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Following on from 2022’s Sweat Your Prayers, Byron Yeates returns to Radiant Records with Time Machine, his second full release. The label head has established a signature production sound in an impressively short amount of time. Motifs teased in his previous output and that frequent his DJ sets are all at play here in a delightfully restrained fashion: Astral atmospherics, slick, pumping rhythms, playful basslines with skitting and flitting vocal chops are condensed into lush, club-ready arrangements that demonstrate Yeates’ deep dancefloor knowledge and razor-sharp production chops.

EP opener Liquid Sky drifts beyond the clouds and into the club for a hot and heavy hard-house hybrid workout: undulating low end, sumptuous stabs and ethereal pads are meshed together into a mature, modern any-time-of-the night club tool for discerning deejays and dancers alike.

The groove keeps giving-giving on Hyper-Hyper with stomping in-your-face drums, marching bass and vintage house themes stripped apart and put back together to form a track that sits comfortably in the sweet spot between contemporary techno and the more classic club moods Yeates’ has built a reputation for.
So too with Time Machine- the track’s swung bass and percs lay the foundation for a potent dance floor-ready number that touches on the classier strands of 90s tech and euro house, warped and reconstructed for 2023 dancefloors through Byron’s sleek and flirtatious sensibilities.

The EP rounds off with a collaboration Trip To Eclipse with fellow Irish trance auteur Spray. The result is a sophisticated exercise in groove control: Spray’s signature rolling bass sits delicately alongside Yeates’ vox chops and celestial synth moods to form a cutting edge, dreamy, trance-not-trance roller that concludes a sophisticated and refined statement of intent from Byron Yeates.

In the third release of Organic Signs, we embark on a direct journey to the musical heart of Refractor: the annual gathering held in a forest on the outskirts of Madrid to celebrate dancing under the sun and stars for 24 uninterrupted hours.

With four tracks that encapsulate the sound of different mental states you may experience firsthand on this expedition, we begin with label manager Jan Swam's track. He introduces us to ancestral sounds featuring a flute played by himself, gradually accompanied by a penetrating bassline and synth, along with various elements spread across the stereo field. All of this leads to an unexpected finale. Next, we delve into the track by French artist based in Seoul, Pyramid Of Knowledge aka K.O.P. 32, who has crafted a perfect progression of sounds to immerse us in a trance towards the depths of the subconscious. The intensity builds up gradually until reaching its peak in the final moments.

On the other side, we welcome back our beloved Digitalis, responsible for the label's first release. This time, he presents a lost gem from '97 never before released, transporting us directly to the UK rave scene. Get ready to feel the unleashed pulse of the English artist who left an indelible mark on psychedelic music. Finally, we venture into the last chapter where Tadan pilots an interdimensional ship towards the hidden face of a moon that orbits a planet beyond the solar system. Close your eyes to appreciate the depth of the atmospheres and textures, intertwined with a constant rhythmic line that will guide us to the final moments of the record.

Rico Puestel always has a surprise in store: #technohasleftthebuilding ain't finished yet! We've come a long way baby... The original recording sessions has been more extensive than previously known of, based on the incentive question: If Techno has left the building, what is actually left of it?

In the aftermath of it all, Rico Puestel bounces back to the true-bred heart of Techno and its traits that really made him fall in love with it in the first place. He initially kept these additional and special tracks to himself throughout the first album part, but the time has come to deliver them subsequently now.

Literally point by point, Rico Puestel designes a mesmerizing trip into the greater depths of early club nights, thinking of a world without any trials and tribulations of smartphones or the internet - just dancing and loosing oneself in the magic of the the 4/4-impulse and a tapestry of sound woven around our being.

In times, when people felt as a unit-of-one movement on the dancefloor, with Techno being its undeniable soundtrack and moment of truth, diversity was no issue, so #technohasleftthebuilding's aftermath also dives into the realms of Trance and beyond, because way back: Techno was just Techno and it's all about the music in the end.

Starting with a warning from a dystopian point in time, this further album part is an admonition and a refined view back from outside the building...

In 1984, Jasper Van’t Hof, a prominent European jazz pianist, propelled to fame with the energetic ‘Pili Pili’ a 15-minute trance collaboration with Guinea's Isaac Tagul Group. Inspired by a fiery red pepperoni, the track sold over 100,000 copies, leading the group to adopt the name Pili Pili, becoming a hit in the club and disco scene.

Pili Pili's musical roots trace back to Van’t Hof's 1982-83 tour in Central Africa, where he discovered a love for African music. The band embraced authenticity by collaborating with diverse African musicians from Mali, Congo, Senegal, and Guinea. In 2000, Van’t Hof initiat-ed a project with the young Zulu choir Phikelela Sakhu-la from Durban, South Africa.
Pili Pili's style, described as experimental fusion, blends intricate African rhythms with jazz, fusion, funk, and dance. Van’t Hof emphasized the importance of groove over complex solos, stating that intellectual approaches are lost in their music.

The band's performances, marked by their energetic fusion of jazz and African rhythms, gained acclaim across Europe. Regular tours and festival appearances, such as the Jazz Festival of Montreux, solidified Pili Pili's reputation as an excellent live band. Reviews praised the band's dynamic and explosive music, turn-ing every performance into a rhythmic and fiery expe-rience.

The title track of Unklevon’s ‘UN1C’ album starts with a steady snare-heavy beat, foreboding atmospherics and a futuristic vocal. It introduces the France-based producer’s Detroit-inspired electro LP and also marks his debut full-length, landing on Boysnoize Records, a label Unklevon’s been affiliated with since 2022.

For the second track on Unklevon’s ‘UN1C’ LP, the International Chrome & Nechto artist is joined by Maral for ‘Bag Secured’, adding her sensual vocals to a raw cut featuring rough synthlines and racing rhythm. ‘Science Club’ then continues with infectious and hypnotic energy driven by a deep, earworm vocal before ‘Speed Chains’ picks up pace with speedy basslines and rhythms shot through with bleeps.

Ukranian singer Alina Pash infuses Unklevon’s ‘High Key’ with fantastic modern hip-hop flair, with ‘All 4 Homies’ returning to the club with cut-up sampling and tripped-out electro sonics. Boysnoize Records’ Boys Noize also teams up with Unklevon for ‘Spa8cid’, a menacing dancefloor heavy-hitter which eases into the acid madness of ‘Miami South Express’ which follows.

Next up, Unklevon and Vel drop the aptly named ‘Transed About U’, a true peak-time roller boasting hypnotic trance-like gated vocals, with German electro superstar DJ MELL G joining him for ‘Wizard Snakes’, taking a more classical approach with rich synth lines and crisp drum work. Closing out this fantastic first album from a promising name in the global electro spheres is ‘Call Me Von’, another amped-up, bass-laden track ready to rock the warehouse.

Laura Quirke and Claire Kinsella’s collaboration charms audiences into a world of intimate observations and uncomfortable questions with irresistible chemistry, charisma, and humour. ‘Why are all the good men, too old, taken or dead?’ The rare alchemy of the duo’s voices together cuts through a minimal and dramatic soundscape; coloured by the warmth and grit of Kinsella’s Cello, and distinctly underpinned by Quirke’s cyclical, trance-like guitar playing. While embedded in Irish and Folk roots, Lemoncello’s sound embraces the freedom of carving out its own song structures, entwined with a love of off-kilter Indie Pop, Jazz extemporisation and Romantic and Contemporary Classical music. A vital voice in the thriving alternative folk scene in Ireland, Lemoncello have been nominated for Best Folk Song and Best Emerging Folk Act at the RTE Radio 1 Folk Awards and opened for and collaborated with many esteemed artists such as Lisa O'Neill, Sam Amidon, Glen Hansard, Cormac Begley & Joshua Burnside. Now, they present their self-titled debut album, available on CD & vinyl.

Masterpiece debut album from Acid Synthesis! 8 tracks of fine Acid-Trance taking us back to the golden days of the 90's, think early Harthouse, Resistance D etc TIP!

Kulku return to Phase Group with the release of their new album ‘Reset To Be’.

Formed in Berlin at the turn of the millennium, Kulku have evolved as a highly unique and free-formed collective of musicians that make trance-inducing, jazz-entwined, percussive and soulful (mostly) acoustic music that takes cues from the rhythmic propulsion of Jaki Leibezeit’s Can, the street-folk of Moondog, the minimalism of Steve Reich, and the droning rock n’ roll of the Velvet Underground, forming a sound that they themselves have coined ‘No-Age Krautrock’.

Following on from last year’s sold out debut LP ‘Fahren’, ‘Reset To Be’ offers 5 new songs across 2 sides of vinyl. This is a record that perfectly showcases the unique identity the band have been developing over the past 20 years, a sound crafted through experimentation and innovation with primarily acoustic instruments; droning harmoniums, repetitive and phasing xylophones, timpani, cello, scrap metal and woodwind reeds, all sitting alongside soulful saxophone and the voice of frontman Andreas Riska, singing in both German and English.

‘Reset To Be’ is a truly special offering that we’re proud to be able to share with you on Phase Group. The album will be available on April 30th 2024 on vinyl and digital, with distribution via Bordello A Parigi.

Skylax Records Is Proud to Introduce You to the Sound of RotorMotor With Their Astounding "Dream Beams" Ep That Encapsulates the Essence of Early '90s Trance, Italo Disco, and Ebm, While Evoking the Nostalgic Sound of Kompakt From 2004 to 2007. Hailing From Ljubljana, Slovenia, RotorMotor Is a Dynamic Duo Whose Tracks Have Gained Popularity Through Their Association With Lesyeuxorange, Feinstoff, Sexy Dinosaur From Outer Space, and Esteemed Remix Luminaries Like Neurotiker. Prepare to Be Transported Into an Audio Realm Where Pulsating Beats and Infectious Melodies Collide. the Ep Kicks Off With "Size of a Photon," a Track That Encapsulates the Signature Sound of Kompakt in Its Purest Form. "Feel My Pulse" Follows Suit, Immersing Listeners in a Rhythmic Journey That Resonates Deep Within. One of the Ep's Standout Moments Is the Remarkable Remix by Italian Producer Amarcord, Recently Acclaimed for His Releases on Ombra International, Eskimo Recordings, and Curses' Excellent Compilation "Next Wave Acid Punx". Amarcord's Remix of "Flashblinded" Flawlessly Blends Breakbeat and Trance Elements, Resulting in an Elegantly Treated Sonic Masterpiece. on the Flipside, RotorMotor Collaborates With Pholia on "Flashblinded," Delivering Both an Instrumental and a Vocal Version. the Vocal Rendition Adds a Post-Apocalyptic Touch as Pholia's Robotic Voice Sings in Slovenian, Creating an Atmospheric and Haunting Experience. "Dream Beams" Is a Demonstration to RotorMotor's Ability to Fuse Influences From the Past With a Contemporary Twist, Creating a Sonic Landscape That Captivates the Senses. With Their Relentless Energy and Creative Vision, RotorMotor Never Ceases to Amaze. This Vinyl Release Is a Must-Have for Any Enthusiast of Electronic Music Seeking an Extraordinary Sonic Adventure. Grab Your Copy and Experience the Hypnotic Power of RotorMotor....

About 20 years ago, Carlos Giffoni quickly made a name for himself both as a noise guitarist and a laptop noisician upon arriving in New York (via Florida and Venezuela). His expertly curated annual No Fun Festival, as well as his No Fun label, further solidified him as a key figure in the international noise scene. The festival's success proved the formula for experimental and improvised music fests could work with the noise underground as well, but it also capitalized on the faster rate of connections being made between geographically disparate artists as a result of the (still relatively nascent) internet. Back then Carlos would play his laptop like a pinball machine, in contrast to the static stage presence of most laptop performers, and his solo music, like many others' at that time, expressed a less dark and dour vision of the implications of harsh noise. By the close of the 2000s, he had stopped doing the festival, switched gears musically to playing the lighter No Fun Acid sets, and moved to LA. Now he has re-emerged in a big way with Dream Walker, his first full-length since 2018's Vain (and only his second since 2010). Inspired by the masterful performances and diffusions he heard at the February 2023 GRM electronic music festival in Paris, particularly sets by old friends Lasse Marhaug, Jim O'Rourke, and Eiko Ishibashi, he began conceptualizing new music of his own in response, turning to synthesizers and other hardware to produce a work more firmly in the tradition of European electronic music than anything else he's done. Intended as a late night listen that evokes the edge of consciousness, with Carlos getting as close as possible to a trance state during the actual recording and mixing, each of the eleven tracks transition into one another rather than being standalone discrete pieces, forming two side-long suites that proceed like stages of a dream. Unabashedly tonal and repetitive, the glistening opener "Now Dream," the droning "Sleep Walker," and the closing triptych of "Lost in Descanso," "Sunrise," and "The Hidden Path" occupy a power electronics-ambient nexus that feels spiritually close to the Mego label. Elsewhere, "Ticking Clock" is reminiscent of Stereolab's non-easy listening vintage electronic side, while the two-part arpeggiated "Euphoria" recalls early Oneohtrix Point Never (which Carlos released on No Fun). The contrast between "One Breath"'s crackling opening and its remarkably fluid and soaring sustained synthesized chords is a distillation of the album's lingering tension between electronics' ability to project mechanical rupture as well as the organic and the infinite _or "walking between dreams," as Carlos himself puts it. Produced by Lasse Marhaug (who also mastered Carlos' first solo album, Welcome Home, back in 2005), released by Stephen O'Malley (who I remember DJing at the No Fun fest), with cover art and photos by personal friends, Carlos considers the album a family affair. But Dream Walker most of all heralds a maturation of the artist, and stands as a record that exists out of pure desire, rather than obligation or force of habit; a statement of reconnecting with music not by merely revisiting it, but by building on what's come before, both in his own work and in the music he loves. -Alan Licht, New York, December 2023

Hunting for rhythm, as if our lives depended on it, as if, without rhythm, we’d starve to death. Can body and soul live without rhythm? Seizing its different forms, dissecting it, ingesting it, digesting it, could very well be akin to the Rhythm Hunters’ creative process. What are the rhythmic principles that lead us to develop its polyphonic, groovy and trance-like aspects (Africa), or mathematically complex ones (India), or irregular pulsations that transcend asperities (Balkans), among others? To go on a rhythm hunt, why not explore all these places, appreciate the infinite diversity of rhythms and, back home, try to understand and experiment with enriching your own rhythmic vocabulary with the basic principles underlying each musical tradition. What can these principles contribute if you transcend borders and begin to adapt your musical knowledge and experience to the new ramifications of the rhythm you’ve just discovered? The music of The Rhythm Hunters is one of the answers.

A few years ago, the musicians in this band and I began a specific practice on unusual mixes of rhythmic ideas, inspired by traditions from various parts of the world, with the intention of integrating them until they became a personal vocabulary and means of expression. The result is on this album.

Stéphane Galland & The Rhythm Hunters by Stephane Galland & The Rhythm Hunters, released 26 April 2024, includes the following tracks: "Positivv ", "Artemis" and more.

This version of Stéphane Galland & The Rhythm Hunters comes as a 1xCD in a(n) O-Card packaging.

Ever since their auspicious beginnings, more than a decade ago, Laughing Bastards have giddily delighted in impurity. Initially a reeds-guitar-bass trio modeled after the classic Jimmy Giuffre 3, the band has remained truthful to its original spirit. Saxophone player Michel Mast and guitarist Jan-Sebastiaan Degeyter have remained its core, but the band went through several permutations, first welcoming Eline Duerinck (cello) and Marcos Della Rocha (for Unanimal in 2019) and solidifying its present-day line-up with bassist Cyrille Obermüller.

Bastards. It's kind of a rude word to throw around carelessly, but there has always been that element of being irregular, being too stubborn to comply with what is expected, that has set them apart. This is nowhere more evident than in the material contributed by Degeyter, who wrote more than half of the album's compositions. A talented illustrator and designer (he created a few of their striking album covers) as well as a versatile guitarist, Degeyter always manages to add a strong visual component to his material. In combination with his knack for pulling exotic influences into the band's overall sound, it leads to a playful, cinematic eccentricity.

"Tigraman" and "Black Spoon" are examples of this. Both are infused with an Ethiopian-tinged sound, but while the first one develops the catchy throbbing of a trance-like soul/rock tune, the second exudes the lush cadence of Golden Age Ethio jazz, the kind that gets under your skin with those sensual, irrepressible rhythms. They are a nice match with the increasing drama of the Slavic-tinged "Red Lemon", the slow, dreamy flow of the Jamaican dance hall-inspired "Sand", a strong feature for Duerinck, and "Dosi", that shows Obermüller's knack for propulsive melody.

The synesthete in Degeyter gets free reign in "Calliope", chamber jazz in which sweeping sax and cello are kept grounded by guitar, bass and drums. Mast's odd meter-song "Fetish" is another showcase for the band's effortless dancing and some gorgeous tenor schmooze. Della Rocha's "Turquoise" starts off in brooding, contemplative way and keeps simmering on a low, glowing fire. To top it off, there are a few covers that remind you of the band's origins. A new take on Giuffre's rootsy "The Train and the River" stresses their loose flexibility with an Americana style somewhat reminiscent of Charlie Haden, while Carla Bley's evergreen "Vashkar" gets a carefully constructed makeover to close out the album with grace.

On their latest album, Laughing Bastards prove they are a quintessential Belgian band - soaking up sounds and influences from all over the place while maintaining a tight unity - with an international appeal. Combining jazz and chamber music with ideas from pop music and multi-colored strains does not only give their music an iridescent edge, but also keeps the interplay fresh and inspired, something to return to while waiting to see them live on stage.

Electro-Dynamic-Psych-Folk! Das außergewöhnliche Musiker-Kollektiv aus Bayern versteht es gekonnt, den erdigen Groove des eurasischen Raums durch experimentelle und individuelle Arrangements anzureichern. Die Kombination von traditionellen Instrumenten mit Klängen von Synthesizern, dem Electro entlehnten Acid-Sequenzen und Samples verleihen ihrer Musik eine einzigartige Note. Ihre energetische und explosive Spielfreude überträgt sich schnell aufs Publikum. Kein Konzert klingt wie das Andere. Improvisation ist ihnen ein Kernelement - sie befeuert die Organik der Arrangements. Das Resultat klingt dreckig und ungestüm - diese Musik knurrt, bietet aber auch viel Dynamik und sanfte Passagen, die ihre Zuhörer:innenschaft in Trance versetzen. Ihr Repertoire basiert auf alten Volksliedern, Schlagern und vergessenen Gassenhauern aus dem musikalischen Archiv Anatoliens und des Nahen Ostens. Der Sound der Band ist verwurzelt in den frühen Produktionen der türkischen Rockszene. Die Band öffnet das Konstrukt noch weiter: Elemente von Funk, Surf Rock, Ethno-Jazz, Dub, Breakbeat und Electronica sind selbstverständliche Versatzstücke in ihrem Soundmix. "Neyzen" ist das langerwartete Debüt von Lucile and the Rakibuam

Somehow Klasse Wrecks has made it to 50 official releases, not bad for a label that wears its ignorance for others and 'the norm' proudly on its dirty sleeve. Over the years the label has released a multitude of various sounds, spanning bleep, rave, deep house, down tempo and the 50th release does well to encapsulate that free spirit and openess. Without much planning and totally by way of coincidence the responsibility lies with label co-owner Luca Lozano and its sonically a typical mixed bag as to be expected. Kicking off with restless acid stomping, the title track barges through the door...knocks over a few drinks before blossoming into a breakdown that propels the 303 deep into space and back again. On the A2, Lozano shows off his love for creaky breakbeats and DX donks on a track called 'Re-Mix'...which as far as we know isnt a remix of anything at all. The flip contains more raving beauties, 'Save Me From The Rave' might be a desperate plea but by the sounds of it he's still enjoying the madness, the producer makes an epic breakdown that might well signify the end of all Trance homages. Then the final track of the EP sounds like it could be played in a field in Glastonbury in 1993, its haunting vocal harmonies signify the sun is coming up soon and likely that we're about to start Chapter 2 of the Wrecks Wrebellion. The special edition sleeve artwork features examples of previous artwork from the last 50 records, overlaid in a typically chaotic manner by the label's designer

TIPP!

Moisk aka Pletnev & Fourmi Rouz delve into the depths of psychedelia soundscapes with their latest release “Tetris Life’’ on Terra Magica Rec. The duo skillfully balances modular sounds and shimmers through acid synthesizers with a wide range of psychedelic soundscapes from uptempo half-beat to raw, energetic techno trance, inviting you into a mesmerizing sci-fi universe.

The EP features tracks like “Tetris Life” and “A Glass of Coke with Ice”, that explore underground ambient deserts and immersive jungle improvisations. This is followed by dark and slow breakbeat cuts that transition into faster-paced, floating atmospheric IDM tunes. The 12’’ contains many choppy old-school loops and uptempo trance breakdowns, as in “Orange Button’’ and “Wrong Stability”. Featuring two weird dub/IDM/breaks remixes by Anatolian Weapons and HSDJs X Listensport to round off the wax. Don’t sleep on it!

We are delighted to bring you the first in the Ivan The Tolerable Archive Reissue Series, Autodidact!

Originally released on a 10” lathe cut by Ack Ack Ack Records in February 2018, this has now been remastered and repackaged, and will now be available on ltd edition khaki vinyl, with only 250 copies pressed. Here’s a bit about the record in Oli Heffernan’s aka Ivan The Tolerable own words-

“I recorded the bulk of this record over a weekend in January 2018, in the midst of a very minor breakdown that was to last for pretty much the entire year. I was living in a big house all on my own, smoking too much and not really seeing any people. Happy days indeed.
It was tracked in the back room of 97 Hambledon Road, Middlesbrough using two questionable microphones, a broken HH 100 amp, my friends drums and a Tascam DP08 (that wasn’t to see the year out, RIP 2009-2018) When I was done, Robbie came round and recorded a ton of violin drones through my amp and i remember feeling like I’d gone into a trance a few times, then Ben recorded his parts at home and sent them over. Mixed and mastered the same night - I released it myself a month later as a lathe cut 10”and then promptly moved on. I listened to the album for the first time in years to write this sleeve note and I think it is possibly the closest I’ve ever got to capturing the sound I hear in my head - I love how grubby and cavernous it sounds, claustrophobic and swirling - the track Autodidact I have recorded 4 more times since this version and I’ve never got that sound back. I’II keep trying.’’
“Oli Heffernan, June 2023’’

Reissued for the first time on vinyl "Wadada Magic", Suns Of Arqa's majestic second album. The wicked world of Michael Wadada is well represented here: an ever-changing kaleidoscope of tribal dub, early electronics , proto-wave and global beat. Special guests on vocals Prince Far I and Prince Hammer, while on bass the true genius of Lizard from Creation Rebel / Singer & Players



[c] A3 Hasheesh; Percussion – J. J. Slater*; Reeds [Chinese Shawm] – John Scott (13)





[i] B4 The Heat; Performer [Rhythm Section] – The Legendary Lepards; Vocals – Prince Hammer

New signing of the French label Happiness Therapy, rising Parisian producer Strandtuch unveils his debut vinyl EP "Want 2 Feel"

Drawing from an eclectic array of influences, the Parisian producer has meticulously crafted his signature style, which he aptly describes as Power House. Seamlessly fusing elements of House, Acid, Ghetto House, and Trance, his music transcends conventional genres.

His world is wide and rich, just as his live : full of energy and surprises.

"Want 2 Feel" is set to be released on March 22nd. This groundbreaking collection of tracks showcases the producer's unparalleled talent for blending nostalgic 90s sounds with innovative modern treatments. With an emphasis on dynamic tonalities, infectious melodies, and sophisticated rhythms, his new release on Happiness Therapy promises to be a must-have addition to any electronic music aficionado's collection.

"What makes ""Flox in Dub"" so special are the captivating sounds. The album is a perfect fusion of reggae, dub and electronic music, creating an atmospheric and hypnotic trance.

Deep bass and subtle sound effects transport the listener on a captivating musical journey. The melodies are both catchy and soothing, offering a unique listening experience.
Each song is carefully produced, showcasing Flox's talents as a composer and producer."

Khôra is the medium Matthew Ramolo uses to delve deeply into initiatory world-building by way of sound, image, and lyrical prose. Figuring wholly realized art-myths which distill and rouse the numinous while provoking the visceral and cathartic, Khôra intricately collages studio documents of ritualized instrumental performances, introducing overdubs by transient, heteronymic personae which dismantle stable points of reference in the music and open uncommon planes of consciousness.

"Gestures of Perception" is Khôra’s first double album with a supporting artbook and features a fascinating array of sources subjected to patterned assembly, poetic layering, and the elevations of the heart. Deft handling of modular synthesis is palpably central, while feedback, erhu, keys, flute, contact electronics, guitar, field sounds, and various percussion objects (rattle and frame drums, seed pod sticks, random metal objects, meditation bowls, kalimbas, bells) all serve to provide breathing structures and energetic contours that guide and scaffold inner and outer journeys into the far-near. Prominent across the record's span is a home-built, solenoid drum machine, responsible for the alive and askew techno-archaic flows and conceived as the album’s "rhythm seed”. The music on Gestures is teeming with organic and alien textures, soaring drones, inter-dimensional noises, and emotionally resonant melodies; balanced on the fringes of exotica and meditative trance, with capacities that untether the listener from the ballast of limited reality.

Operating hermetically in the penumbra of Toronto's cultural scene for well over a decade, Khôra has been invested in self-publishing handcrafted editions of spiritually driven recordings which led to the LP/CD reissue of inaugural album "Silent Your Body Is Endless" by Constellation. Khôra has toured extensively in North America and Europe both solo and in collaboration with Picastro, Nick Kuepfer (Hrsta,1/4 Tonne), and Brandon Valdivia (Mas Aya, Lido Pimienta), generated over a hundred hours of unreleased, bewildering drone through durational performance with experimental outfit Nidus (Marc Couroux, Jason Doell), composed for live dance and independent film, been commissioned by MaerzMusik, and seeded and co-run the now defunct music and art venue Ratio in Toronto.

Scottish Techno wizard Astro joins PIFF Records on their landmark tenth release, with 5 cosmic and groovy belters.

Having recently found success with his own Neptune Discs imprint and regularly performing up and down the country, Astro has firmly established himself as one to watch in the techno sphere.
Opening with the title track, Astro combines a relentless bassline with dubbed-out chords and spacey leads. Echoing space-age soundscapes and futuristic sounds of 70s kosmische musik and 90s techno, Astro makes good on the aesthetic promised by his artist name.

Astro brings down the tempo for the hypnotic Cloned Substance. A mesmerising hat pattern combines with delay-drenched leads and a bouncy bassline to create a track intent on capturing the listener in a state of trance.

Thunderstorm adheres to the tried-and-tested Astro combination of a thick bassline, spacey stabs, and continuously evolving drums. As to be expected, the results are spectacular. Irresistible grooves and rich soundscapes are the order of the day as Astro delivers once again.

A haunting and proggy FM-lead acts as the foundation for Pluto, underpinned by a sub-heavy kick and tranquil chords. The meditative ebb and flow of various elements masterfully expresses the solitude of the track’s namesake.

Planetary Blitz closes the EP as a digital bonus track. Expanding on the spaced-out motifs of the previous track (as reflected in the track title), Astro substitutes chord stabs and warm basslines for a driving blend of punchy kicks and a subtle glittery guitar.

Earth, Our Planet?”: A call for environmental awareness. This time, Pedro Vian - the founder of Modern Obscure Music - presents his fourth solo album (following his 2020 release, "Ibillorca"). Due for release in spring 2024, "Earth, Our Planet?" promises to immerse us in a moving odyssey, crossing the boundaries of musical genres to provoke an urgent meditation on the protection of our planet. On this occasion Vian has composed the album influenced by the myth of the eternal return, the compositions are long and repetitive, generating states of pure trance.
Pedro Vian, singular for his fusion of genres and styles, ventures into even more complex territories in "Earth, Our Planet?". From the first listen, it is evident that this work treads the line of convention and breaks the boundaries of electronic and experimental music with artistic dexterity. The album weaves together texture, hypnotic rhythms and melody. Each track reveals his distinctive ability to create immersive landscapes, guiding the listener into deep emotional introspection. This is not just music; it is a transformative experience.
The beauty of this album lies not only in the musical vision. The album features high-calibre collaborations that add layers of creativity and elegance. Trumpeter Pierre Bastien, whose early productions left an indelible mark on Aphex Twin's Reflex label, infuses "A Day in Rotterdam" with a unique emotional resonance. Violinist, Asia, renowned for her avant-garde approach and ability to conjure unique landscapes, elevates the album's opening tracks "Urobóros" and "Les Tambours Subterraniens". Their skill and sensitivity intertwine perfectly with Vian's artistic vision. In addition, Italian producer Daniele Mana, with whom Pedro Vian collaborated closely on his previous album "Cascades", known for his experimental approach and talent for creating extraterrestrial atmospheres also contributes to "Les Tambours Subterraniens". His artistic perspective adds more complexity and texture to the piece, pushing the boundaries of contemporary electronic music. There is also a collaboration with Raül Refree, an artist with whom Vian worked with last year, presenting “Font De la Vera Pau”, an album that The Guardian defined as "a wonderful piece of electroacoustic music, a captivating mix of strings and analogue synth drones which sometimes flirts with Alice Coltrane-ish spiritual jazz". With "Earth, Our Planet?", Pedro Vian not only offers up some of his best work to date, but it is also a call to reflect on our relationship with the natural world. As a part of a planet where environmental awareness is more crucial than ever, he urges us to protect and preserve our world as an extension of ourselves. This extensive work is a statement, Vian addresses the notion that too often we prioritise immediate needs over the well-being of the planet. It highlights the fact that we often consider the Earth as a possession when, in reality, we are but a part of it.

Although one could imagine that by 1993 any Italo Disco nuances would have been vanquished from sophisticated Italian production setups of the time, it is hard to ignore its presence in this particular work of Italian DJ and producer Gianpiero Pacetti. Much more so than in the work of his contemporaries at the time who would have shifted into full on early progressive trance in pursuit of novelty. Resulting in a refreshingly playful exploration of melodic themes, an aesthetic only to be heard again more than 10 years later with Dutch works like Alden Tyrell. With exception of Alvorada which distinguished itself as completely detached from any of the previously mentioned influences, diving deep into percussive samba elements adjoined by alluring arpeggios and other subtle melodic ornaments characteristic of early progressive trancey movements of the time. Includes new remix of “Alvorada” by Berlin's E-Talking. Remastered with new artwork.

Thought is the essence of where you are now.

Composed in an era where people weren't concerned with music labels but just wanted to hear fresh new sounds and go out to clubs religiously, “Digital Imagination - The Essence of Thought” is a sci-fi inspired mixture of House, full- speed Trance and Trip Hop coming from a young Ted Heinz falling in love with electronic music in the thriving early 90s Boston rave scene. Originally release by Concept Records in 1993 and with original copies now hard to get ahold of, Sunny Crypt is happy to give this record a full reissue treatment with audio restored from the original DAT tape and a new graphic design.

Raphael Schön might still be best known for his Fiesta 2000 hit, but that ought to be changed with Heart Times. Hailing from Augsburg in Germany, RS represents a young generation of producers that draw their own deductions from golden days (insert your favorite era here) of dance music. Respectful and without handling it with kid gloves, he manages to inject fun, freshness and a fertile imagination into these sometimes dusty topics.

Conceived during a very emotional turbulent time for Schön, it is a showcase of his whole spectrum as a producer. Imagine a singer-songwriter coming back from his first rave. So, on this six-track EP for Running Back, his sound ranges from classic house (Baerhit) to crooner prog (Sometimes I Miss You), with mellow trance (Distant City Tranceport) and jiggy hits (Do You Like That) in-between. A dance hall unifying and colorful bouquet of flowers that does not shy away from vocals, emotional undertones and most of all bass and hook lines to die for. Schön means beautiful in German and that’s what this mean record is. Do you like it like that?

Belarusian producer Four Walls is back after a seven-year hiatus. The first time around he made some standout cuts for the likes of Traxx Underground and Kolour LTD but this time around he finds himself on the new Ultraworld Records imprint from DJ Craft. This one kicks off with the lush prog house and silky synth arps of 'Mind Charger' which soon takes you to the stars. 'Metamorphosis' is a more raw-edged and acid-laced techno stomper for peak time action and 'Summer Nights' is a bubbling, elastic tapestry of new age overtones, thudding kicks, and trance-tinged pads. A remix by Toronto-based Pletnev adds another dimension to this club-ready EP.

Das sechste Album von Still Corners heißt "Dream Talk". Wunderschön arrangiert, elegant und wehmütig, ist "Dream Talks" eine Sammlung von zehn sorgfältig gestalteten klassischen SC Songs. Vom herbstlichen Opener "Today is the Day" bis zum heißen Sommernachtsfinale von "Turquoise Moon" haben Still Corners einen Sound geschaffen, der fokussiert, stilvoll und verführerisch ist. Tessa Murray sagt: "Die Entstehung vieler dieser Songs geht auf Träume zurück. Jede Nacht habe ich die Träume, an die ich mich erinnern konnte, aufgeschrieben. Während der Aufnahmen holte ich mein Buch der Träume heraus und sang über verschiedene geloopte Phrasen, an denen Greg gearbeitet hatte. Die sich wiederholende Natur der Loops und des Gesangs fühlte sich fast wie eine Trance an. Viele der Songs sind aus diesem Prozess entstanden, es hat Spaß gemacht, und was ich für eine Art Geschwafel hielt, hat uns am Ende mit seinen verschiedenen Bedeutungen und Bildern überrascht." Schwarzes Vinyl kommt mit einem Download-Code, die CD ist ein Digipak.

After the highly acclaimed first release Serenity Now is back presenting the debut EP by OP Boombox @op-boombox. An electronic duo formed by brothers Orion and Phoenix Jarvis out of Dharawal Country on the East Coast of Australia.

The new EP Initial Artifacts is an honest and unique collection of raw, yet grounded, dancefloor tracks performed and recorded live through their vast collection of hardware synths, drum machines and FX pedals. Expect a deep journey through breezy coastal house landscapes with slight nods towards dub and trance where bass is absolute key.

A versatile EP for every mood of the night, taking it all the way from downtempo chuggers to peak time hard hitters making this a longtime “stay in the bag” sure shot.

Next on KI/KI's slash imprint is DINA. The Berlin-based DJ and producer and co-founder of Nachtcrew has been a very welcomed guest on KI/KI's all nighter party in Amsterdam's Lo-fi which resulted in a close friendship and ultimately an exciting label debut on slash.
Her sounds could be described as etheral trance, it's fast paced, yet emotive and very functional. And for slash007 she brings nothing less. Four tracks of dreamy escapism into the long nights. It's an impressive combination of immersive basslines transforming into huge amounts of dancefloor euphoria.

Anjunabeats is pleased to announce the self-titled debut album from JODA, aka Jono Grant and Darren Tate. JODA are a fresh musical pairing with shared DNA. Both together and apart, Jono Grant and Darren Tate have been there, done that and bought the vintage synth gear to celebrate.

Grant is one-third of Above & Beyond who, over the course of a two-decade career, have established themselves as one of the biggest electronic groups in the world. Eight studio albums (including one as vocal trance group OceanLab and two acoustic reworks), 17 compilation albums, a film score and nearing 100 singles speak to an output as varied as it is prodigious.

Their label Anjunabeats is home to a bustling community of artists with over twenty years of catalogue. As a classically trained musician, songwriter, producer and hitmaker, Tate is an OG Top of the Pops-botherer. In the early Noughties, at the outset of his career, he appeared on the show three times, once with Angelic, his collaboration with Judge Jules and the latter’s wife, performing classic trance banger It’s My Turn, then twice under the name Jurgen Vries.

The following years saw more musical adventures, more Top 40 UK hits (12 in total) and more pseudonyms, including the trance-facing DT8 Project. In 2003, the pair managed to sync their schedules to work on a couple of tracks, ‘Let The Light Shine In’ and ‘Nocturnal Creatures’. Clearly, there was chemistry here. But as the pair’s respective careers subsequently took them off round the world in opposite directions, reconnecting other than fleetingly was never easy. Then in 2019 Tate returned to his trance roots and signed to Anjunabeats for his DT8 Project releases.

Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches — the likes of which fill Davis' boldest and most controversial — undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling thanks to this very special pressing.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180g 33RPM SuperVinyl LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid fashion. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can discern the multiple layers of rhythm Davis employed on complex tracks such as "Black Satin," as On the Corner stands as his first effort to use overdubbing and multiple tape machines. As a pioneer, Davis likely would’ve loved MoFi’s groundbreaking SuperVinyl profile that features the lowest-possible analogue noise floor as well as pristine transparency, dead-quiet surfaces, and superb groove definition.

New degrees of spaciousness and airiness — equally important to the musique concrete arrangements — give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's SuperVinyl LP captures Teo Macero's innovative production — and the trumpeter's cutting-edge aural collages — in definitive fashion.

Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' Blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties — Chick Corea and Herbie Hancock prominently figure — he also relies on an all-star cast of side-men for concentrated soloing and additional support.

With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party.

Exotic, intrepid, and filled with Davis' "jungle sound," On the Corner remains daringly hip more than four decades later.

Maquis Son Sistem is a project from Stefan Dubs that lands only on its own eponymous label, but is also showcased on a radio show on Lyl Radio. The music is often made live and then recorded to tape where the multitrack is used "as a narrative instrument" while sound effects and dub sirens are also added. This one in particular is "dedicated to these temporary zones, fugitive interstices, where we are committed to forming and re-forming moments of collective trance." It features three sublime sounds from the broken rhythms of 'Cortegi Astral' to the wet and tribal dub of 'Spirituau' via the ethereal sound of 'Drone Chasseur' (version I, II & III).

DRIFT. Is British-Italian producer Nathalia Bruno, releasing music under the guise since 2015. Her 'techno-pop' EPs 'Black Devotion' and 'Genderland' released with Avant! records were the first explorations in finding the sound of DRIFT. but as the name suggests, is in constant flux. In 2020 'Symbiosis' the debut record was released on Hamburg's Tapete Records, an assemblage of lo-fi futurism reflecting on the breakdown of communication and interaction Nathalia felt was increasing around her. Channelling classic industrial electronica, haunting melodies, using samples, field recordings and curated sound as a 'canvas to rewire the vision of the future as colourful and old, ceremonial and rust beaten. A shrine like ornament and clinical machine language plaited together.'. In 2022 DRIFT. Self released 'The nature of things', a 30 minute piece entitled 'CTRL/ Algorhythm of love' written and produced for designer Mona Cordes' 'Cellusion' show for London fashion week. "_a journey into the dark heart of the dancefloor. The glimmering bass-heavy trance of its opening section could be classic Underworld, while its ambient center is genuinely Eno-esque. And then it all kicks off again as a Berlin school style banger. It's terrific" says Electronic Sound Magazine. This year, 2023 will give birth to DRIFT.'s second album released with God Unknown records '11 points In Time' written for and based on disappeared artist Rosi Crucci, compiled of sounds/field recordings recorded onto cassettes found in the attic of the home she last lived at, interpreted into song using some of her poetry and journal entries of what was happening in the world around her, attempting to finally give Rosi a voice. PRESS Louder Than War album review 'Symbiosis' (2020) "...blends passion with precision to create a tapestry of machine-made sounds that are bursting with ideas and filled with emotion. "We live in times where nothing means nothing," she sings on Visualise The Invisible. "And nothing is true." Never more so than now...Over the course of its ten tracks, Symbiosis draws from pretty much every strand of electronic music throughout its 50-year history" Shindig Magazine review 'Symbiosis' 2020 "A brilliant, fascinating album" Post Punk Magazine review 'Symbiosis' 2020 "is an exercise in disjointed meditation, a trip through the doors of the spirit lodge and inner workings of the human psyche." Pop Matters Review 'Symbiosis' 2020 "...One track in particular, "In Orbit", speaks to this new disturbing unknown we are creating. A distorted, three-note death knell drives it as repeated knocking seems to come from a dank tunnel. If it sounds bleak, it's likely also to be therapeutic and finds common ground with the entrancing industrial thud of Throbbing Gristle or Third Eye Foundation..."

Limited Edition Triple Gatefold Vinyl including DJ Marko's Theme, Miro, Junior Jack, Blaze, Pirupa, Street Corner Symphony and more.



We are excited and honored to announce the release of a La Rocca Classics vinyl. A Limited Edition Triple Gatefold Vinyl release that celebrates all monumental milestones from La Rocca's club culture. A selection, carefully curated by Wim Van Ouytsel, founder and moving spirit of the legendary nightlife brand since 1988.



Embark on ajourney through the annals of dance music history, where each track has been handpicked to evoke cherished memories of euphoria and transcendence. From the ethereal melodies of trance anthems like 'DJ Marko's Theme' and the electrifying remix of Miro's 'Spaceman' by Mr Sam, to the infectious rhythms of Junior Jack and the soulful vibes of Blaze, and not forgetting the soul-stirring house gems by Pirupa and Street Corner Symphony, this vinyl encapsulates the essence of Belgium's iconic club.

Re-release of this timeless electronic anthem. A track that defies any classification. The perfect mix between Belgian techno, trance and EBM. “Sundown” was released as single in 1991 and instantly became a techno classic in Germany and all over the globe selling over 200,000 copies.

‘The Sunshine And The 909’ is without any doubt the most famous mix and a master piece remixed by Kenneth Baker, one of the pioneers of techno & house music movement in Denmark and founder of labels like Coma Records and Flex Records.

“…when I played Sundown for the first time at the Techno-Club in Dorian Gray, more than 25 people came to the DJ box and asked what it was…” (Talla 2XLC)

Sylvaine hat sich zu einer Vorreiterin des Ambient-Post-Metal entwickelt, doch ihre zweite EP führt zurück zu ihren frühesten Wurzeln.
Kathrine Shepard wuchs in Norwegen auf, inmitten der Kontraste zwischen Natur und Urbanität, am Rande der Innenstadt von Oslo. Während ihres Studiums der Musik, des Tanzes und des Schauspiels an der High School trat sie mehrmals in der Kirche von Kampen auf.
Dieses Relikt aus dem 19. Jahrhundert ist der Ort, an dem Kathrine den größten Teil von Sylvaines zweiter EP aufgenommen hat. Der besondere Klang dieses Raumes unterstreicht "Eg Er Framand", das neben Interpretationen traditioneller norwegischer Volkslieder auch drei ihrer eigenen Originallieder zum Kanon enthält.

Die Ursprünge von "Dagsens Augo Sloknar" sind bis heute rätselhaft, aber der Text wurde 1891 von Elias Blix geschrieben, einem Professor, der zum Politiker wurde und auch Hymnen schrieb. Sylvaine bleibt der zarten, ehrfürchtigen Melodie des Originals treu und singt in einem gehauchten, langgezogenen Flüsterton, der eindringlich und beruhigend ist, wie ein Schatten. Doch während das Stück mit einem gleichmäßigen Orgelsummen beginnt, wird man am Ende von ihrer Interpretation in Trance versetzt. Eg Er Framand" ist ein starkes, aber beruhigendes Passionsprojekt einer der beherrschendsten Stimmen des Metal.

- Zwei ihrer Alben wurden für den norwegischen Grammy Spellemannprisen in der Kategorie Metal nominiert.
- Mit bisher vier veröffentlichten Alben und einer Split-EP wurden SYLVAINEs ätherische Klanglandschaften auf Bühnen in ganz Europa, Nord- und Südamerika gebracht und ließen das Publikum von der transzendenten Kraft der Live-Auftritte der Band fasziniert zurück

FFO: Eivør, Anna Von Hausswolff, Lingua Ignota, Chelse Wolfe

"Jolifanto" takes its name from the first verse of "Karawane", a seminal Dadaist phonetic poem by Hugo Ball. When Ball first recited it in 1916 at the Cabaret Voltaire, both the author and the audience embraced a trance that left Ball exhausted, requiring assistance off the stage as the audience claimed the spotlight.

Over a century later, by a series of fortuitous events, "Jolifanto" is also the title of an album featuring two powerful musical entities. Artists stemming from diverse backgrounds converge with a shared experimental spirit, curiosity and passion for exploration in their music.

"Jolifanto" is an unexpected explosion propelled by (poly)rhythm, expanding into seemingly distant territories under the influence of flamenco. The Dadaist spirit permeates the work, where a constant tension between the improvised and the meticulously planned is evident. ZA! and Perrate together form an organism traveling from the roots to the rave, with nothing sounding out of place because the place is yet to be defined.

Perrate witnessed ZA!'s concert in a festival he attended as part of the audience. The Catalans surprised him with a proposal that he found radical and unclassifiable. Later, after being invited to prepare a collaboration for the Música y Museos season in Seville, Perrate decided to move off the beaten path, approaching ZA!, who quickly embraced the proposal. Exchanges of ideas and audio tracks ensued in a short time and they quickly  found out that they were in the same wavelength. A week before the concert, they met in the same physical space for the first time, dedicating a couple of days to composition and preparing the gig at La Mina Studios in Seville. The concert took place, hailed as "the best concert most attendees had experienced in a long time", as reported by the Diario de Sevilla. That energy needed to be captured, and so it was, at the Happy Place studio in Seville, where the album was recorded between March 6th and 9th, 2023.

The Catalan duo ZA!, "the duo that mash up terrace-chant mayhem with... everything else" (The Wire #384), has operated independently and self-managed since their inception in 2004. They overlap genres and amalgamate sounds that move, with intensity, between wild jazz, post-rock and avant-garde electronics, among other influences. In their acclaimed latest work, they have revived the Phoenician language, exploring Mediterranean sounds alongside MegaCobla and Tarta Relena.

Perrate, active since the late 90s, explores the outer edges of flamenco without forsaking its profound essence rooted in lineage and tradition, evident in every note of his voice. His latest work, "Tres golpes" (Lovemonk/El Volcán, 2022), named flamenco album of the year by Babelia/El País, and one of the albums of the year for BBC3's Late Junction, reflects an innate curiosity, possibly the seed of all the fortuitous events leading to this album.

The encounter between Perrate and ZA! is the result of serendipitous events interwoven with the narrative of artists dedicated to experimentation and radicalism in all its forms.

DJ ROSS and ERIKA present “Who I Wanna Be”, an uptempo song inspired by Eurodance 2000, with both techno trance influences and sounds and an ethereal piano, all crowned by Erika's sweet voice.
This is not a tribute to the past, but a novelty that will make their fans dance again.

DJ Ross and Erika have collaborated on several musical tracks in the past, they have reached the top of the charts not only in Italy, but in many countries around the world and which has led them to perform from Brazil to the United States, in several European countries, from 'Egypt to Russia.

The first was "Relations", then "Save My Heart", "Ditto" and "I Don't Know", among the most representative of the 2000s. Subsequently, in 2015 they also collaborated on the song "I Think About You", published with Warner Music and which reached the official Italian top 50 airplay.

In general, the collaboration between DJ Ross and Erika has always been very positive and gave birth to some of the greatest hits in dance music which are still among the most danced to today together with the HITs of that time.

The vinyl containing the original version and the new remix by Rudeejay & Da Brozz who gave a more club/festival twist to the song, both in an extended version. Writers: Rossano Prini, Erika de Bonis, Andrea Mitidieri Published by: Briscolas Publishing Sas

Anastasia Zems lands on Alzaya with a new EP resulting from a self-reflective journey marked by hypnotic electronic rhythms that echo the passage of time and the change of life.

ALZC03 – Atlantika EP is a rolling cycle of inspiration, mirroring new experiences and sonic explorations that oscillate from warm memories to dark atmospheres aligned to current events. The EP ends by inviting us to slow down, reinterpreted in a separate track by Eklektique, who uplifts its essence and message.

Pastel de Nata is a track resonating with trance-tech rhythms to evoke warm and welcoming memories in a new home that smells of the Atlantic Ocean.

With Bairro Alto, the piece evolves, wandering and experimenting with old-school trance soundscapes across borders—a memento of the past days spent in local record stores searching for new rhythms.

Casa Amarela tunes into a dark, oppressive atmosphere pronounced by classic acid and arp-bass sounds. A symbol of sorrow and pain tuned to the current times.

The hypnotic, acid, mid-tempo sound in Push The Tempo Down stands high in the sky to remind and invite us to slow down before rising again.

Push The Tempo Down Remix is a unique reinterpretation by Eklektique, injecting hypnotic and acidic components crossed with a groovy bass line to reinforce the track’s essence and message.

We are back, and pleased to introduce you the first ever physical 'Various Artist' release with some of our favourite producers and good friends.Our dear Pily who has been the secret weapon inside many USB's and record bags lately, opens up with A1. 'Bailo En Circuito' sampling Alma Matris vocals, adding an infectious beat, simple and quirky enough to keep you going, masterpiece/.A2. Coming all the way from South America, Uruguayan super newcomer DJ/producer Marcos Coya debuts on DID with a straight fire tune. Hypnotic and with a characteristic acid strength, 'Buahh Trance' has been heavily supported by legendary DJ KOOLT this past summer. Flipping the record B1 is none other than the prince of fast heart-beats, recently moved to Spain, Prince De Takicardie brings the 'Badalona's House', an after-party happy/trippy tune, let's take the ride!.B2 by the Ibizan boy's JNJS (Jacob Saavedra & Jay Nortown) 'X-Money' is an economical broken-tech story, it will make you think about it, if you are deep in dis one enough...B3 is London's upcoming Dub Dealer Eren Arif with 'High Volume' a breakbeat dubby tune to close the V/A.

Le jazz homme is the 2nd album of Black To Comm related entity Mouchoir Ètanche. This time heavily influenced by French Jazz (?) as well as the usual suspects: Nurse With Wound, Luc Ferrari, JG Ballard, Surrealism. The human entity has finally been replaced.

"Program music, instrumental music that carries some extramusical meaning, some “program” of literary idea, legend, scenic description, or personal drama. It is contrasted with so-called absolute, or abstract, music, in which artistic interest is supposedly confined to abstract constructions in sound. It has been stated that the concept of program music does not represent a genre in itself but rather is present in varying degrees in different works of music." (Encyclopædia Britannica)

Prompt 1: Pascal Comelade's toy piano falling down the stairs , Hector Zazou pushing from behind, laughing

Prompt 2: Cool jazz played on antique mellotron, low in fidelity, and sad, Glenn Miller‘s grandma crying silently

Prompt 3: A hippie commune version of jazz as played by a cheap computer fed by Chat GPT with medieval buisine fanfare information and samples, trained on the entire Amon Düül II history, heavily looped yet unsynchronized

Prompt: 4: Same, but flutes and synths and trance and chants

Prompt 5: French female artist philosophizes about Shirley Temple, mysterious atmosphere, insensitive homme laughing nervously, heavily looped, hynotic 18th century orgue de salon underneath

Prompt 6: Cool jazz, Echoplex, strange rhythm, Blue Note daydreaming

Prompt 7: Hammond jazz with fake Cyro Baptista loop, Madagascar indri indri lemurs chanting fake sax solos in Malagasy language, electronic bells

Prompt 8: German jazz and artificial prayers, and Shirley Temple returning, with defect Publison recorded at GRM, destroying the voice recording

Prompt 9: Andrei Tarkovsky's moustache meets Johann Sebastian Bach's wig, a well gently lapping in the background, fifths, car crashing into a poor violent onsen geisha

Marc Richter records as Black To Comm for Thrill Jockey and under the Mouchoir Ètanche and Jemh Circs monikers (and solo) for his own Cellule 75 imprint. He collaborated with visual artists such as Ho Tzu Nyen, Jan van Hasselt and Mike Kelley. He also produces soundtracks and acousmatic multichannel installations for institutions such as INA GRM Paris, ZKM Karlsruhe and Kunstverein Hamburg.

Axis of Time is the stunning debut album from Philadelphia mallet percussionist and poet Angelo Outlaw. Featuring Eraserhood Sound's signature synth & soul production, Axis of Time is a dazzling blend of jazz, rare groove, funk, soul and r&b. According to Outlaw, the album is meant to transport the listener to a dream-like state, where space and time slowly fade away and reality is merely a distant memory. Each song sets a unique scene, as the pace of the music swells and sways_from the euphoric highs of lead single "Free My Mind" and uninhibited groove of "Speed of Light" to the trance-like meditation of "Dreams" and mournful melodies of "Invisible Clock," Angelo and the Eraserhood Sound house band truly go to the cosmos and back. The record is an extraordinary debut from Outlaw, a young gay Black man who hopes to serve as an inspiration to others who might be perceived as different or other. His work transcends race, creed, religion, and politics, and has the power to speak to the universality of time, space, and human connection.

PELIGRE is back on Saike with his most anticipated "BRB Crying" EP.
After releasing ''Welcome To The Sal'' in 2022, it was natural for him to get back to the mothership with this second establishment that has been already destroying the dance floors these past months. With 5 tracks ranging from pure Hard Techno to Neo Trance sounds, the rave just keeps on giving and the energy has never been so high.

Axis of Time is the stunning debut album from Philadelphia mallet percussionist and poet Angelo Outlaw. Featuring Eraserhood Sound's signature synth & soul production, Axis of Time is a dazzling blend of jazz, rare groove, funk, soul and r&b. According to Outlaw, the album is meant to transport the listener to a dream-like state, where space and time slowly fade away and reality is merely a distant memory. Each song sets a unique scene, as the pace of the music swells and sways_from the euphoric highs of lead single "Free My Mind" and uninhibited groove of "Speed of Light" to the trance-like meditation of "Dreams" and mournful melodies of "Invisible Clock," Angelo and the Eraserhood Sound house band truly go to the cosmos and back. The record is an extraordinary debut from Outlaw, a young gay Black man who hopes to serve as an inspiration to others who might be perceived as different or other. His work transcends race, creed, religion, and politics, and has the power to speak to the universality of time, space, and human connection.

The folks at Castle Face dig a good trance. Hypnosis, mesmerization, and brain trickery are some of their favorite results of deep listening and it is a suggestive, ritualistic and dreamlike vibe that Bronze ooze like pheromones all over their excellent new record. Absolute Compliance is a truly hypnogogic group of tunes from Bronze on their best and weirdest behavior and it hits all Castle Face’s favorite things about them immediately and repeatedly: insistently strange synth voicings emanating from Miles Friction’s mad scientist’s lab worth of equipment, controlled by a homemade-looking oversized knob; Brian Hock’s throbbing, woolly, hall-of-mirror grooves; and above it all Rob Spector’s thousand yard croon, the vaguely familiar touchstone amongst these Lynchian, mutated surroundings—these are songs of dreams and nightmares, hidden rituals observed, futuristic coliseum entertainments displaced in time, sci-fi jams of an uncertain future. Bronze are one-of-a kind great and if unfamiliar, go find their other records (including their great live record for Castle Face) and get caught up. They are real-deal weirdo kings of San Francisco and their spell is not easily dissipated once cast.

Starting his career with appearances on BBC Radio 1 and signing with Elton Johns label as a teenager, Maldwyn Pope's presence in music has been rich and productive from an early age eventually leading to working with people like Cliff Richards, Art Garfunkel and Bonnie Taylor. However, his presence in Italo-Disco has been quite scarce, but completely on point. "Altered State" is a masterpiece amongst enthusiasts and collectors of dancefloor sleaze and downtempo wellness. Heavy rock influence meets Rimini with this one off experiment from the seasoned multi instrumentalist. Original instrumental remix done by none other than Alessandro Novaga, the entity responsible behind one of Ron Hardy's favorite DJ tools (Faces Drums). B-side features an 11 minute excursion into a completely new altered state of dubby delayed trance, for special cosmic holes only. Re-issued with new full artwork.

Anatolian Weapons is back with part two of his remix/studio work for Sound Metaphors, this time a 2 track EP featuring downtempo chuggers high in dubbed out acidity. The A side feels like a perfectly put together composition that grows with a playful industrial beat paving the way for trancey melodies to develop in unison with acid nuances. B-side goes into more percussive directions still with heavy acidity well presented in full Anatolian Weapons effect - a solid investment yielding high returns on any music focused dancefloor. Mastered to perfection at manmade mastering in Berlin.

HJirok is a mythical figure, conceived as a fictional character by Iranian-born Kurdish singer and artist Hani Mojahedy. Together with versatile music producer And Toma of Mouse On Mars, she combined a variety of sounds collected during their joint travels to Iraqi Kurdistan and elsewhere with heavily processed recordings of Sufi drum rhythms and setar melodies. The result is a driving, dubbed-out, and deeply intricate soundscape that perfectly sets the stage for Mojahedy's extended, unconventional vocal techniques and polyglot lyrics. Both informed by tradition and rigorously forward-looking, »Hjirok« (with a lowercase J) is at once a profoundly personal album and a universal utopian promise. As a ghost from the past, HJirok draws on Mojtahedy's memories to mould a new future out of them.

The foundation for »Hjirok« was laid in the city of Erbil in the Kurdish part of Iraq. During one of their stays in the region, Mojahedy and Toma recorded the three percussionists Hadi Alizadeh, Jawad Salkhordeh and Serdar Saydan as well as setar player Ali Choolaei from Motahedy's backing band while they were playingthe rhythms and notes that she had grown up with in the house of her grandfather in the Iranian city of Sanandaj. Her memories of that place revolve around hypnotic Sufi music, dervishes in deep trance, and ecstatic singing. Much like this music seemed to open a portal to other dimensions, the inhabitants of the house lived in a sort of alternative reality: It provided them with a hideaway from political circumstances. Following the Iranian revolution in 1979, a Kurdish rebellion ensued but was met with the utmost brutality by the new regime, which resulted in the death of thousands.

It is no coincidence that the music on »Hirok« would draw on rhythmic patterns that were passed on from one generation to the next for hundreds of years. »The project is rooted in the figures of the Sufi dervishes and thus a culture that precedes today's political, social, cultural, and religious systems,« explains Mohtahedy. »The Sufi sound travelled around the entire world. I like to think of it as a dialogue between peoples-one based on the rhythms of the drums and the sound of their voices.« Toma adds that by electronically transforming the recordings and enriching them with field recordings from both rural and urban spaces, they were able to use the stories told by the drums and the setar to create an entirely new narrative.

The story told by these eight pieces is hence a deeply personal, but also inherently political one. Moitahedy herself left Iran in 2004 and relocated to Berlin in 2010. Having continued to use her art as a platform to tirelessly advocate for the rights of the Kurdish people and women under oppressive regimes, she has not been allowed to return to her country of origin ever since. »Hani is singing for equality and there are people who are afraid of that-her femininity, her strength.« Toma says. Much like earlier Hirok sound installations addressed human-made climate change and other systemic ills, also »Hjirok« can hardly be disconnected from far-reaching struggles for liberation and equality.

This is also true on a thematic and even linguistic level. »The lyrics are about a promise,« Mojahedy says, citing Kurdish writer Ebdulla Pesêw as an inspiration. »At their core, these are about that day on which violence and fear become a thing of the past; what they tell you is ot not give up, to keep hoping,« she adds. The promise embedded in them is an emancipatory one. These contents are mirrored on a linguistic level: The lyrics were written in both Kurdish and Farsi, blurring the lines between the two languages and thus, Kurdish and Persian cultures.

Mojahedy, or rather HJirok, conveys these philosophical themes with elegance. Herversatile vocal performance is only loosely basedo n established styles. »Of course everything started with traditional rhythms, but we kept pushing things further and further, so Idid the same with my voice,« Mojahedy explains. »There were no boundaries.« The same can be said of the field recordings that she and Toma used. Whether it's conversations between members of the Pesmerge, the Kurdish armed forces, having a chat in meadow full of bunnies or the humming and buzzing of metropolises like Tehran: »Hirok« paints a sonic picture that is quite literally autopian one; that of a non-place in which different soundscapes, cultures and ways of life coexist peacefully.

What the album conjures up from Mojahedy's memory is not only a very specific place during a unique time in history as experienced by a single person. It is also ametaphorical home open to anyone who wishes to enter - promise of a better, more egalitarian future for everyone. Hence, HJirok will bring it on tour, presenting the material as an audio-visual live show that makes use of the photo and video material that Mojahedy and Toma have collected during their travels through Kurdistan.ja

The mysterious Orchid joins Multi Culti with a vibrant homage to the golden era of Spanish trance, infused with dewy drops of glowing Balearic beauty. Firmly believing that musical innovation is now a relic of the past., Orchid looks back and resurrects a sense fun and passion so often lacking in the realm of contemporary business techno and commercial dance. Living in isolation in a far off nation which never kissed by a proper psychedelic movement, Orchid operates with a deep sense of nostalgia for a scene he never got to experience first-hand. Digging through the archives, he developed a profound appreciation for the atmosphere of sex, power, love, and sweetness - elements he believes are masterfully blended in the music of Spanish-speaking cultures. 'Techno Valencia' invites listeners to experience the nostalgia, the passion, and the unadulterated soul of a time when music was not just heard but felt deeply.

Younger Than Me announces his debut full length "The Golden Age Of Love", to be released on 90's Wax this coming March 2024. The record is the perfect example of the breadth of his irrepressible and unique sound. Featuring collaborations with Massimiliano Pagliara, Brame & Hamo and Pablo Bozzi. The artist is an Italian native known for a modern interpretation of '90s club music' - a dynamic blend of Progressive House, Trance, EBM, Breakbeat, and Techno ideas. This first album is a love letter to a deep-rooted passion for the idiosyncrasies of rave culture and the crossover points with contemporary electronic music.

Younger Than Me, an artistic project by Francesco Mingrino that is steeped in the nostalgia of ‘90s rave, yet not at all trapped in that past. A project that has cemented a special place in the electronic music scene with a string of records on labels like Bordello A Parigi, Amsterdam-Utrecht based platform XXX, Rotterdam’s Bar and Jennifer Cardini’s Dischi Autunno. To this point Francesco has pushed his fun yet forceful sound, with many releases on his own 90's Wax, and collaborations with people like Skatebård, Francesco Farfa, Timothy Clerkin and Curses (as Y2C).

"The Golden Age Of Love" as a package is curated in Younger Than Me's characteristic style. Opening with "Long Life Death", a track that sets the stage with a cinematic soundscape in a classic Carpenter vibe. Picking up the tempo "Zarathustra Dance" takes you right into the golden age itself, its low slung beat and carefully sequenced lead line pushes an ever building tension designed to crack any dancefloor. The track with Massimiliano Pagliara, "Eternal Sunshine Of Solitary Mind", is one of the highlights, perfectly building around a catchy lead with tight arpeggio and sequenced acid. Leading us into the 2nd half of the record "Sadness Is The Only Way To Happiness" is a proto-trance beast, inspired by that period in the early 90s when Trance was less bright lights and big stages and more dark rooms and smoke filled spaces, an ever building progressive run of haunting vocals, rave stabs and rolling bass.

Whilst YTM is at home presenting dancefloor focussed material, we see him explore the other side too, with "Memory Is A Clock" like the earlier "Vortix", he ditches the 4x4 for breakbeat territory. Whilst the bass keeps the solid metronome you would expect, "Memory Is A Clock" is a track that takes a few moments, contemplative melody and trademark arpeggios take the lead. When it comes to the other collaborations on the record, the appearance of Brame And Hamo on "Raver's Heart Is A Mess" sees them lean into the Progressive nature both artists love so much. Then Pablo Bozzi lends his own unique outlook to "We Don't Know The Way, We Just Stay" in one of the standout tracks, epitomising Younger Than Me’s ability to create profound experiences.

The album concludes with "Music Will Never Stop, Heartbeat Will Never Fade, Party Will Never End", less of a title and more of a personal philosophy – the perpetual essence of rave culture and its timeless impact on music. A rhythmic belter, juxtaposed with incendiary synth-lines and staple catchy sequence work, finishing the record with one of the true highpoints. In addition the release also features four digital bonus tracks, including "The Other Face Of Loneliness" and a Prog Dance Reshape of one of the records more eclectic cuts "Zarathustra Dance" all offering an extended exploration into the creative landscape YTM inhabits.

"The Golden Age Of Love" is a debut album that ticks all the boxes; it's a celebration of a bygone era through the lens of the contemporary. Younger Than Me stands as a testament to the enduring spirit and evolving nature of the music that began in the ‘90s rave scene, with an LP that pushes Love, Progression and Fun to the forefront.

Except from Rachid Taha, who allowed himself a few forays into the teeming, vibrant heaths of techno, no raï singer other than Cheb Malik has ever ventured into this terrain known for its abundance of sound. If you know about Malik Adouane's ancestry, this is hardly surprising. Born in Librecourt, near Lens, he comes from a union between an Italo-Celtic mother who instilled Western sounds into his ears and a father, a former miner born in Biskra (north-east Algeria), a palm grove near the desert, musically renowned for its lively diwan that could be called Saharan opera. In addition, the town is renowned for its chakhchouka, a dish called after its rich blend of various ingredients and spices. Just like Malik’s music, as he was a fan of James Brown, Barry White, classical Arabic and raï music. He had been thinking about it from the beginning, but the dream took a long time to materialize. In January 1986, many raï idols turned up in Bobigny, France, for a historic and seminal festival. In the midst of the audience, the young man, dressed in black leather, provided security for the concerts of many stars before becoming one himself. He would rub his eyes, not because he was dazzled, but because they were clouded by a nostalgia that remained him of itself. So, with his head full of sounds warmly recommended by the best DJs, he set out, a little provocatively, to position himself at the cutting edge of music with a new concept called "After raï". It combined the sweet and precious past with an almost uncontrollable creative audacity. It's a balm made in a test-tube-studio from a mix of Arabic melodies and lyrics - a kind of "Arabeat", and the arrogant modernity produced by samplers, electronic spinning, roaring bass and guitars made for house music. The pinnacle of the record is a masterful cover of Isaac Hayes' Shaft, which set dancefloors on fire in Paris, London, Ibiza and New York, and became internationally known thanks to its presence on a Paris Dernière compilation curated by French musician and DJ Béatrice Ardisson along with Claude Challe's iconic Buddha Bar series. Now, shall we dance?

Companion’s fourth full-length excursion comes from Naarm newcomer Declan. Following the release of his debut single Aqueduct on CMPN003, Declan returns to the label with an entrancing 5-track EP that gently unwinds through boundless, sun-drenched dreamscapes. Awash in the golden hues of 90s chill-out tent culture, Soul Arch embarks on a trance-inducing trip that fuses new age influences, balearic spirit and feverish, hypnotic repetitions.

The release gracefully shifts between moments of restraint and hidden depths, soaring to elevated and distant peaks. The effect is expansive, characterised by protean vocal samples, pulsing pitter-pat percussion and weightless pads as though gently breathing. Suited for late-nights beneath dust shrouded stars and the peaceful mornings after, Soul Arch is best listened from start to finish, with one eye cast towards the sunrise.

All tracks written and produced by D. McNamara
Mastered by P. Twigg
Artwork by X. Ford-Legrand
Design by G. Butterfield
Worldwide distribution by One Eye Witness
© Companion 2024

The Fifth record from the friends for the bag.

A slip into the sound of Future Motion for a new paradigm.

Following a successful release that started the UFO Series, Future Motion goes into sounds for different arenas and pushes tools to technique.

Four sounds to share Where We Come From...

Italian hard techno DJ-producer MAIKE DEPAS announces EP "Rave the Planet" (out 29 February) ahead of MAIKE DEPAS 2.0 audio-visual makeover

"Depas strikes a fine balance between raw energy and subtle melodic hooks." (DMY)

"Throughout the pounding track Midnight Ride, the Italian beatsmith expertly blends lush synths with intricate rhythmic components and gritty bass." (EDM com)

"Depas' approach to techno is a veritable melting pot of influences, blending sounds from the 80s and 90s with contemporary symphonic and cinematic elements." (Magnetic Mag)

Upon the return from the dark and dreamy regions of his previous EP "Euphoria", Milanese hard techno DJ-producer MAIKE DEPAS (Michelangelo De Pasquale) announces new EP "Rave the Planet", out 29 February via The Innovation Studio, ahead of MAIKE DEPAS 2.0 audio-visual makeover. Sending tremors through the electronic underground scene, Depas joins Kobosil and In Verruf in carrying the torch of uncompromising Berlin techno while keeping his feet firmly planted in the melodic 1990s trance of Push, Jam & Spoon, and Cygnus X.

Introducing his new heavy-duty fusion of face-melting techno and trance carrying "Go Hard or Go Home" warning sign, Depas makes the crowd grind their teeth with a behemoth of an opener "Heartbreaker" only to fill the dancefloor with dread on the shiver-inducing "Vortex", a power move designed to set the scene for the title track"s fervent rave sermon delivered in a cyborg voice by Depas, followed by the erotic undertones of throbbing closer "Float Together" including the blistering remix by the Italian DJ Amstra.

"Rave the planet / Stay together / In techno we trust / Rave the planet" - MAIKE DEPAS, Rave the Planet

At its core, "Rave the Planet" is Depas" personal paean to the true spirit of the original rave culture as represented by Lukas Havlik"s (Ludenworks) Luis Royo-esque artwork of a pulsating cybernetic planet of complex, interconnected nerve fibres wrapped around the Depas globe logo. “As a raver, you feel this sense of unity with community and it"s similar to a religion we"ve had for thousands and thousands of years,” Depas compares. “We are the planet, we are the culture, so both are the reflection of ourselves in the wider world.” For Depas, the concept of solidarity runs deep within techno culture. Coming right from the heart, Depas is driven by the opportunity to bring people together for one thing and one thing only: “Just for the love of techno and to celebrate the music in a club.”

"As a raver, you feel this sense of unity with a community similar to a religion we"ve had for thousands and thousands of years." - MAIKE DEPAS

"Rave the Planet" is released in conjunction with MAIKE DEPAS 2.0, a tectonic audio-visual shift that entails a wide array of digital content as varied as DJ sets live streamed from Berlin"s Teufelsberg and other dystopian locations around Europe as well as enhanced PR-photos featuring cyberpunk-inspired outfits designed by Demobaza, a cyberpunk-inspired casual couture brand best known for their sustainable Dune X Demobaza collection. Over the course of upcoming metamorphosis from a flesh-and-blood individual into a mysterious CGI character, Depas is another step closer to revolutionising the dance music scene through the metaverse.

If there ever was a monicker apt for describing an artist’s behavior, that is Ghost Lemurs. Manifesting spottily in compilations and limited edition tapes, then returning to the shadows without much fanfare, the project has indeed demonstrated a ghostly behavior and a nature as puzzling as the animal it takes its name from. Wombs And Alien Spirits represents now their most public outing, one in which the duo of visual artist / producer Kareem Lofty and Daniele Guerrini (better known as Heith and as Haunter’s co-founder) are happy to showcase all the discoveries in a process of musical and spiritual research begun in 2019. Described by the artists themselves as an experiment in mediterranean psi-trance, the album makes use of an incredibly diverse number of traditions, sonic sources and techniques of musical experimentation, keeping its psychedelic intentions central to the whole creative endeavor. Moments of meditative relaxation are brought to unsettling new levels by cavernous basses and spaced out drones, while tight polyrhythms bring beautiful granular melodies to a sidereal ceremonial dance. As beautiful and captivating as it is, Wombs And Alien Spirits remains as chimeric and unrestrained as any previous effort by the two artists. It’s a type of folk music devoid of a specific homeland, but resulting from the authors’ heritages, simultaneously divided and united by the mediterranean sea, injected with all the trajectories of their personal journeys. It ends up sounding profoundly human and uncannily inhuman, tapping into the undiscovered alien element at the beginning of the experience of life. Genre: Electronic / Experimental Listen:

Fire! have always been about finding the essence by getting to the core of the music. Their 8th album sees the trio - for the first time on record - stripped down to the bare-bones essentials; with no flutes, no electronics, no guests and no extras, recorded live in the studio to analogue tape - the Steve Albini way - with the master himself at the controls in Electrical Audio in Chicago. Thus, this album stands as a true testament to the group's expressive power and glowing intimacy. Musically, Testament can be seen as an extension of their previous full length album Defeat, released two years ago, to the month. A solitary bass figure from Johan Berthling, quickly joined by a stout drum groove, gets it all going in a familiar fashion before Gustafsson adds desolate cries and whispers from his baritone sax. This approach is even more honed on the second track, with the most simplistic groove you're likely to hear in jazz and Gustafsson shifting between extended, lonely, tortured lines, only once abrupted by a series of short bursts. The third track starts with loose and relatively lively drums that continue throughout, but the mournful saxophone maintains a subdued atmosphere. Track four is a real beauty with the trio slipping into a trance-like dream state before shifting gear halfway into its nine minutes. The final track is the most dynamic of the lot, shifting between bursts of energy and lyrical beauty. Fire's debut album, You Liked Me Five Minutes Ago, was released in 2009 to wide international acclaim. "The basic strategy of pairing the expressive energy of free jazz with a sturdy sense of groove has yielded something potent and self-contained" (New York Times). Between this and Testament there's been six albums, including collaborations with Jim O'Rourke (Unreleased?) and Oren Ambarchi (In The Mouth A Hand), as well as the Requies EP with Stephen O'Malley and David Sandström in 2022. Testament was recorded and mixed during a three-day stint at Steve Albini's Electrical Audio studio in Chicago in December 2022. Mats Gustafsson - baritone sax Johan Berthling - bass Andreas Werliin - drums.

Fire! have always been about finding the essence by getting to the core of the music. Their 8th album sees the trio - for the first time on record - stripped down to the bare-bones essentials; with no flutes, no electronics, no guests and no extras, recorded live in the studio to analogue tape - the Steve Albini way - with the master himself at the controls in Electrical Audio in Chicago. Thus, this album stands as a true testament to the group's expressive power and glowing intimacy. Musically, Testament can be seen as an extension of their previous full length album Defeat, released two years ago, to the month. A solitary bass figure from Johan Berthling, quickly joined by a stout drum groove, gets it all going in a familiar fashion before Gustafsson adds desolate cries and whispers from his baritone sax. This approach is even more honed on the second track, with the most simplistic groove you're likely to hear in jazz and Gustafsson shifting between extended, lonely, tortured lines, only once abrupted by a series of short bursts. The third track starts with loose and relatively lively drums that continue throughout, but the mournful saxophone maintains a subdued atmosphere. Track four is a real beauty with the trio slipping into a trance-like dream state before shifting gear halfway into its nine minutes. The final track is the most dynamic of the lot, shifting between bursts of energy and lyrical beauty. Fire's debut album, You Liked Me Five Minutes Ago, was released in 2009 to wide international acclaim. "The basic strategy of pairing the expressive energy of free jazz with a sturdy sense of groove has yielded something potent and self-contained" (New York Times). Between this and Testament there's been six albums, including collaborations with Jim O'Rourke (Unreleased?) and Oren Ambarchi (In The Mouth A Hand), as well as the Requies EP with Stephen O'Malley and David Sandström in 2022. Testament was recorded and mixed during a three-day stint at Steve Albini's Electrical Audio studio in Chicago in December 2022. Mats Gustafsson - baritone sax Johan Berthling - bass Andreas Werliin - drums.

Reissued on vinyl for the first time, Juno Reactor’s 1997 ‘Bible of Dreams’, also newly mastered and available of
double black vinyl.
‘Bible of Dreams’ was Juno Reactor's fourth album. It had a very different sound from the group's previous albums,
and moved away from the traditional dance beats by implementing tribal influences. The band collaborated with
Amampondo, a traditional South African percussion act, on the single ‘Conga Fury’. Watkins and Amampondo went on
a five-week tour of the US, opening for Moby.
Featuring music from the film soundtracks The Matrix Reloaded, Animatrix, Mortal Kombat Annihilation and Beowulf.
Composer, producer, musician and performer Ben Watkins is an essential innovator of modern electronic music and a
pioneer of Trance. Over the course of nearly 30 years, Watkins has created a unique driving fusion of electronica,
orchestral and global music executed on an epic & symphonic scale.
Juno Reactor was formed as an art project in 1990. Ben Watkins wanted to collaborate with other artists, producing
exciting projects that were not commercially driven. He wanted to create experimental music and non-musical
soundtracks that would work with installations, art pieces, and film projects.
As well as releasing a string of influential albums as Juno Reactor, Watkins’ tracks have been placed in numerous highprofile feature films, television programmes and computer games and Ben Watkins composed large sections of the
original score for the films The Matrix Reloaded and The Matrix Revolutions, as well as composing the entire orchestral
score for Japanese anime feature film Brave Story.

The Body & Dis Fig are a natural pair. Each has pioneered instantly recognizable worlds of sound all their own that defy any traditional categorizations or boundaries. The Body, Lee Buford and Chip King, continually challenge any conventional conception of metal, collaborating with myriad artists and from the folk-leanings of their work with BIG|BRAVE to their groundbreaking work with the Assembly of Light Choir to the intensity of their collaborations with OAA or Thou. Dis Fig, aka Felicia Chen, pushes electronic music into dark extremes, from warped DJ sets to, avant production. From being a member of Tianzhuo Chen"s performance-art series TRANCE, to being the vocalist with The Bug. The Body and Dis Fig find kinship in reimagining what it means to make "heavy music". Their debut Orchards of a Futile Heaven is the perfect synthesis of two forces, twisting melodicism and intoxicating rhythms, layering a dense miasma of distortion with intense beats, and a soaring voice clawing its way towards absolution. Orchards of a Futile Heaven affirms The Body & Dis Fig"s distinct and unified tastes as skilled sound sculptors who have an exceptional ability to make deeply affecting music, bracing as it is touching, harrowing as it is awe-inspiring. Together, the three have harnessed their expansive artistry to make music that is profoundly emotional, and staggering in its beauty.

The Body & Dis Fig are a natural pair. Each has pioneered instantly recognizable worlds of sound all their own that defy any traditional categorizations or boundaries. The Body, Lee Buford and Chip King, continually challenge any conventional conception of metal, collaborating with myriad artists and from the folk-leanings of their work with BIG|BRAVE to their groundbreaking work with the Assembly of Light Choir to the intensity of their collaborations with OAA or Thou. Dis Fig, aka Felicia Chen, pushes electronic music into dark extremes, from warped DJ sets to avant production, from being a member of Tianzhuo Chen’s performance-art series TRANCE to being the vocalist with The Bug. The Body and Dis Fig find kinship in reimagining what it means to make “heavy music”. Their debut Orchards of a Futile Heaven is the perfect synthesis of two forces, twisting melodicism and intoxicating rhythms, layering a dense miasma of distortion with intense beats and a soaring voice clawing its way towards absolution.

Orchards of a Futile Heaven’s walls of sputtering texture and tectonic booms are soaked in the reverence and melancholy of sacred spaces brought to life by palpable intensity by Chen’s voice. Crafted during a time of personal fragility, the album’s devastating force lies beyond any of the expected noise and abrasive textures typically associated with both The Body & Dis Fig. Suffused with a raw vulnerability and a longing for catharsis, Chen’s voice searches for escape in the midst of oppressive atmospheres as if determined to find relief from guilt. “Eternal Hours” patiently unfurls waves of surprising sounds, whispered undulations that are punctuated by sudden crashes, all beneath Chen’s haunting harmonies. “Dissent, Shame” evokes grief and shame with a minimalist drone dirge that gradually builds to an enchanting choral passage. King’s guitar on “Holy Lance” matches the uncanny drone of Chen’s accordion in an all-consuming blast, Chen’s voice transforming the moment from anguish to defiance and empowerment. The album’s arc finishes with “Coils of Kaa” acting as a kind of propulsive exorcism, breaking through a suffocating air before the funeral procession of “Back to the Water” lays the album to rest.

While sampling has long been essential to each, The Body & Dis Fig deftly meld their differing approaches to sampling and creating extreme sounds until the boundaries are entirely blurred. The two found kinship in their desire to find new avenues to make heavy music that looked beyond tropes of metal and electronic music by merging the two. “I always wanted the heavier stuff but I also didn’t really like heavier guitar music,” says Buford. “None of it really felt quite heavy enough to me. A human can’t be as heavy as a machine.” Chen counters, “I love the balance. You could never connect to just a machine as well as you could a human. Which is why the combination is so potent for me. I don’t want to hide. I think nothing connects you more empathetically than another human's voice.”

Orchards of a Futile Heaven affirms The Body & Dis Fig as skilled sound sculptors who have an exceptional ability to make deeply affecting music, bracing as it is touching, harrowing as it is awe-inspiring. Together, the two have harnessed their expansive artistry to make music that is profoundly emotional, and staggering in its beauty.

This Dutch music project was created in the late 1980s by two graphic designers, Edwin Van Der Laag and Huib Shippers, who were in love with electronic music. Their debut album is divided into two parts, the first with Edwin’s music and the second with Huib’s. Obviously Van Der Laag’s songs are inspired by Laserdance, for which Van Der Laag also designed album covers, however Shippers’ part is slightly different, less aggressive, trance-inducing, which makes the whole album truly extraordinary. This is the first vinyl reissue of this album since its first appearance.

A new type of sound from uhinged live-performer and a one-woman fun tribunal. It's glossy, noisy, raw, futuristic, sensual, frivolous, dark, wonky, slow and fast alike - yet in all those variations, rather suited for bigger PAs. Tracks on Cracked, serving assorted sweets make heaven utilize pummeling yet unequal kickdrums and vary in tempo.

Side A turns risky breaks into an oddly enjoyable experience while the tracks on B flip trance motifs into rather serious, darker futuristic ride.
Isabella's work also happens to be a link between Rhode Island's noise scene & pranksters from Börft Records, Herrensauna's dancefloors and halls of Berklee College of Music where she lectures.

Having been part of the family for quite some time now, Lauren Bush aka re:ni joins the Timedance roster with an incredibly potent quartet of Techno infused bass-bin weaponry.

« BeautySick » sees re:ni plunging into a world of intoxicating serpentine grooves. Spectral vocal slabs chime like echoes of a distant hallucinatory trance, while industrial drumworks find a mesmerizing counterpoint in eerie dubwise atmospheres.

These four compositions not only showcase re:ni's sonic evolution but also explore the transient moments where darkness converges with light. They stand as a testament to the sonic prowess of one or favorite dancefloor sorceress.

Picture Hakime Sorayama’s ‘Sexy Robot’ in front of an unreasonably large stack of speakers at a dimly lit sound-system dance; this is the soundtrack.

Press + Tour highlights :
DJ Mag, Resident Advisor, XLR8R, BBC6 Music (Sweatbox Mix for Sherelle), First Floor, The Quietus, Phonographe Corp + more TBA

Upcoming tour dates for Q1-Q2:UK, Switzerland, Netherlands, Germany, Sweden, Belgium, Slovenia, Ireland, Australia, Croatia, USA

Dean McPhee’s fifth full length album 'Astral Gold' sees the Yorkshire-based electric guitarist's music continue to evolve beyond the spacious folk-inspired fingerpicking that typified his earlier releases into a heavier sound combining deep bass, textured reverbs and waves of saturated delay. 'Astral Gold' brings together several now out-of-print tracks that were originally released on the Reverb Worship and Folklore Tapes labels, along with two brand new pieces – all recorded live in single takes. There is a cosmic theme throughout, including a track based on the local lore of The Ilkley Alien (The Second Message), a trance-inducing drone piece inspired by the orbit of the 'doomed moon' Triton (Neptune) and a meditation on lunar volcanism combining baroque melodies, EBow bass and found recordings of a crackling fire played through guitar pickups (Lunar Fire). Throughout this intricately layered and beautifully crafted album McPhee draws on a wide range of influences from Kosmische Muzik and Dub to Stoner/Doom Rock, British Folk and underground electronic music, and the result is both intoxicatingly atmospheric and sonically inventive. ‘Astral Gold’ was mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin and is pressed on 180g heavyweight vinyl. ‘Astral Gold’ follows Dean McPhee’s recent appearances this year on several well received compilation albums ‘I Thought I Told You: A Yorkshire Tribute to Michael Chapman’ on the Tompkins Square label, ‘Ballads of Seduction, Fertility & Ritual Slaughter’ released by Wasistdas, and Folklore Tapes’ limited edition cassette ‘A Web of Braided Willow (The Folklore of the Wickerman)’. "His take on the late folk guitarist’s ‘Caddo Lake’ could have you believing the pinch of callous on string was birdsong – a meditative gem" (Noel Gardner, The Quietus) "Magpahi's synth-drizzled Maypole, Dean McPhee's Sunset and Meg Baird's Willow's Song are particularly gorgeous" (Jude Rogers. The Guardian) "An excellent new single from UK guitarist Dean McPhee...the A-side is an echo-laden slice of smoldering instrumental guitar, pulling at the mind like taffy and living up to its cosmic title" (Raven Sings the Blues) "Absolutely lovely stuff; shimmering, gorgeous, delicate electric guitar playing of the very highest quality

Musique Infinie is the collaborative project of Manuel Oberholzer a.k.a. Feldermelder and Noémi Büchi.Their album »Earth«, released through the Hallow Ground label, is based on a spontaneously composed live score for Alexander Dovzhenko’s groundbreaking 1930 silent movie »Zemlya« (»Earth«) created for the 24th edition of the VIDEOEX festival for experimental film.

Frequently cited as a masterpiece of early 20th century filmmaking, the movie deals with the collectivisation of Ukraine’s agriculture. The Swiss duo complemented it with atmospherically rich electronic soundscapes that are both deeply immersive and highly evocative. As a stand-alone music release, the two-piece »Earth« album captures the essence of Büchi and Oberholzer’s collaboration that is marked by mutual trust and musical versatility that puts them in a state of »togetherness trance,« as they call it.

Oberholzer has been highly productive as a composer, musician, sound designer, and installation artist in recent years, releasing a slew of solo albums as well as a variety of collaboration records with artists such as Sara Oswald and Julian Sartorius. Büchi has recently debuted as a solo composer and sound artist working with electroacoustic techniques to create a »symphonic maximalism for the end of the world,« as she dubs it.

Both are prolific and versatile artists with a penchant for working conceptually, however their collaboration as Musique Infinie is an improvisational and thus by design an intuitive one.

Their sessions start with an exchange on emotions and thoughts rather than theoretical questions or aesthetic debates. When they get to work—often for several hours—they rarely talk.

They approached »Earth« the same way, improvising freely together and using only a few select samples from the film’s original score in the process. Their open-ended approach is marked by an aesthetic ambivalence that perfectly corresponds with the movie’s own inherent contradictions.

Dovzhenko approached his socio-political subject with poetic imagery and philosophical rigour, juxtaposing notions of traditionality with the depiction of modernity.

Büchi and Oberholzer accordingly work with motives that at o ce seem anthemic and elegiac, working with sounds and musical motives that evoke a sense of familiarity in one moment before transforming into something futuristic and uncanny in the next. Their score for »Zemlya« is not to be understood as a mere interpretation of the movie, but rather a re-narration or even re-negotiation of its aesthetic and emotional qualities under their very own terms. »Earth« is an album that concisely depicts what is at the core of the duo’s musical partnership

Production duo Dj Dogg and Furious Frank are back with the third edition of their on-going series… this time in full remix treatment!

While keeping in line with their signature underground raw house style, volume three explores some new sounds for the series, including vocals cuts, euphoric early trance melodies, big bass and more.

The fourth release from Cartulis Music's sublabel, ALT, is brought to you by the freshly formed French duo known as AV1. This will be the first record of a 2-part series by the newly formed duo under ALT.

AV1 is a project helmed by the seasoned producer and DJ, Chris Carrier, who has been making waves in the music scene since the late '90s. Accompanied by Le Loup, another stalwart of the Parisian music scene, this dynamic duo shares a profound passion for acid and classicist house/techno grooves.

The EP kicks off with "Light Gate," a mesmerizing, steady techno journey infused with subtle trance elements and harmonious pads that captivate both the mind and the body. The A side follows with "Origins," an effortlessly flowing breakbeat composition adorned with just the right touch of acid, crafting an enigmatic yet inviting ambiance.

On the B side, we go deeper with "98% Safe," a dynamic track that seamlessly transitions from euphoric synths and bursts of color to mind-bending acid grooves and ominous undertones. This sonic tapestry is expertly woven together through innovative sampling techniques and a sense of fluidity. Bringing the record to a sublime close is "8 OG," a dreamy electro piece perfectly suited for a multitude of settings, it’s a sonic journey that beckons us to join in and experience it firsthand.

After almost 6 years of silence since “Akelarre”, Synths Versus Me, the personal musical project of Nico Cabañas, co- founder of Oráculo Records alongside the young Italian promise India Nardone. Recorded analogically in just 2 months, fluctuates in a futuristic way between different kinds of unusual dark sub styles such as industrial noise, proto- tribal, synthpunk or krautwork, and, of course, among other dance-oriented such as EBM, new beat, synthwave, electro/breakbeat or trance. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

2024 Repress
* Following on from the success of our 'Liftin Spirit Reloaded' vinyl series, we are pleased to announce our next project in collaboration with Ram Records. 'Ram Reloaded' will be a series of limited 12" vinyl from Ram's early years, re-mastered from the original DATs and presented onto our usual, high quality, heavy weight vinyl.

* In 1994, Shimon made his first appearance in the Ram studio to create two tracks alongside Ant Miles. With additional production from Andy C, and the vocal sampled from the film ‘Predator’, Shimon’s debut track soon fell into place. Highlighting the usual precision tooled breaks, synonymous with the emerging Ram style, Ant Miles’s reversed bass line and stereo oscillating effects had an immediate impact on dancefloors throughout the UK, cementing Shimon as an artist to watch out for in the future. For the flipside to Predator, Ant Miles and Shimon went on a roller jungle vibe with haunting pads and slow time stretched vocals, creating a hypnotic trance state perfectly complimenting the A side.


Promotion across chosen internet websites and Hardcore/Jungle 12” vinyl communities.

Opaque Yellow Vinyl
Orgone sind zurück in Kalifornien und kommen mit "Chimera", einem feuerspeienden Spektakel aus psychedelischem Afro-Soul, in Fahrt. Produziert von Sergio Rios (Neal Francis, Say She She), ist "Chimera" eine elektrisierende, traumähnliche Odyssee, die durch die nebligen Sümpfe von New Orleans führt und Texturen von betörendem Voodoo-Soul, dröhnendem Afro-Funk und steinhartem Psych-Rock verwebt. Auf "Chimera" verwandelt die Band aus Los Angeles harte, düstere und ansteckende Grooves in mitreißende Tanzrhythmen. "Chimera", benannt nach einem mythischen Tier mit dem Kopf eines Löwen, dem Körper einer Ziege und dem Schwanz einer Schlange, beschwört einen Zustand herauf, der gleichzeitig tranceartig und herzzerreißend aufregend ist. Das Album beginnt wie eine berauschende Rauchwolke im Gesicht mit "Hallowed Dreams" und zieht den Hörer in einen Zustand, in dem die Realität verschwimmt und die Musik die Kontrolle übernimmt. Der Fokus-Track "Zum Zum" ist ein mitreißender Afro-Funk-Tanzflächeneinheizer, der den Herzschlag mit der treibenden Perkussion synchronisiert, wobei sich der hypnotische Rhythmus zu einem rauschenden, psychedelischen Höhepunkt aufbaut. Auf dem rauen und mitreißenden "Tula Muisi (Dance Like Them)", einer Mischung aus Afrobeat und schwerem Psych-Rock, ruft der Sänger zu Einheit und Respekt auf, was übersetzt so viel heißt wie "Hört die Musik und tanzt wie sie". Die Band ist bekannt für ihre packenden Instrumentalstücke und ihre mitreißende Live-Show. Das verdiente Selbstvertrauen dieser bewährten und kultigen Band ist auf "Chimera" zu hören. Von Anfang an war Orgone eine Chimäre - eine facettenreiche Schöpfung und die physische Manifestation unmöglicher quixotischer Träume. Chimera wird Fans der frühen Orgone begeistern und gleichzeitig die mühelose und unendliche Fähigkeit der Band zeigen, ihre Form zu verändern. Es ist ein elektrisierendes, hypnotisierendes Album, das die Erwartungen übertrifft und den Hörer in Atem hält.

Orgone sind zurück in Kalifornien und kommen mit "Chimera", einem feuerspeienden Spektakel aus psychedelischem Afro-Soul, in Fahrt. Produziert von Sergio Rios (Neal Francis, Say She She), ist "Chimera" eine elektrisierende, traumähnliche Odyssee, die durch die nebligen Sümpfe von New Orleans führt und Texturen von betörendem Voodoo-Soul, dröhnendem Afro-Funk und steinhartem Psych-Rock verwebt. Auf "Chimera" verwandelt die Band aus Los Angeles harte, düstere und ansteckende Grooves in mitreißende Tanzrhythmen. "Chimera", benannt nach einem mythischen Tier mit dem Kopf eines Löwen, dem Körper einer Ziege und dem Schwanz einer Schlange, beschwört einen Zustand herauf, der gleichzeitig tranceartig und herzzerreißend aufregend ist. Das Album beginnt wie eine berauschende Rauchwolke im Gesicht mit "Hallowed Dreams" und zieht den Hörer in einen Zustand, in dem die Realität verschwimmt und die Musik die Kontrolle übernimmt. Der Fokus-Track "Zum Zum" ist ein mitreißender Afro-Funk-Tanzflächeneinheizer, der den Herzschlag mit der treibenden Perkussion synchronisiert, wobei sich der hypnotische Rhythmus zu einem rauschenden, psychedelischen Höhepunkt aufbaut. Auf dem rauen und mitreißenden "Tula Muisi (Dance Like Them)", einer Mischung aus Afrobeat und schwerem Psych-Rock, ruft der Sänger zu Einheit und Respekt auf, was übersetzt so viel heißt wie "Hört die Musik und tanzt wie sie". Die Band ist bekannt für ihre packenden Instrumentalstücke und ihre mitreißende Live-Show. Das verdiente Selbstvertrauen dieser bewährten und kultigen Band ist auf "Chimera" zu hören. Von Anfang an war Orgone eine Chimäre - eine facettenreiche Schöpfung und die physische Manifestation unmöglicher quixotischer Träume. Chimera wird Fans der frühen Orgone begeistern und gleichzeitig die mühelose und unendliche Fähigkeit der Band zeigen, ihre Form zu verändern. Es ist ein elektrisierendes, hypnotisierendes Album, das die Erwartungen übertrifft und den Hörer in Atem hält.

Sepulchral Voice, 12“ LP, black 140g / incl. printed Innersleeve, BLACK CURSE kombiniert mitreißende, gewalttätige Rhythmen mit messerscharfem Riffing und tranceartigen Impulsen und schafft damit wahre Boshaftigkeit. Die Band öffnet heilige Portale zu Zeiten, als Black und Death Metal die gleichen Prinzipien, die gleiche Ästhetik und den gleichen teuflischen Zorn teilten. Produziert mit dem härtesten Sound, den man sich vorstellen kann, stürzt "Endless Wound" in die Welt wie die Ausgeburt des Urchaos. Hierin kriechen BLACK CURSE auf den dunkelsten Lavafeldern des Doom, schwelgen in den infernalischen Stürmen des Death und schweben im tiefsten Schwarz.

Creeping through an imaginary border, sidesteppin’ through the night like cyber phantoms eavesdropping on early morning machinery shifts, an industrial solstice for pagan mystics. After five years Torino’s mysterious SabaSaba are back with ‘Unknown City’ an imaginary soundtrack for a dystopian city: digital raga, horror Exotica, half-speed techno, metallic dub and organic electronics.

The duo of Andrea Marini (synth, guitar, electronics, tapes) and Gabriele Maggiorotto (drums, percussion, effects, programming) return with their most political manifesto yet, an intricate musical essay inspired by China Miéville’s novel ‘The City And The City’, examining border control, repression, an unknown city where people move like ghosts without personality and without communicating, monitored on sight by the authorities. SabaSaba’s personal OST is a whirlwind of analog and digital instruments colliding, textured samples, syncopated drums and spiritual synth sweeps often heightened by Ambra Chiara Michelangeli’s eerie viola playing, an ancestral force resisting under a cement tower, modulars gasping for air, endlessly reverberating into noir-soul and gray landscapes.

Like Miéville’s two imaginary cities Ul Qoma e Besźel, SabaSaba’s journey is cavernous, claustrophobic at times, but a clear sense of evasion and resistance breaks through, small flickers of light, like a cyborg calibrating himself - the hypnotic dub ambient of ‘False Speech’ - for an ecstatic liberation - the trance inducing ‘Wrists Free’ featuring UK industrial techno duo Jerome. ‘Ul Qoma’ unites

yellow vinyl / incl. dl codes

Modern techno is fast-paced and borrows elements from mid 90s trance records. This record is not that.

First volume of the Extreme Years serie (1990-1994) of the prolific artist - all released for the first time on vinyl. The three other titles will be released every 2 months starting March.

Intifaxa is the first part in a series of 4 outstanding double vinyl albums with bonus songs, previously released on CD between 1990 and 1994 on the Australian cult label Extreme Music.

Intifaxa is full of heavy percussion fire with deep tribal grooves, embedded in modulated field recordings. The album is a transcendental journey into Eastern soundscapes and a secret weapon for DJs who enjoy to tear down the borders of tribal underground house and psychedelic trance music.

The original tracks were perfectly remastered for this first time ever vinyl release and the new masters received high praise from the Extreme Music owner Roger Richards.

New sleeve designs were created by Oleg Galay, who is famous for his artworks for many Muslimgauze reissues.

All 4 album covers are made from extra heavy cardboard with deluxe spot UV finish and inside print.

Remotif offers up a disc of pure euphoria on London label GODDEZZ, featuring four original tracks of trance-futurism crafted for peak time club elevation. Boasting an illustrious tapestry of prior releases on labels such as All My Thoughts, Coymix, air miles, X-Kalay and Space Lab, here Remotif presents a record that takes a deep dive into the cherished producers current sonic universe; driving guttural basslines, glistening piano breakdowns and crystallized drum patterns all distilled into four perfect gems of the most uplifting rave material.

Close Your Eyes And Count To One...

Dazzle rolled deep. Very deep. In the 1980s, it wasn't unusual for the Milwaukee-based group to show up at various Midwest night clubs in a caravan of 30-40 cars and vans. Their live following was hard won over a career that spanned 20+ years, many line up changes, and a handful of project names. Friends, family, and fans made the journey with them weekend after weekend, a testimony to both the musical prowess of the group and the tight-knit community that they emerged from.

Donald Smith, band leader, was there the whole time - joined by many of his siblings and friends - first as founder of the Ghetto Players, a early 70's nine-piece which also included siblings Michael, Ronald, and Charles. They played hard funk in the style of early Kool and the Gang, and although they sadly left no recordings, the strength of their live act managed to catch the eye of local Milwaukee R&B music entrepreneur Cobie Joe Payne. Cobie had made a couple of records locally in the early/mid 70s as a singer, including the impossibly weird and amazing rare afro-blues-funk 45 "Sweet Thing", but had never enjoyed national success. When the Ghetto Players disbanded in the early-mid 70s, Donald soon put together a new group, C on the Funk (the 'C' referring to lead vocalist and sibling Charles), under Payne's tutelage. Sister Lorrie Smith came in as the drummer, the line-up being fleshed out by brothers David and Melvin Johnson, and friend Robert Mitchell. After a few years as a strictly live attraction, they drove to Chicago and produced a single, "In the Disco" / "A Place" for Payne's small record label Sweet Thang Records in 1980. Lacking the financial backing needed to supply the local R&B disk jockey's "promotional fees" , this single sadly languished in obscurity, gathering dust inside the local tavern jukeboxes and manilla promo envelopes that comprised Payne's DIY distribution network.

C on the Funk were traveling the Mid West extensively at this point, and making some important friends on the road. Ike Wiley Jr. of the Dazz Band/Kinsman Dazz took particular interest and the band was re-christened Dazzle, partially as a tie-in with Dazz, partially to embrace the new sounds that would distinguish the 70s disco scene from what record collectors and DJs would now refer to as the "Boogie" era. There no doubt was a stigma attached to the word "Disco" as the eighties began, and as we see in this collection C On the Funk's "In the Disco" is remixed and transformed into the psychedelic synth instrumental of Dazzle's "Disco's Out", a title which embodies both the next-step approach Smith and company were pushing for, and humorously comments on the state of black dance music in the early 1980s. The Dazzle recording, done in Chicago in 1982, updated the sound and featured an expanded line up, most notably a second synth player (Charles Washington), and a percussionist/second lead vocalist (Greg McDonald). The added synth textures and deep percussive grooves give the Dazzle recordings an elegant late night vibe that resonate just as well in a good pair of headphones as they do on the dance floor. The trance inducing cough syrup-warble of "Explain" may best exemplify this here. Sadly, a pressing flaw in the 12" halted production and promotion, and the EP and the songs within were lost to the ages. The group, having done a much better line in the live music business, followed that path instead all the way to the early 90s. --bio provided by andy noble

Als Debütalbum im Sommer 1999 erscheinen, etablierte sich ”Zeitgeist” als wegweisend in Schillers beeindruckender Karriere. Erfüllt von atmosphärischen Kompositionen, die Ambient, Trance und Chill-OutElemente nahtlos miteinander verbinden, nimmt das Album die Zuhörer mit auf eine außergewöhnliche Sound Exkursion.

Nach den ersten geheimnisvollen, ohne viele Informationen gestreuten Songs „leichter//kälter“ und „Die
Sonne in deinem Zimmer“ dürfte man Edwin Rosen inzwischen auf dem Schirm haben. Diesen anfangzwanzigjährigen Ausnahmekünstler, dessen Songs sich mit ihren stoisch-sehnsüchtigen Eigenproduktionen, psychedelischen Soundscapes und sonorem Gesang gekonnt zwischen New- und Dark-Wave, Post-Punk
und Synth-Pop bewegt. Dass nicht nur Edwin Rosen selbst diese musikalische Melange als neueneuedeutschewelle,
die mittlerweile eine ganze Generation junger Musiker:innen beeinflusst hat, umschreibt, ist dabei nur konsequent. Seine erste Single „leichter//kälter“ schafft es bis auf Platz 6 der Single-Trendcharts und im
November 2023 spielte er seine ausverkaufte Headline Tour.