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Microdosing is a series of compilation 12”s selected by Julienne Dessagne aka Fantastic Twins, and designed in collaboration with French visual artist Geff Pellet. Microdosing is a collective experiment aimed at helping you fighting back your modern obsession with happiness. You may deserve a nice day but the day does not need a nice you, nothing should be forced, everything is permitted. Microdosing will provide you with sonic healing weapons on regular basis and at irregular dosage. Those doses will favour psychedelic social techniques against self help tyranny, creation over soma, provoking over numbing, our outer-selves over our inner-selves. Microdosing refuses the fatality of the pleasure principle. Life is a struggle, time to embrace it. —— "My battery is low and it’s getting dark” We at Microdosing will make Opportunity’s famous last words fully ours. Some would see these as an epitaph on a black screen, we embrace them as a reclaimed fragility. Are we grains of sand wandering in space, hoping for a goal? No. We are the cosmos, the cosmos is us, unafraid of the end, unafraid of the void. Before the rise of the infinite silence, Microdosing brings you new guiding lights, white sun or black hole being a simple permutation of the kinetic rainbow. Oceanic’s “Parallel Lines Of Stripes” is a meandering mantra, an synthesised Moebius ring, a mission to your heart, that furthest star in the sky. Gilb’R’s “Cosmogonie” simply reminds us of the profound relation between spatial systems and the holy act of birth (cosmo, world and gon, conceive). The universe is a body, your body is your universe. Lucas Croon’s “Threshold Stimulus” is the soundtrack of a never ending voyage, the man is on a trip to the core sanctum. Imagine Space as a reverberation room cladded with bakelite. Losing yourself in delay repeats sometimes is the shortest way. Neuzeitliche Bodenbeläge & Sam Irl’s “Faeden” is another hymn to the umbilical chords joining us to the outer world, a black monolith of kraut acid, a pagan dance as portal to a destination only you can choose. Microdosing will be back soon with more enablers, helping to turn your petty struggles into a search for a meaning of life. The Quest lives on.

Following his collaborative ‘Conscious’ EP alongside Rossko earlier this year, Per Hammar returns to FUSE sub-label Infuse with three more standout offerings this September.
Swedish don Per Hammar has been turning out quality dub, house and techno with a dusty sense of atmosphere for more than a decade. In that time, he has established a number of his own labels including Dirty Hands and 10YEARS, while most recently founding De Vloer with Mandar member Malin Genie. Now firmly established as a key protagonist in the underground scene, the Berlin-based talent reasserts that position once more here as he returns to Infuse with his slick three-track ‘Side Effects’ EP.
‘Side Effects’ is a sublime 10-minute excursion into warm depths. Sustained pads drift in the distance as subtle percussion rolls in the foreground keep you locked, whilst soft-edged chords bring colour and soul and ensure this is a warm and hypnotic cut. Next, ‘Document Save’ is a more edgy affair with subtle synth details, samples and trippy pads all weaving in and out of the busy, fluttering drum line that keeps you on your toes. Last of all, ‘Remote Dubb’ is the most visceral on the EP: employing coarse synth textures and bustling drums that are expertly designed to enliven the ‘floor.

Warsaw’s newest imprint – Dom Trojga – launches with these
four acid-drenched, trance- inducing space-funk excursions by
Jaxe. Recorded in its entirety during an uneasy transitional
period in the summer of 2018, the EP plays out in a jittery void
between hope and despair. Employing his beloved vintage
electronic palette, Jaxe has created a record that combines
sincerity, elegance and depth, a vehicle for both introspection
and escapism. That being said, however, his tunes may also
simply cause you to wiggle, prance or trip the light fantastic.
The label art is by Sasha Zakrevska a.k.a. Poly Chain – look
out for her and other mavericks on forthcoming releases.
Welcome to our D

We've reached a pivotal moment for Local Talk.
What better way to celebrate a centenary of forward thinking releases than to present one of the best kept secrets out there, MLiR aka Modern Life Is Rubbish this time joined by Arnau Obios.

After making a serious impact with their remarkable 'Swedish Lo-Life' and 'Trans-World Junktion' releases on fellow Swedish label Studio Barnhus, we're thrilled to have them onboard for our 100th release on Local Talk.

Yes, that is correct, we’re celebrating the big 100. Since the very beginning we've covered everything from the deeper shades of house to the jackin' and the gritty club jams, released some slower BPMs and also the uplifting, vocal and organic house.
As you probably noticed - we love it all.

The 100th release main track 'Lajbans' is one of those sublime tunes that is bridging the gap between all styles of dance music and got the MLiR trademark, it's epic and manages to offer plenty of subtle details to keep you locked for the full 9 minute experience.
Accompanied with the original is a masterclass in dub 'Lajbans (Bellaterra dub)'.
You got the versatility of the original carefully stripped back but also absorbing layers upon layers of seductive sonic moods, it's a trip for sure and you don't want it to end.
Once again MLiR proves why they will be a force to be reckoned with for years to come...

Artwork by Leolyxxx
Mastered by Sasse at Blackhead Studios

Green Marbled Vinyl

AboutBlank produces here 3 magestic tunes...

Super positive state of mind style, not too happy through but really sunny and full of energy, with a repetitive serial music acid melody on the Cosmicology A side 45 RPM killer 180BPM harfloor track.

The flip open on a regular 160 BPM heavy kicker, trippy mental acid-pikes-of-ice more classic but bloody efficient...

Last track (same speed as A1) is a serious hard-kicker too... at the hardcore frontier with a crazy melody coming in, reminding the old school 90's transecore best-of...

This record was produced both by Brain Bending and Acid Night.

Visual by X.G.

3 banging hard techno pityless kickers and one nevertheless Hardcore kicker ^^ BANG !

Dance floor ready remixes of selected tracks from Kornél Kovács' Stockholm Marathon album.
Robert Dietz sending Rocks on a trance trip, D. Tiffany getting all deep & bubbbly with Purple
Skies. Paradise Alley perform their sing-along cover version of Marathon, Butch butchers Baltzar

Sometimes you know it’s coming, sometimes it’s unexpected, but the time to hang your boots will always come. It’s better when you have total control, even better if you end up on a high (or on a low). After seven years of sonic interferences, calibrating the soundscape of field recordings and helping to recreate the old sounds of today, Gonzo is retiring from music. It’s a goodbye, yeah, and a well-crafted one.
But “Ruído(s)” doesn’t sound like an intentional one. You won’t listen to it on any of the thirteen tracks that scavenge for a solution in the space between ambient music and field recordings. You won’t feel it in the intense connection between human and natural sounds and how sometimes everything oscillates in opposite states of mind. You won’t even read it in the intense, but subtle, humor present in some of the pieces. You won’t, because it’s not an intentional goodbye. You only know it is, because you’re reading this.
What is it then? It’s a celebration of random sound. How can you experience something scholastic and, simultaneously, deeply hilarious? Just think about the amazing triad formed by “A Fuga dos Grilos”, “Degredado(s)” and “Cantiga Parva”. First, you’re blessed with six minutes that build up on the idea that sound can be an intense religious experience, echoes going back and forth to create a fantastic Boiler Room feeling (one populated with raving Gonzos doing dabs in front of the camera) that eventually ends up with a cinematic touch: someone saying the title of the song out loud. One second after we are into the Flying Lizards world, with two songs that shake any pretentious seriousness of the previous track.
Is it serious or not? It is. But it doesn’t have to be. In “Ruído(s)” Gonzo recounts pop/electronic history through field recordings and weird-soft beats. More than compiling his seven-year history, Gonzo is more worried to understand where he’s leaving his ideas, Caretaker style. Speaking of Caretaker, Leyland Kirby should think about reviving Caretaker and do a whole album around “Brilhante Cortejo”: it’s haunted ballroom in a ‘cracked’ nutshell.
As the album progresses and the need to revisit it grows, it becomes clearer(?) that “Ruído(s)” is more than an artist self-indulging on his work – in a very good manner. It’s also a condensed catalog of Portuguese music and its sounds, a circular trip down the memory lane of a forgotten country and its landscape. “Ruído(s)” is a goodbye to a country and its traditions. It does it without sulking but with the most respectful loud laugh - the Gonzo way.

Comic book artist, graphic designer and free jazz improviser are only some of the many talents from Beirut born Mazen Kerbaj. After appearing as part of various ensembles on the label, Ariha Brass Quartet (CREP46) and Johnny Kafta Anti-Vegetarian Orchestra (CREP22), Kerbaj finally lands a solo outfit of his own onto the Discrepant dancefloor of insubordination.

14 years after his first (and only) solo album "Brt Vrt Zrt Krt" (Al Maslakh, 2005) Mazen returns with a series of subtle compositions of his own with not one but two(!) solo albums of prepared trumpet that further cement his international position as a serial trumpet botherer.

Whilst Vol. 2.1 showcases his (almost) (un)familiar arsenal of squawks, cackles, howls and squeals, Vol. 2.2 goes deep into the nether regions of waltzing drones and bell tweaks so deep that would make most cetaceans loose their concentration. The notion of being transported to a luring mutant underwater alien community is still present on these long(er) trips with the added meditative pieces being occasionally pierced by noise creepers, nothing is what you want or expect and that’s the way it should be.

If Vol. 2.1 is the classic follow up LP, this one is the beast from the deep, it comes surging and screeching from a deep oceanic sink hole, only to hypnotize you with perverted dance moves before diving back into the sinking, wettest and darkest cave in the world. Vol. 2.2 is a summons album; it shatters any bar there was with its intentional use of everything Vol. 2.1 was denied. It grabs you by wherever available way and it only releases you when you’re ready to listen to it again. Listen to both albums back to back, in no particular order and you’ll know that there’s nothing you can do but come back to it like a doped up seal stranded in a phantom island – appearing and disappearing as the music dictates it to.

Official remastered limited edition of Cellophane project from 1984 produced by Alessandro Novaga, one of THE major influences on Chicago House Music with his trio of releases -Drums-, -Electronic Drums- and -Faces Drums-, all essentially EPs of tough electronic bonus beats, creating the blueprint for many early Windy City productions. He was also behind other such hugely influential cuts as Stopps -Im Hungry- and -Ali Shuffle- by Camaros Gang. Here on his Cellophane album, which came after the huge -Gimme Love- single, we get what I guess you could describe as his magnum opus. The album consists of just two long tracks (or suites perhaps?) that take the listener of on an epic psychedelic italo /space disco trip like no other. Heavy use of synths and drum machines expecially on the part 3 !

Jazzy Couscous founder Alixkun comes back with a 2nd volume of "Kumo No Muko", 12 Japanese music gems from the 80s exploring Ambient & Synth-Pop atmospheres. It opens with Miwako Saito's "12 No Garnet", a soft, slow paced and dreamy piece of synth-pop. Following are Yoshio Suzuki's "Touch Of Rain" and Ayuo Takahashi's "Mizu Iro No Kagami", both flirting with Jazz, Ambient & New Age influences. Traces of YMO members can be found with Hosono produced Tomoko Yasuno's "Sur La Terra" & Flat Face's "Hibi No Awa", released on Sakamoto's related label. While going through more exotic vibes with Shi-Shonen's "Harvest (Long Size)", Alixkun doesn't forget more chill out ambiances: Toru Hatano's "Kanki" is a singular mind trip led by a guitar solo a la Pink Floyd. The project closes with Mio Fou's "Picasso No Ao", a moody track illustrated by a combination of acoustic guitar and solo piano.

The rarest of all exotic LPs, like Eden Ahbez but with extra added death. This bizarre, rarely heard masterpiece brings together jazz, ancient manuscripts and a convicted murderer…

Issued originally in 1959 it originates from Pheonix, Arizona. The concept behind the recording was unusual - to brings together two unconnected worlds: the jazz genius of Buddy Collette with the academic oriental studies and translations of A.I Groeg.

Little can be found of A.I. Groeg, But before the LP was recorded A.I Groeg had translated several Polynesian and Japanese manuscripts. These form the basis of the dark narrations and lyrics across the album.

Sublime vocalist Marni Nixon (the voice of Maria in West Side Story) was brought in for two songs and fledgling actor Robert Sorrels (now a convicted murderer) supplied the strangely unsettling and almost otherworldly narration.

The original LP states that “Buddy was given carte blanche with the material. After six months of composing and studying with the voice soloists, the results were two instrumentals and two songs on side one, and tone poems on side two. The latter represents a new musical genre. They are musical descriptions, preceded by spoken lines, and they become tone poems or musical illustrations inspired by the islanders, their words and marvelous simplicity. The mood is complete, yet hovers strangely in the air like a vague tantalizing dream.”

I’d first heard the album in about 2010 on a bizarre bootlegged CD (edited strangely with exotic library music), and spent the next few years desperately trying to find an original pressing. About one copy turns up a year, it seems to be far rarer than the legendary Eden’s Island album and occupies a similar musical space. But this album has a little more death.

Heaven knows what new listeners will think of Polynesia, but it sure is a dark and weird musical trip. One I feel everyone should take.
Jonny Trunk 2019

Will Saul is a key figure in UK dance music. Approaching his twentieth anniversary as a DJ, producer and label founder, Saul has helped break the career of key artists such as Leon Vynehall, Midland and Dusky via his Aus Music label, has himself played some of the world’s finest nightclubs and contributed to !K7’s storied ‘DJ Kicks’ mix series, which he also curates. Finally returning to the production fold himself with his first full-length album in thirteen years, ‘Open Too Close’ is a condensed trip through the influences, discovery and sense of history that have helped shape his career and drive a forward-facing, unblinking passion for new music. The record’s concept reflects Will’s enormous skill and knowledge as a DJ, and as it’s title suggests, “"represents what I play in a club if an 8 hour set was condensed into 10 tracks.” Having held residencies and made regular appearances at some of the world’s finest clubs including The End and Fabric in London, Panorama Bar in Berlin, Trouw in Amsterdam and Robert Johnson in Offenbach, Saul is uniquely qualified but this refreshingly straightforward approach. Eschewing the lingering, almost cliched expectations for a dance artist to create an album “that sounds good at home, as well as in the club”, ‘Open Too Close’ instead draws on the timeless futurism at the heart of the music that drew Saul into electronic music culture. Simply put, futuristic, melancholic sci-fi soundscapes meets stripped back raw sample driven house music, all executed with the precision and panache of an artist who truly understands how to move a dancefloor.

Cologne’s resident conjurer Hodini steps up for his second solo EP on WOLF Music Recordings. Bringing elements from his hip hop background into this unique five tracker, Hodini dusts off long forgotten cuts, sampled with that MPC chopped graininess, blending lo-fi vocal sound bites with deft jazz loops, all adding a distinct, textured edge to his work.

‘Velved Groove’ and ‘Special Shoutout’ kick things off, snapping in funk fills and skipping guitar riffs behind a concoction of hazy spirals that transfix from the off. The former is an uptempo, twisted, jazz club house jam and the latter a bubbling voyage through the afterhours, bourbons flowing and faces flying from every corner.

A master of misdirection, Hodini also moonlights as one of Germany’s leading underground hip hop producers HulkHodn, proving he can flip styles and meld genres with ease. Featuring his alter ego, ‘Doggo Content’ is his nod to this - a crackling slo-mo trip through the intoxicated mind, soundtracked by stretched vocal snippets, wading bass notes and a crunching snare.

Two of the harder-hitting club tracks close out the EP, both focused around hypnotic bassline carousels and looping layers. ‘Where’s The Wine’ interjects Rhodes flickers with bongo rhythms and unsettling laughes, as ‘One4Fries’ marries off-kilter, piano stabs alongside jazzy flourishes and fizzing percussion.

number 12 in the stable from the label you know as dessert island discs. It's more disco goodness - 3 tunes made to get down and boogie with players Bubbles the Pimp Nelly Wilson and Pierre Pressure combining for a triple threat disco threesome. It's ok we like to watch AND we like to listen, y'all! Hitch the wagon to this boogie action.

Anonymous newcomers Broke Brotherhood delivering 4 cuts, from driven trippy techno to wonky house.

Celebrating the broke side of lyf. That side we all know, but forget to wear it with pride. Losing money for the love of music xxx Bobby Donny

Our secret agent in Oslo returns with another urgent communique in the Norsk Tripping series...Six more tracks selected from a private vault of dance floor dynamite, which takes in modern Italo, solid gold punk-funkery, synth-outs, outsider pop & 80's obscurities.
All given the sonic once-over for maximum playability...
As always, a VERY limited run.

In the last few years since their previous record on Low Budget Family, the Lipsky Brothers have been very busy, releasing plenty of proven dance weapons written or remixed by them, touring around the world from Ibiza to local underground parties and just living their life in the Moscow rush.NAR ('fire' in Arabic) is a simple yet crazy effective club tool, which has regularly been played at Denis Simachev Bar, home to the label and their very own parties, that is untimely gone. While original is quite housey with an irresistible bassline , Autarkic serves a more trippy take with some unexpected harmonic shifts and finally, the Inigo Vontier version offers a percussive big stage tribal killer.

In support of their forthcoming Bob Moog documentary Electronic Voyager, Waveshaper Media have produced a compilation LP of Moog recordings from the 1960s. The first compilation of its kind, Electronic Voyages: Early Moog recordings 1964-1969 contains tracks by Robert Arthur Moog, Herbert Deutsch, Joel Chadabe, Lothar and the Hand People, Intersystems, Ruth White, Max Brand, and Paul Earls. All of these tracks, released here on vinyl in an edition of 1000 copies, have been scarcely heard and difficult to track down, with all but three of them previously unreleased on vinyl.

Bypassing the Moog synthesizer’s backseat appearance on key pop recordings by the likes of the Beatles, the Doors, and the Beach Boys, Electronic Voyages aims to highlight the diverse approach of 1960s musicians and composers who adopted the Moog as their primary instrument; these recordings all feature the Moog synthesizer front and centre. Beginning with an “audio letter” (The Abominatron) from Bob Moog to his musician-muse Herbert Deutsch, demonstrating some of the first Moog synthesizer prototype’s capabilities, Electronic Voyages veers from avant-garde and electronic soundscapes, to psychedelic madness and summer-of-love pop. In the 1960s, the Moog synthesizer was a new, groundbreaking instrument, and its use was completely uncharted territory. The pioneering use of the Moog on all of these recordings sounds fresh today - you can sense the wide-eyed exploratory delight unfolding, and the disparate results range from endearingly naive (Lothar and the Hand People, Paul Earls) to downright eerie (Ruth White, Intersystems).

The musicians and composers behind these Electronic Voyages may have been among the first to adopt Moog synthesizers, but the fact that they so readily found within them expressivity, heart, and a means to translate their wondrous sense of discovery, speaks far more to Bob Moog’s visionary invention and enduring legacy.

After an intrepid new phase in the label’s history - initiated by the “Solidarity Forever” series and followed by releases from Katerina, Mujaji The Rain, Gladkazuka and also Matias Aguayo’s “Support Alien Invasion” (w/ “Crammed Discs”) - Cómeme is happy to announce a new release by a wonderful and unique artist, who chooses to walk adventurous paths beyond nowadays musical normativity, and media spectacle: JOE.
(You might already be acquainted with his releases on the ever - exciting “Hessle Audio” label) On his first EP on Cómeme, JOE invites us to “Get Centred” via fresh sounds, perfect beats, and unusual time signatures – difficult to play, and easy to dance!

A1 GET CENTRED
New rhythms inspire new dances and new ideas, and already at the very first bars you realize that this record can be both a joyfully twisted dance floor work out as also beautiful listening experience - with its shifting arpeggios and trippy crescendos. Reminiscent of minimalist milestones it crosses the artificial barriers between body, mind and soul, satisfying those in need of getting centred, in times of accelerated alienation...

A2 LINE TO EARTH
Triplets are back and here to stay! Such as in this percussive creature Joe unleashes onto the festive crowd. This very catchy jam is clever and intense drum programming at its best, with its swirling toms that seem to float in the air. We feel them activating different body parts for futuristic popping, whereas the relentless boogie rhythm that lays the foundation for this track gives us material to twist our legs in sync to the beat.

A3 RIO LEA
Joe closes this EP with “Rio Lea” - an elegantly swinging jam that smoothly and slowly builds up to a melodic meditation. Its many decorative elements seem all - necessary to make this work and are always falling rightly into place. You can imagine this a perfect fit for a long drink on a spacecraft, watching meteorites pass by, as we are sure it will also work in a bus on headphones late at night, watching the rain rolling down the windows...

Fortuna boss Kalbata joins forces with five-piece band Tigris, creating a mesmerizing percussion-led album inspired by African and Caribbean traditions. Repetitive guitars, blissful synthesizers, and roaring voodoo drums set the tone across this extra-trippy, six-track journey. Techno and Balearic undertones remind us of Kalbata's wide musical spectrum, ranging from very dark to luminous tropical sunlight. Essential!

Heady, deep dive into techno's more psychedelic spaces, true to form, "Dimensions Doors" EP kicks off with the rolling kicks of "Portal Opening", a trippy exploration of shifting ambiances and rhythmic noise, punctuated by a siren tone. AWB steps up with a broken beat remix of "Portal Opening", layering Clotur's ambiances over low-slung percussion. "Hyperspace Travel" brings up the energy with galloping kicks and rippling resonant synths. BLNDR follows up with a pounding remix, building Clotur's sweeping textures into trippy loops circling over a monolithic kick. "Irregular Frequencies" pulls even further into the portal, with a relentless, rubbery synth squelching along over driving, percussion. Clotur lays a gentle, but uneasy atmosphere over this trippy tool. He brings us back down with "Forbidden Level", another complex rhythmic track featuring glitchy percs and robotic warping over a tough low-end workout.

After years of mythology, misinterpretation and procrastination Nurse With Wound’s Steven Stapleton finally chooses Finders Keepers Records as the ideal collaborators to release “the right tracks” from his uber-legendary psych/prog/punk peculiarity shopping list known as The Nurse With Wound List, commencing with a French specific Volume One of this authentically titled Strain Crack Break series. Featuring some Finders Keepers’ regulars amongst galactic Gallic rarities (previously presumed to be imaginary red herrings) this deluxe double vinyl dossier demystifies some of the essential French feee jazz and Parisian prog inclusions from the alphabetical “dedication” inventory as printed the anti-bands 1979 industrial milestone debut.

When Steven Stapleton, Heman Pathak and John Fothergill’s anti-band Nurse With Wound decided to include an alphabetical dedication to all their favourite bands on the back of their inaugural LP the notion of creating a future record dealers’ trophy list couldn’t have been further from their minds. By adding a list of untravelled European mythical musicians and noise makers to their own debut release of unchartered industrial art rock they were merely providing a suggestive support system of existing potential likeminded bands, establishing safety in numbers should anyone require sonic subtitles for Nurse With Wound’s own mutant musical language. Luckily for them, the record landed in record shops in the midst of 1979’s memorable summer of abject apathy and its sound became a hit amongst disillusioned agit-pop pickers and artsy post-punks, thus playing a key role in the bourgeoning “Industrial” genre that ensued. On the most part, however, the list , like most instruction manuals, remained unreadable, syntactic and suspiciously sarcastic... As potential “real musicians” Nurse WIth Wound became an Industrial music fan’s household name, but in contrast many of the names on The Nurse With Wound List were considered to be imaginary musicians, made-up bands or booby traps for hacks and smart-arses. It took a while for the rest of the record collecting community to catch on or finally catch u

Since then, many of the rare, obscure and unpronounceable genre-free records on The Nurse With Wound List have slowly found their own feet and stumbled in to the homes of open-minded outernational vinyl junkies, D’s and sample hungry producers, self-propelled and judged on their own merit, mostly without consultation of the enigmatic NWW map. But, to the inspective competitive collector’s chagrin, one resounding fact recurs, NWW got there first! Via vinyl vacations, on cheap flights and Interrail tickets, buying bargain bin LPs on a shoestring while oblivious to the pending pension worthy price tags after their 40 year vintage, Stapleton and Fothergill, even if you’ve never heard of them, were at the bottom of the pit before “digging” became paydirt. And NOW at huge international record fairs that occur in massive exhibition halls (or within the confines of your one-touch palm pilot) amongst jive talk acronyms such as SS, PP, BIN, DNAP and BCWHES the coded letters NWW have begun to appear on stickers in the corner of original copies of the same premium progressive records accompanied by a customary 50% price hike to titillate/coerce the initiated as dealers extort the taught. Like “psych” “PINA” or “Krautrock” did before, “NWW” has become a buzzword and in the passed decades since its first publication The List has been mythologised, misunderstood and misconstrued. It’s also been overlooked, overestimated and under-appreciated in equal measures, but with a growing interest it has also come to represent a maligned genre in itself, something that all members of the original line-up would have deemed sacrilegious. Bolstered by the subtitle “Categories strain, crack and sometimes break, under their burden,” all bands on the inventory (many chosen on the strength of just one track alone) were chosen for their genre-defying qualities... A check-list for the unchart

Forty years after Nurse With Wound’s first record, Finders Keepers Records, in close collaboration with Steve Stapleton remind fans of THIS kind of “lost” music, that there once existed a feint path which was worn away decades before major label pop property developers built over this psychedelic underground. As long-running fans and liberators of some of the same records, arriving at the same axis from different-but-the-same planets, Finders Keepers and Nurse WIth Wound finally sing from the same hymn sheet resulting in a collaborative attempt to officially, authentically and legally compile the best tracks from the list, succeeding where many overzealous nerds have deferred (or simply, got the wrong end of the stick). Naturally our lavish metallic gatefold double vinyl compendium would only scratch the surface of this DIY dossier of elongated punk-prog peculiarities hence out decision to release volume one in a series which, in accordance with Steve’s wishes, focusses exclusively on individual tracks of French origin, the country that unsurprisingly hosted the highest content of bands on the list. Comprising of musique concrète, free jazz, Rock In Opposition, Zeuhl School space rock, macabre ballet music, lo-fi sci-fi, and classic horror literature inspired prog, this first volume of the series entitled Strain Crack And Break throws us in at the deep end, where the Seine meets the in-sane, introducing the space cadets that found Mars in Marseilles.

Like the Swedish flat-pack record shelves that attempt to house the vast amounts of vintage vinyl that goes into a multi-volume compilation like this, its time to prepare your own musical penchants and preconceived ideas about DIY music and hear them slowly strain, crack and b

Gilles Aiken is not short of space in which to express his distinctive ideas about fusing dancefloor minimalism with a global palette. While his more streamlined house and techno fare is generally released under his Edward alias, Desert Sky has carried some of his wilder ideas with stunning results. The first few releases came shrouded in mystery on a self-titled label, but since then Desert Sky has landed on Assemble Music and Baby Ford's iconic PAL SL. Aiken returns to the latter now with a hefty album project that gives Desert Sky the appropriate room to breathe, and Aiken sounds free spirited and expressive through every inch of tumbling percussion, deft handclaps, spooked out textures and more besides. It's a heady trip through dusty samples configured in fresh, invigorating ways, ranking among the strongest artistic statements Aiken has made to date thanks to its worldly inspiration and otherworldly end results.

Ross Alexander first came to our attention with Memorias Vol.1 - Bugandan Sacred Places, released back in 2017 on Sucata Tapes, it featured a mind altering mix of recorded sounds from a series of visited sites considered sacred within the Bugandan kingdom and session recordings with Ugandan musicians Albert Sempeke and the Nilotika Collective layered with his own original composition using the Yamaha DX7 and programmed FM synthesis. The result being an unique reconfiguration of new age vocabulary with East African traditional sensibilities. The tape quickly sold out and the new Volume of Memorias presented here arrives now on the mother label Discrepant, on Vinyl with an expanded sound palette appropriate to the format.

Memorias Vol.2 - High Atlas To The Sahara Desert is the logical progression of Volume 1. - based on a series of field recordings Alexander made during a trip through the High Atlas Mountains and into the Sahara Desert in 2018. The aim of the trip was to visit a gathering of nomadic musicians at an oasis close to the Algerian border. Like Memorias Vol1. the recordings made on the trip were then later processed, layered and arranged with original compositions. Where Vol1. had clear nods to New Age music this volume explores the more ambient side of 80’s Industrial sound.

Okinawan talent City1 has been making some serious moves with his unique dark productions as of late and we are honoured to welcome him to the Subaltern family.

* Speak Out feat. Rider Shafique
In the mighty title track City1 delivers a clinical slab of bass science which gravitationally pulls deep into a different dimension. The dreamy yet dark atmosphere and vibrant basslines are graced by the elevating bars of none less than the notorious Rider Shafique - one of bass music’s finest vocalists hailing from Bristol.

* Koroga
Going even darker, City1 opens up another world in this trip of a track. Koroga rides on relentless dark synths and keeps switching up the pace, leading the listener through a maze of eerie sounds - be careful though, the walls are closing in. Dangerous!

* Zee
Zee is just as otherworldly as the first two tracks. With heavy hitting basslines and snappy percussions, City1 delivers yet another absolutely unique roller. Whenever you thought the track had arrived at its peak, it takes another, even wilder turn.

Limited 2019 edition of « Clandestino », remastered for the first time on triple Vinyl + CD.
2 x 180 Black Vinyl and a Blue 10’’ (+ dedicated printed inner sleeve) with 3 new songs : « Bloody Bloody Border », « Roadies Rules » & « Clandestino » featuring Calypso Rose (2019 version).
Includes the remastered CD. Gatefold packaging. Vinyl Mastering and lacquers cut by Chris Bellman at Bernie Grundman Mastering Studio.

Ivaylo is next up on his Bogota Records imprint with a pair of fresh new cuts that come complete with a remix from Hugo LX. Bulgarian native Ivaylo is based in Oslo, and has vast experience of the dance music industry, having continuously proving himself as an essential DJ and producer, most recently his release on Cassy's Kwench Records 'Ae Way'.

He delivers again here with Hausa, a deep roaming tune with a bassline that immediately lifts your energy. It makes for a back room track that is super tasteful and filled with warped synths and deft percussion that gets under your skin. Hugo LX serves up a tripe remix with tiny little sonic details, a spooky sense of late night mischief and neon melodies that really standout.

Last of all, House Moult is a busier, more bristling cut with jostling drums and underlapping bass, an inventive sense of musical warmth and plenty of fresh ideas that are finished with an anthemic vocal that will get the crowd on their toes.

This is another standout EP from all concerned, and another great chapter of Bogota Records.

What is the Inner Dance? A musically assisted trip through thought-movement. It is not a show, it is a party. The participation of a room full of individuals having their own personal experience. Like looking closer at the ground to see there is movement within, focus acutely and see the life within life.


Gene Tellem launches her own label Bienvenue Records, welcoming you to a world of sounds for all the extroverted introverts out there. With headquarters at La Rama in Montreal, we plan on assisting your journey through local & international sounds.


For this first EP Gene lays down the foundation for what is to come. Journey agent tracks for all looking to experience the music, an extended groove, more than just a drop & repeat. ‘Groove PM’ sets the scene, we play in the sun during the day and at night we smooth out the rigid edges of the hustle. ’N’ You’ is here to get you in touch with your natural swing, ride on the simplicity of moderate changes and witness just how much we have. ‘Tender As A Rhodes’ is an ode to that thing that changed it all, the universal jazz sound, dub it out, stretch it out, and watch the whole room come together. As the morning comes we get ‘Chipped’, dance ’til the next day comes and hit the streets with a little pep in your step. Crossing paths with your neighbours on the way home, they might not know but all who witnessed do, we who dance the night are the warriors that keep the light on in the darkness.


Thanks for joining us and please do stay tuned for more.

-La Rama

Ascetic Limited is excited to present our seventh release returning with our VA series and a new design line from Plastica. Side A begins with Trastiber by Fabrizio Lapiana. Fabrizio's work needs little introduction, known for his ambient backdrops and mesmerizing melodies this track is a perfect fit for our catalogue and any DJ wanting to ensure a moody ambience and great for opening doors into deeper realms.
Secondly we have Journey with Castenada by Greenbeam & Leon, the duo from Georgia. The residents of Khidi club in Tbilisi, take us on a heavy set journey with their particular sound that ranges from tripped out to industrial bangers. A Journey with Castaneda is an ode to mind exploration and the psychedelic realms we can find within ourselves.
On the B side Aleja Sanchez, known for her pounding yet well thought out tracks, provides her track Sanctuary, truly mesmerizing from the Colombian mainstay. This track reflects in totality the sound we strive to provide on Ascetic Limited, pounding yet deep a perfect balance of body mind and soul.
To close it out, Cliche Morph s Sinusoid is a broken bass line heavy hitter with amazing sound design that will fit into any set, from the most moody to the deepest of selections. Overall a perfect track to close out our fourth VA selection, reflecting our concept as a label.

The veteran London duo debut Live At Robert Johnson with pure deep house vibes.

Strut presents an all-time classic of South African music, the definitive remastered edition of Miriam Makeba’s ‘Pata Pata’, her first album recorded for Reprise in 1966.
The album marked a significant international breakthrough for Makeba. Moving to the US after the anti-apartheid film ‘Come Back, Africa’ gained international attention and staying there in exile, she quickly built her career in New York during
the ‘60s, mentored by Harry Belafonte. Signing with Reprise after a period with RCA, she returned to one of her older songs: “I wrote ‘Pata Pata’ back in 1956, back in South Africa,” remembered Makeba in her autobiography. “It was a fun little song and I was thinking of a dance that we do at home (“pata” means ‘touch” in Zulu and Xhosa).” Originally a hit in South Africa with her early vocal harmony group the Skylarks, the new recording, produced by Jerry Ragovoy, brought a lighter uptempo R’nB arrangement, adding some English lyrics. “It was my first truly big seller. All of
a sudden, people who never knew I had been in America since 1959 were asking me to be on their television shows and play at their concert halls during 1967. In the discotheques, they invented a new dance called the ‘Pata Pata’ where couples dance
apart and then reach out and touch each other. I went to Argentina for a concert and, across South America, they are singing my song.” The track peaked on the Billboard Hot 100 at no. 12 and the album. Other songs In the album included a version of the traditional Xhosa classic, ‘Click Song Number One’ (‘Qongqothwane’), the atmospheric ‘West Wind’, later famously
covered by her friend Nina Simone, and a version of Tilahun Gessesse’s ‘Yetentu Tizaleny’ which Makeba learned on a trip to Addis to perform for Haile Selassie at the Organisation Of African Unity. Mastered by The Carvery from the original reel to reel tapes, ‘Pata Pata’ is released in its mono and stereo versions for the first time. Physical formats feature brand new sleeve notes alongside rare photos from the time of recording and session details.
The album is released on 6th September on 2LP, 1CD, streaming and digital

Enigmatic multi-instrumentalist Clive Tanaka returns after nearly a decade since his cult-classic Jet Set Siempre was released into the world with a collection of indie gems entitled ‘Pre-Sunrise Authority.’ This is an album experience ready for
summer road trips, shifting FM dials as the terrain changes and signals fade. In his words: What started as a rejection of loneliness with lyrics grew into a rejection of the ephemeral with the final musical composition. The dissonance between the mission
of the lyrics and the music is what finally satisfied me. The album, Pre-sunrise Authority, took 10 years to finish. This record is a tribute to scheduled, communal listening to music; to driving up to the bluff to get a clear signal of America’s Top 40 with Casey Kasem; to the friend that gave you Beck’s Mellow Gold on CD and said, “You have to listen to this;” and to my friend Carroll, who played all over this record, but passed away before he could every hear it… Music is not disposable.

Hamburg-based Mireia Records is ecstatic toannounce their thirteenth release: Julian Stetter’s “Sensual EP”.
You’ve probably crossed paths with Julian in thelast couple of years. Not only because he’s the tallest guy in Cologne, but the producer and DJ has been actively shaping modern dance music
with his flourishing, melancholic sound. He’s been releasing music with Permanent Vacation, Kompakt, Correspondent and hometown labels Ancient Future Now and PNN.

It’s also not his first time on Mireia Records. Remember the beautiful “Porto” on “We’ll Sea
Pt.1?” Here, Julian presents two original tracks which are reinterpreted by SONNS and Matt
Karmil.
The title track “ Sensual ” manages to erase the mundane, the world’s vanishing around you.
It’s pitched shaker and airy bells evoke introspective tones. The bassline on the other hand
keep you steady - the dancefloor is still visible through the clouds!
“ Rumors ” picks up the pace. Kick drum and syncopated hi-hats set the stage for a serious
bassline, interwoven with fleeting melodies.
Bright and euphoric brushstrokes from Julian’s synth elevate the pace and catapult the track
towards a crescendo. Booming snares signal the peak.
New Release Information
Strobe lights, sweat and ecstasy.
SONNS opens up the B side with the first remix by whispering “ Rumors ” in your ear. A
brooding bass line takes you on a trip to the dark corners of the city. Hypnotically chugging
toms highlight the sights. Let’s get lost tonight!
With his releases on Kompakt and strong DJ Sets SONNS’ been a long time favored entrant
into Mireia Record’s catalogue.
Matt Karmil’s version of 'Sensual', although on B2 of the vinyl, doesn’t hide its assets.
Kicking off with frantic high hats and a distorted glitch, he pushes the track forwards
intriguingly. Arpeggiated melodies layered supremely over the percussion drive the track
forwards, the simplicity of the track and sharp cuts and drops create an interesting dynamic
to the single creating a perfect juxtapose to the other tracks on the release.
Matt’s also been on Mireia’s radar for a long time. His atmospheric adventures for Studio
Barnhus, Smalltown Supersound or Beats in Space always convey a spirit of living, breathing
leeway.

Concentric Circles presents ''For the Moment'', which features tracks from some of Di Stefano's early cassette releases, as well as a number of unheard explorations of Indian polyrhythms from the early 90s. Di Stefano’s prescient and unique work will appeal to fans of Cybe, Joel Graham, UnknownmiX, Zru Vogue, and provides a fascinating view of the 80s US electronic underground.

American-born, Japan-based composer John Di Stefano self-released a number of cassettes as part of the 80s DIY underground on his own imprint Oktron Produktions, including Klang's Drift, a collaboration with Joel Graham.
Living in San Francisco, Di Stefano had access to multiple University electronic music studios, where he had an impressive array of synthesizers at his fingertips, including both Buchla and Serge modular systems. Combining his knowledge of modular synthesis with a background in percussion, his early releases were a uniquely human approach to electroacoustic music, with flourishes of post punk in the mix. Di Stefano developed an interest in world music, studying Indian music theory and tabla, and after an extended trip to Indonesia in the mid 80s, he was particularly drawn to Javanese gamelan music. Future recordings would forever be indebted to the sounds he heard during those travels.

A1. from The Triple J broadcast. Live at The Palace, Melbourne, 1992.
B1. recorded at The Pier in Seattle, 1993 and broadcast from MTV USA, except B6 & B7 from Saturday Night Live, 1992.

2025 Repress

2019 marks the year that Music for Freaks has officially been running for over 20 whole years. Two decades of topsy turvy, downright Freakish behaviour. How the hell did that happen?

So, what better time to delve deep into the labels vaults again and uncover more of its hidden treasures. Back in 2015, we approached some of today's most discerning producers, those who truly "get" the label's ethos from old, to let them loose on tracks old and new. It brought to the fore the "Freaks - Let's Do It Again" series of releases and we're super chuffed to bring you the 3rd in the series to kick off the label's 20th anniversary celebrations; a new collaboration with likeminded artists and we think you'll agree it's another testament to the divergent & insouciant house music that has always been the beating heart of this label.

First up, we welcome back the Chilean anti-hero Ricardo Villalobos.

When we sent Ricardo the parts to the Freaks album, "The Man Who Lived Underground" a few years ago, he sent back 5 interpretations which blew our collective minds. This is the 3rd of his journeys. Edited by head Freak, Justin Harris, it delivers a tripped out, discordant tech mix of the Freaks track, 'He's Angry' and is a wonderfully warped and highly hypnotic jam, that drives deep down into the subconscious.

The 20th anniversary wouldn't feel right without some brand spanking new music from Freaks themselves.
This track was properly hidden in the Freaks DAT vaults from the 1990's and Justin & Luke have dusted it off, mixed it down and "Unbeknown To Us" will finally see the light of day. It's safe to say Freaks have always had a timeless feel to their music and this track, despite being 20 years old as an original production, is no exception.

Next up, The Martinez Brothers make their MFF debut and to say we're chuffed to be releasing this one after 3 years of it being in the vault, is a huge understatement. There's nothing but good vibes, cranked to eleven, on this cut and the brothers have cooked up a true rip snorting tech house remix of "Time", that will charm the roof off any self-respecting club or festival tent.

And last but by no means least, fellow previous collaborators on Let's Do It Again, Part 1, Gerd Jansen and Phillip Lauer, aka Tuff City Kids, have graced us with another superb remix of a firm Freaks favourite from back in the day, "Turning Orange". The duo have whipped up an excellent stripped 808, electro-hop mix with low slung electro beats, minor key atmospherics and nostalgic 80s vocal pitch-shifts. Villalobos, Martinez Brothers, Tuff City Kidz and Freaks all on the same record? This is the type of house music madness that dreams are made of.
A fitting start to the celebrations - we reckon you'll agree!

Proville Records are proud to present New Zealands reggae-soul heavyweights 'The Black Seeds' acclaimed third album, Into The Dojo on 2LP black vinyl repress.

Originally released in New Zealand 2006, the album reached triple platinum sales status at home and was then successfully released worldwide by German label Sonar Kollektiv in 2007.

The album includes the popular singles 'The Answer', infectious reggae gem 'Cool Me Down', and 'One By One', which was written by ex-band member and one half of Flight Of the Conchords, Bret McKenzie, and featured in the hit U.S. TV show Breaking Bad.

Trip further out with hypnotic, spacey, percussion-led disco collages from Peckham's Nebraska. Think King Tubby at The Loft or Echoes-era Pink Floyd at the Paradise Garage and you're in the area. The music of sound for deeper dance floors.

Following 2018’s full-length, Dominance, Deep’a & Biri reemerge on their Black Crow imprint for Black Crow 012, presenting three immediate yet sophisticated cuts traversing techno and electro, brimming with character and detail.

‘Approaching Skopje’ is a tunnelling slice of techno, landing with enough bass weight to drive a wormhole through any heaving rave, coupled with layers of trippy electronic textures that blend inherent heaviness with sheer hypnosis.

On the contrary, ‘Quantum Hypnosis’ sees an instantaneous swung-groove gradually blossom into a weightless electronic lullaby, wrapped in fluttering modulations and a sense of shimmering intrigue.

Finally, ‘Roots‘ builds a bridge between both tracks and bodies and minds beside; a loose breakbeat flirts a circling analogue signal, demonstrating the duo’s subtle craftsmanship at it’s most psychedelic and soaring.

Courtesy Of Balance Recordings presents their 10th Release to date. A compilation of 9 pieces of timeless house music that will rock the underground parties and twisted after hours alike. Showcasing the talent of artist hailing from Chicago, Montreal, London and Geneva and France, this triple pack is bound to become yet another classic on the Balance Catalogue. Dont Snooze Baby!!!

To mark his second artist album on his own Millionhands label in July, Tee Mango teases with a fantastic second EP from it featuring remixes from Hidden Spheres (Lobster Theremin, NTS), Kiwi (Futureboogie, Optimo, Life & Death) and Hubie Davison (Regraded).

The fantastic full length finds the UK artist stretch himself and serve up a dazzling array of soul-drenched, vocal-laced songs featuring his own singing and influenced by the likes of Prince and Bon Iver, alongside awesome gyuest vox from Detroit funk legend and former Funkadelic member Amp Fiddler.

Opening up EP 2, Tee Mango serves up a fizzing and arpeggiated electronic disco track, ‘Woo Hoo’ which will undoubtedly be rocking festival tents this summer. Irishman and Leisure System man Hubie Davison then steps up to the plate with a heart-warming, tripped out and twinkling organic house mix of ‘Down Down Down’, featuring warm oaky melodies and Mango’s fragmented falsettos.

Then comes a dazzling techno-not-techno mix of ‘Woo Hoo’ from Londoner Kiwi, an associate for labels like Correspondent and Optimo Music. This superb version keeps the galloping arpeggiated feel of the original but swaps the broken beat for a straight four to dizzying effect. Following that is acclaimed Lobster Theremin, Rhythm Section and NTS regular Hidden Spheres with a hip house basement re-rub of ‘Down Down Down’ with more of Tee Mango’s fragmented falsetto over a beat Prince would be proud of.

Finally, Tee Mango himself then steps out with the excellent balearic skit ‘Don’t Worry About the Rain’ with deliciously soothing Rhodes and synth whines topped with Mango’s vocals imploring us to ignore the weather.

This is a top package that bristles with brilliant club sounds for a range of different settings and more than whets the whistle for the forthcoming album.

Next up on Church, the London label turn to Germanys Julius Steinhoff. As a label head himself, Julius has crafted an undeniable sound that resonates deep within the underground scene, and one that fits well within the Church ethos.


The Forgotten Garden EP kicks off with the title track , a deep and moving house cut with a driving bass line taking centre stage alongside reverb drenched vocals. 'To Your Care' welcomes a sunrise triggering piano part, deep with orange is floats elegantly around an irresistible drum groove and rising bass line.
'So Very Close' again features the punchy bass line, trippy vocal snippets but with more of a rolling groove for the B side. 'Gonne Be With You Forever' takes its all a little punchier and minimalistic, carried by deep and emotive synth lines it closes the show in fine form.

“Stop here!” exclaimed Robert Oumaou as we passed a mango tree on the side of the road just outside of Point-a-Pitre, the balmy capital of Guadeloupe. He filled a plastic bag with ripe fruit, and we set off on our journey across the small Caribbean island in search of musicians he hadn’t seen in years. On the way, we shared stories in broken French and English, stopping at truck stops to eat delicious fried fish. Robert took me to his hometown, and placed a mango and a flower on the grave of his teacher and mentor, a local poet. The seeds of Vwayajé (Traveller) were sewn on this trip, but shortly after returning home, I heard that Robert was ill, and he sadly passed away in 2018. This compilation was originally intended as a way to share Robert’s brazen work with a wider global audience, but it now also serves to immortalize his indomitable spirit.

Gwakasonné is the ecstatic articulation of Robert Oumaou’s artistic and political vision, a unified expression of his interests in American jazz, pre-colonial rhythms, Guadeloupian independence, and Créole poetics. Over the course of three albums, all released in the 80s, Robert piloted a revolving cast of musicians, a venerable who’s-who of Point-a-Pitre avant-jazz pioneers, to deftly intone his creative communal concepts. The songs on Vwayajé are compiled from these three releases, Gwakasonné, Temwen, and Moun, along with an electronic mantra taken from his 2007 solo album Sang Comment Taire. Viewed from our current artistic and cultural landscape, Robert’s work is exceptionally enduring, grounded in its declarations of freedom and foundational use of the Ka (drum) and voice, and prescient in its borderless explorations of protest folk, electronics, ambient atmosphere, music from the African diaspora, and spiritual jazz. The long-form hive-mind expression of the group has parallels with similar explorations by The Grateful Dead, electric
Miles, Pharaoh Sanders, and even the Boredoms, but these are only oblique references for a truly peerless sound. Like other conceptual children of Gérard Lockel, the group was part of a progressive movement of like-minded musicians, such as Serge Fabriano, Dao, Erick Cosaque, and Gaoulé Mizik, who embraced Lockel’s modernist ideals, fusing Gwo Ka drumming and tuning systems with contemporary jazz and vanguard recording technologies. Robert’s ecstatic phrasings, embrace of electronic instruments, and daring lyrics set the group apart as the beatific expression of a sagacious soul.

Acid hardtek banger ! Acid hardtek Killer !

Berlin techno style, rotating and trippy dancefloor booster from XAXA with 2 owesome remixes from L.A. artist Developer on the flip (Modularz, Developer Archive...)

Berlin techno style, rotating and trippy dancefloor booster from XAXA with 2 owesome remixes from L.A. artist Developer on the flip (Modularz, Developer Archive...)

CAIN closes out his Fine Grains triptych with a vivacious EP of signature bass shuddering, polyrhythmic drums. ‘High Call’, his first 12” on the now Amsterdam-based label, offers 6 original tracks and a remix by Japanese producer Jun Kamoda in homage to the revelatory spirit and pre-medieval origins of carnivals. Artwork by Dutch/Scottish artist Roos Dijkhuizen created through ink and water drawings.

Colours emerge from the dark, glowing torches and fire embers flicker through the night. ‘Caapi’ warmly draws you into proceedings, an alluring tease of soothing chimes and preview of the infectious shuffling drums that will follow. From ‘Apsara’, Cain sets us on the front foot. A pounding, stuttering rhythm ignites the track, as spinning chord sounds echo and a haunting, hallucinatory vocal lead us on. The carnival is fully alive in ‘Gundon Night’, a sinister and menacing broken track steered by Cosssack warrior chants. High on the mountain we reach the pinnacle of ‘High Call’, a triumphant lead track with CAIN’s recognisable warm and driving, rhythmical drum patterns. The otherworldly psychoacoustic melodies of ‘Taiyi’ and slower-paced triplet drums structures of ‘Zetwal’ make these tracks the outliers of the EP, but they also complement and help to complete the picture. Jun Kamoda’s zany turned up marching techno take on the lead track signs out ‘High Call’ in playful, multi-coloured order.

Two outstanding performers, Carlos Santana and Alice Coltrane, collaborated to record their fantastic trip through time called Illuminations. Santana’s interest in the Indian culture and different musical styles led him to the musician Alice Coltrane. They shared their vision of expressing their spirituality through music. Illuminations is the wonderful outcoming of the work they recorded together. Guitar, harp and saxophone forming the strong basis on which this album is founded. “Angel Of Sunlight “is the album’s centrepiece, showcasing the outer limits of their musical ideas. It was Santana’s ultimate trip into the jazz, as he stepped back into the commercial music only a few years later. The package includes an insert.

Prince will forever be remembered as a commanding live performer, chart-topping recording artist, and music business revolutionary. Yet for all the time he spent in the spotlight over his four-decade-long career, Prince also worked tirelessly behind the scenes to nurture talent and pen songs for the rising artists he respected.

Sourced directly from Prince’s vast archive of Vault recordings, ORIGINALS is a brand new 15-track album featuring 14 previously unreleased recordings that illuminates the vital, behind-the-scenes role Prince played in other artists’ careers. These are more than just demos, the production quality has been kept high and the recordings resemble a pristine quality similar to that of Nothing Compares 2 U released last year.

By the mid-1980s, Prince was dominating the charts even as a writer/producer with songs he’d composed and recorded for others. In addition to releasing nine of his most commercially successful full-length albums, he also wrote and recorded endless reels of material for proteges The Time, Vanity 6, Sheila E., Apollonia 6, Jill Jones, the Family, and Mazarati. Several of the iconic songs found on ORIGINALS were considerable hits for the artists who recorded them.

Packaging: CD / 2x 180g purple vinyl / hardback 12” gatefold book with glued pocket holding 2x 180g purple LP and 24 page 4 colour booklet.

Suzanne Doucet was born in Tuebingen, Germany where as a three year old, Doucet discovered her innate artistic gifts. Instinctively, she was always drawing, playing music, singing, and writing. By the age of 18, Suzanne was an established pop star in Germany with several #1 hits. She also made her mark as a composer, actress, TV moderator, director, engineer, and producer. At age 25. she took a sabbatical from the music business to go on a spiritual odyssey. In 1970 she released a triple album of field recordings and mind-expanding psychedelia under the name Zweistein. For the next ten years, she developed her own style of New Age music while exploring many areas of metaphysics and spiritual practices, including astrology, music therapy, tarot, yoga and the Kabbalah.

In 1979, Doucet launched a record label in West Germany named Isis, after the Egyptian goddess of feminine divinity. She formed the duo New Age with her musical partner Christian Bühner, and released the 1982 cassette album ‘Transformation’ and the follow-up ‘Transmission’, released on cassette in 1983. After this release, Bühner and Doucet moved to Los Angeles, hoping to find more kindred spirits in the burgeoning New Age scene there. Doucet met Tajalli (William Wichman). William had a small home studio and they played music together almost every day. William had a Juno 60 and Suzanne had her SD-1 keyboard. Their album ‘Brilliance’ was released in 1984 on cassette with the critically acclaimed track "Crystal Flight," which was featured in several Visionary Videos. All songs have been remastered by George Horn at Fantasy Studios and each album is housed in jackets using the original cassette artwork.

Straight out of one of the UK’s most innovative bass music hotspots, Bristol, two of the scenes fastest rising stars Glume and Phossa join the Subaltern roster with their massive debut split EP.
A - Glume & Phossa - IMHK A collaborative effort from the two talented producers, the EP opener IMHK packs double the punch as well as showing a lot of love for the details. Setting the eerie vibe of the release straight off the bat, IMHK is a surprisingly refreshing track that will light up any dance. Waterfalls of melodies meet hard bass hits, all surrounded by a masterfully-composed, rich-in-details and continuously-evolving drum beat. Get ready to walk into a medieval world of wizards, spells, castles and dragons - Glume and Phossa will be your guides.
B1 - Glume - Shriek Time to enter the dungeon and follow our loyal conductors deep underground. Relentless is the term that comes to mind when indulging in this stone cold, yet somewhat uplifting banger. Glume’s solo piece on the EP delivers pulsating bass waves accentuated by tonal percussion lines, embedded into a horror-movie-like atmosphere.
B2 - Phossa - Deathly Stare It’s Phossa’s time to tell the tale on the third track of the vinyl, showcasing some of his signature style synth lines embedded in an ever-creeping atmosphere. Heavy standing bass walls accompany the trippy cascade of sound, ever enchanting and luring the listener deeper into the maze. Will we find our way out?

This very special record is a collaboration between Amsterdam based stalwart, and frequent contributor to Young Marco’s Safe-Trip label, Darling, and his extremely talented daughter, Lexi. Here the producer, Darling, crayon proofs his studio and lets his 4r yr old daughter, Lexi run riot on the synths. The resulting submerged grooves, outer worldly melodies & psychedelic nursery rhymes are made up entirely of seqeunces recorded in by the outstandingly creative youngster with Dad making the edits and laying in the beats . This record was powered by Haribo.
BIG TIP!

Comes with insert.

London’s Terminal Cheesecake formed way back in 1988, quickly establishing themselves as a legendary underground band releasing numerous well received albums and the support of John Peel amongst others. The band, like many of the era eventually burned out before remerging in 2013 with a new line up. Terminal Cheesecake circa 2019, featuring Russ Smith, Horseloaf Horseloafson, Neil Von Fish, Dave Cochrane, Johnny J Beat release an new album 'Le Sacre Du Lièvre' on May 10th via Box Records. Their contribution here is two songs long 'Fake Loop' and 'Song For John Part 2', baked in fuzz and swirling distortion. It's a totally different type of high from the Electric Moon side. Whereas the latter go on a spaced out cosmic trip, the Cheesecake side is more of an earthy, dark but equally glorious ride.

For our fourth installment of the “Roar Groove meets Dirt Crew” series we present you this new set of shimmering and dubbed out Revenge cuts. After the last episode Graeme has been very busy working his “live” studio setup to come up with a whole range of new jams of which we have selected the below four tracks. We think these best represent his unique style and once you hear these in a club you instantly know “That’s a Revenge Tune”, something we have always loved about his sound.

The opening “Like an Ending” is a trippy, melancholic-euphoric track driven by a Moog Voyager bass line and classic House keys and vibe. The original recording was an 11 minute live take that he has been able to capture the essence off and narrow it down to this thumping club jam.

The A2 is all about those good times and it reminds us a lot of early 90s “French Touch”, filtering House at it’s best, it keeps running around in your head and with it’s slower pace we are sure this one will do especially well on the early morning dance floors and high summer sun drenched beaches.

On the other side we enter darker and more dubbed out territories. Here is the first track in Graeme’s words “This one had been knocking around for a couple of years in various forms, but it wasn’t really until I stripped it all back and let the arpeggiated synth do it’s thing that it really seemed to gel. It’s really the rhythm of the whole thing, I ended up scrapping extra hi-hats and stuff that was just getting in the way.” And we have to mention that we personally love that marimba! This track is like a spaceship floating the skies and eventually touching down.

To close out this new work we have one of these typical stab-y Revenge chuggers, loose and floating, synth lines underlaid by a distinctive beat, it has kind of a breakbeat feel to it and with the improvising on those synths and melodies on top of it all it’s a true Dub House track.

Summer is here and this record sets the pace and tone! Enjoy!

Roman Poncet's 2018 debut LP stands an impressive work in its own right. Now Figure has invited a group of artists to contribute new takes on standout album cuts. Some clearly for the floor, some nestling on its verges. But all adding to the unique Gypsophila-vibe.
Antigone turns in dust shaking flurry of tribal drumming, ceaselessly pounding and rattling away for an exhilarating and at the same time grounding rhythmic experience.
Wiggling and squelching, Efdemin blends a bunch of lively elements into one wildly roaming remix, which despite all its inner momentum retains an orderly structure, testament to the artist's extraordinary production skills.
On the flipside, Margaret Dygas adventurously goes on a trip of finely tuned acoustics, patiently letting each sound grow into what becomes an enthralling piece of enchanted electronica. Evocative, emotional and of serene beauty, Echoplex closes the collection with an epic track, led by grand strings and flute-like synths, begging to be dropped at the break of dawn.

This third release of Black Lotus on Florian Meindl's FLASH Recordings enqueues in her reflection on space and physics and hypnotizes the listener in her usual kind.

According to ancient and medieval science, Aether is the material that fills the region of the universe above the terrestrial sphere.
In mythology it is seen as the personification of the heaven - the soul of the world and element of all life. An undetectable substance.
The invisible material thought to permeate all the empty space in the universe. The pure air that the gods breathe in the heavens.

Kicking off with the opening theme, with its wild synth hook and sweeping ride, ÔAetherÕ induces a solid trip on the dancefloor.

The second track explores deeper territories with its dynamic cymbals, spacey 303 textures and monotonous dark mood.

Distant Signal is a supernatural story about incessant galactic bleeps, accompanied by heavy kicks and a highly energetic percussion.

Safe trip!

Having discovered electronic music at the end of the 90’s, Thomass grew up going to raves where trance was one of the main styles played at this massive partys. The influence it had on him was planted deeply into his DNA and this EP is the interpretation he has these days of the genre. He moved on to different pastures soon after but the style was already in him. Thomass now takes the old fashioned elements he still likes and takes them to new directions. Fueled by gated chords, dreamy arpeggios, trippy vocals and percussions this tracks are destined to take you back into the past and bring you right back to the present. Forget what you learned. Trance not trance.

Music collective Africa Express announce the release of a brand new studio album titled EGOLI, coming on the newly created Africa Express Records imprint.

Hailed as the most revolutionary force in popular music for two decades, Africa Express was founded in 2006 and brings together musicians from different cultures, genres and generations to break boundaries and offer a new perspective on Africa and its music.

Each record and event is unique, based upon on-the-spot collaboration and filled with unique moments of magic; the collective have hosted trips and concerts in Nigeria, Democratic Republic of Congo, Ethiopia, Mali and UK to date.

Africa Express travelled to South Africa in January of last year to complete an electronic album in just 7 days, a week of discovery, collaboration and music-making. The result is EGOLI - 18 tracks capturing the fresh, joyous sounds of Afro Futurism, straight out of Johannesburg.

Featured artists include Damon Albarn, Blue May, Gruff Rhys, Georgia, Ghetts, Mr Jukes, Nick Zinner, Remi Kabaka, Otim Alpha and Poté as well as emerging and established stars of the buzzing South African music scene including BCUC, Blk Jks, Dominowe, Faka, Infamous Boiz, DJ Spoko, Mahotella Queens, Moonchild Sanelly, Muzi, Morena Leraba, Nonku Phiri, Radio 123, Sibot, Sho Madjozi, Zola 7, Zolani Mahola (Freshly Ground) and Maskandi guitar legend Phuzekhemisi.

Following the release of Encores 1 on June 1st, Nils Frahm releases of Encores 2, the second in a series of EPs following the release of the universally acclaimed album, All Melody, released in January of this year.

While Encores 1 focused on an acoustic pallet of sounds with just a solo piano and harmonium, Encores 2 explores a more ambient landscape from the All Melody sessions, the pinnacle of which is the astral 12 minute showpiece Spells. Recorded through an amplified stone well Frahm found on Mallorca, Encores 2 is at once unique but familiar; orbiting the universe of All Melody while inhabiting its own world.

'The idea behind Encores is one we had from before All Melody; to separate releases each with their own distinct musical style and theme, perhaps even as a triple album. But All Melody became larger than itself and took over any initial concepts. I think the idea of Encores is like musical islands that compliment All Melody'

Nils Frahm wraps up an exultant year with two shows at London's Hammersmith Apollo on December 4th and 5th, followed by a sold out four night residency where it all began at Funkhaus Berlin, December 11th-14th. The All Melody world tour continues apace in 2019 across Europe and the US, for all dates and tickets.

Nils Frahm veröffentlicht heute seine brandneue 5-Track-EP Encores 1.Nils Frahm hat die letzten zwei Jahre damit verbracht, sich sein neues Studio im Funkhaus Berlin zu bauen und dort Aufnahmen zu machen: In diesem Rahmen entstand nicht nur sein zuletzt veröffentlichtes, international gefeiertes siebtes Album All Melody, sondern obendrein etliche weitere Tracks, von denen fünf ab heute als - erste Zugabe erscheinen: die EP Encores 1.

Aus insgesamt 60 ersten Ideen und Songskizzen habe er schließlich jene 12 ausgewählt, die auf dem Album All Melody versammelt sind, was bedeutet, dass ein Vierfaches davon zunächst in der Schublade bleiben sollte: - Die Idee zu den Encores hatten wir dabei genau genommen schon vor All Melody: Nämlich drei Veröffentlichungen zu machen, von denen jede ihren eigenen musikalischen Stil hat und ihr eigenes Thema. Wir dachten dabei zunächst an ein Triple-Album.

Doch dann wurde All Melody immer größer und verdrängte diese ersten Konzeptideen , so Frahm. Als eine Art begleitender Anhang zu All Melody gedacht, wobei sich zum Beispiel das Stück - The Dane auf der aktuellen Welttournee bereits als absolutes Live-Highlight entpuppt hat, konzentriert sich Encores 1 durchweg auf akustische Aufnahmen mit zwei Instrumenten: (Solo-)Klavier und Harmonium. -

Ich glaube, man kann die Idee der Encores mit klanglichen Inseln vergleichen, die All Melody erweitern , sagt Nils Frahm weiter - und deutet damit an, dass die Geschichte von All Melody womöglich noch längst nicht zu Ende erzählt ist ...

DJ Haram is a producer & DJ who distinctively ties her New Jersey musical history with more recent involvement in the Philadelphia DIY noise scene, whilst paying homage to her Middle Eastern roots. A close affiliate of New York's Discwoman collective, she is also one half of 700 Bliss with rapper & poet Moor Mother, who features on this EP. Haram’s non-traditional understanding of Islam, paired with a nuanced perspective on folk tradition and mythology, underpins the EP, bringing fantasy and colour to this in-between place. On opener ‘No Idol’, a darbuka rhythm pairs with offbeat claps around a dark synth and a contrasting airy flute melody, illustrating the theme of duality running through the music. The melodies of ‘No Idol’ are revisited in the final track remix, sped up with a classic Baltimore club beat and energetic bedsprings samples.‘Interlude’ is a combination of the sounds and patterns from each song. ‘Gemini Rising's synth is reminiscent of John Carpenter, paired with a darbuka rhythm and war drums that transmit a religious sci -fi horror aesthetic. ‘Body Count’ is propelled by Jersey Club kicks with a distorted drum crunch and ticking rim shot in triplets, and an ethereal melody. ‘Grace (K.O.D.)’ has menacing cinematic stabs that feel like acid raining on the scattered percussion. On the 700 Bliss track ‘Candle Light’, Moor Mother's distorted and doubled up vocal chorus evokes a frantic yet solemn energy as she speaks on themes of life and death.‘Grace’ is an EP constructed through deep feeling, transmitting vital dancefloor energy. It’s music is versatile, imbued with a strong will, personality, and colour.

French electro-pop band Lucien & The Kimono Orchestra presents Hayao's Garden, their new EP, which closes the triptych of the two previous albums.

This is an imaginary road trip in agreement with the previous records, we find the usual groove to psychedelic flights while keeping these melancholic melodies dear to Kimonos.

The first single "Neptune" with a Moodoïd feature was released on April 24 and Ep on June 7.

he second instalment of Nachtbraker's new label features four new original tunes from the Nachtbraker kitchen. Expect his signature deep grooves and inventive arrangements with moody synth melodies. Leonardo Ceviche is built for the dance floor, a "lean back" groove with a trance vibe to it. One (For Mom) is tailored for the warm summer nights, a steady baseline and snap-py snares supporting the lush and sweet synth melody. Flip the record for two versions of Havel. With the first one taking on a classic deep house guise, the Trip Mix of Havel takes us on a journey beyond your imagination.

Mastered and lacquer cut by Simon (The Exchange) Davey.

Where To Now? Records present the debut release from Akiko Haruna. Akiko’s world is one where cacophonic distress lingers, shuffling itself over scapes of percussive damage and driven groove. Akiko presents a fresh take on the current Technoid function through her use of emotive and intentionally disruptive vocal chops and a dizzying ‘wall of sound’ approach to the dancefloor, consuming all yet somehow keeping vibes alive.

Akiko’s artistic background is primarily in Dance, and undoubtedly this performance led background has had an acute impact on her approach to melodic detail & storytelling. Akiko’s tracks rapidly shift & morph states, always restless and searching with fluidity and intent. From the ever present Micro Electronic details to sweeping swathes of Bass flutter the notion of progressive movement remains at the forefront of her sound, minute elements of detail become briefly isolated, intentionally directing the listener to their subtle presence.

‘Delusions’ Leads with ‘A Mother’s Love’ and begins a theme of resentment and dissonance. The Japanase vocal cuts throughout the track roughly translate to “you should die”, here obviously flipping assumed and supposed relationship rules and roles and exposing an inner turmoil, reflected through a continuous anxiety ridden, almost panicked siren detail which pulses over Akiko’s heads down, deep and uniform forward march.

‘Husband Established’ and the opens with the emotive vocal line “I just hate your Voice”. This is the sound of a poisonous & damaging relationship hurtling towards combustion, where Akiko’s elements gather momentum and impact as layer upon layer of detail pummel and puncture this heightened state, pausing and spiralling to evoke a standoff of aggression and imminent outburst. ‘Husband Established’ stands as a frankly stunning piece of sound design, which manages to capture a raw human emotion, and provide release for the associated junk, stress, and occasional banality of Relationship angst.

‘Hetero’ picks up where ‘Husband Established’ finished, further exploring societal character types and submissive gender tropes that are thrust into our sub consciousness from day to day. The concept of Hyperreality and its themes are continuously explored within Akiko’s practice and It would perhaps be fair to say that these themic explorations within her Music are Akiko’s own outlet for traversing human relationships within a complex, heightened, & layered reality, and it is certainly Akiko’s intention for her audience to feel some kind of relief and release within her sound world. Sonically ‘Hetero’ is a much sparser, subtler affair, where swathes of sampled voice & machine swing in and out of focus, against a weightless backdrop of affecting isolated electronics.

The EP closes with ‘Ripehus Alley’, seemingly void of any deeper meaning or message this serves more as a dreamlike parting song to what is otherwise a highly charged collection. Floating itself away from a frantic & incomprehensible world into a calmer space for final thought and reflection. ‘Delusions’ is a complex, exploratory trip, one which fans of Logos, Fis, Alva Noto, Jlin, Jesse Osborne-Lanthier etc will relish exploring.

Milan-based imprint Just This present Cristalli Ionici, a four-track EP from Italian duo Abstrakt featuring a Marcel Fengler remix.

Abstrakt is a collaborative project from Luca Rambelli and Filippo Scorcucchi concerned with the intense study of spatial timbres - a psychedelic trip represented as a sonic aesthetic.

A relatively new endeavour, their debut on Just This offers an expertly crafted voyage into the outer reaches of the imagination. Sonically, the EP files under ambient techno, brandishing swirling textures and tangible effects to create a blissful meditative state.

For his remix of the title track, Marcel Fengler places the subtle complexion of the original and places it inside a driving rhythmic pattern of syncopated percussion and unrestrained energy.

Cambridge-based beat-scientist Filter Dread presents the third release on the Tech Startup catalog, TS000003. Inspired by laboratories across the street from his studio, the four tracks take motifs from the genres of jungle, hardcore, and grime, and teleport them to alien dimensions.

The record kicks off with Rainforest, a track which mutates grime hammer kicks and classic jungle drum-rolls. The following track, Blizzard, flows like metallic ooze with its cold, cybernetic percussion and liquified pads. Tripping Up dishes a devastating jungle-tekno sequence with crushing snares and a sinister bassline. RX-4 Real brings the release to a close, bubbling and percolating with its reverb-soaked stabs and glitched out beats.

Midnight Sun drew his imagination from trips to Iceland and elsewhere, from experiences. Everything has grown, some dates in New York for the CMJ Festival, Berlin, Barcelona or Warsaw, the Pitchfork Festival, Radio Nova, vinyl, meetings.

"Early Morning" extends this first EP and dreams of traveling at the end of the world.

The group is apart, it wanders while preserving its identity - the spirit of Cracki hovers over the project.
First discovery of the label in 2012, the duo barely existed, it is a quator today who just returned from a world tour (more than 100 dates).

The dream sticks to their skin, in fact. Just as when trying to catch one, it flies away, their music is elusive. The first disc spoke of a sun at midnight, the second is dawn.

The chosen horizon is not defined, the four artists are still searching for each other and continue their path with candor.

After their 2015 debut Skymax are back with another cosmic disco trip on 12“.
An extended space adventure featuring the fabulous Vilja Larjosto on vocals.
Music that is truly High On Time, heavily influenced by modern theories of the free spirit and
extraterrestrial life.
Skymax are Stiletti-Ana (of finnish groups Jesse & Tähtiportti),
Feater (Running Back) and Sam Irl (Jazz & Milk / Freerange).

Repress

Nina Kraviz' TRIP presents the debut album Am I Who I Am by Alina Izolenta and Kamil Ea, the duo more formally known as PTU. Across twelve tracks PTU cut and chop their way through frenetic marching drums and spiralling acid leads, awakening an army of malfunctioning robots as they go. Whilst Am I Who I Am boasts a vast spectrum of bizarre ideas - often introduced at high velocity - each one is executed with a skillful dose of restraint, summoning energy from microscopically detailed arrangements. From the angular maximalism of 'Castor & Pollux' to the eerie polyrhythms of 'After Cities' and the relentless hammer drills of 'Sirocco', PTU find life in the most extraordinary of places.

7am. Tilburg. Black room. Strobe light. Dutch Soundsystem Wirwar. "Party Like It's '96" celebrates 23 years of musical debauchery, rinsing BPMs and battering bodies in forests, squats or wherever a PA system could be plugged in. Five tracks from five different aliases make up this descent into drum beat battery. Noses are up against sweat drenched wall from the needle drop, the thundering pace of Trippy D's maniacal offering being elbowed in the ribs by Bart Bral's nosebleed inducing "No Shit, Sherlock!" Distortion slices into squalid acid lines in the blazing "Water On Mars" by RAF before broken beats are blended and blitzed by Just So Nah. The night, or morning, comes to an end in Roel's nightmarish fairground ride. "Wurlitzer Express" minces chiptune cuteness with splintered snares, cracked kicks and mutated percussion to leave hearts, minds and souls thoroughly stained.

Founded in 1990 in Minneapolis, Minnesota, Cold Front were what you'd call early adaptors, their music at the time of its inception an oddity. This fourpiece, consisting of spouses Ayanna and Cam Muata, Jon Jon Scott and Ron Clark, were far ahead of their time and faded just as rapidly as they entered the stage, only playing a handful of local shows in support of Nine Inch Nails, Meat Beat Manifesto and such, alongside several cameos during early house nights and techno events.

Though short lived, their music nevertheless speaks volumes. It's intriguing stuff, a magical association of sound reminiscent of Ron Hardy and Klein MBO. New Beat-like drum parts, overdubbed by politically engaged raps, basslines that would make The Cure proud, held together by freakout speaking in tongues vocal experiments while also showing an obvious parallel to the rise of triphop at the other side of the ocean.

Beyond the Beat will burst dancefloors soon. In collaboration with Paris' recordshop Dizonord, Knekelhuis will close the summer of 2019 with this amazing gem.

Next up on COS_MOS is a label debut from Tom Dicicco. The UK techno artist has amassed a fine discography on the likes of Delsin, Off Minor and Dred Records, always with a rugged and club focussed current running through what he does.

The four cuts he offers here kick off with the hammering synth stabs and coarse claps of 'Varykino', a brutal twisted dance floor mover. 'Laser Life' then cuts loose, with squeaking machines and alien life-forms jumping about in a broken beat framework that brings off balance grooves to the party. Acidic bouncing bass lines jumping over the b-side on '99 Rising', where 'Quiet Theory' flips the script again, this time with percolating and trippy synth loops rising and falling with skeletal beats stuttering below. A well balanced party pack for every hour of the night.

Following on from their recent album on Italian imprint Just This, Hunter/Game present the Silence Remixes out June 7th, featuring contributions from Radio Slave, Inland and Jamaica Suk amongst others.

Silence is a spiralling voyage into the depths of blissful ambience and meditative techno from Milan-based duo Hunter/Game. Arriving after a series of acclaimed EPs on the same label, it is an aesthetic statement of intent, carving out serene spaces of melancholy and upliftment.

For the remixes EP, a carefully chosen selection of artists provide varying interpretations of stand-out tracks from the album. Radio Slave turns ‘Dead Soul’ into a marching ground of melodic techno, whilst Inland breathes robotic life into ‘Crashed Sounds’ and Wrong Assessment levitate ‘Fragments’ over murky waters. Closing off the vinyl is Jamaica Suk’s ominous restructuring of ‘Reaction’.

Owners of the digital release will receive three further remixes. Vessels turns ‘Evolution’ into a broken dreamscape of stepping percussion, whilst Just This affiliate Scissors forges a stripped back, tripped out version of ‘Memories’. Also featured digitally is a second version of Jamaica Suk’s ‘Reaction’ remix.

Moodulab presents "X" , the new release from our label will be soon available on vinyl. It contains four cuts from different artists.

On side A "Zero Gravity" by Clash an artist with a strong techno sound definition, presents a grooving & dirty track with acid lines wrapped in dark journey texture. Continuing on this side, V1L one of the most constant artists in our roster, includes "War Insemination", a track including many atmospheres, textures and trippy colors. Hypnotic and amazing sounds that occur in sequence of audio chains.

On the flip, Julixo, one of the best techno producers hailing from Argentina, includes his track "Arcadia". Broken beats with strong sound and vocal samples to make this track a solid techno dancefloor killer. The last track to end up this release, we've got "Geografía Física" by DJ MELEJ & RMDR. This duo from Argentina samples the experimental side of label, with lo-fi sounds, downtempo with deep sounds.

Point G remix by ,the new Point G project for 2019 features a very Serious 12 inch for the summer with two legends and two fresh youngsters on the A side “ Celestial” is getting remixed by New york City Legends Satoshi Tomiie , the Japanese Born who moved to new york to join the DEF mix crew along with Franckie Knuckles and david Morales Delivers a Minimalistic Bomb , a deep rollercoaster Jamed With Modular synth and all type of goodies FXs. A2 is “Can you “ Jay Ka remix who took a complete different angle , here we get a Dope funk trip , the prefect tool for Nu disco Strong driven set B1- The Classic Point G tracks “ Balea “ gets remixed by I Cube , The Mysterious French legend gives a super fresh reinterpretation of that bliss summers classic putting the Balearic feel somewhere else. A Must Have B2- Take Me - Siler remix , we know silver thru his label Pop corn records , he delivers here a Futuristic house vibe that s gonna put the Floor on Fire Point G records gives us a Serious Release for The Summer not to be Missed .

Original library synth funk sci-fi soundtracks. This promo EP from the vaults of Warner Chappell's production music archive offers four more tracks from Eleven76's mystique Space Voyage recordings. Originally intended for film synchronisation usage as part of Warner's music library, their unique mélange of analog synthesizers, breakheavy drumming, trippy fx and euphoric-melancholic instrumental fantasies has gained them a cult following among witty beatmakers, DJs, cratediggers, tape recording freaks and space age afficionados.

Produced by Paul Elliott, director of The Library Music Film, this promotional vinyl 45 was made to support the library album SPACE VOYAGE and to make the music available outside of film usage. Limited quantities available as most of the pressing is used as giveaway for clients in film, TV and advertising.

WE R THE ALIENS is a fresh new label based out of Hamburg and Berlin. The label marks the start of a new chapter for Wareika’s beat machine Jakob Seidensticker, former Square Room Hero Boronas, and American house import Snad. Together, they are Mothership. The maiden voyage begins with this clubby three-track trip. Groovy technoid cut “Dubby White” sets the course, evolving into the spooky yet driving minimal house track “Melting” feat. Zhiqi Song.
Finally, Smallpeople round up the release with an uplifting House Remix of “Dubby White” perfect for warmer days.
Join us in welcoming the Mothership; the alien invasion has begun.

Experimental Italian techno duo Crossing Avenue return to Spazio Disponibile for their third EP on the label. Once again their four track effort explores new tempos, rhythms and moods in stylish fashion. The Carmaleonte EP counts four multi layered trips into mind melting half time jams that pairs rubbery, rolling drums with hypnotic lead synths. After the gurlgin deepness and sparsity of 'Monoica', 'Carmaleonte' is high pressure and unrelenting, 'Santica' got the razor sharp and unresolved rhythms where 'Decimo Piano' is a flurry of high speed drums and sci fi signifiers that plays out like an intergalactic space war. Techno never sounded as adventurous as this.

New LP from French beat-makers La Fine Equipe featuring Illa J, T3, 20Syl, Mr J Medeiros, Georgia Anne Muldrow, Fakear ...

Let's be clear: La Fine Equipe is a band. The numerous hats wore by its four members are so various that it could mislead one's. Indeed, surrounding Blanka, oOgo, Chomsky and Mr. Gib, there are recording studios, collaborations, lives, side-projects... There is also and especially a whole universe built during the past ten years around their passion for beatmaking, embodied by the release of « 5th Season », new album.
So yes, La Fine Equipe is a band, but it's also much more than that.

Since their creation in 2006 and their first album « La Boulangerie » two years later, the four producers became inevitable when you think about a new scene breaking the barriers between musical genders. Hip Hop is at the heart of their craft, corner stone of their musical background and inspirations where the paths of J Dilla, Madlib, Flying Lotus, Kaytranada and the turntablists A-Trak, C2C and Birdy Nam Nam are crossing ways. Two things gather La Fine Equipe and those big names, the constant need of collaboration with other artists, and this thirst of discovery, main feature of the digger.

From 2008 to 2014, La Fine Equipe mastered its craft with the « Boulangerie », compilation gathering 34 beatmakers on 113 tracks. They also work on the creation of the label Nowadays Records (Fakear, Skence, Unno, Clément Bazin, Leska, Douchka...) and released more than 75 EPs and LPs in five years.
With an outrageous number of shows across the world, tour in Asia, South America, collaborations with several international artists... Their success changed the game: Whereas many producers coming from this environment where isolated, La Fine Equipe federated a growing scene and became its reference.
After years spent paving the way for other artists and creating a structure that could support the growth of a musical scene, they decided to go further and launch a new era with « 5th Season ».

Because the band works with eight hands and four brains, there's nothing surprising in the fact that the album sounds like a condensed of each and everyone inspirations and experiences, from hip hop and sampling, to electronica, jazz and Latinas inspirations. If homogeneity is the new trend, La Fine Equipe isn't ready to sacrifice its wishes to fit the mould.

« 5th Season » is also a glance at the world looking over our planet's current state, the cosmos, the vegetal and these things that are greater and stronger than us, and the things and behaviour that could led to our loss.
It's an almost apocalyptic vision of our future, but full of optimism at the same time. There is something solar and cinematographic in this album, a format that goes beyond the one chosen before, closer to playlist and compilations such as the three Boulangerie opuses remind us.

Loyal to their status of ambassadors, the four beatmakers keep on inviting other artists to complete their universe. Illa J and T3, respectively brother and partner (Slum Village) of the late J. Dilla, make the connection between a glorious past and the future embodied by La Fine Equipe on the track « The Source ». With « Aurora », it's the solemn and mystical voice of Madjo that take this electro-pop track to another level. The American rapper Mr. J. Medeiros on the boom bap anthem « What Eva », the Montrealer ZeFire on « Typical », each and every artists brings its stone to the edifice of « 5th Season », giving to the album a limitless and freed musical richness.

But to release an album isn't enough. In parallel, each member of La Fine Equipe continues to fulfil its multiples tasks and work on a new concept live show bringing a scenic and visual show in addition to their music. It is what the artists looking toward the future do, and La Fine Equipe is looking straight ahead.

_________________________________________________________________________

TRACK BY TRACK

AURORA (Ft. Madjo)
Already remixed by the quatuor on the beautiful track « Choose The Heart », it's Madjo's turn to be invited by La Fine Equipe for a collaboration. Her mystical voice, which fragility paradoxically seems to strengthen its power, turns the track into an epic pop anthem.

NOBU (Ft. Grems & 20syl)
The association of these three names seems obvious, like a family reunion. Grems did the visual of the anniversary box of La Boulangerie, 20syl (C2C, Hocus Pocus) was one of the beatmakers who took part in the project.
This time, the two big brothers are side by side behind the mic, for the first French speaking collaboration of La Fine Equipe.
On this trapy/footwork beat, the two rappers ring the alarm before it's too late to save our house, the earth.

THE SOURCE (Ft. T3 & Illa J)
In the family of Hip Hop jewels of 5th Season, here is one coming from the USA. Fans of J Dilla and Slum Village since the first hour, La Fine Equipe pays its respects to its influences by inviting T3 and Illa J. Respectively member of Slum Village and brother of the legendary Detroit producer, these two MCs build a bridge between the eras and let their sharpened flows confuse our perception of time.

5TH SEASON (Ft. Fakear)
A second collaboration with their little brother from the Nowadays Family, Fakear. Eponymous title, it represents the universe of both entities, true road trip through Fakearians melodies and La Fine Equipe's funk declined in five seasons.

TYPICAL BOY (Ft. ZeFire)
With « Typical Boy », La Fine Equipe express its love for House music with chopped rhythms and a heavy but swaying bass line. The freed track oscillate between power and lightness. A beat that quickly becomes ZeFire's playground. The Montreal singer, already heard on Her's tracks, brings a missing r'n'b touch to create the perfect chemistry.

Sergii Galan, the Ukrainian producer also known as Haze, makes his debut on the Kyiv-based Rhythm Buro imprint. The artist who released his first ever EP just two years ago (the excellent "Somewhere In Time" EP on Anagram Records) is now joining the roster of the label affiliated with the event series of the same name. While the Rhythm Buro events are best known for keeping the Ukrainian capital's dance floors busy, the Rhythm Buro label is set to hit its fifth release with Haze's RB005. As is evident with the EP's artwork, RB005 marks the beginning of a new era for the label, breaking the ties with what was previously its signature visual mark.

The record's opening tune is the heaviest on the EP, good reason as to why it was chosen as the title track. "Aimless" is bottom-heavy and bass-rich, done in the true "acid eiffel" face-melting fashion. However, its successor on A2, "Inner Voice", takes a completely different route sound-wise, referencing timeless old-school breaks and vocal samples, which showcase the diversity of Haze's palate. To further confirm this notion, "Prism" on A3 appears as the EP's "slow burner", the acidic-psychedelic-downtempo tune you wouldn't often come across on a record filed under "techno" in 2019.

In line with Rhythm Buro tradition of sorts, the B-side of the record is dedicated to the deeper tunes, which blur the lines between techno and house. "Majula Sunset" on B1 is both trippy and melodic; with a groovy rolling bass line only a quality sound system could handle properly. Closing the record is Ben Buitendijk's remix and combination of two of Haze's tracks from the EP: "Prism" and "Aimless". As indicated by the title, this track "Natura" is not only a rework of Haze's tunes, but also homage to one of Rhythm Buro's most original events of the same name, which Buitendijk has played, an event which is held in the forest outside Kyiv every summer.

Coming out of London and the South West of England, Hey Colossus are one of Europe's great live bands. Since 2003 the 6-piece has been driving around the continent with their “pirate ship” backline of broken amps and triple-guitar drang, elevating audiences in every type of venue imaginable; a doctor’s waiting room in Salford, an industrial unit in Liege and a vast field next to a river in Portugal. Wherever they may roam.

Four Bibles is their twelfth studio album and the first to be released by London label ALTER, whose sole proprietor (the electronic producer Helm) encountered the group at their first gig in 2003. Recorded by Ben Turner at Space Wolf Studios in Somerset, it's their most direct album yet and follows a well-documented trajectory of evolution that began (in the truest sense) with 2011’s RRR for Riot Season and continued across three albums for Rocket Recordings. Lead vocalist Paul Sykes sounds more in focus than before, dialling down the effects and using reverb / delay to carry his lyrics rather than smother. The band has also fine-tuned to leave some room for extra depth. Piano, electronics and violin (by Daniel O'Sullivan of This is not This Heat / Grumbling Fur) all find a way in amongst a familiar mesh of interlacing guitars, wrapped round a taut rhythm section. Like every other Hey Colossus record before, the line-up has altered and the sounds reflect this.

From the weight of “Memory Gore”, to the subtlety and swag of “It's a Low”, via the sonic extremes of “Palm Hex/Arndale Chins” this is exactly as the band are live; raging & rail-roading but somehow in control. Grooves for those who want to dance or for those who want to hug a wall and nod...bleak dystopian imagery submerged in relentless rhythms and low-end rattle. The songs breath life and soul - Hey Colossus have never sounded fresher or more on point.

The grooves stagger along in a casual manner, Like modes of club dust in the early morning sun. The samples are tripping, the bassline tight as a spanner, Sending the corners of your mouth on an upward run.

Our first vinyl split EP is finally here. Which includes 4 tracks from 2 forthcoming Eps on REVOLT from Kessell and Jokasti & Nek, alongside remixes from Bas Mooy and Acronym

Launching the first of many solo vinyl releases, Inter Gritty and
Controlled Violence are proud to present: Laponia Space
Project. Drawing inspiration from various trips through
Finland’s Lapland region, as well as proximity to Sweden’s
Space Centre, Laponia Space Project perfectly represents the
expansive, awe-inspiring nature of its surrounds. Inter Gritty
has presented himself in a different light to the majority of his
catalogue, drawing on nimble, organic sounds in combination
with a lively rhythm section to embody Laponia Space
Project’s mood. With a classic 4-track E.P. format, each work
evokes a real sense of wonderment, as tracks like Sleepy Tree
and Cassiope integrate twinkling, hollow, and delicate
elements. Basslines bound up mountain ranges, synth pulses
reverberate through the treetops, and groovy percussion
captures the excitement and energy of the local scenery.
TR303 is a clear homage to the machine and the movement
that have shaped modern-day electronic music. And while it
will certainly make its way into the crates and folders of DJs
everywhere, it still manages to incorporate a sensation akin to
being sent out into the most unfamiliar of territories. To close
the E.P., Expo Line’s percussion shakes amongst airy pads and echoed pangs, as though one is shuffling onwards through the
forest.