Cerca:you are

Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Enrico Sangiuliano)

Pioneering, avant garde yet chart-storming sound designer/producer/live performer Enrico Sangiuliano drops EP ‘Order In Chaos’ as release #1 in his self-destructing countdown imprint ‘NINETOZERO’, out 20th November. The EP’s three tracks respectively represent a triptych of sound exploring tension, release, and dissolution, with violinist and composer Vito Gatto joining Italian techno/melodic maestro Sangiuliano for tracks 1 and 3. The EP blends electronic, classical and electro-acoustic genres, resulting in a fresh, unique product that defies typical techno expectation, as Sangiuliano and Gatto explore the concept of disorder as a creative playground.

‘With this chapter, we dive into chaos – something that can be uncomfortable, but is the place in which you can find unexpected or new ideas. Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Sangiuliano)

The ‘Order In Chaos’ EP continues a momentous year for Enrico Sangiuliano, and heralds his upcoming all-night-long SOLO show at Nitsa in Barcelona (Nov 28th, tickets here). His highly acclaimed NINETOZERO label has also previously featured Charlotte de Witte, Antonio d’Africa, Mattia Saviolo, GMS, Alex Lentini, STOMP BOXX, Zimmz, Secret Cinema and About Sofiya.

Vito Gatto is a Milan-based violinist, composer and sound explorer. He is the founder of label/collective NeMu (‘Neutral Mutation’) producing Italian projects at the interface of electronic and organic sound. His self-description as ‘Making sounds, looking for silence’ makes him the perfect collab partner for ‘Order In Chaos’, which ‘embraces the paradox: chaos births order, and order dissolves back into chaos.’

‘Whilst classically trained, I have always been fascinated by the world of electronic music, in all its expressive forms’ Gatto says. ‘I use real instruments and natural sound sources processing them through electronics to enhance their unpredictability, always remembering that the core of music - whether classical or electronic - is communication and storytelling. This philosophy guided our creative synthesis on this release.’

The collaborative workflow combined remote and in-person studio work over roughly a year, culminating in these three key tracks reflecting different musical and conceptual layers.

‘Order In Chaos’ EP tracks:
Enrico Sangiuliano & Vito Gatto ‘Adaptation for Strings and 909’: A cinematic overture built from the raw intimacy of Vito Gatto’s violin, processed and layered with unquantized 909 drums. Out of grid, out of rules. Drama and turbulence surge until thunderous kicks strike like sudden storms. ‘This track symbolises both of us. Vito sent the strings, I added the iconic Roland 909. It has no structure and no grid, the arrangement is not precise, it’s a very pure track and a great example of disorder and freedom.’
Enrico Sangiuliano ‘Order in Chaos’: The title track is a pure techno weapon and dancefloor igniter: rolling, stripped, euphoric. A shape-shifting lead synth constantly mutates, flirting with disorder until the kick restores gravity. Chaos becomes dancefloor order.
Enrico Sangiuliano & Vito Gatto ‘Dissolution’: The closing moment. Strings and drums dissolve into a weightless drone. Beatless and infinite, it invites surrender into space. ‘This cinematic track slowly melts ‘Order in Chaos’, adding processed organic sounds and field recordings from the mountains.. coming back to nature, and silence.’ (Gatto).

Still #0 to go in the NINETOZERO countdown… And then what? With Sangiuliano, it’ll be something unexpected and brilliantly innovative.

The interstellar electronics are once more pushed to the fore on closer '80 Axes', where jaunty synth lines combine with soft bongo hits to create an instinctive rhythm, and intergalactic melodies sprint between the speakers. You can dance if you want to, but lying down is very much encouraged.
As part of the label's mission to champion Dutch talent, Voyage Direct has always promoted new, up and coming, and little-known producers. Boss Tom Trago's master plan includes building a family of artists, in part through helping unheralded local producers to fulfill their potential.

On the label's latest release, he continues that approach, serving up a debut 12' from a mysterious young producer known only as Darling. Those paying close attention to the wider Dutch house and techno scene may have spotted his recent rework of Awanto3's 'Star Butchers' on Dekmantel, in which the man or woman of mystery added some killer keys to the Amsterdam legend's woozy, deep house original.

While that rework was undoubtedly superb, Jacob's Lead offers a truer reflection of the shadowy producer's previously hidden talents. As debut EPs go, it's a bit of a cracker.

The title track, in particular, is a beauty. Its' restless, hypnotic rhythm tips a wink to classic Dutch techno of old, while the undulating, analogue electronics and swirling pads recall the far-sighted retro-futurism of vintage Motor City material. Throw in some of Darling's trademark spine-tingling keys and a deliciously loved-up breakdown, and you have a choice chunk of life-affirming techno.

On the flip, Darling heads towards deeper territory with the bubbling melodies, starburst electronics and saucer-eyed chords of 'Video'. Unashamedly positive in sound and intent, it sounds like the kind of track that will be cited as a classic in two decades time. Melodious and infectious, it casts Darling as the Netherlands' answer to Larry Heard.

Legendary Hiroaki Sugawara in the form of Sergio Maria Saguaro presents Rain Guitar.

Step into paradise alone to deeply savor an exotic experience.

“I first learned about this album thanks to GOKA, who built the sound system for my record shop, CELLAR RECORDS. Around 2019, it was praised by some connoisseurs, but it’s different from the so-called “popular ambient” sound that was in vogue at the time. This work is a Japanese obscure pop album created in 2002 by Hiroaki Sugawara, who goes by the name “Sergio Maria Saguaro,” mixing all types of exotic moods and completed in a secluded space. In particular, A-2 “Window with a Dog” and B-5 “Washing Machine” are truly a sonic paradise. When you put this record on your shelf, be sure to place it next to Tatsuhiko Asano’s excellent soundtrack “Following in the Footsteps of Doshin,” which was happily reissued in 2022, or Steve Hiett’s “Down On The Road By The Beach.”” -浜公氣 (Cellar Records)

“This sophisticated sound file paints natural landscapes, depicting rich and abundant scenes while floating through them, creating a world that is as beautiful as a kaleidoscope, appearing in the soundscape in a way that is always gentle, natural, and organic. It makes extensive use of four types of stringed instruments, modulators, flutes, and ethnic instruments, possessing a refined sense of elegant ambiance.” -Walearic / Gokaine Sound Research Institute

SPTLP008 - Aural Imbalance - Fractional Spaces LP

Returning for his third solo album on Spatial, Aural Imbalance continues his journey through the cosmos with a breathtaking array of breaks, bass and inimitable ambient wizardry.

A1 - Fading Reality

Kicking off the album we are treated to a blissfully ambient intro akin to a perfect sunrise across a tranquil unfurling landscape - just as we have come to know and love from Aural Imbalance. Long, airy washes of textured pads usher in a fantastically snappy break pattern which brings an alluring energy to proceedings, driving the track along with funnels of tuneful melodies lazily drifting by in the ambience.

A2 - This Time

Jumping right into the breaks DJ-style with a delicious Hot Pants pattern, This Time's central theme utilises a hypnotic simple but effective chime melody that plays a key role throughout the track, alongside fluttering birdsong and a luscious array of samples. The exquisite breakdown which delights with an incredible blend of bass atmospheric synths & pads is both beautiful and poignant.

B1 - Always With You

Introduced by what sounds like footsteps echoing through the darkness, Always With You lives up to its title by surrounding you with a warmth usually reserved for arriving home and nestling by the fire. Driven by delicate but vibrant breakbeats, this track showcases Aural Imbalance's relentless dexterity with ambient soundscapes dancing in perfect harmony with deep 808 bass and old school beats.

B2 - Solarity

Lightly excitable hats and elegantly filtered breaks open Solarity, a deeply evocative track with breakbeats rising through the intro towards a drop with solid analogue kicks and a wonderfully deep and persistent bassline. Sporadic micro melodies cruise the waves of floating synthwork, effects rippling gently in the foreground and background of the mix like playful phosphorescence.

C1 - First Protocol

Up next we see Aural Imbalance crack the amen knuckles with a real treat for old school heads - an ambient, synthy ambient laden with incredibly light spaced-out hats through the flowing waves is soon jolted into life by a satisfyingly crisp amen break, edited and programmed with flair and majestic detail that sits perfectly with the light, often sullen textured soundscape drifting above.

C2 - Crystals

An otherworldly landscape brimming with wonder and intrigue unfolds with Crystals, an atmospheric delight with a twist. The serene opening leads into a terrific old school break which takes center stage, punchy in the mix and edited with a precision as shimmering textures and meditative synthwork are expertly layered around the ever-rolling beats, perfect for any occasion at home or the 160bpm dancefloor.

D1 - Velarious

Continuing his showcase of breaks from across the atmospheric drum & bass spectrum, Aural Imbalance introduces Velarious with a quietly epic ambient flow, with filtered drums creeping in before the drop arrives, breakbeats buoyed by some seriously deep 808 bass and distinct hi hats. Micro melodies intersect and reverberate throughout the track to complete an enduring and eclectic composition.

D2 - South Coast Sunrise

Closing with a good old fashioned love letter to the Hot Pants break, South Coast Sunrise perfectly encapsulates its title with a gorgeous panoramic overlay of ambience, spread over an intensely memorable edit of that classic break - programmed and mixed to remarkable effect and cementing Aural Imbalance's ongoing rise as a master of edits as well as ambience, fully realised for our listening pleasure on Spatial.

dungeon acid review 25-09-03 by Joakim Cosmo A acid house style EP by swedish acid techno pioneer on swedens oldest underground label? Making a acid house EP in 2025 that makes a difference is a challenging task but this one just nails it. Here you see a softer and more musical side of Dungeon Acid in the shape of 5 dark yet hopeful Acid House tracks. Despite the classic form and ingredients it somehow avoids feeling retro but I guess this is what happens when you let a true grand master do it combined with a selector and label boss beyond the ordinary. It's like a paralell universe version of what Acid House could have become, and its a beautiful vision. A1-101-303 starts off with a dreamy, moody dubby and slightly romantic track that is just utterly beautiful in all its simplicity. The elegance and easy touch strikes me instantly. Nails the essence of the genre. One more like this and im buying it. The way A2-Unlock rewind builds up gives me goosebumps. So hypnotic and dark and experimental and the way it progresses to the ravey chord-break. The sounds and effects and details feel so alive and on the fly. In the record store this is where id already go "ok, im having this one" B1-Lonely Acid boy is yet another simple yet super atmospheric track. The contrasts between the rough robotic parts and the jazzy live solos ontop just gets to me. The roughness in the mix, that second beat with the hi-hats and extra bass, the fact that its so loud and sudden, is just great. And then we get to B2-Shnukki and all of a sudden, a romantic melodious electro track with a asian touch and acid bassline, that somehow goes well together with the other tracks. This one isnt my favourite or what I would buy the record for, but it would probably be the one I discover years later. Typical Borft Records to think that far ahead. The EP ends with B3-Chiliflex BB come on and this one starts with more late 80's ravey chords but the further you get into the track the more disharmonic, tweaky and punky it becomes. Things dont really fit together yet they do. To sum it up, these tracks are raw, funky, gutsy, streety, visionary, full of contrast and a bit challenging, just like acid house should be, but often isnt. I think Dungeon Acid and Borft Records nails it here. I'd buy doubles of this.

SPTLP007 - ASC - Vanishing Point LP

Evolving further with each release, ASC delivers his latest monumental album on Spatial, a varied and memorable journey through stunningly realised fusion of modern and classic atmospheric breakbeats.

A1 - Mystic Street

Setting a murky tone with light cymbals and synthwork flecking the intro, Mystic Street calmly purrs and growls towards a drop of analogue kicks and a sparse, menacing drum pattern to kick off this incredible album. Enveloped by a dense cloud of darkly atmospherics, the track coils with tension, each element rippling through the mix like distant memories as the suitably enigmatic bassline rumbles beneath.

A2 - Convergence

Straight into the beats with a DJ-friendly two step intro, ASC utilises sparse, sci-fi hits and persistent danceable breakbeats with a melodic bassline. As the atmosphere builds, percussive tones punctuate the swirling pads, creating a luscious sense of forward motion with echoing samples and effects combining in the mix to create a dreamlike soundscape perfect for the dancefloor and headphones alike.

B1 - Invisible Borders

No ASC album would be complete without an amen workout, and we certainly have that here as Invisible Borders rushes into view with simmering intent, melodic samples tore from battlegrounds of yesteryear providing a truly epic atmosphere, rippling breakbeat trickery teasing the listener before crushing full contact amens arrive with panache and veracity - twisted across yearning bass with an unflinching fighting spirit.

B2 - Celestial Bodies

Up next a moment of calm as we soak up the charms of the dreamlike Celestial Bodies, a soothing journey of beats, breaks and atmosphere from Spatial's label head. Melodic notes ripple across the mix with old school breaks filtering to and fro, conjuring images of a cosmic journey unfolding, where old school breakbeat rhythms pulse like distant constellations, echoes shimmering in the vast expanse of ASC's versatility.

C1 - Losing Track Of Time

Into an absolute stunner next as ASC unleashes a modern classic which has a wonderfully instant familiarity to it - like it was lifted directly from the golden era of atmospheric drum & bass. The old school breaks have a distinctive feel while a variety of pads teaming with life swirl around above. A myriad of spirited melodies develop and maintain your attention with classic 808 basslines to complete this remarkable composition.

C2 - Slipstream

Switching up the vibe in style, ASC delivers an intense, cosmic intro to Slipstream which builds gradually with whooshing effects and long female vocals before a crisp, crunchy slice of Hot Pants breakbeat heaven tears through the mix, chock-full of excitable edits portrayed in a brilliant clarity. Warm sub bass punctuates the track while a reverberating earworm melody slowly etches itself into your mind.

D1 - Paradigm Shift

A good old fashioned roller up next as Paradigm Shift sees ASC blend a superb 2-step rhythm with a sumptuous smooth bassline - guaranteed to move the dancefloor. Atmospherics take no back seat either as elegant synthwork swirls and washes across the soundscape with subtly used vocal samples adding texture and warmth to an impressively layered mix that maintains its pace right through to an echoing conclusion.

D2 - Transmitter

Sending us back to interstellar space for an inspired mission through vast unexplored star systems, Transmitter sees ASC create a stunningly evocative, ethereal collage of atmospherics with sonar-like beeps punctuating and persisting throughout. Driving the track along are the superbly programmed drums, filtered and layered with twisted, distorted vocal samples to complete this exhilarating album in pure Spatial style.

ULURU is a large sandstone rock formation in Australia. It's sacred to the Anangu, the local Indigenous of the area. For many years it had been deprived of its spiritual significance, due to mass tourism, capitalism, as well as greedy and selfishness of people who just want to make money out of it. However, as a result of the Anangu’s resilience, care and staunchness, huge changes took place in the national park around Uluru as well as in the broader public's consciousness, giving again to the Uluru the sacred identity that had been lost.

You might be reading and thinking now: so what's the point? Actually, there's no real point. I would rather say, there’s hope. The hope of seeing humans all around the world following the example of the Anangu. The hope of seeing humans finally stopping to treat the earth and all what’s part of it, what’s on and what’s in it, as a slave without soul. The hope of changing today, and if not today at latest by tomorrow. This system is failing. It's no longer sustainable, and there's no much time left.

So everybody, don't sleep, be critical.

Finally out is this eagerly-awaited release of SUNANDBASS Recordings, Hits Me In Waves EP by Mark System. Friends and close members of the SAB family know it's been brewing for the last decade, appearing in bits in aftermovies and we are beyond excited to now share it with the world.

'Hits Me In Waves' unveils three currents at once, the surging pull of inspiration, the sweep of new love, and the beautiful embrace of La Cinta's waters, all washing over in unison. Thus, each track of the EP explores a wide range of emotions and moods, expressed in multiple styles within drum & bass; the lead single 'On An Island', sets the tone with unmatched sound design, rich musical elements, and raw, uncompromising production. Next comes 'Point Of Reference', built for the dancefloor and eternally young in its refined appeal. 'Celebration' follows, a powerful track that ties the listening journey together, pairing heavy low-end weight with slick musicality to keep it both melodic and full of energy. 'Where's The Dog' stands out for its playability and tough bass synthesis, making it the hardest-hitting cut on the record. Closing the EP is the beautiful and introspective 'Started At The End', a deep dive into Mark's musical mind, offering a classic, emotive finale.

Hits Me In Waves is more than just a collection of tracks, it's a reflection of Mark's long-standing relationship with SUNANDBASS and our shared vision for music that speaks to the soul and stands the test of time. Spanning from Ibiza, this release embodies the SAB spirit: pushing the boundaries of drum & bass while fostering connection through rhythm, movement, and community.

A time capsule of Long Island boogie-funk history – officially reissued for the first time!


Founded in 1978 in Amityville, Long Island, VAP Records (Virgin Archer Production) became a cult independent label known for its infectious dance grooves, soulful vocals, and DJ-friendly 12” singles that lit up clubs from New York to beyond. Now, for the very first time, the label’s most iconic tracks are compiled on vinyl in one explosive package.
What’s inside?


This “final edition” includes the best of VAP’s rare 1979–1983 output, with tracks from the label’s flagship act Final Edition (“No Limit”, “Betcha Can’t Love Just One”, “We’re Moving On Straight Ahead”), alongside club favorite Broadway – “Let’s Make It”, plus deep gems from Kevin Keys, Jazzee, and Olivia McClurkin.
Why is this essential?


• “Betcha Can’t Love Just One” gained legendary status after appearing on General Hospital and HBO’s How to Make It in America.


• Armand Van Helden’s old-school remake of Final Edition’s B-side “I Can Do It Anyway You Want” went viral, surpassing 10+ million views on YouTube, proving these grooves still ignite dancefloors.


• Original VAP 12” singles are impossible to find and often sell for hundreds of dollars. This reissue brings those classics back, mastered from the original tapes.


Collectors, DJs, and boogie enthusiasts – this one is for you. With its blend of raw disco energy, soul-drenched vocals, and timeless funk, Best of VAP Records – Final Edition is not just a compilation, but a celebration of a family-run label whose legacy shaped the underground dance scene.

Venice, Italy – 2025 Paolo Mosca, the Italian producer, composer, and DJ acclaimed for his soulful approach to electronic music, unveils his new alias I.O.N with the forthcoming debut EP Signals, set to be released on Ritmotherapy. Known for releases on Slow Life, Altered Circuits, and a recent collaboration with Alex Neri, Mosca now steps into uncharted territory fusing experimental electronics with rock-inspired textures and raw energy for the dancefloor.

Signals is a daring reimagining of 90s sonic aesthetics, drawing inspiration from the breakbeat and hip-hop influences of cult films like Blade & The Matrix. Each track on the EP blurs the line between nostalgia and innovation, layering hypnotic riffs, rolling basslines, and gripping vocal samples with futuristic precision.

The EP kicks off with “Camouflage” , where breakbeat rhythms and hip-hop flavors meet futuristic atmospheres. A grabbing vocal, heavy low-end, and hypnotic riff drive the track into a world of cinematic tension and release.

“Escape” follows with a slower tempo, but its restrained pulse only builds anticipation. Classical violin lines cut through break-driven drums, leading to a long-awaited drop that delivers an overwhelming yet deeply satisfying release.

Next, “Neo” builds momentum with a gritty 303 bassline and sharp synths, locked into a relentless 4x4 rhythm. The track feels like an expedition through acid-soaked landscapes, equal parts raw and refined.

“They Are Looking at You” closes the EP with explosive energy, bursting with hip-hop vocals that command “don’t stop. ” Propelled by a nasty bassline and oriental-inspired synth melodies, it’s a track built to ignite dancefloors and spark spontaneous breakdance energy.

With Signals, I.O.N presents more than just an EP; It's a manifesto for a new era of club music. It’s heavy yet soulful, experimental yet deeply physical, and above all, a fresh signal to the global electronic scene that something new has arrived. Reserved for their official release on Ritmotherapy, the anticipation around this project signals a bold new chapter for both artist and label.

The first act signed to The Neptunes' newly formed Star Trak label was a Virginia based duo known as the Clipse. The first single “Grindin’” impacted the streets with its bare boned but infectious drum beat in the same way that “Sucker MC’s” did almost 20 years earlier. These brothers - Pusha T and Malice combined with The Neptunes groundbreaking production sent a clear message to the rap world – “we are not the same” (as rapped by Malice on his opening verse on “Cot’ Dam”). Clipse brings an authentic Virginia sound into the game and created a movement, with not only their darkly layered raps but The Neptunes as well. Pharrell Williams and Chad Hugo were able to combine their cyberpunk production with just the right group to create a street masterpiece. Following in the footsteps of such rap criminologists as Kool G Rap, Nas, Jay-Z, and Mobb Deep, the Clipse offer the Virginia hustler's viewpoint with clever, hard-hitting lyrics that is sprinkled throughout the entire album. With so many standout tracks on Lord Willin’ the album starts pulling no punches. On Track 1 simply (or maybe not) titled “Intro” you get a very personal and deep testament of crack and the drug game, a theme that is throughout this album…HEAVY. Songs like “Virginia” or “I’m Not You” (featuring Jadakiss, Styles P and Roscoe P Coldchain), have lyrics that play as a musical notes alongside The Neptunes tailored beats. “Young Boy”, “Comedy Central”… all fit perfectly alongside “When the Last Time” and “Cot Dam” as each song plays its part as chapters to the Lord Wilin’ masterpiece. “Gangsta Lean” (another one of the albums standout tracks) features a slightly lighter feel while paired with Pharrell's trademark falsetto hook. The truth of it is, it’s hard to just pick one track, or point out which is the albums star. Each song on Lord Willin’ is essential to making it the classic that it is. The Neptunes (who were busy turning out every other Pop hit on the radio) crafted an album that was deemed an instant classic, and cemented Clipse as Rap’s newest superstars.

Box Set: 2LP (sparkle) + 7" (transparent) + CD + Vinyl Slipmat + Booklet + 6 Coasters + Keychain + Stickers

Originally released in 2005, OK Cowboy, Vitalic’s first album, is celebrating its twentieth anniversary with a reissue in several formats (box set, double vinyl, CD, digital), enriched with rare tracks and previously unreleased versions.

OK Cowboy is a landmark album in electronic music, a pivotal record between eras.


It perfectly captures that period while also anticipating the raw, abrasive new sounds of French Touch 2.0 (the movement led by Justice and the artists of the Ed Banger label). Twenty years later, the impact and power of this major album still mark it as a defining release of the mid-2000s, retaining its full sonic relevance today.



Box set contents: double LP, 7-inch single, CD, vinyl slipmat, booklet, 6 coasters, keychain, sticker

Default Mode by Raleigh & Takenaga continues the newly established X series – Harmony’s platform for new voices and limitless exploration. Hailing from Prague, the duo embodies the next wave of adventurous sound design and musical talent from the imprint’s home town.

Incentive Program opens the EP’s A side with a drifting, trance-tinged flow wrapped in sweeping pitch movements and fractured vocals. The track sets a shadowy, almost sinister atmosphere, pulling all witnesses into its slow-burn gravity. It’s a steady build, tipping the floor over the edge. Stiff Envelope pulls you into its depths as it continues to build tension with resonating synth hits that quiver over a powerful trance foundation. With a few moments of silence that let its unsettling atmosphere settle across the stereo field before swinging back in at full force, this one is tailor-made for big systems.

B side’s Ground Floor carries on with metallic swells and shimmers that ring underneath the surface as the tension built on the A side bursts, settling into a grounding four-on-the-floor moment and leaving just enough time to breathe before Raleigh stirs up a concoction of devious vocals, snappy percussion, and a seductive bassline that lifts the mood tastefully. Takenaga wraps up the record with Head Count, a razor-sharp blend of crisp percussive cuts and stuttered crumbles that are seeking the perfect pitch all the way, climbing up and down. Heads are counted on a lively groove that radiates playful momentum and commands the dance floor to get in formation, keeping a tight rhythmic focus. Infused with the pulse of UK club culture, this track delivers a fresh and forward-thinking sound perfect for adventurous turntables.

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

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

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

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

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

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

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

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

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


credits

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

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

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

Our journeys into uncharted lands of the Reducerverse continue.

Essential must-buy shit for all disciples of: The Rootsman x Muslimgauze, Love's Secret Domain era Coil, Chris & Cosey, Meat Beat Manifesto, early Reinforced Recs, Shut Up & Dance, He Dark Age, Zombies Under Stress, SPK.

If you've just joined us: Reducer ARE the greatest lost dub punks. Rumoured to have almost signed to On-U Sound but told Sherwood to stuff it when he wanted his hands on the desk. Fame never found them, cos they didn't want it anyway. Living in the obscure memories of the select squatters and weirdos lucky enough to have had their minds blown, their first recordings were scraped off the linings of the cosmic dustbin recently through a series of self-released 12"s, cassettes, USBs and strangest of all a 3D performance screened at the Cube (in association with pals Bokeh Versions).

In short: Reducer's the most thrilling fairytale resurrection these pages have been privy to, joining 23 Skidoo, Killing Joke, PiL, Slits, Terminal Cheescake etc on the Mount Olympus of the Punky Reggae Party.

This latest slice of karmic justice comes from The Human Aerial aka Reducer's guitarist and prime mover Hooly. And ohhhh what a justice it is. Drawing on 40 years of private solo recordings across 7 tracks from Abu Ama style dabke jaguar steppas punishment to thumping bass-led electro, peak Depth Charge dubby big beat to careening breakbeat hardcore, trashcan gamelan spirituals and Jamie Vex'd style maximalist beats blissouts,

Tying together this jaw-dropping range of styles and fashions is a relentless sampladelic bombardment. The Human Aerial's habitual pilfering of TV and radio for into lovingly spliced tape loops and samples showcases humanity at its best and absolute worst. Tele-evangelists rub shoulders with long dead chieftans: "there is no death, only change of worlds" "We're MAD AS HELL AND WERE NOT GONNA TAKE IT ANYMORE" "THe land is sacred, a cathedral of the spirit". These wisdoms and grave sins slip into us subliminal through the dance, the needle drops like a waking dream.

While the Reducer archives may be running low, we assure you the Human Aerial coffers are full. And long may our minds be blown by this ongoing renaissance.

US label Lovers Rock Recordings is back with more sophisticated soul sounds from bona fide legends. There is no deep digging involved for the source material here, but that's not to say the results aren't still essential. First up are the beautifully horizontal grooves of 'Hang Onto Your Love (instrumental)' with dancing keys adding a little playfulness up top and syrupy bass melting the heart from below. On the flip is 'No Ordinary Love (instrumental)' which is an even more slow, immersive sound with gloppy bass and drawn out chords all slowing time and softening reality. No brainers for late night lovers.

Black Midi war von Anbeginn der Band ein illustres wie kreatives Tummelbecken für die Mitglieder der britischen Band - nun löst sich Geordie Greep mit seinem am 4. Oktober bei Rough Trade Records erscheinendem Solo-Debüt noch mehr von jeglichen Einschränkungen und Kompromissen! Eines der Hauptthemen von Anthony Powells Roman "A Dance to the Music of Time" ist der Kontrast zwischen jenen Charakteren, die nur von Macht getrieben werden, und jenen, die mehr mit den sinnlichen Freuden des Lebens in Einklang stehen. Unweigerlich holen die Zeit und das Schicksal jeden Protagonisten ein, und der Leser kann darüber nachdenken, ob ihr Schicksal gerechtfertigt ist oder nicht. "The New Sound" wirkt oft wie eine Wiederholung von Powells Thema, untermalt von einem schrägen - und völlig verkabelten - Palm Court Orchestra. Das Album ist mit Sicherheit eines, das den Hörer über die gesamten elf Tracks hinweg voll in seinen Bann zieht. Greep: "Ich war besorgt wegen der Länge, um nicht zu viel zu verraten. Aber ich bin es auch verdammt leid, Musik zu hören und im Voraus zu wissen, was sie bedeutet oder was sie zu tun versucht. Bei all meiner Lieblingsmusik geht es darum, dass der Hörer sich mit dem auseinandersetzt, was vor sich geht. Meine Lieblingssänger, wie Peter Hammill oder Nat King Cole, sind buchstäblich einmalig. Das liebe ich. Vor allem bei Texten, bei denen man nicht genau weiß, worum es geht, aber man weiß, dass es nicht nur abstrakte Gedanken sind."

Warsaw 480km ist das Debütalbum des irisch/portugiesischen Quintetts pôt-pot, das die treibenden Grooves des Krautrock mit einer phosphoreszierenden Psych-Rock-Ausstrahlung verbindet, unterstrichen von Harmonium-Drones, hypnotischen männlich-weiblichen Gesangsharmonien und tiefen Schichten rauer Texturen. Das Album entstand in erster Linie aus Demos des Multiinstrumentalisten und Leadsängers Mark Waldron-Hyden während einer Zeit der Trauer und des persönlichen Umbruchs und wurde durch eine Reihe von Live-Studio-Sessions in voller Besetzung zum Leben erweckt, die ein außergewöhnliches Spektrum an Talenten dokumentieren, die sich in einer Umarmung der rohen Katharsis mit einer süßlich düsteren Kante vereinen. Ein entscheidendes Element von Warsaw 480km ist die beeindruckende Bandbreite an Einflüssen und atmosphärischen Landschaften. Waldron-Hyden beschreibt: ,Ich habe die ersten Songs geschrieben, als ich noch nicht wirklich an einem Ort lebte, daher denke ich, dass sie sich irgendwie vergänglich anfühlen - sie mit der Band zu entwickeln half mir, eine Zeit zu verarbeiten, in der ich emotional frei war, daher erinnern sie mich gleichermaßen an die schönen Erfahrungen, die wir als kreative Einheit teilten, und an die schwierigen Zeiten, die sie inspirierten." Die Leadsingle ,WRSW" ist ein Beispiel für diese Komplexität, denn ihr robustes rhythmisches Rückgrat trägt Tremolo-Gitarren, ein wummerndes Harmonium und eine halb gesprochene, an Lou Reed erinnernde Gesangslinie, in der Strophe und Refrain wunderbar miteinander verschmelzen. Vor allem ist Warsaw 480km ein Album, das seinen Reichtum und seine Aura durch bewusste Sparsamkeit erreicht, wie Waldron-Hyden erklärt: "Ollie Oliver Smith und Sara Sara Leslie sind Experten darin, das Beste aus einem Pedal, einem beschissenen Verstärker und einer geliehenen Gitarre herauszuholen, ein Ergebnis von angeborenem Talent und jahrelanger Erfahrung; sie verwenden einige Modulationen für dröhnende Passagen, aber es sind ihre Spielstile und ihr Verständnis für ,den Vibe`, die die geheimen Zutaten sind." Diese Art von intuitiver Verbindung und Zusammenarbeit ist unglaublich selten, und mit diesen zehn Stücken vollbringen pôt-pot etwas wahrhaft Entrücktes, indem sie tiefen Schmerz in eine leuchtende Träumerei alchemisieren. Für Fans von Lewsberg, Spacemen 3, Spiritualized, Brian Jonestown Massacre, Velvet Underground, The Oh Sees, Ty Segall, Uranium Club, Night Beats, Goat, Black Lips.

Beau Wanzer is back with another meaty morsel of undercooked music for the starving beat eaters. This slobbery slab serves up a mix of gothy goobers and techno toddlers....scavenging the dance floor for another hit to make it through the night. Who will win?

His 7th release on his recently reactivated self-titled imprint. A conveyor belt of gurgles and spurts for the doomed dancer.

Labas, ka tu ? I am ready to show you Rayonas - Speedy House Vol.2 !!

As the world time and us are becoming faster I decided to work on my OWN style and genre :
Speedy House - fast house music on 145-150bpm
it goes well with groovy / tribal 90s / techno.

Speedy House releases will be divided into VOL. sections.! i am not changing character just adding some Roller Skates to go faster and from speed light comes some colours on top of it.