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Effortlessly charming, inquisitive and generous in spirit: 'Total internal reflection' is the beautifully crafted debut album from DJ ojo, returning to Blank Mind, following his acclaimed 2023 EP ‘Coiled up’.

The vivid sound design, irreverent flourishes and elastic rhythms of his past work remain, yet here he leans further into his enduring love of house and techno music. An impressionistic take on the forms, with a light, considered touch that allows his idiosyncrasies to shine through. There’s a synaesthetic quality here, that implies a gestural play between sound, colour and form.

It is functionality that is the key embrace: eight tracks, two discs, two tracks per side. A cohesive body of work purposefully presented to be played out. These guiding principles complement the uniquely skewed style of ojo: there’s always a groove, but it might trip over itself; there’s always a sense of cohesiveness, but it’s never clear; there’s always a dancefloor, but it’s slippery when wet.

The record features art by photographer Thomas Steineder, who interprets the record visually, by bouncing light through analogue film wrapped around a prism, capturing a reflection turned inward.

With ‘Total internal reflection’, ojo has somehow become even more himself, refining his vision into something playful, profound and enduring.

Me Saco Un Ojo Records proudly presents the debut EP of Croatian death-doom maniacs Decrepit Altar.
Gloomy guitars greet you with a charnel atmosphere, eerily descending into the graves. This subsides to showcase putrescent riffing and gargantuan drums with a monolithic heaviness, the perfect recipe for fetid death-doom excellence. Morbidly snarled vocals reverberate into the abyss with the spectral instruments perfectly enshrouding their malignant presence.
Combining crushing heaviness with savage and creeping aggression, these three tracks lurk in shadowy cemeteries awaiting your arrival only to punish you with their flagellating horrors. From the warping progressions to the primal bludgeoning force, it will not take long for you to feel this band means business with their first release.
Each sinuous and stringy tendril of terror flows organically from the last, presenting darkness and evil with a veritably claustrophobic and tense sound. Churning malice and groove in equal measure, their vile concoction of festering offal is something pungent and addictive that keeps you coming back for more.
All three of these twisted offerings give something of their own with a personality and character while fitting together to forge a trinity of depraved darkness that doomed death metal fans will certainly cherish. Prepare for egregious defilement…

Italian Death Doom Metallers Larvae recently released their latest EP of putrid music. Now Me Saco Un Ojo is giving this cult cut of morbidity the vinyl treatment.
Filling the air with that cult atmosphere of Italian horror with a short introduction, fans of the macabre will be bewitched. This soon gives way to fetidly grisly riffs that spew forth slowly with a grotesque soundscape atop primitive drums and with vomitous vocals adding further disgust to the mix. Undeniably some of the most grotesque Death Metal you will hear, crawling like maggots under rotten flesh. Aside from mastering a repulsive atmosphere, Larvae will be noticed for having a unique take on the genre, while keeping it old school, sounding like no other band you’ve heard before. These short bursts of decay-spraying terror will surely entice the sickest freaks among you while the rest will be haunted by some estranged nightmares…
Make sure you do not miss this demo’s vinyl reissue so it can rot your collection from the inside out!

Quebecois Death Metallers Sedimentum formed back in 2018, giving us a magnificent debut album and several equally formidable shorter releases alongside it. Now they return with an even more doomy, eldritch mini-album for your listening displeasures…
Following some otherworldly ambience, those charnel guitars bring in a truly crushing spectacle of doomed extremity. Grotesque vocals and strong drums permeate the thick, tarry stringed arrangements. Their sinister and inhuman music has sunken even further into the pits of putrefying grave matter to conjure spectral apparitions of the dead. Those of you who already know this superb band will definitely recognise their unique sound while appreciating that the more low-register, slower tempo rumble of this cacophonous rot is even more intense than ever. Never afraid to blast out viscerally gripping savagery, the old school way, there is plenty of those more traditional moments tied into the abhorrent affair. However you like it, Sedimentum master Death Metal…
At a mere three songs, one could foolishly assume this record is lacking. But listen for yourself to discover three majestic pieces of masterful musical torment. In little over twenty minutes, Sedimentum grasp your soul with their ghoulish atmospherics and sepulchral hammering force. Exhuming the ancient spirits, this mini-LP is a must-listen for all true die-hards of the Death Metal underground who value both atmosphere and brutality in equal measure. There is no denying this band has a perfect grapple of both as these new constructions of contorting morbidity prove beyond doubt. Enter the ossuaries of Quebec with one of the finest bands of the underground as its lumbering corpse staggers toward you with only malicious intentions…

You find yourself two thousand meters below the earth’s surface surrounded by overwhelming darkness. Cold and wet, the path has collapsed behind you. You have nowhere to go, but still you scream. You scream, and scream, echoing into the darkness, dissolving your throat like acid. It’s no use. There’s no way out. You die here. OSSUARY have made this cave for you.
“Abhorrent Worship” is a relentless, pummeling assault: 6 tracks in 37 minutes of cacophonous, suffocating evil punctuated with distorted, droning atmospheres. Hissing and dripping wet with bile, vocals incant beneath monstrous searing, chugging guitars and thunderous, pounding drums & bass at a primordial pace executed with precision and finesse.
Ossuary take their time between releases, which shows, and once again “Abhorrent Worship” is worth the wait. Once you press play there’s no going back, accept your fate happily or not. You die here. (KD)

The highly anticipated 3rd full-length by this Finnish band. Morbific is a rotten-to-the-core Death Metal trio deformed in the filthy and profaned boneyard of Kitee in early 2020, featuring Olli (guitar), Jusa (vocals / bass) and Onni (drums). The band’s Pestilent Hordes demo was unleashed in the summer of 2020, and it rapidly gained them some following amongst the finest gourmets of the variety of festering, moldering and disgusting Death Metal that’s malignantly influenced by Autopsy, Rottrevore, Deteriorot, Mortician, Grave, Maimed, Undergang, Impetigo and ancient Finnish masters of death and decay, such as Funebre and Disgrace. Shortly after, in the spring of 2021, the debut full-length Ominous Seep of Putridity saw the odious light of day to unanimous praise by both the fans and the media. Just a year later, and now aligned with Memento Mori, Morbific released their second full-length, Squirm Beyond the Mortal Realm. Aptly titled, the album quickly became a cult favorite of utterly uncomfortable, slimy Death Metal. Now, Morbific are prepared to eclipse such a sewer-dwelling “highwater” mark with Bloom of the Abnormal Flesh. Whereas its not-inconsiderable predecessor confronted the listener with a blown-out, almost demo-level feel, the Finns’ third full-length proves that they can move and mesmerize and maim no matter what the soundfield is. And on Bloom of the Abnormal Flesh, it’s a raw-yet-robust show of strength, “classic” Death Metal production in a most late 80’s fashion; just witness that gurgling, fuzz-tinged bass and feel its radioactive waves envelope you. But production is one thing and songwriting is another, and with the latter, Morbific are truly hitting their stride here. Lumbering and stomping, with well-timed bouts of disgusting gallop or even ragged blasts, their songwriting twists and indeed squirms with off-kilter insanity; some would call it chaos, if not for the exceptionally tight musicianship on display here, with the sum result being an uncomfortableness that bubbles up from a deeper gutter. Thankfully, Bloom of the Abnormal Flesh conveys its dark, disgusting and unconventional aura across every element -said chops simply heighten these sensations- and is, thus far, Morbific’s best melding of form and content. Cro-Magnon as ever but somehow enlightened in the creepiest sense possible, Morbific continue their reputation as Finland’s filthiest and Death Metal’s untrendiest weirdoes. Vividly captured by Chase Slaker’s cover artwork, Bloom of the Abnormal Flesh is the foulest stench only for the brave!

Pain Management welcomes London cult favourite DJ ojo, who arrives on the label with a hazy three tracker of trademark nether zone system music. On his most dubbed out full length to date, ojo span’s the full emotive spectrum of dub sonics with a range of both the eerie and more tender expansions of low end atmospherics, the resulting 12” equally suited for the club and the journey home alike.

‘Tongue Tied’ opens the record, a lysergic offering from the darker edges of dub music. A slippery fugue-state hit of narco-ambience built around a crooning, intelligible vocal refrain and chest shot sub weight. A real nightfall system pusher built to simmer in the early hours. It kicks off the EP on an amorphous, hypnotic note that sustains throughout.‘Oil Dub’ sinks deeper into the fog, melodic kinesis and expansive delays upholding an underworld of feedbacked percussion and tongue in cheek sub motion; a seven minute sound bath of ambiguous dub ASMR.

The B-side balances out the darker strains found on its counterpart with an overtly tender digidub closer. Clocking in at almost ten minutes long ‘Cloud Suck’ is a nebulous bliss of perpetually ascending late-summer warmth. The kind of liminal dream-state embrace that you wish would never end. True to the name, it evokes tender, dusk and dawn hued moments, a quiet ride-home flash of introspection on the way to or from some pursuit of meaning. Pain Management essential right here.

Limited run of 200 hand-stamped 12” records available now.

The next EP on Blank Mind comes from DJ ojo. His first fully- fledged EP is the result of a mission to find balance between warmth and weirdness, structure and disorder; resulting in dripping, humid tracks with presence and a subtlety that holds sway well beyond the edge of the dancefloor.

From the crisp percussion, and elastikated synths that form ‘Coiled up’ to the furtive corridors of dubby drums and space of ‘Precise device’, there’s a staggering level of detail at work in ojo’s microcosms. Funkiness abounds in the accents on the grooves and the garnishes which quiver in and out, and quite
often you’ll hear motifs which call to mind something classic, but rendered wholly new. Take the steppas impressions drizzled into dislocated soundsystem flambé ‘Skip top’ on the B2 - a prime example of how to trigger a dopamine response without repeating someone else’s trick.

Following up their hugely respected 2 demos (also available as a compilation) and fairly recent 7”, CHAOTIAN are back to release ultimate Death Metal barbarity into the underground in the form of their debut full length. Storming into life with a rotten amalgamation of putrescent riffing and blastbeats, the instrumental unity of this Danish titan is a juggernaut of pure filth. It is telling when a band can have those super groovy pinch harmonic laden riffs and not making them sound like all the others. This may seem a weirdly specific observation (perhaps a guitarist just being a guitarist) but it makes all the difference with heaviness, intensity and also the catchiness on the records. When met with the sewer-spewing vocals and weird dissonant spasms in the music, it doesn’t take long to recognise this will be a truly warped and maniacally brutal experience of Death Metal might. Interlinking primitive hooks that grasp you by the throat then transcend into these weird effects or spacious riffs, there’s nothing predictable about the album yet it has that familiar feeling that all good Death Metal has where it feels a bit daunting, unnerving and yet you cannot escape it. Obviously Denmark and this trio does not let the scene down. Amazingly this small country seems to have so much diversity in their rotten underground movement and CHAOTIAN are a shining example who embody the grotesqueries, masterful songwriting and tight musicianship that has become associated with this otherwise pretty and peaceful nation. It explains that mysterious gurgling from the sewers at least! Bludgeoning, cavernous and ultimately otherworldly, CHAOTIAN masterfully combine the cerebral and cosmic with brutish, old school music that is damned heavy and doesn’t feel pretentious nor directionless. Their debut LP is not just as strong as their previous works, but a more refined and complete vision, showcasing the bands full potential (so far)…

In demand 7 inch sees a limited edition in translucent yellow vinyl.

Regarding the album: "This has not been off the decks since I first got it and have been hammering it to death on the show. One of the ESSENTIAL albums of 2011. Perfect in every sense and totally irresistable" Craig Charles (BBC 6Music) Two cover versions taken from the essential album GITANO REAL. I Believe in Miracles is an overwhelming take on the Jackson Sisters classic in a rumba funk fashion. Party stomper!! And on the other side, a longer trip departing from McFadden and Whitehead's seminal Ain't Non Stoping Us Now and touching the revered latin disco version of Charanga 76, only to end up as a fabulous clap-driven rumba stormer. Two very necessary sun-soaked tunes for any self-respecting dj on neat black vinyl. And yes, it's a limited edition!

* As it's first full length release, Love What You Feel is proud to present Chicanismo, the debut album by Santiago Salazar. Known for his work with Underground Resistance, ICAN Productions, as well as solo releases on many notable labels, Santiago brings his working man's house and techno into the world in its most pure form on this album. His use of a variety of rhythms and beautiful melodies puts him in the upper echelon of dance music producers today, and the results here are just as satisfying at home as they are in on the dancefloor.

* By mixing his Chicano roots with his time spent in Detroit, Santiago has created a timeless musical statement on behalf of the underdogs whose contributions to house and techno are often paid lip service to, but are much more rarely realized. The groove here is just as important as the harmonies, and they work together to achieve something very special on Chicanismo. This is music that lifts the spirit to a higher plane, the true definition of soul music.

Sueño Stereo is the final album recorded by Argentine rock band Soda Stereo. By 1995, it was clear that the band was the most important Argentinian group of the decade. The album went platinum in 15 days and Rolling Stone considered it the fourth-best album in Latin rock history.

The album is a true reflection of the times, blending Britpop, dream pop and electronic music. Next to that the band named The Beatles as a major influence on the album's structure. Inspired by The Beatles did the band end the album with a medley on the D-side. This gives the album a strong conceptual feel.|

Sueño Stereo is available as a limited edition of 2000 individually numbered copies on transparent vinyl, is packaged in a gatefold sleeve, and includes an insert.

Limited edition of 2000 indivudally numbered copies on crystal clear vinyl
In 1988, Soda Stereo released their fourth studio album, Doble Vida. This time, they got the help of none
other than Carlos Alomar for the production. The renowned Puerto Rican guitarist has a history of collaborations
with David Bowie, Iggy Pop, and Paul McCartney.

This collaboration introduced a variety of new genres and influences, including funk, soul, and R&B. After fully recording the album in New York City, the band entered a
new stage in their career, allowing them to break into the US market. The tour to promote the album spanned the entire American continent and the album sold a million copies worldwide.

A name that breathes, a voice that whispers and howls in soliloquy. Collecting the echoes that follow—field recordings from Colombia, murmured poems, the spectral songs of birds—she stitches together a sonic diary, an audible thread between past and present.



Like the shifting landscapes of Colombian magical realism, she bends nature as memory bends truth. From this alchemy arises Un Pensiero Intrusivo: seven folk incantations, captured live in Cagliari, Italy.


A new genre, steeped in something unnameable—a haunted flamenco, spectral invocations, a piano unmoored from time.



The air thickens, the horizon tilts. A slow descent into vertical tropics, where distant sensibilities collapse into a single, hypnotic pulse.

This album takes you back to Colombia of the 50s and 60s. In those days, the tropical music of the Caribbean and Pacific coasts took over the country's mainland music scene by storm. One of the key figures during this period was Edmundo Arias. Together with Lucho Bermúdez and Pacho Galán, Arias is seen as one of the ‘big three’ composers of Colombian tropical music.

He was a rather introverted person who avoided being in the spotlight at all cost, leading to his work being less known than his contemporaries. With this album we hope to highlight the amazing legacy Edmundo Arias has left us. Think of big bands with sharp dressed musicians playing the finest cumbias, porros and other tropical sounds in fancy ballrooms on a hot evening in Medellin or Bogota.

Liner notes:

Edmundo Dante Arias Valencia was born in Tuluá, Valle del Cauca, on the 5th of November 1925. He came from a family of musicians. His father, Joaquín Arias Cardoza was a band leader and composer who taught his children to play music. Arias learned to play many instruments such as the guitar, bass, bandola (pear shaped string instrument related to the mandolin), tiple (12 string guitar), clarinet and saxophone. He proved to be a very talented musician and together with his father and his older brother Ricaurte he formed the ‘Trio Arias’. The family lived in different cities across Colombia depending on where they found work. When his father died unexpectedly in 1948, Edmundo and Ricaurte had to support their family working as musicians. In 1951, Arias decided to move to Medellín, in those days the heart of the Colombian music industry and the city where the most important record companies and the best musicians were based. It didn’t take long before Arias made a name for himself as a musician, composer, arranger and band leader for Colombia’s leading labels at the time; Zeida, Ondina, Silver and Sonolux. For the latter, he would eventually become the artistic director. Over the years, he wrote hundreds of songs, recorded many albums with his own orchestras or with the Orquesta Sonolux and collaborated with a countless number of musicians, often uncredited.

Together with Lucho Bermúdez and Pacho Galán, Edmundo Arias is seen as one of the ‘big three’ composers of the tropical music of Colombia. But despite the fact that Arias was renowned, very little is known about his personal life. He was a humble man who preferred to work in the background and avoided being in the spotlight at all cost. He declined interviews and kept away from public life. On some live performances of the orchestra that carried his name, Arias asked one of his musicians to pretend to be him, so that he wouldn’t have to come on stage. You might think that Arias was shy or anti-social, but this was not the case. Most people he worked with described him as a very jovial, good humoured person and enjoyed working with him.

His invisibility in public life belied how present he was behind the scenes. If he wasn’t working on his own productions, he was regularly collaborating with other musicians. Arias had his hand in the work of many of his colleagues and was a mentor for young artists. Some even say that in those days all the musicians in Medellín had worked with Arias in one way or the other. He had a strict working regime: composing, arranging and recording at night while sleeping during the day. He was also very productive. The story goes that on one occasion, he wrote arrangements for a 16 piece band in just a few minutes while the band was recording another song. His hard work and productiveness resulted in hundreds of compositions and many records that carry his name.

Edmundo Arias’ career ran over 6 decades until his death on the 29th of January 1993. Over the years, he left us a huge legacy. The songs on this record are a selection of his work during the 50s and 60s. Many see this period as the absolute highlight of his career. We picked out the songs we consider to be the most outstanding recordings from this period. The title of this compilation Guepa Je! is Colombian slang often used in cumbia to express joy or to celebrate. A free translation would result into something like ‘yeah’, ’let’s go’ or ‘groovy’. I guess this title says enough. Enjoy the music. Guepa Je!

Paul Hammock es el artista por todos conocido como Cignol, sin lugar a dudas uno de los genuinos revolucionarios dentro del sonido electro de la última década y media. Sus trabajos llevan surcando nuestros Technics desde 2008 a través de los sellos de vanguardia electrónica del nuevo milenio.

En su decimocuarta referencia en vinilo, el sello Valenciano HC Records, tras una imparable y ecléctica línea editorial, publica el nuevo trabajo del genio de Dublín titulado Binary Choices. Un maxi en el que nos domina un profundo sentimiento de melancolía cósmica a través de cuatro cortes que nos sumergen en una odisea espacial.

Adentrarse en cada corte del vinilo es como viajar hasta diferentes cuerpos celestes y dejarse sorprender por su atmósfera ensoñadora, y es que solo es necesario que transcurran 58 segundos de Binary Choices, primer corte de la cara A, para sentirnos arropados por un sentimiento de suma nostalgia, alegría y futurismo. Una inteligente combinación de pads, sintes y brillantes percusiones que nos adentran en un astro inexplorado repleto de extrañas vegetaciones, increíbles seres multicolores y horizontes infinitos que activan nuestra sinestesia.

Un emocionante, decidido y contundente ritmo 4x4 a baja velocidad nos traspasa el alma al surcar la superficie de Broken Circle. Un recuerdo olvidado en forma de aterciopelado sonido se crea frente a nuestros ojos en la consecución del compendio de melodías intimistas que componen sus 4:14 minutos, en los que encuentra sosiego nuestra mente y bálsamo nuestro alma.

La cara B del vinilo regresa al cristalino, eléctrico y veloz ritmo roto con Momentum Gateway, track en el que sus dominantes y ácidas cadenas de bajos se enrollan y juegan en sincronía perfecta con sus diferentes capas de teclados y su vibrante e iridiscente pad.

En el último planeta al que nos transporta Cignol, suena en cada uno de sus parajes Validity Movement, track con el que nos dejamos guiar por su grueso y áspero bajo principal, que contrasta con los delicados sintes y atmósferas que lo rodean. Una experiencia sónica tan delicada, íntima y eficiente que podría servir tanto como banda sonora en la creación de un nuevo universo como en la contemplación de su ocaso final.

Finalmente, por un lado, el trabajo de master del lanzamiento ha sido llevado a cabo por Steve Voidloss en Black Monolith Studios en Londres y, por otro, Dani Requeni completa esta obra con la dirección del arte gráfico de la misma.

Welcome to BM-18 the biokinetic realm created by Dana Kuehr, a lush audio environment where organic and synthesized matter coalesce. As we float disembodied above this verdant pixel plain, Dana offers us shifting repetitions and sequences in disguise, each track a landscape within a world created in the utmost detail, from the minute bleeps and chirps to the enveloping and bumping bouncy basslines. Flickering drums explode like dandelion seeds in a breeze, searching for a place to lay, grow, and flourish. Sounds are captured (fingers tapping, rain patter, Belgian parakeets released from a '70s zoo, vocal oohs and ahhs) and hybridized with patterns, samples, and musical manoeuvres (jungle breaks, west coast hip hop, layered drums, IDM crunch and twinkle, reverb, delay, '90s R&B, underwater video game soundscapes). As in any imaginary sphere, there are characters who exchange and converse: rivers, coasts, clouds, lakes, echoes of dolphins, and peaceful frogs. Amidst their complex chatter, the sounds of BM-18 extend an invitation to dance, to feel our bodies alive and present, to acknowledge the impulse of movement and the pulsing heartbeats of each track. An ode to the Taoist consideration that all creatures live together in mystic unity, co-evolving and feeding each other, Dana brings together cloud ethereal with earth pounding, and like an orca's tail upon a restless sea, it slaps!!! All tracks written and produced by Dana Kuehr between April 2020 and November 2021 in Brussels, and mixed by Dan Piu at Checkpoint Charly Studio in Zurich between November 2021 and March 2022. Mastered and cut by Stefan Betke at Scape in Berlin. Original artworks by Camiflage and text by Ailsa Cavers. A1 was first digitally released on Ojoo Music. Dana thanks Michiel, George, Jakob, Camiel, Ailsa, Tania, Victor, Jill, Karen, Daphne, Arne, Oscar, Joe, and Gwenan for the love and inspiration. True voyage is return!

Money Chicha, the Austin-based collective featuring members of the Grammy-winning Latin orchestras Grupo Fantasma and Brownout, unveils their third full-length album, "Onda Esotérica". Recorded at New Orleans' Marigny Studios, the album deepens their signature psychedelic cumbia amazónica sound with exotic textures, vintage organ swells, and inventive reinterpretations of classics such as 'Cumbia Arabe'. As KUTX puts it, "Listening to Money Chicha feels a bit like taking a hit of acid, downing a couple shots of Tequila, and hopping a plane to 1960s Peru_ it's the kind of music that rewires your brain, awakens your spirit animal, and takes you places you've never been." Add in some South Texas swagger and bruising Latin funk, and "Onda Esotérica" emerges as the band's most adventurous and transportive work to date-a kaleidoscopic journey equal parts ritual and revelation.

Welcome to a kaleidoscopic picnic where you can feast on a music scene that was rich, sparkling, multi-colored, ground-breaking and it'll blow your mind. A prodigious soundscape that blends the Caribbean and the Amazon sophistication and flavors; raw yet delicate textures. "Joropop. Psych Pop & Folk in Venezuela, 1968-1976" features infectious Latin rock rhythms and timeless folk melodies across 15 ultra-rare tracks-most of which have never been reissued until now. Let's set off together to discover the magic of Caracas in the late '60s! DESCRIPTION Welcome to a kaleidoscopic picnic where you can feast on a music scene that was rich, sparkling, multi-colored, ground-breaking and it'll blow your mind. A prodigious soundscape that blends the Caribbean and the Amazon sophistication and flavors; raw yet delicate textures. "Joropop. Psych Pop & Folk in Venezuela, 1968-1976" features infectious Latin rock rhythms and timeless folk melodies across 15 ultra-rare tracks-most of which have never been reissued until now. The golden age of Caracas pop started in 1965. It replaced the wave of cloyingly romantic song writing as fresh talents leant into richer and more complex styles: folk-rock, psychedelia, soul, hard blues, symphonic pop, Latin rock etc. Singer-songwriters, experimental electric guitars and jam sessions all appeared on the scene, creating music that became increasingly refined and free. The industry took a while to catch on to this new trend and leave behind the teen idols and dream lifestyles. By the late 60s, there was a long list of new bands in the capital city. Young people finally found their voice. Let's set off together to discover the magic of Caracas in the late '60s!

Der mehrfach ausgezeichnete Produzent und Black-Pumas-Mitgründer Adrian Quesada schlägt ein neues Kapitel auf: Mit 'Boleros Psicodélicos II' interpretiert er die sinnliche Balada-Tradition Lateinamerikas neu - detailverliebt, psychedelisch und mit starkem modernen Twist. Unterstützt von Künstler:innen wie Angelica Garcia oder Hermanos Gutiérrez entstehen Klangbilder zwischen Nostalgie und Gegenwart. Ein Album für Liebhaber:innen romantischer Grooves und audiophiler Entdeckungen.

- Ltd. Col. LP: (Sunny Orange Vinyl)

Ranil is undoubtedly the most unconventional figure among the greats of Amazonian cumbia, earning a well-deserved place alongside iconic bands like Los Mirlos, Los Wembler's, and Juaneco y su Combo. This compilation offers a glimpse into the vast musical output Ranil created in the late 1970s and early 1980s. Psychedelia, rock fusion, cumbia, salsa, mambo, Amazonian folk_ you'll find all these flavors blended into the vibrant, jungle-rich sound Ranil crafted. DESCRIPTION Ranil is undoubtedly the most unconventional figure among the greats of Amazonian cumbia, earning a well-deserved place alongside all the better-known iconic bands. He worked as a teacher, criollo guitarist, radio host, TV entrepreneur, and politician, but gained lasting fame as the founder of Ranil y Su Conjunto Tropical in the 1970s. By 1968, around the same time Los Destellos were making waves in Lima, groups like Los Wembler's de Iquitos and Juaneco y su Combo began electrifying cumbia in Iquitos. This new genre, dubbed Amazonian cumbia, exploded nationwide in 1973, thanks to hits by Juaneco y su Combo, Los Mirlos, and Los Wembler's. The success these bands achieved spawned dozens of other groups from the Amazon. Ranil, always a visionary, recognized the movement's potential and joined forces through his first single recorded on the Dinsa label in 1974. Unhappy with the contractual terms, he went on to found Producciones Llerena, the label on which he would release the rest of his discography. Over the years, Ranil y su Conjunto Tropical featured guitarists like Límber Zumba and Luis Nigro, while Ranil remained the lead vocalist and bassist for group. Zumba and Nigro had already played with other regional bands and written songs for groups like Los Destellos and Los Mirlos. This compilation offers a glimpse into the vast musical output Ranil created in the late 1970s and early 1980s, bringing together 14 tracks from the band's 10 LPs. These records have always been hard to come by as, despite being recorded in Lima, they were distributed by Ranil from Iquitos. Psychedelia, rock fusion, cumbia, salsa, mambo, Amazonian folk_ you'll find all these flavors blended into the vibrant, jungle-rich sound Ranil crafted.

Flamenco is a Spanish art, which has always been prone to hybridization with a multitude of musical languages. Therefore, the universe of "flamenco fusion" could well reflect the way in which Spaniards have related throughout history with other cultures. And that relationship may have often been one of dialogue, exchange, respect and crossbreeding. Among the circumstances that could have favored the traditional mestizaje of flamenco art is the open character of the south of the Iberian Peninsula, to all the civilizations that have settled in its territories; the encounter with America in 1492, and the brotherhood with the Spanish-speaking countries; that the Casa de contratación de Indias, the entity that regulated the transit between Spain and America for centuries, was founded in none other than... Seville! (and olé); without forgetting the FUNDAMENTAL African contribution, brought to America by millions of black slaves throughout the 400 years of the slave trade. Pícaro vol. 4 is an excellent example of how some Spanish flamenco musicians knew how to take advantage of the fashion of other styles and rhythms coming from outside Spain, creating a new sound universe and incorporating them into their repertoire. Undoubtedly, there is a generational replacement of "flamenco Ye-Ye" in Spain with artists like Rosalía or C. Tangana, although now it will be necessary to modernize "the label". This compilation offers us a snapshot of the multiple styles of flamenco hybridization that triumphed in the world during the decades of the 50's and 60's of the 20th century. Through its microsurcos we will discover immeasurable flamenco ye yé (track 1), flamenco rock & roll (tracks 3 and 4), flamenco cha cha chá (tracks 6, 7 and 15) or flamenco mambo (track 12), together with other unusual, exotic and impossible mixes of Spanish song with tango arrabalero, bluegrass, easy listening, swing, groove or soul. Always a happy mix, which are brought together with exquisite taste in this vinyl for your enjoyment.

The Mars Volta's ninth studio album represents a significant milestone for the band, which has been continually reinventing itself for more than 20 years. With “Lucro sucio; Los ojos del vacio," they deliver an album that celebrates their roots, allowing them to reconnect with their origins. Fans are invited to embark on a musical journey.

Selena Gomez and Benny Blanco team up to release their first project as a couple, "I Said I Love You First" set to be released on March 21st via SMG Music LLC & Friends Keep Secrets under exclusive license to Interscope Records. The album celebrates the pair's love story, giving fans a unique window into their relationship. This album came together organically as a direct result of the comfort that they both felt when working together creatively, allowing them to produce art that authentically reflects their experiences. It chronicles their entire story - before they met, falling in love, and looking to what the future holds.

Bárbara Salazar aka Barbarelle is an experimental multidisciplinary artist from Buenos Aires, known for her conceptual work as a DJ, creative director, and curator.

‘Celesta’ marks Barbarelle first foray into composing and producing her own music; a debut that reveals the intimate, heartfelt territories of her creative universe. The culmination of years of composing for herself - ‘behind closed doors’ - ‘Celesta’ is a deeply personal, self-guided masterstroke of beguiling, free-flowing ambient soundscapes and DIY electronics. With ‘Celesta’, Barbarelle artfully transitions from ardent music aficionado to fully-fledged artist, unveiling an enchanting sonic world that has quietly matured over time.

‘Celesta’ is an exquisite odyssey of sound, assembled from fifteen tracks recorded between 2022 and 2024 in Buenos Aires and Los Angeles. Conceived as spontaneous and intuitive explorations, many of these tracks were recorded in one take without technically-minded premeditation. The product of organic experimentation rather than concrete intention, ‘Celesta’ is an authentic, candid record of emotions, memories, and profound interiorities.

Over time, the pieces in this tapestry found a common thread: a conversation with the ethereal, defined by emotional intensities and softly spoken utterances. ‘Celesta’ is an invitation to immerse yourself in soundscapes that merge to the point of dissolution, evoking the transparency of water and the lightness of a dreamlike world that transcends matter. Like the song of a siren, the voice becomes just another instrument, beyond language yet full of significance. A collection of songs that feels like opening a secret diary; a direct pathway to the centre of the heart.

In addition to her work as an artist, Barbarelle is the founder of Atlas, a platform dedicated to active listening through radio, live performances, listening sessions and more. She is also known for her radio show of the same name on Dublab, where she shares her unique approach to sound with eclectic selections and interviews with the likes of Air, BADBADNOTGOOD, Lucrecia Dalt, Juana Molina & more.

Los Belking emerged during the British Invasion, capturing Peru’s fascination with instrumental rock. In 1966, they became Peru’s first fully instrumental band, inspired by The Ventures and The Shadows. Founding member Raúl Herrera formed the band in response to the wave of rock sweeping through Lima, blending surf and rock sounds that defied prevailing trends. Managed by disc jockey Gustavo Galliani, Los Belking secured a contract with the El Virrey label. Their unique lineup, including guitarist Willy Sandoval and bassist Jerry Lam, resonated with Peruvian youth, particularly within the Cantonese community, marking them as a revolutionary force in the history of Peruvian rock.

"Anómala" by Peruvian thereminist and guitarist Veronik is a haunting theremin album where the instrument becomes a melodic voice. It"s a gentle experimentation that floats beautifully on femme psychedelic rock waters, captivating with its cinematic and moody soundscapes. Previously self released in Peru in 2017, Zel Zele is proud to present Anómala"s deserved re-release featuring five additional tracks and it"s first-ever vinyl issue, advancing Anomala to another dimension.

Dark Entries returns to Mexico with Back Up Dos: Mexican Tecno Pop 1982-1989. Following 2021’s Back Up compilation, Back Up Dos delivers 10 more tracks of synth-pop and New Beat, 7 of which have never before appeared on vinyl. From mutant drum machine beats to irresistible synthesizer hooks, fans of the fringes of the 80s will find songs to stir their cold, dark hearts. But Back Up Dos does more than mine retro kitsch; it documents the development of a rich DIY music scene that is still underexplored. As affordable samplers and digital synths spread throughout the decade, post-punk and new wave gave way to more aggressive EBM and cyberpunk sounds. The scene also developed in opposition to the political climate of the times: the rise of the drug cartels and a reactionary turn in national politics. Using home recording techniques, these bands took cues from the electronic wizardry of the Human League and Wax Trax Records while reflecting the vibrant and chaotic Mexican cultural landscape of the era. On Back Up Dos, impeccable pop anthems from Casino Shanghai and Los Agentes Secretos sit alongside gnarled obscurities from Ford Proco and María Bonita, showcasing a decade of sly deviance and enthusiastic experimentation. This album comes housed in an 80s-inflected neon sleeve designed by Gwenael Rattke and includes a 12-page booklet with photographs, lyrics, and notes. Back Up Dos compiles synthetic music produced in Mexico at the crossroads from Tecno Pop to Post-Industrial, nourished by culture shock and stories of dystopian worlds.

“En este varios artistas no existe la posibilidad de respiro hasta el final”

La segunda referencia del sello DIALECTO PERIFERICO ya esta disponible en formato físico 12”.
Esta referencia abre sus brazos a Dagga y Manao, Lord Jalapeños, Saigg, PromisingYoungster, Korrupted brothers y Vema-Diodes.

1- Dagga X Manao - Cuidao

-Estos dos Colombianos afincados en Berlin, revientan la pista con este track de patron reinventado, haciendo que el tecno y el electro sean uno solo para que las suelas de las zapatillas se desgasten hasta llegar al hueso.

2- Vema-Diodes - Trois

-Sin duda la energía industrial mezclada con el sampleo funk de este tema no te dejara indiferente, las trompetas punzantes de este track son la clave, el sazonador principal la distorsión y para acompañar un chupiito de acido.

3- Saigg - Perfect Result

-Track extraído del recopilatorio solidario “ELECTRO U.N.I.T.Y 2”, donde si o si tanta potencia tenia que reflejarse en vinilo. Voces de ultratumba y bajos punzantes como una navaja hacen que este track funcione en todas las pistas de baile.

4- Lord Jalapeños - Cosmic Microwave Background

-Este joven francés con un estilo muy particular, uno de los mejores en el manejo de lo oscuro y la distorsión.Un diseño sonoro que hará que leas esta historia de terror se lea hasta el final.

5- Korrupted Brothers - Dark Holes

-Como no ivamos a contar con este grupo de la vieja guardia de Iruña; responsables de la escena electro de Navarra y compañeros en el sello “GENTE SERIA VISTE CHANDAL”.
Verdaderamente nos llevan a un agujero oscuro con esa pregunta respuesta que los bajos y los sintes tienen en este ritmo que parece sacado de los 80´s.

6- PromisingYoungster - Signals

-Y como todo final tenia que llegar la claridad, La Luz.
Este leones últimamente lo encontramos en los mejores sellos nacionales, desde “Analogical forcé” hasta “Util récords”, Electro-Brain-dance es nuestra definición para este track, el cual nos da ganas de cerrar los ojos y sentir la energía del sol.