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Words that capture this resultant outcome. A spectral haze of subconscious, living rhythms. A meeting of mind-tribes. Close; Kudo; Ruscha; Tripp. Hear, the discovery of Tkil.
Such collaboration can bring powerful interests, mixing diversity with vivid psychedelic motions. Soundscapes of improvised beats, jamming intersections float and pierce the sonic sphere. Aural poetics illuminated across satellite optics, NYC-LA-NYC-LA.
The quartet creates in a non-linear, multiple level, liquid sequence. Four individuals, their subtle personality's reiterating sonic textures to form cascading minimalist atmospheres, chimes and percussion - diffused harmonics of ethnic vortices descending endlessly. Acting as coordinates that search for their source, a purity of multiplicity is presented.
Together these are focused experiments, raga-like meditations of precious expression from artistic connotation. Visionary; subtle; mysterious. Their essence an eclectic blend of composition, a natural but technical expression of cosmic minimalism and world music influence. The outcome is a magical encounter of artists finding a creative affinity, sweeping downstream on a rolling rhythmic magic muse, beyond a bizarre excursion to capture the thrill of modernism, moments that reach the soul of alienation and togetherness in equal, savant, infinity.

Juddering bangers and hypnotic body-rockers, dazed spells and rootical wig-outs spun from early Detroit, West African field recordings, dub and beatbox hip hop; rough as fuck and clatteringly percussive, but shot through with a gritty numinousness. Soundboy techno; Stokey worries.
Gorgeously sleeved in midnight-black art-paper, intricately printed in silver with the visionary photography of Katrin Koenning, folded by hand and packed into Japanese cellophane envelopes.

Unslaved's 'Punjab' is a journey through three unconventional club tracks, hear genres entwined, sounds broken down and set free in the most spell-binding way. First track 'Punjab' is an eight minute creeper built from insane drum patterns and layered with an eerie, yet blissful melody. With an almost ambient quality, Punjab is an off- kilter yet perfect. On the ip, B1 'Apogee' is a dark masterpiece with the rawest, yet most striking of characters. A track that wouldn't have been out of place in early dubstep or grime circles with a spine-tingling bass line, 'Apogee' has that sparse, stripped-back feel where listeners discover hidden elements on each listen. Exploring the murkiest corners of electronica, 'Apogee' is an intense mover that sets a high standard for the release.

'TTA' or 'Tom Tom's Advanced' makes up the nal number on the 'Punjab' EP's trio. Just as dark as 'Apogee' and just as eerie as 'Punjab', 'TTA' casually switches from genre to genre and could easily be the soundtrack to a video-game (on acid.) Mind- bending build-ups, mystery samples and wavy breakdowns make 'TTA' a twisting and turning journey through the underworld of dance.

Living in a post capitalistic desert, rural south holland, the only social meeting point, your local
LIDL (europe's number1 food retailer), must be GOD itself.

JAHMONI proudly presents - The World of VENDERSTOOIK - that weird & enigmatic
collective with its vibrant online community having pushed some sound for years beyond
comprehension, a genre of its own, rooted in Gabber, Goa & Rotterdam Techno.
This Situationist Ensemble will explain to you why Indian Week at LIDL is not just a marketing
move but more an inspirational sending from God urging you to find spirituality in places and
things that seem boring and dull at best.

As certainly one of the most promising shooting stars of european underground techno in 2016,
having toured thru central europe, with their contribution to the break-thru release BATTLE
BREAK on the frontier label PRR! PRR! - 'We don't understand this record, but you need to
have it' (UK Music Press) - having reached wider audiences, are now back with a puzzling 30
mins Vinyl ranging somewhere between EP and Album.

It wouldn't be proper VENDERSTROOIK if they had all done it themselves, of course. In the
spirit of their grown grassroots DIY producer community, hammering out tracks daily, reviewing
and remixing simultaneously, this record has at least 5 different acts aligned together while it is
not a compilation, more a cohesive concept album exploring the borders of dark techno, burialstyle
dystopian techno dub & noise.

Letting BELP from Munich start off the A-side with a polyrhythmic, glitchy post dubstep club
track with spacially distorted noisy wobble basses and a challenging arrangement for most
dancefloors, moving to a more stream-lined techno track very much in the same vibe from
finnish producer SECT-ION over to Zaquoir from Leipzig (whom we know from SVS Records)
to end the A-side with a more ambient amalgamation of field recordings with dub elements
ending in a natural sound environment.

Turn the record over and VENDERSTROOIK finally teaches us how 15mins of dubbish
minimal dark techno remains fascinating, never seems to end or to repeat itself the slightest.
Based on material from UK-based MENOPAUSAL HOUND DOG, this epic tune, though
minimal, slightly shifts and phases the few elements of this dubbish dark techno track resulting in
an endless build-up that should make every listener happy even unfamiliar with the peculiarities
of the VENDERSTROOIK universe.
Busy preparing their own label as the natural next step for future releases, meanwhile JAHMONI
is honoured to bring you this release as 200 copies limited hand stamped white label 12'.

Wonderfully wayward electronic vectors from Dorchester's Yaaard, aka Chris Catlin, overseer of sleeping giant Reckno Records. How to Download a Glass of Water compiles work spanning the breadth of Yaaard's conscious output - from gorgeously folding magma through to serrated dancehall and icy r'n'b introspection. This LP contains two previously unreleased tracks: the lo-fi slow-burner "Forses", and "What Now", a soaring outsider pop duet with Teresa Winter (The Death of Rave).

How to Download a Glass of Water will be pressed to a limited run of 300 records, with artwork by Paul Greenan and Chris Catlin. A giant A0 print of Paul's cover art will also be available. Out May 31.

On the A1 cut is none other than Om Unit, who flips the original of the track ‘Hold on’. Mr Unit takes the original Piano hook and puts some serious weight behind the drums and baselines to give this remix a classy drum & bass twist. The remix contains a very distinct Om Unit flavour and is a collaboration of the highest order.

For the A2 cut is a Deep Heads favourite, Nottingham due Congi. Congi have stripped back the vocals for their remix and added their signature sound. The beat work is remarkable and all round production is impressive. A fantastic display of what these 2 talented producers are all about.

Then on the flip side and for the B1 is the one and only Ash Walker, with his interpretation on the track ‘Stars Glow’. Ash pitches down the original vocal and takes this remix somewhere far away from this planet. It’s gritty, twisted and bursting at the seems with low frequencies.

The beats and hard and punchy and is certainly one for the sound system crew. Finally for the B2 side is LA based producer Feverkin. We’ve had our ear on this talented man for a while, so is a honour to have him giving us some of his Feverkin flavour. His remix of ‘Night Wave’ is exactly what we were expecting from him and does not disappoint. He adds some signature 2step beats and sounds that can only be described as Feverkin, but keeps some of the original energy and mainly vocals for this incredible remix.

After more than a decade of deep, expansive productions on labels such as Detroit Underground and CPU, Annie Hall arrives on MUSAR for a record typically rich in texture and understated grooves.

Opening track 'Linium' immediately seduces listeners with a complex drum pattern that somehow feels spacious, subtly twisting and turning its way around Hall's analogue world. Dutch artist Mattheis maintains this understated feel but adds a soft, compelling kick in response on his suspenseful remix of 'Lavandula'. The original, moodier version of this cut the follows to open the B side, gradually erupting around a killer distorted bassline. The EP continues to hit a more urgent note with the tense machinations of 'Silene', where dense layers of stuttering, frenetic drums interweave with Hall's trademark, melancholy keys. The record concludes on a weightless, transcendent note with 'Santolina', taking each visceral element featured thus far and slowing each down, with affecting results.

Indebted to vintage electro and IDM, Hall's music is no throwback, always looking forward and moving dancefloors in the most unexpected ways.



DJ FEEDBACK

Early support from



Michael Mayer (Kompakt) : Nice vibes from Mattheis... will play for sure!

James Zabiela (Born Electric) : Linium is a nice one, thanks.

Arnaud Le Texier (Cocoon / Chronicle) : Nice music. Thx!

Marcel Dettmann (Ostgut Ton/MDR) : Thx!

Carl Craig (Planet E) : Thx!

Gonno (Beats In Space Records / Endless Flight) : I like Mattheis' :)

Thomas Hessler (Index Marcel Fengler) : Nice one! Thank you!

Slam (Soma) : Thanx

Âme (Innervisions) : Thanks

Blasha & Allatt (Meat Free / Manchester) : Amazing!

EREZ / John Byrun : A superb EP

Tom Lye (Melodic Distraction - Liverpool) : Big fan of the whole EP. Strong, building electro with different moods. Essential!

Afrodeutsche (NTS / LuckyMe / Skam) : Glitchy melodica... Right up my Strasse...

DJ Shiva / Noncompliant (Valence / Detroit Underground) : Stellar music here. Moving beyond "DJ music", this is just really fantastic to listen to in headphones. Gorgeous stuff.

Lonya (Asymmetric Recordings) : Great stuff here!

Nori (Posivision) : Cool work.

Cinnaman (Rush Hour / Naked Naked) : Lavandula and Santolina are my favorites! thanks

Dj Windows XP (E-Beamz) : Dope E.P. Will play Lavandula.

Ambivalent/LA-4A (Delft/Cocoon/Ovum) I'm a huge fan of Annie Hall and Mattheis!!! This is a FANTASTIC release!! One of my favorites of recent months just on first listen!!

Benoit C (Tsugi) : Linium for me

Ian Blevins (ESP Institute / Sulk Magic) : Linium and another bit of top work from Mattheis. Santolina is pushing my buttons too. Aphexy vibes.

Joe Europe (Ransom Note) : Very nice!

Azterisco: Very interesting record. Nice remix!

Oded Peled : What a fantastic release! Was hard to choose a favourite between Linium and the Mattheis Remix of Lavandula. Both will come in handy in my sets. ....Thanx a lot and keep em coming.

Naduve (Cocktail d'Amore / Disco Halal) : Both A1 and A2 are great!..Thanks.

Anastasia Kristensen (Nous) : I dig this a lot, it's a crazy well produced record.

Demia E.Clash (Darknet) : Such a good ep-.i love them all,quality production yess.

Pedro Martins (Karakter Records) : Nice EP overall. Linium, Silene, and Santolina are my favorites. Thank you so much!

Xinobi (Discotexas) : Great record. I'm specially enchanted by the original version o Lavandula. Congratulations.

Scan Mode (DJ Mag Spain) : Lavandula in both mixes for me

John Osborn (TANSTAAFL) : Can't pick a fav. it is all Devine. thank you.

Madloch (Sound Avenue) : Nice EP, Linium & Lavandula original are my favs, thanks.

DVS NME (Transient Force) : The standout track is Lavandula.

Furthur Electronix breaches the milestone 50 releases mark! To celebrate they deliver a perfectly executed “FE” style EP from Lou Karsh. Limited copies..

It's a welcome change to see the dance music industry shift from a sausage fest to a decidedly more diverse scene of artists and DJs, one where challenging and marginalized voices can be heard.

MISS REPRESENTED has such a voice, raw and fearless, an educated woman of experience, who has lived her life on the dark side of Scotland's acid house scene, where she has found plenty of food for thought.

Co-produced by Thomas Von Party of Multi Culti, who enlisted the talents of Kris Baha and Matt Karmil to mix, and brought in the elusive UK-underground legend Johnny Aux to rough up the already rugged Crack That Habit into an extended house banger.

If there's one thing dance music is guilty of, it's escapism. A refusal to confront reality. None of that here. Calling out a culture of lies, empowering female sexuality, facing the perils of addiction, and speaking of the resilience of the human mind, this is heady stuff for the rawest of parties.

“Billy Boy”, the title track of Modern Romance’s debut on LuLúxpo’s "Paradise Children Records" imprint is an atypical opener for a dance record. Its lackadaisical guitar work feels more like music made for a smokey dive bar in Tennessee or like it accidentally fell off the soundtrack of a lost Tarantino cut.

But it’s a stunner nevertheless, the ideal companion to a lazy, hazy sunday. LuLúxpo’s remix is its club-ready counterpart.
The label bosses dial down the rockabilly feel and add their iristinct slow and sensuous touch. Choice guitar licks are repurposed over a deep, rolling beat, while angelic oohs take a welcome front seat in the song’s second half.

Already supported by Massimiliano Pagliara, Sasha, Acid Pauli, Gene Farris, Joris Voorn, Jerry Bouthier, Elif, Landikhan, Speaking Minds, Upercent, Mira, Nandu, The Disco Boys, and many others …

4 Tracks Of Heavy Bleep N’ Breaks Dance Floor Destruction! Unknown Artist, dont snooze..

- Maybe that is something unique to Cologne, a good balance between the human and the machine. (...) This was an idea to find people particulary from Cologne, I think that there is a scene here. Just parachuting me in and seeing what will happen, you know. It's all about finding people who think alike.' Kurt Wagner (Lambchop)

In 2016 Week-End Festival invited Lambchop's Kurt Wagner to perform songs from his album FLOTUS in new version with musicians from Cologne. Here are two songs he did with Gregor Schwellenbach. Recorded live at Stadthalle Köln-Mülheim

'Journey at the End of the Brain is the second release by Gianluca Salvadori, aka Pushlock, after his debut album on cassette, Healing Process. Gianluca is based in Treviso and is a real drum 'n' bass, dubstep and UK sonorities addict since always. His new album comes as a reinterpretation of these sounds, with a fresh approach to sound design and the ambition to redefine those genres through an introspective vision. This LP is a promenade across Pushlock’s brain synapses, showing his multi-genre sonic architecture across echoes of UK oriented electronic music.

Journey at The End of The Brain opens the A side with an uplifting dose of breaks; the tech junglish assault of Ghosting gets scanned by cutting drumz and large hall reverberated reese bass, perfectly fitting the soundtrack of the dirtiest dream of the perfect night out in the club. Chaotic Neutral, a wild tune reminiscent of early Source Direct, acts as the amen track of the LP which burns bright before slowing down into the mental trip-hop excursion of Purple Leaf. The A side ends with Skyline, a virtual soundscape designed with broken stabs and hypnotic atmospheres.

Hexacomb, a 160 bpm half beat driving force opening the B side represents a unique blend of syntethic textures with a dirty beat giving only a minute of breath with the entrance of those celestial strings and classic piano phrases. Urania and Cannonball cover the 140-150 BPM zone of the LP, showing the mutant dubstep infused side of Pushlock characterized by 3/4 progressions, leftfield inspired atmospheres and distorted basslines. Common Ground acts as the perfect outro, leading the listener through a cathartic path to the end of the brain.'

What started as an underground techno label in the early 90's, Juice Records typified the head in the clouds ambition of the techno generation by both sound and action. Anything was possible and similar minds would be reached through the vinyl medium. By the mid 90's, Juice Records established itself as a southern beacon to the techno and house music movement.

… but many people would have little knowledge of where the label sits in todays music sphere. Juice Records, wether by choice or default have remained free from the uber industry of dance music but continue to represent with our Adelaide based music activities.

What started as casual discussions about Antony's studio activities with label owner, Donato, soon progressed to talk of an album. A couple of years and many iterations would follow till the vision was clear. Juice 020 highlights the musical existence that Antony commits too. It goes beyond the drum machine and synthesiser sounds the label would be known for and embraces a wider spectrum with use of a Yamaha baby grand, Fender Rhodes, Washburn bass and Yamaha Electone E-75.

With a definitive genre hard to pin on the album, Juice 020 remains very much a traditional Juice Record. It is a clear example of what Adelaide happenings have been missed by the global industry while it plays with a techno formula that goes beyond our underground imaginings.

A free and unconstrained expression – permanent and cutting-edge creativity - complex and amazing personality, Mr Oizo is always where you don't expect him. On the popular peaks and in the depths of the avant-garde, he counts his fans as well as his sceptics with its sounds and images of surprise, destabilizing and disturbing.

In his universe, neutrality does not exist. The bridges, and bridges between sound, image and writing are perpetually destroyed to be reinvented.

East Coast minimal wave institution Xeno & Oaklander’s seventh full-length further distills their iconic noir synth pop into a streamlined suite of gleaming, graceful retrofuturism. Inspired by ideas of synesthesia, scent, star worship, and obsolescent technologies, the duo of Liz Wendelbo and Sean McBride began conceiving the blueprint of Vi/deo while sequestered at their Southern Connecticut home studio during the pandemic. The context of isolation, streaming, and remote dreaming seeped into their chemistry, manifesting as both homage to and meditation on a certain cinematic strain of technicolor fantasy: the screen as stage, distance disguised as intimacy, where tragedy and glamor crossfade into one.



Opening with the precision synthetic melancholy of “Infinite Sadness,” the album marks a peak fluidity between the pair’s fusion of analog electronics and poetic melody, both refined and oblique, classic but contemporary. Wendelbo modeled her singing on “a young boy in a choir,” alternately holding notes and whispering them, with the lyrics clear, the voice elevated. McBride’s synthesizers serve as the perfect counterpart, tiered and polished, threading fluorescent architectures of a lost audio-visual age. Theirs is a... more

Presenting 'Envelope'. Album written, produced & mixed by Milan W. and pressed on 180g vinyl, by Ekster. Coming out on the 6th of June 2018, with foil-stamped cover-drawing by Gerard Herman. Mastered & cut by Helmut Erler at Dubplates & Mastering.
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Milan W (AKA Milan Warmoeskerken) is an Antwerp-based musician. In 2015 he released the Slo Mo cassette, on local label JJ Funhouse. The Intact LP a year later. Compositions constructed from gentle, yet persistent, rhythms. Intricately textured downtempo echoes. Brain-dancing, rather than four-to-the-floor raving. 2017`s split with Ekolalis, for The Hague`s BAKK, made clear the direction Milan`s headed in. His contribution being a seventeen minute float. The kick largely removed. The textures cut-up, expanded and magnified. Envelope, for Ekster, builds on this work.

The harlequin turns the handle. The contraption sucks in air, and breathes. Blows out tone poems. Wordless ballads that soundtrack enchanted scenarios. Issues forth magic. A sorcerer`s apprentice casting its spell. Animating the inanimate. To everything a life. Sets the frozen fluttering. Pirouetting in red shoes. Illuminates what was dark. Astma sings a Gamelan lullaby. Summons comforting angels to a post-Industrial landscape. Glaasjes has Jazz ghosts inhabit an empty bar room. Spirits stealing excuse-me`s under its deserted spot. In Limbo amplifies their whispers. Lead soldiers court jewellery-box ballerinas behind shuttered shop fronts. On Heraldic Snippets, a tin infantry marches. Ten thousand men up to the top, and back down again. Keys make-believing that they are massed brass and fife.

The bellows pump, and the pipes all the while wheezing. An automaton philharmonic at the bidding of a steam-punk master. Analogue and digital. Clockwork and glitch. Malady finds sounds isolated, extrapolated, mutated. Orchestral`s organ-grinder moves with urgency, and alchemy. Spinning straw into gold. Snare rolls become bubbling mercury. Metallic, yet fluid. Racing at the speed of flight and escape. Slope is the music of water chasing through crystal caves. Slow Runner, a funeral crawl. Shoved into motion by a drama of strings remembered.
Like the charismatic Rat-Catcher of Hamelin, the harlequin turns the handle, and we bang the cup.

Phuture Assassins returns to the old skool scene, and rarely has any new old skool EP sounded more perfectly on time. This is like a follow up to the classic Roots’n’Future EP as if the years in between had never happened. A perfect blend of the original, authentic, old skool sound, with its signature dub elements, this EP lays the groundwork for progressing into the future while keeping the sound rooted in authenticity. Each track chooses its own path, but all feel both brand new and like they have always existed. Simply put, this is one of the best new EPs from an old skool head since the resurgence began….

The third release on Elma RIvaga is signed by Riccardo. This record drives you into an archetypal musical word rich in shades between shadow and light, enjoy it!

Black Truffle is pleased to announce the latest offering from underground legend Richard Youngs. Hyperactive since the late 1980s, Youngs is widely celebrated for his remarkably extensive and varied body of recordings. His works range freely over a vast terrain, wandering from tender acoustic balladry to raging psychedelic noise and orchestral D-beat, always imbued with his distinctive, often mournful, melodic sensibility and irrepressible sense of joyous experimentation.

Comprised of two side-long pieces, CXXI carried on the experiments with chance operations used to generate material on many of Youngs’ recent releases. On ‘Tokyo Photograph’, a slowly changing, randomly generated sequence of 121 minor chords played by sine waves and accented with a brushed snare hit on every change provides the harmonic foundation for Youngs’ fragile yet impassioned vocal performance, shards of field recordings and electronics and Sophie Cooper’s long, tape-echoed trombone notes. While the melancholic drift of the chords calls up prime Robert Wyatt sides like Old Rottenhat or Dondestan, only the most vestigial sense of song remains here, as Youngs arranges his minimal ingredients over a spacious fifteen-minute expanse that often drops to nothing more than the rich hum of sine waves.

‘The Unlearning’ carries on directly from the first side, presenting another, more harmonically varied, sequence of randomly generated chords played by sine waves, distressed with tape echo flourishes and sparsely sprinkled with electronic touches. Like some of Youngs’ most single-minded instrumental works in recent years, such as his recordings of foot-played guitar or his shakuhachi pieces, ‘The Unlearning’ is deeply meditative but entirely remote from ambient or minimalist cliches.

Named after the number of chord changes on the opening piece and (Chicago-style) the number of records Youngs has released, CXXI arrives in a striking monochrome sleeve featuring play-along chord charts for both pieces. Both rigorously conceptual and endearingly off-the-cuff, CXXI is classic Richard Youngs.

Constructive Music is proud to present some radical reinterpretations of four tracks from Takuma Watanabe's debut album 'Last Afternoon'.

'Clouds Fall x Tactile'. Like taking a widescreen trip through Takuma's perfectly constructed digital worlds. Loops of conversations, sheared sounds and bursts of low-end frequencies fill the air. All underpinned by those unmistakable strings.

'Text x Bruges'. Hyper chemistry of rhythmic urgency and Joan La Barbara's vocals. Cut up and used as percussive ammunition.

Originals by Takuma Watanabe. Deconstructed by Delay. Artwork by Joe Gilmore. Mastered by Joe Talia.

Pavel Fedoseev is KIKOK. As one of the few remaining members of the Komi tribe, he used the Komi words Ki (= arm) and Kok (= leg) as his brandname "Pretty important elements for a human being, aren't they?" he says of the name. Born in Kudymkar (capital of the Komi-Permyak nation) , now lives in Perm, no less than a 22-hour train journey east of Moscow, placing Fedoseev in what, he says, feels like cultural and social isolation.This 10 track album acts as a means to escape the monotonous cycle of his hometown. The end result is a record that sounds both propulsive and hypnotic, an album that sounds like moving forward and in circles at the same time. Rich lashings of synthesisers pulse over beats that switch between techno thump and restrained ambience, with tracks seamlessly moving from dance floor stomp to woozy comedown let-up. Russian Rave Pop at it's best. Perm is a disgusting city," says KIKOK's Pavel of his hometown. "It's dirty, boring and rough. I'm afraid of walking outside; that's why I sit at home and watch movies and make music." Comes in yellow vinyl.

Third album of this post-punk/avant-rock french project.

RIEN VIRGULE is before everything else musically, the meeting of four people, islands of desires, tentacles that embrace each other. Or “the meeting of a soldering iron and an iceberg, a pigeon asleep in a packet of chips, a smashed path in a debaptized city” (according to J. Burgun).

For 8 years, two albums and numerous concerts, they have been peddling a generous, graceful and cold, intensely vibrating music.

In a radical and deviant approach to Pop music, the classical structures of verse-chorus serve as a playground and experimentation, where rhythmic, melodic and noisy functions merge.

In June 2019, Jean-Marc Reilla passed away. His homemade instrumentarium and laughter continue to resonate for his loved ones, and his memory lives on in the music of RIEN VIRGULE that has become a trio.

Claudio Mate and Francesco Mazzocco after and hard work which took lot of time to put out this beauty, after making also an hard work of selection about the music... they are so happy to introduce for the 5th release of Dub-ito , Wolfgang Reffert well known As Dark Star since the end of 80's.

' MIX TAPE ' 1989 -1991 is a collection took exclusively from Dark Star past tapes works... Dark atmosphere influenced by Post Punk , Ebm Noise Industrial music is the typical Wolfgang 's music trademark in over 30 and more years of career , which for the first time of ever makes his debut on vinyl. The last touch comes by Dietrich Schoennemann remastering the trax directly from original tapes . This amazing collection for sure can not be missed for the
fans of 80's sounds.

"Civis Jams" ist eine brodelndes Werk aus schlummernden Strukturen und ruhigen, kraftvollen Songs. Die Vocals haften an den Rändern der Mixes, was ihnen einen intimen und zugleich kryptischen Klang verleiht. Dieses Gefühl wird nochmal verstärkt durch Darkstars nachtaktive Produktionsweise von Drums und Synths. Zu den Highlights gehören die Tracks "Wolf" in bester Mount Kimbie-Manier der "Cold Spring Fault Less Youth"-Phase sowie "Jam", ein potentieller Peaktime-Banger, den Darkstar aber sanft und mit der Schärfe eines Jai Paul interpretieren. Nach ihrem Hyperdub-Debüt "North" (2010) und den beiden Warp-Nachfolgern "News From Nowhere" (2013) und "Foam Island" (2015) haben Darkstar mit "Civic Jams" ein Album mit grandiosen Unterwasser-Nachtsongs erschaffen.

R58’ by Flammkuch is the fourth release on CAF? a swiss-based label.
On these six tracks Flammkuch explores DIY analogic synthesis through it’s own creations to produce complex and distinct electro ballads.

„The Making Of A Paracosm“ ist eine Hommage an Kasbos schwedische Herkunft, voller Themen der schwedischen Folklore und in Zusammenarbeit mit zahlreichen schwedischen KünstlerInnen wie Frida Sundemo, Freja The Dragon, Nea und NOOMI, sowie mit einem bemerkenswerten Auftritt der Vancouver Sleep Clinic.

Zuvor hatte sein erstes Album, „Places We Don't Know“, über 200 Millionen Streams eingespielt, Lob von FADER, COMPLEX, Dancing Astronaut, This Song is Sick und anderen Medien bekommen und die Fans mit der Natur seiner fantasievollen Produktionen vertraut gemacht. „The Making Of A Paracosm“ wird seine Fans wieder in ein neues surreales Universum eintauchen lassen, das aus den zwei Welten entsteht, die in Kasbos Kopf zwischen Realität und der Flucht aus selbiger leben. Seit der Veröffentlichung seiner Durchbruchs-EP „Umbrella Club“ von 2015 hat sich Kasbo als unaufhaltsame Kraft in der internationalen elektronischen Musiklandschaft positioniert. Er trat bei weltweit anerkannten Musikfestivals wie Coachella, Firefly, Life is Beautiful und anderen auf, während er auf seiner allerersten Headline-Tournee durch die USA die meisten Venues ausverkaufte, darunter den Bowery Ballroom in NYC und das Fonda in Los Angeles. Im vergangenen Jahr begleitete er die Dance-Giganten ODESZA auf ihrer Tour und beendete 2019 mit einem epischen Set im Red Rocks Amphitheater.

Imagine for a minute that Klein MBO would return from the Italo heaven to deliver a brand new EP. How amazing would that be? Sometimes such miracles lay just around the corner. Nijmegen based Luca Dell’Orso found some sort of time machine that brought him back to the days of Disco Magic and Il Discotto; a time where wobbly synths, heart felt handclaps and sweet melodies flled the air. After appearances on Red Laser Records, Bordello A Parigi and Shmlss’ label XXX it’s time for his debut on Utrecht based SoHaSo sublabel OOSSHA. Filled to the rims with stylish Italo-disco, the Eternal Waves-EP has it all. Slow motion Gaz Nevada-esque disco on Common Occurrence (which comes with two beautiful Cosmo Vitelli-remixes); sun blissed and fast paced happiness on Return Of You and stark new wave- vibes on Constriction. Closer Bont & Blauw proves that Luca understands the essence of the genre. It has the same fnesse of the best Gazebo-records, back in the day. If you have a heart for italo, you don’t want to miss this perfect wave.

Chrystabell’s smooth as silk vocals transcend the aether as she reinvents classic Cure songs in Strange As Angels.
Post-Punk, New Wave, Goth - for over four decades The Cure created alternative music so powerful that it redefined the mainstream. They didn’t just master genres, they transcended them. Throughout these varied styles the group maintained an aesthetic continuity, creating a world so vast and mysterious that there’s room for other artists to explore it.
And explore it he does on Strange as Angels, Marc Collin’s new collection of reinvented Cure songs, sung by the ethereal Chrystabell. Produced, arranged and conceived by Nouvelle Vague co-founder Marc Collin, he has again woven repertoire, performance, and his uniquely forged arranging aesthetic into something authentically new.

For Number 5 on his Label Kluentah recrutes the Luchador Chupacabras who had previous Releases on L.I.E.S. Records, Tutamen and Go Finger. 4 nasty and dirty Machine Jams straight out the gutter.

Clear Vinyl

WRWTFWW Records is happy to announce the release of Para One’s new album SPECTRE: Machines of Loving Grace, available in half speed mastered 180g double lp housed in a heavy sleeve with UV spot varnish. Machines of Loving Grace, the new album by Para One, whose real name is Jean-Baptiste de Laubier could be called fiction. It is an object freed from constraints, formats, genres, territories: the gospel of a new world. Six years after Club, eight years after Passion, his previous LP, this lover of electronic music, who has also been putting his sensitivity to the service of movies (soundtracks for Céline Sciamma in particular) opens with this record a new dimension in his artistic career. “I needed to break away from patterns and systematisms of formats, and take unexpected turns. To do so, I had first to allow myself to do so”. Allow oneself and maybe above all confront oneself – with one’s childhood, with one’s childhood’s ghosts, and what fantasies, ideals, memories, and grey areas they harbor. He had to go back – without giving up on his position as an adult, as a full-fledged artist – to the sources of his imagination, to the moment when music was holding almost mystical power. And then revisit it to make something new out of it. Just like Sanity, Madness & the Family (the feature film directed by Para One that he just finished and of which it is a consubstantial part), Machines of Loving Grace has an investigation around a family secret and the father figure as its starting point. “When you go down the path – of a work, of a person, of the past – you never really find out what was. You find yourself

Just Another Label and Kniteforce bring you an absolute classic slice of remastered old skool with this much sought after EP. Perfectly preserved on DAT and now lovingly remastered, these 2 superb anthems from yesteryear are finally available again. These Vibes and Wishdokta remixes have been chased for years, and came out when they were at the peak of their talents!

'Nothing' is Kode9's first solo album and is about nothing. The album throws horror soundtracks, sampled library and j-pop records into a no man's land between grime, early dubstep and Chicago footwork. Mostly instrumental, it zigzags between hypnotic, downcast loops, growling drones, and jagged cut-ups of androids gone haywire, threaded through twitchy, transatlantic rhythms and sub-bass inaudible through your laptop speakers. Building slowly, but more upbeat than previous albums, many of these tracks have more in common with Kode9's recent singles from the last few years than they do with his two previous albums with collaborator The Spaceape, 'Memories of the Future' (2006) and 'Black Sun' (2012). Yet 'Nothing' is haunted both by The Spaceape's presence (he died in 2014 after a prolonged battle with cancer), on 'Third Ear Transmission', a communiqué from a zone of digital immortality, and his absence, on 'Void', whose spaces were originally intended for the vocalist, and 'Nothing Lasts Forever', which closes the album with a 9 minute silence. Now confirmed for release as a double-LP, the initial run will be a limited edition pressing on glass-effect translucent vinyl, housed in a high quality gatefold jacket and inner sleeves displaying Optigram's remarkable artwork to its fullest effect. Also included is a complimentary mp3 download code.

This anthology aspires to map the heterogenous landscape of Greek Experimental Electronic Music in all its contextual, sociopolitical, geographical and aesthetic disparity. With a single exception, it zeroes in on post-80s music. It comprises works of very different kinds by composers of all sorts of backgrounds that, still, can be thought of, as both "Greeks" and "Experimentalists".

Experimental Electronic Music is generally expected to be highly variegated, especially when examined in a breadth of several decades, and with respect to all sorts of artistic, academic, subcultural and other influences. What is not so obvious, however, is that the very notion of Greekness, as well as its contextual and historical offshoots, are highly diversified, too. This anthology is an attempt to map the various kinds of Experimental musics that have been produced by Greeks over the last few decades. More, it is also an attempt to delineate different understandings of what "Greek" or "Experimental" may stand for, by means of zeroing in on the numerous, often overlapping, realities and micro-scenes that are associated with the former.

“ When I started working on the piece in March of 2020, I had only decided to record it in the way I wanted to. The coronavirus was spreading globally, and the situation was gradually changing into something very serious. With no gigs scheduled and hardly seeing anyone, I felt as if my spirit was in a slightly deeper place than usual during the production. I sat down in front of my equipment as if I were dropping a fishing line into a quiet lake. I kept feeling that something new was lurking beneath the water surface. I was trying to catch that something that seemed to be just out of reach, that floated in and out of sight like a speck of smoke. “ ＿Referenced from: Afterword of 7FO「Ran - Bouten」

2021 brings a new album by Osaka electronic musician / producer 7FO. This work is a departure from the recent global ambient / new age approach, and the unique sound aesthetic created using only hardware equipment is a new frontier of 7FO or a return to his origin. "Ran - Bouten" is a new electronic music album with a poetic sensibility using machines.Discovered by overseas labels such as RVNG intl., Bokeh Versions, and Metron-and with the release that followed EM Records in his hometown Osaka, it's like his personal folk craft that was once quietly played at his own pace. Music has reached listeners around the world. In recent years, he has been touring from a famous performance with Tapes at the Belgian "Meakusma Festival 2019" to a Japan-Korea tour. "Ran - Bouten" was born as a result of facing the sound alone without being asked by anyone to cool down the heat when the steaming and intense experience had settled down. Inside the cool electronic sound like a water bath, you can feel the maker's heart sending hot blood.Peep into the condensed universe of a home-recorded miniature world that looks like an independent production of unknown age. He was alone in a dark room, making full use of KAWAI's 1990 digital and FM synthesizers , tracing the shape of nature and resonating the micro and macro sound worlds. The Rhythm and melody that continues to the Paradise Pure Land, which floats in a dreamy atmosphere, is the true value of 7FO even without his guitar play.Mastering by Makoto Oshiro, which supports everything from home listening to club sound systems. Hiroaki Hidaka designed the jacket to make the image of the sound appear cool and friendly everywhere.

Point B Biog 2018
Starting out on legendary Electro label SCSI AV and Orson Records in the mid noughties, Point B began to earn himself a reputation through his intense dance floor-focussed EPs and pensive, experimental long players. By sewing together influences ranging from 70s sci-fi films to traditional middle eastern music, he wove a unique sonic fabric. Later that decade and after absorbing the waves of dubstep and post-garage that washed up on the shores of South London, his sound matured into something that can deliver club euphoria and introspective melancholy.

With his last commercial release back in 2014, a four year hiatus passed whilst he worked on other music projects. During that time he built up a collection of handcrafted synth patches, some of them employing modular synthesis techniques. The ensuing sketches formed the basis of his latest work: Smash Hits. This is arguably Point B's most direct and focussed record to date. Opting for a techno template, he consciously kept the sound palette narrow, concentrating his efforts on the groove, energy and production fidelity. This is a statement record that demonstrates his creative control and programming playfulness.

Pink fog rises amidst the hills; dew covers all in silver paint glittering in the background. Layers covering layers of low clouds, fog and haze. Shimmering city lights. Silhouettes of figures sitting in the hills, hanging in bridges, on top of houses, looking upon, observing city drive from up high as if it was a meditating bonfire.

A notion of something going to happen. But all that remains is a glimpse of pink fog hanging static in the air.

Risks Issues Opportunities, the third release from berlin based R.I.O. Label brings together a collection of electronic wave music from six different performers with one common ground: their mysterious & slightly melancholic aesthetics. - (R.i.O. - RIO03)