereafter that indefatigable groove purveyor Puddu travelled back to Rome for a new musical adventure, heading straight to The Sound Work Shop, the recording studio of legendary Italian composer Piero Umiliani, where he recorded the 10 new tracks that are included in his latest musical opus, Professione Reporter, another funky and soulful adult-oriented disco-pop album entirely sung by himself in Italian.

Professione Reporter tells the story of a photo reporter who travels the world following and stalking rich recently-widowed women whose husbands died in mysterious circumstances. Attracted by their charm and wealth, our protagonist transforms himself into a gigolo, becoming a dedicated lover-boy to these rich sugar mamas and a slave to the sweet life, going so far as to become an accomplice in their criminal plans to ensure the inheritance of their dead husbands.

Once again Alex Puddu has hit the mark with a collection of polished and ear-friendly grooves that tell the alluring story of a private eye embroiled in a web of love affairs, wealth and deceit, evoking images of satin sheets, champagne and dim lights set against the backdrop of one of the most hedonistic decades so far.

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23,11
LOS GAVILANES DE LA COSTA - DAME CAFE

"Dame café", originally released on Discos Fuentes in 1965 to meet the tropical music demand of the time, features a mix of traditional rhythms like vallenato and cumbia, alongside more experimental beats. The vibrant musical scene of the 1960s in Colombia owes much to a group of versatile accordionists who blended genres such as cumbia, charanga, guaracha, vallenato, and Cuban-influenced rhythms. This group included notable figures like Andrés Landero, Aníbal Velásquez, Lisandro Meza, and Alfredo Gutiérrez, among others. A prime example of their diverse musical styles is the album "Dame café", released in November 1965, which features a mix of traditional rhythms like vallenato and cumbia, alongside more experimental beats such as paseaíto and pasaje. The album includes six previously released singles composed by José Castro, Policarpo Calle, and others. The album highlights the commercial strategy of Discos Fuentes, which often created short-lived studio bands to meet the tropical music demand of the time. Los Gavilanes de la Costa, the band behind "Dame café", had a brief existence but left a lasting impact, especially in Mexico's sonidero scene. The group's creation was driven by the high demand for tropical music in the 1960s, with many musicians adjusting to market trends. Most of the members, including composers Campillo and Castro, vanished from the scene, while others, like Calle and Zambrano, went on to have notable careers in music. Calle, in particular, became a cumbia legend, later settling in Mexico City. The album "Dame café" has gained cult status due to its rarity and the intrigue surrounding its origins. The album features a remarkable contribution from Colombian jazz legend Justo Almario, who, at just 16 years old, played tenor sax on the track 'Pues no da pa' más'. Over the years, pirate editions and elusive original copies have made it a highly sought-after collector's item. The album's lively sound, combining accordion melodies, deep bass, and vibrant guacharaca rhythms, continues to resonate in the tropical music scene.

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23,95
Molly Nilsson - Zenith (LP -10th Anniversary)

Originally released in 2015

To celebrate Molly Nilsson’s most enduring fan-favourite album to date, Night School and Dark Skies
Association are releasing a limited 10th anniversary pressing on Red-Gold vinyl, limited to 500 copies.
Since its release in late summer of 2015, Zenith has come to be considered Nilsson’s greatest album to date. Now
on its 6th pressing, in 2025 Zenith represents the mid-point in the songwriter’s career to date and contains firm fan
favourites in Mountain Time, Happyness and her most popular song, 1995. Zenith sits square between Nilsson’s
original flurry of DIY creativity and her later, outward-looking political material.

A sweeping, cinematic, emotional change is in the air. Molly Nilsson's sixth studio album Zenith begins with clear, wide eyes open to Earth as we would love it to be but seldom is. Recorded in her home of Berlin and whilst touring and, as ever, conceived, produced, written and recorded in solitude, Zenith is Nilsson's big statement and consequently her most affecting work to date. It sees her reveling in big arrangements, sweeping synth strings, bigger choruses and emotions. Like the rest of us she looks within and to endless sunsets in wonder and puzzlement

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26,01
Uwalmassa - EP3

Uwalmassa

EP3

12inchSUNDIAL002
Sundial
15.05.2025

Carving a singular path through boundary-pushing explorations of gamelan music, Uwalmassa’s ‘EP3’ presents a dynamic narrative, infusing deeply rooted cultural elements with forward-thinking ethos.

The Jakarta-based collective reimagines the dense complexity of Indonesian music through an experimental lens, shifting tempos and layered polyrhythms with unconventional structures, offering a bold redefinition of ritualistic music.

Uwalmassa not only expands the conversation around gamelan but also reshapes its possibilities, conveying a timeless vision that bridges the past and the future.

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16,18
Jamie Cullum - The Pianoman At Christmas: The Complete Edition
 
23

Multi platinum-selling musician and multi-instrumentalist Jamie Cullum today announces The Pianoman At Christmas - The Complete Edition. Due for release on 19th November via Island Records. The deluxe album completes last year’s critically acclaimed hit album The Pianoman At Christmas Part 1, with its Second Part - featuring 11 covers of classic Christmas songs, as well as two original songs, including lead single ‘Christmas Don’t Let Me Down’, out now.

Drawing from the past and inspired by the present, The Pianoman At Christmas - The Complete Edition sees Jamie team up with London jazz innovators Kansas Smitty’s, as well as composer and producer The Vernon Spring and acclaimed LA-based jazz singer Lady Blackbird to complete a piece of work that is imbued with seasonal sophistication. Alongside his two original tracks, Jamie breathes new life into classics such as ‘Winter Wonderland’, ‘Silent Night’ and ‘Frosty The Snowman’, ranging from ‘Amazing Grace’ to ‘Man With The Bag’ and ‘Sleigh Ride’. The Complete Edition will be released on double CD and double black vinyl formats, alongside a limited run of 180G Heavyweight coloured vinyl in red and gold.

Speaking on the release, Jamie said -

“I had a huge amount of fun creating part two of TPAC. Recorded live, all in the room together - it’s the party after the big show, with friends, drinks and some of the finest musicians on planet earth.”

Released almost a year to the day before The Complete Edition is due out, The Pianoman At Christmas featured 11 original songs played by 57 of Britain’s best musicians, recorded in Abbey Road’s famous Studio 2 and produced by Greg Wells whose The Greatest Showman soundtrack spent 28 weeks at number 1. The album sold over 37,000 copies, spending 6 weeks in the album chart and peaking at number 11. In December Jamie broke the Guinness World Record for the largest music lesson ever, when he held a virtual piano lesson for 2,282 people, teaching them the carol ‘In The Bleak Midwinter’ with special guests Robbie Williams, Sigrid and Dodie.
With 10 million album sales and over 890 million streams to date, Jamie is a celebrated musician the world over with loyal fans in every corner of the globe. With a career spanning over 20 years, his legendary live shows have seen him perform and work alongside artists as diverse as Herbie Hancock, Pharrell Williams, Kendrick Lamar and IDLES - Jamie writing on the latter’s album Ultra Mono. The success of Jamie’s major label breakthrough, Twentysomething in 2003 and its follow up Catching Tales saw him nominated for a BRIT, Grammy and numerous other awards around the world. In 2020 he won an Ivor Novello Award for his track ‘Age of Anxiety’, taken from his acclaimed 9th studio album Taller. In addition to his enduringly successful recording career, Jamie has also established himself as a multi-award winning music broadcaster; his BBC Radio 2 show celebrated its 11th year on air this year.

With her debut album Black Acid Soul earning critical praise, Lady Blackbird is a revelatory new talent with music that transcends the jazz scene through which the LA-based artist is rooted. Reflecting influences as varied as Billie Holiday, Gladys Knight, Tina Turner and Chaka Khan, with critics drawing comparisons to Adele, Amy and Celeste, Lady Blackbird’s distinct and beguiling voice is not one to be missed.

UK band Kansas Smitty’s have developed a musical voice wholly unique from what’s happening around them. They are led by band leader and producer Giacomo Smith who's cinematic compositions feature on their releases, most recently 2021's acclaimed Things Happened Here for Berlin based label !K7. In 2015 they launched their own east London venue and bar, of the same name, which became one of the conception points for the current UK jazz boom.

Londoner Sam Beste aka The Vernon Spring is a polymath in music who has production, writing and performance credits as eclectic as Amy Winehouse, Matthew Herbert, Kano, Joy Crookes, Beth Orton, Blood Orange, Gabriels and MF DOOM. Since 2019 he has been making waves with solo project The Vernon Spring, which foregrounds his rare capacity to hold sophistication and simplicity in the same hands through highly intimate muted-piano compositions and improvisations.

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28,36
Deluxe - Ca Fait Plaisir LP

Thirteen years, four months and twenty-seven days after the shock wave caused by their first EP "Polishing Peanuts", the irreducible moustachus of Deluxe return with their seventh album: "It’s a pleasure", to be released on April 25, 2025. Like the band that never stops evolving, this record is a real emotional and musical kaleidoscope, oscillating between overflowing energy and melancholic introspection.

This album is distinguished by a vertiginous stylistic richness: a classical fugue for saxophone sneaks into the heart of a whirlwind of pop-rocky-pop songs, while varied inspirations like the Brazilian variety (with Luizga on " Windows Open "), nostalgic punk (" Where the f*ck is Jason? " featuring Mr. J Medeiros) or reggae hip-hop (" Caliente " featuring Twan Tee) shake up the codes. True to themselves, the six Southerners ...

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25,17
Keith Hudson & Soul Syndicate - Nuh Skin Up Dub LP

Keith Hudson’s Nuh Skin Up Dub is a deep, heavyweight dub album that stands as one of the most potent statements in the genre’s history. Released in 1979, this sonic masterpiece showcases Hudson’s signature dark, almost mystical production style, where heavy basslines, echo-drenched drums, and ghostly fragments of vocals swirl together in a hypnotic haze. Unlike the more polished, accessible dub records of the time, Nuh Skin Up Dub is raw, unfiltered, and experimental, pushing the boundaries of rhythm and space. Tracks like "Nuh Skin Up" and "Felt We Felt the Strain" pulse with an eerie, almost menacing energy, while Hudson’s masterful use of reverb and delay creates a soundscape that feels simultaneously expansive and claustrophobic. Often referred to as the “Dark Prince of Reggae,” Hudson had an uncanny ability to craft music that was both deeply meditative and unsettling, and Nuh Skin Up Dub is a prime example of his genius. It's a record that rewards deep listening—every spin reveals new layers of sonic detail, hidden textures, and dub wizardry. For fans of heavy, atmospheric dub, Nuh Skin Up Dub is an essential listen, a landmark recording that solidifies Keith Hudson’s status as one of the most visionary figures in reggae history.

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26,47
Karen Pollard - Reach Out To Me

Hard Times continues its legacy of championing house music’s finest with another landmark release that brings things full circle. This time, the label welcomes none other than Leeds legend Paul Woolford - one of the most prolific and versatile electronic artists of today - to reimagine one of house music’s most cherished anthems, Karen Pollard’s ‘Reach Out To Me.’

Originally released in 1996, ‘Reach Out To Me’ quickly became a club classic and an archetypal vocal house anthem. Now, Woolford - known for his ability to straddle both underground credibility and mainstream success with ease - boldly takes on the challenge of remixing the iconic track, delivering not one but two impressive reworks that showcase both sides of his production persona.

“‘Reach Out To Me’ has always been one of my favourite US garage records, so when the opportunity to rework it came up one hazy summer evening last year, I knew it had to be done,” says Woolford. “Both mixes have been road-tested and have caused havoc in all sorts of situations, from warehouse raves to basement afters to peak-time sessions and beyond.”

The first remix sees Woolford take the track deep and epic, building to a soaring, anthemic breakdown that pays homage to the song’s timeless energy. Meanwhile, his breakbeat-driven Special Request version adds a UKG twist, built for peak-time destruction in the hands of all selectors.

A true labour of love, these remixes breathe new life into the beloved classic while staying true to its soulful roots. Hard Times fans, house heads, and bass-driven ravers alike can now experience Woolford’s masterful reimagining of ‘Reach Out To Me.’

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16,60
Vaneese & Carolyn - Goodbye Song / Just A Smile

Vaneese & Carolyn are Vaneese Thomas (daughter of Rufus Thomas) and Carolyn Mitchell who recorded two singles together at Polydor in 1977 and 1978. From these, the 1978 collaboration has been reissued here, the sides reversed. Original copies have exchanged hands for over £300. Both singers had recorded with Disco producer John Davis and his Monster Orchestra the same year on his album “Ain’t That Enough For You”, but both these songs are more sophisticated classic soul stylings with incredible vocal performances.

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15,76
Parus - Zara

Parus

Zara

12inchSHTKVLK001
Shatkavalka
06.05.2025

Zara is the first album of Parus ethno-ambient project from Belarus that combines pagan songs that are sang by ethnographer and folk singer Hanna Silivonchyk on various dialects of Belarusian language and mixture of synthesizers and field recordings that where reordered in national parks of the country by electroacoustic music composer - Anton Anishchanka. The songs where collected during ethnographic expeditions in remote territories by Belarusian ethnographers in different periods of time

"What I choose to sing from the vast amount of authentic material are songs that
somehow feel like mine for all sorts of reasons, but that I love to be inside." - Hanna Silivonchyk

"Soniejka" is a summer song from the Dnepr river region, which sings about the readiness to meet life in any of its manifestations, about acceptance and love. "Zara" is also from the Dnepr river region, depicting the main Indo-European mythological story of the heavenly love between the Moon and the Dawn and their melting.

"Ruzovyja cviaty" is a lyrical song from Dzvina river region, romantic and touching, which sings about the very beginning of love between two people. And the song "Oj luhom idu" is a spring song from the territory of modern Poland, from Podlasie region, which tells about the life of a married woman, about the fate that may befall her and how it can be experienced. All of them are about one's own feeling of the present time, one's life, about personal life
experience, but at the same time - about universal human contents and meanings that exist outside of time.

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19,75
LUC-HUBERT SEJOR - MIZIK FILAMONIK: SPIRITUAL SOUND

180 G. BLACK VINYL WITH LINER NOTES IN CREOLE, FRENCH, ENGLISH

Originally released in 1979, "Spiritual Sound" lives up to its name, a soaring, triumphant album, six tracks of spirit magic from Guadeloupe.

Telluric, intense, terribly alive, the gwoka drums of Guadeloupe carry the identity of a painful and fervent island. Marked forever by the crime of slavery, Guadeloupe's créolité cherishes the ka drums and their natural environment: the low-pitched boula drum with male goatskin, the high-pitched soloist makè drum with female goatskin, the chacha, ti bwa, triangle, calabash and other percussion instruments that surround them, and the voices - the fiery, proud, timbred, urgent voices of the gwoka.



This album is also a legend for its voices: in his then dazzling youth, singer Lukuber Séjor was one of the first gwoka artists to largely feminize the chorus of répondè, who converse with his text delivered in a straight and powerful voice.

And everything here sets new standards. In 1979, Mizik Filamonik - Spiritual Sound proclaimed a spiritual patriotism of ferocious intensity. The album by Lukuber Séjor - whose spelling alone is a battle - sets out to give Guadeloupe the intangible weapons of self-respect and self-knowledge, through a singular practice of traditional music.

The genesis of gwoka music is less straightforward than one might imagine... The drums performed the servile task of accompanying the work of slaves in the fields and during the “corvées” imposed by the administration, before being freely practiced by the common people after the abolition of 1848. At the heart of the conviviality of the Guadeloupeans furthest from the cities - geographically and socially - the gwoka drums come out for carnival, funeral wakes and neighborhood celebrations, but also during strikes, fits of anger and armed vigils of the riots and revolts that have punctuated the island's history. For generations, governors of the colony and then the prefects of the overseas department of Guadeloupe have been viewing the gwoka as a potential for turbulence and a threat to public order.

But as the Beatlesmania, “chanson engagée” and rock revolutions unfolded in Europe, young people turned to the drums of mizik a vié nèg (“bad negro music”, in Creole), which Guadeloupeans had learned to despise by following the “assimilation” process advocated by the school system and most of the political class. At the end of the sixties, in a Guadeloupe mourning the deadly repression of the May 1967 social movement, they played traditional music, refusing to wrap it up in tourist prettiness and madras folk costumes. Instinctively, they played a rough and contemporary gwoka, led by the incendiary Guy Konkèt. This was the era of decisive 45 rpm records such as Robert Loyson's Kann a la richès, which brought to light the fieriest words of union rallies.

At his home in Sainte-Anne, Lukuber Séjor played with flautist Olivier Vamur and his brother Claude Vamur, who cobbled together a drum kit from tin crockery and became, a few years later, the most influential drummer in Kassav'.

These were the years of the Bumidom program, when young Guadeloupeans were encouraged to emigrate to mainland France. At the age of twenty, Lukuber Séjor embarked on the liner Irpinia, disembarking at Le Havre and taking the train to the Gare Saint-Lazare - the route taken by thousands of young West Indians who went on to study or looked for work, all the while trying to maintain a link with their homeland. In this case, it's at the Antony university residence, where Lukuber played the drum and participated in a thousand gwoka updates and aggiornamentos, while exile reinforced the need for a spiritual link with the native land.

In 1978, Guy Konkèt played at the Salle Wagram, a historic event for West Indian music. After serving as répondè - i.e. backing vocalist - on one of his home-recorded albums, Lukuber joined his live band. Little by little, he became one of the key artists on a circuit parallel to French show business. At a student party in Caen, he met a young woman from Martinique who, at the time, was more motivated by her ambitions as a visual artist than by her vocation as a musician. Her name was Jocelyne Béroard and, a few years before she plunged into the Kassav' adventure and became the greatest West Indian singer of her generation, she designed the cover of Lukuber Séjor's LP.

This ambition was obvious and imposed its will. A more or less regular band was formed, with Roger Raspail, Rudy Mompière and Éric Danquin on ka drums, Claude Vamur on ti bwa, Olivier Vamur and Françoise Lancréot on flutes and Annick Noël on keyboards. Lukuber Séjor is set on wanting to extend the gwoka palette to other instruments, as the jazz-rock revolution opens a thousand new doors. Annick Noël will play a wide range of timbres and textures on electric piano and synthesizer. Another novelty: the répondè are two men and two women, Roger Raspail, Olivier Vamur, Françoise Lancréot and Maryann Mathéus ...

Mizik Filamonik - Spiritual Sound is a self-production in which the singer and leader sank all his savings, allowing him no more than a single day in the studio. The first side is more of a musical manifesto, with the first two tracks, Éritage and Penn é plézi, being instrumentals. The third, Son, forcefully celebrates the need for Guadeloupeans to connect with the gwoka. In fact, Jocelyne Béroard's cover shows a tambouyé in the shadow of a cloudy sky, against which a radiant sun is rising and whose light will soon flood the entire landscape. The silhouette and face of this man strongly evoke the immense Vélo, master of the ka, rejected at the time on the fringes of society.

The second side of the LP is surprising. Formally, three tracks are explicitly linked like the three parts of a triptych. Primyé voyaj evokes the appalling tribulation of Africans deported as slaves to Guadeloupe; dézyèm voyaj speaks of the Bumidom program and the economic, political and social forces driving young Guadeloupeans towards the mirage of prosperity in France; twazyèm voyaj closes the cycle with the emigrants' return from Europe after years away from their island...

This gwoka, obsessed with the need to save Guadeloupe spiritually, appeals far beyond the politicized audience. Mizik Filamonik - Spiritual Sound instantly became a classic, although Lukuber Séjor never really made a career for himself as a musician.

After all, the album was released in 1980, with no promotional resources in France or Guadeloupe - and therefore no concerts. The thirty-two-year-old author, composer and performer made his own third trip back to Guadeloupe. He set up a small woodworking business, which he lost in Hurricane Hugo in 1989. His other activity, teaching in a medical-educational institute, became the core of his professional life. He continued to be an active campaigner - a campaigner for the Creole language, a campaigner for the reawakening of identity, a campaigner for special education, a campaigner for a thousand causes that he ignited with his generous and perceptive enthusiasm, such as the defense of breadfruit fries...

The echoes of his 1979 album have not died down. Of course, the use of Penn é plézi as the theme tune for Radio Guadeloupe's funeral notices from 1980 to 1992 kept him in the collective memory, but he continues to sing and compose sporadically, as with his all-female

vocal group Vwapoulouéka... Still convinced that music is a means of liberating the spirit, he continues the journey of a young man eager to deploy the power of Creole music and language.

Bertrand Dicale

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19,75
MARKENO - DOCK LOWN LP

Markeno

DOCK LOWN LP

12inchRN021
RANDOM NUMBERS
29.04.2025

We all remember with mixed feelings the past two years of domestic isolation: a temporary anomaly in which the world had to adjust to a new routine, a new rhythm. In these daunting yet precious circumstances, Italian producer Markeno has found his rhythm back, dusting off old records and re-approaching his past musical love affairs that he believed to be long forgotten. Here, in the fertile limbo that connects past and future, “Dock lown (exploring)” is born: a 3-tracker release with a chameleonic nature and an undeniable groove, in which Markeno is able to tactfully combine different genres such as indie, post-rock, African mu- sic, electro and funk.

In the contemporary music scene, overly saturated with catchy melodies and seductive lyrics, it is refreshing to encounter a composition like “Fase 01”, which starts from a purely percussive structure. Just when the ear is settled and well inserted into the tangle of drums, here comes the melodic twist, no less than at the fourth minute, injecting an unexpected groove and chalking out the contours of a track with multiple personalities: a little esoteric, a little synth-wave, quirky and badass. The temperature rises with “Zona Ros- sa”, in which the electro hint sketched in “Fase 01” becomes more pronounced, opening the doors to a dense psychedelic scenario. A shamanic loop accompanies the electric bass and escorts us through the smoke of the bonfire, veils swayed by the wind and colored lights that sparkle in the night. The ritualistic humming of ‘’Zona Rossa”’ is still hearable, floating in the rarefied atmosphere, while the last track “Limbo” makes its entrance and confirms once again the poliedric but congruous essence of this release, whose percussive attitude lures you in and whose hypnotic and groovy body makes you stay. At least for one more dance.

Sara Berton

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18,87
Immortal Onion - Technaturalism (LP)

Immortal Onion haben sich als eine der aufregendsten Acts der neuen polnischen Jazzwelle etabliert. Ihr einzigartiger Stil geniesst internationale Anerkennung, was sich in Gigs in 25 Ländern Europas und Asiens widerspiegelt. Die neue LP "Technaturalism" geht über Jazz hinaus und bietet eine fesselnde Mischung aus elektronischer Hardstyle-Energie und zarten, lyrischen Momenten, in der die Band moderne Technologie mit organischer Sensibilität verbindet. Das in Eigenregie geschriebene, aufgenommene, produzierte und gemischte Album gab ihnen die Freiheit, einen wahrhaft originellen Sound zu kreieren. Das Vinyl wurde von Stefan Betke bei Scape Mastering gemastert.

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33,57
INDEX FOR WORKING MUSIK - WHICH DIRECTION GOES THE BEAM

In this post Sounds world, the boundaries of Post Punk have not only broadened but splintered. And over the course of (now) four releases, Index For Working Musik have seen to using the sprawling boundaries to great effect, flexing a polyglot of styles to convey the language of the moment. On Which Direction Goes The Beam, the murky, distant ambience that was 2023's Indexé has been fleshed out, incorporating everything from the Brian Aldiss laced, ground lightning shudder of Dome, to the chamber-like arrangements of This Kind Of Punishment. There's even a candle flickering in the window for Think Fellers Union Local 282 that warmed these ears. And if you're a fan of the great Dutch band, Trespassers W (who isn't?), the collective consciousness IFWM enunciates on here is a similar testament of a band growing more sure footed in the pursuit of not only knowing all the ways in, but carving a few of their own on the way out. And it's discerning releases like Which Direction Goes The Beam that keep us in the hunt. Long may they forge. - Tom Lax. RIYL: Brian Jonestown Massacre, Velvet Underground, TOY, John Cale, Wire, Dome

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16,18
Flower Storm - Seh

Flower Storm

Seh

12inchFS003
Flower Storm
22.04.2025

Flower Storm returns with Seh, the third chapter in its unfolding mythos. If Yek was the first winds and Do the deepening of the spell, Seh is where the storm fully takes shape--five slabs of sonic metal, smithed in rhythm and ritual. Sepehr and Kasra V continue their excavation of Iranian folklore through contemporary club mutations, where thunderous percussion and hypnotic cycles push deeper into a space where myth becomes motion. The rhythms continue forward, but the past lingers in the echoes--deities flicker between pulsing machine sequences, time loops and fractures, and tension builds like an incantation. Trance-inducing polyrhythms collide with shadowy textures and melodies stretch and distort like time folding in on itself; the storm rages on. When it rains, it pours.

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16,39
Tommy Vicari JNR & Loopdeville - Celestial Dance EP

Foxtail Records delivers its first vinyl release with a true soundtrack for the skies of heaven.
Celestial Dance EP by Tommy Vicari JNR and Loopdeville. A 4-track journey through celestial soundscapes, this release is a cure for the heart, pulling you into a dreamlike, cosmic realm.
Join us on this journey.
The stunning artwork comes from legendary Japanese painter Suyama Masaru, capturing the essence of freedom and escape-how our souls truly feel.

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14,08
Various - Bushwick Kindergarten

"Bushwick Kindergarten" An EP that encapsulates the gritty charm of the European underground house scene. Dive into Side A with Andrade's pulsating beats, kicking off with "Kubernetes" and following up with "Content Security Policy," a track to secure your sonic journey.
Side B features Dragosh's hypnotic "One Way," culminating in Fabrizio Siano's soul-stirring "Control Your Emotions," a track that does exactly what it promises.

This is more than just a vinyl; it’s a passport to the raw energy world of minimal house. Are you ready to groove?

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11,98
Mihai Pol - Nineteen EP

Mihai Pol

Nineteen EP

exclGRF001
Griffith
17.04.2025

Introducing Griffith’s debut release, "Nineteen EP" by Romanian artist Mihai Pol. Known for his instinctive approach to groove and atmosphere, Mihai crafts music that feels organic and immersive, drawing subtle influence from the world around him.

At the heart of the release is "Nineteen", a long-awaited gem produced in 2020. Defined by a hypnotic groove and a striking synth that almost sings like a human voice, the track has become one of Mihai’s most anticipated cuts, impossible to forget once heard. Alongside it, three equally refined productions complete the EP, each carrying his signature rolling energy and deep, immersive flow.

A great first step for Griffith, with plenty more to come.

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12,56

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Franco Falsini , Saverio Celestri - Operation Timeframe EP

”Operation Timeframe” is a fusion of styles between two artists who have made waves in their careers: Franco Falsini and Saverio Celestri. On one side, we have a pioneer of electronic music; on the other, the product of years of evolution.

Franco has a rich musical history and a diverse array of influences: starting from progressive rock and arriving at electro-pop, he approached electronic music with a substantial musical background. After founding and participating in various bands across the United States and England, he collaborated with the renowned record label Polydoor. In the early 1990s, he combined his skills as a guitarist and producer, beginning to perform worldwide. In track A2, “A Molecular Affair,” you can clearly hear this blend, which transports us back a few decades and lets us savor a gem deeply rooted in a quality-rich past.

Saverio also had an initial approach to electronic music partly rooted in rock, though more toward alternative rock. Moving to Berlin at a young age, he developed his sense of electronic music in a city teeming with inspiration. Here, he combined his background in electronic, pop, and rock to create brilliant tracks that captivate dance floors worldwide with his Electro, EBM, Synth-Pop, and more. With the B1 track “Veleno,” Saverio follows in the footsteps of his friend Franco, closing the album with “Traveling,” a track structured in Synth Pop, enhanced by the crystal-clear voice of Brazilian artist Lourene.

This is a record that focuses on that frame in which the two artists perfectly align their past and future, projecting it directly into the present, as only two geniuses can.

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14,24
Various - Caleto Sampler 03

Various

Caleto Sampler 03

12inchCTRWAX008
Caleto Records
11.04.2025

Caleto Records proudly presents the 8th vinyl release ! This time V.A compilation "Caleto Sampler 03" with only Polish producers !! Etat Cru duo (Olszewski and Pawlescu) , Jerry M , Robsessive and SIM.ON
100% made in Poland ! Limited copies !

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10,88
Funky Trip - Alpha EP

Black Vinyl Repress

We have a proud introduced 4th vinyl-only release from our original series, featuring Romanian artists Funky Trip with two original cuts and Barac on remix duties. Titled “Alpha EP”, the record delivers a solid dose of inspiring minimal rhythms mastered by Mike Grinser at Manmade Mastering Berlin.


Funky Trip stands out from the Romanian new wave of electronic music producers, exploring an endless universe of distinct sounds and emotions reflected on his releases with Rawax, Nazca, Stamp Records, Artreform and others. On this EP, he invites acclaimed local artist Barac of Moment Records to join in and leave his fingerprint on the title track, laying out a soothing rhythm influenced by psychedelic elements.

Side A opens with the title track, “Alpha”, an immersive minimalistic composition powered by dreamy background atmospheres, swinging drumming patterns, a solid wobbling bassline and mysterious vocals that seamlessly intertwine with tension-building chords and breathing moments. Following, “Dreams” gets a bit more groovy, focusing on the percussion, the punching keyboard stabs and the phased effects that run throughout the track, all while having a subtle touch of melancholy radiating from the piano and complementary layers.

On the flipside, we find Barac‘s reinterpretation of A1 dropping a twisted progressive sound that constantly evolves as wave upon wave of spiralling synths and chugging drums mix in a massive dancefloor tool perfect for peak-time moments at any party.

Artwork by Jose Alvarez


Early support by Gescu, Sepp, Nu Zau, Mihai Pol, Sublee, Charlie, Lumieux, Tania Vulcano, Costin RP, Iuly.B, Crihan, Primãrie, Zenk and more..

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12,56

Last In: vor 16 Monaten
X-Plode - First Of Many / Watch This Go

At the start of the 1980’s X-Plode’s dad had a second-hand colour TV business in Bolton, Lancashire where he would buy, sell, repair and trade TVs. He would come back home with all kinds of things he had traded for a TV but the most memorable, to a 10 year old kid at that time, were the keyboards. He use to watch his dad play songs from the 1960’s on these keyboards and when his dad had gone out, Lee X-Plode would sneak on them and start messing about, experimenting with the drum programs and fiddling with the buttons, trying out ideas. He had to move fast though because these keyboards didn’t stay in the house for long as his dad would trade them again for something else; one time that was an old analogue echo chamber, which Lee also messed about with when his dad was out. That echo chamber was a revelation to Lee and opened up the possibilities of what was possible with sound. So by the time Lee was 16, he decided he wanted his own keyboard and started saving. When his 17th birthday came around he had saved up £200 and visited his local Argos where he bought himself a Yamaha PSS 680, an FM synthesizer with memory banks and a basic drum machine incorporated. ‘It was shit quality like, but I didn’t mind. I just wanted it for the programmable drum machine, the synth and the memory banks that came with it” Lee recalls. The year was 1987 and by this time in Lee’s life he was into reggae and hip hop, the latter he first embraced in 1983 by the way of breakdancing and listening to electro, so all he wanted to do when he got his gear was make reggae and electro sounding beats. Recalling his youth and the fun he had with the echo chamber, the next edition to his home set up was to acquire one of those, which he did via a mate of his. But by the time he got his minimal set up sorted in 1988, his musical tastes had changed. House music had landed here in UK and this was Lee’s new passion, so from that point on wards he started experimenting, trying to nail a decent house groove. ‘I wanted 808 sounds, but I didn’t know what one was!’ Lee explains.

Around late 1990 or early 1991, Lee started to improve upon his set up, purchasing an Atari STE, a Cheetah MS6 , a 6 voice polyphonic/multi-timbre analogue rack mounted synth that linked up to his Yamaha – “It wasn’t a great bit of kit, I kept getting electric shocks from it. Eventually it just blew up!” Lee had acquired a cracked copy of Cubase on floppy disk from his local computer game shop but struggled with it. “It was so complicated to understand and took me ages to get used to it. I was stoned a lot back then and I just couldn’t concentrate on anything for long” Lee laughs, continuing “I also picked up a 4 channel sampler/sequencer which plugged into the side of the Atari and that’s when I first started sampling, I think this would have been late 1991. I had the Simon Harris ‘Breaks, Beats and Scratches’ vinyl that he put out on Music for Life which were a godsend back then. I was also sampling a lot from cassette tapes, especially reggae. I would also record the Stu Allan show on Key 103FM, one of the main stations broadcasting out of Manchester. He would do a 3 hour show with hip hop and house, and then hardcore house came along. Eventually he dropped the hip hop altogether and it was just house and hardcore. I recorded the shows onto cassette most weeks and started to learn more about how house and hardcore was put together by listening to those shows.”

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16,18
Unspecified Enemies - Romance in the Age of Adaptive Feedback

Unspecified Enemies, the project led by Louis Digital (Numbers, Counterattack, Arcola) present their debut album Romance in the Age of Adaptive Feedback.

Written and produced by Louis Digital, the album incorporates fragments of music data generated by long-time collaborator CiM (Ann Aimee, Delsin). Describing the title track, Louis Digital states:

“It’s the microelectronic sound of a city playing strange light games with itself, evoking bitcrushed desires and floating images, an urban phantasy stored on the broken circuits of an Ensoniq ASR-10.”

The origins of Romance in the Age of Adaptive Feedback trace back to 2006, when Louis Digital launched Diamond Sea, a series of events at London’s ICA that introduced the Unspecified Enemies project and a label called City of Quartz. The vision was to merge the hi-tech electronic textures of contemporary R&B with the sampling and sequencing techniques of pioneers like Anthony Shakir and Soundhack. However, the music was lost in time, and City of Quartz never released a single record.

Yet, the story took an unexpected turn. At one of these events, Spencer from Numbers received a CD containing early recordings. Years later, Numbers encouraged Louis Digital to reconstruct the lost music for an album. The result is a work resurrected from the past and reimagined for the future—retrieved in fragments from a broken Iomega Jazz SCSI Drive.

Expanding on the album’s themes, Louis Digital reflects:

“By the late ’90s the cinematic image of Los Angeles and the sound of Detroit techno had crystallised a new style of living in time and space. In 1997 Mike Davis — the political activist, urbanist, writer and historian of Los Angeles — suggested that it all had “something to do with a microelectronic aesthetic of very transient and decaying states”. It was a romantic vision — one where the city’s glass surfaces reflected a musical desire for futurity not yet dominated by data-driven corporate life. These were strange days to live through. This album evokes the embers of this fibre-optic moment, when urban revolution in an age of digital reification still felt possible.”

The album features full sleeve artwork and a poster designed by Ben Drury. In support of the release, an NTS show titled Romance and Reification will explore the cinematic and electronic music influences behind the album.

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19,96
Akae Beka x Chronixx - Black Carbon

Before Zero Records present the Akae Beka Vocal and Version Series. This represents a turning point in the presence of Vaughn Benjamin, the voice of Akae Beka and Midnite’s presence in the sound system world, merging the vocal and version sound system culture with the deeply spiritual music and word sound of Akae Beka and Tippy I Grade.

Two of the deepest thinkers in reggae music, Vaughn Benjamin and Chronixx, trade reflections on their collaboration, ‘Black Carbon.’ Originally released on the 2021 album ‘Polarities,’ the song is available for the first time as a vinyl single, backed by its dub version. Adorned with the swirling flute of Sheldon Bernard (Beres Hammond, Harmony House) and David Pransky’s brittle, Kora-like mandolin, the twin reggae intellects, with their uniquely delicate voices, introspect on how ‘all ah we forward from the same carbon.’ The song’s message juxtaposes the unity that binds us with a critique of the prevailing narratives and structures that weaken this bond. It underscores the universal truth that we all originate from the same elemental blackness—a truth mirrored throughout humanity and the entire spectrum of creation. Yet, it pointedly highlights how this shared essence is often unrecognised or undervalued in the social and political realms, especially for nations and diasporas connected by the original human hue. The A-side vocal mix is followed by Tippy I’s lavish, questing dub, bringing the instrumentation to the fore. Produced by Vaughn and Zion I Kings.

Each 7” vinyl sleeve has the lyrics transcribed and printed on the back. This series represents more than a collection of music; it is a multifaceted, intellectual and spiritual revelation encapsulated in melody, tone and beat. The never before released dub versions complement each vocal mix with grace and innovation, creating the perfect settings for reflection and integration of the lyrics.

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11,34
Akae Beka x Tiken Jah Fakoly - Everything Bless

Two lyrical and spiritual forces meet, as Akae Beka and Ivorian veteran Tiken Jah Fakoly awaken the profound realisation that all is inherently blessed, encouraging us to accept life as it unfolds. Produced by Zion I Kings, Everything Bless is a gentle yet powerful reminder to embrace the present moment, cherish the divine connection with our spiritual kin, and nurture inner peace and contentment. Vaughn Benjamin meditates on the need for both determination and trust, while the ancient voiced Tiken sings in Bambara, over Mamadou Sidiki Diabate’s cascading Kora, reassuring that Jah will guide. The accompanying dub version pares down drums and vocals, maintaining the same sense of joy. Taken from 2021’s album Polarities, Everything Bless is released as a seven inch vinyl single for the first time on via Before Zero Records.

This series honours both the vocal and version culture of the reggae sound system and the profound lyricism of Vaughn Benjamin. We have consistently received two requests in relation to releasing the LPs: "Can we have dub versions?" and "Where can we read the lyrics?" Our response is the 'Akae Beka - vocal, version and word-sound collection.' Before Zero Records worked with Tippy I Grade to mix a series of dub mixes from a carefully curated selection of his extensive works with Vaughn Benjamin. The vocal and corresponding dub mixes were then cut to wax by Lewis Hopkin of Star Delta and wrapped in a collage made of Ras Marcus's artworks, which he crafted for various LP covers of Vaughn's works throughout the years with the lyrics transcribed and printed on the rear of each sleeve.

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11,34
CLIPPING. - DEAD CHANNEL SKY LP 2x12"

Clipping.

DEAD CHANNEL SKY LP 2x12"

2x12inchSP1575LPX
Sub Pop
14.03.2025

Because of their mix of hellified gangster shit and progressive compositions, I once jokingly called Clipping "Deathrow Tull." Well, it's not a joke anymore. While Clipping's last few projects have been record-long concepts like classic prog rock, their cyberpunk-infused new album Dead Channel Sky is mixtape-like, a carefully curated collection in which every track is a love letter to a possible present. It sounds crisp and classic at the same time. When something strikes us as retrospective and futuristic at the same time, it's a reminder of how slipshod our present moment truly is. Juxtaposing high-tech, corporate command-and-control systems (the "cyber") with the lo-fi, D.I.Y. underground (the "punk"), cyberpunk proper starts in 1982 and ends in 1999, from Blade Runner to The Matrix. Concurrently, hip-hop matured, went through its Golden Era, then melted into further forms: it went from from Fab 5 Freddy to Public Enemy to Missy Elliott. While other genres flirted with it, hip-hop was fickle and fey. Rap and rock birthed mutant offspring maligned by most, and hip-hop's relations with electronica rarely fared any better. What if someone explicitly merged hip-hop and cyberpunk - those twin suns of the '80s and '90s - into one set and sound? After all, both movements are the result of hacking the haunted leftovers of a war-torn culture that's long since moved on. On Dead Channel Sky, Clipping texture-map the twin histories of hip-hop and cyberpunk onto an alternate present where Rammellzee and Bambaataa are the superheroes of old; where Cybotron and Mantronix are the reigning legends; where Egyptian Lover and Freestyle are debated endlessly, and Ultramag and Public Enemy are the undeniable forefathers; where the lost movements of 1980s and the 1990s are still happening: rave, trip-hop, hip-house, acid house, drum & bass, big beat-the detritus of a different timeline, the survivors of armed audio warfare. Clipping are no strangers to sci-fi: two of their records were nominated for Hugo Awards (one of science fiction's top literary prizes), and a novella spun-off from their music was nominated for a third. On Dead Channel Sky, Clipping's co-conspirators include everyone from the guitarist Nels Cline, to their labelmates Cartel Madras, rapper/actor Tia Nomore, and wordsmith Aesop Rock. Diggs is known for intricate lyrics and rapid-fire rapping, and the tracks that Snipes and Hutson build in the background are no less complex. All of the above serves to give us a glimpse of an adjacent possible present, where hip-hop and cyberpunk are one culture. Binary stars are often perceived as one object when viewed with the naked eye. Like those twin sun systems, it'll take some special equipment and some discerning attention to pull the stars apart on this record. As Diggs barks on the fire-starting "Change the Channel": Everything is very important!

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28,53
Various - Yuko 02

Various

Yuko 02

12inchYUKO02
Yuko Records
14.03.2025

After a three-year hiatus, Yuko is back with a fresh release. The new offering features a vibrant mix, including two tracks from co-founder Emi Omar, one of which is a collaboration with Luje from Club Pizza. To complete the lineup, the label introduces two exciting new French talents: Chud and Vivant.

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12,19
Babs Robert & The Love Planet - Babs Robert & The Love Planet LP

360 mcn white-white light cardboard paper / one side only hand plasticization / 2 separated parts prints / hand gluing / PVC outers / original artwork / gatefold sleeve / Bandcamp limited edition 30x60 cm insert with extended liner notes by Tony Higgins and Interview with Babs Robert and Sébastien Gorlé with exclusive pictures and self-portrait by Babs Robert himself printed on GF Smith "Takeo Tant Select" Canvas Paper tip-on left jacket panel / Exclusive never released Memorabilia from Babs Robert's vault.

Personnel:
Babs Robert - alt sax, tenor-sax, electric tenor-sax, Bin Recorder, Acme siren, Chinese-bell, sleigh-bells, maracas, tambourine,hand-rattle,claves)
John Van Rymenant - baritone-sax, fluegelhorn, Bala, tambourine, sleight-bells, cowbell, triangle, claves
Johnny Peret - vibes, bongo's, cowbell, maracas, castanets, rattle-snakes, tambourine, drums, woodclock, trinagle
Johnny Brouwers - piano, prepared-piano, triangle, cowbell, sleigh-bells, maracas, caves,hand-rattle, guiro, woodblock, tambourine
Paul Dubois - bass, triangle, cowbell, claves, rattlesnakes, hand-rattle, woodblock, tambourine
Michel Gobbe - bass,Chinese-bell, claves
Robert Pernet - drum, tambourine, seven-notes M'Bichi, guiro, alarm-siren, home-made metal xylophone, African telephone-drum, triangle, sleigh-bells, Siku

Notes:
Despite its modest role on the world stage, Belgium has produced a number of internationally renowned musicians and composers. There is the iconic gypsy jazz guitar maestro Django Reinhardt, whose position remains unassailable, and guitarist/harmonica player Toots Thielemans, who became an internationally renowned artist performing and recording with Bill Evans, Oscar Peterson, Ella Fitzgerald, Peggy Lee, Shirley Horn and Quincy Jones. The other key Belgian figure is composer/arranger Francy Boland, co-leader with US bebop drumming legend Kenny Clarke of Europe's leading big band of the 60s, the Clarke-Boland Big Band.

The Love Planet performed in the main clubs of Brussels, such as Blue Note, Pol's Jazz Place, and Smog as well as in major musical events throughout Belgium including to big festivals in 1969 - the Avant-Garde Festival in Ghent and the First International Jazz Event in Liege – where the Love Planet shared the bill with Miles Davis - and the Bilzen Jazz Festival in 1970. The contrast between the musical architecture of the themes and sonic freedom in the improvised playing perfectly illustrated the polymorphism – an order within disorder – which the Love Planet aimed for.

The initial original quartet line-up was Babs Robert (sax), Paul Dubois (bass), Johnny Brouwers (piano), and Johnny Peret / Robert Pernet (dru- ms). On the album session, the quartet was augmented with the addition of John Van Rjimenant (saxes) and Michel Gobbe (bass). As well as their main instruments, the band members also played an array of unusual instruments, principally percussion. This is the first official re-release
of the 'Babs Robert and the Love Planet'. Original copies of the album fetch many hundreds of Euros on the collecting circuit and it remains a curious and fascinating window into a moment in time that still resona- tes some fifty years later. Come with us to the Love Planet. (Tony Higgins)

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33,82
Edictum - A Cosmic Scale

The album’s title deftly gestures to the sheer vastness of astronomical dimensions, while simultaneously capturing the musical breadth within, where the eight planets are imagined as the eight notes of an octave. The work draws inspiration not only from earlier compositions —most notably Gustav Holst’s The Planets—but also from the rich astronomical and cultural contexts surrounding these celestial bodies. Here, the focus transcends direct citation of melodic motifs, instead embracing an intriguing conceptual approach on a meta level, unfolding in a series of vividly contrasting soundscapes. These contrasts shape a sweeping sonic journey, one that fully embraces the album format with both arms, inviting the listener to venture into realms both strange and wondrous, feeling the immensity of the interstellar space that lies between them. Contrast, after all, is the brushstroke that enriches our world.

Embarking on an auditory voyage, "Astral Guide" establishes the sonic framework that propels us into the boundless expanses of the cosmos. Its ethereal tones evoke the vastness of space, crafting a mood ripe for exploration within the realms of sci-fi. The subsequent tracks unfold like constellations, weaving a rich tapestry of sound that seamlessly marries cinematic soundscapes with pulsating, club-oriented rhythms. This album invites listeners to traverse its immersive landscapes, whether nestled in the comfort of home or dancing under the starlit sky, each note a guide through the transcendent experience of a nocturnal journey.

"Solar Flares" draws its inspiration from the awe-inspiring expanse of solar phenomena, capturing the majestic power of the sun as it reaches into the cosmos. This track resonates with the idea that energy, while vital, can also be a force of destruction when unleashed with overwhelming intensity. The composition beautifully mirrors the sun’s duality, where brilliance and devastation coexist, inviting listeners to reflect on the delicate balance between creation and annihilation. Through its rich textures and dynamic shifts, "Solar Flares" serves as both a homage to the celestial and a poignant reminder of nature's formidable power.

"Mercury – The Winged Messenger" embodies a meticulously crafted soundscape where artistry meets astronomy. The tempo of 173.6 BPM, derived from precise astronomical data, propels the composition into a vibrant realm that resonates with cosmic energy. Synthwave sound design intertwines seamlessly with the fluid rhythms of Drum’n’Bass, imbuing the piece with an uplifting dynamism that evokes the ethereal grace of Mercury itself. In this sonic exploration, listeners are invited to ascend on wings of sound, navigating the celestial tapestry of the universe with each invigorating beat.

"Venus, The Bringer of Peace" strikes a decidedly cozy note, presenting a poignant contrast to the more tempestuous themes often found in cosmic narratives. This composition evokes a nostalgic vision of an optimistic era, one in which humanity transcended borders and embraced the infinite possibilities of space exploration, where no destination felt too distant. The dense, languid atmosphere envelops the listener, creating a tangible sense of serenity that unfolds gradually, allowing for a meditative journey through sound. Each note serves as an invitation to linger in this tranquil embrace, reflecting on the harmonious potential of our collective aspirations and the beauty of connection in a vast universe.

The central theme of „Gaia, The Bringer of Life“ —originally not part of the planetary cycle— is the profound enabler of life on Earth. The arrangement delicately mirrors the slow, tentative unfolding of this potential, marked by an initially sparse orchestration that gradually builds in momentum. This progression crescendos, embodying the explosive dynamism of the Cambrian burst of life, ultimately culminating in a euphoric fanfare—a triumphant, celebratory flourish echoing life’s victorious emergence.

"Blue Moon" unfolds as a contemplative reverie on the tranquil clarity of a night sky, now seldom glimpsed in its natural purity, unclouded by the relentless haze of urban light. The listener is drawn into the vast embrace of the star-strewn firmament, a journey that sways between euphoric awe at nature’s sublime beauty and a profound melancholy for its fragile and imperiled state. Musically, this duality finds expression in the delicate interplay of modal mixtures, while an ever-shifting triplet groove, poised at the intersection of Outrun and melodic house, lends a pulse that is both nostalgic and forward-looking—echoing the beauty and transience of a world on the brink.

Rather than replicating the original composition of „Mars, The Bringer of War“, this interpretation seeks to evoke its profound, foreboding atmosphere. Cyberpunk emerges here as an ideal genre, channeling the dark, relentless march synonymous with Mars, the ancient god of war. The piece reverberates with intensity, as distorted vocalizations rise, embodying the anguish and visceral torment that shadow war’s violent crescendo. This auditory descent into conflict captures the relentless pulse of warfare, where sound itself becomes an embodiment of suffering and fury.

Majestically, "Jupiter, the Bringer of Jollity" emerges on the celestial stage, sweeping away the somber tones with its radiant vigor. Drawing inspiration from the triumphant strains of the original, and borrowing a melodic motif in the refrain, the piece expresses joy and buoyancy through a shift to a major key and the lilting sway of a danceable 12/8 meter. Spirited and exuberant, it leaps boldly from major to minor and back again, playfully shifting time signatures to capture a mood of unbridled festivity and jollity.

Here, a more conciliatory concept is chosen than in the original inspiration. „Saturn“ aligns with the number six, being the sixth planet from the Sun and bearing the iconic hexagonal pattern at its northern pole. What, then, could be more fitting than to render this piece in a 6/8 time signature? The arrangement unfolds with a multifaceted richness, mirroring the countless stones and ice fragments that form the foundations of Saturn’s majestic rings.

„Uranus“ adopts the theme of a light-footed, dancing instrumentation, giving the impression of perpetual motion, never quite settling. This musical choice harmonizes with the planet’s own orbit, as it spins with breathtaking velocity, teetering and swaying, seemingly unable to attain rest or stability.

The chill and vastness of the cosmos find expression in „Neptune, The Mystic“. At its core, an electronic soundscape envelops a classical arrangement, its unreachability intensified by an ethereal, otherworldly choir. Hovering at the outermost boundaries of the solar system, where warmth is but a distant memory, the composition lingers in a slow, contemplative tempo, evoking a realm where space for speculation stretches wide and silence reigns supreme.

Though Pluto may have lost its planetary status, and its companion Charon never achieved one, this shift in classification subtly aligns with the cosmic scale invoked here—one that mirrors the musical tradition of an eight-note sequence. Fittingly, the album closes with „Kuiper Belt“, a composition emblematic of the turbulence and vitality of countless smaller

celestial bodies that, though diminutive, find their rightful place within the vast architecture of the solar system.

They say nature is the greatest composer, shaping the universe with a symphony of chaos and order, beauty and danger. It is this duality that fuels the artistic vision of Edictum—a producer who, armed with a doctorate in chemistry, delves as deeply into the mysteries of molecules as he does into the depths of sound. In the tension between the vastness of the cosmos and the microscopic processes that dictate life’s rhythm, Edictum creates sonic landscapes that dissolve the boundaries between science and art.

His music is a story of contrasts—a sonic tale where the raw forces of nature clash with the intricate structures of human culture. Opposites intertwine to form a harmonious whole: the primal rhythms of the earth meet the celestial melodies of the cosmos, the rigid laws of physics blend with the boundless freedom of art. Edictum explores these polarities with meticulous devotion, each composition an expedition into uncharted soundscapes—a quest to give voice to the unfathomable.

With over 20 years immersed in the realms of electronic music, Edictum has honed a keen sense for rhythm and movement. His driving beats compel both body and mind into a hypnotic flow. Yet beyond the pulse of dance lies a complex framework of conceptual thought. Today, his creative focus revolves around holistic album projects—self-contained worlds with overarching narratives that embrace contrast and complexity. Each track stands alone as a fragment of the whole, but together, they weave a cohesive tapestry, much like the chapters of a novel that guide the listener on an emotional and sonic journey.

Edictum’s distinctive musical signature has earned him international recognition. With over 150 releases, many on prestigious platforms like the iconic *NewRetroWave* label, and collaborations with artists such as Jan Johnston, Azumi Inoue, Powernerd, and Turbo Knight, he has solidified his place in the global electronic music scene. His latest work, *A Cosmic Scale*, marks his seventh vinyl album and is released under his own label, *Echoes of Expanse*. The label’s name is no coincidence—it captures the essence of his art: echoes of infinity, the vibrations of the universe distilled into a singular sonic experience that carries the listener ever further into the boundless expanse of sound and space.

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22,90
Insolate - Full Disclosure LP 2x12"

Insolate unveils the 'Full Disclosure' album, arriving 7th March 2025 on her Out Of Place Records, released on digital and double record vinyl. It's the Croatian artist's second full-length release, already supported by the likes of Rodhad, Stephanie Sykes, and Nastia, following 2019's 'Order Is Chaos' on the label and its subsequent remix album, which featured reworks by Ben Sims, Pfirter, Sev Dah, Amotik, Under Black Helmet, Volster, ASEC, and Flamina.

"'Full Disclosure' is a reflection of who I am today. It represents the music I love to play, featuring high-energy bangers alongside functional tracks while experimenting with chords, vocals and melodies. As the title suggests, Full Disclosure is about openness, transparency, and revealing the full truth of who I am as an artist" - Insolate

'On Your Knees' starts Insolate's 'Full Disclosure' LP with rolling dub-infused rhythm drenched in a subtle but potent 303, an otherwordly vocal providing a tripped-out vibe. Closing out the A-side is 'Stand Strong', a pacey groove with an effective vocal sample and well-swung drums shot through with razor-sharp stabs.
On the flip, Insolate teams up with Croatian guitarist PEP for 'The Proof', a real banger that marks his debut in Techno production featuring mind-melting arpeggio sequences and a shadowy atmosphere. This is before 'Survival Symphony' strips things back via minimal drum work and electrifying synthlines that build in intensity.

The title track of Insolate's 'Full Disclosure' album, perfect peak-time cut 'Full Disclosure', continues with glitchy sequences, a bass bin-shaking groove, and another high-impact vocal sample. The aptly named 'Playground' then picks up speed with racing drums and rattling percussion while synths wriggle around playfully, followed by 'Big City', which features hauntingly enchanting melodies laid over bubbling arps and a steady beat. Insolate's 'The Biggest Fan' is another rave-ready trip with carefully crafted polyrhythms which won't fail to hypnotise the dancefloor before 'Ocean of Tears' closes out Insolate's stellar long-player via a captivating vocal harmony and acid-soaked 909s.

Since 1997, Insolate has become synonymous with the Croatian Techno scene via her HUSH! and TRAUM event series and her Osijek-based Out Of Place record label that's spotlighted artists like Anne, Francois X, and many more. She has built an impressive international career that's led her play at Berghain, Rex, and Tomorrowland, while her productions have seen her win the support of titans like Laurent Garnier and Ben Klock and join labels such as Luke Slater's Mote-Evolver and Bpitch.

'Full Disclosure' is a masterful body of work that shows the complete wealth of Insolate's talent and two-decade-long experience in Techno.

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20,59
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