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Despite its tragic breakup, Yugoslavia as a political, social and cultural phenomenon still inspires generations, especially those who were born or lived at the time of this utopian land of South Slavs. Those who didn’t enjoy the privilege are still amazed by its 1970s and ’80s music scene and the number of very modern, high quality acts that were so often ahead of their time. Two such acts were Data and The Master Scratch Band, both founded by Zoran Jevtic and Zoran Vracevic, who introduced synth-pop, breakbeat, and hip-hop music in Yugoslavia in 1984 with their releases: SP Neka Ti Se Dese Prave Stvari/Ne Zovi To Ljubavlju and miniLP Deogut (Jugoton). Our latest release, “It Was Ridiculous, It Was Amazing!” gathers their earliest unreleased material from 1981-1983, showcasing a broader range of genres – alongside synth-pop and breakbeat/hip-hop, they also experimented with industrial, EBM, minimal synth, and electro-funk!

The whole record is divided into two parts: on A side there are 7 previously unpublished songs by group DATA, and on B side there are 4 previously unreleased recordings by The Master Scratch Band.

The Data side opens with two unexpected “shocker” tracks: Ja Nisam Kao Ti” (eng. I am Not Like You) and “Izumi” (eng. “Inventions”) from 1981, where they sound like early Deutsch-Amerikanische Freundschaft with unusual vocal pan sound effects on Serbian lyrics and uncompromising synth-based sound. Equally unpredictable are the next two songs: atmospheric “España” and dusty “Damage In My Head,” where Zoran Jevtić boldly steps into the lead vocal role. But the surprises don’t end there. The next two songs, France and Strahovi (eng. “Fears”), bring a mysterious and nostalgic atmosphere, elevated by the irreplaceable sound of the modular Roland System-100M. At the end comes the greatest surprise of all: Data covers YMO-Ballet in a song called Ne Zelim Da Tako Zive (eng, I Don’t Want Them Living Like That) and puts some extra energy in rhythm without losing the original song’s sensibility. Like in the original, the lyrics are tender and yet mysterious and provocative.

The Master Scratch Band side contains the very first versions of the songs Break War, Jailbreak, and Computer Break, originally recorded in studio Druga Maca in Belgrade in 1983. These versions were not released on their mini-LP album Dégout (Jugoton, 1984), and they are actually the first ever hip-hop/Breakbeat recordings in Yugoslavia. With great enthusiasm, every sound was uniquely crafted from scratch using the finest analog gear available in the early ’80s. The two young artists, aiming for international success, chose to write their lyrics in English. The album’s final track, “Mad Scratch,” showcases their talent for creating impressive sound effects, which would be a delight for contemporary DJs and producers who specialize in sampling and scratching old-school hip-hop.

This release is truly a “100% digger’s gem” – 11 previously unreleased tracks from legendary pioneers of electronic, hip-hop, and breakbeat. A collection to discover, enjoy, play, and treasure forever!

Nach dem Tod von Lee „Scratch“ Perry tauchte eine Flut von Aufnahmen auf, die sich alle als das „letzte“ oder „abschließende“ Projekt der jamaikanischen Ikone ausgaben. Sein letztes offizielles Albumprojekt führte ihn jedoch nach Berlin, wo er mit den Pionieren der elektronischen Musik, Mouse on Mars (alias Jan St. Werner und Andi Toma), zusammenarbeitete. Das daraus resultierende Album Spatial, No Problem dokumentiert die einzigartige Begegnung zweier musikalischer Universen – ein vielschichtiges Klangexperiment zwischen Dub, Elektronik und visionärer Klangforschung.
Spatial Audio Listening Event in Berlin in Kooperation mit dem CTM Festival im Juni geplant.

Nach dem Tod von Lee „Scratch“ Perry tauchte eine Flut von Aufnahmen auf, die sich alle als das „letzte“ oder „abschließende“ Projekt der jamaikanischen Ikone ausgaben. Sein letztes offizielles Albumprojekt führte ihn jedoch nach Berlin, wo er mit den Pionieren der elektronischen Musik, Mouse on Mars (alias Jan St. Werner und Andi Toma), zusammenarbeitete. Das daraus resultierende Album Spatial, No Problem dokumentiert die einzigartige Begegnung zweier musikalischer Universen – ein vielschichtiges Klangexperiment zwischen Dub, Elektronik und visionärer Klangforschung.
Spatial Audio Listening Event in Berlin in Kooperation mit dem CTM Festival im Juni geplant.

"MYSTIKAL MAJIC FEAT. ELF TRANZPOTER." 4 unreleased & never-before-heard mixes of LEE SCRATCH PERRY's last known recording. LSP teamed up with Aussie beat maker INKSWEL for this twisted beat-boogie influenced dub vibe. Featuring club ready mixes from JAMES CURD & SOFATALK. (INNER TRIBE)

Dub versions of the songs "ShiningDub" and"Shut Up Dub" from the new Lee "Scratch" Perry Album 'Heaven', recorded and mixed at "Secret Lab's studio" by Olivier Gangloff assisted by Romain Gangloff Voices recorded by Olivier Gangloff at "Studio God LSP".

180 GRAM AUDIOPHILE VINYL
INCLUDES “INTRODUCING MYSELF”, “DRUM SONG”, AND “I AM A MADMAN”
LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON RED COLOURED VINYL

Limited to 250 copies !

The Deadheads had never had much luck with spaceships. Their first mission had ended in a catastrophic engine failure, leaving them adrift in deep space for weeks. This time, their craft was hardly more reassuring. A hodgepodge of outdated technology and shoddy repairs made it more of a floating death trap than a reliable cruiser. As they began their descent toward the strange planet, the hull creaked and rattled, sending a wave of dread through the crew.

"Hold on," Matt's voice crackled over the intercom, without much conviction, as if he himself doubted they would make it out alive. Outside, a thick, grayish atmosphere swirled ominously, while the planet's gravity became far stronger than anticipated.

“Fuck, we’re gonna burn at the entrance!” M yelled, his hands flailing on the console as sparks flew from the control panel. The ship’s sensors were completely jammed, and the navigation system flickered intermittently, like a dying light. Below, the planet’s surface was a tangle of lava rivers and jagged rock formations, the kind of place no sane person would ever land. But the Deadheads had never pretended to be. They lived in a state of constant emergency.

As the descent intensified, the alarms blared. On the bridge, the screens lit up with red warnings and flashing messages: "SYSTEM ERROR," "UNSTABLE TRAJECTORY," "SUIVITY SYSTEM COMPROMISED." The lines of code scrolled by too quickly to be read, while a mechanical voice repeated relentlessly: "Imminent impact. Structural integrity at twenty percent."

The once pristine shell of the vessel began to disintegrate, with shards of metal breaking away and disappearing into the atmosphere.

With a final, piercing screech, the ship crashed onto the planet's surface, sending up a cloud of dust and debris. The crew was violently thrown from their seats, stunned but barely alive. They struggled to their feet amidst the wreckage, the ship reduced to a charred shell around them.

"Well," M said, wiping the dirt off his suit with a grimace, "at least the air is breathable." Matt scanned the hostile expanse stretching before them and smiled slightly. "Perfect. Let's hope we have better luck with the planet than with our ships."

With that, the Deadheads gathered their equipment and headed into the unknown, while the remains of their ship slowly sank into the unstable soil of the planet.