quête:the orb

For Record Store Day 2022 Morcheeba have recruited Orbital, Gui Boratto, Kutiman and Voyou to remix four tracks from their latest album 'Blackest Blue' which was released in May 2021.

This is the second of a series of 12" remixes being released especially for RSD, the first 'Blazed Away - The Remixes' sold out in 2019. This year 'Blackest Blue - The Remixes' includes British giants of electronic music Orbital switching up the signature Morcheeba 'chill' vibe of 'Namaste' to an electronic drum and bass dancefloor stomper whilst producer Gui Boratto's remix of 'Sounds Of Blue' is a progressive Electronica/Chill House masterclass!

Morcheeba’s global reach is impressive, taking them to every corner of the world . Their signature chilled electronic/organic sound has been border-hopping ever since the London-based band emerged as a household name with a discography spanning three decades.

With at least 12 gold and platinum discs & over 350M all time streams, Morcheeba continue to create their own unique sound, a laid-back mix of fusion, funk, and blues with the sweet, fluid vocals of Skye Edwards.

The movements of KUNZITE’s Mike Stroud and Agustin White have seen them orbiting around each other, occasionally crossing paths yet consistently admiring each other’s work. The pair traversed the globe separately with their different projects and personal adventures -- Mike touring with his band Ratatat and Agustin on a spiritual journey exploring yoga, meditation and psychedelics -- while looking to one day do something together. The formation of KUNZITE saw them finally able to merge their minds and mission, with a sound that blends psychedelia with electronic, beat-heavy production and live instrumentation. Most of the recording process for their new album, VISUALS, started while at Agustin’s stripped back studio in Hawaii, and finished at Mike’s barn studio in upstate New York, with instrumentation including acoustic, electric and lap steel guitars, organ, synthesizers and the charango.

Limited edition 180g blue vinyl pressing of Sun Ra and His Arkestra's
classic 'Jazz In Silhouette', includes bonus track featuring John Gilmore
and a unique sticker
Penguin Guide To Jazz selected this album as part of its suggested "Core
Collection" and awarded it a "crown" accolade.
"Jazz in Silhouette stands as an overlooked masterpiece, a work that shows Ra
not as a mere curiosity or backwater galaxy, but as a major creative force in the
jazz universe, a centre of gravity around which many of jazz's major
developments have orbited. This album simply inspires, no matter what
perspective you adopt: rhythm, melody, ensemble or mood...Jazz in Silhouette
shows Ra doing what he did like few others: looking at the past, present and
future simultaneously while maintaining a unified musical direction...what results
is a captivating set of music that not only firmly establishes Ra in the jazz
tradition, but actually puts him on its leading edge, pointing the direction forward."
- Mathew Wuethrich

''The acts Mermaid Chunky call to mind here tend to lean on a blithe naivete: Animal Collective, Peaking Lights, youthful Norfolkians Let’s Eat Grandma and fuckwitted freak-folkers Cocorosie. This isn’t a fashionable sound in 2020 – venture your own sociopolitical reasoning – and I reckon I’ve found the one record of its type I want to hear this year.''
Mermaid Chunky are an audiovisual duo made up of artists Freya Tate and Moina Moin. Bathing in milkmaid serenity and improvised chaos, the duo boast of pumping trance rhythms, sad Easter time chicks and seriously arousing sax solos. Much of their cultivation has come out of the mossy club culture of Stroud's SVA and London's Total Refreshment Centre, collaborating with the likes of Alabaster DePlume, Danalogue, Donna Thompson, Grove, Snapped Ankles (UK tour support) and Yama Warashi.

Their debut Faith and Industry album VEST (produced by Capitol K at Total Refreshment Centre), was birthed last year out of a history of improvised cheek and club dexterity forefronting their live shows and audiovisual solstice celebrations, recently captured by British Vogue's 2021 PRIDE series. Championing this action is the Mermaid Chunky Mothership, a gang of fellow artists and performers, often clad in nauseous satin frills, swamping the stage with french mime and slut drops (Roundhouse 2021, End Of the Road 2021, SVA Solstice always.) The MC gang just scoured their PRS Woman Make Music funding so who knows what they will be stirring up in the heat of summer soup 2022 (the most ducks in a year we will ever experience.) The only way for you to find out is to join the chunklett buffet and dip your wicked, webbed fingers into something mega.

Mermaid Chunky will perform Camp Bestival (Shropshire), Kite Festival (Oxford) and at Orbury Common’s PrahEP launch (a collaborative audiovisual May Day celebration) at the Brunel Goods Shed, SVA, Stroud 30th April - 1st May.
They will aslo be collaborating with Percolate Music on a series of London based audiovisual events this year focused on experimental, electronic womxn performers, visual artists and DJs. More special announcements to be revealed in the present future of your past.

Inspiration can strike anyone at any time, and more often than not from somewhat peculiar quarters. Rarely more so than when Sam Grant - thus far best known as guitarist and producer of Pigs Pigs Pigs Pigs Pigs Pigs Pigs - finally set about work on a solo project that had been pursuing him for some years. “I want people to imagine that feeling of rubber - its physical memory, the unnatural vibe of it. It’s so tactile but alien. It’s an odd analogy, but that’s what this music is for me.”A specific gravity is one more property that rubber has going for it, and that much is certainly true of Rubber Oh’s debut album ‘Strange Craft’, the result of his elasticated fixation, and his debut album of deliriously tuneful sci-fi tinged psychpop. It’s a unique soundworld in which an emphasis on beguiling melody marries a kaleidoscopic grandeur. Widescreen gems like the warped interstellar voyage that is Children Of Alchemy and the unshakeable earworm Hyperdrive Fantasyare all vibrant colour and celestial energy, setting their psychic stall out somewhere between the incandescent headspace of a ‘70s sci-fi TV show and the red-light-fever of the overheated ampstacks Grant has been historically more familiar with.Ultimately, for Grant as well as everyone else, Rubber Oh amounts to one strange trip - “Many of the lyrics are about alchemy, journeying and vessels, as interchangeable metaphors for knowledge and wisdom” he says. “I wanted to mesh the land and sea, the cosmos and the psyche across the tracks as one single plane” Mission accomplished, in short. This Strange Craft is fuelled up and ready to accept all comers on a ride into extensions through dimensions01

Apt E returns with a pair of lengthy kraut transmissions from Seattle-based electronic outfit, Tape.

A - Escape Your Shape wades through swampy guitars and modulated jitters before entering a boundless collage of stretchy, acid-bound funk wahs and spacy rhythms launched toward the horizon. Along the way, shifting shapes, dancing chords and washed out motifs swirl around until they’re released into the ether, only to elegantly reenter orbit before dematerializing once more. The jam rebounds one final time, wringing out the final traces of euphoria, landing gently after the nearly 12 minute long trip.

B - Flip Your Trip hits the ground running; relentless drums take off in tandem with deep analog modulations as higher frequencies slowly creep onto the canvas. Frenzied electronics emerge from underneath blankets of delay while sweeping atmospherics expand and contract with the heavy tides of guitar and droning bass. The vortex erodes to a sticky whirl before drifting back to the surface, entering and exiting a mosaic of cosmic passages until finally being abducted by an arpeggio vacuum and fully melting down after 14 flipped-out minutes.

Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer Gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, it intricately combines analogue elements with digital grooves to stunning effect.

Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Dubadelic and more.

15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for.”

As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.

Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.

Anechoic produced a concept EP inspired by the orbit, and the gravity from a smallest subatomic particle to the largest star.

This 4 tracks vinyl EP + a bonus digital track is carefully constructed to represent the repeating path that one object can take around another one. The gravity represents the harmony of the tracks that keep them playing without intersect. Each track has its own eccentricity - this is the amount an orbits path differs from a perfect circle.

So imagine all of the five tracks playing together, everyone has an eccentricity different from zero to the centre, each one has its own path, and a certain amount of time to make one complete orbit, this is the analogy with the concept EP 'Geosynchronous Orbit'.

Precious Metals are excited to announce "Chaos Butterfly", the debut album from the Vietnamese-Canadian electronic music producer, vocalist and filmmaker, x/o. “Chaos Butterfly” is an epic tale of catharsis and self-actualization explored through metamorphosis. It is a free-falling kaleidoscopic journey into a beautiful nightmare, both cataclysmic and tender. Expanding on the themes present in their first EP “Cocoon Egg”, the album builds a parallel world from a different perspective. “Chaos Butterfly” tells a loose narrative about an anti-hero navigating trauma through whirlwinds of grief and anger; a vengeful spirit who finds true strength in inner healing and forgiveness. An allegory for transcending societal concepts of gender, “Chaos Butterfly” is a journey of self-acceptance and reflection of x/o’s own path towards their non-binary identity. Throughout the voyage, x/o pulls apart and collides masculine and feminine tropes both theoretically and musically by utilising contrasts between soft and hard, internal and external, calmness and anger, loud and quiet. This system of symbolism and influences reveal a pattern that is the overarching theme of duality. Colliding disparate but interconnected influences, x/o references Playstation 2’s Final Fantasy X world-building, Fight Club, the half-yoma warriors in the anime Claymore, as well as the real legends of the Vietnamese Trưng Sisters. Musically, “Chaos Butterfly” resists easy categorisation, playfully fusing moments of reversed breakbeat, with elements of solemn ambience, distorted metal, and trip-hop catharsis, with inspiration from artists such as Yoko Kanno, to Bone Thugs-n-Harmony as well as Deftones, Massive Attack, Orbital, and Aaliyah. The album journey begins with opener “Chrysalis Wrath”, a prologue to the story, and emblematic of the metamorphosis of the album. A soft and unassuming exterior to the hard shell and bone that lies beneath. Delicately cascading melodies and disembodied vocals are torn asunder by a brooding, ominous synth, punctuated by blasts of percussion, like dark clouds forming on the horizon, the egg cracks; a foretelling of what is to come and a reference to what has been. This is followed by “Red Alert,” the first single from the release, which blends airy melancholic vocals with a flurry of drum breaks and synths plucks, an ambitious and cinematic exploration of intuition against recurring trauma. Melodies drifting and out of focus under the swirling vocal, like the blur of neon street lights reflecting in a rain-soaked cityscape. It’s a liminal poem about listening to your inner voice to protect you from harm. Duality is never more apparent than on “Promise : Armour” delicate piano melodies drift and settle like snowfall before crushing blows of hardstyle kicks blast through the ether, as their soulful, but anguished vocal harmony is overcome by a demonic refrain “Cross your heart, don’t cross me”. x/o is a founding member of s.M.i.L.e, a trail-blazing collective of like-minded artists in Vancouver pushing the boundaries of club experimentation, showcasing artists such as Actress, Hitmakerchinx, Mechatok, Nídia, and Shygirl. This is an album that reaches dizzying heights, and in 2022 we expect x/o to do the exact same.

Melbourne’s very own Reflex Blue takes us on a five part journey through the terrain of his mind to bring in to reality the Twin Waters EP.

Through this project Reflex’s unique fusion of deep, earthy sounds and other worldly aetherial textures, help us find the way back to a primal place, buried within us all.

Digital and natural worlds come together in this project to work in harmony, coupled with a healthy dose of psychedelic accents, we are left in a mind altering state somewhere between transcendent euphoria and ecstat- ic dance... We hope you enjoy the ride.

The Covid Pandemic hit Germany in March 2020 and by the 15th of March all of the public life was shut down. It was the same day where my son Rio was born.
For me, this early stage of the pandemic had something very intimate and private, since I was forced to stay at home with my young family for weeks. In Mai 2020 I started to leave the house, for other occasions then just going to the shop or taking a walk and that was the time I started working on “Hotel Solaris”. It was an intense creative rush: in 8 weeks the album was written, performed and produced in one flow. I had two days every week, where I could go to the studio for 4 hours and that time the album was done. It had a corpus in a sense that I
knew I wanted a faster or a slower track at points, but the whole hotel idea came when I saw photos of the old Hotel Arkada on the Croatian island Hvar, that my extremely talented friend Marcella Zanki shot on her holidays.
They show a well preserved socialist-brutalist hotel architecture in the middle of the beautiful Adriatic and for me it was like looking at pictures from a timeless place, without knowing where and when it exactly was, totally surreal.
I liked that idea of a hote that stands as an escape symbol from the real world, which was something everyone needed when the pandemic was building stronger and stronger. I decided to call it Hotel Solaris, inspired by the novel from Stanislav Lem, where Solaris is a planet covered by an ocean which triggers our subconscious mind to
become reality. It all fit at the end and “Hotel Solaris” was done.

Nothing is explained in the mysteries around us, but some art touches their soul: last year, Justin Tripp, one half of the US-American impro electronic duo Georgia and London-based electronic artist Zaheer Gulamhusein man behind projects like Waswaas and XVARR -joined forces as STRING. Together they went on a virtual vacation and never came back. As the virtual is fully real due to its virtuality, they created a truly authentic aural hardware journey, hauntingly adventurous, calm, and surprising.

Without defining the scope, STRING tumbled through a dark musical zone that stretched to the horizon, letting the sound shape itself while falling discreet into an appealing abstract space. Hovering clockwise shortly above the ground, they formed impossible geometric musical figures - weightless, fluid clouds, made up of relations between asymmetrical elements. Like in nature, their collaborative work avoids identical characteristics. In an expression of respectful admiration, they softly celebrate the irregularities between their specific genetic musical fingerprints, creating eight light binding clouds of dawn. A meditative musical voyage that transports cosmic particles of idealistic Berlin school ambient right into the heart of their electronic machines. All tunes swing calm but constitutive, dancing around synthesized surfaces that form obsessed flaming orbs of fear and hope, of matter and antimatter.

A shared love for hardware and the ethos of improvisation guided STRING into an experimentation, in which each party aligns closely to the core ideas of co-operative, in-the-moment electronic music, tied across the eight tracks in a sequence.

Finding a home with the highly esteemed Hamburg based label V I S, STRING’s debut “Last Index Of...“ will enter the earth in double vinyl and cassette format, plus tripping on at the digital platforms.

FLAPAAaaam!!! the first snare roll leaves no doubt: this is a dub album, reminiscing the pioneers of the genre like King Tubby, Lee "Scratch" Perry and Scientist and of course, it's a tribute to the revolutionary music of Bob Marley and the Wailers. The original record from which these dubs derive - "Bob" by Kapelle So&So feat. Cpt. Yossarian - was recorded in 2020, the year of Bob Marley's 75th birthday. Due to the strict lockdown all the tracks were recorded separately - which perfectly qualifies them for a dub rework. The musicians involved took great care to dig deeply into the original music, absorbing every note of the Wailers' recordings and translating it to their own instrument. But at this point we leave common paths, because what would be Aston Barrett's electric bass turns out to be a tuba and his brother Carly's distinguished bassdrum sound resurges on an old leather suitcase. We are talking of a traditional bavarian folk band (trumpet, cornet, tuba, accordion, guitar, drums) playing Bob Marley's sacred music. Simultaneously seriously sticking to the original score and adding color to the music by the masterful use of their rather uncommon instruments. What sounds like an impossible -almost blasphemous- endeavour actually sounds pretty neat and leads to the next big venture: A dub album paying tribute to the music of Bob Marley and the Wailers. The dub versions naturally lead on the abstract that was introduced by the uncommon orchestration by muting or emphasizing single instruments and sending them into the sonic orbit. The melody itself is almost completely left out. Nevertheless one never loses one's orientation since the defining elements of the songs alternate skillfully, vanishing in clouds of reverb, losing themselves in echo feedbacks and then popping up again, guiding us through the song. Despite being focused mainly on bass and drums you will catch yourself singing along Marley's part more than once thereby proving the profound impact of this divine music on our souls and our common musical knowledge. Bob Marley in Dub is the abstract of an abstract and still manages to transport the heart and soul inherent of the music. With all due respect to the original, Cpt. Yossarian manages to illuminate nuances of the material yet unheard and takes us on a trip through his conception of this otherwise well known material. Following the tradition of the before mentioned mentors of dub music he uses his mixing desk, a couple of studio effects and whatever odd sounding kids toys to present us with his approach to a musical genre that defined so many styles of music that followed.

It's no secret that Dutch artist and producer Reimer Eising aka Kettel is a Lapsus favourite, as well as being a leading proponent in Braindance/IDM over the last two decades. This makes him the obvious choice for the next release in our on-going Perennial series.

'My Dogan', was originally released in 2006 on Sending Orbs and is undoubtedly one of his most iconic works to date, and possibly the most popular album among his adoring fan base.

Following hot on the heels of his recent mini-album for Elephant Gait, Italian producer Joseph Tagliabue is back with a full-length album on Glasgow's Invisible, Inc.

With Un' Altra Forma Di Vibrazioni Tagliabue continues to expand on the cosmic foundations laid by such pioneering experimental forefathers as Franco Battiato and his ground-breaking abstract ambient work of the '70s and Klaus Schultze whose legendary Innovative Communications label birthed the “Berlin school” sound at the start of the '80s, then tracing a path toward later luminaries like Boards of Canada and Plaid. There's a personal, emotive and ethereal quality also present here conjuring feelings of 4AD's glory years and the likes of This Mortal Coil and Dead Can Dance. However, backwards-looking music this is not. It's fair to say the Milan-based producer is developing his very own distinct sound as he matures from one release to the next and regardless of his wide range of influences, it's Tagliabue's firm grasp of sound design and audio engineering that takes this album far beyond the realm of just “electronica” or “psychedelia” and plants it firmly into a distinctly forward-looking contemporary space of its very own that's as much music for the heart as it is music for the head.

Tagliabue provides some insight: “Un' Altra Forma Di Vibrazioni (meaning Another Form Of Vibration in Italian) is a concept album inspired by one of the most sensational scientific discoveries of recent years, namely evidence of the existence of the "Cosmic Web". The album is comprised of ten tracks, each linked to one another, much like the various forms of matter in the cosmic web, and whose meaning can only be understood by listening to them as a collective whole, rather than as separate pieces of music. The album therefore is a well constructed sonic experience fusing elements of ambient, psych, rock, experimental and trance and is designed to be listened to continuously from start to finish; the album's journey through the universal elements is reflected in each track, whose rhythms resonate in harmony with the phenomena they represent, whilst a backdrop of drones and mesmeric grooves contribute to an atmosphere of otherworldly mechanical oneirism."

New album by pioneering German beatmaker FloFilz. On Close Distance, the lofiturned-hifi producer blends hip-hop inspired beats with contemporary jazz, alt r&b and a little rap. Featuring Alfa Mist, Blue Lab Beats, Jerome Thomas,

KeepVibesNear, Summers Sons & C.Tappin, Dal & Hunter Rose. Close Distance is his fourth album for Melting Pot Music. Since 2013, the self-taught bedroom producer and classically trained violinist has sold more than 10k LPs and gained 200 million streams.

Close Distance literally means “near in space or time” (or “nah dran”, as we say in German). The 16 songs on Close Distance came to life over the past two years. Many sketches were birthed at FloFilz's old home studio in Aachen. Some songs were made from scratch in London, where Flo did sessions with UK jazz supremos Alfa Mist and Blue Lab Beats at their studios. One was recorded in a kitchen in Streatham, where rap duo Summers Sons and pianist C.Tappin reside.
More sessions were already in planning when lockdown kicked in and travelling was no longer an option. Around the same time, Flo was about to move from Aachen to Berlin which he eventually did in November 2020. Once installed, he started sharing beats and files out of his makeshift studio in Moabit. Beat folders were sent to
London where two of our favourite new alt R&B vocalists – Jerome Thomas and KeepVibesNear – live. Another one went to Dartmoor where the jazz/hip-hop trio Dal added their magic touch while Hunter Rose processed her sultry vocals in Cape Town - 12 flying hours away from Berlin.

The album artwork has been created by Indonesian illustrator Fatchurofi, who caught FloFilz's attention through his work for everybody’s favourite band Khruangbin. Taking influences from Japanese Ukiyo-e art, Fatchurofi is adding a zen-like clarity (and tranquility) that resonates very well with the album.

It is no exaggeration to say that FloFilz has not only created another inspiring album with Close Distance but one that demonstrates how music can close the distance which we all have experienced (and still do) in a beautiful way.

'Other Dimensions Lp', Terrence Dixon's latest work and the new adventure in 30D's ExoPlanets sublabel, comes for the very first time released in full length format, split in two sides, showing Terrence's two faces. As everyone knows, words can not describe the music of this Detroit visionary, but we'll try. Futuristic, avant-garde-esque, mesmerizing, trippy and minimalistic / reduced techno funk as expected in A side, but highly emotional and evocative, as only he can do. On the flip side, Terrence redefines and takes to another level the concept of dark, experimental, abstract, atmospheric, alienated and dystopian music, a true musical trip (perhaps a nightmare???) to dive into. An extremely personal and intimate album.

Mit „Sweet Unknown“ veröffentlicht die US-Amerikanische Gruppe Ceramic Animal ihr viertes Studioalbum am 04. März 2022. Die aus Doylestown/Pennsylvania stammenden Brüder und Freunde lassen sich nicht auf Genre beschränken: Von Glam, über Post-Punk und Psych Rock, bis zu 70er Pop & Folk sind alle Einflüsse dabei.

Ceramic Animal besteht aus den drei Brüdern Chris Regan (Gesang, Gitarre), Erik Regan (Schlagzeug), Elliott Regan (Gesang, Keyboard) und deren Kindheitsfreunden Anthony Marchione (Gitarre), sowie Dallas Hosey (Gesang, Bass).

Nachdem sie ihre ersten drei Studioalben komplett selbst finanziert, produziert und veröffentlicht haben, schreiten sie nun auf neuen Wegen und kollaborieren mit dem Grammy-ausgezeichneten The Black Keys Frontmann Dan Auerbach als Songwriter und Produzent. Zudem veröffentlichen sie das Album bei dem von Dan Auerbach gegründeten Label Easy Eye Sound. Der Titeltrack ist eine von Roy Orbison inspirierte Meditation über die andere Seite. ”Lyrisch und klanglich verkörpert ’Sweet Unknown’ ein Eintauchen in eine ungewisse, aber wunderschöne Dunkelheit”, sagt Schlagzeuger Erik Regan.

Das gesamte Album taucht in eine Welt ein, in der intime Liebende sich allmählich verlieren und einander
gegenüber kalt werden und in der flackernde Erinnerungen an bessere Zeiten den einzigen Trost bieten.

Ltd to 100 copies

Yearly compilation album RADAR by KEROXEN, introducing the second volume in the series of themed based albums showcasing the talents and misfortunes of carefully selected musicians/bands based in the Canary Islands.

Where Radar Vol.1 (KXN012, 2020) focused its sights on rock oriented music, Vol.2 looks at the more experimental, free flowing side of electronic and sample based music, also Made in Tenerife this last year (2021).

The format stays the same as Vol.1: 4 different artists are invited to contribute 2 tracks, no rules other than do their own thing. The result being an extraordinary amalgamation of various genres and styles of the electronic music cannon including: smoky dub beats by King L. Man, tropical casiotone divagations by Usted, inverted & polyrhythmic workouts from the Tupperwear duo, ultra precise dub-tech-2step edits by Postman and organic psychedelics by freak trio Lagoss.

Yet another crucial document from a region you usually do not associate with forward thinking music, more than a simple compilation, RADAR 2 unveils the thin veil of new and uncompromising music being produced in and around the orbit of the Keroxen Collective.

It seems the Atlantic isolation works as a catalyser here, judging from the copious amount of different and challenging music we’ve been seeing from this corner of the world over the last few years. We invite you to dive with us, in the wild remote tropical waters of RADAR vol.2.