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Mint Condition - A record label focused on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics, overlooked gems and never heard before material, mined from the last 30+ years of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London, San Francisco and beyond. Mint Condition have got their digging hats on to bring you exclusive heat and those rarer than rare jams that have been in your wants list for years. Dig in!

A serendipitous encounter at an SF record store in the early 90s brought together local music aficionados DJ Dan and Jim Hopkins. Their collaboration birthed the legendary Electroliners project, channeling their shared passion for underground and funky sounds into the iconic left-coast rave anthem, 'Loose Caboose', now firmly nestled in your hands. Pooling their musical prowess, Dan and Jim embarked on a journey of sonic exploration, meticulously crafting their signature sound by dissecting samples and breakbeats, infusing the musical landscape with a revitalizing energy. As their reputation grew within the local scene, they found themselves tasked with supplying a track for a promotional CD-ROM by a burgeoning software company.

Through marathon sessions of digging, slicing, sequencing, and exchanging snippets over phone calls, Electroliners hit their creative stride. It was only natural to unveil their creation in the raw intensity of a live rave setting. Thanks to a connection with DJ DRC, they seized the opportunity, and the rest is history. Copies of the record flew off the shelves by the thousands locally, and its overseas acclaim, spearheaded by licensing through XL Recordings in the UK, cemented its status as a bona fide underground classic. But what exactly is an Electroliner you might ask? Jim sheds light on the inspiration: “I delved into books on trains at the public library,” he reveals. “Among them, 'Electroliner' caught my eye, a train line in the Midwest. Given the track's pulsating train horn, 'Electroliner' and 'Loose Caboose' simply clicked.”

'Loose Caboose' is an all-time classic, and still causes much damage on the dancefloor today. Yet another unmissable addition to the MC reissue catalogue, fully licensed from the artists, mastered and cut by Curve Pusher, and available once again available for purchase. Do not sleep.

With a mysteriously unknown release date, “Photochrome” could have been originally put out somewhere between the late 70's to early 80's on the Italian Idea label, which although only boasting a minuscule catalogue of mainly 7”s has gotten the attention of many collectors of European disco obscurities for releases such as “Flavio – Drum Explosion” and “Aleo's Band - EOE”. “Photochrome” features a very organic sound with hints of early electronics that might have been making their way into studios at the time. A fast passed driving bass line layered with what almost sounds like an early 303 bass line and spacey/cosmic vocals. Dry drum recordings give it a naive DIY feel which coupled with the experimental tricks on the vocals results in a very unique sound that has put this release on the radars of diggers world-wide. Now available once again at an affordable price with a new two part bonus beats remix that starts off as a more DJ friendly tool but soon embarks into a questionable full-fledged acid house excursion. Originally only released in 7" format but now re-issued in remastered 12" format.

The first track of the EP is a prog-heavy requiem, laced with warped synths and a percussive softness inviting you to take it straight to the dance-floor. 'Wandt Uncorked's' sonic agility is framed by the kind of driving energy that only swells more as you move, offering a new rhythm layer by layer.
Offering dreamy synths with echoes of 'A Hundred Days Off'-era Underworld, 'Gottesfuß' bends into a sprawling, sexy-weird five minutes of bliss. Building with a familiar-feeling vibrato and the cosiest anchor of bass, the second track from Niklas is your backdrop for mid dance-floor moments and after-hours alike in love.
The B-side to Wandt’s latest EP glides through every unchartered subaquatic realm imaginable. Slick breaks blend evenly into myriad underwater drones and/or extra terrestrial cries to form a deftly cast soundscape that truly highlights Wandt’s prowess as a percussionist.

Now-Again Records presents catalog-wide reissues of Latin music propellant Joe Bataan’s legendary Ghetto Records. Next up in the series - La Fantastica. This brash, big band Latin orchestra from Brooklyn debuted on Ghetto Records with an underground Salsa album which also contains the beguiling, English-language Psychedelic Soul of "Latin Blues." Ghetto Records was Joe Bataan’s way to get over on “The Man” and out of the ‘hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in its discography languished out of print - until now. These are the definitive reissues of these albums, licensed from Joe Bataan, with his oversight and input into a 16 page oversize book by Pablo Yglesias that details Bataan’s larger-than-imagination life and his little Latin label that could.

The story of Ultrasonic Grand Prix is one of two vintage 60s guitars and their owners. I love my 1967 Vox Grand Prix guitar,” declares multi-instrumentalist/producer Shawn Lee - creator, among other feats, of the soundtrack for Rockstar video game classic Bully, and one half of Ultrasonic Grand Prix. “It is a serious beast and an important part of my arsenal. Every tone you need…’For guitar maestro Barrie Cadogan - of Nottingham Freakbeaters Little Barrie, best known for the main title theme of ‘Better Call Saul’, The The, Liam Gallagher and playing on the soundtrack for Baz Luhrmann’s ‘Elvis’ - it was the Vox Ultrasonic, also from the same period, that caught his eye. “I first became interested in Vox guitars because of people who used them like Spacemen 3 and the James Brown band of the late 60’s”, he explains, “but it was when I was part of a recording session at Anton Newcombe’s studio in Berlin that I had chance to get to know the Vox gear better. I was borrowing an Ultrasonic from a friend for a while and Shawn already had his Grand Prix. I thought it would be a good name for our project whenever we got it going.’ It was with this shared passion for these weapons of vintage, psychedelic gold that the suave, velvety, and off-kilter cool of INSTAFUZZ was born. While a project born of recent times, the flames of INSTAFUZZ were first ignited all the way back in 2010, where the two met during mixing sessions for Little Barrie’s 2011 LP King of the Waves. Snap forward a decade and we find Cadogan ripping guitar licks on Instagram, the workaholic Lee using these as inspiration to lay down rhythm tracks on analogue drum machines. And not long after that, cut to the two trading files back and forth furiously online, birthing music together in ever more completed forms. And the music that did emerge was weird, startling, and insatiably groovy. With one foot dipped in the organ-warbling garage of 60s psych, and the other vibrating in the mind-expanding fractals of the British Acid House boom, INSTAFUZZ plies the earthly quintessence’s of blues, rock, soul and jazz, against the preternatural discomforts of programmed drums and unhinged synthesisers to produce something distinctly and nostalgically futuristic

Fierce and forlorn, Swarm Intelligence’s “The Shattered Self” delves into the complexities of human existence in an era dominated by technological advancements. In this thought-provoking exploration, the artist challenges listeners to confront the consequences of a near future where physical and mental augmentation are commonplace. In a world where limbs can be upgraded, where consciousness can be uploaded, where memories can be digitally archived and shared on social media, where our AI clones can liberate us from menial tasks… What remains of our selves? Who is our self?

Swarm Intelligence draws influences from black metal, industrial-tinged dub and post rock, splicing these with his distinctive take on techno to devastating effect. "Dejected," the inaugural track, unleashes grinding walls of feedback against a relentless broken beat, its foreboding atmosphere heightened by a menacing low growl of distorted bass that permeates the unease. It's a disquieting overture that sets the stage for the tumultuous journey ahead.

The second track, “Eros” envelops the listener in a visceral soundscape, where haunting atmospheres intertwine with grinding feedback and pounding percussion. Initially tense, the track evolves into an unexpected and almost euphoric climax, adding an unforeseen emotional depth to the sonic narrative. Yet, beneath the surface, an undercurrent of tension remains—an ever-present reminder of the fragility of our self.

On the flip side, "Inciter" channels inner fury through a guttural chant punctuating a Birmingham-styled broken beat, marching forth with unyielding force.

Finally, "Portal" offers a moment of quiet introspection, as haunting pads echo a mournful refrain while micro recordings of whirring machinery are assembled into the percussion section. It serves as a poignant curtain-closer.

Through "The Shattered Self," Swarm Intelligence challenges listeners to reconsider their perceptions of identity, consciousness, and agency in an age where the machine and the human converge. It's a haunting and profound journey—one that invites introspection and contemplation long after the final reverb tails fade into silence.

Bedroom Talks, hailing from Ukraine, is a gifted solo artist whose music, delves into an eclectic blend of genres including coldwave, darkwave, synthwave, post-punk with touches of EBM. “Call Me Malespero,” produced during Ukraine’s shelling, captures the essence of his art in a unique and moving way.

It’s a powerful testament to human resilience and the ability to find beauty even in the darkest moments, evoking a range of emotions from pain and anger to palpable sweetness, all woven into poetic lyrics and enveloping melodies. 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). inc

As warmer times approach Caruan and his Deset label have crafted a package which will undoubtedly be welcomed with open arms, adding to the brighter months ahead with this innovative release from tastemaking live performer and artist, Mathew Jonson. It is to no surprise that his “SOS” EP addresses an array of beautiful textures as he moves gracefully between refined jazz textures, ethereal ambience, and minimalistic moods. Jonson’s acute attention to detail has seen him remain an influential figure amongst the world of pioneering electronic music.

Dave Lee has tackled the legendary Brazilian disco cut 'Que Tal America' by Two Man Sound, originally released back '78.. Dave subtly adds new breakdowns, live percussion and even some additional vocals to give his version extra pizzazz, whilst making the most of the insistent flowing groove that made this a sure fire floor filler. On the flip things get more more echo heavy, whilst the sharp jazzy musicianship shines through.

There was never an instrumental version on the original 12". Add an acapella and bonus beats then you have an essential disco package for every Disco DJ's record box.

2024 Repress

Fresh from Vienna!
Paul Walter delivers his debut Ep "Shining", containing two tracks plus a remix from french artist Ark (guillaume berroyer).
Liked by Zip & Losoul!

2024 Repress

Produced by two friends based out of Vienna,
Felix Rupprecht & Paul Walter. Paul was responsible for the first release "Shining EP" on the upstart label. Felix was born in Frankfurt am Main but moved to Vienna, where they both met each other in 2013. A few all night jam sessions later, this record was born... Liked by Michael Melchner, Varoslav & Raresh.

Feedback Waves - the new imprint from independent label Rings of Neptune - is proud to present Trill, the first and only album by Palomatic. Almost thirty years after its original release on CD in 1995, this beautiful nine-track work is now available on vinyl for the first time.

Palomatic is an alias of Koji Takahashi, an active member of the bubbling Japanese electronic music scene of the early-to-mid 90s. Besides his solo work, he was a core member of Takahashi Tektronix (with Nic Yoshizawa) and Mutron (with Kiyoshi Hazemoto, aka Interferon), as well as working as a synth programmer for supergroup Denki Groove.

Following the release of his debut track 'Halo' on Syzygy Records in 1993, Takahashi made a series of contributions to compilations on the scene-defining Transonic label. His first and only full-length album, Trill, combined these tracks with original material to form an absorbing and versatile standalone statement of the Palomatic sound.

From the oscillating lilt of 'Flutter', which opens proceedings at a measured 104bpm, through to the symphonic epilogue of 'Soar', Trill is rooted in the fertile territory between organic and synthetic sounds - ground that was nourishing the work of many likeminded producers worldwide at the time. West Coast psychedelia and East Coast funk, the moody bass weight of Bristol trip-hop and Sheffield bleep, and the chemical rush of German techno and Belgian trance: with a distinctly Japanese sensibility, Trill drew these strands together into an elegant musical tapestry. The result is timeless - indeed, album centrepiece 'Foaming Waves' would sound right at home on the faster-paced dancefloors of today.

This double LP features an alternative artwork by Feedback Waves co-founder Max Binski.

Warehouse Find!

The Black 80s make a long overdue return to Freerange following their 2014 release Move On (from which the Kollektiv Turmstrasse remix become something of an underground anthem). The duo hailing from Montreal and consisting of Hollis P Monroe and Overnite have been responsible for some seriously influential tracks over the years, not least Hollis' bonafide classic from 1997 - I'm Lonely. For The Rest is a slice of sultry, stripped back house heaven which drips with soul and will melt the hearts of all who hear it. The key to the tracks beauty is in the minimalism of the production keeping everything paired back to the bare bones and placing all the focus on Overnite's vocal which twists and mutates thanks to some clever use of FX. Who better to work their magic on the remix than German producer Show-B
who comes fresh off his incredible Jaap Ligthart Remix and Washint EP on his own Lossless label . Here he pushes the original through his sonic mangle, injecting steely atmospherics and layers of synths to forge a driving, muscular version which will sit perfectly amongst the sounds of Dixon, Mano et al and has already been getting early spins from Ame´. A second remix from Carlos Sanchez completes the package (on the digital
version) staying truer to the original vibe but adding delicate pads and whispering strings for some late night bliss.

In spring,
Again.
But it's true this time.

In Spring is the second record by Tara Clerkin Trio, a Bristol-based group who appeared to emerge from below the radar of near-all in early 2020 and in the presence of one of the most captivating records of that year. This latest 23 minute, four song collection, recorded in various stages and locations over the last twelve months, does nothing to detract from those first impressions, refining the woozy and shimmering oddness of their debut into an avant-pop sensibility that is increasingly their own.

If the group did arrive fully formed, what that form was did feel supple and hard to grasp. They were, in a sense, essentially new sounding, or at least ghosts between the established lines, and with this new record have doubled-down on their inherently Delphian instinct. At its heart, In Spring is a record of subtle contrasts, experimental yet familiar in its intimacy, obviously modern though tied to certain lineages, and driven by a pop logic which is also free-form and seemingly improvised. Their approach to sound is perhaps the guiding principle here, less concerned with genre as it is texture and feeling, drawing from jazz, folk, modern composition, trip hop and downtempo electronica, yet evading all of those categorisations. Tara Clerkin Trio are too generous of heart to be ripping up any rulebook, they simply seem oblivious to its need.

Their geography does provide some context. Bristol's progressive sonic heritage inescapably bleeds into these four tracks, the enclave of open-minded artists around Planet Records in the mid 90s perhaps the closest point of comparison. There's that same magpie spirit which is both futuregazing and aware of its past, though is mostly set on finding its own path. This is in essence what defines Tara Clerkin Trio, feeling their way through freedom of instinct and curiosity, forging their own desire lines. Not so much taking the road less trodden, just walked at their own winding pace.

"Done before,
And I'll do it again"
Ringing in my head
While I try
To feel

Studio One was founded by Clement "Coxsone" Dodd in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.
Amongst its earliest records were "Easy Snappin" byTheophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one of the largest and most reputable sound systems in the Kingston ghettos.
The label and studio were closed when Dodd relocated to New York City in the 1980s.

More Rice is back with their 7th release, “Double-O-Seven”, the first split EP between More Rice head honchos DOTT and Sarayu. The Ep showcases the artists’ own way of interpreting the acid bassline.

The A-side Bullets On The Floor is built on DOTT’s signature basslines on a 303 with a moving atmospheric background texture throughout the track, combined with haunting noises and melodies from his trusty Prophet 6. Pricey Drive Down was made with the same foundations and instruments, with the idea of creating something different with the same timeframe.

On the B-side, Sarayu’s 4am Sci-Fi features a prominent arpeggiator throughout the track together with a rhythm created from a sequencer. A surprise on the second drop included, one for the dance floor. On B2, a trancier track of the EP, comes with rolling acid basslines with drums that keeps the tracks moving.
Made for club use!

Presenting 'Swinging Flavors #12,' the latest sonic exploration by Tokyo-based sound craftsman, T5UMUT5UMU. In the pulsating track "Bolt," he deftly blends elements of techno, breakbeat, and jungle, offering an intergalactic journey through the diverse universe of bass music. Released under Beat Machine Records'
Swinging Flavors series, this digital and 7" vinyl release invites listeners to embark on a cosmic adventure.

T5UMUT5UMU, a genre-defying producer, skillfully navigates the space between tracks united not by traditional genre labels but by vibe and style. With techno, breakbeat, and jungle as his guiding stars, his music draws inspiration from Eastern cultures, seamlessly woven into UK-style club tracks. Fusing elements like HARD DRUM, dark breakbeats, grime, and DnB, T5UMUT5UMU creates compositions that transcend boundaries, captivating audiences globally.

The remix of "Bolt" by Mani Festo mirrors the rapid and diverse stylings found in his towering catalog. Mani Festo, caught in the tension between futurism and tradition, is a champion for the transformative power of club music. As part of the Club Glow
collective, his dynamic sound ranges from breakbeat science to electro machine funk, elevating 'Swinging Flavors #12' to new heights. The remix, akin to a warp-speed journey, propels the original track into uncharted territories, delivering an electrifying experience anchored by heavyweight rhythm craft.

Together, T5UMUT5UMU and Mani Festo invite you to lose yourself in the cosmic magic of 'Swinging Flavors #12,' a release that transcends musical boundaries, celebrating the joy of exploration within the vastness of bass-infused soundscapes.

DRIVETRAIN/The Moonlight
A steamy and impassioned orchestration lead by a captivating vocal mantra, tribal percussions and the soundtrack a late night chronicle.

DRIVETRAIN/Moonlight & You
Driven by drums and bass, the jazzy ambience of voice and melodic chord progression sets the stage for a big crescendo.

G-PROD/Moonlight
A wall of mesmerizing pads float fluently atop the velvety, abduction of the dominating groove provided by the rhythm section.

G-PROD/Moonlight (David Duriez Floating Light Mix)
Adding a different spice to the mesmerization, the remix is an intoxicating acid adventure through the frequency spectrum.

Up next on Renegade Methodz is label head Endlec. Following last year's "Cycle of Doom" EP, the Greek producer returns to the label for his first release of 2024.

Dry loopy techno, composed with classic techniques, yet designed for the modern dancefloor...the 'Futur Akustik' release finds Endlec returning to a sound that has defined him earlier in his career and showcases the producer's knack for memorable sonic designs and admirable studio prowess.

Minimal in its components and pristine in the sound processing, the listener is presented with a cohesive collection of classic techno tracks that blend a mix of raw, percussive, driving elements and powerful kick drums with ever-dominant synth lines, providing a sense of intensity and raw emotion to all cuts, while straightforward techno rhythms keep the record dancefloor-regulated.

Cando return to Le Chatroom to inaugurate the label’s first full length EP, backed with remixes by Bakongo and Kouslin and accompanying illustration and graphic design by Charlie Maclagan (AD93/Only Ruins/Shapework).

Since their debut on Livity Sound and subsequent appearances on Par Avion, Pressure Dome and Le Chatroom, Cando have been carefully refining their percussive bass heavy sound. The ‘Clutch’ EP is confident and distinct, from all-out slammers to warm and fuzzy synth excursions — the sound palette is diverse but has Cando written all over it.

Sleep Now Forever is the second and final album released by Sorrow, the post-Strawberry Switchblade group fronted by singer Rose McDowall. Originally released in 1999 and long since deleted it is a cornucopia of pastoral, elegiac folk music, swirling atmospherics, hymnal compositions and above it all the alternating towering and fragile vocal performances of McDowall. Recorded in the late 90s with fellow band member and co-songwriter Robert Lee, Sleep Now Forever is the definitive statement by the now defunct group and Rose McDowall’s most complete long-form work to date.
Released through the group’s own Piski Disk Records, Sleep Now Forever was distributed by World Serpent which struggled through the early 2000s with financial woes, eventually folding due to bankruptcy in 2004. Due to the company’s troubles, Sleep Now Forever was never distributed widely and was a victim of the company’s failure. Released on CD only, original copies are now rare and only traded on second hand channels. Remastered by Mikey Young for a limited vinyl release, Sleep Now Forever will be released on April 20th on double vinyl format, with one side an exclusive etching by Glasgow artist Holly Allan.
Despite its rarity, Sleep Now Forever enjoys a firm cult following. The album’s textures are expansive, lush, deliciously detailed and celestial. Recorded in home study Velvet Hole by Rose McDowall and then-husband Robert Lee, the album enlists an array of players from the underground Neo-folk / industrial scene: Nigel McKernaghan (Uilleann pipes, Whistles), Susan Franknel (Bassoon), John Contreras (Cello) and Lawrence Frankel (Oboe, Cor Anglais). The eleven songs here revolve around McDowall’s instantly recognisable voice. Brought up singing in the Catholic Church, McDowall’s vocals are impeccable and angelic, particularly on tracks like Turn Off The Light where her experiences with religion are canted over soaring oboe and guitar backing. By far the most evolved and realised version of Sorrow’s vision, it feels somewhat criminal that music this beautiful could be lost to time until now.
McDowall’s lyrics throughout Sleep Now Forever deal frankly with mental health, depression, altered states, death and redemption. Wave upon wave of harmony drench each song, McDowal’s vocal multi-tracked and imperious. Opener Soldier benefits from Robert Lee’s use of the studio as instrument, summoning forth a lilting group performance of sparkling guitar and percussion that recalls the Velvet Underground. Mikey Love’s master treats the compositions to brand new frequency dynamics and space. Harmonium and string drones form the counter to McDowall’s vocal on Love Dies, a slow, lurching lament that feels transcendent. On Haunting, the arrangement is orchestral and aching, bleeding into Fear Becomes You, with chord and harmony structure that recalls the baroque sixties pop of West Coast Pop Experimental Art Band or the 60s psychedelic folk movement. A towering, beautiful statement, this elegy for times lost and moonlit-illumination is finally resurfacing from the darkness.

Twin Cities duo Feel Free Hi Fi return to their in-house imprint Digital Sting with their first full length entitled “I was so far in I was out.” After two prior EP's and collaborations with Equiknoxx and Duppy Gun Feel Free Hi Fi deliver 8 new tracks of their distinct but eclectic digital dub. Amalgamating many of the sounds, sonics, and aesthetics of prior releases into these eight percussive instrumentals. The industrial dub and weirdo dancehall remain but the focus is further refined while also exploring environmental and cinematic sounds to create often dark and heavy versions that are as singular as they are collective, as introverted as they are expansive.

The records come in double sided silk-screened printed custom DJ Jackets, with Obi Strip style stickers and hand stamped white labels created and printed by Digital Sting.

10 Years Anniversary compilation LP.

Ten years ago, on 21 April 2014, Russian enclave of the Baltic Kaliningrad-based trio Blind Seagull started off its adventure in the soon to be known as Sovietwave aka Russian post-punk underground. Tean years later they have accomplished to release nine full-length albums on all sorts of limited edition formats such as LPs, CDs, tapes with most of them being sold out for years.

It was time to bring many of these tracks back to life, picking up the best among them and reissuing for the global post punk/darkwave niche.
Fifteen cuts previously released by labels like Detriti, Sierpien, Pine Hill through which the band led by Denis Zarubin has shaped its own brand of icy coldwave, one pretty classic and extremely fresh and contemporary at once. On top of these we have one more track exclusive to this release which is a eurodance-oriented remix for their minor hit Animals Die in the Scaffolding. Think of a bunch of goth kids screwing around at the local carnival and you’ll get the vibe!

Decade Of Effort is due on April 21, 2024 on white vinyl LP limited to 300 with fairy-tale artwork by the band enhanced by the magical lettering of young Spanish artist Sara Fornés.

NYC dance music legend Joey Longo has been a part of the dance music soundscape for those in the know from way back when, his first records surfacing in 1989 under a variety of monikers and on a slew of labels out of NYC. Some (Cabaret, Loop d'Loop, Foot Stompin') were his own, others (Underworld, Maxi, Minimal) not, but the they always came bearing the credit 'produced by Pal Joey'. Joey hit the heights early on, as one of his earliest records, Dance (as Earth People), went big in dance music terms. If you were raving in the early '90s chances are you will be getting flashbacks from 'Dance', as it was played across a number of scenes. A deeper 'beats' mix features on this gem of an album, his first in over 10 years, along with a perfectly selected blend of classic cuts, new versions and remixes and unreleased wonders. Mastered to perfection, but keeping his raw New York style.

DJ Elephant Power (Nicolas Baudoux) based in Brussels, Les Octaves de la Musique awarded musician, is returning with his new EP ‘Blowing From Above’ on May 2024 with limited edition vinyls. The abundantly creative producer never tires of exploring the possibility of new sounds and rhythms. This time he delves deep into numerous genres from breakbeat to bass and he added more colours on each track which composed, performed and produced by himself. Mastering was done by Beau of Ten Eight Seven Mastering in UK. This new EP will be the first page of the upcoming album in June 2024.

‘Blowing From Above’ feat Eunsol

Now you entered the city where you can feel the atmosphere of heat with full of energy. Under the welcome sign of breakbeat and bass, you breathe the dopamine of electronic dance deeply. Alongside baseline skyscrapers covering the sound of this city, mysterious Korean words lead you to hyper pop buildings. Across the traffic lights with barking dog and staccato synth arpeggio on the road, you reach the futuristic bridge between jungle and grime.

‘I Got You’

Under the repeated street lights of ‘I Got You’ scratch samples, you are in the car passing through continuous cowbel 808 sounds on the techno road. In front of the funk graffiti wall, a powerful metal guitar sprays the paint with no compromise. Buildings of synth grab you to follow the new banging club anthem.

‘Shades’

Curly hair architect, who is well known for perfectionism of repeated linear, built a new Mantronix satellite laboratory. This is located on the mountain of Detroit and built on the solid ground of analogue synth signals. Filtered synth and bassline are the main columns of the building. In the main lab, the next satellite has been developing on woah woah sound mattress. Visitors can experience zero gravity in the room in the middle of kick and snare which provides perfect unbalance.

‘Infinity’

A colourful new dish is ready for you. You will feel beautifully balanced and harmonious tastes of progressive techno, trap and bass. This astonished dish was sourced the very best of heavy bass and synth melody for well balanced scent with thoughtful contacts. Geomungo, a traditional Korean string instrument, enhances and amplifies stunning ingredients and it makes a highlight with amazing pairings.

To describe an album as "electronic music" has long been an understatement. "Romanticismo siempre" is a good example. Recorded mainly using synthesizers, the album travels a territory that borders on the experimental and the dancefloor, entering at times in both fields.

Andrés Téllez, Delone, states in its title a clear commitment: "an ode to life, to never lose that passion that is the engine that pushes everything, no matter how many obstacles there are along the way, such as love, madness or death". The need to express this is at the origin of the record.

His musical language is rich and varied. Among synthesizers, analog experimentation, drones and psychedelia, many of the subcultures that have shaped what was once called "electronic music" appear. Flashes of trip hop, new age and proto-electronics are amalgamated throughout the album, together with hints of mutant house, breakbeats, IDM and trance. Other genres peripheral to club sounds, such as post-rock or kraut, also appear.

The idea of creating something that could almost be considered a soundtrack is present, but Delone's singularity has taken the album down a different path, using his own musical vocabulary to articulate a narrative that leads him towards his desired destination, keeping experimentation and dance culture, constants in his career, very much in mind.

In 2014 and together with his partner and friend Carlos Trujillo, Andrés created Riverette, a record label that became a record store in the center of Madrid, with his studio in the basement. From there he unleashed his productions as Dos Attack and his first works as Delone. Riverette quickly became a key creative pole in the Spanish electronic underground, and the label has released records by Legowelt, Kornel Kovacs or HAAi.

Throughout the eleven tracks of "Romanticismo siempre", a story materializes in which the protagonism falls on the adrenaline of passion. Through a very personal sound, with a certain introspective vocation, Andrés tells us a wonderful tale with the help of exquisite arrangements and a rich expressiveness.

"Romanticismo siempre" is a polyhedral album that can change with every listen, with every track, and reinterpret itself almost with every playback. It is a complex record, delicate and full of nuances, at the same time charged with a powerful and primitive energy.

Veteran is the second studio from renowned Baltimore rapper, JPEGMAFIA. It was released on January 19 2018 by Deathbomb Arc and Republic Records. The album was released to widespread critical acclaim and brought JPEGMAFIA to the forefront of contemporary and experimental hip hop. NME, Pitchfork, Rolling Stone, Noisey, and Spin all listed Veteran in their top 100 albums of 2018. In 2019, Pitchfork listed it at number 171 in their list of best albums of the decade. The album features JPEGMAFIA's most streamed song, 1539 N. Calvert.



As described by Pitchfork: "Entirely self-produced, Veteran is a remarkable exercise in sound and texture. At its best the production makes the frayed edges of each element part of the atmosphere, a mess of distortion that works percussively and melodically." JPEGMAFIA has since established himself as one of today's premiere contemporary and experimental hip hop artists, with over 1.5M monthly listeners on Spotify, and 500K+ Instagram followers.

Joseph Capriati is firmly established as one of the greatest techno DJs in the world, but growing up in Naples his first connection with electronic dance music was actually in the House Music genre. “Peace And Blessings” feat. Arnold Jarvis is Joseph’s very personal tribute to this genre, where he produced a track that he felt encompassed the vibe and spirituality of House Music. He wanted a song and vocal performance that would equally represent all the best qualities of the genre, and joined with one of the industry’s most iconic and legendary vocal talents Arnold Jarvis to write lyrics and deliver a vocal performance that perfectly complements Joseph’s percussion and synth driven track. Bushwhacka! on board as Mix Engineer on The Groove Mix.

Warehouse Find!

Tornado Wallace has made a rather rapid climb up the hype list since his debut release here on Delusions Of Grandeur in 2010 and deservedly so. Definitely one to push quality as opposed to quantity, the Melborne wunderkind has chosen to focus on just a select few remixes and releases which has stood him in very good stead and created demand as a DJ and producer with genuine integrity as well as talent. In addition to his two EPs on D.O.G he also released an EP for Instruments Of Rapture as well as making remixes for Home Taping Is Killing Music, Kolour Ltd and Future Classic. He is also responsible for one of RAs best and most popular podcasts this year.

Warehouse Find - Test Pressing!

Northern California psychedelic sorcerers Carlton Melton are brain surfers, mind trippers, … “psychlists,” if you prefer. The band will take your head for a ride, occasionally rushing at superluminal speeds through a wormhole or gliding softly on a gentle breeze in a leafy glade. Sometimes your brain needs to rage, and sometimes it needs to repose. For a decade and a half, the band has yo-yo’ed, almost schizophrenically, between these two modes: walloping space jams with furious guitar solos in one hemisphere of the brain and ethereal, feather-light splashdowns in the other. Not to mention a track here and there that builds from the latter into the former. But with two new releases in 2023, the band has evolved. Whether psych rock or ambient trance, their sound remains driving, organic, and flowing. With the addition of Anthony Taibi (White Manna, DDT), however, the group’s metal freak-outs are Hawkwindier and their droning kraut trances are Spacemen 3-er. In January, the quartet released the playfully spacey Resemble Ensemble, recorded in Taibi’s home studio 3D Light. October now sees the band Turn To Earth, a work with scents of Autumn, a season of death and transition. The cover art evokes a vine-covered, electric crucifix. The sound is, well, earthy but also gritty and striving towards change. The album was recorded in Fall 2022 and now harvested in Fall 2023. Phil Becker (Terry Gross, Pins Of Light) contributed drums and percussion to a few tracks on Turn To Earth, recording the album at El Studio in San Francisco.

With Becker at the helm, the synths have become more prominent (“Cosmicity,” “Roboflow,” “Migration”) and the tone heavier on the doom (“Cloudstorming,” “Unlock The Land,” title track): several moments could even serve as background music for epic dark fantasy films like Conan the Barbarian, Fire and Ice, or Heavy Metal. As exquisite as Turn To Earth is, Melton are best appreciated as a live act: their recordings as well as their gigs are largely improvised – not so much composed as birthed. And yet their most recent tour ended abruptly and perilously. The group had to cancel its final three shows once members were admitted to Arnhem hospital in the Netherlands. Five years later, reinforcements have strengthened the band and restocked its arsenal of great tracks. After the rockus interruptus of that 2018 tour and the tantric tease of the intervening Covid lockdown, Melton have some unfinished business. An October 2023 tour is poised to set the freshly minted quartet back onto the stages of Europe and within the cerebral folds of its fans. Turn To Earth, sure … but keep your head in outer space. Carlton Melton is: andy duvall – drums/gtr; clint golden – bass; rich millman – gtr/synth; and anthony taibi – synth/gtr.