Cosmic | Balearic Vinyl 288 Items

LP + 7" + insert.
Music From Memory’s latest release is a reissue of the lost Art record ‘Marea / Tide’ from Italian Wave duo Alessandro Pizzin and Piergiuseppe Ciranna also know as ‘Ruins’. Made to accompany and as a response to the works of painter ‘Luigi Viola’ the record was released limited to a run of 600 with original artworks by the painter included in the first 200 copies. A number of special showcases were performed at various galleries by the duo alongside Viola’s work, with records being available solely at those events.
Due to poor management and disagreements with the label who produced the record, 300 copies were held for many years in storage and then in fact later even destroyed, the record disappearing almost without a trace.
Finally now available again and with a bonus 7” including four beautiful unreleased tracks, the release is printed in colors true to the original work of Luigi Viola with insert.

Mario Pierro aka Raiders of the Lost ARP (ROTLA) returns to Edizioni Mondo. “Trasmissioni” is his debut LP under this moniker, using fictitious TV show themes as an excuse to create his musically most eclectic record so far. Departing slightly from the Balearic and prog rock influences of the previous “Laguna” EP, in “Trasmissioni” ROTLA covers many territories: opening with the science-celebrating arpeggios of “Progressi della Scienza” (Italian for “advances in science”), to the funky, off-beat grooves of “Telemusic”, then taking a step into a disco during “Nightlife”, before programming his rocket towards eerie nordic drum machines and Hammond organs in “Esterno Neve” and “Effetto Notte”, and many planets more. A welcome edition to the ever expanding Edition Mondo universe and a record you can’t grow tired of. Eco-Friendly green artwork that shows how tiny we all are. Good listening!

Cosmopolitanism is creeping into the bedroom studios of producers worldwide. Romanski is another agent evolving transcultural hybrids, which blend from retained folkways to modern aged club grooves. A mixture of electronic beats in a rigid machine order and handmade organic moments woven together to form an eclectic sound. With a bit of drama, the hamburg based dj & producer Romanski, invites you on a diverse journey with his unique vision of club music. Balearic groove patterns accompanied by repetitive bongo motives & dimmed synth themes flow along the 4 tracks (2 of them featured on 7" vinyl) of this EP. The title track "Karma Calling" is a passionate homage to Mulatu Astatke, "Tagh Tagh" is surrounded by an iranian children’s song, "Gaugin" features a tahitian vocoder line about the french painter and on "Ants" Romanski reflects on lyrics that came to him when resident at a sanatorium years ago. Romanski is using his custom sound range & tools to express his downbeat grooves in this well balanced release. Hide below or turn around the umbrella with devotion and delight.

The French-Hong Kong DJ and producer Romain FX, founder of Fauve Radio and Fauve Records, debuts on Cracki Records ! After having made his mark on renowned labels such as Exploited, Eskimo Recordings, Novaj 新し, Lagasta, Fantastic Voyage, Mamie's Records or Hard Fist Records, the ultra-productive artist is about to release Le Sucre d'Adam a new EP of 4 tracks and 2 remixes with the Parisian label Cracki Records. Mixing Italian dream house, jazz, and Italo Disco, Romain FX wanted to create with this EP a timeless record and convey a message of hope for a better world. The first track "Zeste d'Orange" is full of joyful emotions, with a feeling of unity and sharing, strongly influenced by 80-90's pop songs like "Rise Up" by The Parachute Club, and "Send Me On My Way" by Rusted Roots. With its melancholic keyboards, "Le Sucre d'Adam" is a pure concentrate of Italo Dream House, and it's not a coincidence that Romain FX entrusted the remix of the track to the German Lauer, specialist of the genre. "Italominati" with its powerful bass, draws him in the field of the fairy, influenced by artists like Todd Terje or Skatebård. It is the Korean producer Shubostar, new figure of the dark disco scene, who took care of the remix for a very effective cosmic version ! Last track of the EP, "Crave Cave Rave" with its Rave UK and progressive house accents was imagined as a long DJ Set closing. Intense and heavy at the beginning, the track ends with a feeling of extreme release, closing the EP in the most beautiful way.

Futuro Antico, the mesmerizing collaboration of Riccardo Sinigaglia with Walter Maioli and Gabin Dabirè evoked in its name the uncanniness of simultaneously witnessing past and future. Ambient Music, Riccardo Sinigaglia’s first solo work –recorded in Dec. 1984 and originally out on cassette from ADN Tapes in 1985— ultimately delivers on that idea, embodying different irreconcilable time frames not just in name.
From our vantage point, the sounds of the two performances --“Watertube” and “Ringspiel”-- appear as though they arrive to us from a past which we have great difficulty in recognizing and imagining ourselves coming from while simultaneously working as a projection of a future that is both our contemporaneity yet also surpasses it. It’s this ability that Riccardo Sinigaglia’s work has of being both rooted in its context while instantaneously capable of transcending our own that makes him one of the key figures of that explosion of beauty and creativity that defines the peculiar iteration of radical minimalism that characterized the experimental and avant-garde music scene in Italy, particularly the Milanese one with its rich countercultural scenes crossing over into the long reverberating academic legacy of the Studio di Fonologia Musicale RAI di Milano during a hyperactive decade starting in the late 1970s. An aggressively conquered freedom which resulted in works of an incredible gracefulness aimed towards a future at a moment when both grace and the future had seemingly begun their slow obliteration under the blows of powerful destructive forces.
“Watertube” starts as a synth and magnetic-tape based ambient soundscape that slowly adds what appears to be a prepared piano which eventually competes for audibility with a phrase that evokes the titular watertube, treated, looped and stacked as it phase-shifts producing a busy polyrhythm that asynchronously gurgles and bubbles, approaching but never breaking into chaos. It’s some strange version of Eno’s oblique discreetness ostensibly being overwhelmed by the perversity of a Stevereichian shape-shifting pattern but the moment the former is about to be overwhelmed the composition begins a slow recession back towards the system it originated from.
“Ringspiel” is a more playful yet warped affair, a complex ecology rather than a simple economy of sounds. Opening with a whimsical melody seemingly played on a prepared toy piano this gives way to a tape loop punctuated throughout the rest of the piece by individual sounds whose origins remain uncertain. These produce scattered melodies that underscore an electronic based minimalism with a synthetic heart that nonetheless showcases a pulsating, wet, fibrous core that beats with organic life. It ends not in the opening whimsy but in fragmenting percussive shards of sounds. While it might superficially appear deceitfully familiar and comforting and evoke recognizable pleasures this is neither your father’s ambient nor your mom’s minimalism. And it sure as hell ain’t your older brother’s lame substanceless new age noodling. There’s a dark heart to Sinigaglia’s record – listened to today we are conscious that the future “Watertube” and “Ringspiel” pointed towards never arrived and yet we are aware of nonetheless inhabiting it. That is ultimately the tragedy and the thrill of these compositions. We are told that the future’s been annulled due to a degenerative process that began precisely around the time in which this music was first recorded. And yet. As time folded in on itself and we were made to inhabit the futureless predicament of an eternal present these recordings act as relics from the last possible instance where a future could still stand to be imagined. A little sliver of opportunity. Look into it. It just might give you a peek into tomorrow. The time is out of joint.

"This release is LP and it's individually 300 hand-numbered limited edition. The first 100 copies are pressed on WHITE & GREEN MARBLED vinyls (AR016).
It's dedicated to the 1988 Experimental / Electronic masterpiece by the Italian contemporary guitarist Riccardo Giagni, originally released on Stile Libero (Italy) + a special Balearic Remix by SIMON PETER.
Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of mostly Italian music but also all over the world of the 70s, 80s and 90s.
All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.
All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls."

Boulderball is a whole new, fully stretched world, inspired by everything from the Bomberman Hero OST and Cesar Camargo Mariano's Prisma LP, to "going on youtube and playing tracks at 1.25 speed." The LP is made of fizzing Brazilian fusion, video game music, virtuoso keyboard playing, funk, and the type of glorious, hook-driven pop energy known to fans of YMO, New Order, and Mario 64 alike. Dope. Period.

Hypertext' is the third album by Recent Arts, the A/V duo formed by media artist Valentina Berthelon and multi-disciplinary artist Tobias Freund. Out next February via Japan's Reiten, its 9 tracks mirror Recent Arts new, forthcoming A/V show, following their previous debuts also at Atonal and Berghain's Säule of the recent years.

'Hypertext' video projections and experimental electronic music synergise ideas of non-linear data and information processing, drawing parallels to computational thinking with the way our human brains biologically process information. Visuals are the catalysts for the music, inspired by the overwhelming amount of information and the speed at which we consume different media, featuring a cacophony of hundreds of different media, poetry, images of surveillance and clips of Artificial Intelligence and Machine Learning.

For the visuals, Valentina uses jarring and intense visual juxtaposition to create moments of both connection and displacement. References mix and intermingle, creating new meanings. Symbols become charged, inviting the audience deeper into the vortex. Computers similarly digest information, but unlike the human brain, their ability to generate information is not exceeded by their capacity to understand.

For the sound, Tobias and Valentina made together droning, moody soundscapes, almost as though the internal voice of our computers world was captured and recorded. Inspired by the visual aesthetic of hyperlinks collaged and non-linear nature, the album reflects this in the ambience, where samples float in and out of contact with the listener, catching and holding attention before floating away awash by more elements and compositions. There is a definite blurring of the digital and the biological, voices sound distant and robotic, but droning soundscapes feel natural and textured with an organic tone.

In the first track 'Just Be There' spoken word samples mix with ethereal chiming, reminiscent of the start-up modems from Web 1.0. The A5 'Pull The Emergency Breaks' similarly mixes poetry with uncanny atmospheres popping in and out until it finally climaxes in a collage of sounds. On the B- side 'Invisible Waves' finishes off the record with a volatile dervish of digital strings and deep breathing.

New album by Montreal based artist Phoebé Guillemot aka RAMZi. Featuring ten mind-melting tracks 'hyphae' is RAMZi's latest sonic quest and is based around sketches she originally made as a score for a documentary about mushrooms called 'Fun Fungi' (directed by Frederic Lavoie).

Recorded between November 2021 and May 2022, writing 'hyphea' began as an attempt to transcend boredom and frustrations imposed by severe restrictions during the pandemic. For Phoebé the album was a way to reconnect with her alter ego RAMZi; who's energy brought her back to uniquely mystical feelings and hope for future magical adventures.

RAMZi is a uniquely wild spirit from the forest and refers to a parallel autonomous world that keeps evolving. In Phoebé's own words: "The music remains as a doorway to that world. It has never been about me, I always see that entity bigger than myself. The process of writing 'hyphea' was rather intuitive. I don't think about styles of music before producing tracks. Those are more like an adventure in itself, each one set in a different ecosystem."

Artwork by Marinka Grondel.

At the third New Interplanetary Melodies' astral journey stopover, it was mandatory to catch an Italian project deeply inspired by the Sun Ra visionary realm, expressing contemporary trials of hybridising jazz with artful electronica. So Ra Toth and The Brigantes' Orchestra landed on vinyl grooves for the label, after having previously appeared on the likes of Mathematics and Berceuse Heroique. Behind the sound, we find the elusive and unpredictable genius of the well-respected producer Marcello Napoletano.

Really Swing goes wider with a new 12” series, head honcho Quiroga delivers three track dedicated to magician and eminence of misdirection Dariel Fitzkee and Italian master composer Alessandro Alessandroni.
“Cup and Balls” the title track is an elegant disco cut blending latin bass, guitar and percussion, creating an emotional texture in its rhythm and serenity that became an astonishing future jazz tune with a leading bassline.
On the flip side “ Ciao Fischio” an homage to Maestro Alessandroni drowning lush rhodes melodies over funky breaks and intricate bassline, while “Citta di Mare” is voyage through eighties atmosphere that became a soulful and sensous tune full of heavenly piano licks and warmth synth leads

At the start of 2021 I realized I hadn’t paid much attention to my own productions lately, rather spending time doing remixes or mixdowns for others or like many others, worrying over what the future will bring. I started going through tracks and ideas I had started on but not completed and now as another annus horribilis nears the end I have 2 albums ready for release, entitled “8″ and “9″. Although I promised myself to never say it I personally think they’re my best work so far and I hope someone else will get the feeling of “a light at the end of the tunnel” when listening to these tracks just like I feel when listening back to them. There are contributions from the very capable hands of Bugge Wesseltoft("8″) and John Carroll Kirby(on both “8″ and “9″), besides that it’s just me. Prins Thomas December 2021.

this project gathers the incredible early 2000's works from georgian pioneer George Dzodzuashvili as post industrial boys.

On his third album Blizz Munich-based drummer and producer Simon Popp further blurs the line between electronic and organic sounds. In carefully crafted, slow-growing tracks tuned metal percussions cut through searing synth pads, sucking the listener into a sonic vortex. Informed by personal and spiritual themes, Popp's debut album Laya, as well as his 2021 follow-up Devi make use of rhythms as storytelling mechanisms. Contrasting light and dark, organic and synthetic sounds, his compositions engage in a dance of subtle complexities, enticing the listener into the practice of close listening. Throughout Blizz, a panopticon of metallophones takes flight, floating freely over earth-bound counter rhythms, conjuring up call and response techniques inherent in polyrhythmic music. This technique favors experimentation over perfectionism, leaving space for happy accidents to unlock new melodic possibilities. According to Popp, "it's much more interesting to try to push the boundaries of an instrument to see what's possible."

5 years after Ponzu Island’s huge debut with the iconic tune “Super Koto”, the Australian mysterious producer is back with the release of his much awaited long play album “Welcome to Ponzu Island”. He remains faithful to his unique trademark sound which makes him stand apart from the rest. The 9-track album is a wild ride of pure analog electronic bliss, build up with synths over synths. A unique blend of house, disco and electro; makes you travel back to the 80´s and the 90´s, and geographically you feel between Japan and the Caribbean. Simply a league of its own.

Azzurro is the soundtrack of a summer vacation in Italy of the Hungarian dj/producer duo "Pleasure Voyage". The label Quattro Bambole continues on his Adriatic Funk series blessing a new summer with the rightest vibes. Available on vinyl and on all digital stores. The concept of the record was like a week-long vacation in Italy. It starts with jazzy, slower sessions and progresses to an italo-jazzy-house gem, Summer Voyage. Passionate vocals with smooth Rhodes solo and licks on this track. Following some clubby tunes Electromarea and Dolphine Dance as a nightlife hangout, and a remix by the label founder Francesco FIsotti with cool vocals follows. Finally, with the last tune, you can feel the bittersweet emotions when you are on your way to the airport to leave this magical country, but you have some souvenirs on your skin that they call “Ambraskin” (tanned skin) and the visual memories of the crystal clear sea they often call Mare Azzurro.

Pleasure Pool are Finn O’Hare, Andrew Robertson and a rolling cast of Glasgow-based musicians, performers and artists. They sound like nothing else to have come out of Glasgow recently, exploring the territory between live performance and club culture through their collaborative ethos and party-starting attitude. Their debut EP, Night Scars, arrived in early March 2020 and now comes Love Without Illusion, Pleasure Pool’s debut album, released on Optimo Music.

Love Without Illusion adds layers of complexity and introspection to Night Scars’ squarely dance floor-focused brew, though the record still oozes danceable energy. Open Hours is like opening a door and finding a party already in full swing, an assortment of recurring Pleasure Pool motifs – echoing, dubbed-out vocals, gorgeous, impossibly airy synth melodies, louche percussion, cowbells, rising and falling flecks of trumpet – all introduced in short order. Lick The Bag, which prominently features vocalists Chloe Charlton and Raissa Pardini, has a controlled chaos befitting its morning-after-the-night-before name.

The rest of the album rides this glimmering, night-magic mood at varying frequencies, with the title track a gentle storm of grandiose walls of synth and pulsing vocal fragments. The slow and low flickering funk of album closer Zero Hours pulls all that has come before it together to end things in the woozy bliss of a walk back home in warm, gentle sunlight.

Love Without Illusion is a dazzlingly complete expression of Pleasure Pool’s intoxicating sound and vision. Dive on in and explore.

First release from the BEAT catalogue serie which is focused on new artists. All music produced and mastered by Kevin Skyler.
Electronic delight ranging from dance to experimental style!

Two of Russian electronic music’s rising stars, Phil Gerus and Alexander Lay-Far, invite you to join them at the Solitary High Social Club. While table service is provided, they’d much rather you throw caution to the wind and head to the dancefloor.
Before joining forces in the studio, both Moscow-based musicians have delivered a string of memorable solo productions. Lay-Far has previously released a wealth of material on such labels as Local Talk, City Fly, Lazy Days and 4Lux Black, while synthesizer fetishist Gerus has showcased his electrofunk and disco-fired cuts on Futureboogie Recordings, Sonar Kollektiv, Public Release and Superior Elevation Records.
The five tracks that make up Solitary High Social Club deliver a perfect marriage of the two producers’ distinctive solo styles, combining the rich musicality of Lay-Far’s house productions with the spacey, intergalactic electronics of Gerus’s discoid adventures. In many ways, it’s a marriage made in heaven – or in Lay-Far’s celebrated In-Beat-Ween Studio, at least.
The duo’s spacey and melodious musical fusion is arguably best exemplified by lead cut “City 2 City, Star 2 Star”, a widescreen, mid-tempo disco epic rich in tactile Rhodes riffs, supernova synth solos, delay-laden drum beats, tumbling melody lines and heavy analogue bass. Fittingly, the track returns in “Reprise” form – think sweeping, weightless ambient bliss – to round off the EP. Elsewhere, the duo provides further proof of their combined musical talents. Check, for example, the gentle drum machine electro beats, cascading new age
melodies and sparkling, stretched-out synthesizer chords of the impeccably beautiful “Am I Tripping”, or the devilishly percussive, mind-altering brilliance of “Love Life”, where mutant electro bass, wide-eyed chords and alien melodies rise above a heavy, Afro-influenced groove.
As for “Snowflakes On Her Lips”, you’ll struggle to find a more confident and positive dancefloor workout all year. Blessed with killer piano parts, darting analogue synth-bass and a range of disco-tinged musical flourishes, it’s by far and away the most celebratory moment on an already happy-go-lucky EP. It confirms, too, our initial hunch: at the Solitary High Social Club, life is always good.

This release is on 180g vinyl. The fifth in International Feel's minialbum series. From their base in Los Angeles, intrepid musical voyagers Pharaohs have imagined a place far from the city for their first stand alone release on International Feel.

I Love It When A Band Comes Together…The one thing that has kept most artists sane during the pandemic is writing and creating. In an attempt to apply this logic Red Ant Records maestro Pete Bones decided to recruit the talents of a bunch of cool cats he had met whilst traveling the globe and put a band together. Having often wondered after 30 odd years as a DJ/Producer how the band would sound had he not been swept up by Acid House in the late 80s, six months later, plenty of file bouncing and numerous edits, and The Stones Of Convention are ready to wreak havoc; with Jeff Ward on electric guitar, Jeff Richey on saxophone, Pierre Davis on drums, Scott Anderson on slide guitar, Duncan Gray on bass and electric guitar, Sean Q6 on acoustic guitar, and featuring the effervescent vocals of Laura Clarke. Hailing from Galway, Orlando, Pittsburg, St Petersburg, Slough, San Francisco and Glastonbury respectively, band practice might be problematic. The album features 7 original tracks, 2 full vocal cuts, and a cover of the Talking Heads classic Pull Up The Roots

Crossover balearic/leftfield house cuts from newly minted Australia based Within Reason Records.

Limited (to just 200 copies!) teaser single off the upcoming PEPIN full length due on STAR CREATURE in the Spring of 2020. Here PEPIN teams up with Japan's No. 1 in demand producer SAUCE81 for a downtempo preview to his spaced out LP. Don't sleep, sure to go fast.

After almost two years from the LP "Morphé", Pellegrino returns with a single of his Zodyaco ensemble project and its distinctive musical identity between Mediterranean mysticism and Latin splendour.

Quimere, title of the single, are a metaphor for an inexpressible desire, an impossible dream, two interpretations of a song in the shadow of the sun that warms up Naples at the sunset of its summer, that invisible wall that divides souls, or perhaps an impossible love suspended between the stars and their reflections on the sea.

Following up the first release quickly with Detroit native Paul Alan, who now resides on the sunny west coast. Paul Alan aka Dtchplnes, delivers the smooth latin driven car cruiser “Provider” and the sun blissed slow skate vibes of “Charlevoix”, which also sounds great on 45. The two track 7 inch is wrapped in a treasure map jacket with a compass foil stamp and includes a postcard.

The intoxicating songs of the Sirens found in the bay of Napoli are irrististible to all, lured to their sounds as if by magic. Writhing to their hypnotic and sudctive voices. Through the warm, soapy waters of Naples Bay. Partenopes music echoes round the pillars of rocks until listeners can bear it no longer and they are pulled onto the dancefloor, as if transported to another land.

The Neapolis label brings us two slices of sun drenched house with a distinctly European feel and a dubby twist, as Partenopes from Naples offer up the beach ready 'Nella' before Craig Bratley takes the track and turns it on its head. His remix is a slow burning acid affair set to leisurely, breezy hip-hop beats, tailor made for that hour when the sun goes down and the tempo goes up. Magical.

The intoxicating songs of the Sirens found in the bay of Napoli are irrististible to all, lured to their sounds as if by magic. Writhing to their hypnotic and sudctive voices. Through the warm, soapy waters of Naples Bay. Partenopes music echoes round the pillars of rocks until listeners can bear it no longer and they are pulled onto the dancefloor, as if transported to another land.

"Pablo’s Eye is the science of studio pressure, when engineer becomes artist. Appropriating left and right as well as front and back, Pablo’s Eye uses the mixing desk to examine and exhaust the possibilities of moments. Pablo’s Eye is a record of that examination and exhaustion, but it is also a record of its own inner space. By means of depth placement, psychoacoustics and spatial fug, Pablo’s Eye is experienced in the deeper reaches of the body, bypassing the conscious part of the mind entirely.
Pablo’s Eye is the turning of recorded music inside out to show its seams. It interrogates a song, stripping down the body of the song to reveal its bones. Pablo’s Eye is in the interstices of music, it plugs the gaps, fills the holes. Pablo’s Eye seeks out the concealed mechanisms, it is a song’s hidden agenda.
For this compilation, it was decided to present the softer air-beatings of Pablo’s Eye. More than anything, Pablo’s Eye is a temporary atmosphere, like a taste or a dream..."

Beautiful private press style release by Pablo 'Balearic' Color. Remix treatment by Phantom Island's Kejeblos. Just how you like it!!

Stunning collection fo Tracks by Suso Saiz' much sought after ambient outfit.

Wax’o Paradiso Recordings presents its debut outing on vinyl, OK EG’s Intertidal Zone EP. The new label from the long standing Naarm (Melbourne) party is set to explore hi-fidelity, landscape-driven and cerebral music from the antipodes and beyond.

After sold out pressings on local imprints Animalia and Steeplejack, this EP explores a more contemplative side of OK EG, suitable for discerning dancefloors and meditative home listening alike.

Conceived in 2019 and completed in 2020, Intertidal Zone was recorded in collaboration with percussionist Phil Stroud. The rhythm tracks are a fusion of drum machines and hand drums, loose percussion, human voices and tuned percussion immersed in water. Joined by analog synthesisers, layered vocals, processed guitar and field recordings, the music evokes solastalgia and a reverence for nature. The final track, Golden Hour, came from an improvisation with multi-instrumentalist Adam Halliwell on flute and jazz musician Jack Doepel on Korg bass, later transposed to modular synthesiser. Wax’o Paradiso and OK EG acknowledge the traditional owners of the land on which this music was recorded, the Wurundjeri people of the Kulin nation, and pay their respects to elders past, present and emerging.

"Offworld"is back after 20 years with a new album called "The Guru Walk" on Tasty Treats Records. This release is a real walk into Offworld music experiences where from the first track to the last one, he works to create a collection of electronic jazz tracks with different influences and moods. A side contains three EDM tracks including the title track "The Guru Walk" that is a real midtempo gem with deep chords,light percussion section and warm ambient pads. On the other side there are the longplay "tought vision" and the acid jazz influenced track "Ruzena". C side contains the hypnotic track "Lagos 3000" with afro influences,warm organ and synths and deep pad. The soulful "Siofra's Star" complete this side with broken vibes and melodies. On D side there are the deep and warm "Wahpanio" that is a dancefloor oriented track with latin influences and last but not least "Holy Portal" a jazzdance track with a groovy and powerful bassline,breakdrum and soulful chords.

The five tracks that became Abbondanza all materialized from Summer to Winter of 2020, a time of unprecetended productivity in the home studio. Some of them developed from first time fiddlings on new synthesizers, some from unaccompanied jams on percussion instruments. I hope these tracks capture my naive fascination and joyful jamming I had while creating them.My Florentine friends of the Intro-Spettiva collective introduced me to the concept of "stalla" (stables) - their codeword for a proper party. At a particularly memorable Tuscan stalla in 2019, I got to know Edizioni Mondo head Francesco de Bellis and his amazing music. A year later, we listened to the first demos of this record in his damp basement studio close to Vatican City and here it is in all its abundance!

Welcome to Nicolini’s wonderful world of surprise - Penni’s Palace. Here you will find zebra-chairs and matchbox countachs, colourful tv-screens and Penni the cat presiding over proceedings. You will also find Nicolini, hunched over his MPC or Casio keyboards, sweeping the EQs to make the sounds move, jamming out his songs in heavy microdoses. They are the sounds of machines and the city - Amsterdam centre to be precise - brought to life with volts of electricity.

These songs started out as a live show on the terrace of Garage Noord nightclub, and over the following months Nicolini tweaked and re-recorded them into the collection of tracks you have before you. Bristling with energy, these live jams have a loose, almost mystical feeling - you never know quite what’s around the corner. Sounds jump out of the speakers at you, from car engines to reverb crashes. Opposites face off against each other - the mechanical meets the organic, and the cold emptiness of the city contrasts with the warm timbres of tropical climes.

Nicolini is quite used to combining disparate elements, particularly as a member of the re-configured Zamrock band Witch. As pioneers of some of the heaviest space fuzz back in the ‘70s, Witch combined garage-psych guitars with Zambian dialects and culture to create a wildly unique sound. Nicolini joined the band during their resurgence over the last few years, as they toured far-flung corners of the world. It’s an experience that undoubtedly helped Nicolini hone one skill set in particular - combining unexpected sounds together in unusual ways - and it’s on full display across these nine tracks.

For its first release of 2019, Sol Power Sound is pleased to welcome back Nenor -- formally Obas Nenor-- to the label family. Since his now-classic Color Soul EP on Sol Power Sound back in 2015, Nenor has gone on to release a string of hugely successful EPs on Heist, Whiskey Disco, and on his own imprint, Nenorion Music.
With the Future Ancestor EP, Nenor revisits the African-inspired textures that made the Color Soul EP unforgettable, but ventures further into the subterranean reaches. On "Tike Ye Ya Kende", Nenor teams up with Congolese-born vocalist Natalie Wamba for a rousing dancefloor heat-rock, with pulsing marimbas and hazy synths.

Mystic Jungle makes a much awaited return with Deviant Disco, a new 12” of sun-soaked groovers released through Periodica Records. A culmination of several years of writing, vibing, and influence mining, these compositions represent the producer’s most varied and expansive works yet, and to fully realize his vision, Mystic Jungle invited the entire West Hill Studio crew to contribute narcotizing layers of pop vocal mesmerism, and additional touches of guitar, bass, percussion, and synth. Strains of Italo disco, balearic boogie, and freaky funk are interspersed amidst passages of Nigerian highlife, soft focus AOR, kinetic Hi-NRG, and exotic lover’s rock, resulting in a personalized voyage through a paradise of sound, one that is unmoored from the concerns of modernity, and celebrates instead a hedonistic naivety, and a desire to dance all day in spiritual ecstasy.

Dario Aiello’s first EP for NuNorthern Soul as My Friend Dario, Cosmic Sailing, was one of the label’s most inspired releases of 2020 – a six-track musical voyage into the unknown that cannily combined elements of Balearic disco, ambient, turn-of-the-90s Italian dream house, horizontal jazz-funk and colourful synth-boogie.

With such strong musical motifs and instrumentation to work with, NuNorthern Soul boss Phil Cooper decided to ask some well-established producers and friends-of-the family to put their own spin on the Sicilian producer’s EP. The result is Cosmic Sailing Remixed, a four-track set of reworks that takes Aiello’s mesmerising, atmospheric and enveloping cuts to whole new musical places.

Crazy P’s Chris Todd dons his now familiar Hot Toddy guise for an EP-opening revision of ‘Neve Su Acireale’. Todd makes the most of Aiello’s Pat Metheny style jazz guitar motifs, teasing the track in via an ambient intro that recalls both the Orb’s earliest singles and Steve Reich classic ‘Electric Counterpoint’. After building tension through loose-limbed, progressively more intense drum fills, Todd unleashes a glorious Balearic disco groove that carries the track forwards towards a blissful conclusion.

Sometime Music For Dreams, Hell Yeah recordings and Leng contributor Willie Graff steps up next, brilliantly re-imagining ‘Fenice’ as a hypnotic and bass-heavy chunk of Balearic dub disco rich in layered, samba-style percussion, glistening electric guitar motifs and fluid synthesizer flourishes. Later in the track, Graff introduces more elements from Aiello’s original track – twinkling pianos and dream house style aural textures for starters – before adding touches of tape delay to emphasize the track’s dubby dancefloor mood.

Those seeking extremely immersive, mood-enhancing music will be thrilled by Blair French’s tactile, sunrise-ready take on ‘Malvisa’. The Detroit-based musician and soundtrack composer draws heavily on the kaleidoscopic but mellow synthesizer textures of Aiello’s original version while continually adding new layers of percussion and electronic melodies. The result is a swirling, calming remix that should delight home listeners and slow-motion dancers alike.

To round off the EP, Balearic synth-pop specialist James Bright puts his creative stamp on ‘Storm’. In keeping with the warm, tactile and synthesizer-heavy sound of his superb debut album on !K7, Headroom, Bright re-frames the most atmospheric cut on Aiello’s EP and a yearning, heart-aching journey through slow-motion acid lines, twinkling pianos, huggable synth-pop grooves and the kind of sustained chords that feel like they’re wrapping your body in a toasty blanket made of the finest cashmere. It provides a poignant, jaw-dropping conclusion to a high-quality set of imaginative and kaleidoscopic remixes.

Mr. Fingers returns on Alleviated Records with a new album!!! Larry Heard (under his most notable monniker) continues on the path he's set with 'Cerebral Hemispheres' in 2018. Encompassing all his influences from Jazz, R&B to Techno and Ambient these lush tracks with a feel that no one else expresses quite like Mr. Fingers. Right from the start with "Around the Sun" the ten track album pulls you in with these lush produced tracks and effortlessly captivates you with the always infectious grooves and perfectly spaced arrangements. No need to further elaborate... This is Larry Heard at his finest.

"Dan shall be a serpent in the way, A horned snake in the path, That bites the DJ's heels, So he skips a beat in his mix”

Moscoman continues his Treisar journey with the stunning Snake & Pygmy EP. On the A side lies the gorgeous trance inducing Snake In A Hat, an uplifting intergalactic voyage gliding through layers of synths, twinkling piano notes and melancholic melodies that skillfully progresses into pure bliss. On the flip, the pace slows down with Pirate Of The Lost Ark. This dark mesmeric number features Moscoman’s signature gritty bass style, rolling snare drums and swirling synths all mantled in mind bending effects. The bpm rises again on the closing track Forget The Rest, an irresistible amalgam of dreamy keys and rumbling drums, punctuated by a catchy electronic funk.

Snake & Pygmy is the second of twelve releases for Moscoman’s Treisar label.

"Nemesh is a ravenous wolf; In the morning he devours the prey. In the evening he divides the spoil."

Events take a somber turn as Moscoman’s Treisar project edges closer to its natural conclusion with Nemesh.

The ninth chapter in the Treisar series opens up with The Lady Of The Light, a mechanical ride through the later stages of madness, all in automated bleeps and sinister laments.

Pain Collection sees Moscoman channel his post punk sensibilities through anguished guitars, while Walls Of Jericho gives Nemesh its final master stroke with a middle eastern dancefloor war song.

And he kneeled, raising his hands over his head to unveil his precious offering, flanked between two pieces of bread and covered in the most delicious mustard.

Four months into his Treisar series, Moscoman is seriously entering his stride. On the EP’s A-side, the low rumbling guitars on Butchers seem to tangle upon themselves. Interjected by stabbing drums, a glittering synth line floats over the top to mesmerising effect.

With his newest EP Goa Tee, Moscoman finds himself seven releases deep into his 12 part Treisar series.

Living up to its name, the seventh piece of the puzzle is the trippiest of the series yet, kicking off with Some Of My Fears, a piece if outer space hypnosis carried by a rolling percussion and bass combo that will keep firmly stomping across dancefloors.

Reflecting the mood set on the A side, Moments In Space sees Moscoman channel his Italo flair while reaching out for a rave indebted sonic palette. Final track Chinchilla closes on delirious sounds and 8 bit melodies rubbing shoulders with a lovingly syncopated beat. A weapon all exotically inclined DJs will be reaching out for a their next jungle party.

Mori Ra with the fastest diggers trigger in all the land completes a set of dancefloor ready edits of Japanese electronic & city-pop songs culled from his well-known Japanese Breeze mix series that he does with the Rotating Souls record label. Some of the tunes are familiar and some rare and unknown but Mori puts his own touch that can only come from years of experience and an extreme relationship to the originals. This record is a joint release between both Rotating Souls & Forest Jams.

Fresh from his last release on Internasjonal, Das Komplex aka Marcin Lukaszewicz offers up a snapshot of his musical stylings under his Moogy Coast disguise all landing somewhere between a sun soaked beach and a sweaty dancefloor. PS: Contains the (until now) Prins Thomas floorburner/secret weapon