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DR MYSTERY marks her debut release with Ono. ‘Far From Home’ is an eight-track album that glides across the dreamscape of another world. DR MYSTERY’s world, set in the future, exploring sounds that excite the mind and body, underpinning an eclectic take on leftfield techno.

DR MYSTERY’s talent to traverse the intersections between dreams and reality through sonics, positions her as an electric producer who is only just at the beginning of her journey. Ono wishes to capture this moment in a way that feels special, they have handmade 300 sleeves for the ‘Far From Home’ vinyl out of old record sleeves and screen-printed the artwork onto them. Therefore each sleeve is bespoke and one of a kind.

In 2045, researchers at MindTech discovered an anomaly in neural networks used for direct data transmission into the human brain. They called this phenomenon “Phantom Scripts” — mysterious glitches in the code that activate when a person falls asleep or closes their eyes. Deprived of visual stimuli, the brain becomes more receptive and starts responding to internal impulses from the neuro-interface, generating unexpected images and phrases, as if creating messages from the void.

Analysis revealed that these scripts are particularly active during deep sleep or meditation, when the mind is most vulnerable to external influence, as though an intelligent force is attempting to communicate through the subconscious. What lies behind these messages and why they appear remains unknown. Perhaps the answers are hidden in the darkness itself.

Uhlmann Johnson Wilkes is the debut album from Gregory Uhlmann (SML, Anna Butterss, Duffy x Uhlmann, Perfume Genius), Josh Johnson (SML, Jeff Parker ETA IVtet & New Breed, Meshell Ndegeocello, Anna Butterss, Leon Bridges), and Sam Wilkes (Sam Gendel, Louis Cole, Chaka Khan). The three improviser/arranger/producers' impressive individual credits encompass such a wide stylistic pendulum swing that a collection of group music from the trio could mine any number of musical territories with masterful results. I n these 11 instrumental songs, the trio explores a spacious lyrical curiosity that could b e described as a jazz-informed take o n progressive electro-acoustic chamber music.

Conceived during two live shows at ETA and a session at Uhlmann's house in Los Angeles, the album maintains a focus on beauty, melody, and rhythm as the pieces unfold, with the trio pushing their instruments and highly-dialed effects to sculpt otherworldly sounds with the collective sensibility o f a rhythm section. The ethos of these instant compositions is arrangement-minded improvisation that showcases the mournful beauty of Uhlmann's fingerpicked electric guitar, the hybrid rhythm-lead of Wilkes' bass chording, and the textural harmonic worldbuilding of Johnson's effect-laden alto saxophone.

In the absence of air, find solutions in the soil. mbie

North of Loreto (side project of Bassi Maestro) and Alex Fernet, among the most significant exponents of Italian nu_boogie, are ready to publish their first release as a couple: next February 7th it will be released in 12" format by Maledetta Discoteca and with distribution digital curated by Believe Music Italia "Disco / Diavolo Blu", first work born from the very fresh union between the two artists.

Two songs that fully describe the musical souls of the two artists for a meeting that enhances and amplifies their respective attitudes and qualities.

Artwork by Riccardo Michelazzo

Born in 1989 in Bamako, Mali, Nfaly Diakité is a member of the Donsow, Bambara animist hunters. Nfaly Diakité is named after his grandfather, the late Nfaly Diakité, one of Mali’s most respected donso chiefs. His grandfather did not play, but as a leading figure in the donso brotherhood, he was always accompanied by musician Yoro Sidibé. Nfaly grew up alongside Yoro Sidibé, who became his first master of the donso ngoni, a type of eight-stringed antelope skin harp. After leaving school to devote himself to his instrument, Nfaly continued his apprenticeship with Diakaria Diakité and Oumar Sidibé, two donso masters from the Wassolo region.

He quickly made a name for himself in the donso community and was much asked to play at the traditional ceremonies of his brotherhood. He then met percussionist Ibrahim Sarr and joined the BKO Quintet, with whom he recorded an album and toured Europe and the United States. His virtuosity on the donso ngoni soon attracted attention, and he took part in numerous music and dance festivals in Mali and abroad, with the aim of raising awareness of this little-known traditional instrument.

Nfaly Diakité is also a Kônô, meaning that he is responsible for passing on the history and culture of the Bambara people through music and song. He pursues his mission by combining tradition with more contemporary sounds and by collaborating with artists from a wide range of musical backgrounds. For him, music is a means of conveying messages of peace, love and harmony, and his compositions evoke the values of respect, tolerance and open-mindedness.

‘Tribute to Toumani Koné’ is Nfay Diakité’s first solo album, recorded in Bamako in June 2020. On the album, Nfaly is the only singer, providing backing vocals and playing the donso ngoni and keregne. The album is a tribute to the storyteller and poet Toumani Koné, the greatest donso ngoni player since N’gonifo Bourama. Nfaly Diakité is a representative of the new generation of donso ngoni players and he wishes to pay tribute to Toumani Koné, who throughout his long career has been a symbol of courage, daring, loyalty and honesty.

The nine-track of this solo album leaves no room for hesitation. Three instruments (donso ngoni, voice and keregne) manage to carry one into another dimension without ever tiring. The fitting and precise rhythm is a deep but melodious transe. Nfaly’s voice plays between expressive urgency and calm wisdom, and the choruses with his own voice multiply the planes of dimension of the music. The donso n’goni, of which Nfaly is an excellent player, sounds rough and earthy but always clear and sharp. All the strength of a music that does not belong to a single musician but to a long cultural tradition of which he is the spokesman is expressed here. The young Nfaly, thanks to his experience and sensitivity, succeeds on his own in pushing us into this world without feeling the weight of tradition but only the liberation of music that sounds all the more contemporary. This album is to be listened to in its entirety as one tight journey between repeated formulas, highlights and moments of rest within the same relentless rhythm. The densest moment is probably found in the heart of the album, between the tracks Nankama (the predestined one) and Mogote Diabeye (no one can please everyone). Here, the message, which can be deciphered from the translation of the lyrics, seems to transcend language barriers and intepret us directly about our human condition, urging us to move our bodies to the dense rhythm of life.

Here is our Hot Sauce Volume 5 showcasing some seriously groovy and rare Rocksteady,
Boss and Reggay tracks mixed expertly for yet another thrilling early Reggae experience on vinyl.


Here is the much anticipated volume 5 of the HOT SAUCE compilation LPs dedicated to the Trojan related labels between 1965 and 1975.
HOT SAUCE volume 5 features outstanding original Rocksteady, Boss Reggae and early Reggae (“Reggay”) tracks including rare songs, overlooked gems, hidden treasures and a couple of hits. The record labels showcased on this fourth volume are Amalgamated, Bread, Downtown, Duke, Explosion, Grape, Harry J Records , JJ Records, Rio, Splash, Upsetter and Techniques.

The tracks here have been selected according to their musical interest firstly, their rarity, and their complementarity.
These tracks are all outstanding tracks, “killer tracks”, there is no “filler” whatsoever.

Particular attention has been paid to the way the songs are sequenced (or “mixed”) so that the album builds up nicely and gradually, generally starting
with the Rocksteady songs on the A side and the 70s songs on the B side.
The HOT SAUCE series is a musical journey across Trojan and its labels showcasing early Jamaican Reggae’s diverse musical genres and outstanding artists.
Since the early 70s’ “Tighten Up” and “Club Reggae” series, no compilations have really explored these labels in depth on vinyl.
It might be the last volume of the series as we know it so we wanted to make a splash for volume 5.
It is a nod to self-censored lewd Reggae covers from Trojan and Pama in early 70s. So don't fret,
a collectible yellow sticker has been strategically applied on the shrink-wrap to cover Miss Rocksteady's bottom!!
With its striking cover and its thrilling Reggay selection, volume 5 is bound to become another successful album in the Hot Sauce series...

Since launching her own club night, “Motivation,” back in 2018, B.AI has played a key role in bringing the underground’s club sounds to her home country, China. While introducing some of the scene's most exciting artists to her local audiences, she emerged as one to look out for as well: first as a DJ and quickly thereafter as a producer. Her original takes – a sensitive, highly personal approach to melody and a knack for playing with expectations – crystallized in a slew of A+ releases and a couple of international tours. This trajectory, shaped by taking matters into her own hands and self-empowerment, now sees a logical next step, with the inception of a label that will also operate under the “Motivation” banner and features her own “Hope” EP as its first release.

Sparkling mallets, with synth-pop quality catchiness, open the title track. Rather than further evolving, their two-bar arrangement gets looped over and again, serving as the foundation for a slick FM bass rhythm and a variety of hooks. Although these incline to the bright, the overall vibe is melancholic. In vintage B.AI style, the aptly titled “Hope” is more ambiguous than its patches suggest. Similarly, the vocal this type of palette would call for ultimately comes in the form of aloof, covert musings. A bit buried in the mix, they are most efficient – just like the tension that keeps brooding underneath the surface.

“Murderbot Diaries 1991” turbocharges four-to-the-floor synthetic drums with an arpeggiated rolling bass. The blue note melody on top feels sequenced via a pocket calculator, and the dissonant, electroclash-reminiscent stabs that follow might sound even more angular. The tune is frantic, sinister – and perhaps above all tongue in cheek. It reaches fever pitch with the arrival of a tubular bell theme between the two breaks.

“Once”’s slomo cutoff modulation on the 16th note mid-bass instantly creates a sultry atmosphere that meshes greatly with the pastel cool of the gently delayed DX7 leads. The energy drifts between effortless control and uncertain outcome. These contrasts are amplified as the drums alternate amidst moderation and beat-repeat rendered havoc.

On “Only We Know,” a progressive sine lead lays out the central motif. Yet as briskly as it appears, it makes way for detuned, gliding square waves taking on the same theme. This outlines the track’s structure: as slightly morphed repetitions keep getting introduced almost haphazardly, a dreamlike, mesmerizing ambience unfolds. Techy drum rhythms and a 101-type bass make sure everything stays fuelled. Within the ingenious tapestry of melodies and new twists, it never loses touch with the dance floor. It illustrates B.AI’s club savvy neatly and is therefore a perfect closer for this EP.

Der Einstieg in die Musik von Q Lazzarus erfolgte für fast alle über „Goodbye Horses“. Der Song tauchte erstmals 1988 in Jonathan Demmes „Married to the Mob“ auf, aber er sollte sich erst dann vollständig im Bewusstsein der Menschen verankern, als er 1991 in Demmes „The Silence of the Lambs“ wieder auftauchte. „Goodbye Horses“ fühlte sich an wie ein in sich geschlossenes Universum - traumhaft und völlig ungewöhnlich, ein sofortiger Klassiker, der die Zuhörer fesselte und neugierig auf die geheimnisvolle Stimme dahinter machte. Diese Stimme gehörte Diane Luckey, einer einzigartig talentierten Künstlerin, deren Musik ihrer Zeit voraus war und die letztlich zu Lebzeiten weitgehend unerkannt bleiben sollte. In Verbindung mit der Veröffentlichung des Dokumentarfilms „Goodbye Horses: The Many Lives of Q Lazzarus“ von Aridjis Fuentes veröffentlicht Sacred Bones eine Sammlung von Songs, die die gesamte Karriere von Q abdecken und die verschiedenen Epochen ihres Schaffens und die ganze Bandbreite ihrer Persönlichkeit zeigen. „Goodbye Horses“ ist die erste Musiksammlung, die den Segen von Qs verbliebener Familie erhalten hat, und hat die Besonderheit, ihre erste und einzige Albumveröffentlichung in voller Länge zu sein. Aufgenommen zwischen 1985 und 1995, spiegelt diese Fundgrube bisher unveröffentlichter Musik einige der interessantesten Facetten der Popmusik der letzten vier Jahrzehnte auf eine Weise wider, die sowohl versiert als auch wild eklektisch wirkt Das titelgebende „Goodbye Horses“ bleibt ein einzigartiges Stück gespenstischer New-Wave-Perfektion, und man könnte sich ein ganzes Q-Lazzarus-Album vorstellen, das sich um diese Ästhetik dreht, aber ähnlich den Gesangsikonen Alison Moyet, Annie Lennox oder Lisa Gerrard eignet sich Qs chamäleonhafte Stimme perfekt für eine Vielzahl von Stilen und Settings. Ihre Coverversion von Talking aHeads' „Heaven“ verwandelt den Song in eine aus voller Kehle gesungene Power-Ballade mit klimpernden Klavierverzierungen, während ihre Interpretation von Gershwins „Summertime“ wie eine dubbige Club-Reduktion klingt, die zu einem Grace Jones Stück der Nightclubbing-Ära hätte passen können. Tracks wie „My Mistake“ und „Hellfire“ flirten mit House-Musik und zeigen, wie frech und glockig Qs Stimme sein kann, wenn sie sich richtig austobt, während „Don't Let Go“ wie eine bombastische Radiosingle klingt, die Cher vor einigen Jahrzehnten hätte veröffentlichen können. Andere Songs wie „Bang Bang“ und „I See Your Eyes“ sind von einer gitarrenbetonten Alt-Rock-Sensibilität, die in einem Paralleluniversum auch auf MTVs 120 Minutes Show hätte laufen können. „Goodbye Horses“ verkörpert das Potenzial für so viele verschiedene Arten von Karrieren, die, aus welchen Gründen auch immer, nie vollständig verwirklicht wurden. Dass wir jetzt diese Songs in der Welt haben und ein klareres Bild von der Person dahinter, ist nichts weniger als ein Segen.

DREAM DANCE 96Die Dream Dance Vol. 96 steht in den Startlöchern und sorgt bei allen Dance und Trance Fans für Entzücken. Dream Dance 96 erscheint im hochwertigen Digipack auf 3CDs mit den größten Trance und Dance Hits unserer Zeit.Auch das Marketing-Paket lässt keine Wünsche offen: Koop mit "sunshine live", sowie eine massive Online Kampagne inkl. Bannern, Facebook und Youtube Werbung, uvm.DREAM DANCE 96 - folge dem Delphin!

Chalo & Vell return with Made From Moss Volume 2, marking the next step in their collaborative EP series. This four-track of club rollers explores a range of styles and tempos, each track anchored by distinctive rhythms and textures aimed squarely at the dancefloor.

Bangkok, despite being a bustling metropolis, boasts a music scene that feels as intimate and vibrant as those found in smaller European cities. It’s a place where local creatives from various disciplines come together, leaving their artistic imprint across the city. This collaborative energy resonates through Boiled Wonderland’s catalog, which features artists like DOTT, Sarayu, and Chalo—pioneers of Thailand’s burgeoning underground music movement. Both DOTT and Sarayu are co-founders of the record store and label More Rice Records, while Chalo plays a pivotal role as the mastering engineer at Thailand’s pressing plant, Resurrecc. It’s here that the Made From Moss project took root.

While Boiled Wonderland continues to champion eclectic and boundary-pushing music, its sonic direction has evolved to embrace a more dancefloor-oriented approach. This shift reflects the label’s immersion in Bangkok’s electrifying club culture and the inspiration drawn from the city’s warm, sunlit atmosphere.

The Made From Moss series emerged from a creative dialogue between Chalo and label founder Vell. Moss, with its simplicity yet dynamic nature, became the symbolic foundation for a series focused on rhythmically driven, danceable tracks. This vision also sparked the creation of Mosspit events and welcomed MetalMetal as a core contributor.

Chalo’s opener, Feeling, weaves house-inflected vocals with acid synth lines, building a steady groove that carries effortlessly to the finish. Tolerance Break follows, layering dynamic snares, tight breaks, and basslines that pulse with energy. On the B-side, Vell leads with The Ship Rolls Through, a euphoric roller balanced by flickering sound effects that keep the track grounded. Back To Normality closes the EP, leaning into progressive tones with bouncing bass lines that sizzle toward a breaking point, bringing the EP to a close.

The record is already receiving support from the likes of: Ploy, Mixtress, Raresh, Space Dimension Controller, Jennifer Cardini, Answer Code Request and many more.

Quinoa Cuts proudly presents its 4th release: Marvin's 'Sweet Analog Memories' EP

This record is a sonic journey that bridges past and present, blending nostalgic analog warmth with a modern edge. A message that resonates loud and clear as you dive into both sides of this vinyl opus.

Side A opens with two tracks that deliver a lush, analog-driven soundscape, evocative of the iconic synth-wave movement of the ‘80s. These compositions are delicately interwoven with electro-inspired nuances, creating a bittersweet atmosphere that dances between melancholy and romance. It’s music that strikes deep emotional chords while transporting you to a dreamlike, neon-lit past.

Side B takes a darker turn, shifting the narrative entirely. While the golden-era analog textures remain present, these tracks explore a more progressive, shadowy, and haunting realm. They generate an intense sense of entropy, awakening the psyche and stirring emotions in unexpected ways. This side is a deep dive into a more introspective and visceral space, one that challenges the listener to confront their inner world.

Marvin’s EP is a record that demands to be felt as much as it is heard. Whether you’re a synth-wave enthusiast, an electro explorer, or simply a lover of forward-thinking electronic music, this release will resonate with you.

The critically acclaimed Colours & Light, Project Gemini’s second album, takes on a new life in Deluxe Edition format. Firmly rooted in the mood and melodies of the original album, the Deluxe Edition features an unreleased album track, alternate versions and a whole host of remixes from friends of Project Gemini. To accompany the digital release, Jack Sharp’s (Wolf People/Large Plants) distinctive, distortion-heavy remix of ‘After The Dawn’, and the previously unreleased ‘Darkness Rising’, receive a special 7” pressing.

On the A side, Jack Sharp of the psychedelic, folk rock bands Wolf People and Large Plants, takes on ‘After The Dawn’. Sharp, who featured heavily on Colours & Light, dials up the distortion with this all-consuming, darker shade of a remix. Sucking you down into a wormhole of layered guitar reverberations and Paul’s spiralling, echoed vocals, it’s an intoxicating, driving hit of mind-bending, progressive rock.

Taken from the Colours & Light album recording session, the B side features ‘Darkness Rising’. A previously unreleased, original track that didn’t make it onto the album, Project Gemini leans in on the wah-wah fuzzed guitars, using it as the basis for a sonic brew of synths, percussion and bass-heavy, psychedelic rock synergy.

Founded by Matt Hodgson in the mid 90s, 7th Voyage quickly became a cult imprint.
 Despite a modest catalogue, the label earned a devoted following among vinyl collectors. Revered for its raw energy and timeless quality, these records have become treasured, often commanding hundreds of euros on the second hand market - some of the rarest electro tracks out there for those who know…

London based Hodgson, a passionate music lover and vinyl purist, poured his heart and soul into every release, crafting records that resonated deeply within London’s underground scene of the 90s. Following the recent reissue on Sushitech, Matt and Yossi have joined forces to present a
retrospective 7th Voyage release on Pariter, a label sharing a natural synergy with the ethos of 7th Voyage, this release honours the legacy of Matt’s work while breathing new life into these rare and sought-after tracks.

‘The Return Voyage’ is a carefully curated compilation of seven standout tracks from the label’s back catalogue, encapsulating its signature sound and unique musical journey.

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

WE DON'T TRUST YOU feierte die historische Partnerschaft zweier kulturverändernder Legenden auf dem Höhepunkt ihrer Kräfte und brachte das Internet fast zum Beben. Die neueste Zusammenarbeit von Future und Metro Boomin ist die Fortsetzung eines musikalischen Vermächtnisses, das bis zu "Karate Chop" zurückreicht, einer elektrischen Single aus dem Jahr 2013, die das dynastischste Hip-Hop-Duo der 2010er Jahre hervorbrachte. Mit Tracks wie "Jumpman" (mit Drake) aus dem Jahr 2015 und "Mask Off" aus dem Jahr 2017, Singles, die zusammen von der RIAA mit 14-fachem Platin ausgezeichnet wurden, haben sie ihre Verbindung weiter gefestigt. WE DON'T TRUST YOU enthält den Track "Like That" feat. Kendrick Lamar sowie weitere "A-List"-Gastbeiträge.

Celebrating the 20th anniversary of Callisto's impactful debut album, Svart Records is proud to bring it to you for the first time ever on wax! Callisto is a post-metal band from Turku, Finland formed in 2001. They've headlined several tours in Europe, opened for High On Fire on their UK tour, and showcased in Canada and the United States. Whilst their early works are hardcore and metal, the debut album True Nature Unfolds has a strong sludge metal and doom influence. It was recorded in 2004 by the late Mieszko Talarczyk (Nasum) and introduced to Earache Records a year later through Johannes Persson (Cult Of Luna), earning the band worldwide distribution. True Nature Unfolds was originally released only on CD in 2004 by Fullsteam Records in Finland and Earache Records in the US and UK a year later. The album delivers a breathtaking mix of atmospheric soundscapes, heavy riffs, and haunting melodies. Each track invites you on an emotional journey, blending post-metal intensity with introspective lyricism. Don’t miss this powerful musical experience—let the journey begin! The 20th anniversary edition of True Nature Unfolds is presented on double vinyl in a glorious gatefold cover, with new album art by the band's drummer Ariel Björklund. Available versions are the Svart exclusive green/red/black marble vinyl, limited golden yellow vinyl, and classic black vinyl. Release date December 13th, 2024.

Diagonal celebrates 13 years inbusinessvia a 4 x 12" run featuring label stalwarts and influential collaborators. This is LP2, the second in the series. Like LP1 before it, this 12" comes with a coloured, elastic H band. All four LPs will be accompanied by these meaning customers can combine the records and complete their own 4 x 12" set!

This plate welcomes Regis back tothe label he inspired into existence, this time turning his attention toPowell's "Nomad". The result is techno bliss! Streetwalker (Beau Wanzer & Elon Katz) offer up a gloomy ballad, StabUDown Productions, a label mainstay, delivers the beats we love him for. There's a gripping and unsettling DJ tool from Patino and a beat-fest from Novoline. DIAG050 LP2 has it all.

Ulrich Troyer has been producing music now solidly for over twenty years within a largely genre free framework, but whilst navigating forms such as avant-garde, techno, leftfield, field recording, electronica, glitch and ambient it is the aesthetics of dub that guide his creative direction. Not really recognisable in an orthodox form as remixed versions of roots reggae songs but in the way sonics are manipulated with space, the application and layering of delay, reverb and echo that fixes his output well within the scope of what might be called futurist dub.

The nearest comparisons to his new album TRANSIT TRIBE can only be established by a synthesis of some of the more adventurous explorations in modern music such as African Head Charge, Jon Hassell, Pole (Stefan Betke), Bill Laswell or even Miles Davis; featuring a diverse selection of artists and friends not only from Vienna and environs but also from around the world, sounds are not so much fused but allowed to float along the continuous flowing tide of warm waves of bass.

Rather than to allow the names of Ulrich Troyer's collaborators be merely listed in the album credits, what they bring to this joyful affair needs to be outlined, albeit briefly: Co-producer credits go to Osman Murat Ertel from Istanbul, who employed a variation on the old foolproof Nick Lowe method for checking out the impact quality of his own sound productions by playing tracks through his car sound system speakers!

Murat is a member of the electro-psych-folk group Baba Zula where he plays electric saz, oscillators and theremin and played a key part in the creative development of the album. Mamadou Diabate, the balafon master originally from Burkina Faso and now resident in Vienna, has developed his own unique technique of playing solos that replicate the sound of three instruments playing in unison; however the multi-talented Mamadou is engaged here on singing and playing the talking drum. From South Tyrol Reinhilde Gamper is a member of the experimental trio Greifer who are bringing the sound of the zither into the twenty-first century using new playing techniques and electronic gadgets. Susanna Gartmayer is an Austrian composer and bass clarinetist specialising in improv and multimedia sound research. Diggory Kenrick has been engaged with creating new dub fusions and also re-energising classic rocksteady and roots reggae classics, renowned for his interventions on flute. Didi Kern is an electronic dance musician and drummer from Vienna with a focus on free improvised music. Hamidou Koita, a singer and multi-instrumentalist, is from a traditional Griot family in Burkina Faso but now resident in Vienna and a regular musical partner of Mamadou Diabate playing drums and calabash. Austrian Lukas Lauermann is both a studio and live musician playing cello, also working on electronic sound design and writing string arrangements. He has recorded extensively and appeared on stage with both Mark Lanegan and Hans-Joachim Roedelius. Martin Mallaun is a Tyrol-born specialist in both the development of the zither in modern music and also as a researcher in the effects of climate change on the vegetation of Alpine ecosystems. Mystica Tribe is the musical alias of Tokyo-based dub/techno producer Taka (Takafumi) Noda. He collaborated with Vienna's own Vegetable Orchestra on 2020's "Transplants (Mystica Tribe Version)". After studying classical percussion Flip Philipp is now a jazz vibraphone player and member of the Vienna Symphony Orchestra. Wolfgang Pfistermüller is a member of the Vienna Trombone Quartet and the developer of the incredible bass-trombone Aurora with its uniquely warm and resonant sound. Roger Robinson is a renowned British poet, winner of many contemporary poetry prizes and member of the experimental music group King Midas Sound. Kwame Yeboah is a Ghanaian born UK based keyboard wizard who tours regularly with Yusuf / Cat Stevens, Ms. Dynamite and Pat Thomas.

So contained on the album is an astonishing mix of musicians and instruments: sounds of cowbells recorded in the South Tyrolean alps processed by modular synthesizers and heavy analogue bass synths combined with instruments such as zither, bass-zither, electro saz, flute, talking drum, trombone, cello, vibraphone, marimba, djembe, contra-alto clarinet, melodica, Farfisa - all bound together by organic live-drums and dub effects.

Liner notes by Steve Barker

La Sonora Mazuren is the latest addition to the already rich indie-tropical scene out of Bogotá, Colombia. Deeply rooted in the popular sounds and rhythms of South America, the group draws from cumbia, chicha, guaracha, champeta and other styles mostly from Ecuador, Colombia and Peru.

Far from being folklorists or revivalists, La Sonora Mazuren combines synthesizers and electric guitars with accordion and percussion to create a futuristic style indebted to early pioneers such as Polibio Mayorga or Bogota’s own Eblis Alvarez, of Meridian Brothers fame, who also produced their debut album.

The result is a psychedelic feast reminiscent of the golden years of Tropicalia.

Their first album, Bailando con Extraños, got them many accolades in Europe, in France in particular where the band toured in the fall of 23 and again in the summer of 24.

Their follow up album, Magnetismo Animal, was mostly tracked in rural Normandy, during one of their European tours, and completed in Bogotá. Barbès Records (Roots of Chicha, Chicha Libre, Chico Trujillo) will be releasing it in the fall.

Franz Mesmer and his theory of animal magnetism provide the running theme for their new album. A collection of songs linked by the idea of a shared trance-inducing energy, channeled through rhythms and sound experiments. Musical inspiration for the album come from Colombian gaita, vallenato and cumbia, Peruvian huayno and chicha, Ecuadorian Sanjuanitos - a panoply of Afro-Andean traditions filtered through a futuristic vision of dance music that melds percussion-heavy polyrhythms and psychedelic sounds.

Band members are all active on the new tropical Bogotá scene. Keyboardist and accordionist Ivan Medellin and bassist Nicolas Eckardt are members of cult band Romperayo. Percussionists and singers Giovanna Mogollón and Diana

Sanmiguel are also 2/3 of popular trio LA PERLA.

Breeding in open air since 1964, Sir James and King Johnny are the figureheads of the mysterious L'ENTOURLOOP collective. Feed with good grains from Sounds Systems, vinyle's culture (Scratchs / Beatmaking / Sampling) and rocked by the epic dialogues of a certain cinema, L'ENTOURLOOP concocte with love a music half-way between Kingston, London and New York! After rocking more than 300 scenes around the world, the two unflagging ambassadors continue to surprise us on stage. Well accompanied by the incredible Bermudian MC Troy Berkley and the maestro N'Zeng at the trumpet, L'ENTOURLOOP gives us an eclectic live and survitaminated at each of its outings!!

he initial seed for this project was planted in 2020 when Nicolás Jaar wrote the song “Piedras” for a concert at the Museum of Memory & Human Rights in Santiago, Chile, which commemorates the victims of human rights violations during the military dictatorship led by Augusto Pinochet between 1973 and 1990. Between 2022-2023 it took on a new form as a radio play entitled 'Archivos de Radio Piedras', which was shared on a dedicated Telegram channel. In 2024, the play was converted into a 24 channel installation at the University Museum of Mexico City (MUAC), where it was exhibited for 5 months.

Piedras 1 and 2 is a collection of the tracks featured within the play, all new music by Jaar, but partly presented within the play as the music of Salinas Hasbún (the name a composite homage to Jaar's grandmothers, Graciela Salinas and Miriam Hasbún).

The play follows two friends mourning the disappearance of Salinas Hasbún, a musician and writer who vanished in the early 2020s. Although they live in a future where technology is advanced, they
resort to DIY radio methods because the anonymous group “Las 0cho” has launched a worldwide attack on undersea internet cables, causing a global internet blackout.

The play's central theme revolves around the idea that truths, memories and identities speak from the cracks (“rasgaduras”), or the "in-between" spaces ("en el entre"). This concept is supported by the
way much of the narration unfolds - in the liminal spaces between radio frequencies. The instability and transitory nature of a constantly shifting radio dial becomes not just a metaphor but the structure of the play itself. It’s in these moments of noise, static and interference that the deeper revelations of the story emerge. This disjointed, ever-changing medium mirrors the way memory and trauma operate within the play - non-linear, slipping through the gaps, found in fragments or ordinary moments, rather than direct transmissions of “official” historical accounts.

This notion reaches its climax at the end of the narrative, when a text is discovered in which Salinas speaks of finding a new number in a small pond in a cave mentioned in the first episodes of the radio play. This pond, inside the “cochlea of the world”, is seen as a way to introduce real-life randomness to computation. Embodied in the salt lakes of northern Chile, home to the world’s oldest bacteria, this randomness disrupts the rigid order of binary code, paving the way for a transformation of digital life.

First solo release by Nicolás Jaar since 2020’s Telas and Cenizas.

For our first ever Vinyl release we are celebrating a one of a kind party that has been happening for the last three years in South of France. We teamed up with « L’archipel » and invited 4 Producer that have all been part of making this festival a formidable adventure between Trance, Techno and Electro.

Lombroso goes first with his sharp dark and religious atmosphere. A1, The Last Midnight, a slowly building Techno belter, not to remember his infamous project « La Decima Vittima » released on « La nota del diablo ».

A2, Delayscura takes you on a beautiful trance infused techno trip. Nativo grants us of his deep crazy synths that are progressively taking this beautiful ambiance to an all other level.

After two appearances on his own label, IVOE, Kamyar Keramati opens that side with an intense electro banger. B1, Elements of a Thread get more and more complex to finally unravel all his mysteries.

Tibahuult has been for the past two years traveling all around France with an unforgettable live act. He is also one of the founder of « L’archipel » where he played that live act for the first time. With B2, Feel some of my Jam, he delivers for us an incredible belter track that
kick with a sunny vibe only to unfold all the producer madness all along the track.

‘FAIXA’ is the eponymous debut LP from rural Valencian group FAIXA, emerging from a desire to fuse their curiosity for electronic sounds with experiences of living immersed in the folklore that resonates through the Valencian regions of l’Alcoià and el Comtat.

This atmospheric album speaks to a sound not often heard in the wider Spanish electronic music scene, but reminiscent of other modern revivals of traditional music fused with electronic sounds across Spain right now.

The sound of the album is a constant dialogue between the roots and the future of Valencian generations; traditional vocalists play an essential role in connecting oral traditions such as the “cant de batre” and marches of the “moros i cristians” with leftfield electronic, influenced by sounds typical of dubstep, jungle, or footwork. This historical quality resonates profoundly through songs where vocalists Noelia Llorens “Titana”, Carles Dénia, and Josep Aparicio “Apa” act as channels to a new sonic dimension of traditional music, where the classical and the modern intertwine.

Receiving great feedback across the country in a short period of time, FAIXA’s unique approach to electronic music has gained them mentions and interviews on national and local radio & TV.

2025 Repress
30 years of Fuse means 30 years of road paving.

An ode to the past and a hint to the future, Fuse shares this milestone with its original guests from 1994 all the way to its fresh party goers of the past years as a promise to keep its dance floor focused on quality music and timeless moments.

In over a quarter century, the Brussels club has stood the test of time by rooting itself in ageless music and employing pioneering artists - large or small, international or local - to command the decks of Belgium's longest running dance floor. A celebration of this legacy and the renewed imprint is in order, coming in the form of a 30 track compilation of techno's best and brightest from around the world. One track for one year, this collection of recordings highlights the status quo of enduring club music, beginning with a nod to the past: a re-release of Jeff Mills iconic 'Step to Enchantment' from 1993. This glance to the past quickly shoots us forward into the current state of techno with legendary artists like Planetary Assault Systems, DVS1, Steffi, Rodhad, Donato Dozzy, DJ Nobu and many others who headlined the club in recent years. Cementing itself as a respected escapist institution, Fuse also calls on its growing local scene to prove why Brussels continues to remain a reference in the scene even outside of its own borders.

Words from the label:

Re-issue label Sentinel Island Disco returns to the stage with their long-awaited soca compilation featuring highly sought after soca cuts, raw 90’s soca house and deep blends of reggae, calypso and disco.

Structured by a PARTY and a SOUL side, the compilation offers a snapshot of the 90s electronic soca scene in all its multifaceted glory. The party side serves up a selection of pulsating, feel-good party tracks that encapsulate the carefree spirit that is the very heartbeat of soca parties. While the soul side explores a more introspective soundscape, where soulful vocals and deep electronic beats merge to create a powerful emotional experience and where melodies linger long after the music stops.

Label owners Barney Graman and Coco Vink have spent the past 3 years on bringing these lost and obscured recordings back into the limelight, some of which now pressed on vinyl for the very first time. All tracks are carefully remastered and some have been edited or remixed for the modern dancefloor, while staying as close as possible to the original brilliance.

The result is more than just a collection of songs; it’s a celebration of soca’s rich heritage and its ability to unite both different cultures as well as divergent musical themes, from joyous celebration to soulful reflection. All in all, a must-have compilation for all the collectors and aficionados of the rich and uplifting music of the African diaspora, as well as DJ's, dancers and music lovers looking to spice up their collection with some incredible soca music!

Comes as a transparent colored vinyl, featuring a small booklet with artist and label pictures as well as full liner notes on the genre's history and introduction of the tracks.

Limited to 500 copies.

VOYKOT presents a new cult album from PANICO EN DIRECTO, delivering another masterfully crafted mini LP. This collection of 6 tracks delves deeper into the producer's sonic universe, weaving intricate layers of percussion with complex melodic structures. While maintaining the raw EBM and Techno foundations of their debut, this release takes a more introspective turn, offering a sophisticated dialogue between rhythm and atmosphere that reveals new depths with each listen.

We’re back from a DITN hiatus! Starring Club Mayz, Bizarre Billy & James Rod, Ricardo Baez and Seth Booth. Through darkness diamonds spread their richest light…

Borusiade lands on Dark Entries with their triumphant third LP, THE FALL: A Series of Documented Experiences. The Romanian producer and DJ Miruna Boruzescu aka Borusiade has a track record of genre-bending releases on tastemaking outlets like Cómeme, Pinkman, Cititrax, and of course Dark Entries, who unleashed their stunning 2020 sophomore album Fortunate Isolation. THE FALL builds on Borusiade’s mythos with its 9 brooding and sophisticated tracks investigating the contours of memory and embodiment - the “fragile bridge between body and mind” in Borusiade’s words. Moody basslines and melancholy synths wrestle with muscular rhythms; this is electronic body music for the heart and head. This is their most diaristic work to date, as well, chronicling love and loss through the gauze of reflection. Tracks like “Save Me”, “Recovery and Redemption”, and “The Fall” sprung from painful breakups, periods which Borusiade identifies as some of their most creatively fruitful, finding themselves “making the best music when I was brokenhearted.” There are odes to musical titans we’ve lost: the minimal electro producer Porn Darsteller is comemorated on “Darsteller”, while industrial legends Genesis P-Orrige and Lady Jaye are honored on “Pandrogyne.” THE FALL comes housed in a sleeve using Gautier D'Agoty’s “Essai d'Anatomie,” an anatomical work from 1745, and also includes a lyric sheet. Trauma, from lost love to pandemic isolation, informs THE FALL, situating itself as a gap that can only be accessed through sound and the creation of art. “What can I add? When life gives you drama, make music.”

Breve is the new album by Stefan Paul Goetsch aka Hainbach.

"After a ceaseless amount of work and family struggles, 2023 had left me empty and tired. Instead of the many hats I usually wear, I shifted my focus exclusively on my music. For two weeks every day I sat down behind a few modular synths, a toy piano and an Ondioline, recording tape after tape. I did not lock myself in though - my kids were playing around me, commenting, touching knobs, adding oscillations. What in „deadline times“ can be disrupting, became restorative. I was with my family, just drifting on waveforms. I hope some of that atmosphere shines through, and the album can help you to find peace as it did for me.

Thanks to Forgotten Futures for the loan of the Ondioline and technician Daniel Kitzig for the beautiful restoration work." - Hainbach

Based out of Berlin, Germany, electronic music composer and performer Hainbach creates shifting audio landscapes THE WIRE called "One hell of a trip". His music has been released on Opal Tapes, Seil Records, Spring Break Tapes, Limited Interest and Marionette. He has been fascinated with sine tones, noise and FM since he discovered the dial on the radio. Never losing his childhood wonder, he still searches for the sounds in between on modular synths and other devices.

Dublin City, 1998. Prepare to be transported back in time to the vivid streets of Dublin. A city in social, economic and artistic transition.Set against an evocative sonic backdrop of jungle, drum and bass and breakbeat, SK83 weaves an elaborate narrative that captures the essence of adolescent life in Dublin in the late 1990’s.Delve into a captivating sonic journey that explores the bevy of emotions and events that colour a teenagers journey to adulthood - from love and loss, first-time experiences, the pitfalls of peer pressure and the unmistakable pull of the city's intoxicating rave culture.''My ambition for SK83 was to create an immersive musical and visual universe that brings the listener on a journey that captures the essence of adolescence. I wanted to reflect and re - live my own teenage experiences, and bring to life what is a shared universal experience for us all - but in this instance is told thru the lens of a young man in Dublin in the late 1990’s.'' — MathMan

Released Summer 2024

Schlammpeiziger, who had previously only been known to us for his top hits and T-shirts, burst upon us like a wild boar in search of affection in the middle of the coronavirus lockdown. He nested in our fully vaccinated home, drank our Eversbusch, ate from our plates, slept in our bed (wait - wrong fairy tale) and repeatedly urged us to organise egg runs with his testicles (after some contortions, we gave up trying). Childish faecal humour, far-fetched obs(t)enities, juicing, a desire to dissolve, composting of thoughts. In excesses of lack of concentration, the chains of associations curled and meandered like Jo's famous curlicue drawings. Every evening, after we had forcibly levered him out of our flat, he would ‘walk’ home to put together very unique , dreamy pieces. In the blissful brainfog of those days, for example, ‘Handicapfalter’ was created, for which the congenial °Bär° made our flat into the corresponding video. Among other quirks of the little gut-breather, we were fascinated to observe his phobia of literature and books. Just hold a printed page in front of his face for a few seconds and he writhes on the floor crying. A level of phobia that only my own laughable disgust and fear of writing myself can compete with. Jo shudders at the thought of reading sentences that build on each other in a meaningful way, and I shudder at the thought of having to write them down because I have something ‘to say’. A certain affinity cannot be denied. We are much, much more pleased by snatched-up, misunderstood or misheard snippets, hollow but unforgettable phrases, the diamond stoner humour of our ancestors. ‘From one turn/ I stop/ to walk on/ in all directions’ (as it murmurs in “Selten Gesehenes”), describes the process quite nicely. After all, Jo is ahead of me in that he can simply break off every tedious sentence and let it fade into music. Back to the essentials. It's five to 12 for the Schlammpeitzger (scientifically Misgurnus). The shy goby is under threat from climate change, so perhaps this vinyl is the last expression of life of the specimen that we have been allowed to look after sporadically since the lockdown phase of the corona epidemic. And it's turned out pretty. Even the aesthetically gutted like me and my beloved husband can THINK about sex when they see these sublime, silvery fart bubbles! It's tender as a fart. Make love!!!!!

Schamlose Dubtöse: Do you have words. Do you have sounds. Impertinently harmless piano tinkling turns into tugging zounds of increasing severity. It is not dubbed (would be unethical) but dubbed. Sounds dubby, as you can imagine. (Instrumental)

Loch ohne Licht: Possibly vaguely misogynistic. Could also be that there was simply no light in the hole. The sparse snippet of lyrics (‘du biss mir och esu e Loch ohne Licht’) sounds like one of those stroppy Cologne replicas whose anti-charm is hard to resist. Buzzing and grooving.

Selten Gesehenes: Casual. Confident. Soft. Fragrant. Thoughtful but lively.

The Arabian Vietmanese (instrumental) is probably the food we trust in the case of the munchies we get when we watch other people smoking weed. Transcendental and psychedelic states casually permeate the humdrum of everyday life. Klar Knuspermarsch: Marches and floats at the same time. Klebt Runner: Soundtrack to the cult film of the same name. Tyrrell Corporation loosens up. Ungenutzte Sätze: Stinks somehow, because there is dangerous proximity to comprehensible and then also critical statements here. Instead, the sinister electronic cheapness of Carpenter soundtracks can be heard. Parzipan: Actually, the time of origin was not so roaringly funny and simple, but for Jo it was also a gruelling, slow letting go of his brother. Here he sends him off with a gentle nudge into the vastness of a hopefully happy beyond.

Clara Drechsler

Schlammpeiziger, der uns bislang nur durch seine Top-Hits und seine T-Shirts bekannt gewesen war, brach mitten im Corona-Lockdown über uns herein wie ein wilder Eber auf der Suche nach Zuwendung. Er nistete sich in unserem durchgeimpften Zuhause ein, trank unseren Eversbusch, aß von unseren Tellerchen, schlief in unserem Bettchen (Moment - falsches Märchen) drängte uns wiederholt dazu, mit seinen Hoden Eierlauf zu veranstalten (nach Verrenkungen gaben wir den Versuch auf). Kindischer Fäkalhumor, weit hergeholte Obs(t)zönitäten, Entsaftung, Auflösungswunsch, Gedankenkompostierung. In Exzessen der Konzentrationsschwäche ringelten, kringelten und schlängelten sich die Assoziationsketten wie bei Jos berühmten Kringel-Schlängel-Zeichnungen. Jeden Abend, nachdem wir ihn gewaltsam aus unserer Wohnung gehebelt hatten, „ging“ er dann heim, um dort sehr eigene, verträumte Stücke zusammenzubasteln. Im seligen Brainfog dieser Tage entstand z.B. „Handicapfalter“, für das der kongeniale °Bär° aus unserer Wohnung das entsprechende Video machte. Neben anderen Marotten des kleinen Darmatmers beobachteten wir fasziniert seine Literatur- bzw. Bücherphobie. Halt ihm nur sekundenlang eine bedruckte Seite vors Gesicht, und er windet sich weinend am Boden. Ein Grad an Phobizität, mit dem sich nur meine eigene lachhafte Abscheu und Angst vor dem Selberschreiben messen kann. Jo schaudert beim Gedanken, sinnvoll aufeinander aufbauende Sätze lesen, mir wiederum beim Gedanken, sie hinschreiben zu müssen, weil ich irgendetwas „zu sagen“ habe. Eine gewisse Verwandtschaft ist nicht zu leugnen. Viel, viel mehr freuen uns aufgeschnappte, falsch verstandene oder misshörte Fetzen, hohle, aber unvergessliche Phrasen, der diamantene Kifferhumor unserer Vorfahren. „Aus einer Drehung/bleibe ich stehen/ um in alle Richtungen/weiter zu gehen“ (wie es in „Selten Gesehenes“ raunt), beschreibt den Prozess schon ganz schön. Immerhin hat Jo mir voraus, dass er jeden leidigen Satz einfach abbrechen und in Musik ausplempern lassen darf. Zurück zum Wesentlichen. Es ist fünf vor 12 für den Schlammpeitziger (wissenschaftlich Misgurnus). Die scheue Grundel ist von Klimawandel bedroht, vielleicht haltet ihr mit diesem Vinyl also die letzte Lebensäußerung des Exemplars in Händen, das wir seit der Lockdownphase der Corona-Epidemie sporadisch betreuen durften. Und die ist hübsch geworden. Selbst aus ästhetischer Erwägungen Entdarmte wie ich und mein geliebter Mann, können bei diesen sublimen, silberhellen Pupsbläschen DENNOCH an Sex denken! It´s zart as a fart. Make love!!!!!

Schamlose Dubtöse: Hast du Worte. Hast du Töne. Impertinent harmloses Klavierplätschern geht über in ziepende Zounds von zunehmender Strenge. Es wird nicht domptiert (wäre unethisch) sondern dubtiert. Klingt dubtig, wie ihr euch vorstellen könnt. (Instrumental)

Loch ohne Licht. Möglicherweise vage misogyn. Könnte auch sein, dass im Loch einfach kein Licht war. Das sparsame Textfetzchen („du biss mir och esu e Loch ohne Licht“) klingt nach einer jener pampigen kölschen Repliken, deren Anticharme man sich schwer entziehen kann. Schwirrt und groovt.

Selten Gesehenes: Lässig. Souverän. Softig. Duftig. Nachdenklich aber beschwingt.

Beim Arabischen Vietmanesen (Instrumental) gibt es wahrscheinlich die Speise unseres Vertrauens im Falle der Munchies, die wir kriegen, wenn wir anderen Leuten beim Kiffen zusehen. Transzendentale und psychedelische Zustände durchziehen beiläufig den schnöden Alltag. Klar Knuspermarsch: Marschiert und schwebt zugleich.

Klebt Runner: Soundtrack zum gleichnamigen Kultfilm. Tyrrell Corporation macht sich locker. Ungenutzte Sätze: Stinks irgendwie, weil hier gefährliche Nähe zu nachvollziehbarer und dann auch noch kritischer Aussage gegeben ist. Dafür klingt die sinistre elektronische Billigkeit von Carpenter-Soundtracks an.

Parzipan: Eigentlich war die Entstehungszeit gar nicht so brüllend lustig und einfach, sondern für Jo auch ein zermürbendes, langsames Loslassen des Bruders. Hier schickt er ihn mit sanftem Schubs hinaus in die Weiten eines hoffentlich schönen Jenseits.

Clara Drechsler
Downloads

Bicoastal disco aficionado, Super Elevation label/shop owner, and all-around legend of the scene, Tom Noble brings forth a sprawling project 15 years in the making with his House of Spirits full length LP on Razor-N-Tape.

Slow-cooked over more than a decade, the eight tracks that stretch across this double 12 inch pack are the realization of Tom’s unique vision of modern dancefloor soul, with lush live instrumentation and deviously catchy hooks. Boasting a near encyclopedic knowledge of decades of club music, Tom draws on influences like Patrick Adams & the Mizell Brothers to build a sound that’s both reverent to the past, but feels extremely fresh and immediately timeless.

The lead off singles ‘Times Are Changing’ and ‘Please Take Me There’ and respective remixes by Harvey Sutherland, Makez and Sizmo have already garnered huge support, and ‘Holding On’ the beloved original House Of Spirits single from 2020 appears with a shiny new mix. The album opens with ‘Love Trip,’ an uptempo invitation to the sonic world to follow, and moves through various moods, like the Brit-funk vibe of ‘Time Is Running Out,’ the mid-tempo groover ‘I Get Lifted’ and the downtempo R&B smoothness of ‘Diamond Eyes’ featuring dreamcastmoe on vocals.

The cheeky dollar bin artwork rounds out this package perfectly, and with the tracks mixed to perfection and cut tough for the floor, this is an essential record that will surely find a permanent home in the bag.

Ed Rain is somewhat of a “new” name on the label’s roster. 


His fresh debut LP, titled ‘Met Him on a Wednesday’, explores various channels of artistic expressions and ideas, compiled together into a cohesive and entertaining album. 

It is an immersive venture into post-genre sonic landscapes, providing glimpses into both the artist’s serious and playful sides, offering listeners a fun and captivating auditory experience.

Woven together from home studio recordings that span two decades, and with some notable guest appearances including; The Bug, Douglas Leal of Deafkids, Wayne Adams of Petbrick, Dave French of Yob and Sanford Parker, this final part of the Harvestman Triptych seeks once again for a lost world, with the voice of poet Ezra Pound extolling the virtues of "gathering from the air a live tradition".
Cloudy Clear plus Black Galaxy effect vinyl in dub style jacket. Limited and Non-Returnable.
At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.

Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, Triptych is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

"Herne's Oak" provides seismic bass waves that physically halt the track in its steps - giant footfalls as Herne's antlers themselves are dragged along a corridor. Another curious and mysterious piece of British folklore brought to life by Harvestman.

If Triptych is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with Triptych itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

Cover art is by Henry Hablak, who also designed the art for Part One and Part Two.