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raum…musik welcomes Jaffa Surfa back for its 121st release with ‘Tribal Diesel EP’, a four-tracker moving through progressive techno, industrial-tinged minimal, house and broken beat. Rather than treating these as fixed genres, Surfa reshapes them into something uncanny and unmistakably tribal, while keeping the groove firmly at the centre.

That approach is clearest on the A-side. “Diggers Diesel” has a ritual pull and, as the EP’s title suggests, finds Jaffa Surfa at his most tribal. Processed drums and splintered voices gradually lock into a hook while murky synths shift beneath them. “Lidl Sin” takes a leaner, slightly industrial but definitely understated route. Its reduced arrangement leaves enough room for each detail to register, with drums, synth stabs and sequenced lines appearing to exist in a state of constant mutation. On the b-side, “NGLZ” is the EP’s most direct house cut, driven by heavy low end, syncopated rhythms and flashes of phased samples. Breakbeat accents and old-school vocal fragments nod towards US house, though the track’s restless movement keeps it from settling into anything conventional. “Upstarz Galeri” closes on a wider screen, carrying traces of krautrock and decades-old sci-fi and cyberpunk soundtracks without ever feeling nostalgic. Airy and expansive, it pairs breakbeats and growling basslines with densely layered samples, giving its machine funk an unexpectedly emotional charge.

'Tribal Diesel EP' never overstates the contrast between its parts. Jaffa Surfa holds everything together through texture, rhythm and an almost cybernetic atmosphere. It is clearly built for the club, but carries enough personality and ambiguity to reward closer listening.

After making waves in the underground with their first release, psychedelic techno explorations from Winkles, A Sky Full Of Numbers head to the shoreline with a five tracker of misty electronica from Japan’s The Rituals, the new collaboration between Tasoko and DOLTZ. Across acclaimed releases on Explore, Bitta, and Delsin, the duo have separately explored deep techno, ambient, acid house and IDM, showcasing innovative sound design and spacious, understated grooves. For AFSON, the duo apply their unique point of view at a lower tempo, pulling away from the peak time to deliver a shadowy journey through dewy electronics.
Opening transmission 503M feels like tuning into a damaged frequency somewhere beyond the cloud line. Misty lead synths slither through blown circuitry while buzzing sequences and short-circuiting percussion crackle against purring bass pressure below.
There’s an eerie electricity in the atmosphere, as if the track’s been exposed to too much heat and left glowing softly in the dark. From the opening bars, The Rituals instantly establish their ability to make techno feel both mechanical and hallucinatory.
Ugan sees the duo descend deeper into the haze. Reverb-drenched synth motifs hover like distant lights through thick fog while a propulsive dub bassline locks into loose electro-funk rhythms beneath. There are echoes of hauntological electronics and early IDM experiments here, but The Rituals avoid nostalgia entirely, steering the track instead towards something crepuscular and alive.
Stepping out of the shadows, Broken Frog Lamp pushes forward on a rolling rhythmic framework as melodies slowly force their way through layers of sea mist and static interference. Atmospheric without losing momentum, the track balances submerged emotional weight with hypnotic forward motion.
The mood softens but never dissipates on Salty Air, a damp and dewy excursion into dubbed-out psychedelia. Rainfall ambience, skittering stone percussion and swelling pads fold around sliding sub bass and filtered stabs, while jazzy cymbals and syncopated hats gently pull the track forward, as the condensation clings to the hardware.
Closing cut “Night, Castle, Reflection” drifts into darker territories, where redlining drums and pulsing low-end pressure throb beneath thick layers of saturated texture. Woozy synth work smears against tightly controlled rhythms, creating an immersive and slightly uneasy atmosphere that closes the EP at its most introspective point.
Taken as a whole, the EP transports you into the midnight hour, when the comforting embrace of stillness can easily nudge you towards hallucination, dissolving the boundaries between dream state and dancefloor hypnosis.

Radiating Cellular Lime Headlight

'Channel Zero is a new release produced by the London-based Brazilian artist Protocol. It is made up of 4 unprocessed live jam recordings of heavy, stripped-down techno. Composed over a period of 2 years, the artist focuses on experimenting on the far edges of techno, inspired by early avant-garde music, drone, and Musique Concrete. It comes in a hand-numbered limited edition of 180g black labels, in a 3mm inside-out cover with a black inner-sleeve.
'The work is a confirmation that techno still thinks forwardly, but pays homage to its mostly overlooked origins. The titles come from one of the early Cybernetic Culture Research Unit essays, also named Channel Zero.
'Lost Signal (Noise) opens up the EP with reverberated static noise, followed up by a deep bass with more layers of percussion and atmospheric noise patterns, slowly evolving into unexpected rhythms. The second track, Blind Belief, is composed of a deconstructed kick sequence, with machinic-like sound structures in the background and a hi-hat that morphs with various envelopes, together with a nostalgic 909 rim-shot. Turning to the B side, Electromagnetic Shadow is an atmospheric four-to-the-floor techno track, where deep kick drums and polyrhythmic noise soundscapes move into industrial noise pattern. Closing Protocol's debut EP, Black Snow Cult brings together the EP's sound palette into aggressive patterns of Birmingham-esque industrial percussions, where synthetic sounds are put together in primitive sounding sequences together with high pitched frequencies.'

Leap Life is Saul Williams’ first solo album in over 10 years and marks a major return for one of the most influential voices in spoken word and experimental music. Named after Saul’s leap year birthday, the project has been carefully sequenced by composer and producer Carlos Niño as a fully immersive, front-to-back listening experience.

The album expands Saul’s sound into electronic and ambient territories while remaining rooted in spoken word, with rich sound design built from nature recordings, environmental textures, and expansive instrumentation. It also sees Saul step further into the role of producer, drawing influence from Fela Kuti, Black church traditions, and South African electronic music. The record features a standout cast of collaborators including Kamasi Washington, Georgia Anne Muldrow, Moor Mother, Gonjasufi, and Surya Botofasina, alongside material developed with Robert Del Naja (Massive Attack). Released via Big Dada, the album marks a full-circle moment with the label where Saul originally launched his solo career.

Limited edition 2LP set - for the first time together the complete Torch Of Freedom sessions. The acclaimed follow up to the classic 'Pick A Dub' and 'Flesh Of My Skin' albums. Original raw Mamba label Jamaica mix plus Keith's UK re-mix and re-sequence. Includes bonus dub 'Crying' previously only available on rare import 7" single.
Features the classic 'Turn The Heater On' as covered by New Order. Extensive sleeve notes by Keith Hudson biographer Vincent Ellis.

Neon Electronics presents “Liberation”, the final chapter of the project born as the successor to The Neon Judgement—an essential vehicle for Dirk Da Davo, an artist who helped lay the foundations of EBM and post-punk. As co-founder of The Neon Judgement, he forged a sonic language that continues to resonate across generations. With “Liberation”, he brings Neon Electronics to a close, marking the end of this era with clarity and intent.

Joined by longtime collaborators Glenn Keteleer (Radical G) and Pieter-Jan Theunis, this release captures the essence of his most vital years. It distills the spirit of the ’80s and early ’90s into a sequence of tracks that unfold like a collection of undeniable hits—direct, timeless, and uncompromising.

The record reaches its final form with remixes by Ancient Methods, a leading force in industrial techno, and Patrick Codenys of Front 242—one of the few acts whose legacy stands alongside Dirk’s own.

For the label, presenting this final work is both a privilege and a responsibility: a closing statement from one of the true architects of the sound itself, and the definitive work of Neon Electronics as a project.

2026 Repress

For Fuse's fifth release, Brussels' Altinbas returns for a whirlwind of meditative and harmonious techno. Solidifying his identity of focused yet vibrant club music, the Fuse resident and label co-curator offers his second contribution 'Sustain' as a dancefloor-enveloping take on modern techno. Known for rich chords, whipping pads, and dry percussion, Altinbas proves once again that his touch as a producer revolves around balance and calculated effect.

'Trail of' kick starts the EP with flourishing synthwork and a taste of dub as has become the Belgian artist's signature. Dotting toms as rhythmic accents and a low to the ground shaker make for a swaying introduction with an infectious groove. Breaking things up in the second track, 'Life Force' presents Detroit style chord stabs and playful rhythmic work. With a mental synth at the foundation, the track presents 909 drums to reinvigorate atmospheric synths that make 'Life Force' a subtle hybrid of classic club genres. With a wink at Fuse's heritage and a peak into its future, Altinbas' focus on enduring music can be felt throughout 'Sustain' and truly understood in the Brussels club. As a fitting follow up, 'Purpose' opens the B-side with illuminating chords and rounded sound design and a pulsating low-end. With almost a lighthearted tone, the record fits across genres and rooms, claiming movement instead of mood as its sole medium. The title track 'Sustain' proves just that - a melodic sequence and progressive arrangement make for an intensely euphoric closing. Evolving melodies, opening filters, and big but calculated buildups sum up Altinbas's work for Fuse's fifth release on the new label. The record brims with warmth and yet it finds its way on darker dance floors with ease, providing a refined style of music that belongs only to him across the international scene.

The sleepy calm of Klondyke, Louisiana, is shattered when an unknown man ruthlessly shoots his way out of a courtroom, abducting a girl hostage at gun-point and tearing out of town in a stolen car. Who is he? What is his concern with the girl, with a multi-millionaire’s secluded house, and with a great oil rig out in the Gulf of Mexico?

Fear Is The Key is a 1972 British action flick directed by Michael Tucher starring Barry Newman (Vanishing Point) and Suzy Kendall, based on Alistair MacLean's 1961 eponymous novel. The film is probably best remembered for its spectacular and lengthy car chase sequence, which necessitated a ten-minute plus action cue that demanded split-second timing so that each bar would blend perfectly with the chase sound effects. Realizing composer Roy Budd was just 25 years old when he recorded this score, makes it all the more impressive. Fun fact: this is the feature film debut of Sir Ben Kingsley so make sure to give it a whirl, especially if you're into hard-driving British jazz. In any case, this soundtrack too will surely satisfy fans of the jazz-funk and library music found on labels such as KPM and Music De Wolfe.

The soundtrack of Fear Is The Key is available as a limited edition of 500 individually numbered copies on pink marble vinyl and includes an insert with liner notes.

Phosphor returns with its fifth release and a new chapter for the label’s founders, Blue Vision. As their second EP on the imprint, Machines Will Transform Us (PHP005) confirms the project’s direction: a precise balance between club-driven tech house and more immersive, hypnotic electro textures.

Across the EP, Blue Vision asks a simple question: after spending our days connected to algorithms and modern machines, can repetitive rhythms and mechanical grooves on the dancefloor turn us into machines once again, or instead help us reconnect with ourselves?

Machines Will Transform Us (A1) opens the EP with a driving Italo bassline and tight, tech-driven drums. Melodic 80s synths contrast with sharper electro elements, gradually building tension before a final drop designed for peak-time impact. The track sets the tone for the release: machines transform us as much as we transform them.

Then comes Just a Game (A2), blending spacious 90s progressive and synthwave influences over a rock-solid club bassline and crisp drums. Playing with atmosphere and emotion, the track explores the feeling that we are never too far from a simulation, that maybe everything is just a game. Perfectly suited for introspective yet intense moments, it acts as an ideal bridge between harder tracks in a set.

On the flip side, I Love Acid (B1) is direct, hypnotic, and designed to lock the dancefloor into a steady flow. Stripped back to punchy drums and a raw acid line, it takes a minimal approach that works equally well in early hours or late-night sets. Behind the title lies the idea of acid as both machine energy and mental escape, where repetitive sequences blur the boundary between human emotion and mechanical movement.

As a final touch, Scan Your Brain (B2) shifts into deeper, more immersive territory. Analog pad textures create a drifting atmosphere over a hypnotic bassline and electro drums. With this closing track, Blue Vision answers their initial question by imagining the dancefloor as a space to disconnect from rigid thinking. The vocal serves as a reminder that the brain is constantly overloaded, and that dancing becomes a way to let go, reset, and reconnect.

The legends of the golden era of Italian soundtracks and library music go by many names, but the backbone of that era’s definitive sonic identity is most often identified as I Marc 4 (also known as Marc 4 or I Marc Quattro). While the moniker might be less familiar to the uninitiated, it is a simple acronym derived from its founding members: Maurizio Majorana (bass), Antonello Vannucchi (organ), Roberto Podio (drums and percussion), and Carlo Pes (guitar). The number "4" serves to highlight the core synergy of these four master musicians. Their journey began in Rome’s vibrant jazz scene of the 1950s and early 1960s, where they honed their craft as members of the RAI national orchestra and collaborated with the most prominent jazz and pop icons of the day. However, it was their pivotal role in defining the Italian cinematic sound of the 1960s and 1970s that secured their legacy. Their unmistakable style was an eclectic fusion of beat, jazz, classical, and Latin influences—textured with early synthesizers, experimental sound effects, and a blend of electronic and baroque instrumentation. Consequently, their initials are etched into the credits of countless landmark recordings by legendary composers such as Nino Rota, Armando Trovajoli, Gianni Ferrio, Alessandro Alessandroni, Piero Umiliani, and Ennio Morricone.

Beyond their work as session luminaries, they produced a vast body of library music under their own name at the legendary Telecinesound Studios in Rome. These recordings were released through prestigious library labels like Sermi, Ricordi, and Fonit Cetra, as well as through their own imprints: Nelson Records, Silver Men, and Silver Music, spanning a definitive series of sixteen albums. Ten of these volumes were issued on Nelson Records during the 1970s, featuring the now-iconic military stencil design. Each release was color-coded: red (G.L.P. 1001), dark blue (G.L.P. 1002), gold (G.L.P. 1003), light green (G.L.P. 1004), brown (G.L.P. 1005), black (G.L.P.1006), light blue (G.L.P. 1007), yellow (G.L.P. 1008), orange (G.L.P.1009), and cool green (G.L.P. 1010). The series was completed by two elusive companion releases: S.M. 2001 on Silver Music and S.M. 2002 on Silver Men, both presented in the same distinctive brown sleeve. Rediscovered in the 1990s and 2000s, these Nelson releases have since achieved cult status among collectors, producers, and DJs worldwide. The final two installments, S.M. 2001 and S.M. 2002, remain the rarest and most enigmatic of the set.

Often overlooked, they contain some of the most profound "hidden gems" in the group’s catalog. The tracklist traverses a wide stylistic spectrum: from the rare groove and proto-hip hop energy of "Trama Nella Metropoli", "Beat Morbido", and "Candy", to the lush cinematic atmospheres featuring the ethereal vocals of Edda Dell'Orso on "Summer In Love", "On The Rain", and "Arcobaleno". The collection is rounded out by sophisticated jazz pieces like "Flauti Ensemble", "Passeggiata", and "Atmosfere Dolci”. Sonor Music Editions has meticulously curated the finest moments from these two rare albums for this first-ever dedicated reissue. Bringing together the best of Silver Music (S.M. 2001) and Silver Men (S.M. 2002), this release retains the iconic stencil artwork but introduces a striking silver finish. This design choice honors the original ten-album sequence while shedding new light on these outstanding recordings—works that remain, in every sense, golden.

Red Dwarf Star emerges as a striking new chapter for Coley Taylor of famous US/CH based MASERATI, a new project that captures a deeply personal arc that spans continents, relationships, and creative reinvention. Working largely alone, Taylor embraced a deliberately stripped-down approach, navigating unfamiliar technology with joyously unpolished determination. Much of the material was recorded in a modest, direct manner that prioritizes feeling over finesse. This DIY ethos is balanced by key collaborations that elevate the record's sonic depth. Drums were recorded in Los Angeles by Kellii Scott, whose distinctive style adds weight and clarity, while contributions from Allen Epley and Jenna Fournier introduce subtle vocal textures that expand the emotional range of the songs. Despite its introspective origins, Red Dwarf Star is not intended to remain a solitary endeavor. What began as a personal outlet is evolving into a fully realised band, with a lineup assembled to bring these songs into a more expansive, dynamic setting. This shift signals not only a new phase for the project, but also a broader artistic trajectory. Taylor is known best for his work with Maserati, a legendary outfit that leans into collaborative, rhythm-driven expanses rooted in krautrock and electronic psych. Through Red Dwarf Star Taylor's lineage of influence is felt, echoing the raw emotional immediacy of `90s alternative, post-hardcore, and the textured atmospheres of jagged dream-pop that bleeds. These are sounds that have lingered in Taylor's creative subconscious for decades, now resurfacing with renewed urgency. For fans of MASERATI, FAILURE, SLOWDIVE, QUICKSAND, SHINER, HUM Black or coloured vinyl LP or CD available

Bidule 2.0 is an unique reinterpretation of Pierre Henry’s little-known sound heritage combined with ErikM’s original composition. The album explores previously unused raw materials, transformed through ErikM’s highly digital approach, balancing fixed composition and unexpected sonic events, a singular sonic experience where where historical archives and contemporary creation converge.

"Bidule 2.0 is a composition by ErikM that revisits a selection of the unused sonic heritage of composer Pierre Henry, covering the period from 1950 to 1974, sourced from the Son/Ré studio and digitized by the BnF (Bibliothèque nationale de France). Over the decades, Pierre Henry and his team accumulated a vast collection of sonic materials from their studio research.This sound library, recorded on analog tape, is a testimony to the recording techniques of that era — including the quality of microphones and recording media, as well as the acoustics of the recording spaces — all of which define the sound of a time. Not wanting to create a remix from the composer’s iconic sounds, I chose instead to work with selections of raw material from unused recording sessions, 168 sequences ranging from one to twenty-two minutes each. Isabelle Warnier and Bernadette Mangin provided me with sessions of prepared piano, series of electronic sounds, feedbacks, and voice recordings. Pierre Henry’s analog sounds were, for the most part, processed through successive stages (up to five generations of transformation), using a custom electronic device: Idiosyncrasie 9.3, built on Max/MSP and Lemur." - ErikM

Channeling his trademark style of driving techno and robotic rhythms, Phase Fatale makes his Dekmantel UFO series debut, upping the ante with his forward cutting production methods. His first solo release in 2 years, the Berlin-based DJ, Producer and Label owner hotwires his signature wall of sound with precise, hypnotic magnetism and dystopian textures.

A key protagonist in Techno’s lexicon as a regular in the booth at ∄ in Kyiv and with residencies at queer collective Merge in New York, alongside institutions Berghain and Khidi. The New York native’s unflinching mutualism of past and present comes forward in his introspective production style of textural waves and melancholic narrative, welded together by true techno formation. A deep referential lens cutting through layers of whirling cybernetics form his sonic coil, surrendering the listener into dissociative euphoria.

Underpinned by a focus on bass heavy techno, the 4-track EP circulates an ebb and flow of surrealist, atmospherics and whirring futuristic frequencies. Hypnosis inducing polyrhythmic analog sequences, flesh-out the EP’s core whilst the track progression traverses over a terrain of experimental cuts, driving beats, and oscillating sonic shrapnel. A culmination of influences spanning techno born out of Birmingham and Detroit alike form an architecture of stripped back electronics alongside soulful melodies, as well as references to acid house, post-punk and shoegaze. The title track ‘Off Desire’ a nod to longtime friend and collaborator the late Silent Servant, evokes a dream like crescendo between David Lynch and the sci-fi body tech of David Cronenberg, electric stabbing beats are offset by wistful guitar riffs and the digital rain of ethereal distorted vocals as if echoes from the void.

Early Days (2016-2019) is a new collection of previously unreleased songs from Mauri Tapia a.k.a Los Retros. From a young age, Tapia has been a prolific songwriter, spending his teenage years writing and recording song after song. Influenced by soft rock and left-field South American pop, Early Days (2016-2019) captures the sound of this formative era Streaming everywhere today, Early Days consisting of 15 tracks, recorded from Mauri's parents' living room using nothing more than an old four-track recorder, that only existed in low quality online, now mastered, sequenced, and physically released for the first time. It was during these sessions that Los Retros created the song "Someone to Spend Time With", now certified Gold. Early Days comes with a companion visual for "Without You", edited by close friend and collaborator Ross Harris from found footage of early Los Retros tour stops. Check out Los Retros proper debut "Odisea" released simultaneously too. FFO soul, bedroom pop, indie, modern jazz, downtempo, soft rock, Mac DeMarco, Thee Sacred Souls, Skinshape, Men I Trust, Too Slow To Disco

Sam Shure debuts on Rekids with the ‘Belinda’ EP. The Berlin-based DJ and producer is joined by Deer Jade for one of its three tracks.

Berlin’s Sam Shure arrives on Rekids 3rd July 2026 with the ‘Belinda’ EP, a three-tracker including a collaboration with Swiss French DJ and producer and I AM YOU label boss Deer Jade. Since his debut release in 2016, Shure has been backed by a long list of supporters, including Pete Tong and Âme, racking up over 66 million streams via music on the likes of HABITAT and Cercle, as well as releasing Tomorrowland’s CORE label’s best-selling track.

Sam Shure’s ‘Belinda’ EP opens with the title track, where a robust, organic rhythm playfully underpins the fidgety, bit crushed sounds and stabs above, all while the titular vocal is evenly dotted throughout the arrangement. Shure then teams up with Innervisions, Diynamic and Kompakt artist Deer Jade for the aptly named ‘String Theory’, a strong and steady groove shot through with uplifting strings and synth work. Closing the offering, Sam Shure returns solo with ‘No Time To Play’, squelchy sequences winding through rich melodies that steadily build the pressure for a strobe-lit dancefloor adventure.

D91LINKSERIES_01 inaugurates a new split record series by Distrito 91 focused on connecting artists, sonic identities and parallel visions through the classic 12” format.

For its first transmission, the series brings together two projects emerging from different areas of Spain’s underground electronic landscape: Geistform and Half Mute.

On Side A, Geistform, also known for his electro alias Univac, delivers three tracks driven by raw machine energy, analogue sequences and industrial pressure. His sound draws from rhythmic noise and minimal electronics, evoking the mechanical intensity of the European industrial tradition.

Side B features Half Mute, an alias of Madrid based artist Groof, one of the long standing figures connected to the Spanish underground techno scene. His tracks move through dark electro structures, hypnotic sequencing and minimalist techno, balancing tension and functionality within a distinctly nocturnal atmosphere.

Between her elaborately conceptual Drag City singer-songwriter albums and celebrated soundtracks for Ryusuke Hamaguchi, in recent years Eiko Ishibashi has quietly self-released a significant body of solo and collaborative work on her Bandcamp page. At times resembling her solo live performances in their organic interweaving of instrumental, electronic, and concrete sounds, each of these less feted online releases offers a snapshot of the experiments always underway at Atelier Eiko. Some Fine Legacy is pleased to announce a vinyl edition of one of the most intriguing of these works, Gasping_Sighing_Sobbing, made in collaboration with Hiroshi Minami and first released in 2021.

Active since the 1980s, Hiroshi Minami is a key figure in the Tokyo jazz scene, as well as a respected memoirist. Devoted to the great standards, which he explores with an Evans-ish delicacy of touch and Impressionist harmonic extensions, he is equally at home working up variations on tunes by Ryuichi Sakomoto and The Beatles or experimenting with ambient electronics. A single note from his piano is the first thing we hear on Gasping_Sighing_Sobbing, the space left by its decay unexpectedly filled by a synth arpeggio that quickly fades away as the piano returns with a balladic chord sequence.

Like her frequent collaborator Jim O’Rourke, Ishibashi possesses the virtue of patience, recognising the beauty of lingering at length in a single musical environment. Throughout its 40-minute duration, Gasping_Sighing_Sobbing remains lost in this maze of obstructed and fragmented piano balladry. The musical surface is in one respect placid, but close listening reveals dynamics and processes that are deeply strange: the resonance of a chord dying away is frozen, expanding to become a cloud that suddenly makes way for the piano’s return; or the piano is looped into a ticking glitch or a time-stretched shudder, momentarily sinking under lapping waves, distant bells, and snatches of conversation. Ishibashi’s subtle vocals and synths colour the piano passages like views through distorted glass. The metaphor of cinéma pour l’oreille is perhaps overused in discussions of the musique concrète tradition, but here the visual associations are almost unavoidable: especially when Daisuke Ijichi joins on upright bass, it’s hard to shake the cinematic image of a smoky jazz bar—shown in a sequence, perhaps, that cuts repeatedly to the musicians’ and audience’s thoughts and dreams. Like much of Ishibashi’s work, this collaboration with Hiroshi Minami is inconspicuously radical, shaped at the deepest level by electro-acoustic procedures even as it luxuriates in melancholic beauty.

40 years after its creation, MOß GARTEN – Sekvensstyrd 1981–1986 arrives as a compelling double vinyl LP, diving deep into the early Swedish DIY electronic scene. Inspired by pioneers such as Kraftwerk, Cabaret Voltaire, John Foxx, and The Human League, Mikael Isaksson developed a distinct sound situated between minimal electronics, industrial, synth wave, and experimental sound art. At its core was the sequencer: pulsing, programmed structures forming the backbone of dense, often hypnotic compositions.

Working initially with his cousin Jan or friend Thomas and later evolving into a largely one-man project, recordings were made on cassette tapes and in improvised studios—often under time pressure, frequently recorded and mixed within just a few hours. These very limitations gave the tracks their raw and immediate character. Pieces like “Moderna Kvinnor,” “Soon Soon,” “Ensam,” and “Music From The Border” exemplify the uncompromising, sequence-driven (“sekvensstyrd”) approach that defined this era.

Using an arsenal of analog synthesizers, early sequencers, and drum machines, the project created music that feels at once cold, mechanical, and deeply emotional. Sekvenssytrd 1981–1986 is more than a collection of archival recordings—it is a vivid document of a time when electronic music was conceived as a radical and deeply personal form of expression.

Mastered by Martin Bowes. Graphic design by Steve Lippert.

2LP features: limited to approx. 200 copies, solid moss green vinyl, gatefold outer sleeve gloss lamination, polylined inner sleeves, hand-numbered silver foil paper insert with lyrics, download coupon)

Strut Records proudly presents the first definitive expanded reissue of Somewhere Over The Rainbow, Sun Ra’s 1977 session recorded at the Bluebird in Bloomington, Indiana, presented across three Vinyl LPs or as a two CD set.

The Arkestra were at the peak of their powers in 1977, releasing revered albums like The Soul Vibration Of Man and My Favorite Things with Arkestra regulars Marshall Allen, Danny Ray Thompson, Michael Ray and Luqman Ali among the core musicians. Ra also continued his touring in Europe with historic gigs in Italy. During this period, Arkestra live performances were often loosely structured into thematic blocks that moved from reflections on jazz history to cosmic “space narrative” sections featuring collective chants, extended Africa/Egypt-inspired grooves and selections from the Great American Songbook. This recording brings in all of these features with re-imagined versions of standards like ‘Take The “A” Train’, ‘St. Louis Blues’ and title track ‘Over The Rainbow’ alongside rarely recorded Ra compositions like ‘Make Another Mistake’ and ‘Amen Meni Many Amens’. Ra conducted improvisations to guide the listener seamlessly from one musical scene to the next. As Sun Ra himself described it: “It’s like a party—we enjoy ourselves and everybody’s invited to enjoy it with us.”

The original version of Somewhere Over the Rainbow assembled a handful of clearly delineated tracks drawn from the flow of two complete concert recordings, re-arranged out of sequence. Strut’s new edition restores previously excised material and preserves more of the natural transitions between pieces, offering a fuller glimpse into the distinctive aesthetic of Sun Ra and his Arkestra.

This definitive reissue is pressed across two CDs, or three vinyl LPs housed in a triple gatefold sleeve, newly remastered by Technology Works from the original source tapes and features extensive new liner notes by Chris Cutler alongside video stills from the original concert.

180gm marble vinyl.
Baratro was born when Fede (Council of Rats) and Dave (Unsane) met at a show in legendary Milan squat Cox18 and started to trade riffs and song ideas. After a while they decided to shape these experiments into a proper band and got Luca (Marnero) behind the drumkit to complete the line up.
After a few months of practice and a couple of shows in Italy, the band recorded their very first six songs in the empty concert hall of Cox18, which were later released as the “Terms and conditions” EP via Sangue Dischi records (July 2021).
Given the worldwide shutdown of live performances through 2020/2021 the band focused on writing new music, and in August 2021 they started tracking down their first full length effort, “The Sweet Smell of Unrest”, which was released February 2024 via Improved Sequence.
In 2024 Baratro joined forces with cellist Matteo Bennici to experiment as a quartet, both for composition and live. With this new formation and new found chemistry, the band simply let the dynamics and trust in each other shape the outcome of the music.This new creative process led, about a year later, to the recording sessions of their second full-length “No comply”, to be released by Supernatural Cat.

BARATRO are:
Dave Curran – bass, vocals Federico Hartridge – guitar, vocals Luca Antonozzi – drums Matteo Bennici – cello

ALUNAH says: "Embers of Belief" features the first Alunah recordings with vocalist Daisy Savage and continues our long-standing relationship with Heavy Psych Sounds Records. We are both excited and proud to present our contribution to this split release - two brand new studio tracks that give a glimpse into where this new chemistry as a band is taking us creatively, alongside two live recordings which document and acknowledge the incredible job Daisy did in stepping up to tour and promote our previous full-length. This significant release is part of our "VINGT" celebrations, marking 20 years of Alunah with both new music and festival appearances, including Bloodstock Open Air and Desertfest London. To everyone who's stood by Birmingham, heavy rock, and doom through the years_this one's for you! SAMAVAYO says: Creativity _ it burns deep inside, demanding to be heard and when it wants out, ist has to get out. So here we are! Longing, recklessness and hope_three themes that couldn't be more human or more relevant right now. Samavayo present three exceptional tracks on their split release with Alunah: BAVAR is a crushing heavy piece built on the Fibonacci sequence, featuring Persian lyrics inspired by a poem from Siavash Kasraie. It stands as a defiant cry against grief and mortality_the narrator refuses to accept the death of loved ones, clinging instead to love, shared tears, and the breath of life as proof that loss can neither truly be believed nor surrendered to. Mottainai, the 2nd song takes aim at a reckless, consumption-driven mindset_the relentless pursuit of instant gratification and shortcuts. The song warns that this culture of excess and selfishness will ultimately leave a devastating legacy for future generations. California Sky is a psychedelic, acoustic ode to Samavayo's 2025 US tour, captures a paradoxical longing for the American desert landscape. It evokes a sense of spiritual belonging in the vast emptiness of Joshua Tree, while reflecting a deep yet helpless emotional connection to the United States and all its contradictions.

Transparent orange vinyl, limited to 300 copies. ALUNAH says: "Embers of Belief" features the first Alunah recordings with vocalist Daisy Savage and continues our long-standing relationship with Heavy Psych Sounds Records. We are both excited and proud to present our contribution to this split release - two brand new studio tracks that give a glimpse into where this new chemistry as a band is taking us creatively, alongside two live recordings which document and acknowledge the incredible job Daisy did in stepping up to tour and promote our previous full-length. This significant release is part of our "VINGT" celebrations, marking 20 years of Alunah with both new music and festival appearances, including Bloodstock Open Air and Desertfest London. To everyone who's stood by Birmingham, heavy rock, and doom through the years_this one's for you! SAMAVAYO says: Creativity _ it burns deep inside, demanding to be heard and when it wants out, ist has to get out. So here we are! Longing, recklessness and hope_three themes that couldn't be more human or more relevant right now. Samavayo present three exceptional tracks on their split release with Alunah: BAVAR is a crushing heavy piece built on the Fibonacci sequence, featuring Persian lyrics inspired by a poem from Siavash Kasraie. It stands as a defiant cry against grief and mortality_the narrator refuses to accept the death of loved ones, clinging instead to love, shared tears, and the breath of life as proof that loss can neither truly be believed nor surrendered to. Mottainai, the 2nd song takes aim at a reckless, consumption-driven mindset_the relentless pursuit of instant gratification and shortcuts. The song warns that this culture of excess and selfishness will ultimately leave a devastating legacy for future generations. California Sky is a psychedelic, acoustic ode to Samavayo's 2025 US tour, captures a paradoxical longing for the American desert landscape. It evokes a sense of spiritual belonging in the vast emptiness of Joshua Tree, while reflecting a deep yet helpless emotional connection to the United States and all its contradictions.

Side A begins with CEM3340 & 2030’s “I Don’t Know”, a Detroit-inspired electro cut merging crunchy basslines, warm strings and raw energy, showcasing the nostalgic yet forward-thinking music crafted by two key figures of the Italian electro underground. Lake Haze keeps the electro narrative moving with “Modular Processed Data”, a melancholic broken-beat piece that balances softness and strength with timeless poise. Closing the side, 3KZ unveils “Step Into Light”, pushing the emotional range further through radiant melodic layers and harmonic clarity: high-impact, luminous, and built for those rare moments on a big system when everything clicks.

The journey ends with three shape-shifting cuts on the B Side that refuse to play it safe. Passarani 2099 (an alias of Marco Passarani) warps the frame with “Golden Valley”, channeling dubstep tempo, neuro-basslines, and haunting sequences into mutant rhythmic territory. Peryl’s “Res Affair” follows as a modular techno bomb—wobbling bass, broken patterns, alien textures, riding the edge between chaos and control with surgical intent. Finally, Nothus closes the compilation with “Tango”, an uncompromising finale of gritty rhythm work and experimental propulsion: the perfect full-stop to a decade mapped in sound.

A collaborative classic from the Italian Avant-Jazz pioneers Zu and Chicago's Jazz mavericks Spaceways Inc Originally released in 2004, RADIALE is back, bringing together explosive energy, avant-jazz improvisation, and experimental rock in a landmark collaboration. Radiale (2004) by Zu is the band's second studio album and stands as one of the most defining releases in the European avant-garde scene of the early 2000s. With this record, Zu moved decisively away from the slightly more exploratory feel of their debut Bromio and developed a tighter, more aggressive sonic identity. The trio-- built around baritone sax, electric bass, and drums-- strips away almost all conventional melody, focusing instead on repetition, tension, and raw physical impact. Listening to Radiale feels less like following a sequence of songs and more like being drawn into a continuous sonic current. The music is driven by hypnotic, circular rhythms and abrupt dynamic shifts, moving from sparse, almost suspended moments to sudden, explosive bursts. The baritone sax often functions more as a percussive force than a melodic instrument, while the bass locks into distorted, looping figures and the drums maintain a relentless, tightly controlled intensity.

A collaborative classic from the Italian Avant-Jazz pioneers Zu and Chicago's Jazz mavericks Spaceways Inc Originally released in 2004, RADIALE is back, bringing together explosive energy, avant-jazz improvisation, and experimental rock in a landmark collaboration. Radiale (2004) by Zu is the band's second studio album and stands as one of the most defining releases in the European avant-garde scene of the early 2000s. With this record, Zu moved decisively away from the slightly more exploratory feel of their debut Bromio and developed a tighter, more aggressive sonic identity. The trio-- built around baritone sax, electric bass, and drums-- strips away almost all conventional melody, focusing instead on repetition, tension, and raw physical impact. Listening to Radiale feels less like following a sequence of songs and more like being drawn into a continuous sonic current. The music is driven by hypnotic, circular rhythms and abrupt dynamic shifts, moving from sparse, almost suspended moments to sudden, explosive bursts. The baritone sax often functions more as a percussive force than a melodic instrument, while the bass locks into distorted, looping figures and the drums maintain a relentless, tightly controlled intensity.

Mannequin Records presents Electronic Corporation 1998–2006, a compilation bringing together rare and long unavailable recordings by the German electronic projects H.E.I.M. Elektronik and MAS 2008.

Active around the turn of the millennium, both projects share the involvement of producer Ive Müller while developing distinct collaborations and approaches to electronic music. H.E.I.M. Elektronik was founded in 1996 by Holger Erlenwein and Ive Müller (after the two artists split in 1999, Müller continued using the name), while MAS 2008 is the project of Ive Müller together with René Kirchner. Though separate entities, the two projects explored a similar sonic territory: stripped-down electro, minimal electronics and machine-driven body music shaped by analog hardware and a raw DIY production ethos.

The roots of Müller’s work go back to the final years of the DDR. As a teenager he worked as a licensed DJ — officially known as a “Schallplattenunterhalter” — operating a travelling disco across Saxony. With limited access to official Western releases, music circulated through cassette recordings taped from West German radio stations such as RIAS Berlin, NDR2 and Bayern3. Together with friends he travelled between youth clubs and discos around Leipzig with a “rolling discotheque”: a Russian Wolga pulling a trailer loaded with Electro-Voice sound systems sourced through the black market.

At the turn of the 2000s this background in underground electronic culture resurfaced in a series of recordings rooted in electro, EBM and minimal machine music. The tracks collected on Electronic Corporation 2000–2002 capture this moment: cold sequences, driving rhythms and stark synthetic textures produced with a direct and uncompromising approach.

Compiled and remastered by Rude 66 from the original sources, Electronic Corporation 2000–2002 documents a small but fascinating chapter of German underground electronics from the early digital era.

ALERT: BIG 90s ITALIAN RAVE COMP - a lot of very in demand tunes on here.

Navigators

Franco Falsini and the Interactive Test Universe

There are musicians who follow their time.

And then there are those who seem to move along a different trajectory—like navigators crossing sonic eras without ever truly belonging to any one of them. The story of Franco Falsini belongs to the latter. It is a story that begins long before raves, before techno, before the word “electronic” had even become a recognizable musical genre. A story that moves across continents, technologies, and sonic visions, eventually arriving at a small creative laboratory born in Italy in the early 1990s: Interactive Test. This compilation is a fragment of that universe. But as often happens with the hidden histories of music, understanding it requires going back. Far back.

The Beginning: Machines, Tape and Space

In the late 1960s Franco Falsini leaves Italy and moves to the United States. It is not merely a geographical journey—it is also a journey into a new idea of music. At the time, synthesizers are only just emerging from research laboratories. Multitrack tape recorders allow musicians to build entire sonic worlds on their own. Technology is still far from standardized: every studio is almost an experimental workshop. In Virginia, Falsini builds one of his own. Among cables, oscillators, electric guitars and reels of magnetic tape, a kind of music begins to take shape that resembles nothing else being made at the time. It is not simply rock, and it is not yet truly electronic. It moves somewhere in the space between the two. Out of these explorations emerges Sensations' Fix, the project through which Falsini releases a series of albums during the 1970s. Records that seem to come from a parallel dimension: cosmic landscapes, electronically treated guitars, synthesizers drifting like satellites. Many years later those albums would be rediscovered as visionary works. But at the time they were simply the result of relentless curiosity. A curiosity that would never fade.

The City That Never Sleeps

In the 1980s Falsini’s trajectory leads him to New York. The city is a sonic organism in constant transformation. In its clubs and recording studios something entirely new is beginning to take shape: music built from drum machines, sequencers, and samplers, created for the body before the living room. It is the dawn of modern dance culture. Falsini works as a sound engineer, producer and experimenter. From close range he observes electronic music transforming into a global language. Machines become more accessible, computers begin entering studios, and rhythm takes on an increasingly central role. Yet even in this phase Falsini does not simply follow what is happening. He absorbs. Observes. Reimagines. When he eventually returns to Italy, he brings back not only technical experience but also a clear vision: the conviction that electronic music is an open space, a territory still waiting to be explored.

Tuscany, Early 1990s

At the beginning of the 1990s something is happening in Italy as well. In clubs, abandoned industrial warehouses and clandestine parties, a new scene is beginning to form. It is rave culture: a spontaneous movement bringing together DJs, producers and listeners in a collective experience driven by rhythm, technology, and creative freedom. It is within this context that Franco Falsini, together with his brother Riccardo, creates Interactive Test.

The name almost sounds like a scientific experiment. In many ways, it is. Interactive Test does not emerge as a traditional record label. It begins as a laboratory—a place where ideas, sounds and musical identities can be tested and explored. Around the Falsini studio in Tuscany a small constellation of artists and DJs begins to gather, helping to shape the sound of Italy’s emerging electronic scene. Among them are Andrea Giuditta, Francesco Farfa, Gabry Fasano, Roby Mastelloni, Roby J and many others. Each brings a different musical sensibility. But they all share the same intuition: electronic music is not a genre. It is a language.

The Laboratory of Identities

One of the most fascinating aspects of the Interactive Test universe is its constant play with identity. Franco Falsini releases music under several different names: Open Space, Youth Wave, Agent Fylfoyt, Man Myth Magic. These are not simply pseudonyms.

They are different sonic perspectives, as if each project were a window opening onto a parallel musical universe. Open Space, for example, explores more atmospheric and visionary territories. Youth Wave moves between electronic groove and club-oriented rhythms. Other projects experiment with digital psychedelia or hypnotic techno textures. Interactive Test becomes something more than a label. it becomes an ecosystem.

Domestic Machines, Infinite Worlds

Looking back today at the technology used in those productions, one might almost smile. Many tracks were created on Amiga computers, MIDI sequencers and analog synthesizers wired together in home studios—tools that appear modest when compared to today’s digital possibilities.

Yet precisely these limitations became a creative force. Every sound had to be built, shaped and reinvented. Sequences developed slowly, almost like living organisms. The tracks did not always follow traditional dance music structures; often they felt like genuine sonic journeys. Music built from space.

A Hidden Constellation

Many of the records released by Interactive Test in the 1990s remained for years almost invisible objects, circulating quietly among DJs, collectors, and devoted listeners. Yet it is precisely this underground existence that helped preserve them. Listening again today, one perceives something rare: the feeling of music that does not fully belong to its own time. Music suspended between different eras. Perhaps because it comes from a vision that both precedes and transcends trends.

Continuing the Journey

Looking at Franco Falsini’s entire path—from the electronic psychedelia of Sensations’ Fix to the rave culture of the 1990s—a surprisingly coherent line emerges.

A line defined by exploration.

Each project, each pseudonym, each record appears as a new route within the same great sonic voyage.

Interactive Test was one of its stations.

A laboratory.
A community.
A creative platform.

This compilation gathers some of its traces.

Not as a simple archive of the past, but as a map of a musical territory that continues to expand even today.

Like all true sonic explorations.

A conjuration between our favourite dreamweaver Spencer Clark and Italian psychic traveller Mondo Riviera, Lorenzo's Oil present an oracle of aural travelogues between seen and unseen worlds on 'Paperopolis'.
Two likeminded individuals on their distinct but complementary quest for the netherworld, Clark and Riviera's meeting of the minds projects sonic artefacts assembled from lucid dreaming keyboard pads, narcotic late night TV rhythms, spiralling sequences and mangled voices.
The 10+ minutes 'Neo-Paperopolis Jump Suite' makes these intentions quite clear right from the start, veering from no frills keyboard runs to a mid tempo bounce and on towards the house of mirrors synth stabs and driving rarefied percussion that close the suite and open the pathway to such "places" as 'Central Jungle, Paperopolis' and "visions" as 'The Neverending Skylines of Taipei'. Ride on.  

Sucata Tapes present the debut album by I'A'V, a conjuration born from an invitation extended by gnration in Braga to Inês Malheiro, completed Violeta Azevedo. Three inescapable figures amidst the portuguese scene, whose precious body of work resonates here in ineffable style.

A blessed triangulation of artists, each with a fully formed vision and a path forged across multiple fronts, I'A'V trace a course of dreamlike songs that blend into a long and volatile poem, where a rarefied electronic landscape of arpeggios, glassy textures, and ruptures seeps into the lyricism of Casellas's cello lines and Azevedo's flute breaths, guided by the Voice.

At times stripped bare, at others soaked in a torrent of post-human effects, settled on Malheiro's expressiveness and elevated by the Azevedo. Volatile Poem, recorded during the mentioned residency, unveils mysteries and conceals realities in a fluid sequence of communal ascension moment

Over the course of more than a decade, the French quartet Lost in Kyiv have refined a sound that fuses cinematic ambition, electronic precision, and visceral live energy into something unmistakably their own. With their new album, `We're All Going To Be Fine', they push that identity further than ever; sharpening their production, intensifying their dynamics, and embracing a darker, more immersive sonic architecture. Lost in Kyiv's music has always thrived on tension between the organic and the synthetic. On `We're All Going To Be Fine', that integration reaches a new level of clarity and depth. The writing and production process was long and exacting, allowing the band to refine every transition and tonal detail. Songs unfold with architectural precision, motifs are introduced subtly before expanding into vast, multi-layered climaxes. Dynamics are handled with patience and control, silence and minimalism are deployed as strategically as explosive crescendos. This careful pacing gives the album a cinematic flow and larger narrative in which struggle and compassion coexist. Guitars surge and recede in wide, panoramic arcs. At moments they shimmer and support, at others they thrash violently, accumulating layers of distortion and harmonic overtones. Acoustic instrumentation is interwoven with sequenced synth lines, pulsing arpeggiators, and carefully sculpted electronic textures that give the band's sound a sense of forward propulsion. Rhythm plays a central role in Lost in Kyiv's identity. The drums provide impact and structure, locking into intricate patterns that interact with bass-driven synth pulses. At times the groove feels almost mechanical, echoing the steady insistence of electronic music; at others, it breathes and swells with human elasticity. This interplay creates a powerful sense of movement, an impression that the music is always advancing, even in its most introspective passages. "We almost consider this album as the first record of a new version of the band. That's why we decided to use the name Lost in Kyiv now. We don't want to erase the past, but it really feels like a new direction. Artistically, I think this album marks the beginning of a new direction, louder and more metal-oriented than what we did before." (Lost in Kyiv) FOR FANS OF Russian Circles * P.G.Lost * The Ocean * Cult of Luna * Brutus * This Will Destroy You

Over the course of more than a decade, the French quartet Lost in Kyiv have refined a sound that fuses cinematic ambition, electronic precision, and visceral live energy into something unmistakably their own. With their new album, `We're All Going To Be Fine', they push that identity further than ever; sharpening their production, intensifying their dynamics, and embracing a darker, more immersive sonic architecture. Lost in Kyiv's music has always thrived on tension between the organic and the synthetic. On `We're All Going To Be Fine', that integration reaches a new level of clarity and depth. The writing and production process was long and exacting, allowing the band to refine every transition and tonal detail. Songs unfold with architectural precision, motifs are introduced subtly before expanding into vast, multi-layered climaxes. Dynamics are handled with patience and control, silence and minimalism are deployed as strategically as explosive crescendos. This careful pacing gives the album a cinematic flow and larger narrative in which struggle and compassion coexist. Guitars surge and recede in wide, panoramic arcs. At moments they shimmer and support, at others they thrash violently, accumulating layers of distortion and harmonic overtones. Acoustic instrumentation is interwoven with sequenced synth lines, pulsing arpeggiators, and carefully sculpted electronic textures that give the band's sound a sense of forward propulsion. Rhythm plays a central role in Lost in Kyiv's identity. The drums provide impact and structure, locking into intricate patterns that interact with bass-driven synth pulses. At times the groove feels almost mechanical, echoing the steady insistence of electronic music; at others, it breathes and swells with human elasticity. This interplay creates a powerful sense of movement, an impression that the music is always advancing, even in its most introspective passages. "We almost consider this album as the first record of a new version of the band. That's why we decided to use the name Lost in Kyiv now. We don't want to erase the past, but it really feels like a new direction. Artistically, I think this album marks the beginning of a new direction, louder and more metal-oriented than what we did before." (Lost in Kyiv) FOR FANS OF Russian Circles * P.G.Lost * The Ocean * Cult of Luna * Brutus * This Will Destroy You

In the early 1990s, Frankfurt stood at the forefront of a rapidly evolving electronic music landscape, where the raw energy of EBM and New Beat was mutating into the earliest forms of techno. Emerging from this fertile environment, Noise Control delivered “Modulator E.P.” in 1992—an overlooked yet striking document of that transitional moment.

Following their earlier releases, “Operation S.B.” (1989, New Zone) and “My Flight” (1989, Zoth Ommog), “Modulator E.P.” marked the project's return and a clear progression towards a more stripped-down, club-oriented sound. Originally issued as the first release on the short-lived Neo Ego label, the EP captures a style in flux, moving between industrial body rhythms, early techno structures and acid-inflected sequences, reflecting the hybrid character of the German electronic underground at the time.

Limited to 300 copies on black vinyl and 200 copies on violet transparent vinyl, this reissue presents all four original tracks in full, alongside the highly sought-after Razormaid remix of “Tehniska Musika”.

In the early 1990s, Frankfurt stood at the forefront of a rapidly evolving electronic music landscape, where the raw energy of EBM and New Beat was mutating into the earliest forms of techno. Emerging from this fertile environment, Noise Control delivered “Modulator E.P.” in 1992—an overlooked yet striking document of that transitional moment.

Following their earlier releases, “Operation S.B.” (1989, New Zone) and “My Flight” (1989, Zoth Ommog), “Modulator E.P.” marked the project's return and a clear progression towards a more stripped-down, club-oriented sound. Originally issued as the first release on the short-lived Neo Ego label, the EP captures a style in flux, moving between industrial body rhythms, early techno structures and acid-inflected sequences, reflecting the hybrid character of the German electronic underground at the time.

Limited to 300 copies on black vinyl and 200 copies on violet transparent vinyl, this reissue presents all four original tracks in full, alongside the highly sought-after Razormaid remix of “Tehniska Musika”.

2026 Repress

In March 2023, Tresor Records will release "Crash Recoil", a new album by Surgeon. It marks Anthony Child's first techno LP in five years, following a period in which he felt uncertainty in his role as a techno producer and found it tough to locate inspiration. This new album encounters him drawing on spontaneous techniques to arrive at unchartered topographies.
"Crash Recoil" originates from Surgeon's recent live sets, where he experimented with constraints in performing and embracing the twists, turns and paradoxes that arrive from this. Each fresh iteration on consistent MIDI sequences and hardware reconfigured tracks into dierent constellations, creating an inspiring vortex of unpredicted events where ideas could flourish. This new approach allowed him to capture the spontaneous energy of his live shows in a way he had never done before. "This is not a live album, since it has not been recorded in one go during a live performance. In the same way that bands tour songs before going into the studio to record an album, I was able to explore these songs and hone their eectiveness during my live performances before creating a studio version."
The result is eight tracks that emphasise a new techno sound for Surgeon, drawing in references from across the musical spectrum. "I can hear Coil, King Tubby, Detroit Techno and The Cure all wrapped up with 30 years of DJing," Surgeon says of the album. Melancholic hum-like ambiences smudge around unadorned, near-droning basslines, crunching rhythm and percolating arpeggiations. The tracks carry unique and potent locomotion, with a low-slung grind through toughened terrains, breathing with a free spirit, untethered by a studio-based perspective. We hear manifestations of the same raw material across the album, like a textural motif, carving new variants and creating a cohesive work full of recollection.

N.O.B.A. returns on Vibes Addikt with a raw and hypnotic vinyl only release, crafted for the most intense moments on the dancefloor. Blending driving techno energy with dark trance influences, the track unfolds through pounding kicks, razor-sharp synths and relentless tension before descending into an enchanting break layered with haunting Gregorian chants. A cinematic and almost mystical sequence before the track erupts back into full-force rave energy.

Following the identity and collector spirit of previous Vibes Addikt releases, this 10’’ edition fully embodies the label’s vision: dynamic, emotional and entirely dedicated to vinyl culture. No digital format, no streaming platforms — only pure analog pressure for DJs and collectors chasing rare weapons for the dancefloor.

Français

Vibes Addikt, le label de N.O.B.A. — régulièrement soutenu par des artistes tels que Charlotte de Witte, Amelie Lens, Klaudia Gawlas, Thomas Schumacher et bien d’autres — dévoile une nouvelle sortie ultra exclusive : un vinyle 10’’ pressé à seulement 150 exemplaires dans le monde.

N.O.B.A. revient sur Vibes Addikt avec une vinyl only release brute et hypnotique, pensée pour les moments les plus intenses du dancefloor. Entre techno frontale et influences trance sombres, le morceau déploie des kicks massifs, des synthés acérés et une tension constante avant de plonger dans un break envoûtant porté par des chants grégoriens hantés. Une séquence presque mystique et cinématographique, avant le retour d’une énergie rave explosive.

Dans la continuité de l’identité et de l’esprit collector des précédentes sorties Vibes Addikt, cette édition 10’’ incarne pleinement la vision du label : dynamique, emotionnel et entièrement dédiée à la culture vinyle. Aucun format digital, aucun streaming — uniquement la puissance du son analogique pour les DJs et collectionneurs en quête de pièces rares.

Two decades into their existence, Elder remain an anomaly in the heavy underground - a band with the ability to absorb and shed influences from a myriad of genres without falling into pastiche or losing their identity. Their new album Through Zero is a reaffirmation of their commitment to pushing boundaries and cements their status as leaders in heavy psychedelic rock. Elder has long since mastered crushing riffs, melodic jaunts, progressive patterns, hypnotic grooves and ethereal atmosphere along their path of music-making in the past twenty years. On Through Zero, Elder takes these years of experience and forms possibly their most immediate and engaging record to date, while allowing seeds from outside the sphere of rock music to take root and bloom within their progressive framework. Listeners will find familiar elements of new textures, sequences, and sounds alongside Elder"s iconic take on heavy rock. As always, every spin reveals new details. Recorded in Berlin across several months between tours in 2025, Through Zero is the first album which the band not only produced but also comixed together with longtime collaborator Richard Behrens. The album sounds more like a full extension of the band"s creative intentions than ever before.

First time reissue of JP / US free jazz rarity.

The 1970s were Marion Brown’s most searching decade, a period during which he sought to move beyond the free jazz of the previous era and find more personal approaches to structuring improvisation and composition. After leaving New York for Europe in 1967, Brown began reshaping his music into what he described as “a more deliberate kind of music that had more structure to it,” pacing it so that moods and modes could develop over time. Albums such as In Sommerhausen, Afternoon of a Georgia Faun, Geechee Recollections, and Sweet Earth Flying trace this evolution: rhythmic structures moved to the foreground, harmony receded, and composition became a matter of orchestrating interlocking rhythmic parts as one would polyphonic lines.

Released in 1976, Awofofora is an overlooked but crucial entry in that sequence. At the time, its use of funk and reggae beats, electric guitars, and grooves drawn from contemporary Black popular music led some to misread it as a jazz-rock detour. In retrospect, it is entirely consistent with Brown’s methodology. As he admired in the Art Ensemble of Chicago, the stimulus comes from within the community. Here Brown filters Afro-Caribbean rhythms and funk through his own sensibility, abstracting their structural qualities rather than adopting surface style.

“La Placita,” making its first recorded appearance, layers distinct rhythmic phrases in a manner reminiscent of African drum ensembles, over which Brown and trumpeter Ambrose Jackson spin extended improvisations. The standard “Flamingo” is reshaped through diasporic rhythm and lyrical soloing, while “Pepi’s Tempo” and “Mangoes” harness crisp funk and reggae grooves to generate what Brown called a “manifestation of community” through collective improvisation. Even the overdubbed solo feature “And Then They Danced” reflects his structural thinking, ingeniously re-voicing a duet composition for two alto saxophones performed by one player.

This was the only recording by a short-lived band that briefly polarized audiences during festival appearances in 1976. Yet Brown consistently sought unity across change: different sounds, same principles — rhythm as structure, melody as architecture, collective improvisation, and above all, the primacy of tone. Awofofora stands not as a departure, but as a vivid synthesis of the elements he had been refining since the late 1960s, its grooves and golden alto lines conveying a sound drawn, in his words, “from life and from the world of experience.”

A defining transmission in the history of Skylax Records. Originally released across different moments of the Skylax catalogue, these recordings are now assembled as the final chapter of the Skylax House Explosion series — a project exploring the architecture, memory and survival mechanisms embedded within house music culture. The record opens with Move D’s “Outer Rim 64”, originally released in 2018 as part of the Skylax House Explosion narrative. Suspended between motion and distance, the track establishes the conceptual perimeter of this final chapter — a space where rhythm no longer functions only as propulsion, but as orientation. Here the listener stands at the outer edge of the dancefloor’s architecture, where structure persists even as its original social conditions begin to disappear. The sequence continues with Hardrock Striker’s “Motorik Life (DJ Sprinkles Dub)”, originally released in 2011. Rather than operating as a conventional remix, the Dub reinforces the motorik continuum of the original composition, transforming repetition into endurance. DJ Sprinkles preserves the infrastructural skeleton of the dancefloor — its capacity to sustain bodies through duration alone, without narrative resolution or emotional release. The record culminates with “Motorik Life (DJ Sprinkles Mountain Of Despair Remix)”, one of the most politically explicit works ever associated with Skylax Records. Through the relentless repetition of the phrase “mountain of despair,” Terre Thaemlitz dismantles the traditional function of dance music, transforming remix culture into structural critique. Referencing Martin Luther King Jr.’s famous metaphor, the remix removes the promise of redemption and leaves only the architecture of struggle. The dancefloor is no longer presented as escape, but as a temporary condition of survival. Together these recordings reveal house music’s true function: not to resolve despair, but to create temporary conditions in which bodies can continue to exist despite it.

AFTER THE DANCEFLOOR

you cannot preserve a dancefloor
by archiving its sound
because the dancefloor was never sound

it was bodies
finding temporary protection
inside systems designed to erase them

house music was never a genre
it was a survival strategy

when the lights disappeared
the structures remained
and so did we