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Luke Lund is a self-taught producer and sound artist from Finland. Over the past eighteen years, his work has absorbed influences ranging from the darkest fringes of club culture and the most caustic strains of industrial noise, to the subtlety of musique concrète and the rawness of rock.

It all started when he discovered that abstract sound design could stand as music in its own right, a revelation that ignited his enduring commitment to noise, sound art, dub techniques, and experimentation.

“Peel the Scab” emerges from this premise as a visceral and frenetic immersion into his “lo tech” facet, a term the artist himself employs to define the album’s style.

Allergic to programming, these are pure dub-blooded sessions pushed straight to tape, twisted until they yield under their own weight. It is a work constructed upon dense, disjointed rhythms: brutalist grime infused with a suffocating mutation of dub.

2026 Repress

140g vinyl, remastered, double LP with the original LP along with a second record of 14 rare tracks

Sweet And Nice is the vital debut album from Jamaica’s undisputed first lady of song Marica Griffiths. It’s reggae at its most soulful. Slinking through a tight ten tracks of R&B and pop-sourced material, it became an instant best seller. 45 years after its initial release the LP is available again on vinyl, now as a double LP, with an extra record collecting 14 rare tracks.

Sweet And Nice has appeared over the years with a revised running order and under different titles. But the original’s opening sequence of loping soul is legendary, even beyond reggae circles. These songs are now returned to how they were presented on that first Jamaican release, and under their intended album title. Be With doesn’t mess with magic.

Marcia’s version of “Here I Am (Come and Take Me)” has long been lusted after, played by genre-hopping selectors to snapping necks for decades now. It’s followed by the sophisticated, rollicking wah-wah funk of “Everything I Own” and the slice of smooth lovers soul par excellence that is “Green Grasshopper” and her ace, lilting Neil Diamond cover “Play Me”.

The thundering, humid funk of “Children At Play” “sounds uncannily like a precursor of Massive Attack”, as FACT Mag astutely noted when they put Sweet And Nice at number 16 in their list of the 100 best albums of the 1970s. Otherworldly, moody and essential.

Side two keeps the fire burning. “Sweet, Bitter Love” should leave you swooning, and is also one of the album’s alternate titles. Curtis Mayfield’s already-eternal “Gypsy Man” is up next, recast as proto-lovers rock.

“There’s No Me Without You” is elevated to canonical status by the majestic, forlorn horns of the Federal Soul Givers and Marcia’s heartbreaking delivery. And if this doesn’t get you then surely the next track will: arguably the definitive version of Ewan MacColl’s “The First Time Ever I Saw Your Face”. Yes, seriously.

“I Just Don’t Want To Be Lonely” re-takes its rightful place at the end of the LP’s second side… but we couldn’t leave it at that. So we added an entire second record of rare material recorded around the same time as Sweet And Nice, much of it unavailable since it was originally released. Some of these songs have only ever been found on now unattainable 7" singles and no, rarity doesn’t always correspond with quality, but in this case we’re talking about some seriously jaw-dropping music.

Amongst 14 extra tracks you’ll find the exquisite late-60s singles “Melody Life” and “Mark My Word” which, along with the sumptuous reading of “Band Of Gold”, are now £100 records, if you can find them! Just sayin’. There‘s also a fantastic version of “The First Cut Is the Deepest” and an alternate take of “Play Me” with producer Lloyd Charmers adding his own vocals.

Everything’s been remastered of course, including the original LP, so Sweet And Nice now sounds even sweeter, and even nicer.

Between electronic shadows and cinematic textures, this new album from QUENUM draws its influences from the likes of Massive Attack, Archive, and Burial. Started and produced in London, it reflects a change of time — both in the climate and within.

This project represents a personal and artistic turning point for QUENUM. He wanted to experiment with new ideas, not necessarily music for the club. The album was created in close collaboration with his son Zac, a talented musician who contributed both as a singer and instrumentalist on several tracks. They shared wonderful moments creating this album together.

He also worked hand in hand with his long-time friend Christophe Calpini, who played a key role in mixing and in developing the textures and atmospheres that shape the album’s sound. The result is an intimate, personal, and timeless journey, deeply rooted in the now.

Quenum elaborates: “The idea for my album was born during Covid in London, when concerts, museums, and social activities suddenly stopped. To cope, I started running daily and spending hours in the studio creating music. In our garden cabin I worked alongside my son Zac who was practicing piano, preparing for his entry into Trinity Laban Conservatoire. He listened to my tracks, and eventually contributed vocals with his ex-partner on two songs, ‘Blue Sky’ and ‘Never Like Before’. The album’s dark atmosphere reflects that period. Once it was complete, I asked my longtime friend Christophe Calpini to handle arrangements and mixing.”

A true pioneer of electronic music, QUENUM has been shaping the global techno and house scene for over two decades. One of his most celebrated tracks, “Orange Mistake”, co-produced with Luciano in 2001, became a turning point in his career. The success of this collaboration led them to launch the legendary Cadenza label, which rapidly grew into one of the most recognisable and respected imprints in the scene, known for its vital releases and unforgettable parties worldwide.

Over the years, QUENUM has continued to explore new creative paths and refine his artistic identity, constantly reinventing his sound while maintaining his unique musical signature. His insatiable curiosity and openness to new influences have kept him consistently in demand, from intimate underground venues to the world’s most respected festivals and clubs.

A milestone in electronic music, is finally receiving its well-deserved re-release: Liaisons Dangereuses' legendary self-titled debut album still fascinates today, through its innovative sound and the mystery encompassing it. Since its release in 1981, it has become a classic in electronic music. The 10 electrifying songs produced by Chrislo Haas (DAF) and Beate Bartel (Mania D. / Matador) - reinforced by Krishna Goineau's French and Spanish Speech-Attack-Lyrics - created a unique style. The album - anything other than a Berlin or Düsseldorf 'thing' - was propelled to an international favourite. Songs such as 'Peut Être... Pas' and 'Los Niños Del Parque' played a decisive role in the development of Detroit and Chicago's house sound, as well as various forms of European techno

‘Let’s take a trip’ – with major names on the psytrance scene Avalon and GMS releasing on KNTXT for the first time, combining forces for a full-on attack, 4-track EP ‘The Underground’, out December 11th. Their joint mission? ‘Combining two worlds where psytrance meets techno, a fusion which will take you on a mind-expanding journey! Welcome to The Underground…you have arrived!

London DJ/Producer Avalon was recently awarded the number 1 top-selling psytrance artist on Beatport with over 30+ psytrance chart #1s and 5 top-selling LPs to his name, and performs at the likes of Tomorrowland, Boom, EDC Las Vegas, Glastonbury, Exit, Burning Man, Ultra, ASOT, Ministry Of Sound,... GMS (Growling Mad Scientists) was founded by Dutch Ibiza-based DJ/Producer Riktam with the sadly late Bansi, to establish pioneering psytrance label Spun Records and to have director Tony Scott no less, using GMS tracks on three of his films. A prolific producer with over 300K album copies sold, GMS holds the most psytrance records released overall.

‘I'm beyond honoured to release this stunning four tracker from psytrance legends Avalon and GMS. With this release, friendships were formed and worlds truly started colliding. I have massive respect for both these artists and their long standing impact on electronic music. This release feels like a bridge between generations and genres. It carries an energy that deserves to be heard, experienced, and felt on dancefloors around the world.’ Charlotte de Witte

Title track ‘The Underground’: hyperspeed trance beats support a wild variety of acid-dripping pulsations, spacey arps, otherworldly swoops, mind-teasing stabs, it’s like a lightshow in sound. That transports its listeners into another dimension. On ‘Horizen’, psytrance thrives, while ethereal vocals call, with intricate sound design painting a mythical soundscape. On ‘Machines’, it’s driven by hypnotic acid lines, pulsating Kick & Bass with sprinkles of techno infused percussion! Its choral notes and alien-like spoken lyrics, both gripping and disorientating as builds & breaks come thick and fast. ‘Rave to the Grave’: constant pulsing high synth and vocals with twanging acid together with frantic percussion create a sustained, agonizing build, build, build – until ‘On the 7th day, the Lord said ‘Let the beat drop!’’ Phew!

‘We are very excited about our debut release on KNTXT ‘The Underground’ and can’t wait to share this 4 track EP with you all. We hope you enjoy it as much as we did creating it. This fusion of techno/psytrance is brought together by all of our mutual love for acid & driving hypnotic dance music! Enjoy… Play it loud! Welcome to The Underground… You have arrived!’- Avalon & GMS

A mind-bending EP, with racing beats that give the ‘trance’ in psytrance a huge adrenalin shot. This is high energy reaching new altitudes; hold on to your brain cells, they’re going for a ride!

Samuel Kerridge, with his signature sonic arsenal, stands alone in the worlds of rhythm and noise. A singular artist, his music is to be appreciated on its own terms. Here, he returns to James Ruskin's Blueprint Records with the eleven track album, "Memoir Of Disintegration".

The British producer has been carefully turning techno inside-out for over a decade. Taking a distinctly post-punk approach to the genre, he has become an integral part of Regis' legendary imprint Downwards. Kerridge has helped to define the label's contemporary sound: broken techno and snarling punk, informed by industrial music and metal.

Samuel Kerridge has released seven EPs and five albums (including a collaboration with Dva Damas' Taylor Burch) and his recent, "Kick To Kill", has become something of a statement of intent, blossoming into a new label and event series with a focus that broadens beyond techno tracks into full-blown song writing. Aside from his solo work, he collaborates with OAKE in what he describes as the "power metal techno" duo UF, and has recently started his own guitar band, Death Disco.

Kerridge ran the Berlin-based Contort label and party series and curated the legendary Berlin Atonal festival for three years, underlining his credentials as a stalwart figure in the world of experimental, boundary-pushing techno. He's also an accomplished live performer, most recently developing a hybrid live-DJ set that dismantles hundreds of tracks into a sampler to make new music in real time. It's an inventive process that places him in the lineage of iconic and ground-breaking techno acts, while still carrying the flag for the darkest corners of underground electronic music.

When Chuck D proclaimed "Bass, how low can you go?" on Public Enemy's anthemic 'Bring the Noise,' maybe he was pre-empting or inciting the 10,000 fathoms-deep, spine-bending basslines and sub-quake tremors of 'Implosion.'

Implosion is a crushing split album, appropriately released on The Bug's own PRESSURE label. Mapping out a new form of spectral dub, the sound is deliberately immersive, introverted, and yes, definitely implosive. In pursuit of heavy lids, blurred vision, and merciless bass bin punishment, it’s one part meditation, two parts low-end theory, and essentially a confession of devoted sound system addiction.

As expected from a tag team featuring British soundlab explorer and 'London Zoo' composer Kevin Martin, aka The Bug, and Michael Fiedler, aka Jah Schulz—a long-time graduate of Germany's new school of sound system reggae culture—the duo approaches their target differently yet share the goal of keeping their sound "raw" (Fiedler) and "brutally minimal" (Martin). This proves that opposites can attract, even if their tools are different and their methods sometimes diverge.

From such a disparate combo, hailing from different geographical and aesthetic backgrounds, contrasts are certainly on display, even within each artist's own contributions. From the melancholia and transcendence of 'Alien Virus (West Indian Centre, Leeds),' to the duality of ascension and descension on 'Hope,' or the Sunn 0))) in dub, visceral drone of 'Dread (The End, London),' to the tripped-out repetitions of 'Midnight,' which reinvents Chain Reaction for post-millennials, the result is both sacred and narcotic. Each track illuminates the emotional impact and atmospheric pressure being explored across this deceptively sparse album—a mastery of tone and texture.

This collection might be as reduced, minimal, and deep as The Bug has ever gone, perhaps echoing the solemnity of his recent Kevin Richard Martin Black release and invoking the futurist steppas self-pioneered on his previous Pressure album. Alternatively, Fiedler‘s Ghost Dubs project ventures into his most heavyweight direction yet, which is no mean feat considering his previous, the critically acclaimed album Damaged, was a monstrously massive triumph of analogue weight and enviable sound design.

Implosion is ice-cool, a stark contrast to the warmth and sociability of traditional Jamaican roots and the current trends in digi-dub. Instead, the mood is soaked in tension and intense dread, finding an unexpected melting point where classic dub's stark rhythm attack, isolationist ambience's eerie drift, dub techno's floatation strategies, and even the relentless riffs of doom metal collide. As the bass-obsessed pair drop what is arguably the heaviest ambient dub album to emerge from any electronic sector—a moody counterpoint to The Orb's fluffy clouds, etc, Martin has cited The Roots Radics, Black Jade, and On U Sound's Pounding System as heavily influencing his approach to the album, while Fiedler has expressed his admiration for Adrian Sherwood's productions and Rhythm & Sound's enchanting soundscape. Yet, the super heavyweight pulsations, emotive resonances, and bone-rattling vibrations detonated here effortlessly go far beyond these influences.

Shadowy and elusive, there’s a mysteriousness at this record's core. A haunting moodiness oscillating between nostalgia and future shock. Despite the deadly fixation with SLOW and HEAVY, the album maintains a totally hypnotic swing throughout. Implosion and its lead single 'Imploded Versions' are testaments to being enveloped in bass, seduced by bass, submerged in bass, and utterly crushed by bass, as The Bug and Ghost Dubs seek to craft a new form of dub for zonal headz and Babylon seekers.

Mastered by Stefan Betke (a.k.a. POLE) at Scape Mastering studio, this record is heavy as f-ck without resorting to continuous distortion. It’s low-end worship taken to an absolute extreme, yet remains highly listenable and definitely danceable, albeit at the slowest of paces. Sacred and narcotic, this is low-end worship amplified to the max. Dive in if you dare.

Dot / Stephan Bazbaz - Split EP Vol. 2 (Depthful002)

Depthful returns with its second release, following the success of the first release by label owner and artist Dotan Bibi aka Dot.

In the second release, Dot returns to collaborate with his close friend and artist Stephan Bazbaz for their second split EP, following the great success of the first one released back in 2017 on Stephan's label, "No waves"

A1. opening With Dot's track 'Hoag’s Object'. is an intriguing fusion of house and dub influences, balancing the pulsating energy of house with the relaxed, spatial vibes of dub. From the start, listeners are greeted with a deep, groovy bassline and lovely acid line, that immediately establishes a rich foundation for the track.The rhythm section and congas is tight and persistent, with the signature rolling beats of Dot's sound laying the perfect backdrop for the track's sonic landscape.

A2. 'Fading Fast' isn't just a track; it's an experience. If Hoag’s Object laid down the groove with subtlety, 'Fading Fast' fully submerges you in its rich, atmospheric depths. From the very beginning, there’s a sense of movement - like something slowly emerging from the mist, with deep, resonating bass frequencies that pull you into the track.The rhythm section feels almost submerged, like you’re hearing it from underwater. The inclusion of short, scattered vocal samples in 'Fading Fast' adds an extra layer of intrigue and emotional depth, without pulling focus from the track's atmospheric core. Rather than traditional, lyrical verses, these vocals appear like fleeting whispers - fragments of a larger story, almost like half remembered phrases.

B1. opening with Stephan's track 'Overload' and it feels like an immediate shift in energy, where the vibe ramps up with pure house power. This track is all about the rhythm, the groove, and, most importantly, that bassline that keeps you locked in.
From the first beat, it’s clear 'Overload' isn’t messing around. The drums hit with a sharp, punchy attack, but it’s the bassline that truly makes this track shine. Deep, low, and relentless, the bassline pulses in a way that feels almost like it’s driving the entire track forward. There’s something about the way the low end sits in this track that makes it feel alive especially with the warmth of the lovely deep pad Holding the whole track underneath.

B2.'Better in Space' is the closing track of the record, it feels like a natural continuation of the vibe that’s been built, but also a final statement that allows the listener to fully sink into the deep, spacious world Stephan is known for. With this track, we’re stepping into a place where dub and deep house collide seamlessly, creating an atmosphere that's both expansive and intimate - taking us out there but also pulling us inward. From the very first moment, 'Better in Space' sets the stage with a warm, enveloping bassline that instantly grounds you.

Mastered By Pheek
Designed By Idan Am-Shalem

Daniele Baldelli
Considered one of the first DJs in Italy, Daniele Baldelli began his career in 1969 mixing vinyl at the Tana Club in Cattolica (his hometown),
predating the birth of the modern DJ by several years. In the following years, he solidified his talent and technique at histor such as the Tabù Club, Baia degli Angeli, and Cosmic. From 1979 to 1984, Baldelli created his unique and eclectic style, blendi ic clubs ng seemingly distant sounds and musical styles, complementing them with tempo adjustments (bpm) and deliberately extreme equalization,
creating a truly distinctive sound, known as "Afro Disco." Soundscapes and tribal percussion blend with early electronic music experiments, and Baldelli's sets become truly mystical experiences, where, for the first time, the temples are replaced by the dance floor.
The documentary film "A Cosmic Life" has just been released, starring Daniele Baldelli alongside other illustrious guests from the nightclub scene, recounting the history and formation of this movement from the 1970s to the present.
Gaudi
A producer/musician among the most highly regarded on the international dub/electronic scene, over the past 30 years Gaudi, from his
London studio, has contributed significantly to expanding the boundaries of musical genres with high-profile releases and innovative
music production techniques. Recently nominated for a Grammy Award with 'Mass Manipulation', the album he produced for the reggae
band Steel Pulse, and also nominated for a World Music Award with his album 'Dub Qawwali' with Pakistani singer Nusrat Fateh Ali
Khan, Gaudi has collected a series of number 1s on the international charts: Billboard - with the album 'Heavy Rain' by Lee "Scratch"
Perry, 'Vessel of Love' by singer Hollie Cook and with 'Mass Manipulation' by Steel Pulse -, UK Chart n.1 with the album 'Prism' by the
band The Orb (with whom he has collaborated as a producer and keyboardist since 2008), with 'Blue Monday' - by Gaudi himself with
the band Dub Pistols -, UK Dance Chart n.1 with 'Jus Come rmx' produced with DJ Angelino for Cool Jack. He also reached no. 41 the UK charts with the album ‘Midnight Rocker’ by reggae singer Horace Andy (known to the general public for his hits with Massive in
Attack), no. 13 with the album ‘Dubwise 2’ by the band Dreadzone and no. 5 in the Italian charts with the song ‘Lasciala Andare’, written
by him for Irene Grandi. With 19 solo albums and 350 remixes and productions under his belt, Gaudi, with his artistic versatility, has
worked with Groove Armada, UB40, Simple Minds, Brian Ferry, Devo, Big Audio Dynamite, Damian Marley, Seun Kuti, Mad Professor,
Trentemøller, Grandmaster Flash ft KRS-One, Lamb, Don Letts, The Beat, Deep Forest, African Head Charge (in which Gaudi is a keyboardist and dubmaster), Elisa, Scientist, Dub FX, Roedelius, Caparezza, Caravan Palace, EMF, Sizzla, Jovanotti, Sly & Robbie, Piero Pelù, Youth of Killing Joke, and Maxi Priest, to name just a few. Capleton,
Daniele Baldelli & Gaudi
DJ Daniele Baldelli and producer Gaudi first met three years ago at the Jazz Cafe in London. Mutual respect and an innate need to
create new stylistic fusions were the catalysts for Baldelli and Gaudi, leading to a series of subsequent meetings that inevitably culminated in the need to create music together. The project began at Gaudi's Metatron Studio in London using analog equipment and later
moved to Baldelli's studio in Cattolica, where the two organically defined their sound, also inspired by Baldelli's precious record collection. The duo consolidated a powerful compositional symbiosis, and the project, born from a simple initial groove, later transformed
into an entire EP consisting of four original tracks and a highly innovative sound, featuring fusions of psychedelic-funk, tribal-dub,
electronic-disco, and, of course, "Afro-Cosmic"! Daniele Baldelli and Gaudi began their sonic collaboration without setting any stylistic
direction and with the intention of not creating pre-established goals to achieve; it is a project of pure artistic freedom guided by their
compositional instinct and their experience. Constantly active with their evenings and live concerts, Baldelli and Gaudi have performed
individually in many of the best international clubs and festivals.

Marcello Giordani is back in the spotlight with his new E.P. Dynamic, released on the new label Tutti Pazzi. The E.P. features four tracks that faithfully reflect his sonic vision, ranging from Italo to Electro/Disco — elevated to the next level while always staying true to his identity. FM Attack, Dynamic, and Italo Genesis authentically recreate the early '80s Italo Disco sound, particularly around 1983, while Gliding caters to more refined tastes with Cosmic and Cinematic tones, also nodding to fans of Library music.

KinAhau returns to Crosstown Rebels with expansive new single ‘Under the Flowerpot’, featuring Luke Cusato. Backed by a cosmic, synth-driven remix from Perel, the release lands on the label. After debuting on the label with his remix of Airrica’s ‘Hi Speed Lover’ last year, surging wonderkid KinAhau steps forward with his first full solo release for Crosstown Rebels. ‘Under the Flowerpot’ captures a moment of raw honesty and transition for the young Mexican artist, revealing a more expansive, song-led direction in collaboration with UK vocalist Luke Cusato.

The single was born during a turbulent period, written in the wake of a panic attack shortly after relocating to Rome. That sense of fragility and release runs through the record, pairing Cusato’s stirring topline with KinAhau’s widescreen production to create a cut that blurs the lines between club energy and confessional songwriting. For the remix, Damian Lazarus welcomes Perel to Crosstown Rebels. A unique voice within the electronic landscape, crafting her own lane with a genre-blurring approach, her remix is chugging, synth-led, and infused with a signature retro-futurist touch, channeling cosmic energy and slow-burning tension for dancefloors that like things deep and driving.Now 22, KinAhau’s journey has already taken him from handing Solid Grooves founder Michael Bibi a USB disguised as a trash collector to playing at DC10, Fabric, Space Miami and Mayan Warrior. His breakthrough collaboration ‘Different Side’ with Bibi and Audio Bullys carried his name onto global stages, while his 2024 mixtape comprised of old demos, drafts and edits revealed a more confessional, unfiltered edge to his sound. Yet ‘Under the Flowerpot’ feels like a deeper statement, one rooted not in hype but in self-exploration.

Focus, integrity and substance, all allied to a relentless work ethic and that essential (if indefinable) sprinkling of magic dust, have kept Nick Warren at the top of the electronic music tree for not far short of forty years.

In that timespan, Nick has been tour DJ for Massive Attack, held a residency at Cream, been a Glastonbury regular, and become the UK’s most successful export to Argentina (in no small part due to his touring brand The Soundgarden). As half of Way Out West, he has helped write (and re-write) the rule book for club-based electronic acts, achieving true longevity without compromise. He has curated over a dozen essential compilations – a mainstay of the Global Underground series whose heavyweight influence is still felt to this day, an in-demand decknician for pivotal brands such as Renaissance and Balance, and the very first DJ entrusted with creating a blueprint for the now iconic Back to Mine series.

It's quite the CV, a career many can only dream of. But Nick has long had one further itch in need of scratching. Inspired at a young age by his dad’s Jean-Michel Jarre and Tangerine Dream albums, coming of age with experimental labels like 4AD and Factory, roots deep in the dub-wise scene of his native Bristol, a long time collector of exotica and obscure film soundtracks…all that knowledge and passion has long been crying out to be channelled into a Warren solo album.

All of which brings us to the career-defining Turbulence. The world is certainly a turbulent place as Nick gets set to unleash his masterwork, but the musical turbulence at work here arguably takes its lead from other interpretations of the word – turbulence as a feeling of heightened intensity, turbulence marked by a sense of unpredictability.

Turbulence is a window into Nick’s musical soul, and the myriad styles and influences that reside there, drip-fed into a melodic melting pot to create a unique sonic stew. Tempos and styles switch and interlock effortlessly, the mood ebbs and flows like the best DJ sets, and the running order, from the ethereal opener Loveland all the way through to the achingly beautiful closing cut Sadly (in tandem with Tripswitch, one of several noteworthy collaborations) showcases an artist at the top of his game, and with a deep understanding of the concept of the long player.

We all need some turbulence.

It began with a cassette tape entitled 'Pleased To Meet You' gifted to us at Sessa's Fasching, Stockholm show by Yann Dardenne, the multi-tasking tour manager/sound engineer/producer/merch stall worker and co-owner of Seloki Records. On first listen, the selection of underground Brazilian artists from the Seloki's roster was superb, however, one song stopped us in our tracks. The hauntingly captivating ' GOSTO MEIO DOCE' by Nina Maia and Francisca Barreto, gave us a taste of Nina's ethereal, addictive voice and we knew we needed to hear more. Born in Minas Gerais but now based in Sao Paulo, the 22-year-old has already packed a lot into a relatively short space of time. The singer, songwriter, instrumentalist, and producer, has already collaborated on the soundtracks for six Brazilian feature films, including a track with the vocalists Maria Gadu, Iza, and Liniker. But things enter a new exciting era with this, her remarkable debut album entitled 'INTEIRA', which translates to English as 'whole'.

As much inspired by Billie Eilish and Rosalia, as Milton Nascimento and Toninho Horta and not sounding like other records coming out of Brazil, 'INTEIRA' is unique. Though rich in its Brazilian heritage, inspired by samba cancao, MPB, and the Clube da Esquina movement, it also channels influence from bands such as Portishead and Massive Attack, mixed with jazz, contemporary leftfield and electronic pop artists. Musically, it is not easily pigeonholed, with beautiful, well-crafted songs, sophisticated arrangements, eloquent vocals and intimate lyrics. Each track reflects different moments and stories from Nina's youth but with dialogues, feelings, and questions that span generations and resonate with all. This ambitious debut album is Nina's vision and sound, expressing herself without constraints and making music with her friends. Featuring a lineup of Thalin (drums), Valentim Frateschi (bass), Francisca Barreto (cello and vocals), Thales Hashiguti (viola and violin), Yann Dardenne (acoustic guitar and co-producer) and Nina on piano, Rhodes, guitar and production. The album led to a nomination in Paulista Association of Art Critics (APCA) award's 'Breakthrough Artist' category, who also listed 'INTEIRA' as one of the 50 best albums of 2024.

It also received support from Bandcamp Weekly and Jamz Supernova on BBC 6 Music. Released digitally by Seloki Records in Brazil in 2024, Mr Bongo in partnership with Seloki Records now present this new, deluxe worldwide edition that includes four additional songs. These comprise the brand-new exquisite 'MANHA', as well as an original twist on Vinicius de Moraes' classic 'Serenata Do Adeus'. Elsewhere you'll find a live recording showcasing Nina's remarkable energy on stage courtesy of 'DE DENTRO' and 'GOSTO MEIO DOCE' with the amazing musician/vocalist Francisca Barreto, where our whole story began. Here at Mr Bongo, we are honoured to release music by such a remarkable new talent - one whose musical trajectory is most certainly about to soar.

Spanish techno titan Andres Campo is the latest artist to join the DCLTD ranks with his ‘Domaine’ four tracker. Conte Bleu: Full-on high speed techno attack with occasional industrial stabs, alternating with mysterious snatches of melody and echoing vocal heard as if through distant space, especially in the breakdown. Nuit Blanche: Fast breaksy beats with fluttering metal motifs and otherworldly vocal FX, all with a jazzy feel, and a long breakdown with a compulsive vocal riff crescendo. Ligne Jaune: Merciless beat with rattling, hissing percussive layers, with a muffled monotone processed vocal strand dominating the breakdown echoing, reverberating, up to the massive drop - before insane techno bombardment takes over once more. Pois Gris: merciless techno beats create a dystopian soundscape of spacey stabs and a repeated vocal ululation. Radio signal FX punctuate the invincible stomping percussion. Something dark is happening

*all original recordings from mid 90s Estonian released cassettes. Fascinating interpretations of the UK breakbeat and Jungle sounds recorded when the world felt like a much bigger place.

Since hearing the first breakbeats via the Finnish radio nightly shows introducing the burgeoning UK scene, Virko Veskoja, later head figure of Lu:k, was completely swept away by this new technological language that sounded like machines trying to initiate contact with people. The fluttering rhythm patterns, strings and vocal lines haunting the pathways of the infinite network. Like hip hop taken over by Skynet.

Reimagining it all in mid-90’s Estonia, a fresh and dirt-poor republic newly welcomed to the family of sovereign states on the outskirts of Eastern Europe, was challenging, to say the least. Finally, with the help of entry level music programs, custom-made soundcards and self-built computers by the other Lu:k-head Tõnis Valk, Lu:k took the first tentative steps in the history of Estonian jungle.

Eight Lu:k cuts have been compiled into a handy selection, a true sign of the times when uncertainty came with certain hope and optimism – new territories to chart, new frontiers to conquer. A time of innocence captured so sublimely in Lu:k’s music.

The compilation starts with menacing orchestration that sounds like the birth of a civilization, like in „2001: A Space Odyssey“, or the arrival of Godzilla, only to give way to sweeeet strings and the inimitable Minnie Riperton in “Lovin U”, combining all the essential elements of Lu:k in a track that has remained uncorroded by time since its inception in 1994.

The following “Demo 3” is its antithesis – fast and nervous, a harbinger of the darker days of neurofunk and techstep ahead. More in line with the social realities of the time, when something (or someone) could materialise out of thin air and attack you just as violently as those beats here.

“La:v” was Lu:k’s signature track throughout their brief career that went on only for a few years, 1994-1997. Lifted to heaven’s by Petula Clarks’s wonderful vocals, it perfectly captures the pure essence of creation. “I made it in my bedroom. Something like that just came out. Sorry”, says Virko apologetically.

From the themes of love we are led towards darker scenarios again with “Drunk-Drive”, a more vengeful cut reminiscent of early Ram Records’ nocturnal dangers, skylines shaped by basslines. Previously only available on the uber-rare “Raadiomaja valvelauas” CD compilation from 2005.

“In the Limelight” is lifted from their second album “Dreams in Drums” from 1996 (only released on cassette), and if it’s meant to address their new-found underground celebrity status in Estonia, there is surprisingly little elation here – the track rather consists of introspective strings and beats that sound almost melancholic.

Out of the remaining three tracks, “Proov2mix” and “Kadunud leitud” are the result of a treasure hunt amongst the old, obsolete harddrives – little nuggets that were condemned to obscurity until now. Between them, another vocal-led cut “010”, a non-album track only featured on two comps until now, is a strong reminder of Lu:k’s prodigious ability to handle vocal lines and morph them together with their own weaving synthetic melodies, strong pads and commanding beats.

Lu:k’s music has been largely unavailable for the better part of this century, with original tapes and CD’s changing hands for a small fortune. This vinyl release couldn’t come at a better time, bringing a seminal chapter of Estonian dance music’s mythical history to light again, both for the old-school acolytes and new converts.

All music by Virko Veskoja

CAM Sugar is proud to present the first physical release, on LP and double CD, of the original soundtrack to the TV series “MEDICI - MASTERS OF FLORENCE” (2016-2019), that received international praise following the Netflix distribution. The original score composed by Paolo Buonvino brings the Italian Renaissance back to life. The soundtrack mixes traditional instruments belonging to classical music (a common practice with historical dramas) with smooth electronic elements, allowing the listeners to take a journey of exploration through one of the most exciting periods of European history as much as into one’s intimacy.  The result is a score that is impactful and enjoyable for a broad audience, also thanks to the voice of Skin (Skunk Anansie), who performs “Renaissance” and “Revolution Bones”, respectively the theme songs to season 1 and season 2 & 3. The LP version offers a selection of the best tracks composed for the 3 seasons, while the double CD edition features the series’ complete soundtrack.

Drumcode veteran Oscar L joins forces with Metodi Hristov, a newer recruit to Adam Beyer’s revered techno label, for their collab two-track EP ‘Gravity’. Madrid’s techno/tech house maestro Oscar L has a long association with Beyer’s twin labels Drumcode (‘Again’ LP, 2023, + performing at DC events) and Truesoul inc. solo EP ‘Vulture’ (2022), Dosem collab ‘Aircargo’ EP (2023), ‘Yapper’ w. Max Styler (2024). As well as Adam Beyer, Oscar’s had support from Richie Hawtin, Nicole Moudaber, Joseph Capriati… and also released on Knee Deep In Sound, Stereo Productions, We Are The Brave et al. Bulgaria-based Metodi Hristov brought his unique techno sounds to Drumcode last year, with his debut DC 2-track EP ‘Build To Destroy’. Both tracks, title track and ‘Flatline’, were included in his Sept 2024 Drumcode Radio Studio Mix live from Sofia. With support including Carl Cox and Enrico Sangiuliano, Metodi’s career is swiftly up and coming. ‘Gravity’: the title track hurls itself into the fray with fast, heavy techno beats, reverb-rich growly hoovers, while a contrasting sweetly melodic chopped and processed female vocal holds its own against a dystopian dialogue between two sinister machines in dark, distorted, industrial juddering synth. There’s a lot going on, dark, powerful, and dance-demanding. ‘Up & Down’: full-on attack from the first nanosecond, with very fast beats, layers of percussion and a dark male voice intoning the title riff. An insistent, reverbing, ‘hammered strings’ synth melody competes with a melodic second voice, high and sweet bringing light to very dark shade. ‘D’you feel it now…’, you surely will.

This third volume of RAVEBREAKERZ presents again four banging anthems! Signed by Sunil Sharpe (on RAVE OR DIE 07 with Umwelt), LPV & Umwelt aka Dystopian Attack, Formshift, Ramel featuring Jeune Lord, here is the new ecclectic but never boring compilation mixing big names and new names for one of the best uncompromised crazy techno-rave-trancy sounds tinted with raw french hip hop roots !

Funk Cabal's latest release is a bold fusion of hard-hitting electro-funk, cinematic textures, and art-rock sensibilities. Channelling the deep grooves of Kerri Chandler, the atmospheric tension of Massive Attack, and the poetic urgency of Gil Scott-Heron, their sound is a masterclass in contrast - where gritty analogue beats collide with ethereal synth backed landscapes. Smoky, introspective vocals intertwine with pulsing club energy in a mesmerising collection of ideas. Echoes of sly romanticism and widescreen synth work add depth to their palette, creating something absolutely timeless.

Limited edition vinyl 12” of 100 copies
Omen Recordings delivers another uncompromising slab of contemporary techno warfare with a split EP from Duellist and Axkan, two sonic insurgents armed with raw industrial aggression and unrelenting rhythmic brutality. A fusion of contemporary hardness and forward-thinking sound design, ‘Chronicles of Conflict’ is a war cry for the underground. No safe zones. No surrender. Just pure unrelenting techno at its most merciless.

Duellist takes command of side A by launching a full-scale assault of distorted kicks, razor-sharp percussion and eerie atmospherics that coil through the mix like barbed wire. His relentless 4x4 barrage grinds through the low end with mechanical force, setting the stage for absolute dance floor devastation.

The B side has Axkan counter-attacking with his signature modular chaos that pulses, shifts and writhes through layers of grinding sonic warfare. Gnarled textures and punishing basslines carve a hypnotic path through the abyss, delivering a masterclass in raw industrial techno.

NEW LP PRESSING on Opaque Yellow Wax

Released in September 1978, a mere two months before YMO’s debut, Cochin Moon is a clear precursor to the groundbreaking synth and sequencer-dominated sounds that would come to define the iconic trio. Huge tip!

Credited to Hosono and Pop Art legend Tadanori Yokoo (who created the cover art), Cochin Moon is a fictional soundtrack to a journey into unknown worlds, inspired by Hosono and Yokoo’s trip to India.

The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer. Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom. Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO).

Released in September 1978, a mere two months before YMO’s debut, Cochin Moon is a clear precursor to the groundbreaking synth and sequencer-dominated sounds that would come to define the iconic trio. Credited to Hosono and Pop Art legend Tadanori Yokoo (who created the cover art), Cochin Moon is a fictional soundtrack to a journey into unknown worlds, inspired by Hosono and Yokoo’s trip to India. Initially the album was to be a kind of ethnographic musical document, using found sounds and field recordings made by Hosono himself. Instead, after Yokoo introduced Hosono to the sounds of Kraftwerk and krautrock during the trip, Cochin Moon became something much stranger. Created almost entirely on synthesizers and sequencers with the help of future YMO collaborators Ryuichi Sakamoto and Hideki Matsutake, the music on the album is the perfect encapsulation of Hosono’s concept of “sightseeing music,” transporting the listener to an exotic place that may or may not exist. This highly sought-after album sees its first-ever official release outside of Japan.

A Strangely Isolated Place presents a long-lost collaboration between Polish artists Olga Wojciechowska and Tomasz Walkiewicz as Monoparts—a partnership formed many years ago that resulted in an album once destined to remain unreleased.

Olga Wojciechowska, known for her modern-classical masterpieces such as Infinite Distances (2019) and Unseen Traces (2020), as well as her 2022 collaboration with Scanner, breaks all known expectations with Soothsayers. In a dramatic departure, Olga unveils a new and unexpected side, debuting her haunting vocals—a delicate, spellbinding performance that recalls the golden era of trip-hop, and comparisons to the sounds pioneered by Tricky, Massive Attack, and Martina Topley-Bird.

With Tomasz adding layers of depth through intricate beats and electronics, Olga’s voice becomes the emotional core of the record, conjuring an intimate and nostalgic atmosphere.

"This album is like becoming one with the earth itself—feeling the rawness of the wood, tasting the earth in your mouth, and sensing the presence of ancient spirits. The music carries a deep, primal energy, like being part of the forest, with creatures watching you from the shadows." - Olga Wojciechowska

To complete the journey, ASC lends his signature touch with a stunning drum’n’bass reinterpretation, amplifying the album’s nostalgic essence. Soothsayers emerges as a spellbinding ode to times gone by, in more ways than one.

Featuring artwork by Moon Patrol, with mastering and lacquer by Andreas LUPO Lubich.

‘Colours Revisited’, a revision of Adam F’s MOBO Award-winning 1997 debut album is a story of musical rebirth and passion. Adam F, realising that ‘Colours’ had found a new audience—partly thanks to artists like PinkPantheress—decided to recreate the album. Instead of simply remastering the tracks, Adam went all in. Over two years, he meticulously reworked the original music, from restoring vintage instruments like his Fender Rhodes piano to enlisting UK jazz legends like Julian Joseph. Vocalists including Kirsty Hawkshaw and the late MC Conrad re-recorded their parts, while new solos from world-class musicians added fresh life to the tracks.

“Colours holds a special place in my heart because it was not only my first solo album, but also because I had the opportunity to collaborate with diverse talents,” says the seminal producer on his ground-breaking album. “Musicians of a calibre such as Dave Ital (Guitars), The Jazz Great Julian Joseph (Keyboards and Fender Rhodes), MC Conrad (MC/Artist), Roni Jordan (Jazz a guitarist who had a hit with Miles Davis’ “So What”), Tim Philbert/Tim the Bass (Bass), Greg Leicester (Bass), Maurice Capillaire/MC MC (Live MC)…”

Adam continues “We were honoured to be nominated for MOBO “Best album of the year” alongside renowned acts of that time, including Hinda Hicks, Des’ree, Lighthouse Family, and Massive Attack. In fact, I was so convinced that we wouldn't win that I didn't prepare a speech, and that definitely showed in my genuine surprise. Colours also went on to be a top 20 UK National Chart hit which lead to Metropolis winning Tune of the Year at the Underground Awards. Music In My Mind from the same album was inspired from Herbie Hancock ‘Rocket’ and ‘I Thought It Was You’.

“Fast forward to 2020, I never thought of ever revisiting ‘Colours’. But it seems that time has come round full circle, the interest is there.” The revisited album deftly weaves together the energy of new live instrumentation with the 80’s British electronica and jazz fusion inspired sounds of the original.
The result is a project which not only brings the album into the glistening present but somehow manages to add further depth and sense of understanding of the original ‘Colours’, the influences latent within it and how and why it has gone on to influence so many others since it’s inception throughout the world. This is a must have album which pays homage to what has become a cornerstone of British electronic music history.

Define: Global Bass Culture. What initially started out as a remix request from the South African Sneja Recordings label for a tune written by Colombian artist Juan Diego Pedroza a.k.a. Iam JDP ended up as the second limited edition vinyl release on the German underground label Freebreakz.FWD. Embracing influences from Chicago's Footwork x Juke sound as well as UK Bass Music, IDM and other electronic subcultures Sascha Müller and baze.djunkiii deliver a sparse, tense and wildly hypnotic take on the 160 bpm freeform movement, continously fusing and layering intermingling rhythmic patterns with ethereal vocal snippets, Trap- and Drill-infused hi-hats, an ever floating minimalist synth motif and deadly low end attacks for some of the most advanced dancefloors out there. This is crime scene music. Mastered by Frederic Stader.

Russian Circles kehrt mit einer Wiederveröffentlichung ihres legendären Albums Empros zurück, komplett mit einem neu gestalteten, geprägten Klappcover, erhältlich auf klassisch schwarzem Vinyl. Empros machte da weiter, wo die hymnischen Riffs und Melodien des 2009er Albums Geneva aufgehört haben, und injiziert noch mehr schleppende Rhythmen inmitten von Schädel-zerschmetternder Wucht mit der ganzen viszeralen Intensität von Godflesh, Swans und Neurosis. Einfach ausgedrückt: Empros ist Russian Circles' Master of Reality: eine radikale Überarbeitung von sowohl Heavy als auch Melodie, die in ihrer Klarheit und Perfektion monolithisch ist. Oder, wie ein einzelnes überlebendes Wolltier, das aus dem brutalen Frost des Winters auftaucht, ist Empros der Sound einer Band, die das Alter von ihren Schultern schüttelt, mit all der brutalen Kraft eines erwachten Ungetüms. Seit jeher arbeiten Mike, Dave und Brian an derselben Statue. Sie meißeln, sie schlagen, sie hämmern auf sie ein. Manchmal mit voller Wucht, manchmal sehr filigran. Die Meister monolithischer Melodien und monumentaler Rhythmen in absoluter Klarheit dargelegt, sind wieder am Werk. Mit "Empros" legen sie wieder ein Stück dieser gewaltigen Statue frei. Und vielleicht gibt es sogar ein paar Überraschungen in den sechs Tracks des Albums. Es gibt Riffs, ja - viele davon. Aber bei Empros scheint die gesamte Band die Verkörperung des Riffs selbst zu sein. "The six-song album intricately blends fat, grisly, discordant riffage with melodic, atmospheric, proggy sprinklings to create a sonically elaborate and raw package." - Premier Guitar

Ruby Red - Transparent - Galaxy effect vinyl in dub style jacket (jacket sleeve with center hole cut out so label of LP shows through) a black paper inner sleeve and poly bag.

PART ONE’ METAL HAMMER - 8/10 review. FOR FANS OF : Lustmord, Om, Sunn O))) . “An exercise in freeform ambience, ritualistic repetition and the rapturous, womb-like power of bass…strange and affecting. We remain lucky to share in the great man’s vision.”


At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.
Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, “Triptych” is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.
Woven together from home studio recordings that span two decades, this latest outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted through three separate strata. As with April’s “Part One” and the forthcoming “Part Three”, “Part Two”, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track, “The Hag Of Beara Vs The Poet”’s languid, tribal groove expands into a chromatic wash, like an endless drip of oil spreading out under a midsummer haze.
A filtering of the alpha-state travelogues of its predecessor, “Part Two” reaches even deeper into primal yet pristine states. It journeys from the undulating drone and slow-thawing wonder of “The Falconer”, as if the Myst soundtrack were being broadcast from outer space, through “Damascus”’s perpetual-motion, dreamtime bazaar and “Vapour Phase”s seismograph frequencies measuring supernatural tremors to “The Unjust Incarceration”s distorted bagpipes, sounding a noise-frayed lament
If “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with “Triptych” itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

2024 Repress

Deep Sleep Robot returns with another throwback excavating some of the rare finds. The second chapter of the series, a Various Artist four-track EP, timeless cuts from the archives.

The A-side, Ronin (aka. J. Axel) the man behind several albums on PlackTown Sounds, Plastic City and Driftwood brings us "Mysterious City", classic Ronin sound here folks this being one of the first releases by the artist back in 1998. Followed by Swedish producer Johan Bacto (aka. Johan Svensson) responsible for labels such as PlackTown Sounds, Everyday, Mankind, Zync, Countdown 2000, with his "Takemountain" the combination of these creates the reunion of the tracks previously released 24 years ago, sounds just as fresh now as it did back then.

The B-side Van Delta (Christopher Bleckmann & Hannes Wenner) a German duo in charge of EP's on Groove Attack Productions, M_Nus, Archipel, and Krush Grooves, gives us a nostalgic trip from 1999. "Adjust", with hypnotic keys and solid bass line building up the tension slowly but steadily creating the groove. The final track by Dav (aka. Davor Stosic) a Croatian artist B+Positive, Cove Recordings, and Sensei labels that regularly has been on Swag Records store shelves. "Flight", a fantastic example of late 90's tech-house. Hypnotic soundscape, variety of layers and a slow build up, giving the track an otherworldly feeling.

All tracks were produced between the years of 1998 - 2003, timeless and rarer then rare.
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The Knights of the Zodiac, always on the attack...

Saint Seiya, also known as the Knights of the Zodiac, is a Japanese animated series created by Masami Kurumada in 1986. It tells the story of the Knights of Bronze who fight to protect the goddess Athena. The series was a huge success and spawned an extensive franchise, with TV series, films, video games, figurines and toys.

To describe an album as "electronic music" has long been an understatement. "Romanticismo siempre" is a good example. Recorded mainly using synthesizers, the album travels a territory that borders on the experimental and the dancefloor, entering at times in both fields.

Andrés Téllez, Delone, states in its title a clear commitment: "an ode to life, to never lose that passion that is the engine that pushes everything, no matter how many obstacles there are along the way, such as love, madness or death". The need to express this is at the origin of the record.

His musical language is rich and varied. Among synthesizers, analog experimentation, drones and psychedelia, many of the subcultures that have shaped what was once called "electronic music" appear. Flashes of trip hop, new age and proto-electronics are amalgamated throughout the album, together with hints of mutant house, breakbeats, IDM and trance. Other genres peripheral to club sounds, such as post-rock or kraut, also appear.

The idea of creating something that could almost be considered a soundtrack is present, but Delone's singularity has taken the album down a different path, using his own musical vocabulary to articulate a narrative that leads him towards his desired destination, keeping experimentation and dance culture, constants in his career, very much in mind.

In 2014 and together with his partner and friend Carlos Trujillo, Andrés created Riverette, a record label that became a record store in the center of Madrid, with his studio in the basement. From there he unleashed his productions as Dos Attack and his first works as Delone. Riverette quickly became a key creative pole in the Spanish electronic underground, and the label has released records by Legowelt, Kornel Kovacs or HAAi.

Throughout the eleven tracks of "Romanticismo siempre", a story materializes in which the protagonism falls on the adrenaline of passion. Through a very personal sound, with a certain introspective vocation, Andrés tells us a wonderful tale with the help of exquisite arrangements and a rich expressiveness.

"Romanticismo siempre" is a polyhedral album that can change with every listen, with every track, and reinterpret itself almost with every playback. It is a complex record, delicate and full of nuances, at the same time charged with a powerful and primitive energy.

Tom Hooker is one of the world's leading artists of the Italo Disco
genre that marked the 1980s.

A talented singer and songwriter, he has performed on television
programs and music festivals around the world, and his many productions have topped the charts in the United States and England.

FullTime Production is honored to present the remastered 1986 debut
album "Only One" and in addition to the original tracks "Talk With Your Body", "Come Back Home", "Love Attack", "Only One", "Indian Girl" and it will also contain remixe of "Falling Into Love" by artist Jago already featured other releases on FullTime Production.
Track "Talk With Your Body" is among the most special and important
productions of 1982.

The title is the best explanation of the track.
Talking with your body, listening to the vibrations of every muscle that
can feel these slow and romantic but with a disco rhythm sounds that we can imagine in a hot summer of 1982 among those lights, colors and fashions.

The song still continues to communicate with the body to all generations today and to make us dance.

Evelyn spreads her wings and prepares to fly. This is her first offering for the ESP Institute. On side A, 'Tremors' slams together a plethora of seemingly disparate rhythms, organic percussion, field samples, hypnotic chants and a relentless low end punch, that when in full-swing, works some seriously deep sorcery. Contrasting her pounding kick and rolling sub combo are a softer grouping of melodies, soft mallets and muted tones that lay subtly beneath the aggression, skillfully playing with a sense of spatial depth and room size. Its the kind of track that draws you in with meditative bars, concentric cycles that sit ever so slightly off-axis, inducing the mind and body to obsess and regulating its timing, and then drops you into a very intentionally arranged soundstage giving expansive space to explore. On the flip, 'Pregunta' continues this approach of natural versus industrial instrumentation. The consistent machine kick has a powerful but playful tone, the negative space between each stroke evoking a mighty gesture as its note bends in the decay. Set in 3/4, a community of live percussion successively adds and subtracts, each player’s imperfect attack accumulating into a mechanically smeared and addictive loop that toys with peaks a handful of times yet restrains any unnecessary climax for the betterment of a driving groove. Near the end, as the kick and various players mute and the base of the track is given a moment to breathe, its apparent just how layered the production was in the moments prior, as we’re suddenly at home, smitten with the wobbly and lopsided innocence of the foundational percussion. These two songs will push you headfirst into the light.

For the second opus of the "Folklores & Legends Series", Dynasty Of Dreams was inspired by Breton, Celtic and Scandinavian fables and beliefs.

He undertakes this dragonized journey with tribal tones, progressive basses, ghosted leads and luth melodies.

Bells and swords will ring out throughout the adventure and will remind you medieval sounds.

Go on a crusade and let the timpani send you straight back into the abyss of the middle age… !

On the A side with ‘Joy’, Bruise head in a jubilant direction. Chanting vocal chops ride along deep cut kick grooves and vivid piano riffs; modernising the classic house sound and forming a track that would as likely go off in a club in the UK as it would on the sun-soaked beaches of Ibiza.

In ‘The Theme’, Bruise switches things up and offers up a weighty, bass-driven progressive techno heater; bolstered with rattling break chops and polyrhythmic analogue synth arpeggios. As the track progresses, rip-roaring, squelching acid-lines are introduced at the crescendo; creating a versatile club record; primed and ready for the clubs reopening.

On this single ‘When Pianos Attack’, the vibe is instantly recognisable. Piano chords lead the charge of yet another dancefloor destroyer, with that signature sound of swinging beats, layered pianos, lashings of strings, and hosts of heavenly soulful choirs. Just close your eyes, look up, feel the rush, and dance.

+ Includes the unreleased vinyl exclusive ‘Akiba Choirs’. A new school dance anthem!



Huge support from: Annie Mac, Pete Tong, Laurent Garnier, Severino / Horse Meat Disco, Sasha, A Trak, Andhim, Spiller, Graeme Park, DJ EZ, John Digweed, Fatboy Slim, Sam Devine, Laurence Guy, Gilles Peterson, Fred Everything, Soul Clap, James Lavel, Basement Jaxx, Francois K, Luke Solomun.

'Joy'
- Pete Tong’s Essential New Tune + Tong asked Bruise to record a Joy themed Essential Mix for BBC Radio 1.
- Premiered by leading dance authority Mixmag.
- Featured in Defected / Faith’s behind the counter.

‘When Pianos Attack’
- Played by Blessed Madonna as an artist to watch 2022!
- Played at Warehouse Project by Graeme Park, and then again by Terry Farley.
- Magnetic Magazines Best of Month

Bruise appeared in Faith Magazines taking a full page for interview with a heavy focus on When Pianos Attack.

SAXON GO FULL CARPE DIEM WITH THEIR LATEST STUDIO RELEASE

Saxon, those seminal British Heavy Metal Heroes hailing from Barnsley, UK, will release Carpe Diem on February 4th 2022 through Silver Lining Music. Ten titanic tracks bristling with still-clad riffery and proud intent, Carpe Diem is the statement which reminds heavy metal fans worldwide who the true masters of British Metal are, drawing on a variety of ingredients from their career to forge what is Saxon’s most dynamic release in many a year.

"It all starts with the riff,” says frontman and co-founder Biff Byford, "if the riff speaks to me, then we’re on our way. It’s a very intense album, and that’s all down to the fact that the essence of a great metal song is the riff that starts it, and this album has loads of them."

From the title track’s roll-back attack to the incessant speed and power of “Super Nova”, this is Saxon at their purest and most definitive, aggressively parading the pure metal flag and imploring fans old and new to gather and celebrate the very best of both Saxon and the genre itself. “All for One” has the stomp and pure power of a “Princess of the Night” while “The Pilgrimage” is classic “Crusader”-era Saxon. Produced by Andy Sneap (Judas Priest, Exodus, Accept and Richie Faulkner) at Backstage Recording Studios in Derbyshire with Byford with Sneap mixing and mastering, Carpe Diem strikes the ear as one of the most essential British Metal statements of the last few years, one which will ignite the joy in stalwart supporters and attract a whole new legion to the Saxon fold.
“I love that sort of fast metal. I love Princess of the Night and 20,000 FT and I try and bring that style of Saxon into the music now but in a bit more modern style” affirms Byford “but it’s the same five guys playing it and singing it, so I think we don’t really sound like an old band on records because we’re not really sitting back on our past success. We’re always trying to make a great album.”
“We want every album we make to go platinum,” says Byford defiantly. "We never make an album that we don’t expect to be fantastic because there are no laurels around here, only a commitment to the best songs and riffs we can write.” Saxon have certainly made sure to Seize the Day; be sure you join them.

Samosa Records releases are coming thick and fast in what could be their finest year yet. Lex & Locke are the latest talent to make their Samosa debut with their ‘Pacifica’ EP – a sublime three tracker which is mouth watering from the off.

First up is Balandra. From the moment you hear the raw four to the floor drumbeat, you’re under its spell. The infectious bass riff moves the scenery around a little, whilst the subtle bongo attack teases what’s to come. And what’s coming is a funky, rolling cosmic lead synth that has no right to sound that damn sexy, no right at all. The vibe quickly grows into an interstellar journey, aided by an outrageously funky clav jam that gets inside your head. Balandra feels like the soundtrack to an ‘after dark’ undercover stakeout in a 1970s cop thriller. Detectives Lex & Locke are on the case and the evidence is compelling. A unique, 122bpm funk bomb which has the Samosa fingerprints all over it.

A2 is Cabo Pulmo – continuing the vibe of Balandra, Lex & Locke lay down some serious grooves in what initially sounds like a live funk band jamming away in the studio without a care in the world. No soon as we get into the beat and the bass, there’s an immediate switch to a swirling, bold cocktail of funk infused with a touch of jazz that belies the 124bpm tempo. The production is expertly tight; layers of synth, electric organ and punchy guitar riffs make this ideal for both the sun terrace and the dance floor. You’re under arrest, and Lex & Locke are reading you your rights!

The final track, Nine Palms has a real quirky, almost broken beat feel to it with its high-hat ride pattern and punchy bass drum. A wickedly twisted analogue organ riff is quickly introduced, which is cleverly used as both a rhythm device and the melodic platform that sets up the whole track. Lex & Locke seem to be total masters of a ‘free-style funky synth lead’, and we’re treated to another slice of this particularly tasty pie in ‘Nine Palms’. Whereas Balandra is the late-night stake-out, Nine Palms is the final act where Lex & Locke high five each other following another successful bust.

The Pacifica EP has a wonderfully intimate and assured vibe about it and is sure to feature in many a summer soundtrack. This release also proves that Samosa Records aren’t afraid to go off the beaten path occasionally - and when it’s this good we’re more than happy to follow. Grab this amazing cut of wax while you can!

"I am sitting in a garden, I haven't left the property in weeks, someone is dropping off food once a week. I haven't seen a human being in ages, I feel like a reverse Schroedinger cat - do I exist when nobody sees me? I must be somewhere in France but I don't remember. I have lost my consciousness again. When I wake up I hear a broken record looping somewhere in the mansion. A washed-out opera. Behind the trees I see the dilapidated hermaphrodite sculpture in a field of verdant nettles and fern. I hear gunshots far afield, aeroplanes in the sky, sirens on the main road.
When unconscious I dreamt of sitting on the Concorde observing the scarab blue ocean and iridescent clouds from above, an erstwhile receding memory. Sometimes I hear the organ of the nearby Renaissance Cathedral merging with the Russian Church bells.
I am hallucinating again. Someone's humming in the kitchen? Singing? A Radio? I overhear two young women talking about art galleries in the neighbour's garden. Bees attack, again…..again and again. The hairspray finally intoxicates them. An amphoric japanese voice is whispering in my head saying I will die soon. Someone (something?) bangs on the vases. The fountain's water turns dark red.
Fleur calls and says mum died. The funeral will be televised on tuesday. We opt for the synthetic choir for the service. The call is suddenly interrupted. Mold is slowly taking over the house.
I go back inside."

Une Fille Pétrifiée is the debut album of new Black To Comm related entity Mouchoir Ètanche (after one recent 12" on Richter's own Dekorder label). Combining real and fake acoustic instrumentation, sampling, field recordings and excessive yet inaudible post production this is another sublime and ethereal statement. Influences are ranging from (French) Classical & Opera to the anecdotical compositions of Luc Ferrari, Chinese Opera, Chanson, Sacred Music / Church Music, JG Ballard and Surrealism.

Marc Richter records as Black To Comm for Thrill Jockey, Type and Dekorder and as Jemh Circs for his own Cellule 75 imprint. He also produces soundtracks and acousmatic multichannel installations for institutions such as INA GRM Paris, ZKM Karlsruhe and Kunstverein Hamburg.

Leo was born in 1972 and at the age of 15 discovered his passion for electronic music creating his first loops thanks to his Commodore Vic 20 and 64, spreading his own sound in the city when it was impossible to find in Rome any trace of electronic beats.
Soon after he became a true collector of analogue synthesizers with a serious approach in the study of modular synthesis which led him to develop unique skills as we have recognition of them from his early works for ACV records: Attack Random, Riders Of the Future, Noise Generation, Muta, Cannibald and Aeon are still a milestones for nowadays electronic music aficionados.
1989 marked the birth of The Sound of Rome, when Leo met Lory D in a small garage bringing life to a universal and alternative music movement who diffused Techno Music in Rome and all over Italy, pushing these two wizards behind the decks playing along the like of Dave Clarke, Joey Beltram, Robert Armani and UR among others.
In 1995 Leo decided to cut his relationship with ACV records and moved to Rephlex, Aphex Twin’s record label, starting touring with the Rephlex group after the Void album. Ten years later Leo recorded his first single for a new project: Cannibald Records. Back to Life main target is to focus on house and techno classics reissue, and the mission continue with the official reissue of 1991 Leo's Noise Generation, a true special record that snaps an unforgettable highlight in the rave scene. BTL004 will be available with a special insert, black version and very limited white press to delight every serious vinyl collector.