Search:the four sounds

Sub Oscillator AKA Russ Gabriel has been part of the UK dance music scene since 1992, spanning everything from Breakbeat, Hardcore, Techno, Electro, House, Acid, Broken Beat and Ambient. But his first releases were under the guise of Sub Oscillator, releasing 3 EPs during 1992.

This is EP 2 that was originally released on Stu J’s Adrenalin Recordings out of Southampton and was dropped frequently at the legendary Madisons club in Bournemouth, where Stu was the resident DJ.

The most collectable of the 3 EPs under this name, it brings together the sounds of the hardcore rave scene, breakbeat and even some proper hardstyle Euro techno vibes too.

Music to Watch Seeds Grow By continues its series of plant-inspired soundscapes with new work from Pittsburgh-based sound artist Davis Galvin. This composition focuses on the Delphinium Elatum, capturing the quiet drama of this striking perennial through carefully constructed ambient textures.

Where their previous work explored the complex electronic territories of the outer technoid reaches, here Galvin turns their attention to the subtle processes of plant growth. The piece unfolds gradually, much like the Delphinium's own journey from seed to flowering plant. Gentle drones and atmospheric elements mirror the plant's various growth stages, from its initial emergence to its ascent to heights of up to two metres. You heard it here first.

The music creates an environment for contemplation, designed specifically for the moments of sowing and tending to these magnificent plants. Galvin's approach, as with all things they turn their ear to, emphasises patience and attention to detail, qualities essential to both gardening and deep listening.

Carrying the torch of psychedelic cumbia, with a healthy dose
of surf guitar and Amazonian dancefloor flourishes from Peru
and Brazil alike, Fiesta en la Jungla by Los Dexter’s de Uchiza
is the first release from the newly formed London-label Ritmo
del Barrio. Originally released in 1982, it captures the finest
cumbia being made in Peru at the time, decked out with
frenetic surf-rock guitar riffs, rhythms floating on crisp
cumbia percussion and occasionally punctuated by carimbó
breakdowns native to the Pará region of north-eastern Brazil.
The album is filled with energy, a gem that was always
intended to animate any dancefloor. Peruvian cumbia came to national attention in the late 60s
through the recordings of Juaneco y su Combo, Los Destellos
and Los Wembler’s de Iquitos, but it’s had many revivals, and
Fiesta en la Jungla arrived when the style was going through a
major transition. In 1977, a passenger plane carrying most of
the members of Juaneco y su Combo crashed, killing everyone
on board. In 1980, Los Destellos retired, and Los Wembler’s
released their tenth and final record, they were ready for a
break. This left a big void in Peruvian music. Wasting no time,
Los Dexter’s Emerson Ruiz Mosquera took the opportunity and
gave his band new life, filling the band’s ranks with young and
energetic musicians who were hungry for success. He built the
new band around a solid base of dexterous guitars, a dynamite
rhythm section, and added oodles of percussion and an electric
organ, giving them a powerful psychedelic sound that called
back to the sounds of the original chichamasters, but added a
new sheen. Along with bands like Los Shapis and Los Walkers
de Huánuco, Peruvian cumbia was reborn as chicha in the
1980s, and was now the sound of Peru’s barrios up and down
the country.
Based in the city of Uchiza, on the edges of the Amazon basin,
Los Dexter’s were uniquely located in central Peru, closer to the
largest urban centres of the country than Amazonian outposts
like Pucallpa or Iquitos, and therefore better positioned to
travel to the furthest reaches of the country with ease. In a
sense, Los Dexter’s were a bridge between the Amazon and the
rest of Peru, a bridge over which the sounds of Amazonian
cumbia could travel to the rest of the country on their way to
becoming one of the most ubiquitous elements of Peru’s musical
identity. Fiesta en la Jungla represents Los Dexter’s in their third
iteration. Led by Emerson Ruiz Mosquera, who was just a
young boy in 1970 when his older brother founded the group
with four of his friends, the ensemble by the time of Fiesta en la
Jungla included Orlando Abad on the timbales and lead vocals,
Lucho Bendezú on lead guitar, Javier Quiroz as second
guitarist, Alejandro Almeira on bass, Rufino Bustamante on
keyboard, Ramon Siu on bongos and bells, Ivan Rios on conga,
and Emerson as musical director and composer. Remarkably,
most of the group’s members helped to write at least one
track, Los Dexter’s were a collective endeavour.
Reissued on vinyl for the first time by Ritmo del Barrio, this
record is essential for any collector of Peruvian cumbia.
Showcasing the unique sound of Los Dexter’s, it carries hits
like “Fuga en la Selva” and “El Shiringuero”, which are sure to
set any dancefloor on fire, combined with slower, carimbó-
infused cumbias like “Fiesta en la Jungla,”and “Agua de
Cachilde.” Its closing track, “Tragedia en Uchiza'', is a key
piece of local history and tells of the flooding of the
Chontayacu River in 1982, a mortal tragedy that affected
thousands of people. Despite the subject matter, the album
maintains a joyful vibe throughout, with high energy riffs and
irresistible rhythms, contrasted with terse love ballads, like “A
Jhenny.” It is both a piece of musical history, and a sure-fire
tool for the dance floor.
Los Dexter’s became a fixture of festivals and celebrations in
the provinces of San Martin and Huánuco, and from expanded
across the country, taking Amazonian cumbia from the
Peruvian Amazon, to the heights of the Peruvian sierra, the
coastal plains, and the capital city of Lima.

"Every night we've been listening to RATTLE. They have a stark yet deep trance percussion vibe that is both holistic and rocking." Thurston Moore
“Quietly dramatic and loudly intimate.” The Quietus
“Two drum sets. Two voices. One great idea.” MOJO
Rattle are Katharine Eira Brown and Theresa Wrigley, they formed in 2011 after meeting on the live circuit whilst both playing in other bands. Katharine was a guitarist who had recently started playing drums in the band Kogumaza, whilst Theresa was the drummer in Nottingham band Fists. They’ve since released two long-players, 2016’s self-titled debut album Rattle (Upset The Rhythm / I Own You) and 2018’s Sequence (Upset The Rhythm) to much critical acclaim in the music press, and with James Acaster discussing the debut on his BBC Sounds podcast Perfect Sounds!
Rattle have honed the four songs that make up ‘Encircle’ by playing them live over the last few years, adapting and stretching them into endlessly inventive new shapes, playing with the concept of time and expectation. ‘Encircle’ was recorded at Foel Studios, Wales, produced and mixed by Mark Jasper, and mastered at Liminal Audio by Shaun Crook. The stunningly colourful artwork was created by Martha Glazzard, who was also responsible for Rattle’s other mesmeric covers.
‘All Burning’ opens the album, a live favourite of cyclical tumbling and evolving wordplay. ‘All Burning’ was built up gradually layer by layer with Theresa’s cumulative snare work and Katherine’s urgent calls for action: “hold your doctor, hold your daughter, hold your horses”. If ‘All Burning’ represents fire, then it’s accompanying 12-minute long track on Side 1, ‘Argot’, is informed by the air. ‘Argot’ is a song about uncertainty, with Katherine singing wordlessly across the majority of the track. “I prefer to sing wordlessly often because it feels a bit more expressive and universal” asserts Katherine. The track feels truly epic with a satisfying release that comes with the eventual introduction of the bass drum and snappy hi-hat section.

Side 2 also pairs a shorter song with a long-form composition. ‘Ritual’ is worked up from a simple snare drum pattern which becomes more and more overlapped into an elliptical form of waltz. Katherine considers ‘Ritual’ as “very earthy song - lots of low lying mist on the ground swirling around and the drums coming together to summon something”! ‘Ritual’ was inspired by a visit to the ruins of Boleskine House so multi-dimensional themes and occult practice loom large. ‘Your Move’ is a step-up gear change with the band wanting it to feel like the tape had suddenly started to spin faster, urging movement, venturing action. Clocking in at over 15 minutes, ‘Your Move’, is mesmeric and boundless, hypnotic in its minimalism of doubled-drums and almost tribal vocal cycles.
With ‘Encircle’ Rattle have grown again, these songs are alive with elemental power. They build-up and disintegrate, existing in two places at once, embracing the nuance, tracing the circle’s edge. These are modes of song as pure gesture and eternal imagination, refined in mirrors after midnight.
Rattle has performed at The Barbican, London and toured the UK with Animal Collective and Thurston Moore Group and Europe with The Julie Ruin and Protomartyr, and performed with Hot Snakes, Bill Orcutt Quartetand Codeine.

"Every night we've been listening to RATTLE. They have a stark yet deep trance percussion vibe that is both holistic and rocking." Thurston Moore
“Quietly dramatic and loudly intimate.” The Quietus
“Two drum sets. Two voices. One great idea.” MOJO
Rattle are Katharine Eira Brown and Theresa Wrigley, they formed in 2011 after meeting on the live circuit whilst both playing in other bands. Katharine was a guitarist who had recently started playing drums in the band Kogumaza, whilst Theresa was the drummer in Nottingham band Fists. They’ve since released two long-players, 2016’s self-titled debut album Rattle (Upset The Rhythm / I Own You) and 2018’s Sequence (Upset The Rhythm) to much critical acclaim in the music press, and with James Acaster discussing the debut on his BBC Sounds podcast Perfect Sounds!
Rattle have honed the four songs that make up ‘Encircle’ by playing them live over the last few years, adapting and stretching them into endlessly inventive new shapes, playing with the concept of time and expectation. ‘Encircle’ was recorded at Foel Studios, Wales, produced and mixed by Mark Jasper, and mastered at Liminal Audio by Shaun Crook. The stunningly colourful artwork was created by Martha Glazzard, who was also responsible for Rattle’s other mesmeric covers.
‘All Burning’ opens the album, a live favourite of cyclical tumbling and evolving wordplay. ‘All Burning’ was built up gradually layer by layer with Theresa’s cumulative snare work and Katherine’s urgent calls for action: “hold your doctor, hold your daughter, hold your horses”. If ‘All Burning’ represents fire, then it’s accompanying 12-minute long track on Side 1, ‘Argot’, is informed by the air. ‘Argot’ is a song about uncertainty, with Katherine singing wordlessly across the majority of the track. “I prefer to sing wordlessly often because it feels a bit more expressive and universal” asserts Katherine. The track feels truly epic with a satisfying release that comes with the eventual introduction of the bass drum and snappy hi-hat section.

Side 2 also pairs a shorter song with a long-form composition. ‘Ritual’ is worked up from a simple snare drum pattern which becomes more and more overlapped into an elliptical form of waltz. Katherine considers ‘Ritual’ as “very earthy song - lots of low lying mist on the ground swirling around and the drums coming together to summon something”! ‘Ritual’ was inspired by a visit to the ruins of Boleskine House so multi-dimensional themes and occult practice loom large. ‘Your Move’ is a step-up gear change with the band wanting it to feel like the tape had suddenly started to spin faster, urging movement, venturing action. Clocking in at over 15 minutes, ‘Your Move’, is mesmeric and boundless, hypnotic in its minimalism of doubled-drums and almost tribal vocal cycles.
With ‘Encircle’ Rattle have grown again, these songs are alive with elemental power. They build-up and disintegrate, existing in two places at once, embracing the nuance, tracing the circle’s edge. These are modes of song as pure gesture and eternal imagination, refined in mirrors after midnight.
Rattle has performed at The Barbican, London and toured the UK with Animal Collective and Thurston Moore Group and Europe with The Julie Ruin and Protomartyr, and performed with Hot Snakes, Bill Orcutt Quartetand Codeine.

Portland-based ambient architect and far afield sound technician Graintable, aka James Cooke returns with his debut outing on Music To Watch Seeds Grow By and his fourth in the R$N stable; 'Blue Flax'. Following his acclaimed and sold out cassette releases 'Herons', 'Universal Ash' and ‘The Rain In The Trees’ on Ransom Note Records, this new collection sees Cooke delving deeper into the intersection of natural processes and liminal organic electronics.

'Blue Flax', the resilient flowering plant celebrated for its delicate blue blooms and medicinal applications, is native to the Pacific Northwest - the region Cooke calls home. This plant has long grown on the ancestral lands of the Wasco, Klickitat, Warm Springs, Cayuse, and Umatilla tribes. Its connection to this landscape underscores the album’s themes, weaving together ten intricate ambient pieces that reflect the plant's dual nature of part healer, part object of wonder. Recorded during the transitional hours of dawn and dusk in his Portland studio, Cooke’s soundscapes capture both the meditative aspects of watching plants grow and the gradual transformation of organic matter into usable forms. The centrepiece of the album Cerulian FIelds, reminds of the early morning light, those inspiring hours before the rest of the world wakes and the first shoots break through the soil into the new dawn. It’s a beautiful crystallisation of what is Cooke’s most comprehensive collection of meditative compositions to date.

For fans of: Steve Roach, Alessandro Cortini, Suzanne Ciani, Davis Galvin

Early support including: Courtesy, Laurent Garnier, Massimiliano Pagliara, DJ Harvey, Domenic Capello

In 2016 an internet user discovered Panchiko’s discarded 2000 demo CD, D>E>A>T>H>M>E>T>A>L, in a Nottingham charity shop and posted it to 4chan to intrigue and fanfare. It took four years for Panchiko’s legions of dedicated fans to find the people behind the music as millions of curious listeners were swaying to the band’s adolescent creations. Upon discovering their own virality, the band reformed with original members Andy Wright (keyboardist and producer), Owain Davies (vocalist and guitarist), and Shaun Ferreday (bassist) alongside new members Robert Harris (guitarist) and John Schofield (drummer), toured the world and wrote, recorded, and released their first album in 20+ years, 2023’s Failed At Maths. But after the thrill of the whirlwind came a new question. What comes next when your dreams come true? The answer is Ginkgo, a 13-track project that finds the band making some of their most introspective, cinematic, and moving music yet. “The whole production has gone up ten-fold,” says Wright of the new album.“ Standout track "Shandy in the Graveyard" feat. rapper billy woods sees the band channeling their youth and tapping into the typical audience at Panchiko shows. That youthful spirit can be felt in the song’s sonic world, as its production genre-shifts between trip hop and orchestral folk, creating a fresh juxtaposition of soundscapes. The same wrenching honesty that attracted legions of fans to their teenage demos is the same truthful ethos that keeps them listening to new material like title track, “Ginkgo.” On it, Davies sings “You command the leaves to fall/The Ginkgo bends at will.” A rumination on the limits of control, collaboration, and fate, the song is an apt meditation for a band whose resurgence came about through a mix of luck, artistry, and then clear-eyed energy.

ascha Funke is creating a long overdue monument to an almost forgotten cultural artefact of the GDR: the ‘Germina Speeder’ was the only skateboard made in East Germany before reunification and was launched in 1986. It was produced by VEB Schokoladen-Verarbeitungsmaschinen (a state-owned chocolate processing machine factory) in Wernigerode and was therefore affectionately known as the ‘chocolate board’. However, it was hardly suitable for actual skateboarding due to technical inadequacies. It is not known whether Sascha himself owned such a board, but the tracks on the ‘Germina Speeder’ EP definitely roll better than the original. The opener ‘Blaupunkt’ breathes the euphoric spirit of the legendary Berlin club ‘E-Werk’, while the title track would have been more at home at the ‘Dubmission’ parties in the Turbine. Sascha leaves the 90s behind with radiant positivism; ‘Bo Knows’ sounds more like a 2000s open air at Café Schönbrunn. The EP closes with ‘Mastermind’, a high-octane psy-proghouse banger that, like all four tracks, quotes the past but still has both feet on today’s dance floors. Or rather, is dancing. 4:1 for love!

Sascha Funke setzt einem nahezu vergessenen Kulturgut der DDR ein längst überfälliges Denkmal: Der “Germina Speeder” war vor der Wende das einzige in Ostdeutschland hergestellte Skateboard und kam im Jahre 1986 auf den Markt. Es war ein Erzeugnis des VEB Schokoladen-Verarbeitungsmaschinen aus Wernigerode und wurde daher liebevoll auch als “Schoko-Board” bezeichnet. Zum eigentlichen Skateboardfahren war es allerdings aufgrund von technischen Unzulänglichkeiten kaum zu gebrauchen. Ob Sascha selbst ein solches Board besaß ist nicht überliefert, aber die Tracks auf der “Germina Speeder” EP rollen allemal besser als das Original. Der Opener “Blaupunkt” atmet den euphorischen Geist des legendären Berliner Clubs “E-Werk”, während der Titeltrack eher bei den “Dubmission” Parties in der Turbine gelaufen wäre. Mit strahlendem Positivismus verlässt Sascha die 90er; “Bo Knows” klingt eher nach einem 2000er Open Air am Café Schönbrunn im Volkspark Friedrichshain. Die EP schließt mit “Mastermind”, einem hochoktanigen Psy-Proghouse Knaller, der wie alle vier Tracks zwar das Vergangene zitiert, aber dennoch mit beiden Füßen auf den Tanzflächen von heute steht. Beziehungsweise tanzt. 4:1 für die Liebe!

『オシレーション・サーキット』で知られる巨匠=磯田健一郎が、Apollon レーベルに残した90'sの傑作群から珠玉の楽曲をチョイス、現代的手法で再録したジャパニーズ・アンビエント/ニューエイジ至高の逸品!

Kenichiro Isoda, known for his work on "Oscilation Circuit - Serie Reflexion 1", has selected some of his best tracks from the Apollon label's 90's masterpieces and re-recorded them with a modern approach to create a superb Japanese ambient/new age album!

In addition to his own performance, he added the performance of saxophone master Masashi Oshiro, as well as his own field recordings of natural sounds.

The result is a collection of four supreme compositions, each with a texture that melts gently into the ears of all who hear it.

Newly remastered for vinyl by Yoshiharu Takeda.

Some of Stay True Sounds most celebrated hits of 2024 assemble on Stay True Cutz Vol. 8, the eighth vinyl edition of the label’s compilation series featuring standout sonics that defined a year. Opening with a record that fuses deep house and neo-soul, Jimpster’s remix of ‘Say Yes’ by SA torchbearer beatsbyhand, featuring Rona Ray on vocal duty, was the bestselling release of 2024 on the Traxsource Deep House chart. What follows is the compelling collaboration from two leaders of the Afro scene, China Charmeleon and Hypaphonik with ‘We R 1’ - plus jazz and house maestro Crackazat’s 3-step release ‘Can’t Blame A Soul’ (Mana’s Dub). Closing out this curation of four tracks that capture Stay True Sounds’ unique aesthetic is ‘SARS’, an original also from the mind of talented DJ and producer beatsbyhand.

There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. Samtvogel' is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. When I was recording Samtvogel' in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.'

Thanks to these three months of work, between June and September of 1974, 'Samtvogel' was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork -titles added to the front cover, which weren't on the original private pressing. Brain also reissued it on the label's Rock On Brain' LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret - however it must be pointed that Schickert did not need any mind spreading substances to allow his sounds float out of his mind & soul, they just came out in the most natural way. It will also appeal to fans of the echoed athmosferic guitar work of other kraut innovators such as Ash Ra Tempel, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can's 'Tago-Mago' era.

The Wah Wah reissue is housed in a quality sleeve that reproduces that of the original 1974 private pressing and features a 4 page insert with liners and photos - sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away again!

There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. Samtvogel' is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. When I was recording Samtvogel' in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.'

Thanks to these three months of work, between June and September of 1974, 'Samtvogel' was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork -titles added to the front cover, which weren't on the original private pressing. Brain also reissued it on the label's Rock On Brain' LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret - however it must be pointed that Schickert did not need any mind spreading substances to allow his sounds float out of his mind & soul, they just came out in the most natural way. It will also appeal to fans of the echoed athmosferic guitar work of other kraut innovators such as Ash Ra Tempel, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can's 'Tago-Mago' era.

The Wah Wah reissue is housed in a quality sleeve that reproduces that of the original 1974 private pressing and features a 4 page insert with liners and photos - sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away again!

There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. Samtvogel' is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. When I was recording Samtvogel' in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.'

Thanks to these three months of work, between June and September of 1974, 'Samtvogel' was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork -titles added to the front cover, which weren't on the original private pressing. Brain also reissued it on the label's Rock On Brain' LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret - however it must be pointed that Schickert did not need any mind spreading substances to allow his sounds float out of his mind & soul, they just came out in the most natural way. It will also appeal to fans of the echoed athmosferic guitar work of other kraut innovators such as Ash Ra Tempel, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can's 'Tago-Mago' era.

The Wah Wah reissue is housed in a quality sleeve that reproduces that of the original 1974 private pressing and features a 4 page insert with liners and photos - sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away again!

Italian composer and saxophonist Laura Agnusdei returns with “Flowers Are Blooming In Antarctica” a career defining record that sees the artist diving into uncharted waters, a profound timeless meditation on our relationship with planet Earth, the eco-conflicts arising and the fascination with non human forms of life, backdropped to a vivid soundtrack of coral exotica, spiritual Jazz, fourth-world minimalism, tropical electronics, tribal futurism and contemporary elegance.

Every step of Laura Agnusdei’s path, from electroacoustic experimentation to her constant research based upon the acoustic dimension of wind instruments and their interaction with polymorphic electronic sounds, seems to have pivoted into a new sense of awareness, as if the mind and intellectual practice has finally caught up with the body, the heart and the soul, resulting in her most organic and transcendent work yet. “Flowers Are Blooming In Antarctica” is loosely inspired around a trifecta of pioneering ideas that explore unconventional reality: James Bridle’s ‘Ways Of Being’ with his radical story that mixes ecology, tech and intelligence; Luigi Serafini’s late-70s fantastical ‘Codex Seraphinianus’, an unparalleled collection of flora, fauna, anatomies metamorphosed into new fragile beings; J.G. Ballard’s climate-fiction foreshadowing sci-fi ruminations. These influences shift Agnusdei’s musical trajectory injecting doses of terrestrial malaise, the earthy sub-saharan ‘Ittiolalia’ with its wah-wah filtered sax and trance inducing groove; the rubbery playfulness of ‘Oasi Bar’; the gentle eco-system of ‘P.P.R.N’ reminiscent of Herbie Hancock’s innovative synthesis of funk, space and synthesizers; the kaleidoscopic northern lights of ‘Emperor Penguin Lullaby’, where south-east Asian echoes reach icy shores; the Jon Hassell hyper-ambience of ‘Cuttlefish REM Phase’; the post-apocalyptic march of ‘The Drowned World, a jazz standard for an artificial civilization on the brink of self-destruction. Nothing feels out of place and it’s no coincidence that one of the most powerful messages on the record is delivered on centerpiece ‘Are We Dinos?’ via an interview conducted with two preschoolers. Radical optimism or sonic liberation?

Laura Agnusdei’s tenor sax cuts deep all across “Flowers Are Blooming In Antarctica”, a laser baton raised up to the clouds, a conductor orchestrating devotional soundscapes for a three-eyed dolphin, guiding us through prismatic pastures and acidic oceans. Her tropicalized realm is pin-pointed with Miles-like sheer clarity, a bristling nakedness on the verge of exploding at any time, creating an album where ascension becomes the unifying code.

First vinyl edition of Carme López’ debut album of entrancing bagpipe arrangements. Unravelling forms of early music and funereal, queered droneworks full of strange tonalities, phased harmonics and curious subversions.

Carme López is a researcher and teacher of traditional Galician oral music, and ‘Quintela’ features her debut recordings for the Galician bagpipe, split into four longform movements totalling 40 minutes of supremely engrossing drone flourishes. Misunderstood by many, the bagpipe is here brought into the experimental realm as a form of decontextualisation, fashioning the instrument’s naturally peculiar timbres into soft, wavering tones.

Despite its unusual resonance, in López's hands the bagpipe almost becomes a pipe organ, producing long, swaying, sustained tones that highlight the instrument's complex timbral qualities. López plays with its breathy overtones, placing microphones on the bag itself to pick up residual sounds while she sculpts its squeals into cavernous siren calls, and then extracting half-rhythms from its reeds on the elegiac closer 'iv: CACHELOS. a César De Farbán'.

The instrument’s inherent wheezing and anomalous timbre lend the recordings a wavering foundation that feels designed to unsettle, but somehow becomes nothing short of entrancing through almost imperceptible harmonic shifts and odd tunings. It’s meditative music that requires active participation, focussed listening - so as to make sense of all the infinitesimal shifts and faults - in a way that feels unique to this most maligned, misunderstood, almost mystical instrument.

Prolific Norwegian trumpeter and ECM veteran Arve Henriksen returns with Estonian guitarist/composer Robert Jürjendal in tow, matching his idiosyncratic shakuhachi-style melodic condensations with Jürjendal's glassy electro-acoustic soundscapes and sonorous percussion.

Henriksen releases a lot but is remarkably reliable; his playing is so versatile that hearing it dematerialise into different ensembles and individual methodologies is always a treat. Jürjendal is a veteran guitarist, but doesn't approach his instrument from a purely classical standpoint, taking a Fripp-inspired path towards texture, processing and looping his sounds until they're barely recognisable. The duo share a similar love for Hassell's Fourth World ambience, and here inject new life into that mood.

Jürjendal's percussion is impressive: he offsets cascades of oddly-tuned electronics on 'Tuonela' with booming, ritualistic tom hits that punctuate Henriksen's melancholy phrases; and on the brilliant 'Ancient Bells', plays a set of gongs and gamelan-style instruments, creating swirling hammered tonal clusters that quiver beneath Henriksen's echoed-out, spirited improvisations. It's not always that corporeal, either; on 'A Remarkable Flow', he loops guitar phrases, creating gentle vibrations that rumble in the background while he mirrors Henriksen's pitchy zig-zags with high-pitched oscillator vamps.

Even on the peaceable 'Miraculous Lake', discreet kalimba loops set a celestial tempo that anchors the duo's gaseous soundscapes. And although they veer towards end-credits loveliness on the Göttsching-influenced 'Reunion Hymn', it’s balanced by the album's darker passages, like 'Rebirth' and 'Another Me'. On the latter, Henriksen's trumpet is transformed into a voice-like warble, while Jürjendal replies with glacial E-bowed drones that resonate creepily alongside his lysergic FM pads.

Emotional Response is proud to welcome renowned multi-instrumentalist Alan Briand aka Shelter, to the label with a striking new EP that delves deep into the realms of modern Digi-Dub.

Over a myriad of releases Shelter’s dextrous ability to straddle genres, from ambient, Balearic, improvisation and most recently a series of acid ragas, releasing on an impressive roster of today’s electronic labels including Antinote, Growing Bin, International Feel, Séance Centre and his own Protopost imprint.

After making waves on Emotional Response's All Trades compilations with his standout track "The Four Knights Dub," Briand returns to further explore his passion for digital dub and UK roots. Across four tracks, all recorded live, he merges sound design, found sounds, and world music with seismic basslines, creating a truly immersive sonic experience.

The rise of Digital Dub is often traced to the groundbreaking "Under Me Sleng Teng" by Prince Jammy / Wayne Smith, but it was the UK's later reversioning – adding electronic drums to roots and steppers rhythms – that gave birth to the unique sound of Digi-Dub.

Shelter pays homage to this tradition, drawing inspiration from the likes of Alpha & Omega, Bush Chemist, and Jonah Dan. His process is as raw as it is innovative: building an analog setup with a MIDI sequencer, DCO synth, live vocals, and sound effects fed through Boss pedals. Digital drums from the KPR77 and DD10 are layered in, with everything mixed live to tape, no overdubs, capturing the raw, live energy of the performance.

This EP must be experienced as a whole – a continuous live set of steppers 4/4 rhythms, cryptic titles (a nod to chess tactics) that acts as rewinds, paying tribute to dub classics of the past.

Vinyl is 180g and contains downloadcode

Wrocław-Toruń noise rock band founded by Szymon Szwarc (swrcfx, Jesień) and Damian Kowalski (SKI). They are currently collaborating with Cezary Rosiński (Młyn) and Krzysztof Rogalski (Pchełki). The band has performed in clubs and at festivals in Poland, Germany, the Czech Republic, Slovakia, Austria, Lithuania, Latvia, and Estonia. So far, two full-length albums by RZWD have been released: POMPY (Fonoradar Records 2020) and GOLD (Fonoradar Records 2022).


Album GAPS Recorded in November 2023, is the result of two years of work that merges classic POST-PUNK GUIDE with a rich electronic influence. On GAPS, RZWD aims to craft DANCE NOISE CLUB MUSIC on their own terms, pushing the limits of what a LIVE BAND can be in achieving this.
Most of the tracks evolved during RZWD's concerts in countries like Lithuania, the Czech Republic, Germany, and Estonia. These experiences and ideas were shaped into the album between November 2023 and May 2024. Live recordings in Szczecin were done by Adam Sołtysiak, while additional recordings and production were handled in Toruń under the supervision of swrcfx.
The core idea behind GAPS was to use developed themes as a starting point for further variations and exploration within DANCE NOISE CLUB MUSIC. This time, the instrumentation includes bass and an ever-expanding, mutating layer of modulation. Therefore, the album features four brand new compositions alongside four remixes of tracks from previous albums.
The album also features guest appearances by: DANIELIUS PANCEROVAS from the Lithuanian band KANALIZACJIA, adding a saxophone touch to the track DIESEL, and KRZYSZTOF FREEZE OSTROWSKI - a renowned Polish electronic musician and producer, bringing a new sonic perspective to EURO TRACK from the DMO EP.
Among the multidimensional concepts blending environments, genres, styles, and techniques found on GAPS, the pursuit of synthesizing acoustic and electronic sounds stands out. RZWD creates a space where the boundaries between these domains blur and lose their significance.
The result is a groove-driven and noisy mix of dance music styles such as RAVE, TECHNO, HOUSE, and FOOTWORK, played beyond rigid tempo measurements and DAW limitations, relying on natural skills and intuition. It's a soundtrack that works best as a backdrop to movement, whether coordinated or not.
RZWD:
SKI - DRUMS, ELECTRONICS
KRZYSZTOF ROGALSKI - BASS GUITAR
CEZARY ROSIŃSKI - DUBS, SYNTH, MOD. ELECTRONICS
swrcfx - DUBS, SYNTH, GUITAR
ALBUM GUESTS:
DANIELIUS PANCEROVAS - SAXOPHONE in DIESEL V3
KRZYSZTOF FREEZE OSTROWSKI - ELECTRONICS in EURO TRACK V2

‘Insides is a cracking album of shifting ambient moods, riding on the cusp of technology without forgetting emotive credence’ 9/10 FUTURE MUSIC
Originally released in 2009 Insides is Jon’s third solo album and will be made available from the 18th December 2020 on the Just Music label, following on from his first two Just Music albums, Opalescent and Contact Note. It paved the way for both Immunity (his hypnotic breakthrough solo album) and Diamond Mine (his collaboration with King Creosote) which attracted Mercury nominations and for his recently released fifth solo artist album, Singularity.
The epic Light Through The Veins from Insides, which bookends Coldplay’s Viva La Vida album, is always a crowd favourite and is played by Jon as one of the closing tracks at almost all of his venue and festival shows. Small Memory, also from Insides has been streamed almost 57 million times on Spotify alone where Jon has 355, 462 followers and nearly 2 million monthly listeners.
Cited by The New Yorker as “One of the most celebrated electronic musicians of his generation”, electronic artist, producer and composer Jon Hopkins has forged a reputation for music that marries the dance floor to the devotional, and for live performances that are visceral, generous and charged with a rapt, sensuous beauty.
Jon has remixed artists as diverse as Flume, David Lynch, Moderat, Disclosure, Four Tet, Wild Beasts and Purity Ring. Other projects include collaborations with Natasha Khan of Bat For Lashes and Bonobo, as well as productions for London Grammar and Coldplay. His film credits include his Ivor Novello nominated score for the indie sci-fi classic Monsters, The Lovely Bones (scored with Brian Eno and Leo Abrahams), How I Live Now, Uwantme2killhim? and Rob and Vanentyna in Scotland. He also scored the National Theatre Live production of Hamlet and his work has appeared in many films and adverts.
‘Lilting piano and strings give way to industrial glitch with a calculated force, shifting the mood from tranquillity to terror’ 7/10 CLASH
‘Hopkins is a conjurer, an illusionist, symbolically combining imagery and sounds that shouldn’t work together, creating new dimensions of listening’ KRUGER

The influence of the UK’s Steel City on electronic music is well documented and undisputed and continues to push the envelope with key figures such as Winston Hazel (Forgemasters, The Step), DJ Parrot/Crooked Man, Richard Benson (RAC, SWAG, Altern 8), Chris Duckenfield (RAC, Popular Peoples Front, SWAG, All Ears Distribution), a thriving underground club scene and the likes of Synaptic Voyager reinforcing the city’s rich musical legacy.

Matt White and Paul Baines have been making off-kilter, emotive, late night electronic jams since meeting in the early 90’s and while life took them on different paths for a while, they have recently blown the thick layer of dust from their synths and drum machines and got busy in the studio to create some amazing new music which draws influence from that classic UK techno sound which played such an important part in the development of dance music culture around the world. With recent releases on Frame Of Mind, Acquit and Telomere Plastic the duo are clearly on a roll, wearing the heritage of their city on their sleeve and delivering what can only be described as heartfelt, authentic machine music made with love and soul.

From the opening beats of lead track Dawn Till Dusk we are drawn in to another place which feels comfortably familiar yet organic, fluid and loose in a way that tugs on the heartstrings. A million miles from cookie-cutter tech house, this is two guys in a bedroom studio, digging deep on hardware machines to create a sound to get completely lost in. Lonely Promontory takes things deeper still with immersive pads, taught electro beats and blissed-out melodic lines which give just hint of optimism and recall those beloved sounds of B12, Redcell and Likemind.

Flipping over we have Stellar Engine which goes a littler heavier on the beats and bass whilst still retaining a floating quality, once again highlighting the hardware jam workflow that Synaptic Voyager utilise in their studio. Once Exposed takes us back to those heady days of the early 90’s when techno, house and ambient electronics combined to create a heady blend of deep atmospherics and driving beats which could work on both dance floors and car stereos alike. Rounding off the EP we have Cognitive Network which goes for a straighter four on the floor techno groove and a killer bassline to lose yourself in. These recordings were delivered to the label in unedited long form (some tracks totalling 15 minutes or more in length!) which Jimpster lovingly edited into the versions which you hear on this release.

Volume 1 of this expertly curated project of 90s Italian House - put together by Don Carlos.

If Paradise was half as nice… by Fabio De Luca.

Googling “paradise house”, the first results to pop up are an endless list of European b&b’s with whitewashed lime façades, all of them promising “…an unmatched travel experience a few steps from the sea”. Next, a little further down, are the institutional websites of a few select semi-luxury retirement homes (no photos shown, but lots of stock images of smiling nurses with reassuring looks). To find the “paradise house” we’re after, we have to scroll even further down. Much further down.

It feels like yesterday, and at the same time it seems like a million years ago. The Eighties had just ended, and it was still unclear what to expect from the Nineties. Mobile phones that were not the size of a briefcase and did not cost as much as a car? A frightening economic crisis? The guitar-rock revival?! Certainly, the best place to observe that moment of transition was the dancefloor. Truly epochal transformations were happening there. From America, within a short distance one from the other, two revolutionary new musical styles had arrived: the first one sounded a bit like an “on a budget” version of the best Seventies disco-music – Philly sound made with a set of piano-bar keyboards! – the other was even more sparse, futuristic and extraterrestrial. It was a music with a quite distinct “physical” component, which at the same time, to be fully grasped, seemed to call for the knotty theories of certain French post-modern philosophers: Gilles Deleuze, Félix Guattari, Paul Virilio... Both those genres – we would learn shortly after – were born in the black communities of Chicago and Detroit, although listening to those vinyl 12” (often wrapped in generic white covers, and with little indication in the label) you could not easily guess whether behind them there was a black boy from somewhere in the Usa, or a girl from Berlin, or a pale kid from a Cornish coastal town.

Quickly, similar sounds began to show up from all corners of Europe. A thousand variations of the same intuition: leaner, less lean, happier, slightly less intoxicated, more broken, slower, faster, much faster... Boom! From the dancefloors – the London ones at least, whose chronicles we eagerly read every month in the pages of The Face and i-D – came tales of a new generation of clubbers who had completely stopped “dressing up” to go dancing; of hot tempered hooligans bursting into tears and hugging everyone under the strobe lights as the notes of Strings of Life rose up through the fumes of dry ice (certain “smiling” pills were also involved, sure). At this point, however, we must move on to Switzerland.

In Switzerland, in the quiet and diligent town of Lugano, between the 1980s and 1990s there was a club called “Morandi”. Its hot night was on Wednesdays, when the audience also came from Milan, Como, Varese and Zurich. Legend goes that, one night, none less than Prince and Sheila E were spotted hiding among the sofas, on a day-off of the Italian dates of the Nude Tour… The Wednesday resident and superstar was an Italian dj with an exotic name: Don Carlos. The soundtrack he devised was a mixture of Chicago, Detroit, the most progressive R&B and certain forgotten classics of old disco music: practically, what the Paradise Garage in New York might have sounded like had it not closed in 1987. In between, Don Carlos also managed to squeeze in some tracks he had worked on in his studio on Lago Maggiore. One in particular: a track that was rather slow compared to the BPM in fashion at the time, but which was a perfect bridge between house and R&B. The title was Alone: Don Carlos would explain years later that it had to be intended both in the English meaning of “by itself” and like the Italian word meaning “halo”. That wasn’t the only double entendre about the song, anyway. Its own very deep nature was, indeed, double. On the one hand, Alone was built around an angelic keyboard pattern and a romantic piano riff that took you straight to heaven; on the other, it showcased enough electronic squelches (plus a sax part that sounded like it had been dissolved by acid rain) to pigeonhole the tune into the “junk modernity” section, aka the hallmark of all the most innovative sounds of the time: music that sounded like it was hand-crafted from the scraps of glittering overground pop.

No one knows who was the first to call it “paradise house”, nor when it happened. Alternative definitions on the same topic one happened to hear included “ambient house”, “dream house”, “Mediterranean progressive”… but of course none were as good (and alluring) as “paradise house”. What is certain is that such inclination for sounds that were in equal measure angelic and neurotic, romantic and unaffective, quickly became the trademark of the second generation of Italian house. Music that seemed shyly equidistant from all the rhythmic and electronic revolutions that had happened up to that moment (“Music perfectly adept at going nowhere slowly” as noted by English journalist Craig McLean in a legendary field report for Blah Blah Blah magazine). Music that to a inattentive ear might have sounded as anonymous as a snapshot of a random group of passers-by at 10AM in the centre of any major city, but perfectly described the (slow) awakening in the real world after the universal love binge of the so-called Second Summer of Love.

For a brief but unforgettable season, in Italy “paradise house” was the official soundtrack of interminable weekends spent inside the car, darting from one club to another, cutting the peninsula from North to centre, from East to West coast in pursuit of the latest after-hours disco, trading kilometres per hour with beats per minute: practically, a new New Year’s Eve every Friday and Saturday night. This too was no small transformation, as well as a shock for an adult Italy that was encountering for the first time – thanks to its sons and daughters – the wild side of industrial modernity. The clubbers of the so-called “fuoriorario” scene were the balls gone mad in the pinball machine most feared by newspapers, magazines and TV pundits. What they did each and every weekend, apart from going crazy to the sound of the current white labels, was linking distant geographical points and non-places (thank you Marc Augé!) – old dance halls, farmhouses and business centres – transformed for one night into house music heaven. As Marco D’Eramo wrote in his 1995 essay on Chicago, Il maiale e il grattacielo: “Four-wheeled capitalism distorts our age-old image of the city, it allows the suburbs to be connected to each other, whereas before they were connected only by the centre (…) It makes possible a metropolitan area without a metropolis, without a city centre, without downtown. The periphery is no longer a periphery of any centre, but is self-centred”.

“Paradise house” perfectly understood all of this and turned it into a sort of cyber-blues that didn’t even need words, and unexpectedly brought back a drop of melancholic (post?)-humanity within a world that by then – as we would wholly realise in the decades to come – was fully inhuman and heartless. A world where we were all alone, and surrounded by a sinister yellowish halo, like a neon at the end of its life cycle. But, for one night at least, happy.

Four years after "The Watchful Eye Of The Stars", Adrian Crowley returns with a new John Parish-produced album "Measure of Joy" to be released on the brand new label Valley of Eyes Records. This is album 10 for Crowley: an achievement number and maybe even a career high, but the music doesn"t bother with that. They are just great songs. Crowley is a songwriter and a poet. Here, also, he is in the company of John Parish, who is always more than a producer. "Measure of Joy" is a nocturnal album. Not in the usual commonplace sense of dark and moody though it can be. The night is present in the sounds that can only be noticed when most things rest. In the lost transmission and the ghost lips that talk on the phone over sleepy jazz.

Available on Bedroom Isolation Frosted Silver Still Void Crystal Clear vinyl for indies only. Genre: Indie Rock / Electronic. Following his post-hardcore heroics with Indian Summer and Calm, Marc Bianchi unplugged his distortion pedal and switched on the four track. From his boyhood San Mateo, California bedroom, Her Space Holiday explores the bewilderment of young adulthood through a dreamy prozac lens. This expanded 25th anniversary edition of Home Is Where You Hang Yourself includes an extra LP of remixed songs from Duster, Bright Eyes, Micromars, and Mahogany, an elegant tip-on jacket, lyrics, and 20 milligrams of millennial malaise. Ask your doctor if Her Space Holiday is right for you

Available on Bedroom Isolation Frosted Silver Still Void Crystal Clear vinyl for indies only. Genre: Indie Rock / Electronic. Following his post-hardcore heroics with Indian Summer and Calm, Marc Bianchi unplugged his distortion pedal and switched on the four track. From his boyhood San Mateo, California bedroom, Her Space Holiday explores the bewilderment of young adulthood through a dreamy prozac lens. This expanded 25th anniversary edition of Home Is Where You Hang Yourself includes an extra LP of remixed songs from Duster, Bright Eyes, Micromars, and Mahogany, an elegant tip-on jacket, lyrics, and 20 milligrams of millennial malaise. Ask your doctor if Her Space Holiday is right for you

Available on Bedroom Isolation Frosted Silver Still Void Crystal Clear vinyl for indies only. Genre: Indie Rock / Electronic. Following his post-hardcore heroics with Indian Summer and Calm, Marc Bianchi unplugged his distortion pedal and switched on the four track. From his boyhood San Mateo, California bedroom, Her Space Holiday explores the bewilderment of young adulthood through a dreamy prozac lens. This expanded 25th anniversary edition of Home Is Where You Hang Yourself includes an extra LP of remixed songs from Duster, Bright Eyes, Micromars, and Mahogany, an elegant tip-on jacket, lyrics, and 20 milligrams of millennial malaise. Ask your doctor if Her Space Holiday is right for you.

Available on Bedroom Isolation Frosted Silver Still Void Crystal Clear vinyl for indies only. Genre: Indie Rock / Electronic. Following his post-hardcore heroics with Indian Summer and Calm, Marc Bianchi unplugged his distortion pedal and switched on the four track. From his boyhood San Mateo, California bedroom, Her Space Holiday explores the bewilderment of young adulthood through a dreamy prozac lens. This expanded 25th anniversary edition of Home Is Where You Hang Yourself includes an extra LP of remixed songs from Duster, Bright Eyes, Micromars, and Mahogany, an elegant tip-on jacket, lyrics, and 20 milligrams of millennial malaise. Ask your doctor if Her Space Holiday is right for you.

The Tonarium is an idiosyncratic instrument comprising of two sets of modular synthesizers: Serge by Random Source, and another one by Bugbrand, both of which operate alongside a mixer constructed by Piotr Ceglarek and Jan Dybała. This intertwinement facilitates precise control over audio and CV signals and integrates technology with analog sound, offering the artists a distinctive sonic palette to delve into.

The present record unfolds in two parts, each exploring the fluctuating nature of sound. Both equally contribute to the work’s immersive imaging characterized by sound intensity, continuity and endless flow. Within its sonic tapestry lies a space for listeners to uncover subtle nuances, pulsations, and moments of harmony flickering through each chord’s firm surface.

In Part I, a formidable force consisting of chord progressions pierced by abrupt shifts and transitions unfolds. This deliberate disruption of harmonic continuity invites listeners to immerse themselves fully in each musical entity, uncovering the intricate details of the chords’ overtonal structure, drifting and steadily glimmering inside their glowing cores.

Part II, on the other hand, presents a more closed form—a recurring four-chord motif that evolves and transforms with each iteration until it finally fades out into whisper-like serenity. Here, the bass pulsates with greater intensity, like a wave enveloping the listener in a froth of feelings, which prevails and swells throughout the composition. In contrast to Part I, it exudes a sense of warmth and intimacy, inviting listeners to reflect over the dimensions of their own inner landscapes.

The Tonarium is to serve as a conduit for expression—a vessel through which the artist Aleksandra Slyz is enabled to channel her creativity and emotion into the music. Both Part I and II of the work have the capacity to drag listeners into a sonic odyssey that transcends time and space, therefore leaving an indelible impression on one’s trembling soul.

Performed & recorded on December 18-19th 2023 while in residence at The New Media Laboratory in Katowice, Poland.

Organized by The Soundscape Foundation

Composed & produced by Aleksandra Słyż

Mastered by Rashad Becker

Photographies by Kacper Krzętowski

Design by Maks Posio

Executive production by Christian Di Vito

"Four years in the making, Nikolaienko’s retrogarde take on mid-20th century tape music is a loping, whirling fuzzy felt oscillator odyssey. If Louis and Bebe Barron had been asked to create electronic tonalities for a Czech animation based on EM Forster’s The Machine Stops, the results may have turned out like this. Only, for all its nods to Parmegiani and the BBC Radiophonic Workshop, one can’t quite see this album coming out in 1956 – or even 1976. Something about the slightly off kilter rhythms, the loose feel and wheezing sound effects make this very much a post-Dilla take on Raymond Scott and his successors." - The Wire

"...The album, pitched as “a tribute to early-electronics’ golden era,” takes on a fragmented aesthetic of bleeps, thunks and jolts that secrete the concentrated focus of a fantastical laboratory...” Tiny Mix Tapes

"...The Sounds Of Pseudoscience is a perfect cocktail of space ambient with ice, delicate percussions, under-water rhythms and echoes of Soviet 60s..." Krossfingers

Limited to 50 copies cassettes in Riso printed J-cards

"Four years in the making, Nikolaienko’s retrogarde take on mid-20th century tape music is a loping, whirling fuzzy felt oscillator odyssey. If Louis and Bebe Barron had been asked to create electronic tonalities for a Czech animation based on EM Forster’s The Machine Stops, the results may have turned out like this. Only, for all its nods to Parmegiani and the BBC Radiophonic Workshop, one can’t quite see this album coming out in 1956 – or even 1976. Something about the slightly off kilter rhythms, the loose feel and wheezing sound effects make this very much a post-Dilla take on Raymond Scott and his successors." - The Wire

"...The album, pitched as “a tribute to early-electronics’ golden era,” takes on a fragmented aesthetic of bleeps, thunks and jolts that secrete the concentrated focus of a fantastical laboratory...” Tiny Mix Tapes

"...The Sounds Of Pseudoscience is a perfect cocktail of space ambient with ice, delicate percussions, under-water rhythms and echoes of Soviet 60s..." Krossfingers

Radioactive Man (Keith Tenniswood) presents his 6th album ‘Jam Out The Kicks’ released on self-operated label Asking For Trouble this November 28th. Written while immersed in the throes of touring over the last four years - the album showcases Tenniswood’s singular sound, honed for the international dance floors that he is charged with. Jam Out The Kicks will be released on a triple 12” vinyl package with artwork by renowned artist Lung.

Working together UK rave, jungle, breakbeat and Detroit electro and techno the album plays between these different genres and styles. It brings the grit, joy, grime and funk but also with a big lot of heart in its sensitive softer elements and moments. Opening track ‘Under The Counter’ has been the lead to his live performances - soft and gleaming and with deep warm bass tones it’s his reset track to set the tone for the set. We then move into slap bass funk on ‘See Above’ and through the many sounds on the release - from dense textured and kicking techno to bass heavy rave. Curveball on the release is ‘Sinkhole’ starting out as a collaboration with Suade Bergemann, vocallists Ali Love and Chloe Raunet (C.A.R) both put their touch on it. It’s just one example of Radioactive Man’s desire not to want to be held down to any one sound and to always be developing and moving forward.

The follow up release to last years Times & Places Volume 1, which sold out in super quick time has the same four artists, each bringing their own style of old skool rave goodness to the table.
Gridzone gets us off and running with beautiful pads and an oh so familiar soothing female vocal sample. But don’t let this fool you, the harsh amens are just round the corner and when they drop, you will know about it.
Midlife Crisis has similar energy levels in their offering, the breaks are more chopped and more in a jungle vein.
On the flip is the highlight of this EP. NewKiller drops a jungle-techno stormer. 4/4 kicks with high speed breaks, hoover sounds and horror film samples. Its like 1993 all over again. Finally the EP ends with a ragga tinged rudeboy of a stepper from Gold Soundz.

Here it is, the sixth chapter in the sonic journey of Mr. Mangiadischi.

Continuing the dance-floor assault, MD006 delivers four tracks, each with a unique story but all with the same aim: to make you move to the rhythm.

• A1 - Mamma
A Balearic groovy deep house nostalgic tribute to the most important person we have in our life. This track blends warm melodies with heartfelt emotions, making it the perfect homage.

• A2 - Genug Vans
Intergalactic soul/post-disco space-tech. A cosmic voyage through pulsating rhythms and celestial sounds, designed to take you on a dancefloor odyssey.

• B1 - Fenel
A very modern interpretation of this '76 Algerian artist's funk/pop/world/country mesmerizing masterpiece. This track merges elements of funk, pop, world, and country in a blend that transcends genres and eras.

• B2
A disco/funk/pop-rap in its most modern and groovy version. Infectious beats and catchy hooks make this track a surefire hit for any set.

180-gram 45 RPM double LP. Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket with textured stock by Stoughton Printing

Genesis' seventh studio album was released in February 1976 on Charisma Records and was the first to feature drummer Phil Collins as lead vocalist after the departure of Peter Gabriel. The album was a critical and commercial success in the U.K. and U.S., reaching No. 3 and No. 31 respectively. A Trick Of The Tail was a landmark album for the band, and it still stands today as one of their best with classics such as "Dance On A Volcano" and "Squonk."

In the wake of Peter Gabriel's departure from the band, the remaining members of Genesis were determined to forge ahead, showcasing their songwriting prowess and recording prowess in the absence of their iconic frontman. This period marked the genesis of A Trick of the Tail. In mid-1975, the band embarked on an intensive creative journey, crafting new compositions and diligently rehearsing them. Their quest for a new lead vocalist led them to sift through a staggering 400 audition tapes.

As the autumn leaves began to fall, Genesis found themselves at Trident Studios in October, accompanied by producer David Hentschel. Surprisingly, the recording sessions began with an air of uncertainty regarding who would take on the role of lead vocalist. However, fate intervened when Phil Collins was persuaded to step up and deliver a powerful rendition of "Squonk." The strength of his performance not only won over the band but also paved the way for him to assume lead vocals for the entirety of the album.

Genesis has always been synonymous with grandeur and innovation, both in their electrifying live performances and their trailblazing studio albums. From timeless classics such as Nursery Cryme, Foxtrot, Selling England By The Pound, to the epic concept album The Lamb Lies Down On Broadway, the band has consistently pushed the boundaries of musical creativity.

Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket with textured stock by Stoughton Printing.

Over the span of four remarkable decades, Genesis has left an indelible mark on the music industry, having sold a staggering 150 million albums worldwide. Their influence extends far and wide, inspiring artists ranging from the indie rock stylings of Elbow to the experimental sounds of The Flaming Lips, and even the soulful resonance of Jeff Buckley. A Trick of the Tail stands as a testament to their enduring legacy and their ability to adapt and thrive in the face of change.

Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums by Miles Davis’ legendary Second Great Quintet — and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz — the 1967 effort mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity’s 180g 33RPM SuperVinyl LP.

Sourced from the original master tapes and pressed at Fidelity Record Pressing, this numbered-edition audiophile edition of Sorcerer joins the ranks of other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Longtime listeners will immediately recognize a wealth of information and depth of tonality unavailable on prior versions. The myriad shadings, interwoven textures, and relaxed nuances that tie the post-bop set’s warm compositions together are rendered with utmost realism. Credit goes to MoFi’s engineers as well as the label’s groundbreaking SuperVinyl profile that features the lowest-possible noise floor as well as sublime transparency, dead-quiet surfaces, and superb groove definition.

By any measure, this is a reference reissue. You’ll hear poetic lyricism pouring out of Wayne Shorter’s horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams’ rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock’s piano runs occupy their own space, where their relationship to the central rhythms and front line becomes clearer.

Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad “Pee Wee,” an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter, and Williams mirroring one another’s moves with guile and purpose. The opening “Prince of Darkness” showcases the ensemble’s reach and communication, every musician going in seemingly different directions yet ending up on the same page.

A lasting example of Davis’ visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing “Nothing Like You” — a brief tribute to Davis’ eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough — the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world’s quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label’s engineers hear in the mastering lab.

‘Dua Lipa Live From The Royal Albert Hall’ offers a thrilling new way to experience Dua Lipa’s greatest hits reimagined with The Heritage Orchestra, a fourteen person choir and a seven piece band. The album features a medley of fan favourites, from the infectious pop hits “Levitating” and “Cold Heart” with the incredible Elton John, alongside the bold new sounds of Radical Optimism, from ‘Training Season’ to ‘These Walls’. vinyl on December 13th, this highly anticipated live album captures the magic of Dua's unforgettable performance at one of the world's most iconic venues.

Getting to perform at The Royal Albert Hall was unlike anything I’ve ever done,” Dua shares. “For the longest time, I’ve had this idea to reimagine my music with an orchestra, and when I was making Radical Optimism, I was constantly thinking about the live element and how these songs would transform on stage, so when The Royal Albert Hall show came up, it presented itself as the perfect opportunity to not only reconstruct these songs, but also celebrate them in such a beautiful and intimate way. The experience was entirely thrilling and equally rewarding. It was a dream come true, and something I’ll always take with me.”

Robot 84 has fired up his machines and kicked out four superb new jams for this latest Magic Wand release. Opener 'AGAL' is a slow, percolating jam with shimmery synths and squelchy bass then 'Galaxies' brings some dusty broken beats and sugar chords for a nice laidback vibe. 'Feels Good' is another loose-limbed rhythm with wispy pads, DIY percussive sounds and bass that is rich in reverb. Last of all is 'Where Is The Dub' which slows things right to a crawl with plucked guitars and loads more echo to sink into.

Paris-based talent Manda Moor arrives on Hot Creations for the first time this May with the three-track The Climax EP, continuing a standout 2022 for the Danish-Filipino artist.

Rustling with tribal undertones and a rolling four-four groove, The Climax instantly transports us to the dancefloor and beyond. Jungle-like melodies live beside infectious lyrical samples before the minimal-sounds of Sandy Groove soon arrive, as fast-paced drums drift beneath a pummelling bassline throughout. Besame rounds things off, ratcheting up the tempo with bell-like percussion and driving kick-hat combos, forming an upbeat, club-ready cut.

Manda Moor has fast-become an esteemed force in contemporary house circles. Racking up acclaimed releases on labels such as Kaluki, Tamango and DJ Pierre’s Afro Acid, her MOOD EDITS series - in conjunction with Sirus Hood - has garnered support from true industry heavyweights, including Pete Tong, The Martinez Brothers and Loco Dice to name a few. Each edition of MOOD EDITS has reached the number one spot on Bandcamp’s House / Deep House / Minimal chart, proof of Manda’s keen ear for production, whilst her club and festival sets include performances at Amnesia, The BPM Festival, Elrow and many more besides.

Four silhouettes levitating above an endless expanse of sand, their movements being captured like stolen from time, that is the cover image of Later.’s sophomore album ‘Golden Bay’. This striking visual sets the tone for an album that delves into profound themes—exploring the sacred, the transformative power of music, and love as a gateway to an inner world. It offers a dreamlike escape into a world governed by instinct, passion, and freedom. ‘Golden Bay’ stands out with its distinctive fusion of electronic-pop, gospel, and rock influences. The prominent use of synthetic sounds intertwined with organic elements creates this warm feeling of being at the heart of Later.’s imagination. Lyrically, the album is infused with a blend of sensuality and raw honesty, retaining the unfiltered emotion that has become a hallmark of Later.’s music.

Quote from the band : “This whole album was built like a trip. After our first album it was hard for us to figure out where we wanted to go musically. We never made as many demos and drafts- almost forty or fifty - for any release before. Then suddenly Paul played a guitar riff and we knew that something had been unlocked in our creative process, like a revelation, it later became our album opener ‘Open the Gates’.

Everything escalated from this first melody and we began seeing the picture of what we wanted sonically: prominent synths creating this levitating feeling, powerful uplifting guitars and lyrics that captured the almost spiritual high we get when creating music. Every time we hit the studio, ‘Golden Bay’ became this sacred space—our escape where we could let go and liberate ourselves. Overall it’s a pop album, but it has this raw energy and carefree spirit that we wanted to preserve throughout the use of live sounds.

Our biggest wish with this album is that the listeners embark on a trip and feel the way we do when we’re in the studio, at 3am, and we don’t want to stop because you have to catch these rare moments when inspiration strikes you, and you become the messenger of something beautiful.”

Jamwax Records proudly presents this historic reissue, featuring two timeless tracks from The Wailers’ legendary album The Best of The Wailers: "Can't You See" and "Back Out". While these songs have long been cherished as classics, this marks the first time they have ever been available on a 7-inch vinyl single. Even though some books about Bob Marley & The Wailers list them as having been released on 7-inch, I have never seen a copy for sale.

Produced by the visionary Leslie Kong with co-producer Warwick Lyn, the album captures The Wailers at their soulful, raw best. These songs predate the group’s later partnership with Lee Perry and Island Records, offering a purer, more unembellished sound. The harmonies are flawless, the arrangements simple yet deeply powerful, and the performances utterly timeless. "Back Out" highlights Bob Marley's unmistakable voice, brimming with the confidence and charisma that would later make him a global icon. Bunny Wailer and Peter Tosh's harmonies add depth to a track that perfectly embodies the spirit of early reggae. "Can't You See" showcases Peter Tosh on lead vocals, supported by the sublime harmonies of Bob Marley and Bunny Wailer.
These recordings, crafted with a four-track setup and featuring some of Jamaica’s finest musicians—including Mickey ‘Boo’ Richards on drums, Jackie Jackson on bass, and Winston Wright on organ—are testament to a moment in time when reggae was still raw, revolutionary, and evolving.

Recorded at Dynamic Sounds Studios (Kingston, Jamaica), from 29th April until 19th May 1970.
Originally released on August 9th of 1971 by Beverley's Records, 135 b Orange Street, Kingston, Jamaica, West Indies.

Blending late 2000's minimalism and harmonies with razor-sharp sound design, Nous'klaer Audio is excited to present Erik Luebs. The American via Japan techno producer joins the label with a four-track solo EP dropping in 2025. While Erik has released music on other labels sparingly, his self-released catalog is vast, versatile, and deeply immersive - a favorite on repeat at Nous'klaer HQ. We're proud to present his first offering with us. Glimpse of Reality is a deep dive into syncopated rhythms and intricate sound design. The EP is rich with atmospheric sounds that are meticulously crafted yet hit with real impact. Each track is layered with delicate textures and packed with detail, rewarding close listening as new elements reveal themselves with each play - especially on big soundsystems.