Dutch master of aethereal atmospheres Bohm is back on EYA’s sister label Lonewolf with the missing piece of his ‘Leaving Earth’ series. A1 ‘Stars and the Sun’ is a slow-break meditative number, while “Move over” is bleepy and playful.
B1 “Phasmofonia” is a spooky, haunting and nervous ready-for-dancefloor track. Closing the artist’s journey to vast galaxies is “Robot Heaven”, an emotional electro trip of the highest order.
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Ivor Cutler is loved by generations of fans - including Paul McCartney, Billy Connolly and Alex Kapranos - for his unique music and poetic humour. A phenomenal stage presence for 50 years, with a prolific output. Championed by legendary DJ John Peel for whom Cutler recorded 21 sessions. 'Privilege' was produced as a vinyl LP for Rough Trade Records in 1983 and has been unavailable for decades. The album is only one of two where Cutler collaborates with other artists. It is unique in that there is a second voice - singer Linda Hirst. Musicians Steve Beresford and David Toop play several instruments and produced the record.
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• Gil Scott-Heron’s “Pieces Of A Man” is one of the most important albums in the history of black American music. Although it didn’t set the charts alight, it stands as a masterpiece alongside contemporary works such as Marvin Gaye’s “What’s Going On”, Curtis Mayfield’s debut LP, Funkadelic's “Maggot Brain” and Isaac Hayes’ “Shaft”. All were brilliant in their way, but lyrically Scott-Heron was on a different level from almost every other writer.
• It was a landmark album with its bold, poetic lyrical content allied to progressive and melodic music, and it saw producer Bob Thiele help Gil and his musical partner Brian Jackson paint the picture they needed to get their message across. Thiele put Gil and Brian together with Ron Carter, Hubert Laws and Bernard Purdie, giving them the musical heft they wanted.
• For many years the focus was on ‘The Revolution Will Not Be Televised’, which was included in the Grammy Hall Of Fame in 2014, but this focus sometimes overshadowed the heights which Gil reached throughout the album. Today ‘Home Is Where The Hatred Is’ and ‘Lady Day And John Coltrane’ are also considered standards, whilst the album’s title track is a prescient and heart-breaking warning about the way in which big business dehumanises its workers.
• The album reached its landmark 50th year in 2021 and we decided that we would create this special edition to celebrate its incredible sound. The original master tape was taken to Frank Merritt at The Carvery in London, who cut it as a double disc 2 x 45 RPM record, in an all-analogue chain. The original record - especially side two - was long, and serving it up this way allowed the music a greater level of fidelity.
• The release is packaged in the original album’s gatefold sleeve.
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Moments is a music company organizing remarkable events, releasing groundbreaking productions, and daring to push innovations in underground dance music. The number seven symbolizes a quest for knowledge, and the seventh edition of Moments represents another step towards new horizons. Come Closer is a relatively new project on the global music scene. However, its mature artistic expression demonstrates the highest level of skills. The two- track material consists of over thirteen minutes of sounds that transcends genre divisions. Come Closer's music does not hesitate to include ethnic elements, funk, and even rock influences in the electronic dance structure. Both in its harmonious and production statements, Come Closer leaves nothing indisputable.
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repressed !
Label head Setaoc Mass returns to his own fledgling SK_Eleven imprint with the much-anticipated Second Chapter EP. True to form, the release deals in bleeps and melodic Sci-Fi indebted elements, yet with a harder impact and a sense of urgency calibrated for the main room floor. B-side cut Thunder Bay ventures into new territory for the artist, diffusing coarse, broken rhythms over ominous call and response synth riffs.
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3xLP, Widespine Jacket
Yellow & Black Translucent Smoke Vinyl
Yellow Tape 2 is the follow-up to Key Glock's 2020 debut album, Yellow Tape, and like it's predecessor, remains distinctly featureless. The album showcases Glock, at times alongside his alter ego, Glizock, floating over trap-heavy production with the authentic tone his fans have come to know. Featuring the singles, "Toolie," "Ambition for Cash," & "Da Truth," the album sees production from Tay Keith, Juicy J, Sosa 808, Budda Bless and more. The Deluxe version features 10 new tracks, including the standout single, Proud, dedicated to the late Young Dolph.
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(Produced, Arranged and Conducted by Claus Ogerman)
Not long after the dawn of her career, as a teenager in Rio de Janeiro, Joyce was declared “one of the greatest singers” by Antonio Carlos Jobim. Yet despite reputable accolades and the fact that she has since recorded over thirty acclaimed albums, Joyce never quite achieved the international recognition of the likes of Jobim, João Gilberto and Sergio Mendes, all of whom became global stars after releasing with major labels in the US.
There was a moment when it seemed she might be on the cusp of an international breakthrough. While living in New York, Joyce was approached by the great German producer Claus Ogerman. Ogerman had already played a pivotal role in the development and popularisation of Brazilian music in the 1960s, recording with some of the all-time greats like Jobim and João Gilberto, as well as North American idols like Frank Sinatra, Billie Holiday and Bill Evans.
"I met him in New York City, in 1977”, recalls Joyce. “I was living and playing there, and João Palma, Brazilian drummer who used to play with Jobim, introduced me to Claus. We had an audition, he liked what we were doing and decided to produce an album with us.”
Featuring fellow Brazilian musicians Mauricio Maestro (who wrote/co-wrote four of the songs), Nana Vasconcelos and Tutty Moreno, and some of the most in-demand stateside players including Michael Brecker, Joe Farrell and Buster Williams, the recordings for Natureza took place at Columbia Studios and Ogerman produced the album, provided the arrangements and conducted the orchestra.
But mysteriously, Natureza was never released, and what should have been Joyce’s big moment never happened. As Joyce remembers, “I returned home, but Claus and I remained in contact, by letters and phone calls. He was very enthusiastic about the album and tried to hook me up with Michael Franks. He wanted me to go back to NYC in order to re-record the vocals in English with new lyrics, which I actually wasn’t too happy about. But then I got pregnant with my third child and could not leave Brazil. And little by little our contact became rare, until I lost track of him completely. And that was it. I never heard from him again."
While Claus was known to be something of an elusive character, the album’s disappearance might also have been a result of timing. The Brazilian craze was coming to an end, making way for disco and new wave at the end of the seventies, and Ogerman struggled to find a major label interested in a new Brazilian sensation. Additionally, as Joyce mentions, it wasn’t quite finished. Ogerman wanted to add finishing touches to the mix and to record alternative English lyrics for the US and international markets - a critical artistic difference between Joyce and Ogerman.
As the military dictatorship’s grip on Brazil began to subside in the 1980s, Joyce had a handful of hits in her home county, including a tribute to her daughters ‘Clareana’, and the iconic ‘Feminina’ - an intergenerational conversation between mother and daughter about what it means to be a woman. But already a feminist pioneer, these successes were hard fought. Joyce had caused controversy as a nineteen-year-old when she became the first in Brazil to sing from the first-person feminine perspective, and the institutional sexism she faced was worsened by the dictatorship who would often censor her music. Even once the Junta was out of the way, Joyce found herself up against the male-dominated major record companies in Brazil, who sought to dictate her career and sexualise her image, before dropping her for refusing to play along.
A few years after the success of her albums Feminina and Agua E Luz in Brazil, Joyce’s music began to find its way to the UK, Europe and Japan, and “Feminina” and “Aldeia de Ogum” became classics on the underground jazz-dance scenes of the mid to late-eighties and early-nineties.
The full-length version of “Feminina” from the Natureza sessions was first heard on a Brazilian Jazz compilation in 1999 and “Descompassadamente” was licensed for a CD compiling the work of Claus Ogerman in 2002. Following these, word began to get out about an unreleased Joyce album with Claus Ogerman and the legend of Natureza grew.
Forty-five years since it was recorded, Natureza finally sees the light of day, as Joyce intended: with her own Portuguese lyrics and vocals. Featuring the fabled 11-minute version of ‘Feminina’, as well as the never before heard ‘Coração Sonhador’ composed and performed by Mauricio Maestro, Natureza’s release is a landmark in Brazilian music history and represents a triumphant, if overdue victory for Joyce as an outspoken female artist who has consistently refused to bow to patriarchal pressure.
***Disclaimer! While “Feminina” and “Descompassadamente'' were mixed by legendary engineer Al Schmitt and mastered from the original master tapes, the remaining five tracks are unmixed. Due to significant deterioration of the master-tapes, the best audio source for these tracks was an unmixed tape copy Joyce had kept of the recordings. The best care has been taken in the restoration and mastering of this release, but the sound quality may differ from other releases on Far Out Recordings. We advise listening to sound clips before buying where possible.
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DJ's Choice is back with a new 7” single! “Cover me” is the long-awaited collaboration between veteran Portuguese DJ/producer Dedy Dread and rising Hawaiian singer Olivia Ruff.
On side A, Ruff’s soulful voice rides over Dedy’s ‘rhythm’n’bass’ instrumental and combines with the captivating flow of Denmark-based MC Blacc El.
The flip side contains a special remix by label founder The Rebel and Roman pianist and producer Shiny D, a modern tropical rework of the original track that many DJs will appreciate.
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The album began to take shape duringJanuary 2019.
It has been recorded live by Matt Bordin ad Inside Outside
Studio, in Veneto, Italy. The choice of this method is due to the
desire to avoid the use of any post-production tool, to
maintain a natural sound and a hard impact on the listener.
"Robox" is made of nine instrumental songs characterized with
A furious post-punk full of violent and high impact riffs.
The artwork has been realized by Lacy Faery: nine monstrous
creatures, everyone of which portrays a song.
The cover art is the final portrait: the representation of
Dante's infernal journey, here embodied by the Robox, who
goes through the nine circles of Hell and faces the ancestral
traumas that affect the human psyche during its
trasformative path.
On Oct. 14th "Hard Pop" - first official single, published along
with a video - has been released.
The video has been realized by Mauro Romanzi in the ''lounge''
room of the Astro Club in Fontanafredda.
In few days the video reached more than 10k views on Youtube.
A red suite, a robot mask, violent riffs and
furious post-punk: this is Robox.
Francesco “Cesco” Cescato – Bass
Carlo Veneziano (One Dimensional Man, Orfaust, Julinko) – Guitar
Franz Valente (Il Teatro Degli Orrori, Buñuel, Snare Drum Exorcism) – Drums The Robox project was born out of the idea of making music that points towards future and innovation. This music wants to escape
from the monotony and from general music trends of the music industry.
The band uses the sound as a carrier for the lightning of the senses, to give a strong emotional shake to whoever listens to it.
After a long period made of musical experiences and geographical
distance, the Robox project starts to take shape in 2016.
During this period the songs start to sound defined, also because of
the practice coming from the first live shows.
Cesco, struck by a vision, since the first gigs starts to go on stage with a specific outfit: a bright red suite and a golden mask, evoking the image of a robotic man, the Robox: a superhero that fights the eternal struggle between instinct and reason.
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Upcoming album 'Fruit Of The Void' to be released later this fall.
Kosmo Sound is a perfect balance of tight rhythms and extended melodies, and they constantly strive to push boundaries with their sound. Having worked together with dub legends Daniel Boyle and Alpha & Omega and having played as the support act for Adrian Sherwood, The Twinkle Brothers and Omar Perry, heavily inspired, they took refuge in the studio to record this album full of meditative sounds and dense grooves.
“It's a slow motion dub explosion.” - Woodburner
“As a mixture of Slimmah Sound, El Michels Afffair and Khruangbin in which deep dub basses flirt with thin desert blues guitars, jazzy drum patterns and tufts of saxophone.” - Indiestyle
“The canvas that these six musicians span as Kosmo Sound has a musical breadth that effortlessly ranges from dub over jazz to psych.” - daMusic
"an amalgation of styles that tickle the senses" - ReggaeVibes
“This remarkable debut makes one curious about future releases” – Irie Ites
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Firescope are always on the lookout for new music, searching and sieving with headphones clamped over ears. GGGG, a recent discovery, unveils a stunning debut release. The co-founder of D.Ko Records may be a fresh face when it comes to releasing, but he has a wealth of both experience not to mention talent. His album, Gazé, is testament to this.
A spread of styles and influences coalesce to create GGGG’s unique sound. Ambient. Braindance. Electronica. Techno. All are melted and forged into the new. Processed percussion is the shifting sands from which a swooping melody takes flight, a melody that bends and soars as “K-Robot OG” ascends. Crystalline chords are shaven with fizzing drums in the frenzied elation of “Cas Contact.” And this is what lies at the heart of the collection, a rapturous joy that permeates the entire record. From the complexity and grandeur of “Chien Flûte 5.1” to the considered and subtle “Mudla 2”, the brightness of the audio palette chosen gives tracks an incandescence. This “joi de vivre” glistens and glows in the more playful tones of “Broutine Lamé” and “Cat Intro.” Textures are another area of interest for GGGG. Pieces like “Slowdry” and “Trip 2 Delinc” reshape and ruffle rhythms to bring a counterpoint to form and harmony. Beats are replaced by gentle waves of sound as the twelve-work collection culminates in “Sac Ala Blofel.”
Gazé tracks a course. From the energy and frenetic rhythms of first encounters to the atmospheric embrace of the latter part of the album, there is the sense that GGGG is celebrating the astounding of the ordinary, the amazing that is contained from the routine of dawn to dusk.
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The moons of Saturn are the inspiration for this brooding, often soaring and searching odyssey of dark electronica.
The second largest planet in the solar system after Jupiter, and the sixth planet from the sun, Saturn is orbited by 53 confirmed moons, with another 29 that are unnamed and still being studied.
Saturnian is a suite of thirteen choral tracks taking their names from some of Saturn's known moons; Dione, Daphnis, Phoebe, Prometheus, Rhea, Janus, Titan, Enceladus, Tethys, Telesto, Mimas, Hyperion and Iapetus, all named after figures from Greek and Roman mythology, each loaded with their own turbulent back stories. It is the debut release by Holmes + atten Ash, written, recorded and produced remotely in Edinburgh and Bristol by the duo Simon Holmes and Paul Nash.
Their project began during the 2020 lockdown. For Simon, time was spent exploring the Pentland Hills south of Edinburgh. For Paul, the Mendip Hills, south of Bristol. Both would experience the darker side of our human impact on the environment. Simon observed the wilderness as a wasteland, finding discarded, rusting metal littering the Pentland Hills while Paul witnessed the decimation of the ancient woodland of the Mendips' King's Wood due to the destructive tree fungus ash dieback.
These field trips fuelled a desire to navigate not just the landscape, but the duo's emotional place within it. Their collaboration led to a concept album that explores the outer reaches of the solar system, while simultaneously grounding them in a specific place. Looking inwards as much as outwards, theycreated soundscapes based on deeply imagined and felt connections to their surroundings.
After Simon had created a choral piece to accompany Luke Jerram's enormous, world touring artwork Museum of the Moon, Saturnian was a natural progression. When Simon was sent an initial score for the ethereal track Enceladus, composed by Paul in Bristol, he added choral arrangements recorded in Edinburgh. Their shimmering, tense opus continued to evolve from there. Just as the discarded bed springs and abandoned car parts that Simon stumbled upon in the Pentland Hills seemed to him at once "horrible but also oddly beautiful", Saturnian melds together melancholy and levity, fusing moments of dark angst with a celestial calm.
Opening with the glistening, hopeful brightness of Dione, increasingly urgent rhythms give way to digital, otherworldly calls from what might be rainforest creatures chirping into life with robotic squawks and delicate keyboard lines on Phoebe, followed by slowed down, monastic song on Rhea. Tethys is a hypnotic blur of synthesiser and soft chanting, while Rhea is a mysterious, echoing chasm, lifted by melodic, gentle male vocals. Janus has a glowing, effervescent energy, swiftly followed by a sense of tension on Titan, which throbs with driving percussive unease.
The album artwork is a pencil drawing created by Edinburgh artist Simon Kirby. It was made by a robot drawing machine, using custom algorithms that bring to life recordings of the sound of magnetic waves near Saturn's icy moon, Enceladus. The lines in the centre of the drawing are distorted by sound captured by the Cassini spacecraft which studied Saturn for over a decade.
Much like Saturn and its frozen, rocky moons, this debut album from Holmes + atten Ash is mysterious and beguiling, with a hint of foreboding in the depths of its powerful beauty and epic scale.
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Josh Burke is a guitarist/keyboardist/programmer from Chicago, USA, who specialises in a music that could, perhaps, best be described as an amalgamation of drone, kosmische and ambient, all with a distinctly euphoric flavour, as though these sounds were channelled rather than thoroughly composed.
He has over 30 solo releases to his name as well as splits with Jeffrey Astin (of Xiphiidae), Spirals and Body Morph, and also - like most of his peers - operates under several additional aliases - Ocean Diamond, Futuresport, The Masque, Silk Fountain, 56K, Sky Limousine and Nehal Shah - as well as ensemble and collaborative projects including Bermuda Link, Cartoon Drips, White Prism, Practical Applications Of The Chaossphere, Starfox, Camp Crystal Lake and Holographic Communications Of The Third Sky.
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Hailing from Bahrain, sensational and suave producer Zone+ has just rolled out his very first Satya EP titled For Angels. If angels danced, they would flap their wings and soar from just hearing his contagious beats. Expect full body thrills with some emotional chills, as Zone+ delivers signature sounds that are crafted for freeing yourself on the dancefloor and in the outdoors. Optimal listening time? Rest assured - these four tracks will get you rising at dawn and grooving till dusk.
So who’s this mysterious master of deep hypnotic grooves? We’ll happily tell you. Currently based in Jeddah, Saudi Arabia, Zone+ balances the art of creating depth and levels in his music to make his crowd move yet fly through emotional landscapes. Widely known for his mesmerizing sets and memorable productions, Zone+ naturally makes his mark on dance floors all over the world. Starting off as a club resident in Soundscapes Bahrain, he has since continued his musical escapades being an integral part of the growing underground movement in the region.
“I always connect with people and love historical things, buildings and old stories.” - Zeyad Mohsen, Zone+
For Angels epitomizes Zone+ for its recognizable grooviness, always generating a playful yet dreamy soundscape for solo or group listening. Adding in eerie and floaty undertones, Zone+ creates a one of a kind narrative within For Angels, alluring the listener to learn more as the tracks progress.
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2022 Repress
On the A-side, Portuguese producer Lake Haze delivers three techno cuts for the floor, all composed with a brutal acid line. On the B-side, Swedish producer Celldod returns with three electro and techno tunes for those who like the cold groove of northern Europe. Sometimes ravey, sometimes martial, sometimes funky, here is a new split EP with six raw bangers !
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BEC returns to Second State with another earth-shattering release containing four raw & atmospheric cuts.
The Berlin by way of Brighton producer BEC has been a member of the Second State family since her first release with the label in 2016. Since then, BEC has dropped 4 EP’s with the Berlin imprint, and regularly appears at the likes of Awakenings, Amnesia, Warehouse Project, Fabrik, Watergate & Burning Man to name a few.
Title track ‘Solitude’ opens with a sharp, rounded kick and crafty drumwork. Metallic swipes and rave stabs are injected to build tension, along with a choppy vocal and bubbling element. Punchy arrangements and rave stabs bring this track to rave territory at moments, before hauling back into the deepness of the cut. Next up is ‘Process Don’t Resist’, easing us in with a crackling bass and a solitary hi-hat, soon joined by buoyant claps and a muffled kick that submerges listeners into a different dimension. Darker, swiping elements are introduced with metallic textures, with the claps becoming more erratic as the track unfolds. An indiscernible vocal gives way to a jarring breakdown halfway through, sending shockwaves through the listener before submerging back into the hysteria.
‘Coming’ follows and initially appears as a break from the heaviness of the previous productions, before transforming into a high-octane stomper. A booming kick, bleeps and spiking vocal build the intensity as the track drives forward and hoover noise wavers menacingly. The vocal and kick bounce in unison towards the close, with a final cry towards the end. The finale is dark, mysterious and entrancing with ‘Fear Parade’. An authoritative female voice utters ‘not afraid’ under a myriad of shakers, howls and vicious synth swipes. The sample gradually takes over with the track building to crescendo, allowing shakers to come to the forefront along with eerie howls and a new, more robotic vocal that utters the initial phrase repeatedly until close in an effort to encourage listeners.
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Born and raised in the heart of the French Alps, and now residing in Paris, DJ Physical’s sound is one of a harsh romance. Perhaps it was the beauty and serenity of the snow-covered mountain tops and the ferocious nature of French techno moulding together that spawned his ‘Raw Poetry’ aesthetic; an emotive blend of dark and light that feels like it could belong in concert halls and theatres as well as underground clubs. Now the Parisian local serves up five deadly cuts of brooding electro and techno for 1Ø PILLS MATE.
‘Not So Human’ delivers the influence of trance on the contemporary techno soundscape, but doesn’t over-do it. Trance-licked, not dominated, the uncompromising cut of wave-driven techno is the perfect accompaniment for when you want to take things up a notch. ‘Sex Club’ maintains DJ Physicals’ fascination with Raw Poetry - brimming with breaks-driven breakdowns, spine-tingling atmospherics and low-pressure basslines that highlight the variety of influence the emerging producer brings to the table.
Acid synth-lines and lively trance-inspo create an altogether lighter mood as we flip the record on ‘Mortal Dance’, before ‘Easy Dancer’ changes its tune altogether with a pounding cut of progressive, freaky electronica.
Closing the release is ‘Go Further’ - misty electro, Southern-trap samples and those distinctive, high-culture ambient interludes creating a sense of emotive mystery. A well-rounded release with plenty of left-turns, this is DJ Physical’s ‘Raw Poetry’ at its finest.
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Eight years after Cuthead's "Give'n'Take", it's Sneaker's turn to put together four of his favorite tracks for Uncanny Valley's compilation series. The artwork is once again by Planetluke com aka Luca Lozano. "This record is a vista of my world where music inhabits the air between people. As an exchange of genius, emotions, gestures - even conventions, rituals, and love. Dedicated to L.B. BaD, whose music I inhaled and whose records inspired me on my quest for deepness. You will be missed!" (Sneaker) Besides L.B. BaD's wonderful "Late In The Evening (Music's Seeping Thru)" you'll get three absolute bangers on top. The Optimistic Misanthropes are Mystic Bill, VeXaTioN and Sneaker himself. One of the most influential Chicago House DJs, true to the underground for over three decades now, and once part of the Trax Records roster... Mystic Bill. VeXaTioN already got to know him back in the days but is currently hailing from Mexico City. His track was born in Los Angeles and remixed by Sneaker in Berlin. Also, Left Unknown's "Maedchen" got the jacking Midas touch from Sneaker, a touch you've come to recognize. Behind the one-off project is Saxonian Gnista aka DJ Detox and somebody who wants to remain incognito. Jacob Korn however is well-known since the early days of Uncanny Valley and is above all Sneaker's best buddy at TailOut Studio, Dresden.
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MUSTA presents an elaborate six track EP project, titled 'Tamburi
Parlanti' which translates to 'Talking Drums' in English. The body of
work marks a turning point in his career to make more than electronic
music, and delves into a plethora of live music and field recordings
recorded for the EP, ranging from polyrhythmic tribal drum-patterns to
Afro-funk bass chords, congas and jazz-keyboard, played by local
musicians as well as himself.
Musta's love for music began during his 11 years spent living in the
Dominican Republic. This encounter of Latin rhythms started the musical
genre contamination that to this day distinguishes his productions. In
this EP, like the rest of his releases, the music is diverse, tribal and
hypnotic. Respectful of the past yet constantly innovative. This love of
the past and future has led him to release edits and originals on staple
labels such as Nervous Records, Samosa Records.
Music aside the EP artwork has significant meaning, the mask shown is
that of the ancient Mamuthone icon of Sardinian folklore which goes back
further than 2000 years, defined as a representation of the collective
soul of Sardinia, the ancient ritual of the Mamuthone creatures is that
of a rhythmic dance where 12 of the creatures dance together,
representing the 12 months of the year. With this theme, Musta aims to
connect the dots of this pastime tradition into the EP, reflecting it
visually as well as through the music itself.
"Tamburi Parlanti EP is a collection of songs that I've made myself
around the world, recording and collaborating with various musicians of
many different nationalities. The music reflects my musical path in
recent years which draws strong inspiration from afro-funk and latin
disco from the 70s and 80s. My intent is to create music that presents a
journey between the hottest Latin sounds, over to more African disco
rhythms.
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There was a time when a person would pick up an instrument to compose yet another song for a loved one. A sad figure humming into a microphone, pronouncing the most basic words and forms to convey quantity, quality, fact, statistics and similar sounds describing pain, loss and sorrow. The human brain would perceive the melody sad and perhaps within herself feel a sense of melancholia.
In another parallel world a new composition would then appear. But not one composed on a wooden built instrument, no, sounds made into structures and tables that would assists the listener into providing an additional context and meaning through digital synthesis and quantised harmonies. But who could really tell if these sounds were real? Or where they just sounds impersonating an idea of something?
Rhyme nor reason is as abstract in its shapes and ideas as it is concrete and elegant in its narratives. A carefully crafted wooden cabinet with an over-whelming amount of different drawers and hidden compartments. Each box storing blissful arrangement; a fluorescent stone, a paper note saying something about lunch, some collectible objects, a forgotten token or perhaps an autograph, all so very vibrant and joyful for its possessor.
Deleted files stored on rapidly rotating platters coated with magnetic material. Small, easy to loose SSD memory cards of recorded corrupt files and digital artefacts. Software engineered compositions trying to grasp the shared belief of an upcoming future, vivid and uncertain; birds, waters and long lost recollections. A release unconcerned with the literal depiction of things from the visible world. At least not for now.
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We have a very special new artist for you from Berlin. Dutch native Pete Bandit relocated to Berlin some years ago where we first met in 2018 when he was part of the “Times Are Ruff” collective. They contributed a track on Dirt Crew for our “Deep Love 2018” compilation.
Now recently going solo he developed his sound even more towards Detroit-ish house with dabs of techno and a bit of high tech jazz in there as well. This debut EP offers Loads of deep soulful grooves, spiritual “computer” music at it’s best!
The A-side “Wild Feelings” is such a beautiful opener to this record, with it’s lush spread out intro it paves the way with that perfect mood for what is to come, a mix of soul, funk and electronics and overall well crafted deepness. The keys on this one were contributed by the mysterious “Nelson of the East” topped with vocals by Pete himself. “It’s Happening Again” continues the story with soulful deep house textures and this one especially reminds us a lot of those early 90s Chicago/ New York House gems, the track is building towards a great breakdown key change and with its atmospheric strings and pads it’s a truly uplifting “Good Times” tune.
On the flip we have “Computer’s Creativity”. This track picks up the pace and is centered around a funky, almost slap like, bass line. Here again topped by a vocal add of Pete about “Computer’s Creativity” and with it’s cool break this one will also be a sure floor filler, guaranteed! The closing track on this record is the driving “Luv Your Body”, great percussion guides us through a loose set arrangement and make this one a perfect late hours or early mornings tune in any mix, it could go on forever!
All tracks have been mixed by Ariel Schlichter in Berlin and mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.
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Originally released in 1994 on Calypso Records / Irma Records in a triple vinyl promo white label version, Don Carlos's album Aqua is the
second album by the Varese-based DJ producer, already then known for his first two singles Alone and Mediterraneo, then both included in
his first album entitled Mediterraneo and released only in Compact Disc format in 1992 for the American market printed and distributed by
IRMA U.S.A., the American subsidiary of IRMA Records Italy.
The same fate will also have the Compact Disc format of the Aqua album, again printed only on the American market.
But the triple vinyl, printed in a limited edition of 500 copies in a white generic envelope, was never reissued and has become a rare record
over the years.
After almost thirty years, after countless requests for reissues, especially in the last few years in which the name and music of Don Carlos
has made a comeback, Irma Records has decided to reissue the vinyl in exactly the same original triple version.
DJ Don Carlos (born Carlo Troja) with his productions in the 90s has become one of the cult producers for DJs around the world.
His track Alone released in 1991 for Calypso was and still is one of the classics of House Music, played by all the major American and British
DJs.
At the time of its publication it was considered an underground song and therefore did not sell very much, but over the years its myth has grown
thanks to its subsequent productions as for example his second single, the EP entitled Mediterraneo, title which it will then inspired his first CD
album printed in the USA with the same title.
Several other singles followed, another album, always printed only in the USA, entitled Aqua, from which a triple promo vinyl was extracted which
today is one of the artist's most requested rarities.
In Italy his third album was released in 2002 entitled The Music In My Mind where Kim Mazelle, Michelle Weeks, Taka Boom and Kevin Bryant
were present as vocal guests. In 2009 a collection of the first two albums released in the USA titled Mediterraneo-Club Favourite Collection '90-
98 and in 2010 his fourth album entitled The Cool Deep which reproduced the sounds closest to his first productions.
Also active as a remixer for Italian and international labels, one of his most important works is the remix of Byron Stingily of the song You Make
Me Feel of which he made a worldwide hit. As a producer he also used other pseudonyms such as Montego Bay, Aquanuts, Sotterranea and
Love 2 Love Orchestra. He has played and plays in different countries such as London, New York, Miami and at various festivals, such as the
Robot and the Stickermule Festival in an evening with Apparat, Derrick May, DJ Koze, Lil 'Louis, Young Marco and Ellen Allien, LTJ Xperience
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We call it EBM Electro Acid! The ND 005 is Dark and Groovy at the same time!
MAN2.0 is a DJ and producer from London and has graced the decks in Berlin, Edinburgh Manchester and recently at the closing party of London clubbing institution the Cause, playing on the same bill as Optimo, Kink and Ben Sims among others.
Mark (as he’s known to his friends), has also released on Nein, Wonder Stories, Hypnotic Connection amongst others and has remixed for numerous artists such as Zakmina, Ali X (of Azari & III fame) and DDM boss Black Light Smoke, he has also picked up plaudits over the years from artists like Rex the Dog, DJ Sundae and has had his music described as ‘Dark but Ultimately redemptive by the late great Andrew Weatherall.’
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Swell Maps / Television Personalities affiliated C86-era indie pop rescued from sheer obscurity and thrust into semi-obscurity by FELT. The Catburgers were a short-lived Scottish group, this recording initially primed for release on Dan Treacy’s Dreamworld imprint yet placed on the perennial backburner as so many creative projects inevitably are.
Soundcloud uploads dating back over a decade ago and the odd blog/twitter post aside, the group seemingly lived on only in the memories of those who happened to catch them on the Edinburgh scene back in the day. Until now! With the help of the National Sound Archives, the original master tape containing these three tracks has been rebaked, cut and mastered for seven-inch.
‘Holiday House’ sounds immediately at home in the Postcard Records nexus, the influence of 1980 particularly tangible. Slower paced and with a touch more melancholy than its companions, the song sounds both in and out of time, as if some young teens raised on a hand-me-down diet of Pastels CDs might have laid it down yesterday.
Jowe Head of Swell Maps joins the group for ‘The Acid Tree’, whilst EP closer ‘Diving For The Brick’ sees the band ruminating on weak knees, sore lungs and stinging eyes down at the local swimming pool.
Accompanying the release is the original demo tape predating this record, recorded at The Rocking Horse Studios in Bathgate in Autumn 1986. The demo is restored from a tape copy owned by journalist Simon Reynolds and contains some of the tracks that made it onto the 7".
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Rich Aucoin is announcing his next album entitled Synthetic - The record is a rare Quadruple Album with its 4 seasons/LPs being staggered in 6 month intervals over the next 2 years
The album, which began at The National Music Centre in Calgary, Alberta in March 2020, houses one of the world's most extensive collections of rare and historic synthesizers. There, Aucoin was doing the Artist In Residence program and recorded 51 synthesizers to begin the project. The project was paused with the start of the pandemic and Aucoin shifted back into film scoring and worked
on the critically- acclaimed and short- listed New Yorker - Films of the Year documentary, No Ordinary Man, about the trans- masculine jazz musician Billy Tipton.This record is a good demonstration of Aucoin's scoring potential as well as it's a quadruple instrumental album; a huge contrast to United States, Aucoin's previous, and most vocal heavy album to date. Lyrics just take me so long to write that I just want to take a couple years to make other kinds of albums before going back to lyrical music as I can write instrumental music much faster. This first fulllength features Aucoin as the solo musician playing some 37 synthesizers including: Arp 2600s, the Supertramp owned Elka Rhapsody 610 String Machine, Formanta Polivoks, Novatron T550, Oxford Synthesizer Company Oscar, Selmer Clavioline CM 8 and the legendary TONTO which the first release off the record
was made on.
Tracks: Tonto / Hypernormalization / Algorithm / Future / Buchla / Esc / 456 /
Space Western / Return
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MixCult presents LO-FI sublabel CRYSTAL MUD focused on limited edition lathe cut 7" & 10" discs.
Dub Techno Music in Dubplate Culture. Highly Exclusive.
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Since his Beat Diary debut (a 12xLP box set comprising 365 beats recorded daily over the course of a year), Julian Sartorius has immersed himself in unique and ambitious projects - trekking the path not travelled to arrive at rhythmic life forms through found objects and prepared instruments. Equally as mighty are his two other escapades, the most recent being Locked Grooves - 112 beats cut as endless loops on vinyl spanning 56 dense 1.8 second compositions per side. Preceding that is his auditory hike into the mountains (Hidden Tracks: Basel - Genève), wading through and playing the landscapes around him like a lithophone.
While Julian’s previous releases focus on innovative and conceptual approaches to realizing an album, his new venture on Marionette (titled Mux) is a culmination of all his efforts thus far to mimic a synthesizer and drum machine. This seemingly impossible feat challenges Julian to experiment and develop a musical language that bridges the gap between organic timbres and electronic music. When listening to Mux, one might simply forget that the seemingly electronic sounds are only constructed organically via hand movements. The common thread in all his works thus far is that the drums are treated as resonant bodies - free to flow and form rhythm and harmony in spacetime.
This is Julian’s second outing for the label, the first being (the long out of print) Sulla Pelle with Valentina Magaletti in 2019. Other collaborations include prolific artists such as Matthew Herbert, Sylvie Courvoisier, Gyda Valtysdottir, Dimlite, Shahzad Ismaily and Dan Carey (Speedy Wunderground).
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Standing firm on a steady driving rhythmic section, Over The Leap symbolizes the awakening of the life on Earth, the arrival of the morning sun. A deep chord brings in the necessary warmth to prepare the ground for the life on earth to emerge, a bright uplifting pad signs in the beginning of a new day as the light surely gains intensity. Steve O Sullivan adds his signature steady sound to the original track. Emphasizing the comfort and warmth of the early hours of a summer day; extending time as if to focus the attention on the beauty of a world not yet awakened but ready to be. Original hovering over, remix going deep into the leap that the world is about to take every single day when the birds sing. Original Behold, Begin will be available as free download, which offer the necessary well deserved space to Heavenchord to fully express his deeper interpretation of it, giving a massive push to the Jazz influences of the track to then introduce to the audience the depth of a reshape that could only come from one of the most profound artists that Dub Techno has in store today. A release aiming to bring together the two principles of life according to ancient Philosophy : ground the feet on the soil, extend to the sky, and come back to being with a deeper focus on the feeling of being alive.
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Perc Trax's scene leading Forever series returns for its third instalment. Taking a more curated approach to your typical 'release 30 random tracks and see what sticks' approach of most VA projects, the Forever series keeps the track count tight and the quality control even tighter. Featuring four artists new to Perc Trax plus new material from label regulars Perc and EAS, Forever 3 is essential as a summary of where both Perc Trax and the wider techno scene are at right now.
Opening up proceedings is Somniac One, making her Perc Trax debut after well received releases on RAW, Ghostly International, PRSPCT and her own newly launched Somniverse label. 'Junkyard Shift' is everything you'd expect from Somniac One on Perc Trax, huge kicks, hardcore synths and just the right amount of dance floor drama. Next up another Perc Trax Exos debutant, well known for his releases on Trip, Symbolism, Force Inc and more serves up something from the rougher extremes of his musical range with 'Warlion' a 4/4 stomper relying on swooping synths to drive the track forward.
On the B-side Perc collaborates with new Perc Trax signing Million on 'Rotopod'. Working together for the first time the newcomer influence pushes Perc's sound to a faster, more aggressive place. Closing the vinyl is 'Ryu Acid' by Perc Trax regular EAS, an acid fuelled monster that has been a highlight of Perc's sets for over a year now.
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"Delivering his first solo EP in over two years, Blue Hour releases Origins, the 21st release on Blue Hour Music. Following a succession of remixes, V/A contributions and an EP under his Tracing Xircles alias earlier this year, the Berlin-based producer and DJ shares four tracks diving deeper into his UK roots. Channelling breakbeat, techno and trance with the hallmarks of 90’s rave, Origins builds upon the foundations created from his EP ‘Devotion’ in 2020.
In this eclectic EP, Blue Hour explores several sonic palettes. The title track blends celestial chords with urgent drums and acid basslines, while uplifting vocals and subtle melodies wind through the track. ‘True’ dips more heavily into breakbeat territory with evolving and immersive pads, soaring strings and a twinkling synth-line. A dynamic fusion of fast-paced energy and soft touches.
On the flip, ‘Emergence’ dances a delicate line between melancholia and elation, as dystopian chords pool with a squelchy acid sequence and a classic house vocal. ‘Searching’ closes on an ambient tip with spell-binding pads and an angelic melody, conveying a bright side to Blue Hour’s aesthetic, akin to Origins as a whole."
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reissue with original artwork!
Todd Terje's 2012 EP It's the Arps rumbled the floors of warehouse parties and hedonistic sleepovers alike with lead single 'Inspector Norse' leading the vanguard of electro fun.
Please welcome: It's The Arps! Oslo's magic music maker Todd Terje has already gained a wunderkind like reputation for his gentle yet potent productions (we won't mention the 'E' word here) on labels like Full Pupp, Permanent Vacation and Running Back on top of being one of the best remixers money can buy (Shit Robot, Bryan Ferry, Dølle Jllle etc etc). What is there left for him to do Establish a label of his own! 'It's The Arps' is the starting signal for Olsen. And what a splendid one it is. Created from scratch and solely on the mythical synthesizer ARP 2600, it features four tracks (reads instant classics) that couldn't be a better follow-up to his 2011 super hit EP 'Ragysh'. Towering over the assortment is the laser crime scene called 'Inspector Norse'. Defying genres and blinkers, this is finest goose bumps dance music that makes you whistle along, laughing and crying all at the same time - but the rest isn't half bad either. The short, but sweet 'Myggsommer' gives away Terje's secret love for quirky exotika, whereas 'Swing Star Pt 1' and its brother have a (balearic) brilliance and witchery to them that is rarely found nowadays. Released on Olsen Records and housed in a beautiful sleeve courtesy of Bendik Kaltenborn. 100% Arp 2600 and 200% Todd Terje.
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Horsey’s critically acclaimed debut album Debonair arrives on vinyl via London label untitled (recs). Made up of Jacob Read, Theo McCabe, Jack Marshall and George Bass, Horsey have built a cult live following having toured with the likes of King Krule, Goat Girl and Hinds, as well as playing sold-out shows across their hometown venues with the likes of YOWL, Hotel Lux, Norman, Ugly, Lazarus Kane and more. Horsey refused to be pigeonholed at every turn. “Debonair” is propelled forwards from the opener with an incomparable wide-eyed intensity that blurs the lines between dark, glam inflected noise-rock, surreal jazz breakouts, wonky apocalyptic pop, emphatic rock opera-esque histrionics and melancholic lo-fi without abating. The juxtaposition between maturity and immaturity is central to the album’s themes, and this contrast is not only found in the album’s dynamic instrumentation but is also prominent in Horsey’s intoxicating and coltish lyrical prose, which is all at once deeply personal, tumultuous and utterly abstract. Though often delivered with overtones of sardonic humour the subject matter carries a sincere message, one that channels the spirit of when the band first met in nursery whilst tackling the tropes of modern living. The result is a gripping and exuberant reminder that there is great value in applying some childlike lateral mentality to the all too serious events of adult life. Tracklist: A1/Sippy Cup A2/Arms and Legs A3/Underground A4/Everyone’s Tongue A5/Wharf B1/Lagoon B2/1070 B3/Clown B4/Leaving Song B5/Seahorse (Feat. King Krule)
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Two decades since they formed in New York City and over ten years since their last album, Tel Aviv based quartet Shotnez are back with Dose a Nova, an album of 10 exhilarating jazz filtered jams, with vibrations indebted to tuareg desert blues, Ethiopian-jazz, 1950's Afro Cuban recordings, surf- rock and folk from across the East Mediterranean basin.
Featuring the original Balkan Beat Box producers Ori Kaplan and Tamir Muskat alongside Uri Kinrot from Boom Pam and Itamar Ziegler from The Backyard, four musicians who are all producers and share love and deep connection to hip hop and jazz, Shotnez reunited in 2020 meeting up for improvised sessions and jams, once a week over a period of about four months at a carpentry turned music studio in suburban Tel Aviv.
Downing midi cards, triggers and synths, the day to day tools for these four producers and picking up and playing their respective traditional instruments - saxophone, clarinet, guitar, bass, percussion and drums – the group was immediately liberated by the moment. In the middle of a strict lockdown, they had no preconceptions, no deadlines, no labels or managers knocking on the door. This was an opportunity to rebuild the camaraderie that developed on the other side of the world two decades back, to reconnect as brothers and seek a higher spiritual plane, all the whilst fully encouraging each other to express their diverse musical backgrounds channelled within, during their time apart.
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A floaty, smouldering underground bubbler, 'Quero Ver Você Sambar' is, to our knowledge, the only record by Homero França. Released on a 7" compacto on Chantecler Records in 1976; the song was co-written by Aloisio Silva, who was the composer behind the tripped-out, instrumental monster track 'Tema, R'. Hidden on the B-side of an obscure lost 7", 'Quero Ver Você Sambar' is soulful samba at its finest, with a beautiful call-and-response chorus, it brings the heat to the dancefloor.
Vocalist Silvinha Araújo graced us with a number of wonderful recordings in the 60s and 70s, including collaborations with her husband Eduardo Araujo. 'Mas Nao Deixe De Ir' is taken from Silvinha's 1969 album 'Caminho Sobre Nuvens' on Odeon Recordings. The backing track loosely resembles Archie Bell & The Drells classic 'Tighten Up', and here Silvinha's take gives the track a new twist, blessing it with her uniquely powerful, gravelly vocals that effortlessly ride the breakbeat. At just over two minutes long, it's short but powerful.
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Magnificent Wolof drum music, performed by an extended griot family over seven consecutive days, in the mystical setting of Lac Rose, outside Dakar.
Doudou Ndiaye Rose — who died in 2015 — is a key drummer in the musical history of the world. He developed a system of five hundred original drumming patterns, ancient and new. Amongst the modern rhythms here is Bench Mi — ‘under the Baobab tree,’ a spot where problems get solved. Also Hibar Yi — ‘passing on information’ — the theme-tune of Senegalese TV national news for decades — and Les Rosettes, the signature rhythm of Senegal’s first ever all-female percussion group, convened by Doudou, and named after his grandmother.
These original compositions sit alongside important traditional rhythms, familiar to every Sabar player, such as Farwu Jar (a courtship game sometimes resulting in a wedding), Ceebu Jin (also the name of the national dish of fish and rice), and Gumbé, often played after a successful harvest.
Recorded in joyful single takes, with no overdubs, mastered by Rashad Becker, the music is deep and thrilling, polyrhythmic to the bone, with a complex, pointillistic intensity at times evoking Jeff Mills in full flight.
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Shinedoe readies her fifth album ‘Freedom Riders’ on her MTM Records imprint with the release of her vinyl-focused ‘Wake Up’ EP, offering a four-track preview into the project while unveiling a selection of diverse electronic productions for home listening through to the dancefloor.
Over two decades, Dutch DJ and producer Chinedum Nwosu, aka Shinedoe, has established her presence as one of house and techno’s most loved talents, while carving a true path to her own vision. Based in Amsterdam and featuring as a key part of the city’s rich and blossoming underground scene, with performances across De Martkantine, Shelter and Thuishaven to international institutions such as Berghain to fabric, her releases on the likes of Rekids, Cocoon, Bpitch Control and her 2021 release ‘The Observer’ on Jeff Mills’ iconic Axis cemented her reputation as one of the scene’s first talents. Having launched her own label MTM Records in 2018, releasing four EPs on the label to date, October signals the arrival of the label’s first album in the form of her ten-track ‘Freedom Riders’ - an expansive and diverse project created in lockdown capturing sonics from across the spectrum - with the LP preceded by Nwosu’s four-track album sampler EP titled ‘Wake Up’.
“Freedom Riders is about living in a world where there is peace, and all our basic needs are fulfilled. Each being having the right to live in peace, be happy and to be. We are all Freedom Riders, some of us get lost and need to get back to the source.” - Shinedoe.
Opening production ‘Wake Up’ is a tension-building journey through metallic textures, warped vocals and eerie interludes, while album title cut ‘Freedom Riders’ fuses hazy atmospherics, rich chords, crisp percussion and sweeping acid lines to offer a late-night ride through smoky territories. On the flip, B1 ‘Peace’ offers an exemplary balance of light and dark with delicate yet vibrant leads guiding murky undertones and sharp percussion throughout, before closing with the hypnotic, off-kilter and mind-altering sonics of ‘Safety First’, traversing soundscapes to showcase and excellently crafted early-morning cut.
Cuts across the album continue this wide-reaching and rich variation, with the likes of ‘Shine’ and ‘Lockdown’ drawing on classic and modern house influences to offer striking additions for the dancefloor, while ‘Floor Action’ and closing track ‘See The Light’ veering into more dubby, paired back territories to offer up a sense of space and tranquillity - with the ten-track project showcasing a carefully crafted album rich in sound design showcasing one of Amsterdam’s finest talents.
DJ FEEDBACK
early support from
Laurent Garnier: Really like PEACE & SAFETY FIRST niiiiiiiiice
Marcel Dettmann: thx
Luke Slater: nice release thanks!
Ame (Innervisions): thanks
Ben Sims: safety first my fave, thx!!
Slam (Soma): Thanx
Chris Liebing (CLR): great vibe
Radio Slave (Rekids): Woah ! "Freedom Riders" is great... and just in time for the weekend ! Thankyou x
Bambounou (50 Weapons / Sound Pellegrino): There's a vibe I like it thanks
Anthony Parasole (The Corner) this is so good
Truncate: Solid cuts!
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Home is a powerful concept with an abstract definition. This solo album takes those subjective ideas and unifies them under one roof. Evolving from Jerve’s #dailypiano posts in 2019, ‘The Soundtrack of My Home’ relays thoughts and improvisations that trace his journey from childhood home to adult and now, father. Nurturing a mood or feeling, each song begets a sonorous story of someone close to him, expressed through the language of piano playing.
Jerve makes use of his hands as a human step sequencer, often programming two or more motifs of varying lengths in a polymetric fashion. These melodic patterns and arpeggios evolve at varying rates but grow around clear progressions with standard 8-bar forms.
The first track - ‘Kjetil’ enters with an earnest, gentle and endearing character - like a young river near its source. As with such a river, it will grow to varied sizes throughout the album but must begin as a humble expression from the source. The following titles sketch his interpretations of the people that have made up his home.
There is a theme across the album that unites the songs, so much so that differentiating tracks can at times be difficult. Though, Jerve punctuates this overarching mood with a few distinct structures, as found in tracks ‘Karoline’ (wife), ‘Espen’ (brother) and ‘Sven’ (father). ‘Turid’ (daughter) and ‘Jon Eirik’ (brother) seem less directive and welcome more intrigue, reminiscent of a curious child wandering through the dappled light of a forest.
‘Iben’ (daughter) and ‘Eivor’ (daughter) have a hypnotic, three-pointed melodic structure that leaves the listener suspended; transfixed - while ‘Sussi’ (cat) carries unique momentum and suitably feline autonomy. ‘Mette’ (mother) has a mood of ascending, like that of a child's upward gaze at their maternal carer. Utterly nuanced in structure, Jerve leaves ample space for subjective interpretation and allows the listener to weave their own life into the tones.
As expected from the founder of Dugnad rec - this album signifies a deeply personal sentiment. Sometimes we are forced to confront the music and other times, we are left to wonder. Here, we find a balance and unity that allows little thoughts and worries to drift away, bringing us warmly to rest in the present. The LP edition's bonus track features producer/performer extraordinaire Stian Balducci, drawing a line to the next chapter of piano-based music from Dugnad rec: TOKYO TAPES: PIANO RECYCLE.
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Taken from the forthcoming album ‘Prom Nite’. The opening single of ‘Prom Nite’ is a sermon perfect for log cabin lock-ins and losing yourself across the Balearics: 'Feel Like Home' is spirited, euphoric and thoroughly satisfying, not to mention an advertising executive’s dream. London’s House Gospel Choir, endorsed by Annie Mac and The Blessed Madonna, provide the salvation that everyone is looking for right now, their heavenly harmonies aligned to Yoda’s gentle grooves and keys leading you to the light, encouraging the linkage of arms and for its soulful soothing properties to wash over you. Cover Art by ENDLESS..
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SAISEI founder Junki Inoue continues his vital archival work uncovering the riches of Japan’s distinctive electronic music scene and bringing them to new audiences around the world. The Sounds Of Transonic compiles six tracks recorded in Tokyo between 1991 and 1995 and released by the pioneering Transonic label, founded in 1994 by Kazunao Nagata and active until 2004.
Transonic’s catalogue is a glittering roll call of the scene’s major players, whose inventive and genre-blending work established forward-thinking house and techno in Japan in a way that would shape the country’s electronic sound for years to come. Transonic was instrumental in giving exposure to the work of these artists with its emblematic series of CD compilations, released over a short couple of years in the mid 90s. Beginning with 970-1450km/h, Feedback and Range, the series also included The Roots Of Transonic, featuring music from parent label Trigger. Alongside these compilations came much sought-after solo albums each packaged with striking cover art that makes the discs a visual treat for collectors to this day.
The Sounds Of Transonic brings together six tracks from the catalogue into one breath-taking package. The influence of hi-tech jazz and machine funk from Detroit is undeniable in ‘Dream Trance’ (Mind Design) and ‘Blasting Soul’ (Interferon), while ‘Under The Ground’ (Palomatic) and ‘Chelsea’ (Suzukiski) are permeated by the artificial intelligence and trip hop emanating from the UK at the time. The compilation is bookended by two tracks by Nagata himself (as Organization): ‘Space Ball’, a Model 500-worthy chase through the cosmos, and ‘Call’, an eerie echo of Kraftwerk’s telephone, transmitting expectantly out into the void and, finally, receiving its celestial answer.
With The Sounds Of Transonic these formative pieces of music will now be available internationally and, for the first time, on vinyl.
SAISEI is a Japanese word which translates to ‘reproduction’ and ‘to play’ (as in playing records). Japanese culture is widely known for its traditional nature just as much as it is for being forward into the future and this label’s concept does justice to exactly that. Having started digging for records as early as 16 years old, Inoue delved into productions from 1990s Japan to uncover these native gems. SAISEI’s core concept is to recapture and reintroduce unique pieces of Japanese electronic music onto vinyl, to an audience it never reached before as most of this music was only released in Japan.
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