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A Mountain of One return with their second single from eagerly awaited forthcoming album "Stars Planets Dust Me". "Dealer" sees them push further into the Cosmos with a modern take on the electronic disco pulses of Kraftwerk and Giorgio Moroder mixed with organic sensibilities, Electric sitar and reverse guitar akin to the heady moments of The Beatles track "Tomorrow never knows". Criss crossing Balearic, psychedelia, disco and electronica. ”Dealer” shows the band, made up of musical soulmates Mo Morris and Zeben Jameson, have lost nothing in the past decade. Recorded over Skype during the coronavirus pandemic, with Mo now in Bali and Zeben in west London, a shimmering, modern classic, experimental but accessible, melodic and adventurous. As ever, it is utterly unique, made in a musical universe all of their own. When A Mountain Of One first started performing, they quickly became one of the most- acclaimed bands out there, with the likes of i-D, Sunday Times Culture, Pitchfork, NME and more raving about them and their inspired and original approach. Sold-out shows and awesome reviews followed with “Collected Works” and “Institute of Joy”, two phenomenal globally acclaimed albums that have stood the test of time, This heady odyssey is mastered again by Global Electronic music icon "Ricardo Villalobos", and soon to also be remixed by Ricardo on a full album of his interpretations of the forthcoming album. Their first single "Custards last stand" from the forthcoming album had radio support from NTS radio, Worldwide FM / BBC 6. The forthcoming album “Stars Planets Dust Me” will be released March of 2022.

Born a french, fried in Belgium, Accou recently delivered on stage ecstatic dancefloor sets for the techno enthusiast.

Back to he intimacy of his studio, Antoine lets himself go to layered dreamy electronics with a warm loving feeling covered under six feet of snow. On the other side of the record, that noisy guitar sound coming straight out of the early nineties instantly catches the ear to an intense and joyful travel in time.

Lexi Disques is a maverick label based in Brussels since 2008 that explores the rich possibilities of the 7-inch record single. A welcoming home for experimental and adventurous musicians of diverse backgrounds, from fresh and vibrant faces to underground heroes, dwelling between the misty fields of psych-pop to the straight (and not so straight) roads of electronics.

Das italienische Duo Agents Of Time war in den letzten Jahren unglaublich fleißig, von der Veröffentlichung einer Reihe klassischer Singles - darunter ihre jüngster Beitrag für Afterlife, "The Mirage", der mehr als fünf Millionen Aufrufe auf Instagram erhielt - bis hin zum Remix von The Weeknds "Take My Breath", der auf dessen aktuellen Album “Dawn FM (Alternative World)” erschien. Aber die bahnbrechendeste Neuigkeit ist erst jetzt endlich da - ihr zweites Album "Universo" ist fertig! “Universo" verbindet ihr Markenzeichen, melodischen Techno, mit einer besonderen Pop-Haltung und findet nach der EP "Music Made Paradise 2020" sein ideales Zuhause bei Kompakt. Eine Seelenverwandtschaft, die absolut Sinn macht.

Andrea Di Ceglie und Luigi Tutolo, die beiden Mitglieder von Agents Of Time, nutzten die Zeit während der Pandemie, um an "Universo" zu arbeiten, einem Album, das lose um ihr "persönliches Universum" herum konzipiert ist, eine Manifestation der Welt, die Di Ceglie und Tutolo in und um ihr Studio herum aufgebaut haben. Das macht den besonderen Glanz und die strahlende Helligkeit von "Universo" aus - es strotzt nur so von Persönlichkeit, Elan und Kraft, das Duo experimentiert mit Musik und erkundet auch noch deren entfernteste Ecken. Wer bei "Universo" nur ein weiteres Album mit melodischem Techno erwartet, wird angenehm überrascht sein - hier ist viel mehr los, und alles ist gleichermaßen spannend.

Nach einer poetischen Eröffnungsgeste - dem wirbelnden, synästhetischen, selbstbetitelten Intro-Track - werden mit dem 2-Step-Pop von “Fallin” alle Erwartungen sofort über den Haufen geworfen. Mit sanfter Klarheit von Gastsängerin Audrey Janssens gesungen, ist “Fallin” ein Traum von einem Song, der an die großen Zeiten von UK-Garage in den frühen 00er Jahre erinnert. "Interstellar Cowboy" ist ein selbstbewusstes, geschmeidig über den Laufsteg stolzierender Disco-Track; das sanfte Moll-Klavier von "Liquid Fantasy" entwickelt sich zu einem wunderbar melancholischen Techno-Pop-Epos, mit Vicky Who?’s Stimme voller Sehnsucht . Danach taucht auch Janssens Gesang auf dem Elektro-Wirbel von "Poison" wieder auf; "Dream Vision" greift die Single "The Mirage" auf, sanft und mit schwungvollen Streichern, voller Dramatik; "Part Of Life" dagegen ist ein echter Schaffel-Stomp.

All der Abwechslungsreichtum lässt eher tanzflächenorientierte Tracks wie "Ciao" noch deutlicher hervortreten - sie wirken noch entschlossener, stromlinienförmiger und dennoch reich an Details, pluckernde, Moroder-eske Bässe treffen auf stroboskopisch blitzende Synths, von denen aus die Melodien ins Firmament schießen. “Universo” fühlt sich textlich dicht an, aber es atmet trotzdem, seine Klänge sind so greifbar, dass man sie anfassen möchte, seine Melodien so verführerisch, dass man sie nicht mehr aus dem Kopf bekommt. “Universo” ist ein wunderschönes, mutiges Album, ein perfekter Treffpunkt von Pop-Melodien und stilvollem Techno: Agents Of Time in excelsis.

Das italienische Duo Agents Of Time war in den letzten Jahren unglaublich fleißig, von der Veröffentlichung einer Reihe klassischer Singles - darunter ihre jüngster Beitrag für Afterlife, "The Mirage", der mehr als fünf Millionen Aufrufe auf Instagram erhielt - bis hin zum Remix von The Weeknds "Take My Breath", der auf dessen aktuellen Album “Dawn FM (Alternative World)” erschien. Aber die bahnbrechendeste Neuigkeit ist erst jetzt endlich da - ihr zweites Album "Universo" ist fertig! “Universo" verbindet ihr Markenzeichen, melodischen Techno, mit einer besonderen Pop-Haltung und findet nach der EP "Music Made Paradise 2020" sein ideales Zuhause bei Kompakt. Eine Seelenverwandtschaft, die absolut Sinn macht.

Andrea Di Ceglie und Luigi Tutolo, die beiden Mitglieder von Agents Of Time, nutzten die Zeit während der Pandemie, um an "Universo" zu arbeiten, einem Album, das lose um ihr "persönliches Universum" herum konzipiert ist, eine Manifestation der Welt, die Di Ceglie und Tutolo in und um ihr Studio herum aufgebaut haben. Das macht den besonderen Glanz und die strahlende Helligkeit von "Universo" aus - es strotzt nur so von Persönlichkeit, Elan und Kraft, das Duo experimentiert mit Musik und erkundet auch noch deren entfernteste Ecken. Wer bei "Universo" nur ein weiteres Album mit melodischem Techno erwartet, wird angenehm überrascht sein - hier ist viel mehr los, und alles ist gleichermaßen spannend.

Nach einer poetischen Eröffnungsgeste - dem wirbelnden, synästhetischen, selbstbetitelten Intro-Track - werden mit dem 2-Step-Pop von “Fallin” alle Erwartungen sofort über den Haufen geworfen. Mit sanfter Klarheit von Gastsängerin Audrey Janssens gesungen, ist “Fallin” ein Traum von einem Song, der an die großen Zeiten von UK-Garage in den frühen 00er Jahre erinnert. "Interstellar Cowboy" ist ein selbstbewusstes, geschmeidig über den Laufsteg stolzierender Disco-Track; das sanfte Moll-Klavier von "Liquid Fantasy" entwickelt sich zu einem wunderbar melancholischen Techno-Pop-Epos, mit Vicky Who?’s Stimme voller Sehnsucht . Danach taucht auch Janssens Gesang auf dem Elektro-Wirbel von "Poison" wieder auf; "Dream Vision" greift die Single "The Mirage" auf, sanft und mit schwungvollen Streichern, voller Dramatik; "Part Of Life" dagegen ist ein echter Schaffel-Stomp.

All der Abwechslungsreichtum lässt eher tanzflächenorientierte Tracks wie "Ciao" noch deutlicher hervortreten - sie wirken noch entschlossener, stromlinienförmiger und dennoch reich an Details, pluckernde, Moroder-eske Bässe treffen auf stroboskopisch blitzende Synths, von denen aus die Melodien ins Firmament schießen. “Universo” fühlt sich textlich dicht an, aber es atmet trotzdem, seine Klänge sind so greifbar, dass man sie anfassen möchte, seine Melodien so verführerisch, dass man sie nicht mehr aus dem Kopf bekommt. “Universo” ist ein wunderschönes, mutiges Album, ein perfekter Treffpunkt von Pop-Melodien und stilvollem Techno: Agents Of Time in excelsis.

Another amazing double-sided dynamite from the famous 7” Lego series.This bringing a hypnotic mid-tempo afro disco groove and it will turn heads and twist legs on the dancefloor!

Les Disques du Crepuscule present a new, remastered vinyl edition of East & West, the bittersweet debut album by American singer-songwriter Anna Domino, originally released by the label in 1984.

East & West was recorded in Brussels in 1983 with guest contributions from Virginia Astley, Blaine L. Reininger (of Tuxedomoon) and alt-pop polymath Luc Van Acker. The five tracks on the original mini-album format include her first single Trust, In Love (an NME single of the week), and an exquisite cover of Land Of My Dreams, originally a hit for Aretha Franklin in 1965. Rare b-side track Repeating (from the same sessions) is also now added to the album.

Other bonus tracks include the popular singles Zanna, a 1984 collaboration with Luc Van Acker, and radio hit ‘Rythm’, produced a year later by legendary Telex founder and jazzmeister Marc Moulin. The expanded remaster closes with a previously unreleased demo song called Dream Back, recorded in New York City with her friend Stanton Miranda of Thick Pigeon in 1984.

The album retains the original cover art by Joel Van Audenhaege, and adds new liner notes written by Anna herself.

Transversales Disques is very glad to announce the release of Nuits Blanches au Studio 116, unreleased rarities from Ariel Kalma’s personal archives recorded in the legendary GRM’s Studio 116 during the 70’s.
Born and raised in Paris, Ariel Kalma started playing the recorder and saxophone as a youth. After successive studies of Computer Science, Music and Art in Paris he performed in various concerts from middle-age music to free jazz duo. Ariel performed and recorded with several bands (J. Higelin, R. Pinhas, NYL, G. Scornic, Baden Powell…).
After learning circular breathing on soprano sax, Ariel could include those endless notes into his own long-delay-effect system, dual Revox set-up and two tape machines “chained” together to form a long delay system.
In France during the mid-1970s, Kalma was staffed as a recording assistant at legendary Groupe de Recherches Musicales (INA GRM) studios, where Ariel recorded some of his compositions in the Studio 116; the same music “concrete” laboratory that spawned masterpieces by members Luc Ferrari, Bernard Parmegiani…

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.

When Arthur Russell died in 1992 he left an overwhelming archive of over a 1000 tapes that reveal the sublime genius of one of the most important musicians of the last 25 years. As a cellist, songwriter, composer, and disco visionary Arthur Russell consistently blurred the lines of our expectations of what pop music could be. Originally from Iowa, Arthur travelled west in 1970 to study Indian classical composition with Ali Akbar Khan, befriended Allen Ginsberg, performed with Alice Coltrane, and then moved to New York in 1973 to study at the Manhattan School of Music. Quickly gravitating to the then burgeoning downtown scene, Arthur wrote and performed his minimal compositions (captured on Instrumentals and Tower Of Meaning. Both to be re-issued by Audika) and collaborated with a who’s who of some of New York’s most influential artists including Rhy’s Chatham, Ernie Brooks, David Byrne, Phillip Glass, Laurie Anderson, Jon Gibson, Robert Wilson, Christian Wolff, John Cage, Arnold Dreyblatt, and Phill Niblock.

It then changed by a mere accident. Simply, he went to a disco. Inspired by the sonic repetition and sense of community, Arthur wrote and recorded some of the most important records of the disco era including ‘Kiss Me Again’, ‘Is It All Over My Face’, and co-founded Sleeping Bag Records with partner Will Socolov releasing ‘Go Bang’ and the album 24-24 Music. In 2002 Audika Records entered into an exclusive licensing agreement with the estate of Arthur Russell to issue previously unreleased and out of print material from Arthur’s vast archive. The first album Calling Out Of Context , features 12 previously unreleased tracks recorded during Arthur’s prime years 1985-90. The material is drawn from Corn, an album that was completed in 1985 but never released, and an abandoned album recorded for Rough Trade as Arthur had become ill. Many of these tracks show hidden sides of Arthur’s talent and underline the loss of his great potential. Contrary by nature, Arthur’s spontaneous reaction and altered perception to his environment produced music that remains challenging and contemporary. Arthur’s open hearted attitude to music was far ahead of it’s time, and now that time is ours.”

Before Disco, and before the transcendent echoes, Arthur wanted to be a composer.

His journey began in 1972, leaving home in Oskaloosa, Iowa. Heading west to Northern California, Arthur studied Indian classical composition at the Ali Akbar Khan College of Music followed by western orchestral music at the San Francisco Conservatory of Music, before ending two years later in New York at the Manhattan School of Music.

Traversing the popular and the serious, Arthur composed “Instrumentals” in 1974, inspired by the photography of his Buddhist teacher, Yuko Nonomura, as Arthur described, “I was awakened, or re-awakened to the bright-sound and magical qualities of the bubblegum and easy-listening currents in American popular music”.

Initially intended to be performed in one 48 hour cycle, “Instrumentals” was in fact only performed in excerpts a handful of times as a work in progress.

The legendary performances captured live in New York at The Kitchen (1975 and 1978) and Franklin St. Arts Center (1977) feature the cream of that eras downtown new music scene including Ernie Brooks, Rhys Chatham, Julius Eastman, Jon Gibson, Peter Gordon, Garrett List, Andy Paley, Bill Ruyle, Dave Van Tieghem, and Peter Zummo.

Pitchfork lauded “Instrumentals” Vol. 1 as a masterpiece and one of Arthur’s “greatest achievements”. Americana touching on Copeland, Ives, and maybe even Brian Wilson. “Instrumentals” Vol. 2 is a moving, deeply pastoral work performed by the CETA Orchestra and conducted by Julius Eastman.

Also included are two of Arthur’s most elusive compositions, Reach One, and Sketch For “Face Of Helen”. Recorded live in 1975 at Phill Niblock’s Experimental Intermedia Foundation, Reach One is a minimal, hypnotic ambient soundscape written and performed for two Fender Rhodes pianos. Sketch For “Face Of Helen” was inspired by Arthur’s work with friend and composer Arnold Dreyblatt, recorded with an electronic tone generator, keyboard and ambient recordings of a rumbling tugboat from the Hudson River.

For this remastered vinyl edition, a key part of Arthur’s musical life has been restored. The sparkling, multidimensional results take the listener closer to Arthur’s coast-to-coast journey: his iconoclastic determination to combine pop and art music; and his desire to make music that would resonate in the present and, ultimately, across time.

The remastered double LP comes with a 12-page booklet including liner notes by Tim Lawrence, Ernie Brooks and Arthur Russell.

A remastered and revised artwork edition of the extraordinary World Of Echo album from New York avant-garde cellist, songwriter, composer, and disco visionary Arthur Russell. Originally released in 1986, the album is a deeply meditative and seductive work of awe-inspiring beauty, grace, and passion, performed with just cello, voice, and echoes. Eighteen tracks remastered from Russell’s original 1/4-inch sequenced masters, including drumless versions of his disco classics “Let’s Go Swimming,” “Tree House,” and “Wax The Van,” along with four previously unreleased songs from Sketches From World Of Echo. Edition of 1,000 copies.

We are proud to announce a new series on Discos Atónicos devoted to less frantic and more reflective sounds: (The) Tantra Series. The first volume titled "Disco Tantra" comes from the hand of artificiero, who delivers another brilliant work of industrial electronics and esoteric atmospheres. As the icing on the cake we find to the mighty Esplendor Geométrico on the remix duties. Don't miss it.

Brian d’Souza, better known as Auntie Flo, delivers his brand-new fourth studio album, ‘In My Dreams (I’m A Bird and I’m Free)’, set for release on 21st November. The album, a rich blend of electronic music, live instrumentation, and global influences features collaborations with the likes of Nicola Cruz, Joshua Idehen, Shingai Shoniwa, Yohan Kebede (Kokoroko) and even his Goan Auntie Florie, where the Auntie Flo moniker is derived from. Each track on the album transports you to a different location: Goa, Istanbul, Nairobi, Mexico City, Waiheke Island, Rio De Janeiro, Havana, Seoul are all destinations to nest in across its ten tracks. It will be available in both digital and vinyl formats on his own label, A State of Flo Records.

Auntie Flo’s latest body of work is the culmination of a five-year journey that has seen d’Souza expand both personally and musically. Known for his unique ability to fuse electronic sounds with rhythms and influences from across the globe, d’Souza takes his craft to new heights in this album, offering listeners an intimate look into the experiences, places, and stories that have shaped his artistic evolution. The groundbreaking DJ and producer presents an expansive, deeply personal exploration of global sounds, collaboration, and migration.

Following the success of the Afro-disco single Green City—a dynamic tribute to the legendary Fela Kuti and Luke Una’s ‘track of the year’—In My Dreams (I’m A Bird and I’m Free) ventures further into uncharted musical territory. The album, however, is more than just a continuation of Auntie Flo’s signature sound. It is a reflection of d’Souza’s life and career, capturing his exploration of identity, migration, and cultural fusion. With tracks that draw inspiration from field recordings collected around the world, the album resonates with a profound sense of place and memory.

In My Dreams (I’m A Bird and I’m Free) is not only a reflection of d’Souza’s creative journey but also a commentary on migration—both human and musical. The album draws on the freedom of birds to migrate across borders as a metaphor for artistic and personal freedom, juxtaposed with the challenges that political barriers impose on human migration. As d’Souza explains, “Birds have the freedom to migrate wherever they choose, while humans face constant barriers”.

A State of Flo supports Earth Percent. 10% of the revenue generated from this release will be paid to environmental charities.

Batsaykhan is the rebirth of the first project to ever release on Favela Discos, only a few hours after the label’s blogspot was put online back in 2013. Formerly known as Batsaykhantuul, Batsaykhan is not only one of Nuno Oliveira’s alter-egos but also something between a science fiction character and an ancestral spirit doomed to wander the earth in an apparently human physical manifestation.

The first album, Maestro Ir Noras, is a small and simple collection of tracks featuring only guitars and other stringed instruments, the second, being even smaller (only a single track) already seemed to lead us on through the psychedelic desert that would define the sound of the project.

After a long hiatus, Batsaykhan finally emerged from the drawer, or maybe it was from the desert, only to reveal that he had shape-shifted, now taking the form of a trio. With the help of André Azevedo and Tito Silva, Nuno started working on old demos of unpublished compositions and adapting them to the new formation. The trio started the process of refining the songs and the sound of the record, using only a strict selection of synths, percussions, bass and guitar.

They ended up settling down on a terrain of moving sands for those who feel the need to define their sound, between a forest of psychedelia, a river of ambient and the obvious desert that has buried the guitars under its “western” sand.

Batsaykhan’s self-titled release, and the project’s first long play will finally unveil itself on the last day of February, digitally and on 12’’ vinyl, with design and artwork by Rita Laranja.

Finnish band Behind The Trees releases their self titled debut ep. Curiosity towards world music, shamanistic approach to rhythms and cosmic levels in life made it happen. There are five different kind of tracks in the ep. The intro track "Haiku" is a mood setter for the whole journey. Inspired by the mid eastern mystical soundscapes. Second track "Bonefire" follows the path, painting a picture of desert campfire, where travellers psychedelic guitar will trip you out as your body follows the rhythm. Third track "Acid Yerli" is the climax on the ep. Turkish disco and acid house combined, you don ́t have to be scientist to figure out the forecast. On the flip side "x4" is a different kind of expedition. Hear the waves hitting the rocks and balearic breese corressing your cheek bones. Track "x4" is a kind of balearic homage to eighties AOR, seasoned with chanting soft voice of Finnish singer Suva. Last track "Gentle" relaxes your mind and body. The piece has a grounding vibe, with healing resonances that will restore your energy. Dare to see Behind the Trees, the obscure adventure of life.

In these difficult times, Discom put an immense effort to bring you some amazing music with a special new release: Beokraft- The Time Machine LP. Beokraft is a true supergroup of Yugoslavian electronic music pioneers Dejan Stanisavljevic (group Beograd), Zoran Jevtic (data, Sizike, The Master Scratch Band), Nikolaj Bezek (Consequential). The Time Machine is their album inspired by Kraftwerk- the fathers of electronic music.

The album consists of three parts with each artist creating their own repertoire of three songs. It begins with Nikolaj Bezek and his core Kraftwerk approach: simple musical phrases combined with striking rhythmical patterns and huge analog effects, especially the vocoders. Tracks The Time Machine, Robot Men and Transformator are beautifully rounded, almost like a memory lane to the early Kraftwerk's world from Autobahn, Radio-Activity and Trans Europe Express. The similar impression continues with Dejan's Stanisavljevic's part, but in a broader context. In addition to his composing and arranging skills, Dejan shows exceptional talent to describe contemporary phenomena in Kraftwerk's language. Tracks Ex Yu Roy At The Control, Quantum Computers and Into The Future, strikingly describe today's problems with a rather dark message at the end. The album rounds off with Zoran Jevtic's song set: Man, Women And In-between, Artificial Mind and Ja Sam Tvoj Robot, brilliantly produced tracks with almost synth-pop tone found in Electric Cafe and Tour De France albums. Rich and colorful production done with good-old "right from the start" sound is something any record collector or a DJ whose tastes go beyond the mainstream, will value.

At a time when music and new records are definitely not the mainstream news, we managed to gather the last remaining Yugoslavian electronic music pioneers of Belgrade to record their ultimate LP. This is an opportunity to do something sublime, to support authentic music from a neglected area which will soon exists only in our memories. For the sake of music, against all odds, in spite of all the bad news and fears.

Transversales is very glad to announce the release of Mémoire Magnétique Vol.1 spanning 1966-1990, revelatory collection of commercial and secret music by electronic music pionneer Bernard Parmegiani. Since the late 50's, Bernard Parmegiani, a major figure of electroacoustic music and a founding member of GRM has created some sixty concert music. From the start, Parmegiani’s work was closely linked to the screen, with dozens of documentaries, films, long features, animation films but also musical pieces for dance, stage or TV. The first volume of this compilation allows us to discover some of these lost tapes and unpublished recordings which were composed for the screen or the performing arts.

Transversales is very glad to announce the release of Mémoire Magnétique Vol. 2 spanning 1966-1993, revelatory collection of short and secret music by electronic music pioneer Bernard Parmegiani. Since the late 50's, Bernard Parmegiani, a major figure of electroacoustic music and a founding member of GRM has created some eighty two concerts music. From the start, Parmegiani’s work was closely linked to the screen, with dozens of documentaries, films, long features, animation films but also musical pieces for dance, stage or television. If many of his pieces are landmarks in the history of electroacoustic music (De Natura Sonorum, La Roue Ferris…), his application music compositions are strongly embedded in the subconscious landscape of the French public (Stade 2, Roissy Paris Airport…). The second volume of this compilation allows us to discover some of unreleased rarities from Bernard Parmegiani’s personal archives and unpublished recordings which were composed for the screen or the performing arts.

Bezbog is a duo formed in 2013 by David Machado and Dora Vieira. Since their first release in 2014, the self-titled Bezbog EP, they have been exploring both acoustic and electronic instruments to create music that lives somewhere in between genres, styles, doctrines and musical cultures. Alongside many underground venues throughout Portugal and Spain, they have shown their work in festivals such as No Noise, Milhões de Festa, Out.Fest, and Tesla at the Castile and León Museum of Contemporary Art, and other places such as the Serralves Museum in Porto and MK Gallery in the UK.

Their latest long play takes its name from the solar deity of the slavic pantheon, Dazhbog - the god that gives, and its idea flows into the concept of this record, through the themes of life, light and darkness, birth and rebirth, and the idea of the omnipresent cycle. We can find cycles in nature, music and life itself can be thought of as a cycle, from the micro to the macro scale.

As they seek to embed their music with these ideas, in a way, their music becomes new sacred music, the music of modern pagan rituals. While Bezbog’s music seeks to replicate the meaning of what that music was, an escape from the profane and a connection to the sacred plane, in form it reconstructs it in light of the duo’s influences, from the obvious portuguese and pagan folklore, chamber and sacred music, to the darkness of doom and heavy metal, the structured improvisations of north-american jazz and psycho-acoustic hallucinations and the hash transients of electronic music.

Dazhbog, while a passenger of the same train of thought as their previous studio work, comes in a different direction from it. Chernobog consists of two short and heavy tracks, painstakingly crafted during several months, while their latest studio effort is a long suite of 8 tracks, composed and recorded live throughout 2020, that form a light and bright record where the duo embedded most of their influences. The album will come out on vinyl in late March, in time for the pagan celebration of Spring and Fertility.

Bibio is an artist who never likes to stay in one sound for too long. His humble beginnings producing lo-fi folk-tronica transformed dramatically into the hip hop inspired kaleidoscopes of his Warp debut Ambivalence Avenue, launching a series of constant shifts from intricate house beats to dazzling funk through to haunting ambient soundscapes, often all within the space of one album. While the quintessential Bibio sound may be hard to define, the guitar has stuck with him throughout all of his sonic experiments, and it’s what he pays homage to on his milestone tenth album.

“I like contrast between my albums,” says Stephen Wilkinson aka Bibio “When I finish an album, I crave doing something different for the next one.” Bib10 is perhaps the most outwardly pop Bibio has ever leaned into, delving deeper into the funk and disco direction previously hinted at with releases like 2016’s The Serious EP while his natural pastoral folk inflections still shine through. Though the slick riffs of tracks like ‘Off Goes The Light’ are dressed in fuzzy CRT television colours, they never fall into the trap of sounding nostalgic, featuring refreshing songwriting that can only be placed in modern day.

A metropolitan energy flows through many tracks, such as ‘S.O.L.’ with Olivier St. Louis’s silky, infectious vocals, or the sweet rotations of saxophone and guitar on ‘Cinnamon Cinematic’, trading jubilantly extended solos with each other. Elsewhere, Bibio’s hearty folk origins appear on the intimately drifting ‘A Sanctimonious Song’ and the acoustic ode to analogue on ‘Phonograph’. Both of these worlds are glued together in ‘Rain And Shane’, where lilting violin lends simultaneously wistful and soaring melodic refrains to twirling electric guitars.

Bibio is an artist who never likes to stay in one sound for too long. His humble beginnings producing lo-fi folk-tronica transformed dramatically into the hip hop inspired kaleidoscopes of his Warp debut Ambivalence Avenue, launching a series of constant shifts from intricate house beats to dazzling funk through to haunting ambient soundscapes, often all within the space of one album. While the quintessential Bibio sound may be hard to define, the guitar has stuck with him throughout all of his sonic experiments, and it’s what he pays homage to on his milestone tenth album.

“I like contrast between my albums,” says Stephen Wilkinson aka Bibio “When I finish an album, I crave doing something different for the next one.” Bib10 is perhaps the most outwardly pop Bibio has ever leaned into, delving deeper into the funk and disco direction previously hinted at with releases like 2016’s The Serious EP while his natural pastoral folk inflections still shine through. Though the slick riffs of tracks like ‘Off Goes The Light’ are dressed in fuzzy CRT television colours, they never fall into the trap of sounding nostalgic, featuring refreshing songwriting that can only be placed in modern day.

A metropolitan energy flows through many tracks, such as ‘S.O.L.’ with Olivier St. Louis’s silky, infectious vocals, or the sweet rotations of saxophone and guitar on ‘Cinnamon Cinematic’, trading jubilantly extended solos with each other. Elsewhere, Bibio’s hearty folk origins appear on the intimately drifting ‘A Sanctimonious Song’ and the acoustic ode to analogue on ‘Phonograph’. Both of these worlds are glued together in ‘Rain And Shane’, where lilting violin lends simultaneously wistful and soaring melodic refrains to twirling electric guitars.

Bicep have become synonymous with a particularly emotive brand of electronic dance music down the years, and on the Belfast-born, London-based duo’s new LP Isles we find that sound in good nick once more. The album’s shimmering synths and buoyant beats transport you to the last dance of the night, or perhaps to the sun setting over a festival skyline, even as you enjoy them through headphones or hi-fi speakers.

Isles finds Bicep incorporating influences which range from old-school rave tunes to the tender, R&B-indebted sounds of post-dubstep. A single like ‘Apricots’ is an expert demonstration of how Bicep’s style is in dialogue with so many important eras of dance music’s history yet also remains distinctly their own. ‘Apricots’ features shuffling broken-beat drums which push the tune forward, the gently insistent groove providing a base from which the synths and vocal loops can build. It makes for hugely stirring listening, particularly when the ever-climbing synths reach their apex at the track’s climax. Other entries here may deliver some harder timbres - there are electro and trance influences lurking towards the back-end of Isles - but Bicep still find the emotional sweet-spot time and again across the course of the album.

With the Isles LP, Bicep have delivered some of their most moving electronic dance music productions to date.

"Black Devil Disco Club's story is as deep and strange as the music itself. His first album ‘Black Devil Disco Club’ is one of the most enigmatic electronic masterpieces ever made. So ahead of it’s time that no one could believe it was made in 1977 (released 1n 1978). Many thought it was a hoax and that the music was made by Aphex Twin or Luke Vibert but when Lo Recordings released the ‘28 After’ album in 2006, the truth was finally revealed.

Black Devil is the alter ego of Bernard Fevre, a French composer of electronic library music including the magnificent ‘Strange World Of Bernard Fevre’.

Bernard grew up and worked in Paris, and it was the African clubs and rhythms that inspired him to make the ‘Disco Club’ album. With only a small arsenal of electronic keyboards, a vocoder and looped conga drums he made music that transcends time.

Fast forward to 2020 and ‘Lucifer Is A Flower’ is every bit as enigmatic, inventive and inspiring as it’s title suggests. A kaleidoscopic ride into the mind of a musical master. Beautifully packaged with design by Non Format that includes pictures of the devil as a young man, it’s a fitting tribute to a career that has spanned over 40 years of divine and diabolical genius"

"BlackFilter is the project of Pellegrino Mazzucchi, a percussionist, DJ, and producer residing in Modena, Italy. Pellegrino became passionate about music at an early age, thanks to the influence of his mother, a Fado singer of Indo-Mozambican descent, and his older brother, a DJ of Latin and World music who encouraged him to study Afro-Cuban percussion. Drums, or "Batuki" (as his mother called them when she was getting mad at him for the continuous rhythm that echoed through the house at all hours of the day), served as Pellegrino's first means of expression. He later expanded his sound palette through experimentation with analog synthesizers and drum machines. The fusion of these elements over time gave birth to the distinctive sound of Black Filter and "Batuki": a dialogue between Afro-Caribbean rhythms and futuristic Jazz with hints of electro and disco, offering the listener a sonic and refreshing sound experience." "Batuki" is out on Ragoo Records.

"Do you feel what I feel too?" Brijean Murphy floats the question at the start of Feelings, the full-length Ghostly International debut from Brijean, her collaborative project with Doug Stuart. Guided by a lush mix of charismatic keyboard chords, grooving bass lines, and radiant bongo-driven rhythms, the "Day Dreaming" lyric doubles as an invitation and a statement of intention. Brijean want you to move, physically, mentally, dimensionally; this is dance music for the mind, body, and soul. With Feelings, they've manifested a gentle collective space for respite, for self-reflection, for self-care, for uninhibited imagination and new possibilities. The album cultivates a specific vibe, a softness Murphy has come to call "romancing the psyche." Growing up in a family immersed in jazz, Latin and soul music, Murphy would become an accomplished DJ, session and live player in Oakland's diverse music scene and one of indie's most in-demand percussionists (Poolside, Toro Y Moi, U.S. Girls). In 2018, she began recording songs with multi-instrumentalist and producer Doug Stuart, who shares a background in jazz and pop in bands such as Bells Atlas, Meernaa, and Luke Temple. Following their first sessions, which resulted in the mini-album Walkie Talkie (released in 2019 on Native Cat Recordings), the duo continued freeform hangs in Oakland, inviting friends Chaz Bear, Tony Peppers, and Hamir Atwal. "We improvised on different feels for hours," says Murphy. "Nothing quite developed at first but we had seeds. We re-opened the sessions a couple months later, after returning from tours, and spent a month developing the songs in a little 400 square foot cottage." Aforementioned album opener "Day Dreaming" is a dynamic celebration of newness: the excitement in finding deeper understandings of yourself as you get to know someone, something, or somewhere new. "Wifi Beach" drops a pin in pure psych-pop exotica. With Atwal on drums, Stuart on bass, Peppers on keys, and Bear engineering, the group improvised the track's intro sequence based on the vision of a lavish 1970s pool party. Establishing the scene is a mid-frequency drum kit disco shuffle augmented by tight congas and timbale effect, as Murphy sings in spurts: "I want to be / Deep in love / I want to be / Say you love me too / I want to be / Honey." The stanzas cut between "reflective moments of wants and being overwhelmed by feelings of the present," she explains. "A lot of the `love songs' I write are to my psyche, self-reflections on how to encourage tender perspectives and make more time for the sweet stuff." Though there is a loose, dance-oriented motif throughout, the material gives way to somnolent turns. On "Ocean," Brijean's anodyne lyrics, reminiscent of Astrud Gilberto's airy croon, float atop a brushed drum pattern, sparkling rhodes lines, and pittering and softly funky woodblock bops. The opening line sets up the rest, "In this gentle space we lay" _ among the album's propensity for movement, tracks like "Ocean" stand out by leaning back for momentary sways of blissful introspection. Murphy calls the charming "Hey Boy" a "psychedelic guide _ the exploration of finding what feels good _ through sorrow, anxiety, apathy." This mentality applies to Feelings on the whole: in these nebulous and verdant worlds of hazy melodies, feathery hooks, and percussive details, the songs simply want us to feel alive. They radiate in wonderful abandon and with a sense of devotion to the self. Riyl: Stereolab, Astrud Gilberto, Air, Little Dragon, Broadcast, Khruangbin, Poolside.

2017 Remaster from Original Tapes. Bruno Spoerri’s masterpiece VOICE OF TAURUS LP available for the first time on vinyl since 1978 – Beautiful 1 LP - housed in 350g sleeve and contains all new liner notes by Bruno Spoerri himself, printed oin double side poster inlay - Bruno Spoerri who came to recent attention over his sampling dispute with Jay Z and Timbaland (that he won) plays the 1978 cult classic The Sounds Of The UFOs live at the bluedot Festival (in conjuction with Finders Keepers) wich together with the equally cult classic companion Voice Of Taurus are to be reissued here now! - For fans of electronic music, jazz, early techno , movie soundtracks, library music, cosmic oddities, ambient, sci-fi disco, synthesizers, Pierre Schaeffer, Pierre Henry, Wendy Carlos, Nino Nardini, Yello, Encounter of the Third Kind, UFOs, meditation, and unknown galaxies. Tracklisting: A1. First Impression A2. Swiss Encounter A3. Destination Galaxy M81 B1. Strange Visitors B2. Cosmic Samba B3. Sun Spots We Release Whatever The Fuck We Want Records is honored to announce the reissue of extraterrestrial cult classic THE SOUND OF THE UFOs, a collaborative effort between Swiss jazz and electronic music icon Bruno Spoerri and innovative drummer extraordinaire Reto Weber, available on vinyl for the first time since 1978, housed in a 350g jacket and packed with all new liner notes. Recorded live in Zurich in March 1978, THE SOUND OF THE UFOs finds Bruno & Reto improvising with a vast array of classic and customized synths and percussions from all corners of the globe (and the galaxy!). It’s cosmic free jazz in audio gear heaven with a heavy dose of ambient, krautrock, primitive proto-techno vibes, and experimental space disco with a musique concrète mentality - anything’s possible when a jazzman and a percussionist obsessed with finding new sounds collide and explore uncharted sonic territories!

After a huge year of travelling in 2022, playing DJ sets in more than 30 cities across 10 countries, Captain Planet dove back into the studio to create his 5th and most ambitious album to date- Sounds Like Home. Taking a turn toward the more organic, retro sounds of artists who originally inspired him as a young musician, Charlie Wilder (aka Captain Planet) flexed his composer and bandleader muscles- incorporating horn sections, strings and acoustic drums more than the big club focussed electronic sounds he has often come to be known for. "The basic concept was to make a record like the ones I constantly pull off my shelves at home and play on the weekends. The records that turn into living room dance parties with my family, the soundtracks while I'm cooking, the music that fills the backyard for lazy hang outs." An avid vinyl record collector and musicologist since his teens, the Captain has a near encyclopedic knowledge of music from around the world, particularly artists from the 60's and 70's, which is the era that inspired much of the sonic texture on this new album.
In classic Captain Planet style, a kaleidoscopic array of genres from around the world find their way into the mix- Brazilian disco, Latin funk, Jamaican dub, Middle Eastern psychedelia, and American soul music. While this diversity may sound more like a mixtape, the Captain's trademark uplifting vibe and impeccable knack for building a great groove, provide the special ingredients that pull it all together and makes the sauce work. The Fader wrote "the Captain is a walking 'recommended vinyl' section from the best record store you've ever been to", because all his deep love and appreciation for classic music comes right through him in his original songs. Throughout this album you'll hear echoes of timeless artists like Cymande, Gilberto Gil, Ray Barretto, Curtis Mayfield, Mulatu Astatke, and Gabor Szabo, all funneled through the Captain's modern musical sensibility, shaped by nearly 2 decades of being a professional world-traveling DJ.
The past year also brought some major challenges for Charlie Wilder, most central of which was losing a close friend and collaborator, the fellow LA-based DJ/producer Sumohair (1⁄2 of the band Reyna Tropical). The album starts off with a brief tropical tribute to his friend, followed by the strong message "Music Is Medicine" sung by another regular collaborator, the Zimbabwean-American (Grammy winning) singer Shungudzo. With the true value of friendship front and center on his mind, Captain Planet made a strong conscious effort to include many of his oldest friends and musical partners throughout the album, including Grammy winning pianist Sam Barsh, Chico Mann, Zuzuka Poderosa (who bartended at one of the Captain's earliest DJ residencies in Brooklyn), David Walters (whose new album "Soul Tropical" was co-written & co-produced by the Captain), Todd Simon, Leo Mintek (who has played guitar with Wilder since their teens), and Wilder's youngest brother Taj Bethel who co-wrote 2 of the songs on the album. The warm light of friendship and family shines throughout the album, and while the influences reach far across the globe, the music clearly shows that Captain Planet has found his musical home.

Umor Rex presents Eleven Pieces for Synthesizer, a collection of synth instrumentals by German composer Carl Oesterhelt. Oesterhelt has been recording a mixture of straddling kosmische and classical traditions for years on his own reel tape machine, overdubbing stacks of analogue gear to create a compelling body of work that brings fresh emotional depth and rhythmic experimentation to the syntax of the modern synthesizer.

Born in Munich in 1968, Carl Oesterhelt has worked in a variety of fields throughout a long and impressive career. His discography includes tenures with Neue Deutsche Welle legends FSK, intellectual disco outfit Merricks, and German legends The Notwist. His solo work has travelled even further and wider, taking in contemporary classical and chamber music, music for exhibitions and radio plays, not to mention notable collaborations with saxophonist Johannes Enders and legendary founding member of Faust, Hans Joachim Irmler.

Oesterhelt augments his own analogue arsenal with synthesizers borrowed from musician friends, resulting in almost fifteen different synthesizers –some in fruitful states of disrepair– which feature on the album. Opener “La chapelle de Francis Lai” pays tribute to the French film composer with a synthesized church organ procession, disintegrating kraut-funk-noir which emerges on “Poro Secret Society”. Then, eerie sound effects mash with minimal techno rhythms on “Makonde Pattern”, and –most surprisingly– Oesterhelt turns his keys into a sub-Saharan drum ceremony on “Trinidad Pattern”. The sheer range of Eleven Pieces for Synthesizer is an impressive achievement unto itself. Yet it is Oesterhelt’s instincts as a composer which make these (largely improvised) recordings so compelling. Tensions build and emotions stir throughout each piece with a proficiency perfected through his work for the stage.

Musically associates, and directly connected to a heritage of German electronics, Eleven Pieces for Synthesizer touches upon similar ground to the likes of Musik von Harmonia in its pulsations, Klaus Schulze’s sonically adventurous Cyborg, and Tangerine Dream at their earliest and most primitive. The hypnotic ritualism of early African field recordings, or the spiritual regality of European organ music also convey key reference points in the formulation of this collection. Oesterhelt’s compositions here have taken the musically primitive and the emotionally raw, and woven them into a rich synthetic soundworld all of his own.

Cévennes is a project by Didier Delrieu, a French musician born in 1967. From the mid-90s, he creates his home-studio and begins to create electronic music. In 2000, he left Paris to set up a bookstore specializing in art in Toulouse. He divides his time between his job as a bookseller and musical creation.

Vers Quelques attracteurs étranges is the first album from Cévennes and the first release from Les Disques Solubles.

Slow electronic music composed mostly on Buchla and various analog synthesizers, this work is interested in sound poetry, exotic and cinematographic atmospheres.

Tracklist

A1. Cévennes - Misérable miracle A2. Cévennes - Soleil bas A3. Cévennes - Les Fins d'après-midi renoncent A4. Cévennes - Le Voyage des fragiles

B1. Cévennes - Hikikomori B2. Cévennes - Eloge de la mousse B3. Cévennes - Avec elle, dérivant B4. Cévennes - La Fin des oiseaux

From the same continental cosmic egg that hatched Marc Moulin, Marc Hollander and Belgian synth fusion combo Placebo comes your favourite new Franco-Flemmish pop discovery. COS, where have you been all my life? Compact in name but wide-eyed in nature, it’s understandable how the 70’s band known simply as COS has remained trapped in the tight cracks between pop stardom and prog indulgence where other like minded names like CAN, Zao, Neu! And Egg have managed to squeeze into gaps of your record collection. In presenting one of the band’s most infectious and potentially crossover legible tracks on this exclusive user-friendly 45, COS mastermind Daniel Schell not only breaks an unlikely new format for this lesser-known femme-fronted, electro/jazz fusion/prog pop opera/would-be disco cinematic six-piece but also sends a sonic telegram to a new generation of futurist pop aficionados ready to explore the deep realms of his band’s dense, expansive and consistently rewarding catalogue. Placing the microscope over the central motif of the band’s onomatopoeic 1978 triptych known as Mein Maschine Ist Schön (My Machine Is Beautiful) this very rare proposed single edit from the group’s third album combines the type of warm, brooding, discoid funk and nymphish Morse code vocals that unite fans of Stereolab, Curved Air, Jan Hammer, Emerald Web and Ursula Dudziak not to mention Schell’s own close friends, the aforementioned, Hollander, Moulin and Placebo. A prog rock 45 might sound like a contradiction in terms but with a band like COS you can only expect them to defy convention. Backed here with another deeply conceptual sliced of deep orchestral symphonic psych from Schell’s short-lived FF Boom project from the previous year this suitably compact introduction to your new favourite COSmonauts provide digestible versions of some of Schell’s finest moments and clears the decks for future explorations of a wider musical universe waiting to be explored. Turn on this beautiful machine and let yourself melt into the COSmix.

Amy Douglas should need no introduction, having supplied song-writing and vocal duties for Horse Meat Disco, Róisín Murphy, Luke Solomon, Soul Clap, and worked with Joe Goddard on their Hard Feelings project, Here she teams up with Craig Bratley, who dusts off the analogue synths to produce something which clearly wears its influence on its sleeve, taking in elements of Balearic, Street Soul and early Sheffield Bleep. On the Ashigaru Dub, Craig explores these influences further, the result reminiscent of Mad Professors take on Massive Attack.

Crispy Jason is a moniker of Rian Trench. Trench, once half of Solar Bears (Planet Mu, Sunday Best, Warp), branches out here into acid-focused IDM. Shadowcon One explores spaced out 303s via retro arcade against furious breaks and ambiguous moodscapes with an offset of introspective disco

Unwashed acid house and disco through a broken South London filter - from "70s New York bathhouses to "80s Chicago nightclubs via the Brixton Windmill. Bring a towel. Decius are brothers Liam and Luke May, founders of Trashmouth Records, together with Quinn Whalley (Paranoid London/Warmduscher) and Fat White Family frontman Lias Saoudi. Those with an ear to the ground will have picked up on a string of self-released 12"s over the last few years, supported by the likes of Daniel Avery, Honey Dijon, Ivan Smagghe, Mike Servito, 2 Many DJs, Moxie and Erol Alkan. Decius Vol. I is a lean entry point to their sordid world - dark, uncut, unrefined and unrepentant.

In Trux We Pux is an editorial project organized by the Porto based label and collective Favela Discos. Focusing on the city’s thriving experimental and improvised music scene, it sets out to portrait in a series of four volumes some of the characteristic sounds and collaborative practices that have been in development in Porto during the last few years.

In Trux We Pux 02 contains the first of Favela Discos’ collective pieces to be published, and it was chosen to represent a long series of site-specic pieces developed by the collective since its formation. Most of the time these pieces remain lost in time or in the label’s archives.

Desilusão Óptica is an audiovisual piece developed for the festival Serralves em Festa 2017 and was recorded between the concert and rehearsals. The piece is influenced by the book Musicophilia by Oliver Sacks, and tries to explore the notion of auditory hallucination, in this case based on the idea of a phantom sound unconnected to its object.

Starting quietly with a single flute note, Desilusão Óptica slowly grows fuller but more uncomfortable as the pitch rises gradually in a hypnotic effect. The sound we hear is a mix of the sound produced live, its manipulation and repetition, thus the piece exists between the time when it happens, its immediate repetition and ghosts of past sounds.

The flute, delayed and sampled, embodies both the sounds it produces and memories of past sounds, creating a confusion between objecto and sound. The sound is produced by an object but is at the same time separated from it, like in Mulholland Drive when we watch a singer emotionally dedicated to a performance and whose voice keeps on singing even when her body collapses.

Like in Dub Music, the musicians are divided into two groups: those who play, in this case divided by winds, percussion and electric guitars, and the dub master / sound manipulators who launch samples of previous recordings and manipulate the sound that is produced live, through loopers and delay pedals.

Arthur Russell first visited The Gallery in 1976 with his then boyfriend Louis, who introduced him to Nicky Siano. Arthur became a regular at the space and one night as Siano was playing “Turn the Beat Around”, which had just been released, Arthur waved at him from outside the booth and asked to come in. Nicky opened the door and Arthur suggested they make a record like this together. This ended up being a huge step for Siano as it marked the first ever production by a DJ making a record from scratch.

Arthur had written a song and had an arrangement for it so they assembled a band featuring Wilbur Bascomb who was one of Nicky’s favorite bassists, as well as, Allan Schwartzberg, David Byrne, Miriam Valle, Peter Gordon and Peter Zummo who were all friends of Arthur’s. Russell played the cello and piano – and that was the band. They recorded throughout 1977 and the “Kiss Me Again” 12 inch was finally released in 1978 on Sire Records selling more than 300,000 copies.

Week–End Records is proud to release the first ever reissue by this outstanding disco production. Remastered from the original tapes. With liner notes by David Byrne, Nicky Siano, Peter Gordon and Peter Zummo.

For the first 7" record released by Medical Records, we are proud to reissue the long lost and out of print 7" by Disco Volante. Disco Volante was essentially Terry Clarke (aka Terry Tanx) formed in London in 1982. Inspired by the early Bond films and their soundtracks (Disco Volante was a yacht in Thunderball), Tanx played live in a number or small clubs between 1982-1986. Using a small number of Roland instruments (TB 303, TR 606, MC-202, and SH-09), Disco Volante self released a cassette entitled "Traction in Rehash" now which is sadly lost. In 1984, the 7" single "No Motion" with the same title as A side and "Click" and "Punishment Tank (Live)" as the B side on Catalyst Box Records. Terry recollects that the recording only took 2 days, and the engineer had no experience with this style of music. The end result has a very DIY aesthetic despite the use of a professional studio. Unfortunately, the single was not commercially popular and received no publicity due to music press strike at the time. The single began to gain cult underground popularity in the 90s and 00s with the resurgence of new wave which resulted in a spike in prices for the long lost single. The track "No Motion" is a very catchy layered synthpop hit that is quite unique yet capturing the essence of the early 80s new wave sound very nicely. "Click" on the b-side is a march-like track with propulsive synthetic bass textures and monotonous analog drum beats. The final track "Punishment Tank Live!" is a track recorded live at the Red Box, London with a punk feel with intense delayed vocals, guitar and overlayed synth hooks. Beyond out of print and sure to appeal to lovers of the DIY coldwave and synth 7" revival and resurrection. Presented on high-quality thick transparent green 7" vinyl in a limited edition of 500 hand-numbered copies.

Continuing the label's special 7"s releases that capture the nascent 80s post punk, dub, funk and pop - as examined on releases by The Jellies, Woo, Phantom Band, 4AM and more - here a discovery of unheard demos from Dislocation Dance's Midnight Shift album. As part of the eighties Manchester scene, the band's pop and jazz sensibilities have continued to garner attention, offering a rightful place in the city's rich music history. With the closure of Richard Boon's New Hormones label in 1982, they came to the attention of Geoff Travis' Rough Trade. Creating a home studio in the basement of an old rambling farmhouse in Withington, Ian Runacres guitar, vocals), with lyricist Paul EmmersonERC 111 bass), set to work creating demos to garner a deal. Inspired by the funk-disco of Dr Buzzards Original Savannah Band debut album, Here Comes Love was written using Roland Tr-606 drum machine, guitars, bass and cheap) keyboard, its magical and lo-fi charmed quality melts hearts. On Mr Zak, the fun Runacres had is evident. Written as an "indie" song, but with Aztec Camera and Burt Bacharrach on his mind, with Andy Diagram trumpet) and Kathryn Way vocals), hides a structure matching the album version, but which in its rudimentary instrumentation and production is unique and outshines the later version, to encase a specific period and innocence, of time.

Brace! Brace! That record is a bouncing riddim, and we never know where it's gonna land: here noise or miami bass, there dark disco and then Balearic. What could be an easy puzzle for diggers always feels true though. Sincere, like the 14-year-old DJ F16 Falcon, going nuts on some American nu hardcore - the back of the record are actual screenshots testifying of that moment. A life ago, DJ F16 Falcon used to be a part of the noise music scene in Paris, releasing music under the Roger mpr moniker. He dropped the complicated stuff for dance music but kept the industrial touch. We all need some dance. And we all need a Sugar Dada.

With his friendly and sometimes melancholic manner, DJ Koze is one of the most remarkable players in today's club landscape and one of the few internationally active DJs who are also relevant outside of dance music. For his 70-minute journey for the anniversary edition of the "DJ Kicks" series, "Kosi Kos" manages to give the mix its own timbre despite the various styles represented: be it the pared-down hip-hop of Madlib, brutal Berghain techno, timeless songwriting, flowing indie pop and tracks that oscillate between absurdity and melancholy. "I didn't want to shine with knowledge," Koze says, "but rather bring together some gems that make sense to people who aren't necessarily music nerds." It should fit together harmoniously: "The idea was to create the impression of a radio show, like John Peel used to do. A huge cosmos of music rushing through my filter." For fans of DJ Koze, Recondite, Mount Kimbie, Four Tet, Caribou, Matthew Dear, Simian Mobile Disco, Apparat, Efdemin.

“We kick the label off with our inaugural release from label head Drum Dance; an eclectic four-tracker opening with ‘Zani!’, an outernational cosmic head-nodder meets Chicago footwork influenced ode to the great Zani Diabaté. Low-slung Latin flavoured boogie number ‘Body Heat’ switches up the tempo but keeps those limbs moving with its percussive four-to-the-floor beat, steamy disco vocals and jazzy keys. 80s jazz Balearic goes to Kingston for a bass-heavy dub makeover on ‘Venus Dub 2’.

Signing things off is ‘Adan On Dòt Soley’, a personal dedication to the beautiful country of Gwadloup. A common farewell in the local tongue, it translates poetically as “until another sun”. The track begins with off-kilter spaced-out synths and emerges into a dubby percussive jam featuring the gorgeous keys of Andy Wileman. Field recordings capturing glimpses of birds singing, waves lapping and the sound of gwo ka on the beach close things out, until another sun.”

El Hal / The Feeling by Electric Jalaba

Share / Embed Wishlist supported by Thom D thumbnail David Wagstaff thumbnail dickbonham thumbnail kosmicanimal thumbnail Michael Anthony thumbnail Samuel Vonäsch thumbnail Sarapuaj thumbnail eddystone thumbnail albondiga thumbnail wfryco thumbnail Jason Boon thumbnail Dietmar Petschl thumbnail zrankfappa thumbnail npmarsden thumbnail calico jack thumbnail duncanamhp thumbnail Pedb thumbnail Daniel Patrick thumbnail mongeese thumbnail almo182 thumbnail silentlistener thumbnail Fulan 00:00 / 04:50 Digital Album Streaming + Download Pre-order of El Hal / The Feeling. You get 3 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, Flac and more), plus the complete album the moment it’s released. releases March 19, 2021 Pre-order Digital Album €11 EUR or more Send as Gift El Hal / The Feeling (lp) Record/Vinyl + Digital Album package image Includes digital pre-order of El Hal / The Feeling. You get 3 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, Flac and more), plus the complete album the moment it’s released. digital album releases March 19, 2021 item ships out within 3 days Pre-order Record/Vinyl €18 EUR Send as Gift El Hal / The Feeling (cd) Compact Disc (cd) + Digital Album package image Includes digital pre-order of El Hal / The Feeling. You get 3 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, Flac and more), plus the complete album the moment it’s released. digital album releases March 19, 2021 item ships out within 3 days Pre-order Compact Disc €12 EUR or more Send as Gift 1. Tora Tora 2. Cubaili Ba 03:50 3. Agia Hausa 4. Daimla 03:56 video 5. Fulan 04:50 6. Shabakru 7. Briando 8. Tugra 9. Hindewu 10. Lagmami about Electric Jalaba comprises six accomplished musicians with an empathy that feels telepathic and a groove that immerses. In Arabic, the mother tongue of Moroccan-born singer and guimbri player Simo Lagnawi, a leading practitioner of Gnawa music in Britain, they call this indefinable quality, “El Hal” – “The feeling”. “It’s the feeling that comes when we’re playing and totally forgetting where we are,” says producer and bassist Olly Keen. “The feeling of being grabbed by the music and lost in the groove.”

El Hal is the new third album from Electric Jalaba and their first release in five years. It’s a multi-faceted work that finds the band tighter than ever, deploying a vast cache of influences across nine tracks improvised and developed in their south London studio then deftly produced by Keen. Some tracks pay homage to the origins of Gnawa music, whose repertoire of Arabic-language praise songs contains remnants of West African dialects – Bambara from Mali, Fulani and Hausa from the Sahel region – that point to a centuries-old migration.

“The trance-inducing effect of Gnawa was what hit us first. It was visceral, heart stopping,” continues Olly, whose siblings – producer/keys player Henry Keen, guitarist/ multi-instrumentalist Nathaniel Keen and singer/multi-instrumentalist Barnaby Keen – make up Electric Jalaba alongside revered Anglo-Italian kit drummer Dave De Rose and Simo on vocals, krakeb and guimbri. “Simo selected the chant from the traditional song suites and, as a band, we extended these short pieces of ceremonial music and experimented with sound and structure,” explains Olly.

Tracks include the funky single ‘Cubaili Ba’ featuring the disco-fied patterns of a Juno synth and the drumming of De Rose; ‘Agia Hausa’ is a multi-layered wig-out that partly takes its inspiration from Senegal’s fiercely percussive mbalax rhythms and ‘Daimla’ is a gloriously dubby ode to Allah and iconic maalems including the late Mahmoud Guinea. “There’s a very strong rhythmic element within the band but because of our different perspectives but the melodic components are really unique as well,” says Henry. That feeling of being outside of yourself but totally within yourself at the same time… That’s what all of us, collectively, are striving for.”

Marcos Díaz has been part of Buenos Aires underground for many years, being in projects like Bosques and making solo music under the pseudonym Entidad Animada (animated entity). Under this project, Marcos has explored sounds that involve a mix of feedback/distortion through synthesizers, guitars and drum machines that hint at the influence of Stereolab, Spacemen 3, and mid-nineties shoegaze. However, there are also ambient soundscapes with a slight rubbed of the ritualistic psychedelia of the Popol Vuh. The display of colours in his music comes together in the midst of a playful, relaxed and optimistic environment that is simultaneously melancholic. Because of the nature of those pieces, but also because in Entidad Animada there is also space for collage sounds that blend randomly with textures of a primitive analog sound, which inevitably causes a paradox between what is alive and what is inert. And it is because Entidad Animada is precisely that, a spectrum or a vision, a ghost. And these sounds are proof of his existence.

Pruebas de existencia (proofs of existence) is a collection of recordings that Marcos has made in recent years and that we have selected for this album, his first work on Umor Rex. A couple of these pieces were only released digitally, while the others have been on ltd cassette editions through Fuego Amigo Discos in Argentina. Pruebas de existencia is an Umor Rex compilation and remastered edition.

Guitar, sampler, synthesizer, organ, bass, drums & electronic beats, vocals, recording and mixing by Entidad Animada in Buenos Aires. Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Cover photography Natch Tablescape (1979) by Langdon Clay. Layout by Daniel Castrejón, Mexico City.

Einstürzende Neubauten producer Boris Wilsdorf, Karl O’Connor aka Regis and MY DISCO’s Liam Andrews assemble as Eros, bottling no-wave/industrial lightning with a tight set of pulverized, widescreen torched-songs that rasp, grate and throb somewhere between This Heat, The Cure, Cabaret Voltaire, Alva Noto x Pan Sonic. An industrial fantasy of flesh and steel, ‘A Southern Code’ is the stunning continuation of the trio’s work at Wilsdorf’s pivotal Anderesbaustelle studio on Regis’ watershed album, ‘Hidden In This Is The Light That You Miss’. Rejoined by another key muse, Anni Hogan, and Einstürzende Neubauten’s Jochen Arbeit, they effectively galvanised a new band, Eros, during long days and nights in the studio across 2020 and into 2021. The sound they make is fiercely lean, shaped by Wilsdorf’s manacled mixing and anchored in the frankly sexy as f#ck swerve of Regis vocals and his snake- hipped rhythm section. The first songs issued from those sessions form a lustrous new high point of contemporary industrial and dance music, one porous to Kurdish dabke as much as archetypal goth, pulsing with a metallic bloodlust and spatialized by Wilsdorf’s genre-forming tekkerz in a way that seriously rewards with proper amplification. Judged on its immediate merits, it’s the sort of record that could have feasibly come out at any point between the ‘80s and now, but closer inspection reveals a discreet framework of sculpted subbass and sleekly rolling traction that betrays the modernity of minimalist D&B physics and up-to-the-second sound design that places ‘A Southern Code’ in a timeless echelon. Registering the venomous drums and over-the-shoulder whispers of its title track, plus the incendiary middle eastern horns of ‘The Crawling Man’ - a real parallel dimension take on The Cure’s ‘The Top’ - to the post-apocalyptic lounge lizard styles of ‘In This Place’, and the unheimlich creep to ‘Nature Unborn (From Sun to Sun)’, the band’s first album plants a vital stake in the ground for industrial musick at the crest of a new decade.

'Kosmos Kino' (1988), Spanish Industrial classic album by Esplendor Geométrico, has been unavailable on vinyl for more than 12 years, now out on limited, numbered, and remastered 2023 edition! - Kosmos Kino is the third album of the influential Spanish Industrial cult band Esplendor Geométrico. Recorded and originally published in 1988 and unavailable on vinyl for many years, now available again in its original format. Remastered in 2023, this release reproduces the original cover but with a different exclusive artwork on the back cover. After a start in which the line of acute distortions and buzzy basses of their previous albums continues, it follows a surprising rhythmic viscerality, reaching its peak in the track "Trybuna Robotnicza", suitable for the most frantic dance and one of the greatest moments in their vast discography.ESPLENDOR GEOMETRICO 1980-2022: Arturo Lanz (only active member since the beginning), Gabriel Riaza (until 1991), Juan Carlos Sastre (until 1982), Saverio Evangelista (since 1991). Andrés Noarbe is considered an E.G. member in the shadows since 1980, working as manager, advisor, designer, and editor (head of Discos E.G. from 1986 to 1990 and currently of Geometrik Records).[ENG]ESPLENDOR GEOMÉTRICO BIOBorn in 1980 as a trio, and currently a duo formed by Arturo Lanz (founding member) and Saverio Evangelista (member since 1991), Esplendor Geométrico is an influential and international cult band and also a rare case in the Spanish music scene, as they have developed their own independent path aside from tags, fashion, or trends, in spite of being often classified as industrial music. Their career during this four decades hasn't had interruptions. They haven't stopped composing, releasing albums or playing live (with more intensity since the nineties), and they have continued for the simple pleasure of making music. E.G. soon achieved a personal and distinct style that can be appreciated from their 80's albums, when they used analog synthesizers and pri...

One of the most brilliant albums of Esplendor Geométrico's first decade. Limited to 500 numbered copies.Live in Utrecht is considered a masterpiece of Esplendor Geométrico, the cult pioneers of industrial rhythms, and the best example of the energy of EG's live performances in the eighties. Recorded 25th November 1989 in the Cultural Centre EKKO, Utrecht - Holland, with a superb sound quality. Produced for the program De Bovenbouw/Nos-Radio, Hilversum, Holland. First released by Discos E.G. in 1990 and sold out on vinyl for 30 years! Except "Signos de energía" (a faster version than the one in Mekano Turbo album) the rest of the tracks were completely new at the moment this wonderful record was released. A special edition that comes, additionally, with an extra LP with seven tracks from the late 80's that were originally released on cassette: four tracks are from 1987, the other three are from the studio sessions of Mekano Turbo (1988) but not included on that album.All tracks written and played by Arturo Lanz and Gabriel RiazaSide A, Side B, and tracks C1 & C2: Recorded November 25, 1989 in the Cultural Center EKKO, Utrecht (Holland). Produced by Michael Fahres and Piet Hein van de Poel for the program De Bevenbouw-Nos Radio, Hilversum (Holland). Side D: Recorded live in Tolosa and Madrid (1987). Venecia I, Venecia II, Venecia III. Recorded March 1989 in Pradillo Studio (Madrid)Design: Juan Carlos SastreRemastered (2020) by Saverio Evangelista & Luca Spagnoletti.

HIGHLIGHTSMekano-Turbo (Discos Esplendor Geométrico.LP 1988) is the fourth album and a classic inside the discography of legendary and influential Spanish Industrial cult band Esplendor Geométrico. Now available again in its original format, remastered in 2022, and unavailable on vinyl for more than 11 years.DESCRIPTION Finally, the fury is unleashed in all its splendour. The superb three initial tracks are pure rhythmic adrenaline on which is supported the totally runaway voice of Arturo Lanz. "Rotor" would be even considered as a not intentioned approximation to the electronic body music. In the same wave are also located "Belew" and "Mekano-Turbo". On the other hand, it seems to be that the residence of Gabriel in Melilla (North Africa) and the consequent proximity of the arabic culture it influences on some tracks ("Sheikh", "Transmisión"). Considered by the media and many fans as a masterpiece of the group. The wonderful cover continues the customary line of showing strange machines or decadent industrial buildings.Considered by many fans as a masterpiece of the group and a industrial classic of the eighties.

Montreal duo Essaie pas return to DFA with a 12-inch that picks up where their 2018 album New Path left off. "Earth" is a blistering ride through the rave, an amalgamation of techno and trance. The galloping bassline is the backbone of the song, and Marie Davidson's vocals climb to new heights against synth stabs. "Corps Étranger," with its stuttering percussion, is a slow burner in comparison. For the remix of "Earth," Marco Passarani of Tiger & Woods (Running Back, Numbers) doubles down on the Italo disco angle and doesn't shy away from the more anthemic moments of the original, managing to rework it into something akin to a celebration of this "shithole" we call Earth.

A limited edition of 150, the 12” will be available on clear vinyl in a full colour sleeve plus Riso Print of sleeve art, shrink wrapped plus download code. Exterior released the unique 'Plagued Streets Of Pity' EP via Hobbes Music back in January '19, picking up plaudits from Laurent Garnier, Avalon Emerson, JD Twitch, Mixmag and a few others. His music is some of the gnarliest and most confrontational the label has released and also some of the most exciting. Experimental without losing sight of dance floor dynamics, he manages to traverse genre boundaries while sounding coherent and like no one else out there. He's also one of the most exciting live performers we've seen - and the crowd always laps up his set, which gets better every time.

Exterior is the artist moniker of Edinburgh producer Doug MacDonald. The artistic mission is to bring together the formally disparate worlds of electronic club sonics with elements of live instrumentation. Exterior’s pathway coalesced from years spent performing in bands and nights spent on dancefloors. Guitar feedback and live drum eruptions provide a textural abrasion and a haunted, humane groove currently absent in much UK dance. Admittedly, the latter’s unshakable syncopation and melodic pressure inform the method of the former. The two approaches are synthesised most noticeably in live performance. The combination is now made manifest in Exerior’s debut album ‘umbilical Digital’.

The record is a playful, irreverent, propulsive long-player, underpinned by the emergent global latticework of connectedness. Umbilical Digital is an admission of the level of dependencies in contemporary music styles. This comes most noticeably in Fugazi-on-dancehall moment Orthodox Dreams, footwork and math-rock mashing oddity Tyranny OF Choice, or ritalin-addled robo-disco workout Populist. That the record is only eight tracks long and combines as many elements as it does, reflects Exterior’s artistic ambition in the process. The bedrock allowing this confidence has been road-testing the material live in Edinburgh venues, most overtly at local electronic institution The Bongo Club. Umbilical Digital features artwork by Exterior’s live visual artist collaborator, Panos Baras. Mastered by Keith 'Radioactive Man' Tenniswood (Curvepusher UK)

The record will be released in a limited edition of 500 numbered copies. For each 100 copies the silk-screen printed cover will change its colour. F.S.K. (Freiwillige Selbstkontrolle) is an art school band from Munich that formed in 1980 in the editorial office of the underground magazine Mode & Verzweiflung and issued disturbing slogans of a new dissidence like: Wir sagen Ja zur modernen Welt (we say yes to the modern world) and Heute Disco, morgen Umsturz, übermorgen Landpartie (disco today, coup tomorrow, a country outing the day after). The Italian Futurists’ idea to flood Venice was joyfully appealing to them so they made the serious demand to convert theaters into parking garages (Theater zu Parkhäusern). The futuristic development of so- called noisemakers (a productive modification of the sounds of industrialized cities as well as the completely new war machines of World War I) carried a key moment of deviant pop music into its emerging discourse: clipping, distortion, Bring the Noise.

Perugia producer, synth collector and linchpin of the underground scene Feel Fly pokes his head above the trenches to deliver a consummate four track EP Mediterranean Dreams - Part 1. Onironauta rolls up all the best bits of spaced-out disco and italo house into an expansive dancefloor soundtrack that would sound equally at home in a Den Haag squat as by an Ibizan hillside pool. Sounding in turns both futuristic and nostalgic, it sets the tone for the dream-like timezone in which this EP resides. Meanwhile slowed-down 303 chugger Grace In Space sounds perfect for Room 2 - that is, if the room is on an orbiting space station and someone adjusted the gravity settings. The track concludes the side with timeless balearic drift and a dash of kosmiche afro percussion sprinkled on top. Flip the 12” over and the title track Mediterranean Dreams seeps through, with more than a slight nod to the summer of ‘88, like a faded photograph. The revolving chord progression and melodic synth phrases that weave through the groove fit together sweeter than the cogs in a swiss watch. EP closer Becalmed rounds proceedings out in fine cosmic disco style, firing more 16th note lasers through the dry ice than Kitt, as melancholic pads float over the rhythm section like a négligée. It’s a stylish way to sign off a collection of tracks that are equal parts fond memory, hopeful optimism, and hazy dance-fuelled hedonism.

Born in 1989, Daniele Tomassini aka Feel Fly, dj, producer, sound composer (he recently completed the soundtrack for the movie I Santi by Giacomo Abbruzzese, awarded at the prestigious CineMed festival in Montpellier), co-founder of the Afro Templum party, already known for his previous works for labels such as Prins Thomas’ Norwegian Internasjonal or the Ibizenca International Feel, lands on Simona Faraone’s label, New Interplanetary Melodies, with his first EP, after having made his debut on the same label as remixer on the EP signed by Leo Young (nim005).

The entire EP is inspired by the ancient and mysterious Etruscan culture, whose peoples inhabited the historical-geographical region of central Italy: all the tracks that compose it were in fact conceived under the cloister of Manu (National Archaeological Museum of Umbria) in Perugia.

The title track, Sacrificio (a1) opens the album with an ecstatic drum-break on which powerful subs stand out, catapulting you directly into the obscure rituals of the haruspices, intent on interpreting the signs of the divine, with the help of mysterious pads and shimmering synths like fires in the night.

Side A continues with Hypnopedia (a2), House music characterised by pressing rhythms and sharp rides that transport us into a dreamy dimension, a nostalgic, evocative dream of worlds that now belong only to the sphere of memory. While in Aisna (a3), which closes the first side, the atmosphere changes decidedly towards progressive house, a sound that has become topical again in recent years, after having raged in the second half of the 90s in those lands that were once called Etruria. And just as the Aisna was an early morning ritual held in a field or a sacred wood, this track has all the makings of a rave at the crack of dawn.

The B side starts on the same wavelength with which the first side closed, Afro Trance Amnesia (b1), in fact it maintains that feeling with the most sweaty dancefloors thanks to its epic breaks and vaguely Trancey arrangements that rest on dragging and obsessive percussions able to smash any kind of dancefloor. With Thi Rie (b2) the groove becomes decidedly more disco thanks to a rolling bass line interspersed with powerful toms and full of suspense thanks to the skilful use of enigmatic pads.

Étoile Romance (b3) is the title of the beautiful piece of Ambient that closes this first EP by Feel Fly on NIM, 6 minutes and more of dreamy arpeggios that fit perfectly into the groove of that Italian tradition of soundtracks and library music that has produced so many masterpieces.