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The long awaited third album from much loved vintage synth maestros Billy Bainbridge and Mike Johnston, finally finds its home on Ghost Box Records. This is unironically joyful and melodic electronica; informed by library music, music for children’s TV and a deep passion for the history of music technology.

Plone are very much part of Ghost Box’s DNA. They were a central part of the 90s retro-futuristic scene in Birmingham that included Broadcast and Pram and to which the label has always had strong ties through graphic designer and co-manager, Julian House. They are also cited by the label’s other boss, Jim Jupp, as a major influence on his work as Belbury Poly.

The band was formed as a three-piece in the mid-90s and their debut single, Press a Key, was championed by John Peel. The first album, For Beginner Piano, was released on Warp Records in 1999. Their warm, witty and unfunky music stood out from the crowd, almost in defiance of the moody and masculine post-rave electronica of their contemporaries.

A selection of bootlegged demos from the early 00s was rumoured to be the follow up album, but it never materialised. After that Billy went on to tour with Broadcast and later formed Seeland with another former band member Tim Felton (also of Ghost Box’s Hintermass). Meanwhile Mike formed the ZX Spectrum Orchestra, released solo singles as Mike in Mono and was a member of The Modified Toy Orchestra.

Twenty years on and Plone have reconvened as a duo with a third album, Puzzlewood. It’s compiled from material recorded at various points since the “lost album”, right up to the present day.

The 7th release is a solo EP of Elad Magdasi, label owner and passionate raver.

Elad showcases four different tracks that share his core essence of groove and drive. Each track brings something different to the table. "Free Your Mind" is the trippy rumbly one. "Let's Go" will take you back to love parade times. "Teleport" will send you to space, and "Galactic Tools" is a total acid trip celebration.

Front Left Love.

Blind Delon is back! This time, we are welcome in the Chapel among the "People of God" for their tenebrous prayer. Synthwave is taking a devilish turn for this release, carried by two electro-rave remixes from Maelstrom & Umwelt.

The EP is comes in a full color sleeve.

A must-have in every vinyl store and haunted mansion!

If you want a snapshot of where techno stands in any given year, and a preview of where it’s headed, look no further than Drumcode’s A-Sides compilation. Since 2012 it has marked the label debuts of countless vital Drumcode artists and affiliates, from Layton Giordani, Wehbba and Boxia, to Amelie Lens and ANNA, no less.

Every year, new names are unearthed, tried and true techno contributors serve up their best, and icons of the industry land their debut on Adam Beyer’s storied label. The 2020 edition hits with 13 tracks, eight coming from label debutants.

Part three houses Eats Everything’s searing rave bomb ‘Organico’ and Dubfire’s ice-cool electro offering ‘Deadbug’, both artists landing their maiden contributions to DC after long affiliations with Beyer.

Harvey McKay, also steps up to close out the EP with a heavyweight, head spinner in the form of ‘Find Yourself’.

Ma Sha Ru announce the launch of Kindergarten Records with their second EP, Zer0: a chaotic blend of club-ready electro, broken UK bass and gnarled techno. Respectively based in New York and Berlin, their music is born of the intense bursts of time this transatlantic couple spend together.
Recorded in summer 2019, Zer0 finds producers Ma Sha and Rù delving deeper into the dark and trippy impulses hinted at with their debut.
Opener Slew is a bubbling cauldron of UK bass rhythms and agitational tension, while the title track Zer0 builds it’s ominous electro around a vocal sample of robot struggling with a mathematical quandary, ghosts rattling in the machine. Things get eerier still on the flip, It’s a Forest Rave paying
homage to a journey deep into the woodland near Vilnius in Lithuania, menace dripping from branches as pounding, gabber-indebted kicks propel dubby keys and a distorted video game lead. Showers rounds off the record with their most experimental effort to date, a broken 140bpm stepper that stumbles and stomps around its delicate, icy core.

For our next vinyl release on Prodigal Son we welcome our newest recruit Kaylah from Hackney in London. His sound is tough & grimey, with captivating leads contrasting across this record. Old skool influences seem to be drizzled over this debut solo EP, but all in good measure of course, the music is forward thinking, driven with pace and ready for the rave. Some heavy hitters cut especially for those that are "Ardcore To The Bone".

Adamant Scream back on PRSPCT XTRM with her 2nd Vinyl EP.

We would like to write an amazing funny as fuck promo text again but were simply not in the mood. This whole Corona thing is one massive mood killer isn't it? Like the ultimate No Fun Virus! At least most people with HIV for instance had a ton of fun while contracting the disease. With Corona however there is no fun part anywhere from start till finish which makes it way worse + putting on one massive condom still won't allow you to go out raving. Shit is fucked pff...

Ok, well, on to the promo text we go:

Adamant Scream's brand new 4-tracker contains everything great about Industrial Hardcore. Proving once again that there actually is a movement working hard to "make hardcore great again".
Malin Kolbrink is one talented producer and this EP proves that. Sure she might be a woman but here at PRSPCT we don't give a fuck about what your downstairs mix-up situation is. All we care about is how banging your tracks are and damn these 4 tracks are BANGING!

75% solo tracks + 25% collab with Thrasher = 1000% awesome.

This Breaks My Fucking Heart EP is one of those records you need to own on black gold, so buy this fucker while you're still alive & kicking and not stuck to some breathing machine!

Stu Chapman has been one of the most well regarded producers in the old skool and hardcore breaks scene for many years, and teaming up with legendary Perth Dj Rob Fender, he drops this awesome debut EP. Three tracks loaded with a deep underground sound for the proper raves from back in the day.

As Ociya, hardware freaks Tin Man (Johannes Auvinen) and Patricia (Max Ravitz), come together in unholy acid matrimony on a definitive double-album, Powers Of Ten.

We know both sides well. Over a prolific run of records for Acid Test and his own Global A, Auvinen has expounded upon the promise of "Nonneo" (recently named one of Resident Advisor's 2010-19: Tracks Of The Decade), unearthing new, emotional vistas from the Roland TB-303. Ravitz, meanwhile, matches Tin Man in studio ethic, establishing himself as one of North America's hardware masters on records for Ghostly and Opal Tapes.

What we couldn't have predicted is how well the parts merge. Cuts like "Ghost Moons" channel the hazy IDM legacies of the past, while "Hopeful Galaxy" mixes a plaintive Rhodes motif with a hopeful 303 line for the perfect "tears on the dance floor" cut. The track titles on Power Of Ten— a perfect melodic techno LP generously spread across two records—are celestially minded ("Gravity Knots," "Star Scraping") and indeed, the cosmic metaphor is apt or the newly-formed duo. On Powers Of Ten, Tin Man's acid lines rocket through space like brilliant, shooting stars. His signature orchestral acid moments are given the perfect backdrop, the nebula of Patricia's rich atmospherics and melodies.

The album was recorded live to 2 track in Patricia’s studio in New York, no edits.

Kristian Craig Robinson, aka Capitol K, is a multi-instrumentalist and record producer with a long history in London’s most interesting under-the-radar music places and spaces. With a musical story like his, you can expect side streams. New record ‘Birdtrapper’ is “the sound of an initiation rave in a utopian hidden village”, and his latest exploration of Mediterranean audio mythos following from ’Goatherder’ (2018). The six track mini-album was similarly formed from ritualistic improvisations performed in Malta (where Capitol K was born), using home-made flutes, reed pipe, bamboo percussion, drum machine, bass guitar, but this time features a wider use of synthesizers, with the alternative dance floor in mind. Where ‘Goatherder’ was an awakening of genetic primitivism, ‘Birdtrapper’ is an evocation of sonic bird callers, proto-rave abandon, ambient resonance and an ecstatic captive state, along with the previous work's visions of hunters, temples and scrub land music
‘Goatherder’ caused a quiet kind of quake and was beloved by The Quietus, BBCR3 and 6Music. Vinyl Factory described it as “like a series of manipulated field recordings that have an ancient, ritualistic quality … Goatherder shimmers with Balearic strangeness, rooted in an earthy outer-national dance music tradition”. For the last seven years K has been behind the consoles at the heavily influential Total Refreshment Centre, recording and mixing records with the likes of Trash Kit, The Comet Is Coming, Rozi Plain, Alabaster DePlume, Dry Cleaning, Flamingods Cykada, Ibibio Sound Machine, BAS JAN and John Johanna. It’s not just recording. He’s also become an influential if understated mentor to a new wave of producers and bands. His experience in studio environments is long and storied, including stints at Studio Plateaux on an island in the middle of the Thames and in the Royal Symphonia’s squatted rehearsal rooms. Capitol K has released seven albums and the 'Birdtapper EP' follows a legacy of influential releases on early 2000s electronica labels including Planet Mu and XL. Aside this he also runs the record label Faith & Industry. It’s a friends and family, love not money affair and he has released music by Champagne Dub, John Johanna, Super Best Friends Club, Blue House & Clémentine March.

2x12"

„Room With A View“ sees Rone returning to his musical roots and the set-up of his early albums: purely electronic, solitarily conceived without any musical collaborators. At the same time he was able to leave his comfort zone through a new kind of artistic liaison. The album was produced alongside a live show commissioned by the Théâtre du Châtelet in Paris and developed together with choreography collective (LA) HORDE and 20 dancers of the Ballet National de Marseille. This new kind of collaborative approach allowed Rone to produce his most sincere and far-reaching music in some time. Inspired by discussions of collapsologie and climate change, „Room With A View“ offers food for thought on how to deal with one of the most pressing issues of humanity.

The Fenchman manages to let his trademark sound shine in a new light, pleasing early fans as well as every electronica enthusiast. Typically melodic beats like „Ginkgo Biloba“ nestle against tracks that exhibit classic influences from Boards of Canada („La Marbrerie“) to SAW-era Aphex Twin („Raverie“), euphoric dancefloor rhythms sit next to contemplative synth work. Tracks like „Sophora Japonica“ showcase Rone’s mastership in atmosphere, which sometimes requires no drums at all. Elsewhere, Rone is clearly reviving the club-centric vibe of „Tohu Bohu“ and experimenting with elements of dub. It all makes for and adventurous and rewarding listen.

Most importantly, Rone is redefining the notion of „organic“ in electronic music through use of field and voice recordings. Be it his own child chattering, Aurelien Barrau or Alain Damasio debating, or the dance troupe rehearsing and discussing the show. "Because the writing process of the album was very machine focused, it seemed appropriate to feed back a human touch into the music and to still have bodies involved". Thus „Esperanza“ uses the steps of the dancers as a rhythm to start a new track, while in „Human“ they serve as a choir. This idea of extended human collaboration becomes apparent also on the album cover.

2x12" Marbled Vinyl

„Room With A View“ sees Rone returning to his musical roots and the set-up of his early albums: purely electronic, solitarily conceived without any musical collaborators. At the same time he was able to leave his comfort zone through a new kind of artistic liaison. The album was produced alongside a live show commissioned by the Théâtre du Châtelet in Paris and developed together with choreography collective (LA) HORDE and 20 dancers of the Ballet National de Marseille. This new kind of collaborative approach allowed Rone to produce his most sincere and far-reaching music in some time. Inspired by discussions of collapsologie and climate change, „Room With A View“ offers food for thought on how to deal with one of the most pressing issues of humanity.

The Fenchman manages to let his trademark sound shine in a new light, pleasing early fans as well as every electronica enthusiast. Typically melodic beats like „Ginkgo Biloba“ nestle against tracks that exhibit classic influences from Boards of Canada („La Marbrerie“) to SAW-era Aphex Twin („Raverie“), euphoric dancefloor rhythms sit next to contemplative synth work. Tracks like „Sophora Japonica“ showcase Rone’s mastership in atmosphere, which sometimes requires no drums at all. Elsewhere, Rone is clearly reviving the club-centric vibe of „Tohu Bohu“ and experimenting with elements of dub. It all makes for and adventurous and rewarding listen.

Most importantly, Rone is redefining the notion of „organic“ in electronic music through use of field and voice recordings. Be it his own child chattering, Aurelien Barrau or Alain Damasio debating, or the dance troupe rehearsing and discussing the show. "Because the writing process of the album was very machine focused, it seemed appropriate to feed back a human touch into the music and to still have bodies involved". Thus „Esperanza“ uses the steps of the dancers as a rhythm to start a new track, while in „Human“ they serve as a choir. This idea of extended human collaboration becomes apparent also on the album cover.

Killer 13-track compilation of 70's music from Mauritius that evolved from the original sega genre - the music of the slaves as well as their descendants, sung to protest against injustices in Mauritian society.

Created at the crossroads of Afro-Malagasy, the 70s strain fused Western and Indian cultures, pop, soul and funk arrangements, syncopated polyrhythms, saturated guitars, psychedelic organs and Creole vocals. Although the exact origins of sega remain unknown, it contains vocal and percussive practices that originated from Madagascar, Mozambique and East Africa. A social escape and a space for improvisation, satire and verbal jousting, it transcended everyday life and made room for the expression of conflicts and the transgression of taboos.

The main instrument of sega is the ravanne, a large tambourine-like drum made of a large wooden frame and goat skin. It is accompanied by the maravanne, a rectangular rattle filled with seeds, and other homemade forms of percussion. Eric Nelson a solo guitarist and arranger, set up the band Features Of Life which, in the mid 70’s, gave birth to a new sound. Fuzzy distorted guitars and funky beats invite each other to play over the unbridled beats created by fabulous drummer Raoul Lacariate.

The band accompanied a new wave of singers, including the atypical Joseph Roland Fatime aka Ti L’Afrique, a hyperbolic and hyperactive character, a fan of blues and James Brown who launched an explosive raw, and funky style of sega.

BIG BIG BIG !! superb melodious Doom Hardtechno/hardcore... Splendid Tunes... A True surprise on this very open minded label !! MUST HAVE !

As Ociya, hardware freaks Tin Man (Johannes Auvinen) and Patricia (Max Ravitz), come together in unholy acid matrimony on a EP (here) and definitive double-album, Powers Of Ten (coming up on april 27).

We know both sides well. Over a prolific run of records for Acid Test and his own Global A, Auvinen has expounded upon the promise of "Nonneo" (recently named one of Resident Advisor's 2010-19: Tracks Of The Decade), unearthing new, emotional vistas from the Roland TB-303. Ravitz, meanwhile, matches Tin Man in studio ethic, establishing himself as one of North America's hardware masters on records for Ghostly and Opal Tapes.

The album was recorded live to 2 track in Patricia’s studio in New York, no edits.
This 12-inch simply called Acid Test 15, ill be released before the album and also features remixes from Plasmic Eddy

Russia's Nocow refuses to mourn the failed experiment of human contact on his Turbo debut EP, delivering cathartic anthems alongside giant warehouse jams you are free to call "deep" and "cavernous" with full knowledge of the risks involved. ??

On lead track "Never Leave Me," the Saint Petersburg-based creator of "Cloud Techno" runs emotive vocals through a hazmat filter and into the emo-globin contained within your fluorescent-green blood cells. Meanwhile, after-hours love-weapons "Back On," "Avalon," and "Soder" each take different routes to activating the phantom arousal mechanisms of your soul. Finally, some people have been calling closer "Starfall" a "magical ticket to Vocal Sample Heaven" and "a timeless all-inclusive ravecation from the cares of this workaday world." While we would never choose to word it that way, we concede that both descriptions are generally pretty accurate.??

In these times of social isolation and uncertainty, we remind you that it's vital your Restless Heart Syndrome not turn into Reckless Heart Syndrome. Instead of frequenting illicit "Droplet Transmission Parties," why not peep the vast network of Landline Raves we've been hearing about via our vast network of peeper-drones? Also, please try to keep in mind that all of this is simply selection pressure forcing you to evolve new and viable ways of connecting with the hottest singles in your area. So stay inside for now and stay inside our hearts forever.

It goes without saying that the global metal scene would not be the same without Sepultura. For 35 years now, the Brazilian icons are not only a band revered worldwide; they have been, are and forever will be at the very forefront of Thrash Metal, trailblazing ever since they released their long-since legendary debut album “Morbid Visions” in 1986.
While quickly establishing themselves as leaders of the second wave of Thrash already in the late eighties, to this day they never came even close to stagnation. “Quadra”, their mighty new undertaking, is proof of a will unbroken, a thirst unquenched and a quality so staggeringly high it’s a wonder this band doesn’t implode. Now three albums deep into what may very well be their strongest incarnation yet – uniting the talents of old-school members Andreas Kisser (guitars, vocals) and Paulo Xisto Pinto Jr. (bass), vocal force of nature Derrick Leon Green (vocals) and drummer Eloy Casagrande – Sepultura are an unleashed power to be reckoned with, uniting bucketloads of experience and youthful vigour in a totally revived way.
“On ‘Quadra’, we felt the urge to revisit that old thrash feeling of ‘Beneath the Remains’ or ‘Arise“,’ only seen through the eyes of today,” Andreas Kisser utters the magic words. “Add to that the tribal percussion, the orchestral elements, the choirs, the melodies and the clean vocals and you get a thorough run-through of our entire career, backed by a very contemporary approach.” Fuelled by an energy almost uncanny for a band that has been active for so long, Sepultura storm through a contemporary thrash monument, backed by sublime melodies, a very eerie atmosphere and a fiendishly high level of technicality. Kisser is appreciating these compliments, still maintaining his very down to earth approach. “We don’t heed the past and we don’t try to be preoccupied by the future too much,” he shrugs. “We’re in the now, trying every day to make Sepultura a little bit better. That’s what keeping us strong.”
And that’s what they have been doing for the last 30+ years. Album after album, tour after tour, no gap in between records longer than three years. “Music is all we do,” Kisser states matter-of-factly. “If it wouldn’t be for Sepultura,” he laughs, “I would be a sad and lonely guy. Sepultura is what we are.” And “Quadra” is living testimony to that. The old Sepultura echo through the very fibre of the songs in all its raw and morbid splendour, but yet it’s the present, the experienced and refined beast that is Sepultura in 2020 that’s blasting out thrash metal anthems for a fucked-up age.
With now 15 albums under their belts, Sepultura are the work horses of the metal world, always ready to attack. In many ways, “Quadra” broadens the vision the Brazilian thrash troopers had on “Machine Messiah” (2017), again relying on the impeccable talent of Swedish producing giant Jens Bogren and his Fascination Street Studios. “He is so full of passion, it’s unbelievable, man,” Kisser raves. “He’s really there, he really cares about the projects he’s doing. For Sepultura, he’s like the fifth member of the band. The chemistry was so amazing, 99 percent of what we were trying do to actually worked. That was insane!” Even after more than 30 years at the forefront of international thrash, guitarist Kisser sounds positively baffled by working with Bogren. “We felt like we were in our rehearsal room.”
Bringing together a monumental grandeur and a wild, untamed ferocity, Sepultura stepped up their game musically – and conceptually as well. “We were possessed by the number four, by the numerology of it”, Kisser starts to explain. “I divided the album into four parts as if we were doing a double vinyl. Side one is the pure and raw thrash side. Side two brings in the rhythms and percussion from our ‘Roots’ era. Three is getting a bit experimental and four brings forth the melodies and the acoustic guitars.” With John North’s book “Quadrivium” as a further source of inspiration, Sepultura dive deep into a mystical world full of hidden meanings. “You have four seasons and twelve month in a year just to pick one example. A lot of stuff in our culture is divided like that.”
Plus, Quadra also is the Portuguese word for ‘sport court’ that by definition is a limited area of land, with regulatory demarcations, where according to a set of rules the game takes place,” he adds. “We all come from different Quadras. The countries, all nations with their borders and traditions; culture, religions, laws, education and a set of rules where life takes place.” In the Quadra of thrash, however, we all are the same. And we bow our heads in unison to the mighty leader that is Sepultura.

Marbled Brown Vinyl in Unicover

The Clone Basement Series sees the return of Ryan James Ford,once again with four smart yet hard-hitting advanced rave tracks to incite the floor. Ryan J Ford is on fire!!

Industries Of The Blend is the latest project from Dj Luna-C, and it a step back into the original sounds of 1990 and 1991 old skool. Slower bpm and all hardware lead to an entirely authentic sound for this EP, and that authenticity continues with the style of sleeve (Spined like an old Euro EP) and in the overall concept. Proper underground, original, rave music. For those who know.

Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

A1 - Bitch - Late Nite 'DUB' Addict (Original Mix)
Is a Deep / Jackin House track with driving drum parts, deep old skool organ stabs, with lots of MPC style swing. The track is an energetic groover that could well be another hit for the (Late Nite 'DUB' Addict) who owns / runs (Digital Label) (DEEP 'N' DOPE RECORDS (UK).
If you like artists / DJ's such as (DJ Sneak / Phil Weeks / Black Loops / Dub Striker / Dumuir / Demuja / Kerri Chandler /Todd Terry / Kenny 'Dope' Gonzalez / Justin Martin / Scott Diaz / Sebb Junior + Filta Freqz) This track might be for you.


A2 - Fight For Your Rights - Late Nite 'DUB' Addict (Original Mix)
Fight for you right is most definately got the potential to become a future house anthem.
The track has allready recieved support and airplay from (London's Own) FANTASY FM
+ Groove City Radio (Scotland / Glasgow). This can only be described as deep / classic (U.S) style Garage / House / Banger, This Deep Underground but classic house track carries an abundance of energy, the track contains spoken vocals from a influential but controversial leader which gives the track an edge which just help build atmosphere and builds tension in the track - But definately in a good way. This track is a stand out groover that screams Anthem.
If you like DJ's like (Kerri Chandler / Mr V, Karrizma / Phil Weeks / Black Loops, Art Of Tones / Sebb Junior / Louis Vega, Mood II Swing / Dub Striker / DJ Pierre / Andres /Dan Shake then this energetic / warm (90's) style classic house number will be right up your street


B1 - Confessions Of A 'DUB' Addict - Late Nite 'DUB' Addict (Original Mix)
This track is a minimal style (Deep House) track that has been influenced by the early (Rave) era and early (Chicago + Detroit) House + Techno scenes. The track has a slightly darker edge but still remains jumpy and is definately made for the danecfloor in the early hours of the morning, and has a certain wharehouse 'Feel' to it. The track contains bleeps, stabs, and 808 + 909 compressed drums. The track contains poly rythums and drums which evolve and give alot of movement within the track. This is another "Big Track" from the (Late Nite 'DUB' Addict) that has also recieved support from the (legendary) FANTASY FM.


B2 - Heroes In Our Own Home - Late Nite 'DUB' Addict (Original Mix)
The (Late Nite 'DUB' Addict) states it is no secret that his productions are heavily influenced by the (U.S) Garage / House scene of (New York) in the early (90's).
An era that he said was huge in the way the house scene defined the (Deep House + Classic House) scene that is still massively current today. The DJ / Artis's that has influenced him the most from this era is (Todd Terry / Kenny Dope / Dennis Ferrer /
DJ Sneak / Mood II Swing + MK + Kevin Saunderson. This Hip / House track is the
(Late Nite 'DUB' Addicts) take on the Garage House scene / Hip House scene of
this special era!!!

The sickest French band, a trio called France, drums, bass and amplified hurdy-gurdy. They only performs live, in the middle of the audience - turned in to face each other - full on smoke machines and strobes. And they play only one ‘song’ for the duration of their hour-long set. And it’s the most transfixing live experience of intense physical and mental focus, and there is something of early rave too, the togetherness, the energy, the euphory. The distorted hurdy gurdy plugs France’s sound into the country’s history of folk music and popular festivities, of communal trance and immersive pleasure. The rhythmic basis is pretty much the same throughout the whole live. One doesn’t need to actually be tripping balls for the auditory illusions to start coming thick and fast. Those who’ve stayed for the whole duration of their performances know they’ve shared something. However disparate the phantom forms each might have discerned in the midst of the howls and groans. Gigs like this you leave feeling you’re not quite the same person who went in, even though you’d be hard-pressed to pinpoint precisely what has changed. Far Out Far West was the band’s first gig outside of their usual comfortable friendly circle and thus was perceived as a somewhat hostile environment. This was where they met the fellows of Les Potagers Nature who will later release France’s debut untitled album. One certainty remains at least, that there is still a France we can believe in. David McKenna (The Quietus). Sales Points: - New album from trio France - All previous releases now sold out and sought after - For fans of drone, rural trance, stoner, psychedelic - 131st release on Mental Groove Music, home of WRWTFWW

On a collision course with earth from the furthest reaches of the universe, The Colours That Rise announce their debut album “Grey Doubt’ on the inimitable Rhythm Section International. Comprised of producer duo Simeon Jones and Nathanael Williams, The Colours That Rise have previously turned heads with 2017’s “2020” EP released on Breaker Breaker (the label credited with breaking Ross From Friends).
Returning with their most accomplished offering to date, “Grey Doubt” features acclaimed guests such as Yazmin Lacey, Yussef Dayes and Andrew Ashong, each respectively complementing the incredible musicianship on display here, capturing the true zeitgeist of present day UK. Combining live instrumentation and analogue synths, intricate, intertwining textures and melodies run deep throughout this beautifully crafted afrofuturist voyage, exploring the darkest recesses of the galaxy, through weatherbeaten and asteroid damaged synth waves and broken drum patterns reverberating out into the vastness of space.
Pre-announcement single ‘Home Time’ has picked up steam with support across BBC 6 Music and 1Xtra through the likes of Benji B, Tom Ravenscroft, Jamz Supernova and Mary Anne Hobbs, who awarded it as her ‘Near Future’ track. The duo are also set for a live performance at Rhythm Section’s showcase at SXSW 2020.

One Sided 7", Limited edition of 200 copies on black vinyl, handstamped whitelabel with additional photo inlay.

Tribe'n'Bass? Tech'n'Bass? Drum'n'Tech? Whatever you might call it, the first ever vinyl release of the freshly launched imprint Freebreakz.FWD is a quite trip, a journey into the unknown and unexplored.
For their conjunctional studio effort that is „Alien Swamp“ we see Hamburg's baze.djunkiii and Berlin-based Donna Maya draw influences from spiralling TribeTekno and the freeform approach of the teknival scene, pay homage to their love for advanced, experimental Drum'n'Bass and fuse these elements with a stripped down high tech vibe somewhat reminiscent of early Minimal Techno coming out of Motor City Detroit. Imagine all these bits falling together at breakneck speed and with a well psychedelic notion and you'll be
captivated by one of the most unique dancefloor cuts from a space-exploring future, the electroid soundtrack for illegal raves taking place under the two suns of life-bearing exoplanets in binary star systems far far away.

SC016 sees the re-issue of four tracks taken from a little known cassette only release ‘Diet Of Germs’ by British artist and friend Adam Oko. Originally released in 2015 on the now defunct Astro:Dynamics label the four tracks were recorded in Adam’s bedroom studio overlooking Clissold Park in Stoke Newington, London.

Now based in Tokyo but having spent most of his life living between London & Canterbury, as well as producing music and running a regular radio show on NTS radio, Adam also makes mixed media artwork and designs installations & interiors.

All instruments on ‘Diet Of Germs’ were performed by Adam himself except the solo on Suketo which was played by Raven Bush - Kate Bush’s nephew & was actually recorded in Kate’s old studio in South London.

Marking the first-ever Vinyl-Release for "Rave In2 The Joy Fantastic". Each of the LP's will be pressed on highly collectible Ltd. Edition, Purple Coloured Vinyl! "Rave Un2 The Joy Fantastic" was his only album for NPG/Arista, - and the last released under the unpronounceable "Love Symbol" moniker; It was a Record that showcased Prince's mastery of Pop and R&B through a Variety of Tracks & a surprising range of guest artists including Chuck D, Eve, Gwen Stefani, Ani DiFranco & Sheryl Crow, -he even covers Crow's hit "Every Day Is A Winding Road" on the album. Marketing Activity & Database Mailout.

Pilo returns to BNR in 2020 with the “A.R.E.A.” EP. Since his first release for the label in 2013 at a very young age, each subsequent record could be seen as a milestone of growth - the “A.R.E.A. EP” feels confident, produced with consummate skill, focusing on the LA-producers strongest themes and devices. This is not, however, the sort of “maturity” that sees things get boring, more restrained. Pilo’s drum is the beat of LA’s unhinged underground techno scene - they don’t do boring - and this drum is always banging.

A-side examples: “Acid by Mouth.” A stuttered kick and a gated, uncanny valley voice form the backbone for increasing layers of texture and percussion. It’s a rollercoaster, as viscerally satisfying on the way up as on the way down. Pilo’s production journey has been increasingly cinematic, and you can see the songs here - “Acid by Mouth” is suited for a Gaspar Noe nightclub scene, and you love to hear it as long as no one gets murdered. “Ruhig” is tribal, made for spaces with 4 story high ceilings and sparse but blinding flashes of light. You can hear steel beams buckling under pressure, a breath too close behind you. The workers of the factory in fit of madness started raving to the sounds of their own machines. They’ve been dancing, without pause, for years now.

The B-side opens with “Exit the Artificial.” Headbanging broken beat kick, aggressive Skinny Puppy snares, ghost voices in hallucinatory bursts too short to confirm to be real. The draw-distance of the stereo spread seems infinite - listen at the very edges and a whole other (ominous) world is taking place. The ghosts mock you in gated laughs by the end. “Adapt Tactics” leads you out - low tempo, hissy percussion, haunted again at the fringe. Things break down, reduced to grain - brain short-circuits, “will I feel like this forever?” It’s a warning - turn back, there’s nothing for you out there. You embrace the madness, and start Pilo’s “A.R.E.A.” EP again from the beginning.

Impromptu muscovite supergroup Lilipulu turn the needle neon with a quartet of unexpected killers for club cosmonauts, rainforest ravers, anxious insomniacs and giddy punks.

Unplanned, inspired and all the way live – the pin is glowing! Ever wondered why the Growing Bin releases sound so damn good? Well, it has more than a little to do with mastering magician Sergey Luginin, whose eagle-ears and technical know how have been a part of the process since GBR002. For the latest Glowing Pin powerplay, our man in Moscow joins some close friends on the other side of the console, letting the creative juices flow for ‘Four Amazing Tracks’. Luring Simple Symmetry brothers Sasha & Sergey and DJ & photographer Ivan Pustovalov into his studio with the promise of an afternoon stroll through the nearby Elk Forest, Sergey set the circuitry in motion and the quartet got lost in music. What begin with a plan for some simple edits and a woodland walk quickly became a full scale studio throw down, reimagining forgotten favourites amid a multi-instrumental stew of propulsive polyrhythms, low slung bass, cosmic synths and frazzled guitars. There’s techno-tribal hypnosis on the mind bending, brain blending A1, poetic post punk on the angular, janglier A2, outrageous Afro-cosmic on the freaky Floyd-in-Lagos B1 and languid ambience on the lysergic lullaby which closes the set. Recorded as they worked and presented in chronological order, this EP is a triumph of inspiration over perspiration - a snapshot of a moment which will last forever.
Patrick Ryder

Titonton Duvante's long and more than essential Residual Recordings clocks up a fantastic 25th release in the form of a fifth volume of the famous Refraction series. This one draws on another masterful mix of names including Nachtbraker, Christopher Rau, Titonton himself as well as a rare killer outing from veteran S-Max. Reaching a milestone in style...

Nachtbraker opens the EP with a swirling house cut that is riddled with FM bass, twinkling keys and balmy pads that reach for the heavens. Christopher Rau goes for a more raved up house cut with feel good energy chords but a nice deep bassline and pensive synths on his Give It. Titonton does as he does best - keeps it deep, loopy yet driven, with a slick tech cut that is dubbed out and perfectly atmospheric as well as being hugely infectious. Last of all, S-Max comes correct with the slick boom bap of his stripped back house roller Lil' Lightyear Wants to Ride, with its dreamy pads and sci-fi feels.

Residual is by now, and for many years been a key label for lovers of tasteful house, as this latest collection proves they are showing no signs of slowing down.

Dimi is the new solo project and label of (Dimitrios Ploumpidis) one half of techno duo, AnD.

The Dimi label will be an exploration in sound, pushing techno, rave and dance floor sounds with a raw and powerful attitude.

DIMI001 kicks off with "Time Travel". Pulsating kick drums and vocal cuts interweave, creating groove with the snappy snare and lashing hi hats. When the huge synth stab and melody drop to take us straight to a hedonistic past put looking clearly into the future.

"Bang Your Face" enters the room with a tight, hard-hitting kick and serrated rave sirens building an infectious groove before being banged in the face with the old school euphoric synth line that drops in and out of the mix creating tension and dramatic shifts in the track.

"Groove Away" a throbbing bass and kick drum drop with a sinister stab for this funky techno monster. Hard in dynamics but with a maximum amount of groove this track thumps and slams while the spaced out synth line and rave stabs help keep this funky banger grooving all the way to outer space as the alien melodies propel us for take off.

"All In" syncopated delayed synth stabs build in this track with tight rhythmic percussion and distorted kick drum. The snare enters like a punch to the face but only solidifying the swing while the main synth line opens building tension ready to destroy everything in its path. This is Dimi showcasing his direct and unique take on techno music.

Self proclaimed "DJ from the sticks in Ireland", Ceili breathes diabolical energy to unforgiving imprint, Techno Is The Devil's Music. Following his "Rough n Ready" release on Obscuur, and a heap of killer sets - many at Techno institution, Jaded - Ceili's discerning ear, honed skills and sense of self shine through in this release. TITDM02 blends hardcore club vibes with melodic, euphoric elements for a sound that's heavy-hitting, yet fresh and exciting.

TITDM002 drops March 13th, via Techno Is The Devil's Music. Frantic opener, "Stern Morning Shake", is a transcendental thumper - booting off hard with an ethereal overlay, note Ceili's tempting dancers into a trance whirlpool. "Straight Off The Plane" offers tripped out acid lines upon ominous rolling thunder. On the flip, "2000 and Ded" goes far beyond the rabbit hole. Rounding out the EP, "Time Is No More" is hard hitting, with little room for respite despite Ceili's mesmerising, robotic interludes. Strobes, dark corners, incentive to dance - TITDM02 is for the ravers.

“We first performed this at the All Points East festival in Victoria Park in May 2019. The crowd reaction was so positive that I was inspired to do my first-ever bit of crowd-surfing (which I enjoyed so much that I have repeated it a couple of times since). We played the song throughout the summer & eventually recorded it after our final
performance of the year at the End of the Road festival on September 4th. “It’s a straightforward love song about someone stuck alone in the house whilst the object of their affections is out dancing to House music at a rave. “‘Everybody in the Place’ is the title of a Jeremy
Deller 2019 documentary on Rave Culture.”

It’s more than a year since his last EP on the label but it feels like right on time to deliver his most powerful tracks up to date. He hasn’t been quiet all this time, with remixes and appearances on labels like Obscuur Records, Konflkt or Enotaktik, 2019 was a prolific year for the spanish producer.

Four dancefloor oriented cuts including a massive remix of the rising Irish artist and labelfriend Tommy Holohan. Ladies and gentlemen, this is what we call techno. From the driving bass of “Spontaneously” to the rave anthem “Die Suppe”, these tracks won’t let your feet stick to the floor.

Limited release. 250 Copies

Fade to Zaire Records returns. Cottam opens the emotive and percussive floodgates, twisting and weaving ritual sitar sounds, signature percussion and subconscious bass lines.

ELLES' deconstructed dance therapy rmx is finally out after melting minds all Summer at the forest raves and warehouses of Walthamstow marshes and beyond.

After releases on DVNTT as well as his own Larmes imprint, „Imperial Suite“ marks French producer Clarence Park’s first output on vinyl. As the title suggests, the sixth installment on Berlin based label Voidance Records really defines itself as a suite. 6 tracks depicting the misery that is mankind and merging into a flawless listening experience by using ambient, industrial and experimental tropes. „Imperial Suite“ will be out on vinyl and digitally on March 30th.

Repress

The Godfather of Hardcore, Marc Acardipane, needs no introduction. His outstanding releases over the past 30 years speak for themselves. He has been instrumental in helping to create electronic music history, with countless well-known productions which have been unsurpassed by any other artist of this calibre. His timeless masterpieces have been and always will be heard at hardcore raves spanning the circumference of the Planet. With "9 Is A Classic", "Slaves To The Rave", "Pitch-Hiker", "Stereo Murder" and "We Have Arrived", just to name a few, he clearly proves who's the boss. "The Most Famous Unknown" is a well compiled collection of Marc's music, which showcases a mere portion of what he has composed and produced since the early nineties! The vinyl and digital selection of "The Most Famous Unknown" features remixes by Body Sushi a.k.a. VTSS & Randomer, Dasha Rush, Gabber Eleganza feat. Delirio, Jasss, Kilbourne, Minimum Syndicat, Nina Kraviz, Perc, Solid Blake, Stranger, Umwelt and VTSS, which all deliver excellent interpretations of tracks they have chosen to revamp. All original tracks have been re-mastered to the highest possible standard of quality.

The third reference of Nöle's Label BARRO will be out in February 2020.

This time, with a 6 tracks various artists compilation:

The Horrorist, legend amongst lengends, brings us a hypnotic and trippy story very of his style.

Millimetric, one of the highest French Electro's representatives, delights us with a booming dance floor focused track.

VCO a.k.a Artik, Tresor's resident, debuts in the label with his first production.

Exterminador has recently published an EP in Marcel Dettman's new label (Bad Manners) and he has created another dancefloor designed bomb for our reference.

Orlok 101, a regular in BARRO, joins us once again with a track filled with touches of Electro, EBM and the Sound of Valencia.

Least but not last, Nöle, boss of the label, closes the compilation with a hard and speeding electro-techno-rave track.

The previous references have been supported by artists such as Phase Fatale, The Hacker , Lokier, NX1, Unhuman, Alienata, Reka, Years of Denial and more!