Cerca:hallucinator

We Launch A New Vinyl Series, Strictly Limited To 200 Units, No Repress, On Which We'll Be Releasing The Finest Tracks Released On The Digital Pot (digipot).

For This Second Strike, We've Chosen A Couple Of Tracks Released Back In 2015, For Our 10 Year Anniversary.


This Time, Italian Duo Hallucinator, Usual Suspect On Prspct Recordings And On The Biggest Hardcore Events Worldwide, Delivers A Psychodelic Mad Track Called "circus Freak". Banger.
On The Flip, Once Again For This Vinyl Limited Series, French Duo Katharsys Brings A Bunch Of Filthness With Suricate.

Originally released in 2023 and available exclusively on vinyl, Godzilla Was Too Drunk To Destroy Tokyo unleash a raw blast of sludge, stoner and warped psychedelia where fuzz, feedback and cosmic madness collide. Drawing from L7, Melvins, Electric Wizard, Acid King and Monster Magnet, the band deliver dirty sci- fi visions, heavy grooves and hallucinatory blues.

Rats Will Feast is an experimental hardcore outfit from Jyväskylä, Finland, crafting a musical landscape of extreme aggression, unyielding emotion and hallucinatory chaos. Active in its current form since 2018, the band has built a reputation for intense live performances and innovative sound. "An Evocation" celebrates Rats Will Feast's diverse and imaginative interpretation of modern metallic hardcore. While the being is deeply rooted in the bands core sound developed over the last 10 years, "An Evocation" refines and expands the bands sound into new unexplored forms. Crushing and extreme, yet intensely melodic and experimental, the album's sound is a forceful expression of unrelenting hardcore with unyielding emotion.

Orange vinyl. Rats Will Feast is an experimental hardcore outfit from Jyväskylä, Finland, crafting a musical landscape of extreme aggression, unyielding emotion and hallucinatory chaos. Active in its current form since 2018, the band has built a reputation for intense live performances and innovative sound. "An Evocation" celebrates Rats Will Feast's diverse and imaginative interpretation of modern metallic hardcore. While the being is deeply rooted in the bands core sound developed over the last 10 years, "An Evocation" refines and expands the bands sound into new unexplored forms. Crushing and extreme, yet intensely melodic and experimental, the album's sound is a forceful expression of unrelenting hardcore with unyielding emotion.

Over the past few years, Munich based polymath Lindsey Wang has risen to the forefront of the club scene under her Polygonia alias, creating a stream of spectacular releases where she tirelessly twists techno into a living, breathing ecosystem.

As she appears on Timedance for the first time, Polygonia sculpts a set of four immersive, pressure‐loaded club tracks where earthy psychedelia brushes up against precision‐engineered rhythm, inviting dancers into a zone that feels both ritualistic and sharply futuristic.

“Ceaseless Motion” draws on deep‐focus sound design, restless percussion and subtly warped harmonies, all threaded by a quietly hallucinatory sense of detail that really takes our breath away, and will surely bring the distinctive dancer to the very front of the bass bins.

2026 Repress

Akusmi is the project moniker of French-born, London based composer, multi-instrumentalist and producer Pascal Bideau, who signs to the new Tonal Union imprint for the release of his album 'Fleeting Future.' With its hallucinatory, genre-defying blend of minimalism, cosmic jazz and Fourth World influences, and in its quest for optimism in the face of unknown and limitless possibility. 'Fleeting Future' stands apart as an inventive and inspirational debut.

The creation of the album's richly colourful and multi-layered sound world was originally inspired by Bideau's journey to Indonesia, where he immersed himself in traditional Gamelan and gong music. Many of the themes, motifs and melodies on 'Fleeting Future' seed from the 'Slendro' scale, one of the essential tuning systems used in Gamelan. However it is not musical scales, but scales as in the size or extent of things that most fascinates Bideau, specifically he explains; "the compelling way things dramatically change when you shift from any given scale to another."

The album connects directly to nature and the wider world in its evocation of perceptive shifts and transitions from microscopic to macro scale, as evidenced by the opening title track 'Fleeting Future', on which a simple dotted saxophone line morphs and billows into synths, brass and strings, indicating the musical voyage that lies ahead. Like the start of a journey or adventure it is full of anticipation, its arborescent growth conveying the optimism of the unknown and of limitless possibility. The album centrepiece 'Neo Tokyo' is a vibrating, ebullient mass of colliding elements which feels like zooming in to the electron level, as it teeters on the edge of chaos. The title is a reference to Katsuhiro Otomo's Akira, a dizzying work of art set in a sprawling futuristic metropolis.

'Yurikamome', meanwhile, is an imaginary soundtrack inspired by Bideau's yearning to visit Japan which he fuels by watching Youtube videos of drives and rides through Japanese landscapes and cities. "It's amazing" he adds, "that we have the ability to access almost anywhere in the world and see what it's like, that people document it and upload it. It's never going to be any replacement for the real thing, but with places that really touch you, it works." The track is named after a Japanese monorail train line which rides from Shinbashi to Toyosu, a last journey that feels like a new beginning.


'Fleeting Future' was composed and recorded by Bideau between 2017 and 2019 in his North London studio and features additional contributions recorded in Berlin by Florian Juncker (trombone), Ruth Velten (saxophone) and regular collaborator Daniel Brandt of Brandt Brauer Frick (drums / electronic percussion). Having been living through uncertain times, one thing that keeps spiralling into the unknown is the future, about which Bideau leaves us with a final thought:

"The future is fascinating: It is constantly readjusting to new events. I feel we left a linear approach to the future to enter an arborescent one where all the data and information we have about what could happen is exponentially ever-growing. Following a branch might allow you to glimpse into what it may become, but the evolution of the whole picture might very well render the prediction totally obsolete, and even meaningless. In that sense, there is not one future but innumerable ones all cancelling each other. That's what makes it fleeting."

Heavy, reminiscent of a release from the nineties, Younger Than Me pulls us through interdimensional soundscapes on his debut to the label — a wormhole morphing from ultra-emotive breakbeat and hallucinatory progressions into full-blown, boisterous acid techno at its very best. A producer with an endless catalogue of releases, notably on incredible labels including Jennifer Cardini’s Dischi Autunno, now steps up on Neptune Discs with his Vaco Loco EP. The Berlin-based, Italy-born producer is joined by Byron Yeates and label regular Biodive on the B-side, each taking turns remixing A3, Aargh!!!, pulling it in different direction — one leaning into trippy trance atmospheres, the other exploring a more immersive progressive terrain.

Gnod's now twenty year journey through spiritual and audial exploration has been driven by relentless curiosity, magpie irreverence and a fierce countercultural imperative, their project has always refused to acknowledge all or any rules and boundaries, internal or external. The latest adventure of this band may never have been intended to celebrate their two-decade anniversary, but in true Gnod fashion by, what began as a trip into a residential studio setup in Hellfire Studios with producer John `Spud' Murphy (Lankum, Black MIDI, Caroline) for six days, resulted in more potent material than anyone bargained for. The end result has been three studio albums to be released over the next year. "This trilogy revealed itself to us in the studio" says Paddy. "We were hoping to get a good album out of the session and lo and behold we got three of the fuckers. It's interesting that we did pretty much capture the full spectrum of the Gnod sound across all three". In fact, this intrepid first instalment of the `Chronicles Of Gnowt' trilogy covers an alarming amount of sonic territory all on its own. Driven as always by the power of repetition as well as Gnod's alchemical marriage of the maximal and the minimal, this album is imbued with a vivid focus that's testimony to the chemistry of the sessions, coupled with a detailed and spacious production from Murphy that brings out the psychedelic sound worlds of the band in vivid colour. This is a travelogue which delves into pastoral tranquillity (as on `Three Trees Parts 1&2') just as adeptly as expansive Earth-tinged riff monoliths (`All Tunnel No Light') and just as formidably as the closing epic `Ekstasis' - a hallucinatory vista where kraut-tinged experimentalism meets Swans-style intensity. Yet all the while, truly sounding like no one but Gnod.

Born Bad Records knew exactly what it was doing when it signed this Nantes-based trio, whose sharply defined sound and raw authenticity stand out. With Rage Blossom, Île de Garde unveils an EP charged with palpable tension, somewhere between dark pop and psycho-wave. A catalogue of modern misdeeds, a David Lynch-like backdrop where Sylvia Plath’s poetry might cross paths with the controlled excesses of Fever Ray.



The EP opens with “Fear The Sun,” its Mike Oldfield-esque soundscapes plunging us into an apocalyptic and unsettling world. “Homicide Volontaire” follows with meticulous narration, a technical exercise evoking the anger and defiant lucidity of a Virginie Despentes. The hallucinatory hit “To Death” snaps like an anthem to collective dancing in the face of the inevitable. Since we’re going to die, let’s dance! On the B-side, “Ageless Woman” weaves together a half-mythological, half-mysterious text, carried by haunting backing vocals. “Birthday Girl,” featuring Kuntessa, radiates an ironic and joyful riot-grrrl energy, an uninhibited celebration of women’s liberation. Finally, “Boy,” a small post-punk jewel, closes the EP with an ending as surprising as it is delicate.

The group’s genius also lies in the complementarity of its musicians. Morgane Poulain anchors the drums with a dynamic that is both subtle and narrative, airy yet jagged. Cécile Aurégan, the architect behind a multitude of synths, builds powerful sonic landscapes, layer upon layer. Klara Coudrais, the band’s poetic figurehead, elevates her texts with a rich and plural vocal palette, giving life to several characters who vibrate with intensity. The band’s writing, hovering between darkness and light, echoes a kind of visceral poetry, exploring the seasons of the soul with authenticity and force.



With this EP, Île de Garde establishes itself as a band to watch closely, capable of translating on stage both the raw energy and the fine craftsmanship that define their music. An immersive journey, full of tension, urgency, beauty, and electric flashes.



Île de Garde, a Nantes-based trio with sharply drawn sonic contours and raw authenticity, unleashes its full arsenal on Rage Blossom, an EP radiating palpable tension between dark pop and psycho-wave. A catalogue of modern misdeeds, a David Lynch-like setting where Sylvia Plath’s poetry would meet the controlled excesses of Fever Ray. An immersive journey of tension, urgency, beauty, and electric sparks.

Opening track “Fear The Sun” plunges us into an apocalyptic and unsettling landscape. “Homicide Volontaire” continues with meticulous storytelling, a crime vignette evoking anger and the fierce lucidity summoned by a situation with no way out. The hallucinatory trance of “To Death” snaps like an anthem to collective dance in the face of the inevitable. Since we are going to die, let’s dance! “Ageless Woman” blends a half-mythological, half-mysterious text, carried by hypnotic backing vocals. “Birthday Girl,” featuring Kuntessa, releases an ironic and joyful riot-grrrl spirit, an uninhibited celebration of feminine liberation. Finally, “Boy,” a small post-punk case study, closes the EP with a simple, sensitive truth.



The three musicians propel and relay one another in this breathless race. Morgane Poulain drives the drums with a dynamic that is both subtle and narrative, airy yet staccato. Cécile Aurégan, architect of multiple synths, builds powerful sonic landscapes, layer after layer. Klara Coudrais, the storyteller, elevates her texts with a rich and multifaceted vocal palette, giving life to all their characters, both mythical and ordinary. The band’s writing, between darkness and light, proclaims a visceral poetry, exploring the seasons of the soul with authenticity and strength.

Melbourne / Naarm stronghold Butter Sessionsclock 15 years in the game with a trilogy of 12"s, sustaining their uncompromising streak of peak-form electronics. The family-style V/A binds friends, collaborators, former studio neighbours and DJ booth allies, capturing a label that exists as community as much as catalogue.

Disc Two lifts off with recurring contributor Rory McPike's first label outing as Rings Around Saturn, a blissed-out cosmic floater skimming the periphery. Booked in the early days of the label's formative Mania residency, Japanese don Gonno twists freestyle, techno and breaks into pure ecstasy, before the unerringly bold Jennifer Loveless spikes the punch with a hallucinatory mix of drums, disembodied voice and jazz club keys.

On the flip, Boorloo's Guy Contact rolls out Dance In The Grey, a shadowy prog churn pitched between new-romantic vocal sheen and EBM muscle, with Kate Miller completely rewiring the script on Sub Series E - a masterfully minimal, double-time meditation. suki presents his Sniper1 alias to close with a demonic body-jacking groove loaded for the system.

Whether taken alone or folded into the three-disc triptych, each instalment stands as a bag-ready constant, charged with Butter Sessions' curatorial finesse.

“Released on Joe Boyd’s Hannibal label here was a band rooted in Thompson/Swarbrick Fairport but also a snatch of the Velvet Underground and a sprig of The Byrds. The Eighteenth Day Of May evoked a legendary era, and now they are a justifiably legendary band too.” – KLOF Mag

Beginning life as a trio in London, 2003, the original line-up consisted of Allison Brice (vocals, flute), Richard Olson (acoustic guitar) and Ben Phillipson (guitar, mandolin) before expanding the following year to include the rhythm section of Mark Nicholas (bass) and Karl Sabino (drums, autoharp) and finally Alison Cotton (viola).
This being the mid zeros, the independent music scene in the UK was reluctant to embrace a sun-dazed folk band but this, their sole album, has gradually feathered a bed of affection amongst international folk fans. Twenty years on, the album is now rightfully seen as a trailblazer for the myriad alternative/psych folk bands that emerged in its wake.
Andy Childs who signed the band originally takes up the story. “I first heard their music on a cover mounted CD with the much missed Comes With A Smile magazine and as far as I could tell no-one was making music like this anymore, certainly not with such panache and confidence. To my jaded ears it all sounded so uninhibited - old weird folk songs, Americana, original psych-folk, minimalist drones. Great melodies and all six of them could sing! A joyous, unfettered sound that could in one moment conjure up flashes of The Byrds and then effortlessly the spirit of Velvet Underground would drift through. They even covered a Spacemen 3 song. I loved the fact that they had the aplomb to tackle traditional folk songs like Lady Margaret and Flowers In The Forest and not be afraid to stamp their own identity on them.
Signing them to the Hannibal label was straightforward. If anything the album somehow sounds fresh and undated, even better than it did in the day when perhaps eclecticism was out of synch with the times; its subtleties have become more apparent.”
“Their rendition of Lady Margaret builds to a headswirling crescendo that challenges anyone who claims Shirley Collins, Buffy Sainte-Marie or Trees have recorded the definitive version and the hallucinatory The Waterman’s Song To His Daughter raises an already brilliant album to an unholy level” - IT’S PSYCHEDELIC, BABY Magazine

Lungfish's seventh album, released in 1999.

This pressing of the LP is on Translucent Lime Green.

This album was re-issued on both CD and LP+MP3 in June 2011.

Daniel Higgs vocals Asa Osborne guitar Nathan Bell bass Mitchell Feldstein drums

Recorded At
Inner Ear Studios
Mixed By
Ian MacKaye and Lungfish

‘Açid Blüüs Räägs Vol.2’ is the latest evolution of the sound of last year’s Volume 1. The debut album was described by Joe Banks for Shindig! Magazine as; “Shivering slabs of drone blues transcendentalism…a burning junkyard of sheet metal blues… Hot stuff.” Volume 2 builds on the skronk blues guitar, sax and electronic drones of it’s predecessor, to explore cosmic free jazz, concrete exotica and dub, channelling influences of Moondog, Terry Riley, 75 Dollar Bill and Wolf Eyes. Playing like the imagined film soundtracks to a dystopian, re-wilded, post eco crash world in the style of Tarkovsky's ‘Stalker’ and ’Solaris’, Jodorowsky's surreal desert western ‘El Topo’, or the early novels of JG Ballard. This new collection sees the addition of minimal analogue drum machine loops as well as live instrumental contributions from the new players of the ever evolving Invocation band, plus some superstar guest contributors.
Featuring five brand new tracks, including the forthcoming single; ‘Cosmic Fanfare’, has already picked up BBC 6 Music support from Gideon Coe. The new album was mixed by Alex McGowan (aka Captain Future) of Space Eko Studios and features Invocation band regulars Rick Jensen of Apocalypse Jazz Unit, Skronk and Oneirologist on sax and bass clarinet, Will Emms aka Tiki Eerie on melodica, horns and claviola, plus special guest appearances from Duke Garwood on clarinet and Mikey 'Moondog' Chestnut of Snapped Ankles on bass synth. “….Acid fried kosmiche blues meets drone raag transcendentalism”. Jonny Halifax is a primitivist free blues outsider, sonic shaman of the acid fuzzed lap steel guitar, demented blower of the howling harmonica of doom. His new band project now combines avant swamp blues heaviosity with kosmic free jazz experimentalism in a fluid collective of godless raag brut improvisations - sonic visions of an hallucinatory apocalyptic near future. Inspired by Henry Flynt’s avant bluegrass experiments fusing country blues with eastern acoustic musical stylings, Spacemen 3’s contemporary sitar music, and the monolithic drone doom immersion of Sunn 0))), THE JONNY HALIFAX INVOCATION build hypnotic instrumental soundscapes using lap steel and homemade slide guitars, harmonica and alto sax. Underpinned by layers of acoustic and electronic drone instruments and fed through an arsenal of pedalboard electronics that would make Kevin Shields weep, the blues are transmogrified, unhinged, reduced and re-imagined as intoxicating, trance-inducing, feedback-drenched noise paintings. THE JONNY HALIFAX INVOCATION follows Jonny’s junkshop skronk blues one man band Honkeyfinger, and the Julian Cope endorsed gospel fuzz psychedelia of Jonny Halifax & The Howling Truth, whilst not forgetting his ambient drone metal side project; Deathenteredinerror. His musical CV also includes studio contributions to tracks by Andrew Weatherall’s Two Lone Swordsmen, UK metal behemoths Orange Goblin, Heck and Melting Hand.

When Leng Records founders Paul ‘Mudd’ Murphy and Simon Purnell marked the imprint’s 10th birthday, they did so via a celebratory compilation that mixed classic catalogue cuts, remixes and exclusives. Five years on, and with the label’s 15th birthday upon us, they’ve decided to look to the future via a compilation made up entirely of fresh productions from Leng’s roster of current and new artists. Presented on limited-edition gatefold double vinyl with a bonus 10” single, the collection offers an updated showcase of Leng’s much-loved trademark sound, a distinctive fusion of mid-tempo sleazy-disco, Balearica and chugging house interspersed with elements of electronic psychedelia and synth-powered space disco. Fittingly for a compilation that wholeheartedly looks to the future, you’ll find first contributions from a handful of label newcomers.

Fast-rising duo Flying Mojito Bros give their spin on ‘Smoke Signals’ by label debutants Joe HarveyWhyte and Bobby Lee, turning in a heady and inspired revision that sits somewhere between dusk-ready cosmic disco and flash-fried desert blues. There’s also an appearance from Swedish producer Bo Wosticz with the dreamy and ultra-deep nu-jazz of ‘Bs As’. Naturally, you’ll also find plenty of heat from those who have already proved their mettle through prior releases on Leng. Danish duo Liminal, who made their debut earlier this year with the much-played ‘Keep Coming Back To Me’, open proceedings with the tactile, slow-disco flex of ‘Tzatziki Bay’ where sweet synth melodies and a heady electric piano riff ride a warming groove.

Roberto Intrallazzi and Dario Piana from Italy’s original Afro-cosmic movement return with ‘Plutos’, a typically deep dubbed-out cosmic chugger. Then there’s Rose Robinson AKA Tigerbalm, whose ‘Mexicana’ featuring singer Joi N’Juno is presented across the package in two different forms. Pete Herbert, who contributed to some of the earliest Leng releases, drops a driving dub disco take on the main compilation, while Robinson’s original mix – a more organic, percussive and horn-heavy affair blessed with plenty of hallucinatory intent – opens the bonus 10”.

There’s a welcome return to Leng for the brilliant Payfone, whose ‘Dime Algo’ is a typically classy, analogue-rich affair in which attractive Rhodes riffs, atmospheric female vocals and pitched-down house pianos rise above shuffling drum machine beats and a slow-motion bassline. Long-serving label contributor Lex (Athens) delivers the loose-limbed nu-disco breeze of ‘Stolen Dance’, while the imprint’s San Francisco connection – the ever-brilliant 40 Thieves collective – drop the dubbed-out Bay Area brilliance of ‘Such A Great Trip’.

Then there are the contributions of the label’s most storied artist, Andrew Meecham AKA Emperor Machine with ‘Eumig’, a deliciously slow, synth-rich chugger full of colourful chords, bubbly electronic melodies and jaunty electronic bass. Then, to round off the bonus 10” single, Meecham joins forces with Paul Murphy (as Mudd) on ‘Road To Nikko’, an extended, Japanese musical culture-influenced slab of pitched-down alien-funk packed to the rafters with squelchy synth sounds, effects-laden percussion, chiming melodies and rubbery bass guitar.

Two years after making their bow via a fine contribution to the Claremont Editions 3 compilation, Nuremberg’s Neumayer Station are ready to drop their debut full-length excursion, the mesmerising and immersive Crossings.

The brainchild of drummer-turned-producer Michael Kargel, a musician with a bulging CV that includes stints in various German indie-pop and rockabilly bands, Crossings was co-produced and mixed by Frank Mollena (best known to Claremont 56 fans as the man behind the Fürsattl and Bambi Davidson projects), with additional contributions by Alexander Sticht and an impressive roll call of guest musicians plucked from Nuremberg’s vibrant musical underground.

Recorded at different points over the last three years, the eight tracks showcased on Neumayer Station’s inspired debut album draw influence from the hypnotism of classic German ‘kosmische’ recordings, the freewheeling and stoned headiness of CAN, and the gently unfurling beauty of sun soaked Balearica. Kargel, Mollena and their collaborators set the tone with opener ‘Unterführung’, where Sticht’s layered and sonically hazy vocalisations rise above space-rock guitar motifs, droning analogue synth sounds, languid bass and slow-motion drum breaks. With effects aplenty and all manner of melodic electronic flourishes, it’s a deeply psychedelic and mind-expanding affair.

‘Nalut’ follows, with Kargel’s own atmospheric howls and whistles cannily combining with sun-bright tropical guitars, echoing chords and delay-laden saxophone solos riding the dub-flecked, low-slung groove. The collective’s Balearic influences are explored in more sonic detail on ‘A Gentle Flow’, a shuffling and soft-focus affair marked out by emotive piano & jazz guitar, brushed percussion, sunrise-ready synths and pleasingly stretched-out electronic textures. Neumayer Station return to this drifting, morning-fresh and eyes-closed sound later in the LP, via the wonderous ‘Von der Morgenröte’.

The heady influence of spaced-out dub production techniques comes to the fore on ‘Bassrutscher’, an Alexander Sticht co-production rich in Americana-influenced guitar textures, metronomic dub bass, rim-shot heavy drums, mazy organ and orange-hued sundown sounds. It ushers in the more up-tempo shuffle of ‘Zielgerade’, an inner space, out-of-mind affair whose driving but loose-limbed groove provides a platform for exotic, droning and otherworldly guitar, sax and synth sounds. As with all great albums, Crossings gently builds towards a triumphant and memorable conclusion. The spacey Balearic/kosmische crossover of ‘Feeling Forst’, where darting intergalactic synth sounds rub shoulders with gentle acoustic guitars in a hallucinatory soundscape, tees up closing cut ‘Crossings’, the krautrock-rooted, sax-sporting slab of enveloping late-night beauty that first introduced listeners to Neumayer Station back in 2023. It’s a fitting conclusion to a staggeringly good debut album.

“sitting in the terminal at Barcelona airport, health safety warnings echo through empty architecture. feeling slow, and fast, out of sync with rituals and routines. structure and rhythm disintegrate into micro gestures appearing in random order, a daily psychedelia... amid all of the chaos and distraction in the last few years, it’s only through letting go that I've found solid ground to stand on.”

These are some of the experiences and reflections that gave shape to Slipstream, a hallucinatory mini-album by the artist PVAS and the fourth release on Objekt's label, Kapsela. Slipstream is an aural document of PVAS's interior life, conceived not as a grab-bag of DJ-friendly tracks (although it’s clearly inspired by the club) but as a single, delicately crafted artistic statement. The entire record is shrouded in a flickering haze, worn through by smudged breakbeats and wiry drum machines. “Wetland”, with its swampy percussion and crystalline arps, echoes T++ and Kraftwerk. The radiant incandescence of “Gathering Drift” recalls GAS or Monolake's “Hong Kong.” Sampled breakbeats dip and swerve asymmetrically through “Boba” and “Terminal”. Across the record, textures and voices are reshaped by PVAS's homemade algo-software, UMT, which, in PVAS’ own words, “reconstructs one audio file by sampling another, resulting in output that merges their aesthetic qualities, creating rhythm with non-rhythmic sound files and abusing the stereo field.” But the most striking union of technology and poetic self-exploration comes at the end of the record, in the title track, from words murmured through a classic vocoder:



“when i stop framing myself as a boundaried stone

immovable, and powerful, and heavy

when i stop figuring my deepest space as my own

something which i am solely responsible

i surrender, i surrender”



PVAS is Jordan Juras, a Berlin-based artist who grew up outside of Windsor, Ontario. He has released solo EPs on Isla and xpq?, and is half the duo NUG (3XL, West Mineral Ltd.). In addition to developing music software professionally, he has used his UMT software on records by Lyra Pramuk and Dylan Kerr. Slipstream was recorded from 2022 to 2025.

Written and produced by PVAS

Mixed by TJ Hertz

Mastered by Anne Taegert at D&M

Artwork and design by Brodie Kaman

“Where Animals Play” is the second General Dynamics album, arriving two years after their successful debut LP “Weaponize Your Dreams”. This second manifestation is the logical and brutal continuation of their distinct sound; menacing vocals splayed across an array of precision sampling, destructive percussion and finessed synth work. The duo (consisting of members SARIN + QUAL) embodies, assimilates and re-interprets the ethos & defiance of industrial & cyberpunk culture, taking their approach to new, harsh extremes. Their most recent hallucinatory output is a broad rejection of the current & dominant global trajectory; one that seeks to enslave and destroy humankind via an unhinged amalgamation of fascism, deregulated capitalism & the exploitative use of emerging technology.

LORD PARAMOUR IS BACK!
After their first big break, the duo returns with "Doom", a second album as daring as it is captivating.
At the helm are DJ Marrrtin, graffiti artist, beatmaker, Stereophonk label captain, member of Funky Bijou, Aktshun, Tino & Marrrtin… & Ajax Tow, DJ-cosmonaut and all-round musician, known for his unpredictable and eclectic sets.
DOOM is a true sonic odyssey: edgy breakbeats, hallucinatory psychedelic vibes, oriental grooves in the style of post-Bollywood library music, a hint of 70s krautrock… and always that downtempo, post-punk, and space groove that is their signature style.
An album like a journey through a cosmic mixtape—retro, futuristic, romantic, and radically free. DOOM isn't just a record. It's a sonic adventure. An imaginary soundtrack. A stylish slap.
Edition of 300 ex - Hand mande Screen printed cover - Hand numbered.

North View Records is an emerging Bristol-based label that values the music’s atmosphere and integrity equal to it’s technical production, aiming to resonate with listeners through immersive electronic soundscapes. For their debut release, label founder oliver presents ‘Quiet Thud’, an album inspired by expansive and untamed coastline. The 11 tracks take a hallucinatory trip through techno, downtempo, ambient and guitar-led music, drawing on diverse influences whilst remaining distinctive and ethereal.

North View Records is an emerging Bristol-based label that values the music’s atmosphere and integrity equal to it’s technical production, aiming to resonate with listeners through immersive electronic soundscapes. For their debut release, label founder oliver presents ‘Quiet Thud’, an album inspired by expansive and untamed coastline. The 11 tracks take a hallucinatory trip through techno, downtempo, ambient and guitar-led music, drawing on diverse influences whilst remaining distinctive and ethereal.

‘Closer Thud Mix’ and ‘New Light’ introduce panoramic soundscapes to club focused tracks, with warped electronics and swelling wide-angle pads giving contrast to the fine-grain textures and driving percussive elements. Tracks such as ‘Plaza’, ‘Ribbon’ and ‘Joyride’ lend a nostalgic character to the album, presenting wistful and distant melodies that interplay with the off-hand live instrumentation, building a gentle and nuanced sonic palette.

‘Ruin’ balances delicate arpeggios with pulsing distortion and drum programming, evoking a brooding scene fitting of its title. Album closer ‘DRM Reprise’ also explores darker themes, led by a piercing vocal emulation that warps and evolves amongst sparse percussion. In contrast, ‘Still Life’, ‘Everything’, ‘Coastal’ and ‘Overground’ bring warmth and balance to the overall experience, offering moments of lightness and reflection as the clouds break, sunlight spilling across the open landscape.



b A2. Closer Thud Mix

Repress! with New Artwork

FELT’s sixth volume extracts another fascinating mineral from Guy Brewer’s Carrier alias, further descending the wormhole of darkside minimalism with his most obfuscated rhythmic explorations yet.

FATHOM witnesses Guy Brewer’s unrelenting distillation of precision electronics develop beyond prior incarnations into unclassifiable mutations. Carrier is his sonic vessel in this new era, liberating his prior restrictions to highlight the outer kinetic recesses of experimental sounds that finds a natural home on Perko’s ever-evolving FELT imprint.

The title track twitches along in hallucinatory abstraction, circling the depths with glitched-out programming and fogged-out atmospherics. The Cusp narrows its gaze, meditating on a tense drum rollage that teeters on mellowed menace. Markers then forms a mechanised rinse-out of rumbling subs and plummeting steppers momentum. Trooper unfurls in a finale of future-shocked half time rollage and arpeggiated textures that affirms Carrier’s unwavering vision in sound and style.

12" EP. Azmari is thrilled to announce the release of their fourth opus, 5-track EP 'In Oculis'. The EP is a reflection of the band's collective desire to reinvent themselves. With a more minimalistic approach, the four musicians have created an eclectic, intense, and vibrant body of work, recorded during various residencies in Belgium and abroad. The result is a fusion of genres that range from powerful grooves to cinematic jazz, from floating melodies to entrancing soundscapes.

For this new project, Azmari teamed up with a long-time collaborator, Guillaume Souffrice (alias Mosso Mosso), who had already been Azmari's guitarist in the band's early days. Souffrice's expertise as a music therapist and multi-instrumentalist, combined with his passion for cross-cultural rhythms and melodies, adds a new depth and dimension to the band's sound.

Souffrice's extensive travels have taken him from Iranian Kurdistan, where he studied the daf (a large frame drum used in Sufi ceremonies), to northern India, where he immersed himself in the modal subtleties of the shehnai (Indian oboe). His love for psychedelic guitar tones and the classic wha-wha pedal remains at the heart of his musical approach, creating a fusion of tradition and experimentation.

The EP opens with 'Night Plants Can Run,' a track that starts with a rhythmic loop on the Berimbau, a Brazilian percussion instrument traditionally used in Capoeira. The song offers a steady, groovy journey between Rio de Janeiro and Sarajevo, with a guitar theme doubled by the saxophone, all underpinned by a deep 4/4 groove. The middle part of the track introduces a lot of percussion (an Azmari signature move) that gives a sense of urgency and chase, inspired by the band's experience playing the track in the studio, imagining a pursuit through the depths of the Amazon.

Next, 'Disassembling the Matrix' takes listeners on a 9/4 march that feels both elusive and powerful. Born from a jam session where an arpeggiator loop wouldn't stop, the band decided to continue with it, highlighting the beauty of a spontaneous creation once again. 'Lizzard's Dream' is a guitar-driven trip that gradually intensifies in energy. The song surprises with a sudden groovy break - a moment that was initially the core of the track - before returning to its soft and introspective theme, closing out the A-side of the vinyl.

The fourth track, 'Eyelights,' was born from the shores of Vevey Lake in Switzerland. It reflects the result of a long period of mental observation and rhythmic exploration. Three different time signatures were used to create the song's intro, which comes together as they go along. The melody loops with a peaceful and nostalgic vibe, creating a dreamlike atmosphere. Under the direction of Frederik Segers, who produced the EP, 'Eyelights' takes on a cinematic feel, with classical upright piano sounds that are a first for Azmari.

The EP closes with "17th Tiger Print," which takes us to the banks of the Ganges. Souffrice's shehnai leads the track into a hypnotic, hallucinatory dimension, where the interplay between his instrument and the baritone saxophone creates a textured, mystical atmosphere. This track encapsulates the essence of Azmari, a sound that bridges cultures and emotions in a minimalist yet highly effective way.

'In Oculis' marks another milestone in Azmari's musical evolution, blending the band's signature style with new influences and experimentation. Whether you're a longtime fan or new to their sound, this EP promisesto take you on another ride around the world.

Liner Notes by Martyn Pepperell

A collection of ten hypnotic guitar renditions that dive deeply into the traditional compositional musicality that underpins Harakami’s hallucinatory beatscapes before reconsidering them under a fresh, innovative and engaging new light. River: The Timbre of Guitar #2 Rei Harakami signals a new level of awareness and understanding of both Rei Harakami’s significance and Ayane Shino’s undeniable talent.

VITAL SALES POINTS:

In 1996 Tokyo-based label Sublime Records received a cassette demo from Rei Harakami, a 26-year-old Japanese experimental filmmaker, and musician. Within one year Harakami’s debut LP ‘Unrest’ was released. As the 21st century dawned, Harakami was becoming a critically acclaimed figure, and there was a feeling in Japan that Harakami would be an inevitable successor to such luminaries as Haruomi Hosono and Ryuichi Sakamoto. Sadly Harakami passed away at age 40 in 2011, leaving behind a musical legacy that seemed to deserve more recognition. A fitting tribute now comes from the incredibly gifted classical guitarist Ayane Shino. Continuing her album series ‘The Timbre of Guitar’ (the inaugural release of which was ‘Sakura’ - a cover album of Susumu Yokota's seminal album, released through the Swiss label, Mental Groove Records in 2021), she now presents ‘River ???? : The Timbre of Guitar #2 Rei Harakami’. Ayane has reworked some of Harakami’s standout tracks into an album of tranquil yet complex compositions helping to build a new level of awareness and understanding of Rei Harakami’s significance. A collection of ten hypnotic guitar renditions that dive deeply into the traditional compositional musicality that underpins Harakami’s hallucinatory beatscapes before reconsidering them under a fresh, innovative and engaging new light.

In the years that followed Harakami’s untimely passing, Sublime Records continued to sign and support new artists emerging from Japan’s rich and fertile electronic music scene. This eventually led to a meeting with gifted classical guitarist Ayane Shino in 2020. Although a new name within electronica, Shino’s classical resume is impeccable. She has performed with a range of prestigious orchestras in concert halls and at music festivals across Japan, Europe, and South America while playing classical guitar for numerous animations, movies and television commercials and holding various educational roles. These days, she also hosts the Tokyo Harmonics radio show, which is syndicated through Hyogo prefecture’s Ashiya Radio and TJS Radio in Los Angeles.

During her time completing a masters at Tokyo’s University of the Arts, Shino became fascinated by Brian Eno, Aphex Twin, Oneohtrix Point Never, Steve Reich, and, closer to home, Harakami and Susumu Yokota. ”I found myself in an environment where I was surrounded by fellow students who produced computer music, live electronics, and installations,” she explains. Following her meeting with Sublime, Hideoki Amano, the producer and owner of Musicmine, the parent company of the label, asked Shino if she would be open to transcribing and recording an album of covers of the late, great composer, producer and DJ Susumu Yokota’s music in incorporate into then-upcoming events commemorating the 5th anniversary of his death and reissues of his past works. “Yokota made music with the Roland TB-303 bass synthesizer and samplers, not in a way like a conventional instrumentalist, so I was aware it might be more of a challenge for her,” Amano explains. Fittingly, Shino was up for his suggestion, leading to ‘Sakura: The Timbre Of Guitars #1 Susumu Yokota’. Song by song, Sakura highlighted Shino’s free-flowing playing and prowess at translating electronic music into classical guitar shapes.
After considering Harakami’s background as an instrumentalist, Amano felt revisiting his catalogue should be the next step for Shino. Well-versed in how often classical versions of electronic music tend to fall flat, he asked her to examine Harakami’s songs closely, select the musical phrases suitable for guitar and create arrangements that would sound interesting to music listeners with a deep engagement with ambient, techno and electronica. In Harakami’s discography, Shino discovered “a sense of simplicity, warmth, moisture and a floating sensation.” “I was gripped by his songs, which had an array of sounds that gave me a sense of mystery but also coexisted with a sense of familiarity,” she explained. Moving beyond his official releases, Shino began digging through YouTube to find live recordings, radio appearances and obscure outtakes. Within her mind’s eye, imagining playing his songs on guitar was effortless. On her approach to the album, Ayane explains: “For this album, I succeeded in spinning some exquisite, silk thread like delicate tones, interwoven with human warmth, gentleness and simplicity. And I was also able to rework Rei Harakami's distinctive sound with a floating feel to it and transform it into a very classical guitar sound. I hope many people will be able to receive this group of sounds that I created in this album that I played with all my heart.” A record of limitless innate beauty, ‘River ???? : The Timbre of Guitar #2 Rei Harakami’ is a delicate and thoughtful body of work. A true masterclass in deconstruction and subsequent rebuilding, and an eternal lesson in how the art that we leave behind can outlive us all.

Emily Jeanne presents quỳnh, her new label founded on psychedelic club music expressions. Call Of The Sea is the debut, 4 tracks unfurling experimental dancefloor movements of half step hypnosis and deep percussive explorations.

Loosely nicknamed “queen of the night” in Vietnamese, quỳnh thrives as a nocturnal flower. It serves as a light-hearted metaphor for Emily Jeanne and her authentic approach to late-night electronic music. Previous releases for PM+ explored devious peak time sounds, but her new label quỳnh launches with a fresh look. Its inaugural release Call Of The Sea showcases an adventurous new side to Emily, away from convention into something more ambitious and excitingly new.

Opener Wet Skin rumbles deep and quick with hypnotic fervour, plummeting kicks into its stark rotating abyss. Rolling taut, Count Me Out steps further with minimal guise as it moves sprightly on its reduced DnB dynamics. Đồ Sơn At Night unfurls differently, a change of pace where percussion and gurgling synths drift loosely down the track’s hallucinatory stream. Gone Water flexes stranger, its martillo polyrhythm transfixed heavily on the psychedelic chamber it inhabits. A fascinating first entry into the quỳnh canon from an artist in her finest form.

A bold reimagining of Scottish folk in a hypermodern soundworld, In a River Shadow blends prehistoric instruments, abstract electronics, and environmental recordings into a unique sonic landscape. The result is a futuristic, technoid sound that feels both organic and otherworldly, like a biomechanical artefact unearthed from a distant future.

In a constellation of influences including Yoshio Ojima, sunytty, and the hyperrealist work of Noah Creshevsky, "Birdhouse" is a dream of voices—human, non-human, and AI-generated—unfolding tranquillity into hallucinatory spectres. On "Star of the Sea," Poole confronts a complicated relationship with prayer by reworking the Catholic hymn "Hail Queen of Heaven, the Ocean Star," reformulating the prayer and stretching vocals to their limits, transforming the piece into a drum-driven, visceral interpretation.

Across this five-track EP, Poole combines personal exploration with collaborative influences, including a partnership with Considerate Digital, and collaborations with vocalist Celine Brooks and artist Gabo.

Music : Poole, additional vocals by Celine Brooks on Weila Waila, and Gabo on Selkie of Sule Skerry.

The world was a different place in June 2020. Most of us were coming out of a first lockdown and accepting limitations, new fears, and changes in our lives. There was some hope things were going to be better, optimism in the summer, a new beginning. For some, like Molero, it was. He released his first album in June 2020, one he had been working on over the previous years. “Ficciones Del Trópico” felt like a discovery, the synths approached a new world, raw, full of wonder, fresh. It was the sound we needed, the horizon we were longing for.

Four years have passed. Molero spent most of that time thinking about and creating the music for “Destellos Del Éxtasis”. If “Ficciones Del Trópico” lived in the depths of the Amazon jungle, “Destellos Del Éxtasis” releases itself from a physical location/idea and creates upon symbolism and the abstract. The more we listen to it, the more we get lost in how he created music that is shapeless, no angles, constantly morphing, transforming into something else.

Like magic, alchemy, but also like visions, hallucinatory visions, or dreams if dreams could step out into reality. And the more we get lost, the more we are convinced the music from “Destellos Del Éxtasis” is part of us, of our body, present as a permanently passing cloud. It gets into dark places, moving constantly into new ground, testing feelings, emotions and how they gravitate with sound. There’s something different in each track. Like magic. Not magical music (but there’s an argument for that). We prefer music for magic. Ritualistic, celebratory, transformative and increasingly visual. Close your eyes, it will open your perception. Follow the ecstasy, let yourself go. The reward is here.

Ruby Red - Transparent - Galaxy effect vinyl in dub style jacket (jacket sleeve with center hole cut out so label of LP shows through) a black paper inner sleeve and poly bag.

PART ONE’ METAL HAMMER - 8/10 review. FOR FANS OF : Lustmord, Om, Sunn O))) . “An exercise in freeform ambience, ritualistic repetition and the rapturous, womb-like power of bass…strange and affecting. We remain lucky to share in the great man’s vision.”


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.
Woven together from home studio recordings that span two decades, this latest outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted through three separate strata. As with April’s “Part One” and the forthcoming “Part Three”, “Part Two”, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track, “The Hag Of Beara Vs The Poet”’s languid, tribal groove expands into a chromatic wash, like an endless drip of oil spreading out under a midsummer haze.
A filtering of the alpha-state travelogues of its predecessor, “Part Two” reaches even deeper into primal yet pristine states. It journeys from the undulating drone and slow-thawing wonder of “The Falconer”, as if the Myst soundtrack were being broadcast from outer space, through “Damascus”’s perpetual-motion, dreamtime bazaar and “Vapour Phase”s seismograph frequencies measuring supernatural tremors to “The Unjust Incarceration”s distorted bagpipes, sounding a noise-frayed lament
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.

Ever since he made his first trip to Japan to DJ, Optimo Music founder JD Twitch has been bewitched by Japanese music, and particularly the vibrant, imaginative, and often far-sighted sounds which emerged from the island nation during the 1980s. Now he’s put years of digging in Japanese record shops to good use on Polyphonic Cosmos, the latest release on his compilation-focused Cease & Desist imprint.

Subtitled ‘A Beginners Guide to Japan In The ‘80s’, the collection offers a personal selection of Japanese gems recorded and released between 1981 and ’86 – a period when advances in recording and musical technology offered the nation’s artists and producers a whole new tool kit to employ. When combined with the unique musical culture of Japan, where local traditions are frequently fused with Western styles to create timeless, off-kilter aural fusions, this embrace of locally pioneered music technology had spectacular, often unusual results.

Eight years in the making, Polyphonic Cosmos provides an endlessly entertaining musical snapshot of Japanese music of the early-to-mid ‘80s with all of the open-minded eclecticism and sonic twists that you would expect from the Glasgow-based DJ.

Compare and contrast, for example, the gently breezy, morning-fresh folk-plus-electronics bliss of ‘ばら二曲 Baranikyoku (Fellini&Rota)’ by World Standard – the most familiar alias of long-serving musician/producer Sohichiro Suzuki – and the hallucinatory, slow-motion tribal rhythms, post-punk rhythms and tape delay-laden electronics of Imitation’s ‘Exotic Dance’. Or, for that matter, the tipsy mid-‘80s electronic reggae of Pecker’s ‘Sha La La’, the grungy but melodic post-punk strut of ‘You Go On Natural’ by Earthling (a track Twitch accurately describes as “sheer unrelenting groove”), and the unearthly, swirling sonics, new age instrumentation and flotation tank vocals of prolific (and seemingly mysterious) act Geinoh Yamashirogumi’s ‘Rimme Kohkyogaku Meiki’.

It’s a credit to JD Twitch’s curatorial skills that the quality never dips, and sonic surprises lurk around every corner. Consider for a moment the hard to describe, far-sighted audio immersion of D-Day’s ‘Ki-Ra’ – all languid post-pop guitar, enveloping chords, spoken word vocals, shuffling 808 beats and marimba melodies – and the two contributions from video games soundtrack specialist (and driving instrumental synth-pop specialist) Hiroyuki Namba.

The collection naturally includes some selections that have long been favourites in Twitch’s DJ sets – see Masumi Hara’s ‘Your Dream’ – as well as a handful of tracks from artists who may be more recognisable to those with only rudimentary knowledge of Japanese musical culture. The great Yasuaki Shimizu, whose work as Mariah has become far better known in recent years thanks to reissues of some of his most magical albums, is represented via ‘The Crow’, a picturesque chunk of horizontal, hard-to-define jazz-not-jazz smokiness, while the collection fittingly concludes with a sublimely funky, oddball electronic workout from Yellow Magic Orchestra legend Ryuichi Sakamoto (the frankly incredible ‘Wongga Dance Song’).

Matt Anniss

Ghastly and hallucinatory – 'last liasse' is a sign of the times, alternative pop record by helen island. Within this debut album, the artist captures the saccharine gaze of digital escapism through characteristic filtered high notes, cut-up genres, and processed vocals. Providing a comprehensive overview of helen island’s self-distributed initiatives, with the ethos of the Parisian Simple Music Experience collective, the twelve tracks set a solid musical score that resonates with the age to come.

Fate is a funny old thing. One day in 2011, DJ/producer Tom Trago found himself sharing a train journey with Steven Van Lummel, a DIY musician, artist and co-founder of PIP, an underground nightclub and cultural hub in The Hague. Over the course of a rambling, open-ended conversation, the idea of making music together came up; a few weeks later, Trago travelled to van Lummel’s place – a former industrial unit that was now home to a rotating cast of artists and musicians – and didn’t leave for a month.

Cossetted away from the outside world in van Lummel’s loft, with multi-instrumentalists Janneke Nijhuijs and Wieger Hoogendorp joining them to create a musical four-piece, MEGA WEGA was born. Over the course of four weeks, the quartet embarked on an almost continuous creative session punctuated only by impromptu parties and mixing sessions. Life-long bonds were made and over 70 tracks recorded before the mundanity of day-to-day life came calling.

For one reason or another, the project never saw the light of day, with tracks sat gathering dust on hard drives for the best part of a decade. During the madness and loneliness of the COVID-19 pandemic, Trago rediscovered the tracks. Delighted by what he heard, a collective decision was made to add finishing touches and release the resultant album on van Lummel’s PIP Records imprint. Further instruments and vocals were added over two days at Hoogendorp’s studio, before mutual friend Tom Ruig got on board to mix the album.

So, what can you expect from Haunted, Mega Wega’s debut album? First and foremost, it’s the sound of pure creative expression – the distillation of a freewheeling, no-holds-barred, spontaneous musical journey variously inspired by the do-it-yourself ethos of musical counterculture, shared inspirations and influences, epic jam sessions, distant stars (Wega, sometimes known as Fidis or ‘the harp star’, is one of the brightest in the night sky), imaginary journeys across dusty deserts, and the comradeship of four new friends.

Enchanting and alluring, it’s an album that gleefully denies lazy categorization and ploughs its own eclectic, atmospheric musical furrow in vivid sonic detail. It’s a collective exploration of heady musical eclecticism unified by saucer-eyed vocals, low-slung bass, loose-limbed beats, sweaty percussion workouts and hazy electric piano motifs.

Haunted begins with the woozy and hallucinatory slow-burn soundscape of ‘Get Things Done’ – an effects laden shuffle akin to lying flat on your back tripping under an intense desert sun – and ends with the creepy, mind-mangling post-punk funk of ‘Brain Carpaccio’; in between, you’ll find spaced-out, low-tempo lo-fi soul (‘Move Around’, ‘Haunted’), tactile synth-powered boogie revivalism (‘Make Me Work’), deep and off-kilter opioid jazz (‘Copenhagen’), intoxicating psychedelia (‘Last Night on Earth’), piano-laden dream-pop epics (‘Shake Or Fall’), and Latin-infused, percussion-powered hedonism (‘Chopping Heads’).

Born out of spontaneous collaboration and immersive, almost endless recording sessions, Haunted is an album shot through with imagination and boundless energy, captured for posterity by four friends and collaborators at the top of their game.

*Repress*

An artist as imaginative and unique as Ana Mazzotti doesn’t come around often. Dubbed a “super-musician” by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti’s short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti’s premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society.

Born in Caixas, in Brazil’s Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. When rock and roll hit South America in the sixties, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with.

In 1974 Mazzotti recorded her first album Ninguem Vai Me Segurar (1974), enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami who co-wrote several of the tracks and plays organ, piano and synthesizers on the album. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it.
Kicking off with the swirling samba-jazz-dance masterpiece ‘Agora Ou Nunca Mais’, the album hosts several groove-heavy Brazilian cult-classics including ‘Roda Mundo’ and ‘Eu Sou Mais Eu’. Deeper moments come in the form of the alluring future soul synth sounds on ‘Bairro Negro’ and ‘Sou’, and Mazzotti’s tender, hallucinatory version of ‘Feel Like Making Love’ (made famous by Roberta Flack) perfectly reflecting the idiosyncratic genius Mazzotti achieved with Bertrami’s visionary arrangements, and Romildo’s impeccable production approach.

Far Out Recordings is proud to present the official reissue of this cult favourite Brazilian treasure. Remastered and pressed to 180g vinyl, Ninguem Vai Me Segurar (1974) will be available on vinyl LP, CD and digitally from 13th September.

More than a decade after the release of ´Land Lines', the mythical Humboldt County, California based duo of Brian Pyle and Merrick McKinlay reappears seemingly out of nowhere with 'Atheistsaregods'. With past releases on such cult-like labels as Root Strata, Weird Forest, Blackest Rainbow or Digitalis, Starving Weirdos were an indelible part of a sprawling and loose network of artists in Northern America whose DIY work ethic and extreme activity revolved around shoestring-budget constant touring, numerous limited editions on CDR, tape and vinyl and a relentless drive to push the boundaries of genre.

Out of that cauldron, Starving Weirdos stood out as one of the most persistent and visionary acts, developing a mind altering body of work that went from warm soundscapes through droney digressions, freeform improvisation and raucous noise summoned from a myriad of instrumentation and low budget processing - vocals, keyboards, violin, flute, percussion and an assortment of less identifiable sound sources. 10 years on their legacy remains a timeless and wildly under-appreciated one, but hopefully this new album will shine a light on their idiosyncratic approach. As time itself was never a constraint. This is music suspended outside of it.

Right from the start with the echoing percussion, dissonant keys and processed vocals of 'Haiku Nagasaki', 'Atheistsaregods' draws a continuous flux of psychedelic elevation that goes from the gloomy electronic motifs not unlike the early Cluster vibes of 'Invocation' into the dank percussive maze of the appropriately titled 'Barulho do Samba'. The self titled track induces a sense of post-apocalyptic vertigo via hallucinatory scraps of voice, suspended synth tones and reverberating field recordings, connecting into the droney mystics of 'Dudukahar (Reed Prayer)'. Coming full circle, 'For Vinny' brings back the echoing percussion amidst hypnotic cello lines until it drifts off into the unknown. With the same palpable sense of urgency, Starving Weirdos feel as vital as ever. And even if we didn't realize it we were in need of them. Welcome back.

Sometimes it only takes a short getaway to the beach at the beginning of a new romance to open your heart to the wonders of the universe. On this record CV Vision taps into the ebb and flow of the sea, the cycle of coastal processes, and repositions the library sounds he’s mastered so well somewhere on the other side of the bay.

White noise washes like gentle waves up against analog synths and acoustic guitars, while the full spectrum of holiday possibilities are reflected: Surf’s Up (Let’s Trip) captures that roadtrip excitement, albeit with some psychedelic twist. But it’s not all sunshine - CV Vision makes sure to show the grey clouds too, with the sweet melancholy of Rainy Days.

Somewhere between dune rides and underwater dives, camp fires and sunsets, CV Vision captures a weekend at the beach in song. After a short moment of reflection (and some hallucinatory assistance), he wrote the lyrics and pieced the record together in the following weeks, to create what you see and hear now.

Instrumental interludes brush up against ballads and field recordings, to paint a wonderfully rich audio postcard from deep within CV Vision’s heart.

AI-28 arrives as a double-12” reissue of an album titled “Lucid Dreams”. Formerly released in 1996 as a CD on the now defunct UK imprint em:t, the album now becomes available for the first time on vinyl. Produced collaboratively by Chris Allen, David Thompson (both co-founders of em:t), plus label affiliates Tom Smyth and Will Joss, the record features outlier academic and philosopher Celia Green narrating passages of her classic book “Lucid Dreams” (published in 1968), seamlessly embellished with atmospheric soundscapes throughout. 

Brooding amorphously on the cusp of the unknown, the music captures the quintessentially mysterious quality of dreams and dreaming. Layer by layer, the listener is submerged deep into the subconscious stream. The record curls and unwinds with bewildering influence whilst exploring key themes of Green’s studies, with topics covering hallucinatory states, apparitions, out of body experiences, and extrasensory perception. The collaborative handling of samples and sound material comes together powerfully to create a piece that is both artistically theatrical in flavour and sumptuously immersive – a true documentary for the ears and imagination.

Devotional music most often gets distilled into earthy chants and ancient folklore, it doesn't always ascend to the sky like Julinko’s ‘Naebula’ an album that from the first organ note clearly trades in terrestrial dreams for ethereal visions. A feverish quality permeates the whole record, as if a ritualistic performance was being captured from start to finish, a collection of hallucinatory doom, synthetic neo-folk hymns and ghostly art-rock.

Julinko, stage name for Giulia Parin Zecchin, has long been one of the best kept secrets of the experimental community in North-East Italy, with three records that helped define her unique blend of heavy psychedelia, slowcore and dark ambient. On ‘Naebula’ what really stands out is how powerful and soaring her voice is, a weapon of undeniable force that can transform into a vessel of raw fervour or glide effortlessly as a delicate lament. Her unconventional approach shines through on tracks like ‘Jeanne De Rien’, where a marching pulse acts as a pillar for an extended mantra, almost verging into powwow territory. ‘Peace Of The Unsaid’ uses its arrhythmical structure to create space, a crepuscular night ode that reaches the heights of Sinead O’Connor’s most intimate force-fulness while retaining a sweet composure. Whether it’s glacial murderous shrieks or gospel-esque vitality, songs like ‘Cloudmachine’ or ‘Kiss The Lion’s Tongue’ seem to draw as much from a tradition of European minimalism, the use of drones and repetition, to the tradition of folksongs as hymns, where modal harmonies make way for an apparent stasis. Another key element in Julinko’s songwriting is the seamless blend of her minimalistic approach with these dense textures borrowed from a distant outsider metal heritage, Lynchean noir on steroids or wordless exorcisms with deep undercurrents.

Bambe welcomes Low Jack — the alias of French producer Philippe Hallais — to the label with his debut single “MARKET,” backed by a remix from Bambe label head Bambounou. Following the dark ambient explorations of his recent album Lacrimosa on Stroom, Low Jack returns decisively to the dance floor, channeling his club instincts while preserving a deep-rooted connection to contemporary art.

Originally conceived as a commissioned composition for Australian visual artist Thomas Jeppe, “MARKET” was created to accompany an immersive installation exploring the hallucinatory rhythms of cosmopolitan life. The work was presented in February 2025 at Circolo UltraFiorucci, a newly launched cultural space in Milan, where sound and image converged to envelop visitors in Jeppe’s vivid, destabilized urban vision.

Recontextualized for the club, “MARKET” bridges installation and dance floor, reinforcing Low Jack’s singular ability to move fluidly between experimental art contexts and forward-leaning club music — now sharpened further by Bambounou’s remix, which pushes the track into electro territory.

Berlin scene figurehead Gilles Aiken, AKA Edward, coming through with a massive Kalahari debut (and it’s safe to say he understood the assignment).

Booting off on a massive remix tip as the veteran producer reinterprets Mike Parker & Aric Rist’s Trybet project, but trust him to allow for a moment of dancefloor introspection. It’s prime early morning gear in a rousing juxtaposition of beatific string harmony and tough-as-nails deepness. Triumphant ‘window shutters open in the club at 5 AM’-type shit.

The other two are quintessential Edward: impressionistic, widescreen odysseys across lysergic terrain, but groove-forward where it counts. A pair of head-spinning explorations intended for the dancefloor, flush with shadowy flex, insectoid detail and tripped-out flourishes while keeping it funked-out in the tradition of Detroit.

The ‘Deep Sea Villain EP’ plumbs the depths of smudged abstraction, and as we’ve come to expect from Edward, it’s big on hallucinatory detail. It all oozes the multi-layered surrealism that typifies his best work. Proper transcendent biz.