House News

For the second release on the Galaxiid imprint, a label of electronic music archeology and quality, we are transported to the strange sonic world of an elusive 90s pioneer. Solar X's 1997 album X-Rated will be released for the first time on vinyl, as well as reissued digitally, with new artwork by the Japanese artist Keiichi Tanaami. Two worlds connecting sonically, visually and culturally.

Solar X enjoyed a burgeoning career in post-Perestroika Moscow making playful, low-tech electronica from Soviet analogue instruments, which he masterfully configured to forge animated compositions and dancefloor rarities. Fascinated by chaos and complexity, his music explores the ways in which our minds can be manipulated by structure - an endeavour quite plausibly linked to his other career as a lecturer and researcher of AI, information theory and cognitive science, his interest in which was in turn triggered by his young experiments in computer music.

Solar X gained international attention at a time when Russia was (quite unfairly) seen as a vacuum for electronic music, but was exploding in the period of piracy, poverty and freedom following the collapse of the USSR. Young Russians had benefited from the soviet education system and there was a strong DIY computer programming and music scene, fuelled by hackers, gear freaks and party animals. Viewed from today, the album is reborn at a time of further political and social strife, which many see as fuelling the huge creativity and radical thinking of modern Russia's young creatives.

X-Rated treats tempo and form as fluid concepts, administering sudden changes to its sonic landscape with disorienting effect, underlain with a subtle dose of humour and experimentation. Downtempo trip-hop sits alongside frenetic IDM and blistering electro, all bound together by peculiar melodic inflections and lively distortions. Warm, trippy harmonies and robotic synths are offset with angular drums, shifting erratically through moods and genres with cunning intent. Much like his contemporaries from the era, it's his ability to breathe life into a humble production setup that makes his music so compelling some twenty one years later.

The track titles are from a book of call girl cards in London phone booths, that reached the artist in Moscow in 1995. "I liked the titles from these cards, which were self-promoting and offering pleasure (e.g. "Mistress awaits you"). So, I thought since my tracks also offered some kind of pleasure, they might as well advertise this through their titles.'

Label head Nina Kraviz was introduced to the work of the 83 year old sensei Keiichi Tanaami by Ukawa Naoshiro, founder of Dommune in Tokyo, one of the brightest figureheads for the arts in Japan, responsible for the graphic design of the cover. In September 2017 Nina played for the opening of Tanaami-san's first exhibition in Moscow at Gary Tatintsian Gallery. Nina performed a live sound palette, to accompany the looping 7 minute animation, of experimental music from the Soviet Union, Russian pioneers of electronic music like Species Of Fishes and SolarX, Soviet-time pioneer Lev Termen, Kuryochin, avant-guard rock mixed with some Stockhausen and just pure abstract sounds, as well as treasured artists like Biogen.

Tanaami's illustrative work has strong sexual elements, so out of the five art pieces Nina selected and commissioned for Galaxiid, the first fits perfectly for 'X-rated'. The vertical line of text on the left is the traditional form for Japanese covers of foreign releases. The cover, together with the accompanying poster and sticker, are printed in Japan to ensure the highest print quality and purity of the colours.

Vid Vai delivers four slices of floating futuristic melancholy.

The excellent Black September, a continuous, five-part, 68-minute epic, is as formidably competent as ever, although more for the brooding, surreal nature of its soundworld than for its grooves, which here sound almost subsidiary. The soul samples and restlessly evolving minor-chord kaleidoscopes that unfold throughout the work is prima facie evidence of a musician on a roll. Boldly named after one of the most notorious Palestinian terrorist organizations, the group which carried out the Israeli Olympic athlete massacre in 1972, September matches it's dark black artwork and design with equally doom-laden music (mastered as one track, despite the five separate song titles listed on the back).

The title-track relies on a slightly more gentle ominousness, with soft string-plucking reverberating around the beat, but things start to pick up accordingly with the more aggressive, sharp-edged electronics shading into a tense blend of percussion and energy on "Libya"; after shading away into a more minimal midsection, the track returns at a nervous, quick pace, with drums and drum pads firing off echoes into the mix as drones snake in and out of the song. One particularly gripping section has shards of noise firing off in all directions before settling back into the frazzled energy of the central beat, feeling like a soundtrack to a particularly good chase scene in a movie. "Thuggee" and its accompanying remix keep the unsettled edge up, with sudden drum and electronic pulse intrusions erupting over the main flow of the songs. It's interesting to hear how Bryn Jones' love of dub applies itself in even more creative and different ways than from his productions of some years before, exchanging the slow pace for a fast one and applying Krautrock drone principles.

A nicely stretched-out, creepy remix of Gun Aramaic's "Opiate and Mullah" wraps up this fine effort. This vinyl includes the two Unused Return of Black September Tracks that were on the archive series volume thirty two cd. The two extra tracks, however, follow in taking a much more cleanly digital feel, with many of the elements Jones usually uses present but in more stripped down or even mechanized forms. The relatively clean pulse of these two longer compositions serve as a refreshing contrast.

On Pedro Vian's second album, the now Amsterdam-based artist opens up a new sonic chapter of his life, running through depths of emotions and feelings, traversing moments of euphoria, fury, serenity, hope and love. Recorded between 2014 and 2018, the self titled LP opens with a melodic flourish, drops down through mournful vocal driven pieces and lands on fast moving synths across a set of 12 deeply personal tracks.

A follow up to Vian's 2016 acclaimed debut album 'Beautiful Things You Left Us For Memories' - supported by Pitchfork, RA, XLR8R, Ransom Note, The Quietus, NTS - this sophomore LP shows the breadth and maturity of Vian's sound, falling in between the cracks of downtempo electronica, ambient and post rock. Pedro discloses: 'I have tried to be sincere, transparent and pure. During the recording process I have avoided artificiality. I do not like the overproduction of music. I like to feel the naturalness and the essence of the beat of the instruments. I like to look inside until I find something real with which to communicate'.

'Pedro Vian' arrives on Vian's own Modern Obscure Music imprint, home to like-minded artists such as Jamal Moss, Gavin Russom, Tevo Howard, Ivy Barkakati, Eterna and Sau Poler. Vian initially cut his teeth in the Barcelona scene, first as part of the duo Aster with JMII on Hivern Discs and Jamal Moss' Mathematics then as a solo producer on his own Modern Obscure Music, MM Discos and Spring Theory.

DJ Sotofett's double 7" album "Noldus" is a peculiar twist and travel. During 13 tracks & 27 min. it's compact and generous, short yet long, with a playback format that doesn't invite space of attentiveness to be left. Featuring Jaakko Eino Kalevi on drums, Tuomas Toivonen on synth & DJ Sotofett on vocals its recorded in a Helsinki Sauna, on a Swiss train and in Narrabeen Australia. The narration and music is beautiful, frenetic, with synthetic and organic elements battling as the King of Leftfield against sonic mice stuck in between two realities.

San Fransisco meets NYC for the third release on Fifth Interval.

Rose Bay from Federsen sets the tone for the record: drenched in tape hiss, the warm pads and delays create a richly textured environment for deeper club sets or for 2am sessions on headphones.

Dub Techno luminary Brendon Moller offers up two versions of the title track to complete the EP - one in his own name and the second under his Ecologist guise. Fans of the label will no doubt be well aware of Moller's formidable discography, which includes 10 albums under a variety of aliases, exploring the outer reaches of dub music.

Coaxing two captivating versions from his studio in upstate New York, Moller focusses on the chord stabs from the original for the Echologist Dub, pushing the stabs and percussion through the desk, twisting the tails through tape delay and creating new vistas through crafty use of panning and bona fide dub production techniques.

Closing with the outstanding Tidal Dub, Moller dons his Beat Pharmacy cap and pushes the mammoth bassline to near speaker-crushing levels to create a deeply hypnotic groove that is accentuated by waves of ferric pads and fractured percussion.

Jiaolong and Now Again team up for this special limited 12" featuring the Daphni edit of Luther Davis Group's disco classic 'You Can Be A Star' fresh from its inclusion on Daphni's Fabriclive 93 mix and heard in the dj sets of Daphni and his friends at festivals all over this Summer.
The evergreen original is included in all it's glory on the B side.
The 12" comes housed in a gorgeous hand screened sleeve by Tazelaar Stevenson

Jori Hulkkonen & Alex Nieminen joined by Pet Shop Boys' Chris Lowe cover New Orders "Subculture". This is the greatly overlooked 12" dance cover version released in 2011 by Helsinki's Keys Of Life. Boths producers and vocalist are strongly part of modern club & dance culture history and have in a not-to-often collaboration generated a solid club remix that has proven to bring out the widest of smiles from all generations of house & techno club culture. Dance floor approved for many of years already.

Huerta’s debut album for Voyage is a righteous journey along the coast of California, a psychosomatic blend of melodic rhythm, natural sounds and ambient textures. Recorded throughout 2019, Huerta combines a blissful wash of west coast inspired ambient with the more affable, rhythmic house cuts he has been previously known for.

Drawing on the surrounding landscapes of his upbringing, Huerta’s ode to the Juniper tree is an immersive and introspective experience, a long player capable of taking you to an elevated state of mind.
Composed, arranged and recorded by Steve Huerta at Diesel Studios Berlin, 2019.

Daft Punk's 'ALIVE 2007' set, which won 2 Grammy Awards in 2009 (Best Electronic Album and Best Electronic Single categories) and was previously only available on CD and digital, will be released for the first time as a double vinyl with a triple gatefold sleeve.

Derived from their live performance at Bercy on 14 June 2007, this album was originally published the same year on November 19th. Through this amazing live experience, Daft Punk manipulated and reworked their established material, transposing and deconstructing the structures of their studio tracks.

A limited edition of 'ALIVE 2007' will be released at the same time, in a special box including the album on 2 solid white vinyls, plus a vinyl bonus (Side A: the show's encore (human after all / together / one more time (reprise) / music sounds better with you) /Side B : 'ALIVE 2007' pyramid logo etched), a 52 pages book (pictures taken during the shows), a slipmat and a download card.

'ALIVE 1997' is also being reissued separately. Recorded in 1997 in Birmingham during their first European tour, a few months after the release of 'Homework', this first live testimony was released in 2001. 45 minutes of non-stop live mixing, featuring the band's first standard tracks (Da Funk, Rollin' & Scratchin'...) along with those techno-electronic explosions unique to Daft Punk!

The great Aaron Carl from Wallshaker and Underground Resistance, tearing it up. All Head High posse, get flat: here it is, Detroit house music, the real thing.
The original instrumental, too.

In the two years since the release of his critically acclaimed album “Love Songs: Part Two”, Romare—real name Archie Fairhurst—has spent his time almost solely on the road. Playing over 150 shows across the world, including stops at Berghain/Panorama Bar, Primavera Sound, All Points East, Dimensions, III Points, Printworks and The Warehouse Project. He joined both Bonobo and Nightmares On Wax on their US tours, playing iconic venues like Terminal 5 and Output in New York and Smart Bar...

Sonny Fodera announces his forthcoming album RISE on Solotoko. This follows singles including The Moment ft. Lilly Ahlberg, Back This Groove Up and Into You ft. Sinead Harnett which has amassed over 3 million streams. BBC Radio 1 support has come in for the album from Pete Tong, Danny Howard, Scott Mills and BBC Radio 1’s Dance Anthems.

The album marks Sonny Fodera’s most crucial body of work to date, released on his own Solotoko imprint. Boasting a range of quality originals made for radio listeners and club goers alike, the highly anticipated LP follows on from underground originals as well as a remix of Calvin Harris’ Promises which caught global attention with an impressive 10 million streams.

Resonating with listeners internationally, the release of RISE follows slots at EDC Week Vegas, Coachella, BBC Radio 1’s Big Weekend and We Are Fstvl as well as a N.America spring tour playing New York, to Los Angeles, San Francisco, Mexico City and more.

To celebrate the album pre-order launch, new single Scratch My Back sees Sonny Fodera and rising producer Biscits collaborate once more following their Beatport chart topping Insane EP.


DJ Support:

BBC Radio 1, Kiss FM, Clash, Mixmag, DJ Mag

Antenna broadcasts new exciting sounds to the ether, channelling a banging A side and two deep cuts on the flip. The message is clear; a beautiful 90's inspired release with artwork to prove it. Ready to dismantle the floor and sooth you into the abyss. Brought to you by the BAKK Satellite Service.

Roy Ritsma AKA Drummotive is a Dutch DJ and producer. Like Next Phase Records he is mostly known for championing Drum and Bass but much like the label he is not afraid to stray away from the beaten track and explore other areas of breakbeat driven music.

The Coral EP' is a unique fusion drawing in uence from styles that were early inspirations to the producer. Elements of jazz, 90's electronica and 70's soul can be heard on the EP enriched by Roy's trade- mark sound of ethereal atmospheres, crisp breaks and sublime bass rhythms. Each track delicately constructed to create a feeling of enchantment and wonder.

Mystical horns, captivating vocals and entrancing Rhodes compliment the rich drum work that delivers a truly mesmerising soundscape.

The EP features four tracks (three mid tempo and one drum and bass) and will be available on both digital and vinyl formats.

The vinyl release is limited to 300 copies worldwide and is supplied in a full artwork sleeve designed by label owner R. Peperkamp. Pressed by Record Indus- try the twelve inch was mastered by Macc at Subvert Central and cut by Beau at Ten Eight Seven maintai- ning the high standards Next Phase sets itself.

REPRESSED !!
Greta Cottage Woodpile brings home the obligatory unoptimistic sensation with MTDD : Bernau 4

Specifically selected field recordings taken from a weekend in October '13, when the GCW family walked around the District of Bernau 4.

The area around The Reconciliation Church features heavily in this audio collage of haunting and strangely emotional audio. The intent is to invoke the experience of a Berlin Cold War Border Crossing - through the eyes of a child.

The Marx Trukker takes these intricate pieces, tears them up and rebuilds into expertly crafted rhythms within rhythms.

As the abstractisms take shape, a very much broad and present, yet eloquently subtle use of cavernous atmosphere addresses confused and bemused intricate detail.

Seemingly and suggestively familiar snippets of sound coax disturbing weirdness with whistles and chants wrapped in distorted pinches.

Not for the easy listener, more often challenging than not; but particularly rewarding when getting lost in the density of discordant oddity.

Though harsh and aggravating at times there's moments of simply zoning into the constantly changing dynamic - bringing you to question 'where is the kick' Before you know it there's a thudding undercurrent that feels like it had never left. Odd.

Early obvious nods to Demdikes, then unfurling into big Terry Dixon or Jeffery Millsterritory towards the finish seem not too obtuse,

More smudged and paranoid than the previous Trukker partakings on GCW, it's suitably on Woodpile to set it apart from other material, requiring multiple sittings to really grasp it's glorious entirety

The founder of Modern Obscure Music (MOM) presents this release which culminates a creative process that has led him to work during years with labels as respect- ed as Hivern Discs of John Talabot to Mathematics Recordings of Hieroglyphic Being.
Pedro Vian surprises us with a an album that is impossible to categorize into a single musical style. This LP guides its audience through musical scenes typically attributed to the artist, with atmopheric tracks like Pandora or Paradiso (available on the digital version). But it also travels through abstract, sonic labyrinths in songs like Maia or Nine is Nine, accentuates the rhythm with techno tracks such as Le Fou, Invisible Objects or Indian Strings, and even submerges us into the depths of pop with 801 Nite, where Pedro Vian collaborates with the young and talented singer of Mourn (Captured Tracks/USA) Carla Pe´rez Vas. Another cut that resonates is the influence of the Cocteau Twins.
Beautiful Things You Left Us For Memories is the most mature work signed by Pedro Vian, where he clearly manifests all of his influences and distances himself from the introspection prominent in his last EP’s, where he collaborated with artists like Inga Copeland from the Hype Williams Duet, or Pye Corner Audio. This is a bold move forward on an international trajectory that has received robust recognition from specialized, international critics.The new project will be published through a digital version with twelve originals; and through a reduced vinyl version where photographers Adria Can~ameras, artist Irene Royo and graphic designer Marc Monguilod have collaborated, and audio engineer Josh Bonati has mastered the sound. This is a kaleido- scopic work, adamantly supported by artists like Gold Panda, Laurel Halo, Barnt, bRUNA, and the north-american producer Chris Taylor (Grizzly Bear) among others

ZEIT007 by Thee J Johanz features some real nice variety.

Too Smooth Christ returns to Supergenius Records and widens his singular approach to introspective dance music to new musical horizons. 'Infinite Fall DMZ' is a slow house jam built around a hypnotic and endless FM pattern and a strong chorus bass, emphasized by a myriad of shiny bittersweet 101 sparks. 'PHEQS125', originally made for TSC current live act, triggered such keen reactions in clubs that we decided to cut it down. It's an acidish banger, elaborated around a 303 pattern, a rave detuned bassline and a b-more breakbeat, tickled by synthetic voices. With its rainforest chords and melodies and its muffled breakbeat, the eponymous track 'With You In mind' is a love declaration between balearic house and old-school Jungle / IDM. 'Etoile' closes the EP with its UK bass vibe, a combination of tribal drum patterns and a grime beat and narrative bassline which will attract you in some mysterious caverns where the magic monsters hide.

June 2018, Amsterdam, Nl: 12 Months Ago We Concluded A Series Of Experiments With A Test Subject Named Ben Penn. A Year On, We Decided To Repeat This Experiment At His Tilburg Base. Once Again, The Results Were Starting.
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After Being Provided With A Sizeable Dose Of An Enhanced And Notably Stronger Derivative Of 4-ho Met (codenamed St011), Penn Not Only Reported Intense Hallucinations But Also Enhanced Music Production Capabilities. With The Aid Of Electronic Instruments And Hardware, He Worked Quickly, Producing Both His Trademark higher Level Inter-dimensional Funk' And Compositions That Defied Our Previous Expectations.

During The Early Stages Of His St011 Experience, Penn Completely Ignored The Provided Rhythm Composer And Instead Crafted A Colourful, Humid, Jazzy And Beat-free Track Entitled nix', Which Boasted Loose And Fluid Synthesizer Motifs. As His Hallucinatory Experience Intensified, Penn Giddily Tapped Out Tropical Rhythms On The Provided Beat-making Device, Smothering Them In Alien Electronics And Sticky Melodies. When We Asked What This Devilishly Good Cut Was Called, He Simply Replied: not Important'.

As The Test Went On And The Most Intense Symptoms Died Down, Penn Was Much Like His Old Self. Before The St011 Wore Off Completely, He Was Able To Finish Two Examples Of His Trademark inter-dimensional Funk': The Skewed, Introspective, Bassline-driven Wooziness Of ben' And The Mazy, Kaleidoscopic Goodness Of people'. The Latter Composition Was Particularly Potent And Ear Pleasing, Suggesting That His St011 Experience Had Finished On An Intense High.

Auf seinem dritten Album " A Quiet Ritual" kombinieren Snow Ghosts (aka Ross Tones/Throwing Snow & Hannah Cartwright/Augustus Ghost) moderne und alte keltische Vintage-Instrumente zu einem ambienten Amalgam aus Electronica, Post-Rock und Metal. Ihre Themen handeln von Spiritualität, Mystik, Rituale und alte unbändige Wahrheiten über Liebe, Tod und Natur. Mit "A Quiet Ritual" gelingt dem Duo sein wohl dringlichstes, schönstes und fesselndstes Werk.

Metrist AKA L. SAE AKA Joe Higgins brings the noise in this tech-punk sound-clash straight outta' Hades. His background in bass music of all moulds can be felt throughout but the round edges of dubstep have been fragmented into harsh shards, prismatic in approach, each track swaggers and pumps under itâ s own mad weight. Jabbering speak & spell voices lead into tape busted kicks and sinuoid crow calls. Seismic filtered drums and a broken mirror landscape of screech synth and dull tonal slope. The record is a vivid nightmare, absurd and chilling.

Having earned BBC Radio 6 play from Gilles Peterson for last year’s track ‘Vortex’ , Japanese duo
Ohnesty today announce their next release, ‘Movin’ On’ EP, out on 22nd May on Highball. The
project unites two influential talents from Fukuoka’s burgeoning underground scene: BRISA, the
adventurous and eclectic producer/DJ who spans everything from nu-jazz to acid house, and shigge,
founder of the Yesterday Once More label.

The EP makes an immediate statement of intent with the title track. Underpinned by a lurching,
mechanised groove, it swings unexpectedly into a stuttering, pitch-shifted vocal cut alongside insistent
hi-hats and the kind of soulful female vocal sample that’s a hallmark of deep house. The track demonstrates Ohnesty’s unique style. On one hand, they’re constantly pushing an audacious sense
of creativity into a progressive-focused track. Yet at the same time, they never lose sight of the
importance of making it sound both engrossing and energising.

Its second track ‘K&T’ focuses those traits in a completely different direction, blending elements acid
jazz, late ‘70s disco and French Touch into their own vision. And finally ‘Need You’ echoes yacht rock
and ‘80s movie scores with sweet synths and the booming gated reverb drum sounds.

The ‘Movin’ On’ EP is completed by a remix of ‘Need You’ by British producer Happa . One of the
youngest artists to have ever DJed at Berghain, Happa’s production talents have also been called on
by the likes of David Byrne, FKA Twigs and Trim.

Ohnesty released their debut EP ‘Time To Be Honest’ last September on Yesterday Once More. It
was followed by an accompanying remix package , which included intreprations from the likes of
Metome and Daijo Kaisei.

The ‘Movin’ On’ EP is the second release from the new London-based Highball Records. Aiming to
highlight essential, forward-thinking new music from Japan, the label debuted in March with
Foodman’s ‘Dokutsu’ EP.

For the second installment in their 12' series Music From Memory present two deeply forward thinking electronic tracks from British musician Michal Turtle made between 1983-4.
The first track 'Are you Psychic' is taken from Turtle's obscure 'Music From The Living Room' album which Michal recorded literally in the living room of his family's South London house at the young age of 22.

Over-running his parents' front room with various synthesizers, amps and instruments, and setting up a portable four track studio the 'Music From The Living Room' tracks were built around live jams that took place alone or sometimes with musicians he would invite to play alongside him. Whilst seemingly sample based the instruments were played live and any voices or sound effects were actually recorded directly to tape, or put onto tiny 2.5 second cassette loops.

'Astral Decoy' was made in the year following the release of his only solo LP and forms part of a series of unreleased tracks that reflect a growing interest in combining electronics with more analogue elements such as Xylophone and live percussion. At the same timce this track draws inspiration from the sound of electro and boogie which Michal had become greatly interested in at the time, and in particular the work of musicians such as Grandmaster Flash.

With access to the archives of the many recordings made at his family home, this 12' serves as an introduction to a wider compilation of Michal Turtles works which is to follow on Music From Memory.

dj overdose is playing with matches at our local gas station. don't forget bring your cigarettes.

West coast composer, artist, and producer Kaitlyn Aurelia Smith has chartered a pioneering career with multiple critically-acclaimed albums since 2015. Following the release of The Kid in 2017, Smith focused her energy in several directions. She founded Touchtheplants, a multidisciplinary creative environment for projects including the first volumes in her instrumental Electronic Series and pocket-sized poetry books on the practice of listening within. She’s continued to explore the endless possibilities of electronic instruments as well as the shapes, movements, and expressions found in the physical body’s relationship to sound and color. It is this life-guiding interest that forms the foundational frequencies of her most recent full-length, The Mosaic of Transformation, a bright, sensorial glide through unbound wave phenomena and the radiant power discovered within oneself.



“I guess in one sentence, this album is my expression of love and appreciation for electricity,” says Smith. While writing and recording, she embraced adaily practice of physical movement, passing electricity through her body and into motion, in ways reflecting her audio practice, which sends currents through modular synthesizers and into the air through speakers. Not a dancer by any traditional definition, she taught herself improvisatory movement realizing flexibility, strength, and unexpectedly, a “visual language” stemming from the human body and comprised of vibrational shapes. Understood as cymatics, as Smith says, “as a reference for how frequencies can be visualized,” much like a mosaic.



Smith describes her first encounters with this mosaic; “the inspiration came to me in a sudden bubble of joy. It was accompanied by a multitude of shapes that weremoving seamlessly from one into the other...My movement practice has been aconstant transformation piece by piece. I made this album in the same way. Every day I would transform what I did yesterday...into something else. This album has gone through about 12 different versions of itself.” As it has arrived, in a completed state, The Mosaic of Transformation is a holistic manifestation of embodied motions. Smith’s signature textural curiosity that fans have grown to adore pivots naturally into a proprioceptive study of melody and timbre. Airy organ and voice interweave with burbling Buchla-spawned harmonic bubbles.

Air Miles return for a second instalment of deeper cuts lead by label affiliate, Jeigo. Fluerella EP builds on that delicate sound confirmed with the producers most recent AM001 release ‘An Ode to Midnight’.

Three remixers offer up their own take on the title track, with the hallmark Jeigo sound to be taken to new planes and Fluerella to be warped into bold new realms.

Borde - Uruguay
Only vinyl record label

Recorded mostly as a live-jam, august 2019, Il Sogno di Carmen is the result of a solitary producer meeting a nomad musician, Viscardi & Alano Santo. A brand new friendship. From there, the duo leads us to a spontaneous and fragile vacation story that yet manages to frame, with a sometimes mischievous accuracy, the current Genevan musical spirit : experimental, sincere, hybrid and hot. “I have no idea where this will lead us. But I have a definite feeling it will be a place both
wonderful and strange. Deep into summer, most definitely. The season of torrid bodies, of slowed down movements ; where melancholy creeps in the form of light and inconstant paragraphs, italian-style. Dragged around in hedonistic reunions, spiritual vagrancies and the soothing coolness of the Rhone river, Carmen is smooth and frivolous. She loosens up. Nothing is important. It can wait. Him too, you mainly. Geneva in the tropics, Bongo Joe on
the terrace, stolen emerald glances & air-conditioned airports. That's it. A wonderful and insignifiant story”.

Textures records was set up in 1996 as a sister label to Aubreys Solid Groove label and had nine releases including Aubreys second LP. Don Gardon originally releasesd in 1997 on Textures and this is the first Textures release since 2001

Vinyl Only

Andrey's second release on Nervmusic incl. remix from Ion
Ludwig. Limited, Vinyl Only,

Making a splash with RS019 is a newcomer called Mallard. Discovered by Bradley after being front and centre for almost every RS dance since 2016, the South London based producer and multi-instrumentalist makes a serious first impression with his debut EP ' VERTE'.Currently studying Jazz Double-Bass at Trinity School of Music, Mallard's productions demonstrate a keen ear for groove with a level of musicality rarely heard in electronic productions. At just 20 years old, he has already developed a unique sound palette and prodigious production style set to make him a name we will only hear more of in the years to come.
This EP, at once varied in tone and tempo is held together by a strong sonic identity and an overarching artistic vision: from the morphing polyrhythmic percussion of 'Surface' to the shifting, heady pattern of 'Aquitaine' via the psychedelic breaks of 'Untitled' we are taken on quite the trip.Equally at ease on the dance-floor as it would be for an introverted headphone session, Mallard's first offering to the world via Rhythm Section is one to remember. A timeless classic from the Rhythm Section team!

Clear Vinyl Repress

Re issue of R-Tyme's 'Use Me' from KMS off shoot Trance Fusion from 1993.
Fully re mastered for 2014. Featuring incredible remixes from MK and 2 from Carl Craig.

Australian group Retiree return to Rhythm Section INTL in 2018 with a new record 'House Or Home'.The musical project of Matt Crowley, Tori Holleman and Marco Vella; Retiree have steadily congealed their broad influences into a unique emulsion of strongly rhythmic and emotional music. From two releases, they've been described as 'pared back 1980s comfort pop for all occasions', having 'a whole lot of criss-crossing rhythm', containing 'swirling synth flourishes, languid wistful vocals and strutting drum machines". The album's songs explore the theme of 'house or home' and what that means in present day Australia for different people. They journey from an aboriginal tent embassy on the south coast of New South Wales, a retirement village, a one room flat in Ringwood and a sleepless 17 hour stop over in Malaysia.

Born out of a chance encounter in 2012 that led to a lasting friendship, Rhythm Section Int'l & producer, DJ, label boss, radio host, and record store owner Ruf Dug join forces to present 'The Committee'. Sitting somewhere between fictional band and studio collaboration, the record is the first fully in-house production for Rhythm Section, recorded start to finish at their own South East London studio and featuring vocals from label founder Bradley Zero and label mate FYI Chris's Chris Watson.

Right from the studio's initial creation, Ruf Dug felt inspired by the space's unique musical identity, jumping at the opportunity to create a collaborative record there over a two week studio residency. And between his DJ residencies at Pikes, Gottwood and NTS radio the Manchester-via-Ibiza computer game freak and renowned vinyl digger found the time to meld his wide range of influences. Having been a key driving force behind Be With's Holy Grail reissue of Bô'vel's - Check 4 U , Ruffy has more than earned his stripes as a boss level Street Soul collector, pre-empting the resurgent interest in the genre, which began in the mid 80s and is still a popular sound in Manchester today. This new release draws parallels between the DIY attitude of Street Soul labels like TSR, Intrigue, Jam Today & Elite and the modus operandi of the RS studio.

A wholly synergetic work, the project's title 'The Committee' reflects the collaborative nature of this release, as Ruf Dug states: 'Authorship is a strange concept at the best of times but this genuinely is a group effort and I very much enjoyed feeling like just one piece of a larger entity - the complete opposite to my usual production experience of being all alone in my room for days at a time.' The EP also features additional production from Rhythm Section's own Mali Baden-Powell, who DJ's and produces as Z Lovecraft and comes from a background in Street Soul music, his father was also in legendary UK acid jazz collective D'Influence. In addition, the record features a dynamic range of vocalists: sultry deliveries from Natalie Wildgoose and Sienna Mustafa, a rap from her sister Nadina, and the vocal debuts of FYI Chris's Chris Watson and Bradley Zero. 'I had been joking with Bradley that he needed to be on the record somehow and he did appear, playing an egg shaker at one point, but his singing wasn't in the least bit planned... I got back from lunch, and the next thing you know he just starts singing...So I dragged him reluctantly down the corridor to the studio and that's it- now he's a pop star!'

Also playfully melding digidub, soul, chicago house and acid jazz, the release not only marks a new chapter in the development of the Rhythm Section sound, but also catalogues a crucial turning Point in Ruf Dug's musical development. Still oozing with the cheeky DIY approach that won his own label, RUF KUTZ an army of fans, this latest Collab steps things up and opens a whole new realm of possibilities for one of Manchester's favourite sons.

It has been a while since Paul Kalkbrenner has released a single record. After four years and two succesful albums (platinum selling "Berlin Calling" and gold selling "Icke Wieder") it is a brand new track called "Das Gezabel" which will be released on his own Paul Kalkbrenner Musik label as a single in 2012. While being constantly out on the road Paul was always aware of the demand for new music produced by him. "Das Gezabel" will be out in August 2012 in vinyl and digital formats alongside a beautiful video shot at Ferropolis during one the few german open air shows. Musically the track continues where "Icke wieder" stopped and gives us a preview on the upcoming album which will be out in October 2012. "Das Gezabel" in it's pure fully instrumental version without any vocals shows us Paul's current approach in electronic club music with fine melodic lines combined with his classic beats.

Utter presents Danny Wolfers' aka Legowelt's cult spywave album 'Schaduw Horizon' on vinyl for the first time. Initially released on CDR on Wolfers' Strange Life label back in 2008, this DX7-drenched soundtrack was influenced by real locations near Wolfers' coastal dune studio in The Hague.

Set in the depths of the cold war at an abandoned zoo, it scores the imaginary story of Percival, a NATO animal parapsychologist researching the extra-sensory powers of a Siamese cat and a chess-playing chimpanzee named Albert. After the Soviets discover the project, Percival's team members are assassinated one by one, forcing him and his animal friends to escape in a small sailboat towards a mysterious island...

The album has been remastered by Wolfers then transferred and cut by Helmut Erler at D&M. It is housed in a deluxe gatefold sleeve that opens to reveal detailed stories behind each track, while the entire back cover is a life-size chess board for any budding Alberts wishing to play a game. A special 'confidential documents' envelope completes the package and contains a map of the abandoned zoo, a top secret letter including coordinates of the locations featured in the story, DX7 schematics, foldable chess pieces and a 'Schaduw Horizon' sticker.

ZEIT005 is courtesy of Chris Barg aka Tilo Manig from 90s Italian Electro outfit analogue audio association.

Ash Ra Tempel, the veterans of the German “Berlin School”, gained worldwide recognition with their album releases 1971-1973.
Their self-titled debut-album from1971, in the line-up Hartmut Enke (bass), Manuel Gottsching (guitar), Klaus Schulze (drums), radically deconstructed elements of Rock and Blues, as it was combining electronic sounds to encourage new listening habits. Whilst Gottsching and Schulze later followed their solo careers, they always stayed friends and, over the decades, showed their musical solidarity in collaborations, with innovative electronics and guitar. But it
was only in 2000, when they decided for this short intermezzo to perform together again under the Ash Ra Tempel banner. Julian Cope (author of “Krautrock-Sampler”) had invited Gottsching to his “Cornucopia Festival” in London, and the two musicians took the offer as a great opportunity for a one-time reunion concert at the Royal Festival Hall on April 2, 2000. Preparing the music for this the concert had also led to a new studio album recording entitled “Friendship”. Both of the recordings, the studio album as well as the live recording from the London concert “Gin Ros ‘01D, had been
originally released in 2000 in a small edition, which was sold out very soon. The studio-album “Friendship” had already been re-released in 2014 (CD). Now, and due to the many requests, here it is again - after 20 years, the re-release of the long-awaited live-album “Gin Ros “.
Gottsching and Schulze blend tradition and vision, and they do not simply reanimate ideas of the 1970ies. The spirit of this unique liaison is reflected in every single note of this still up-to-date concert, showing these two musicians playing joyful, familiar and undeterred. - recorded live at the Royal Festival Hall, London, April 2nd 2000 - “Gin Rose“ is now considered the “Farewell” concert for this line-up - historically valuable document on German music history
Klaus Schulze: keyboards, drum machines, sequencing, Manuel Gottsching: electric, acoustic and Hawaiian guitars - complete concert on a 3-side 180 gr, vinyl in gatefold

Pleamar(Spanish for high tide) is the first collaborative release between Chancha Vía Circuito and El Búho for Wonderwheel Recordings, and stands as one of the most refreshing EP's within the Latin American downtempo electronic genre.

On this release the vision of both artists is united as one. This unity is reflected through "Real Fun, Wow!"'s artwork, presenting an image of a centered eye, reminiscent of historic drawings from tide studies. The representation of Earth, with a central circle surrounded by two ellipsoids that rotate and align in perfect harmony, mirrors the meeting of the two producers, the moment when the seawater reaches its apex andPleamaroccurs.

Like a metamorphosis that - without knowing it - we had been waiting a long time for, the EP reconstructs Pedro and Robin's encounters over the years. It transports us into the history of migrant sounds, the salvaged sound of floral jungles, high mountain forests and the ocean deep. We hear a sonic beauty filled out by deep personal stories - four humble and honest tracks that demonstrate the fusion of these artists and both them and the genre into new territory.

Starting with "Oruga"'s deep ambience, dub atmospheres and space echo reverberations, the album follows this line of reverberated rhythms and relaxed percussion lines throughout, carrying us along with a pulsating, deep, natural tempo. "El Mago Georges", perhaps the Pleamar'sjewel, is bursting with life - impactful depth and perfectly tuned melodies yet tribal and delicate at the same time. "Murga del Viento'' recalls another meeting of these two minds: El Búho's much-loved remix of "Sueño en Paraguay" a beautiful track from Chancha Vía Circuito ("Amansará" 2014). Here the whistle meets the owl from the previous track and the two birds take us a step forward in this collaboration with chords superimposed on a haunting bass. The release ends with "Una Pulgada de Silencio", a track of cosmic synthesizers, trickling water samples and the voice of argentine folk singer Gus Goncalves. Through Pleamar we come to find a much needed peace and clarity hidden beneath the rolling waves, a deep-sound escape to get lost in.