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Oaths were made, plans and maps drawn up. The Spawn has escaped. Wavejumpers spotted off the coast of Scotland. Can you decode The Sound that lurks in the fog?

Funky Trip makes a striking debut on LOK.ltd with the Kong EP, a refined showcase of his deep, groove-driven minimalism. Seamlessly blending hypnotic rhythms with subtle emotion, Funky Trip crafts an immersive listening experience that pushes the boundaries of Romanian-inspired minimal.

Adding to the release’s allure, Romanian maestro Barac joins it with a stunning remix of the title track, infusing it with his trademark hypnotic flow and cosmic depth. Together, they deliver a record that feels both timeless and forward-looking.

A standout vinyl for collectors and selectors alike, Kong EP is essential for those seeking stripped-back yet transcendent dancefloor narratives—proof of Funky Trip’s growing influence within the deeper realms of minimal house.

PROMISE is the latest album from Brooklyn-based producer Ibe Soliman, aka Bad Colours. Known for his blend of house, proto-techno, rap, and soul, Bad Colours delivers a dynamic, emotionally resonant record. Driven by hypnotic rhythms and personal storytelling, PROMISE explores themes of vulnerability, desire, and transformation. It's a versatile album designed for both dancefloors and introspective listening.

PROMISE is the fourth LP from Bad Colours on Bastard Jazz, following 2024's collaborative album with Cor.ece, Been Here Before. Soliman's career spans over a decade—DJing alongside artists like James Murphy, Mark Ronson, and Q-Tip, and producing for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross. His work has received support from KCRW, KEXP (including multiple Midnight in a Perfect World mixes), and CBC Radio 3, and has charted on both the NACC Top Electronic and Top 200 charts. Bad Colours has been featured in press outlets like NYLON, Nonderland, Resident Advisor, Electronic Groove, and Fusicology. His music has appeared in Netflix's Escape from Spiderhead, Hulu's Woke, Disney's Chang Can Dunk, Showtime's American Gigolo, Valorant's Rising Stars, and more.

Having established himself as one of the most exciting contemporary dance producers with a string of stellar releases, Japanese producer boys be kko returns triumphantly with the Nagasawa EP, four floor cuts bursting with emotion, shimmering in Tokyo technicolor, and perfectly at home on Bliss Point.

Nagasawa kicks off with a bang. “ChuKii” is a peak time heater: breaks, chopped vocals and punchy toms sear over a low end groove that proves body music can funk. Melodic acid explodes like a firework mid-track, taking the dance floor to psychedelic new heights.

The club psychedelia continues with “Mold Mold”, a minimal, subterranean system roller adorned with swells, bells, and deep, guttural growls dubbed to the vanishing point.

“Sant Esteve (kko Edit)” is melancholic and contemplative jazz house, eschewing cliché and twinging with nostalgia for that moment you felt most free.

“Humor is an important part of my music”, boys be kko reflected over lunch as Izakaya smoke billowed past his face. “Oignon”, the fourth and final track on Nagasawa, is an airy and joyful slice of sampledelia that makes good on this promise. An enormous smile of a track sending listeners off with a slice of sonic sunshine and, dare we say, hope.

Gyros Heroes is the latest release from Adlibitum Tum Tunes, showcasing the unmistakable synergy between label curator Kirill Matveev and trusted maestro Nicolas Barnes, a resident artist renowned for his consistently refined and emotive sound.

The EP unfolds as a sophisticated blend of deep- and tech-house aesthetics, designed to uplift, move, and connect. It balances percussive bounce with emotional subtlety, offering a graceful flow that is both club-ready and sonically rich.

A1. Kirill Matveev – Am I Happy With That and A2. Kirill Matveev – Once At Dawn deliver the opening momentum, channeling sleek grooves and playful introspection with polished restraint. These tracks glide effortlessly between warmth and drive—embracing the listener without overwhelming.

On the flip side, B1. Nicolas Barnes & Kirill Matveev – Naar Shada blends the duo’s sonic sensibilities into a mood-driven piece with elegant progression and percussive intricacy. Closing with B2. Nicolas Barnes – Qeezy, the record reaches its emotional high point: a dancefloor-oriented yet soul-touched cut that radiates both sensuality and controlled energy.

Gyros Heroes is a finely tuned experience—bright yet deep, emotive yet precise—crafted for selectors who value atmosphere as much as movement. This is an EP that invites you into its positive orbit, reminding us how expressive and graceful club music can be when shaped by masters of tone and detail.

Adlibitum Tum Tunes is a division of MixCult Records

2025 Repress

The breakthrough dance collective of the year bar none! Having made a name for themselves creating the evilest drum&bass music the world has ever seen, in recent months Noisia have been seen DJ-ing at house clubs, releasing singles with prominent house labels and most recently remixing for the likes of Robbie Williams! However, it wasn't long before they decided to go back to the dark side and join forces with good friend Mayhem (USA) to come with something more disgusting than ever, oh and they got KRS-One to provide the vocal!

A truly breathtaking intro bursting with evil foreboding sets the scene, before Noisia and Mayhem unleash the darkness with their signature drum programming alongside futuristic never heard before beats and breaks. Be sure to wait for the hip-hopesque interlude that features the immense vocal talents of none other than KRS-One. If you're not nodding your head by that point, you best check your neck isn't broken!

Comes in standard full colour Vision Recordings repress sleeve.

2026 Repress

Slam rework Nitzer Ebb, Silent Breed, DK8, Terrence Fixmer and more for the final installment of their Archive Edit series.

Soma label heads Slam curate a specially designed package of tracks to finalize their Archive Edit project that sees them delve deep into Techno's past to bring some of the genre's best tracks into the modern age. The Archive Edit project started as a way for Slam to showcase and share the many different edits that had made their way into their DJ sets over the last few years.

The pairing of Stuart McMillan & Orde Meikle have both raided their extensive collections, picking out tracks that have defined countless sets over their career. Tracks from luminaries such as Nitzer Ebb, Thomas P Heckmann (as Silent Breed), Damon Wild & Terrence Fixmer have been re-edited alongside some of Slam's own unreleased material, showcasing the duo's current sound; one that naturally evolves, matures and demonstrates why the duo have been at the forefront of the global scene since its inception.

X-IMG presents “SEARCHING HELL” the new album by industrial body music producer SARIN, this 12” full-length LP marks his first release in six years.

SARIN (aka Emad Dabiri) has spent the last years sharpening his teeth on numerous collaborations and dozens of remixes. His evolution and development is displayed in the Gesamtkunstwerk that is “SEARCHING HELL” a nine track cybernetic joyride into oblivion; featuring his distinct militant drumwork, heat-seeking bass lines and surgically interlaced sampling, augmented by deceptively serene atmospheric pads & bloodied vocals. All this composed and assembled with an array of analog, digital and software based weaponry. “SEARCHING HELL” seeks to find meaning in an increasingly meaningless & subjugated world while maintaining a subversive & defiant autonomy.

Comes with download code.

A collection of transfixing, storm-like compositions, "Drifts" draws you into its heightened sense of quiet, reveling in iridescent, tranquilized vapors - one part ambient Classical, one part Club-adjacent ambience.

Pitched, reduced, sampled and re-sampled, the album's glowing, elliptical abstractions - using piano, harp, strings & modular synthesizer - explore the emotional terrain between aftermath and renewal, blending the unstructured immediacy of improvisation with the elegant sculpture of composition.

"Drifts" represents for its maker a newfound interest in shadow and mystery, each track a shifting terrain, a collection of clues, a scene set in a larger story, the effect cumulative.

Featuring collaborations with Patrick Belaga, Marilu Donovan (LEYA), and Takuma Watanabe, the album's cinematic suite of impressionistic, ambient works invites the listener into a vast, mapless space of dreamlike non-linearity where interior and exterior landscapes bristle with intimacy and electricity.

Limited Edition Transparent Black Vinyl Version - 500 Units Only

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in a many of Frankie’s productions. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purpose classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music. It includes the Director’s Cut reworks of Frankie’s classic cuts such as ‘Your Love’ and ‘Take You There’ with Jamie Principle, alongside Frankie’s first #1 single - ‘The Whistle Song’ on which Eric shares writing credits.

Within a multitude of classic reworks, highlights include a previously unreleased version of Ashford & Simpson’s ‘Bourgie Bourgie’ and a huge Director’s Cut Retro Signature mix of Marshall Jefferson’s The House Music Anthem (Move Your Body) featuring Curtis McClain.

The Director’s Cut Collection is a fitting tribute to commemorate the fifth anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.

Benedikt Frey supplies the aid kit. Sonic remedies for the night.

4 transmissions for after-dark navigation. Remix from Carl Finlow.

For its third release, Club Blanco welcomes German producer Benedikt Frey. Aid Kit delivers three original pieces of shadowy club machinery - tense, wonky and charged with late-night atmosphere and rugged vocals. Electro veteran Carl Finlow reassembles the parts with clinical precision, crafting a remix that hums with circuitry and steel. Together they form four doses of deep club music.

Everyone knows the story of American disco.
But few are aware that, between the late 1960s and the late 1980s, Italy wrote a parallel one — spontaneous, surprising, and incredibly creative.

It is a story that spans two distinct seasons: the Italian disco of the 1970s — melodic, handmade, sometimes naïve yet always original — and the emerging Italo Disco of the 1980s, electronic, futuristic, and lightheartedly projected toward the future.
Two different languages, yet both driven by the same desire for freedom and modernity. Discoteca Sound — Italian Discoteca Underground 1975–1986 brings together 18 rare tracks — including two previously unreleased — that tell this story of transition: from the orchestral and sentimental disco of Italian dance halls to the synthetic and visionary sound of the first drum machines.
A journey through private archives, local labels, regional studios, and forgotten voices — the sonic map of a country that has always danced, but to its own rhythm. From Mediterranean disco to the first Italo Disco, from the dim lights of provincial dance halls to the early home synthesizers, each track opens a window onto an Italy that dreamed of the dance floor as a universal language of connection during the brief season of revolutionary utopias.

This compilation celebrates ten years of work by Disco Segreta — a decade dedicated to the research, recovery, and appreciation of Italian disco and electronic culture. An act of justice owed to all those artists who had their moment yet were never remembered by history — bringing back to light an essential, still too little known part of our musical heritage.
Because dancing today remains, more than ever, a living act of memory.

Limited edition 2LP, features 2 previously unreleased tracks and a new 2025 version of Coscarella & Polimeno – Station to Station.






f Grazia Vitale – Poi (1975) Previously Unreleased










q Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) Previously Unreleased






f Grazia Vitale – Poi (1975) Previously Unreleased










q Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) Previously Unreleased






f B2. Grazia Vitale – Poi (1975) Previously Unreleased










q D4. Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) [Previously Unreleased]






[f] B2. Grazia Vitale – Poi (1975) [Previously Unreleased]










[q] D4. Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) [Previously Unreleased]






[f] B2. Grazia Vitale – Poi (1975) [Previously Unreleased]










[q] D4. Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) [Previously Unreleased]

To submit or to surrender? Robert Johnson resident Oskar Offermann doesn’t have the answers, and that’s kind of the point. Things change: one moment you’re touring the globe as a recognizable face of one of the greatest clubs in the world, the next you’ve started a new life as a teacher. How do you handle that shift? On this record, Offermann doesn’t offer solutions so much as trace his own way through it, reflecting the whole process in his music and creative work.

Whatever the story, whatever the case, Oskar Offermann can still produce some of the most emotive, bleepy, strange dance music out there and this 12 inch is the proof. Sonically and conceptually it leans into that precise, melancholic German school: at points drawing from 80s wave and experimental music, then flirting with trancey motifs and closing in divinely crafted breakbeat. In just four tracks it packs in a surprising amount of functional range, exactly what you’d expect from one of RJ’s longest-standing residents. The A- and B-sides mirror each other: they open at full intensity, tempos pushed well past the 130 BPM mark, easy to imagine ripping through a peak-time floor – and still both sides land on something far more personal and reflective.

Even inside a framework of high-intensity club tunes, Oskar’s character shines through loud and proud. Think the slightly disjarring yet melodically captivating winds in the middle of the B1 trance induced number “Accepting”, or the masterfully paced build of opener “Planet Interface”. The same goes for A2 “Televise Improvise” and B2 “Sei mal nur lieb”: on paper they should feel like breathers next to the two behemoths, but they don’t. Offermann crams so much substance and personality into them that they become quietly dangerous. There’s that magical mix of squelchy acid, rough low end and naturalistic melodies on B2, and the relentless emotional drive of A2 “Televise Improvise”. Oskar is really, really good at making dance music irresistible.

Character, skill and honesty in one record, meant for the attentive listener and the brave DJ. A rare combination nowadays, get it fast!

2026 Repress

The clergy is pleased to introduce you to a new initiate: Birds ov Paradise. This highly anticipated Hypnus debut comes split into three separate EP's which will be released one each full moon starting October.

Some of you may be acquainted with the music of Birds ov Paradise already as he's put out two stellar records on Jens and Aniara Recordings in 2016-2017, as well as making a contribution to our podcast series The Memoir where his sound was put on a grand display. Those of you who are new to the fantastic dream world of this very talented artist will quickly get lost in the flowing rhythms that drives his magical deep techno sound.

Early support from Etapp Kyle, Ness, Slam, Iori, Refracted, Svreca, Cio D'Or and Dorisburg to name a few.

We hope that you enjoy the trip into the Bayou.

2026 repress

The clergy is pleased to introduce you to a new initiate: Birds ov Paradise. This highly anticipated Hypnus debut comes split into three separate EP's which will be released one each full moon starting October.

Some of you may be acquainted with the music of Birds ov Paradise already as he's put out two stellar records on Jens and Aniara Recordings in 2016-2017, as well as making a contribution to our podcast series The Memoir where his sound was put on a grand display. Those of you who are new to the fantastic dream world of this very talented artist will quickly get lost in the flowing rhythms that drives his magical deep techno sound.

Early support from Etapp Kyle, Ness, Slam, Iori, Refracted, Svreca, Cio D'Or and Dorisburg to name a few.

The Éthiopiques series returns! Essential archive recordings from an extremely fruitful period in Ethiopian music.

Before “Swinging Addis” took over the world, there was Moussié Nerses Nalbandian — the Armenian-born composer who shaped modern Ethiopian music. Mentor, arranger, and pioneer, he laid the foundations of Ethio-jazz.

This Éthiopiques volume revives his forgotten legacy, recorded live by Either/ Orchestra First issue ever with new exclusive photos and in depth liner 8-page insert.

“Ethiopian jazzmen are the best musicians that we have seen so far in Africa.
They really are promising handlers of jazz instruments.”

Wilbur De Paris
(1959, after a concert in Addis Ababa)

አዲስ፡ዘመን። *Addis zèmèn* **A new era.**
The time is the mid-1950s and early 1960s, just before "Swinging Addis" bloomed – or rather boomed – onto the scene. Brass instruments are still dominant, but the advent of the electric guitar, and the very first electronic organs, are just around the corner. Rock’n'Roll, R’n’B, Soul and the Twist have not yet barged their way in. Addis Ababa is steeped in the big band atmosphere of the post-war era, with Glenn Miller's *In the* *Mood* as its world-wide theme song, neck and neck with the Latin craze that was in vogue at the same period. Life has become enjoyable once again, with the return of peace after the terrible Italian Fascist invasion of Ethiopia (1935-1941). The redeployment of modern music is part and parcel of the postwar reconstruction. *Addis zèmèn* – a new era – is the watchword of the postwar period, just as it was all across war-torn Europe.
The generation who were the young parents of baby boomers** were the first to enjoy this musical renaissance, before the baby boomers themselves took over and forever super-charged the soundtrack of the final days of imperial reign. Music is Ethiopia's most popular art form, and very often serves as the best barometer for the upsurge of energy that is critical for reconstruction. Whether it be jazz in Saint-Germain-des-Prés or the *zazous* who revolutionised both jazz and French *chanson* after the *Libération*, be it Madrid's post-Franco Movida, or Dada, the Surrealists and *les années folles* that followed World War I, the periods just after mourning and hardship always give rise to brighter and more tuneful tomorrows. Addis Ababa, as the country's capital, and the epicentre of change, was no exception to this vital rule.

**Two generations of Nalbandian musicians**
Nersès Nalbandian belonged to a family of Armenian exiles, who had moved to Ethiopia in the mid-1920s. The uncle Kevork arrived along with the fabled "*Arba Lidjotch*", the** "*40 Kids*", young Armenian orphans and musicians that the Ras Tafari had recruited when he visited Jerusalem in 1924, intending to turn their brass band into the official imperial band. If Kevork Nalbandian was the one who first opened the way of modernism, pushing innovation so far as to invent musical theatre, it was his nephew Nersès who would go on to become, from the 1940s and until his death in 1977, a pivotal figure of modern Ethiopian music and of the heights it. Going all the way back to the 1950s. Nothing less. And it is Nersès who is largely to thank for the brassy colours that so greatly contributed to the international renown of Ethiopian groove. While the younger generations today venture timidly into the genealogy of their country's modern music, often losing their way amidst a distinctly xenophobic historiographical complacency, many survivors of the imperial period are still around to bear witness and pay tribute to the essential role that "Moussié Nersès" played in the rise of Abyssinia's musical modernity.
Given the year of his birth (15 March 1915), no one knows for sure if Nersès Nalbandian was born in Aintab, today Gaziantep (Turkiye/former Ottoman Empire) or on the other side of the border in Alep, Syria... What is certain is that his family, like the entire Armenian community, was amongst the victims of the genocide perpetrated by the Turks. Alep, the place of safety – today in ruins.
Before Nersès then, there was uncle Kevork (1887-1963). For a quarter of a century, he was a whirlwind of activity in music teaching and theatrical innovation. *Guèbrè Mariam le Gondaré* (የጎንደሬ ገብረ ማርያም አጥቶ ማግኘት, 1926 EC=1934) is his most famous creation. This play included "ten Ethiopian songs" — a totally innovative approach. According to his autobiographical notes, preserved by the Nalbandian family, Kevork indicates that he composed some 50 such pieces over the course of his career. This shows just how much he understood, very early on, the critical importance of song as Ethiopia's crowning artistic form. Indeed, for Ethiopian listeners, the most important thing is the lyrics, with all their multifarious mischief, far more than a strong melody, sophisticated arrangements or even an exceptional voice. (This is also why Ethiopians by and large, and beginning with the artists and producers themselves, believed for a long time — and wrongly — that their music could not possibly be exported, and could never win over audiences abroad, who did not speak the country's languages).

Last but not least, one of Kevork's major contributions remains composing Ethiopia's first national anthem – with lyrics by Yoftahé Negussié.
Nersès Nalbandian moved to Ethiopia at the end of the 1930s, at the behest of his ground-breaking uncle. Proficient in many instruments (pretty much everything but the drums), conductor, choir director, composer, arranger, adapter, creator, piano tuner, purveyor of rented pianos,... he was above all an energetic and influential teacher. From 1946 onwards, thanks to Kevork's connexion, Nersès was appointed musical director of the Addis Ababa Municipality Band. In just a few years, Nersès transformed it into the first truly modern ensemble, thanks to the quality of his teaching, his choice of repertoire, and the sophistication of his arrangements. It was this group that would go on to become the orchestra of the Haile Selassie Theatre shortly after its inauguration in 1955, which was a major celebration of the Emperor's jubilee, marking the 25th anniversary of his on-again-off-again reign.

At some point or other in his long career, Nersès Nalbandian had a hand in the creation of just about every institutional band (Municipality Band, Police Orchestra, Imperial Bodyguard Band, Army Band, Yared Music School…), but it was with the Haile Selassie Theatre – today the National Theatre – that his abilities were most on display, up until his death in 1977. To this must be added the development of choral singing in Ethiopia, hitherto unknown, and a sort of secret garden dedicated to the memory of Armenian sacred music, and brought together in two thick, unpublished volumes. Shortly before his death (November 13, 1977), he was appointed to lead the impressive Ethiopian delegation at Festac in Lagos, Nigeria (January-February 1977).

His status as a stateless foreigner regularly excluded him from the most senior positions, in spite of the respect he commanded (and commands to this day) from the musicians of his era. Naturally gifted and largely self-taught, Nerses was tirelessly curious about new musical developments, drawing inspiration from the very first imported records, and especially from listening intensely to the musical programmes broadcast over short-wave radio – BBC *First*. A prolific composer and arranger, he was constantly mindful of formalising and integrating Ethiopian parameters (specific “musical modes”, pentatonic scale, and the dominance of ternary rhythms) into his “modernisation” of the musical culture, rather than trying to over-westernise it. It even seems very probable that *Moussié* Nerses made a decisive contribution to the development of tighter music-teaching methods, in order to revitalise musical education during this period of prodigious cultural ferment. Flying in the face of all the historiographical and musicological evidence, it is taken as sacrosanct dogma that the four musical modes or chords officially recognised today, the *qǝñǝt* or *qiñit* (ቅኝት), are every bit as millennial as Ethiopia itself. It would appear however that some streamlining of these chords actually took place in around 1960. It was only from this time onward that music teaching was structured around these four fundamental musical modes and chords: *Ambassel*, *Bati*, *Tezeta* and *Antchi Hoyé*. A historical and musical “details” that is, apparently, difficult to swallow, especially if that should honour a *foreigner*. Modern Ethiopian music has Nersès to thank for many of its standards and, to this day, it is not unusual for the National Radio to broadcast thunderous oldies that bear unmistakable traces of his outrageously groovy touch.

lim. 150 blue transparent 180 Gr LP + 7" + Poster / incl. Silent Servant Remix

A cross-cutting label exploring the boundaries between different disciplines based on deep listening and music research, Modern Obscure Music is set to release 'INRI' (INDUSTRIA NACIONAL DEL RUIDO INFINITO) on the 1st December, the new album from Dellarge.

Inspired by the scenic beauty of his studio's surroundings at Lake Pátzcuaro in Michoacan, Mexico, Alejandro Barba, aka Dellarge, delves deep into the depths of his artistic consciousness to craft a spiritual album that encapsulates the essence of the place. 'INRI' stands for Industria Nacional del Ruido Infinito (National Industry of Infinite Noise) and serves as a vessel for Dellarge's innermost self-expression and reflections on the potential of humanity.

A multifaceted artist and veteran of the music industry for over two decades, his latest musical creation is an intimate and personal album and a departure from previous Techno/EBM-orientated Dellarge releases. 'INRI' (INDUSTRIA NACIONAL DEL RUIDO INFINITO) offers a mesmerizing blend of ambient, futuristic, and industrial sounds that transport listeners into a realm of mysticism, futurism, and duality and stands as a testament to Dellarge's artistic growth and his ability to transcend boundaries, offering listeners an immersive experience that connects them to his world.

Drawing inspiration from numerous sources, Dellarge found creative fuel in books such as 'El Arte de los Ruidos' by Luigi Russolo, 'Manifiestos y Textos Futuristas' by F.T. Marinetti, and science fiction classics including 'Congreso de Futurología' by Stanislaw Lem, 'Neuromancer' by William Gibson, and 'Dune' by Frank Herbert. Musically, he delved into the works of Coil, Michael Bundt, The Threshold Houseboys Choir, krautrock legends CAN and Popol Vuh, early Kraftwerk, Arthur Brown, Yello, Esquivel, The Residents, and Hector Lavoe for inspiration.

When asked about the creative process behind the album, Dellarge revealed a disciplined routine that involved immersing himself in the sounds, focusing on minute details that connected with the vivid world he envisioned. Ethereal tracks such as 'Viento Androide' and 'Viaje al Sol' offer a glimpse of a hopeful future, while darker compositions such as 'Corpus de Sangre' and 'Toro de Falaris', explore the wickedness and compassion within humanity. Each piece in the album represents a unique sonic journey.

'Viaje al Sol', the first single to be taken from the album, is set for release on the 27th October, and is also available as an EP which includes a remix from Juan Mendez aka Silent Servant. The remix is also included on the digital version of the album and available on 7" vinyl alongside an exclusive reworking of 'Cascabel' by the founder of Modern Obscure Music, Pedro Vian.

Seeking out the inspirational intersection between free improvisation, rave and ancient mysticism, Plants Heal deliver an album of kaleidoscopic, organic beatdowns to Quindi.
Plants Heal is a collaborative project between Dan Nicholls on synths, Dave De Rose on drums and Lou Zon (aka Louise Boer) on visuals. The roots of the project are entwined with Dan and Lou's London-based event Free Movements, which began in 2018 to explore how instrumental music could merge with live electronics and DJ sets. Dave and Dan found themselves playing together frequently at the event and as part of Dave's free improv project Agile Experiments, with their accomplished track records as multi-instrumentalists reaching across many layers of music culture. The particular synergy of their partnership taps into the subliminal, surreal and transcendental soundscapes, but they're reliably anchored by instinctive rhythms and driven by a natural flow-state.
From the tentative steps of their first collaborations, Dan and Dave coalesced Plants Heal as a more pronounced project with Lou's live visuals, culminating in a first self-released album in 2021 and since organically fed and watered through continued performances across adventurous festivals and intimate club spaces. Every incremental step along the path of the project yielded new surprises and the deepening sense of a unique, powerful energy. The trio opted to pour this energy into two days of studio sessions at Sonic Playground Studios in Athens, maintaining their unplanned approach and letting the music and visuals unfold in the moment. The end result is Forest Dwellers, a sincere document of truly free music that uses the rhythmic structure of dance and trance music as a springboard into heightened consciousness.
Throughout the album you can hear hints of the familiar - dub techno shimmers, trip hop boom-bap, kosmische momentum, snarling bass modulation, new age ambience and even the odd sizzle of disco. But none of these references are explicit, and they weave in and out of less placeable expressions deeply bedded into Dan and Dave's sonic practices. The end result is a swirling tapestry of unspooling groove, wide open and agile enough to shift gears mid-flow - just as comfortable letting the propulsion melt away as locking into a four-to-the-floor throwdown. From the slippery syncopation of 'Avena Moon' to the angular bait-and-switch of 'Alien Hardware', 'Yarrow's starry-eyed reverie and the rolling, warm-hearted funk of 'Space Ballad', the Plants Heal sound world is expansive and equally enthusiastic for immediate musical motifs as much as wild abstraction.
Lou's visual practice is an intrinsic part of the project. During performances she improvises with analogue footage from her library run through video mixers and synthesisers, focused on medicinal plants such as yarrow, hawthorn, nettle and thistle. All those plants feature in processed form on the cover of the record, which was designed in collaboration with Lou's brother Arthur Boer. Meanwhile, Lou recorded additional footage in Athens during the recording sessions to feed into the continued cycle of the project's live evolution.
Forest Dwellers' meaning honours this cycle and its reflection of the eternal undulations of the natural world. It's also a sincere tribute to the spiritual importance and radical potential of the dancefloor, drawn from the freedom taught by jazz and dedicated to reclaiming lost ideas about community, agency, bodies and the enduring allure of the unknown.

Possibly one of the best Mental Groove releases to date. Symbols & Sacrifice is raw, beastly, and savage — a cinematic and esoteric journey from the depths of Sindaco’s universe. A masterfully crafted experience across four sides, this release blurs the lines between ritual electronics, hypnotic repetition, and uncompromising raw techno. A powerful and immersive statement, pressed on audiophile-grade vinyl for full heavy sonic impact.

Under the name of Sindaco is hidden a complex yet mysterious project where different styles and cultures live together.Obscure kraut rock, no wave, black metal and Detroit techno collide in what can be considered songs more than simple tracks. All is played by Sindaco with analog equipment without the help of computers. All is driven to create the best soundrack possible. The idea is to avoid all the typical cliches of the contemporary electronic productions and push the boundaries into a new way of tropical futurism. Be involved by the unespected waves of sounds coming from another world!

Das Set enthält acht Maxi-Singles auf Vinyl+ ein Nachdruck des Promo-Posters zu "Dream-On" sowie ein großformatige Poster, welches Bestandteil der 12'' zu "Good Lover" war + die Tracks der audiophilen Maxis wurden anhand der Original-Tapes gere-mastert.