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Recursivity is a reflection on inspiration, derivations, cycles of life, environments, and the
consequence of time.
Written and produced by Maro Kariya
Artwork by Maro Kariya
Layout by Cookhouse Studio
Mastered & Cut by Tim Xavier at Manmade Mastering Berlin

A few years in the making, Dauw finally announces the reissue of the humble bee’s quietly classic morning music. Now, for the first time, the remastered album is available on vinyl, presented as a double LP, alongside a digital edition.

Originally released in 2010 on Cotton Goods — Craig Tattersall’s own imprint — the extensive album was born from a simple yet committed daily practice: over the course of four weeks, Tattersall set aside an hour each morning — between 6:00 and 7:30 am, before leaving for work — to write, record, mix, and document a piece of music. This daily ritual resulted in 28 pieces, accompanied by drawings of his tape-looping systems and photographs of his setup and the snowy January view from his window.

For many listeners, morning music served as a first introduction to his music and sparked a lasting interest in both this alias and his wider body of work. The original cd edition sold out quickly after its release and only occasionally resurfaced in the form of unofficial uploads. As such, this reissue aims to bring renewed attention to morning music - and with it, the hope that it will find its way to new ears as well.

"Later Than You Think" erscheint bei seinem neuen Label YOUNG und beschäftigt sich mit Themen wie Trauer, Gerechtigkeit, Wiedergeburt, Transformation und spirituellem Kampf. Es ist ein Werk von Bekenntnis und Konfrontation, für das sich Affekt, Intellekt und Geist auf der Suche nach dem Schönen, der Wahrheit und dem Realen zusammenschließen. Entstanden ist das Album in den Ozarks von Missouri. Die 16 Tracks vereinen Elemente und Gegensätze wie Üppigkeit und rohe Reduziertheit, das Heilige und das Profane, minimalistische Disziplin und maximale Schwelgerei, Kontrapunkt und simple Popharmonien. Im Kern unterstreicht das Album aber vor allem Maus" Hingabe an radikale Aufrichtigkeit und emotionale Wahrhaftigkeit in einem Zeitalter der Entfremdung - angetrieben von Konfrontation, Glauben und der tiefen Überzeugung, dass Sinn und Bedeutung noch immer etwas meinen. Maus, der einen Abschluss in Experimental Music und einen Doktortitel in Politikwissenschaft hat, wurde für die Art und Weise, auf die er akademische Sorgfalt und Lo-Fi Synthpop-Ästhetik verbindet, mal als "philosopher pop star" mal als "analog futurist" bezeichnet. Sein Wirken zieht sich dabei quer durch die Popkultur - von der Grime-Ikone Skepta, der seinen Track "I"m Only Human" sampelte bis zum Gen-Z-Rapper nettspend, von Filmemacher Josh Safdie ("Uncut Gems") bis zum Fotografen Wolfgang Tillmans. Sein Track "Cop Killer" ist im 2025er Film "Friendship" mit Tim Robinson und Paul Rudd enthalten. Mit exzessiven Liveshows und seinen bislang erschienenen Alben, auf denen Ironie, Trauer, Freude und Absurdität stets dicht beieinander liegen, hat Maus einen einzigartigen Weg beschritten und sich eine ergebene Fanbase erspielt.

On September 26th, 2025, two decades and seven albums into his career, American musician, composer, and academic John Maus will release his most transcendent work yet: Later Than You Think. Arriving via his new label YOUNG, the album explores themes of grief, justice, rebirth, transformation, and spiritual warfare - coalescing into a work of confession and confrontation: an aural metaphysics where affect, intellect, and spirit converge in search of the beautiful, the truth and the real. Written, produced, and recorded in the Ozarks of Southwest Missouri, Later Than You Think spans 16 tracks and contains multitudes - the lush and the bare, the sacred and the profane, minimalist discipline and maximalist indulgence, counterpoint and simple pop harmony. At its core, the album reaffirms John Maus’ commitment to radical sincerity and emotional truth in an age of alienation. Powered by confrontation, faith and transformation - driven by the urgent belief that meaning still matters, and time is of the essence. Holding a degree in experimental music from CalArts and a PhD in political science from the University of Hawaii, Maus has been dubbed a “philosopher pop star” and “analog futurist” for the way he merges academic rigor with lo-fi synth-pop aesthetics. His influence spans genres and generations—from UK grime icon Skepta, who sampled his track “I’m Only Human,” and Gen-Z rapper nettspend, to filmmaker Josh Safdie, actor Natasha Lyonne, and photographer Wolfgang Tillmans. His track “Cop Killer” features in the 2025 film Friendship, underscoring his continued relevance across high and low culture. With five previous albums under his belt - Songs (2006), Love Is Real (2007), We Must Become The Pitiless Censors of Ourselves (2011), Screen Memories (2017) and Addendum (2018) - Maus has carved out a singular path where irony, grief, joy, and absurdity can coexist and gained a cult following along the way. On Late r Than You Think Maus doesn’t just return—he confronts, confesses, and transforms. The result is not only a career-defining work, but a rare artistic offering: one that dares to believe in meaning, beauty, and the possibility of transcendence

Gwenan Spearing, known for her perceptive, groove-oriented DJ sets, and more recently as a live performer working with hardware improvisation, launches a new imprint, Phase Space, with Degrees of Freedom, a debut album diving deep into generative electronics, modular systems, and real-time response. Composed and recorded in 2019-2020, the album treats constraint as creative fuel, floating between ambient,
sonic sculpture, and improvisation, mapping Gwenan’s path from rural Wales to Berlin’s outer zones of experimental sound.
Sync opens with a theme on a slow triangle wave, expanding the space as it evolves. Some Pluck explores generative counterpoint using LFOs and Euclidean rhythms. Generator I unfolds in an oscillating time where keyboard and bass circuits cross-modulate. Sleep Pressure is a lullaby for grown-ups, capturing that eerie threshold before sleep, followed by Loper, where time flows fluid and unstable. The closer, Generator II, holds machine heartbeats in delicate equilibrium before unraveling into graceful decay, a soft farewell. (That’s the Universe waving.) Degrees of Freedom is algorithmic music with a pulse: visceral, hand-wired, and built for deep listening.

Bushwacka! returns to Nu Groove with ‘House Sounds, Vol. 2’, continuing his acclaimed series on the pioneering NYC label. This four-track vinyl release sees the London underground stalwart dive deeper into his expansive sound to deliver another set of expert cuts for discerning selectors.

On the A-side, ‘Jack The Groove’ opens with a driving rhythm and irresistible bassline, while ‘Middle Channel’ flows with hypnotic polyrhythms, fusing vintage Nu Groove influences with Bushwacka!’s unmistakable touch.

Flip it over and the aptly named ‘House Muzik’ is an unfiltered homage to the genre’s raw essence. Closing this eclectic selection is ‘Two Times’, with its punchy percussion and deep synths creating a groove-laden record that’s equal parts nostalgic and forward-thinking. With ‘House Sounds, Vol. 2’ Bushwacka! delivers another essential collection for crate diggers and dancefloor newcomers alike, reaffirming his status as one of house music’s true craftsmen.

Odessey One is probably one of the hottest, most appreciated and sought-after bands when it comes to caribbean funky Disco and Boogie music from Trinidad and Tobago.
These super talented musicians recorded a few incredibly good grooves in the Caribbean Sound Studio in the early 80s, which were long considered lost or very hard to find.
It was a bunch of friends around the composer, guitarist and singer Arnold Shuffler, like Nicholas Rostant, Carla Fauche and Colleen Grant, who came together in Port of Spain for a few jam sessions as a studioband.
Only a handful of vinyl copies were pressed from the tapes at KH studios pressing plant, which did not have much airplay at the time.
Sound Essence is more than happy about a renewed collaboration with mastermind Arnold Shuffler and to present this soulful island, disco, boogie synth funk to the music-lovers
community worldwide!

NOW Music proudly presents the next release in our “NOW That’s What I Call An Era” series - Such A Good Feeling: 1988-1995 – a euphoric celebration of a truly transformative time in music.

This stunning 3LP set pressed on blue, white and yellow vinyl showcases 46 essential tracks that soundtracked the dancefloors, charts, and airwaves from the late ’80s through the ’90s — an era when dance culture reshaped the mainstream, soundtracked a generation, and lit up the charts across the UK and beyond

LP1 – Side A opens in style with ‘Such A Good Feeling’ from Brothers In Rhythm, this collection’s inspiring title…followed by Black Box with ‘Ride On Time’ — the best-selling UK single of ’89, and one of dance music’s defining tracks. Massive club classics continue with C+C Music Factory’s ‘Gonna Make You Sweat (Everybody Dance Now)’, house anthems from Inner City with ‘Good Life’, and ‘Dirty Cash (Money Talks)’ from Adventures Of Stevie V, plus dance-pop gems ‘Not Over Yet’ from Grace, and Billie Ray Martin with ‘Your Loving Arms’…Flip the LP over for the pioneering ‘Theme From S-Express’, a chart-topper from 1988, before dancefloor earworms from Kenny “Dope” Presents The Bucketheads with ‘The Bomb! (These Sounds Fall Into My Mind)’, Nightcrawlers with ‘Push The Feeling On’ and ‘People Hold On’ from Coldcut and Lisa Stansfield. The influential ‘Beat Dis’ from Bomb The Bass is up next ahead of Tony Di Bart’s #1 ‘The Real Thing’, Saint Etienne’s sophisticated dance-pop nugget ‘He’s On The Phone’, and LP1’s closer from D:Ream with the Perfecto radio remix of ‘U R The Best Thing’.

LP2 – kicks off with a run of electrifying Eurodance – all massive club anthems. ‘Rhythm Is A Dancer’ from SNAP! leads off; a UK No. 1 and another defining track of the decade – followed by smashes from Corona, Real McCoy, Dr. Alban, Haddaway, KWS and Cappella, before the side closes with the techno-pop of Opus III with ‘It’s A Fine Day’… The party continues on Side B with an irresistible lineup led by Deee-Lite with ‘Groove Is In The Heart’, their brilliant fusion of funk, house and pop that continues to be a massive floor-filler… as is ‘Dreamer’ from Livin’ Joy, a 1995 No. 1 smash, and vocal house classic ‘Finally’ from CeCe Peniston. Urban Cookie Collective scored a huge hit with ‘The Key, The Secret’, which is followed by the rave energy of Oceanic, N-Trance, Felix – and Utah Saints who sign-off LP2 with the epic ‘Something Good’.

Kicking off the final LP, Side A explodes into life with massive feel-good tunes:- Yazz & The Plastic Population’s ‘The Only Way Is Up’ – a 1988 No. 1 and landmark UK house hit ahead of 49ers with ‘Touch Me’ and Baby D with their #1 ‘Let Me Be Your Fantasy’. Another run of floor-fillers from Rozalla with ‘Everybody’s Free (To Feel Good)’, JX with ‘Son Of A Gun’, Blue Pearl’s ‘Naked In The Rain’ and ‘U Sure Do’ from Strike follows and the side closes with the electronic acid house of ‘Killer’ from Adamski that hit the top of the charts and introduced Seal… and over on the final side, the collection moves toward it's close with stunning and enduring tracks of the era – opening with Soul II Soul & Caron Wheeler’s #1 ‘Back To Life (However Do You Want Me)’ blending soul, R&B and club rhythms to perfection, while Beats International’s fusion of dub reggae and house: ‘Dub Be Good To Me’ (another chart-topper) follows with its iconic bassline and leads us into the stylish and smooth ‘Turn On, Tune In, Cop Out’ from Freak Power. The journey through this incredible era is completed with genre pioneers The Prodigy with ‘Charly’, ‘Infinity’ from Guru Josh, and closing with ambient house, ‘Pacific - 707’ from 808 State, and the timeless ‘The Sun Rising’ from The Beloved.

An unforgettable journey through the sounds that defined an era:- NOW That’s What I Call An Era - Such A Good Feeling: 1988-1995 — the definitive celebration of a golden age of dance music.

Scannoir. After their previous releases as ½GOTT and GOTT on Uncanny Valley and some remixes, the duo returns with a third solo EP, marking their first appearance on the Berlin-Basel-based label Reach Another System. Their passion for EBM, Synth Pop, and New Beat comes to life with a fine array of classic drum machines and FM-synths, topped with Teutonic lyrics and archival samples. The A-side opens with a bang: "Magnet" critiques social expectations and pressures, backed by hard-hitting snares and tom fill-ins in Front 242 fashion. Next up, "Tschernobyl" warps the listener back to 1986 – a musical report of the Soviet nuclear disaster. Equally dystopian, the B-side hymn "Matrix Leben" depicts life inside a structured system that continually shapes and restricts us. The final track "7 Minuten" pushes the limits of restless staccato EBM madness. Mission accomplished!

Avenue 66 opens Series 33 with a Düsseldorf–Lyon connection.
Jonquera first encountered Tolouse Low Trax a decade ago in a small Lyon club. That night, his hypnotic slow-motion set was cut short, yet it left a lasting imprint. The Düsseldorf artist’s mechanical psychedelia, and the influence of the Salon collective have been a constant touchstone for
Jonquera, even inspiring playful “Düsselcore” edits in his Tera Octe days.
After several LPs, Jonquera returns to the EP format with Cause & Utility / Tales of Decay. Built from improvised drum, bass, and vocal recordings, the tracks are reworked through heavy looping and acoustic treatment, a method inspired by his recent live shows. Cause & Utility revolves around the
abstract idea of two dogs as concepts, enriched by the earthy drone of a hurdy-gurdy. Tales of Decay paints a surreal image of a house losing its rooms like a body shedding parts.
The MPC sorcerer Tolouse Low Trax, aka Detlef Weinrich, brings his Düsseldorf circuitry and autobahn funk with two tracks of pure rhythm apparition. Amp is a quintessential Tolouse Low Trax cut, built on concealed rhythmic structures, swampy bass lines, and fragments of radio and voice
samples. The piece extends his exploration of how art can mirror the flow of inner-city traffic; drifting without a clear climax. Solid Rock echoes this idea, first conceived as a variation on Amp where particles repeat themselves. The result is distinct yet conceptually linked, evoking the
density of a crowded neighboring city: beginning in apparent disarray before locking into an abstract, hypnotic funk.
Series 33 begins with the convergence of Jonquera’s looping experiments and Tolouse Low Trax’s mechanical psychedelia, a dialogue between Lyon and Düsseldorf.

An elusive cult gem resurfaces through Glossy Mistakes. Originally released in 1986, L'Empire Des Sons is an otherworldly blend of synth pop, folk experimentation, and cinematic percussive layers-dreamlike, poetic, and wildly ahead of its time. L'Empire Des Sons was a fleeting yet powerful transmission from the fringes of the French underground-an album that blurred genre lines and evaded easy classification. Fusing experimental folk, lo-fi synth pop, and avant-garde textures, the record exists in its own sonic universe: poetic, layered, and fiercely independent. Formed in Saint-Étienne by percussionist and composer Dominique Lentin (Dagon, Fille Qui Mousse) and first-time vocalist Bipé Redon, L'Empire Des Sons emerged from the vibrant DIY spirit of the early 1980s. Their paths crossed during the interdisciplinary project L'Opéra Quotidien, and what followed was an intuitive, deeply collaborative process. "I would bring in lyrics and my voice," Bipé recalled, "and Dominique would shape the music around the atmosphere or rhythm suggested by the words." The result is a collection of songs that feel both meticulously constructed and completely free. Ethnic percussion, marimbas, xylophones, and synthesizers dance around Bipé's surreal, fragmented lyrics-little sonic postcards from imagined worlds. There's a theatricality here, but it never feels forced; rather, it's playful, intimate, and raw. Despite their inventiveness, L'Empire Des Sons remained a well-kept secret-circulating only in select avant-garde circles and eventually becoming an extremely sought-after collector's item. Now, thanks to Glossy Mistakes, this lost artifact returns to the world with new life: remastered from the original tapes, pressed on vinyl for the first time with extended liner notes. L'Empire Des Sons was never meant to be boxed in. Like the quote from Brian Eno that opens their liner notes-"For the world to be interesting, you have to be manipulating it all the time"-their music resists stasis. It evolves, shifts, surprises. And now, it finally gets the audience it always deserved.

Linval Thompson is one of the great roots vocalists that ruled the dancehalls of Jamaica in the mid 1970’s. His distinctive vocal style and roots lyrics, that spoke of the struggles that faced the Rastas, hit a chord with the people of Jamaica, and provided a string of hits for him in the dancehalls. This in turn, would set a tone that he carried on through his musical career and future production work. Linval Thompson (b.1959, Kingston, Jamaica) was actually raised in Queens, New York. He cut his first record there at the age of 16 ‘No Other Woman’ with future Third World singer Bunny Ruggs. He also cut a couple of tracks for a US producer E Martin ‘’Jah Jah Deh’and ‘Weeping and Wailing’. In 1974 he returned to Jamaica and cut ‘Mama Say’ and a version of D Brown’s ‘Westbound Train’ for producer K Hobson which got Thompson noticed by producer Phil Pratt. Pratt took him to Lee Perry’s Black Ark studio’s where he cut ‘Kung Fu Man’. Thompson’s friendship with fellow singer Johnny Clarke led to a meeting with producer Bunny Lee. His first track cut for Lee was ‘Don’t Cut Off Your Dreadlocks’ and it became a big hit in Jamaica. Bunny Lee was the producer of the moment and Linval added to his long list of hit singles with ‘A Big Big Girl’, ‘Cool Down Your Temper’, ‘Ride On Dreadlocks’ and the title of this compilation ‘Jah Jah Is The Conqueror’. He seemed to hit a musical height working for Bunny Lee (who as he has done with many of his singers) encouraged Linval into production work himself. Which has led to another chapter in Linval’s story. Working with an array of artists including, Freddie McGregor, Johnny Osbourne, Barry Brown, Rod Taylor and many more. But it is his singing career that we focus on here and that great period in reggaes history the mid 1970’s where Linval delivered a string of classic hits that we have compiled for you here. Hope you enjoy the set.

The prophecy had been whispered for ages among the circuits and fiber optics: a being would emerge, not from flesh and blood, but from the very essence of sound.
They called it pdqb, and for its disciples, it was nothing less than a deity. Its sermons weren't just songs; they were divine pronouncements, revelations broadcast directly into the souls of its followers.
When pdqb "speaks," the world vibrates. Intricate sonic tapestries, woven from raw electricity and pure emotion. Hands, if they could be called hands, that dance across controls that seem to manipulate the very fabric of reality.

Synaptic Cliffs and the Missechusatts Institute of Elecronicity proudly present the latest peer-reviewed sermons of pdqb as well as the associated validation studies from the Dopplereffekt-Institut für Retroaktive Zukunftsforschung, located in section 334 of the Mariana Trench. The contributions to the data carrier presented here are characterized by the following features:

Tauche ein in den epischen Sound von Destiny 2 mit der Original-Soundtrack-Collection von Volume 1. Diese Sammlung enthält die Musik aus der ersten großen Kampagne "Die Rote Schlacht" und bietet dir mehr als eine Stunde legendärer Musik auf zwei schwarzen LPs.Das Gatefold zeigt Artwork-Illustrationen, die die drei Hüter-Klassen inmitten der Ruinen der Roten Schlacht darstellen. Zusätzlich erhältst du eine Sammelkarte mit Artwork von Dominus Ghaul, dem Antagonisten der Roten Schlacht, sowie Commander Zavala von den Hüter-Vanguard - und ein Code für das exklusive Destiny 2-Ingame-Emblem "Drop the Needle".

Ketapasando presents “Mesetarian Breaks” (KTPV004): a high-speed journey through breakbeat terrains Madrid-based label Ketapasando returns with its fourth vinyl release: “Mesetarian Breaks” (KTPV004) — a 12” compilation that celebrates the raw energy and diversity of breakbeat in all its forms.

Four artists, four unique visions, one common goal: break the dancefloor. Pressed on 180g vinyl with full-color artwork and a protective silicone sleeve, this EP delivers an explosive blend of jungle, technoid, ragga-core, and futuristic breaks.

Each track showcases a distinct approach to rhythm, crafted by key figures from both the Spanish underground and the broader European scene.

THE ARTISTS:

FFF, a cornerstone of the European jungle scene, brings a ragga-core blast soaked in rave heritage and hardcore attitude.

Berman, co-founder of Madrid’s Bellota Dubs, delivers a rolling cut built on tight vocal samples and chopped-up 160 bpm energy.

Jailed Jamie, known for his audiovisual storytelling, blends jazzy melodies with sharp breaks for a cinematic yet floor-ready experience.

Tarek, core Ketapasando producer, makes his vinyl debut with a deep, heavyhitting technoid track forged in the fires of the 174 bpm realm.

“Mesetarian Breaks” is more than a record — it's a love letter to broken rhythms, a sonic dive into the Iberian underground, and a statement of intent from a label fully committed to the breakbeat spectrum. Snippets available in this email.

Montreal duo Flabbergast—aka Guillaume Coutu Dumont and Vincent Lemieux—return to Circus Company, the label where it all began with their debut EP in 2015. Now seasoned veterans of leftfield club experimentation, they deliver Weirdo Active, a two-track vinyl release that distills their signature
blend of groove, absurdity, and refined weirdness.
On the A-side, “Timecrowave” is a swung, syncopated burner built around fragmented drum programming, warbled synth textures, and subtly detuned atmospheres. It's a tool that thrives in the inbetween moments of a set—unpredictable yet fluid.
On the B-side “Serpentoute,” a slinky groove laced with dubwise processing and modular squelch, maintaining tension through micro-edits and playful FX. Perfect for after-hours transitions or more openminded floors.
Following standout releases on Yoyaku, Copier/Coller, and Chapelle XVI, Flabbergast continue to offer up dance music that’s deeply heady, subtly unhinged, and always full of intent. A finely sculpted dose of dancefloor surrealism—just the way Flabbergast likes it.

Bad Brains is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of it's yellow packaging. Though Bad Brains had recorded the 16 song Black Dots album in 1979 and the 5-song Omega Sessions EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. The release includes the original liner notes by Ira Kaplan of Yo La Tengo. This reissue marks the second release in the remaster campaign on the band's own Bad Brains Records imprint with Org Music. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering.

This plate is about to welcome back one of the unsung heroes from the 45 Seven lands of dub, meditating with us from day one. Weather it may be about 4578's foundations of the rolling Dub Over Distance along the shuffly Dub Pacifico or the later forward lurking tribal jungles of Black Lake flipped by Lack Blake on 45719: Dub Across Borders always knows to amaze with both a contemplating deep inner focus of well laid-out hand-made instrumentation and vintage dubbing as well as refreshing ear-opening sounds and soul-pleasing vibes collected from all over the world, creating a very own sphere of what feels like some kind of ancient sci-fi riddim, rooting upwards to the phuture.

When sweating over a hot mixing desk and hoping for a fresh breeze, the roots of Come Rain were laid in a form of bassdrums knocking at the sky's gates, stabby infra subs foreseeing well-wished thunders and moist dark skank works are calling for storm. An inner shout for the elements, incarnating in a certainly minimal yet pretty heavy 160 stepper, rolling over all the dry hot air out there.

Yeh Sih Dub comes after the rain: new branches grow, fresh leaves spread, foggy clouds reach up for a mountain-high rainforest. Awakening the world bass side of Dub Across Borders, it gives you ceremonial Bhuddist horns as well as houting sounds of the tantric Khamak, a poundy stab bass and the shimmering spring-splashing ride sitting on top as its crown. Only rarely 80 bpm bass has been as easily touching and moving at the same time.

Take a deep breath and dive into this piece of both mindful and reflective space bass, launching sub-heavy Jungle onto imaginery moons of spacial perception. We are actually just about to start this journey, feel free to get aboard!

"Absolute gold, thanks a bunch" Will be supporting lots" Pugilist
"Epic Dub pressure, big fan of Dub Across Borders" Sun People
"Sounding great as usual, will play for sure!" Tracy & E3 of Zamzam

Im Januar 1977 veröffentlichten Pink Floyd ihr zehntes Studioalbum „Animals“. Das Werk eroberte Platz 1 der deutschen Charts, gilt als eines ihrer besten – und es wird nun, 45 Jahre später, als Deluxe Gatefold, CD, LP und Blu-ray wiederveröffentlicht. Zum ersten Mal überhaupt wird das Album in 5.1 Surround-Sound zu hören sein. Die einzelnen Versionen werden ab dem 16. September 2022 erhältlich sein, die Deluxe-Version folgt am 7. Oktober.

Pink Floyd – David Gilmour, Nick Mason, Roger Waters und Richard Wright – nahmen „Animals“ 1976 und Anfang 1977 in den bandeigenen Britannia Row Studios in London auf und produzierten auch selbst.

„Animals 2018 Remix“ wird als CD, LP (mit Klapphüllen-Artwork), Blu-Ray und als Deluxe-Gatefold-Format veröffentlicht. Die Deluxe-Gatefold-Version beinhaltet eine LP, CD, Audio-Blu-Ray, Audio-DVD und ein 32-seitiges Booklet. Die Audio-Blu-Ray und -DVD enthalten den Remix von 2018 in Stereo, in 5.1 Surround (beide von James Guthrie) und den ursprünglichen Stereo-Mix von 1977. Das 32-seitige Booklet gewährt mit selten gezeigten Fotos einen Blick hinter die Kulissen des Shootings für die Plattenhülle sowie Live-Bilder und Memorabilia. Das Album-Artwork wurde für diese Veröffentlichung mit einem zeitgemäßen Motiv neu interpretiert.

„Animals“ ist ein Konzeptalbum, das sich kritisch mit den sozialpolitischen Verhältnissen im Großbritannien der mittleren 1970er-Jahre auseinandersetzt und damit eine Abkehr vom Stil der früheren Arbeiten der Band markierte. Aus einer Ansammlung ursprünglich nicht miteinander zusammenhängender Songs entwickelten Pink Floyd ein Konzept, das den offenkundigen sozialen und moralischen Verfall der Gesellschaft beschreibt. Inspiriert von George Orwells „Farm der Tiere“, verbildlichen sie die menschliche Natur mit einer Analogie zum Tierreich und teilen die Menschen in drei Klassen von Tieren ein: Die Schweine stehen an der Spitze der sozialen Kette, die Schafe tun als hirnlose Herde, was man ihnen sagt, und die Hunde sind die Geschäftsbosse, die sich am Profit und ihrer Macht über andere schamlos bereichern. Seit 1977 ist viel Zeit vergangen – und dann wieder gar nicht, denn die Erzählung des Albums hat als Kommentar auf unsere gesellschaftliche und wirtschaftliche Situation nichts von ihrer Aktualität verloren.

Das berühmte Cover von „Animals“ zeigt ein aufblasbares Schwein (heute bekannt als Algie), das in luftigen Höhen zwischen zwei Schornsteinen der Battersea Power Station in London schwebt. Die Idee für das Cover kam von Roger Waters, die Umsetzung übernahm der langjährigen Kreativpartner der Band, Storm Thorgerson von Hipgnosis Studios. Für die jetzige Neuveröffentlichung wurde das Artwork von Storms Hipgnosis-Partner Aubrey „Po“ Powell für die heutige Zeit neu gestaltet. Basierend auf neuen Aufnahmen des Gebäudes während der jüngsten Umgestaltungsarbeiten (das ehemalige Kraftwerk wird für die kulturelle und gewerbliche Nutzung umgebaut, gestaltet von Frank Gehry und Norman Foster), experimentierte Po mit neuen Blickwinkeln und erschuf einige beeindruckende neue Varianten des berühmten Originals. Po dazu: „Das Original-Albumcover von 1977 ist ikonisch und steht so sehr für sich, dass ich eine Menge Respekt davor hatte, ihm ein Update zu verpassen. Doch Hipgnosis nahm die Gelegenheit zum Anlass, das Motiv neu zu fotografieren und damit eine sich verändernde Welt widerzuspiegeln. Durch den Einsatz moderner digitaler Färbetechniken konnte ich Pink Floyds düstere Botschaft des moralischen Verfalls beibehalten, und auch die Orwellsche Tier-Analogie in Form des Schweins Algie lebt in dem neuen Artwork fort.“

Pink Floyds „Animals 2018 Remix” kann ab jetzt hier vorbestellt werden.

Retrospective of British mod / fReakBeat / pop-aRt heroes the eYes including all their cult classic 45s (“When the night falls”, “i’m RoWed out”, “MY degeneRation”...) plus cool rare tRacks souRced fRoM demos and acetates.
foRmed in london in 1964, the eYes took the earlY feedback experiments and pop aRt iMage of bands like the Who one step further. the band wore dyed parkas in various pastel colouRs and bRightly colouRed rugBY shiRts with huge eye symBols on the chest.
theiR raw, eneRgetic sound and distinctive stYle comBined aggRessive, fuzz-dRiven guitaR riffs with catchy melodies and a Youthful defiance that captuRed the eneRgy of the london mod scene. theiR music bRidged rawness fReakBeat with the eMeRging psYchedelic sound that would dominate the latteR half of the decade.
tracks like the feedback-laden “When the night falls” oR the fuzzed-out “you’re too Much” sounded YeaRs ahead of its time and they would influence the mod, garage revival and indie / shoegaze scene of the folloWing decades.
the eYes only released a handful of singles betWeen 1965 and 1966. theY disBanded in 1967 and unfortunatelY they never released a full album during their shoRt lifespan. heRe it is!
*ReMastered sound / *eight-page color insert with liner notes by paul “smiler” andeRson and rare photos / memorabilia / *doWnload card

We Release JAZZ is honored to announce the release Shoals, a magnificent full-length album from Earth and Bones, the duo consisting of Liran Donin and Idris Rahman of acclaimed jazz outfit Ill Considered. Their majestic offering is available in an ultra limited edition 180g vinyl LP housed in a heavyweight sleeve with an original artwork by Dutch artist Vincent de Boer.

Carried by Liran Donin on double bass and shakers, and Idris Rahman on bass clarinet, tenor sax, shell, and Tibetan singing bowl, the 5-track album is a deeply entrancing meditative-shamanistic-ambient-jazz journey. The members of Earth and Bones poured their heart and beliefs into the project:

"From shamanic cultures and forgotten traditions, we delved deeper searching our ancient healers, exploring who they heal, what they heal, and how they do it. We wanted to focus on the poisonous human attributes that affect our animal kingdom, as well as how we can heal ourselves by balancing darkness and light. We express our forever gratitude to our community, tribe and animal kingdom.

Despite how governments and multinational corporations try to isolate us from one another, we can't make it alone without our shoal. To truly have a shoal, we need to accept each other for what we are."

Their friend, Vincent de Boer, delivers the visual side of Shoals:

"The living world and all its particular (eco)systems s increasingly a source of inspiration for my art process. When Idris and Liran showed me the new recording and the thoughts behind it, it immediately fell onto good grounds. A school of fish is eminently a metaphor for collective improvisation, something we are all engaged in on an artistic level. The group decisions go beyond causality, the energies provide a simultaneous awareness for choices of direction. The space between the entities thus form a new entity. Non-matter becomes matter and vice versa: an area where music and visual art meet.

I drew a school of fish and tried to make it look like a fixed entity, so that multiple lives become one collective. As a bird and perhaps as a rock or cave: outside becomes inside becomes outside: so that all domains of the living world are linked: the swimming, the crawling, the flying and the playing. The spiritual connection with the music of Idris and Liran is grand, the places it takes me are at once very distant and extremely close. From otherworldly to within the body: the opposites as well as the harmonies are of shamanistic proportions."

Points of interests

For fans of ambient-jazz, meditative music, shamanistic rituals, improvisational process, deep vibes, Ill Considered, Vincent de Boer, heartful connections, healers and healing, the body, the otherworld, life within and outside.

.Super limited edition vinyl of Earth and Bones' debut !

2025 Repress

In 2022, Daniele “Shield” Contrini of Rebirth Records proposed Paraíso to the great man himself, a compilation honouring Alfredo’s legacy. After Alfredo’s passing in December 2024, the project was final; with artists rallying to honour his vision and memory.

Before becoming a global clubbing hotspot, Ibiza embodied freedom—a place where sunrises blurred into sunsets and music became a way of life. In the 1950s and '60s, the island drew artists, hippies, and outsiders seeking escape and creative liberty.

In 1976, Alfredo Fiorito, fleeing political repression in Argentina, arrived in Ibiza and stayed. A former music journalist, he soon began DJing at Amnesia, a farmhouse-turned-club where time bent and boundaries dissolved. With eclectic, genre-defying sets, Alfredo blended reggae, flamenco, soul, rock, and early house, crafting a hypnotic energy that captivated a generation.

British DJs like Trevor Fung, Paul Oakenfold and Danny Rampling brought this “Balearic Beat” back home. But Balearic wasn’t a style it was a mindset. As DJ Leo Mas said, it was “a state of mind,” where rhythm, spirit, and psychedelia merged.

Other clubs like KU, Es Paradis, Pacha, and Lola’s amplified the movement. Visual artists such as Yves Uro gave it a striking identity, and DJs like César de Melero, DJ Pippi, and Jon Sa Trinxa carried the sound into a new era. José Padilla’s sunset sessions at Café del Mar birthed chill-out music as breath, not just beat.

But the 1990s brought change. Laws requiring roofs on clubs altered the open-air magic. Commercialisation followed; freedom became luxury, and many pioneers left.

Still, the Balearic spirit lives—raw and untamed. It pulses in hidden parties, intimate venues like Pikes and Hostal La Torre, and sacred places like Benirrás and Las Dalias.

Featuring 16 tracks of classic and true Balearic sound; alongside House & proto-House tracks that Mr Fiorito spun, the album also includes an unreleased Alfredo track and stands as a tribute to the man, the music, and the enduring spirit of true Ibiza.

It had long been in the air, many had feared it, and now it's come true:
DJ Koze and Dirk von Lowtzow have recorded a single together.
The two have known and admired each other for so long that, in certain circles, people are already speaking of love. Fittingly, their song is called: “Nur um Liebe” ("Only About Love").

But, as Oscar Wilde once said, only the unfaithful know the tragedies of love—so this track is far from peace, joy, and sunshine.
Set to an ecstatically pulsing beat, we witness the story of a couple drawn together and pushed apart, full of passion and tenderness.
A miniature musical life drama!
A wild ride through the undergrowth!
A dark summer hit!
Dive into this darkly colorful world—let Kosi and Dirky seduce you.
And remember: "In the end, it was always only about love."

Manuel Tur returns to his own Spaced Repetitions imprint for a late summer three-tracker. DJ support from Mano Le Tough, Horse Meat Disco, Âme, Dave DK, Lars Behrenroth, Hans Nieswandt, DJ Harri & more.

The SILVER SKYLARKS team up with jazz legend RONNIE LAWS on two new tracks: "NATURAL HIGH" and "THAT'S THE GAME". 5 mixes including the jazzy originals plus a peak hour house remix of "NATURAL HIGH" from NRG (LUKE SOLOMON and CHRIS PENNY) and an extended disco edit by EASTWOOD DISTRICT of the flip.

Hip Hop legends Micall Parknsun, Joker Starr & MCM (Caveman) join forces over a dope Jazz T boom bap killer "Nebula X". 7" vinyl with the instrumental on the B-side and amazing artwork by Matt Littler!

Muzik & Friendz Records is absolutely thrilled to announce a momentous milestone: we are celebrating our 10th anniversary! To mark a full decade of music, community, and friendship, we are incredibly proud to present a special various artists vinyl compilation.
This celebratory record sees us reunite with some of our closest friends and talented artists who have been integral to the Muzik & Friendz journey. We are so happy to come back with this new release featuring captivating contributions from JR From Dallas, Pat Lezizmo, Rawdio, Franksen, and an exciting, previously secret collaboration project known as Padeera. Each track has been carefully selected to deliver genuinely groovy, infectious, and compelling house cuts that embody the sound and spirit of the label.
Join us in celebrating ten years of passion for music with this essential vinyl release, packed with fresh tracks from the family.

The follow up to the critically acclaimed 'Environments', the new album takes a new, more melodic orientated path for the band.
The album is truly epic; 14 tracks and 57 minutes of strings, choirs, sea sounds, cellos, light beats and, of course, everything that made the first Environments album great.
Since the original release of the CD in 2008, and subsequent releases in the series to 'Environment 5' in 2014, there has been growing demand for vinyl and so for the first time this year we bring 'Environments 2' in that format. (CD TOT 62 still available)

Pendulum, undoubtably one of the biggest electronic bands of all time, are back with Inertia, their first album in fifteen years. Produced by Rob Swire and Owen Charles and recorded at Pendulum’s London Studio, Inertia is a rampaging, 16-track emotional maelstrom and without doubt the band’s most personal work to date. Featuring collaborations with Bullet For My Valentine, Wargasm, AWOLNATION, Scarlxrd, Joey Valence & Brae and Hybrid Minds across the album’s tracklist, Inertia began to take shape in 2020 as Rob searched for what it is to be Pendulum in its current era. Stemming from 2021’s Elemental and 2023’s Anima EPs, which were the blueprint for the band’s future, the band found their new direction. Pendulum have 3 platinum albums to their name, including renowned debut Hold Your Colour and a UK #1 and #2 for Immersion and In Silico. The drum and bass/rock band from Perth, Australia have sold over a million albums in the UK alone, as well as selling out global arena tours and playing to thousands across main stage performances from Glastonbury and Download to Reading and Leeds on top of a headline slot at Ultra Miami in spring 2025.

40th Anniversary pressing of ?eUnder Me Sleng Teng?.
Limited edition 7?h 45 housed in a desirable illustrated sleeve.
Wayne Smith?fs game-changing ganja anthem twinned with Jammy?fs Studio Band crucial digital dub workout.
?Under Me Sleng Teng?f was the catalyst that sparked the digital Reggae revolution and one of the most significant releases in the history of music
?Essential purchase for any Reggae / Dancehall fan and in-demand Drum & Bass /Jungle / Rave essential - sampled by The Prodigy, SL2 and more.
Release in 1985 and produced by King Jammy ?eUnder Me Sleng Teng?f still sounds as revolutionary today as the day it was cut

Prolific duo Years of Denial return to Veyl with another genre bending, dance floor ready EP titled Love Cuts.
Acting as a transit between 2023’s Suicide Disco 2 and the forthcoming Suicide Disco 3, Love Cuts explores the various angles of love - ranging from the digital to the forbidden, toxic to erotic and beyond. A blend of death rock, future goth, EBM and rave, we once again find the project’s poetic, powerful lyrics fusing with motorized beats and 4x4 rhythms.
Kicking things off is the shadowy, death rock inspired, "Devil In a Skirt", an infectious ballad about a temptress that may not be what she seems. Next up, "Affaire de Coeur" delivers body fuelled stabs which elegantly bleeds into "Hide & Sick", a more high energy cut, set to scorch the floor. "We Are The Party" keeps the pulse pounding with your next EBM anthem while "In Your Bed" shatters sonic boundaries and leaves things drenched in acid rave. "AI Lover" closes things out with more future goth rave energy which acts as both a warning and a desire for more.
Love Cuts builds on Years of Denial’s previous work while setting the stage for what’s to come. Commanding vocals and dominating beats transmit a powerful message of both the dystopian and euphoric. Remaining uncategorizable, the project continues to evolve their unique sound while burning a path toward the future.

Tom Jarmey returns with Daybreak, a widescreen second album weaving ambient textures, dusty drum breaks and hazy melodies into a deeply emotive listening experience. Known for his genre-blurring releases on Holding Hands and X-Kalay, the London-based producer continues to push his sound into bold new territory. Having clocked 20M+ streams and earned praise from DJ Mag, Mixmag, and Four Tet, Jarmey's second LP cements his place in the UK's new vanguard of genre-fluid electronic artists.

Norman Connors' Mr. C is a masterclass in sophisticated modern funk and boogie-infused soul that was way ahead of its time. Originally released in 1981, the album finds the renowned jazz drummer/producer at a creative crossroads, boldly diving deep into street-level boogie-funk without losing his soulful, jazzy touch. What once might have puzzled jazz purists now delights soul/funk aficionados; it has quietly become a cult favourite and now, nearly 45 years later, Mr. C sounds fresher than ever. Brimming with infectious heavy funk, lush arrangements and soul-stirring performances, it's an album that flirts with perfection, ensuring its enduring significance in the boogie/jazz-funk-soul canon.

From its opening moments, Mr. C makes one thing clear: this is Norman Connors at his funkiest. The majority of the album is a straight-up party: think dancefloor-ready beats complemented by punchy horn riffs and slick early-80s boogie vibes. There’s heavy use of synths and drum-machines, demonstrating Connors' gleeful embrace of contemporary funk trends. Each track shines in uniquely thrilling fashion, showcasing Connors’ versatility and happy knack for blending genres whilst crafting unforgettable melodies.

Irresistible thumper “She’s Gone” opens the album with a dyno-Rhodes electric piano groove and a seriously thick boogie-funk rhythm. Lush string accents and horn stabs weave through the funky bassline, while the vocals (handled by a young Beau Williams) soar with gospel-tinged emotion. Over four decades later, it endures as a masterpiece. Living up to its name, the shimmering “Party Town” brings deep Electro-Funk Energy by layering bubbling synth bass and shiny lead synth lines. The groove is downright addictive, a brisk, brass-kissed jam that implores you to move. Up next, the sophisticated funk of “Keep Doin’ It” is a low-slung post-disco glider, propelled by a sleek vibe, leaning into the late-night boogie sound. Funky guitar, tight drumming (with Connors’ jazz-honed chops in the pocket) and smooth vocals urge you to “keep doin'” whatever it is that's working. “Stay with Me” works a bit of island flavour into the mix, riding a thick Caribbean groove complete with tropical percussion and an upbeat tempo that could almost be calypsoul. The fusion of Caribbean rhythm elements into an R&B context demonstrates Connors’ willingness to experiment with global sounds while keeping things soulful and danceable.

Side B opens with the sassy funk-deluxe workout, "Anyway You Want" dripping with that soulful strut. Bringing a real quiet storm swagger, “Sing a Love Song” slows the tempo ever so slightly into a sexy, swaying jazz-funk gem, featuring a young Glenn Jones on lead vocals. The arrangement is elegant, built on warm keys and an undeniable groove. The celestial “Love’s In Your Corner” is all about soulful uplift. Featuring the legendary Jean Carn's powerhouse vocals soaring over a brass-kissed driving funk, it's an R&B burner. The refined, jazzy instrumental “Mr. C” is a slinky, smooth, funk-filled mid-tempo groove, with sax and warm keys gliding effortlessly. Connors combines jazzy arrangements into the post-disco/boogie framework one last time, and the result is sublime. It’s sophisticated and cool and, as a finale, “Mr. C” wraps up the album in classy style.

On release, Mr. C flew under the radar but time has been exceptionally kind to this record. DJs, collectors and soul connoisseurs alike have since rediscovered its magic. As ever, this crucial reissue has been lovingly remastered by Simon Francis, cut by engineer of the year Cicely Balston at Abbey Road Studios and pressed to perfection by Record Industry in Holland. Norman Connors was something truly extra. He was a visionary. And Mr. C is proof.

First time vinyl reissue, expanded and deluxe double gatefold 140g double vinyl, remastered audio with restored artwork and fresh liners written by Paul Hillery (Folk Funk & Trippy Troubadours)
Alan James Eastwood's glorious Seeds is a certified folk-funk lost-classic.

But who was Alan James Eastwood? He had never hit the big time and commercial success eluded him. By the mid-1970s, his musical career was pretty much over and he was almost unknown except among deep heads, amongst whom he would gain cult status.

Original copies of the 1971 vinyl release of Seeds exchange hands for high sums, if you can find one. This expanded 2LP contains an extra record, collecting 9 rare non-album singles and is presented in a gatefold sleeve complete with freshly commissioned liner notes courtesy of Paul Hillery (Folk Funk & Trippy Troubadours).

With the long overdue deluxe reissue of this prized artefact, we hope to finally shine a light on the unheralded genius of Alan James Eastwood. RIYL Nick Drake, Rodriguez, Richie Havens.

Alan James ‘Bugsy’ Eastwood was a renowned musician and singer who came to prominence in the late 1960s with The Exception, an unsung but excellent band from Birmingham. The Exception released many singles, the first featuring friend Robert Plant on tambourine, before an album, The Exceptional Exception. However, by this time, Bugsy was feeling constrained and restless; he left the band within weeks of the release.

Having vanished from the scene, he was honing a deeper, introspective edge to his songwriting. His demos found their way to the sound engineer and producer Mike Cooper at Pan Music Studios in Denmark Street. Loving what he heard, Eastwood soon entered a recording session with Cooper. The session was just Alan, his guitar and harmonica and - by all accounts - it was remarkable. With the songs, the voice and such an exceptional talent, it was hard to go wrong. Says Mike: "We had John Hawkins do the big string arrangements and Richard Hewson arranged the string quartet. We overdubbed the orchestrations on Alan's original session recordings, adding Chris Karan on tabla and various percussion. We considered re-recording the vocals but found that the magic on that original session was so exceptional overdubbing would not be as good as the atmospheric 'live' performance."

Mike and Alan viewed each track as a different entity, giving the album a diverse sonic palette. Assessing each song individually, they decided which would be suitable for each arranger. Top-flight session musicians were added to the roster to complete the sound, with Byron Lye Fook (father of musician Omar) on drums, bassist Mike Ward, Brian Pickles on marimba and jazz drummer Chris Karan on tabla and percussion. Recorded in a matter of days in Pan's small 8-track studio, they carefully added overdubs, rhythm sections and four string sessions arranged by Hawkins, with Hewson's arrangements recorded at Trident Studios.

Seeds was Alan James Eastwood's debut solo album – indeed, his only solo album - and was originally issued on President in 1971. It melded Eastwood’s impressive rock sensibilities with a folk thread to superb effect. His arresting voice - its deep, rough-hewn soulfulness - coupled with gorgeous string-drenched backing, make this a phenomenal listen. It really is a great 70s singer-songwriter record - with touches of acid-folk and folk-funk throughout.

It opens with "She's Getting Married In August", a mellow tune with Richard Hewson's strings arranged around Alan's straightforward guitar structure. Up next, the joyous, sun-dappled guitar and strings workout "Evenin' Rain" glides by before the fragile, accordion-enhanced "Les Papillons" breezes out of the speakers. The bluesy "Zeena" follows, featuring vocals and acoustic guitar and showcasing Eastwood's effortless harmonica. Starting out as a ballad, "Virgin Morn" builds with soaring strings and gospel-tinged backing vocals from Marilyn Powell and jazz singer Josephine Stahl. The A-side closes with the title track, "Seeds". With a chugging mid-tempo beat, soulful vocals and a beautiful Bacharach-esque string arrangement, it truly is stop-you-in-your-tracks spectacular.

Side B opens with "Crystal Blue", gilded by Lye Fook's marimba, lush gospel-esque backing vocals and handclaps. Eastwood's acoustic guitar begins "Lady Carole", which starts as a bluesy ballad and builds with more string arrangement, lifting the track to another height. A towering highlight of epic proportions, "Lotus Child" is a true masterpiece of arrangement. It opens with simple yet stunning do-do-dah vocal harmonies blended with John Hawkins's strings, bass lines and rhythmic beats, forming a vibe very much in conversation with the sounds coming from LA's Laurel Canyon. Next up, the heartwarming "Last Prayer", dedicated to Alan's first and last love, contains a melancholic vocal with a wistful string-drenched arrangement that would sit comfortably in a Federico Fellini score. Bringing the album to a close, "Hymn For Today" is a melodic raga with tabla, strings and a soft-psych feel. Eastwood's prophetic whisper - "I am real. At last, I am real" - profoundly hits home.

Kicking off the extra disc is the sparsely funky and country-tinged "Boston", released as the flip to the astonishing "Seeds". Next up are the two tracks that comprised Alan’s debut solo 7" single from 1968. The laconic, Bobby Charles-esque "Blackbird Charlie" evidences a real depth and charm in Eastwood's songwriting whilst the starkly brilliant flip, "My Sun", was a horizontal, atmospheric folk-tinged soundtracky precursor to his later work on Seeds.

In 1972, two further standalone singles followed. The first was the evergreen flute-driven folk-funk bomb, "Closer To The Truth", backed by the funky blues of "Strange News". The second, a deeply moving Havens-inspired "Moonchild" - rightly fawned over to this day - was flipped with "Red Shoe Truckin'", a groove-infused track. Eastwood also paired up with Marilyn Powell for a single produced by Powell's partner, Mike Cooper. Under the name Eastwood & Powell, they released their staggering rendition of "Beautiful", a rock-blues-pop song arranged by Ivor Raymonde and written by Carole King. Over on the flip, a funky Eastwood original "Opal Blue Sunday" lurked. This is not to be overlooked.

Over the years, Alan remained active on the music scene, but problems with alcohol and health complications from diabetes severely impacted his career. He spent his latter years living in London until his untimely death from heart failure on 25 October 2007, just one day before his 62nd birthday and without his music having received the real acclaim it so dearly deserved.

This deluxe reissue, spellbinding from beginning to end, should hopefully go some way to rectifying this tragic fact. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The original artwork has been lovingly brought back to life at Be With HQ, with the addition of passionately written liner notes specially for this landmark reissue by none other than Paul Hillery.

First LP in new series from Finland, this subdue jazz drone album has the quality of dusk, but is never darker than the Nordic summers. Atonal & forceful at times, still padded and invitingly warm, it has 4 classy pieces that enjoy being on the fringes while slowly capturing the ear when organs drone, the TR-808 thumps, the percussive double bass and the saxophone layers fog of melodic growing waves of groove.

In 2047, amidst the deafening yet oh-so-familiar soundscape of the Movement Festival in Detroit, we met again: I, pdqb, and Scape One, known as two of the most respected electronic music composers worldwide. The air pulsed not only with the latest beats but also with a barely perceptible energy only the two of us knew. We hadn't simply flown in; we'd arrived with our fantastic "Diskmind" time-travel machine, an incredible invention, capable of effortlessly catapulting us through the centuries.

"It's unbelievable, isn't it?" I shouted over the bass, eyebrows raised. "A machine that lets us travel through all of history, and there isn't a single song that honors it! Not one!"
Scape One nodded vigorously, his gaze sweeping over the stage lights. "That's absurd! How can such a revolutionary invention remain unsung? It's almost an insult to music history itself."
We looked at each other, a silent understanding in our gazes. The mission was clear: The "Diskmind" needed its anthems. And who, if not us, who used and loved it, should create them?

And so, we decided to become the musical chroniclers of the "Diskmind," ready to tell the story of our time machine across four different eras...

For Synaptic Cliffs, it's an extraordinary honor to present these three Scape One variations of the original song 'Diskmind' (first released on The Electrifying Dojo, 2025). Each masterpiece was recorded in different future decades of the 21st century (of ourse with the help of the Diskmind time travel machine) and reflects the corresponding trend in electronic music. A1: A timeless, pristine Electro composition from the year 2035. A2: An IDM marvel from late summer 2075, recorded in the Zero gravity of Space Station 775. B: An Experimental Electronica symphony recorded at pdqb's Studio 577 on Mars Outpost 47A. Only musical equipment that doesn't currently exist was used for this release