quête:sequence

Embark on a funky synth-drenched journey as the cosmic count Jimi Tenor reunites with Timmion Records’ soul architects Cold Diamond & Mink for yet another album. When placed side by side with the fellows’ recent effort “Is There Love In Outer Space? “July Blue Skies” glides on a slightly more raw and mystical plane.

Crafted over fiery sessions between Tenor and Cold Diamond & Mink, this vinyl release offers six soul-grasping tracks ranging from mellow groove to soundtrack funk. The album’s opening title song kicks off with an extended analog synth intro which eventually develops into a sweet romantic invocation, painting a sonic canvas reminiscent of a boundless summer sky. The most vocal tune of this quite instrumental set of songs “Sky Train Baby” propels the listener on a locomotive ride through the star systems while “Venus of Barsoon” with its drum breaks and fuzz sounds blast you straight into sci fi movie funk territory.

The album’s B-side opens with “Ikuchi,” where Tenor’s always trusted flute and tenor sax take the spotlight over the slinky library beats. Closing the album we discover two single releases, the sublime “Summer Of Synesthesia” and the demonic “Tsicroxe” both completely worthy to hear sequenced inside this album as well. This album might be just the Spring jam that you needed in your life.

»Mother Nature« is the debut solo album by Berend Intelmann, a key figure in the German indie music scene since the late 1980s. Having made his name as a member of groups such as Hallelujah Ding Dong Happy Happy, Guther, and Paula, Intelmann most recently focussed on his work as a producer for artists such as Jens Friebe, MissinCat, or Fotos. »Mother Nature« sees the multi-instrumentalist and singer navigate between pop sentiment and his penchant for classical music on these eight pieces, three of which feature additional contributions by Karaoke Kalk label mate Marla Hansen, synth pop iconoclast Der Assistent, and the versatile Mieke Miami, respectively. »Mother Nature« combines a sense of playfulness with cunning compositional rigour to stunning effect.

Intelmann took full creative licence and worked with the instruments that he feels most comfortable using: the drums, synthesizers, and his voice. While inspired by his life-long passion for pop music in all shades, he also took some cues from his more recent passion for classical music. »The synthesizer melodies are arranged like string quartets, while the songs are presented as musical themes strung together so that they form a coherent story,« he explains. The resulting sound isn’t quite as »krauty« as someone called it, instead the artist prefers to call it »slow-kraut—1980s synth sound with 1970s George Duke-style beats,« though of course he never attempted to fit in one specific genre or replicate a certain sound: This is simply the essence of Berend Intelmann as a composer and storyteller.

The lyrical matter of »Mother Nature« is inspired by life and death. This informs an album that masterfully creates contrasts and utilises the friction generated between them to tell its stories. The album opener and second single »All Gone« greets its audience with the couplet »In the long run / We’re all gone,« but sets this to soothing sounds that form a joyful counterpoint to the fatalism of the words. Also the slowly-unfolding first single »Life Of Another One« sets the stage for a reflection on memories that have become so distant that they feel like belonging to another person altogether with sombre, intertwined melodies. However, these darker tones slowly give way to laid-back grooves, Intelmann’s smooth vocalisations and whirling synthesizer sequences.

The collaborations—a vocal duet with Marla Hansen on »A Focused Mind,« Der Assistent’s subtle theremin contributions to »The Less We Cared« and Mieke Miami flute and saxophone playing on »Mother Nature«—further enrich this album that the artist claims has been »co-produced by friends and family.« Indeed, »Mother Nature« might be Intelmann’s solo debut proper, but he remains a teamplayer at heart.

3volution in the recent past, Divide is like a bridge between old generations and new ones. Its sounds range from Sci-Fi techno to 90's techno, characterized by minimal sequences, heavy drum patterns, and an accurate sound design.
Third and last chapter for the VA vinyl trilogy on R3volution Records called

This edition includes exclusive tracks by the following artists:

- UVALL, from Tbilisi, Georgia. Born there and at the age of 23, he is no longer at the beginning of his musical journey and the refinement of his taste and style. Always on the cutting edge, he has been impressing with productions and releases on labels such as Semantica, WSNWG with Rohad, Float Records, Hayes, MALoR, and many many more. Already well known in our roster thanks to a previous collaboration for a remix, the talented young music producer delivers deep, muscular rhythms in his portfolio and translates this energy into a raw, dancefloor oriented session.

- Operator, there is no need to spend many words to describe one of the most talented and innovative British artists on the scene for a long time, recently appearing on

- Divide co-owner of EvodMusic and South Berlin Studio, with recent appearances on all the top labels on the planet (WarmUp, Semantica, MindTrip, Tremsix, Hayes, to name a few), and several collaborations and remixes for

- PTTRNRCRRNT aka Dave Brody from Antwerpen - Belgium. Characterized by efficiently percussion tunnelling through juggled textures, PTTRNRCRRNT's technical know-how and conceptual intentions can be masked by the efficiency and singularity of his music. Taking techno's tendency to constantly reinvent itself as a priority and researches between experimentalism and futurism. He is one of the artists with the most collaborations within our roster (some of his remixes are memorable), he alternates his productions on our label with frequent appearances on highly referenced labels in the scene, such as Soma, Materia and Devotion among others.

Brooklyn-based musician and producer Eliot Lipp has spent the last two decades crafting a signature sound that fuses hip-hop, synthwave, glitch, and electro. His breakthrough came in 2004 when Prefuse 73 released his debut album on Eastern Developments, a then-subsidiary of Warp Records. Since then, he has built an extensive discography across influential independent labels like Hefty Records, Mush Records, Pretty Lights Music, Young Heavy Souls, and his own Old Tacoma Records. Lipp's music, described by Billboard as "funky and experimental, crunchy and distorted, romantic, thoughtful, and all around playful," blends vintage and modern influences, with Kaltblut Magazine noting his inspiration from "sci-fi soundtracks and '70s and BDs funk" to create "weird, high-definition, melodic beats." His work has been featured by Bandcamp, Magnetic, XLR8R, and major radio stations like BBC Radio 6, KEXP, and KCRW. A seasoned performer, Lipp has toured extensively for over 15 years, playing in cities like New York, Los Angeles, Seattle, and Denver, as well as major festivals such as Electric Forest, Forecastle, and SXSW. With a career rooted in both classic beat-making and forward-thinking electronic production, Eliot Lipp remains a vital force in the independent music scene.

On his first release with Bastard Jazz, veteran Brooklyn producer Eliot Lipp delivers Kona, a bright blend of guitar samples, breakbeats, and his signature Korg MS-20 synth lines, evoking the feeling of kicking back on a beach at sunset. The beat hits hard from the start, but as the track unfolds, it eases into a more laid-back, summery vibe. Lipp's signature fusion of retro synth textures and crisp modern rhythms shines through, capturing an effortless, sun-soaked energy perfect for a night drive or a rooftop party. The B-side, Silver Bass, takes a different approach—starting with live drums, electric bass, and a groovy guitar and piano arrangement before morphing into a futuristic, digitally sequenced version of itself. With dueling saxophone and Moog melodies weaving between organic and electronic elements, the track transforms into a breezy electro jam that feels both nostalgic and forward-thinking, solidifying Lipp's ability to craft timeless, genre-blending sounds.

After his critically acclaimed EP LOOP (national press coverage, playlist support, a sold-out tour with Odezenne, opening for Zaho de Sagazan and Pomme, winner of the 2024 iNOUïS of Printemps de Bourges), Jean unveils an ambitious and cohesive debut album, conceived as a complete work of art. Created without guest features or compromise, this 12-track record delves deep into introspective songwriting, raw yet poetic, at the crossroads of rap, melancholic pop, and modern French chanson. Jean isn’t trying to please, he exposes himself with no filter.



The album stands out for its strong narrative and visual identity, where each track plays like a film sequence, a resurfacing memory. It explores universal themes: love, solitude, escape, addiction, aging, through a deeply personal and always lucid lens. The imagery reflects this universe: the album cover, shot in a movie theater, introduces an ambiguous character, somewhere between absurdity and allegory, perhaps a manifestation of the artist’s inner demon. A disturbing yet familiar presence, intentionally open to interpretation, like a key without a lock.



Musically, the album spans multiple aesthetics without losing its coherence: each track asserts a distinct tone and balance. Jean positions himself within a new, demanding francophone scene, free from cynicism or affectation. He delivers a unique, sincere project, both accessible and profound, that invites listeners to experience it in one sitting, from start to finish.

Following the first two releases on Sea~rène, GiGi FM returns with “Virgo Space Acid”, a deeply personal and sonically assertive exploration of transformation and healing.

Rooted in the energies of 2025, the Year of the Snake, this four-track EP channels the mystery and intuition of the serpent, weaving together Virgo’s archetypal forces of the healer and the alchemist.



Across driven beats, hypnotic acid sequences, and vocal-infused textures, “Virgo Space Acid” reflects a journey of renewal, self-ownership, and inner power.

From Berghain to The Bunker New York, GiGi FM has long been known for her ability to channel movement into sound. With “Virgo Space Acid”, she refines her craft even further, working with fewer elements yet pushing them to their fullest expressive potential. She explores the full range of her voice, shaping it into textures, atmospheric layers, and even percussion, while separately reworking classic 909 drum machine sounds into something entirely her own. This EP is a statement of both discipline and liberation, where minimalism meets deep transformation.



Opener “Calibration” sets the tone with its mantra-like intention: an invitation to realign and tune into one’s own energy. Built around a driving bassline, nostalgic yet forward-moving synths, and GiGi’s own spoken word, “A breath holds time, calibrates space”, the track creates a moment of clarity before the journey begins.

“Mercury” follows, embodying the trickster, the messenger, the shapeshifter. Playful and urgent, its bouncing synth sequences move like conversations in motion, with rising tones driving the track forward, pushing toward a restless ascension that mirrors Mercury’s role as a bridge between realms, both celestial and internal.

The title track, “Virgo Space Acid”, is the wormhole: the brain battle, the transformation. With a heavyweight 303 bassline, spiraling bleeps reminiscent of birds, and powerful classic 909, it is pure tension and release, an acid-drenched trip through motion and evolution.

Closing the record, “Floresta” is a sensual and grounding moment of reflection. Named after the stage at Waking Life Festival where GiGi felt a pivotal shift in her healing journey, the track mirrors the scene with dub chord sequences, emotional rising pads, and percussive vocal elements. Like the purple and pink drapes floating above the dance floor at sunset, Floresta is both a farewell and a prelude, a misty horizon where one chapter closes and another awaits.

With “Virgo Space Acid”, GiGi FM continues to expand her sonic language, deepening her connection between body, rhythm, and transformation. More assertive, more urgent, yet deeply intuitive, this is a record of movement, clarity, and self-empowerment.



"We are Sea~rène, swimming in-between supernatural tides, forever following the emotional waves of the universe." GiGi FM

Co-Accused are back for their first release of 2025 with a dose of raw and relentless techno from one of Glasgow’s most solid of underground forces Fear-E. 9 Darter EP presents four slabs of peak-time pressure, polished with the refined edge of the Posh End Music boss’s production. No surprise this EP is in parts inspired by the sounds of UK techno legend Dave Angel and in others of the general free-wheeling ethos of the 90s - feeling as relentless as a basement session in that golden era.

Fear-E has built a reputation as a beacon of putting out high quality club tracks through his career, releasing on the likes of Dame Music, Dixon Avenue Basement Jams and Dark Entries, while also running his own imprint Posh End Music alongside its hardcore-driven sister label Breakbeat Energy. His records are regularly supported by the likes of Dave Clarke, Ben Sims, The Hacker, Randomer, Jerome Hill, Marcel Dettmann, and James Ruskin, with airplay on BBC Radio 1 and 6 Music.

Punching our ticket for the tenth trip on the Drum Chums line, we rattle past the control centre, where Approach Release delivers another masterclass in genre-blurring brilliance.
Darting through emotional New Beat, psychedelic soul, stomping Afro-disco and coastal cosmic, AR keeps things right on track and perfectly off the rails.

'So Wrong' starts the party with a growl and a gurn, all gnarly sequences and robotic drums until that mournful vocal moves us into a land of Lynchian longing. Teardrops on the dance floor, clouds in your coffee, it's, it's, Goth Italo folks.

Shifting tone like McCrae shifted gears, Approach Release moves on from Main-Room Gloom into the smooth and sensual soul of 'LuvLuvLuv'. Low-slung, lilting, loose and lysergic, this versatile version-excursion works wonders as warm up and rub down, its brilliant bedroom vocals floating atop the synthetic and psychedelic groove.

Over on the B-side, 'E-Killa' bursts out the speakers with about 100,00 volts of Afro-disco energy, each one perfectly harnessed to whip a crowd into a grinning frenzy. Armed with an unstoppable arrangement, vital vocals and a stomping rhythm section, this delicious drink of tropical pop just keeps on fizzing.

For an encore, Approach Release drops the deeply dramatic 'Lou Cee', a full-hearted bit of Balearique-brilliance stacked with enough synth strings, faux-accordion and earnest outpourings to give Chris Rea a run in the anthem stakes.

100% Drum Fun Guaranteed. .

Headek Records returns with its second release, HDK-2: The Eyes of Goa – Syncrosonix EP.

This time, we dive deep into the hypnotic realms of Goa Trance with a truly special EP. Syncrosonix and Goagoa unfold across two tracks, each presented in two versions, making a total of four sonic explorations. Expect a perfect fusion between the raw essence of classic Goa Trance and the futuristic pulse of bleep-infused techno. Pulsating trance basslines intertwine with resonant synths, acid sequences, and shimmering bleeps, creating a mesmerizing vortex of energy. Let yourself be drawn into the infernal spiral of trance and lose all sense of time.

Eleven is a magic number in many cultures, for us maybe it is… or not, anyway our eleventh release is going to be something special with vinyl again as the main format after some only digital releases.

The man in charge of production duties is well known for crafting merciless techno exercises all over the place, RNGD is not a newcomer at all, his roots come from the late nineties and you can somehow feel that into his modern tunes.

These four cuts have a strong link with the classic Birmingham school, Regis,
Downwards, Female, Surgeon… but with a personal and unique twist.

Direct Source is a clear example of what I mentioned before, a few elements are enough to make the funk happen: a solid sequence, proper drums and a hypnotic arrangement.

Same approach on 037, proper neural funk with basic elements administered properly. B side opens with Degradation, again with the same mantra, anabolic, gymnastic and physical.

To close the release Diabólica, providing the mental slice of the pie with the
occasional pad and vocal samples but yet energetic and direct to the floor.

This is the true spirit of techno, don’t be fooled for the new trends. Timeless is the word here.

Text by Luis Rozalén / Hd Substance

Following the departure of Wire's drummer Robert Grey in 1990 WIR had risen phoenix like from the ashes of the acclaimed UK post-punk band after and were created to fulfil the final phase of Wire's Mute Records contract. With a more sequence based sound, WIR saw the band breaking all their own rules by creating a new sparse electronic music with Graham Lewis singing most of the vocals and even cannibalising their own catalogue by sometimes sampling their own older material. WIR was, however, not a long-term project and besides completing their only album, The First Letter, their only other activities were a very small number of gigs and two multi-artist "conceptual happenings" under the name I Saw You. One of these was in Clapham in April 1992 on election night and the other in Vienna in Feb 1993. On that Vienna trip, in addition to playing the gig, the band recorded a radio session for the Austrian national broadcaster ORF which was organised by Peter Rehberg - later the person behind MEGO & sadly no longer with us. This was released in 1996 by Touch on CD and consisted of two long tracks with a running time of almost 25 minutes. Once the short run of CDs had sold out, the rights technically fell to the band, and pinkflag released it - digital only - in 2007 and now released on vinyl for the first time. The remastered 2025 vinyl / CD / digital edition adds a newly recorded, Taylor Swift style re-recording of what is undoubtedly WIR's most pop moment, the dark brooding shadows of So and Slow. The version released here is based on how the band played it live, so, inspite of being instantly recognisable, it does not follow the arrangement of any previously released version.

On ‘Animal’, Ash Fure appeals to “animal intelligence” by using sounds that are inherently physical and driven by perception, athleticism and interaction. Placing polycarbonate sheeting over an inverted subwoofer she built alongside her partner Xavi Aguirre and brother Adam, Fure isolates the physical impact of sound by focusing on psychoacoustic sub-bass pulses, semi-perceptible micro-rhythms and discomfiting white noise bursts, linking the process to her experiences in Berlin and Detroit’s techno dungeons where the sound has to adapt to the space it’s performed in. When she performed ‘Animal’ for the first time, Fure fabricated a “listening gym”, allowing the audience to interact in real-time by circuit training in response to the sound. The sweat is almost audible across the record, a run-on selection of rhythms, resonances and abstractions that sound like interlocking heartbeats on a series of treadmills. Her fascination with techno’s cavernous cathedrals is clear from the beginning, but Fure doesn’t worship at the altar: we’re hit with the feeling, not the aesthetic. The beats themselves, made from unstable vibrations and waterlogged, reverberating clicks, echo the brain’s unconscious reaction to repetition in a vast concrete box, the feeling you get when each percussive snag ricochets from every surface in the building. Coddling these whirring, criss-crossing polyrhythms with harsh, distorted low-end retches, Fure accurately recreates the energy and fatigue of the endless weekend sesh. We never once encounter techno in its expected shell, just its residue - the outline of humans figuring out their relationship with technology, architecture and each other. Fure’s use of dynamics is also deviously smart, marking out an overall rhythm that’s not tied to the strength of the sounds themselves, but just volume and physical impact. Often her most brutal sounds - ear-splitting squeals and overdriven mechanical whirrs - are reduced to an almost inaudible level, a bit like the bandy legged trip to the bathroom, or the escape to some dimly lit nook, the part of the night where you can still detect the sound on your skin without being battered by it. When the undulating rhythm returns in earnest, Fure masks acidic sequences in jet engine expulsions, still refusing to objectify anything that an AI model might be able to pick up on.

In the depths of the underground, where the beat pulses through the concrete veins of the city and the soundscape echoes the soul of a movement, Infinity Plus One delivers the Reflexion EP – a raw and unapologetic nod to the gritty, underground roots of ‘90s techno and electro. Drawing inspiration from late-night warehouse parties, the machine-driven rhythms, and the futuristic sounds that emerged from the Motor City’s pioneers, Reflexion carries the essence of that golden era while pushing forward into new realms of sonic exploration. These four tracks, composed with deep grooves and dark, hypnotic sequences, offer a hard-hitting blend of electro-funk and house that will resonate with fans of both vintage and contemporary styles.

On Innocent Beginnings we find a bass-heavy, bouncy house rhythm mesh with haunting synth melodies, setting the tone for a journey through forward-looking machine soul. Next we have Dusk And Darkness which layers a breakbeat on an 808 electro groove to form a darker, ravey feel where all the emphasis is placed on the rolling beats and bassline. Flipping over we have Stand For Love which takes us on a deep house journey, showing a more sensitive and heartfelt side of the Infinity Plus One sound. Closing out this heavyweight four tracker you’ll find Ubiquity with its deep, atmospheric mood built around a snaking bassline whilst big synth stabs add an intensity to this club-ready groove.

Each track here is a manifesto, a declaration of sonic freedom, engineered for the DJs who understand the pulse of the underground. This is the music you feel in your chest, not just hear in your ears.

The annual Bonkers Music compilation returns, delivering another round of high-energy bangers. This year, the release explores a slightly evolved musical style while staying true to its signature sound. Celebrating its sixth edition, “Year VI” will be available on 12” vinyl, accompanied by a few exciting surprises.

A1. Neskeh’s “106 Cabrel” revolves around a melodic yet hypnotically repetitive lead sequence, crafted to evoke a trance-like state on the dance floor and radiate positive energy. The foundation of big, punchy kicks and a robust bassline gives it a quintessential club vibe.

A percussive break in the middle shifts the mood entirely, paying homage to Goa rhythms and shamanic rituals, immersing listeners in a more primal atmosphere. The drop reignites the momentum, enhanced by the warm tones of the beloved Minilogue, adding an almost epic dimension to the journey.

A2. Berlin’s Mike Sacchetti and Madrid’s David Meyer unite on “Agria Pachanga,” a dance energy piece that pulses with percussive drive and a subtle touch of Latin identity.

Acid-inspired arrangements swirl around classic drum machine sounds. The syncopated rhythms and pumping basslines push the track towards an agitated club atmosphere, building this song into a bold declaration of fiesta.

A3. Two friends from Guadalajara, Mexico, Leonor & Ludviq, now living in different European cities, (Barcelona & Lyon) join forces to bring you Capybara Trance, This electrifying track combines dark, driving energy with intricately sequenced melodies, a hard-hitting chugging bassline, and the unique touch of capybara-inspired sounds. Anchored by a commanding kick drum that sets an unrelenting tempo.

B1. “Nebula” is a deep, atmospheric journey through cosmic sounds and pulsating rhythms. The track blends hypnotic melodies with dark synthetic textures, evoking a sense of drifting through endless galaxies. With a strong groove and intricate arrangements, it delivers energy that fits perfectly in both morning sets and more conceptual playlists. The collaboration between Radial Gaze, Ducati Flux, and Persona RS captures the spirit of exploration, creating a versatile track that can be the highlight of any set

B2. Intruso hailing from Bogota, now based in Barcelona brings “Somos Acido” this track draws inspiration from the early 2000’s House and Trance, capturing the nostalgia and emotional resonance of his first experiences with electronic music as a child. A driving Acid bassline injects dynamic energy, making it perfectly suited for the dance floor.

B3. Argentinian born, Australia based producer Poulper teams up with Mexican maestro Hugo Vallejo to kick off this intergalactic adventure. This track weaves together acid-laced elements and an infectious rhythm, layered with haunting post-dark vocals that narrate the fiery, cosmic tale of love burning in the vast expanse of space. A bold and immersive journey into the unknown, perfect for this stellar compilation.

Team TD take a break from re-scoring Colin McCrae Rally to pay our own oddball homage to some of our DJ deities in the form of Talking Drums Volume 8.
Keeping things diverse-yet-disco, this little mover grooves through Muzic Box pump, Lofty symphonics and a Ku-curveball with a smile on its face and a pep in its step.

The A-side erupts in a flash of sexy Euro-NRG, twisted and lifted to give any sweatbox a massive Hardy-on. Sequencers throb, swell and burst, horns wail and not one, but two, killer basslines blast the floor with erogenous urgency. Chuck in a coquettish vocal, delay madness and a fist pumping breakdown and you've got pure peak-time play folks.

The B1 belongs to the sumptuous strings, loose funk and live disco strut of 'Too Hot'. Low slung, low tempo but plenty punchy, this classy cut builds and builds through Merc-y repetition before blooming a fully fledged groover. Taut funk breaks sit beneath a floor-filling vocal and twinkling Rhodes, the wah guitar works overtime, and it all adds up to take the dance floor temperature sky high. Enjoy on a hi-fi sound system with plenty of spiked punch.

The curtain call comes via the alfresco flamenco-frenzy of Ronseal-approved 'Maximum Balearic Dancer', which does exactly what it says on the tin. The TD troupe takes a tiny snippet of Swiss fusion and fleshes it out into the fully fledged floor-filler it always deserved to be. Blessed with a buoyant bassline and balmy mood, this beauty sways along through some weird but wonderful synth riffs, holding you close for that soul-soaring piano solo.
Sometimes you gotta wake up on a beach naked.

Limited Press - Numbered Insert - Drum Fun Guaranteed. .

Embark on a funky synth-drenched journey as the cosmic count Jimi Tenor reunites with Timmion Records' soul architects Cold Diamond & Mink for yet another album. When placed side by side with the fellows' recent effort "Is There Love In Outer Space? "July Blue Skies" glides on a slightly more raw and mystical plane. Crafted over fiery sessions between Tenor and Cold Diamond & Mink, this vinyl release offers six soul-grasping tracks ranging from mellow groove to soundtrack funk. The album's opening title song kicks off with an extended analog synth intro which eventually develops into a sweet romantic invocation, painting a sonic canvas reminiscent of a boundless summer sky. The most vocal tune of this quite instrumental set of songs "Sky Train Baby" propels the listener on a locomotive ride through the star systems while "Venus of Barsoon" with its drum breaks and fuzz sounds blast you straight into sci fi movie funk territory. The album's B-side opens with "Ikuchi," where Tenor's always trusted flute and tenor sax take the spotlight over the slinky library beats. Closing the album we discover two single releases, the sublime "Summer Of Synesthesia" and the demonic "Tsicroxe" both completely worthy to hear sequenced inside this album as well. This album might be just the Spring jam that you needed in your life.

LIMITED POSTER EDITION (stickers included)

The Acid Machines series is back with its third electrifying release! Dedicated to the darker side of acid techno, this VA compilation is primed to ignite dancefloors and leave a lasting impression on any rave.

Leading the charge, G303 returns with a gripping opener. Starting with an entrancing breakbeat, the track seamlessly transitions into a thunderous four-on-the-floor rhythm, underpinned by resonant basslines that drive its powerful energy forward.

Acidupdub follows with "Steampunk," a masterclass in atmospheric tension and energy. The track evolves from a deep, pulsating low-end into a relentless techno anthem, featuring hypnotic 303 sequences and immersive basslines that demand attention.

New to the Acid Machines family, Citric Acid makes a stunning debut as a resident artist with "Damage" This one-take analog acid experience is a whirlwind of raw, unfiltered energy and pure acid techno brilliance, showcasing Citric Acid's exceptional production skills.

Acid Machines Vol. 3 is a must-have for fans of dark acid techno. Out now on Zodiak Commune Records. Unleash the acid and let the machines take control!

It is with a certain sadness for his fans across mediums that Donald Glover has declared Bando Stone and the New World the last Childish Gambino album. The ostensible soundtrack to a feature-length movie of the same name, the hour-long project includes snippets of dialogue that hint at the film’s apocalyptic subject matter. The fact that the soundtrack is preceding the actual film is part of Glover’s strategy: He wants listeners to work to figure out what they’re listening to. “The soundtrack forces the audience to participate in a way that I don't feel like most things force you to participate,” he says. “It forces you to have an imagination. I already see people being like, 'This is very cinematic, this must be the part that... This feels like a credit sequence.' A lot of stuff feels flat because it's not asking you to participate. Art used to be you had to participate on some level and have some sort of thought process on it. You can't just be like, 'Oh, this is mid.'” Even without the benefit of the full visuals, these 17 tracks make for a satisfying swan song that synthesizes what came before with fresher ideas gleaned from the threshold of finality.

The debut album from CEM, 'FORMA' was developed as a soundtrack to Mauro Ventura’s series of "action painting performances" and uses various bell sounds (cowbells, doorbells, Shinto bells, singing bowls) to pick out anxious giallo sequences and heaving Dadaist formations.

CEM's best known for pneumatic DJ sets that have propped up Berlin's queer underground for a decade at this point, but don't expect to find any vaped darkroom tek on 'FORMA'. Each of the six compositions were commissioned for Ventura’s performative installation at Volksbühne in 2022, and CEM opted to represent the piece's themes of labor and repetition by sampling an arsenal of bells and metal objects that anchor his varying widescreen vignettes. 'The Calling' is a relatively subtle introduction, establishing the space with double bass drones and ratcheting digitally altered chimes - it's 'Bells Corrupt' that cements CEM's concept more righteously, harking back to Goblin's iconic 'Suspiria' score without pastiching any of its Italo-prog themes. Cycling ritualistic bell loops with squashed, industrial-strength thuds and granulised laptop belches, CEM silhouettes the tension and the vivid color of Argento's film, chrome plating the result.

'An Industrial Satire' is even more convincing; this one takes its cues from legendary German sound artist Limpe Fuchs, and the first part integrates scraped, alien resonances with CEM's loping industrial rhythms and squelchy EBM bassline. The real shift occurs in the second part, when CEM's choppy electroacoustic minimalism falls away to unlock his rolling hand drum performance, that he matches with a ghaita sample lifted from the Master Musicians of Joujouka's 1971 album with Brian Jones. With the future-facing deconstructions a memory, 'Statue Garden' beds reedy organ drones in eerie gallery ambiance, and closer 'The New Sincerity Test' finds Lithuanian performance artist Gertrūda Gilytė skewering the wellness industrial complex over nauseous subsonic oscillations and scratchy noise.

Hollows Made Homes In Their Sunken Cheeks came into existence as a result of Jon's wishes to take the Ungraven sound somewhere other than a standard 'rock band' setup. Moving away from the traditional 'drums / bass / guitar' structure has allowed Ungraven to experiment further with both sound and composition. 'Hollows_.' Is an experiment in sonics and allows both Davis and Perry to perform a sickening sonic duet as their respective instruments carve a universe shaped hole in your consciousness. Inspired by the duo's past collaborations on Conan tracks such as "Older than Earth" and "Grief Sequence" as well as artists such as Tangerine Dream, Circle, Zombi and Harold Budd. Hollows is a combination of composed and improvised elements, constructed remotely from their bases in England and Denmark. The addition of Perry's synth, organ and piano to Davis's slab like 6 string delivery has produced two epics that are both introspective and pummelling at the same time. Fall untethered into a bleak and expansive soundscape of psychedelic terror, experience a new chapter in Ungraven's tome of tone.

The signal mutates. Following the first installment, Parallax Effect PT.2 finds Versalife shifting gears, distilling his unmistakable rhythmic instincts into something even more elastic and unpredictable. Smeared low-end and restless sequences coil around a framework of percussive movement, flickering between restraint and momentum. There's an underlying tension--one moment held in suspense, the next unfolding into fluid motion. The machine logic remains intact, but with an organic pulse running through it, shaping each track in real time. A fitting counterweight to PT.1, this second chapter bends the perspective once more, closing the series with a sense of motion still lingering in the air.

To speak to Luca Daniel Schwarz aka LDS about his music is to be enthusiastically guided into a complex world of his own creation: clean and powerful techno which pulses with life from the textured patterns and drum sequences that have fills and accents that would make anyone who’s picked up a set of drumsticks envious. Yet this ecosystem of noise is deceptive; Schwarz’s process for making music is very different to how a live drummer would create the same subtlety of performance. Forever researching new technology, Luca got deeply interested in different programming languages, and created a series of probability-based music tools for manoeuvring sounds and sequencing.
Manipulating those probabilities takes a skilful alchemy, needing understanding of both musical structure and how the tools he devised work. To return to the drummer analogy, if the drummer is focussed and intentional in the moment of playing, then the method used in LDS tracks is almost diametrically opposed, with all of the intention coming in the assembly of the instruments, potential paths, and gateways; once play is pressed the music flows, following all the rules that were set in advance, not unlike a domino run or Rube Goldberg machine. And like a domino run, the results are fascinating and, ultimately, fun: staccato vocals pop in and out in ‘zipp prompt’; laser-like synths pulse; background noises sweep across the aural plane of the dub techno of ‘diff, blockmix’ and ‘pow’ adding texture that brings vitality all-too-easily missed out when complex mathematical
processes become entwined with music creation. The high sensitivity to texture and rhythmic detail in Stadion Progg is multiplied further on Jean Redondo's remix - whose track, Hypersonic, was the backbone of 2023’s ‘yet’ compilation on Tresor.
The balance between technology and a sense of fun might also come from the maker; it’s not easy to overstate Schwarz’s passion for what is now his favourite way to make music, “it never gets boring. There’s always a moment of anticipation to see what actually emerges.” And the true “power of 2” comes into play when the resulting music can be fed back through the system again and again, potentiating the music in exponential ways.

"The Millennium's Begin can truly be described as a bona fide lost classic. On Begin, hard rock, breezy ballads, and psychedelia all merge into an absolutely air-tight concept album, easily on the level of other, more widely popular albums from the era such as The Notorious Byrd Brothers. The songwriting, is sterling and innovative, never straying into the type of psychedelic overindulgence which marred so many records from this era. At the time the most expensive album Columbia ever produced (and it sounds like it), Begin is an absolute necessity for any fan of late-'60s psychedelia and a wonderful rediscovery that sounds as vital today as it did the day it was released. Begin is available as a limited edition of 1000 numbered copies on yellow & orange marbled vinyl and includes an insert."

Pink vinyl, limited to 350 copies. Hollows Made Homes In Their Sunken Cheeks came into existence as a result of Jon's wishes to take the Ungraven sound somewhere other than a standard 'rock band' setup. Moving away from the traditional 'drums / bass / guitar' structure has allowed Ungraven to experiment further with both sound and composition. 'Hollows_.' Is an experiment in sonics and allows both Davis and Perry to perform a sickening sonic duet as their respective instruments carve a universe shaped hole in your consciousness. Inspired by the duo's past collaborations on Conan tracks such as "Older than Earth" and "Grief Sequence" as well as artists such as Tangerine Dream, Circle, Zombi and Harold Budd. Hollows is a combination of composed and improvised elements, constructed remotely from their bases in England and Denmark. The addition of Perry's synth, organ and piano to Davis's slab like 6 string delivery has produced two epics that are both introspective and pummelling at the same time. Fall untethered into a bleak and expansive soundscape of psychedelic terror, experience a new chapter in Ungraven's tome of tone.

Since scoring a worldwide smash with her debut album Eye To The Telescope in 2004, which went on to sell over 5 million copies, KT Tunstall has remained at the forefront of UK singer-songwriter talent. After a period of healing, soul-searching, and a change of scenery, 2016 hailed the arrival of the first of a trilogy of albums, the critically acclaimed UK Top 10 album - KIN. The trilogy evokes, separately and in sequence, spirit, body and mind. With KIN being her Phoenix-from-the-ashes 'spirit' album, 2018 marks the second offering of that trilogy - WAX, her sixth studio album, her 'body' album.

Black Loops is an endlessly creative producer who has brought constant invention to house music since his first release over a decade ago. His widescreen sounds take their cue from funk, soul and disco and are underpinned by a love of 90’s grooves. They appeal to DJs and dancers alike which explains his constant demand for DJ sets around the world as well as his music being played and supported by the biggest names in the scene. After many years of vital 12"s and remixes, he now draws on everything he has learned and raises his levels with a fully realised debut full length album dropping 9th May, 2025.

Ahead of the LP we present the Experience EP which sees Jimpster and Black Loops himself deliver Dub versions of two of the LP’s highlights; Electrical and Experience. Jimpster kicks off with a stripped back, rolling Italo-inspired groover with touches of modular synth sequences, string stabs and dubbed out vocals. Black Loops follows with his own version keeping the funk factor intact with guitar licks, synth blips and extra fat, moog bassline.

Flip over for the original of Experience featuring Marlena Dae with it’s distinctly 90’s, Vogue-era Madge mood. Black Loops then proceeds to take it to the club on his Dancefloor Dub, stripping out the vocals and working up a punchy, minimal groove for the dancers. Closing out the release we have an exclusive original, not included on the LP entitled Inmasoul. Jazzy, deep beats are the order of the day here, making for a perfect warm up track to set the mood.

Ediciones Espectro Oculto has the pleasure to announce their first vinyl edition ‘Elementa Obscura Vol. 01’, a wave-infused compilation which moves through the dim & dazzling realms of electronic music.

The vinyl kicks off with a new-beat-esque track by Trenton Chase known for his EP released on Interstellar Funk defunct label ‘Artificial Dance’ and his collaborations with June (Mania Sans Delire) and Traxx (Internal/External) with a 12” released on Kode sublabel of the infamous Nation Records. Synth wizard and legend Martial Canterel delivers a masterful track that embodies his signature wave sound—driven by sophisticated analog sequences, atmospheric textures, and a vivid story telling with ‘Folly’. Closing the A side we have Gravitational Waves boss DJ Nephil, who’s bringing his raw & analog trademark which will annihilate all dance-floors.

On the flip side we have cult czech producer & DJ: Exhausted Modern known for his notable work managing the extinct ‘Endless Illusion’ label, he provides a de-constructed electro track with an exceptional sound design, so glad to have one of the key cultural figures on the czech electronic music underground scene. Having collaborated with labels like Pi Electronics, Phormix & Modal Analysis just to name a few, Fragedis blends elements that seamlessly propels dancefloors into motion. Finally, Argentinian duo Happy707 present a low-bpm track which hypnotizes you with a detailed synth bassline and gritty vocals that draw you in, creating a hypnotic listening experience.

6 cuts that give you the 1st glimpse of what ‘Ediciones Expectro Oculto’ is about.

2LP in printed inner sleeves + 12 page booklet with detailed info, secrets and unpublished pictures written by Walter Verdin himself. This collection dives deep into Verdin's prolific and experimental music from 1980 to the beginning of this millennium, capturing an era of a DIY punk spirit, improvisation, creative freedom and swimming against the tide.



We are thrilled to announce the upcoming release of 'Pingpong', a 2LP compilation showcasing previously unreleased works by Walter Verdin, the founding member behind Pas De Deux, the Belgian band which delivered 80's cult classics 'Rendez-Vous' & 'Cardiocleptomanie'. This collection dives deep into Verdin's prolific and experimental music from 1980 to the beginning of this millennium, capturing an era of a DIY punk spirit, improvisation, creative freedom and swimming against the tide.

This album is not just a compilation-it's a sonic journey into Verdin's unique approach to music-making, which he nurtured in the AV studio at KU Leuven's Audiovisual Department (AVD). Having begun his civil service there in 1980, Verdin was exposed to a rich array of audio and video tools that would shape his work for years to come. From the outset, Verdin's process was defined by an openness to experimentation, where he would explore sound and music organically rather than following pre-existing concepts.

The songs on Pingpong reflect his fascination with creating spontaneous, layered compositions. These recordings were made using limited tools, such as his duophonic Yamaha CS-40M synthesizer, borrowed drum machines, and tape loops, and were further enriched by techniques such as reverb and vintage sound manipulation. The results are raw, tactile, and full of personality-often more vibrant and personal than the polished, commercial recordings that would follow in professional studios.

Throughout the 1980s and 1990s, Verdin developed his craft, regularly drawing from his diverse interests in film history, soundtracks, video art, and avant-garde music. His innovative use of tape recorders, improvisational techniques, and later, MIDI and digital tools, makes for a fascinating and varied listening experience. This compilation includes everything from proto-techno and abstract new wave to avant-pop songs, sample-driven experiments, and the oddball TV-inspired tunes that have long been a staple of his work.

This selection is a true reflection of Verdin's "keen amateur" approach: a method focused on discovery, happy accidents, and unexpected results. These compositions aren't about achieving technical perfection, but about capturing moments of sonic exploration and transformation. The 21 recordings have been meticulously curated, with some tracks freshly arranged while others remain true to their original, unedited forms.

'Pingpong' finally brings these forgotten gems into the light. The album includes not only unreleased music but also fragments from Verdin's video art and multimedia projects, offering a rare glimpse into his creative evolution over two decades. Stretching up the boundaries between medium and message, aligning his own musical univers.

Take a deep breath and dive into the works of an artist whose explorations pushed his boundaries of sound and technology.

A Belgian sonic cut up, ping ponging in between many worlds.

Enigmatic producer ANiML returns to the freeform Los Angeles-based label StrataSonic to release a six-track mini album, Star Walk. The new body of work, which comes alongside a new music video for “Bruv” (directed by Spanish visual artist YZA Voku), is out now.

Picking up where ANiML left off with “Breather” and “Bruv,” Star Walk elaborates further on that woozy-yet-sophisticated psychedelia, materializing as cinematic trip-hop, cavernous dub, and other unique genre concoctions across its six tracks. “Cherry,” with its free-spirited, delay-soaked guitar riffs, depicts a colorful, post-rock-inspired soundscape. “BabyD,” in step with “Bruv,” features a mischievous marimba melody among ghostly vocal samples, a punchy drumkit, and a slackened bassline.

These scenes are brought to life thanks to YZA Voku, a groundbreaking visual artist who is at the forefront of AI-assisted filmmaking in the animation space (see his work for The Weeknd, Swedish House Mafia, Hï Ibiza, and XG). The new music video for “Bruv,” out today, unfolds in stark black, white, and red, evoking a noir-inspired aesthetic steeped in mystery and intrigue. Shadowy figures move rhythmically through dimly lit alleys and smoke-filled ballrooms, blending calculated steps with hypnotic dance sequences.

The production blended real-life recordings with digital effects like blur, negatives, masks, analog textures, and AI-driven transformations using Runway’s video-to-video tools. AI-generated sequences created with Midjourney and Runway were merged to contrast real footage with synthetic imagery. This type of work is a rejection that AI is simply used as a shortcut in art and comes at a time when musicians are beginning to embrace such tools for the visual components of their products.

Portland's Paul Dickow, the man behind the Strategy alias, is back with a new album that has been created with a 1989 model sampling keyboard. Exploring its limitations, he plays the sampler by hand and abandons sequencers for a more organic approach which apes a guitarist's connection to their instrument. The record delves into glacial, pensive soundscapes where experimental, ambient and dance music elements all come together with deliberate intention. Though Dickow crafts a sound rooted in ambient techno futurism it is one open to serendipitous, experimental outcomes which makes it a gently unpredictable listen and otherworldly charmer.

The Deep Series imprint operated as a sub-label of Diaphan Music, both of which released material between 2009 and 2014, as can often be the way for many artists family life and other responsibilities stepped up on the priority list and the label was put on hiatus.

Now back to reboot things with a fresh perspective and a focus on Georgios’ music and music from artists he admires, Deep Series begins its new chapter for 2022, bringing fresh deep and dynamic cuts and an uncompromising approach with its future direction. Leading the release and following on from his recent debut album on Dial is XDB with his ‘Back To The Roots Mix’, the title tells all as this Greek Techno aficionado delivers a classic groove fuelled by loose, bumpy drums, chugging synth stab sequences and twisted resonant loops.

‘Dark Path’ follows next, edging into dubby house territory with skippy percussion, expansive chords, choppy bass stabs and hypnotic vocal chants. Opening the b-side is ‘Distorted DRMS’, as the name suggest laying focus on raw, crunchy drums throughout while dreamy synth lines and heavy sub bass swells ebb and flow within. Lastly the original mix of ‘GR2’ rounds things out, stripping things back to hazy, ethereal textures, robust, low-slung drums and acid-tinged bass stabs.

Berlin based Greek artist Georgios Papamanoglou returns to his Deep Series imprint with the ‘Instan Bliss’ EP this March, accompanied by two remixes from Iron Curtis.

Georgios Papamanoglou has been been involved in the underground House and Techno scene since the turn of the millennium, making him mark through his multiple imprints Diaphan Music and Deep Series with releases from himself and other artists such as Nekes and Ekkohaus among others. After a few years hiatus 2023 saw Georgios return to relaunch his Deep Series label with the ‘Dark Path’ EP, featuring a remix from fellow Greek Techno stalwart, XDB. Here he returns with his new project ‘Instant Bliss’ made up of two originals and two remixes from the much loved Office Recordings and Hudd Traxx regular, Iron Curtis.

‘Millions Of Sounds’ opens the release and sees Georgios lay down a bubbling arpeggio lead line, shimmering analogue drums and intricately oscillating synth lines all dynamically evolving and unfolding throughout. Iron Curtis’ ‘Drama Mix’ of ‘Instant Bliss’ follows and sees the German artist employ hypnontic atmospherics, cinematics strings and a choppy bass sequence alongside stripped back drums.

Opening the b-side is Iron Curtis’ second remix the ‘Supersorry Mix’ of ‘Instant Bliss’, this time round laying focus on squelchy 303 licks, crisp breakbeats and an underlying textural tension. Papamanaglou’s original of ‘Instant Bliss’ then completes the package, a nine minune cinematic journey through enchanting strings, polyrhythms and robotic glithes.

POISON IDEA’s momentum hasn’t slowed down one bit; this is still their brand of loud, potent powerthrash. Slightly more metal than in the past but the accent here is on the force and fury. Scorching. Each song on War All the Time flows into the other in a natural sequence for maximum impact and the whole thing blows over before you know it, but everything stays in your head, banging against the walls of your frontal bone. All this makes a good album, but what turns War All the Time into an amazing album are the lyrics and their delivery. Jerry A took the negative side of the world around him and expressed it in detail, rendered with words that can be read in a universal manner, expressing everything trivial and worthy of our puke in a language better suited to talk about the beauty of life. And those words remain as true to this day as the band’s riffs are brutal.

Danish drummer Daniel Sommer completes his internationally acclaimed Nordic Trilogy (featured in Stereogum, Downbeat Magazine, Bandcamp"s Best of Jazz and more...) with the release of Lost Threads on March 21st, 2025, via April Records. Following As Time Passes and Sounds & Sequences, the highly anticipated third chapter features Finnish pianist Artturi Rönkä and Swedish bassist Thommy Andersson. Together, the trio embarks on a deeply introspective exploration of time, space, and their shared Nordic spirit of improvisation. Described by Sommer as "a process-oriented project prioritizing musical risk and flow," the Nordic Trilogy has sought to illuminate Nordic approaches to composition and improvisation across generational and stylistic divides. With Lost Threads, this vision culminates in a collection of music that embraces vulnerability, spontaneity, and togetherness. "Most of the music emerged as Daniel and I improvised in my living room in Helsinki," Rönkä recalls. "Later, when Thommy joined us for a couple of concerts and recording sessions... his highly personal way of playing the bass inspired Daniel and me to try to develop the music in further, unexpected directions." The result is a dynamic and emotionally resonant album, recorded live in a Helsinki studio with all three musicians in the same room, without headphones or edits whatsoever. The title track and Den ensommes dans pulse with energetic groove and rhythm, while pieces like Meditation, Silent Steps, and Forgotten Song float with a haunting, rubato lyricism. With influences ranging from Nordic folk, Western Classical music and the jazz tradition, Lost Threads continues the trilogy"s history of blurring the boundaries between composition and improvisation. The trio"s collective sound-anchored by Rönkä"s nuanced piano, Andersson"s deeply personal bass tones, and Sommer"s textural drumming-creates a sonic landscape both timeless and contemporary. As the trilogy closes, Lost Threads invites listeners into a contemplative space where silence and sound intertwine, offering a balm for the modern world"s relentless pace. True to the spirit of the Nordic Trilogy, it stands as both a conclusion and a testament to the boundless possibilities of collective improvisation.

Madronas’ debut LP Erogenous Biome is an amorphous, murky, cathartic offering. A duet of modular synthesizer and winds that’s equal parts doom and ecstasy, it’s the sound of a majestic butterfly emerging from it’s slimy chrysalis just in time to catch the sun setting on the end of days, a bewitching, heavy ceremony, a power-wash of both mind and spirit.

Tracked in one continuous take at Brooklyn’s Heavy Meadow studio, individual tracks were gleaned from the purge and eschew predictable structures, making for a dense, fluid suite of improvisation, like dancing smoke ribbons in the dark. The duo's chosen sound sources are seemingly opposite - Ry Fyan’s modular’s coming from electronic oscillators, Isaiah Barr’s saxophone and various flutes originating with the breath - but the visceral, imprecise, alive quality to the sound of both lends the record a thrilling combination of rapturous harmony and gritty, intense friction.

Opening the session in ritualistic, foreboding fashion, Voluntary lurches to life with rattles and wandering, bassy arpeggios before a suona’s cry signals the seance has officially begun. Ostraca Loam spits explosive modular rhythms and eerie shrieks for the flute to float above, while Detritus Harp smudges mechanical whirring, pensive horn and wind chimes for an untethered drift. Petrified Microdot swells with menacing sci-fi sequences and breathtaking sax runs until they both run out of breath, and Negative Lingam starts out in a panic of breathy riffing before exhaling into one of the most sublime passages on the record. Rhythmic pounding and undulating flutes punctuate Lenticular Shroud, before The Preparation Of The Novel sets the winds aside for a synthesized dual fit for electric dreams. The title track dominates the B-side, it's shimmering levity slowly unfurling to reveal itself as a kind of post-apocalyptic devotional music, deep space drifting grounded by earthly flutes, and Vale Of Cashmere offers an ascetic, contemplative closure, sparse flute and chiming rhythms organic or electronic - by this time it’s hard to know, it doesn’t matter either way.

Erogenous Biome is a world of it’s own, and one Impatience is honored to offer a window into.

RIYL - Senyawa, witchcraft, Colin Stetson , Civilistjavel, Mars (the planet), Finis Africae, raga, Stephen O’Malley, modular synthesizer, Anthony Braxton, Shabaka.

Madronas is Ry Fyan and Isaiah Barr. Fyan is a painter and tattoo artist, this is his first release. Barr is a prolific instigator of the downtown New York scene, producing and playing saxophone in jazz circles with his group Onyx Collective, as a player and/or producer on records by Nick Hakim, David Byrne and Wiki, performing live with William Parker and as part of his projects Universal Space Jam and Cafe Dewanee.

Erogenous Biome was recorded and mastered by Griffin Jennings at Heavy Meadow, Brooklyn.

Vinyl was cut by Beau Thomas at Ten Eight Seven Mastering, Berlin.

Artwork is by Ry Fyan, typography and layout by Nicolas Turek.

Folding the ambient techno tradition into neatly arranged packets of rhythm and space, Delsin proudly presents a striking new collaboration from Tobias. and Doltz. A project developed from a chance encounter, Versus combines classic synth and drum machine configurations with needlepoint sound design to create a quintessential electronica listening experience. Tobias. is the lead alias from Tobias Freund, the celebrated German techno pioneer who has been actively exploring new territories in electronic music production since the early 1980s. As Doltz, Shun Watanabe has quickly developed his own impressive artistic stamp in the field of leftfield techno and ambient since debuting in 2020. After seeing Doltz perform a live set at Eden Festival 2024 in Japan, Freund instantly invited him to collaborate. After the success of the first collaboration, they went on to develop five of the tracks on Versus together, while Jiawen Wang performed additional vocals on 'We Are Not Alone'. Versus is an album that balances variety and consistency across its finely sequenced run time, maintaining a focus on pointillist, exploratory rhythm from crisp drum machines and twitchy digitalia alike, all backed up by richly rendered atmospherics from gaseous pads to icy drones. It's a warm and inviting sound world, but also fearlessly futuristic, speaking to both Freund's decades of refinement and the startling clarity of Doltz's vision.

Summertime Whiteout is a debut Bleach Cult album - the quirky ambient pop record that
fantasizes about 1960s surf culture and romanticizes the neverending dilemmas of teen
life. It is all about raw imperfections and beautiful spontaneity, captured live on a
modular synthesizer, often relying on single takes and instinctive executions of tracks
that leave little to no room for extensive tweaking and post-processing. Recorded in the
living room at night it shies away from sophistication and complexity instead employing
rough, rock and roll inspired ideas. Raw drifting analog sequences, pulsating textures
and polychromatic vocals. No guitars or drum machines, however.

Laurin Rinder & W. Michael Lewis's Seven Deadly Sins is a hugely influential, synth-powered, atmospheric space-disco masterpiece. It's arguably the best American Disco LP ever made. It's certainly one of the most important albums in the history of dance music. And, like its innovative producers, it's absolute genius.

During the mid to late seventies the production team of Laurin Rinder and W. Michael Lewis helped to define the Disco sound that was coming out of Los Angeles with studio projects such as El Coco, Saint Tropez, Le Pamplemousse (with vocals from The Jones Girls), In Search Of Orchestra and many others.

Like all of their work, Seven Deadly Sins comprises beautifully arranged and incredibly well produced deep disco that is revered by aficionados. A seven track, largely instrumental concept album covering each of the sins, it was recorded for AVI in 1977. It's a brilliantly conceived, groove-fuelled album that layers moogy keys and druggy synths over club-ready rhythms. The idea that this record is celebrating rather than condemning the sins is said to be another factor that made the record a big one in the underground clubs.

Opening sin “Lust” is an intense, swelling, seven minute blockbuster synth journey. An ethereal Loft/Garage classic, it's a sprawling, brooding slice of epic dancefloor dynamite that remains a firm favourite of discerning disco heads like Harvey. So ahead of its time, it still sounds ridiculously fresh today, drifting through a multitude of melodies over a smooth, lightly percussive mid-tempo beat. A slow-mo sexy killer.

Up next, the sprightly-manic “Sloth” is nothing like its title. A driving, swaggering instrumental incorporating the same Euro-disco elements as our Daft Parisian friends did a few decades on, it's certainly not for the faint-hearted.

A clear highlight, the cosmic, throbbing proto-techno of “Gluttony” gets things firmly back on track. Pure industrial vibes with dark synth bass punctuated by uplifting melodic sequences that brilliantly utilise guitar and horns, is this the sound of Wax! Trax being born? You won't be able to get enough of this.

Opening up the B-Side, “Pride” is a breezy slice of classic late seventies jazz/funk with deft Hammond and clavinet grooves and expansive horn sections. It's absolutely fantastic. The wicked leftfield vocal cut “Envy” provides more disco pump with squelchy acid synth flourishes, funky guitar and neck-snapping percussive breaks.

The dark proto-techno/house cut “Anger” is a fully on top tour de force of drums. With heavy African percussion throughout and a short Afrobeat section towards the end, it was sampled by Carl Craig and Laurent Garnier for their Tres Demented project and was also a massive Ron Hardy / Music Box favourite. The album is rounded out by the hard-grooving “Covetousness”, another driving jazz-funk workout par excellence with liberal use of the syndrum.

As Laurin Rinder recalled in an interview with Dream Chimney, the duo essentially lived in the studio: “we really had cots, beds and the whole thing, we were just pumpin’ them out. 7 days a week, 3 different projects at the same time. I played drums on everything but had to play a little differently. I had to ask the engineer ‘What’s the name of this group?‘”.

Evidently, their prolific output was the result of a crazy cocaine-fuelled production schedule: “The amount of coke we did, to do all this, you can’t even imagine. $300 a day. I had to have plastic inserts in my nose so I could do more.” Looking at the frankly terrifying cover, you'd have never known!

Be With is beyond delighted to present the first ever legit vinyl reissue of Seven Deadly Sins, carefully remastered by Be With's engineer Simon Francisco to ensure it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The unforgettable cover artwork has been reproduced here at Be With - dare you stare back at it for too long?

Written and recorded in singer-poet Karsyn Henderson, guitarist-banjoist Paul Lecours and percussionist Ryley Klima’s basement alongside bassist Chris Clegg, then mixed and mastered by longtime collaborator Noah Baxter, this self-produced introductory effort from the Montréal four-piece stylishly amalgamates elements from hardcore, punk, shoegaze, sludge, and folk.

Violence is a brazenly poetic homage to small town roots, a mashing of modern Western Canadian hardcore and folk. Extensive in scope, this debut full-length by Truck Violence takes the listener through wide-ranging dynamics, from solemn acoustic ballads to wrathful electric anthems. Deftly fractured rhythms and breakdowns, complex harmonic entanglements, emphatic screams of discontent, are met with hopeful, melodic tracks musing about the steady grip of a tight-knit community.

From somber, deceivingly happy banjo sequences to crashing noise and cries, Violence uses expression as a mirror, looking upon oneself with clarity, aiming to attain a sense of unadulterated truth of the matter. There is little modern music taking an honest look at the Western Canadian countryside, tackling themes such as addiction, abuse and dysfunction.

Truck Violence’s first album does just that, uniquely capturing this involuted setting through a wide lens to both contextualize and emphasize what it means to be overwhelmed, to feel shame, to struggle with self-destructive ways, to thrust oneself into art as an escape.

Also includes a large double sided poster , colour inner sleeves and liner notes by Gerald V Casale.

Spuds rejoice. After years of requests, Futurismo are thrilled to announce a brand new limited pressing of the DEVO’s incredible Recombo DNA 4xLP with Mini CD Set, plus also available is a brand new 3xCD version.


For decades Devo have been working non-stop at Recombo DNA Laboratories on a new kind of research to keep up with the mutating world around us. That extensive research is now ready for public consumption once again. Futurismo were the first to bring you this on vinyl and now they present unhindered access into Devo’s labs, documenting the scientific analysis and demonstrations as conducted by the band between the years 1977-2008.



This tireless research has manifested itself in Recombo DNA…an unmissable collection of studio demos and unreleased rare tracks that span Devo’s entire recording career, from their original basement days to their famed ’Freedom Of Choice’ era, right the way through to unused demos from their last studio album. You may know the track ‘Baby Doll’ but do you know it’s original incarnation as ‘Satan’? If you submit to the findings of Recombo DNA Labs you will, Futurismo’s version of this compilation includes six bonus tracks taken from the archives that had never been released, or even heard before.



This limited edition 4xLP set is a sonic fusion of demos, alternate versions and outtakes, demonstrating the true breadth and talent of one of America’s most important bands. But this set doesn’t stop at four beautiful slabs of mutated vinyl, also included is ’The Somewhere Suite’ served up on the format it was originally intended to be back in the May of ‘89, advertised although never released, it’s contained here in all it’s full length glory on a 3” Mini CD. Recombo DNA is also coming on a 3xCD digipak version for the very first time from Futurismo, including all the wonderful artwork and bonus material. Devo’s Recombo DNA is an essential addition to the collection of any science fearing spud, and the perfect sister release to last years Art Devo. The original 2017 pressing of Recombo DNA sold out in less than 48 hours, so grab this while you can. Each set includes 4xLP on limited edition coloured vinyl and includes a Mini CD. This fantastic collection of devolved recordings and bonus tracks are contained within the gloss laminated wide spined sleeve, with newly tweaked artwork, a huge A1 poster, full colour inner sleeves and liner notes by Gerald V Casale. A 3xCD digipak version is also available. Submit to these findings and witness audio mutation in action.