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Waves 1 is the rst release of Curd Duca since the legendary Elevator series (1998-2000). Waves is an album trilogy. Waves 2 and 3 will be released on Magazine in 2021.

If we think of Curd Duca’s Waves in terms of sound, rather than in terms of form, each track on Waves is actually like the large, illuminated, richly decorated initial letter that introduces the narrative of so many medieval manuscripts. It is as if Duca was collecting extraordinary letters, opening up an alphabet of sounds, and developing a musical phonetics between adjacent terms. From gong to gone; bell to bells minus drone; dome to father.

The real beauty of Curd Duca’s cycle lies in the fact that it opens up differently from so many perspectives. That we can understand it as a collection of treasures, as a commentary on our acoustic environment, as an attempt to dissect the world and stylize its parts. Much like a printer's typesetting box, Duca proposes an inventory of everything that sounds. Some of the pieces are exaggerations. Some allusions. Others abstractions, parodies, and trans gurations. It is often not even clear whether the music is based on a recording or a synthetic sound. Is the nightjar real or is it a synthetic imitation? Did Duca really use brass and zither sounds or simulate them on the computer? The hermaphroditic nature between reality and arti ciality is a central aspect of Duca’s sound world.

There is only one thing you must not do with this music: trivialize it or underestimate it. With Waves, Duca is exploring the very essence of sound, and its possible meanings and contradictions.

A fresh but already affirmed face, Joannes likes his techno solid. With Noordster he gives us a showcase of a certain aesthetic, which on a certain day, for a certain ear, on a certain floor is simply the shit. Spartan in his sparsity, varied in diversity, Joannes knows what he wants. With 3030 he takes us into a Millsian orbit warp, Whisper lands us on Hoth where ice and wind abound. Tripyness is the chugger here, deep and beautiful, like the sea in a storm. Wake goes down the quirky path, with small audio-phonic nuances piercing the air and the riddim holding the groove. And then, out of nowhere comes Ghetto bird, as soft and gentle as the Nightingale and the Rose. Wilde stuff. To top off the package, we go south, to the lands of sun, sea and dance with Housey Yo! Nice tribal atmospherics and smart Four Tet-like melodies. This one has that B-side moment. Let’s make it happen. All in all, a welcome addition to the label, bring on the sounds Johnny boy.

Trends come and go, but our SPEICHER series has never been shy of releasing futuristic, renegade TRANCE. Though the hallowed grounds we inhabit may be on pause, we are always slaves to the rave.

Welcome the debut from SYCUM. An alias from a legendary Berlin musician who needs to remain faceless in order to let the music speak first. So let us dive in….

“The Dream” whispers to the early days of UK rave. Ecstasy encoded transmissions are sent via a galactical groove, set out to space amid a constellation of euphoric sounds that make shapes. “Decoded” is built on the foundation of relentless progression – layered with synth built sorcery of the most profound kind.

Trends kommen und gehen, aber unsere SPEICHER-Reihe hat sich nie davor gescheut, futuristischen, abtrünnigen Trance ans Tageslicht zu bringen. Auch wenn die heiligen Stätten, die wir normalerweise unser Zuhause nennen, zurzeit geschlossen sind – wir bleiben dem Rave Untertan.

Wir heißen das Debüt von SYCUM willkommen. Es ist das Pseudonym eines legendären Berliner Musikers, der gesichtslos bleiben muss, um zuerst die Musik sprechen zu lassen. Tauchen wir also ein…

"The Dream" flüstert von den frühen Tagen des UK-Raves. Ecstasy-codierte Übertragungen werden über einen galaktischen Groove gesendet, der sich inmitten einer euphorischen Klangkonstellation in den Weltraum begibt und dort Form annimmt. "Decoded" steht auf dem Fundament unerbittlicher Progression – Schicht um Schicht baut es sich auf einer Synthesizer-Zauberei der tiefgründigsten Art auf.

Ottavia Records comes with OTTEP10 from G.I.N.O. who was part of the duo “Code Deploy” (which released music on labels such as Budare). The first track is “Alucinogeno” plenty of atmospher sounds and groove which are mixed with smooth vocals. Then, Dj Honesty comes with an incredible "Alucinogeno" remix, a highly effective dancefloor cut in which you can find house vibes. For the 3rd reference, Franco Cinelli arrives with “Paramus” Remix, a track that will involve you from the beginning with solid bass lines and melodies, in an emotive deeper track. Finally Imperatrice & Groove Circus have versioned paramus and the result is a track plenty of groove and unexpected changes influenced by a music range from acid to minimal.

New imprint beam dump curated and run by Chris Geschwindner starts its operation with the usual madness. Following the idea of a beam dump, a device that captures and dissipates large amounts of radiation, the label showcases music that strikes through its energy and coherent complexity.

For its first release, beam dump introduces the newcomer trio of SINM from Lima, Peru with their infectious blend of breakbeat-infused house and no-nonsense tech groovers. Including 4 tracks, Simulation EP is a fun and innovative approach to current electronic club sounds borrowing inspiration from tech house as well as twisted UK garage and 2-step.

“The Grind” by El Agua Es Profunda is a beautiful, ever evolving track. Building from a basic rhythm, layering and layering into an anthemic state. Fans of John Hopkins, Kaito, The Field, Gui Boratto will find a familiar vibe in The Grind, but this vivid and cinematic ten and a half minute production triggers memories of epic moments in any dancer.

The B-side holds a remix by Copenhagen‟s Kasper Marott. Highly regarded for his releases on Modeselektor 's Seilscheibenpfeiler, Courtesy's Kulør, and most recently his own Axces imprint. Marott has taken The Grind on a more intense trip, enhancing the percussive elements for the floor.

Behind the artist name El Agua Es Profunda we find the Danish music producer Jacob Funch. He has previously released four digital EPs as well as the abum “Circumnavigating Lueena“ through his own Gold Records. The productions vary in genre from melodic soundscapes and synth-pop to dance music. Besides his solo work he is a frequently used producer for several other artists on the global leftfield indie scene.

Vinyl Only

They say journey can take you to so many roads full of experience and lessons, to learn ideas to achieve, and that’s when you translate that into musical notes and rhythms.

ÓbaidlÍ records come along the way from the heart of the desert to set the right tone with a particular style. The idea behind the label is to experiment with a wide range of sounds and textures to give it a feel of the organic sounds.

ÓbaidlÍ records are glad to present their first vinyl release ’Down the road’, a selective, four-track EP. This EP is a collaboration between two talented producers, the founder of "ÓbaidlÍ records" Bídlee and the head of "Deep in you Music” Zohki. Each track brings its unique touch and deep perception.

Leading off on Side A are tracks by Zohki, that will set you up into a deep rhythm and harmony.

Side B tracks by Bídlee will take you to a long journey of nostalgic tone with symphonic soul, and minimal serve with proper texture.

Ike Yard remain a legendary band of early '80s New York City – at once immensely influential, yet obscured by a far-too-brief initial phase. Their debut EP, the dark and absorbing Night After Night, sounds almost like a different group, so rapidly would Ike Yard evolve towards the calmly menacing electro throb of their self-titled LP.

Originally released on Factory in 1982, the album put Ike Yard's indelible mark on the synth-driven experimental rock scene then emerging all over the planet. While historical analogues would be Cabaret Voltaire's Red Mecca or Front 242's Geography, opening track "M. Kurtz" makes starkly clear that Ike Yard is a far heavier proposition.

With a thick porridge of bass, ringing guitar and strangled/stunted layers of voice, these six pieces are densely packed and perversely danceable. "Loss" sounds like a minimal techno track that could have been made last week, while "Kino" combines Soviet-era imagery with sparse soundscapes à la African Head Charge's Environmental Studies.

Ike Yard somehow pull off the toughest trick in modern music: making repetition hypnotically compelling through subtle variation. The effect of Ike Yard's first LP can be heard in many genres – from industrial dance labels like Wax Trax to electro-punk bands and innumerable European groups (Lucrate Milk, Red Lorry Yellow Lorry, etc.).

The fact that the cover artwork does not include any photos of the band, but rather features the original catalogue number (FACT A SECOND) only further illustrates the release's importance and Ike Yard's timeless mystique.

The Mighty Mocambos' new album "Showdown" sets another cornerstone in their prolific career as a globally active instrumental funk outfit. While maintaining their organic approach of recording real musicians live on tape, the group has refined their trademark sound with a dramatic edge, a hard hitting production and ventures into less obvious musical territories. While highly enjoying themselves as the tight unit they are, The Mighty Mocambos invited an exciting list of guests to contribute to their musical "Showdown": German film composer icon Peter Thomas, hiphop godfather Afrika Bambaataa, rap legends Charlie Funk aka Afrika Islan (member of the original Rocksteady Crew) and Donald D (of Ice-T's Rhyme Syndicate), plus Nichola Richards, Shawn Lee, DeRobert from peer label GED Soul in Nashville, Zulu Nation MCs Deejay Snoop & DJ Hektek and organ genius Guillaume Metenier all joined the group for their new musical adventure. "Showdown" is released on vinyl LP by Mocambo Records and on CD and digital incarnations by Légère Recordings.

About the Mighty Mocambos:

The Mighty Mocambos and their many incarnations have released dozens of 45s and several albums on their own imprint Mocambo Records and other labels such as Kay Dee, Truth & Soul, Tramp, Légère and Favorite Recordings, to name a few. They have collaborated with musical legends such as Afrika Bambaataa, Lee Fields or Kenny Dope, put new talent like Gizelle Smith and Caroline Lacaze on the map, brought Caribbean steel drums to funk clubs with their alter ego Bacao Rhythm & Steel Band, and have toured through all civilized parts of the continent and beyond for the better part of the last years. Their unique style and trademark sound are loved by peers, fans and critics alike and distinguishes them from mere retro-copycat-acts as well as overproduced plastic soul. The Mighty Mocambos continue to deliver their brand of funk with blazing horns, soulful guitars, driving drums and basslines combined with an extra bit of quirkiness. When not producing records for one of their many incarnations and collaborations, the band is touring steadily. Whoever witnessed a concert will tell you about the musicality, passion, energy, humour and joy that the band loves to bring to the people. Background What started out years ago as a take on "deep funk" and its associated vinyl culture has completely grown into its own oeuvre d'art. With the launch of their production studio and record label in 2006, things started to gain momentum. Apart from self-releasing the group's own recordings, Mocambo Records became a household name by putting out highly collectable vinyl 45s by today's best funk outfits as well as unearthing lost library funk treasures. The Mighty Mocambos however did not restrict themselves solely to their own label. Their interpretation of the Furious Five classic "The Message", released under a pseudonym on an obscure phantasy label without proper distribution, got picked up and remixed by Grammy- nominated producer legend Kenny Dope (Masters at Work, Bucketheads). Their first single with UK funk singer Gizelle Smith, "Working Woman", became an overnight smash and a prime-time club favourite of funk & soul DJs worldwide. Initially released on the Finnish private press imprint Old Capital, it got the remix treatment by Kenny Dope and a re-release on Kay Dee Records as well. After earning their credits through vinyl 45s, the band stepped up their game with the full- length "This Is Gizelle Smith & the Mighty Mocambos" in 2009. The album received rave reviews, got lots of airplay - and sold a bunch of physical copies too. Its success led to an extensive tour throughout Europe with club dates from Marseille to Oslo, performances at massive festivals such as the Printemps de Bourges in France and live radio appearances at respected FMs such as the BBC and Radio Nova. With the following album "The Future Is Here" (2011), the band stepped further into the spotlight and explored new sounds with features by hiphop legends Afrika Bambaataa and Charlie Funk, French singer Caroline Lacaze and German rare groove queen Su Kramer, while manifesting their unique raw funk sound and refining their unmistakable instrumental style that had long gained international reputation. The album was toured extensively, including a legendary performance with Afrika Bambaataa at Hamburg's Reeperbahn Festival (covered by ARTE TV), support gigs for Lee Fields and headline shows at renowned venues such as Amsterdam's Paradiso, Islington Assembly Hall in London, Paris' Bellevilloise, Tempo Club in Madrid, or at home at Hamburg's Mojo Club. After producing the critically acclaimed debut album "En Route" (2013) of French soul singer Caroline Lacaze, where their adapted their sound to deliver a stunning mix of French Beat, Soul & Psychedelic Rock, the band went on to record a full length under their moniker Bacao Rhythm & Steel Band. Their interpretation of 50 Cent's P.IM.P. had long become a cult classic and was often mistaken for the original sample. The group's approach in stretching the boundaries of funk by adding Caribbean steel pans caught the interest of Brooklyn's finest label Truth & Soul who signed the band for the album "55", an explosive mix of funk and hip hop cover versions as well as original compositions that showcase the band's singularity in today's funk circuit. The Mighty Mocambos' recent album "Showdown" (2015) sets yet another cornerstone in their prolific career as a globally active instrumental funk outfit. While maintaining their organic approach of recording real musicians live on tape, the group has refined their trademark sound with a dramatic edge, a hard hitting production and ventures into less obvious musical territories, with a diverse list of special guests ranging from German film composer icon Peter Thomas to hiphop pioneer Afrika Bambaataa.

"Matasuna Records" has found another musical treat from the African continent for its latest release - a song by the Ghanaian musician "Mawuli Decker". It was released in 1983 on the rare and sought-after album "Ayo Special" and is available for the first time as a 7inch vinyl single, which is supplemented by an edit from "Renegades Of Jazz". The esteemed London label "Kalita Records" was able to provide the audio material for new masters and is also acting as music publisher with the new "Kalita Music Publishing".

Mawuli Decker was born in 1949 in Ghana, where he also grew up. His musicality has been given to him from an early age, so that he not only attracts attention as a singer, but also plays drums, percussion and bongo. He played in various dance bands, which were very popular in Ghana especially from the middle of the last century onwards and made the Ghanaian highlife known beyond the borders. He has played in various dance bands such as New Planets, Sawaaba Sounds, The Tops, Caprice 73, The Volta Pioneers and others, which have performed in Ghana and other West African countries.
His first release was in 1975 with the band "Dzobi Soundz" on the Polydor label. Further releases of projects with his participation followed, until 1983 when he recorded his album "Ayo Special" at "Otodi Studio" in Lome (Togo) with an illustrious group of musicians.
He is still deeply rooted in music and performs in West Africa and is still very active in recording.

On the A-side is the original version of the song "Lololi-Lomko", sung in the "EWE" language, which is spoken in the south of Ghana as well as the southern parts of Togo. "Lololi" means "There's Still More Love" and "Lomko" stands for "Please love me" - classical themes that have appeared in countless songs in music history. Although a certain catchiness of the track cannot be denied, it doesn't seem cheesy at any point. Mawuli, who also contributes the vocals, creates perfectly formed harmonies through his compositions and arrangements, which are especially apparent in the bassline, guitars & brass and of course the vocals.

This was certainly also the idea behind the edit of "Renegades of Jazz" on the B-side, which did not want to break up and alienate the organic composition. Listening closely reveals the approach: a steady tempo, a more powerful bassline and additional drums and percussions bring the song back directly to where it belongs: to the dancefloors of this world!

Mort Garson’s road to cool cultural caché and the sublimity of Plantasia meant a decades’ long journey through an underworld of sophisticated, international, string-laced dreck (i.e., your great-grandparents’ record collection) to arrive at Music from Patch Cord Productions, this set of queasy-listening you now hold.

Music from Patch Cord Productions shows that Garson’s knack was to exist in both worlds, super-commercial and waaay out. He cut delirious minute-long blasts for commercials (as to whether or not they were actually ever aired remains unknown) and spacecraft-hovering études. Were there really account managers out there in the early ’70s that gave the greenlight to these commercial compositions which seemed to anticipate everyone from John Carpenter to Suicide? What were these campaigns actually for, Soylent Green? Regardless, Mort’s jingle work laid the groundwork for the future. As Robert Moog himself noted: “The jingles were important because they domesticated the sound.” Via Garson’s wizardry, the synthesizer transcended novelty to ubiquity and dominance.

Other curios and questions abound. How did Garson’s arrangement work for Arthur Prysock’s satiny body worship album This Is My Beloved transmogrify into the body-snatcher pulses of “This is My Beloved”? Are the two pieces even related? What is the IATA code for the airport of “Realizations of an Aeropolis”? What denomination is the “Cathedral of Pleasure”? If “Son of Blob” sounds like a hallucinatory melted ice cream truck theme, what on earth does Blob’s father sound like? Every sound wrangled out of that Moog by Garson pushes things further and further out.

Of course, these are all questions that may never get answers, as Garson wasn’t the most organized modern day composer, busy as he was conjuring strange new realms with his circuit boards and synths. He worked and wrote right up until his death in 2008, his daughter and Sacred Bones still going through all of the material left behind. He wouldn’t live to see it, but his renaissance was just around the corner, the seeds that had been scattered in record bins around the world suddenly coming to bear fruit. Take a bite!

Reissue of Mort Garson’s long-out-of-print soundtrack for the 1970 experimental film Didn’t You Hear?
•One of the first-ever all-electronic film scores
•Remastered from the original master tapes

Six years before the release of his landmark Mother Earth’s Plantasia LP, composer and arranger Mort Garson met experimental film director Skip Sherwood, who was interested in an electronic score for his new movie, Didn’t You Hear? While not much is known now about the exact nature of their collaboration, we have Garson’s magnificent score as a record of those heady, early days after his lifechanging discovery of the Moog synthesizer. Notable for being one of the earliest screen appearances by a young Gary Busey, Didn’t You Hear? also boasts one of the first-ever all-electronic movie scores. Though the score was first released in 1970, it sounds as adventurous and futuristic today as it must have then. Originally available only in the lobby of the theater at screenings of the movie in Seattle, the soundtrack LP went out of print shortly after the film’s release. It has been a sought-after record for collectors of Mort Garson and early electronic music ever since. Sacred Bones is honored to reissue Didn’t You Hear? as it was meant to be heard, taken from the original master tapes and given a pristine remaster by engineer Josh Bonati.

ABOUT MORT GARSON: Morton S. “Mort” Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His best known album is Mother Earth’s Plantasia, a 1976 Moog album designed to be played “for plants and the people who love them.” Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson’s catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

Reissue of this mesmerizing record including an unreleased alternate mix of "Subterranean Zappa Blues". Hypnotic rhythms made of slow minimal beats, industrial textures, intoxicating drones and repetitive voices that seem to merge from dreams. Everything built by two of the most brilliant industrial music minds: Steven Stapleton and Colin Potter.

"This album arrived somewhere after a dream meeting of several individuals, Graham Bond, Joe Meek, Jacques Berrocal and myself. After a few beers and a heated disscussion of puncture repair we all lay down in a circle and point our penises at Venus, telepathic messages are sent out to Colin saying he can use the two golden microphones. He did, and here we are." Steven Stapleton, 17.1.94.

Rock 'n Roll Station began life with Steven Stapleton asking engineer Colin Potter to remix some of the more rhythmic elements of 'Colder Still' from 1992's Thunder Perfect Mind. As Potter gradually warped these sections into weirder and weirder pieces, a new album began to emerge. Potter himself explained it to David Keenan in England’s Hidden Reverse: “What I sometimes did in the studio was to ‘over-use’ effects and processors to totally mutate a piece into something completely different” while Stapleton observed how “it was almost as though telepathic messages were sent over to Colin. We’d started an album together at IC Studio that was never finished. He then sent me some vague mixes, which were just what I had in mind. So, from that basis, I started putting the album together.”

Potter would quickly become a key player in Nurse With Wound’s productions, a position he continues to fulfil to this day. He was first credited as a member on 1992’s Thunder Perfect Mind, a tour-de-force of cold, at times hostile, machined atmospheres, but considers Rock ‘N Roll Station from the following year to still be his favourite.

Building on percussion and drone elements, Stapleton and Potter throw in a huge range of bizarre and atmospheric elements: didgeridoos, chanting voices, and their usual selection of unidentifiable sounds.

Its strong focus on rhythm was erroneously surmised by some as an attempt to join the then rising electronic dance music scene. But it was Stapleton’s recent obsession with the music of ‘King of the Mambo’ Pérez Prado that was beating at the heart of Rock N’ Roll Station’s heady rhythms.

The album’s title alluded to two specifically rock-related stations of influence: the song of the same name by Jac Berrocal, of which a surprisingly straight cover opens the album in homage; and the tragic life of the Sixties British R&B organist Graham Bond who influenced bands such as Deep Purple and Cream. Beset by mental health problems (at one point believing he was the son of Aleister Crowley), Bond died under a train at a Tube station in 1989 and it is this tragic scene that Rock ‘n Roll Station’s closing track, ‘Finsbury Park, May 8th, 1:35 PM (I'll See You In Another World)’, sets in sound.

Hungarian “minimalist” instrumentalist/composer Tibor Szemző is considered a genius by many, although his accomplishments as an artist are sometimes overshadowed by the likes of superstars, Steve Reich and Philip Glass. Snapshot From The Island was originally released by Leo Records in 1987 and now 33 years later the album gets the proper reissue on his own label.

Snapshot From The Island is a wonderful excursion into ambient-electronic-acoustic dreamscapes which could also be considered an offshoot of what many call the “minimalist movement” The title track, “Snapshot From The Island” is a 24-minute tone poem featuring Szemző performing on computer drums and flutes of various pitch. Here, Szemző provides a soft rhythmic undercurrent to balance the somewhat ethereal and delightfully hypnotic motif as he also electronically emulates bird and animal sounds which magnifies the mood or imagery of a far away “Island” paradise.

Szemző is a true artist, a painter with a fertile imagination, as he invites the listener into his introspective world of thoughts and dreams. Szemző’s lush, yet subtle flute work evokes a surreal landscape on ”Water-Wonder”. On this piece, Szemző pursues circular passages while also intelligently utilizing a dash of echo to enhance the aura of a magical or mystical place, which for all intents and purposes seems timeless or otherworldly. “Let’s Go Out And Dance” is a dream-laden piece, featuring Szemző’s “cosmic” flute performances atop a soft pulse and László Hortobágyi’s synthesizer backwashes which conveys a sense of fulfillment or perhaps a scenario of – peaceful celebration. Again, Szemző offers up more visions of paradisen, which could very well have been a subtitle to this beautiful recording. The overall organic nature of Tibor Szemző’s music makes it all seem so real or something that our imaginations can easily grasp. There are no hidden clues or underlying mysteries behind all of this as Szemző’s artistry speaks for itself. A museum piece for the ears.

Tibor Szemző - flutes, voice, drum computer, sound installation
László Hortobágyi - synth. on "Let's go out and dance”
Mixed by László Hortobágyi and Tibor Szemző
Remastered by István Szelényi 2020

SKYLAX RECORDS, THE company focused on realeasing original & obscure dance classics and everything that sounds fine to their ears!For our 16th release , we decided to bring you again the producer of Resident Advisor's 2009 album of the year, TERRE THAEMLIZ aka DJ SPRINKLES, with a VERY SPECIAL PROJECT !!!

“Principi d’incertesa“ is the debut by 4Cantons, a Berlin based musician from Barcelona. This EP is basically filled with dark elektro tracks… but it is not strictly elektro you get served here… these tracks are spiced up with touches of techno, EBM and acid… making them punchy and perfect for some body work on the dance floor… this without getting aggressive or anything as all tracks maintain some sort of relaxed hypnotic vibe… You could look at this EP as a contemporary and more club minded take on early 2000’s elektro… recommended to (dark) elektro lovers but these sounds will also for sure appeal to fans of techno, EBM and acid alike… Keep an eye/ear out on this artist as this first effort is very promising…

Light Sounds Dark present 'Crossed Wires' an eponymous collection of music salvaged from a dusty cassette in the depths of the archives from the productions of an 80s psyche-experimentalist. Expect raw, unheard, previously unreleased music,. about as authentic as it gets.

CoOp Presents an all-new double-album compilation entitled 'Plug One'. It features a plethora of global talent from in & around the world of bruk and beyond - some already well-established in the field, some very much on the come-up and some brand new artists - this compilation is an acknowledgment of a continually evolving sound from the label formed by IG Culture & Alex Phountzi a few years ago. 'Plug One' affirms this electric movement, with a deeply fluid current running throughout, with tracks ranging from the cosmic psych jazz of LCSM, to the classic UKG tweaks of Groove Chronicles, to the thought-provoking vibes of Reginald Omas Mamaode IV, to a veritable who's who of 2020 bruk talent including Xtra Brux, Sivey, EVM128, Cengiz, Wonky Logic & many more.

From its beginnings as a classic club night and label in the early 2000's, CoOp always carried an undefinable and potent creative energy. A sense of freedom and uninhibited exploration was positioned at the core of CoOp's sprawling community and consciousness, communicated via movement and sound. From this seed and throughout the years that followed, this same energy permeated the worldwide underground music ecosystem. As CoOp's legacy continued to influence new generations of music makers far and wide. The syncopated rhythms, soulful keys and infectious grooves synonymous with the broken beat sound, now known simply as Bruk, became entwined with new concepts and progressions, leading to new movements carrying on the essence of the bruk energy.

IG Culture and Alex Phountzi took the helm of their CoOp Presents label in 2018, with the vision of championing these new waves of emerging artists, continuing the all-important exchange of energy at the heart of the original CoOp movement, but also giving room for the music to be pushed into new and uncharted territories. With burgeoning producers from around the globe being drawn to the explorative and expressive nature of the project, an incubator was created, providing a space and platform for these ideals to take on new shapes and sounds. Just as every generation must rewrite its own history books, CoOp Presents was born from a combination of influences, ideas and personalities, and in turn is now encouraging the next generation to do some re-writing of its own.

'Plug One' will be released on vinyl & digital on CoOp Presents in November 2020.

Kumail is a musician, producer, performing artist Mumbai, India. Over the last four years, he has ascended to the very top of India's burgeoning culture of electronic music on two parallel paths - as a gifted musician and bandleader drawing expansive canvases of rhythm, texture and emotion, and as a roughneck DJ notorious for breaking ankles. Having started off plunging deep into lo-fi ambient electronica, Those paths have led him to a DJ set at Dimensions Festival 2018 in Croatia, a string of several live festival dates across India, and extensive touring across the country. In the past, he has shared the stage with the likes of Shigeto, Four Tet, DJ Koze, Teebs, Ratatat, Mount Kimbie and Kutmah, and been featured on Boiler Room, Sofar Sounds and COLORS

The new album "Yasmin" was always meant to be the birth of a new sound for Kumail. After spending his formative years delving into textural lo-fi electronica and textural ambient music, he went searching for a new sound more in-tune with his older, more mature, and more thoughtful self. What began as a study of modern soul music – drawing heavily from R&B, jazz and hip-hop – eventually sprawled to include flavours from across the world and time. 80's Japanese funk, crackling gospel, shiny disco, cutting-edge LA beat music and the omnipresence of Dilla, all leave their faint but indelible mark.

But deep within, Yasmin is a gritty world in which not much is going right. That world borders on real-life struggles with sleeplessness and anxiety, and being cooped up in a room in Bombay, India, which is where (and how) most of this album came to life. Countless nights spent making music to distract from a lack of inner calm and rest.

Despite deliberately steering clear from sampling for his career thus far, a day spent digging in Istanbul ended up inspiring much of the album – not only did that day yield a discovery of Pierre Akendengue's 'Olatano, w'intye so du s' Afrika' (a sample of which appears on 'Obota') but also a range of 80's soul records that transformed Kumail into a student for the next two years. With a renewed focus on musicality, practising playing the piano, learning new songs and improving production skills, Yasmin evolved into a 30 minute mood-board of lush voicings and explorations beyond just beat-making. The ensuing recording sessions featured a line-up of both all-star local session musicians as well as invited collaborators - Sid Vashi and Pink Siifu both deliver memorable features. Despite vocal performances eventually making their way onto nearly all songs on the record, Yasmin was never meant to feature Kumail's singing. With or without vocals, Yasmin's triumph is that it is nevertheless unmistakably the sound of Kumail finding his voice.

Sutja Gutierrez is back on Lumière Noire. The finesse of his productions and his implacable stage performances have given him a special place within the Parisian label. In 2017, he released the EP "The Legend of Time" and one year later, he appeared on the compilation From Above with his track "Allodoxaphobia". He comes back here with an LP entitled PHYLAX SOCIETY, which confirms that Sutja Gutierrez is indeed an artist in his own right. Phylax means guardian in Latin, and the album’s title is directly inspired by the “Phylax Society”, a group of people who, in the late 19th century, wanted to create the ultimate canine breed, but who due their lack of consensus failed and dissolved. Later on, an ex-member eventually bred the very first German Shepherd. On this heartfelt record, as emotional as it is catchy, the artist deals with the feelings that come after the loss of a loved one, chiefly nostalgia and melancholia. The result is an ardent record where crooning is sincere and never a posture. The artist’s lo-fi psychedelic pop trademark oozes in every track of this album. Many of these songs feature his vocals, often doused in ethereal echoes or even shrewdly chopped and distorted in a way that reminds us of the great musique concrete experiments of the past. A DIY approach sometimes indebted to punk and post-punk music, all mixed with a vast variety of traditional pop instruments such as guitar, bass, electric keyboards and real drums, but also drum machines, synth bleeps, found sounds and other strange but fascinating samples. EMPTY FLOWER POTS, which was released as a single ahead of the LP, is definitely one of the album’s standout tracks. This catchy mid-tempo song is the perfect entry point into Sutja’s finely twisted world. A world in which you can find that particular balance between nostalgia and optimism. Oh, life is great, what is life? Life is death. . he sings. It is one of those songs that stays in your head for a while. Do not let the idea of alternative pop fool you, it is quite impossible to listen to any of these songs without reacting in some way or another through moving, dancing or thinking, regardless of the tempo or meaning. I’M DIGGIN’ might be the perfect example of this. Deceptively simple and far removed from dance music, this rock-infused number will not only have you singing along instantly, but you will also find yourself dancing and responding accordingly to the energetic mantra of this song... I'm digging for the truth, I am so diggin' into it. Truly, the dance floor is never too far, sometimes quite blatantly and sometimes in a more oblique fashion. Another case in point is PHYLAX SOCIETY, the eponym track which closes the album, a song in two parts, where a slo-mo club groove carries Sutja’s trademark singing to yet another level of uniqueness, with his surreal soundscapes, twisted melodies and everyday life sounds. An ode to humanity and an homage to the ones who are risking their lives every day in the mediterranean sea. It is rare to encounter an album which is immediately satisfying on one hand but also reveals more and more beautiful secrets with each listen. PHYLAX SOCIETY is clearly one of those special albums.

Regarded as one of the greats from Detroit, Rick Wade has crafted an incredible discography of tracks blurring the lines somewhere between deep house and techno with a sound and style brilliantly his own. His outstanding 'Timeless EP' from 2017 returns to Elypsia Recordings with an onslaught of remixes delivered by a diverse and unstoppable roster of modern musical mavericks - each respectfully twisting the original magic of Rick's original productions and creating a fresh take in their own style.

The Way I Am' comes in the shape of Tresilo aka Oliver Way (of Detroit Grand Pubahs), Esteban Adame and Ben Long (of Space DJz) and is an absolute belter of a prime-time stormer. Dominated by gigantic synth melodies, the track weaves around percussive alterations with hi-hats, sharp claps and energetic rides paired perfectly with the catchy musical wiggles and kicks. The familiar vocal sample from the original sneaks into play with perfect placement - offering a reminder of Rick Wade's awesome original.

Rick's previously unreleased track, 'Academy' receives the first of two remixes from Seattle house hero Pezzner. The 'CR2' Remix takes the groove into subterranean territories with a heads down bouncer of a track, fully embracing Pezzner's more house-focused approach. A percolating bassline keeps the cut moving ahead while soft, divine pads offer a classy sonic texture suitable for wide-eyed ravers and urban headphone listeners alike.

Detroit's Vintage Future joins the remix roster with his take on 'Planet Deep,' one of the standout cuts from the original EP. The track is absolutely saturated with Detroit soul. Deep, machine driven textures and gorgeous otherworldly melodies rest alongside a truly infectious groove. The famed keyboardist for Model 500's live gig, Vintage Future knows clearly how to craft an incredible groove with his keys, and the sounds from this impeccable remix are tip top.

The second remix of 'Academy' from Pezzner continues his remix focus in a deeper house mindset, with Pezzner delivering even softer sounds, and more intense pad dynamics. This retouch includes the addition of some gorgeous orchestral stabs and organ textures which gives the remix a soulful touch - made to focus on a slightly more melodic approach than the previous Pezzner rework.

No Exit Records is pleased to present Hektor's debut release, 'Rituals'. Four tracks of lush electronica, Hektor gives us a highly textural, romantic record where field recordings, analogue synths, drum machines and samples are woven together to dramatic effect. With this palette of sounds in hand, the classically trained artist takes us on deft and unexpected journey, exploring unconventional arrangements in a wholly immersive listening experience. Exciting sounds from the newcomer.

The Futurists rejected tradition and introduced experimental sounds and this fact, that influenced a lot of composers during the 20th century, helped them to build a concept that started the career of Barcelona based duo Iro Aka. The evolution of their music started with this EP, fluctuating through psychedelic and esoteric influences, taking as its main references the continuous technological evolution and those new techniques to make electronic music. “Futur” is an extract of the first ideas of Iro Aka. They started the project at the beginning of the 2017 and this EP was produced then, showing the abstraction that they felt at that moment, a path drawn by different sounds that came from different people and different places.

Tapan leaves their mark on Zukunft with reimagining the original as a slowly building, tribal inspired and almost sitting in an alternative timeline. Clever use of percussive elements does not take away from the track being playable in the club.

The slightly psychedelic dance floor experience is delivered by Anatolian Weapons. Pulsating rhythms intertwine with classic drum sounds and paint a mood almost contradicting the vocals of the track. Perfect secret track for any dance-floor.

Mini LP with insert.

The musical vagabond returns to spread his Gospel of L.O.V.E.

San “Dr.” Proper presents his third EP on Dopeness Galore with a selection of kindred sounds and spirits encountered around the earth while on tour. The result is an intriguing six-track EP that documents the musical collaborations that sparked to the pulse of cities like Casablanca, Bogota, Amsterdam and Medellin, straight back to the dungeon of Volkshotel where they fused these tracks in an Amsterdamic fashion.

“where we did some afternoon-jams alongside some after-effects to spread the gospel of sentiment and love.”

L.O.V.E. part 3 features upcoming artists such as Mr. Cruz, Bobbi, Elias Mazian, and V. Bannier as well as local musicians from studios around the world, moulding a colorful record with traditional Arabique, Latin-Americain and western influences to create that unmistakable Proper sound.

Six years before the release of his landmark Mother Earth’s Plantasia LP, composer and arranger Mort Garson met experimental film director Skip Sherwood, who was interested in an electronic score for his new movie, Didn’t You Hear?

While not much is known now about the exact nature of their collaboration, Here's Garson’s magnificent score as a record of those heady, early days after his life-changing discovery of the Moog synthesizer. Notable for being one of the earliest screen appearances by a young Gary Busey, Didn’t You Hear? also boasts one of the first-ever all-electronic movie scores. Though the score was first released in 1970, it sounds as adventurous and futuristic today as it must have then.

We’re excited to presentStill Hope–the firstfull solo EP from Fluidity for Integral Records, following the success of ‘Feeling Inside’, his debut feature on the Glow VA series. This Bristolian is one of the future Dnb collective's rising talentsswiftly making his mark on the scene with a liquid style all his own;refined, subterranean, rolling.
Coming with four explosive tracks covering the full intelligent spectrum; fromthe very deepest and most intricate melancholic vibes, through to the harder edged sounds the listening journey is nothing short of pure vibe. Intertwining atmospheric pads, blissed out chords, slickened percussion and groove pass through harmonic growls and alluring sub basslines of infinitely emotive soundscapes.

2026 Repress

Following the Dream 2 Science release on the Rush Hour Reissue series earlier this year, another NYC garage classic by Ben Cenac, also known for his Newcleus outfit, gets a much deserved reissue. Unlike Dream 2 Science, which remained an obscure record at the time, Sha-Lor became an international club hit and a Summer Of Love staple song. The timeless feel of this innocent, heartfelt vocal song sounds as fresh as it did back then and is sure to fill people's hearts with joy again. This reissue features the Caught Up Version, which was the most popular mix from the origin

A culmination of paranoia emerges as we lose the human dimension of the city. Glittering canals shape the light in our eyes as we pass by, guiding our spirits safely home as the sounds slowly fade away into night sky. It’s not our time to go although the balancing act slowly becomes more extravagant and abstract until we find another way to stand on one toe. Piecing together all the perplexations, realization that all the shit that you have chatted float down the ether stream to Timbuktu never to be seen again, and the lion at the end dribbles and spits, waiting for words of shite to come walking his way so him and his lioness can slowly butcher every last note, until just dust is left.

Mow Records proudly presents L’enfants De Kita, the third album from a series of five, all produced by label owner Mowgan. Each album features vocalists and performers with African heritage, channeling Mowgan’s passion for the continent’s diverse sounds into vibrant, highly emotive productions. On L’enfants De Kita he teams up with Fanta Sayon Sissoko, a female performer from West African nation Mali. Based in Toulouse, where the album was recorded, Fanta’s musical roots go deep - her father played guitar and ngoni for Baaba Maal and her grandmother is Kandia Kouyaté, one of Mali’s best-known griot singers.

Mowgan always dreamed of working with a female singer from Mali, enchanted by their vocal style. After moving back to France a few years ago he bumped into Eric Diaouré, an old friend who he worked with in his teens. Eric is also a musician and just so happens to be from Mali. Mowgan revealed his ambitions to Eric and a meeting with Fanta was arranged - within a few days they were in the studio together.

Like the other albums in this series, L’enfants De Kita is a fusion of Mowgan’s love for African music and his penchant for electronic sounds. Fanta’s raw, affecting vocals are complemented by Mowgan’s considered production throughout with additional instrumentation from a range of performers, including a group of schoolchildren on ‘Tubani’. Featured artists include Solo Sanou (whose album ‘Soya’ was the second release on Mow Records) playing percussion, Mamadou ‘Madou’ Dembele, a multi-instrumentalist who plays ngoni, Yohan Hernandez on guitar and bass plus Madani Touré aka Chanana (a famous Malian rapper from the nineties) contributing to lead vocals on the album’s title track, with Tim Xavier handling mastering.

Mowgan’s approach to creating albums is to get a vibe going with the singer, produce a batch of songs and then select the best seven for each LP. It’s a pressure-free attitude that has led to some truly heartfelt productions, which encapsulate the purity of the creative process when it’s liberated from rigid constraints. You can hear this freedom of expression throughout L’enfants De Kita, Fanta in her element as she sings with passion and grace across all seven tracks.

The album begins with the title song ‘L’enfants De Kita’, which pays homage to Fanta’s hometown, Kita, in Mali. It is the centre of griotism, the local style of passing on knowledge from one generation to the next via spoken-word storytelling. Chanana joins Fanta on this one, which is the most ‘western’ sounding cut on the LP, Mowgan’s deft touch taking us to the dance floor, while Chanana adds extra depth with his rapid-fire vocal refrain. The glorious ‘Tubani’ tells the story of Djene Tubani, a girl who thought she was a bird. She disobeys her parents and neglects her friends, but eventually learns the error of her ways. Fanta’s vocals are amplified by the voices of a group of schoolchildren, including her own daughter.

‘Mobaya’ is a reminder that we can possess wisdom and deep knowing, but we can also enjoy ourselves; dance, sing and party. This is a club-focused production with 4x4 beats and a traditional house feel, which provide a wonderful accompaniment to Fanta’s uplifting vocals. Next up is ‘Dakan’, a cut which is all about destiny: Everyone has been put on Earth for a reason and by working together we can all achieve our destiny. Layers of percussion skip over the warm low end, with a lively trumpet appearing in the second half.

‘Dounouya’ explores the notion that we live in a world where everyone faces negative criticism. Fanta encourages us to take responsibility and move forward no matter what others think of us with this inspiring guitar-led cut. ‘Djonya’ highlights the fact that slavery still exists in today’s world - modern slavery, hidden from public view but still very much alive. “Our Africa is going to be okay if we all hold hands, if we are all together, all united,” she says. Finally,‘Badeya’, a great outtro which focuses on unity. We are all one family on this planet and this song speaks of people coming together but also respecting ourselves above everything else. The pace is slow and the instrumentation perfectly balanced to allow Fanta’s vocals to flourish.

To accompany the 18 track, 2 x CD Planisphere – Atmospheres release, we’re delighted to present another duo of vinyl for the purists. Atmospheres 2 x 12” Vinyl Album Sampler will feature 5 remastered originals alongside the brand-new Atmospheres. George and Laurent continue to click in the studio, and as the excitement built over the last few months, we just knew they were going to create greatness once again.

Vinyl 1 will house the main track Atmospheres. Taking up Side A, this hybrid groove encapsulates that Planisphere sound beautifully. Theatrical, cinematic, melodic and intriguing. Ambient sequences join a tight breaks pattern before a more driving bassline takes over along with 4x4 beats, leaving us thoroughly gratified and wanting more. On the flip, we have two gems. B1 has So Many Ways, a track that found its way into sets from the bedroom to the mega-party and beyond. A real epic, progressive trance groove filled with swirling, captivating pads and a melody that juts melts into your soul. B2 hosts Lektrophony, a solid breaks track that locks you in with its hypnotic charm and 303 lines. A relentless groover, the breakbeats are so addictive and the acid lines give it a real nice touch. Another epic smasher that never disappoints.

Vinyl 2 features the mighty Deep Blue Dream on the A side. With its relentlessly powerful bassline and dreamy melodies, this one remains a go to track to keep the groove solid. Besides the epic flavour of the track, the break on this is huge. Descending into slow moving pads, the arps never really fades before it all builds and builds into a wonderful climax, revealing powerful, sweeping strings and pads. Over on the B1 slot we have Cyborganic which intros with a Pete Namlook-esque arpeggio sequence alongside a deep droning bass before punchy kicks and huge synths take over. A proper peak time slice full of energy and drive. Rounding up this must have vinyl set in the B2 position, we have the impressive The Lost Planet, which was originally found in a superb two-part release, Sounds From Outer Space back in 2000. This one has everything, a Balearic groove with a spacey vibe. Undertones of 303 lurk as sweet, dreamy pad melodies allow us to drift.

This 2-part sampler is a must have for all vinyl enthusiasts, with limited quantities, keep an eye out for pre-order on our website and socials.

Follow-up EP for Multi Culti from this Berlin duo merging sleek Krautrock influences, decades long production experience, jazz-percussion chops and funky German vocals.

‘Kometenschweif’ will sound the most familiar to fans of Sascha Funke’s club-ready tracks, with percussive and vocal flourishes from Niklas Wandt. ‘Kreidekreis’ takes the tempo down while ramping up the trippiness, a circular journey into funk bass, synth prog, and again, a percussion masterclass.

Finally, ‘Weg Vom Leder’ sounds like a lost Falco tune, brought up to date. On the remix side, Alexander Arpeggio somehow manages to swing ‘Kreidekreis’ into a digital reggae slowburner, while Whodamanny turns Kometenschweif toward indie-kraut-wave bop.

It's back-to-backhits with the new Names You Can Trust split single series, the first of which features two up-and-coming acts in the blossoming Latin music scene of the Pacific Northwest. From Seattle via Argentina and Miami is Terror/Cactus, a futuristic electronic cumbia project from musician Martín Selasco. Selasco's machine-forward audio/visual performances combine a mixture of bugged out digital folklore, live percussion and the omnipresent sounds inspired by the canon of South American chicha concoctions. That balance is on display in the group's debut vinyl release "Churro vs Crow." A field recording of a Mexico City street scene playfully intermingles with the track's heavy production, an innocuous battle between a crow and a churro vendor breathes a little outdoor analog into an avant digital landscape.

On the other side of the spectrum, down south in neighboring Oregon, lies Portland's Orquestra Pacifico Tropical, an 11-piece ensemble formed by a crew of talented musicians from the lush local offerings of the Willamette Valley. The band's big sound is an explosive expression of their own roots, representing the heyday of tropical music that graced stages for decades in Central and South America. Clarinet, brass, electric guitars and that familiar percussive pulse are all alive on their NYCT debut "Regreso." Imagine a return to the cross-pollinated sounds of the psychedelic '70s, an echo from the Andes, the Amazon, through the central isthmus and back to the present, only this time landing in the City of Roses.

Don’t you realise that it’s getting warmer and warmer by the minute, that DJ JA’s “Warm”EP for hundert is just the beginning of something new while things continue to heat up?
Just think about hearing it on the news, that feeling of your skin crawling, shrivelling, theshrill alarm sounds ringing inside your head and you trying to keep your cool while theheat is rising. Just relax though, consider the Y2K panic – how everyone breathed a
breath of relief on the 1st of January once the clock had struck midnight and everything just stayed the same. After all, that’s maybe what we really need to be doing instead: wait for things and nature and this planet to settle this on their own terms. Wasn’t it all just a
hazy craze back then, and isn’t the same happening now? Aren’t we all susceptible for either apathy or paranoia, that bittersweet ambivalence also at the core of this EP, which navigates between harsh and nervous sounds, providing both heat and the (figurative and literal) chilling cool that we so desperately long for? Remember to stay calm when you can and that nature couldn’t give a fuck about whether or not we start acting only when it’s far too late; just consider your own insignificance while the melodies stretch out beyond the horizon and into the aether. May we suggest however that you wake up, take the first letter of each sentence, put them all together in order to see through the heat of the moment and the chilling anxiety in order to feel what’s true, real, and present?

We are excited to welcome young composer Noémi Büchi to the Light of Other Days roster.

Her debut Ep «Matière» is the result of an extensive study with a modular synthesizer as her instrument of choice mixed with field recordings of sounds and noises surrounding her every day life . Apart from being a student of Electroacoustic Composition and listening to tons of music, Noémi finds most of her inspiration in long nature walks through nearby forests and foggy hills situated close to her bedroom studio.

With her music she leads the listener safely through deep paths of complex rhythms and otherworldly sounds. Her awareness of timbre, nuance and harmonic diversity are constantly matched with her ability to produce fresh and revealing arrangements.
«Matière» is an exciting excerpt from the works and life of a very talented young artist with a bright future ahead.

In the late-1970s Athens, Georgia was buzzing with a raw but sophisticated music scene. Traditional Southern rock had been the Georgia musical export for years before but the turn of the decade began producing new sounds from bands like the B-52’s, REM and Alt Rock luminaires Pylon.
 Before they were a band, Pylon were art-school students at the University of Georgia: four kids invigorated by big ideas about art and creativity and society. However, Pylon were less of a band and more of an art project, which meant they had very specific goals in mind, as well as an expiration date.
 While their time together as a band was short lived (1979-1983), Pylon had a lasting influence on the history of rock and roll. Throughout their brief history, they were able to create influential work that would help foster the post-punk and art-rock scene of the early 80s. Artists like R.E.M., Gang of Four, Sonic Youth, Sleater-Kinney, Interpol, Deerhunter and many more claim inspiration from the band.
 Their 1979 single ‘Cool’ / ‘Dub’ reached legendary status, with Rolling Stone titling it one of the 100 Greatest Debut Singles Of All Time.
 In 1980 the band released their first record, ‘Gyrate’, and began touring across the country in support of the release. The band would soon develop a following across the country and specifically in the bustling music scene in New York City. One of their earliest gigs was opening for the Gang of Four in the Big Apple.
 Following the critical acclaim of their debut release, Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in new shapes, revealing a band of self proclaimed nonmusicians who had transformed gradually but noticeably into real musicians. The resulting album, ‘Chomp’, was barely off the press when Pylon were booked to open a run of dates for a hot new Irish band called U2 (after previously playing two arena shows with them in the month leading to the album release). Most bands would have jumped at the opportunity but Pylon were sceptical. At a critical point in the life of Pylon, they opted to become a cult band rather than stretch their defining philosophy too far.
 “We fully intended Pylon to be an almost seasonal thing that we were gonna do for a minute and then get on with our lives,” says Curtis Crowe, drummer for the band. “But it just never went away. It still doesn’t go away. There’s a new subterranean class of kids that are coming into this kind of music, and they’re just now discovering Pylon. That blows my mind. We didn’t see that coming.”
 New West Records are proud to partner with Pylon to reissue ‘Chomp’ and ‘Gyrate’ back into the masses. Beautifully remastered from the original audio sources and pressed on vinyl (140g) for the first time in over 30 years.
 New West Records also present ‘Pylon Box’, a comprehensive look at the band that features the remastered studio LPs ‘Gyrate’ and ‘Chomp’, the 11-song collection ‘Extra’ - which includes rarities and previously unreleased studio and live recordings - and ‘Razz Tape’, Pylon’s first ever recording: a 13-song unreleased session that pre-dates the band’s seminal ‘Cool’ / ‘Dub’ debut.
 ‘Pylon Box’ also includes a hardbound 200-page full colour book featuring pieces written by the members of R.E.M., Gang of Four, Steve Albini, Corin Tucker and Carrie Brownstein of Sleater-Kinney, Sonic Youth, Interpol, B-52’s, Bradford Cox of Deerhunter, Mission of Burma, Calvin Johnson of Beat Happening and K Records, Anthony DeCurtis, Chris Stamey of the dB’s, Steve Wynn of the Dream Syndicate and many more. Features an extensive essay chronicling the band’s history, with interviews with the surviving members of the band as well as members of R.E.M., B-52’s, Gang of Four, Method Actors and more. It also features never before seen images and artifacts from both the band’s personal archives as well as items now housed at the Special Collections Library at the University of Georgia and the Georgia Museum of Art, UGA.

Automatic Tasty (Jonny Dillon) has been away from Central Processing Unit for five years now, releasing on labels such as AC Records and Furthur Electronix in the intervening time. However, new EP The Future Is Not What It Used To Be shows that the chemistry between label and artist is still in good nick by offering up four tracks of contemplative electro-boogie.

While the preceding CPU/Automatic Tasty drop may be 2015's The Life Parochial, The Future Is Not What It Used To Be actually has more in common with Sentimentalist's Choice, Automatic Tasty's CPU debut which came out back in 2013. This is not due to a huge stylistic shift - all three records bring together classic electro, techno and boogie sounds to create charming and melodious tracks - but more to do with the tone of the record. You see, while The Life Parochial was a squelchy machine-funk delight, The Future Is Not What It Used To Be is a more pensive affair befitting its title.

This isn't to say that The Future Is Not What It Used To Be is a muted EP. Far from it - this record contains some of the most gorgeous electro joints you'll hear all year. The vibe is established on its eponymous opening jam, a vocoder-laced production pitched somewhere between the more ruminative tunes on Posthuman's 2018 LP Mutant City Acid and contemporary boogie acts such as Funkineven/Steven Julien and Galaxians. The track is made by the beautiful, bittersweet timbre of its synths, and these are maintained on following number 'Romance In The Old Country'. Given the offbeat skip in its groove and sunset-glow ruefulness of the keys, 'Romance In The Old Country' is a cut which invokes the instrumentals of Jessy Lanza LPs - and even (whisper it) a little Sade.

The Future Is Not What It Used To Be is an EP of evocative track titles, but there may be none more accurate than first B-side 'Rising Sun'. Here, Automatic Tasty tweaks the wistfulness of the A-side cuts into something more uplifting. While a thoughtful quality remains in 'Rising Sun's soft synths and skittering 808s, the track is driven by the exuberant energy of the 'Woo! Yeah!' drum break to become the sort of tune you drop as dawn begins to break over the rave. 'Rising Sun's afterglow falls over the closing track 'Adventures In The World Of Becoming', a steady IDM-electro pulse that channels the spirit of Aphex Twin's seminal Selected Ambient Works 85-92.

'The future is not what it used to be - no past, no memory'. With this robo-voiced intonation, Automatic Tasty returns to Sheffield's Central Processing Unit with four moving, poignant machine-funk tracks.

On December 26th, 2018, Emily Cross received an excited email from a friend: Brian Eno was talking about her band on BBC radio. “At first I didn’t think it was real,” she admits. But then she heard a recording: Eno was praising ‘Black Willow’ from Loma’s self-titled debut. He said he’d had it on repeat.
At the time, a second Loma album seemed unlikely. The band began as a serendipitous collaboration between Cross, the multi-talented musician and recording engineer Dan Duszynski and Shearwater frontman Jonathan Meiburg, who wanted to play a supporting role after years at the microphone. They’d capped a gruelling tour
with a standout performance on a packed beach at Sub Pop’s SPF 30 festival, in which Cross leapt into the crowd and then into the sea, while the band carried on from the stage - an emotional peak that also felt like a natural ending. “It was the biggest audience we’d ever had,” she says. “We thought, why not stop here?” Following the tour, Cross went to rural Mexico to work on visual art and a solo record, while Meiburg began a new Shearwater effort. But after a few months apart
(and Eno’s encouraging words), the trio changed their minds and reconvened at Duszynski’s home in rural Texas, where they began to develop songs that would become ‘Don’t Shy Away’. Loma writes by consensus and, though Cross is always the singer, she, Duszynski and Meiburg often trade instruments. Meiburg compares their process to using an Ouija Board and says the songs revealed themselves slowly, over many months. “Each of us is a very strong flavor,” he says, “but in Loma, nobody wears the crown, so we have to trust each other - and we end up in places none of us would have gone on our own. I think we all wanted to experience that again.” The album that emerged is gently spectacular - a vivid work whose light touch belies
its timely themes of solitude, impermanence and finding light in deep darkness. “Stuck / beneath / a rock,” Cross begins, as if noticing her predicament for the first time. Then she adds: “I begin to see / the beauty in it.” A series of guests contributed to the absorbing soundscapes of ‘Don’t Shy Away’, including touring members Emily Lee (piano, violin) and Matt Schuessler (bass), Flock of Dimes/Wye Oak’s Jenn Wasner and a surprisingly bass-heavy horn section.
And then there’s Brian Eno. Loma invited him to participate in the mantra-like ‘Homing’, which concludes the album and sent him stems to interact with in any way he liked. He never spoke directly with the band but his completed mix arrived via email late one night, without warning and they gathered to listen in the converted bedroom Duszynski uses as a control room. “I was a little worried,” says Cross.
“What if we didn’t like it?” But it was all they’d hoped for: minimal but enveloping, friendly but enigmatic, as much Loma as Eno - a perfect ending to an album about finding a new home inside an old one. “I am somewhere that you know,” Cross sings, above a chorus of her bandmates’ blended voices. “I am right behind your eyes.”
First LP pressing on dark green vinyl.

Our first release, VA001, is a compilation of artists that have previously played at our venue Colour! Our primary goal with this record was to showcase the diverse range of sounds that make the venue so special to us- from jazz to fusion to early morning trance. Additionally, we're trying to raise money to keep the venue afloat and get artists paid while they can't perform.

On the orange side, you'll get the late-night live music style we push upstairs, and the blue side would be the early morning dance music, plus more experimental electronic music takes. Every element of the club, in one stunning 12" liquorice pizza!

Ocean Moon is a solo project from Jon Tye of Seahawks. A long time explorer of the sounds of spaciousness, having released the ambient classic LP iO in 1994 as MLO, Crystal Harmonics is a document of Jon’s latest discoveries. An ambient/new age/modern classical library suite for KPM, this is inter-dimensional music for mind, body and spirit.

Island Visions, the recent collection of music from Seahawks for KPM, touched on the deeper, more spatial side of music and led to Jon exploring this territory in greater depth, again for KPM, under his Ocean Moon alter ego. This time he brought along some of today’s most visionary musicians: Jon Brooks (The Advisory Circle / Ghostbox) for his intuitive melodic mastery, Seaming To (Graham Massey’s Toolshed) for her extraordinary vocal talents, Steve Moore (Zombi) for his sophisticated and inventive rhythmic sensibility and Richard Norris (The Grid) for his sensitive and deeply resonant ambience. The initial recordings were made at The Centre Of Sound in Cornwall, with the collaborators various contributions coming from London, Derbyshire and the US.

The supremely serene electronic flute and bells of “Crystal Drift” ease us into our journey and we take our next steps with “Rainbow Ripples” as it gently folds space with arpeggiated synth swells and delicate machine beats. Light vocal tones, bells and breath FX on “And Breathe” keep us going, accompanied by synth drones and billows of electric piano.

We travel through the synth-space-surf haze of “Lost Oceans”, with soft bass and warm ambience, to reach the “New Infinity” of revolving melody, spacious pads and light electronic beats. The celestial tone floats of “White Mirror” close out the first side.

Temple bells ring out to running water flowing together with deep resonant vocal tones as the second side opens with “Peace Bells”. “Revolving and Evolving” follows, a tranquil electronic meadow of lush pastoral synth tones where we rest for a while for “Mountain Dreaming”, a light rhythmic dance of zither and birdsong.

The undulating “Forest Motion” ripples with synth arpeggios, dreamy Solina strings and percussive modular electronics before allowing the crackling ambience and Cantonese whispers of “Sleep Golden” to wash over us. Finally we find ourselves on “The Long Path”, its warm temple ambience of drones and chants guiding us home.

Crystal Harmonics is inspired by four particular albums from KPM’s catalogue. There’s The Electronic Light Orchestra by Adrian Wagner from 1975 and then Temple Of The Stars, Breath Of Life and finally Keith Mansfield’s Circles, these last three coming from KPM’s mid-1980s run of modern classical/New Age gems. For Jon, “making library music can be very liberating. I really enjoyed the additional focus it brought to the music working on different facets of composition with each collaborator”.

But Crystal Harmonics is no mere exercise in vulger pastiche. As the past, present and future sound of paradise, this fresh exploration of mid-90s ambient and original New Age sounds exists outside of our linear experience of time.

The cover started as a collage Jon made a couple of years ago, a different expression of the same impulses that guided the music. As a nod to the records that provided seeds of inspiration, the collage was framed by KPM’s house style of the 1980s for the finished sleeve by Richard Robinson.

Mastered for vinyl by Be With’s sonic shaman Simon Francis, cut by the legendary Pete Norman and pressed in the Netherlands by Record Industry, Ocean Moon’s Crystal Harmonics is the tranquil balm for these turbulent times.

Mort Garson’s road to cool cultural caché and the sublimity of Plantasia meant a decades’ long journey through an underworld of sophisticated, international, string-laced dreck (i.e., your great-grandparents’ record collection) to arrive at Music from Patch Cord Productions, this set of queasy-listening you now hold.

Music from Patch Cord Productions shows that Garson’s knack was to exist in both worlds, super-commercial and waaay out. He cut delirious minute-long blasts for commercials (as to whether or not they were actually ever aired remains unknown) and spacecraft-hovering études. Were there really account managers out there in the early ’70s that gave the greenlight to these commercial compositions which seemed to anticipate everyone from John Carpenter to Suicide? What were these campaigns actually for, Soylent Green? Regardless, Mort’s jingle work laid the groundwork for the future. As Robert Moog himself noted: “The jingles were important because they domesticated the sound.” Via Garson’s wizardry, the synthesizer transcended novelty to ubiquity and dominance.

Other curios and questions abound. How did Garson’s arrangement work for Arthur Prysock’s satiny body worship album This Is My Beloved transmogrify into the body-snatcher pulses of “This is My Beloved”? Are the two pieces even related? What is the IATA code for the airport of “Realizations of an Aeropolis”? What denomination is the “Cathedral of Pleasure”? If “Son of Blob” sounds like a hallucinatory melted ice cream truck theme, what on earth does Blob’s father sound like? Every sound wrangled out of that Moog by Garson pushes things further and further out.

Of course, these are all questions that may never get answers, as Garson wasn’t the most organized modern day composer, busy as he was conjuring strange new realms with his circuit boards and synths. He worked and wrote right up until his death in 2008, his daughter and Sacred Bones still going through all of the material left behind. He wouldn’t live to see it, but his renaissance was just around the corner, the seeds that had been scattered in record bins around the world suddenly coming to bear fruit. Take a bite!