Cosmic | Balearic Vinyl 372 Items

Brainchild of Multi Culti A&R, Sascha Funke and Niklas Wandt were introduced by Dreems, who charted a course for the seasoned Berlin-based producer and funky multi-percussionist and singer.
Wandt was just about to enter the scene forcefully with his collaborative 2LP with Wolf Müller and the debut single of his band Neuzeitliche Bodenbeläge. In the icey cold of his warehouse rehearsal space, Funke had him record a variety of slapped, bowed and scratched percussions (congas, talking drum, prepared cymbals played with a bass bow) over his tracks. These first efforts were later expanded into joint sessions at Sascha's home studio and, within a few weeks, the journey reached it’s destination: Wibe strasse, Deutschland.
At first glance, they seem an odd couple: a techno veteran of almost thirty years meets a side-burned upstart socialized in Free Jazz and Krautrock. But the shared sonic influences come through in the hypnotic, dubbed-out sound, perhaps rooted in the close connection the two share to the Rheinland region in West Germany, Funke as part of the Kompakt family and Wandt by origin and socialization in the Cologne and Düsseldorf music scene centered around the Salon des Amateurs. Regional flavours, global appeal.
Multi Culti, promoting local collaboration, one freaky record at a time.

Some time in 2018, the mighty AUF TOGO (members of In Flagranti and Mytron & Ofofo) met with the fierce BECKER & MUKAI (w/t members of Zongamin, Vanishing Twin, Floating Points live band, JeanGa & George) in the Sounds And Sons Studios in Shoreditch for a couple of long recording sessions, where they brought together drum machines and guitars, percussions and synthesisers.
These two outfits getting together in the studio was a match made in heaven, as one long improvised take gave way to another, each protagonist picking up a different instrument each time, recording hooks and beats and dub effects, and ultimately joined their production skills to create these four gems.
Mixing influences that run from balearic beat to the late 80’s Manchester sound, from psychedelic rock and space disco, this record is a singular piece of rugged mid tempo electronic music that works both on a dance floor in Berlin, at sunset in Ibiza or in a living room in London.
The artwork was hand-drawn by Susumu Mukai and is inspired by 90s reggae dub clashes.

Time for some completely fresh business from a relative newcomer to the scene, though we’re sure the name Cosmonection will be on your radars soon enough. The Parisian producer knocked us off our feet with a beautiful debut back in March this year on the fledgling Pont Neuf imprint. His ’10 Feet Before The Horizon EP’ was loaded with the just the kind of spaced- out, synth-heavy deep late night house that gets us all aquiver over here, so when a demo popped into the inbox we were all over it like a donkey on a waffle.

Love Not Sex is the second Stubb 12" from Paper Recordings' Ben Davis. The original is a melancholic slice of sunshine that draws inspiration from MOR and blue-eyed soul with a hefty dose of Balearica. Acoustic guitars, Rhodes, live drums and strings plus Crazy P's Tim Davis on bass provide the perfect cinematic backdrop for the plaintive vocals of Huw Costin (Torn Sail) and Rachel Foster. Japanese edit hero Mori Ra delivers his first ever remix and its a doozy. Keeping the bones of the original track, he takes it in to dark psychedelic waters with the help of former_airline's tripped out guitar. A spoken vocal tips it in to full balearic wonkiness that will have the likes of DJ Harvey and Bjorn Torske getting hot under their disco beards. Bergen's Leca employs his trademark stripped back crisp production for a warm, dreamy remix. Steel guitar, clicks, whirrs and a Nordic playfulness make for a cosmic journey in to the Northern Lights. The 12's will be a limited run of 300, screen printed in West Yorkshire by The Egg Factory with artwork by artist Rachel Johns in a project that celebrates community and collectivism.

Compilation of the works by MJ Lallo, weird harmonizing mantras layered with drummachine rhythms.. Very psychedelic compositions where she uses her voice to create all kinds of sound(scapes)
Take Me With You is a revelatory voyage through the captivating universe of voice artist and poet MJ Lallo. The works on this 2LP compilation were all recorded in her home studio between 1982 and 1997, primarily using drum computer, synth and her own voice processed through a Yamaha SPX 90 digital effects unit. They range from wordless harmonizer mantras and primitive drum computer meditations, to psychedelic latin dance-floor anthems and synth-drenched end-of-the-nighters. Lallo has created her own inimitable galaxy of sound where the human voice, liberated from the constraints of language and abstracted using digital technology, is able to explore the outer realms of human expression, like Joan La Barbara with an Eventide and a new-age sensibility. Although Lallo’s flight path is distinctly her own, her journey converges with other travellers as diverse as Jon Hassell, Laraaji, Stereolab, William Aura, Laurie Anderson, Meredith Monk, Gertrude Stein and even Terry Gilliam (whose film Brazil was a big influence on Lallo). Like something beamed in from another planet, Lallo’s work is both fascinatingly strange and strangely familiar, and will leave a lasting impression for lightyears to come. Double gatefold LP, remastered DDM pressing.

Limited, Vinyl Only, Label from Melbourne, Australia Blowing over from the west comes Hame DJ’s debut on Vulcan Venti, with three tracks carefully constructed for the discerning Disc Jockey. Stretching out over dubby breaks and tranquil textures, this is one twelve inch you’re sure to get trispy to!

Earthboogie’s debut album, Human Call, rightly earned praise on its release earlier in the year, with listeners responding positively to its sticky and humid dancefloor fusions of African and South American rhythms, chunky dub disco, retro-futurist house, spacey analogue electronics and sun-kissed Balearica.
Hot on the heels of that release, Leng Records has sourced new remixes of two album highlights – “High Minded Man” and “Silken Moon” – from Running Back label boss Gerd Janson and synthesizer-wielding Balearic boogie stalwart Pete Herbert.
It’s Janson who steps up first, offering up two total overhauls of “High Minded Man” that re-cast the undulating, Afro-fired original as a dreamy, drum machine-driven chunks of vintage deep house goodness. Where Earthboogie’s album version bobbed and weaved around horns and live bass, Janson’s Deep House Mix places the duo’s original chanted vocals above a bouncy, polyrhythmic rhythm track, Larry Heard style chords, Kwaito-esque electronic bleeps and a smooth, soul-stroking bassline. Janson’s Deep House Dub, which strips out the vocal for a more sparse and ethereal listening experience, is also included on the EP.
The EP’s other remix comes from sometime Reverso 68 member Pete Herbert, who gets his mitts on previous single “Silken Moon”. While he retains some key elements from Earthboogie’s original – specifically the vocals, Afro guitars and house stabs – he naturally adds a little of his own rubbery electronic disco flavour via spacey synthesizer flourishes and a massive electronic bassline that brilliantly tracks the rising and falling movement of the main melody. It has the feel of a terrace anthem in the making.

2022 repress

Last time we heard from the Growing Bin, Basso sat at the water‘s edge, trousers rolled up, toes in the tide, savouring a Falanghina while Eleventeen Eston went with the wave. Now we move from the shoreline to the ocean shelf, led on an underwater adventure by young Parisian Shelter. Where previous releases have seen the synth-obsessed Frenchman take his inspiration from Caribbean rhythms or Balearic attitudes, this marine missive sees Shelter turn to the lavish world of the library, creating an alternate score to Jean Faurez’ 1960 documentary short.
More submersible than snorkel, our journey begins in the very dark of the deep, mystical harp trills echoing through the inky blackness, picking up the bioluminescent shimmer of an Abraliopsis Squid. Gradually we make our way into the light, cruising past shoals of silver scales and underwater forests. ‚Immersion’ offers a placid, percolating rhythm and billowing pads, providing sonic symmetry for the dancing leaves, while the spheric soundscape of ‘La Vie A L’Ombre’ bubbles away like an underwater volcano. The optimistic ambience of ‘Plenitude Azotee’, brimming with delicate melody and glistening sequences, perfectly captures the wide-eyed wonder of a reef dive, before drifting into the serenity of ‘Parade’, an aquatic acquaintance of A.R.T. Wilson’s ‘Overworld’. A brief foray into shark fin funk sees out the A-side, before we’re back amid the beauty of the ocean floor; ‘Variation Abyssale II’ echoing the album opener but with even more poetry. The exotic and otherworldly sine waves of ‘Dans La Jungle De Varech’ simultaneously sound like a rainforest canopy, alien landscape and coral microcosm, expanding our horizons nicely ahead of the adrenaline rush of ‘Hors D’Haleine’. Shelter then sets us at ease with the tidal tonality and subtle shuffle of ‘Fumeurs Noirs’, a sublime synthetic suite, then leaves us to marvel at the soft focus splendour of ‘Synthii Outro’.
This is Jules Verne by way of Vangelis, just grab your goggles and take the plunge...(Patrick Ryder)

A year after his debut outing on the label, Max Essa makes a welcome return to Hell Yeah with the Han zon Roc EP, which is another of his impossibly laidback offerings.
Essa is of course the long time UK talent who has become a part of the Balearic mafia thanks to releases on labels like Aficionado, Music for Dreams, and his own Jansen Jardin. This is the second coming together of artist and label and is another timeless excursion far out to sea.
Opener 'Han zon Roc (Midori Coup)' is an epic 12 minute adventure that slowly awakens your spirit with new age guitar plucks and heavenly ambience before organic drums slowly being to drift into earshot. They grow ever larger as synths start to spray about the mix, hand drums pitter patter and big chords bring the soul-shine. It's like the soundtrack to an afternoon boat party all condensed into one brilliant cut.
‘How You Showed Me Everything' then gets super chill with lazy drum tumbles, bendy guitar lines and scattered hits. Withering cosmic chords colour the airwaves and its a track that will slow your heartbeat to nothing.
Last of all, 'Rain Bird's Alfalfa Jam' is a analogue drum work out with early 90s hip hop influences and diving basslines. It's light and airy, nimble and playful and of course filled with the sort of tropical rays that make all of Essa works so brilliantly escapist.
Artwork by Andrea Amaducci.

AUF TOGO is Sasa Crnobrnja (In Flagranti, Mytron & Ofofo) and Clément Cachot-Coulom (The Fabulous Penetrators, Big Girls).
Blending vintage recording equipment and instruments with tweaks from the modern studio, the duo presents a loose, almost improvised sound that plays organically within the rigid confines of house music. Psychedelic echoey guitars clash with probing synth lines, live sounding rhythm sections, heavy kicks and singing cowbells, whilst deep bass lines and spare guitar licks blur the line between rigid, quantised sounds and AUF TOGO’s refreshing human touch.
After receiving much praiseby DJs and fans alike for their releases on Leng Records, AUF TOGO now returns with No Control EP, out on SaS Recordings, drawing on their knowledge of the past and the current club scene, giving the perfect mix of home listening fuzz and a late night dance floor.
The 12" vinyl comes in a branded SaS Recordings sleeve, and Side A is cut to 33rpm, whilst Side B cut to 45rpm.

“Fire, the divine essence stolen from the gods by Prometheus and given to humanity thus, making us unique amongst other creatures of Mother Nature, bringing us closer to the divine.
The myth’s version chosen to illustrate the songs in this compilation, whispers that the figure of this fire remains alive in the shape of intelligence and cleverness. Technology split us apart while allowing us to own the sounds of Nature, to transform them, to travel in time within the 20th century using all sorts of folk instruments, assembling mezzo-sopranos coming down from orchestras high up in the sky, with the most virtuous percussionists in the Spanish music scene. Who would have told the sailor man that he would be dancing to down-tempo with his loved one, who is leaning on the balcony waiting for him.
This compilation is a deep scream from modern gods; the flame that is still alive in this new century.
I couldn’t be more thankful to Lord Guardado (Discómanos) for relying on me for the selection of songs, for being this project’s cornerstone and engine, as well as to all the artists who agreed to be part of it.”
Daniel Nielles

Subtitled As “The Open Gate To New Spanish Music” This Is An Amazing Compilation Dedicated To Spanish Minimal, New Age, Ambient, Downtempo, Folk, Experimental Sounds, 1989-1999, All Tracks Never Released On Vinyl Before.
Feat: Suso Saiz, Iury Lech, Finis Africae, Eliseo Parra...
Sublimely Curated By Daniel Nielles (Tuharrdosons), Inspired By The Work Of People Like Luis Delgado (El Cometa De Madrid, Etc).
LP Only Release, 500 Copies. 180Gr Vinyl.

In 2016, after reissuing two Bruce Haack albums, Haackula and Electric Lucifer Book II, Telephone Explosion began speaking with Ted Pandel (Bruce’s lifelong friend and business partner) about working on the 1970 masterpiece The Electric Lucifer. It turned out there was another matter that he wanted to discuss: finding a final resting place for the Bruce Haack archive.
We were shown test-pressings of The Electric Lucifer board mixes from his Columbia studio sessions, countless pieces of written music, a large number of personal photos, an invitation from Raymond Scott inviting Bruce to play his newly created Electronium
instrument (now owned by Devo’s Mark Mothersbaugh), poems, press clippings, and, most importantly, a heavyduty shelf containing 213 reel-to-reel tapes. All of the chosen material on The Preservation Tapes is unreleased, has only been heard by a handful of people and showcases a relatively unknown period in Bruce’s
musical career where Bruce was recording for Sparrow Records (who billed themselves as "America's best Christian music record label”). Bruce’s signature Farad vocoder continues to feature prominently, but the lyrical content is decidedly more religious.
The Bruce Haack archive is now resting in the Provincial Archives of Alberta, in Edmonton,
Alberta, Canada.

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

Bicycle Ride takes you into lo-fi paradise. Enjoy the subliminal vibe of mellow melodies arising out of that true vintage piano sound. Sit back and experience the rhythms and pedal through your inner emotions. Shook’s music will take you into a true admiration for melody, rhythm, music in a carefree treadmill of life.

This LP samples Alexander Goldscheider’s music produced for records, films, TV and even an art exhibition in the space of 25 years starting from 1975. In its second venture into reissuing hidden gems of electronic music produced in Eastern Europe in the 20th Century, Little Beat Different Issues focuses on the work of a Czech composer, musician and producer, Alexander Goldscheider. Born in Prague in 1950, Goldscheider started as a music correspondent in New York in 1968/69, went onto reading Music at Charles University whilst continuing as a music critic and radio/club DJ, before becoming a record producer at the top Czech label, Supraphon. As a composer, he pioneered the use of synthesizers in his songs for major Czech pop/rock singers as well as in his own instrumental tracks. After moving to London in 1981, he first recorded two albums at the renowned Red Bus Studios, then proceeded to work at the legendary BBC Radiophonic Workshop, before co-founding and establishing Romantic Robot, a software and hardware design and manufacturing company which later moved into music recording and publishing. Of the many original products, The Music Typewriter was ground-breaking software enabling the writing and printing of real notation on the Sinclair ZX Spectrum. Similarly Terezin: The Music 1941-44 was the first ever release of CDs with music written in the Theresienstadt Concentration Camp during World War II.

After putting out Kito Jempere's well received Sea Monsters album last year, Hell Yeah now serve up another selection of remixes of it. Accomplished musician Jimi Tenor, plus Miskotom and Max Essa all contribute before a 7", also taken from the album, lands later in summer.
First up is Jimi Tenor, the legndary Finnish musician who has released on Warp, collaborated with Tony Allen and has his own band as well as occasionally playing sax with Kito Jempere Band at live gigs. He flips Puzzled into five minutes of stripped back and moody electronics with plenty of his own flute playing in the track. Busted drum sounds, spooky sci-fi synths and scattered hits make it woozy and late night and utterly absorbing.
Miskotom—a newly emerging pair made up of Mik and his wife Andra, both based in Vilnius, Lithuania with credits on Pleasure Unit and Balearic —then reimagine 'Ampa' as a beatdown but of deep house with trudging drums staying low and shimmering synths drift out in all directions. Crunchy hits bring a subtle sense of funk and reverb drenched vocals bring a heavenly feel to the soul drenched grooves and summery keys.
Then comes Max Essa, the Japan based Brit who is a regular on this label as well as the likes of Is It Balearic?. His first remix is a huge one that is sure to soundtrack many a boat party this summer. It's a gorgeous rework of 'Ampa' that puts achingly blissful vocals front and centre as low slung bass and slowly turning drums sink you into a pan-pipe laced reverie. Secondly, Essa offers a Dub Reprise that removes the vocals and places all the focus on his churning drums and new age grooves.
This is another perfect package of masterfully electronic horizontal sounds.

Into the Light is launching a parallel and limited series with contemporary material from both Greek and international artists. First stop is the album 'Postclub Prism' by the German producer Cass. offering ten gorgeous ambient pieces about light and romance.
Since 2012, Niklas Rehme-Schlüter aka Cass. has released albums of varying styles, from the rather organic and loop based ambient pieces on 'Loops & Farewell Sketches’ and the 'Red Atlantic' EP on Throne of Blood in 2017, influenced by 80’s pop sonics, to the more balearic and percussive recordings on 'The Sound of Glades' together with Wolf Müller in 2016. On his new record 'Postclub Prism’ Cass. explores his affinity to calm and atmospheric ambient music at the threshold to the reverberant sound of club music.

Theo Special brings you the ultimate heat for this summer, including a Bartellow remix.

When No Pussyfooting was released in 1973 by two great pioneers like Eno and Fripp, that first whisper of their artistic association surprised many critics and fans. Yet, that kind of minimalist ambient sonority carried out by the two appeared in the ear like something absolutely new and innovative. Although nowadays we might be more accustomed to creative operations of this type, we are still fascinated, while listening, by the still possible achievement of relevant moments of musical epiphany, however distant we might be from that first eminent combination between keyboards and guitar which concerned electronic experimentation. Something similar occurred in this new collaboration between Riccardo Sinigaglia and Maurizio Abate; two generations in comparison, whose research developments unfold in the handful of different conceptions and experiences. Their music does not own a pre-defined structure; it receives its ultimate reason from the progressive and continuous metamorphosis of sound. It’s all the result of spontaneous sessions, during which a predisposition towards an active trance procedure, sustained by complementary flashes of lucidity, prevails. The dominant atmosphere is entirely oneiric, perpetually doubtful, still not linked to the passive remote unconscious: it rather reminds of lucid dreams, of phosphenes, of eidetic visualizations that belong to Tibetan tradition.

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.

It was May 2017 when Earthboogie’s debut release dropped on Leng. The soundsystem-loving East London duo rightly won praise for a fine EP that brilliantly joined the dots between all things intergalactic, terrestrial and tribal.
Having spent the last ten months recording their adventures, Izaak Gray and Nicola Robinson return with “Silken Moon”, the first single from their forthcoming debut album, Human Call. In typical fashion, “Silken Moon” cannily combines musical elements from a
myriad of styles – most notably Afro-disco, samba and mid-tempo Chicago house – to create a humid hybrid that defies easy categorization. There are bouncy organ riffs, undulating acid lines, clipped Afro-funk guitars, tons of tropical percussion and the chanted, carnival-friendly vocalizations of guest singer Nina Miranda.
The release comes backed with remixes from two members of the extended Leng family: long-serving producer Felix Dickinson and Turkish rising star Ali Kuru. Dickinson sticks close to the original of “Silken Moon” with a mix built around gently jacking machine drums and Earthboogie’s sweaty guitar licks while Kuru takes “Human Call” in an altogether more cosmic direction. Pushing the track’s psychedelic TB-303 lines and tropical textures to the fore whilst adding his own mind-altering electronics – most notably a fat new synth bassline – Kuru cleverly re-casts the track as a pulsating, late night throb-job.

Just in time to warm up your winter, Hell Yeah revisit the peerless recent Tsuki album from ambient and Balearic masters Tempelhof & Gigi Masin. Two tracks from the album are included on this new package, as well as a remix from Jex Opolis.

2022 repress!

Growing Bin burst into 2018 with a bang, crash and symbol splash, uniting a premier pair of percussion obsessives for a supernatural mission into the heart of the rhythm.
Dressed in the pitch black of Dusseldorf stands Wolf Mueller, master of the tropical drums and seven time Salon Des Amateur breakdance champion. Repping Cologne and Berlin is Niklas Wandt, Germany’s funkiest drummer and a mixed musical artist as adept in experimental jazz as demented Eurodance. Standing toe to toe in a no holds barred, no drum unstruck groove contest, these two titans will make you swing your pants like a Crash Bandicoot victory dance... so stretch out and step into ‚Instrumentalmusik von der Mitte der World‘.
Taking to their task with the joyful abandon of two big kids getting creative with the Kindergarten music tray, Müller & Wandt marry dripping electronics, Froesean pads and rubber-limbed basslines with tribal polyrhythms, C2 claps and Indonesian shakers - and that‘s only on the A1. Comprising of three trance-inducing epics, a handful of medium-sized movers and a couple of freeform interludes, this dynamic double pack could almost pass as a lost Library masterpiece; but our mind guides go Furthur, fusing esoteric funk and free-jazz freak-out a truly transportive experience. Prepare to enter a world of techno totems and neon skulls, shades of Yello and excellent birds. Within these grooves lies a transdimensional pathway between the Temple of Doom, the Twilight Zone and De Palma‘s Paradise, brought to life in a shamanic rite.
Forget the healing frequencies of Growing Bin‘s ambient outings, this time we‘re dancing for mental health.

All the real djs were looking for those for years. Grab it before it's sold out, we have very few copies. A must have.

All the real djs were looking for those for years. Grab it before it's sold out, we have very few copies. A must have.