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Atlanta’s The Masamune presents his debut 12″ release on Ohm Resistance – 4 absolute dancefloor controllers, with a special guest appearance from DJ Hidden on remix duties. This self-titled EP is aimed squarely at the next generation of Drum & Bass DJs and listeners, competing for the top step on the production podium. A direct representation of the storied Drum & Bass history of the label, The Masamune wires together his signature traditional symphonic strings and orchestral elements with the hardest hitting modern dancefloor sound. His beats range from half time punishers, in his signature Neuro-hop style, to running and rolling steppers, with a strong hip hop/b-boy influence appearing throughout his produdctions. According to The Masamune: “This project was made almost specifically to serve as a prelude to the full length LP I’m currently writing for Ohm Resistance.” The EP showcases the numerous talents of the artist, as well as crucial amplifications from his collaborators. Including Jakob Klug on artwork (previously work includes Black Sun Empire and The Outside Agency) and The Netherland’s legendary DJ Hidden, who has remixed the closing track – Doomslayer. The Masamune comments: “I consider DJ Hidden a pioneer and an early influence of mine. He was gracious enough to lend his talents on the remix of my 2018 track “Doomslayer”. The Masamune is a multi-genre producer, remixer, & live act from Atlanta, GA. A composer and sound designer known for his niche style of blending orchestral elements into the chaotic palettes of hard drums and heavy synths, his tracks explore dark themes and deliver punishing consistency. A top-flight production ethic combines with rich exploration of the dark side of Drum & Bass, his works are an automatic dancefloor uplifter in the hands of skilled DJs. He has released on Harder & Louder, Mindocracy, Smackdown Recordings, and was a participant in the Ohm Resistance 7″ series, as well as an annual contributor to the Perihelion compilation series.




d B2 Doomslayer DJ Hidden Remix

Oliver Torr is about to release his first full length solo album. The album features many moods and colours, with Oliver exploring the use of his voice and lyrics as a new form of his expression. Successfully mixing electronic avant-garde/experimental forms with pop-like harmonic structures is the main theme of the record.

The idea of recontextualisation and themes of observation are mainly inspired by the philosophical literature and ideas of John Berger, Marshall McLuhan, and many others was a driving force during the creation of the album. The lyrical and sound design content is mainly inspired by panic attacks and depression, and serves as a therapeutic tool to aid in personal psychological healing.

Tracks make use of creative sound design by utilising field recordings and various experimental instruments and sources of sound, such as the Radical Chip, designed by John Richards (one of Oliver's mentors) and Max Wainwright. Tracks like 'Deià' which create a chaotic sonic palette are the author's representation of his mind under the siege of an intense panic attack, experienced in the seaside town of the same name that is located on the island of Mallorca.

Oliver feels like the album has been writing itself for the past 5 years, and in the past few months it has decided to finally show its form. With the help of Aid Kid, who is mixing the album and providing additional production, Oliver has put together a 14-track rollercoaster record, with the help of some special guests. Guests on vocals include Chrysalism, BCAA's Bilej Kluk, and sci fi RnB newcomer LVCIFER. Other sonic collaborators include Sunnbrella (guitars on two tracks), Bastl Instruments' David Strobach (distorted samples in intro), Peter Kutin, and Radio Laude's DeSteffan and R.A. (distorted samples/vocal on one track).

The record's sonics are a combination of Oliver's conscious influences, including experimental music, classical avant-garde, shoegaze, IDM, EBM, electronica, hints of modern club music, as well as PC music influences.

Oliver Torr is known as a composer, music producer, performer and installation artist. Outside of his solo projects, he has worked with many prominent musicians and creative companies/film makers worldwide. He is the founder of XYZ project, a music label concentrating on electronic music and audiovisual art (xyzproject.bandcamp), and a member of the noise.kitchen crew (a music and synth shop run by Bastl Instruments in Prague). Oliver is also a part of the 2020 SHAPE Platform roster (shapeplatform.eu), and the 2021 Gravity Network roster (gravitynetwork).

Oliver releases the album prior to the release of his 'Trans Europe Postal Express' project (supported and arranged in collaboration with SHAPE Platform) and gallery exhibition at MeetFactory art space Prague, that will take place in March, and will further the sonic palette of the album.

The album's artwork is directed and designed by Kristyna Kulikova and photographed by Lukas Havlena (VICE, National Gallery of Prague).

The album's pre-release sees a teaser trailer shot and directed by Tereza Halamova and Filip Kettner that will be released 1st of February. A short movie music video with the same crew is scheduled a month after the album's digital release.

A remixed version with reworks from established European electronic musicians (including Peter Kutin, Fausto Mercier, Wim Dehaen, Natalie Plevakova, Evil Medved, NobodyListen, David Herzig, Ancestral Vision and Trauma), will be coming in the next few months after the release.

The debut “Moover” EP from the young Bulgarian producer and DJ - Raredub (Petar Vasev) on Sofia Records features energetic and emotional music that finds its place equally in those hands-in-the-air moments in the middle of the dancefloor, as well as laying on a carpet in the afterhours.


Far from formulaic fast-food dance clichés, SOF005 offers fine and delicate layers but as always with its base in spicy street rawness.
Playing the records from start to finish one finds immersed in care-free optimistic melodies, passing through deeper and dreamy sequences, towards stripped down and honest groove. All garnished with the youthful energy that Raredub generates.

Flambéing it all, we have Sofia’s own KiNK collaborating on the track “How The Fire Started” urging all DJs and dancers to grab a fire extinguisher.

With this EP Raredub displays his unique musical personality combined with a strong execution - forming something very special that promises to age well.

Clear Vinyl

This is a special 180 gram, Limited Edition, clear vinyl, one-sided 45RPM of Mike Huckaby´s Remix of Skymark - Easy Saturday Night EP ((Kevin Reynolds & Mike Huckaby Remixes)). which will come out
soon on · n s y d e · .
In honor of musician, educator, friend Mike Huckaby, who has tragically passed away last year, we had decided to postpone the release in humble respect of the mourning time for this outstanding
human and soul.
To pay tribute to Mike Huckaby´s high sonic standards, n s y d e puts out an audiophile one-sided 45rpm 180 gram version of his remix.
This Track is in our opinion amongst Mike Huckaby´s best productions It touches the classic soulfulness of a Larry Heard Piano and blissful vocals combined with hints of Basic Channel eternal electrifcations.
This is a perfect testament to Mike Huckaby´s unparalleled knowledge and musical bandwith which defned all forms of electronic dance music under the sheltering tree of House Music. Do You know House?

Desmond Dekker is a Jamaican ska, rocksteady and reggae singer-songwriter and musician. He was originally a welder by profession, and it was his colleagues that encouraged him to pursue a career in music when they heard him singing in the workplace. He eventually signed a record deal with Beverley’s, and grew into one of Jamaica’s biggest stars. He is also credited with launching the career of fellow former welder Bob Marley.

In the 1993, he released the collaborative album King of Kings with English ska band The Specials through the famous reggae label Trojan Records. Released under the name Desmond Dekker and The Specials, King of Kings consists of songs by Dekker’s musical heroes including Byron Lee, Theophilus Beckford, Jimmy Cliff, and his friend and fellow Kong label artist, Derrick Morgan.

Ipek Yolu is the Turkish name for the Silk Road which connected the East and the West. This band does not deal in silk but they connect flavors, smells and sounds from different corners of the globe, connecting the world.

The band merges bass-heavy electro-tinged cumbia grooves, saz riffs and surf guitar into a multicultural melting pot of South American rhythms, Anatolian folk music and 60s psychedelic rock. A unique universe of sound that bridges the tropical jungles and the dusty deserts in a kaleidoscopic blend of music. Ipek Yolu has used 2020 to write their debut album Tropical Anatolia and are ready to hit the venues and festivals.

The members of Ipek Yolu first got together for an improvised jam session during the Aarhus Roots & Hybrid Festival in 2018. The show was set up as a special one-time-only show merging members from the bands Hudna & Junglelyd. The show ended up lasting for almost three hours. It didn’t take them long to discover they were onto something special. If you know any of these bands mentioned you know you’re in for a body-shaking party, characterized by musical curiosity and improvisation.

The three members of Ipek Yolu have all been part of the Danish music scene for several years. The band leader, Orhan Özgür Turan, is a well-known and respected saz player all over Denmark, and has made a name for himself through his efforts in the Anatolian Folk band Hudna. In 2018 he won an award as Global Roots Artist of the year at The Danish World Music Awards. Olaf Brinch and Lasse Aagaard have worked together for many years making high energy cumbia with their band Junglelyd and Afrobeat with their band African Connection. Olaf is also an integral part of the Danish band AddisAbabaBand. In addition, Olaf and Lasse have toured and recorded with great musicians such as CC Yoyo, former drummer of Fela Kuti, in both Ghana and Denmark. All of the past experiences collided to create Ipek Yolu.

The Frank OST LP made its debut on transparent green vinyl for Record Store Day 2015 and quickly sold out.

The album comprises Stephen Rennicks's song based soundtrack to Leonard Abrahamson's fantastical black comedy featuring Michael Fassbender as the masked leader of doomed avant-rock group, The Soronprfbs.

The music press were quick to laud FRANK as one of their top soundtracks of 2014, with Mojo placing it at No.3 in their

Top Ten for the year and Record Collector giving it 5*, while public fascination with its Beefheart-esque sound has ensured cult status. The songs, sung mainly by Fassbender, veer from manic comedy to heart-breaking pathos and the

vinyl release was specially recompiled to feature all the songs, most of the incidental music

and an exclusive for vinyl version of 'Frank's Most Likeable Song.... Ever'.

The latest release in the series exploring the musical worlds of Gerry Anderson is the most extensive yet. Space: 1999 ran for two series from 1976 to 1977 and depicted the occupants of Moonbase Alpha and their struggle for survival when, after the explosion of a nuclear waste dump, the Moon is hurtled into space.
The series was the most expensive produced for British television at that time and the most musically diverse of all the shows made by Anderson for ITC. Gerry Anderson’s long-time musical partner in all the previous adventures was Barry Gray and Space: 1999 Series 1 proved to be the last of their collaborations. For Series 2, composer Derek Wadsworth took over the reins to provide a more contemporary sound.
The Year 2 album contains Wadsworth’s score, specially selected cues to provide a driving and exciting narrative to convey the new adventures. Record Collector perfectly describes it as “classic 1976 period stuff: fast, furious and occasionally over the top in a dramatic way; nicely atmospheric for Sci-Fi and a touch funky every now and again.”
Derek Wadsworth enjoyed a long and successful career as a composer, trombonist and session musician. For over half-a-century he played, arranged, and conducted for some of the biggest names in music including Dusty Springfield, George Harrison, Judy Garland, Dionne Warwick and many more.

Hammer Films has long held a special place in the hearts of horror fans, defining the British genre during the 1950’s with classics such as Dracula and The Curse of Frankenstein. Composer James Bernard scored both and went on to compose the music to a host of horror films for Hammer during the Sixties and Seventies. His distinctive clashing harmonies, often doubling the musical theme a tone higher, raise the on-screen action to a frenzied pitch, terrifying 20th Century cinema goers to the degree that his scores have become synonymous with the titular monsters.

The Wicker Man soundtrack has achieved huge cult status over the years, it has certainly proved to be a major influence on neofolk and psychedelic folk artists ever since the film first appeared in cinemas in 1973.

The soundtrack’s songs were performed by the band Magnet. The band was assembled by musician Gary Carpenter (the film's associate musical director) to perform songs composed by

New York songwriter Paul Giovanni. Giovanni had always planned to release the songs recorded for his soundtrack, firmly believing them to be worthy of existing as an album in their own right.

Of course, this never happened, mostly due to the film’s troubled past, and consequently all of the existing soundtrack albums that have been previously released have included extra incidental music from the film.

So, this edition is the final word in the long history of this influential soundtrack, the songs recorded with Paul Giovanni by Magnet are presented here as an album,

just as Giovanni himself intended. This definitive version of The Wicker Man has only previously been available as a special edition released in 2013 to celebrate the

40th Anniversary of the release of the film. For that release Silva Screen commissioned artist Richey Beckett to create a brand new image for the cover of a one-off pressing on vinyl,

and that edition is long sold out and has become sought after.

This newly put together Silva Screen release features new artwork, extended notes, a gatefold sleeve and is pressed on yellow vinyl.

Produced by Benny Yurco (Michael Nau, Grace Potter & the Nocturnals), mixed by Dan Molad (Lucius, Emily King) and recorded live at Little Jamaica Recordings in Burlington, VT, Liz Cooper’s highly anticipated sophomore album Hot Sass marks multiple departures—from her nine-year home of Nashville, from her band addendum of the Stampede, and from the genre-based expectations she’s accumulated throughout her career. With these twelve new songs, Cooper comes into her own—both musically and as a person—embracing a newfound sense of independence, honesty, maturity and creativity. In addition to Cooper and Yurco, Hot Sass also features Cooper’s longtime bandmates and collaborators Joe Bisirri (bass), Ryan Usher (drums, percussion) and Michael Libramento (guitar, synthesizer). Reflecting on the album, Cooper shares, “It’s me learning about what kind of woman I am and it’s not pretty all the time…I’m still processing these songs. Still reflecting. And I think that’s the thing—Hot Sass is just a stamp in time of what was happening in my life. I just want to continue making art that displays myself, the moments, and the people around me.” The new record follows Cooper’s 2018 full-length debut album, Window Flowers, which was released to widespread critical acclaim. Of the album, NPR Music praised, “a gorgeously arranged and performed bouquet of psychedelia-tinged folk-rock,” while Rolling Stone hailed, “Cooper pushes her strand of folk rock deep into psychedelic territory by merging her idiosyncratic vocal style with swirling, droning guitar effects and lacerating solos that feel dusted with otherworldly magic,” and Paste declared, “If we’re lucky, we are going to hear a lot more artists in the future like Liz Cooper.” Originally from Baltimore and now based in Brooklyn, Cooper has continued to tour consistently since her debut, performing alongside artists such as Dr. Dog, Shakey Graves, Bermuda Triangle, Lord Huron and Phosphorescent as well as special festival performances at Austin City Limits, Newport Folk Festival, BottleRock Music Festival, Lockn’ and more.

In the fleeting moments between the state of being awake and reaching the doors of dreamworld lies a borderland whence comes the mood music of ancient stories told – the celestial unison of three creative souls known as AURI.
Originally born in 2011 from the special connection of Johanna Kurkela, Tuomas Holopainen and Troy Donockley, AURI was first introduced to the world as late as 2018. Now complemented by the dynamic percussive talents of Kai Hahto, the threesome carves fantastical worlds entirely their own.

Comprised by Tuomas’ keys and infinite imagination, Troy’s arsenal of flutes, other folk instruments and magical touch, and Kurkela’s youthful and tender voice full of childlike wonder – fragile and gossamer, yet powerful and moving beyond words – the flow of AURI’s celestial, uplifting mood music captures from the first notes and does not let go.

To its key members AURI is a creative outlet unconfined by the preconceptions caused by their other bands and their respective audiences. Leaning to Celtic folk and cinematic pop yet not shackled by any specific genre, AURI isn’t the kind of music that can be described by words alone. No, an equal effort of the enchanted three, AURI runs a lane of completely their own. Unburdened by anyone’s expectations but their own. This is the sort of music that taps directly into emotions.

Embrace the atmospheric auditory imagery of fantastical valleys of other fairytale dimensions and soon gone fireside bards. Dwell for just a moment in treasuries of dreamlands and ponderings that see mundane things turning into otherworldly miracles.Feel welcomed to embark on endless adventures on long roads untrodden and ships never sailed.
As if frozen in time, you’ll be captivated by heart-burstingly elating fare-thee-wells for those dearly departed.
Hear the soft words that empower those feeling inadequate and reassurance to others fearing death.AURI’s are the keys to a dimension of awe no one else sees. Only theirs to offer are the mystical, soundscapes and ethereal vocals.
Theirs to hold are the magical powers that can melt the steeliest of hearts and make grown men cry. AURI invites the listener along for journeys no other band can provide.

Come, my love – now it‘s calm enough to go.

“This is another new one off the greatest album ever made. It’s called ‘My Kingdom.’” Rock and roll arrogance has never hemmed so close to the truth as this Ian McCulloch introduction to “My Kingdom” during the 1983 A Crystal Day concert special. Not only were Echo & the Bunnymen aware of the instant classic status of their latest LP, but the grand, majestic and fluid nature of Ocean Rain made it clear that the band had indeed set out to make “the greatest album ever made.” Ironically, despite all of their work and focus, this masterpiece sounds like it was simply handed down from the gods. Following the more rock-oriented material on their first albums, the songs on Ocean Rain were a departure. The aim was to make something “conceptual with lush orchestration, but with a twist.” With their success using strings on tracks like “The Back of Love” and “Never Stop” providing confidence, the band employed a 35-piece orchestra for Ocean Rain. Guitarist Will Sergeant would later describe the finished recording as “windswept; dark and stormy.” The Scott Walker / Love inspired string arrangements, unusual instrumentation, inventive recording techniques and McCulloch’s abstract and bewildering mysticism all added to the unique and timeless quality of the album. A statement of purpose by one of the elite bands from the ’80s underground, Ocean Rain includes several of the Echo & the Bunnymen’s most adored recordings and some of the best songs from the era. “The Killing Moon,” “Silver,” “Seven Seas,” “Crystal Days” and the aforementioned “My Kingdom” continue to mesmerize a new generation of post-punk romantics, and the band’s influence can be heard in the grandiose spectacle of groups such as Arcade Fire and British Sea Power.

In 1970, Kevin and David met whilst they were working in the Labour Exchange Office on Aytoun St, Manchester. Both played guitar and had been searching for other musicians who played atmospheric music. Kevin had been playing in small clubs in Manchester and David performed in a few local bands. One evening, they jammed together at Kevin’s family home, and quickly realized that their playing blended together to form the basis of the sound they had been looking for. In the late ‘70s, the music scene in Manchester was bursting with new bands and music.

However, Kevin and David had little in common with the local acts, being disciples of a more meditative approach. They followed a path of their own, reaching for an otherworldly sound that they heard from artists like John Martyn, David Crosby, Erik Satie, Terry Riley, Eberhard Weber, Alice Coltrane, and Ralph Towner. They experimented combining their acoustic guitars and David’s bass with various effects pedals and techniques to try and achieve a warm and expansive sound that rides the line between ambient, jazz, and psychedelic folk Music.

Towards 1981, they had written eleven songs and accompanied a few with Moog synthesizer laid down by Rob Baxter. All were recorded on cassette decks in their simple home studios. They named this collection of music “Light Patterns”, after a poem Kevin had written. With Light Patterns complete, they set out to find a label to represent their music. They started playing a few gigs in Manchester; Band On The Wall, the Gallery, and other venues, such as Rotters which local promoter Alan Wise had organized. They set up with small amps along with their effects and played as though they were back at home. As Kevin remarks, “It was unusual, to say the least, to play such venues in a low volume chilled out way. However, people listened, often in shocked curiosity, and some even asked for tapes.”

Peter Jenner, of Blackhill Enterprises, eventually picked up the album for his new label, “Sheet”. Peter had managed lots of experimental bands and solo artists, including Pink Floyd in their early Syd Barrett days. He always favored outsiders! The tapes were taken to Strawberry Recording Studios in Manchester, who were surprised when Kevin and David walked in with just a couple of home-produced cassette tapes. Fortunately, they liked them and agreed to master the album. It was then sent to Portland Recording Studios in London for final mastering to vinyl. George Peckham, aka “Porky”, did the pressing with a personal message in the deadwax; “Kaftans, Candles and be Cool Man”. The artwork for the album cover was done by the late Barney Bubbles, a truly visionary artist.

After the album’s release, the pair continued to play together regularly until David moved away from the city. Kevin still resides near Manchester in the rolling hills outside of the city. He continues to experiment with dreamy music in his loft, and we are set to share a selection of his ethereal archival and current compositions in the coming months. David lives a quiet life in a small coastal town in the South, he likes to sail and is an avid cricket fan. We’re excited to make Light Patterns accessible again for the first time in nearly 40 years, remastered from the original tapes. As the original press release said, “Put the album on, lie back and enter the land of no floors”.

Sydney-based producer and co-founder of Velodrome Recordings, PZ Specialist comes through with an energetic and forward-thinking debut 12” Rattlehats.

Comprised of 4 versatile club cuts, these tracks range from trance-inspired electro to jazzed-out Balearic house. It’s a versatile EP that sees the Sydney producer blend vibrant, dreamlike synth tones with dense and playful percussion - a colourful record that remains grounded in club-focused practicality.

Keplar re-issues the fourth album 'Chessa' by Dan Abrams' project Shuttle358 on vinyl for the first time. The double LP edition includes 3 previously unreleased tracks from the same recording sessions back in 2004, as well as an extended artwork with unseen photographs by Dan Abrams.

While undoubtedly associated with the microsound and 'clicks & cuts' movement around the turn of the millennium, on 'Chessa' Shuttle358 left behind the classical rhythmic patterns of the genre and shifted further towards warmer territories, meandering between modern digital minimalism and the soft tones of ambient music. Counter to his microsound synthesis approach on Frame (2000), Abrams created Chessa by writing software that manipulated samples from his unreleased songs, guitar pieces, and vintage japanese films sampled from video tape. In particular, a special granulating technique was written and performed at intentionally low sample rates that gave the uniquely fragile, yet dense sound to the album. Over fourteen tracks Abrams arranges slowly evolving sonic entities of unfading elegance. Strayed and hazy melodies pulse and cascade, elongated but brittle harmonies shimmer and disappear, echoing far-off in the rounded corners of the mind. The patient and detailed way Abrams combines the broken with the beautiful in creating organic collages of sound that retain the euphonic essence of a song, makes this piece of work so powerful and timeless, sounding just as relevant today, as it did 17 years ago.

Under modern scrutiny in Abrams latest studio, he refocused the original recordings to emphasize the elements most important to the original vision. The final mastering and vinyl preparation was done in collaboration with Stephan Mathieu, vinyl was cut by LUPO.

From the original press release in 2004 by Taylor Deupree:

Without a doubt Shuttle358 has become one of the most admired artists to emerge from modern electronic music’s sea of musicians. From the humble beginnings of a demo CD in 12k’s mailbox to 4 critically acclaimed CDs, Dan Abrams is, to some, the one credited for bringing a warmth and human touch back into what has often been considered a very cold, sterile genre. It began with 1999’s Optimal.lp (12k1005), a groundbreaking debut release that immediately defined the Shuttle358 sound; a hybridization of the then-emerging “microsound” genre with Eno’s true ambient explorations. In 2000 Abrams outdid himself with Frame (12k1011) by honing his sound design and exploring production techniques at rates that made his “now” quite brief and creating what was to become one of the most sought-after CDs in the 12k catalog.

Chessa is the third release from Abrams’ Shuttle358 moniker on 12k and he continues to do what he does best: attempt to move microsound away from the world of theory and towards absolute real life. Like his photographs, Chessa is music about, and to be listened to in, unexpected places. It is a narrative, a simple slice of life that plays out through the incidental photography of the cover artwork. To achieve this Abrams fuses irregular granular sound particles, like the movements of everyday life, with a deliberate melodic base that captures emotion and simplicity.

Get on Down is proud to present A Wolf in Sheep's Clothing, the debut album by Black Sheep, available for the first time ever as double vinyl release. On the initial release of this classic it was 'The Choice Is Yours' that blew the roof off with even the most of novice rap fans gravitating to the song's energy. The cut has gone on to be featured in a long list of films and commercials (including the KIA campaign with the hip hop hamsters). Singles like 'The Choice Is Yours' and 'Flavor of the Month' made a perfect landing strip for those to delve deeper into the duo's debut. Often humorous ('Strobelite Honey'), often serious ('Black with No N.V (No Vision)', Black Sheep were able to craft an album that displayed their witty sensibilities while also staying conscious in true Native Tongue form. From the moment the album starts with Prince Paul introducing the 'lowlifes of the family tree' you know you are in for something special....and different. Mista Lawnge's production is every bit as textured as fellow counter parts Tribe or De La, while standing out as being completely original and fresh. Tracks like 'Butt in the Meantime', 'Try Counting Sheep' and 'La Menage (Featuring Q Tip)' are great examples of the duo's original style - complex layered beats (everything from Jazz, Soul and Rock all meshed together perfectly) to compliment Dres' distinct voice and word play. With other standout album cuts like 'For Those That Slept' and 'To Who It May Concern' it seemed as if they had an endless bag of treats, each offering something different while preserving the groups style. Polar opposite to what other groups at the time were doing, Black Sheep hit a homerun with their debut that few hip hop acts would ever reach. VH1 called 'The Choice Is Yours' one of the Top 100 Hip Hop tracks of all time and with not one bad or filler track, this full album certainly ranks as one of the best hip hop releases of the 90s.

Greek electronic music platform, "π" turns seven this year and brings new features on its label catalogue. "Variable Remixes" is the first remixes EP of the Pi Electronics Various Artists series "PEVA". Five tracks from the debut compilation "Variable" - released in 2018 - are getting remixed by some of the label's favorite acts.

Unhuman's “Imminent Fear" gets an alternative Version by the legendary, Spanish band of Esplendor Geometrico. Damcase's "INKL Rules" is remixed by American producer Container. The untitled track of the Variable compilation, by the artist project "I am Legion, for We are many", gets reinterpreted by the Canadia duo of Rich Oddie (Orphx) and Huren as "O/H".

On the flip side, the track "GBNR17" of the label's "3.14" gets its fix by Spanish, industrial techno maestro, Geistform and DΛS' "Spinner" receives a special remix treatment by Athens' infamous ANFS.

Noise break-beats of different tastes on the A side, with stomping industrial beats for the club and sub-club environment on the B side.

Like any good party, there's an after-party. What, you didn't think we'd keep it going? C'mon.

We began this one with Jacques Renault's Sky Islands, a full-length album that sought to achieve euphoric disco delight within a wonky conceptual framework; it's his late-night live DJ sets in spirit, organized like a 70s or 80s vinyl megamix or public-access radio program, but comprised solely of a couple dozen originals he crafted in the studio, most of them being wrapped up during the summer and fall of last year.

Of course, we realized delivering such an experience, where no “song” is more than about 90 seconds, would do nothing for the working DJ, unless the working DJ is looking to nod off for thirty or take an extended bathroom break. Thus, Coast to Coast, a 12-inch that collects seven of the songs from the LP—in full- length, special-disco-mix, club-ready form.

This EP will be followed by more long-form cuts, as well as additional goodies. There will be an after-party for the after-party.

seekers come back with special project consisting of a Various Artist 4-part vinyl set + 90 minutes tape cassette.
The cassette has 2 exclusive bonus tracks that do not appear on vinyl.