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Like every record Superchunk has made over the last thirty-some years, Wild Loneliness is unskippably excellent and infectious. It’s a blend of stripped-down and lush, electric and acoustic, highs and lows, and I love it all. On Wild Loneliness I hear echoes of Come Pick Me Up, Here’s to Shutting Up, and Majesty Shredding. After the (ahem, completely justifiable) anger of What a Time to Be Alive, this new record is less about what we’ve lost in these harrowing times and more about what we have to be thankful for. (I know something about gratitude.

I’ve been a huge Superchunk fan since the 1990s, around the same time I first found my way to poetry, so the fact that I’m writing these words feels like a minor miracle.) On Wild Loneliness, it feels like the band is refocusing on possibility, and possibility is built into the songs themselves, in the sweet surprises tucked inside them. I say all the time that what makes a good poem the “secret ingredient” is surprise. Perhaps the same is

true of songs. Like when the sax comes in on the title track, played by Wye Oak’s Andy Stack, adding a completely new texture to the song. Or when Owen Pallett’s strings come in on “This Night.” But my favorite surprise on Wild Loneliness is when the harmonies of Norman Blake and Raymond McGinley of Teenage Fanclub kick in on “Endless Summer.”

It’s as perfect a pop song as you’ll ever hear sweet, bright, flat-out gorgeous and yet it grapples with the depressing reality of climate change: “Is this the year the leaves don’t lose their color / and hummingbirds, they don’t come back to hover / I don’t mean to be a giant bummer but / I’m not ready / for an endless summer, no / I’m not ready for an endless summer.” I love how the music acts as a kind of counterweight to the lyrics.

Because of COVID, Mac, Laura, Jim, and Jon each recorded separately, but a silver lining is that this method made other long-distance contributions possible, from R.E.M.’s Mike Mills, Sharon Van Etten, Franklin Bruno, and Tracyanne Campbell of Camera Obscura, among others. Some of the songs for the record were written before the pandemic hit, but others, like “Wild Loneliness,” were written from and about isolation.

I’ve been thinking of songs as memory machines. Every time we play a record, we remember when we heard it before, and where we were, and who we were. Music crystallizes memories so well: listening to “Detroit Has a Skyline,” suddenly I’m shout1singing along with it at a show in Detroit twenty years ago; listening to Overflows,” I’m transported back to whisper-singing a slowed-down version of it to my young son, that year it was his most-requested lullaby.

Wild Loneliness is becoming part of my life, part of my memories, too. And it will be part of yours. I can picture people in 20, 50, or 100 years listening to this record and marveling at what these artists created together beauty, possibility, surprise during this alarming (and alarmingly isolated) time. But why wait? Let’s marvel now. - Maggie Smith

Matir Gaan is a collaboration between young Bengali migrant, Mohammed After Hussain and Italian electronic artist, Andrea Rusconi (aka Paq). The resulting album delightfully combines the ancient folk songs of Md After's homeland with Paq's cosmic synth exotica.

Mohammed After Hussain escaped Bangladesh in 2015 and arrived in Italy in 2017 after a long and dangerous journey across the Mediterranean from the violence he found in Libya. In Italy he found safety and hospitality as an asylum seeker in Rimini's Associazione Ardea, where Andrea is involved with 'Ardea Recordings' - a project aiming to create an archive of songs, stories and sounds by some of the people who spent some time with Ardea's refugee programme.

Md After was invited to sing and play the folk and village songs he knew on the harmonium and pakhawaj (two headed drum) while Andrea immersed himself in the songs providing a bed of warm Crumar synth and Veena drones to create a finished album of totally uniquela renditions of the mystic Baul folk songs known so well by people across the Bangla speaking regions of India.

The Bauls are a famous group of wandering minstrels from the region of Bengal whose culture is derived from the teachings of the early Sufi mystics and Hindu Fakhirs. The Baul devotees are considered to be mad, or possessed, with the love of God. While transcending religion the Baul compositions celebrate celestial and earthly love and expound the key philosophy of “Deha tatta” or truth in the body, epitomised by the aphorism “whatever is in the universe is in the body”. They reach for divinity here in this world and they seek to access it through music and dance. They seek spirituality in the music, they live fo r the music, wandering from village to village offering ecstatic sound waves in exchange for sustenance. Their presence remains an important part of village life in Bangladesh, and this is why Md After knows the songs despite the fact he would not consider himself part of the Baul ascetic tradition.

We hope you'll enjoy this wonderfully psychedelic album, with its unique interpretations of these ancient mystic songs from the earth.

Comes with a printed inner sleeve featuring sleeve notes and lyric translations by Brian P. Heilman

Piano, synthesizer enthusiast, composer, and arranger, Eric Borders aka Captain Supernova, makes first release under new moniker, E. Lundquist. Pushing the boundaries of funk fusion, it’s as much 70s library music, as it is Pink Floyd and The Flaming Lips at times. It often feels as if the planet is going to unfold.

Borders, born and raised on the westside of Los Angeles, is known for his cinematic and cosmic compositions that push jazz into a different time and space. ‘Multiple Images’, the debut release as E. Lundquist, is the composer's first attempt at making a Library Style record. A genre that lends itself well to the Sci-Fi and Jazz Fusion vibes that Borders has been known for in the past. The music often plays as if it is the soundtrack to something happening both simultaneously in and out of this universe.

“As we finished the record it sort of evolved from a library piece into a full fledged album with a mix of different inspirations from blaxploitation, 70s funk, soundtrack, themes, cinematic, and contemporary jazz-funk. It only felt right to break away from the fictional character and give this music a composer name as if you read it on the back of a KPM record. Then E. Lundquist was born.”

The new name pays homage to old family bloodlines, and is the last name of his biological grandfather. While Eric Borders was his given name, Borders has no actual blood relation to his family, it was the name his father had adopted from his Step-grandfather. The name of the album “Multiple Images” is an ode to one of Lundquist’s favorite Library tracks by Brian Bennett “Images”.

PETROS KLAMPANIS is a Greek bass player and when we heard his track “Chroma “on Bandcamp we had instantly the idea of a remix or working with him. The original track being live gives a sort of spontaneous vibe that really caught Alex ‘s attention and had the “edit / version” idea already in his head.

Without the shadow of a doubt this track was perfect to be remixed by a real musician who can understand complex jazz arrangement, so Jon Dixon came up. Jon loved the track too and did his thing. Two versions here for you to dive deep into jazz and electronic music. We hope you dig the sound of this project and enjoy the listening and maybe the dance experience with us. We will keep pushing forward the various styles and soulful grooves with an open mind and expand our visions.

Alex and Stephane Attias

Baby Buddha is David Javelosa and musical partner Charles Hornaday playing instruments and providing their own whacked-out vocals. Baby Buddha really was less of a band than a project; a side project in fact, for some members of another group, Los Microwaves. Baby Buddha would eventually record and release an album, 1981's provocatively-titled Music for Teenage Sex on Robbie Fields' L.A.-based Posh Boy label.

Happily, the project's guiding creative light, David Javelosa has recently seen to a vinyl reissue of the now-40-year-old record, mystifyingly retitled Music for Teenage Sects. Definitely among the stranger releases of the new wave era, Music for Teenage Sex/Sects could perhaps only have been created when and where it was made. But on the occasion of its 40th anniversary, the music sounds as weirdly wonderful as ever. "We Are Not" sounds like Human League stuck in a car with The Residents. And their cover of "All Shook Up" sounds like a musical kin to those inscrutable eyeball guys too; it wouldn't be out of place on Meet the Residents. "Little Things" is a house-of-mirrors, scary track, with spoken-word vocals by Los Microwaves' Meg Brazill and label head Fields.

The album cover is slightly different as well: it displays a bedroom scene like the original LP, but with the young female model absent. The new release (on Javelosa's own Hyperspace Communications label) is pressed on beautiful translucent blue vinyl and comes in a gatefold sleeve with a lively collage of photos, buttons, gig posters. Limited to 500 copies.This playfully titled release features David Javelosa (on synth and vocals) along with Meg Brazill (on bass and vocals) plus drummer Todd "Rosa" Rosencrans. Side One features five studio tracks, none of which were included on the band's 1981 Posh Boy LP, Life After Breakfast. Three of these tracks were recorded in '82; there's no information regarding the provenance of the other two songs. The records' second side collects five live recordings, capturing Los Microwaves onstage in New York City (The Peppermint Lounge) and Boston as well as at San Francisco's own I-Beam, a venue that often played host to the band. Those tracks date form roughly the same ear, 1980-83. Sonically the songs variously recall Blondie, Flying Lizards, Gang of Four and a far less dour Human League. Importantly, the band rocks, even when it's employing a spare drum kit, solid but elemental bass, and monophonic analog synthesizers. The stripped down aesthetics of the group – necessitated by its minimalist instrumental approach – are nonetheless thrilling. Even if you weren't there in 1980, this'll take you back.

Here we go with the first release for the Hole in One Classix series. Not a lot is known about Icy-K beside he's an Original Playa. A real '95 Memphis classic is now available again on cassette and for the first time on vinyl. An exclusive reissue handled with love and care.

SAXON GO FULL CARPE DIEM WITH THEIR LATEST STUDIO RELEASE

Saxon, those seminal British Heavy Metal Heroes hailing from Barnsley, UK, will release Carpe Diem on February 4th 2022 through Silver Lining Music. Ten titanic tracks bristling with still-clad riffery and proud intent, Carpe Diem is the statement which reminds heavy metal fans worldwide who the true masters of British Metal are, drawing on a variety of ingredients from their career to forge what is Saxon’s most dynamic release in many a year.

"It all starts with the riff,” says frontman and co-founder Biff Byford, "if the riff speaks to me, then we’re on our way. It’s a very intense album, and that’s all down to the fact that the essence of a great metal song is the riff that starts it, and this album has loads of them."

From the title track’s roll-back attack to the incessant speed and power of “Super Nova”, this is Saxon at their purest and most definitive, aggressively parading the pure metal flag and imploring fans old and new to gather and celebrate the very best of both Saxon and the genre itself. “All for One” has the stomp and pure power of a “Princess of the Night” while “The Pilgrimage” is classic “Crusader”-era Saxon. Produced by Andy Sneap (Judas Priest, Exodus, Accept and Richie Faulkner) at Backstage Recording Studios in Derbyshire with Byford with Sneap mixing and mastering, Carpe Diem strikes the ear as one of the most essential British Metal statements of the last few years, one which will ignite the joy in stalwart supporters and attract a whole new legion to the Saxon fold.
“I love that sort of fast metal. I love Princess of the Night and 20,000 FT and I try and bring that style of Saxon into the music now but in a bit more modern style” affirms Byford “but it’s the same five guys playing it and singing it, so I think we don’t really sound like an old band on records because we’re not really sitting back on our past success. We’re always trying to make a great album.”
“We want every album we make to go platinum,” says Byford defiantly. "We never make an album that we don’t expect to be fantastic because there are no laurels around here, only a commitment to the best songs and riffs we can write.” Saxon have certainly made sure to Seize the Day; be sure you join them.

black.round.twelve presents the second release on its imprint, signed by the Romanian talent Pîrvu.

Dance Refuge EP’ is a 4-track EP spanning from minimal house to broken beat, showcasing a collection of music drenched in vibrant and sincerely playful energy – a sonic naivety of sorts, very akin to Pîrvu’s own personality.

Both ‘Twelve’ and the title track ‘Dance Refuge’ fill the A-side of this record with a positively warm tone where the groove is king. Razor-sharp drum programming shines through compositions with hints of acid, profoundly accurate sub-basses, and just the right amount of atmosphere, creating a musical spectrum very prone to those floating, early-morning dancefloors. The flipside’s ‘Space’ follows the same groove-led narrative introduced previously and infuses it with an extra dose of playfulness and feel-good sound design before toning it down to the introspective ‘Lver,’ finishing this EP with just the right amount of breaks and warmth.

As usual, the cover of the EP was (undoubtedly) drawn and painted by the talented Berlin-based Juli Jah, beautifully portraying Pîrvu.

Following on from the riveting first part of Romanian stalwart Faster’s Transparency EP, Unic unloads with an explosive Part II. Featuring two more expertly crafted long players that boom with magnetic energy and poise, Faster’s innate talent is once again cemented on glistening 12” wax. Expanding Unic’s discography into exciting new territory.

Following the already classic Wamono A to Z trilogy, 180g presents an exceptional collection of jazz funk / rare groove tunes recorded in the mid-seventies at the Nippon Columbia studios by three giants of Japanese music: arranger Kiyoshi Yamaya, koto legend Toshiko Yonekawa and shakuhachi master Kifu Mitsuhashi.

- 180g heavy vinyl pressing, reverse board jacket

- Fully licensed Nippon Columbia masters available for the first time outside of Japan

- Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland

- Artwork by Nker

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Born in 1932 in Tokyo, Kiyoshi Yamaya started his musical career in 1953 when he played in various jazz bands in town. In 1957, Yamaya joined Nobuo Hara's famous jazz big band Sharps & Flats as a baritone saxophone player and started composing, arranging, and recording for them and other big bands. He became a key jazz figure in Japan in the sixties together with Norio Maeda and Keitaro Miho, both jazz pianists, composers and arrangers, by forming the Modern Jazz Three Association – which aimed at improving the level of Japanese jazz composition and arrangement. In the mid-seventies, his Contemporary Sound Orchestra explored jazz funk fusions with traditional Japanese melodies and instruments such as the shakuhachi, koto, biwa, and shamisen. These works were recorded for a series of panoramic Japanese albums released domestically on Denon and Nippon Columbia, from which the tracks on this compilation are taken from.

Toshiko Yonekawa, born 1913 in the city of Himeji, not so far from Osaka, is the eldest daughter of koto and shamisen master Kin'o Yonekawa. She started studying both instruments with her talented father from the age of 3, played in her first concert at 8, and was only 12 years old when she first appeared on national radio. Her unique style of koto playing is widely recognized due to the extreme accuracy of the intonation and rhythm, as well as the unequaled beauty of the instrument's sonority. After a life decorated with awards and prizes, Toshiko Yonekawa was named a Living National Treasure in 1996.

Born in Tokyo in 1950, Kifu Mitsuhashi is a great master of Koto style shakuhachi. After completing the NHK Hōgaku Training Program in 1972, Mitsuhashi became a member of Pro Musica Nipponia, a group of leading composers and top-ranking musicians devoted to performing a wide-ranging repertoire of classical and contemporary compositions from both Japan and the West – in which all music is performed by traditional Japanese musical instruments. Mitsuhashi has toured the world for hundreds of recitals, also as a soloist, and has performed his art with the greatest ensembles such as the BBC Symphony Orchestra and the Berliner Philharmoniker. In 2020, Kifu Mitsuhashi was awarded the Order of the Rising Sun.

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All tracks selected and compiled by Greg Gouty and Maxime Brottes, with the assistance of Ryohei "Nitchiku-kun" Tanaka.

All tracks licensed by Nippon Columbia, Japan.

Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.

Artwork by Nicolas Kerembellec (Nker.fr).

Proofreading by Brian Durr (Diskotopia).

Executive producers: Greg Gouty and Maxime Brottes.

180GWALP04 - Manufactured and distributed by 180g.

One of my first record releases was on Traum Schallplatten in 2007. I was living in Berlin and Traum was at its peak launching acts like Extrawelt, Dominik Eulberg, Gabriel Anada, Minilogue, Fairmont… The era of melodic minimal…

The release of Luftlust hit the big DJ's like Sven Väth etc. And I was truly overwhelmed by the support. But the version on the 12" was actually pitched up 5 BPM. And in the end the mastering was not in my personal preference. Watering my feel of it, once or twice a year people actually ask me to do a remaster. Over the years it has been a track circulating the web and playlists, haunting me.

Last year I dug in the past and actually wrote a masters exam in philosophy about being a youngster in the techno scene and how to keep up creativity while working with record labels. Somewhere in that process I decided to face the old ghost and make it happen. Time was ready for the re-release of Luftlust, on my terms on my own label Kranglan Broadcast.

Justus Köhncke Remix
For a time frame of a decade I have asked Kompakt veteran and Whirlpool Productions legend Justus Köhncke to do a remix on my Kranglan imprint. Herr Köhncke to me (and to everyone who has followed Kompakt) is one of a kind! A punk soul, dead serious while smiling, always putting hooks and fragments out of music history on Kompakt sound plates with precise grace… The last years he have replied he's been busy in the studio with Can member Irmin Schmidt, working on soundtracks but... suddenly one day when I wrote the man he said "I love Luftlust, send me the stems".

Listening to Justus interpretation I was blown away… like riding a cabrio through the German landscape of fields and deciduous forests a sunny day in late May! And wait for that outro bridge at 5:56! Like being hugged by the warm mother autumn.

Özgur Can Remix
Anjuna Deep cofounder Özgur Can and I have known each other since high school. Özgur was the first DJ I ever booked to one of my early raves in the forests of Nacka. From releasing our first records with our common buddy Petter on Peter Van Halls label 'Deep' we have walked a parallel path in life, Özgur with a wider span of releases and 100's of nights at sweaty dance floors. No one does the deep driven heartfull arpeggios like Özgur. They swell and they swirl. A true Music lover and true talent!

Lust
Time has flewn since 2007, and that winter break in Barcelona 2006 hanging out with James Holden and the Border gang at Razmataz… the weekend when I actually started working on Luftlust…

Working on a re-release of Luftlust I just got hit by lust to work a version of it from the position where I am at, the 2021 me. I went with lust and it just happened a late summer night in Stockholm being by myself for a brief moment doing what I love the most, making music.

Luftlust Original 120BPM Version
And at last the never released original version of the title track. Correct tempo as it was written. Mastered by Andreas Lubich aka Lupo, the very person to master this type of music if you take a brief glimpse at his back folder! Finally!

I love this project, and I love making it happen at Kranglan Broadcast. Bringing together thoughts and people you have thought of bringing together for a long time. Lust KLN014 is here.

Life is slowly but surely returning to “normal”. From festivals to clubs,
many countries have begun to allow cultural events to take place with an audience again. It feels great - if occasionally still unfamiliar - to
rediscover and experience the way we used to live, love and party.
Janefondas’ new release “French love” is the perfect dancefloor weapon for this year’s summer season. This disco-house tune is driven by optimistic, uplifting vibes and funky guitar riffs. Strings full of desire and a touch of melancholy put smiles on faces whenever and wherever it gets played. Fortunea Records is proud to contribute this little treasure to the summer season of 2021.

"Ode To David”, the B-side track, rolls out darker vibes. It´s a thrilling
house tune that combines raw, crunchy disco-loop filter madness and
acid elements that let you forget the sorrow of the past.
Have fun this summer, be respectful, and stay safe.
Yours truly, Fortunea Records team.

This Release is limited to 300 vinyl copies.
Strictly no repress!

repressed !

Some people are just not destined to have enough sleep.When you don't sleep enough the world appears to be a different place, compared to the way it is when the mind is fully rested. In such cases very different scenarios may occur.
Starting with a dreamy melody of Roma Zuckerman's 'Sleep not found', which inspired the entire 008 album, and ending with a thirteen minute live recording by a_000, the side project of Alex Backdrop, the entire record has a dreamy and tripped out flow. 008 continues the tradition of gatefold double EPs as conceptual album.All tracks are selected around a particular story, a trip, and presented as a continuous sonic landscape.All tracks are structured in a way that they can be mixed one with another an endless amount of times making a continuous loop, a trip, that needs only end when the party stops. Kraviz works without release dates or deadlines, enabling her to achieve a certain sound bank to shape the story, unmasking the thoughts and unravelling like a dream. A1. Roma Zuckerman - Sleep Not found (North Edit) Apart form the fact that he leaves in Krasnoyarsk in the middle of Russia, very little is known about Roma (short version of the name Roman). But listening to his music and engaging in random short conversations late at night makes it clear that there are really a lot of things going on Romas mind... Minimalistic yet emotionally complex, his music always stands out with it's murkiness and signature moodiness that Roma creates like nobody else.
A2. Deniro - G Deniro continues the record's journey with his new live cut that like pretty much everything he did so far is a beautiful sparse atmospheric groover. He says he wanted it to be angry and it its done with triggering synths from the tr909 and tr808.
B1. Maayan Nidam - Infinite Rattle
Maayan was born in Tel-Aviv. She does not like computers and prefers to record her music live using hardware only. In order to do so she built her incredible studio in Berlin where she recorded "Infinite Rattle'.There is much more to come from Maayan on
B2. Bbbbbb - Prins Polo Caramel milkshake.
Side project by Bjarki-bbbbbb. Like any other normal Icelander, Bjarki really likes ice cream. In Iceland they are absolutely crazy about it.They walk the streets, ice cream in hand, even when its freezing cold outside. But even more than that Icelanders like Milkshakes with all sorts of added cookies and candies. Bjarki's favourite is called Prince Polo after the name of a chocolate bar. He always believed Prins Polo was an Icelandic brand but a couple of months ago somebody proved him wrong.
C1. Exos- dub jazz
In Iceland Exos is a legend. Everybody knows him there. He's been playing incredibly powerful and technically advanced techno sets since the late 90s and releasing delicious dub techno on Icelandic label Thule. Nina always appreciated his subtler, dubbier side, and this short recording a the continuation of it.
C2. Maaayn Nidam - Justice for some
This second live recording was a perfect fit for this album. Maayan has managed to create a particular mysterious night time dreamer here. Sound wise it's even more unique. It took a few times to get the master right, because we wanted to keep the original breathing of the machine that has captured a seriously freaky vibe. Maayan has always been one of Nina's favourite DJs as they share a similar attitude towards music. But after this tune she has also reserved a place in Nina's collective of favourite producers. D1. A_000
This is a side project of Italian native Alessio Meneghello (Alan Backdrop) & Enrico Voltan. . A beautiful 13-minute sonic journey.

Six years on since his latest appearance on the label's main series, Stroboscopic Artefacts boss Luca Mortellaro, aka Lucy, returns with 'Dyscamupia' - an introspective, multisensory techno triptych revolving around the core sequence of Albert Camus' classic existentialist novel, 'The Stranger'. Also known as the 'killing of an arab', this pivotal moment in Camus' seminal book - which also inspired The Cure their song 'Killing An Arab' back in the day, is here evoked through three variedly intense, deep and hypnotic techno variations - flexing from 120 to 130, onto 140 BPM - each of them translating a particular step in the author's minute, focal-shifting depiction of the unknown man's murder on the beach.

Embodying Meursault for a minute, Jason Snell lends his voice to the narrator and his inner demons, casting a strange, ominous spell on the club and its crowd. Willing to explore and dig up further into the textural wealth and crucial warmth of organic sounds and synthetic treatments, Lucy made wise use of the binaural microphones technology during the vocals recording process, greatly enhancing the immersive force of his compositions to create thoughtful, dystopic narrative bubbles that stand in their own right.
The first number, ' Dyscamupia (Forward)', happens before and right until the actual killing - hence time flowing at a metronomic, heartbeat-like tempo; the second cut 'Dyscamupia (Pause)' takes place right after the nameless man's death, when the narrator enters a kind of existential 'pause' and a whole new flow of consciousness begins; the third sequence, 'Dyscamupia (Backward)', plumbs the depths of the action itself as played backwards, like an equally hazed-out and dizzying reminiscence of the sad encounter's mechanism. Don't let its seemingly conceptual framework fool you though, like most of his past output 'Dyscamupia' also aims to bring dancefloors to a steady simmer, whilst maintaining Lucy's ascending momentum towards an all-round genre-busting, thought-provoking apex.

For our fifth release, P&f Recordings is pleased to welcome Berlin-based musician, producer, and DJ, Alex Kassian.

Over the past few years, Kassian has made a name for himself in Berlin and beyond as a solo act, as well as with his project Opal Sunn, via a clutch of well received, dancefloor-focused 12s. But on our first release of 2021, Kassian swaps the techy pulse of the German capital for a sound that’s altogether more melodic and atmospheric.

Side A kicks off with 'Leave Your Life (Lonely Hearts Mix)' which began as a way for the producer to realize some of his early—and so far unrequited—dreams of playing in a rock band.

Next up he delivers 'Leave Your Life (Dance Mix)', which ups the energy and echoes some of the production that made the musician’s 'Oolong Trance' (Love on the Rocks) one of 2020’s best club tunes.

On the flip, the gorgeous 'Spirit of Eden' unfurls like a lost Lyle Mays classic, but with a mesmerizing loop that keeps the song’s feet placed firmly on the dancefloor.

Concluding the EP is a bass-heavy remix from none other than U.S. dub legend Bill Laswell. 'Eden’s' melodic focus is underpinned by a propulsive groove and filtered through Laswell's trademark sonic dynamics.

The EP, comes packaged in a full-color jacket from Parisian artist Alexis Jamet with OBI strip.

After a little stop animae returns with its new limited edition series. Three tracks that reflect our style, a minimal and mental sound for a journey that leads to another dimension.


Played by: Cristi Cons, Priku and Arapu

Reissue of Elizio De Buzios's "Tamanquiro". Remastered and pressed on 45 RPM!

Sitting a good 90-minute drive away from Rio de Janeiro’s crowded beaches and packed tourist hot-spots, Campo Grande is not a neighbourhood that attracts travellers from around the World. Traditionally it is home to the city’s lower middle-class, whose aspirations of moving up the social ladder were played out in a suburb that has always been solidly working-class.

Campo Grande is home to Elizio De Buzios, a Brazilian musician who started playing music in the late 1970s and early 1980s. De Buzios began as a drummer, before learning to play guitar and starting to compose and sing his own music. When he turned 18, De Buzios joined a local band formed by some of his friends and other like-minded local musicians: Sol da Terra. The band mostly played samba in neighbourhood bars and small venues around Camp Grande, but De Buzios was interested in more than just samba. While he naturally admired great samba composers such as Cartola and Beth Carvalho, his musical pass went far beyond Brazil’s national music. He also loved MPB and bossa-nova and at home he listed to Joäo Bosco, Milton Nascimento, Luis Melodia, Tom Jobim, and many bossa-nova singers.

In 1980 De Buzios was noticed by a local representative of international major label Polygram, who gave him the opportunity to record two songs. He was excited, so started searching for inspiration for the songs he would eventually lay down. He found that inspiration close to home while passing a neighbourhood shop which made and sold clogs. After noticing a display of then fashionable Portuguese clogs outside the store, De Buzios popped inside to talk to the owner. It turned out that he was a tamanqueiro – as clog-makers are traditionally called in his native Portugal – and was as passionate about music as he was about the footwear he made. Thus inspired, De Buzios returned home to work more on the lyrics and music.

The next day, he headed into the studio to record the song, with Vale Ribeiro, who later went on to produce tracks for Marcos Valle, behind the desk. With Ribeiro’s assistance, De Buzios managed to record two songs in one day: ‘Tamanqueiro’ and ‘Sou Um Louco’, a ballad with English lyrics blended into the mostly Portuguese text. From the start, it was clear that ‘Tamanqueiro’ would be the single’s A-side. Incredibly catchy and funky, with some subtle disco elements, the song remained distinctively Brazilian thanks to the use of the cuíca. Listening back all these years on, De Buzios’ lyrics seem almost spontaneous, carry the track forward, and make it almost impossible not to sing along. Its infectiousness and funkiness made it an instant hit with the first few people to hear it.

When it was released, responses to the song were enthusiastic, even if it never became the Brazil-wide smash it should have been. It resonated well in the local clubs and on the radio, but unfortunately the marketing was handled by an inexperienced Polygram employee who failed to adequately promote the track. As a result, the record sank without trace and De Buzios’ dreams of stardom evaporated. Having just started a family, he realized he could not live off the uncertainty of being a musician. Instead, he got a job at city hall as a civil servant, a role he continued until his retirement a few years ago. ‘Tamanqueiro’ and ‘Sou Um Louco’ remain the only two songs he ever recorded.

In the early 2000s, with the rise of diggers’ culture, ‘Tamanqueiro’ slowly surfaced again. It became a sought after, hard to find seven-inch single, finding its way onto the airwaves once more and into the ears of a new generation of listeners. Some started appreciating the song so much that it was referred to as the “best-Jorge-Ben-song-Jorge-Ben-never-recorded”. And they are right: ‘Tamanqueiro’ does have that Jorge Ben-straight-forwardness. It’s a completely honest song that’s almost impossible not to fall in love with. Thanks to this remastered reissue on Rush Hour, De Buzios may now get the props his sole record so richly deserves.

Now for the good news: De Buzios is still singing in local bars and clubs in and around Campo Grande. He is surprised, but also incredibly proud, that the record he had almost forgotten about is appreciated so much by a group of music lovers he didn’t even know existed. But above all, he is happy that more than 40 years after the recording session, the record lives on – not only on this re-release, but also in his weekend sets in the bars of Campo Grande.

Box Set w/ Hand-stamped LP, 36 page riso-printed book, Riso-printed fold-out poster, Stickers

"Phantom Seance Ballett is a boombox orchestra, Nō mimes, Vicky’s protection spells, Detlef’s psychic shuffles, a smoke machine, a strobe light chamber, painting, Margit Carstensen’s chiffre, Susie Greene’s insults, Schleim, Ebichu’s echoes and Anna Oppermann’s limbo."

Thus we welcome Lena Willikens & Sarah Szczesny's ethereal Phantom Kino Ballett project to Utter with 'Phantom Seance Ballett', an unusually tangible manifestation of what has become an on-going series of live performances and installations that incorporate sound, video, costume, still imagery and beyond. The themes explored weave in and out of grasp, touching on the otherworldly and mysterious, on hypnotic rites and ceremonies, on the fetishisation of cultural tropes and curios.

While carefully documented, these happenings had not been distilled or presented in a cohesive format until now. Of course, an attempt to harness and package such an experience required an imaginative leap beyond the traditional 'record-in-sleeve' approach and Lena and Sarah have overseen every aspect of this remarkable collection themselves.

Working with designer Till Sperrle, Lena and Sarah have conjured up a fold-out box containing an LP, a riso-printed credits poster detailing the samples and snippets collaged into the sound, a 36 page book with imagery from various shows and an essay by Thomas Vorreyer plus sticker pack. The limited 50 copy artist edition contains an additional 10 special riso-prints within an artist stamped hand-numbered box. For all, the LP contains twenty hidden locked grooves cut into the run-out on each side presenting snippets from the artists' archive.

The first of these pieces - 'Identikit Arkaden Seance' - took place on the 2nd of October 2019 at NAK Neuer Aachener Kunstverein and is a live recording. This performance was part of their exhibition "Chambers of Phantom Kino Ballett", where they showed new video works and displayed the now infamous costumes and slippers worn by Lena, Sarah and a rotating cast of guest phantoms.

At this performance, the seven performers carried boomboxes playing individual audio tracks inside and outside the Kunstverein, while Viktoria Wehrmeister and Detlef Weinrich improvised music alongside the phantoms' moving soundtracks of sonic snippets, poetry, field recordings and soundscapes.

The second piece - 'Studio Chamber Seance' - contains diverse audio tracks of performances that were held by Willikens and Szczesny in collaboration with Wehrmeister and Weinrich. It has been deconstructed and rearranged with additional sound material from the Lena Willikens & Sarah Szczesny archive, then edited and mixed by Lena and Sarah in Amsterdam and Cologne last year. Additional music by Detlef Weinrich and Viktoria Wehrmeister features throughout, recorded live in Aachen 2019 and Frankfurt 2020.

Mastered by Gordon Pohl. Transfer, additional mastering & lacquer cut by Helmut Erler at D&M.

The Minneapolis-raised DJ/Producer’s second album following 2014’s ‘Monoliths’ lands on Radio Slave’s Rekids imprint in November.

Although based in Berlin for several years, Dustin Zahn has continued to exert influence over the fertile but steadfastly underground Minneapolis techno scene as part of the Intellephunk collective whilst cultivating a worldwide rep via releases for Blueprint, Token and his own Enemy Records. The ‘Gain of Function’ LP sees Zahn channelling the groove-fuelled techno of the late ’90s and early ’00s and shaping eight powerful but funky contemporary techno tracks that display the decades of experience under his belt.

Forged from a series of live jams with two drum machines and two synths, the album is a refined collection of raw, purist techno brilliance. Across the A-side ‘Tell Me About Paradise’ brings shimmering staccato chops under bright and airy percussion before ‘Tangie Groove’ picks up the pace with floating pads, vocal slices, and a rumbling bassline. On ‘Lucid Dreams’, scattered percussion plays with hypnotic synth licks, while ‘Smoking in Silence’ sees off-kilter leads dancing between emotive vocals and evolving drum loops.

Opening the second disc is the deep and shuffling ‘Crimson Cheeks’, with trance-inducing samples nestled between sharp drum hits and rolling synthesis, and ‘Days Like These’ takes a darker turn as twinkling arps and droning pads carry the track. ‘Shark Rodeo’ featuring Jeremy Black mangles samples into a dense rolling affair, before closing number ‘Next Level Looseness’ drops the 4/4 pattern for a raucous club track, combining oddball sound sources and unruly production techniques for a trippy finish to the album.

Since the late ’90s, Zahn’s hypnotic and driving techno has consistently caught the ears of top DJs and labels worldwide, with anyone catching his marathon sets at the likes of Berghain exposed to expansive sets. In addition to his techno-heavy catalogue and DJing prowess, Zahn has lent production and engineering skills to bands and singers, recently working with Poliça and on Carm’s Pitchfork approved eponymous album. Beyond this, his vital work with Intellephunk includes the nearly two decades long running Communion after-hours events, cementing his invaluable contributions to the scene.

Over the past few years, Luca Binatti released a steady stream of quality EPs that showcased a remarkable talent with a clear understanding of what makes dance music unique. Also known for his guise as D:fferent Place, where house music is the main topic, Luca's boldest experiments belong under the Pressure Point project.

Pressure Point's debut on Pluie/Noir is no different — a collection of four ultra-personal tracks drenched in honest emotion and playful psychedelia. And it sounds as human as it sounds outer-worldly. Inspired by music genres unrestricted by the club ecosystems, "Ghost on Tape" features compositions that span from deeply spacial house to low-swung finely-detailed minimal.

Cover artwork features a stunning painting by the exquisite London-based artist David Surman. "Mask of a King / Midas" is inspired by Agamemnon's mask found in ancient Mycenae and Picasso's last self-portraits, furthering the emotional impact of the release as a whole. Limited pressing.

With anticipation always peaking ahead of each new release, Unic finally unveils the 6th installment of their storied vinyl series. Breaking ground with a new EP from Romanian techno don Faster. As a sterling producer in his own right, the Ruere Records head weaves an intricate sonic tale on Transparency EP I. His deft skill and attention to detail are on full display here across two long-player cuts. Melding German and Romanian influences into a captivating rhythmical ride that will be explosive on and off the dancefloor.

160 gram clear red vinyl, glossy sleeve, Cititrax presents rare live recordings from Birmingham techno legend Regis. The 12" EP features recently uncovered recordings of Regis playing live in New York City on January 4th, 1997 at the famed New York Film Academy. Original tapes discovered by Evan Kreeger, studio work / transfers done by James Ruskin in London and audio mastered by Veronica Vasicka in New York. The EP will be pressed on 160 gram clear red vinyl and housed in a gloss sleeve, featuring text by Evan Kreeger. An excerpt is below: Gymnastics broke techno - first time performed ! Regis has recreated this show for you - from the tapes in storage Over twenty years later - You're welcome! You are born! Now you can say you were there - rather than Skavoovee chore Damage and flame was our desire for this fight Two fans rebuffed tossed cinderblocks thru the front doors that night Locking up the Film Academy was only pageantry and a lie Nothing secure anymore - just crouch down - on your knees - crawl inside"

There's always been a bit of a "no frills" feel to Developer's output. The Los Angeles producer specializes in the kind of functional, no-nonsense techno that comes into its own when played over booming club sound system and as a label owner has truly nurtured his Modularz imprint into one of The homes for contemporary American techno. This release is consistent with the labels on going output of warehouse bangers. Straight up tribal influenced, dark, hypnotic, rhythmic techno music for the wicked.

Orange Tree Edits build on their rock solid catalogue with this stellar Vinyl EP debut from Ukranian DJ Yucca Mü.

Richly textured A-side ‘Bluebird’ samples a Soviet era Sci-Fi film to assemble a delightfully weird and wonderful, at once ethereal, refreshing and playful dancefloor heater. Church bells, choral hymns and villainous voiceovers layered on top of a rolling, chuggy low-end propel this tune into peak time territory. A tender church choir acapella outro is a joyous highlight - think festival closing time.

The flip side cut ‘Femme Symbole’ offers up organ stabs alongside swirling grand piano and a sensuous vocal to produce a belter of an edit built for the dark and steamy dance zone.

With support from Hunee, Jonny Rock, Lauren Hansom, Bell Towers, Nicola Cruz & Paula Tape you know you need a copy!

The new batch from the bottomless edit archives of Danny Krivit is an uptempo, guitar-heavy excursion into two cuts of danceable rock from opposite sides of a decade.

“Marbles” originally came out late in 1970, the result of a collaboration between the fiery British guitarist John McLaughlin and drummer Buddy Miles. Miles was hot off his time with Jimi Hendrix, and producer Alan Douglas, who’d been instrumental in putting together the Band of Gypsys group, attempted another crossover combination with a brand new, blazing guitar god. Also on the date was Larry Young, an organ player best known for his expansive jazzy albums on Blue Note, and several veterans of Buddy Miles’ funk-rock combos. The resulting mixture produced in “Marbles” a powerful, driving rhythm anchoring an addictive riff that steamrolls through the cut in a fashion not unlike the motorik sound of Velvet Underground or Can. Mr. K’s edit leans heavily on the drums, naturally, with a long, tailor-made intro and a mesmerizing focus on the main riff, extending things well past the seven-minute mark.

Ten years later, the world of music was in an entirely different place but a good guitar riff coupled with a driving beat was still powerful currency on the dancefloor. This time, the group was Scottish new wave-punk group APB, whose single “Shoot You Down” had garnered unexpected peak time play in cutting edge NYC hotspots Danceteria, the Peppermint Lounge, the Ritz and the Mudd Club. “Shoot You Down” combines the urgency of the Clash with the free for all vibe that characterized the downtown scene (and throws in a chant borrowed from P-Funk for good measure). Mr. K has created a long instrumental opening that leads into the vocals, giving the tightly-wound 7-inch single a proper extended 12-inch treatment it deserved but never had before.

The sound is crisply remastered for club play, and stretched over the breadth of a 12-inch single. Both of these tracks are appearing on the long-format player for the first time.

Junki Inoue presents the second release on his recently founded label SAISEI from prolific Japanese producer Takuya Sugimoto under his COLOGNe alias. Deep Talk EP features 6 tracks originally released on Japanese CD only label Viola in 1999 and is a snapshot of the elevated warped-techno meets IDM productions Sugimoto is so respected for.

Famous for releasing under many synonyms including COLOGNe, Web and Sammansa it was his EVA EP - the first release on FatCat Records in 1996 that stands out in his recording history. The tracks were in fact licenced from Syzygy Records in Japan, which was one of the main Japanese labels including Viola that homed his work during the 90s era he was most productive in. More recently German label Acido released The Sound There, a mini album of previously unreleased Web material recorded between 1994 and 1995 which was released last year in 2020.

Deep Talk EP presents 6 tracks of intelligent and elevated techno, which show the balanced and intricate approach Sugimoto applies to his output. It has all the warmth and positive essence of the 90s era of electronic music - combining deep and beautiful sounds with headsy and intricate constructions. This is the first time this music has been made available on the vinyl format.

SAISEI is a Japanese word which translates to ‘reproduction’ and ‘to play’ (as in playing records). Japanese culture is widely known for its traditional nature just as much as it is for being forward into the future and this label’s concept does justice to exactly that. Having started digging for records as early as 16 years old, Inoue delved into productions from 1990s Japan to uncover these native gems. SAISEI’s core concept is to recapture and reintroduce unique

pieces of Japanese electronic music onto vinyl, to an audience it never reached before as most of this music was only released in Japan

Tripmastaz is back, this time drenched in Summery, laid-back Sunday vibes. The main title, appropriately named 'Sunday Mix 1,' is steeped in rich organ arrangements, deep vocals, and funky bass stabs, the kind of combination one wishes on a laid-back Sunday afternoon. The subtle percussive variations and the thorough but discreet synth work fill up the sonic space with an infectious swag - which is even more evident on 'Mix # 3.1.'

And whereas the main title, "Sunday," relies on a more laid-back approach, the flip-side 'Puppi Luv' literally flips the gears to a scenario where the groove is the focal point, and everything is playful - but strangely hypnotic. "Partying With Illusions" is a lush, uplifting record that finds Tripmastaz once again showcasing his skills as an outstanding music producer.

'Bricks, Broken Bottles and Sticks' is Dean Parrish's first soul recording from 1965 which became a local radio hit and, years later, a classic spin on the UK soul scene. On the flip, Porgy and The Monarchs' "My Heart Cries For You" is another dance floor anthem that reached cult status. Some will still remember Italian American singer Dean Parrish after his brief appearance in an episode of The Soprano but for most soul music true aficionados, Parrish gained a legend status when his 'I'm On My Way' was the last record played at the last Northern Soul all-nighter at the Wigan Casino. His 'Bricks, Broken Bottles and Sticks' was his first soul side though and it was released on Musicor in 1965 achieving some success and also becoming a classic spin on the UK soul scene years later. Eternally in demand, this party record now exchanges hands for a few hundred USD, so we thought it would be a good idea to make it widely available again. 'My Heart Cries For You' by Porgy and The Monarchs became a much cherished dance floor anthem in the UK and has all the defining ingredients of most northern soul favorites: Motown sound-alike arrangements, epic vocals that are almost inviting to sing along and lyrics spiced with a bit of drama. In short, this record is a must-have northern soul double sider and there's nothing like it to get the party started!

Phuture Assassins - ‘Back To The Phuture EP’ - We are going back to the Phuture with this incredible package of exclusive 'Future Sound' mixes which has something for everyone!

The very first release, before there was Suburban Base, was a Boogie Times release which didn't even carry a label name or logo... BOOGIE 001 under the artist name 'Phuture Assassins' became the record that really did start it all. So what is more appropriate than the next release in a continued order of catalogue numbers for the whole new era of Suburban Base than a Phuture Assassins release as SUBBASE 77 to continue your collection.

Leading with the unreleased Dead Dred '95 Dubplate which was considered a 'lost DAT' until it was recently unearthed amongst the archive of masters in Sub Base storage. You can imagine how excited we were to rediscover this and were able to save and remaster it for release. This was intended as part of a remix package that never ended up being released and was only available to a selected few as a Dubplate, that is, until now.

Alongside it we have included the 2 Bad Mice remix, which is now considered not only a classic but it is also the definitive mix of 'Future Sound', for those of you that were looking for a reissue. Its been expertly remastered to superb quality.

You wanted a brand new remix? Mark XTC & Exile's 'Future Sound' 2021 Remix brings the 1992 future to the 2021 present! They have given the timeless Suburban Base classic 'Future Sound' the remix treatment, producing 'raise your lighter' moments in their inimitable style, drum and bass with deep subs, whilst still keeping to the original vibes of this classic.

And completing the package is a version from the legendary Cause4Concern, their remix of Future Sound was only ever promo'd and despite receiving critical acclaim and extensive club play it never saw a full release. Now it's being fully unleashed in beautifully re-mastered form.

This release has it all, unreleased 'lost' mixes, remastered reissues, brand new remixes, beautiful special effect vinyl for the entire pressing run, all wrapped up in one of the most stunning original Nodz artwork sleeves ever created, an Assassin from the Phuture emerging from a time travel wormhole firing Sub Base Bullets!

Repress

From Another Mind continues to establish itself as an essential label with a fantastic fifth
release entitled 'Die Augen Des Teufels' from label bosses SHDW & Obscure Shape.

Marco Bläsi and Luigi Urban are main room techno talents who make no bones about the size of their
sound. Classic techno, rave, EBM and acid all colour their grooves. In 2016 Groove Magazine chose
them as Newcomer of the Year', while they have also released their 'Himmel Und Erde EP' on the
mighty Rekids, as well as remixing the boss's anthemic 'Grindhouse' in recent months. Two years later,
the duo now follow up 'Die Weiße Rose' - their last original release on From Another Mind - with four
tracks that reflect the pair's trademark versatility as producers and the sound they play as DJs.

Things open in monstrous fashion with the brilliant 'Die Augen Des Teufels.' Built on tightly
programmed and unrelenting drums, it has a hypnotic synth line riding about the scales that locks in
your mind while your feet march to the beat. Frazzled synths and icy hi hats add to the pressure and
ensure this one makes a devastating effect. 'Wächter Der Nacht' is equally forceful, with hammering
kick drums and minimal driving percussion joined by a brain frying acid lead synth line that will blow up
any DJ set.

The flip maintains the release's rave-spirit whilst taking things into a more melodic direction. Keeping
up the high class pressure is 'Die Prophezeiung', which has hulking kicks leaning into a stiff wind as
hugely texted synths rumble up top to bring real rawness and impact. This one stays relatively stripped
back and builds atmosphere throughout before closer 'Verlorene Seelen' picks things up again with
quick and slick drums, nimble chords and an irresistible sense of techno force that cannot fail to carry
you away.

Debut release for The Fear Ratio's Mark Broom and James Ruskin under their 'Deadhand' alias, which proceeds on a strictly experimental hip-hop tip, accompanied as they are here by 4 x world scratch champion DJ Prime Cuts (of The Scratch Perverts) and illbient rap legend Sensational, who brings his characteristic broken charm to the EP's itchy, spartan production vibes: "Step into my office, now we sparkin' it... I spit the isms in yer ear... you better recognise it's raw shit from orbit."

This pairing with Sens makes total sense: Distinct from Mark and James' work as The Fear Ratio, their Deadhand project delivers something closer to 90s illbient in any case: extending the boom-bap era of hip-hop production with elements of hallucinogenic dystopianism, the energy of the EP nevertheless vibes playfully: Given the dispiriting global situation at present, the EP title 'Meanwhile' might simply refer to getting on with things in spite of all the cultural and political misendeavor the era will no doubt be long remembered for. Despite the global health pandemic and the looming spectre of wide-scale environmental collapse, little despair or surrender prevails here, but rather a hankering to attempt a few tripped-out experiments.

Three remixes bring further twists of the screw: A cosmic break flex from ETCH resituates Sensational amidst the magmic glow of Reaktor bass ensembles, while DJ Prime Cuts repurposes 7" soul gold by way of a more 'traditional' SP1200 approach. 90s trip-hop pioneer and graffiti legend REQ steps up with all the painterly flair he is rightly renowned for, obliterating the Monster Orchestra's classic 'I Can't Stop' stab towards a double dose of galactic melancholia.







g 07: Touch (ETCH's Pink Ladies in Space Remix) feat. Sensational
[h] 08: Meanwhile (DJ Prime Cuts Remix) [feat. Sensational]
[i] 09: Touch (REQ's Dub) [feat. Sensational]
[feat. DJ Prime Cuts]

Repress

The multi-faceted producer and DJ, and one of electronic music's most respected, Calibre releases his brand new record 'Planet Hearth' on November 29th. An album featuring exclusively new material, and dedicated to a very close friend who passed away last year, this is by far the most personal and poignant record he has ever made.

First coined in 2015, the album has taken four years to complete and in his own words 'part of a slow metamorphosis that I have wanted to do for a long time'. Escaping to Valentia on the West Coast of Ireland, he sought solace away from the grind of modern living to write music and draw inspiration from his surroundings. It was during this time that he experienced great personal loss, which can be felt throughout the record, forming an emotional narrative that will make even the hardest of hearts shed a tear upon listening.

The title track 'Planet Hearth' was made in Belfast a few weeks before losing his close friend, and in his own words: "I remember this one feeling very automatic and emotionally engaging, the timing for me has great meaning". Whilst the track 'Five Minute Flame' was written in five minutes one morning in Valentia with the sun streaming in and the coffee being made, showing just how he can draw inspirations at any moment of the day, "I love the immediacy of writing music very much" he states. Largely ambient, there is a nod to his drum and bass roots with 'Walking in Circles', a track that can, and has been played in one of his dnb set. Whilst the album has been playing throughout the year in different club settings, opening the night with the sound that he so loves, the record wasn't made for the club as such, 'originally the idea was to put music together that didn't need to be played in a club, that it could be whatever I wanted.'

This is an honest and pure record that steps away from Calibre's drum and bass persona that he's so synonymous with. A somewhat melancholic and atmospheric piece of work, it still has that signature Calibre sound, attesting to incredible diversity of the man. A true master of his craft, his ability to constantly create and consistently deliver with such honest expression is staggering. A chameleonic creator in the purest form - as a painter, fine artist, multi-instrumentalist, writer and producer - he has a career stretching over two decades with over fifteen albums of varying genres.

To coincide with the release of the album on November 29th, it's perhaps fitting that he makes his return to XOYO - the London venue he resided in for 10 weeks from July through to September - as he plays on the Dekmantel Soundsystem residency, who he passed the baton onto for the Autumn Winter season.

This is Calibre in his rawest, purest and exposed form, delivering a body of work that he cares about the most.

First vinyl issue from this french label, artisan of the Eurotrance revival. Compilation of contemporary producers' works, deeply rooted in the 00's.

Played by Ellen Allien, Nina Kraviz, in among others.


Thanks to a perfect balance between a good dose of madness and genius, Union Trance Mission has become the playground of some of the rising talents of the european rave scene in a few years.

Launched in 2018 by DJ Reiz & Tonni 3000 with the desire to take the techno scene off-balance, UTM quickly laid the foundations of an hybrid style where oldschool vibes perfectly combine with contemporary sounds. A colorful and formidable cocktail of efficiency, where techno blithely rubs shoulders with nostalgic trance synthesizers.

After a couple of years of digital releases (singles, EP and compilations), UTM decides to take another step by releasing its first 2x12", gathering the residents DJ Reiz, Tonni 3000, Red Scan and Walfroy on one hand, and the guest artists Pawlowski, Jaëss, Tranceman2000 and Alpha Tracks on another hand, in a wish of being eclectic and exploring Trance music in all its forms.