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Limited Edition 400 Only Translucent Violet Coloured Vinyl Lp. Housed In A Full Colour Outer Sleeve With Mind Bending Artwork And Download Code.

Third Earthling Society Album For Riot Season Following The Previous And Now Sold Out 'england Have My Bones' (2014) & 'ascent To Godhead' (2017)
 
'mo - The Demon' Was Recorded At Leeds College Of Music Between November 2017 - February 2018. The Basis Of The Album Was To Record An Imaginary Soundtrack To The Shaw Brothers Bat Shit Psychedicrazy Kung Fu Horror 'the Boxer's Omen' Aka Mo Or Demon.
 
The Story Is An Everyday One.
 
After A Hong Kong Kick Boxer Is Paralysed By A Cheating Thai Competitor, His Mobster Brother Vows Revenge And Journeys To Thailand For A Duel. Along The Way, Our Hero Is Met By Bizarre Visions, Entered Into A Buddhist Monastery, And Begins A Quest To Save The Soul Of A Deceased Monk (his Twin Brother In A Past Life) Who Died At The Hands Of A Powerful Black Magician.
 
We've All Been There. However The Movie Descends Into A Kind Of Spiritual Jodorowsky Mushroom Fest That Is Completely Deranged And Is Therefore One Of Those Perfect Midnight Movies.
 
So We Got Free Studio Time At Lcm In November And Just Went 'fuck It' Lets Make An Imaginary Soundtrack In Homage To Such A Great Movie.
 
Taking Inspiration From All The Things Musical That Have Inspired Us Over The Years. Berlin Era Bowie, Prime Magazine Circa 'correct Use Of Soap', Electric Funk Miles, 'caravanserai' Santana, Embryo And God Knows What Else (it Doesn't Really Matter As It All Ends Up Earthling Society), We Think We've Made A Groovy As Fuck Concept.
 
Then, Invited Back In February We Decided To Record 2 Stand Alone Pieces 'spring Snow' And 'jetavina Grove' And Bring All Our Space Rock Elements And Psych Raga Back Into The Fray. Throw In Some Super Cool Korean Vocals Courtesy Of Bomi Seo Of Tirikiliatops And Run The Guitars Through A Harmonizer H910 (as Used By Visconti On Low An Heroes) And Its The Perfect Swansong To The Last 14 Years Of Playing Live And Recording Together.

 

Nigh/Tmare's most recent EP, entitled 'Hypnagogia' on Thrènes Records, is the perfect example of the artist's uncompromising attitude. The integral work on this project is the perfect sublimation of experimental overtones, rugged beats, and techno punch, making for a candid, outstanding, and diverse approach with a lot of edge.

The opening track, 'Inside Me', perfectly encapsulates the dark, melancholic atmosphere and the robust dynamism we find throughout the EP. Operating a more technoid and ethereal approach on 'Without Believing', Nigh/Tmare successfully communicates his urge to express his dystopian feelings of loneliness and despair. The journey continues with "Deflagration of Hell", which comes as a daring lamentation from deep inside the darkness. Killawatt's rework on this one heads off a bit of the original and discharges its emotional intensity by offering a new audaciously powerful dynamic. Finally, 'Despite Everything' keeps the perfectly balanced feel of the EP; it offers a subtle touch of dreaming and a hidden optimism. The digital edition includes an exclusive track and a longer version of Killawatt's interpretation.

Set for release in both physical and digital formats on October 12th, Hypnagogia EP marks Nigh/Tmare's first EP for Swiss-based record company Thrènes (which takes its name from the Greek word for funeral lament) and are a label dedicated to the release of tenebrous electronica and techno.

Are you Vogue enough After contributing her mesmerizing lyrics to Sinfol's 'Crystalline', Barbara Ford now debuts on Anagram with her first solo EP titled 'Sound of the Siren'. From her tense storytelling on the title track, brilliant contrasting elements on 'Fashion Week' and fast paced power grooves on 'Treason' and 'Amotan', Barbara makes it very clear why she made herself a part of the Anagram family with this stellar contribution to the Dutch label's discography.

Hot on the heels of Rapid Eye Movement's journey of discovery and growth comes the EP 'Split: Remixes' featuring reworks of the quartet of cuts originally signed by label founders Memorial Home and VII Circle.

Invited to apply their own reflections onto the material are rising producers Nur Jaber and Wrong Assessment as well as renowned artists on the underground experimental scene Edit Select and Reggy Van Oers.

First up is Nur Jaber's take on VII Circle's 'Metaphysical Functions' showing how the young Berlin-based Lebanese artist is as much inspired on remix duties than in crafting her already much acclaimed productions. The perfect mixture of dark and intense driving techno beat with haunting ambient-driven melodic motifs and dramatic breakdowns encompasses much of what her sophisticated sense of sonic exploration is about.

Up next on a heavier kicking note is 'Dogma' refashioned by Milanese fellow Wrong Assessment who transmits his vision of both minimal and hard pounding techno by merging a strait rugged beat with undulating synth lines and bouncy cymbals that will drive the audience to an insane rave-spirited dance floor venture.

Following the path, Tony Scott a.k.a Edit Select's interpretation of Memorial Home's 'Second Floor' is a clear example of the unique and forward-thinking sound that the Scottish techno scene 'veteran' has developed throughout the years. Deftly combining a tension-building drum and bassline work with layers of hypnotic synth textures that makes the track both suggestive and trippy-hitting in equal measure.

Concluding the journey is Reggy Van Oers (RVO)'s rework of Memorial Home's 'Ampere' which evinces this quest for organic and mental techno soundscapes inspired by classical and cinematic music, characterising the both complex and powerful crafting signature of Dutch Telemorph label's owner.

Between dark shadows and brightness, REM confirms with this new release that quality and free-minded artistry are the key pillars of the platform's curation philosophy.

The spiritual and uplifting music of Clifford White is highlighted with two of his most sought after songs, taken from his 1989 album The Lifespring, and presented here in a special extended 12" for the first time. Starting in music production at just 15, White could be described as a protegee, however his take is that they were part of a music journey that continues today. With a centre found in electronic music and spirituality, his progress, from simple home use 4-track stereo to working in professional 16-tracks studios was swift, but matched by a deeper appreciation, greater confidence and wider palette of music styles. Utilising his love of early samplers, his first use of the Akai S612 to accompany and expand his keyboard recordings saw continued development from his debut album at just 17 with Ascension (1985), to the follow up Spring Fantasy (1987) and on to The Lifespring (1989). A small review in the local paper literally led to a knock at the door and offer of a deal from the Start (State Of The Art ) label to record his next album. With a subsequent advance, professional studio equipment was hired and out of these sessions his sound expanded to include ambient, orchestral, synth pop and even ballads. From this both Lifestream and Rain Trek emerged. With a love of Jean Michel Jarre's Oxygene in mind, Lifestream's smooth beginning soon gives way to the pulse of an arpeggio driven groove. Aiming for "relaxation with an edge", the track has become a secret play for the more Balearic minded DJ in the decades since and now sees the LP trade for dizzying sums. However, the original is achingly brief, gracefully fading as part of the album's journey. Here though, with DJs and collectors in mind, White returns to the song to craft a specially extended version that completes the song and will be appreciated at sunsets across the globe. Seeking to take the music and listener to another place, Rain Trek took White's interest in Sci-Fi and the mystic powers of water to a rightful conclusion. The healing nature of his music is apparent, the mystery, yearning and travelling, all emotions evident, but with a kick that will grace the more enlightened dance.

Confunktion Records own Mr. Confuse returns with his fifth studio album 'Only A Man'.

This album is about the depths of Mr. Confuse and therefore a very personal album in a way. From well-known soul topics of love and hate to social issues of modern life - this album is all about an odyssey through time, rhythm and music.

Times of big studio personals are long gone so a big part of creating this album was the imagination what kind of instruments, musicians and sound design is wanted. With up to 16 international musicians, Mr. Confuse created incredible sounding big arrangements.

The way Mr. Confuse produces his music is inspired by growing up with the 90s hip hop producer technique of creating something new by referring unheard funk and soul. This from of appreciating 60s and 70s music in order to bring it on a new level of musical expression is a clear trademark of Mr. Confuse.

The process of sampling and resampling recorded musicians creates an organic, powerful, authentic and danceable funk sound, which can be heard in each and every second on this record.

Twisting electro funk from the 80s into heavy 60s and 70s funk that could have been the blue print for the original version became a true Mr. Confuse feature already years ago. This time he re-funked the well-known freestyle electro classic 'Let The Music Play' by Shannon.

Also one of the reasons it's entitled 'Only A Man' is because it means composing, producing, arranging, mixing, recording, organising, promoting and going abroad preforming by just one 'man'.

The Leap is the new project of Dutch producers Tripeo & Doka who are now taking the logical next step in their musical journey and present an EP that touches on genres all across the electronic board. The Leap is about more than just music, which will reflect in the track titles. Current developments in the world take center stage and inspiration is taken out of politics, literature, media, (green) activism and much more.

The opening track 'Shock Doctrine' is a slow building yet powerful piece of gloomy, hypnotic techno, followed by the exceptionally deep and undulating 'Borrowed Time' that combines soft atmospheric textures with distinct fragile melodies and could easily be the soundtrack of a dystopian reality. On the flip side the duo showcases once again seamless production skills and with 'Green Capital' they set a nostalgic mood, a trancey journey filled with crisp hi-hats and snares, resulting in an effective techno tool. The mind bending closing track 'Sustainable Communities' creates dance floor tension with its piercing metallic synthlines & just like the whole EP it provokes the listener to think outside of the techno sphere.

As bottom end provider for Cinematic Orchestra and Paper Tiger, Hunrosa (AKA Sam Vicary) already has something of a pedigree for a man of such tender years. His music glides effortlessly between Bonobo at his most sonorous, Jon Hopkins at his most ethereal and Flying Lotus at his most freaky. Currently based in Manchester, his music captures the wild organic senses of his Cornish childhood, anchoring it with a darker 2am undercurrent. Following the success of 'Ransom' (a firm favourite of BBC 6 Music's Tom Ravenscroft) Hunrosa returns with his newest offering 'We Know'. An eerie, ethereal track full of haunting atmospheres, Vicary enlists Austrian percussion maestro Manu
Delago, who lends his hang drum expertise to the proceedings weaving it amongst the twisting, intricate beats and Anna McLuckie's delicate vocals. the original is accompanied by a white label 12' containing three reworkings from burgeoning producers Lavan, Etherwood and Danvers. Newcomer Lavan is up first, moulding the organic melodies and earthy percussion into a dubbed out, soulful and bouncy 4/4 number. Hospital Records golden boy Etherwood (whose band Hunrosa is also a member of) brings a late-night liquid DnB atmosphere into play, harnessing the raw emotional power of the lyrics, as reverberating piano chords strike out into the darkness. Having turned the
heads of Bradley Zero and Gilles Peterson with his recent releases, CoOp and WotNot Music's Danvers resets the atmosphere with a zen like extended intro, before launching headfirst into a hypnotic and enthralling looped rhythm section. The groove locked in place, it rises and falls with precision, joined by spaced-out synths throughout the nine-minute duration, allowing the majestic instrumentation to gather pace as the spine chilling vocals drift overhead.

Old school and Acid Jungle new label from Paris. A bloody powerfull dancefloor break on the A-side and a more mental stable loud sound on the flip ! MUST HAVE !

Release description for promotion : The Art of Deceiving the Look is a Various Artists with four cuts-"BCM" is a Delusions track where they have worked on top of their modular synths and drum machines. Looking for atmospheres and dark rhythms!-"Speechless" by Ocktawian is a linear minimalist techno track with a lot of strength for the dance floor, mental and hypnoticwith abstract arpeggios of the likes of Jeff mills, a good weapon as a DJ tool for the DJ for long and aggressive mixes. ..-"Unseen Village" by Droneghost is a powerful hypnotic techno track, it has some polyrhythms to create this cyclic & hypnotic sensation and field recordings to make the effects and have background drone-"LHS 2936" by animatek is an evocative techno track emulating cadence of minimalist melodies, with a central loop that comes and goes based on multiple samples of the processed bells. LHS2936 is also a celestial body of the milky way to 63.97 light years from the sun and that you can visit whenever you wantin the coordinates -31.6875 / 55.5625 / 0.5.

Matthew Dear's Black City Can't Be Found On Any Map. It's A Composite, An Imaginary Metropolis Peopled By Desperate Cases, Lovelorn Souls, And Amoral Motives. Like Most Literary Gothams, Black City Is A Place To Love And Hate, As Seedy As A Nightclub's Back Room And As Seductive As The Promise Of Power. Matthew Dear, The Musician, May Live In New York City, But The Matthew Dear Of Black City Inhabits A Sound-world Unlike Any Other: A Monument To The Shadowy Side Of Urban Life That Bumps And Creaks, Shudders And Wakes Up Screaming In The Middle Of The Night. Black City Is Matthew Dear's Third Album On Ghostly International, And It's His Darkest And Most Engrossing Work To Date.

From The rst Notes Of Album Opener "honey", It's Clear That The Love-obsessed Matthew Dear Of 2007's Asa Breed Has Given Way To A More Existentially Paranoid Entity, As Creeping Tempos Dominate, Cavernous Atmospherics Envelop The Listener, And Strange Distortions Crackle On The Horizon. In Black City, Nothing Is At It Seems: Leadoff Single "little People (black City)" Is A Nine-and-a-half Minute Disco odyssey, subverting its gleaming electronic lead with eerily giddy backing vocals and cryptic, ominous lyrics ("a frozen wasted heart / has died", "love me like a clown"); "You Put a Smell on Me" is a sordid sex romp set to hysterically chattering percussion and a serrated synth line that will set your teeth on edge; "More Surgery" at rst recalls the barely-there Krautrock of Harmonia in its burbling minimalism, until Dear's chanted chorus of "Alter genetics / to make my body glow / I need more surgery / there's so much more to know" sends the track hurtling into a dystopian future.

And yet, for all the foreboding moods on Black City, it's the album's sweeter moments that illustrate Matthew Dear's growing maturity as a songwriter. "Slowdance" is a futuristic lullaby in which Dear articulates a lover's helplessness ("I can't be the one to tell you everything's wrong") over breathy, Arthur Russell-esque cello swishes; the album-closing "Gem" is an achingly simple, reverb-drenched piano ballad that ends with a long, slow fade. Even in Matthew Dear's Black City, there is hope.

'Jump Trax' is another essential piece of early Chicago house music crafted by the legendary Duane Thamm JR back in 1984. Fusing together a myriad of influences including early 80's Euro pop, Italo Disco and HI NRG, Thamm JR was responsible for helping create and influence the burgeoning House sound that would emanate from the city all throughout the second half of the 1980's. Not only were these sounds new and fresh, they were experimental too, 'Jump Trax' sees the BPM's gradually shift throughout the duration of the tracks seamlessly giving the more adventurous DJ's out there more ammunition and room to experiment with styles and BPM's. A truly visionary approach to production and all recorded and mixed within Chicago's city limits by Thamm JR at his Reel To Reel Studio located in Villa Park, Illinois. 'Jump Trax' continues to be as influential today as it was back in '84, with many top DJ's still citing the record as a 'go to', powerful indeed.

Chicago's Still Music are proud to present this fully legit, remastered and repressed piece of Chicago house history. A truly pivotal record now made available again for 2018. Essential sound for those who love the real deal - snoozing not advised, OG copies of this monster are hard to come by!

Robotron is the machine formerly known as Xinner. This is its first offering for the ESP Institute. Side A's Dream Resonator is an idiosyncratic network — dexterous machine drum/percussion programming, an ebb and flow of floating arpeggios, syncopated counter-melodies and a hail of stabbing stringscontinually diffusing into ethereal vapor — all stacked into an (aptly-named) orchestral anthem. Side B's Ice takes a similar approach with arrangement, each instrument carving out its place in the track's mechanics for a glorious convergence of patterns, but, where side A proves optimistic, here we sense a more menacing undercurrent, an austerity powerfully articulated through towering kicks and claps so compressed they fill up every dark corner of negative space. Indeed, Robotron has an innate command for building and calibrating robust systems, but beneath this calculated veil we find the remnant human behavior of Xinner. These two songs will whisper loudly but scream quietly.

Catch Recordings return with their 13th release, this time from DJ Najaora. He's an emerging talent from the ever growing Techno region in Georgia who's mature, fully formed sound is showcased here across three innovative left-field Techno & electro tracks. The excellent 'Night Dreamers' takes the A1 spot. It's an analogue electro cut throughout. With forceful broken drums accompanied by electric lead lines that provide a powerful energy for the dance floor.'Space Call' is a more cerebral and less dance floor affair that has you day dreaming amongst the meandering pads and classic Detroit electro vibes. A soft acid line runs throughout, while the whole cuts creates nostalgia of old Warp Records.Last of all 'Simulaq' which takes the B-side has wide and vast rubber kicks alongside booming bass. Making this side a merge of Bass and Electro. Trippy stabs and dark energy pervades the whole thing, making it track for the late hours.
While 13 is an unlucky number for some, this certainly doesn't seem to be the case for Catch Recordings.

Composer, filmmaker and photographer Phill Niblock is a true pillar of the New York avant-garde. In the past 50 years, he has curated over 1,000 performances at his Centre Street loft and steadfastly built a massive, multidisciplinary body of work. While his earliest musical compositions date back to 1968, Niblock waited until the early '80s to release any recordings. Nothin To Look At Just A Record, a powerful debut with densely layered trombones, would be the first to unfurl his unique approach to sound.

The second album and perhaps the most rare in Niblock's vast catalogue, 1984's Niblock For Celli / Celli Plays Niblock is a meeting of two great minds. Working with reed player Joseph Celli (a composer in his own right, who has collaborated with John Cage, Pauline Oliveros and Ornette Coleman), Niblock nimbly removes the breathing pauses from Celli's oboe and English horn to create seamless, enchanting drones.

Niblock insists that his music be played loud: only in this way can one experience the visceral ringing of these long instrumental tones through the speakers and their natural overtones generated by the room. Niblock For Celli remains deeply absorbing.

This first-time reissue is recommended for fans of Alvin Lucier, Yoshi Wada and Dome.

XGLARE (all caps), is Jessee Egan, a Brooklyn-based producer, sound designer and multimedia artist. She has released music under multiple aliases since 2011, most notably on AY Japan. Her latest incarnation, XGLARE, balances warped sound design, unearthly atmospheres and experimental rhythms that reject genre boundaries.

Representing Brooklyn in full force on the debut record, 'Morph EP,' XGLARE yields incredibly heavy atmospheres. This is a mature record showing patience, design and a thoughtfulness sorely lacking in much of the electronic music scene. Beats and dance elements take center stage alongside impossibly powerful, almost elemental transitions. Track 1, Lymph sets the tone with an updated halcyon rave sound. Imagine standing in a field in the countryside at an illegal rave at 6 in the morning as the sun is rising, wind blowing in the air. Track 2 Fossa feat ARIADNE, an Opera trained singer, immediately submits you to whisper shouting, a highlight of the album. In between more dance floor-oriented tracks, Spore and Plexus, sit two sound design gems, title track Morph with its pounding rhythmic charges and vast reverberated rooms, and Ganglia, which reminds of early Do You Know-era Squarepusher. A well-rounded EP showing off the many talents of XGLARE also comes housed in beautiful artwork designed by Egan herself.

Landing on Alchemy Dubs is our sixth release on 7" format, a collaboration between
Ojah and Rider Shafique.

The A side contains the track "Dreams", a mid tempo riddim that goes into the realms of
dub poetry. Lyricist and MC Rider Shafique provides the powerful lyrics and a unique
vocal delivery that combines spoken word with dreamy melodies, while Ojah's music and
production duties complete the landscape.

On the B side we find a dub version as usual, "Dreams Dub". The mix is true to it's name
resulting in a deep meditational dub that will take the listener into the land of dreams.

Limited edition of 500 copies, hand-stamped and hand-numbered, served in a thick custom
reversed kraftliner sleeve with inner black disco sleeves.

Like A Bright Winged Bird! With Coquettish Grin 'sirisins' Rave Their Path Through Nowadays Unwinding Roads Of Harmonious Seductiveness And Hardcore Narcism. But As Whimsy And Changeable Their Personality May Seem, They Are Probably Just As Confused As Everyone Else. Their Weapon Of Choice Resembles A Powerful Energy Source That Luminously Sparkles Between The Rising Abysses Of The Universe. This May Not Be The Rear Window To All Satisfaction, But Open It, And You Might Fly High To The
Friendly Sky.

Warehouse Find!

Scottish producer Austin Ato has been making waves the last couple of years having had well received releases on Futureboogie and Phonica White and this year looks to be his best yet! Remixes for Folamour on Classic, Balako on Greco Roman and an EP for Man Power's label Me Me Me will be dropping in the coming weeks, paving the way for his Delusions Of Grandeur debut double A side; Ella / Putting It In My Way.

On Ella we see Austin deliver some pure, unadulterated, house pleasure over eight minutes (although for us it feels like it could go on for days!). A filtering disco loop, synth melody, string stabs, all reinforced by punchy drums and that all important vocal chop. A simple recipe for a track when cooked up in the right way with love, passion and experience.

Flipping over to the AA, Putting It In My Way drops in somewhat bipolar fashion, a barrage of percussive beats and rolling snares building to a drop where Austin Ato skilfully switches the vibe completely, bringing in deep pads, rolling bassline and his own inimitable vocals. A totally unique track which harks back to the good old days when house music had a soulful and musical touch which connected instantly with the dance floor. This feels to us like a producer marking his arrival as an artist to watch closely for, and whose talent extends way beyond the confines of your standard four on the floor fodder.
Closing the release we have an Instrumental Version of Putting It In My Way which may well be your choice for the deeper moments, letting the groove push to the fore and the lush chords shine through the haze of dubby stabs and twisting synth line.

Children Of Tomorrow will celebrate soon its 10 years anniversary. The label was created by Emmanuel Ternois back in the day and being joined by Arnaud Le Texier in 2011. Since then they focused on Techno producing amazing artists, to name few: Terrence Dixon, Zadig, Tensal, Antigone, Oscar Mulero, Jonas Kopp, Samuli Kemppi etc... Children Of Tomorrow is now presenting the first album from Arnaud Le Texier. After almost 30 years Dj-ing around the world and almost 20 years producing. Signing many releases over the years and always busy delivering dance floor releases, it's been a long wait to finally get an album from ArnaudOn his first album we can feel that he wanted to tell a story and to express something deeper with his production experience. There is a different variety of Techno that stretches from ambient / broken beat / hypnotic / raw Techno along with subtles grooves, wondrous atmospheres & sonic textures. On A side the album opens with Dusk, an ambient atmospheric mid-tempo track with sonic sounds that is a perfect intro.Pattern 2 starts with drones and blip sounds and a broken beat groove follows with a pad that sounds like a voice coming from the space. The track ends with some modular click sounds that make the whole track clever. Followed by the album title Granular Therapy, a deep techno track with modular bass line and melancholic pad. A perfect track to play in after or to warm up a party.The B Side is more dedicated to the dance floor with Black Nympheas that is a proper dark modern techno with a grinding bass line and magic drones. A simple beat makes the track evolve in a nice way. Blade Pass frequency is 4/4 effective Techno with a 909 kick, a syncope acid bass line and a pad that sends you to another dimension. It is a powerful track but with a sense of deepness and sensibility that Arnaud can achieve sometimes. This side closes with Binary Sun Dawn which is an ambient track with melody that has a jazz feeling mixed with dark atmospheres, sonic drones and water drops. The C side opens with Mono Driver, a minimal track with a little synth that stays until the end repetitively until it makes you travel and lose your mind. Deep and dance floor at the same time.

Then Snapper is a more percussive track with some shinning bells and a grinding modular bass line.

The last track Virgo Consortium is a cosmic broken beat with dark atmospheric drone, simple bass and phasing efx. The D Side starts with Midi overdub which is a beauty. A mix between ambient and broken beat. The pad has the deepness that transports you somewhere else with an angel choir on top. The beat is spacial and groovy at the same time with smart high hats. This reminds Arnaud's past ambient production but with a modern approach. Surely a special track of the album.

Hideous Engine is more dance floor with metallic bass line and 4'4 beat going towards a sonic pad that closes the track.The last track Dawn is ambient with drones and blip sounds and an acid bass line modulate. A perfect end of the album.This album is an accomplished journey that makes you dance and travel from dusk till dawn. Arnaud Le Texier shows a coherent vision and illustrates his vast diversity in the techno world. Hopefully we won't have to wait 20 years to get another one.