quête:g machine

Unreleased electronic / jazz / madness from two titans of jazz and experimentation: JOHN SURMAN and KARIN KROG.

I could now write a load of blown up puffery about how amazing this is, but everyone does that, and a lot of the time it’s all a load of bollocks. But basically this was sent to me by Karin / John when I asked if they had anything hanging about that had not been released. This came through and blew my tiny mind. Like something from prime Annette Peacock “Pony” period. Here is what John Surman said…

John Surman writes:

Back in 2012/13 there had been some talk about a big futuristic open air urban dance/theatre production for about 80/100 actors/dancers with lasers and all kinds of lighting effects on different stages. I was invited to get involved and, together with Ben and Karin, we eventually decided to get to work on some ideas. I think that the original plan was that in performance there would be a mixture of live music and electronica.

Not altogether surprisingly, bearing in mind the complexity of the project, it never moved forward and developed into anything more than an interesting idea. It was probably over ambitious & I guess the funding never came through.

The only information I that I can find relating to the production refers to two silent movies made in 1927/1928 by the filmmaker Eugene Deslaw, entitled `La Marche Des Machines´ and `Les Nuits Électriques.These were clearly intended to act as inspiration for the project.

After months turned into years it became obvious that the project was going nowhere, and so the recorded music laid around gathering dust until Johnny Trunk asked Karin if she had any interesting music that he might be interested in releasing. One thing led to another and so, finally, Electric Element found a home!

For anyone interested in the equipment used this will have to be an approximation since the memory might be playing tricks. Karin was probably using a Yamaha Rex50 f/x unit, a Roland VT-3 Voice Transformer and an Oberheim Ring Modulator. I was playing Bass Clarinet and Contrabass Clarinet through various f/x units together with a Yamaha WX5 wind synth. All the instruments and voice were also processed through Ben´s equipment. After writing this I asked Ben for his recollections and he came up with the following:

John, Karin and I created this music in 2 or 3 days in the winter of 2013 at their studio in Oslo, Norway. I followed up with another 2 or 3 days of mixing, editing and post-processing . We kept a collaborative, improvisational and free-form approach to the sessions. I grew up immersed in music such as Cloudline Blue, the 1979 duo album of Krog/Surman, and this felt like a similar approach. I have mixed sound for many of their live duo concerts and I would use effects and electronics as an

accompaniment and counterpoint to the performed music. The relation of organic and artificial sound sources in music has always fascinated. In this case, I used some contemporary digital signal processing to introduce my own aesthetic into the conversation, in particular using granular synthesis to recombine small 'clouds' of sound into alternate forms. Some of the software tools I used included Ableton Live, Max/MSP and Reaktor.

Reedale Rise has already made his mark with releases on Frustrated Funk and Delsin, but this latest release shows there's a whole new side to his sound. If you think you know him, think again. He's come through with three tracks of pure futuristic depth, all infused with Detroit influence. Envision Blade Runner-inspired machinery, deep house grooves and endless soul--this EP is a must for any true enthusiast. Detroit's Big Strick lays down his iconic tough-soul-house swing on the remix, completing a record that channels the lost history of underwater alien civilisations.

Borghesia is an electronic music group, founded in 1982 in Ljubljana, Slovenia. The band was formed by four members of alternative theatrical group Theatre FV-112/15: Dario Seraval, Aldo Ivancic, Neven Korda and Zemira Alajbegovic. They established FV Video to self-publish their video projects and FV Založba – the first independent record label in ex-Yugoslavia. Aldo and Dario took care of songwriting, production and recording while Zemira and Neven handled the visuals. In the late 80s the band signed to PIAS and went on to release a string of successful albums and played world-wide tours.

Clones was Borghesia's second album, self-released on cassette only in 1984. The band borrowed synthesizers (Roland SH-101, Casio VL-1, Korg Polysix) and a Roland 808 drum machine from friends. Every song was played live - no overdubs - and recorded to a cassette deck over a few nights at their club Disco FV during 1983-1984. The music on "Clones" is meant to accompany various video installations and performances. All of the songs are instrumental and feature various cutting edge techniques for 1983. Hypnotic, proto-techno and acid rhythms and synth lines. Music on the A Side of the LP is faster and club oriented while the B Side offers a drugged out soundtrack to get lost in.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley directly from the original master tape. Each LP is housed in a silver jacket with original gelatin print by photographer Jane Štravs. A fold-out poster is included with unreleased photos, original artwork and liner notes by Željko Luketić. After 28 years, Borghesia's "music for video" is finally appearing on vinyl for the first time.

Stirring, snaking riffs, set closer to Josh Homme’s sun-bleached Joshua Tree compound, than the English Channel-lashed grin-and-bear-it character of Cleethorpes, sound the return of Lincolnshire teen-trio, Revivalry as they get set for 2025. Rushing and rattling into 2025, targeting fresh terrain as last year’s land grab of main stage festival and support slots becomes yesterday’s news, most recent single "Lost"'s three-and-a-half minutes of abandon pushes at the door of another sunny season of big shows and wild memories. School was out in 2024 as the teenagers took off from their hometown to first tackle the festival fields of Kendal Calling last summer, becoming the youngest ever band to play the Main Stage, having been hand-picked by bookers who spotted them mid-flow at one of their earliest shows. With trailblazing single, The Town, accompanying them on their way as thousands of new music-hungry gig goers caught the band on stages of increasing scale, their online listeners kept pace. Touring from sweaty venues to major outdoor support slots, their impressive run included a first, major Manchester headline, playing at Deaf Institute as the year met it’s festive close. Delving into record collections and distinct individual tastes, the three members of Revivalry refer with comfort to Rage Against The Machine and Bring Me The Horizon, as easily as fellow documentarians of youth, Arctic Monkeys or Supergrass, when discussing their beyond-years writing.

Dummy is a rock band from Los Angeles comprised of Alex Ewell, Emma Maatman, Nathan O'Dell, and Joe Trainor. Their debut full-length "Mandatory Enjoyment" (Trouble in Mind) arrived in late 2021, becoming one of the year 's sleeper hits and garnering praise from Pitchfork, Stereogum, and more. Coming out of lockdown, the band spent two years touring in support of the record, and it is this transformational experience that pulses through "Free Energy ", the exhilarating follow-up to "Mandatory Enjoyment". A creatively restless band, Dummy (Ewell: drums, synths, bass; Maatman: vocals, synths, organ; O'Dell: vocals, guitar, organ; Trainor: guitar, bass, synths) wanted to get harder, dancier, more psychedelic for their next record. This meant applying explorative potentials of electronic textures to the elemental qualities of rock i.e. more vocal loops, sampling, more crazy rhythms, and playful synths - but make those samples of Trainor 's guitar, let Maatman sing bolder, experiment with using cold mechanical elements in warm and sparkly ways, and lean harder into traditional-yet-still-awesome forms of rock guitar experimentation like feedbackThe result is a record that celebrates music's ability to move the body, whether that be through a teeth-rattling wall of MBV-esque noise, a sticky pop chorus, or a joyous drum machine_or, if you're Dummy, maybe all of them in the same song. Pop music has always been a big part of Dummy's sound and it manifests in different ways all over Free Energy: the bubbly synth sequence made with a Korg EM1 popping all over "Nullspace," the revved-up drone-pop inspired by second and third wave Dunedin Sound bands like Look Blue Go Purple and Dadamah, and the motorik beat powering "Nine Clean Nails," perhaps the most confidently pop song Dummy has ever recorded and one that exemplifies "Free Energy "'s balancing of live performance intensity with electronic augmentations, the dancier rhythmic elements created out of a drum loop recorded by Ewell while the bridge recalls the Feelies with call-and-response guitars from O'Dell and expressive vocals from Maatman. "Free Energy " also features guest appearances from Oakland-based saxophonist and electroacoustic artist Cole Pulice (Moon Glyph) contributes saxophone and wind synths and Jen Powers of Powers / Rolin Duo (Astral Editions, Feeding Tube Records).

Bosconi Records is proud to present Tangled Waves, a dynamic split EP that brings together the sonic identities of two emerging Italian talents—Roberto Manolio and Giuseppe Angeloro—each making their debut on the label.

Like currents colliding below the surface, Tangled Waves reveals a natural convergence—where distinct styles drift together in subtle harmony.

The A-side features Roberto Manolio, known for releases on Cosmological, Nugs on Board, and Musek Records. He kicks off with Deeply Red, a UK tech house-influenced stomper driven by a fat, aggressive bassline and dreamy delayed chords. A haunting Russian voice sample adds a cinematic, retro-futurist edge—like a lost transmission from a 60s space mission. Next up is Machine City Road, a raw, gritty weapon where grinding synths and sharp textures drive the track forward with the force of a distorted electric guitar. It’s dark, edgy, and full of tension. On the B-side, Giuseppe Angeloro—previously featured on Cimedirapax, Havalon, and Polarity Records—brings a touch of italo-flavored euphoria with A Night Among the Trees. Lush arpeggios and nostalgic synth lines conjure up a dreamy atmosphere, building into an epic, cinematic anthem. Closing the EP is Mind Trip, a gentle, psychedelic excursion built on floating melodies, delayed vocals, and hazy atmospheres. It’s a reflective, emotionally rich track—perfect for the final moments on the dancefloor. Tangled Waves offers a meeting point of two unique sonic voices, flowing along parallel—but deeply connected—paths, resulting in four essential weapons built to last.

"6-track house finesse from Amsterdam mainstay Beraber, topped off with a killer remix by Brazilian artist Zopelar. Expect six melodic tracks for the body & mind. Beraber returns to United Identities with Gentle Actions, setting the tone for long summer evenings and sun-soaked days. The Amsterdam based producer and DJ organically blends Chicago's classically-schooled keys and machine backdrops with subtle, atmospheric textures. This long-awaited record by Beraber (Baris Akardere) is a deeply personal collection of music, encapsulating a period of creative and personal growth. Rather than a concept record, it serves as a document of the past years, bundling some of most cherished productions into a cohesive and heartfelt gift to the audience. This EP marks the first time the producer has used his own vocals in his productions, next to vocal contributions from Barcelona-based artist Ivy Barkakati, whose lyrics perfectly resonate with the journey of the EP. Gentle Actions opens with Between Us, a calm builder, gracefully layered with meandering pads. Distant Language picks us up with its dubbed-out groove, guiding our feet on a journey through melodic landscapes. It flows into Responsibility, an introspective track with a powerful message about turning dreams into reality, before continuing with Lost in Loops, a loose and soulful house cut featuring his own vocals. The journey ends with the more upbeat, instrumental Good Company, topped off with a deep, nocturnal remix by Zopelar. Written and produced entirely in his Amsterdam studio -- housed in the same building that once held De School -- Beraber continues to rely on a deeply analog and outboard gear-heavy approach. The result is a record that stays true to his soulful and introspective signature, mirroring the sonic identity of his acclaimed radio show, Gentle Actions on Amsterdam's online radio station RRFM."

[b] A2 Shot Down, Mixed By, Recorded By [Additional] – Warne Livesey
[c] A3 Eve's Volcano (Covered In Sin), Vocals [Chorus] – Dee Lewis, Tessa Niles
[d] A4 Spacehopper, Guitar [Airhead Guitar], Vocals [Screams] – Donald Ross*
[e] A5 Planet Ride, Organ [Acetone] – Paul Crockford, Vocals [Chorus] – Dee Lewis, Tessa Niles

[g] B2 Saint Julian, Cor Anglais – Oboe Kate St John*, Strings [String Machine] – Keith-Richard Frost*


[j] B5 A Crack In The Clouds, Cor Anglais – Oboe Kate St John*, Guitar [Oregon Guitar] – De Harrison*, Strings – Warne Livesey

DCTL is a unit formed by Masafumi Onishi, aka TELLY, the label owner of Troop Music Works, and DJ DUCT, who is renowned for his turntable skills that span a wide range of genres, from Hip Hop and Rare Groove Funk to Detroit Techno and Deep House. The raw warmth of analogue equipment, rough sequences mainly using samplers and rhythm machines, familiar nostalgic samples, and adorable DIY output that clearly conveys that it has been carefully crafted by hand.

Buckcherry will release their 11th studio album Roar Like Thunder on June 13th, 2025. The 10-track record was produced by Marti Frederiksen, who previously produced the band's 4th album, Black Butterfly, and co-wrote one of their biggest hits "Sorry." Frederiksen also co-wrote the songs on this album with vocalist Josh Todd and guitarist Stevie D. The album was recorded in Sienna Studios in Nashville in 2024. Says Josh about the new album, “Roar Like Thunder is going to lift your spirits, shake you up, and remind you why the hell you started listening to rock ‘n’ roll!”

Space-surf-psych-rock quartet Japanese Television’s album ‘Automata Exotica’ has been remixed by invited friends and peers; including Goat Fool from GOAT, Factory Floor’s Gabe Gurnsey, and Edgar Breau from cult band Simply Saucer. Informed by UFO encounters, ritualism, robots, Northern Soul, and nuclear weapons, ‘Automata Exotica’ was released in March 2024 and was described as “Heavy but also joyful” by The Quietus, “A fuzzy blast of space-surf energy”in Shindig and “A remarkable and unique proposition” by Louder Than War.

Rather than having been transformed out of all recognition, “reimagined” is a more apt term to describe this new version of ‘Automata Exotica’. With the album’s eight tracks presented via considered, alternative mixes with pertinent sonic application, it hangs together incredibly coherently - albeit as a wild and feverish psychedelic experience.

JTV toured with GOAT while writing ‘Automata Exotica’, with the fat fuzz tones and extended middle percussion section of ‘Typhoon Reggae Police’ heavily influenced by their time watching and learning from side stage. Starting life as an uneasy mixture of scratchy 60s garage rock and 70s Afghan psych folk, Goat Fool from GOAT ripped the song apart and stitched it back together. Recognisable but weird and uncanny, it’s a stripped down, oppressive, shimmering voodoo nightmare.

“We used to go and see Gabe’s weird, excellent band Factory Floor playing dark little club nights in Shoreditch years ago and marvel at the racket” says JTV. “Gabe’s been a long time collaborator of ours, in fact he’s the only person to not only do more than one remix for us, but has featured on every remix release we’ve done. Our most ecstatic, cathartic song, ‘Tabadaboum’ was the perfect match for Gabe - the motorik krautrock bassline fits right in with the pneumatic grind of his vintage drum machine loops and synth flurries”.

It's hard to measure the impact cult 1970s Canadian space rock proto punk psych band Simply Saucer had on the formation of Japanese Television. The band reached out to Edgar Breau - the band’s founding member and guitarist - who guitarist Tim says was “really generous with his time, and really kind to an overly keen and slightly awkward Simply Saucer mega fan. It's a real honor to have him playing guitar on one of our records”. His cosmic reimagining of ‘Golden Birds’ layers on the delay, reverb and screaming guitars, launching the track into outer space.

‘Automata Exotica (Remixed)' is set for release on 6th June 2025 on limited edition LP and digital formats. Japanese Television tour in Europe through March and April. The album is released by cult underground label Tip Top Recordings (Jim Wallis, Mandrake Handshake, Pearl & The Oysters), run by Ben Rimmer and David Warn.

The visionary 1983 album by Anthony Hobson, is a bold exploration of enterprising drama themes. Featuring hypnotic synth layers, commanding brass motifs, and the pulsating rhythms of electric bass and drum machine, each track resonates with confidence and ambition. Hobson's masterful compositions from this album were regular features on sports highlight reels throughout the 80’s and 90’s, including “Polestar 1” on NFL Films. From touchdowns and slam dunks to space age captains of industry, "Millenium" captivates listeners with its dynamic compositions, offering a compelling musical journey through the aspirations and achievements of the burgeoning digital age of the early 1980s.

‘You are behind the damn wheel every day and you don’t even know it’ , weightily remarks Powerplant’s band leader Theo Zhykharyev on the reading of his latest single. London-based project signals the return to signature formula of marching drum machines and wailing synthesisers, matured by life experiencing of prolonged touring. ’Car is life, brother. Sometimes you drive it, other times - the car drives you. And, statistically, we’ll all see the airbags go off sooner than later as consequence of choices made by us or onto us, consciously or not.’
Crashing Cars breaks out the gates to the heavy low end driven dance floor. ‘I was listening to a lot of Bladee when I wrote it and needed a similar thick kick to get you moving’, says Theo. Its an emotionally loaded cannon of a track that will keep you in its grip until it has run its course and told its story. Yearning from connection unfulfilled, rings out through the heartbroken and weeping synth and choir lines. The ever-morphing and dynamic bass works in tandem with razor sharp guitars. The instrumentation, through combined ‘no looking back’ forward charge and immediacy, conjure a manic and emotional forward momentum, which rings out in the song’s lyrics. The vocal performance ranges from the trademark Powerplant goblin squeaks, to more mature, tour-hardened singing. On a sonic aesthetic level, Crashing Cars vibrates in a familiar fashion to Powerplant’s biggest hit Dungen. However, this time far less playful and harder hitting. Described as the fallout of “avoiding, chasing and running away”, lyrically it paints a dead end in human relationships concluding it car-crash heading for the scrapyard. The song concludes with a loaded four line spoken word poetry segment, that hangs over the fleeting outro.
The B side of the single, Never Smile, rolls the speed back, but throws in jangly guitar hooks and bouncy bass lines. Zhykharyev’s vocals sit in a lower register, hence are more stoic and melancholic. If this track had to be a day of the week, it would be a calm, introspective Sunday. With lyrics about looking into evil omens, the sky and reading people as ‘not something different’, it paints an ambiguous, but heavy conclusion about the world and its people. It tells a story about circumstantially settling into an identity and playing the assigned part for the convenience of the external world. It’s easier to fit than to stand apart. It's a perfect balance of mid-tempo radio-rock that builds and changes, before exploding into a shaggy guitar solo, only to go into an unexpected ethereal outro and this 7”s crescendo.
‘Both of these songs are kinda old now, sitting at around 4 years old. And although I haven’t changed the lyrics since then, I somehow find new meaning in them as time goes on. Being Ukrainian and going into the fourth year of the full scale Russian invasion back home, the chorus “my death to you - a better price to pay” makes a lot of sense looking at how the world powers are trying to spin the devastation of my people for a quick profit and an easier life for themselves. This single coming out now at this very point in my life feels both profound and very ironic. Life never ends’, summarises Zhykharyev.

Rock’n’roll revivalists Split Dogs are not here to make 15 second viral videos, they’re not here to sell you a lifestyle, they’re here to destroy. Born from the frustration of seeing music become commodified and soulless, vocalist Harry Atkins and guitarist Mil Martinez had the idea to form a band as far back as 2015, with the name ‘Split Dogs’ pulled from the classic zombie film ‘Return of the Living Dead’.
In South London, a young Martinez would hear Status Quo, Bachman Turner Overdrive and Dire Straits on the car radio while his father drove him to school. At home he would invade his older brothers’ record collection which leaned towards the harder sounds of punk and heavy metal. Meanwhile in the Black Country, Harry’s mother instilled a love of Northern Soul, Slade and rock’n’roll, with stories of nights out at Club Lafayette and family singalongs at home. According to Martinez, “Our sound is a culmination of all those early influences and, to be honest, it really shows.”
It wasn’t until 2022 that Split Dogs officially arrived on the scene with bass player Suez Boyle joining the band in 2023. Already a prominent figure in the queer punk scene, Suez played the first ever Rebellion Festival at the tender age of 16 with her band The Walking Abortions. Up until that point, drummer Chris Hugall, an old friend of Martinez and former member of ska punks Mouthwash (signed to Rancid’s label Hellcat back in the day), was only on hand to help design artwork. It wasn’t until 2024 Hugall joined the band full time, cementing the current line-up.
The raucous live shows and infectious lyrics saw the four-piece make a name for themselves among the punks of Bristol, a scene that has always welcomed LGBTQ+ and marginalised people. As word spread, so did the gigging, and soon enough Split Dogs were playing to sold out rooms in mainland Europe, eventually grabbing the attention of UK label Venn Records (Gallows, Bob Vylan, High Vis). ‘Here to Destroy’ was recorded over three days at Middle Farm Studios by producer Peter Miles. All tracks were laid straight to a 16 track reel-to-reel tape machine, no autotune, no effects pedals, no computers. To add to the music’s authenticity, the album was recorded live, with Harry singing along in a vocal booth. No cutting and pasting, just nailing takes. According to Martinez, “It was a blast! We fully immersed ourselves, sleeping in a small apartment below the studio, cooking meals and listening to Pete’s extensive record collection”. While the final result is a step away from Split Dogs early punk sound, the attitude is still there in droves. “We wanted the album to have a raw bones feel,” Martinez tells us, “real 1970s rock’n’roll!”. Harry channels the spirit of Motörhead’s Lemmy Kilmister as they tear through hook after hook, singing about the Northern Soul clubs their mother once frequented (‘Lafayette’), the Orwellian nightmare we’re heading for (“Stay Tuned”) and a touching homage to British working class culture (“And What?”). As the album title makes clear, Split Dogs are here to destroy, but they’re also here to rebuild and remind us of music’s essence. “We’re not beholden to the digital age, we don’t want to get famous on social media, we just want to show the world that rock’n’roll is alive and well”.

Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Haçienda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A GuyCalled Gerald, the unmistakable influence of black American pioneers is clear-the originators of the first analog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection,offering a timeless snapshot of a unique era.

Eight years ago exactly, in April 2017, the Australian soon-to-be dark synth maestro Buzz Kull released his first full-length album Chroma via Burning Rose imprint.

The seminal album is a mass of jagged synth lines and pounding drum machines, a testament to Marc Dwyer’s personal sonic exploration over time. Each song on Chroma transcends the traditional archetype of darkwave by pushing pop sensibilities, focusing on different emotional states and boundaries. Since his debut, Dwyer has given the world tewo more album tackled multiple tours abroad, and continues to remain an elusive but omnipresent figurehead of goth electronics global underground.

With this dark gem being out of print for years now, it was time to bring it to life!

New run of 500 on black vinyl LP housed in reverse board jackets.

2025 Repress

A tale of paramount love for machines and the inextinguishable power of subjugation that lies in these button-studded boxes teeming with cabled bowels that feel so intimidating to the uninitiated, Italo Brutalo's longed-for debut album "Heartware" is a 12-track voyage across 25 years of intense synth collecting, fiddling,
composing and endless loving for audio synthesis and the art of how robots make human bodies jack.
Throughout the twelve cuts that compose "Heartware", a feeling of retro-gazing, candidly playful glee prevails. Looking right in the eye of the era when dazzling flipper visuals and static-filled VHS glitches
reigned supreme, Italo Brutalo invites us to witness first-hand his own textbook smorgasbord of fast-wheeling arpeggios and vocodized hoodoo ("Heartware", "Reach Horizon"), dystopian digital sunsets by the beach ("I Feel Lonely"), early hip-hop-informed whackin' n' thumpin' ("Analog Bars") and the slo but hard churn of a robot heist score ("Nobody Moves").
A lush tapestry of woozy exotic pads set in contrast with a deft and aggro drum programming ("As Above So Below"), followed by a new-beat oriented hammer-drop that shall leave no raver unscathed ("Heat of the Knight"), Italo Brutalo shifts the scope to radical effect whilst maintaining that cohesive headspace flush with the iconic 80s-to-90s-sourced assets. The hardware used in the making of "Heartware" is obviously the star here, and the inner sleeve pays tribute to that: the ideas behind the album have been there waiting to find their way out for over twenty years!
From adrenalin-boosting fractals of keyboard razzle-dazzle ("Chemical Element") to straight out pumping EBM primed for hi-octane mosh pits down the basement ("You Are Welcome"), via polyrhytmic percs-driven assaults and sizzling hot synth-smithery ("Into a Sampler"), the pressure levels never falter. Yet, Italo Brutalo sure knows how to weave further oneiric, softer narratives for your mind to frolic in unhindered ("Dream Machine") and rounds it all off with a total, space-opera'esque epic bound to have you spinning out of orbit into the great unknown ("Eternia").
"Heartware" is released in a neat double-vinyl gatefold package presenting the concept and machines involved in its making, including a twelve-page booklet featuring Italo Brutalo's key pieces of gear.

C1 | Meduza, Onerepublic, Leony – Fire (Official Uefa Euro 2024 Song)
C2 | Ofenbach Feat Norma Jean Martine – Overdrive
C3 | Kygo, Ava Max – Whatever
C4 | Felix Jaehn & Leony – Waking Up
C5 | Jaxomy X Agatino Romero X Raffaella Carrà – Pedro
C6 | Artemas – I Like The Way You Kissed Me
D1 | Michael Marcagi – Scared To Start
D2 | Cyril – Stumblin' In
D3 | Ariana Grande – Yes, And?
D4 | Jack Harlow – Lovin On Me
D5 | Tate Mcrae – Greedy
D6 | Natasha Bedingfield – Unwritten
E3 | Benson Boone – Beautiful Things
E4 | Teddy Swims – Lose Control
E5 | Sabrina Carpenter – Taste
E6 | Noah Kahan – Stick Season
F1 | Justin Timberlake – Selfish
F2 | Shawn Mendes – Why Why Why
F3 | Ariana Grande – We Can't Be Friends (Wait For Your Love)
F4 | Purple Disco Machine & Benjamin Ingrosso Feat Nile Rodgers & Shenseea) – Honey Boy
F5 | Lost Frequencies, Tom Odell – Black Friday (Pretty Like The Sun)
F6 | Hugel, Topic, Arash Feat Daecolm – I Adore You
G1 | David Guetta & Onerepublic – I Don't Wanna Wait
G2 | Karol G – Si Antes Te Hubiera Conocido
G3 | Fourty & Bausa – Vempa (Frx202445570)
G4 | Sampagne, Badchieff, Cro – Tempo
G5 | Billie Eilish – Lunch
G6 | Kendrick Lamar – Not Like Us
H1 | Zartmann, Ski Aggu, Dauer – Wie Du Manchmal Fehlst
H2 | Soffie – Für Immer Frühling
H3 | Sdp, Sido, Esther Graf – Mama Hat Gesagt
H4 | Nina Chuba – Nina
H5 | Luciano X Jazeek – Starboy
H6 | Shirin David – Bauch Beine Po
E1 | Lady Gaga & Bruno Mars – Die With A Smile
E2 | Gracie Abrams – I Love You, I'm Sorry


Bevor sich das Jahr 2024 dem Ende neigt, erscheint mit der „BRAVO – The Hits 2024“ der alljährlich
beliebte Jahresrückblick voller Hits und Chartstürmer. Ganz nach dem Motto „End Of Beginning“ vereint das Album von Anfang bis Ende die erfolgreichsten Songs und musikalischen Highlights des Jahres 2024.
Wenn Chappell Roan „Good Luck, Babe!” wünscht, Sabrina Carpenter „Espresso“ trinkt, The Weeknd in
den Flammen tanzt und MEDUZA, OneRepublic und Leony on „Fire” sind, kann das nur eines bedeuten:
Die „BRAVO - The Hits 2024“ steht in den Startlöchern und versorgt uns mit den größten Hits und beliebtesten Singles. Mit dabei sind internationale Bands und Künstler*innen wie Billie Eilish, Linkin Park,
Hozier, Coldplay, Justin Timberlake, Ariana Grande sowie deutsche Newcomer und Stars wie Shirin David,
Zartmann oder Nina Chuba.
Das Besondere dieses Jahr: Die beliebte Hit-Compilation erscheint erstmals auch limitiert als 4LP. „BRAVO
– The Hits 2024“ ab 08.11. als 2CD & Download und pünktlich zum Nikolaus als 4LP erhältlich!

LIMITED VINYL COMES IN CARDBOARD SLEEVE WITH BOOKLET!
OSTRANENIE is a collection of digitally manipulated, impressionistic piano miniatures — each named after blockbuster films and TV series. Improvised late at night as a reaction against passive media consumption, these pieces function as both homage and critique, navigating the space between classical impressionism and contemporary digital manipulation. They don’t just deconstruct traditional piano expression; they interrogate the emotional stakes of sound in an era where immersion culture flattens meaning and algorithmic logic erodes agency.

The album’s title references the Russian formalist Viktor Shklovsky’s concept of “ostranenie” (ɐstrɐˈnjenjɪj, estrangement/defamiliarization), a term he introduced in the early 1920s to describe art’s role in resisting the indifference of habitual perception.

“And so, held accountable for nothing, life fades into nothingness. Automation eats away at things, at clothes, at furniture, at our wives, and at our fear of war.”
—Viktor Shklovsky, Theory of Prose (1925)

Shklovsky saw art as a way to break through the anesthetizing effects of routine, stripping away the layers of habit that dull our senses. By making the familiar strange, art reclaims perception from the mechanical and the automatic. His argument wasn’t just a theoretical exercise — it was a response to a world rapidly consumed by industrialization, war machines, and the alienation of a technologically dominated modern life. In this context, he positioned artistic technique as something autonomous, distinct from mere social criticism or psychological reflection. Art seeks to remove “...the crust that the world of things deposits on our senses, with routine’s unending murder of the real.” Ben Ehrenreich on Serena Vitale’s Making Strange (The Nation, 2013)

This tension—between revolutionary/artistic and industrial technologies—defined the 20th century, and it continues to resonate today. The mechanization and automation that fueled the First World War’s devastation, alongside the social and economic turbulence of the 1920s, became central to the era’s self-conception. But just as technology was a source of alienation, it was also positioned as an agent of radical change. As the shock of modernity disrupted the human condition, it also became the driving force behind an ideological utopia — one that ultimately deformed into political totalitarianism — a paradox that remains unresolved.

OSTRANENIE plays within this contradiction. The music shifts seamlessly between an uncanny black MIDI dismantling of traditional piano virtuosity and moments of raw, fragile intimacy. The result is a work that resists automatic anonymity while questioning what it means to create in an era where the technological mediation of sound — and experience itself — is unavoidable: Art in the age of its technological constructedness.

B.o.B präsentiert: The Adventures of Bobby Ray ist das Debütalbum von B.o.B, das ursprünglich am 27. April 2010 veröffentlicht wurde. Die Produktion für das Album erstreckte sich von 2008 bis 2010 und wurde von einem talentierten Team übernommen, darunter B.o.B selbst, Crada, Dr. Luke, The Smeezingtons, Jim Jonsin, Lil' C, Alex da Kid, Polow da Don und DJ Frank E. Diese erstmalige Vinyl-Veröffentlichung als 2-LP enthält nicht nur die mit RIAA Diamant ausgezeichnete Single Airplanes mit Haley Williams von Paramore, sondern auch Gastbeiträge von Bruno Mars in Nothing On You und Janelle Monae in Ghost In The Machine.

Das 1984er Debütalbum der Band in bislang bester Soundqualität

Auf ihrer bevorstehenden Welt-Tournee spielt die Band das Debütalbum in voller Länge

Howdy punkè rocke fans, welcome to FORCED COMMUNAL EXISTENCE - the wonderful and frightening world of ALIEN NOSEJOB’s EP’s & singles. Anti Fade and Agitated Records are teaming together to bring you a paint stripping, mind altering, rare collection of EP and compilation tracks recorded in various Australian bedrooms and garages between 2017 and 2022. The sound of goofy obnoxiousness will soon be permeating your bedroom airwaves and perforating your eardrums. Kicking off this long player is an EP that was recorded by Billy from Anti Fade in his childhood bedroom in July 2017. The songs came to fruition while AUSMUTEANTS were on tour in Japan 2016.

There was a lot of ‘WALLABY BEAT’ / ‘MURDER PUNK’ being played in the background while seeing the sites of Mount Fuji and ‘Bar Fuck Yeah’. In between shows Jake was organising the release of DANNY GRAHAM and PLASTIC AND THE EP’S records on the label he co-ran XEROX MUSIC. Both artists played parts in the sound and ethos of the PANEL BEAT EP. The goal was to make the songs sound unapologetically Australian without pretending to be something they’re not. There’s no fake accents or songs about VB and mullets. Instead, there’s songs about every day struggles, like dealing with fickle fashion followers, having too many fucking records, playing PlayStation, resentment and manipulation.

500 copies were pressed and self released, with a photo slipped inside each copy at random. Next is THE DEATH OF THE VINYL BOOM which was self recorded in a shed in November 2017. This is the only Alien Nosejob release (besides this comp, smartarse) to feature a cover - Flyblown by Adelaidean arty weirdo band JACKSON ZUMDISH. The idea behind this EP was to incorporate the simplicity and scrappiness of the late 70’s DIY Australian sound, but give them the complicated structures of prog songs. Scum stats - 500 copies, self released. Several copies were smeared with Jake’s blood and had smashed pieces of vinyl glued to the front cover.

Now we have a cover of the DEAD KENNEDYS. The conspiracy theorist wet dream Government Flu. Recorded September 2020 during lockdown in one-man-band with a tape recorder fashion for a 20 minute unedited ‘live set’ video where all instruments were played one by one, sung and mixed in the space of a couple of hours. The HC45 7” was recorded at the same time as a disco 12” maxi, which I hear were originally meant to come out on the same day. Shit happens I guess? This EP came out in Feb 2020 and sounds somewhere between early GANG GREEN, DIE KREUZEN and the BEASTIE BOYS old bullshit. Self recorded on a 4 track with a broken pinch roller. Lyrically this thing is cynical and choc-a-bloc full of satire and hate. A year later a sequel was recorded the same way, on the same machine.

No fucking disco this time though. Cold Bare Facts is the most recent recording on this comp. Self recorded in Jake‘s bedroom 2022 It has the same mid paced tempo as DYS or SSD when they’re at their slowest (pre-Boston Curse, of course!). Both songs take a stinky shit on the Australian state police. 300 copies. Finishing the record is a cover by THE AINTS. Originally written by ED KUEPPER for THE SAINTS Eternally Yours album, but it sounded too similar to Lost and Found. Originally released on ‘ALTA’ cassette compilation during the lockdown. FORCED COMMUNAL EXISTENCE binds this mouthful of releases into one neat package from June 6th, 2025. Catch the ALIEN NOSEJOB band on tour in Europe & UK from June 13 - July 2nd, 2025.

Howdy punkè rocke fans, welcome to FORCED COMMUNAL EXISTENCE - the wonderful and frightening world of ALIEN NOSEJOB’s EP’s & singles. Anti Fade and Agitated Records are teaming together to bring you a paint stripping, mind altering, rare collection of EP and compilation tracks recorded in various Australian bedrooms and garages between 2017 and 2022. The sound of goofy obnoxiousness will soon be permeating your bedroom airwaves and perforating your eardrums. Kicking off this long player is an EP that was recorded by Billy from Anti Fade in his childhood bedroom in July 2017. The songs came to fruition while AUSMUTEANTS were on tour in Japan 2016.

There was a lot of ‘WALLABY BEAT’ / ‘MURDER PUNK’ being played in the background while seeing the sites of Mount Fuji and ‘Bar Fuck Yeah’. In between shows Jake was organising the release of DANNY GRAHAM and PLASTIC AND THE EP’S records on the label he co-ran XEROX MUSIC. Both artists played parts in the sound and ethos of the PANEL BEAT EP. The goal was to make the songs sound unapologetically Australian without pretending to be something they’re not. There’s no fake accents or songs about VB and mullets. Instead, there’s songs about every day struggles, like dealing with fickle fashion followers, having too many fucking records, playing PlayStation, resentment and manipulation.

500 copies were pressed and self released, with a photo slipped inside each copy at random. Next is THE DEATH OF THE VINYL BOOM which was self recorded in a shed in November 2017. This is the only Alien Nosejob release (besides this comp, smartarse) to feature a cover - Flyblown by Adelaidean arty weirdo band JACKSON ZUMDISH. The idea behind this EP was to incorporate the simplicity and scrappiness of the late 70’s DIY Australian sound, but give them the complicated structures of prog songs. Scum stats - 500 copies, self released. Several copies were smeared with Jake’s blood and had smashed pieces of vinyl glued to the front cover.

Now we have a cover of the DEAD KENNEDYS. The conspiracy theorist wet dream Government Flu. Recorded September 2020 during lockdown in one-man-band with a tape recorder fashion for a 20 minute unedited ‘live set’ video where all instruments were played one by one, sung and mixed in the space of a couple of hours. The HC45 7” was recorded at the same time as a disco 12” maxi, which I hear were originally meant to come out on the same day. Shit happens I guess? This EP came out in Feb 2020 and sounds somewhere between early GANG GREEN, DIE KREUZEN and the BEASTIE BOYS old bullshit. Self recorded on a 4 track with a broken pinch roller. Lyrically this thing is cynical and choc-a-bloc full of satire and hate. A year later a sequel was recorded the same way, on the same machine.

No fucking disco this time though. Cold Bare Facts is the most recent recording on this comp. Self recorded in Jake‘s bedroom 2022 It has the same mid paced tempo as DYS or SSD when they’re at their slowest (pre-Boston Curse, of course!). Both songs take a stinky shit on the Australian state police. 300 copies. Finishing the record is a cover by THE AINTS. Originally written by ED KUEPPER for THE SAINTS Eternally Yours album, but it sounded too similar to Lost and Found. Originally released on ‘ALTA’ cassette compilation during the lockdown. FORCED COMMUNAL EXISTENCE binds this mouthful of releases into one neat package from June 6th, 2025. Catch the ALIEN NOSEJOB band on tour in Europe & UK from June 13 - July 2nd, 2025.

Harri Pearson is referred to as 'the Most Balearic Man in The World' and goes someway to prove that here on Magic Wand. 'Sweet Machine' is a lively disco cut with plenty of raw machine sounds, elements of peak-time party flavours and fat synths. 'Drums Of Fire' flips the script with a much more chilled out and exotic downtempo offering and 'Acid Reign' is a real dreamy excursion on bongo-laced drums. 'Trash Dubbing' brings a little grit and sleaze to close.

Introducing ‘Principauté de Bowl-Air’.

A brand-new label founded by DJ Bowlcut from South Korea, a key figure in supporting Seoul’s underground scene through Seoul Community Radio. This project presents his vision of deep, glitchy, minimal house music—woven with the story of a secret micronation hidden in the heart of Seoul.

The debut vinyl release, PBAVINYL001, features an original track by DJ Bowlcut, alongside reinterpretations by his friends DOTT and Rudolf C.

The A-side opens with “Tibetan Bowl”, a track built around the sound of a Tibetan singing bowl and vocal samples taken from a singing bowl tutorial—inviting listeners into the surreal world of Bowl-Air.

The second A-side track, “The Moment”, delivers a minimal yet gritty bassline and a hypnotic minimal house rhythm, layered with glitchy, acidic patterns and a Korean vocal sample that says, “Now it’s the moment you are waiting for.”

The B-side features remixes by DOTT and Rudolf C. DOTT reimagines “Tibetan Bowl” into a deeper, darker exploration of Bowl-Air’s hidden layers. Meanwhile, Rudolf C transforms “The Moment” into a nostalgic machine-funk-style track reminiscent of the early 2000s—perfect for injecting some funk into the dance floor.

Limited reprint of the sold-out Volume 3 from the Underground Wave series, featuring Belgian and Dutch wave, synth, and minimal artists. Most tracks were previously only on cassette. Walhalla Records is dedicated to reviving the 80s/90s cassette scene by releasing rare material, often for the first time

This is a single taken from UK jazz-funk outfit Funkshone's debut album which features a cover of the classic free-soul anthem 'I Believe In Miracles' by the Jackson Sisters. It's a raw and direct funk-soul sound that has been increasingly popular in recent years with champions like Floating Points often weaving it into his sets. On the B-side, they offer a freshly recorded take on 'Panama' by Roy Porter Sound Machine, which was previously only found on select CD editions. It is powered by an explosive drum break that hits with near-manic intensity from the very first beat and is a nice driving counter to the soulful A-side.

Elektrotechnik - Impulse EP is functional, dark, built for the dance floor. Machine-tight sequencing stands in contrast to an emotional atmosphere across four original tracks. A tense, precisely constructed record that explores control, repetition and feelings. Dutch legend Rude 66 delivers a slowed-down mutation of "Impulse" with his signature vocoder work, while Teslasonic recharges "Das Fundament" with a tight acid bassline.

DJ Sodeyama returns to Sound Of Vast under his The People In Fog guise this June with the nine track 'Too Much Knobs And Cables' LP.

Over the past three decades DJ Sodeyama has been a staple in Japan's underground and beyond across the globe as a DJ and releasing material under his own name via the likes of Radio Slaves' Rekids, Dynamic Reflection, Nina Kraviz' трип and more. Here though, he makes a welcome return under his The People In Fog alias to Tokyo's Sound Of Vast, the platform that's played host to all of his material under this alias as well as others like The Mole, Shinichiro Yokota, San Proper and more.

Across the nine-track 'Too Much Knobs And Cables' LP, The People In Fog once again radiantly showcases his depth and understanding of true underground sounds. From the classic Deep House aesthetic of opener 'Red Morning', 'CC Love' and 'New Life' to more classic Chicago House inspired cuts like 'Animal Kingdom', 'Jack Out' and filtered Disco house jams like 'Dance To The Air', 'New Life' and 'Miraval'.

Sodeyama also dives deeper beyond House once again in true long player fashion to deliver the unique 80's tinged, funk-infused and vintage synth/drum machine laced 'Night Driver' and the cinematic closing piece 'Sun Moon Lake', which leans into a Balearic leaning sonic world via drifting guitar melodies, arpeggios, acid licks and a crunchy rhythm section.

Marcellus Pittman is one of the Motor City's finest. The long-time house explorer has a singular sound that is built around brittle drum loops, hissing and dusty hi-hats and loose-limbed arrangements that are stark and dehumanised but somehow full of intriguing machine warmth and soul. Take this EP, 'Loneliness Leave Me Alone,' first dropped back in 2010: the title cut has bouncing, bulbous bass and jacked up drums that sound both menacing yet playful, which the fizzy, sugary chords spray across the mix like a mist of pixelated water. 'Razz 09' has that Omar-S style melancholy and trudging rhythm that's heightened by the curious melodies which unfurl with a mind of their own in the background. Superb.

ROTCIV has been active since 1996, shaping raves and clubs in the underground queer electronic music scene in his native Brazil. Since 2010 in Berlin’s most iconic clubs like Panorama Bar, Cocktail D'amore or Sisyphos. His participation on renowned labels showcase his elaborate sound from Permanent Vacation, Ostgut Ton, Correpondant and Ombra International. As the founder of Mister Mistery, he blends Acid, Disco, House, and Electro with a contemporary edge. Now, for Element of Impact’s second release, ROTCIV delivers a powerful fusion of Electro, EBM, and Techno, pushing boundaries with his distinct style.