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The second album from SpaceArk. More brilliant self-released, private-press jazz/soul from 1976 Los Angeles.

'SpaceArk Is' came out on Color World records in 1976, on a limited run of about 5,000 copies. It followed their self-titled debut (also available now on Mr Bongo) on the same original label, the year before.

For a handful of years in the Seventies, SpaceArk was one of the most promising and electrifying bands in Southern California. Although their music was far greater than the sum of its parts, those parts made for a very original style. R&b, soul, rock, pop, jazz, classical ... it all came together in blissful stream of intricate compositions that swept up crowds from US military bases to Northern Soul clubs around the UK.

SpaceArk wrote and performed more than 100 songs during their time together. Most of them were not recorded and are now either lost or forgotten.

Official Mr Bongo reissue with liner notes by Amar Patel. Licensed direct from Peter Silberg.

collecting orders for repress

The Messthetics are an instrumental trio featuring Brendan Canty (drums), Joe Lally (bass), and Anthony Pirog (guitar). Brendan Canty and Joe Lally were the rhythm section of the band Fugazi from its inception in 1987 to its period of hiatus in 2002.

This is the first band they've had together since then. Anthony Pirog is a jazz and experimental guitarist based in Washington, D.C. One half of the duo Janel & Anthony, he has emerged as a primary figure in the city's out-music community.

The trio's debut includes nine songs recorded at Canty's practice space throughout 2017, live and mostly without overdubs. It's a snapshot of a band dedicated to the live ideal, where structure begets improvisation.

Brendan Canty: drums
Joe Lally: bass
Anthony Pirog: guitar

The second release on ninih is a package of personal stories by Amsterdam's Eversines, truly captivating the sounds of the ninih label. He masterfully crafts densely layered and brooding soundscapes throughout the EP, appealing to heady listeners and vibing dancefloors alike. Transmissions of deep, swirling, cosmic synths coexist with ominous haunting echoes while warped chords slip in and out of focus. Weaponized experimental electronics blast off in a flurry of hard hitting kicks like a spaceship speeding through a sonic asteroid field before throttling back to an ethereal pace.

Today Kimochi Sound gets Baltic Sea sonar pinging techno deep, maybe something like bridging the gap between Sleeparchive and Mono Junk.
There are enough hypnotic spaces and hallucinatory frequencies in these loops to tide over the dark winter months, with enough funk packed into the riddims to inspire some heated early morning grooves.

1982, Brussels: Living on busking wages and next door to Tuxedo Moon, Antena manage to make a contemporary bossa nova record that provides the missing link between Antonio Carlos Jobim and Kraftwerk. The original Camino Del Sol has been given back its spacious mini-LP quarters, recasting this short-lived combo's forwardthinking mile marker as a modern-day masterstroke

From four individual parts, with distinct musical pasts but also
overlapping histories, a new unified chapter begins with Piroshka and
the quartet's thrilling debut album 'Brickbat'.
The album is named after the word for a missile, which nails the
record's heavyweight lyrics if not the music's gorgeous, bittersweet
and euphoric pop. Think of 'Brickbat' as a wolf in sheep's clothing -
which suits the name Piroshka, the Hungarian take on the wolf
terrorised fairytale hero Little Red Riding Hood - a subtle nod, too, to
a certain red hairdo that stood out in the 1990s Brit-guitar-pop
scene...
The four band members are former Lush vocalist / guitarist (and
former redhead) Miki Berenyi, former Moose guitarist KJ 'Moose'
McKillop, Modern English bassist Mick Conroy and former Elastica
drummer Justin Welch. The connections between them are a
veritably tangled family tree. Before they lived together and raised a
family, Miki and Moose were notable figures on the so-called
shoegaze scene, while Elastica were Britpop peers. After post-punk
pioneers Modern English split for a second time, Mick became a
latterday member of Moose, while Justin joined the reformed Lush in
2015. And when Lush required a bassist for what proved to be their
final show (in Manchester) in November 2016, Mick stepped in.
It was the rehearsals for that Manchester show that laid the
foundations for Piroshka. 'We sounded great!' says Justin. 'Like a
proper punk band. Mick brings a huge amount of enthusiasm and
livens up the room, and I thought, this is the kind of band I want to
be in again.' Mick agreed. 'I'd seen Lush so many times, it was like
playing with old friends. Miki agreed it was good fun too. And with
Moose available, we thought, let's all have a bash, see what
happens.'
Though 'Brickbat' kicks off with a squeal of feedback, the album is far
from a proper punk record, with as much sublime delicacy as physical
force, with guitars to the fore but also electronic flourishes in all
manner of spaces. Combined, they drive the nuggety melodic bombs
long associated with Miki's songwriting
LP format includes digital download code.

HVMBLE is a newly-formed Berlin-based collective engaged in house music production and label work.

HVMBLE is a newly-formed Berlin-based collective engaged in house music production and label work. Merging ideas in a fresh way is the intent of our approach and sound. Exchange in a diverse community is key to our spirit. HVMBLE aims at staying versatile. HVMBLE'S debut-EP series 'Textures' features an eclectic practice where diverse elements of dance music are teamed playfully. Hypnotizing groove structures, vibrant Hi- Hats and a sublty-formed Bottom-End unite and stimulate the bodymind. Textures invites the listener/dancer to float through skillfully meshed patterns and dreamy layers, to experience promising new spaces. The sounds appearance and cover-artwork was created by visual artist Peter Aurisch. Textures is a collective creation.

Eduardo De La Calle has been doing his thing since the early 2000s, but the last couple of years have seen him move into overdrive. Releases on Planet E, Hivern Discs, Nitsa Trax, Turbo Recordings, Gigolo and Darkroom Dubs to name just a few have shown he is both prolific and consistent, and this new four-track collection is just as compelling as his recent output.rnrnDistortion Theory III is a whirring hypnotic machine jam that melds shimmering synth snippets to mind-bending FX undulations and throbbing low end. Disorientating and wonky as hell, it's the sound of a funky computer malfunction somewhere in deep space.rnrnLight Tunnel continues the theme, coming across like the dying throes of space station spinning out of control due to excessive amounts of sub bass. It's a dizzying, disorientating ride.rnrnAcid Aaron C (Edit) wastes no time getting down to business with its gurgling, incessant 303 line present from the get-go. Shuffling percussion rubs up against heady female vocal lines and wonky detuned 8-bit synth blips, the undercurrent of the track swelling and calming seemingly at will. rnrnThe Dub Math takes things down a notch with hazy sounds and plodding sub bass combining with heavily reverbed vocal incantations which all combine to bring together the vibe referenced in the title.

Tourist Kid's first release for Melody As Truth. Recorded in Perth and Melbourne between 2016 and 2017. Though the idea of movement between two places could be a somewhat romantic afterthought, a more palpable sense of dislocated unease creeps up on the listener throughout the album.
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On "Discourse II", stutters of digital trash segue seamlessly into a plateau of serene, glassy ambience - and on "Bacterial", the hiss and sting of rehashed foley seems to dance around a plaintive, oh-so delicate piano solo. These striking contrasts are deftly managed, playing upon notions of digital noise and ambient, while never feeling weighed down by the limits of reference or gesture. Indeed, numerous touchstones to Tourist Kid's earlier work - and to that of contemporaries - are synthesised and expanded upon to great detail and atmosphere. "Crude Tracer" sits in its own adeptly nuanced and assured space.

Tourist Kid's production encompasses all manner of tangible and otherworldly sounds as a vehicle to explore something far more intriguing than a simple instrumental fetish - so much so that the
overwhelming sting of blasted detritus or a broken and bent vocal is capable of eliciting such delicate impulses as glistening, heart-wrenching piano chords. It's a unique - and very special - kind of beauty that Tourist Kid gracefully achieves with "Crude Tracer'.

After a successfull first record Underground Town is back for their 2nd release just in time for the kick-off of their 4th Season of events in the top of the Swiss Alps.

Mysterious Artist delivers a serious bomb for the first track of this record. A track that makes you travel in space with groove and a fine shower of synths. Lost.act makes his first appearance in the label with a powerful minimalistic and deep trip.

Label head Giorgio Maulini comes back with some break beats & crazy synths changing the dynamic and giving this record a clever complexity with various styles. Last but not least another delicious piece by Cesar Martinez full of groove and swinging hats.

Stay tuned because the next delivery in on the way!

DJ Overdose is back again on your favorite record label, Dalmata Daniel, this time sharing a record with an old-school legend from the land of Dalmatas and Daniels, Sematic4.

Both sides are full of great tunes of hard-hitting electro, but both are a bit different in mood and sounds.

The style and sound of DJ Overdose is so distinctive, you can spot it from miles away. The first track has a groovy title, with a car symbol and silly characters. Great music for driving your white convertible in the Detroit sunset, it's dark, repetitive, the usual genius with impressive drums. The title of Funky Mess is no lie, it's a funky song with a Japanese telecom sampler resembling the Detroit underground scene. The last track RZ-1-DMX is classic electro with some nice slow melodies, that you can nod to.

Sematic4 is operating with more classic electro elements on Dream Creator with some spacey tunes, while North Star '78 is a rather hard-hitting club music with a nice groove, interesting drums and some super melodies. One Nite In Heaven recalls the atmosphere and soundscape of the golden days of the Hague electro scene - a way of showing respect to the era.

Sematic4 is an oldschool dj and producer from Hungary, who started spinning records in the 90s, a well-made and active dj, who started buying his own gear and all kinds of gadgets, and producing music on his own. A real music geek, who lives for music with releases on Bass Agenda, Tropical Underground and legendary Dave Clarke plays his songs.

And you all know DJ Overdose.

Oh sweet melancholy. Jascha Hagen is back for Luise's largest sibling and takes it all down a notch. »A Touch of Cold Water« is a tale of minimalism and awareness, carefully placed and well de ned elements, light spaces and echoing rooms. A string of tracks that vary between unfazed euphoria and sober retrospection, slightly out of tune like the voice in your head. Who needs to wipe o the dust when it scratches so nicely.

Demon Music presents a narrated full-cast TV soundtrack adventure starring William Hartnell as
the Doctor, in an epic quest to defeat his arch-adversaries, the Daleks.
In this classic 12 part 'lost' adventure, first shown on BBC TV from October 1965 to January 1966,
the Daleks threaten to destroy the fabric of time itself. In their quest to control the Solar System,
they have taken possession of the devastating Time Destructor. Determined to stop them, the
Doctor (William Hartnell) steals the core of the weapon. He and his friends are thus pursued
across Time and Space by their ruthless, powerful nemeses...
Presented across 7 x Heavyweight 180g Blue translucent pieces of vinyl, this narrated TV
soundtrack evokes a classic Doctor Who adventure in all its aural magnificence. From the eerie
sonics of Ron Grainer & Delia Derbyshire's theme tune, and the familiar 'wheezing, groaning' of
the TARDIS, through screaming jungle worlds and an array of spacecraft, the story is alive with
weird and wonderful sound.
Written by Terry Nation and Dennis Spooner, this is the longest single Doctor Who adventure ever
made for television. Linking narration is provided by Peter Purves (Steven) and the cast includes
Kevin Stoney as Mavic Chen, Nicholas Courtney as Bret Vyon, Jean Marsh as Sara Kingdom and
Peter Butterworth as the Meddling Monk. The film recordings of all but three episodes of this
story are lost from the BBC archives.
The prelude episode Mission to the Unknown is presented on its own single-sided disc with a
unique Dalek (standard edition) or TARDIS (exclusive edition) etched reverse.

Silk Road Assassins, a trio consisting of Tom E Vercetti, Chemist and Lovedr0id, return to Planet Mu with their debut full-length 'State Of Ruin' two years after their first EP 'Reflection Spaces'.

The trio recorded over two years, working together to start with, then across different studios and via the internet when their lives became more separated. They also finessed the album at Abbey Road studios, making use of some short time to add in extra layers.

The three producers day jobs are in production music, music designed and created specifically for film and games, and this album uses these skills to explore the musical forms that they love. The album explores how trap and grime's minimalist form can be built and curved into musical architecture: elegant, opaque and layered, turning the sound into lush, melodic world-building.

The work gone into the album is revealed on repeated listens, every sound on this record feels built to sit within it's delicate ecosystem. The fundamentals of the music are given their own sense of purpose: hand claps spray, bells tumble, guitars splinter and lush melodies waft over and fill the track's spaces like light, glinting across snapping, crisp rhythms and deep bass tones.

Liška, the Czechoslovakian word for fox. Beguiling in its beauty, cunning in it's charm. Said to be one of the most intelligent animals on the planet its global family consists of thirty-seven varieties; all of them recognised, respected and feared for their persuasive, creative, resourceful and elusive nature. The Liška we will talk about today is no exception to these hereditary rules and within the grooves of this record Finders Keepers present an 'elusive' musical artefact that best exemplifies every facet of this composer's animal namesake.

Had he not been born in the small Bohemian town of Smecno in the early 1920s the story of The Fantastic Mr. Liška might have well taken a different course. Alternatively, fettered by the hampers of communism, this lifelong resident of Czechoslovakia would never quite find his seat at the same table as the likes of John Barry, Ennio Morricone, Michael Nyman and Stanley Myers, nor drop enough phonographic breadcrumbs to track his legacy. But having waited patiently behind the borders of the wider landscapes of international cinema, Liška's musical brood, spanning multiple stylistic decades and generations, has now started to walk proudly amongst his would-be, latter-day compeers. In an era where music lovers have almost become immune to adjectives like 'lost', 'rare' and 'unreleased' in a climate where previously lesser-known off-kilter master composers such as Vannier, Kirchin and Axelrod have become widely revered, it is perhaps the perfect time for discerning listeners to advance above the feeding trough and seek out this truly pioneering and revolutionary Eastern European composer. Rivalled only by the likes of Krzysztof Komeda and Andrzej Korzynski in Poland, alongside Alexandr Gradsky in Russia, and often splitting workloads with fellow Czech composers like Luboš Fišer, Zdenek Liska's filmography of over almost 300 fully formed movie scores virtually eclipses the achievements of these socialist era luminaries. Respected unanimously in both Czech and Slovakian by studio bosses, producers, directors and actors alike Liška is widely known for his ability to take the existing energy in a reel of film and literally change the polarity to suit his own interpretation while maintaining the full support from his 'client' who would in-turn end up working under this composer's creative direction. Not only was Liška a genius of emotive orchestral and coral composition, his grasp on small group arrangements and intimate, minimal scores set him above the competition. By utilising primitive sample techniques by 'looping' a films existing ambient noise, or rearranging found sounds and dialog into subtle melodic arrangements, Liška would independently develop his own techniques which had simultaneously become known in Paris as musique concre`te. It is a direct extension of these experiments that saw Liška also draw parallels with Walter Branchi (Ennio Morricone's main electronic sidekick) in Italy as well as Daphne Oram in the UK, making Liška a relatively untravelled pioneer of early electronic composition and sound design due to his unlikely global environment. Imprisoned, preserved or reserved; time has been kind to Liška's music.

'Bobbie Gentry's The Delta Sweete Revisited' is
Mercury Rev's committed and affectionate
resurrection of an album that anticipated by three
decades their own pivotal expedition through
transcendental America, 1998's 'Deserter's Songs'.
From their recording lair in New York's Catskill
Mountains, the founding core of Jonathan
Donahue and Grasshopper with Jesse Chandler
(previously in the Texas group Midlake) honour
Gentry's foresight and creative triumph with
spacious invention and hallucinatory flair.
Gentry's stories and original resolve are brought to
new vocal life and empowerment by a vocal cast
from across modern rock and its alternative paths:
among them, Mazzy Star's Hope Sandoval; Laetitia
Sadier, formerly of Stereolab; Marissa Nadler;
Margo Price, the fiery new country star with a
punk rock heart; and Norway's Susanne Sundfør,
who cuts through 'Tobacco Road' with arctic-Nico
poise. Phoebe Bridgers, whose first record was a
softly stunning 2015 single for Ryan Adams' PAX
AM label, hovers through the acid-western
suspense of Gentry's 'Jessye Lisabeth' with floating
calm, like a comforting angel.

Visions Recordings is happy to welcome the Italian trio Jaxx Madicine for a single with two jazz/house influenced tracks aimed for the dancefloor with enough music and fat beats to make you wanna fly and dance .Their specific mix of vintage and modern sounds keep the bouncy feeling that deejays love to play in their sets . Round bass, Fender Rhodes , piano and warm keys are the ingredients to this delicious meal we invite you to share with us.

The name Jaxx Madicine suggests a wide range of influences - 'Jaxx' obviously being a tilt of the hat to the original rhythms and basslines born out of Chicago house while the 'XX"s suggest a keen passion for jazz.These are the two main ingredients used by the projects founders Turbojazz and Parker Madicine, who are joined by the talented and mysterious Veez_0 - a young Italian piano player that you're bound to hear more from in the near future.Turbojazz plants his roots in the rhythms and futuristic sounds of the Broken Beat golden age while Parker Madicine leans more towards the sounds and timbres of Detroit's spacey atmospheres. These two musical worlds are married by Veez_o's incredible playing and harmonic backing. To get a proper idea of what this is about you should consider George Duke in his peak cosmic period jamming in a studio with 'High Tech Jazz"-era Underground Resistance before joining Pete Rock for dinner and then heading to a Roy Ayers concert. Absolutely delicious !

After their highly acclaimed debut album »Decadent yet Depraved«, Berlin and LA-based producers Belief Defect invited a variety of artists to join their »Remixed« project. The following 12' EP is a first four-track release of this project. The original tracks of the album are only an approximate starting point for »Remixed«. In contrast to »Decadent yet Depraved«, largely conceived in song structures, this EP is about transferring the pieces back into abstract space, and each remixer does it in his very own way. Alessandro Cortini's one-take live recording is a lesson in classical ambient music. Telefon Tel Aviv's remix is timelessly modern and extremely delicate sound design. Rather opposite concepts are coming from Surachai's brutal pattern design and Kangding Ray's expressive and analogously saturated repetitions for the dance floor.

Left Ear are issuing two previously unreleased Full-Length versions of Space Farm's mid 90's Egyptian inspired tracks. Both, 'The Dawn of Birds' and 'Camels in Desert Air' were initially cut short to allow for additional remixes on the original release. For their 2019 issue, Left Ear have decided to focus only on these downtempo original songs allowing the heavy percussion and synth workouts to shine through on a loud 45RPM press.

Space Farm is the story of three friends Darrin, Bill and Waleed their love for 80's NY culture, Egyptian music and a cross continental business plan that never materialised. Darrin and Bill grew up in North New Jersey only a few miles from NY city and met while studying in '90. Bill spent his formative years listening to the emerging sounds of 80's left-leaning New York radio stations, while Darrin immersed himself in the DJ and B-Boy culture. Fast-forward to '94 and the two found themselves living in Boulder, Colorado. By this time the tag-team had started producing music and would look to their NJ roots for a group name, deciding on the title 'Space Farm' after a kooky local petting farm they often cracked jokes about. Armed with an open mind and a bunch of old studio gear the duo began producing music inspired by 80's NY, however after a budding friendship began with Egyptian native Waleed they were inspired to start experimenting with Egyptian and Arabic sounds. After hearing their output Waleed pushed for the release of an Egyptian inspired record saying 'it would sell like crazy in Egypt', that 'he would bring it back to Egypt on his next visit and get it to all the right people that need to hear it'. The record got done but, due to circumstances beyond their control it never made it over to Egypt. The duo performed live a few times in Boulder before finally returning to NJ. Darrin recalls playing their final party in Boulder in which the Space Farm record was played from start to finish, 'Some joker ran up to us while we were playing and kept signalling to up the tempo we were like F Off! raver boy'.

Mark Van Hoen (prior jaunts in Seefeel, Scala, Autocreation among others) as Locust emerges with the first of a series of EPs for Transfusions that dive into unadulterated techno spaces that you were clearly not prepared for. Four powerful weapons start this series with sounds and textures that clearly incorporate Locust's indescribable signature that we have all fallen in love with but take the dance floor to an undisclosed locale where deep vibes transfix our minds into pure bliss. Armed with a new razor sharp identity and vision, we are in for an adventure. Completely new Locust logo and extra special sleeve artwork masterminded by Paul Nicholson (OG Aphex Twin artwork visionary). This is serious.

Moff & Tarkin's second Lagaffe installment marks the label's 8th vinyl release. The release sports three original tracks from the Austrian-based Icelander and a remix from label boss Jonbjorn.

The record starts of with the track 'Buzz Lightyear', who flies us off out of the atmosphere filled beginning into the depths of the spacey synths, delays and feedback.

Followed is the track 'Friends Be like', which feels like a refreshing strut down the boulevard where everyone you meet knows you and you know them but instead of saying hello you are wearing headphones and just strut down the street nodding, winking and walking in beat with true swagger. A track with confidence written all over it.

The flip side features the track 'Takk!' which roughly translates as Thank You! in Icelandic. Maybe not roughly, but rather exactly. The track is dramatic and starts off rather stress inducing but takes a whole new direction when Moff n Tarkin adds in soothing piano chords and makes the track's whole mood switch.

Maybe its a fitting goodbye for the listener as you make your way through label boss Jonbjorn's remix which has a very warm and feel good atmosphere, lush drums and elements that add on layers to the already great original. A very personal remix and a good ending to a great record that we hope you can enjoy.

V & B

Midday Moon is a survey of ambient and experimental music that emerged from Australia and New Zealand between 1980 and 1995. These recordings are sourced from a rich variety of micro-labels, private pressings, theatre soundtracks and artists' personal archives. Curated by Melbourne based DJ and archivalist, Sanpo Disco (a.k.a Rowan Mason), the collection delves deep into the world of outsider music that emerged in Australia and New Zealand in the latter half of the twentieth century, as synthesisers and early workstations began to enter the consumer marketplace. The record is an odyssey in itself, a journey that takes listeners into the unsung world of Australian new age composers. There are stories abound within this volume, from the mysterious disappearance of Helen-Ripley Marshall after the release of her 1988 album 'Green Chaos', to the journey of American-born, Perth based blues/rock guitarist John Heussenstamm, who unexpectedly turned his finger to 'ambient' music in the late 80's; and again from Melbourne based Ros Bandt, who made a series of recordings exploring the resonance of a hollow concrete cylinder 5 stories beneath busy Collins Street in Melbourne's CBD. Compiled by Sanpo Disco / Mastered by Mikey Young . '(Ambient music is) a surrounding influence that induces calm and a space to think... it can accommodate many levels of listening attention without enforcing one in particular.' - Brian Eno / 'A richer and more diverse ambient genre began to form. Music that crafts a unique cultural geography of landscapes and atmospheres: real and imagined, natural and man-made. Some artists turned their attention to the singular acoustic ecologies of overlooked spaces around the country. Others fostered interests in non-Western music cultures and instruments. The common thread is their use of new technologies to conjure interior and exterior regions, through acoustic and synthesised sounds.' - Sanpo Disco

Nino Šebelic, The Serbian Producer And Longtime Vienna Resident, Is A Man Who Lives And Breathes Techno. On His Premier Pomelo Release, 'jupiter Ep', He Channels True School Detroit Electro, Upgraded With His Energetic And Unique Touch. The Ep Starts Off With this Is For My Hood', A Peak-time Bass Monster Reminiscent Of Aux88's Most Intense Productions. It's Followed Up By church Of Tasmania', A More Stripped Down Affair That Is Destined To Unfold Its Magic On The Dance Floor. On The Flip Side baltimore' Explores The Space Between Electro And Techno, Oscillating Between Moody Synth Workouts And Pumping Ebm Patterns. 14357.977km' Equals Roughly The Distance Between Detroit And Vienna And Back, And For The Eponymous Track Šebelic Appears To Have Indeed Been Visiting The D For Its Glorious Chord Pads And Subaquatic Moods. Lastly get Brate' Closes The Ep With A No-holds-barred, Straight To The Point Electro Bass Banger In Best Electric Soul Style.

It gives me the greatest honour to finally be able to announce the release of this amazing triple vinyl masterpiece by log(m) and Laraaji on Invisible, Inc.

It's been over a decade since Laraaji first joined forces with log(m) in their Canadian studio in early 2007. In those ten years the trio recorded many hours of music. Over time these recordings, beginning essentially as live jams, were polished, dissected, processed, re-arranged and then finely and painstakingly distilled down to the 105 minutes of music that now form this album, which finally reached completion just earlier this year. The wait has been more than worth it.

The Onrush Of Eternity is a melding of minds like no other. Ever the pioneer of experimental ambience, Laraaji's signature hammered dulcimer, zither, mbira, auto harp, sruthi drone box and of course his exceedingly positive vibes are here combined with log(m)'s unique vision of gronky hi-tech psychedelic space dub. The resultant voyage into deeply meditative ambience and trance-inducing dub is as unexpected an outcome as it is a bona fide "Eureka" moment. It sounds neither like log(m) OR Laraaji....but of course like both. It is one of those rare collaborations that is, without a doubt, even greater than the sum of its already great parts.

Log(m) started making waves in the early '90s as Legion Of Green Men with their visually striking 12"s, complete with eternal opuscules (locked grooves) and mathematically inspired titles, all lovingly issued on their own Post Contemporary imprint. These deservedly got the attention of Richie Hawtin who promptly asked the duo for an album on his own classic Plus 8 Records. 20+ years later and the music (much like their name) has morphed into something more sophisticated: even more complex, atmospheric and deeper than ever.

Laraaji's reputation of course precedes him: he first came to wider attention when Brian Eno released his "Day Of Radiance" as part 3 of his Ambient Series in 1980. Since then, Laraaji has released over 40 albums, yet his stellar path seems still to be on the ascendant - a recent landmark being the 2017 "Sun" series of albums for the wonderful All Saints' Records.

This unique triple LP in tri-fold sleeve is limited to 200 copies on coloured vinyl and 300 copies on black vinyl featuring ten of log(m)'s signature eternal opuscules and cryptic engravings on all three discs.

Gaijin Blues is Naphta and band mate PlaystationYoga Music's tribute to Japanese pop culture, manga and video games. This EP is the result of tours to different regions of Japan and spending time in record shops, as well as playing classic RPGs. Gaijin Blues is a blend between Japanese and Western music with live studio instruments. It's a feeling, an expression and a time and space vehicle.

Secret of Mana explores live percussion and bass with strings, live flute and dreamy vocals, whilst Cafe LeBlanc references a peaceful location in JRPG Persona 5 and features more soothing strings and is inspired by manga soundtracks.

Metal Gear Rex is string-lead and features complex melodies and vocal chops. Another tribute to Japanese gaming culture, this one has a driving, hypnotic bassline and an eye on the dance floor.Guardia Castle opens with a 4/4 disco beat before introducing unexpected layers of blissful, melodic female vocals, acoustic guitars and flutes.

After the success of their sophmore album "Nick & Astro's Guide To The Galaxy" last year, Potatohead People are back with a special remix of the first single "Morning Sun" off the album (featuring vocalist Nanna.B) on the album rom the legendary DJ Spinna.

Spinna gives "Morning Sun" his signature Galactic Funk flip, beefing up the drums into a cosmic shuffle, with an analog arpeggiating bassline, lifting strings and synth squelches. Also included is the instrumental on the flip. Cover art comes from Berlin's Rahel Susskind who revists the Guide To The Galaxy concept from inside the funky spaceship. Blast off!

Born Marian Himburg, Causa has been on the rise for several years now, with a tight and impressive discography on labels including Crucial Recordings, Infernal Sounds, and J:Kenzo's Artikal Music UK. Known for carefully focused cuts that marry dub sensibilities with dubstep weight, his debut for ZamZam is exactly what you'd hope: heavy 140 wares for deep dances.

'Space Dub' is an orbiting station of decaying delays and insistent bleeps that resolve into an absolutely massive riddim that causes pure murderation on the floor. Machine sounds and lasers spar over dread, lurching bass, while thick snares cut through the reverb haze to reveal the cold, starry cosmos beyond.
'Concrete Dub' works with a similarly industrial sound palette in the service of a minimalist, skanking steppers that drives hard into the heart of sound system. Disembodied voices, growling-deep horn stabs, a single piercing flute note, and a myriad of other sonic signifiers emerge and retreat, as if being pulled under by the unrelenting force of the primordial sub & kick attack. You've been warned!

Wonder Why is the highlight from Llorca's greatly overlooked The Garden album on Membran Records. With its Curtis Mayfield inspired vocals, Live Strings and 70's guitars, It has all the ingredients of a classic song. Who better to ask as a remixer than Hot Toddy from Crazy P. He raised the tempo and energy and really made it his own. On the b-side, 2 edits of the original track from Fred Everything, using only the original stems, working the effects and sonics as well as extending the track both in original and instrumental forms.

Ken Oath slip on their moon shoes for a joint venture with Freda & Jackson, pressing up four cuts that will have you slipping the surly bonds of earth and dancing in the skies. Loaded with basslines heavier than a neutron star and well-chopped breaks, produced with a dubwise ear for space, this is some of the duo's finest material yet 'Kendama' is the heaviest cut here, a deep psychedelic outing that's swathed in an foggy haze. Abstracted digi-flutes and koto plucks are paired with a skull-boring bassline and exacting breakbeat dissection, adding some levity to the leaden heaviness of the track's bass-weight. 'Cubone' slows but retains the hallucinatory haze that coils around all these trackers. Thudding bass anchors the floating drones and glitches, while percussion snakes through the track, building, like smoke slowly filling a room. The steady build is transportive, to the point where you hear the final echo tail trailing out into silence, and wonder how that all time dissipated Flipping over the record, 'Platform 22' is where you'll find the two of them at their loosest. Submerged vibraphone melodies and swirling voices play over a bassline that sounds like its descending the stairs, boisterous and half-drunk, to culminate in an orgiastic percussion frenzy at the end. Spacious and dubwise, 'Noggin' is a tellingly heady closer. Samples are set adrift across the track as they are dubbed-out and dissolved into smears of sound. There's a buoyancy to the whole piece, a pleasant weightlessness that keeps you floating after the final notes fade out. One time for ya mind.

Malfunctioning speakers, & digital dreamscapes, SQUIRRELS ON FILM's 4th release explores the outer reaches of techno with impolite, reckless abandon.
Psychedelic sound explorer Its Own infinite Flower, who was
responsible, along with head squirrels Solar & C.l.a.w.s., for San
Francisco underground punk rave/happening Hostile Ambient
Takeover, unleashes his first official release, The Plumes of Love (ARE BLACK!). After contributing a track to 2017's Spacetime Continuum/ Juju & Jordash curated Air Texture V compilation, this four track EP of abstract tech-noise brings the sounds Its Own Infinite Flower refined in the basements & warehouses of the Bay Area's underground music scene to the wider world, whether it's ready or not.
'Drone, Drugs 'n' Dissonance' creeps into life as a thunderstorm of
white noise, out of which a cold-rave pulse somehow metastasizes into something resembling techno, although this is a deformed, uncivilized, unwanted mutation, separated at birth & raised in a toxic wilderness. It builds slowly before turning up in a rage of digital distortion, a black metal dub party held at the edge of a melting glacier. 'Oh, Empire of Roses' is a Dada Phycho Jazz Electro number. Dissonant synth chords snake around each other in a playful ouroboros of manic future funk, never knowing if it's starting or stopping, coming or going. Relentless bass throbs through the track, which almost threatens to bubble into classic acid electro before fizzling out. On side two there is 'Devotion to a Peacock Angel,' an angular breakdance groove for the characters in the bar scene in Star Wars. Electro dub rhythms keep stay grounded as everything else rips apart in all directions over the course of the track. On 'Misfortunes of El Dorado' a soundsystem bangs in the next room, only the deepest bass escaping, shaking reality until it's torn apart in waves of distortion, a classic techno synth string wandering over the top of everything in a full blown Techno Jazz Odyssey.

SQUIRRELS ON FILM continues its adventure at the edges of techno
with the mind bending stylings of Its Own Infinite Flower's debut EP,
fitted with another beautiful hand-drawn, full color sleeve by New York artist Bert Bergen. The Plumes of Love (ARE BLACK!).

Beautiful 1 Lp Edition 140g Vinyl, Heavy 350gsm Sleeve, Sticker

- Official Reissue Of Hard-to-find Favorite L'univers De La Mer By Dominique Guiot, Considered By Some The Greatest Library Album Ever Recorded. Available On Vinyl For The First Time Since 1978 And For The First Time Ever On Vinyl And Digital.
- For Fans Of Synthesizers, Library Music, Prog-rock, Experimental, Ambient, Folk, Medieval, Movie Soundtracks, Sci-fi, Schicke Führs Fröhling (sff), Tangerine Dream, Mike Oldfield, King Crimson, Didier Bonin, Claude Perraudin, Jacques Wyrs, Oceanic Vibes And Giant Squids.

Wrwtfww Records Is Honored To Announce The Official Reissue Of Super Rare And Fabled Prog-rock/library/synth Album L'univers De La Mer By French Composer Dominique Guiot. The Full Length Release Is Sourced From Original Masters, Available On Vinyl Lp For The First Time Since 1978 And Housed In A 350g Sleeve With A Spellbinding Artwork By Surrealist Sci-fi Artist Jacques Wyrs. It It Also Available On Cd And Digital Formats For The First Time Ever.

Written, Composed And Played By Dominique Guiot With His Mellotron, Minimoog, Clavinet, Organ, And Guitar, L'univers De La Mer Draws Its Inspiration From Deep Sea Exploration, Oceanic Creatures, And Underwater Kingdoms. The 12-track Album Navigates Organically Through Diverse Mutations Of The Prog-rock And Synth Kind, From Scenic Meditation Pieces ("wind Surf Ballad"), To Medieval Electronica ("une Ballade Pour Une Goélette"), Spacey Smooth Jazz ("les Deux Poissons"), Funked Out Fantasy Folk ("l'univers De La Mer"), Or Even Incredible Sega Mega-cd Vibes ("la Danse Des Méduses") - Altogether Painting A Fascinating World Of Eerie Magic And Subaquatic Sensuality. It's Escapism At Its Best With Subtle Overtones Of Schicke Führs Fröhling, Mike Oldfield, And Claude Perraudin.

The Sound Of The Album Is Brilliantly Captured By Its Surreal Cover Art, The Work Of Legendary Artist Jacques Wyrs, Whose Memorable Record Sleeves Include Klaus Schulze's Picture Music, Eloy's Floating, Ange's Le Cimetière Des Arlequins, And The 1974 Reissue Of Larry Coryell's Spaces.

The first solo EP from Melbourne, Australias Eugene Pascal. This DJ friendly 12 splits the dance floor vibes down the middle with two hard hitting, club ready heaters on the A side and two deep, hypnotic grooves on the B!

Tom Ruij aka Tracey's palette of influences is wide and far-reaching, from the far-sighted futurism of Detroit and the deep space pulse of electro, to left-of-centre electronic experimentalism and the alien world of British and European IDM all of which are showcased on his Metamorphosis EP.

Continuing on the thematic thread of soundtracking an imaginary short movie, label founder DJ Tennis aka Manfredi Romano, asks some of the greatest contemporary club producers to take on the task of interpreting this idea in their own unique style. Romano explains that 'the score is a translation of our imagination, memories and emotions into music, with no protocols.' Opening the soundtrack, Vatican Shadow swaps his thunderous techno for a more cosmic and gentle approach, setting the tone for an equally serene soundscape from London based DJ and producer Midland. Japanese Future Terror head honcho, DJ Nobu, layers dense cerebral textures exuding the punk spirit of Life and Death. A similar rule defying energy can be heard by Ninos De Brazil who fuse carnival percussions with straight up old school techno. Both Scuba and Uchi bring the futuristic synths of a space age tomorrow we've all been waiting for. German producer Isolee interprets the task with his minimal productions and Italian producer Cosmo closes the compilation with Psychedelic Soundscapes turning into a distorted gabber missile. As the decade edges closer to it's decade anniversary, Romano proves yet again that Life and Death is a label which evolves through each reincarnation of itself, never failing to impress.

New York residing DJ/Producers John Barera & Will Martin update their longstanding body of collaborative work with their first 2MR release since last year's exceptional 'Proceed To The Root' sophomore album... And it might just be their best work to date. Continuing the celestial theme of their last EP 'History Of Space'; the EP is the result of a whole new writing technique and heller time spent jamming on Will's Chroma Polaris synth. Comprising four tracks that simply ooze machine soul and loose-limbed groovemanship, 'Life, The Heavens & The Earth' is an ageless document that digs deep into the foundations while staring out into the cosmos. The tone is set by 'The Meaning'. Outer planetary electroid savoir faire; its crisp breaks are countered by the bulbous textured bassline throughout. It's followed by the title track 'Life, The Heavens & The Earth'; a spatial excursion built around a classic break and coloured with poignant arpeggiated cascades. Deeper into the EP we glide to strike warehouse gold on the venomous acid of 'In The Depths Of Madness', a layered analog jam that writhes and slinks dynamically in the spirit of Pierre, before closing with a track the duo feel is their most accomplished composition to date: 'Searching For Time'. Not just a title we can all relate to but a poignant emotional workout that touches your soul in the same way you first heard the instrumental of Information Society's 'Running'. Beautiful emotive electronica from a duo who keep getting better with every release. The journey to the root continues....

Pete 'Bassman' Bain, one of the founding members of the UK cult psych rock band Spacemen 3, formed Alpha Stone after Spacemen 3 and his other band The Darkside split up in the mid-nineties. In 1996 the band recorded the album 'Stereophonic Pop Art Music' and it was released on Bomp! Records on Compact Disc. The album hasn't had a 'proper' vinyl release until now, 2018, when Hoga Nord Rekords continues their collaboration with Pete Bassman by releasing the album.

You can clearly hear that Pete Bassman was the driving force behind Alpha Stone; fuzz, synthesiser -sweeps, programmed drums and processed vocals are the cornerstones in Alpha Stone's sound. Raga-like mantras, heard in Farmer C, lies track to track with more percussion driven grooves and psychedelic pop oriented songs. The album's sound has obviously survived the 20+ years shelved in obscurity and proves the 'Drugby' sound still vital!

It's always hard to sum up a bands particular sound in a few words, but you could say that if you put guitar and bass, synthesisers, a drum machine, and Julian Copes record collection in the hands of an alien, you've got Alpha Stone!

Funnuvojere is the new imprint founded by Massimiliano Pagliara. Now marking his third album release, after countless remixes and EPs, the Panorama Bar resident widens the horizon of his musical contributions by launching a label "deep as the ocean" as the name suggests, and open to different musical genres. The first instalment comes from James Booth. Known also as The Gardener and North Vest, the Manchester born producer has been known for his distinctive deep sound very dear to Los Angeles based imprint 100% Silk and Hamburg's Growing Bin Records that released his latest LP in 2017. "Bath Time" is a thrillingly deep-cosmic cut rich in melodies and emotions. The EP starts off with a spaced-out, italo classic cut where form assumes a different dimension as the music layers intertwine in an everlasting flow. If the title track seems ironically like a perfect place to start a party night, "Roller Chrome" is an emotional ballad for hopeful dance floors; while "Such Is Life" is a nostalgic piece of balearic tradition.

Alter follow on from the bilingual dark ambient theatricals of Liberez with this four track EP from veteran Hamburg producer Christoph De Babalon.

As an affiliate of Digital Hardcore, Fat Cat and the recently founded V I S, CDB has tirelessly explored the intersections of breakcore, illbient and drum and bass. His work is at once uncompromising yet stylish - broken, punishing rhythms collide with dreary, doom-laden melodies and those eerie in-between spaces of vintage Unit Moebius or Deutsch Nepal. With Hectic Shakes he delivers a meditation on the 'inner abyss', the sort of abyss that lulls the listener into his sound world with next to no resistance.

'Shakes and Shivers' fixates itself on deceptively playful grooves with eerie, nightbus-to-nowhere atmospherics whilst opening cut 'Harakiri' manages to distort familiar jungle tropes into something even die hard devotees of the sound will find fresh. The EP closes with what we can only describe as a homage to 90s ambient techno in a ruff, post-hardcore fashion. Skittering drums weave in and out of longing, futurist synth lines and enough breakdowns to satisfy the dance floor.