Suche:an on bast

End of summer is nearby again and Luise is reminiscing this year's precious moments. With a touch of melancholy and weightless beauty Zazou & An On Bast are setting the right theme for the upcoming autumn days. While knowing and following each other's musical progression for years, this celebration of polish-german friendship came off with unexpected ease and utterly pleasing results. In the spirit of collaboration this release is supported by Basel's charming Arutani on the vinyl side and Luise's own Niju aswell as Plattenfreund Gottlieb Scheppert on the digital outlet. Completion it is by any means.

Xistence Records reaches its eighth release with what may be its most important record so far, bringing together four artists whose music carries the spirit and evolution of Detroit techno. With selections reaching back three decades alongside new material, the EP connects different eras of tracks that exemplify the raw soul, machinery and futuristic thinking at the style's core. Sean Deason opens with 'Time Warp', originally appearing on his Matrix label in 1996 and finally receiving its first vinyl release. Thirty years later, its dramatic entrance and surging rhythm have aged perfectly. Energy is matched by genuine depth and soul, with its futuristic energy at the heart of it all. Label owner Arbilla follows with 'Electric Storm', harnessing the power of a great techno groove creates a blend of infections elements working in harmony. The second side reaches back to 1998 for a previously unreleased DX-9 production. A pounding Chicago warehouse beat meets the mechanical precision of Detroit, while a heavily over-arching acid line fuses the marriage these two deep-rooted cities. Legendary producer, Orlando Voorn closes proceedings under his Basic Bastard alias with 'Alone Together'. Perhaps the sickest groove of the EP. opens up a spacious atmosphere that gives the track an almost celestial quality. Inspired by Detroit techno’s evolution and its key figures, Xistence continues to show why it has become one of the rare trusted homes for proper techno.”

(Tim Humphrey from Electric Cafe)

In 1990, Pop Will Eat Itself released their third studio album. The British alternative rock band drew on many popular genres of the time, making them their own. Hip hop, industrial rock and alternative dance are all featured on Cure For Sanity.

The band also enjoyed success in the UK Singles Chart, with four singles reaching the top 40.
This album contains 1991 reissue of the album and is now available on a 2LP set for the first time.

Cure For Sanity is available as a limited edition on purple coloured vinyl and includes an insert.

The small print:
• Due to rights restrictions, this item is only available for customers in Europe.

Once upoun a time Fat Mike came up with the idea of calling up 101 of the best old and new punk rock band around, have them each record a 30-second long song, then put all the tracks out on one record to make the best punk compilation ever. And guess what, the dream came true. The 101 most famous punk rock bands around doing each a 30 seconds long song Back in print for the first time in ten years! Pressed to Lime Vinyl Features super rare songs (recorded exclusively for this compilation) by Green Day, The Offspring, Blink- 182, Pennywise, Rancid, Less Than Jake, The Vandals, Bad Religion, and more

In their countless years of deep digging, Dark Entries has uncovered many curiosities, oddball Italo and synth-wave creatures too rare to live, too funky to die. Dark Entries’s conservationist efforts began with 2020’s Endangered Species Vol 1. Six years later, we are finally treated Endangered Species Vol 2, an even more ambitious effort which features eleven specimens previously deemed extinct, now safely preserved on vinyl. Things kick off with an extended mix of Palazzo di Danza’s “Play That Song For Me,” a lavishly produced German-Italo number propelled by a slinky bassline. Russian Olga Vosconyan’s “Cars” delivers what might be the moodiest song ever produced for a car commercial.

Fuzz Dance maestro Alexander Robotnick appears with a previously unreleased male vocal demo version of “I Wanna Believe,” a legendary track that would later appear under the name Gina & the Flexix. Canadian industrial royalty Dwayne R. Goettel (Psyche) and cEvin Key (Skinny Puppy) team up on the horror-sampling hit-heavy blaster “Bastards.” Belgian EBM progenitors à;GRUMH... report for duty with a slab of machine funk on “The Army.” UK DIY stalwarts Khmer Rouge bring Krautrock-inflected minimalism with “Take Me (Across the Floor Tonight) In Dub.” Endangered Species Vol 2 comes housed in a sleeve designed by Eloise Shir-Juen Leigh, and includes a 16 page booklet featuring liner notes, lyrics, and photographs of each featured project. Please assist Dark Entries in their efforts to preserve the rarest of beasts (and beats).

A.P. and Rowland The Bastard provide 2 tough warehouse techno tracks each for the iconic Cluster label. A.P. gets slightly funky on City Fever but then pounds hard on You Are What You Are, whilst Rowland delivers sinister grooves on Barabas, and more straight ahead dynamic power on Overlab Sub Stab.

Ghanaian producer, songwriter, and cultural innovator Delasi has earned international recognition for his forward-thinking blend of traditional Ewe rhythms, soul, jazz, hip-hop, and electronic music, with recent releases on Gilles Peterson's Brownswood Recordings and support from outlets including Bandcamp Daily, CLASH, CRACK, COLORS, and BBC Radio 6 Music. His music has also appeared in the indie feature Dreams in Nightmares and the UK Premier League. Joining him are Tokyo's acclaimed experimental pop outfit TAMTAM, whose distinctive fusion of reggae, dub, jazz, soul, exotica, and electronic music has drawn praise from Gilles Peterson, Bandcamp, NTS, Mr. Bongo, and Rolling Stone Japan, alongside performances at Fuji Rock and international tours across Canada, Australia, and South Korea.

This limited 7" brings the two artists together across two richly textured collaborations. A-side "Guardian of The Green" blends alternative soul, downtempo electronica, trip-hop, and cinematic post-rock into a lush, organic soundscape where futuristic electronics meet live instrumentation. On the flip, "Celestial Bodies" explores dream pop, ambient electronica, and jazz-inflected soul, pairing hypnotic rhythms with shimmering synths, expressive guitars, and warm lo-fi grooves. Together, the release showcases a cinematic, globally minded approach to contemporary electronic music that will appeal to fans of Bonobo, Khruangbin, Little Dragon, and Cinematic Orchestra.

The 2018 album Igor Stravinsky’s The Soldier’s Tale is the adaptation by Roger Waters (co-founder of Pink Floyd) on the 1918 same-titled theatrical work. Waters recorded this version with members of the Bridgehampton Chamber Music Festival at Bridgehampton Presbyterian Church.

The original theatre work is one “to be read, played, and danced” by three actors (the soldier, the devil, and a narrator) and dancers, accompanied by a septet of instruments. The libretto relates the parable of a soldier who trades his fiddle to the devil in return for unlimited economic gain. The music is scored for a septet of violin, double bass, clarinet, bassoon, cornet or trumpet), trombone, and percussion. The libretto is adapted by Roger Waters from the translation by Michael Flanders and Kitty Black, based on the original text by Charles-Ferdinand Ramus.

The Soldier's Tale is available as a limited edition of 1000 individually numbered copies on green vinyl and comes in a gatefold sleeve with linen laminate finish. The vinyl package includes a 4-page booklet with lyrics and pictures.

The 3rd VA for Méchante Recordings is now available in Pre Order.

Still exploring our love for dubby and bouncy tech house, this release brings together four distinct and complementary takes on the dancefloor.

DAV, Ohara, Nizar Sararki and Rossiter take us on a journey through deep grooves, rolling basslines and hypnotic textures, blending dubby atmospheres with playful, driving rhythms.

A selection made for late nights, warm systems and heads-down dancing, while continuing to shape the evolving sonic identity of Méchante Recordings.

Still vinyl only.

Spring Back, Ball Forward is the Soda Gong debut from Jung dj, nom de plume of shapeshifting multi-instrumentalist Randy Riback. Following a series of uniformly great self-releases and cassettes on the dearly missed Lillerne Tapes, this collection observes the spacious and angular dynamics of 1990s Midwestern post-rock through the lens of the bedroom electronic music producer.

Perhaps surprisingly, amp worship lies at the center of the album: a fascination with the grain, pressure, and emotional charge of amplification and gain, refracted through the strange remove of digital amp modeling. Tubes, speakers, sag, and in-the-red textures are a critical part of the album’s expressive vocabulary, imparting density and colorful saturation while lending even its most weightless passages a vital sense of physical presence. Over the course of twelve tracks, wistful ambience gives way to blunt heaviness and roiling catharsis, underpinned by a palpable sense of loss and grief.

The album’s auspicious cast of collaborators further complicates its emotional terrain. Spoken contributions from Natalia Panzer and Angelina Nonaj occupy strikingly different registers: Panzer’s diffuse and oblique, drifting in and out of the music’s contours; Nonaj’s a vivid travelogue, grounding the record in place and lived experience. Elsewhere, Soda Gong veteran Mister Water Wet joins a small constellation of guests whose playing folds naturally into Riback’s arrangements, blurring the boundaries between computer and ensemble music.

For all of its attention to texture, process, and the material qualities of sound, Spring Back, Ball Forward is first and foremost an emotionally potent work, possessed of a directness that can feel rare within experimental electronic music. Riback draws from a rich and idiosyncratic musical vernacular, arriving at something deeply felt and difficult to place: a singular statement whose pathos exceeds the sum of its references.

INGERABLE, which means “inedible” or “unpalatable” in French, was the adjective a record label used to describe Cathy Claret when she showed them the song inspired by a Caló poem that is now part of our upcoming release, “Por el Chiben.” The piece was born in 1987 when the artist was living in Can Tunis (Barcelona), inspired by a poem she heard from Uncle Bastián. Years later, when recording her first album, she included this composition, but the artist was censored for not fitting commercial standards. Now, Alhaja Records revives it in an album with two versions: a flamenco one, featuring Emilio Caracafé on guitar, and an electronic one, produced by Wará.

To celebrate the 25th anniversary of one of the most iconic tracks in the Italian techno scene, the
legendary Era Vulgaris classic “Bastard Ben” returns on vinyl.
A special release created for collectors, DJs, and true club culture lovers, featuring 4 different
versions packed with the energy and spirit of a track that marked an en2re era.
Among them shines an absolute gem: the unforge4able “Bambolina Mix”, made 2meless by the
voice of the legendary Franchino. An emo2onal and visionary journey that became part of the
history of techno music and the memories of a whole genera2on of clubbers.
A truly incredible vinyl release filled with nostalgia, adrenaline, and pure dancefloor magic.

“Dancing is immediate. It happens in infinitely small blips of the present, strung together one into the next, direct and spontaneous. And as each moment fades out of the present and into the past, these blips coalesce and ferment and refract into memory.

Play is the first album from Sam Hall’s new project, Spinbeat. Sam has previously released glitch-inflected bedroom pop under the name Ghost Orchard, putting out albums on Orchid Tapes and Winspear. Spinbeat comes with a turn towards rawer sounds and something like the dancefloor.

The tracks on Play linger in the space between music for dancing and music for listening. They are the memory of a dancefloor- sounds, feelings, moments of darkness and color. In contrast with other recent music to come out of the dubby post-club zone, Play is marked by its lightness and warmth. Fragile, intimate moments come bubbling up from underneath the surface, glimmering in plain view for a moment before sinking back into the fog. These pockets of earnestness lend depth and substance to the mystique of the murkier stretches.

Dance music for post-rave romance, for August haze, for the frogs in the pond out behind the warehouse party.

Mastered by The Bastard.”

Connecters Vol. 1: Original Recordings, 1992-1999 ist die erste Veröffentlichung von Larrison, dem Pseudonym des bildenden Künstlers und Musikers Larrison Seidle aus dem Mittleren Westen. Larrison komponierte, programmierte und nahm alles komplett auf einem Casio CZ-5000 auf, während der guten alten Zeit der selbstgemachten Experimente und Entdeckungen in den frühen 90ern. Er lebte in einer Traumwelt, die er selbst erfunden hatte, mit Soundtracks aus Space-Age-Pop-Vignetten, gespickt mit hypnotischen, überschwänglichen, vielschichtigen Synthesizer-Melodien. Mit 26 Tracks, die alle neu restauriert und aus den Originalquellen gemastert wurden, erfindet sich Connecters Vol. 1 Song für Song neu, überwindet die Zeit und trotzt der vorbestimmten Vergessenheit dieser brillanten, diskreten Musik, die vor drei Jahrzehnten entstanden ist. Larrison Seidle wuchs in den 70er und 80er Jahren in Greenwood, Indiana, einem Arbeitervorort von Indianapolis, auf. Er stammte nicht aus einer Musikerfamilie, aber aus einem Haushalt, in dem Musikalität gefördert wurde. Sein Vater kaufte eine elektrische Orgel, in der Hoffnung, dass Larrison und sein älterer Bruder das Instrument lernen würden. ,Am Ende saß mein Vater einige Abende an der Orgel, improvisierte und spielte immer wieder dieses eine Lied, von dem ich mich noch an die ersten Takte erinnern kann", erinnert sich Larrison. Möglicherweise war es in diesem Moment, in dem es zwar keine formale Ausbildung gab, aber viel Ermutigung und Entdeckungsfreude, dass der Künstler seine ersten musikalischen Experimente machte. Diese Erlaubnis, sich auszuprobieren, sollte seine kreative Arbeit in den folgenden Jahren deutlich prägen. Während in Larrisons Elternhaus klassische Rockplatten leicht zugänglich waren, lieh sich sein Vater 35-mm-Dokumentarfilme aus der Bibliothek aus, um sie im Wohnzimmer zu zeigen, die alle mit skurrilen Instrumentalstücken unterlegt waren. Als Teenager nahm er John Carpenters und Alan Howarths Endthema aus ,Die Klapperschlange" mit einem kleinen Kassettenrekorder neben dem Fernsehlautsprecher auf und liebte Tangerine Dreams Beiträge zu Ridley Scotts düsterer Fantasy ,Legend". Seine Faszination für diese weitgehend textlosen, synthesizerbasierten Kompositionen führte zu einem eigenwilligen Verständnis davon, wie Musik nicht nur das ergänzt, was wir vor uns sehen, sondern auch das, was wir in den Tiefen unseres Bewusstseins erleben. 1985, als er dreizehn Jahre alt war, überzeugte Larrison seinen Vater, ihm ein Casio CZ-5000-Keyboard zu kaufen. Wie zuvor die Orgel war auch dieses Instrument eine Neuheit im Haushalt der Seidles. Erst nach seinem Highschool-Abschluss 1991 und dem Beginn seines Studiums an der Herron School of Art in Indianapolis entdeckte er den in das Casio integrierten Sequenzer und begann, seine Kompositionen auf Band aufzunehmen. ,Das CZ-5000 und sein 8-Spur-Sequenzer sind die einzigen Musikinstrumente, die ich benutzt habe. Es hat eine fast unbegrenzte Funktion zur Erzeugung neuer Klänge", erklärte Seidle. Während seiner Zeit an der Herron School of Art freundete sich Larrison mit seinem Kommilitonen und Klangkünstler Michael Northam an, den er bei einem Konzert auf dem Campus kennengelernt hatte. Nachdem Northam Larrison für die Musik von Severed Heads, Throbbing Gristle und Roger Doyle begeistert und damit seine Zuneigung und sein Vertrauen gewonnen hatte, überredete er ihn, nach Austin, Texas, zu ziehen, das in den frühen 90er Jahren für seine lebendige Kunst- und Musikszene bekannt war. Die beiden wohnten zunächst bei Northams Freund Daniel Plunkett, dem Herausgeber und Verleger von ND, einem einflussreichen Magazin, das sich von 1982 bis 1999 mit DIY-Musik und Tape-Trading beschäftigte. In seiner Blütezeit hatte ND Tausende von Lesern, und Plunkett verschickte die Ausgaben weltweit. In den letzten Monaten des Jahres 1993 und Anfang 1994 schrieb und nahm Larrison mit begrenzten Mitteln und grenzenloser Intuition eine Reihe von Songs mit seinem CZ-5000 in einer kleinen Wohnung nördlich der Innenstadt von Austin auf, bastelte eine farbenfrohe, illustrierte Beilage, in der einige Songtitel durch Linien oder Pfeile dargestellt waren, und gab sie an Plunkett weiter, damit er sie für ND rezensieren konnte. Diese einzelne Kassette mit dem Titel Connecters sic war eine von 1200, die im Laufe des Bestehens der Publikation bei ND eingereicht wurden und die Jed Bindeman, Mitbegründer von Freedom To Spend, 2020 erworben und fast wie durch ein Wunder entdeckt hat. ,Ich hatte große Schwierigkeiten, mir die Kassetten in dieser Sammlung anzuhören", gibt Bindeman zu. ,Aber dann legte ich Larrisons Connecters ein und dachte sofort: ,Wow! Was höre ich da?' Die Kassette war von Anfang bis Ende einfach fantastisch." Mit Musik von genau dieser Kassette und anderen Aufnahmen aus Larrisons Experimenten in den 90er Jahren ist Connecters eine Übersicht über Instrumentalmusik, die sowohl durch vielfältige konzeptionelle Strategien als auch durch spielerische Neugierde geprägt ist. Seidle arbeitete unter Bedingungen, die viele Musiker als Einschränkung empfinden würden, und entwickelte technisch innovative Ansätze, um die Klänge und integrierten Effekte des CZ-5000 zu modifizieren. Das Gerät ermöglichte es ihm, die Wellenform, die Hüllkurve und die Tonart von Klängen mithilfe der Phasenverzerrungssynthese zu verändern und so im Grunde genommen Instrumente zu schaffen, während er Songs komponierte. Die Tracks zeichnen sich durch eine durchdachte impressionistische Vielfalt aus, die mal lo-fi, mal symphonisch klingt. Inmitten der Zerlegung und Verstärkung der Fähigkeiten des CZ-5000 gibt es auch einen geschmackvollen Rückgriff auf eine kindliche Interaktion und Erfahrung von Klang. Vielleicht ist es diese Erfahrungsqualität, die es so schwierig macht, Larrisons Projekt einfach als Ambient oder Elektronik zu verstehen. Sein Wille, die ihm zur Verfügung stehenden Werkzeuge zu transformieren, hebt die daraus resultierenden Kompositionen auf eine persönliche Ebene und verleiht der Musik einen bezaubernden Sinn für Mystik. Connecters ist ein Beweis für eine künstlerische Vision, die sich nicht durch Grenzen einschränken lässt und keine Angst vor Informalität hat. Diese Aufnahmen, die dreißig Jahre nach ihrer Dokumentation auf magische Weise an die Oberfläche kommen, zeigen, wie personalisierte Produktionsmittel die Zeit ausdehnen und verkürzen können. Larrison lädt die Zuhörer ein, sich auf die Wunder der auditiven Vorstellungskraft einzulassen - eine Brücke zwischen visueller Erinnerung, emotionaler Resonanz und der grenzenlosen Möglichkeit, mit den uns zur Verfügung stehenden Mitteln Musik zu machen. Larrison's Connecters Vol. 1: Original Recordings, 1992-1999 wird am 3. April 2026 von Freedom To Spend als Vinyl- und Digitalausgabe veröffentlicht.

In 2023, Kraków-based composer Martyna Basta and Los Angeles-based sound artist claire rousay were invited to Poland by Unsound for a short residency, where they spent a few days trading ideas and concepts, and brainstorming their first collaboration. Initially motivated to create lengthy, expansive pieces together, they also ended up experimenting with shorter vignettes, and ‘hotel room’ expresses these two extremes, featuring three long-form tracks and three brief, euphoric songs. “It wasn’t something we specifically planned,” explains Basta. “It just unfolded that way.” The most important stage of the process, however, was the period that followed the residency, when rousay and Basta began working on their sketches in isolation, trading drafts and sculpting the sounds independently before rousay handled the final mixdown. In the comfort of their own bedrooms, they were better able to reflect their individual creative routines, organically reaching a junction where their music felt truly unified. Even while they were in Poland, the duo joked that it might have been easier if they’d been holed up in separate rooms emailing each other.

Both artists have had an energetic few years: after steadily building a reputation for her diaristic and candid concrète experiments, rousay signed to Thrill Jockey in 2023, releasing the acclaimed ‘sentiment’, ‘a little death’ and the more eaze collaboration ‘no floor’; Basta, meanwhile, followed up 2023’s hallucinatory ‘Slowly Forgetting, Barely Remembering’ and her debut for Belgium’s Stroom imprint, ‘Diaries Beneath Fragile Glass’ with a studio album on !K7’s 7K sublabel: ‘Winged in Collapse’. The title of their collaboration reflects rousay and Basta’s hectic touring schedules in the wake of these releases, the constant feeling of displacement and the emotions that emerge when the environment is in flux. “I know we aren’t the only musicians traveling and creating work at the same time,” says rousay, “but being able to speak about that experience and all the things that come with it was comforting.” And the music itself, assembled from hypnagogic field recordings, spectral voices, electronics and filtered instrumental improvisations, sounds bewitchingly unmoored, not tied to a specific location but hovering around the uncanny space in-between.

Scratchy ASMR sounds introduce us to the opening track ‘zoom’, initially obscuring the duo’s elegiac harmonies. They are careful to let the various elements evolve at their own pace, with the fictile guitar drones melting into the foreground while Basta’s dissociated whispers and rousay’s illusory synths pick out the subtlest subliminal shades. It all builds to the piece’s dramatic third act, when layered chords ring out like organ blasts, enveloping the negative space. The shorter, more anxiety-provoking ‘denim’ is remarkably divergent, a dismantled folk memory pieced together from skeletal piano notes, vaporous choral echoes, haunting string plucks and pulsating feedback. Where the music aligns is in the mood itself, capturing a feeling that’s neither completely abstract nor fully referential. Not ambient exactly, ‘hotel room’ is a suite of soundscapes that gesture towards structure while repeatedly folding in on themselves.

On ‘Lost and Found’, wordless Autotuned ad-libs spiral around delicate guitar plucks and washing waves, coalescing into a faded Polaroid of opiated Americana, and on ‘Where Are You Now’, operatic squeals and corroded orchestral scrapes are juxtaposed with nauseous low-end tones. Evaporating until only industrial whirrs and music box chimes remain, the latter encapsulates the entire album’s chilling liminality, smudging saturated voices with casual electro-acoustic interjections before it erupts abruptly, transforming into a dense, pitch-skewed hymn. ‘hotel room’ plays like a surreal travelogue, teasing listeners with airy familiarities as it humidifies dry, awkward spaces. More a labyrinth of catacombs than a single, fixed chamber, it’s Escher-like – cryptic and seductive – and decked out with personal asides and intimate details that reward the most patient, curious listeners.

First published in 1978 by Cetra, in this work Antonio Infantino continues to express his ritualistic and shamanic relationship with the musical traditions of Southern Italy. The recordings focus on the mystery of death and the sacraments, the light of the spirit and the divine that descends and conquers souls. The phenomenon of Tarantism is still strong, the power of dance as a symbol of transformation and revolt, a therapeutic process of final healing. Folk music celebrates a deep sense of community, the memory of a peasant world that no longer exists but is still alive in the collective memory. Behind the tight and insistent rhythm of the percussion, the voices of the people, the colours of the squares and the scratchy string arrangements always emerge. The magical sound of the bagpipes is lost in the alleys of the villages. Infantino sings of minor cultures, the poor and oppressed classes, who share joys and sorrows, dance and music as secular forms of liberation.

RAWAX presents Basic Bastard aka Orlando Voorn!
Another great release from the dutch Legend, who teamed up on two tracks with Will B & Barksdale They delieverd here an beautiful hommage to Detroit. Worth to check!

Straight from Byron’s lab, The Actual Proof EP rides that soulful deep-house lane with live‑feeling keys, dusty drums and basslines built to lean on a big system. Jazz spirit, hood attitude and late-night club energy all locked into one heavy wax document for real groove addicts

Four cuts of grimey, creepshow, noir tech and jackin Chicago House by Fugitive Artifact, NYC-via-Atlanta artist behind the Headcrack party. Not a rehash or revival, but still full of respect for the founders of jack (also John Carpenter!). At times on the A-side, these tracks are psychedelic…driving bass lines over syncopated claps and rimshots with building, atmospheric swells inviting you to tumble down the manhole into a world of insomniac crime bosses and bleary eyed pleasures. The B side opens with a more techno tempo, but keeps the swirling percussion cooking. The record ends with an ominous daybreaker. You can hear the arrival of a grey dawn. An invitation to join the freaks in the gutter. Will you heed the call and join the ranks?!

Having played Sold Out tours and supercharged festival appearances across the UK & Europe, It's no wonder that Jim Jones All Stars were personally selected by The Black Crowes on their 'Happiness Bastards' UK & European dates in 2024.The band also recently joined The Wildhearts on their Spring 25' tour dates.The band's debut album, 'Ain't No Peril', was released in September 2023 to universal praise. Their sophomore studio album 'Cat Fight', produced by Chris Robinson (The Black Crowes) is due on April 3rd 2026 via the Black Crowes 'Silver Arrow' Imprint. But, not ones to rest on their laurels, the band just completed a Sold Out tour of the U.K in support of their brand new Live Album 'Get Down - Get With It - Jim Jones All Stars Live (Released October 24th Via Assai Recordings) 'Get Down & Get With It! Is an unvarnished document of a deep, immersive, and mind- bending journey, a transcendent and hypnotic rock and roll experience. It highlights the band's gritty, unapologetic sound, brimming with raw authenticity and attitude. Visceral and uncompromising, it is an electrifying live performance that true believers will never forget

A1 GIRL IN A BAND (ORIGINAL BY HALF GIRL)
A2 INCOMPREHENSIBLE WORLD (ORIGINAL BY LAUNDROMAT CHICKS)
A3 NACHT (ORIGINAL BY CULK)
A4 PAST LIFE (ORIGINAL BY EUROTEURO)
A5 INVISIBLE (ORIGINAL BY LUISE POP)
A6 CAN'T YOU SEE (ORIGINAL BY SALAMIRECORDER & THE HI-FI PHONOS)|TOPSY TURVY
B1 THE BULLSHIT (ORIGINAL BY TELEBRAINS)
B2 TOMORROW (ORIGINAL BY DIVES)
B3 SCHÖNE GRÜßE (ORIGINAL BY TCHI)
B4 WHO'S GONNA LOVE ME (ORIGINAL BY BAD WEED)
B5 TROUBLES CAUGHT (ORIGINAL BY MILE ME DEAF)
B6 PLEASE WASTE YOUR TIME (ORIGINAL BY POTATO BEACH)
B7 MARCELINO (ORIGINAL BY TOPSY TURVY)

Das Wiener Label SILUH RECORDS feiert 20-jähriges Jubiläum u.a. mit dieser limitierten wirklichen Vinyl Only-VÖ (no CD, no DL, no Stream)! Das Album kommt mit 13 Songs, aktuelle Label-Artists covern jeweils einen liebgewonnene Song von Labelkolleg*innen. Ein wilder Ritt zwischen den Genres ist vorprogrammiert, was auch den breiten Backkatalog der Wiener Indie-Institution Siluh Records gut widerspiegelt. Das 2005 gegründete Label mit mittlerweile über 100 Releases ist ein wahrliches Szene-Juwel, wo Bands wie DIVES, GARDENS, CULK, MILE ME DEAF, LAUNDROMAT CHICKS, SEX JAMS oder EUROTEURO ihr zuhause haben und zum kleinen Undeground-Hype der Musikstadt Wien maßgeblich beigetragen. Doch im Label-Backkatalog finden sich auch ein paar internationale illustre Gäste. So zum Beispiel gab es Releases mit JAD FAIR von Half Japanese bzw. dem französischen Elektro-Akustiker PHILIP PETIT, den 90er US-Indie-Rockern SWEARING AT MOTORISTS, eine Techno-Remix Platte mit ALEC EMPIRE, ERIC D. CLARKE, JASON FORREST und BERNHARD FLEISCHMANN, ein Single mit CASSIE RAMONE von The Babies, oder Alben vom Chokebore-Frontman TROY VON BALTHAZAR. Für die Jubiläumsplatte wurde jetzt der Auftrag an derzeitige Siluh Acts erteilt, je einen Song aus dem Katalog neu zu interpretieren. ISCHIA zaubern aus einem LAUNDROMAT CHICKS Song eine wahre Dream Pop Hymne mit Shoegaze Finale. LAUNDROMAT CHICKS wiederum basteln aus dem Garagenrock von TELEBRAINS eine Neil Young'esque Version. TELEBRAINS nehmen sich DIVES' "Tomorrow" vor, diese wiederum graben einen alten LUISE POP Song, der nie auf einem Album erschienen ist, aus und erwecken ihn zu neuem Leben. Die Indie-Folk-Gruppe GARDENS bearbeiten eine Dada-Pop-Nummer von EUROTEURO, die wiederum einen TOPSY TURVY Song eingedeutscht haben. Und so geht's munter weiter... Der Titel "POCKET SONGS" bezieht sich auf ein Zitat des befreundeten Betreibers von Bachelor Records, der mal meinte "Pocket Band, eine Band für die Hosentasche. Eine Band, die man liebt und von der man Freunden erzählen möchte, aber nicht zu vielen, denn die Band sollte klein und in der Hosentasche bleiben und nicht in den Playlists von jedem Tom, Dick und Harry vorkommen". Dem Vinylalbum beigelegt ist ein Siluh-Poster, alle Tracks nur auf LP hier exklusiv/original! Herzlichen Glückwunsch!

"Recorded in Naples historic recording studio Auditorium Novecento ‘notes from the air’ is the second Ciro Vitiello full-lenght album, that turns around the ambiguous figure of the seagull, a coastal apparition both ridiculous and divine, foolish and sacred, graceful in flight yet uneasy on land, something that knows more than it shows, carrying both wonder and threat in its gaze.

The album breathes through that tension, the desire to fly and the fear of falling, the suspicion of having already crashed somewhere unseen.
Wind, creaking ropes, invisible currents: these become signals from another uncoding state, reminders that air can be both home and haunting. The record lingers in suspension. Each track feels like a fragment carried by wind, a message blurred, a memory misplaced, something approaching meaning but never arriving.

The record drifts between orchestral gestures and dream-pop/post-rock shadows, guided by Ciro Vitiello’s fascination with shoegaze textures and cinematic atmospheres, and features contributions by Heith, Renato Grieco, Stefano Costanzo, Caraluce and Daniel Kinzelman. Vocal features include Martyna Basta, Heith and Antonina Nowacka, alongside Ciro’s own voice."

(incl. Gaetano Parisio Remix) The Miller joins Backspin with a potent six-track EP that explores the sharper, groovier edges of techno. 'Loops & Tonic' is a no-frills, rhythm-forward toolkit. It's percussive, hypnotic and full of old-school motion.

The A-side opens with 'It Was Just A Knife', a tribal-driven looper layered with Detroit-reminiscent synths. The track is a subtle nod to the past, wrapped in tight modern production. Peak OG hardgroove. 'Tryck' dials up the tension with broken rhythms, tripped-out cymbals and bleeps, adding a leftfield touch without losing the percussive thread. The B-side brings out the funk. 'Snake Venom' and 'Sax' strip techno down to its rolling essentials: it's all about punchy drums, melodic accents and a steady forward drive. The vinyl closes with the 'Groove Cut' version of the digital-only track 'Bastard', a remix by legendary producer Gaetano Parisio that reimagines the original into a leaner, melodic trip with clean basslines and spaced-out synth work.

The fifth release of Regal's label Backspin Records is a versatile, groovy and characterful techno record. The Miller's 'Loops & Tonic' EP is a proof that the most effective techno doesn't shout - it rolls, hits and lingers. It's the perfect record for floors that never stop moving.

The glimmer in our eyes gallops as a wild stallion toward infinity, in a screaming silence, wears the cape of innocent understanding. Our love is a grave danger, which doesn't shy away from its fate. There is nothing to be afraid of tonight. Love is the bastard child of the Heavens and the pits of hell, it encompasses the entirety of human suffering.
What if we isolate it to a singular moment? Quick and wonderful moment, without trying to hold on to it and wanting it to stay forever?
Between the concrete to the woods to the sea We will be quiet until we understand That this, this is momentary and unfathomable We will take this in, with a deep breath
Until we plunge in and scatter For out of particles wast thou taken and unto particles shalt thou return Walking the line drawn exactly between chaos and symbiotic harmony.

Summer of 2025, the UK techno community was shocked to hear of the sudden and untimely passing of one of its leading lights, James Baker, better known as ReKaB. As his light had been glowing ever brighter in recent years, with forays across the deep end of the techno spectrum, his passing was even more tragic. He had certainly found his voice, a particularly emotive, soul-tinged strain of techno building on the foundations of the 90s bastions of the form. Though bittersweet, Distant Worlds is immensely proud to present this release showcasing his personal evolution and mastery of the sound both he and the label love so much.

‘Art 4 Me’ opens with a transcendent chord progression, gradually incorporating brain piercing synth-work and chunky percussion before opening out into a perfect intersection of melancholy and euphoria. ‘Trapped In Boxes’ opts for a more introspective take on the classic techno template incorporating a Detroit palette of sound atop punchy bassline and beats.

Flip over for UK techno royalty Nuron’s take on ‘Art 4 Me’, a characteristically apposite reimagining. Teasing layers of inverted synth and percussive elements until a beautiful breakdown finally delivers that majestic chord progression. ‘Our World’ closes out this fantastic release with pure elegance; beats skitter, Detroit strings soar and cosmic pads align in timeless fashion. These are 4 tracks of deep, electro-soul music helping cement the legacy of one of the truest practitioners of the form over the last decade.

PROMISE is the latest album from Brooklyn-based producer Ibe Soliman, aka Bad Colours. Known for his blend of house, proto-techno, rap, and soul, Bad Colours delivers a dynamic, emotionally resonant record. Driven by hypnotic rhythms and personal storytelling, PROMISE explores themes of vulnerability, desire, and transformation. It's a versatile album designed for both dancefloors and introspective listening.

PROMISE is the fourth LP from Bad Colours on Bastard Jazz, following 2024's collaborative album with Cor.ece, Been Here Before. Soliman's career spans over a decade—DJing alongside artists like James Murphy, Mark Ronson, and Q-Tip, and producing for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross. His work has received support from KCRW, KEXP (including multiple Midnight in a Perfect World mixes), and CBC Radio 3, and has charted on both the NACC Top Electronic and Top 200 charts. Bad Colours has been featured in press outlets like NYLON, Nonderland, Resident Advisor, Electronic Groove, and Fusicology. His music has appeared in Netflix's Escape from Spiderhead, Hulu's Woke, Disney's Chang Can Dunk, Showtime's American Gigolo, Valorant's Rising Stars, and more.

R.F.I. is the first collaboration between London-based drummer Andy Baxter (Robohands) and LA-based multi-instrumentalist Jack Barone. The EP focuses on Middle Eastern scales and features 100% analog instrumentation, including guitar, bass, synth, and drums. It was recorded using fully analog gear to achieve a warm, saturated sound. Trumpeter Cesar Apolinar Hernandez and vocalist Alya Olcan appear on tracks A1 and A2. The record's title references Radio Frequency Interference, and the B-side includes an etching of radio towers as a visual nod to that concept. R.F.I. was designed with a clear structure across its tracks and highlights the artists' shared interest in analog production and global musical influences.

With over 81,000 Spotify followers and nearly 10,000 vinyl records sold worldwide, Robohands has earned widespread acclaim, including support from BBC Radio 2's Jamie Cullum (Best in Jazz), Huey Morgan (Album and Beat of the Week), KCRW's Morning Becomes Eclectic, Soho Radio, and Paste Magazine. His music—an evolving blend of jazz, krautrock, and ambient—has landed on top editorial playlists such as Jazz Vibes, State of Jazz, and Mellow Morning. A prolific artist, Robohands has released five albums since 2018, beginning with his debut LP Green on Village Live Records. He has performed at leading international festivals including London Jazz Festival, Montreal Jazz Fest, and Waking Life in Portugal. Robohands' latest project sees him collaborating with LA-based composer and producer Jack Barone, known for his film scores and commercial work.

To mark a decade as one of Ibiza's most iconic musical sanctuaries, Hostal La Torre announces 'La Torre Ibiza Volumen Cinco', a new compilation curated by long-standing residents Pete Gooding and Mark Barrott. Released June 27 on CD and double vinyl, the 15-track collection captures the spirit of the venue that has come to define the golden-hour soundtrack ofthe island's west coast.

Since opening in 2015, La Torre has established itself as a bastion of Balearic culture-set high on the cliffs overlooking the sea, where music flows with the sun rather than the clock. The fifth volume in the celebrated La Torre series is a journey through Brazilian soul, ambient electronica, classic deep house, orchestral minimalism, and dusk-lit Detroit techno-an emotional arc designed to mirror the progression of an evening at the venue.

From timeless icons like Nina Simone, Mazzy Star, Talk Talk (with their Spirit of Eden closer "Wealth"), and Boards of Canada, to boundary-pushers like Auntie Flo, Eden Burns, and µ-Ziq (aka Mike Paradinas), Volumen Cinco weaves together deep-rooted classics and leftfield discoveries. Mark Barrott contributes a brand-new exclusive, 'When Devils Become Gods', while the compilation closes on a rare gem from Yellow Magic Orchestra's Yukihiro Takahashi. Also includedis Software's 'Present Voice', a quietly powerful tribute to the late José Padilla, the spiritual architect of Ibiza's sunset sound.

Volumen Cinco is more than just a listening experience-it's a tribute to La Torre's ethos: open-hearted, genre-fluid, rooted in place and time. Each track is carefully sequenced to evoke a feeling, a shift in light, or a shared memory beneath the fading sun.

Over the years, La Torre has welcomed some of the most influential names in Balearic and electronic music, from José Padilla, Alfredo, and Jon Sa Trinxa to DJ Harvey, David Holmes, Lovefingers, Heidi Lawden, Wolf Müller, Don Carlos, and Phil Mison. With each summer season and each release, the venue continues to build a musical legacy that has earned critical acclaim from Resident Advisor, Phonica Records, Juno, and Piccadilly Records, regularly featuring in their year-end lists.

As Test Pressing once wrote, "La Torre is not a party, it's a place of pilgrimage. It feels almost sacred." That spirit resonates deeply in this anniversary compilation-a celebration of music, community, and connection that spans a decade.

La Torre Ibiza Volumen Cinco is dedicated to the artists, friends, collaborators, and guests who've shaped its story so far-and to everyone who continues to gather, listen, and lose track of time as the sun slips beneath the horizon.

Nothing said new or modern or futuristic quite like a synthesiser in the 70s and 80s. If you were shooting an advert and you wanted your product or your company to appear forward-thinking and ahead of the game, then you would want something electronic, something out of the ordinary. When TV producers and advertising directors started searching for music that sounded like “Tubular Bells” – and then Tomita, and later Jean Michel Jarre – music libraries such De Wolfe, Bruton, Parry and Chappell had to have the tracks readily available.

Compiled by Bob Stanley, “Tomorrow’s Fashions” varies from advertising jingles and TV themes to space exploration and gorgeous, beatless ambience. Though it’s 40-to-50 years old there’s a real freshness to this music. Older jazz players Brian Bennett, John Cameron, Alan Hawkshaw and others seized the chance to operate a synth; younger pups including John Saunders and Monica Beale were simply intrigued by the new technology being wheeled into the studios. There’s a tangible sense of adventure.

“Tomorrow’s Fashions’” brand of electronica anticipated new age and ambient music. It also had both a direct and indirect influence on pop – the early Human League and the future sounds of Warp Records are all over this collection. Electronic library tracks have been sampled by everyone from MF Doom to Kendrick Lamar.

One person’s primitive and experimental is another person’s space-age lullaby. This was music made in the shadows – in Soho’s secretive music library studios – that has now become desirable and influential. The chances are chunks of it will be sampled and used on hit records that have yet to be written. If the musicians’ aim was to soundtrack tomorrow’s fashions, they couldn’t have got it more right.

Amber Run is a British indie rock band from Nottingham. The band have released three albums and four EPs.

They played Reading and Leeds festivals, enjoyed national radio support and had a strong press reaction: “Their vast sound has Coldplay stadium ambitions” (Independent); “Epic tunes that sound destined for arenas” (Daily Star); and “Incredibly effective” (The Sun).

Amber Run recorded their debut album throughout January and February 2014 with Sam Winfield and Brit Award-winning record producer Mike Crossey, who previously produced albums for Arctic Monkeys, The 1975, Twenty One Pilots, Walk the Moon, Foals, Keane, Jake Bugg and Yungblud.

With Noah’s Mumford & Sons-like vocal melodies and the wisps of Bastille’s fist-pumping pop on single “Just My Soul Responding”, Amber Run maintains a legitimising rockstar edge.

There are comparisons with Coldplay on the single “I Found”, while the title track has London Grammar’s mellow trip-hop vibes.

To celebrate the 10th anniversary of 5 AM, Music On Vinyl in cooperation with Amber Run and Sony Music present a limited, individually numbered 10th anniversary edition on yellow & black marbled vinyl. The package includes an insert with lyrics

PulciPerla will unveil “Tatekieto”, their new album, on its release, January 04, 2025, on Prado Records / Cie Pulcinella / The Pusher. This opus will be presented on Wednesday, February 05, 2025, on the stage of FGO - Barbara, Paris (France) during an exceptional launch concert. The eponymous single “Tatequieto” was released on all platforms on November 22, 2024.

Take an iconoclastic and energetic quartet from Toulouse, combine it with a female power trio from Bogotá, shake it up, and you will get Pulciperla!
After an explosive encounter in Colombia in 2019, the fiery trio La Perla and the unclassifiable Pulcinella decided to create an original repertoire: a hybrid, swaying, and sensual music where vocals, saxophone, keyboards, double bass, and percussion blend generously, driving a powerful trance-like pulse. A quirky and striking repertoire infused with bullerengue, reggaeton, funk, and champeta influences, which stirs the fire and gets you moving. The tribal music of La Perla’s percussionist singers merges with Pulcinella’s explosive groove to electrify the audience and awaken their primal instincts!

PulciPerla is composed of :
La Perla: Diana Sanmiguel: vocals, maracas, guacharaca;
Giovanna Mogollón ‘’Roberta Leono’’: vocals, tambor alegre;
Karen Forero:vocals, gaïta, tambora
Pulcinella: Ferdinand Doumerc : saxophones, flutes, keyboards;
Jean-Marc Serpin: double bass;
Bastien Andrieu: keyboards ;
Pierre Pollet: drums

If you know anything about me – as in Andrea, the record label’s head – you know I have a thing for Oi since I was a teenage skinhead.

And with Avant! being a coldwave/synthpop label, our next release couldn’t be more special. No Filter are three children of the French region of Dauphiné, active in the black metal scene for 20 years through different projects.

They created No Filter with the aim of exploring punk, Oi and coldwave sounds. They started by singing in English but after their first demo they decided to opt for French to improve their lyrics by singing in their own native language. Themes addressed in their songs are violence, hatred, party nights, the countryside, their roots and friendship. “Synth punk, bagarre et blousons noirs” in their own words. Musically speaking they somehow fit in the current Cold Oi French scene (Bromure, Syndrome 81, Cran, Kronstadt) but they exaggerate the synth/wave element ending up sounding like one unprecedented, fresh as hell mix between New Order and The 4 Skins.

If you think you’ve heard this one before it’s because one year ago they self-released a 10-track cassette called “Sans Filtre” which is exactly what we are pressing now on vinyl for the first time because this was simply too good to stay only on tape forever.

To make this even more special we have recruited Canadian multi-instrumentalist and artist Nakkabre (Conifère, Spleen, Vespéral, HazeHound) to do a brand new artwork and spice things up for the occasion!

Black vinyl LP edition limited to 400 is out 22 November.

Back In Stock!

Throughout the past decade Paris-based producer, DJ and label owner Dj Steaw has gained widespread recognition as a bastion of raw, authentic music in the contemporary scene.

His material has found its way onto the likes of PIV Records, Hot Haus, Meta and of course his own Rutilance, Steaward and House Puff imprints.

Here we see him joining Kerri Chandler’s Kaoz Theory with his latest release and the title-track ‘Colour Of Mind’ opens the package with shuffled, dynamic drums and hypnotic vocal chants alongside bumpy stabled bass, squelchy acid licks and airy dubbed out chords.

‘Dance To The Rhythm’ follows next, stripping things back to low slung drums, echoing stab sequences, subby swells and breathy vocal cuts.

‘I Can’t Feel It’ follows on the flip-side next, heading back to a more classic house aesthetic with a gritty bass hook, organ lines and ethereal textures running atop crunchy drums.

‘Star Ready’ finally concludes the EP on a deeper tip, bringing circling synth swells, elongated bass tones and skippy percussion into the limelight.





Upfront DJ Support:

Kerri Chandler
Dennis Quin
Chris Stussy
Fabe
Cinthie
Franck Roger
Ben Rau
Jimpster
Ruff Stuff
Julietta
Chrissy
Demuir

First Word Records is very proud to bring you the 10th anniversary edition of Tall Black Guy's debut LP '8 Miles to Moenart'!

It includes two brand new jazz interpretations ('From Home To Work, And Back' and 'Running The Motor'), recorded with a live band, as well as a new intro cut ('Black Detroit'), and an alternative mix of the single 'Mon Amie De'troit', previously only available on 7" vinyl.

The original vinyl LP release was a one-time limited edition pressing; this being the first time this project has been available on wax since then, and also includes entirely new artwork and photography.

From humble origins in Detroit, raised on a healthy diet of Motown, jazz and hip hop, Terrel Wallace (aka Tall Black Guy) has become a standard bearer for the hip hop beats scene. Through a steady stream of soulful productions filled with incredibly clever sample flips and deft production chops, he has won fans across the world, including Gilles Peterson, Benji B, Don Letts, Lefto, Tom Ravenscroft, Lord Finesse, Huey Morgan, Anthony Valadez and countless others, along with sessions for Boiler Room and more.

'8 Miles To Moenart' literally brought Tall Black Guy full circle, and proceeds to do so once again. Detroit was where he started making music, and it's to his hometown he took inspiration for this debut album. Taking in low-slung hip hop, downtempo house and jazz-tinged street soul, it's a record of rare focus. It encapsulated the musical heritage of Detroit, through the looking glass of Tall Black Guy's own signature sound.

Follow up releases included his sophomore First Word album 'Let's Take A Trip' (which also featured the likes of Masego, Daniel Crawford, Miles Bonny and Moonchild), and records on Ubiquity, Bastard Jazz and Street Corner Music, to name a few, along with a steady slew of limited self-released edits amd productions, most recently with his #7DayVaults series.

He's worked with a number of formidable artists worldwide, including recent extensive work with Zo! (Little Brother), Ozay Moore, Deborah Bond and Dee Jackson (80's Babies), as well as collaborations with 14KT and First Word label-mate Allysha Joy, to name just a few. He is also an integral player for DJ Jazzy Jeff's infamous PLAYlist Retreat sessions, along with more First Word family, Kaidi Tatham and Eric Lau, as well as artists like James Poyser, Ali Shaheed Muhammad and Questlove, and he was a core contributor to First Word's 'Nothing Leaves The House' series, along with Eric, Mr Thing and kidkanevil.

Tall Black Guy has firmly established himself to be one of the most influential producers working today.

Terrel says "I made the bulk of this album back in Detroit around 2012/2013, before I relocated to the UK. I've been back living and working in the States for a while now, and it's great to look back on this project. But while it's nice to reminisce, it's important to look forwards, so I wanted to include something new here to represent my progression as an artist, so there's some new versions included, that I created with the help of some jazz musician friends of mine."

'8 Miles to Moenart' (10th Anniversary Edition) will be released on digital & vinyl on October 18th 2024.



c 03: Funeral Biz / Welcome to Detroit (Interlude) feat. Malice & Mario Sweet

e 05: Mon Amie De`troit (7" Version) feat. Ozay Moore

Seattle's own Manatee Commune (aka Grant Eadie) makes his long-awaited return to
Bastard Jazz with his fourth album, 'Simultaneity'. Lush and vibrant production is
familiar to his previous works, though Eadie has significantly matured in the activation of
space and character. A step away from standard songwriting, and a total disassociation
from lyrics at all, has made this record closer to the ambient genre than anything
Manatee Commune has released, all the while keeping one solid foot in the realm of
dance music.

'Simultaneity', as a whole, is an exploration of the collision between texture and time.
Captured recordings reminiscent of wind in wheatgrass, soft rain showers in the open
plains, and cascading beach sand wash over the mix, splashing into warm drones and
ascending melodies that cleanly syncopate against a steady rhythm. Though decidedly
electronic at times, a raw human element is ever-present in the form of a vocal motif:
just tiny moments of a loving voice lost in a sea of reverberation.

The album is a noticeably positive evolution from previous works. All nine tracks depict
a calmness and subtlety in musicianship, relying primarily on tenuous snippets of live
instrumentation and synthesis that hypnotically coil and coalesce with one another.
'Love Tone', the opening track, features Eadie's partner, a small voice memo clipped
and expanded into an ethereal vocal melody. A crisp felt piano delivers a complex
arpeggiation in 'Mosaic', a warm sonic bath scape reminiscent of Olafur Arnalds or
Kiasmos. Simple, undemanding bass lines drive tracks 'Path' and 'Faulted', though their
simplicity is contrasted with a variety of patterns that combine to create unique auditory
shapes, both building and landing in satisfying climactic movement. The album
culminates in the final track, 'Touch Theme', where a block of sound in the form of a
broad, open synthetic chord warms the ears, eventually twisting and shifting to rhythmic
chunks that shove against a familiar house rhythm.

A continuation of the extensive research project initiated last year between Sound Metaphors, Transmigration and surviving eye-witness/historian Ray Castle. An in depth analysis of the dancefloor landscape that developed in Goa during the 80s' and early 90's well before "Trance" became the unfortunate dirty word it is today. Before "trance" was even a genre, Goa was brewing a scene with unparalleled aesthetics, with a constant influx of dedicated collectors and DJs coming and going to this tropical underground dancefloor haven, filtering through vast amounts of emerging electronic music of the times and distilling only the finest of "Special Goa Music". Here is another compilation of our chosen most impactful tracks that would have been soundtrack to a very special and pure moment of freedom in dancefloor culture before the bastardisation of what we now know as "Goa Trance". A highly sought after selection of New Beat, Proto Techno, early Progressive/Trance, Industrial, EBM and House Music. Featuring photographs of the events presented in a double LP gatefold with poster and liner notes by Ray Castle himself. Re-mastered at Manmade mastering in Berlin. A generous body of research essential to any well rounded record collection.

DJ Support: Jazzy Jeff, Louie Vega, Kenny Dope, Dj Koco, Skratch Bastid, Dimitri From Paris, Dj Spen, Dj Pierre, Dr Packer, and many other.

Groove Culture Bosses Micky More & Andy Tee Provided 2 beautiful jazzy-house djfriendly versions of the Classics 'Gypsy Woman' and 'Special Love'. On Both side everything is played live from the bass to the horns. A Must Have.

Repress!

The release of Crosstown Rebels’ SPIRITS compilation is always a bastion moment for the label. The first edition came to prominence in 2017 and we’ve been graced with an annual compilation ever since, showcasing a consistent habit to champion established artists and breakthrough ones alike. Now, Crosstown Rebels’ lauded SPIRITS series will see the light of day once more in June, with the release of SPIRITS V.

NYC-native Layla Benitez leads proceedings with Fides, a progressive-leaning, introspective number that retains an inherent danceability throughout. It kicks off the compilation with a driving energy, one that’s perfectly matched by Trabajar - the Crosstown Rebels debut of recent Hot Creations inductee Mr.Diamond.

A techy-inspired cut, punchy four-four drum patterns create a distinctive late-night feel, as UK-talent Denney soon arrives with Kill The Soundboy. Showcasing the groove-laced house sound with which he’s become best known, the near seven-minute piece is sure to light up many a club setting this year, paving the way for Talk To Me. It’s a collaborative venture between Munich-based artist ASK:ME and El Muerto, with Soulfoot featuring on vocals. Retaining a vintage Detroit style, the fast-paced tempo creates a natural excitement before Romanian-born mainstay GruuvElement’s gifts us the minimal-toned Boom Room.

Building with tribal-like percussion and salsa-inspired instrumentals, it’s a playful excursion into dance music’s outer realms, paving the way for young Peruvian producer Chinonegro with My Moment. Whether it be the pluck of a guitar string or a jazzy trumpet solo, there’s an inherent authenticity to the six-minute piece, as a mid-track breakdown gives way to whispering hats and a rhythmic underlying backbone.

The penultimate offering comes from French-born, London-based regular Maglia, who serves up the enchanting Rayiys. The chirping of birds resides atop an ever-changing bassline, leaving us open and ready for the VA’s closing saga: Thanks Moon, by Spain’s I AM JAS. A heady combination of beautiful lyrical contributions combines with softly moving electronic elements, to leave us in a state of calm, inward reflection. Rounding off proceedings on a note of quietude, it reminds us of the final moments in clubland, transporting our psyche to sunrise, fond memories and everything in between.

Over a period of nineteen years, Damian Lazarus’ Crosstown Rebels has evolved into a world-renowned institution, garnering global audiences thanks to a consistent schedule of quality releases. In years since it’s earliest beginnings, the likes of Maceo Plex, Art Department, Seth Troxler, Ali Love, Mathew Jonson, Pier Bucci, Acid Pauli, Dennis Kurtel, Francesca Lombardo, Glimpse, Aphrohead, Fur Coat and a plethora of other figureheads have all found their home on the label.

The roster is international, showcasing how Crosstown has shaped a truly global scene. Releases are born in different continents by artists who hail from different countries, resulting in a sound that resonates worldwide. Perhaps most pivotal to the label’s success is its musical output: no part is governed by boundary or genre. It’s underpinned by a truly eclectic sound, one that reflects the diversity of Damian’s love for music itself. An album from drum and bass icon DJ Krust here, a maiden LP from Audiojack there… traversing genres has been Damian’s forte for decades - and Crosstown epitomises that as a result.

The very prolific ATD Records Founder, Gustavo Lima, brings 5 techno cuts on Tar Hallow for the first release of 2024. Early support by: Amotik, Answer Code Request, Ben Klock, Charlton, Chontane, Gary Beck, Kessell / Exium, Krenzlin, Kwartz, Leiras, Marco Bailey, Nastia, Perc, Steffi, W.I.R.E. and more.

What you do is a fundamental question. But it's how you do something that ultimately determines the effect." — Julian Sartorius

With 'RLLRLRLLRRLRLRLRLLRLRLR', Swiss drummer and sound artist Julian Sartorius presents his third album in three years. Together with 'Ensemble This | Ensemble That' Sartorius has created a mesmerizing 39-minute percussion album that conclusively expands his artistic output. For the first time, an ensemble plays an idea conceived by Sartorius, while he assumes the role of an interactive conductor, manipulating the sounds made.

Sartorius is known for his fluid and versatile solo performances in which he continually modulates the sound of his instruments, adding objects and progressively unfolding his sound world. The idea of expanding this practice was already gestating when the 'Ensemble This | Ensemble That' invited him for a collaboration. Together with the drummers and percussionists Brian Archinal, Victor Barceló, Miguel Angel Garcia Martin and Bastian Pfefferli the concept was further explored, elaborated upon in detail, and finally realized.
'RLLRLRLLRRLRLRLRLLRLRLR' is both title and score for the ensemble's four percussionists. The pattern, consisting of 23 individual beats, is played continuously by the ensemble while Sartorius gradually makes alterations to the instruments played. The result is a piece that has a sustained rhythmic flow yet is perpetually changing. Sartorius' interventions and the precise musicality of the ensemble allows the listener to discover an expansive array of moods and intensities.

The album is structurally recursive but develops an almost mystical magnetism through an odyssey of diverse musical landscapes. Sartorius explains: "It amazes me deeply how much the sentiment can change based on a musical mood - this sense of curiosity is made audible with this album." The album recording itself is designed as an endless loop: at the end of the recording, the ensemble's sound has returned to its starting point, thereby completing an endless, self-contained cycle, with no beginning or end. In this way, Sartorius also echoes his 2021 album 'Locked Grooves'.

Julian Sartorius' precise and multi-layered rhythmical patterns are keen excursions into the hidden tones of found objects and prepared instruments, bridging the gap between organic timbres and the vocabulary of (experimental) electronic music. He has released numerous solo albums, creates audiovisual art works, collaborates with musicians, writers, and artists, and performs live in intimate venues and on festival stages.

Ensemble This | Ensemble That (ET|ET) have established themselves not only as interpreters of contemporary music, but also as collaborators to a wide range of artists including projects like Zimoun, Myriam Bleu, Strotter Inst., Lê Quan Ninh, Marko Ciciliani, Jürg Frey, and Michael Maierhof, amongst others.