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All the gems of Electronic Music in a 5 LP boxset with : Fakear - Kölsch - Fritz Kalkbrenner - Laurent Garnier - Bicep - Kerri Chandler Thylacine - Bob Sinclar - Mr. Oizo - The Prodigy - Alex Gopher - Purple Disco Machine...

Tiella Sound launched in 2023 with a self-titled LP from Perugian artist VAISA, setting the scene perfectly with its lo-fi maelstrom of field recordings, obscure rhythms and tribal textures.
Neapolitan artist Livio Improta follows suit with ‘Fondamentalismi’, a 10-track exploration of broken, slow-motion rhythms coated in vinyl crackle and layers of atmospheric dust. Another superb album that announces Tiella Sound as a vital new label.

1 december 1944, Thiaroye military camp, right outside of Dakar, Senegal.

1600 French soldiers of West African origin (Benin, Mali, Ivory Coast, Tchad, Senegal , Gabon, Togo etc.) have been quickly evacuated by the French Army during what was subsequentially called the ‘whitening of the colonial troops’ that happened before the armistice signature. The soldiers are awaiting to be paid for their war effort. Things go sideways, protests erupt, and the French military staff decides to open fire. The official number of casualties is 35, although various sources claim several hundred people died on that fatal day.

Since then, several artists have grasped that difficult topic, screaming for recognition and reparation.

Such is the case with a young Senegalese musician and singer named Maxidilick Adioa, with his very first single ever released, ‘Toubab Bile’, in 1987.

At that time, Adioa had been living in France for a few years. He was considered a master percussionist, playing, recording and touring alongside the great Ivorian artist Alpha Blondy. He had just written a beautiful tune, ‘Nao’, for Aminata Fall, one of the biggest actress and singers in Senegal. It seemed like a good time to launch his solo career.

Toubab Bilé remains Adioa’s biggest hit to this day, and one of the best African reggae tune ever recorded.

Adioa ended up signing an album deal with Chris Blackwell’s Island records and toured the world endlessly during the following years.

In 2012, François Hollande was the first French President to officially mention and pay tribute to the Thiaroye massacre in a speech.

A famous anthem once begged: “Don’t Make Me Wait.” Sometimes, though, it’s good to make ‘em wait—even just a little bit. Case in point: The production duo of Fabrizio Mammarella and Phillip Lauer, known to clubbers, DJs and music heads as Black Spuma.

Three years after their last EP—and nearly a decade into their production existence—the duo have finally given us a full-length manifesto. Sure, there have been a smattering of remixes and EPs over the years on labels like Futureboogie, International Feel and Live At Robert Johnson. But on their new LP “No No No,” the Spumas at last get to stretch out and give us their full-meal-deal.

The pair birthed the tracks at Lauer’s famed Pyramide III studio, with 10 tunes finalised and selected remotely, thanks to the wonders of high-speed Internet. While the Spumas are well-known (both together and as solo acts) for their melodic, 80s-tinged club workouts, the album format has allowed the guys to push their sound into parts unknown. The album drops at the end of May on Permanent Vacation, and it distils all the things we love about the duo: The melody, the playfulness and the musicianship of two veterans in full command of their powers.



Take the tune “Obereggen,” which expands a punchy, staccato bassline into that sweet spot where trance and italo can play next to each other. Or the cut “Fracture,” which is built on a Detroit-like chassis but makes room for gorgeous pads, subby bass and a nimble breakbeat.

For the established fans, there’ll be plenty to latch onto, including the title cut (and first single), which sounds like something Robocop may have produced if he’d taught a violence diversion program.
Meanwhile, cuts like “Dillingen” remind us of one of those lost Eurythmics B-sides that show up in the dark corners of MixesDB. The album was mixed and mastered by Lopazz, and boasts a colourful cover from Berlin-based artist Ilja Karilampi.

So, 17 years after initially meeting, we finally have a full album from these Spuma Men. And in the end, it was worth the wait.

Chichi Music is proud and happy to present second wax joining four different styles of music coming across the dancefloor. ChV002

includes (in alphabetical order) tracks from Arturo Gioia, Enzo Leep aka Giralda, Lukea and Miguel Seabra.

This vinyl represents a journey from minimal music through break-beat to finally rominimal!

“Preparing Singularity” is the debut album by Berlin-based EBM act Transhuman Rebirth, currently a one-man side project of renowned German synth-punk artist Ben Bloodygrave.

Already instantly recognizable on the European synth/wave scene and touring circuit with his high octane aggressive minimal synth, Bloodygrave started this new project over the past few years focusing more on classic, first-wave EBM, moulding the nine tracks on “Preparing Singularity” into a sound that’s recognizable to fans of the starting foundations of the genre. While retaining a sound that’s unique and solely its own, elements of minimal wave and synth-punk are fused in these propulsive tracks, with nods to old idols such as Deutsch Amerikanische Freundschaft, Front 242 and Absolute Body Control.

Transhuman Rebirth is subjectually futuristic to dystopian, interspersed with political statements. The lyrics focus on topics that are current and modern, including science, technology, surveillance and artificial intelligence — all delivered through Bloodygrave’s well-known vocal style with a sound that is much rougher and with compositions and sound designs that are more complex than his main Ben Bloodygrave persona.

Upcoming album 'Fruit Of The Void' to be released later this fall.
Kosmo Sound is a perfect balance of tight rhythms and extended melodies, and they constantly strive to push boundaries with their sound. Having worked together with dub legends Daniel Boyle and Alpha & Omega and having played as the support act for Adrian Sherwood, The Twinkle Brothers and Omar Perry, heavily inspired, they took refuge in the studio to record this album full of meditative sounds and dense grooves.

“It's a slow motion dub explosion.” - Woodburner

“As a mixture of Slimmah Sound, El Michels Afffair and Khruangbin in which deep dub basses flirt with thin desert blues guitars, jazzy drum patterns and tufts of saxophone.” - Indiestyle

“The canvas that these six musicians span as Kosmo Sound has a musical breadth that effortlessly ranges from dub over jazz to psych.” - daMusic

"an amalgation of styles that tickle the senses" - ReggaeVibes

“This remarkable debut makes one curious about future releases” – Irie Ites

First striking us with his exhilarating ‘Yakka’ EP, Bambi OFS has continued to surprise us with his musical output ever since. (…) The Belgium-based producer is carving out an almost unique take on dance music with a heavy debt of gratitude to the endless rhythms and percussion-centric styles of Gamelan, and other styles of music native to Indonesia and further afield (…) the revised ‘Kwon-9’ EP goes for the jugular and ties together the percussion-heavy originals on vinyl alongside phenomenal remixes from Don’t DJ, Georgia, Icon Template and Broken English Club.” Inverted Audio Super excited to bring this killer release on vinyl with a brand new remaster and remixes by Broken English Club, Georgia, Don’t DJ and Icon Template! Meshing together industrial mirages and ethnofictional mindscapes, Bambi OFS provides Antibody with a new suite of polyrythmic spins. Extending on his first ep YAKKA, KWON-9 blurs the line between the synthetic and the organic while pushing the Brussels-based producer’s interest in uneven grooves and mixed meters into sharper detail. Mirrored by the puzzling archaic-futuristic alphabet featured on the cover, this new set of trax softly draws the listener in an elusive and multi-faceted experience. Bambi OFS is Cédric Dambrain, composer, electronic musician and virtual instruments designer based in Brussels, Belgium. Dambrain’s approach to music is motivated by an exploration of perception thresholds, psychoacoustics, and the physiological impact of sound. This diversity of themes is matched by a wide range of productions which include electroacoustic computer music, compositions for ensembles, noise, sound installations and, more recently, club- oriented polyrythmic explorations. Dambrain has also been composing extensively for performance artists and music theatre.

Sub Signals Vol.2 is a deep dive into underground bass, guided by artist and producer Gaudi. Featuring predominantly unreleased originals and versions by some of the biggest names in the worldwide dub collective, it intricately combines analogue elements with digital grooves to stunning effect.

Much more than just a compilation, the Sub Signals series is a celebration of the evolution of the sound of dub, from its original roots in reggae to its fusion with a much wider spectrum of sounds and influences. Gaudi curated the first volume back in 2006 for the cult Canadian label Interchill, sourcing tracks and dubs from High Tone, Zion Train, Manasseh, Almamegretta, Noiseshaper, Creation Rebel, Greg Hunter, Dubadelic and more.

15 years on, Gaudi has created the second volume, blending contributions by established reggae names Steel Pulse, Dennis Bovell and African Head Charge with next generation dub producers Alpha Steppa, Radikal Guru and Paolo Baldini Dubfiles, headline acts Groove Armada, Dub FX and The Orb with underground artists Deadbeat, Pitch Black and SUBSET, to create a seamless 75 minute mix.
“With Volume 2, I wanted to create a deep vibrational experience by shaping an aural trajectory that encompassed the many aspects of dub and its related sub-frequencies. To achieve my goal, I reached out to the artists I regularly work with to ask for contributions, in some cases digging in their archives to find what I was looking for.”

As a solo artist, Gaudi has recorded over 20 albums, while as a producer he has hundreds of productions under his belt. He has worked with legends of the reggae and electronic music worlds including Lee "Scratch" Perry, Horace Andy, Dub Pistols, Hollie Cook, Youth, Mad Professor, Prince Fatty, Lamb, Trentemøller and Nusrat Fateh Ali Khan.

Dedicated to the sound of dub in its many forms, Gaudi’s latest excursion of his Sub Signals series is pure bass therapy, designed to excite your eardrums and worry your woofers.

Ellen Allien bietet euch mit We Are Not Alone eine beeindruckende Compilation-Reihe in 3 Teilen mit jeweils 11 Tracks. Brandneue Musik von Künstler*innen, die entweder schon bei der legendären BPitch-Veranstaltungsreihe gespielt haben oder auf zukünftigen Partys auftreten werden. Das ist der neue Berliner Underground, macht euch auf etwas gefasst…

Ellen Allien - XTC - Knallhart, hypnotisch, trance-induzierend... reine Ekstase
Introversion - Force Majeure - Industrial mit kosmischer Interferenz
Insolate - Retrograde Motion - Tight und rollend, voll dichter Intensität
DJ T-1000 - Frequency Kill – Lasst euch durch diese manische Energie ins Chaos führen
Nocow - Let Em Fall - Let the beats set you free
Alpha Tracks & Blue Hour - Lessons With Bob – Kräftiger, bewegender Elektro aus dem Jahr 3000
Cadency & Hadone- Crash It Here - Bring the noiiiiissse!
Yan Cook - Lullaby - No sleep til Monday...
Lady Starlight - RE-15 – In diesem Universum werdet ihr Glückseligkeit finden
P.Leone - Bay Head – Crispy Beats und schwerer Bass mit erregender Atmosphäre
Keith Carnal - Jerk Off – Himmlische Synth-Klänge für die wahren Sünder*innen

First vinyl issue from this french label, artisan of the Eurotrance revival. Compilation of contemporary producers' works, deeply rooted in the 00's.

Played by Ellen Allien, Nina Kraviz, in among others.


Thanks to a perfect balance between a good dose of madness and genius, Union Trance Mission has become the playground of some of the rising talents of the european rave scene in a few years.

Launched in 2018 by DJ Reiz & Tonni 3000 with the desire to take the techno scene off-balance, UTM quickly laid the foundations of an hybrid style where oldschool vibes perfectly combine with contemporary sounds. A colorful and formidable cocktail of efficiency, where techno blithely rubs shoulders with nostalgic trance synthesizers.

After a couple of years of digital releases (singles, EP and compilations), UTM decides to take another step by releasing its first 2x12", gathering the residents DJ Reiz, Tonni 3000, Red Scan and Walfroy on one hand, and the guest artists Pawlowski, Jaëss, Tranceman2000 and Alpha Tracks on another hand, in a wish of being eclectic and exploring Trance music in all its forms.

Karen Morrison - stage name Bryck Rose formerly known as K Vibes on the Reggae Dancehall scene. Currently a gospel singer, songwriter, poet, and aspiring playwright and one of the younger members from Studio One of Jamaica.

Starcleaner Reunion ist eine schnell aufstrebende neue Band aus alten Freunden, die in NYC leben. Sängerin Jo Roman, die Gitarristen Pat Drummond und Neil Torman sowie Bassist Adam Kenter machen schon seit ihrer gemeinsamen Highschool-Zeit in New Jersey in verschiedenen Besetzungen gemeinsam Musik. Im Jahr 2022 fand die Band in NYC zusammen und hat seitdem eine Reihe von ausverkauften Konzerten in NY gespielt, die begeistert aufgenommen wurden, sowie landesweite Tourneen mit TOPS, This is Lorelei und anderen absolviert. Ihre erste Vinyl-Veröffentlichung, eine 10"-EP bei Take Care Records, erschien im Jahr 2025 und war sofort ausverkauft. Die Vorfreude auf ihr Debütalbum ,Umbrella" ist groß, da sie für 2026 noch bedeutendere Auftritte und Tourneen planen, darunter das Psychfest in Austin, das Total Bummer Fest in Brooklyn und Termine an der Westküste mit Blondshell.

Starcleaner Reunion ist eine schnell aufstrebende neue Band aus alten Freunden, die in NYC leben. Sängerin Jo Roman, die Gitarristen Pat Drummond und Neil Torman sowie Bassist Adam Kenter machen schon seit ihrer gemeinsamen Highschool-Zeit in New Jersey in verschiedenen Besetzungen gemeinsam Musik. Im Jahr 2022 fand die Band in NYC zusammen und hat seitdem eine Reihe von ausverkauften Konzerten in NY gespielt, die begeistert aufgenommen wurden, sowie landesweite Tourneen mit TOPS, This is Lorelei und anderen absolviert. Ihre erste Vinyl-Veröffentlichung, eine 10"-EP bei Take Care Records, erschien im Jahr 2025 und war sofort ausverkauft. Die Vorfreude auf ihr Debütalbum ,Umbrella" ist groß, da sie für 2026 noch bedeutendere Auftritte und Tourneen planen, darunter das Psychfest in Austin, das Total Bummer Fest in Brooklyn und Termine an der Westküste mit Blondshell.

"The grass is greener_ elsewhere_" Brain Damage told us with their debut album, released in 2002. Yet here, they've reached full maturity. Rarely has a "made in France" dub album strayed so far from the Jamaican model while still harboring, in every detail, so many references and tributes to the inventors of the style (King Tubby / Lee Perry), as well as to many of the key figures in its evolution (Tikiman / Rhythm & Sound, Dub Syndicate, etc.). The recording studio, 7/11 Laboratory, is used here as a true musical instrument. The optimal use of three-dimensional stereo effects will immerse the listener in soundscapes ranging from classic space echoes and Mont Blanc tunnel-style reverberations to crackles, electronic interference, exogenous samples, and other parasitic noises coming straight from Babylon. For this album, continuing in the vein of his previous collaborations with the international dub scene (Zion Train, Alpha & Omega, Disciples, Spectre, Lab°_), Brain Damage traveled to London to record two tracks at Conscious Sounds Studio with Jamaican-born singer Tena Stelin. With the melancholic "Spirit World," one is reminded of the fruitful collaborations between Massive Attack and Horace Andy, while on "Genetic Weapon," the tone becomes more overtly assertive. Two vocal tracks, then, woven into these ten compositions, where the emotional moods and atmospheres will shift with each listen. "Always Greener (On the Other Side)" emerges as the manifesto of music conceived as cinema for the ear...

Although Shoot Your Shot sits slightly under the radar compared to Divine’s signature anthems such as You Think You’re A Man, I’m So Beautiful, Walk Like A Man and Native Love, this remix stands proudly alongside them. Liebrand injects the track with a driving Hi-NRG pulse, unmistakable Italo-disco flourishes and a powerful club groove, while Divine’s larger-than-life vocal performance and the unforgettable spoken-word alphabet breakdown remain front and centre.

On the flip, Liebrand delivers an inspired bonus, seamlessly blending the music from Divine’s worldwide club classic Native Love with the vocals from Shoot Your Shot, one of the artist’s biggest European hits. The result is a brilliantly executed hybrid that captures the excitement and creativity of the late-’80s remix scene while celebrating two of Divine’s most enduring recordings.

A rare glimpse into a golden era of European dance music and a testament to Ben Liebrand’s reputation as one of the most innovative remixers of his generation.

Tommy McCook was not only a founding member of the legendary Jamaican Ska group The Skatalites, but also a brilliant musical arranger. His informed understanding of Jazz, R&B and in fact most music styles would always add another layer to any song put his way. This made him the go to guy for most of the Jamaican producers, who would use his arrangement skills to pepper up their latest tunes.

Tommy McCook, (b1927, Havana, Cuba) came to Jamaica with his mother from Cuba aged 11 and entered renowned Alpha Boys School for underprivileged children, a school that placed great emphasis on musical tuition. At the tender of 14, such was his talent he has left to join Eric Deans Orchestra and took on stints with other bands led by Don Hinchman and Roy Coburn. All the bands played in the Swing and Jazz style of the times. He relocated to the Bahamas in 1954 where he further developed his Jazz technique and upon his return to Jamaica in 1962 began working Coxsone Dodd’s Studio One and became involved in the development of Ska. His knowledge of Jazz, R& B and Jamaican musical forms helped set the tone for the group of musicians he was working with and would name the Skatalites. The group, consisting of Don Drummond (Trombone), Roland Alphonso (Tenor Saxophone), Jackie Mitoo (Piano), Lloyd Brevett (Bass), Lloyd Knibbs (Drums), alongside Tommy himself on Tenor Saxophone. The group would back all the major Ska vocalists pf the day and would also go on to cut a catalogue of instrumental music. The Skatalites split up in 1965 and Tommy McCook moved over to work with Duke Reid’s Treasure Isle Studios where he formed The Supersonics. A set of musicians under his guidance that consisted of Lynn Tait and Ernest Ranglin (Guitar), Neville Hinds and Winston Wright (Organ), Gladstone “Gladdy” Anderson (Piano), Hugh Malcolm and Arkland “Drumbago” Parks (Drums), Clifton “Jackie” Jackson (Bass), and Tommy and Hernon Marquis (Saxophone). The more laid back sounds from 1966-1968 would be given the name Rocksteady of which again McCook was at the forefront. The top producers like Bunny Lee would use the musicianship of Tommy McCook and his arrangement skills to enhance this new sound.

We have compiled a great selection of rhythms that featured McCook blowing over tracks stripped of their vocals and replaced with some fantastic lead lines played by Tommy and some of his fellow horns men.
We hope you agree like we do that they do this in fine style.

"Northern Electronics presents ’The Vanity Project’, the new LP by Vanity Productions.
Like a fractured reflection, images appear distorted and incomplete. A series of fragments revealing influences, methods, and decisions where life and work remain inseparable. Moving through the residual noise of contemporary media space, Christian Stadsgaard draws from social media remnants, dark web transmissions, and untreated human sound.
These elements are processed through noise electronics and tape manipulation, collapsing source and signal. ’The Vanity Project’ is constructed as a dense, uneven surface. A collage of found sound, environmental interference, and emotional residue. The result carries Vanity Productions’ characteristic melancholy, Nordic restraint, and accumulated debt, forming a quiet but insistent tale of romance and reflection from the source.”
Album credits:
All music recorded by Christian Stadsgaard in Copenhagen, Denmark 2025
Mixed by Christian Stadsgaard and Malthe Fischer
Mastered by Giuseppe Tillieci at EnissLab, Rome
Photos by Christian Stadsgaard
Collage by Anthony Linell
Sound contributions by Shredded Nerve, Jackson-Pratt, Ashley C, Hannes Norrvide, Malthe Fischer, Daniel Svanberg Bøtcher, Vagn Olsson, Yuri Umemoto, Lise Westzynthius, Qiuyao Ning, Peter Peter, Government Alpha and Merzbow – A big thank you to everyone involved.
“The Vanity Project” was kindly supported by KODA kultur, Copenhagen.

Es gibt eine unbestreitbare Verbindung zwischen dem Süden und Ereignissen außerirdischen Ursprungs. Vom eklektischen Jazz-Guru Sun Ra bis zum deutschen Raketenwissenschaftler Wernher von Braun - Alabama hatte schon immer mehr als nur einen reißenden Anteil an Verbindungen zum Weltraum und zu Dingen außerirdischen Ursprungs. So war es auch bei ,Man or Astro-Man?", die vor einigen Jahren in einer kleinen Universitätsstadt in Alabama ankamen bzw. dort eine Bruchlandung hinlegten. Als sie ihre Plattensammlungen wiederentdeckten, die lange Zeit auf vergessenen Dachböden verstaut oder hinter Regalen mit alten Zeitschriftenausgaben in zahlreichen heruntergekommenen Secondhand-Läden in Alabama versteckt waren, verliebten sich die Mitglieder von ,Man or Astro-Man?" in die verkratzten Klänge von Link Wray, The Ventures, Dick Dale, The Shadows und Duane Eddy - also in Instrumental-Gitarren- und Surf-Musik der späten Fünfziger und frühen Sechziger. Gleichzeitig hatten bizarre Bühnenbilder und Auftritte von Kraftwerk, Sun Ra, Devo, Frank Zappa, The Sputniks und natürlich den Residents großen Einfluss auf die sich rasch entwickelnde Truppe. Dennoch war es das erzwungene Leben in einer hoffnungslos konservativen Kleinstadtumgebung, das Man or Astro-Man? dazu brachte, das Offensichtliche hinter sich zu lassen und sich viel stärker von dem beeinflussen zu lassen, was sie hassten, als von dem, was ihnen eigentlich gefiel. Im Grunde könnte man sagen, dass Man or Astro-Man? weitaus stärker von College-Football und muskelbepackten Verbindungs-Spinnern beeinflusst waren als von Science-Fiction. Die Band trieb es, besonders bei Live-Auftritten, auf die Spitze, so lächerlich wie möglich zu sein, und verspottete dabei ernsthafte ,alternative" Acts und mit ihnen die Musikindustrie selbst. ,Experiment Zero" (1996) war ihr Debütalbum bei Touch and Go. Es wurde in drei Tagen im eigenen Studio von Man or Astro-Man?, dem ,Zero Return" in Alabama, zusammen mit Steve Albini aufgenommen und gilt als eines der großartigen modernen, vom Surf-Stil beeinflussten Gitarren-Instrumentalalben. Da Man or Astro-Man? ,Experiment Zero" als ihr Meisterwerk der langen Entwicklung der Surf-Musik etablieren wollten, begannen sie, sich schneller als je zuvor weiterzuentwickeln. Sie veränderten ihren Sound weiter und erweiterten den Einsatz von Samples, Computerprogrammierung, Keyboards, elektronischen Spielereien sowie experimentellem analogem Schneiden und Einfügen von Tonband. Obwohl das Album von der Kritik weithin gelobt wurde, mussten sich langjährige Fans erst einmal daran gewöhnen. Wo die meisten Bands müde geworden wären oder einfach immer wieder dasselbe Album im Kreis gedreht hätten, erfanden sich Man or Astro-man? und ihre Live-Auftritte immer wieder neu.

London’s thumbprint marks it’s debut release via Warsaw’s Pridi and his EP ‘Apricity’ – four varied cuts that each leave their own impression.

Distributed by One Eye Witness
Mastered by Tim Xavier @ Manmade Mastering
Mixed by Jean-Patrice Rémillard a.k.a Pheek

'Under the name The 4th Street Orchestra, Dennis Bovell released a series of limited-edition albums in the mid-70s specifically for the UK sound system scene. Yuh Learn! stands as a prime example of Bovell’s creativity and production prowess. With its strong Jamaican Roots appeal, it is a record cherished by sound system selectors, capable of taking every listener on a deep journey through the many shades of dub.
'The album features two of Real Rock Records’ favorite tracks. First, the instrumental The Grunwick Affair, recorded in solidarity with the striking workers of the Grunwick Film Processing Laboratories in Willesden. This historic industrial dispute paved the way for the socio-political shifts of the late 70s and remains a landmark in British labor history. The track was even hailed by Time Out as one of the top 100 songs about London. The horn section features also the legendary Rico Rodriguez, Michael ‘Bammy’ Rose, and Eddie Thornton on trumpet. Also included is the classic sound system anthem Rowing Down The River.
'Presented here in an extended version, Bovell’s vocals ride the rhythm perfectly until a heavyweight dub version takes over. The musicians performing as “The 4th Street Orchestra” deserve special mention. The lineup includes drummer Jah Bunny, a foundation musician who played on crucial albums with Bovell and the late Jah Shaka, and John Kpiaye, a leading figure in the British reggae scene and “Lovers Rock” producer. Kpiaye has collaborated with Dennis Brown, Aswad, and I Jahman Levi, and serves as the resident guitarist for the Dennis Bovell Dub Band backing Linton Kwesi Johnson.The late Eddie “Tan Tan” Thornton on trumpet, an Alpha Boys School alumnus and legendary session man also for The Beatles and Jimi Hendrix, brings his expertise to the project, having also contributed to masterpieces like Rico Rodriguez’s Man From Wareika.
This is a limited-edition, vinyl-only first reissue of one of the rarest and most sought-after albums from Dennis Bovell’s legendary catalog.'

motor.de:
"Ex-Blackmailer Aydo Abay legt sich ein elektronisches Alter Ego zu: von düsteren Zukunftsvisionen, dem
Überwachungsstaat und New-Wave-Sound.
Wir kennen das schon aus „Keine Lieder über Liebe“: Für das Filmprojekt von 2005 wurde mit der Hansen Band ein
Projekt für die Kamera erschaffen, das aber auch echte Konzerte gab und ein Album herausbrachte. Im Jahr 2010
erleben wir nun ein ähnliches Projekt: Für die Crossmedia-Serie „Alpha 0.7“ formierte sich Crash:Conspiracy rund um
Mastermind Aydo Abay. Genau genommen IST der Ex-Blackmail-Sänger Crash:Conspiracy. Für die Aufnahmen der
Platte und auch für die kommenden Konzerte arbeitete er mit wechselnden Musikern zusammen und ist somit das
einzige stetige Mitglied der Band.

The latest release in the series exploring the musical worlds of Gerry Anderson is the most extensive yet. Space: 1999 ran for two series from 1976 to 1977 and depicted the occupants of Moonbase Alpha and their struggle for survival when, after the explosion of a nuclear waste dump, the Moon is hurtled into space.
The series was the most expensive produced for British television at that time and the most musically diverse of all the shows made by Anderson for ITC. Gerry Anderson’s long-time musical partner in all the previous adventures was Barry Gray and Space: 1999 proved to be the last of their collaborations.
Uncut Magazine referred to Series 1 music as “Pink Floyd without the mythology”. The first recording session for Space: 1999 took place on December 11th 1973 with a 52-piece orchestra performing the opening and closing title music. For the series’ incidental music between 32 and 38 instruments were utilised at any one session, all conducted by Barry Gray. The selections from Year 1 show Gray’s skills in creating a memorable opening theme as well as dramatically evocative cues highlighting the plight of the Alphans as they became known. The Year 1 album also showcases a selection of library cues which featured throughout the series.
Barry Gray was a classically trained composer and a versatile musician and was amongst the first composers to use electronic instruments in music for television. Best known for creating the music for most of the Gerry & Sylvia Anderson television series in the 1960's and 70's (Fireball XL5, Thunderbirds, UFO, Space:1999), Barry Gray’s complete musical opus is still not commercially available in its entirety. Fanderson, dedicated to the productions of Gerry Anderson, has gained access to all Barry Gray's original studio tapes and have undertaken a major re-issue project. Together with Fanderson, Silva Screen Records is championing Barry Gray’s incredible musical opus and is releasing the material in a series of physical and digital albums and vinyl records.

H- side is etched
The American cable-television industry exploded in the 1980s, pushing broadcasts of diverse programming and emissions of low-laying cultures into homes. Community stations piggybacked on the digital developments of the time, extending their existence through telephony and broadcast a iliates. For those growing up in this time, in locations such as New York City, the localized communications beamed into their homes exposed them to an impressionable array of disparate sounds and visions.
Move into the 1990s and New York was filled to the brim of emergent cultures drawing from this ebullition of communication. From Rammellzee’s shapeshifting to the late Judy Russell and Frank and Karen Mendez’s Nu Groove imprint fusing reggae, poetry and house, nascent ideas emanated from the city walls, from within stores such as Sonic Groove store and on VHS releases such as Stakker’s The Evil Acid Baron Show, a legendary technicolor psychedelic trip along the wildest frontiers of acid house. As scenes expanded and identities developed, such individuals weather the events of the visceral now, expressing themselves right into an unpredictable future.
Function’s long career has seen him uncover a vast range of sonic identities, a mainstay through house, techno and industrial with collaborations with the likes of Regis, Damon Wild alongside his highly influential Infrastructure imprint. With influences deeply tied to pop art, rave and gay scenes, and early memories of block-parties emitting Kraftwerk and Strafe, he found himself seeking out the undercover illegal nights of the 90s on a quest of sexual unearthing, mixing the ever-yearning escapology mission of disco with the influential DJ sets of Jeff Mills.
For his new album Existenz, he marks a clear step away from the corporeal techno of his recent releases. Pivoting around themes of religion, sexuality, trauma and healing, it is a work expansive and celebratory, a clear liberation from a deeply internalized past. Formed from a collection of recordings made in a period from late 2016 to mid 2019, Existenz takes the form of a creative outburst in reaction to a number of traumas - recent, childhood and throughout Function’s life. Life partner Stefanie Parnow assisted the production process in its entirety, providing inspiration, spiritual healing and featuring vocal contributions.
Cosmic synths soar and swoop in ‘Pleasure Discipline’ through towering stacks of rhythm that stutter and creak to a halt before rebooting, a firm robotic response to human intervention. ‘Zahlensender’ reflects a spatial tetris of urban life, as digitalization set within an XYZ matrix confronts the sprawling city. Constant arpeggiated meditations echo synaptic transmissions, e ecting a dissolution of boundaries. ’The Approach’ recalls the unification of the self, a state of delirium non-subjective and smooth, as all connections and functions give way to simple intensities of feeling, crossing the threshold into spirituality. ’Golden Dawn’, featuring Stefanie Parnow, marks a further elevation of dubbed-out euphoria, as once more positive rays emerge. His ode to the effortless short-trip urban navigation 'Kurzstrecke' finds Function in motion, upfront and bold, snapshots of conversation and flickers of light. 'Ertrinken' finds metallic bass jabs swamping snipped synthetic voices, with hidden stores of emotion set as a nod to the history of vocoders as a tool for encrypted military communication. House icon Robert Owens features on 'Growth Cycle' and 'Be', entrenching a celebratory atmosphere over Function's clubwise leanings. Closing track 'Downtown 161' reflects the unmistakeable filtered and squashed interjections of television, and sampled dance vocals - a sound for the curious, dreamers and dancers.
With Existenz, Function reveals an essential body of work, spread over 4LP - thought experiments on the role of identity and spirituality after a lifetime of upheaval and trauma. Leading up until the release date, Function will undertake an album promo tour with select dates - A/V shows at Berlin Atonal and Rural festival in Japan, and three dates as part of his Bassiani residency.

Powerful Stuff is a 1989 studio album recorded in Memphis at Ardent Studio and Alpha Sound and produced by Terry Manning - With Kim Wilson on vocals, Preston Hubbard on bass and Fran Christina on drums, it was the last one by the Fabulous Thunderbirds to feature guitarist Jimmie Vaughan before he left the band - The track "Powerful Stuff" achieved mainstream success when it was featured in Touchstone Pictures' 1988 hit film Cocktail - It was the first single released from the Cocktail soundtrack album, which reached number one on the Billboard Charts and sold over 19 million copies worldwide

This new album compiles several songs made in the years following Black To Comm's classic "Alphabet 1968" album. Originally released on the seminal Type label in 2009 (and to be reissued on Cellule 75 this year) "Alphabet 1968" combined the sound of vintage shellac and vinyl loops with broken electronics and field recordings, the press release mentioning disparate influences "ranging from Moondog to Basic Channel by way of Bernard Herrmann". In a beautiful one-page review in The Wire magazine (later reprinted in his book Ghosts Of My Life) Mark Fisher compared Richter's music to JF Sebastian’s miniature automata in Blade Runner ("with their bizarre mixture of the clockwork and the computerised, the antique and the ultramodern, the playful and the sinister"), ETA Hoffmann's inventor-magicians and Auguste Villiers de l'Isle-Adam's 1886 tale of Thomas Edison's (fictitious) construction of an artificial human.

Now titled "Coh Bâle" (inspired by a strange dream) these recordings were supposed to become a follow-up to said album but for reasons unknown it never materialized and the album seemed forever lost. At the time Richter started to dive deeper into several strains of (so-called) world music aka the folk music of Southeast Asia and Eastern Europe as well as liturgical and medieval music, the Kraut-Electronica of Harmonia and several certain Mediterranean experimentalists from the 1980's who started to merge their mostly electronic and field recording based compositions with traditional musics from all over the world by way of new sampling technology.

Many of the songs for the album were recorded while travelling and at various residencies around Europe: a detuned piano in a Thessaloniki basement (Richter played at a children's birthday party there), vintage synthesizers in the GRM studios in Paris, decaying acoustic instruments found in an old Black Forest mansion, childrens' voices at a workshop in Karlsruhe's ZKM Institute; then mixed on headphones in the ICE trains running between these places and his hometown Hamburg.

"Coh Bâle" is taking inspirations from old Nonesuch Explorer and Ocora LP's, Crammed Records, 80s Mediterranean Ambient (Nuno Canavarro, Roberto Musci) combined with the DIY spirit of Deux Filles and Flaming Tunes and the playfulness of Asa Chang & Junray. The songs are both mysterious and transparent, intricate and frugal, vibrant and patient. One of the album's unexpected climaxes is a gorgeous (artificial) berimbau version of the Welsh traditional "Iechyd o Gylch".

No two songs feature the same instrumentation and many acoustic sources (pianos, flutes, wood percussion, viola, tablas, autoharp) were disassembled and later coalesced into new configurations or used as virtual instruments; later combined with samples, field recordings, electronics and (on a few tracks) autotuned vocals reminding of recent works by the likes of Claire Rousay or More Eaze.

We had to wait for a worldwide pandemic for Richter to dig deep into the vaults and finally bring these recordings to light. This is the 2nd release from his archives after the "Diode, Triode" LP which presented Musique Concrète/Acousmatic recordings made at INA/GRM and ZKM. Another massive Double-CD (MM∞XX Vol. 1 & 2) was released last year featuring collaborations with 33 artists such as Andrew Pekler, Richard Youngs, Eric Chenaux, Maja Ratkje, Radwan Ghazi Moumneh of Jerusalem In my Heart, GRM boss François Bonnet (Kassel Jaeger), Felix Kubin, Timo van Luijk (In Camera, Af Ursin), Luke Fowler and many others, showing Richter's versatility and his willingness to reinvent himself for every new release.

Marc Richter is widely known under his Black To Comm moniker, having released (at least) 12 albums under this alias in the last 20 years. He is currently signed to the Thrill Jockey label. Richter composes soundtracks for film and has worked with visual artists such as Mike Kelley and Ho Tzu Nyen. He also records as Jemh Circs and Mouchoir Étanche for his own Cellule 75 label (named in tribute to the late Luc Ferrari).

The Trip To Vega is about deep outer space odyssey that occurs in the process of traveling from Earth through the Cosmos to another "favorable" star system 25.3 light-years away.

The time is year 2097, Sept 23rd.

To this day, Earthlings have managed to dodge some of nature's more dangerous extremities, massive volcanic eruptions, Earthquakes, solar burst that knocked out the Planet's entire electrical grid for 3 years, numerous plagues of disease, food and fresh water shortages, domestic and International Wars and many other life-changing operas, but for this event, what remains is a realization that has no remedy. The cause: Earth's physicality has changed. It is no longer favorable for living things.

It is the constant shifting of the planet's internal tectonic plates which has unfortunately produced an unexpected and impassable dilemma.

Because of the collisions, deep within the planet's core, the planet is now producing an extraordinary amount of sound that includes a specific harmonic frequency that erodes the natural senses of all life on Earth.

It is intensifying. It is intolerable and it is unlivable.

Yet, some humans prefer to stay, to "ride it out" like the Titanic captain going down with his ship. Some, in total disbelief as some have concluded it is the second coming of Jesus Christ. But for most, the decision is clear. Tolive another day, leaving is the only rational choice.

At an increasing rate, scientific research data shows that humans and most animals, excluding the Jellyfish will eventually lose the usage of hearing and are to greatly suffer from an array of other neurological and psychological effects. The sense of touch and taste, sleep depreciation, severe nerve damage, constant hallucinations. Everyone will lose many of their cognitive abilities within an estimated 12 months from now.

On this day and every 7 days afterwards until all registered passengers have departed, the first of a fleet of large number of massive size spacecraft carrying approximately 1 million humans per vessel will permanently leave Earth to begin the long and adventurous trek across outer space to a new home: Vega.

This is not a precautionary tale as there is nothing to learn. Instead, a decision has been made and a Trip To Vega is the consequence.

- Jeff Mills

2023 Backstock

New album of one of the biggest Reggae/Dub french soundsystem starring MacGyver, Rooty Step & Pupajim (who worked with Alpha Steppa, Biga Ranx, High Tone, Mungo's Hi-Fi ...).

Since their inception at start of the 2000s, Stand High Patrol have rocked sound systems to their own riddim, assimilating and re-purposing the codes of the genre in their own unique style. From tiny bars in Brittany to huge festival stages, on independent radio or across national airwaves, the crew have quietly trod their own path, never compromising their core value of independence. Connoisseurs have long recognised Stand High’s credentials both as a dub group and a leading sound system, but they stand out from the crowd because of their ability to deliver the unexpected, whether live or on record. Their ability to draw such a diverse audience is testament to this atypical approach to making music.

In 2020, almost 20 years since their humble beginnings, the collective presents their fifth album, “Our Own Way”. As with their first two albums “Midnight Walkers” and “Matter Of Scale”, now considered as classics in their genre, this new opus asserts itself as the latest representation of the crew’s versatile approach to crafting sound. Their music, a blend of its own known as “Dubadub”, has always borrowed influences from multiple sources, and over the course of their career their roots in dub and reggae have intertwined with hip-hop, jazz, new wave, trip-hop and numerous other genres. The ‘Dubadub Musketeers’ have never ceased experimenting, forever seeking to increase the sonic territory they cover, day after day. Both live and recorded, they’ve made it a point of honour to never offer up the same thing twice. Any resemblance that “Our Own Way” might bear to those first two albums is a consequence of this obvious creative continuity, rather than of going “back to basics”.

In contrast to the last two Stand High Patrol records, the hip-hop inspired “The Shift”, or the Bristol indebted “Summer On Mars”, “Our Own Way” doesn’t have a unifying concept or theme. Rather than being limited to a single aesthetic, the LP pays respect to the entire canon of Jamaican music, all unified under Stand High’s inimitable production values. With the wealth of experience gained during the recording of their last two records, the collective decided to aim for a freer project, letting themselves be guided by their own music and their own instincts. The end result is a musical portrait of what Stand High Patrol is in the present moment.

The tracks that make up the new LP burst out of the studio, each born out of unbridled, impulsive creativity. Previously unheard compositions and specially re-tooled dub plates have been assembled into a tracklist that shifts and moves like a classic Dubadub Musketeer live set. Each step of the process has been refined by years of practice : composition, effects, and the final mix. Throughout “On Our Way”, the brutal dub stepper, though still a favourite for sound system sessions, is noticeable by its absence. Instead, it’s the full weight of the crew’s reggae heritage that’s expressed in the mix. It's not just the depth and weight of each tune that strikes the listener, but also the spaces heard between the notes that grab and hold their attention.. The sense of a trip, whether musical, internal or geographic, is omnipresent throughout the LP, linking each track to those before and after. “Our Own Way” finds Stand High Patrol exploring as usual, yet also narrating their journey as they’ve rarely done before.

The second installment of The Tape Masters series by German film music maestro Peter Thomas. Audiophile pressing in deluxe 2x10" vinyl set, limited to 500 copies.
While volume one of the series compiled Thomas' dopest library music cuts, this album dives deep into the soulful side of the Peter Thomas Sound Orchester, featuring the mystique house band of Afro-American Munich GI club Tabarin Bar, Donna Summer's first solo recordings, stunning cinematic funk instrumentals and a healthy amount of breaks and beats.

Out of the 20 scorching tunes on this compilation, only three were released at the time of their recording and are nearly impossible to find on the 2ndhand market, ten have never been released anywhere before, others celebrate their first outing on vinyl or in stereo.

Peter Thomas is widely acknowledged as Germany's most inventive film music composer of the 1960s and 1970s, best known for his iconic soundtracks. Today, his work is cherished not least for its incredible groove factor. The story of this compilation traces the origins of the Peter Thomas Sound Orchester's rhythm section and its soul music background, shines a light on unsung heroes like singer Joe Quick and unearthes nuggets that have been lying dormant on tape for decades.

All music was carefully transferred from Peter Thomas' private master tapes and cut in full dynamics, housed in a beautiful fold-out cover with liner notes and private pictures. The compilation is released in cooperation with Peter Thomas' son Philip who represents the Peter Thomas Sound Orchester catalogue since his father's passing in 2020.

STRICTLY LIMITED TO 100 COPIES ARTIST PROJECT After discovering techno at La Concrète, invited by my girlfriend, it was a revelation, and I very quickly felt the urge to contribute in my own way. My intention has been to create tracks infused with positive energy (even if the creative process sometimes leads into slightly darker corners of music). Still, I realized—rather late—the importance of the musical genre known as “techno.” Here is my reflection on it: Nothing is closer to village music (with everything that implies among indigenous peoples, for example—important and respected moments of communion) than techno. On one side, you have basic organic instruments and the voice; on the other, the most advanced technology available. But fundamentally, the difference is only superficial—the essence is the same: a guide, and people who participate intuitively, ultimately finding or discovering their own inner paths… individuation. Techno represents the re-emergence of a kind of initiation rite that had been missing in the West for quite some time—a sort of continuation of Woodstock, more spread out over time but just as powerful from a societal perspective. This release is my contribution to that revival, in the same way a villager might feel free to join trance music with a simple stick that sounds right, or a drum—something intuitive that all our ancestors must have practiced naturally at one point or another. In short, nothing pretentious—just something made with heart

Darf man sich so hart über Männer lustig machen? Man darf! FRECH parodiert toxisch männliches Verhalten ohne Rücksicht auf Verluste, denn sie haben nur das verdient. Mit der besten Freundin, die zum Glück "Kleptomanin" ist, werden "ALPHA FEMINSTEN" mit lackierten Fingernägeln enttarnt, Fuckboys "Chlamydien" gewünscht und ein Gottesdienst für die "f0dseunsere" abgehalten, in dem dafür gebetet wird, dass Männer endlich guten Sex geben und zielsicher die Clit finden. FRECH ist ein poppiges Technogeballer mit schallernden Hardstylekicks, fickenden Bässen und einer Stimme, die sich zwischen engelsgleich und asozial aggressiv bewegt.

Brandnew album by Ian Svenonius (Nation of Ulysses, Make Up, Chain & the Gang, XYZ) latest project, his best yet, packed with super hits and provocative songs! ESCAPE-ISM - the found-sound-dream-drama - are back in action and out in front! And this time, they're leading a "Charge of the Love Brigade." Their fifth record, and fourth "sound" record - (the third one was "A Protest Against Sound"- an entirely silent LP) - "Charge of the Love Brigade" is revolutionary in its own right. Besides being packed with tunes with super-hits such as e.g. "Black Gold", "Last Of The Sellouts", "The Rebel Outlaw", & "Fire in Malibu", the new album proposes a reformation of the traditional notes and scales, an entirely new sound alphabet! "The violent overthrow of musical conventions will lead to the reintegration of humanity into the natural order, the reordering of life itself into a cosmic congruity. This means the convention of time itself will be ended." Play "Charge of the Love Brigade" and listen as ESCAPE-ISM go "over the top" against the note-letters of accepted musicality in a world premiere of a new upside-down antiscale! An album which furthers Svenonious' mission of upending and vandalizing indie-rock, garage and electronic norms and repurposing them in the context of a found-sound fever dream!