Buscar:the elect

With Our Latest Release, We Proudly Introduce the Exceptionally Talented Italian Producer, Younger Than Me. Since 2016, He Has Been a Consistent Force in the Music Scene, Gracing the Catalogues of Exceptional and Friendly Labels Like Bordello a Parigi, Tusk Wax, Xxx, and Dischi Autunno. His Impressive Body of Work Showcases a Diverse Musical Landscape, Blending Elements of Trance, Breakbeat, Techno, and Progressive House, All Interwoven With His Very Personal Touch. Younger Than Me's Relentless Dedication and Distinctive Style Have Seen His Popularity Soar, Gaining Recognition and Admiration From Music Enthusiasts Worldwide. His Hard Work Has Recently Culminated in a Meteoric Rise, Catching the Attention of Esteemed Venues Such as Le Berghain and Hör Berlin, Which Didn't Hesitate to Extend Invitations to Showcase His Extraordinary Talent. the Ep Consists of Six Compelling Tracks That Embody the Essence of Younger Than Me's Musical Prowess: "Artemide," "The Narcissist" "Ghost in the Rave" (Featuring Kiara Scuro), "Sonnenalle," and Two of These Tracks Undergo Exciting Remix Treatments. "The Narcissist" Receives a Remix by the Prodigious Figure in Dark Disco, Mahkina, While "Artemide" Gets Reimagined by the Equally Talented GЯeg. Each Track on This Ep Is a Testament to Younger Than Me's Sonic Innovation and Prowess, Showcasing His Ability to Traverse Various Genres While Infusing His Signature Style Into Each Composition. From the Haunting and Mesmerizing "Ghost in the Rave" to the Pulsating Energy of "Sonnenalle," the Ep Promises an Immersive Journey Through a Diverse and Richly Textured Musical Landscape. Younger Than Me's Collaboration With Kiara Scuro on "Ghost in the Rave" Adds a Captivating Layer of Depth, While the Remixes by Mahkina and GЯeg Elevate the Ep to New Heights, Offering a Fresh Perspective on Younger Than Me's Original Creations. This Ep Is a Must-Listen for Any Music Enthusiast Seeking an Unparalleled Blend of Musical Genres, Expertly Crafted by an Artist Whose Trajectory Continues to Ascend Within the Electronic Music Scene. Younger Than Me's Artistry Knows No Bounds, and This Release Stands as a Testament to His Evolving Brilliance and Unwavering Dedication to His Craft....

In this electrifying 2024, we're buzzing with excitement as we celebrate 40 years of Flexi, the record emporium that's weathered countless storms amidst the ever-shifting tides of the music industry, catering to vinyl aficionados across the ages. Alongside the raves and swag, no doubt, there's a killer compilation dropping on the indie label "Flexi Cuts," dubbed evocatively as "Musica Solida" spread across 3 or perhaps 4 12-inch samplers, boasting a carefully curated selection of singles from cherished Flexi-affiliated artists and producers. The vision? To cultivate a virtuous movement of sublime tunes, echoing the fervor and zeal to persist within the realm of quality that Flexi embodies within the Italian scene, alongside kindred spirits... despite the daunting challenges of the market in recent years.



Musica Solida # 1 showcases

DJ Rocca: One of the most solid producers on the panorama, a respected maestro of the clubbing scene in Italy and worldwide.

Club Soda: Live electronic ensemble, still dreamin' from their latest EP 'Basso e Batteria', which packs an unreleased track recorded directly from their house-flavoured jam sessions.

Lex (Athens) & Locke : A Greek producer who is well established in today's dance house scene, with quality-vibey releases and a very nice and classy and groovy sound. We will definitely hear from him in the future!

Hiroyuki Kato: Emerging Osaka-based multi-instrumentalist makes his debut with a very punchy and catchy track!

The Mechanical Man (feat. Bob Vito) : Neapolitan super producer. Raw-sounding, gritty, powerful and never dull, a pleasure to have him with us.



The record will be released in about 200 vinyl copies no more.

Packaged in the classic discobag 2- holes, with a distinctive letterpress print in a beautiful silver cover.



Compiled by Simone Guerra aka Relative

Mastered by Francesco Brini (except track B1, Mastered by Marco Spaventi)

Distributed by Rubadub, Glasgow

Pressed by Desslab

Design by GLZ

No Signal records is proud to introduce for the 10th release of the label one of the most important producer of all time: Jamie Bissmire. His productions have been central part of the scene through the 90s and the last decades. The UK legend spread the proper techno and electronic vibe with his solo moniker and in collaborations projects like Bandulu and Space DJz satisfying any kind of enthusiastic. The EP starts with the ambient skit "Subteranium", subtle synths and textures combined with a smooth-alternate basslines keep the listener moody and tense for an unexpected start. In Temporal Mst open up the dances. Slightly distorted 4/4 beat track, jam-packed in No Signal style, plucked arps well arranged for an elegant swing. Lore & Order is the match up to lead the dancefoors and listeners into more gloomy and wicked mood. Different sequenced synths wrap the drum groove for an hypnotic, yet enchanting and dreamy moving session. The Tapestry of Fate is definitely a massive Jamie Bissmire's signature track. Total ensemble of Ground Recordings releases, wicked patterns, dark mood and relentless pressure. Dancefloors will go mad for it. Antediluvian Analogue closes the shakers with a more modern vision, high cut on bass synth and 2/4 bleepy synth for a step-forward march. Woven Whispers closes the EP as Subteranium opened. Gloomy and dark mood, effective and reverberated synths in full shaded ambient atmosphere to stun the listener and bring it into a different sound dimension.

Swiss intergalactic 3 piece experimentalists lean on a Dadaist theme for their late-night, jam-inspired, and smokey beat laden trip to the cosmos.

Distilling surf rock, jazz and ambience, energised and patched together with spoken word samples, wind instruments and, blunted hip hop beats, ali dada’s album SUM is their invitation to dadaversum’ - their eccentric universe of sound and emotion.

Featuring Orlando Ludens (guitar & ambient soundscapes), Rulla (beats & field recordings) and Max Licht (brass & trombone), experimentation is the trio’s constant and SUM is the result of jams and associative distillation’ always with a fluid sense of genre.

Whilst SUM clearly takes new and furtive steps, ali dada’s sound is wholly their own. Nothing feels rigid here and rules don’t apply. Improvisation lingers in the air, even after the last note fades. A series of sound sketches, dense in detail, stylistically rich, SUM gives licence to couch-melt, sungaze or for those used to wintry climes, add another log on the fire.

“The songs often emerge from imperfect elements or mistakes, like from a loop or glitch. or something I played that wasn’t quite clean and building on that becomes the challenge ” recalls Orlando. Rulla adds “I play a lot of instruments, very, very badly and in music production, I’m trained to craft something awesome out of wonky sounds. That’s how songs emerge from unusual sounds”.

As for who played the double bass, no one remembers. Who belongs to the band and who doesn’t is open to interpretation. Though a core group exists the spotlight remains on experimentation through jam sessions. ali dada is a construct, a dadaverse.

Highlights include the album’s opener 'abolish the police', a mix of guitars, weirded-out wind instruments and Häuserfrau’s ever chilled vocal presence. 'tone print' is the band’s first single from the album, which combines sliding guitar, the infamous psychedelic Tim as a narrator, some early CPU game sound-splats and a meteoric dope beat, providing the head nodding groove. 'ohnedi'’s ambient charm features some gorgeous manipulated choir moments and some fidgety electronic synths.

In 2023, underscores released her highly anticipated sophomore album Wallsocket via Mom+Pop, a 12-track narrative body of work that delves into the lives of the citizens who occupy Wallsocket, Michigan. Surrounding the campaign, she immersed fans in an alternate reality game (ARG) which led players through various local-business websites to unlock unreleased music and giveaways. Wallsocket quickly gained the attention of critics with rave reviews coming from NME, The Atlantic, The Guardian, Line of the Best Fit, and Anthony Fontano of The Needle Drop. The development of underscores’ live shows have been equally as remarkable as her recorded work. Following the Gecs tour, she hasn’t stopped touring with multiple sold out headline shows in New York, Los Angeles, Chicago, San Francisco, and London, and several festival appearances including the main stage at Lollapalooza, Electric Forest, FVDED in the Park, Capitol Hill Block Party, Meow Wolf’s Vortex Festival, and most recently Corona Capital CDMX and Governors Ball NYC. She embarked on her first worldwide headline tour selling out shows in the US, Canada, Japan, Australia, the UK, and Europe, and she’s slated to perform at Outside Lands and Reading & Leeds Festival this summer 2024. She was recently announced as direct support to her label-mate Porter Robinson on the Europe/UK leg of his worldwide tour in February 2025. To put a cap on the “Wallsocket era” underscores is releasing and extended version titled Wallsocket (Director’s Cut) which includes “four deleted scenes” from the Wallsocket story.

The single features a collaboration between Studio Kosmische from UK and Cloud Canyons from Italy. Side A is a rework by Studio Kosmische of “Under Neon Stars”, a track from Cloud Canyon’s 2023 debut album “Dreaming Of Horses Running In Circles”: by adding a few parts and alchemically blending the original elements of the song - the relentless motorik pulse, the ethereal female vocals, the multilayers of monophonic analogue synths - Studio Kosmische’s version moulds a shrouding and lilting veil on the 9-minutes long original track. Side B features a brand new track, “Black Fruit”, also sprung from the creative dialogue between the two bands and clocking at about 9 minutes side-long. Born as an instrumental piece by Studio Kosmische, “Black Fruit” developed in a full song thanks to the vocal additions by Michelle Cristofori, Laura Storchi and Stella Baraldi (Cloud Canyons’ singers) and a rich yet minimalistic array of instrumental parts by Studio Kosmische’s Dom Keen, who ingeniously shaped the keys harmonies and rhythmic textures around the vocal lines. Accomplished by some subtle electronics treatment by Cloud Canyons’ Nicola Caleffi, “Black Fruit” ideally complements “Under Neon Stars” as a two-sided creature, hanging somewhere between krautrock and electronica.

Kordhell is an anonymous musician, artist, and record producer based in
Los Angeles. He's previously played in various extreme metal acts, until
abandoning these projects for his mysterious Electronic music project,
under the new moniker "Kordhell". In early 2022, Kordhell's song
"Murder In My Mind" exploded on TikTok and YouTube, helping the song
reach the top of the Billboard Dance charts, UK top 100, and its recent
RIAA platinum certification in the US.
Boasting a massive 9 million+ monthly listeners, and over 2 billion Spotify
streams to-date, Kordhell is one of music's fastest growing streaming
stories and artists of the past few years. In 2023, Kordhell provided the
opening song for the popular movie "Fast X", the newest film in the Fast
& Furious saga. Since the start of 2024, he's provided music for various
productions and games, including Asphalt 9, Netflix, VALORANT, Arcane
and many more upcoming.

In a joyous reunion after a long, 7-year hiatus, the Neil Cowley Trio reconvene giving rise to a creatively inspired recording, 'Entity', their 7th studio album. In 2006 the Neil Cowley Trio burst onto the scene with an exciting sound that fizzed with energy; their muscular anthems, galloping grooves and tender moments placed them at the forefront of the new 'post jazz' movement, paving the way for 6 highly acclaimed albums over 10 years. Cowley then pressed 'pause' to pursue a solo career - no less successful - with a focus on electronica. Now, stirred by his extended time of solitary music making, he makes a firm statement about the joy, comfort and the rewards of human connection in the digital age. Joining Cowley are his close musical allies, bassist Rex Horan and drummer Evan Jenkins; three friends giving their all to each other. Cowley is a brilliant composer and dazzling pianist and the trio flame still burns bright. 'Entity' is a magnificent return to form cementing the 'Neil Cowley Trio sound' - head-nodding wonky grooves, killer melodies, emotionally charged pieces with a glass like fragility laced throughout. It is a mature, sophisticated album of deeply impassioned music, delicate beauty, hooks aplenty and an ode to friendship.

For the past 20 years, NO FORMAT! has been cultivating the idea of an artisanal and homemade label, supporting artists who stand out with unexpected projects. Its motto, "You never know in advance what you"ll fall in love with", has guided its direction from the outset. Its high standards on the quality of the sound has become its trademark, while one of the mainstays of its work is the development of collaborations between artists from diverse backgrounds. For its 20th anniversary, a new guard of electronically-inspired artists takes over the NO FORMAT catalog for an original remix album, specially created for the occasion. 10 iconic tracks from the label are reimagined by 10 young, talented, emerging and/or established producers, carefully chosen on each track. While Pan-African trio Toto Bona Lokua"s music is reworked by British-Ghanaian afro-bass pioneer Hagan, South African vocal duo Msaki x Tubatsi is reimagined through a remix by amapiano heavy-weight Vigro Deep. Blick Bassy"s delicate Cameroon folk turns into an afro-club anthem produced by Moonshine collective leading figure Vanyfox ; Haitian-American neo-jazz artist Melanie Charles electrifies "Kouzen" by Haitian Canadian singer-songwriter Mélissa Laveaux ; renowned sound artist Sofie Birch transforms Koki Nakano"s delicate piano into an ambient soundscape. Japanese house pioneer Shinichiro Yokota gives a new spin on electro-jazz collective Asynchrone, which was inspired by Ryuichi Sakamoto"s work. "NO FORMAT! Remixed (2004-2024)" is both a celebration of 20 years of music and creation, bringing this beautiful and curated catalog into a vibrant and festive compilation, and a step towards the label"s next 20 years.

"A Singular Blend of Dynamic Post-Pop & Electronic Production Featuring The Vibraphonist’s Remarkable Quartet Special Guests Gerald Clayton and Marquis Hill Named One Of Downbeat's 25 For The Future

“His music is fresh, it speaks to everyone. Never heard anyone play vibes like that before.” -Herbie Hancock

“Best vibes player I’ve heard...” -Quincy Jones

In discussing Elements of Light, his fifth album as a leader, the vibraphonist-composer Simon Moullier often returns to a specific term: unfolding.

“This is an important word — the unfolding of a song,” says Moullier, who was born in France and lives in New York. “It’s something I’m very attached to, and something I’m always working on.” As he explains, many of his essential influences —Wayne Shorter, Milton Nascimento, Toninho Horta, Radiohead’s Thom Yorke, Ravel, — have been masterful unfolders in their writing. Moullier admires the movement and design in their music and harmony, the way one section of a tune leads into the next, everything flowing in a natural, beautiful, inviting way. Even the most serious intellectual musical concepts are rendered with a directness, a simplicity that can captivate a general audience. “For me, no matter how complex an idea can get,” he says, “clarity is always key.”

That’s a mature, evolved outlook for a millennial jazz musician to embrace, and it’s shared among Moullier’s youthful quartet featuring pianist Lex Korten, bassist Rick Rosato and drummer Jongkuk “JK” Kim. What’s more, these musicians of astonishing technical facility interact with the selflessness and good taste that Moullier’s song-focused music requires; to say it another way, they use their virtuosity to make the bandleader’s compositions sound as human and affecting as possible — never to preen."

Individually, JD Simo and Luther Dickinson are building their own legacies as solo artists, sidemen, songwriters, and guitar heroes. Together, they're a creative force to be reckoned with, making their own version of amplified American roots music. On the pair's first collaborative album, Do The Rump!, the musicians trade blistering guitar solos, take turns at the microphone, and turn their classic influences -- including hill country blues, spirituals, swamp rock, and Afrobeat -- into something contemporary, reinterpreting a number of their old-school favorites into eclectic, electrifying anthems. The partnership began onstage, where Simo and Dickinson first shared the spotlight as touring members of Phil Lesh and Friends. Dickinson had already established himself as co-founder of the Grammy-winning duo North Mississippi Allstars, as well as a celebrated guitarist for acts like Black Crowes and John Hiatt. Similarly, JD Simo had built an audience not only with his solo project, but also as a session musician for Jack White, Beyonce, Chris Isaak, and Baz Luhrmann's Elvis movie.

New pressing in soon, note increased price. When Jerry Fuchs joined Maserati in 2004, he initiated a complete overhaul of the group: old songs were dropped, tempos were drastically sped up, and the budding psych-rock impulses of guitarists Coley Dennis and Matt Cherry were given room to grow. Beginning with the electrifying Inventions for the New Season, Maserati were a better, faster, stronger beast. That spirit shines bright on Maserati VII, their first album conceived since Fuchs' passing. Maserati has an uncanny ability to toggle time back and forth between the past, present, and future – often in the span of one song. On Maserati VII, they're grounded and driven by new drummer Mike Albanese (Cinemechanica), whose dexterity and stamina prove a perfect fit for Maserati's trademark relentless, driving rhythms and epic song lengths, anchored by bass badass, Chris "Coach" McNeal. To celebrate Maserati's 20th anniversary, we have finally made Maserati VII available again on vinyl for the first time in over five years, packaged in the original heavyweight, full-color old-style tip-on gatefold jacket with custom matte and spot gloss varnishes

Born in Cleveland, Ohio to Russian parents, Alina Baraz has been around music all her life. With both parents having classical training, she was destined to find her voice through music. Almost immediately after the release of her first single, “Roses Dipped in Gold” at age 19, Baraz and her family moved to Los Angeles to pursue her career as a singer/songwriter full time.In 2015, Baraz released her debut project, Urban Flora. The acclaimed project was praised by the Guardian, NPR, Huffington Post, Harpers Bazaar and many more, and sat on Billboard’s Top Dance/Electronic Albums chart for over 125 weeks, peaking at #2. In January of 2017, she released the viral single “Electric” ft. Khalid, which has been streamed over 190M times and counting. In 2018 she released The Color of You, enlisting Grammy-nominated producer Robin Hannibal (Kendrick Lamar, Calvin Harris, Cee Lo Green) to help produce the project Baraz has been in the works of a special project, leading with her single “Trust” as her first release of 2020.

Permanent Parts is the second album released by visual artist Katharina Grosse (synthesizer) and musician Stefan Schneider (synthesizer; So Sner, To Rococo Rot, Mapstation). Grosse and Schneider were joined at Galerie Max Hetzler on 29 April 2023, performing as part of the Spectrum without Traces exhibition, by three artists who all generally work within improvised music - Carina Khorkhordina (trumpet), Tintin Patrone (trombone and electronics), and Billy Roisz (noise generator, piezo and mini cymbal). Permanent Parts is an extraordinary set of recordings that inhabits multiple zones at once: within its thirty-five minutes, we can hear the interactions of non-idiomatic collective music making, and the electronic glimmers of electro-acoustics, while, at the same time, the music remains untethered to genre.

Mamman Sani"s electronic organ music, first recorded in 1978, made him a national hero in Niger, led to him writing the Niger"s new national anthem, and has long been cherished by aficionados for its unique blend of traditional Nigerien melodies and synth experimentation. Mamman"s music embodies a sense of intimacy, echoing the presence of a solo artist in the room with the listener.

Frederik Valentin is a Danish musician, writer and producer. He has been active since the early 2000’s, playing a key role in the Danish rock, electronic and pop scenes. Having collaborated with landmark labels like Posh Isolation and produced each of Yung Lean’s “Jonatan Leandoer96” projects, Valentin has reinvented himself over and over again. ROCK N ROLL WILL NEVER DIE is his latest solo LP, a collection of rock-inflected dance music that calls to mind the scandi alt-pop of the Tough Alliance and JJ.

2 kraut tinged side long epics, one with a tip of the hat to Cluster | Roedelius & Moebius, the other way more lo-fi, kinda dirtier more Throbbing Gristle, Sheffield electronic scene etc....

Das sechste Studioalbum von Shellac "To All Trains" besteht aus 10 Songs und hat eine Gesamtspiellänge von 28 Minuten. Die Band ist immer noch: Steve Albini (Gitarre), Todd Trainier (Schlagzeug) und Bob Weston (Bass). Aufgenommen und gemischt wurde "To All Trains" bei Electrical Audio in Chicago an einigen langen Wochenenden im November 2017, im Oktober 2019, im September 2021 und im März 2022. Das Album wurde von Bob & Steve bei Chicago Mastering Service gemastert. Artwork und Aufmachung von LP und CD sind identisch (die CD ist kleiner). Bob hat alle Fotos gemacht, einige mit einer schicken Kamera und andere mit einem Telefon. Wie immer hat die Tonqualität bei Shellac höchste Priorität. Die LPs werden von Green Vinyl Records in einem Spritzgussverfahren hergestellt. Dieses neue Verfahren verwendet zu 100 % recycelbares PET (wie Limonadenflaschen) und ist umweltfreundlich, da es kein PVC oder Phthalate enthält. Außerdem verbraucht das Verfahren 79 % weniger CO2 als herkömmliche hydraulische PVC-Vinylpressen. Die Platten wiegen 180 Gramm. Wie zuletzt bei Shellac, wird es für dieses Album keine Werbung, keine Presse- oder Radiopromotion, keine E-Promotion, keine Werbe- oder Rezensionsexemplare, keine Werbegimmicks und auch sonst kein kostenloses Mittagessen geben. Die Band wird weiterhin sporadisch und entspannt Shows spielen oder auf Tour gehen, so wie immer. Es gibt bei Shellac keine Korrelation zwischen Shows und Plattenveröffentlichungen. Shellac haben keine Website. Vielleicht sollten sie sich eine zulegen.

Speedcore IDM post breakcore flashcore ... in one word Experimental Electronic Hard music !

Unique sound/style !!

Volume Two in the Electro Sampler Series of Nijmegen's finest Shipwrec. Another compelling electro V/A with tracks by Konerytmi and Ian Martin, amongst others. SES1 set out what quality electro means for Shipwrec. The first in the series brought together six musicians from far and wide, musicians who journey through the colder edge of their analogue instruments with a clear ear for the floor. SES2 starts where its predecessor left off. The genre bending Ian Martin opens with the frigid funk of "Metaphysical Travellers." Stripped back, the track is bare in terms of its elements. Despite such meagre ingredients, Martin concocts an engaging and rich work of darkened grooves and sinister undercurrents. o-0._.0-o is the playful pseudonym of acid freetekno enthusiast Owen. His contribution, "Acidrobotik", releases a free and wandering 303 lines that forges a bubbling path through crisp percussion. The flip brings an artist better known for his work in techno. Cliche Morph delves into the clinical side of his palette and emerges with the stunning "Placebo." Balancing alienated and arctic blasts with a thawing warmth, the outcome is pure classic electro. A rising star of machine music follows, Fleck E.S.C. A dirty bassline is further sullied by layers of gritty distortion and glitched vocals in this re-wired work of ghetto. A legend of electronics closes, Kirill Junolainen. Under his lauded Konerytmi moniker, this synthesiser shapeshifter delivers "Kuva Alkio." Stuttering bass and tight drums are the foundation from which sci-fi inspirations take hold, sailing strings tethered by a terse snare as SES2 is brought to a triumphal close.

Mermaid Chunky. It's all in a name, sometimes. The danceable, costumed, curiosity rich duo of artists Freya Tate and Moina Moin are as imaginative as they profess. Or, to get more to the point, as we all need them to be. Freya and Moina are two visual artists and musicians from Stroud and South London, places where they importantly found communities (Stroud's SVA and the capital's Total Refreshment Centre) of like minded people just as willing to chase down an idea to its possibly illogical conclusion. And it is in the collective and the idea of participation that Mermaid Chunky really clicks. This is a party, a collective dance, made all the better with more: people, ideas, layers, kick drums, recorders, saxophones, frogs. To wit, the album's first track and first single, "Céilí," named after a traditional Scottish or Irish social gathering and dance, which builds from a simple recorder line into a swelling, warm burst of major chord dance music. Goosebumps or check your pulse. Further down the rabbit hole, "Chaperone" is almost boardwalk electro, like Fischerspooner on a ferris wheel; "Frogsporn" and "Nature Girl" are mucky, trippy dirges filled with stalactites of synth and squelch; "Tiny Gymnast" is a kaleidoscopic waltz into the night. Hold onto your seats, ladies and gentlemen. You might be wondering how we, DFA Records, all the way over in cynical Brooklyn, entered the picture. There was a day a few years ago, sun shining in full Springtime splendor, when James heard something while waiting for a coffee down the street from the office. It sounded simple yet deceptively complex: a dance track, but one where the one - that anchoring first beat in a measure - could be heard a thousand different ways. Frustrated and interested, he Shazamd the song, playing at the shop from an episode of Zakia's Questing show on NTS, and brought it back to the office, where we all listened to it about fifty times. (The song was "Friends," from Mermaid Chunky's VEST EP, released in 2020. It led to an invitation to open for LCD at Brixton Academy in 2022. Mermaid Chunky has also played live alongside The Comet Is Coming, Alabastair Deplume, Snapped Ankles, and many others.) Thus began our search for Mermaid Chunky. A quest it has been and a quest it will always be.

Merkwürdig is thrilled to present you our second VA EP, featuring a lineup of talented artists who are pushing the boundaries of electronic music. Nate.SU, Bodj, OBG Felix Bergleiter & Thomas Grün and Fabiano José come together to deliver a diverse and captivating collection of tracks.

First up, Nate.SU takes us on a cosmic adventure with „Neutrino". This mesmerizing track combines atmospheric textures with pulsating beats, creating a sense of weightlessness and exploration.

Next, Bodj invites us to explore „Inside Reflux" with his intricate production. The track blends deep grooves with obscure melodies, creating a hypnotic and immersive experience.

OBG takes us on an travel „with the wave" with their atmospheric composition. Ethereal pads and mesmerizing rhythms.

Closing the EP, Fabiano Jose brings the vibes with "Discotale". This infectious track is filled with funky basslines, and catchy vocal samples, guaranteed to get the dancefloor moving.

Merkwürdig MW 002 is a testament to the label's commitment to showcasing innovative and forward-thinking music. Stay tuned for this Vinyl-only release, as it promises to be a journey through diverse sonic landscapes.

Electric, their third album, came out in 1987 and really caused the band to explode to new levels of fame. It contains the massive hits "Love Removal Machine", Wild Flower" and "Lil" Devil" and was produced by Rick Rubin. Electric is a seminal work, featuring some of the band"s most iconic songs. It is a departure from the band"s previous work, with a raw, agressive and stripped-down sound. The album"s opening track, "Wild Flower," sets the tone with its pounding drums, blistering guitar riffs, and Ian Astbury"s wailing vocals. Electric was a commercial and critical success, propelling The Cult to the forefront of the hard rock scene and cementing their status as one of the most influential bands of the era. The album remains a touchstone for hard rock and heavy metal fans, a classic work that captures the spirit of rebellion and the power of rock and roll. The Cult has remained an important and enduring force in the rock music world. The band has sold millions of records worldwide and has earned critical acclaim for its powerful live performances. The Cult continues to tour and record new music, and their influence on rock music shows no sign of diminishing.

Jomni and Jori is an electronic music duo that has been deeply involved in the Japanese club scene, consistently producing sounds with an emotional and spacey vibe while bringing out the gem in electronic music to create unique club experiences. The record lovers who met in Kyoto have now dispersed to Cologne, Kyoto, and Tokyo, and have started a new label influenced by old records yet dedicated to exploring fresh sounds together with Miki.


"Slips" is a captivating blend of swinging beats and retro sound, featuring lush pads, melancholic chords and the randomly pitched synths. "Naizo" includes the catchy lead synth that serves as a guiding light, encouraging acceptance and self-discovery with its unforgettable melody and infectious mid-tempo groove. "Neuk" transports listeners to a world of liberation, where shimmering pads evoke the luminous breeze beyond deep-sea caverns. Underpinned by an expansive sub-bass that conjures visions of vast landscapes, it embodies an unwavering devotion to the art of dance. "Hitoshio" unveils the pulsating stab synths project the afterimage of the body onto the dancefloor with accelerating drums and anchored by classic house vocal samples.

Endeckt die Electronic Music Anthology Collection neu. Diesmal dem TipHop gewidment. Echte Perlen, liebevoll ausgewählt vom französischen privaten Rundfunksender FG, gesammelt auf 2 Vinyl.

Mike Paradinas, veteran producer and Planet Mu label owner has written a new album called 'Grush' and it's full of weird bangers that reclaim the 'dance' part of the woeful term IDM. A back-to-first-principles record, inspired in part by the group of artists IDM was coined for; melodic dance music that didn't come out of urban scenes, but interpreted them from a distance. The tracks on 'Grush' are all road-tested live favorites developed with feedback from Mike's touring partner and visuals guy Mora (Jan Moravec). It's a detailed and energetic journey which replicates the flow of a live gig. A lot of the tracks have been made in hotel rooms in response to shows, 'Imperial Crescent' is named after a Japanese Hotel, as is 'Belvedere' in Prague, while some tracks such as 'Hyper Daddy' were created specifically to play live. Drums are confidently at the fore here and the album feels like it traces Mike's musical history and interests neatly around his sweetly nostalgic melodies, with atmospheres and structures which twist and turn with a charming softness which contrasts with the tension in the drums. Take 'Hyper Daddy's' spiralling notes and twinkling piano which remind one of early Black Dog or Omni Trio rushing alongside splashy jungle drums, or the aquatic acid footwork of the title track with its drums softly bubbling and kicking. Elsewhere there's territory which harks back to his Tusken Raiders pseudonym, like the heads down Drexciyan funk of 'Windsor Safari Park,' which transforms from moody electro into a sunny hardcore track midway. The album is interspersed with Reticulum A, B and C at the start middle and end of the album which suggest a theme which carries across the music in an effortless and joyful way. 'Grush' is a strong album that works both for listening and DJing and a great snapshot of where Mike Paradinas musical head is at in 2024.Tracklist Vinyl A: 1/Reticulum A 2/Hyper Daddy 3/Fogou B: 1/Magic Pony Ride (Pt.4) 2/Imperial Crescent 3/Reticulum B 4/Grush C: 1/Belvedere 2/Raver 3/Windsor Safari Park 4/Hastings D: 1/Manscape 2/Metaphonk 3/Reticulum C

Dark Entries returns to Mexico with Back Up Dos: Mexican Tecno Pop 1982-1989. Following 2021’s Back Up compilation, Back Up Dos delivers 10 more tracks of synth-pop and New Beat, 7 of which have never before appeared on vinyl. From mutant drum machine beats to irresistible synthesizer hooks, fans of the fringes of the 80s will find songs to stir their cold, dark hearts. But Back Up Dos does more than mine retro kitsch; it documents the development of a rich DIY music scene that is still underexplored. As affordable samplers and digital synths spread throughout the decade, post-punk and new wave gave way to more aggressive EBM and cyberpunk sounds. The scene also developed in opposition to the political climate of the times: the rise of the drug cartels and a reactionary turn in national politics. Using home recording techniques, these bands took cues from the electronic wizardry of the Human League and Wax Trax Records while reflecting the vibrant and chaotic Mexican cultural landscape of the era. On Back Up Dos, impeccable pop anthems from Casino Shanghai and Los Agentes Secretos sit alongside gnarled obscurities from Ford Proco and María Bonita, showcasing a decade of sly deviance and enthusiastic experimentation. This album comes housed in an 80s-inflected neon sleeve designed by Gwenael Rattke and includes a 12-page booklet with photographs, lyrics, and notes. Back Up Dos compiles synthetic music produced in Mexico at the crossroads from Tecno Pop to Post-Industrial, nourished by culture shock and stories of dystopian worlds.

DJ Support: Liquid earth, Aladdin, Julian Anthony, Will & Batty, Ray Mono, Venard

Lungo makes his return to Groove Arcade this time with a 4 track solo EP. He’s created a beautiful all rounder with something for everyone but every track is still oozing with GA flair.

The A side brings us ‘La Gente’ and ‘Romantic’. The former being the party starter with a vocal that’s guaranteed to get the crowd excited, while the latter brings the tempo down with lush synths and a driving bassline.

The B side starts off with ‘I Understand Perfectly’, a silky smooth groove with an electro inspired bass line and a killer piano hook. The EP is then complete with ‘I Forgot The Password’, full of nostalgic melodies, computerised sounds and 8 bit vocal samples perfect for winding down at the end of the night.

A year after the release of the acclaimed Bright Magus album, the first remixes of the project dedicated to Miles Davis' electric turn in the 70s are out. The Bright Magus 'Super' Team, a sort of super group of musicians from the Italian alternative indie scene, has received unanimous acclaim from European critics and this positive wave has also struck many musicians and producers in the industry, including Luca LTJ Xperience Trevisi and Luca Dj Rocca Roccatagliati
who in this single remix respectively the title track of the album Jungle Cover, As Way (with Enrico Gabrielli from Calibro 35 as a super guest) and Selim/Miles, the most Davisian track of the project. Nu Fusion could be a new musical genre term suitable for this unusual sound that comes from it. Dance, Funk and Fusion mixed together.

Mexican supergroup Secret Echoes releases debut single ‘Bring My Beat Back’ on Crosstown Rebels. The project combining a trio of revered talents from the Mexican electronic landscape sees Estefani Brolo, Diego Cevallos, and Marco Anaya unite to reveal a first glimpse into their forthcoming debut album, with the single remixed by Zombies In Miami focus on the song's hypnotic vocals and raw emotive energy.

Secret Echoes is a dynamic collaboration of three acclaimed artists from Mexico’s electronic music scene: Estefani Brolo (of BROLORZIO & I.M YONI), Diego Cevallos (AKA Métrika), and Marco Balcazar (AKA Balcazar of Balcazar & Sordo). With each member bringing a distinct musical background to the group, creating a unique fusion of sound set to resonate with electronic music enthusiasts worldwide, Secret Echoes creates music that blends house foundations with melodic innovation.

The origins of the project trace back to the height of the pandemic, when Cevallos and Balcazar began collaborating on an album they had always envisioned. Renting a unique studio in Jiutepec, Mexico, equipped with analogue tape machines and high-end studio gear, and inviting their talented friends to contribute, Brolo soon joined the project - adding her melodic and lyrical expertise. The result was the recording of 11 tracks that were put on hold until the time was right. After revisiting the tracks and performing them live, ‘Bring My Beat Back’ caught the attention of Crosstown Rebels founder Damian Lazarus during 2024’s Day Zero performance. Inspired by its energy and potential, Lazarus signed the entire album, and this first single provides a first glimpse of what is to come from the enigmatic trio on an imprint known for continually pushing boundaries within house music.

‘Bring My Beat Back’ showcases the group’s distinctive blend of house music foundations, guided by Brolo’s captivating vocals above shimmering synths and refined percussion grooves to deliver a silky-smooth production balancing classic nuances with contemporary touches for the dance floor. Creatures Of The Night founders and Permanent Vacation regulars Zombies In Miami provide an extra layer to the package, with the renowned duo’s remix drawing for neon-lit synths and hazy tones for a deep dive into the late-night hours.

Riding a wave of critical praise and positive feedback for his most recent Emperor Machine album, the fabulous Island Boogie, Andrew Meecham returns with a typically wild and dancefloor-focused set of dubs, ‘versions’ and remixes.

According to Meecham, Island Boogie is his most personal set to date – a full-length excursion that not only delivers perfectly formed expressions of his dub-tinged, off-kilter synth-boogie sound, but also tracks that draw deeply on his earliest influences and long-held musical expressions.

It’s fitting, then, that this remix EP begins with his own sparse, stripped-back ‘version’ rework of ‘S-S-S-Single Bed’, a fine cover of the mid-80s Fox single featuring the vocals of Michelle Bee. Meecham’s dub-wise revision is a skeletal and driving affair, with snippets of echoing guitar, colourful synths and Bee’s distinctive vocalisations rising above a weighty dub disco bassline and rock-solid percussion.

It's followed by two revisions of album favourite ‘Wanna Pop With You’ from A Love From Outer Space main man Sean Johnston under his now familiar Hardway Brothers alias. Combining his own love of raw, analogue-sounding electronics and trippy dancefloor psychedelia with select elements of Meecham’s original – percussion, synth sounds, crisp guitar licks and elements of Severine Mouletin’s lead vocals, Johnston’s main ‘remix’ is a weighty, mid-tempo treat. Arguably even better is his accompanying dub, which is more groove-and-effects focused and makes more of Beecham’s superb original bassline. It’s heavy, spaced-out and undeniably intoxicating.

To round off the package, long-time friend of the label (and sometime contributor) Rose Robinson dons her Tigerbalm pseudonym and gets to work on ‘La Cassette’. Brilliantly cutting up Severine Mouletin’s vocals, she delivers a driving slab of spaced-out, synth-heavy dub disco that adds more weight and energy to Meecham’s original. It’s a fittingly on-point way to close out a superb selection of club-ready revisions.

DJ Support: DJ Sabo, Gordon Invisible Inc, Ground Chill Mountain, Roe Deers, Thomas Von Party, Vidis

Multi Culti serve up a full-length treat from Peruvian artist Aristidez. Cofounder of Lima-based party collective Casa Locasa and the non-profit label Behua Icara (translated as Healing Rhythms), in support of indigenous culture, Aristidez has recently relocated to Berlin. With releases on Calypso, Disque-Discos, and Kebrada, as well as remixes for Amplio Espectro, Ida Sound, Discos Aquelarre, Rotten City Files, and Playground Records, Aristidez has quietly made a name for himself with a growing catalog of low-key dance tracks that have been championed by the likes of Matias Aguayo, Andrew Weatherall (RIP), and Inigo Vontier, to name a few. With an emphasis on the hypnotic power of rhythm, Aristidez channels indigenous influences in subtle fashion, alluding to visionary experience without resorting to pastiche or obvious tropes. There are freaky tribal rhythms but no shaman samples, just expertly produced tracks than reveal an expansive set of electronic influences that range across tempos and decades, from breaky 90s rave, 80s proto-trance, cult dub, downtempo and more. It’s listenable, danceable, heady and kaleidoscopic stuff that should stand the test of time.

Right for the 30th anniversary of his Electro project Electro Nation, Thomas P. Heckmann returns with a brand new album on his mates label Activities Records from Brussels with a stunning album artwork by Elzo Durt ! Slave To The Machine is a full story throughout the album about an ordinary life that is down to all things being controlled by machines, internet and digits, just to escape and meet the machine at he end... And the end is obviously open."

Legendary electro explorer Emile Facey aka Plant 43 is back on his Plant43 Recordings imprint. Despite being hugely prolific, the artist always managed to find fresh new creative ground with each new outing and Concrete Echo is no different. The title cut is a high-speed opener with shimmering lines, fizzing static electricity and drama in the chords that make you take note. 'Emerald Shift' is a broken beat kicker with raw claps and scintillating liquid metal leads while 'Raw Vectors' layers up acid wobbliness and textbook electro rhythms. 'Mist Memory' closes down with a melancholic vibe and heady synths that take you into the cosmos.

Marazion is a new colourful various LP inspired by the infamous Ballacid channel.

This LP contains 12 warm acid techno and electro tracks by upcoming artists all over the world.

Step into "Nye Sko," the new talismatic single from Sju, featuring stellar remixes by two of Norway's finest electronic aficionados - Olefonken and Oyvind Morken. This release not only delivers a leftfield disco dreamscape but also marks the inaugural release of the new Snorkel Records 12" single series.

Electric Lady Studios: A Jimi Hendrix Vision is the latest in-depth project from Experience Hendrix, encompassing 5 LP / 1 Blu-Ray of previously unreleased music Jimi Hendrix recorded at his newly created recording facility in 1970. The deluxe box set offers 39 tracks (38 previously unreleased) that were recorded by the new-look Experience (Billy Cox on bass, Mitch Mitchell on drums) at Electric Lady Studios between June and August of 1970, just before the legendary musician’s untimely death the following month.

The project also includes 20 newly created 5.1 surround sound mixes of the entire First Rays Of The New Rising Sun album plus three bonus tracks “Valleys Of Neptune,” “Pali Gap,” and “Lover Man”. The Blu-ray includes the critically acclaimed, full-length documentary Electric Lady Studios: A Jimi Hendrix Vision. The film chronicles the creation of the studio, rising from the rubble of a bankrupt Manhattan nightclub to state-of-the-art recording facility inspired by Hendrix’s desire for a permanent studio. Directed by John McDermott and Produced by Janie Hendrix, George Scott and McDermott, the film features exclusive interviews with Steve Winwood who joined Hendrix on the first night of recording at the new studio, Experience bassist Billy Cox, and original Electric Lady staff members who helped Hendrix realize his dream. The documentary includes never-before-seen footage and photos as well as track breakdowns of Hendrix classics such as “Freedom,” “Angel” and “Dolly Dagger” by recording engineer Eddie Kramer. The 5LP’s were pressed on audiophile grade vinyl by Quality Record Pressings and the box set includes an extensive booklet filled with unpublished photos, Hendrix’s handwritten song drafts, and comprehensive liner notes.

"Electric Taal Band was a project that came out of the Covid pandemic, a necessity to work alone and some happenstance. I had stumbled on a box of Punjabi records for sale at Bollywood Music Center on Gerrard St. East in Little India -- a store where I had been buying hindi film records for years. I wasn't too familiar with Punjabi music beyond UK Bhangra, took a chance and loved the records; over some time I bought every Punjabi record in the store. I studied the records and bought a tumbi from Kala Kendar, a shop next to the music store that sold instruments. I learned the tumbi from Youtube videos and copying the sounds on the records.

Over time I acquired both a vintage Radel Talometer and electronic Tanpura locally via classifieds and experimented with integrating their sounds into the recordings as well. The basic idea was to take these machines designed for practice, which had their own incredible sound due to technological limitations and apply them to Indian music. Everything I had heard of these machines in recordings and videos only used them in an abstract electronic context. The main intent was and still is to use these sounds in collaboration with South Asian musicians and vocalists in the Toronto area, but this album came from both casual exploration and experimentation with the tools, as well as an inability to collaborate in-person due to pandemic restrictions at the time."

Death and the Maiden’s Uneven Ground draws back the velvet curtain on the trio’s crepuscular dreamworld with nine songs of their distinctive shadowy slow-motion fusion of underground electronic dance music and post-punk guitars washed through with psychic unease. The trio’s name is taken from that of a nineteenth century engraving by Edvard Munch: an artwork steeped in mythology, exploring the dark boundaries between love and death, strength and frailty, beauty and decay. Their three albums to date each reinforce the symbolism of the name, and Uneven Ground’s title could apply as much to their own journey in the years since Wisteria, their previous album, as to the times in which we live. Bassist and vocalist Lucinda King is the bedrock, guide and storyteller. Guitarist Hope Robertson weaves swooping, soaring motifs and sometimes deconstructed layers of noise to build analogue atmosphere for these alternate worlds. Danny Brady’s beats mix old-school drum machines with electronic tones and distortion, while his synth arrangements blend elements of psy-trance and acid house with more amniotic ambient and industrial textures. While Uneven Ground may be the most overtly “pop”-sounding album in their catalogue, it also ratchets up the ominous atmosphere, noise and experimentation. Once again King’s evocative lyrics appear as cryptic stories, built from events, memories, dreams, moments, warnings, regrets; where questions raised are left unanswered, and possibilities remain open.