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La MegaCobla: an experienced traditional Catalan cobla wind quartet, born after an improvisation workshop with ZA! two years ago. Pep Moliner, Jordi Casas, Xavi Molina and Xavi Torrent are four of the most reputable and innovative cobla musicians, experts in hacking tradition and using their folk instruments in any modern musical genre.
Tarta Relena, young a capella trans-folk duet that have shook up theire scene. With their use of polyphony and voice FX, Helena Ros and Marta Torrella are digging in the deepest Mediterranean folk repertoire and placing it in the XXIst century with aesthetic renewal.
ZA!: Papadupau & Spazzfrica Ehd are European benchmarks of the underground Do-It-Yourself music community. Their uniquely intense shows, as well as their collective/collaborative work (wokshops, benefit shows, Do-it-Together cooperation) have allowed them to tour the whole world, from Tokyo to Maputo, from Tasmania to Sao Paulo, from New York to Saint Petersburg. Under the premise that avant-garde art is not incompatible with collective horizontal creation, ZA! mix cult, underground and popular music without asking permission.
These three elements come together with the purpose of portraying their own vision of Mediterranean music, filtered by distortion (so current in cognitive, social and identity terms) and psychedelia (so inevitable in an increasingly accelerated and saturated reality). A retro-futuristic journey from folk to free exploring the shores of the Mediterranean, claiming its power as a living core, never as a deadly border.

The TransMegaCobla fuses traditional Mediterranean culture -from bulería to kopanitsa, from gnaoua to sardana- with contemporary culture to create a fictional but deeply human and festive universe. Resurrecting the Phoenician language, the octet seeks common roots to fuse and remake them with contemporary molds such as rock, punk, free jazz and conducted improvisation. A timeless orchestra ready to invent, with real elements, a science-fiction Mediterranean in a parallel reality.

Manda Moor steps out on Mood Child for the first time as the label co-founder links with mysterious talent Trangaz for four fresh productions on their collaborative ‘Peligro’ EP.

Ever since dropping her debut release in 2020, Danish-Filipino talent Manda Moor has been on an impressive upwards curve and one that doesn’t seem to be slowing anytime soon.

Having dropped back-to-back releases on Jamie Jones and Lee Foss’ iconic Hot Creations imprint, the hotly-tipped DJ/producer and label founder heads to her Mood Child label for the first time. Founded and created alongside Sirus Hood, the label serves as an artistic platform, a community-focused label, and an events series that delivers quality music via digital and physical formats, plus NFTs, unique experiences, and more. An ‘invitation to a journey that blends feelings, emotions and desires’, with takeovers at Hï Ibiza, Café Mambo, Lovefest, Fabrik and more, the first release saw Sirus partner with fellow Frenchman Malikk, and now the second arrives in perfect time for the peak summer months as Manda combines with Boogeyman and Pakate signee Trangaz.

New York City born-and-raised, he draws lines between primitive and futuristic sounds and rhythms influenced by world travel and different cultures, and the two reunite for their four-track ‘Peligro’ EP.

Crafted together in Ibiza, the EP showcases sonics capturing the island’s unique magic. Lead cut ‘El Peligro (Ibiza Mix)’ is a production made after a special day at the coves and hidden treasures of Atlantis, under full moonlight near Talamanca, with the rolling organic drums grooves, playful vocal murmurs and vibrant melodies journeying deep into the night.

Next, ‘Tagalog’ keeps the energy bubbling with another percussive workout sprinkled with vocal interjections and spoken words in the native Filipino language it is named after, while B1 ‘Chatita’ is a slinking production as wonky stabs meet and snaking low-end grooves. Closing the EP, the pair deliver the most stripped-back track with ‘Buena Vibra’ as a killer groove guides vocal chants to wrap things up in fine fashion.

Manda Moor & Trangaz ‘Peligro’ EP drops via Mood Child in July 2023.

Melts In Your Mind is the mercurial new LP by Healing Force Project, aka Italian producer Antonio Marini.

An amorphous, shapeshifting, intangible proposition, Melts In Your Mind represents Healing Force Project at it’s most fluid and alchemical yet, a melon-twisting amalgam of jazz, dub and acid house tropes mulched and rearranged in inimitable style. Seemingly live and erratic polyrhythms, liquid basslines and expressive roving keys combine with kitchen sink sample hits and rogue licks for a thrilling, constantly shifting, alive sound. It’s music that’s difficult to grasp on first or even fourth listen, and as such continues to reward on repeat. Rather than going somewhere, tracks just go, rarely repeating motifs but riffing on, digging into and working out.

Behavior Of Waves sets the scene discretely enough, a simple bass refrain that is eventually overcome with an urgent rhythm that stumbles over itself into a post-dub cavern. The title track resembles a scramble of disparate earthly sounds - lurking synthesizer, restless popping drums, West African balafon and a muted vocal sample - sucked into the same swirling black hole and dropped into another dimension, completely cohesive. Equator acts as loose-limbed palette cleanser, an unmoored drift gently driven forward by an insistent snare roll and improv piano stabs. Inharmonious Layer stands out on the record for being less reliant on samples and by it’s relatively predictable unfolding, a queasy acid lope from the darkest corner of a deviant dancefloor, while on Diaphonization Marini flexes his aptitude with drum sampling, a bouncing excursion in sampled loops interrupted by unironic jazz cliches, the product of an omnivorous lover of the genre’s high and low. Melts In Your Mind closes on the droning tambura, ethereal pads and scattered rhythm of Two Waves In The Dark, a suitably metaphysical and ultimately peaceful resting place for a record that challenges perceptions from the outset.

Marini has released records as Healing Force Project on Firecracker, Berceuse Heroique, Bedouin and most recently Beat Machine Records. He’s based in Treviso, Italy.

Melts In Your Mind was written, produced and mixed by Antonio Marini. It was mastered by Chris Wang. Art and design by Ginji Kimura.

Special vinyl-edition of the legendary cassette, privately produced and
released by Maurizio Bianchi in November 1980.

he undisputed father of nuclearsurgic sound-degeneration and apocalyptic avantgarde produced one of his most radical and uncompromising works entitled COMPUTERS S.P.A., consisting of dense electronic segments, furious pulsations and harsh waveforms, formed by the KORG MS 20-synthesizer plus machinistic recordings from tape.
Maurizio Bianchi describes his early works as TECHNOISE SOUND coming from; strictly personal feeling, frustration and contradiction.

COMPUTERS S.P.A. is completely idiosyncratic piece of music, conceived with dramatic insistence, emotion; irrationality, hysterical scission, schizophrenic energy and madness.
The two improvisations inspired by computerized music can be defined as FINAL INDUSTRIAL MUSIC (term used by M.B.), the last sensation before the end.


After the "concretistic" beginnings and the synthesis between integral
concretism and artificial synthetism, in the autumn After the "concretistic" beginnings and the synthesis between integral concretism and artificial synthetism, in the autumn of 1980 I arrived at the synthetic court of the purest and most uncompromising electronics and thus the "COMPUTERS S. P. A." project was born, consisting of two improvisations on the Korg MS synthesizer-20, free of ancestral prejudice and freely inspired by computerized music that in the second half of the 70s was gaining ground in the academic schools of experimentation. After more than 40 years, these "technical rehearsals" could seem a playful and carefree exercise, while inste@d they cover a dramatic denunciation of the sounds generated without the basic help of emotion and spontaneity, essential elements of the most genuine and constructive avantgarde music.

Special mention about collage art design method in collaboration with Maurizio Bianchi, Siegmar Fricke and myself. A combination with traditional tecnique of collage, 'xeroxed copy' scan and digital treatment in 'Off-set' quality print. Taken original ideas from early 80's 'mailing trade' music on cassette format.

This EP contains their second & third singles. Both were originally released in 1965 by Parlophone. Produced by Joe Meek.

ABC Collective signs the 3rd release on abc.ltd label, featuring tracks by Bread&Butter, Herck, Gabor, TmrsTn, and Sandru. This compilation offers a fusion of mesmerizing melodies and rhythmic beats across various electronic genres. A must-have addition for vinyl enthusiasts and music lovers seeking fresh and diverse sounds.

Tracks are mixed together.

"In this album, Akira Umeda mixes 42 recordings, dated between 1988 and 2018, which, in a sense, reflect the incredible range of his creative work: from songs, to ambient music; from field recordings to prank calls. The cassette tapes, whose contents make up this double-LP, had been stored in Umeda’s house in São José dos Campos, in São Paulo, Brazil.

Restless, and easily bored, Akira moved seamlessly from one activity to another – he was a little bit of everything (and nothing at all). Such people usually go unnoticed and unrecognized, something which Umeda found perfectly acceptable. Nevertheless, unlike most people, he had no right to see himself in this light – in the light of ephemerality and anonymity –, for in everything he tried his hand at, he inevitably left an impressive and distinctive mark.

The term cruising refers to the practice of seeking and obtaining instant, no-strings-attached sexual gratification with strangers. Akira Umeda was well-acquainted with this term, but his practice of it was not restricted to the aforementioned context. Rather it extended into all spheres of his life and work. A historian by training, he later became a ceramicist, a photographer, a visual artist, a draftsman, a graphic designer, a DJ, a musician, an audio technician, a writer, a researcher... He made forays into a myriad of artistic and academic fields – with a single intention: to achieve a specific objective and promptly exit stage left, as it were."

The new Hunter Complex album Airports and Ports arrives today Friday 2 September 2022 on Burning Witches Records and features contributions from Aquiles Navarro (trumpet, Irreversible Entanglements), new age legend Kat Epple (flute, Emerald Web), Alexander Hawkins (piano, Louis Moholo-Moholo), Justin Sweatt (aka Xander Harris, guitar) and Coen Oscar Polack (field recordings). Airports and Ports is the follow-up to the critically acclaimed synth albums Dead Calm and Zero Degrees (Burning Witches, 2020) and Open Sea (Death Waltz, 2019) and takes a new direction with influences from new age, ethereal jazz and krautrock.The gorgeous artwork was created by Luke Insect.For Airports and Ports,

Lars Meijer of Hunter Complex invited musicians from all around the globe to contribute to the album.Meijer: ‘I wanted to know what they would come up with, what new sounds and styles they would bring to my music. My previous album Dead Calm and Zero Degrees came out at the beginning of the Covid crisis in March 2020. I didn’t create music for months, it felt like time stood still. I missed the energy I got from being around people, from seeing concerts, from traveling. Those musicians gave that back to me and inspired me to create and discover new grounds.

Contagion Vapors was recorded between May 2020 and March 2021, in tandem with 'Transgressive Transmissions'. Both albums have been released by Castles in Space, however they feature completely different sonic energies.

Caught up in the first wave of pandemic doom/gloom which resulted in a bizarre creative bloom for Patrick, both albums have unique sounds anchored in the immense Patrick R Pärk/Kösmonaut discographies. This one is definitely a Kösmonaut record, however.

Patrick’s Contagion Vapors is a vaporwave sonic adventure which
soothes the worn soul like an icy balm with its motorik repetitions and sonic patterns and swirls.

Uncharacteristically upbeat and always positive, the album was a personal exercise in not becoming consumed by COVID isolation and misery. Major influences were Patrick Cowley, Cybotron, Automat, Cluster, and Harmonia and the entire album was recorded / mixed in the midnight witching hours over the course of only 2-3 days.

Ever prolific, Patrick is currently deep diving hard into post Y2K New Age conjurations with his massive Galactic Mirage project which should see another CD box set later this year. There's also some forthcoming Teeth Of Glass vinyl coming from Library Of the Occult later this year and plenty of Patrick’s self released "chrome sonic babies" in between.

"We entered the shadowy mouth of a new space, descending into a realm that precedes the underworld, the arcane, far from our time. We met beasts that gave us lessons about their language which we started learning without grammar."


'The animal world is a constant in the work of Milan improvisational duo Rosso Polare. If Cani Lenti was guided by the diaphanous birdsong integrated into their sparkling mix of folklore, ambiences and occasional humming, on Bocca D’ombra the themes go darker, textures are harder to pin down and the animal presence takes on new connotations.

Instead of an anonymous, patchworked outdoors we enter a cavernous space that invokes the collective unconscious with bestial and funereal undertones, as the animals take on the role of the psychopomps, ancient guides through the shadow realm.

The album is influenced by Timothy Morton’s Dark Ecology, a thinker who sees the constant exchange between the human and natural world as an ongoing dialogue, the two influencing each other, in a series of reverberating loops. This looping is also reflected in their compositions, where improvisations with traditional instruments like electric and acoustic guitars, monophonic synths, horns or flutes meet natural noise-making tools like branches, rocks or nuts that amount to lugubrious, often dissonant textures. Bocca D’ombra is built on a series of whispers, breaths, panting and rustling, creating a feeling of closeness sometimes verging on the claustrophobic, ingeniously set against sounds evoking space – fireworks crackling, crows echoing, church bells reverberating, indistinct cries from a children’s playground.

Distance and repetition are deeply ingrained in their own understanding of sound and their surroundings, becoming the building blocks of their practice. Just like Gregory Bateson in the ‘70s, the duo believes in a more romantic approach to ecology, seeking a porous border between self and environment, human and animal, internal monologue and external ambient hum.

If earlier releases were noisier and denser, Bocca D’ombra is tight and focused - every sound and melody is given room to breathe and develop on its own, enhancing the haunting, otherworldly aspect of the music. The result is heady, intoxicating mix which sublimates chaos into sparkling compositions of contemporary animism.'