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Various - Dirtybird Hand Picked Box Set | Volume 1 (LP 4x12")

Color-In-Color vinyl, premium hardcover custom egg carton sleeve with matte and gloss finishes, includes additional items: (Dirtybird Friendship bracelet, Egg Necklace, Egg Keychain, and 4 Vinyl record coasters

After 20 years of pumping out booty bumping music and wild parties, San Francisco dance label and nightlife culture creators, Dirtybird, have released their first commemorative vinyl box set, the Dirtybird Hand Picked Box Set, Volume 1. With many of the tracks being hand-picked fan favorites - from artists Claude VonStroke, FISHER, John Summit, and Get Real to longtime label legends Sacha Robotti and Walker & Royce, as well as newer faces like VNSSA, Nala, and Nikki Nair - the box set covers a wide range of tracks that have created life-changing memories and moments for fans over the years and across the world, with many of the tracks receiving the vinyl treatment for the very first time. Housed in a premium hardcover custom egg carton sleeve, the box features matte and spot gloss finishes, a magnetic flip top, and easy slide vinyl drawer. Contained within the box set are 4 different color-in-color vinyl records with die-cut jackets, and several additional items for the day ones - a friendship bracelet, necklace, keychain, and 4 vinyl coasters featuring artwork from the music included in the box set.

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Various - Afrosonica

Various

Afrosonica

12inchMEGAIMP125
FLEE
12.05.2025

The International Archives of Popular Music (AIMP), affiliated with the Ethnographic Museum of Geneva (MEG), is a label and collection dedicated to the preservation of world music. Founded in 1944 by musicologist Constantin Brăiloiu, it gathers over 18,000 recordings, from wax cylinders to digital formats. AIMP releases albums and collaborates with artists such as Midori Takada, exploring the connections between sound archives and contemporary creation. Through these projects, the label preserves and reinterprets musical traditions on a global scale.

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Dylan Thomas - We Don't Own, We Create

"Dylan Hayes' album debut LP, We Don't Own, We Create, released on Futurepast, is a sonic trip balancing club functionality with experimentation. The two-discs project is a bold statement of artistic intent-where minimalism, industrial textures, and introspective loopy moods collide.

As the result of 8 years of research and experimentation, We Don't Own, We Create is an electronic sci-fi odyssey, unfolding across eight tracks balancing structure with unpredictability. Co-produced and mixed by Davy Vandegaer, this album is also the story of a friendship rooted in a shared vision-crafting a signature 'futurepast' sound where old-school techno aesthetics meet fresh, yet edgy, sonic treatments. The first disc unfolds like a waking dream. My Ikigai sets the tone with pulsating, introspective club energy, blending loopy synths and a growling bass. Plastic World plunges into eerie depths, weaving spectral vocals and fragmented rhythms. Silent Reverie in To Memory drifts through textured atmospheres and layered percussive echoes. Remind Me Ridley twists hypnotic techno into a dense, mantra-like piece-its reverbs and delays build an intensity conjuring into a foggy, shifting auditive illusion.

The second disc marks the awakening, shaking off the haze with Beautiful Struggle, where abrasive loops, industrial bass surges, and dissonant synth layers build tension. Echoes of Fate condenses the album's ethos, unleashing pulsating stabs and humming rhythms that slice through the mix with razor-sharp precision. The eponymous We Don't Own, We Create is an electronic ode to the creative process, where haunting vocal loops weave through deep, trippy synth lines, blurring the boundaries between organic and synthetic. Closing on Mizze, the journey dissolves into pure introspection, fading into the ether.

The record balances four club-driven tracks and four experimental pieces, crafting a distorted, explorative soundscape-an immersive journey where dance music meets dark, avant-garde sound design."

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Dompe - French Collection Vol. II 2x12"

Dompe presents French Collection 2: A journey through funky house, disco house and French house


After the successful first part of his French Collection, Dompe sets new standards with the sequel and brings a breath of fresh air to the house scene. French Collection 2 skillfully combines the pulsating rhythms of funky house, the nostalgic vibes of disco house and the iconic melodies of French house - all with Dompe's unique style.


This album is a musical homage to the golden years of 90's house, combined with modern, funky grooves that will conquer any dancefloor. Dompe proves once again that he is a master of the genre, making the perfect connections between driving basslines, smooth funk guitars and catchy vocals. Every track on French Collection 2 is designed to evoke nostalgic memories as well as inspire today's dance-loving generation.


Dompe manages to preserve the spirit of the classic 90's house scene while adding a modern twist. French Collection 2 is a must for all fans of the genre - and for anyone who simply wants to experience the funk and energy of a great house album.

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Arjuna Oakes - While I'm Distracted LP 2x12"

DJ Support: Jamie Cullum (BBC Radio 2), Huey Morgan (BBC Radio 6), Gilles Peterson (BBC Radio 6), Deb Grant (New Music Fix, BBC Radio 6)

On debut album ‘While I'm Distracted’, London-based New Zealander Arjuna Oakes draws inspiration from contemporary soul and jazz, touches of global folk, electronica, modern classical, and post-rock, with dynamic arrangements and production. ‘While I'm Distracted’ is an album about fighting for your innocence and right to be a vulnerable and honest human. Arjuna’s songwriting explores themes of identity, depression, existentialism, social media, loss of innocence, and finding hope for the future through artistic expression.

'I'm obsessed with albums,' says Arjuna. 'I've made seven EPs, but needed time to tackle a full length record. I was using the EPs to learn the craft of how to make a great album, much like a director will make short films before they make a feature. I wanted to take the listener on a journey and spark their imagination. Hopefully the album expresses complex emotions, rather than having an intellectual concept. I'd rather ask questions than answer them'.

Across the album, Arjuna performs vocals, piano, keyboards, synths, production, and wrote the string arrangements. He’s joined by Harrison Scholes on bass, Jo Jenkins and Andre Smith on guitar, Sam Notman on drums, Louisa Williamson on saxophone, Nathan Haines on flute, Kate King on french horn, Leah Thomas on clarinet, Hilary Hayes and Emma Colligan on violin, Chris Van Der Zee on viola, Charley Davenport on cello, Zane Hawkins on percussion, James Macewan on trumpet, and additional production by Callum Mower.

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Pheek - Demure EP

Pheek

Demure EP

12inchISA003
AISSA RECORDS
05.05.2025

ISA003 levels off our continued journey of navigating through quality music. ‘Demure’ by PHEEK seamlessly glides between paradigms of ambient soundscapes and minimal techno while MIHAI POPOVICIU hits in true tech fashion with a stellar remix.

AISSA RECORDS is a Montreal boutique vinyl sub-label of SULEIMAN RECORDS. Founded by DJ/producer Darem Aissa, the name of the imprint pays homage to Syrian poet Suleiman Al-Aissa, one of the most prominent contemporary Arab poets.

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Domino Vibes - Underground EP

"Underground EP" is an immersive dub experience from Domino Vibes. It's the third release from theyoung but promising romanian label, that stays true to its groovy dub-techno sound.

Especially tailored for the clubgoer, the opener "Soirée Privée" is an odissey into
monotonal synth themes played in a echo chamber, a pumping kick accompanied by syncopatedperccussion accents lost in delay reflections.The whole rhythmic construction drives the dance forward to a hypnotic state that finally locks in an endless loop.

"Night Drive" is recorded with a playful wit, using synth pads with rich chord harmonics all packaged with a rolling beat that drives the dancer to a realm of happiness. A must have for the DJs from the romanian underground scene, "Get Real" is the true banger of the release that will fill any Floor. It is an uncompromising crowd pleaser, with a punching kick, thick bass lines and rich synth chords ready to impress any clubgoer and guaranteed to lead you in a memorable epic state at the peak of afters. The ending act "Warmness Inc." is constructed around a solid groove, a relentless beat, a deep bass line, and a warm synth theme that carries you to an euphoric state of mind.

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LUC-HUBERT SEJOR - MIZIK FILAMONIK: SPIRITUAL SOUND

180 G. BLACK VINYL WITH LINER NOTES IN CREOLE, FRENCH, ENGLISH

Originally released in 1979, "Spiritual Sound" lives up to its name, a soaring, triumphant album, six tracks of spirit magic from Guadeloupe.

Telluric, intense, terribly alive, the gwoka drums of Guadeloupe carry the identity of a painful and fervent island. Marked forever by the crime of slavery, Guadeloupe's créolité cherishes the ka drums and their natural environment: the low-pitched boula drum with male goatskin, the high-pitched soloist makè drum with female goatskin, the chacha, ti bwa, triangle, calabash and other percussion instruments that surround them, and the voices - the fiery, proud, timbred, urgent voices of the gwoka.



This album is also a legend for its voices: in his then dazzling youth, singer Lukuber Séjor was one of the first gwoka artists to largely feminize the chorus of répondè, who converse with his text delivered in a straight and powerful voice.

And everything here sets new standards. In 1979, Mizik Filamonik - Spiritual Sound proclaimed a spiritual patriotism of ferocious intensity. The album by Lukuber Séjor - whose spelling alone is a battle - sets out to give Guadeloupe the intangible weapons of self-respect and self-knowledge, through a singular practice of traditional music.

The genesis of gwoka music is less straightforward than one might imagine... The drums performed the servile task of accompanying the work of slaves in the fields and during the “corvées” imposed by the administration, before being freely practiced by the common people after the abolition of 1848. At the heart of the conviviality of the Guadeloupeans furthest from the cities - geographically and socially - the gwoka drums come out for carnival, funeral wakes and neighborhood celebrations, but also during strikes, fits of anger and armed vigils of the riots and revolts that have punctuated the island's history. For generations, governors of the colony and then the prefects of the overseas department of Guadeloupe have been viewing the gwoka as a potential for turbulence and a threat to public order.

But as the Beatlesmania, “chanson engagée” and rock revolutions unfolded in Europe, young people turned to the drums of mizik a vié nèg (“bad negro music”, in Creole), which Guadeloupeans had learned to despise by following the “assimilation” process advocated by the school system and most of the political class. At the end of the sixties, in a Guadeloupe mourning the deadly repression of the May 1967 social movement, they played traditional music, refusing to wrap it up in tourist prettiness and madras folk costumes. Instinctively, they played a rough and contemporary gwoka, led by the incendiary Guy Konkèt. This was the era of decisive 45 rpm records such as Robert Loyson's Kann a la richès, which brought to light the fieriest words of union rallies.

At his home in Sainte-Anne, Lukuber Séjor played with flautist Olivier Vamur and his brother Claude Vamur, who cobbled together a drum kit from tin crockery and became, a few years later, the most influential drummer in Kassav'.

These were the years of the Bumidom program, when young Guadeloupeans were encouraged to emigrate to mainland France. At the age of twenty, Lukuber Séjor embarked on the liner Irpinia, disembarking at Le Havre and taking the train to the Gare Saint-Lazare - the route taken by thousands of young West Indians who went on to study or looked for work, all the while trying to maintain a link with their homeland. In this case, it's at the Antony university residence, where Lukuber played the drum and participated in a thousand gwoka updates and aggiornamentos, while exile reinforced the need for a spiritual link with the native land.

In 1978, Guy Konkèt played at the Salle Wagram, a historic event for West Indian music. After serving as répondè - i.e. backing vocalist - on one of his home-recorded albums, Lukuber joined his live band. Little by little, he became one of the key artists on a circuit parallel to French show business. At a student party in Caen, he met a young woman from Martinique who, at the time, was more motivated by her ambitions as a visual artist than by her vocation as a musician. Her name was Jocelyne Béroard and, a few years before she plunged into the Kassav' adventure and became the greatest West Indian singer of her generation, she designed the cover of Lukuber Séjor's LP.

This ambition was obvious and imposed its will. A more or less regular band was formed, with Roger Raspail, Rudy Mompière and Éric Danquin on ka drums, Claude Vamur on ti bwa, Olivier Vamur and Françoise Lancréot on flutes and Annick Noël on keyboards. Lukuber Séjor is set on wanting to extend the gwoka palette to other instruments, as the jazz-rock revolution opens a thousand new doors. Annick Noël will play a wide range of timbres and textures on electric piano and synthesizer. Another novelty: the répondè are two men and two women, Roger Raspail, Olivier Vamur, Françoise Lancréot and Maryann Mathéus ...

Mizik Filamonik - Spiritual Sound is a self-production in which the singer and leader sank all his savings, allowing him no more than a single day in the studio. The first side is more of a musical manifesto, with the first two tracks, Éritage and Penn é plézi, being instrumentals. The third, Son, forcefully celebrates the need for Guadeloupeans to connect with the gwoka. In fact, Jocelyne Béroard's cover shows a tambouyé in the shadow of a cloudy sky, against which a radiant sun is rising and whose light will soon flood the entire landscape. The silhouette and face of this man strongly evoke the immense Vélo, master of the ka, rejected at the time on the fringes of society.

The second side of the LP is surprising. Formally, three tracks are explicitly linked like the three parts of a triptych. Primyé voyaj evokes the appalling tribulation of Africans deported as slaves to Guadeloupe; dézyèm voyaj speaks of the Bumidom program and the economic, political and social forces driving young Guadeloupeans towards the mirage of prosperity in France; twazyèm voyaj closes the cycle with the emigrants' return from Europe after years away from their island...

This gwoka, obsessed with the need to save Guadeloupe spiritually, appeals far beyond the politicized audience. Mizik Filamonik - Spiritual Sound instantly became a classic, although Lukuber Séjor never really made a career for himself as a musician.

After all, the album was released in 1980, with no promotional resources in France or Guadeloupe - and therefore no concerts. The thirty-two-year-old author, composer and performer made his own third trip back to Guadeloupe. He set up a small woodworking business, which he lost in Hurricane Hugo in 1989. His other activity, teaching in a medical-educational institute, became the core of his professional life. He continued to be an active campaigner - a campaigner for the Creole language, a campaigner for the reawakening of identity, a campaigner for special education, a campaigner for a thousand causes that he ignited with his generous and perceptive enthusiasm, such as the defense of breadfruit fries...

The echoes of his 1979 album have not died down. Of course, the use of Penn é plézi as the theme tune for Radio Guadeloupe's funeral notices from 1980 to 1992 kept him in the collective memory, but he continues to sing and compose sporadically, as with his all-female

vocal group Vwapoulouéka... Still convinced that music is a means of liberating the spirit, he continues the journey of a young man eager to deploy the power of Creole music and language.

Bertrand Dicale

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Trippy Journey - Dollar Cat EP

Comes in limited 180 gram black Vinyl

Trippy Journey presents Dollar Cat EP — a cosmic musical adventure dedicated to the memory of Dollar, the beloved cat, muse, and symbol of the label. As with every Trippy Cat release, this EP continues the cosmic saga of Dollar the cat. Through music, Dollar travels to distant planets, guiding listeners through worlds unknown in the pursuit of sound.

The release includes two solid remixes. Dollar Cat is reimagined by Prince de Takicardie, delivering a hypnotic Dark House sound, perfect for late-night dancefloors in uncharted galaxies. The second remix comes from DOTT for Serving Size, whose style blends deep minimal rhythms with interstellar vibes, creating a striking contrast to the darker tones of the first remix.

This release is a tribute not only to Dollar but to all the beloved cats who have left their mark on our hearts.

Mastered by Marco Pellegrino at Analogcut.

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Poni Hoax - Greatest Hits (Everything is Real) LP 2x12"

Poni Hoax, a French band born in the early 2000s under the impulse of Laurent Bardainne, immediately emerged as the union of converging forces: on one side, the precision of a composer and instrumentalist breaking away from jazz conservatory traditions; on the other, the magnetic presence of Nicolas Ker, a terminal new wave crooner with a sepulchral voice. Surrounded by Arnaud Roulin on keyboards, Vincent Taeger on drums, and Nicolas Villebrun on guitar, they made an instant mark with Budapest—dark and haunting—followed by the unstoppable She’s on the Radio, crafting a unique identity that blended the venomous elegance of Roxy Music, the tension of New Order, and the fervor of Larry Levan. With Images of Sigrid, Poni Hoax achieved the miracle of an instant classic before continuing their journey with A State of War and Tropical Suite, sonic odysseys haunted by memory and distant horizons. On stage, it was either an apocalypse or a revelation—a Formula 1 driven by a gang of Gremlins, a blazing energy leaving only burning embers in its wake. The adventure came to a tragic end with the passing of Nicolas Ker in 2021, as the notes of Laurent Bardainne’s saxophone rose into the gray skies of Père-Lachaise, the final echo of a dazzling odyssey.In 2025, Poni Hoax celebrates its 20th anniversary with the release of Greatest Hits: Everything is Real.

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Aura Safari / Jimi Tenor - Sensory Blending

In the year since it was first released on Hell Yeah, Aura Safari and Jimi Tenor's Sensory Blending has become a cult modern classic. To celebrate its conquering of Balearic heads and jazz funk hearts everywhere, it now arrives on green transparent vinyl.

The album came about after a chance meeting when Finnish musician Jimi Tenor was playing a Hell Yeah party in Perugia. He had some free time so was hooked up with local collective Aura Safari. It was the first time they had ever met but that didn't stop magic from happening in the studio and giving rise to this lush, rich, life-affirming album.

Tenor is no stranger to collaboration. He has previously worked with Japanese master Calm, regularly plays with Cold Diamond & Mink and has explored psychedelic space-jazz-funk fusion over more than 25 albums and 45 EPs. Right now he is in a rich vein of form, continuing to tour the world and drop cosmic soul voyages on a regal basis.

A year on this album still stands up and has crossed over int several different scenes thanks to high profile plays from plenty of tastemakers. Aura Safari musicians Lorenzo Francioli, Ruggero Bonucci, Nicola Pitassio and the production team were all on top form and truly cemented their reputation as a collective to watch.

'Bodily Synesthesia' is the seductive opener with steamy sax notes and gentle grooves that are topped by aloof vocal whispers. 'Lunar Wind' is another slow and steamy mix of jazzy keys and soulful vocal hooks, 'Bewitched By The Sea' is a more tropical and percussive number with majestic melodies and 'My Bluebell' picks up the pace with jazz-funk grooves and hustling chords. 'Last Waltz In Perugia' has freeform sax lines soaring over meticulous drums that ebb and flow and 'Gimlet' brings a playful, samba-tinged rhythm and sunny flute leads straight from South America. There's a laidback, carefree mood to 'It's Too Easy To Love You' while 'Your Magic Touch' is a dancey number that exudes melodic joy, and 'Indigo' closes in dramatic fashion with a conversational sax that sticks long in the memory.

Sensory Blending is the soundtrack to a steamy summer vacation up amongst the stars.

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Gladkazuka - Acid Floresta 2x12"

"Acid Floresta" is the result of a process of sonic recognition and translation. A term that has taken shape over the past few years to name a search that, in reality, began more than a decade ago: the intersection between foreign rhythms and the music that inhabits the streets, with its social dynamics and its irreducible vitality.



This album is born from the observation and listening of the everyday sounds that shape the sonic identity of the neighborhood: the corner store, the metro, the billiard hall, the street corner. Spaces where music is not a choice but a constant pulse of life. The percussion of the street, the echo of a distant radio, the spontaneous phrasing of a conversation—these become raw material. From there, the process moves to the studio, where bass, synthesizers, drum machines, and samplers serve as tools of translation: what begins as a documentation of reality transforms into a musical interpretation.



At this point, a tension emerges between what is learned and what is felt. For years, tropical music and vallenato were part of a sonic landscape that coexisted with external influences, generating both distance and affinity. But within that push and pull—between the familiar and the unknown—a common thread was revealed: sabor. Not as a genre, but as an essence, a vital and irreplace able force.



"Acid Floresta" is structured in three and the performative stage, where music returns to the streets, closing the cycle. It is in this final moment that its true nature emerges: in the shared vibration, in danceability, in what connects beyond geography and context.

The album proposes a dialogue between intimacy and collective experimentation, between latineo and electronic music, between the raw and the processed. A space where the music of the streets and the music of the floresta converge to create a new sonic memory.

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DOROTHY CARTER - TROUBADOUR LP

The first official reissue of Dorothy Carter"s folk-music exegesis comes 46 years after its original release, 20 years after Dorothy passed, and 11 years before the centennial of her birth. Yet it seems right on time for a new celebration of her music. Appalachian folk tunes, old and ancient psalms and hymns, Scottish, Irish, French and Israeli melodies, and original tunes flow together effortlessly in hypnotic gardens of eternal world musics. A highly energized, alternately meditative and proselytic recital whose vitality has only burgeoned in the decades since it appeared. As it should be: the music of Dorothy Carter is akin to a portal, linking her and us with the eternal. This edition of Troubadour reproduces the original album package, adding an insert adorned with additional photos of Dorothy and her collection of instruments, as well as notes from Eric Demby exploring the era - his childhood - from a vantage point of some 50 years. This reissue is a long-held family dream come true, and it is dedicated in loving memory to Bob Rutman, Constance Demby, David Demby and Dorothy Carter.

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Appart - Bazaart LP 2x12"

Appart

Bazaart LP 2x12"

2x12inchDEON09
Deontologie
23.04.2025

Appart … long time ne see on vinyl... And again a superb album, trippy and thin... very rich of many influences and ambiances... From Klez to jazz... Breakbeat Fanfare for everyone ! This is a real high level musician from the underground since years ! Don't miss !!

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Joe Hisaishi - Sonatine (Original Soundtrack) (LP)

WRWTFWW Records is honored to announce the first ever vinyl release of Joe Hisaishi’s original soundtrack for the critically acclaimed and all around classic 1993 Japanese yakuza/crime/thriller movie Sonatine. The legendary album comes in a limited edition housed in a luxurious heavyweight sleeve with selective varnish printing and a special paper obi belt.

The celebrated Sonatine was directed, written and edited by Takeshi Kitano, who also takes center stage as the main protagonist of the thrilling yakuza film. Director, screenwriter, comedian, actor, tv personality and icon, 'Beat' Takeshi is also known for Boiling Point, Hana-Bi, Battle Royale, Johnny Mnemonic, Ghost in the Shell and many many more.

Considered one of the greatest ever, Joe Hisaishi is a composer, musical director, conductor and pianist behind over 100 film scores including Kitano’s A Scene at the Sea, Kikujiro, and Brother, as well as his famed work for director and animator Hayao Miyazaki’s Studio Ghibli masterpieces Castle in the Sky, My Neighbor Totoro, Princess Mononoke and the list goes on. Little known fact: his first ever produced-album is a collaboration with percussionist Midori Takada (Through the Looking Glass): MKWAJU Ensemble’s MKAWJU also released on WRWTFWW Records.

The Sonatine movie score showcases the composer’s more contemplative, minimalistic, and intimate side in a superb and deeply evocative neo-classical and ambient musical journey. The depth and emotional resonance of the compositions make for an exceptional and timeless soundtrack. It is known to be one of Hisaishi’s own favorites.

Sonatine (Original Soundtrack) by Joe Hisaishi follows the release of the soundtrack of Takeshi Kitano’s Violent Cop (1989), as well as music from another groundbreaking Japanese movie, Shin’ya Tsukamoto’s Tokyo Fist (1995). Collect them all on WRWTFWW Records!

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Narciss & Gerd Janson - No Maze Like Heaven

Running Back is delighted to introduce RB Studio Sessions, a new sub-imprint of music envisioned, recorded and fully realised at Running Back’s in-house studio.
Built on the promise of unfettered creative freedom and aided by agreeable local autobahn connections in the Hesse region, the RB Studio Sessions project is christened with the work of Running Back’s founder, chief dreamer, and Geschäftsführer, Gerd Janson.
For this debut edition, he is joined for a momentous jam by the new-school hero of the house, good friend and kindred spirit, Narciss.
Just as Running Back’s earliest releases dropped a stylus to preserve timeless ideals of club culture, the four tracks on ‘No Maze Like Heaven’ further this continuum by turning back the sonic clock just a decade or so. Picture, if you will, a nascent Narciss, youthfully club
hopping and deeply inspired by the selections of Gerd himself, alongside a selection of DJs coaxing the Panorama Bar blinds open with exquisite, mid-tempo precision.
As such, new light immediately floods in for ‘Chicco’s Chips’, which captures many of those irresistible elements—Italo-tinted synths, hooky vocals, and perfect percussion— regenerated with the wide-eyed, high energy of Narciss’s own solo productions. ‘Elka,
meanwhile, is a richer, deeper dish, masterfully interlocking multiple heavenly melodies under layers of optimistic analogue fuzz.
Narciss and Gerd then look to the Netherlands for further collaboration with one of electronic music’s best-loved vocalists and another fine producer, Coloray, who fills ‘Look For You’ with a yearning performance in the vulnerable, synth-pop tradition. Finally, ‘No
Maze Like Heaven’ builds on this mood and melody for a finale that hits the sweet spot between machine power and oh-so-human emotion.
Featuring labyrinthian artwork from the mighty Gasius., via a sleeve that appears to blend M.C. Escher with MC Hammer, ‘No Maze Like Heaven’ proves to be a divine foundation of RB Studio Sessions. For Narciss, “a memory they will cherish forever.”
For Gerd, a taxdeductible working lunch. For DJs and dancers? Four ebullient hits-in-waiting, sounding great and meaning more.

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Various - Echo Scapes. Clutch

MixCult Records is glad to introduce its new release, deeply curated various artists compilation that will take one journeying through resonant realms within Deep and Dub Techno. It boasts a lineup that features renowned artists such as Kirill Matveev, Genning, TM Shuffle, and Nicolas Barnes. Now this record offers four compelling tracks with rich sonic textures and emotive depths, characteristic of the genre.

A1: Eric Louis - Voice Memo Original: The first track, "Voice Memo" by Eric Louis, is purely an introspective personal record. Soft pulsations of the bass weave in and out of haunting melodic vocal samples to create an atmosphere that is strong and enduring.

A2: Kirill Matveev - Never Losing That Track Genning Remix: The second offering is Kirill Matveev's "Never Losing That Track", remixed with the masterly touch of Genning. The track builds on the core of the original with added layers of rhythm and heavenly synths soaring above the driving beat. It raises the energy a notch without losing the sophistication, with melodic elements perfectly laced into pulsating basslines. A track that makes the listener immerse themselves in the song: upbeat, yet wistful, so that listeners can get lost within the depth of the sound. The track is designed for those who love to dance at sunrise.

B1: TM Shuffle – Artist by the time the B-side gets underway, TM Shuffle brings the past to the present via "Artist", a rock-solid track now pressed on vinyla gain with some of the very best of strong dub techno sound which we love when mood-setters take over the dancefloors. This track invites introspection, drawing listeners into its depths as they explore the nuances of sound that define the dub techno genre.

B2: Nicolas Barnes - Outro: The "Outro" by Nicolas Barnes is a reflective, ambient conclusion to the journey. This track wraps up the listener in a soothing embrace of lush soundscapes with soft melodies. It's a meditation of the experience, with the stillness of quieted moments ringing deep. The spacious nature of the composition invites listeners into their reflection of this auditory voyage they've just embarked upon. Outro" - demurely deep, summing up the release and leaving its memory in a head long after it really fades. For sure, one of those tracks you do not want to forget while performing a warm-up set.

Every track represents a different exploration of sound, all combined to tell one story that resonates deep and with elegance. The vinyl release of the album is a must-have for any lover of immersive music, as it will invite listeners to get lost within captivating soundscapes.

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CHRIS COCO & DJ ROCCA - COCOROCCA DISCOTECA

DJ Rocca and Chris Coco spent some time hanging out together by the pool at an intimate festival called La Casella in Umbria in the
late summer of 2019.
They spent a lot of time talking about Italo Disco, the Rimini / Riccione riviera in it’s heyday in the 90s and classic clubs from the early
days of the Italian scene.
By the end of that beautiful weekend they had decided to make some music together that would somehow capture and reflect their own
hazy memories of places they visited or played and nostalgic dreams of earlier scenes they were too young to participate in.
Over the ensuing months the idea developed into an imaginary retro-futuristic club called CocoRocca DiscoTeca, a fantasy version of
a past club that never existed and at the same time a future club that was really possible to create one day.
If there was such a club, what would the music sound like?
Surely, a fusion of various sounds of dub/house/disco that the pair of DJs had been collecting and playing out for years. So inspiration
lists were made and ,slowly, a soundtrack for a night at that imaginary club began to take shape, beginning slow and dreamy, for the
moment of arrival; lifting up to a peak; and finally drifting down to the final tune of the night.
The result goes something like this…

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RED PIG FLOWER - PRACTICE LOVE LP 2x12"

Red Pig Flower brings you her sensational debut album Practice Love, available on Sound Of Vast from 10th April. Her unique sound sits upon the apex of a three-sided pyramid. With Berlin, Tokyo and Seoul as the base, Red is a third culture kid, greater than the sum of her parts. The centre is filled with her incredible appreciation and knowledge of house and electronic music from every pin drop through history.

So taken with Red Pig Flower’s sound, Honey Dijon invited Red to her Southbank Centre show to play alongside her. Moxie loves her that much, that she invited Red to record a mix and to guest on her NTS show. Alan Fitzpatrick, and Just Her are amongst Red’s growing posse of followers.

Practice Love is a culmination of all of Red Pig Flower’s life experiences, brimming with her positive energy and an outlook on life of pure love. Red has collaborated with like-minded artists at every level: the music, the cover art and video all produced with talented friends, who get Red as the wonderful person she is and understand her vision. Her label partner and good friend, Knock in particular helped make Practice Love the incredible album it is. So intuitive is their musical symbiosis, they made 20 tracks and carefully curated and ordered nine of these, making an album of tracks that stand out on their own, yet flow perfectly as an album. Practice Love will make you feel joyous when you play it. By the end, you will feel like you know Red like a friend.

Practice Love kicks off with I don’t care, it makes you feel good: a dreamy, tribal mantra of a track that does exactly what it says on the tin. Next up is I Love To Dance. Red’s beautiful soft vocal is sweet yet poignant, leaving you in no doubt of her sincerity. Thirdly comes Feel Good Music. Are you getting a feel from the track names yet that this is an album of warmth and positivity? You can imagine this one at a Café Del Mar sunset, where those who get the spirituality of Ibiza come together, in the moment to appreciate the beauty of a sunset and understand that no matter how many you see, each is magical and unique.

The three tracks so far have taken you to twilight. The titular Practice Love takes you by the hand onto the dancefloor. There is a double meaning to ‘Practice Love’- The first is to make love your practice. The second is that you need to practice love to be able to become a practitioner of love. The video, shot by her friend Jelly, features Red Pig Flower in Brick Lane, London, wearing a little piggy mask and offering free hugs. The first passersby ignore her sign, but Red isn’t disheartened, spreading the right message, dancing with joy. Her optimism is rewarded, making peoples day better on a cold English afternoon.

Fifth track Sax and Drugs takes things a little sleazier, the beat is filthy and the synths are sexy. Your body starts to move to this one before your brain even realises. The incredible Declan McDermott joins on saxophone, the funkiest synths and Red’s sultry vocal washing your soul with Laurent Garnier inspired sunlight. On Thisiz House Music, again featuring Declan, Red takes you even further back. About Frankie Knuckles O’Clock, with a portal straight to 2025.

By now, you will agree with me that Practice Love flows so, so well. I Wanna Meet Somebody follows incredibly, continuing the feeling that if you close your eyes, you’re dancing with David Mancuso at the Loft. No Money completes this EP-within-an-album. Perfect vocal samples, valve synth riff and 808 drum patterns showing that producers as good as Red Pig Flower make it sound effortless. The best albums finish memorably and No Genre is one of those perfect finishers. Think Andrew Wetherall’s production on Screamadelica. The lights are up in the club, nobody wants to go home, arms in the air wanting more.

Red Pig Flower explains: Practice Love resonates deeply with me because house music has always been a sanctuary—a place for unity, joy, and self-expression. As a nomad and outsider, club culture and house music became my shelter. The cities I’ve lived in—Seoul, Tokyo, Berlin, and London and more—nurtured me and shaped who I am today. That’s why the cover, by the incredible Carlos Sulpizio features their skylines, and the album is multilingual, representing the diverse influences in my life.

Practice Love is like a meal that has been prepared lovingly. They always taste better. And there’s plenty more to come from Red Pig Flower. How was your appetizer?

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Kloke - MINDGAME 8

Kloke

MINDGAME 8

12inchMINDGAME8
Mindgames
03.04.2025

By now an essential part of the Mindgames story, Kloke follows up his LP with Tim Reaper on Hyperdub with 4 tracks of Jungle vitality. As always with Andy's productions, there are fragments of memories that you can't quite identify embedded in the tunes framework, but the Kloke magic is using these familiar elements to build new tunes that enhance and embody this era of sound perfectly albeit with a distinctly recognisable identity. Of course this is the raison d'être of the Jungle revivalist producer set, but very few have mastered it like Kloke.

Slightly more floor-centric than his last Mindgames set, Mindgame 8 has a rugged vibe with punchy b lines and jagged breaks, doubling down on it's embedded authenticity.

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X-Plode - First Of Many / Watch This Go

At the start of the 1980’s X-Plode’s dad had a second-hand colour TV business in Bolton, Lancashire where he would buy, sell, repair and trade TVs. He would come back home with all kinds of things he had traded for a TV but the most memorable, to a 10 year old kid at that time, were the keyboards. He use to watch his dad play songs from the 1960’s on these keyboards and when his dad had gone out, Lee X-Plode would sneak on them and start messing about, experimenting with the drum programs and fiddling with the buttons, trying out ideas. He had to move fast though because these keyboards didn’t stay in the house for long as his dad would trade them again for something else; one time that was an old analogue echo chamber, which Lee also messed about with when his dad was out. That echo chamber was a revelation to Lee and opened up the possibilities of what was possible with sound. So by the time Lee was 16, he decided he wanted his own keyboard and started saving. When his 17th birthday came around he had saved up £200 and visited his local Argos where he bought himself a Yamaha PSS 680, an FM synthesizer with memory banks and a basic drum machine incorporated. ‘It was shit quality like, but I didn’t mind. I just wanted it for the programmable drum machine, the synth and the memory banks that came with it” Lee recalls. The year was 1987 and by this time in Lee’s life he was into reggae and hip hop, the latter he first embraced in 1983 by the way of breakdancing and listening to electro, so all he wanted to do when he got his gear was make reggae and electro sounding beats. Recalling his youth and the fun he had with the echo chamber, the next edition to his home set up was to acquire one of those, which he did via a mate of his. But by the time he got his minimal set up sorted in 1988, his musical tastes had changed. House music had landed here in UK and this was Lee’s new passion, so from that point on wards he started experimenting, trying to nail a decent house groove. ‘I wanted 808 sounds, but I didn’t know what one was!’ Lee explains.

Around late 1990 or early 1991, Lee started to improve upon his set up, purchasing an Atari STE, a Cheetah MS6 , a 6 voice polyphonic/multi-timbre analogue rack mounted synth that linked up to his Yamaha – “It wasn’t a great bit of kit, I kept getting electric shocks from it. Eventually it just blew up!” Lee had acquired a cracked copy of Cubase on floppy disk from his local computer game shop but struggled with it. “It was so complicated to understand and took me ages to get used to it. I was stoned a lot back then and I just couldn’t concentrate on anything for long” Lee laughs, continuing “I also picked up a 4 channel sampler/sequencer which plugged into the side of the Atari and that’s when I first started sampling, I think this would have been late 1991. I had the Simon Harris ‘Breaks, Beats and Scratches’ vinyl that he put out on Music for Life which were a godsend back then. I was also sampling a lot from cassette tapes, especially reggae. I would also record the Stu Allan show on Key 103FM, one of the main stations broadcasting out of Manchester. He would do a 3 hour show with hip hop and house, and then hardcore house came along. Eventually he dropped the hip hop altogether and it was just house and hardcore. I recorded the shows onto cassette most weeks and started to learn more about how house and hardcore was put together by listening to those shows.”

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Giammarco Orsini - UNIT-Y001

Giammarco Orsini

UNIT-Y001

12inchUNIT-Y001
UNIT-Y
03.04.2025

For Giammarco Orsini, music has always been about creating connections— between tracks, people, and moments in time. 'UNIT-Y 001' embodies this idea, with each track capturing a distinct moment in Giammarco Orsini’s life. The EP blends House, Electro, Progressive, and 80’s influences, while weaving together personal memories and experiences.

His long-awaited solo EP, 'UNITY-001,' will be released through the newly formed label UNIT-Y, created by the minds behind Partisan and Mood Waves. As a label, UNIT-Y celebrates friendship, collaboration, and the inspiration that emerges from shared artistic journeys. Giammarco Orsini’s longstanding friendship with both label’s founders made him the natural choice to be the first artist to debut on this new platform.

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Sonic Wave Collective - Where the light breaks

2026 Repress After the memorable performance at Mostra festival, the electronic music group Sonic Wave Collective aka SWC, formed by the producers Absis, Cyklos and Spear, release their first vinyl record for Arketip Discs. SWC introduce a new avant-garde voice to the underground scene, weaving a mesmeric narrative that combines textures of introspective and refined techno with a very personal style.

This debut features six cuts that reveal the trio's diversity of influences and sonic sophistication.

Forest on Stasys is a renowned Argentinian artist who not only runs Aura Sonora, and is Co-Founder of Danza Nativa, but has released music on Claudio PRC's 012, Harmony Rec, and Fur:ther Sessions amongst others.

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Minuit Machine - Queendom

Minuit Machine

Queendom

12inchSR0026LPCLR
Synth Religion
24.03.2025

QUEENDOM is an album that marks a new era for the project while staying true to the essence of Minuit Machine. Produced under the SYNTH RELIGION label, this opus immerses us in Amandine's introspective realm, oscillating between darkness and light, between doubt and self-conquest. While retaining the emotional DNA of previous productions, QUEENDOM stands out with a more pop-oriented touch, featuring tracks where Amandine sings in French for the first time.

The first single, "HOLD ME," is a powerful pop anthem addressed to the queer community, celebrating the freedom to be oneself and breaking free from societal and patriarchal norms. This track is a true empowerment statement, with striking electro beats supporting a strong message of emancipation and pride.

"Créatures," a collaboration between RAUMM and Minuit Machine, is a modern fairy tale—a timeless love story that could take place in any era. This salvific love, rarely seen today, embodies a poignant depth and beauty.

Continuing the journey, "Cent Fois"—a French-written track—takes us into a techno-pop universe with nostalgic yet hopeful undertones. This song perfectly reflects Minuit Machine's evolution toward a more radiant approach while staying faithful to its dark heritage.

"Party People," on the other hand, is a return to roots with dark wave/italo sounds. This hypnotic and haunting track questions identity in an increasingly robotic society, where individuals are forced to conform to imposed norms. This exploration of the individual versus the collective lies at the core of Minuit Machine's DNA.

"Mes Souvenirs," created in collaboration with Rebeka Warrior, dives intimately into the memories of Amandine and Rebeka. Together, they reveal fragments of their past—precious and vibrant memories that resonate through powerful and melancholic electro sounds.

Finally, the eponymous track "Queendom" invites us to plunge into the depths of Amandine's world—a universe that is both tormented and icy, yet resilient. Supported by a slow and captivating rhythm, this track is designed to grip and haunt the listener, like an incantation.

QUEENDOM is a bold and hybrid work where each track reflects a pursuit of sincerity and artistic reinvention while maintaining the ability to express emotions through rhythms that are both danceable and introspective. The album showcases Minuit Machine's artistic maturity, establishing itself as a must-listen in the darkwave and electronic pop scene.

Amandine entrusted the artistic direction of this album to Manon Dupeyrat, a brilliant young artist who crafted a bespoke universe perfectly aligned with the produced tracks. The album cover, both intimate and anachronistic, invites listeners into Amandine's private world through her bedroom, revealing what she wishes to share.

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Tumblack - Tumblack LP

Tumblack

Tumblack LP

12inchBEWITH167LP
Be With Records
21.03.2025

There's iconic. Then there's *iconic*.

A MASSIVE speaker-smashing release, decades overdue. It's been bootlegged - shamefully so, many times over the years - but finally we present the first ever officially licensed reissue of this truly special Afro-disco-not-disco LP from 1979. A favourite of Harvey, Antal, Young Marco and, er, every great DJ to ever play deep records ever, basically. It's not hard to see - or, indeed, *feel* why.

Gem after gem of relentless, irresistibly funky gold, it's an incredibly revelatory album with endlessly complex drum patterns and basslines to dive into, throughout. Truly, this is uniquely FIRE music, unlike anything else you've ever heard, based on Gwo ka music from the gorgeous islands of Guadeloupe and Martinique. A thrilling synthesis of primal, hypnotic drums - the most tribal of percussive elements high in the mix throughout - with the loping synth pyrotechnics of, amongst a whole host of other greats, Wally Badarou and bass power of disco funk don Sauveur Mallia (Arpadys, Spatial & Co.)

Originally released on the seminal French label Barclay, you'd be hard pressed to even find an original copy in nice condition anywhere, let alone for a reasonable price, so it's high time an officially licensed, remastered reissue came around. It's just the latest in a long line of Be With reissues where the music sounds like the - drop-dead dazzling - cover. This here is a true drum attack. BUY ON SIGHT!

Tumblack was a short-lived project, produced and arranged by electronic wizard Yves Hayat and it can certainly be regarded as one of the first examples of Zouk, mixing powerful disco-funk arrangements with Gwo ka, traditional music from Guadeloupe. Gwo ka is an Antillean Creole term for "big drum". You can say that again! It refers to both a family of hand drums and the music played with them, which is a major part of Guadeloupean folk music.Whilst the first side is credited to the exceptional Tumblack band, the flip is given over to "Tumblack & Friends". These weren't just any old friends. Oh no, they were the absolute cream of the French scene (think Arpadys, Voyage, Le Club, Giant, CCPP, Synthesis, Swing Family) such as Sauveur Mallia, Wally Badarou, Marc Chantereau on percussion, Slim Pezin on guitar and Jean-Paul Batailley and Pierre Alain-Dahan handling drum duties.

The urgent, frantic "Fracas" gets things moving straight away with a cavalcade of drums and percussive funk before giving way to the stratospheric "Invocation", one of the album's many, many highlights. It's effectively one long heavenly drum break, a really hard, raw, tribal drum workout without a whole lot else going on - and all the better for it! One to make you sweat, no question. Up next, "Jubilé" is announced with a bellowing accapella voice, chanting the titular name before the heaviest of kicks smashes out your system and lulls you into an absolute state of bliss for nearly 6 minutes. Whoooooosh! Rounding out the sensational A-Side, "Vaudou" is a scratchy, funky patterned drum workout which - yep, yet again - absolutely slays your neck muscles, making them snap and contract in extraordinary fashion. TURN IT UP!

Ushering in the B-Side, the brief, fidgety, African chant-funk of "Parlement" segues seamlessly, beautifully into "Waka", an overwhelmingly rich gem of percussive funk. You do not want this to end, once it hits its stride. For maximum heavenly drum pleasure, you'd need to go a long way than the moment "Waka" feels like it's fading out before it kick-drum-blend into the mighty "Caraïba (Intro)". It's just staggeringly good. It's a minute-long layered drum prelude to the gigantic track which follows. Indeed, "Caraïba" is arguably the best loved and most well-known cut off the LP. And with good reason...featuring that Mallia bass, warm Rhodes and clavs, synth magic, memorably alto sax lines and, of course, tribal chanting.

Another mighty super-ahead-of-its-time classic, the bouncing bass heavy synth funk of "Chunga Funk" deploys Mallia and Wally Badarou (on Mini Moog) exceptionally well. I mean, come on, that bassline is just ridiculous. Try not to move to this one. This extraordinary record closes out with the more traditional Gwo ka sounds of "Bateau La Passé", the tribal chorus making the hairs on the back of your neck stand up.

Tumblack really is a gorgeous late-70s disco-not-disco essential. It's an absolute MONSTER that will completely blow you away; and, yes, it's as compelling and trance-inducing as the cover. The audio for Tumblack has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The cover of Tumblack is so iconic and we sought special permission from original artist Hélène Majera to recreate this at Be With HQ. It absolutely zings off the print and serves as the perfect finishing touch to this long overdue re-issue.

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En Direct - The Illusion Of Control

Clear Memory welcomes En Direct back. After their appearance on CLEAR001 they released two EP's on our sister label Lunatic. With 'The Illusion Of Control', En Direct release their first album. A long player diving deep into the realms of the human mind and its abyss. Exploring insecurities, uproar and mania with Industrial studies and EBM, rounding it off with bittersweet Minimal Wave and Electro for the sleepless Edition of 200, comes with Info-Sheet.

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Various - THE 80s MOVIES ALBUM LP 2x12"
 
30

"30 unforgettable hits from the decade that brought movie classics from The Breakfast Club to Back To The Future.
There was no greater era for movie soundtracks than the 80s! Featuring some of the most iconic and memorable soundtrack moments including the title track from Ghostbusters, ‘Holding Out for a Hero’ from Footloose, ‘I’ve Had The Time Of My Life’ from Dirty Dancing, ‘A Kind Of Magic’ from Highlander, ‘Eye Of The Tiger’ from Rocky III, Gladys Knight’s classic Bond theme from Licence To Kill plus many more. This epic double vinyl will have you reminiscing on those beloved 80s film classics and their amazing music."

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VARIOUS - MIDWEST RHYTHMS VOL. 3

Mark Grusane presents Midwest Rhythms Vol. 3 on Disctechno: a compilation of five stripped down, off-kilter house tracks from four producers out of Chicago and Detroit and one from Grusane himself. On the A side is a spaced out synth-laden “Memory Blank” from DJ Slush (aka Eric Schwab) and a pulsing, bass-heavy beatdown on “AYYYO” from Deon Jamar. The B side features Jordan Zawideh’s reverb-heavy drum machine & synth duet “Axolotls”, Mark Grusane’s pounding, in-your-face atonal track “The Recoil”, and finishes with Thomas Xu’s grooving arpeggios on “School Street.” Not to be missed for fans of the contemporary Midwest underground."

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Babs Robert & The Love Planet - Babs Robert & The Love Planet LP

360 mcn white-white light cardboard paper / one side only hand plasticization / 2 separated parts prints / hand gluing / PVC outers / original artwork / gatefold sleeve / Bandcamp limited edition 30x60 cm insert with extended liner notes by Tony Higgins and Interview with Babs Robert and Sébastien Gorlé with exclusive pictures and self-portrait by Babs Robert himself printed on GF Smith "Takeo Tant Select" Canvas Paper tip-on left jacket panel / Exclusive never released Memorabilia from Babs Robert's vault.

Personnel:
Babs Robert - alt sax, tenor-sax, electric tenor-sax, Bin Recorder, Acme siren, Chinese-bell, sleigh-bells, maracas, tambourine,hand-rattle,claves)
John Van Rymenant - baritone-sax, fluegelhorn, Bala, tambourine, sleight-bells, cowbell, triangle, claves
Johnny Peret - vibes, bongo's, cowbell, maracas, castanets, rattle-snakes, tambourine, drums, woodclock, trinagle
Johnny Brouwers - piano, prepared-piano, triangle, cowbell, sleigh-bells, maracas, caves,hand-rattle, guiro, woodblock, tambourine
Paul Dubois - bass, triangle, cowbell, claves, rattlesnakes, hand-rattle, woodblock, tambourine
Michel Gobbe - bass,Chinese-bell, claves
Robert Pernet - drum, tambourine, seven-notes M'Bichi, guiro, alarm-siren, home-made metal xylophone, African telephone-drum, triangle, sleigh-bells, Siku

Notes:
Despite its modest role on the world stage, Belgium has produced a number of internationally renowned musicians and composers. There is the iconic gypsy jazz guitar maestro Django Reinhardt, whose position remains unassailable, and guitarist/harmonica player Toots Thielemans, who became an internationally renowned artist performing and recording with Bill Evans, Oscar Peterson, Ella Fitzgerald, Peggy Lee, Shirley Horn and Quincy Jones. The other key Belgian figure is composer/arranger Francy Boland, co-leader with US bebop drumming legend Kenny Clarke of Europe's leading big band of the 60s, the Clarke-Boland Big Band.

The Love Planet performed in the main clubs of Brussels, such as Blue Note, Pol's Jazz Place, and Smog as well as in major musical events throughout Belgium including to big festivals in 1969 - the Avant-Garde Festival in Ghent and the First International Jazz Event in Liege – where the Love Planet shared the bill with Miles Davis - and the Bilzen Jazz Festival in 1970. The contrast between the musical architecture of the themes and sonic freedom in the improvised playing perfectly illustrated the polymorphism – an order within disorder – which the Love Planet aimed for.

The initial original quartet line-up was Babs Robert (sax), Paul Dubois (bass), Johnny Brouwers (piano), and Johnny Peret / Robert Pernet (dru- ms). On the album session, the quartet was augmented with the addition of John Van Rjimenant (saxes) and Michel Gobbe (bass). As well as their main instruments, the band members also played an array of unusual instruments, principally percussion. This is the first official re-release
of the 'Babs Robert and the Love Planet'. Original copies of the album fetch many hundreds of Euros on the collecting circuit and it remains a curious and fascinating window into a moment in time that still resona- tes some fifty years later. Come with us to the Love Planet. (Tony Higgins)

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Lofi Girl Presents - Chillhood Memories LP 2x12"

Lofi Girlpresents

Chillhood Memories LP 2x12"

2x12inchLOFICOMP07LP
Lofi Records
10.03.2025
 
31

Embrace the golden tranquility of summer with Childhood Memories! Let yourself be enchanted by a compilation where each note softly whispers warmth, inviting the essence of summer to dance freely. Envision yourself nestled in a cozy treehouse, surrounded by lush greenery, basking in the warm sunlight as guitar melodies fill the air. Whether you're lost in a captivating book or sharing laughter with cherished friends, allow these laid-back tunes to become the soundtrack to your summer bliss.

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Edictum - A Cosmic Scale

The album’s title deftly gestures to the sheer vastness of astronomical dimensions, while simultaneously capturing the musical breadth within, where the eight planets are imagined as the eight notes of an octave. The work draws inspiration not only from earlier compositions —most notably Gustav Holst’s The Planets—but also from the rich astronomical and cultural contexts surrounding these celestial bodies. Here, the focus transcends direct citation of melodic motifs, instead embracing an intriguing conceptual approach on a meta level, unfolding in a series of vividly contrasting soundscapes. These contrasts shape a sweeping sonic journey, one that fully embraces the album format with both arms, inviting the listener to venture into realms both strange and wondrous, feeling the immensity of the interstellar space that lies between them. Contrast, after all, is the brushstroke that enriches our world.

Embarking on an auditory voyage, "Astral Guide" establishes the sonic framework that propels us into the boundless expanses of the cosmos. Its ethereal tones evoke the vastness of space, crafting a mood ripe for exploration within the realms of sci-fi. The subsequent tracks unfold like constellations, weaving a rich tapestry of sound that seamlessly marries cinematic soundscapes with pulsating, club-oriented rhythms. This album invites listeners to traverse its immersive landscapes, whether nestled in the comfort of home or dancing under the starlit sky, each note a guide through the transcendent experience of a nocturnal journey.

"Solar Flares" draws its inspiration from the awe-inspiring expanse of solar phenomena, capturing the majestic power of the sun as it reaches into the cosmos. This track resonates with the idea that energy, while vital, can also be a force of destruction when unleashed with overwhelming intensity. The composition beautifully mirrors the sun’s duality, where brilliance and devastation coexist, inviting listeners to reflect on the delicate balance between creation and annihilation. Through its rich textures and dynamic shifts, "Solar Flares" serves as both a homage to the celestial and a poignant reminder of nature's formidable power.

"Mercury – The Winged Messenger" embodies a meticulously crafted soundscape where artistry meets astronomy. The tempo of 173.6 BPM, derived from precise astronomical data, propels the composition into a vibrant realm that resonates with cosmic energy. Synthwave sound design intertwines seamlessly with the fluid rhythms of Drum’n’Bass, imbuing the piece with an uplifting dynamism that evokes the ethereal grace of Mercury itself. In this sonic exploration, listeners are invited to ascend on wings of sound, navigating the celestial tapestry of the universe with each invigorating beat.

"Venus, The Bringer of Peace" strikes a decidedly cozy note, presenting a poignant contrast to the more tempestuous themes often found in cosmic narratives. This composition evokes a nostalgic vision of an optimistic era, one in which humanity transcended borders and embraced the infinite possibilities of space exploration, where no destination felt too distant. The dense, languid atmosphere envelops the listener, creating a tangible sense of serenity that unfolds gradually, allowing for a meditative journey through sound. Each note serves as an invitation to linger in this tranquil embrace, reflecting on the harmonious potential of our collective aspirations and the beauty of connection in a vast universe.

The central theme of „Gaia, The Bringer of Life“ —originally not part of the planetary cycle— is the profound enabler of life on Earth. The arrangement delicately mirrors the slow, tentative unfolding of this potential, marked by an initially sparse orchestration that gradually builds in momentum. This progression crescendos, embodying the explosive dynamism of the Cambrian burst of life, ultimately culminating in a euphoric fanfare—a triumphant, celebratory flourish echoing life’s victorious emergence.

"Blue Moon" unfolds as a contemplative reverie on the tranquil clarity of a night sky, now seldom glimpsed in its natural purity, unclouded by the relentless haze of urban light. The listener is drawn into the vast embrace of the star-strewn firmament, a journey that sways between euphoric awe at nature’s sublime beauty and a profound melancholy for its fragile and imperiled state. Musically, this duality finds expression in the delicate interplay of modal mixtures, while an ever-shifting triplet groove, poised at the intersection of Outrun and melodic house, lends a pulse that is both nostalgic and forward-looking—echoing the beauty and transience of a world on the brink.

Rather than replicating the original composition of „Mars, The Bringer of War“, this interpretation seeks to evoke its profound, foreboding atmosphere. Cyberpunk emerges here as an ideal genre, channeling the dark, relentless march synonymous with Mars, the ancient god of war. The piece reverberates with intensity, as distorted vocalizations rise, embodying the anguish and visceral torment that shadow war’s violent crescendo. This auditory descent into conflict captures the relentless pulse of warfare, where sound itself becomes an embodiment of suffering and fury.

Majestically, "Jupiter, the Bringer of Jollity" emerges on the celestial stage, sweeping away the somber tones with its radiant vigor. Drawing inspiration from the triumphant strains of the original, and borrowing a melodic motif in the refrain, the piece expresses joy and buoyancy through a shift to a major key and the lilting sway of a danceable 12/8 meter. Spirited and exuberant, it leaps boldly from major to minor and back again, playfully shifting time signatures to capture a mood of unbridled festivity and jollity.

Here, a more conciliatory concept is chosen than in the original inspiration. „Saturn“ aligns with the number six, being the sixth planet from the Sun and bearing the iconic hexagonal pattern at its northern pole. What, then, could be more fitting than to render this piece in a 6/8 time signature? The arrangement unfolds with a multifaceted richness, mirroring the countless stones and ice fragments that form the foundations of Saturn’s majestic rings.

„Uranus“ adopts the theme of a light-footed, dancing instrumentation, giving the impression of perpetual motion, never quite settling. This musical choice harmonizes with the planet’s own orbit, as it spins with breathtaking velocity, teetering and swaying, seemingly unable to attain rest or stability.

The chill and vastness of the cosmos find expression in „Neptune, The Mystic“. At its core, an electronic soundscape envelops a classical arrangement, its unreachability intensified by an ethereal, otherworldly choir. Hovering at the outermost boundaries of the solar system, where warmth is but a distant memory, the composition lingers in a slow, contemplative tempo, evoking a realm where space for speculation stretches wide and silence reigns supreme.

Though Pluto may have lost its planetary status, and its companion Charon never achieved one, this shift in classification subtly aligns with the cosmic scale invoked here—one that mirrors the musical tradition of an eight-note sequence. Fittingly, the album closes with „Kuiper Belt“, a composition emblematic of the turbulence and vitality of countless smaller

celestial bodies that, though diminutive, find their rightful place within the vast architecture of the solar system.

They say nature is the greatest composer, shaping the universe with a symphony of chaos and order, beauty and danger. It is this duality that fuels the artistic vision of Edictum—a producer who, armed with a doctorate in chemistry, delves as deeply into the mysteries of molecules as he does into the depths of sound. In the tension between the vastness of the cosmos and the microscopic processes that dictate life’s rhythm, Edictum creates sonic landscapes that dissolve the boundaries between science and art.

His music is a story of contrasts—a sonic tale where the raw forces of nature clash with the intricate structures of human culture. Opposites intertwine to form a harmonious whole: the primal rhythms of the earth meet the celestial melodies of the cosmos, the rigid laws of physics blend with the boundless freedom of art. Edictum explores these polarities with meticulous devotion, each composition an expedition into uncharted soundscapes—a quest to give voice to the unfathomable.

With over 20 years immersed in the realms of electronic music, Edictum has honed a keen sense for rhythm and movement. His driving beats compel both body and mind into a hypnotic flow. Yet beyond the pulse of dance lies a complex framework of conceptual thought. Today, his creative focus revolves around holistic album projects—self-contained worlds with overarching narratives that embrace contrast and complexity. Each track stands alone as a fragment of the whole, but together, they weave a cohesive tapestry, much like the chapters of a novel that guide the listener on an emotional and sonic journey.

Edictum’s distinctive musical signature has earned him international recognition. With over 150 releases, many on prestigious platforms like the iconic *NewRetroWave* label, and collaborations with artists such as Jan Johnston, Azumi Inoue, Powernerd, and Turbo Knight, he has solidified his place in the global electronic music scene. His latest work, *A Cosmic Scale*, marks his seventh vinyl album and is released under his own label, *Echoes of Expanse*. The label’s name is no coincidence—it captures the essence of his art: echoes of infinity, the vibrations of the universe distilled into a singular sonic experience that carries the listener ever further into the boundless expanse of sound and space.

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Birthname - Spiral Dance (TAPE)

Birthname

Spiral Dance (TAPE)

CassetteLIMB020
Limbo Tapes
05.03.2025

Following on from their 2021 debut album “Lowlands”, Birthname (fka Caro) returns to Limbo Tapes with "Spiral Dance”. 8 signature beats in the form of smoked out sequencing, warped percussion, field recordings and ceremonial sub frequencies.

Their ability to meld ethereal heights and sound system depths continues to provoke movement and headphone speculation alike.

Limited 50 cassettes + Digital.

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