Cerca:ton

Psychedelic art-punk with garage roots.
The sound is characterized by gritty tones, guitars saturated with fuzz, warped delay effects, and tight rhythms.
The music is both raw and dreamy, consistently played at high volume and delivered with love and passion.

Lunfardo presents “Aurora" introducing the fourth conceptual album that deep dives into Uruguayan culture and misticism once again.

On March 3, 1976, Ángel María Tonna, owner of the ¨La Aurora¨ ranch in Paysandú, observed a strange flash of light near his shed. Upon approaching, he found a spaceship suspended 75 meters high, with an intense circular light that caused radiation effects later discovered in the ground. Simultaneously, a blackout occurred in the nearby cities of Paysandú and Salto, and several witnesses of lights crossing the sky were documented in the local press by major newspapers such as El Telegrafo.

Thereafter, Neil Armstrong, the first man to walk on the moon, visited Uruguay and the ranch several times, eight times to be exact. He shared photos of flying objects with Tonna and left a drawing in the house depicting space and "supreme beings." Despite UFO reports throughout Uruguay, ¨La Aurora¨ remains a mystical place. The truth is out there, or as it is sayed beneath there.

“Aurora EP¨ immerses us in two sides divided between Molen and Qasio. Side A invites us to explore the inexplicable in an abduction, a “close encounter” (Encuentro cercano) that transports us directly on a journey through outer space but also immerses us in the mysteries of "Ulimen." Side B offers a profound guide to worlds of "dark matter” (Materia Oscura), disconcerting presences, “orbs”(Orbes), and galaxies above our heads

2026 Repress

Nasty, angry dance floor biznizz from those crazy Dutch guys! DJ Hype Stigma has been obliterating dance floors for me all summer! DJ Friction, you wont believe your ears, simple as that. Noisia finally unleashes one of the most furious, grimiest pieces of DnB that's graced raves across the globe for the most part of 2008. Those DJs lucky enough to have had a copy all say the same thing: "if you need to annihilate the dance draw for Stigma."

Kicking off with a lone plucked bassguitar you would be forgiven for thinking you would popped on the wrong record but then the Noisia production chirps in with a thick half-time break and ominous FX to signal the start of something big. Dropping out to a niggling technoid synth riff that worms its way out of the darkness, the kicks roll and the sickest of drops bigger than the housing slump sends you to another planet. The rising bass tone riff switching to the short stunted b-line edits is pure madness and makes sure this is a standout track in any set without fail.

Crank continues the ruckus but sees the trio bringing things down a little for a more subdued but no less devastating cut. It's a heads down roller harking back to the techy Virus sounds of yesteryear with a bass that will have the headz grinning from ear to ear.

DJ support from Hype, Friction, Andy C, Noisia, Sub Focus, Grooverider, Pendulum, Chase & Status and many more.

Comes in standard full colour Vision Recordings repress sleeve.

Aiden Francis steps up with Floral Oceans, a four-track trip of melodic drive and low-end punch. Club gear tackle with a ton of attitude!

Opening with the title track ‘Floral Oceans’, he sets the tone - sweeping progressive synths meet low-end power in a piece built for wakes and peaks alike. Layers fold and rise with effortless tension and release, guided by vocal hooks that hit straight to the chest. The momentum rolls straight into ‘Nelumbo’, where a burst of piano and infectious melody bring a euphoric lift, riding atop a taut groove that demands movement without losing emotional weight.

Flip the disc and ‘Stunnalina’ pushes harder still - a rush of psy/goa-inspired energy, driving drums and layered arps that pull the floor into orbit. Then onto B2, Hybrid Man step in to rework ‘Stunnalina’, steering the original thrust into their own world: a bouncy, analogue workout glowing with resonant growls and a rolling rhythm. Yum!

Life blooms through gentle seasons, and every season needs its moment on the floor.

Global Sounds for Modern Dancefloors. Das sechste Album des DJ/Produzenten Captain Planet aus L.A. fängt den globalen Spirit seiner berühmten DJ-Sets ein. Clubs & Festivals rund um den Planeten feiern Captain Plant für seine Fähigkeit, afrikanische, lateinamerikanische und karibische Traditionen mit Hip-Hop, Dancehall und Electro-Funk zu fusionieren. Mit jahrzehntelanger Erfahrung liefert er einen vielseitigen und verbindenden Sound, der die Dancefloors weltweit zum Beben bringt. DIG vereint Sänger aus Brasilien, Kolumbien, Haiti, Nigeria, Ghana und Angola und verwebt ihre Traditionen zu bass- und drumslastigen Tracks mit mitreißender Energie. Die Top-Single "Tony's House" ist eine Neubearbeitung von Tony Allens "Afrodisco Beat", das gefühlvolle Outro "Mi Calor" featuret den langjährigen Koop-Partner Chico Mann.

The cultured Seasons Limited imprint is back with more gold from French house mainstay Franck Roger, who continues his recent run of more vocal-leaning sounds. His 'One Of Mine' EP opens with the title cut and the main man himself on the mic. He delivers spoken words in a smoky, sultry tone over a deep, cuddly groove that harks back to 90s classics. 'Pacific Ave' is another icy and sparse sound with dubby low ends and pensive pads lingering in the air above. 'Versalife' shuts down with a gorgeous baseline and more trippy melodic energy that brings some colour and charm to another cool groove.

Darwin's new label Biofield Records launches itself into the musical ether with a four-track EP from French producer A Strange Wedding. For this inaugural offering, the artist sets the tone with tunes that treat music as an energetic field, with low-end frequencies guiding us toward transcendental states. 'The Null Zone (feat NP)' weaves ritualistic atmospheres with bass-driven momentum into a heady and full-bodied trip. 'Breach Vector' continues the producer's knack for blurring boundaries between the physical and the spiritual while exploring liminality and transformation, and 'Hyperdimension' keeps I dark and minimal while moving at pace. This is a fine first it of curation from Biofield.

Ambroos De Schepper and Pepijn Gyssels became roommates when PiP moved to Brussels in 2021. Both paid close attention to each other’s musical approach and interests. One year later, Ambroos moved out. When he swung by to pick up some boxes, they decided to record something for the fun of it. Between May '23 and November '24 they continued experimenting with textures and improvisations. This collaboration has become the deepening of a friendship and a way to maintain it at the same time.

PiP: “We would have coffee or the occasional beer and everything we recorded came very organically. Ambroos would just bring his saxophone, a clarinet, some FX pedals or a weird flute. Whatever he felt like on that particular day. A few hours later he would usually be on his way again, leaving me with the recordings. I could treat them as I pleased.”

Ambroos: “I liked the idea of working with someone focussing on the physical side of music. Not so much on chords and tonality, but on texture and atmosphere. This gave me a framework with less concrete references, using words like “dark” or “busy”. I could improvise freely and we would try and catch a particular moment."

“l’Esprit de l’Escalier” is meant to be a musical meditation, opening up a continuous and detailed sound palette, aimed for the right mental state to listen with. Ambroos came up with the melody in COVID times and later in PiP’s studio, they recorded it on clarinet.
“Sans Loup” is the first jam the duo did together, after Ambroos and Lou moved out of the apartment they shared. Lou Wéry eventually found her way back to the album, as she can be heard playing the wing piano in this track.

PiP: “We recorded in the apartment we used to rent together. Since the title track and the entire album are named after Lou being absent in this dynamic, it seemed only natural to invite her in a later stage.”

“Spring Whistle” was an attempt to embed Ambroos’ musicality in dreamy textures and “Bring Back Bones” was built around an endlessly evolving krakeb recording that PiP took home from on a trip to Morocco. Both tracks are not aimed to end or evolve drastically, they just make the clock tick slower.

To conclude this release, “Velours de Tendre” is built out of a deconstructed groove and a field recording of the “Ronde van Vlaanderen”, a small reference to the countryside where PiP grew up. The reverberating chords you hear are the echoes Tijn Driessen squeezed out of an old harmonium, in a staircase of De Grote Post in Ostend.

PiP: “During a residency in De Grote Post we recorded in a staircase with a spaced pair of omni microphones. And you can take ‘spaced’ quite serious; one was positioned 5 stories higher and the other 3 stories lower.”

Sans Loup is the first vinyl to release on PiP’s label. They look alike, but none will be identical. The cover is screen printed in various combinations + a risograph insert. A highly personalized object.


credits

Released on Zitstill Records
Recorded in Brussels, Horebeke, Morocco and elsewhere, between September 2021 - November 2024

Music, mixing and production by Pepijn Gyssels
Saxophone, flute and clarinet by Ambroos De Schepper
Grand piano on “Sans Loup” by Lou Wéry
Harmonium on “Velours de Tendre” by Tijn Driessen
Mastering and lacquer cut by Anne Taegert at Dubplates & Mastering
Pressing by Objects Manufacturing
Layout and graphic design by Liselotte Van Daele & Otis Verhoeve
Photography by Willem Mevis

Special thanks to: Stijn Cools, Victor De Greef, De Grote Post

With centuries of history, traditional instruments carry physical vibrations shaped by human breath and touch. In contrast, electronic music generates vibrations through inorganic principles such as electrical signals and circuits. When the subtle tremors of traditional instruments resonate with the intricate tones of electronic sounds in an improvised dialogue, performers from distinct realms expand each other’s languages, creating a new sensory experience. The project album Ancient Moment marks the first collaboration between the Korean contemporary music ensemble WhatWhy Art and the Seoul underground electronic music collective vurt.. It is a record of a free journey where two different worlds collide and merge,

In Part 1 of the album, you will hear boundless performances by daegeum player Hong Yoo with electronic musician Unjin, and gayageum player Hwayoung Lee with ambient duo Hosoo. The recording was done in an improvised one-take format at STUDIO Y in Seoul, and Giuseppe Tillieci mastering enhanced the sonic quality.

Following the acclaimed reissue of Sa Discossa earlier this year, Jo Tongo's third solo album Those Flowers returns to the spotlight.

Originally released just a year and a half after Sa Discossa, this 1982 gem came out on the small Context label and, in Tongo's own words, the two records are "like twins." Recorded with many of the same musicians, Those Flowers continues the vibrant fusion of disco-funk and reggae - this time dedicating one side to each, leaning slightly more into his Western influences.

But there's more than groove beneath the surface. Tracks like "People Need Peace" and "We Human Beings" channel his enduring themes of resistance, identity, and freedom. The synthesizer at the beginning of the song mimics the ominous drone of warplanes, and lyrics speak directly to global struggles - reminders that his music is both deeply personal and powerfully political. "I paid for these ideals in my career," Tongo reflects, alluding to the personal costs of his outspoken stance against colonialism and injustice.

Still, Those Flowers carries joy at its heart. Songs like "Ain't No Man Like A Real Friend" celebrate trust and loyalty, while the title track offers a tender ode to love and kindness - "picking flowers from the soul," as Tongo puts it. These songs reveal the inner world of a man who has always viewed music as a mirror of life.

This reissue marks the second installment in the African Edge series from The Outer Edge label. Fully restored and remastered, Those Flowers is now set to bloom again - another vital chapter in the legacy of Jo Tongo.

From out of the dark, sparks of feedback birdsong signal a return to the singular sonic environments of Rafael Toral"s sound-world. A year after Spectral Evolution, his acclaimed album of electric guitar conceptions, comes the companion work Traveling Light. Sharpening his focus around a set of jazz standards, his move from abstract form to solid song elicits glints from beyond time and space, crafting a unique listening lens for deep listeners. In the early years of his practice, Toral used the guitar as a generator to create discreet texture and droning tones. Later, he abandoned the guitar entirely, focusing on self-made electronics to render his music with a post-free jazz perspective. For the music of Spectral Evolution and Traveling Light, Toral has combined his methodologies: radically expanding the space within their harmonies with his self-made machines, while engaging directly with his instrument and the chords of the material. In addition to Toral"s proxy orchestra of guitars, sine wave, feedback and bass guitar, Traveling Light features the sounds of clarinetist José Bruno Parrinha, tenor saxophonist Rodrigo Amado, flügelhorn player Yaw Tembe, flautist Clara Saleiro, who each guest on one song. In every contour of Traveling Light"s path - arrangement, improvisation and production - the spring of the old pours through the new in an unstoppable flow. The result is a listening experience of these standards that remains "in the tradition", even as the elongated harmonies seem to alter time such that, as Toral notes, "the chords become events on their own."

,Psychic 9-5 Club" schlägt ein neues Kapitel HTRK auf. Es ist ein Album, das zurückblickt auf eine Zeit der Traurigkeit und der inneren Kämpfe und das in diesen Kämpfen auf Hoffnung, Humor und Liebe stößt. Es ist das erste Album, das Jonnine Standish und Nigel Yang komplett als Duo aufgenommen haben - ihr ehemaliger Bandkollege Sean Stuart starb mitten in den Aufnahmen zu ihrem letzten Album ,Work (Work, Work)" von 2011. Obwohl ,Psychic 9-5 Club" von den ersten Tönen an nach HTRK klingt - der Gesang von Standish ist noch immer das Hauptaugenmerk des HTRK Sounds, während die Produktion charakteristisch schlank und dubbig ist - lässt sich die Band ausreichend Raum für Experimente. Verschwunden sind die in Hall und Verzerrung aufgehenden Gitarrenexperimente der 2009er Platte ,Mary Me Tonight" und die zerfuzzten Growls, die sich durch ,Work (Work, Work)" zogen. An ihre Stelle tritt etwas zärtlich-samtig Poliertes. Dies ist HTRK, doch ihr Sound wurde entfettet und richtet das Rampenlicht auf die nackten Arrangements und minimalistisches Sound Design. Das Album wurde mit Nathan Corbin von EXCEPTER in den Blazer Sound Studios in New Mexiko aufgenommen, der bereits Regisseur des Videoclips zum Track ,Bendin von ,Work (Work, Work)" gewesen war. Anfang 2013 wurde ,Psychic 9-5 Club" in Australien fertiggestellt und schließlich über den Sommer des Jahres in New York auf Hochglanz poliert. Das Kernthema des Albums ist die Liebe. Das Wort webt sich durch die Texte und Songtitel; die Liebe als Ablenkung, die Eigenliebe und die Liebe zu anderen. ,Psychic 9-5 Club" ist ein Album für den Körper und die Seele.

Un Own is a freshly minted label founded by, we're told, familiar-but-unfamiliar figures and designed as a home for DJ- and collector-friendly edits and remixes. The debut release comes from seasoned remixer and beatmaker Shimmy Sonic. These jams have already been tested on discerning dancefloors and 'Coolage' kicks off with elastic, low slung grooves that draw from classic soul and hip-hop sensibilities. The vocal is a real doozy that soars high. On the flip, 'Our Time' gets deep into downtempo bliss with psyched out guitars rising out of the mix to set the tone for Un Own's mission of putting out respectful reworks built for selectors and serious listeners alike.

Chloé Caillet, DJ, Produzentin, Multi-Instrumentalistin und Labelbesitzerin aus New York City, ist eine dynamische Kraft in der globalen Tanzmusikszene. Ihre Karriere begann in der Musikindustrie, von Club-Promotion bis hin zu A&R bei Republic Records, und führte sie später zu ihrer eigenen kreativen Agentur. Mit unabhängigen Singles und Remixen gewann sie Anerkennung, und ihre Debüt-EP „Intro“ auf CircoLoco Records markierte einen Meilenstein in ihrer Karriere. Sie wurde in Pete Tongs Essential New Tunes und Billboards Best New Music-Liste gefeatured. Ihre Live-Auftritte begeistern weltweit.

DJ Support: Raresh, Marco Corola, Jamie Jones, Joseph Capriati, Chris Stussy, DJ Seinfeld, D'Julz, Djebali, Voigtmann, Arapu

For Amsterdam’s Julian Anthony, club culture has always been about movement - between sounds, between scenes, and increasingly, across continents. Rooted in the Dutch underground, his path has taken him from intimate local spaces to international stages, with appearances at institutions such as Berlin’s Hoppetosse, Ibiza’s DC10, and London’s fabric. Along the way, he’s formed close ties with crews such as Slapfunk, VBX, Half Baked, and S.A.S.H, while recent tours across South America and Australia have further widened his reach. His connection with Enzo Siragusa and the FUSE family is longstanding, having previously dropped his track ‘It’s Showtime’ on sister label LOCUS while making appearances at both FUSE and LOCUS events across Europe, including this year at FUSE Malta, during ADE, and November’s fabric takeover. Now, his ‘Missing Pieces’ EP extends that relationship further, marking his fi rst release on FUSE and off ering a natural progression while showcasing his versatility as a producer.

In his productions and his sets, Julian threads together house, techno, and electro infl uences with a playful touch, resulting in a style that feels fl uid yet sharply defi ned. Title track, ‘Missing Pieces’, sets the tone with a heavyweight bassline at its core, coupled with a hypnotic groove and percussive drive, while ‘Endless Echoes’ stretches into more atmospheric territory, weaving rolling rhythms with cosmic textures. On the fl ip, ‘No Sleep’ ups the intensity with zipping synths and sharp drum programming built for peak-time play, before ‘TTS’ closes the record on a captivating note, fusing deeper house nuances and playful rhythms into a late-night trip.

With a growing catalogue across respected imprints such as Dungeon Meat, X-Kalay, and Bee You, and a touring schedule that continues to expand globally, Julian’s first outing for the London favourites highlights his talent for crafting tracks that are simultaneously precise, playful, and built for the club.

Welcome to the first release on Acid Lamour
A sub label for Lamour Records started in 2018 with a focus on techno and acid dedicated DJs. Releases are limited to 303 vinyls, no re-press.
Anders Ilar and John H are no newcomers to the electronic music scene.
Born in 1973, Anders Ilar began his explorations of electronic music in the mid 80s. Growing up in the small town of Ludvika in Sweden, Ilar spent all of his spare time playing with synthesizers, drum machines, keyboards and sequencers, learning the ins and outs of analogue and digital sound and music creation. Inspired by the early industrial and EBM wave he formed several bands with friends, started playing live shows
at smaller local parties, and released several demo tapes in very limited quantities. In the 90's he gradually shifted his creative influences towards ambient techno and acid and also started to DJ. He started using computer software to produce his music around 1999 and his first vinyl EP was released in 2001 on the german label Plong!, soon to be followed by
many more releases on labels such as Shitkatapult, Audio.nl and Echocord.
Developing his own flavor of deep minimal dub techno and ambient he gained critical acclaim with his album Nightwidth (2006) for Narita Records in the USA. Followed by highly appraised album Sworn on the german label Level Records in 2008. Ilar has also made remixes for celebrated artists such as Apparat, Mikkel Metal and Ripperton and has
appeared on numerous compilations and DJ-mixes. He's performed live on stage through-out most European countries and Japan, as well as doing a small tour with Notch Festival in China in 2008.
Up to 2018 Anders Ilar has produced 13 albums and 25 vinyl EP's and performed in over 15 countries.
Born in 1984 and based in Gothenburg. John H has been DJing, as well as producing tracks, since the late 90s, with Anders as his mentor and teacher, giving John early musical influences spanning across a wide range of genres, from Swedish techno to IDM, Cologne acid craziness and
the sound of Chicago house tracks. The musical output of his DJ-sets usually varies between techno, house, acid, electro and everything in between, depending on the time and location. John has performed on several locations all around Sweden, but also done appreciated gigs in other European countries at clubs like Tresor and Culture Box, and his music has been featured in sets by DJs such as Sven Väth, Adam Beyer,
Joris Voorn, Dense & Pika, Cari Lekebusch, Alan Fitzpatrick, Karotte,
Gregor Tresher, The Hacker and many more.
Coming For Your Tongue EP is Anders and John's 4th collab release, after
acclaimed releases on Flight Recorder and New York Haunted, recorded
during a jam session at John's studio in Bergsjön outside of Gothenburg,
Sweden, using a small setup of analogue synths and drum machines such as
the Roland TR-606, TR-808, a Devil Fish modified TB-303, Minimoog Voyager
and the Arturia Microbrute. After recording Anders spiced things up by
cutting and puzzling loops as well as adding extra effects and drums.

Limited edition of 303, no repress. Vinyl exklusive for 3 months

20 track Album from Various Artists released by Dub Store Records

Since 2004, This Will Destroy You has been forging some of the world's most brutal, dynamic, and precariously visceral instrumental rock. In addition to a vigorous tour schedule, their celebrated discography and critically renowned soundtrack work for feature films and documentaries have earned them a sizable and fervent international following. Another Language, TWDY's fourth full length LP, marks their euphonious return from a prolonged vacuous dark period that threatened to break both the band and the members themselves. Rather than be stifled by their experience TWDY were atomized and subsequently made anew, emerging with a revived energy and reinforced sense of solidarity. As a result, Another Language captures the band at its most potent, honed, and utterly powerful form yet, displaying an edified unity and graduated sense of song-writing, tonal complexity, and studio prowess.Wallet CD printed on uncoated stock w/ copper foil and printed inner sleeve. 2xLP Gatefold jacket printed on uncoated stock w/ copper foil and printed inner sleeves. The 2xLP is available in a limited second pressing of 1,000 copies on 180g black vinyl and includes a download card for MP3s.

Dana Ruh offers up part 2 of her ‘This Journey So Far’ project via Yecad here.

As a long standing and widely respected figure in the world of underground house and techno through her releases on the likes of Slices Of Life, Ostgut Ton, Cocoon, Cave and of course her own Brouqade, Dana Ruh’s reputation stands tall as one of the finest purveyors of this sound. Amongst her releases, Dana maintains a heavy tour schedule taking her across the globe each year to many hotspots in key cities, here she marks another milestone in her career with a double 12’’ release, entitled ‘This Journey So Far’, as a musical reflection on all that’s led to this point.

Following the success of Part one, the second instalment now follows - kicking off the release is ‘MF Now’, stripping things back to a shuffled, bumpy rhythm section, resonant synth chimes and billowing textures. ‘Grey With Some Light’ then leans into a more experimental glitch realm via twitchy oscillating percussion, unfurling atmospherics and drifting keys. ‘The Look’ leans back into House territory with raw stabs, sax lines, metallic chimes and vacillating low-end tones before ‘Song For The Lonely’ concludes the project, encapsulating the essence of deep house with ethereal pad swells, circling stab sequences, low-slung drums and cossetting subs.