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Sharing the spotlight along with the label owner Umwelt on this brand new split EP, Zeta Reticula the Slovenian born artist delivers two tracks of high intensity with distinct energy! Melodic "The Fate Of The Ship Unknown" opens A side with a pure robotic mayhem based upon synthetic strings, rushing leads and frantic arpeggiator flights over seductive vocals. Hostile and heading at the same. Progressive "Documented Contact", coming next, signs an intricate yet groovy electro sci-fi masterpiece made of rolling bassline, moody atmosphere and pounding beats. This is Zeta Reticula at its finest!

The Lord of Darkness treats the flipside with a more aggressive sound. As its title suggests, "Hyperspace" propels the listener at light speed through the depths of the universe thanks to a dystopian machinefunk atmosphere where hammering drums fuse with cold layers in Umwelt's typical trademark. Classical electro shaker "Earth To Unknown" concludes this uncompromising 12" with a luminous structure enhanced with a deeper and soulful approach.

Sharp, underground and always dancefloor oriented, this limited release comes packed in a colorful urban picture disc designed by the great CN6 aka Nexus 6!

After a devastating opening salvo of 19 modernist rave mutations on a double tape pack for Sneaker Social Club, Minder lands on Hypercolour with another 19 cybernetic fever dreams still reeling from the open season NRG of hardcore.

If you need to understand where Minder wants to take you, strap in for the labyrinth narrative of ‘Knotted’, a smudged, 15-minute breakbeat suite barrelling through lurid dystopian street scenes with only a blown-out bass sprite as a guide. Throughout Sanctuary, bass is the constant when all else is chaos. It comes in thick, warped Reese tones on ‘Simulated Hunt’, gets twisted out through angry filters on ‘Popcorn Lover’, comes on wobbly in true 2-step style underneath grimey garage anti-anthem ‘Ard’.

There’s a lot to take in across the spread of Sanctuary. It’s the sound of every rave genre slowly digested over 30-plus years, until the lactic acid metabolises every snare rush, every searing lead line, every chipmunk vocal lick, and everything gets mashed up and spat back out into a gnarly signal chain at the flash point of inspiration. The time taken is key – this is the sound of a life in front of the speaker stack manifesting in something too wild and weird to be derivative. You’ll hear snatches of familiarity thrown into unfamiliar contexts, but for all the detectable lineage, Minder’s sound is unsettling in its originality.

Dislodged ragga jungle techno, muffled hardcore nightmares, hard n’ haggard acid trance, junked up jump up – you could write an essay on the sounds you can spot and the way they’ve been twisted. Aside from the omnipresent low-end, it’s the unflinching honesty of Korron’s repeat appearances on the mic throughout which bring Minder’s disturbing patchwork into focus. For all the futurism attached to these sounds, it’s also caked in a very human filth which can only come from this earth. The roots run deep, and the fruit is rotten, and isn’t that how it should be?

Following a run with Cherry Red Records that featured a potential major label jump, guitarist Maurice Deebank quitting and rejoining multiple times, several pop stardom carrots just out of reach, mixing battles with Robin Guthrie, and a shocking entry into the record charts, Lawrence (just “Lawrence”, like “Cher” or “Madonna” thank you very much) knew he would be making a change with his band Felt. He would be seeing out his plan of ten albums and ten singles in ten years alongside a new partner in Creation Records. This compilation beautifully captures those years.

Creation was beginning a rapid ascent at the time, with Alan McGee serving as its hyperactive mouthpiece and focal point. McGee was all in on the band. “Lawrence achieved pop perfection, a breathless rush of sensitivity and intelligence. It was too understated to be commercial, too art to go pop, too pop to go art—in other words it was a perfect combination of all the music I loved at the time.” McGee was thrilled to have what he considered a real star on the label, and Lawrence was equally thrilled to have such an enthusiastic cheerleader. He funneled that enthusiasm into some of the most focused songwriting of his career, as well as some of his wildest experiments, all of which are on display here.

Recorded in 1973 at the Church of Saint Mary Magdalene in Paddington, London, Unfinished Picture is Rupert Hine's second LP. The songs where all composed by Hine with lyrics by David McIver and Simon Jeffries. On its sessions, Hine was surrounded by a host of outstanding musicians that included Simon Jeffes (Penguin Cafe Orchestra), Mike Giles (Giles, Giles & Fripp / King Crimson), Mick Waller (Cyril Davis, The Steampacket, Jeff Beck Group), Ray Cooper (Eric Clapton, Elton John) among others.



Rupert Hine's recording adventures started with the release of a 7" 45 by the folk duo Rupert & David "The Sounds Of Silence". In 1971 he was approached by Purple Records for the release of his debut solo LP Pick Up A Bone, which despite its lack of commercial success featured a strong collection of critically acclaimed compositions that made Purple Records want him to record a second album - Unfinished Picture, on which Hine showed a fantastic evolution to a more conceptual, cinematic approach. Echoes of Ray Davies, Kevin Ayers or hints of Nick Drake taken to a more 'happy' territoire mix with beautiful strings by The Martyn Ford Orange Ensemble and even some ARP synth explorations to build a fantastic collection of sounds that take the listener on a trip through the worlds of folk, psych and prog.



Hine's career would soon take off as a famed producer, he did work with Kevin Ayers, Milla Jovovich, Jonesy, Steve Tilston, Anthony Phillips, Camel, Saga, Rush, Tina Turner, Howard Jones, Bob Geldof, Suzane Vega, and many others.

Local Action is proud to present Cyclorama, the long-awaited debut album by Ariel Zetina.

A resident DJ at Chicago’s iconic Smartbar, a long-standing Discwoman family member and a key part of the city’s dance music and LGBTQ+ communities, Ariel has established herself as one of the most exciting electronic artists operating today - through releases such as 2020’s acclaimed MUAs at the End of the World and 2017’s Organism, and her meticulous approach to DJ mixes - as recently evidenced on Sestina, her 2020 contribution to Mixtape Club.

Written across 2021 and honed this Spring, Cyclorama is Ariel’s most impressive and all-encompassing work yet, showcasing her as a producer, vocalist and also curator, pulling together an ensemble cast of her peers in Chicago (Cae Monāe, Mia Arevalo, DANNN) and some of the most exciting names in contemporary club music (Violet, Bored Lord).

Conceptually, Cyclorama draws heavily from Ariel’s background as a theater writer and producer. Popularized in 19th century German theater, a cyclorama (or cyc) is a large curtain, placed on the back wall of the stage. This creates an illusion of extra depth in the background, and often is used to represent the sky. In Ariel’s words, “I imagine all the tracks on this as the lights and action projected onto the cyclorama. The whole album is like the cyc, a representation of the sky. Or an imagined sky. An imagined dancefloor. An imagined theatrical production.”

As well as drawing conceptually from Ariel’s background in theater, the album draws on a personal level from Ariel’s journey as a trans woman of color - most directly on Cyclorama’s three vocal tracks, ‘Gemstone’, ‘Slab of Meat’ and lead single ‘Have You Ever’.

On ‘Have You Ever’, Ariel collaborates with Cae Monāe, a dear friend and fellow trans woman of color. “‘Have you ever been with a girl like me before?’ and all the lyrics refers to the fear and anxiety that cis men who are attracted to trans women feel, and also any woman that doesn’t fit the mold of a stereotypical woman”, Ariel explains. “Cae and I - and many trans women - have been in so many situations where society tells cis men they cannot be with trans women and this explores that and gives power to all trans women in this situation. The techno reflects that, as well as the “Spell my name” section at the end, showing the true power of trans women.”

On ‘Slab of Meat’, Ariel delivers a hypnotic solo vocal performance that builds in intensity with each line (“I am treated like a slab of meat both emotionally and sexually sometimes, especially one left in the freezer on the back burner. Why did you bring this meat home from the market? For what? You’re wasting meat!”), while ‘Gemstone’, a collaboration with Mia Arevalo, continues the empowering themes of ‘Have You Ever’ in a different context:

“‘Gemstone’ is a call for trans women to take time with your transition because it will all happen eventually. As two girls who have started our transition almost a decade ago, I think we have both seen that we have always needed to take our time to take our time. Reminders not to rush or compare yourself to other girls. I love the metaphor of gemstone months representing different periods of transition. I’ve been so many different women in recent years, and I'm excited to continue my journey.”

It’s immediately followed by album closer ‘Tropical Depression’, the title of which is a reference to Ariel growing up with tropical depressions, storms and hurricanes affecting her hometown of Jacksonville, Florida as well as her family in Belize City:

“This track for me is about living day to day and continuing while dealing with my really intense clinical depression. The sample comes from “Why can’t you let me go?” but is supposed to be transformative and not necessarily legible. How we hold on to our trauma and depression like a protective shell. This is an attempt to deal with it in a different way.”

The Cyclorama album cover, directed by Dylan Bragassa, stars Ariel alongside Monāe and Arevalo in an imagined theater production. In Ariel’s words, “a theoretical performance starring only trans women of color - I wanted an ensemble shot to represent the ensemble nature of this album! Love how Dylan combines so many ideas to create a very unique image that asks so many questions.”

It's album time for Sam Goku aka Robin Wang: "Things We See When We Look Closer" is the second album from the Chinese-German artist, releasing nearly two years after his debut album "East Dimensional Riddims", that combined traditional Asian instruments and field recordings with his own modern take on dance music that focuses on fluid rhythms, beautiful melodies and ambient haze.

Based in Munich, things came together naturally with Permanent Vacation as a label for the DJ and producer. Not only sharing the same hometurf, but also a certain eclectic approach on music. After two EPs on the label, that found their way into DJ Sets from the likes of Ben Ufo & Four Tet, DJ Voices, Call Super and many more, Robin is drawing ever wider circles with his new album.

On eleven tracks he is refining his unique approach in his productions, probably described best as a deeply nature-rooted and aethereal sound from twinkling ambience over bright, bouncy kickdrums to shuffling breaks. Robin is hunting for the bigger picture by taking a closer look. Finding new life in the different microcosms and gaining new perspectives on things by switching the angle and developing a meditative and psychedelic swirl.

Jazz Blues Session is the first connected disc from Blues Collection by Vinyl and Media.

From Howlin Wolf to Slim Harpo, this Jazz Blues Session compilation takes you on a journey through jazz.

The podcasts on jazz history offered in the VINY Music app connection (on IOS or Android) are exciting.

If you love jazz, you'll love continuing the connected recording experience with Jazz Collection by Vinyl & Media.

We're delighted to fire up the Metalheadz Platinum machine for the first time in over 2 years, also accompanied by a brand-new face designed by Belin - a Spanish urban artist, surrealist and innovator who we're honoured to have connected to the label.

The music comes from Subfusion, a perhaps unfamiliar name but one which consists of two individuals with over 30 years of jungle and old skool history combined. Those deep roots shine through on the 'Second Phaze EP', a collection of four circa 130bpm rave-infused killers that deeply impressed us here at Metalheadz HQ.

Infinite Machine is proving again it's a label that refuses to sonically sit still. Having released everything from code-based compositions to bass-heavy techno in 2022, the imprint is readying the release of the black metal-tinged Ehkta by BOLT RUIN later this month. A musician whose work has been described as 'apocalyptic' more than once, on this new mini-album, the Belgian producer blends field recordings, twisted samples and rave signifiers with an eerie tonality born out of his nocturnal production sessions and time spent absorbing the silence of his studio garden.

Bridging the gap from his previous record to this one, 'Sktone' is a cinematic opener that unfolds like a bad dream in slow motion. Warped samples of Bulgarian choirs glide over synths wired in closed-circuit loops which feed back on themselves, degrading for infinity. Texture and space is added via field recordings of waves crashing over the ruins of Brighton West Pier. This track exemplifies the unexpected influence BOLT RUIN took from the wildlife he witnessed in the garden of his urban studio when working on Ehkta. Adapting to the material at their disposal, weasels and blackbirds create nests from organic waste and human trash - an astute metaphor for the Belgian producer's compositional approach.

Next up, BOLT RUIN drives up the tempo with the rave-ready 'Nehng', where a frenzy of trance arpeggios and frantic drum programming builds and intensifies over its 5-minute duration. Inspired by Yves Klein's 'Leap Into a Void', 'Nehng' definitely evokes that bodily rush of freefalling into the unknown. 'Nehng''s driving rhythm is switched out for the brooding 'Tzarhk' - an ode to the soundtracks of B-movies composed on a vintage Roland SH-2 (a prominent character of the Stranger Things soundtrack). BOLT RUIN runs thick, syrupy synth slabs and punishing drum patterns through a rain-soaked limiter the producer found lying on the street by chance.

Another master-class in self-destructive arrangements comes in the form of 'Rfohmdrá' as delicate pianos and synth tones atrophy through daisy chained pedals which erode the signal. Valgeir Sigurðsson's mastering skills shines through here, taking BOLT RUIN's sci-fi-meets-metal sonics and amping them up to a scale on par with the Björk or Ben Frost records he's previously worked on.

Conceived of as the mirror reflection of the LP's opener, 'Maevr' pushes the approach of 'Sktone' to an even more nightmarish extreme. Embracing chance, the clattering layers of beats are sampled of a knocked mic on a window as BOLT RUIN attempted to capture a recording of rain from his studio. A happy and very effective accident for the foreboding mood of the track!

BOLT RUIN rounds off Ehkta with 'Ekztamnh'; an ode to that specific sensation of entering through a corridor to a rave and hearing the rumble of a soundsystem from afar. Snarling melodies are run through a reverse granular delay effect which fragments the signal, reverses it and plays them back in irregular order; much like the shattered memories of a late night in a warehouse.

A musical magpie who finds inspiration in the most unlikely of sources, Ehkta is a restless exploration of salvage-punk aesthetics where doom-laden black metal melodies, amen breaks and an experimental approach to sound design sit in an irregular and uneven musical apocalypse. For fans of Blanck Mass or Caterina Barbieri - this is a must-listen material from a fresh producer establishing himself with a singular musical voice.

Yellow Vinyl

Message of the Artist:

“Before becoming a producer, I grew up with labels such as Cenobite, K.N.O.R., Cold Rush and Ruffneck Records; this emblematic 1990s hardcore sound has influenced me heavily, even though it has never explicitly featured in my music. But I feel it’s time to return from exile, and so I have started to dig up the relics and present my interpretation of that great style: The energetic kicks, the sweeping sounds, the samples. Enjoy my piece of modern arkaeology!”

As 2022 concludes, Marcel Fengler opens a new career chapter with the announcement of '10 Years IMF', an inspiring compilation that marks a decade of his influential label Index Marcel Fengler. A "heart project" two years in the making, the work showcases 12 cuts from artists across the generations exclusive to the compilation, and in-line with the imprint's ethos, unites established and emerging artists.

At the same time, true to Fengler's own vision, it presents productions that span the full breadth of the techno genre - whether it be funky, elegant, industrial, atmospheric or broken beat, right through to the harder techno variety, '10 Years IMF' stands as Fengler's personal manifesto of techno and the artistic possibilities of the genre.

Each record includes a 10 Years special collectors item.

Originally released on Axis records! This story takes place around the year 3216, in which space travel is something completely contemporary. Humanity is going too far in pushing Mother Nature's boundaries, and now the planet is in danger. Only one person is capable of saving Earth from destruction. Our protagonist travels to other planets to see if there is anything that can aid him in calling the downfall of our home world to a halt. The fragments on this disc are actually snapshots, made in between traveling, amid the rushing realization that a resolution to save the planet must be found. Quickly. DJ Surgeles has a longstanding professional relationship with Detroit legend Jeff Mills. Connected through music, DJ Surgeles learned the insides and tricks of Jeff. Many conversations and meetings over the years led to this new concept, The Escape Velocity. DJ Surgeles has also collaborated exclusively with Jeff Mills on the concepts Something in The Sky and STRMRKD, and produced a special Axis Records 10 year anniversary release, The Bells: DJ Mix back in 2007. I wanna thank Jeff Mills for making this album happen.

The Men collection is back with a new double vinyl dedicated to the greatest voices of the Blues including the man who inspired Elvis Presley, BB King.

* Hypnotic and seductive, Emika crafts Earthy Melodic Techno track 'Breath Cuts' using her breathy vocals, kick and devilish sub bass.

* Pleasure and pain, the euphoria Emika knows how to create sonically in order for her to lose her mind through the music and escape reality, composed and produced during the darkest chapter in her life, she mixes in the inevitable pain of a once locked-down Berlin.

* Breath Cuts is a journey-style dance track, for song-lovers or DJs that like to tell stories on their dance-floors. Emika reveals a poem in the middle of the song, a dream about being free again; 'I like to look out the window.. I like to imagine the clouds..'

* Norman Nodge, Berghain resident by night and lawyer by day, pulls out and enhances the lush ethereal vocal elements, remixing them further into an angel-like chorus, one can imagine the dancefloor in Berghain - people rushing from the sound while spirits float above them looking down.

* The two producers decided to provide listeners and DJs with a functional kick-less mix for advanced mixing pleasure.

Back in 2018 Alex Picone’s first EP on OCD was also his last EP known to date under his own artist name. Five years passed since then but Alex’s approach to music production, with his sleek and elegant taste, hasn’t changed if not it evolved further. Excited to have a brother back to OCD for his long awaited return on wax with four varied journeys into his own vision of deep tech-house out of Today’s trends.

Die Pioniere der elektronischen Popmusik sind zurück und feiern mit ihrem 14. Studioalbum “Point” ihr 40-jähriges Bestehen.

Mit der Debut-Single „Bostich“ eroberten Yello die afro- merikanischen Dance-Klubs von New York . Danach ging ihr Sound – eine Collage von Musik aus aller Welt – um die Welt. Alben wie „You Gotta Say Yes To Another Excess“ (1983), „Stella“ (1985), „Pocket Universe” (1997) und „Toy” (2016) waren Bestseller. Die Evergreens „The Race“, „Oh Yeah“ und „I Love You“ tauchen noch heute ständig im Kino auf. Laute und stille Stimmen wie Shirley Bassey, Billy Mackenzie, Stina Nordenstam und Fifi Rong haben im Yello-Studio gesungen.

Das am 28.08. erscheinende, von Boris Blank und Dieter Meier höchst persönlich produzierte Studioalbum “Point” besteht aus 12 Titeln, deren typische Yello-Klangbilder einen jeden Fan und Kenner sofort
aufhorchen lassen. Die Singles “Waba Duba”, “Out Of Sight” und “Spinning My Mind” sind darauf ebenfalls zu hören.

Das Sony Classical-Debütalbum "Arctic" der international hochgelobten norwegischen Geigerin Eldbjørg Hemsing ist eine musikalische Reise durch die Arktis mit neuer Musik u.a. von den Star-Komponisten Jacob Shea ("The Blue Planet") von Bleeding Fingers Music und Frode Fjellheim ("Frozen"). Zusammen mit dem Arctic Philharmonic Orchestra zelebriert Eldbjørg Hemsing darauf die zerbrechliche und weithin unentdeckte Schönheit eines Ökosystems, das in einem beispiellosen Ausmaß vom Klimawandel bedroht ist. "Die Arktis wird oft als ein schroffer, unbewohnbarer Ort verkannt, dabei handelt es sich um eine Region von einmaliger Schönheit und voller Leben, die auf faszinierende Weise illustriert, wie alles in fragilen Kreisläufen zusammenhängt. 'Arctic' ist eine musikalische Reise durch diesen einmaligen, gefährdeten Naturraum", erklärt Eldbjørg Hemsing. "Ich möchte mit diesem Projekt den Menschen zeigen, wie großartig und schützenswert diese Landschaft ist und auf die Bedrohung durch den Klimawandel hinweisen, die Auswirkung auf uns alle hat." "Arctic" ist voller mitreißender Melodien und beeindruckenden orchestralen Klanglandschaften, die sich beim Anhören des Albums aufbauen, wie die atemberaubenden Lebensräume der Arktis im Lauf der Jahreszeiten. Für die musikalische Gestaltung ihres Albums hat die im norwegischen Valdres geborene Musikerin mit einer Vielzahl an Komponisten zusammengearbeitet und ein einmaliges Album kreiert, das amerikanische Filmmusik mit europäischer Klassik verbindet. So enthält "Arctic" neue Musik von den Filmkomponisten Jacob Shea von Bleeding fingers Music und Frode Fjellheim wie auch neue Arrangements von Melodien der Komponisten Selim Palmgren, Einojuhani Rautavaara, Henning Sommerro, Ola Gjeilo, Ole Bull, Edvard Grieg und James Newton Howard. Aufgenommen wurde das Album in Bodø innerhalb des norwegischen Polarkreises mit dem Arctic Philharmonic Orchestra. "Ich wollte einmalige, einprägsame Melodien mit einem malerischen orchestralen Klang verbinden, der dem großen Panorama der Arktis entspricht, um diese emotionale Geschichte zu erzählen. Entstanden ist eine sehr abwechslungsreiche Art Filmmusik für den Konzertsaal oder ein Soundtrack für eine innere Reise", sagt Eldbjørg Hemsing über die Musik von "Arctic". Das zentrale Werk des Albums ist die 20 Minuten lange "Arctic Suite" des amerikanischen Filmkomponisten Jacob Shea von Bleeding Fingers Music, der zusammen mit Hans Zimmer die millionenfach gespielte, ikonische Musik zu "The Blue Planet" geschrieben hat. In den sechs Teilen der "Arctic Suite" vertont Jacob Shea die einmaligen arktischen Naturphänomene und findet Melodien für "Frozen Worlds" im Winter, die "Aurora" in der Polarnacht oder den "Sunrise" in der Morgendämmerung des Polartages. Er gibt den Fischschwärmen im Malmström einen Klang in "Rush of Life" oder dem poetischen Pfeifen der "Polar Winds" und endet mit einem melancholischen Blick auf aktuelle Veränderungen in "Sea Ice Melting". Komponist Frode Fjellheim ist bekannt von seiner Arbeit zu "Frozen". Er entstammt den Samen, einem Volk, das bereits seit Jahrhunderten den europäischen Polarkreis bewohnt. Für seine Kompositionen "Under the Arctic Moon" und "The Return of the Sun" lässt er sich von den traditionellen Liedern der Samen, den "Joik", inspirieren. In "The Return of the Sun" singt er sogar eine dieser traditionellen Melodien. Die musikalische Reise durch die "Arctic" umfasst weitere neue und farbenfrohe Orchesterarrangements von Werken nordischer Komponisten wie das klangmalerische "Snowflakes" von Selim Palmgren, "Whispering" von Einojuhani Rautavaara, "Dawn" von Ola Gjeilo und "Vårsøg" von Henning Sommerro. "Vårsøg" ist eine bekannte Melodie in Norwegen und steht sinngemäß für die "Suche nach einem neuen Frühling". Das ursprünglich als Folk-Pop Song geschriebene Lied verkörpert damit die Hoffnung auf einen Neuanfang im Leben. Arrangeur Ben Palmer hat die Melodie in eine emotionale Hymne für Violine und Orchester gebettet.

Sharing the spotlight along with the label owner Umwelt on this brand new split EP, Zeta Reticula the Slovenian born artist delivers two tracks of high intensity with distinct energy! Melodic "The Fate Of The Ship Unknown" opens A side with a pure robotic mayhem based upon synthetic strings, rushing leads and frantic arpeggiator flights over seductive vocals. Hostile and heading at the same. Progressive "Documented Contact", coming next, signs an intricate yet groovy electro sci-fi masterpiece made of rolling bassline, moody atmosphere and pounding beats. This is Zeta Reticula at its finest!

The Lord of Darkness treats the flipside with a more aggressive sound. As its title suggests, "Hyperspace" propels the listener at light speed through the depths of the universe thanks to a dystopian machinefunk atmosphere where hammering drums fuse with cold layers in Umwelt's typical trademark. Classical electro shaker "Earth To Unknown" concludes this uncompromising 12" with a luminous structure enhanced with a deeper and soulful approach.

Sharp, underground and always dancefloor oriented, this limited release comes packed in a colorful urban picture disc designed by the great CN6 aka Nexus 6!