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Soundtrack for your Pagan rituals next weekend.

Putting a pigeon amongst the cats we are back with that good shit. An out of step, incidental artifact of peaceful sophistry: YS - Brutal Flower (2 x “12 LP). A no airs and graces piece of cool future-proof ambience. A modern ballad for brave young clubbers, local pubbers, slipstream warriors, and emotional doggers. The distinctive aesthetic hallmarks of YS are all here: slabs of urban flavor from emotional interior; raw data straight from the interface. ‘Untethered’ and ‘Down’ are chopped-up cuts of searching R’n’B - jaded jams of lustful erasure. On the flipside, blunted desire lingers in ‘Fading Memory’. Both hopeful and mourning: this is the lay of the land in Brutal Flowers sharing that rare strain of underground synesthesia best located in dark undercurrents of early Mo Wax. The orchestral ambience of ‘Autumn Ost’ is a potent stupor of end credit cinematics. Coming up for air. It feels young in an ancient sort of way: pure as first snow. And from here in the album unfolds with the patience, tranquility and the expansive poise of a work that is for now and always. Pulsating gently to assured ending with ‘Be Together’ - a flickering skyline, swarming with warm memories. In between there’s flashes of heartbreak reminiscent of Beltran's Ten Days of Blue and Blunt’s Stone Island (‘Look Up’ feels like a sort of spiritual successor to ‘Wake up’), that being said, when push comes to shove it only it ever flirts with its own reality. An aesthetic reflection of a creative process that is delicate and restless. Created in the edges, where long distances, fast cities and global melancholia are wrought large. Burning the midnight oil Berlin-Singapore style: from real to reel. A sentimental exercise of modern faith by old friends. With a nudge and a wink, Brutal Flowers is a (de)coded map of memories wavering with familiar intrigue. Patient listeners and the already initiated will be rewarded on re-visits - as playful & profound as you please, as deep as the heart. The scathe that cuts is clean and deep. There are no sleight of hands to be found in this opus, only hearts are worn on the sleeve here. A hill we’d gladly die on. Pace & luv,

»Renoir Of The Toys« is a deep dive into the world of Youri Kun, the nom de plume of Japanese guitarist, singer and songwriter Hiroshi Nar. It follows a similar compilation, »Unheld Ball«, released in 2022 on Japanese label Inundow; like that album, »Renoir Of The Toys« draws from the rich catalogue of outsider psych-garage and rock recorded by Youri Kun over the past two decades. Deeply wired into the history of Japanese underground music, Nar was a founding member of legendary ‘70s outfit Datetenryu, and a member of both Brain Police (Zuno Keisatsu) and Les Ralllizes Dénudés (Hadaka No Rallizes).

This is the first album by Yo, an electronic musician who took over the name from the ink painting artist Sesshu Toyo. While carrying a hint of caricatured folk music in the style of the Geinoh Yamashirogumi, Yo seeks something more virtual and sympathizes with the tribal beats radicalized in the background music of video games such as "evergrace" and "garage". At the same time, he was heavily influenced by dub / bass artist such as Goth-trad, and even swallowed the "ska-core" aesthetic of 54-71.

Yiannis Iliakis is a multi instrumentalist and composer from Athens. He is mainly known as a drummer. As such he is a member of the free jazz band Outward Bound as well as a member of the successful Greek progressive rock band Ciccada. However, that’s only one side of Iliakis’ creative efforts. In April 2021, he released his first full length electronic album entitled Vertical Horizon on the Submersion Records, which mostly is an ambient work. Now, with Mountainmouth he opens another chapter for his musical talents. The EP is one of the most thrilling and adventurous takes on what the IDM term usually would suggest. The key song might be the title track “Mountainmouth” – an extremely energetic composition which won’t leave you unaffected. As per most of Iliakis’ songs it is based on originally recorded drums that were heavily edited. In the next step, these were combined with chords, melodies, bass and harmonies on top. The musical result is simply breathtaking - one might even call this track electronica for prog-rock heads. Surely a perfect opener for the release. The next song is Carbonated Soap on which Iliakis is going straight forward. The catchy melody and a fresh uptempo beat are offering something that could even fit well into a club-friendly DJ set. Next up, comes “Infected Walkman”. According to Iliakis, it was the first one he made for this project when he participated in an art exhibition. This track, as well as the following “Sad Plants”, are both down tempo and chilled, yet keeping an experimental vibe without loosing a soulful and human touch. Coming closer to the end, “Exodus Denied” is a brilliant experimental ambient piece, more similar to the works on the Vertical Horizon LP. Finally, the EP ends with a short edit of “Carbonated Soap” that jumps right to the more energetic parts after the first break. Mountainmouth may not be an easy listen at start – but we are sure the music has the power to be another classic release from our catalogue. The EP will be released in July 2022 on a very limited 12" vinyl as well as digitally. The cover artwork was done by Iliakis himself. We are very excited to present a new artist to you on Equinox with so many different talents.

Yiannis Iliakis is a multi instrumentalist and composer from Athens. He is mainly known as a drummer. As such he is a member of the free jazz band Outward Bound as well as a member of the successful Greek progressive rock band Ciccada. However, that’s only one side of Iliakis’ creative efforts. In April 2021, he released his first full length electronic album entitled Vertical Horizon on the Submersion Records, which mostly is an ambient work. Now, with Mountainmouth he opens another chapter for his musical talents. The EP is one of the most thrilling and adventurous takes on what the IDM term usually would suggest. The key song might be the title track “Mountainmouth” – an extremely energetic composition which won’t leave you unaffected. As per most of Iliakis’ songs it is based on originally recorded drums that were heavily edited. In the next step, these were combined with chords, melodies, bass and harmonies on top. The musical result is simply breathtaking - one might even call this track electronica for prog-rock heads. Surely a perfect opener for the release. The next song is Carbonated Soap on which Iliakis is going straight forward. The catchy melody and a fresh uptempo beat are offering something that could even fit well into a club-friendly DJ set. Next up, comes “Infected Walkman”. According to Iliakis, it was the first one he made for this project when he participated in an art exhibition. This track, as well as the following “Sad Plants”, are both down tempo and chilled, yet keeping an experimental vibe without loosing a soulful and human touch. Coming closer to the end, “Exodus Denied” is a brilliant experimental ambient piece, more similar to the works on the Vertical Horizon LP. Finally, the EP ends with a short edit of “Carbonated Soap” that jumps right to the more energetic parts after the first break. Mountainmouth may not be an easy listen at start – but we are sure the music has the power to be another classic release from our catalogue. The EP will be released in July 2022 on a very limited 12" vinyl as well as digitally. The cover artwork was done by Iliakis himself. We are very excited to present a new artist to you on Equinox with so many different talents.

Edition of 100 - printed sleeve, hand-stamped centre labels.

Chrome-plated sound design and bristling textures frame the latest speculative sci-fi experiment from Xao, meshing sonic concepts inspired by Rabit, Visionist and Lotic into the cybernetic scapes of Hyph11E or Algorave proponent Renick Bell.

Xao has been working alongside the C.A.N.V.A.S. label since the beginning, and his second album builds on the promise of 2019's Astral Black-released "Eternal Care Unit", by burying some of his most recognisable inspirations into an algorithmic shimmer of vaporous sound design and cyborg percussion. The roots of ‘Wirehead’ can be traced to the mid 2010s obsession with shaping global club echoes and videogame FX into music that accurately scored our descent into digital dystopia, but Xao makes a clear link between those ideas and the brain-fried cyberpunk vistas of William Gibson. His guiding theme is the idea of the contemporary digital attention economy with its algorithmically-powered tidal wave of content, and the mental states that follows - employing procedural and algorithmic compositional methods to shatter this status quo, reaching in the direction of a proposed "digital spirituality" in the process.

On opening track 'Bone Theory', he burns fragments of death metal into warped airlock club stumbles, welding evocative, clanging sound design to tempered forms of weightless grime and gravel-throated trap. 'Aqua Tofana' is more fucked, sounding like a frosted-glass take on Autechre's latter day post-electro rhythms, or an algorithm-warped AI rendition of Lanark Artefax's 'Touch Absence', while 'Hyperfixate For Me' stutters barely-audible vocals beneath cracked Vladislav delayed percussion and the corrupted data throb of guitar noise and loopy synthesis.

The rest of the album plays like a Johnny Mnemonic-style braindump: the last few years of underground electronic music melted into a frayed patchwork of textures, rhythms and sonic signifiers. It comes to a head on 'I Wed My Shadow', when opera singer Marie Requa Gailey's voice just about cuts through the static like a candle in the dark, making the escape route from the techno dystopia just about visible. Moments later we're exposed to the corrosive 'Ophanim Plushie' - all jazz clatter and anodised rolls, accompanied by drones and squashed breaks that barely make it off the surface. By the time we reach the album's final track 'Threnody for the Child of Omelas', it’s all repair and recovery, twisting beatless echoes from strangled neural networks into blankets of aesthetic warmth.

Wirehead is a smart album that fits well into the deconstructed club/post-club lineage, deploying hyperkinetic sound design and a whelming flux of feelings echoing contemporary classics in its progressive field by TCF or Lee Gamble or indeed the same algo-powered artificiality as James Ferraro, or even the hyperpop set, fused with nu-metal and dembow somewhere between Arca and Oxhy.

The Wrekin Crew is back for a seance outing on the peerless Is It Balearic? This new offering rather continues where the first one left off with two tracks of immersive sonics for sunny days. First up is 'Vapour Trails' which melds lush Italo disco melodies and nice emotinoal pop of the sort you would expect to hear in this duo's DJ sets. Goldsuite also step up with a remix to smooth the edges and lay down moon-lit Balearica then closer 'Broken Wings' has more meaningful vocals but this time over grooves more suited to a late-night setting. Cosmic arps finish it in style with plenty of dubby undercurrents.

Once you enter the field of unity You will feel the infinite source

Once you enter the field of unity You will serve in presence

Once you enter the field of unity I promise you will meet yourself

V.I.V.E.K announces his second release on the self-named Vivek label. Known for his cult label, System Music, this label focuses more on eclectic 140 bpm outside the realm of the dance floor.

The 4 track EP explores broken beat, ambience, melody and rhythm at 140, something that has been missing over the last few years within the genre. Colours is not only the EP title, but a reflection of the diversity of the tracks. Musicality sits at the heart of this with a nod to easy listening.

“The main focus of this release was to take me out of my musical comfort zone. I wanted to work with other musicians as well as push myself to inhabit new creative ideas.” - V.I.V.E.K

Whether it’s as an artist, label owner, a deep-drawing world-touring selector or system-building soundman behind some of London’s most important dances, V.I.V.E.K has an inherent drive to push things forward and contribute to the craft of music with serious attention to detail. A life-long frequency student dedicated to soundsystem culture, he has total respect for the heritage, value and rich variety of true music, an ability to totally arrest your full attention and imagination with his music... And has done so since he emerged in the early 2000s.

Musically pressed and blessed on key imprints such as his own System Music, Deep Medi, Tectonic and iconic reggae imprint Greensleeves, V.I.V.E.K’s creations are a crucial brew of bass styles encompassing everything from heavyweight bass hypnosis to flighty, steppy garage hybrids via sweet dub soul and all-out low-end pressure. His self-built custom soundsystem, System, meanwhile, is a unique force of nature in UK bass music culture; the most prominent modern system to be established this decade, it’s a whole new chapter in the UK’s longstanding and illustrious history of barrier-breaking soundsystem communities. As such, it attracts committed fans from around the globe and selectors from across the system spectrum.

His label System Music has the same treasured, trusted status; not only as a source of legit never-to-be-repressed artefacts that prize the real value of music, but also as a key platform for encouraging forward-thinking, powerful system music from across the OG – freshmen continuum. Karma to Kromestar, Sleeper to SP:MC, LAS to Egoless: System Music’s celebration of bass music’s sonic scope and nurturing of talent and craft ensures its consistent buy-on-sight ranking.

Most importantly it’s as a selector that V.I.V.E.K’s position is the most vital. The selective tailor of rich, immersive and eclectic sessions, few DJs dig as deep, join the dots or draw for dubs quite like this West London operator. Accentuating his influence as a producer, engineer, dubsmith, label curator and system builder; his creative excursions as a DJ, both on the dancefloor and the airwaves as a broadcaster on the likes of Rinse FM, galvanise his status as one of the most respected, influential and singular artists who is driven by nothing but craftsmanship, unity and the sense of culture that UK bass music needs to thrive and inspire.

"Unbroken Dreams of Light" V/A Blueberry Records 2020 Side A;Who is Glen Faba? Hint: I could tell you but then I'd have to undo it. Arable sounds like philip glass if he took some K. Ruby Rod, a track which made the rounds in my live set for 3 years. I'd open with it in front of bands and everyone would take about 7 steps backward from the stage. '5' Todd Osborn sent me a zip of music after my hard drive crashed and I lost everything. I got the complete Blue Note recordings and a collab with Luke Vibert. Here it is. Side B;UC is deadly with the 12" versions. Track comes with cool techno sound effects as well. Horsepower Productions deliver a super rare hardcore artifact from their archives! Side C; Cousin Cockroach on Blueberry!!! You already know. Spurge - a total delight to know and watch out for more from this young beat scientist. Tune is called Deadass. Xglare - Jessee kills it, check her Morph EP on Blueberry - the balance between light and darkness in her sounds astound. Dasychira is slowly turning into a preying mantis and this is what that sounds like. Pretty much exactly. Bénédicte has been busy crafting away at their debut EP for Blueberry, I can't wait for you all to hear it. Softillusion is a dreamy warm blanket. Side D; µ-Ziq on BBR, another dream. We are coming full circle here for this IDM fanboy's wildest dreams. Brrd - I had to straight up jack this 2 minute section from a beat mix that Stewart sent me a few years ago. You can master from an MP3 folks! Focus Group 2. Meet my piano. Her name is Olympia, and my friend Margot named her. The Other Functions - my friends no wave alias is better then yours. Tenant - the rent is still to damn high. Peak acid programming here.

Templeight is Temple’s eighth release, The first in our seventh year. It features eight tracks from artists spanning two continents. These are bent songs of glimmering confusion that rejoice in dissolution; songs to truncate the space Between us all. We love them, and you might too. ::))

Artwork by Jonathan Castro & Alejos and Robuche. Mastering by Marco Pellegrino at Analogcut Mastering. Ex-Terrestrial - Inlet and M & Dust - A Day in June mixed by Priori. Phones in the Sun - First Look mixed by Lukas Glickman.

This is the 30th release and 3rd Anniversary of our first tape, so to celebrate the label has brought together friends new and old for a spectacular compilation ranging from ambient to dreampunk to uk garage to house. All proceeds from this release will be donated to the Coral Reef Alliance.

close to NM

* Available on Black Double Vinyl and Mint Green Double Vinyl * Third instalment in the Psychédélique Compilation series on Two-Piers * Featuring music by Martin Denny, Yma Sumac, Mel Tormé, and more! / ‘Lounge Psychédélique’ takes you on a journey into the world of Lounge, Exotica and Space Age Bachelor Pad Music, from its early days in the 1950s and 1960s to the current crop of artists championing the Lounge & Exotica sounds today. Compiled by Spencer Hickman & Mark McQuillan for Two-Piers ‘Lounge Psychédélique (The Best of Lounge & Exotica 1954-2022)’ is the third instalment in the Psychédélique Compilation series on Two-Piers, following the critically acclaimed ‘Pop Psychédélique (The Best of French Psychedelic Pop 1964-2019)’ and ‘Garage Psychédélique (The Best of Garage Psych and Pzyk Rock 1965-2019)’. ‘Lounge Psychédélique’ brings together the sounds of Easy Listening, Soundtrack Instrumentals, Exotica, Jazz, Psychedelic, and Space Age sounds all under the umbrella of Lounge Music. The compilation includes legends of the Lounge and Exotica scene, such as Martin Denny, Yma Sumac, Mel Tormé, Herb Alpert, and Les Baxter, alongside legendary composers Hugo Montenegro, Lalo Schifrin, Michael Giacchino. Add some Lounge Jazz from Cal Tjader and the Latin Bossa Nova of Quincy Jones. Then throw in some beautiful oddities from Leonard Nimoy, Pizzicato Five and Mort Garson. Next, mix in some Lounge-Mod moments from Dave Pike and Jack Trombey, KPM library classics from Alan Hawkshaw and Keith Mansfield, and finish with some brilliant modern-day exponents of the Exotica sound Los Bitchos, Ixtaheule and the Percussive Funk Moog party sounds of The Bongolian. The result is a fun and crazy ride through the world of Lounge Music which will bring a smile to your face and a spring to your step. So raise a cocktail glass to ‘Lounge Psychédélique (The Best of Lounge & Exotica 1954-2022) – a sheer joy from start to finish! ‘Lounge Psychédélique’ isn’t meant to be a ‘crate diggers’ album or a compilation of obscure, hard-to-find tracks to outdo your mates. Instead, it is intended to celebrate the Lounge scene and, hopefully, the perfect introduction to this fantastic and beautiful music for any newcomers out there. So let your journey into Lounge and Exotica begin here…

* Available on Black Double Vinyl and Mint Green Double Vinyl * Third installment in the Psychédélique Compilation series on Two-Piers * Featuring music by Martin Denny, Yma Sumac, Mel Tormé, and more! / ‘Lounge Psychédélique’ takes you on a journey into the world of Lounge, Exotica and Space Age Bachelor Pad Music, from its early days in the 1950s and 1960s to the current crop of artists championing the Lounge & Exotica sounds today. Compiled by Spencer Hickman & Mark McQuillan for Two-Piers ‘Lounge Psychédélique (The Best of Lounge & Exotica 1954-2022)’ is the third instalment in the Psychédélique Compilation series on Two-Piers, following the critically acclaimed ‘Pop Psychédélique (The Best of French Psychedelic Pop 1964-2019)’ and ‘Garage Psychédélique (The Best of Garage Psych and Pzyk Rock 1965-2019)’. ‘Lounge Psychédélique’ brings together the sounds of Easy Listening, Soundtrack Instrumentals, Exotica, Jazz, Psychedelic, and Space Age sounds all under the umbrella of Lounge Music. The compilation includes legends of the Lounge and Exotica scene, such as Martin Denny, Yma Sumac, Mel Tormé, Herb Alpert, and Les Baxter, alongside legendary composers Hugo Montenegro, Lalo Schifrin, Michael Giacchino. Add some Lounge Jazz from Cal Tjader and the Latin Bossa Nova of Quincy Jones. Then throw in some beautiful oddities from Leonard Nimoy, Pizzicato Five and Mort Garson. Next, mix in some Lounge-Mod moments from Dave Pike and Jack Trombey, KPM library classics from Alan Hawkshaw and Keith Mansfield, and finish with some brilliant modern-day exponents of the Exotica sound Los Bitchos, Ixtaheule and the Percussive Funk Moog party sounds of The Bongolian. The result is a fun and crazy ride through the world of Lounge Music which will bring a smile to your face and a spring to your step. So raise a cocktail glass to ‘Lounge Psychédélique (The Best of Lounge & Exotica 1954-2022) – a sheer joy from start to finish! ‘Lounge Psychédélique’ isn’t meant to be a ‘crate diggers’ album or a compilation of obscure, hard-to-find tracks to outdo your mates. Instead, it is intended to celebrate the Lounge scene and, hopefully, the perfect introduction to this fantastic and beautiful music for any newcomers out there. So let your journey into Lounge and Exotica begin here…

Record has a few scuffs and hairlines.

In the past years, the multi-instrumentalist, composer, producer and music enthusiast Jeff Özdemir had been focusing on organising the Live-Mixtape series in Berlin, inviting numerous artists to join him on stage for every single event. However, the year 2020 put an end to this for all the painfully obvious and obviously painful reasons. Undeterred, he instead put together the third instalment of the »Jeff Özdemir & Friends« series, working with singers, musicians and groups such as Knarf Rellöm & DJ Patex, F.S. Blumm, Joanna Gemma Auguri, Elke Brauweiler and Elmer Kussiac for an 18-track … Now, is this a compilation or an artist album? Well, why just either this or that when it can just be both at once? This is »Jeff Özdemir & Friends Vol. 3« after all, emphasis on »&«.

Released on Karaoke Kalk like its two predecessors from the years 2015 and 2017, respectively, »Jeff Özdemir & Friends Vol. 3« sees the man behind Kreuzberg’s 33rpm record store and the 33rpm Records label showcase his qualities as a people remixer, songwriter and versatile musician. He put together a collection of groovy tunes picking up on funk and afrobeat rhythms, introspective ballads, a musically channeled punk attitude, shoegaze sentiments, spoken word passages, drones, glockenspiel sounds, seriously fun experimentation and much more. Just like on the cover artwork - courtesy of Marion Eichmann, Özdemir’s favourite visual artist - everything here seems to discreetly exist for itself while being tightly connected to everything else at same time.

While artists like Ertan Doğancı, Désolé Léo, eng°n, F.S. Blumm and Zap have been long-term collaborators of Özdemir and were featured on previous instalments of the »Jeff Özdemir & Friends« series, new faces and forces also enter the mix. The melancholic »Love Letters« for example marks the first (though hopefully not last) collaboration with singer Joanna Gemm Auguri, while Knarf Rellöm & DJ Patex’s appearance has been dreamt of collectively but hasn’t been fully realised until now.

Whether it’s Désolé Léo’s French crooner soul, the lo-fi synth pop song »Bored« featuring former Commercial Breakup singer Elke Brauweiler or the many different sounds and styles presented under the name Jeff Özdemir: no decision is ever made between either that or this musical direction, but all are being joyfully enjoyed together. Thus, throughout its 70 minutes, the stylistic diversity of »Jeff Özdemir & Friends Vol. 3« does not once border on randomness. Instead, these sometimes very different songs are marked by a shared atmosphere - a direct result of these very different musicians approaching their studio time together less as a chance to make music but more of a chance to carefully listen to and interact with each other.

Just like you’d expect it from someone deeply connected with the local music community who also happens to run a record store, Özdemir is also the kind of person who’ll hand you the worn copy of a record he has just fished out from the bargain bin because he knows about its potential to change your life. The contributions by Vackrow (»Kleistpark«), Gebrüder Teichmann’s old band BeigeGT (»Disco«), and Otto von Bismarck (»Zu viele Erinnerungen«, produced by The Whitest Boy Alive’s Daniel Nentwig) do not even feature Özdemir, but are simply musical pearls that were (almost) lost in the shuffle of music history and unearthed for this very special occasion. That’s just what friends do, don’t they?

Presented here is the next chapter in the history of Faruk Green's keyboarder and founding member Jeff Özdemir... a compilation of soulful, pop & electronic inspired music. Jeff Özdemir, multi-instrumentalist, composer, producer and owner of the "33rpm Store", an independent record shop in Berlin Kreuzberg, also runs the label 33rpm Records with some of his musician friends.

Celebrating our tenth release, we proudly present "Feeling Everything, All At Once" - a compelling VA compilation featuring music from our current label family and introducing some talented debutants from Scotland.

Red010 marks a powerful statement of intent as we look to the next five years and beyond whilst reflecting on our achievements so far, what we aspire to accomplish and how we can continue to push the sounds that resonate with us. Although it has taken time to reach this milestone, our commitment to quality over quantity remains unwavering.

This compilation serves not only as a collection of club-ready tracks but also as a longform piece suitable to more passive listening. With a total of 14 tracks, it stands as our most extensive release yet, expanding our label family to well over 20 artists. The digital release will be complemented by a physical cassette, perfect for playing in the dusty tape deck of your mate's Vauxhall Corsa as you head to that mad rave in the countryside everyone is talking about.

We are thrilled to announce our collaboration with the Scottish Action for Mental Health (samh) on this project with all the profits being donated to this cause. Both Lewis & Ethan have their own personal experiences with mental health difficulties and strongly believe that Samh is absolutely vital in facilitating the provision and promotion of mental health care, support & information.

A massive thank you to all those involved in making this happen and their generosity in donating their time and talent to the project.

On this second volume, focus is laid on the boogier side of Japanese sonics, nimbly moving the cursor from jazz to Afro-house, via deep technoid wares and spaced-out funky business. Setting the tone without further ado, Seiji Ono’s sun-streaked chugger ‘Celebrate Your Life’ is the very epitome of a time-proof party anthem; a buoyant and catchy ode to Larry Levan’s Paradise Garage that keeps on giving even after the thousandth listen. A dynamic ride down memory lane, Uyama Hiroto’s Afro-Bossa number ‘Compass’ delivers a suspended moment in time, halfway the soothing ethereality of Brazilian folk and syncopated patterns of African music. Up with the very much sub-Saharan-influenced ‘Pray’, J.A.K.A.M. takes us on a luminous ride across endless dunes of sand and lush oases of melodic abundance and polyrhythmic flair.

Yuu Udagawa turns in the jacking ‘We Float’, a proper NYC-style piece of abstract hip-hop and Chicagoan house laced into one lithe dance-floor churner, whereas Jazztronik summons ancient woodlands spirits on the kalimba-heavy ’Neon Forest’, ushering us into a world of pure soulfulness where ghostly silhouettes float in a haze of shakuhachi flutes and vaporous pads. We all know a classic slab of piano house done the right way is hard to resist, but when Brisa opts for this tried-and-tested route on ’State of Mind’, he nevertheless injects it with the kind of refinement and oomph you simply have to bow down before. The Backwoods remix of Ryoma Takemasa ‘Deepn’’ opens a spacious window that looks out onto a dreamy skyscape where the stripped-back rhythmic grammar of atmospheric techno rubs shoulders with that of electronica’s deep focus.

Not just contributing the aforementioned remix, The Backwoods - alias DJ Kent, steps up with the big-room momentum of ‘Cloud Nine’ - an alt-rock-influenced piece of racing electronics bound for ecstatic after-partying and beachside boogie with your loved one at sunrise. In the hands of Hiroshi Watanabe, 909state ‘RaTaTaTam’ morphs into an entrancingly beautiful mix of slo-burning prog techno and neo-classical orchestration, just as sleek and elegant as it proves deadly in a club context. Graced with similar melodic accoutrements, Satoshi Fumi’s rework of Tomi Chair ‘Remorse’ offers a grandiose and mood-enhancing display of piano-riddled techno bravura, clearly geared up for climactic DJ use. A magmatic finale that lacks neither that stadium-sized oomph, nor Fumi’s hallmark of all-around compositional excellence.

Crossed Wires III marks the final installment of the Crossed Wires trilogy, a series of releases that saw Crossed Wires dig deep into their archived cassette recordings of early experiments in electronics and sound design.

The final part pulls together 14 tracks spanning the gamut of Crossed Wires' influences, giving us emotionally charged ambient all the way to angsty almost-garage-rock, with a plethora of minimal-wave grooves and catchy hooks for us to vibe to, as we cry into our bran flakes knowing there will be no more Crossed Wires.

Rhythm Section International, the impossible-to-define label founded in South East London by Bradley Zero in 2014 has reached the ripe old age of 10 years. Funny thing is, it feels like it could have been almost double that. It’s hard to imagine the Landscape of the London music scene without this foundational force whose influence is felt more than ever.

With this special anniversary release, the label takes stock at this milestone to present a compilation in 3 parts: Past, Re-imagined AND Future: honouring the labels tradition of always paying homage to what has come before while setting sights firmly forwards.

With 100-odd releases in their extended back catalogue covering every imaginable style and boasting influence in every inhabited continent on earth, it’s been quite a decade for the independent label, which began on a shoestring budget with funds made via the now legendary Rhythm Section pool hall parties in Peckham.

From humble beginnings to an era defining output - few would have predicted the slow and steady rise of the imprint and the impact it has had on generations of Dj’s, musicians and listeners - at home and abroad.

Spanning 6 discs and 30 tracks, the compilation begins by taking us on a walk down memory lane and presenting one track from each year of the labels output - highlighting some forgotten classics from the archives over the first 2 discs. For discs 3 & 4, the label invited it’s stable of artists to pick a track from the back catalogue to re-imagine in their own style. This process resulted in some incredibly playful contributions from the likes of Ruf Dug, Session Victim and Private Joy - whose playful reinterpretations add new depth to old material.

Finally, the last 2 discs are entirely new material for 2024, carrying the torch of the previous Shouts compilations - whose sole aim is to shine light on new music from emerging artists

For his first solo EP, Tushen Raï designed a record in the form of a colorful patchwork of sounds, a meticulous collage of samples, surrounding noises and synthesizers. Here, Maori percussion dug on field recording discs from the late 60s and 70s meet Indonesian chants recorded on phones and posted anonymously online. A nostalgic yet deeply contemporary testimony to an imagination weakened resulting from the cultural globalization. With Drums Circles, Tushen Raï wants to reconnect with the adventure novels, from Jules Vernes to Barjavel, which nourished his childhood. Thought out as an ode to the diversity of our cultures, our practices and our beliefs, Drums Circles is a cry in favor of open-mindedness and curiosity. It is an invitation to discovery rather than to conquest. A humble invitation to embark on a journey and to collective trance

There’s been an air of hypnagogic mystery surrounding Acid Test’s sublabel Avenue 66 from the start. Joey Anderson’s oblique, Prince-inspired incantation “Above The Cherry Moon” set the tone for a label that’s sound that has found beauty in the furthest recesses of the dance floor, in the murkiest decay of kick drums and rave stabs. Fitting then, that the first album on the imprint comes from Trux, an artist who has chosen to reveal nearly nothing about themselves. Following a cult classic mini-LP for Office Recordings, “Orbiter” bears out the anonymous producer as a master of liminal, conceptual dance music. “Orbiter’s” ten tracks have a vaporous, shape-shifting quality, threatening to topple over into full-on kick drum bliss or vanish into ambience. Opener, “With It,” moves from heady ambient rush to skeletal piano, while “Blinko” and “Roy’s Garage” spell out a hazy memoriam for the UK continuum. Forlorn pianos ring out amongst the field recordings, excitable toms and jungle bass all softened in the enveloping gauze. “Orbiter” positions Trux as an unknown auteur who puts evocative world of tone and echo into dizzying motion, content to watch from the wings.

»Queen Of Nowhere« is the result of the photographic works by Kourtney Roy and the musician Dayve Samek (Trance Farmers). Samek has recorded his first album in 2014 on Leaving Records (Stones Throw Records). His music ranges between sweaty, garage-born ballads brush shoulders with drifter anthems and gasoline drenched doo wop with at some points some beats close from the past Anticon works. The Canadian photographer Kourtney Roy was born in Northern Ontario in 1981. She conjures an intimate universe pervaded by both wonder and mystery. Her photographer’s eye is drawn to places and settings whose lyrical qualities underscore the sublime banality of everyday life.

The psychedelic garage duo The Liminanas and French techno pioneer DJ/producer Laurent Garnier have now produced together “De Pelicula”. The result is neither a Limiñanas techno record nor a Laurent Garnier rock album . It is a record that feels like a walk on the wild side, one straight out of a film noir that was spawned from the need to write music that tells a story and rattles all traditional patterns in a (super)sonic trance. A heated road-trip spent chasing Juliette and Saul, two teenage rascals straight out of a ‘60s classic - think “Breathless” (original title: A bout de Souffle) meets Sailor and Lula - balancing on the southern border with Spain, knocked out by the heat and cheap liquor.

Ltd edition 300, vinyl only release.

The Duke of Juke returns with a smashing 10", his first release on dutch imprint ANUS Records. Here he shows his variety of musical knowledge fitting our philosophy - be odd, be future, be not too serious. Get to know!

180 gram vinyl

Not many acts who continue for a few albums get a chance to go back and take care of what they might see in retrospect as mistakes or tentative starts — but there are always glorious exceptions. Thus the course of events that led to the Croatian surf-rock quartet The Bambi Molesters rerecording their 1997 debut Dumb Loud Hollow Twang in a ‘deluxe’ edition, with special guests, bonus tracks and more besides.

What might have seemed a quixotic exercise gets explained in the liner notes — the album’s original run, though popular in surf-rock obsessive circles, had not resulted in a reprint, while the group’s growing popularity resulted in further demand and attention for the start. The band themselves felt the debut was far too rushed — it was literally recorded in three hours as a one-take rip with instrument leakage and bad mixing ruining the impact — so with more time to spare and a chance to flesh out the sound, the result was 2003’s Deluxe.

The quartet’s command of the surf vernacular is unparalleled — guitarists Dalibor Pavicić and Dinko Tomljanović have the reverb down and rhythm section Lada and Hrvoje Zaborac shift between mania and moodout with ease. The guest musicians add just the right touches — keep an ear out for Neven Franges’s piano on the late-night menace of “Pearl Divin’”, as well as on the smoky Eurospy vibe of “Sun Stroke” and a trumpet/sax duo on a variety of songs adding some further sting.

If the overall effect is pleasantly reverential rather than a striking new reworking of surf and garage roots, it’s still a solid result that works beyond mere genre exercise. The bonus tracks are all covers, and winners they are — the Molesters collaborator in the Strange project, Chris Eckman, adds whispering menace to “Restless”, the album’s sole vocal track. Best song title of the bunch — “Beach Murder Mystery.” (Ned Ragget, All Music Guide, 2005)

Nothin’ dumb about this one! The Bambi Molesters hail from Sisak, Croatia, and they play a slightly dark brand of traditional instrumental surf music. They’re all about subtlety. Lead guitarist Dalibor Pavicić lays back in the mix, painting the sound with dreamy apparitions of melody and tone. How much of this was always part of their formula, and how much producer Phil Dirt created at the console, I don’t know, but either way they’re onto something good here.

All fifteen tunes were written by Pavicić and guitarist Dinko Tomljanović, and that’s surprising enough for such a young band, but on top of that, all fifteen are exquisitely crafted and fully realized. “Sun Stroke” is one of the most beautiful surf tunes of the year, filled with passion and power and delivered with a delicate touch. If you fancy a twist of spy in your surf, “Beach Murder Mystery” is the bomb. By the way, if you’re voting for great titles of the year, you may want to consider “Standing on the Nose in a Stylish Manner”, which also happens to be a killer surf tune. So add Croatia to your surf scene map and keep an eye on The Bambi Molesters, because they’ve officially taken their place in the book of who’s who. (DJ Johnson, Cosmik Debris, 1998)

A stunningly good set of tracks from the only surf band in Croatia. Their writing is melodic, pristine, well structured, and unique. I find their slower material to be the best, with its stellar beauty and delicate balance between lead and rhythm. I’ve been communicating with the band for about a year, and earlier this year, they asked me to produce their album. I was honored. They laid down 16 track ADAT in Croatia, and mailed them to me in the US. I mixed them here, and mastered them as well. Based on the DAT I’d received late last year, I was expecting good tracks. I was not prepared for just how good they’d turn out to be. This will be a classic of the future. (Phil Dirt, DJ KFJC)

Dancing Bear Band Information (from 2005)

Formed in 1995 under the influence of 60’s garage and surf classics, the Croatia based band The Bambi Molesters won sympathies of rock critics and underground rock audience with their first album “Dumb Loud Hollow Twang” which was released in 1997. Since then they have been playing regularly in Croatia and all over Europe and their fiery and energetic live performances have helped to build their reputation as one of the finest and most original contemporary instrumental bands.

In 1999 the band signed the record deal with Dancing Bear. They released their second album called “Intensity”. The same LP was also released in Germany on Kamikaze Records. Both “Intensity” and “Dumb Loud Hollow Twang” gained positive reviews in the music press and were nominated in various categories of the Croatian music award.

In December 2001 The Bambi Molesters released their 3rd CD “Sonic Bullets: 13 from the Hip” (the LP version is from 2003) with the following guests: Peter Buck (REM), Scott McCaughey (Minus Five, REM touring band), Chris Eckman (The Walkabouts), Terry Lee Hale and Eduardo “Speedo” Martinez (The Flaming Sideburns). Just like the previous one, the new The Bambi Molesters album was published by the Croatian record label Dancing Bear. The CD got excellent reviews in various magazines (Mojo, Uncut, Pitchfork, ...) and received the Croatian journalist award for the best album of the year 2001.

In June 2002 “Sonic Bullets: 13 from the Hip” was licensed by ACE Records and was released on their Big Beat label.

The Bambi Molesters’ songs are regularly played on American (KFJC, KFAI, KXLU, WREK, WHUS) and British (BBC RADIO 1 in London) radio stations. The song “C Alpha E” was included in the movie called “The Treat” by Jonathan Gems (screenwriter for “Mars Attacks” and “1984”). Their music can also be heard in videos (“Cross Cuts” for Tonix Pictures and Dragonfly BMX video). Three songs from the first LP are included in the movie “Barabe” (Viba film, Slovenia). During the last couple of years the band has played more than 100 gigs and supported well known acts including The Cramps, REM, Chrome Cranks, Man or Astroman,...

In July 2003 the band played as a support at the R.E.M. European tour. The Bambi Molesters played at three gigs in front of 50000 people altogether.

In June 2004, together with The Walkabouts singer Chris Eckman they formed The Strange. Their debut album “Nights of Forgotten Films” is out on Dancing Bear.

Mentalist dance music from Tera Octe on PRR! PRR! If you love Ork Musik, Lorenzo Senni and Sophie then you'll love this.

Limited Edition.
Record is close to VG+.

Upsammy enters the acoustic realm with her new side-project Sweepsculp. Five addictive tracks fusing minimalism, IDM, folk, krautrock and various styles of jazz - using only an acoustic guitar besides drums. Live recorded, digitally edited/sculpted and produced in her singular style.

Bristol based artist, Sunun with a killer 6 track EP - the first 12" of the year on Idle Hands (ran by Chris Farrell) . A member of the city's Young Echo collective she has made waves with her abstracted take on dub for Bokeh Versions and Cold Light Music, gaining praise from Adrian Sherwood along the way. Her most recent release was a collaborative EP with Giant Swan’s Robin Stewart. Over these six tracks we are invited into her sonic world, described by the artist herself as “a step towards rhythm tracks, with shallower themes and confidence, with priority to the ancient components; the drum and voice” Adventurous, brooding and unique - this is an EP you need to hear. Proceeds from the EP will go to Ace, a charity organising 1:1 music sessions with teenagers in the local area where Sunun has been doing work.

You may know of “Rude Movements”, an early dance music classic produced by SunPalace (Mike Collins and Keith O’Connell) back in 1983 that brought together proto-house, balearic beats and funky vibes. In 1984, the tune quickly became an anthem that could regularly be heard at David Mancuso’s “The Loft” or at Larry Levan’s “Paradise Garage” for example. Thanks to Mike Collins, the studio veteran still in the business after more than 35 years and currently busy perpetuating the legacy of SunPalace, more material from the archives has been ‘surfacing’ over the past few years on UK-based record labels. After a very productive meeting earlier this year, Parisian label Chuwanaga is really proud to present four unreleased songs produced between 1982 and 1984! Co-written by Mike Collins from SunPalace and Breeze McKrieth, a founder member of Britfunk bands Light Of The World and Beggar & Co, these Lost Songs are the almost forgotten result of this seminal collaboration, an exclusive musical rendez-vous between experienced studio music makers and funksters at the top of their game, including some of the finest Britfunk musicians. Bringing together eighties influences and futuristic sounds, the result covers a wide range of genres, from jazz-funk to new wave: it captured a unique moment in British musical history, a smooth transition to a more electronic sound. Definitely not one to be missed!

Two mavericks, out on the weekend, trying to make it pay...

"Maverick was the word that came to mind when I listened to this music. A slightly wayward independence of spirit and outlook. The word originally referred to an unbranded male calf that had become separated from the herd (because Texan rancher Sam Maverick was so negligent in his branding - ‘if it ain’t branded, it’s a Maverick’). But Sam’s grandson Maury Maverick gave it a different twist in his short but stormy Congressional career as the only liberal member of the Southern Democratic caucus. Maury was so out of step with his own folks that he not only voted in 1937 to make lynching a federal crime, he even addressed the House to condemn the practice as barbaric. His attempt to ban racist mob murder sadly failed, but it’s that refusal to march in step which distinguishes the two ‘mavericks’ who made this record.

Who would attempt to combine cunning ethnological forgery, Scottish folk songs, claw-hammer guitar, untutored horn-tootling, elastically relaxed drumming and garage electronic fuckery? Only Greg and Stefan, high on sea, sunshine and mis-judged micro-dosing – that’s who. ‘Don’t drown’ was offered as practical advice during the self-described ‘Yellow Submarine’ phase of making this record. And while they managed to avoid literally doing so (phew), they sound here like they got pretty ‘deep in’ to an Octopus’s sound world all their own. This surprisingly clear analogue recording has just enough Bikini Bottom grit to ensure traction. The tunes are inviting, and the sonic disruptions are too good-natured and goofy to upset even the most delicate digestion.

The sessions have had a couple of years to marinate, courtesy of some pandemic, and are here offered in that most Archducal of vinyl formats, the double ten inch. What are you waiting for, a side of Crabby Patties? Get your water-wings and dive in (unless you’re tripping)!" - Bruce Russell (The Dead C)

Pumice is the long-running, endlessly inventive project of New Zealand native Stefan Neville (1974), whose shambolic music is equally reminiscent of Kiwi pop groups such as The Clean and Tall Dwarfs as well as the country's experimental noise-rock bands like the Dead C. Largely recorded solo by himself on junky equipment, his songs typically feature blown-out guitars, wheezing chord organs, and vocals disguised by tape hiss and static.

Greg Malcolm (1965) is a guitarist from New Zealand who has played everywhere on the globe and with all most everyone, including Rosy Parlane, Toshimaru Nakamura, Tetuzi Akiyama and Bruce Russell, as well as solo releases on his own label, Corpus Hermeticum, Kraak and Celebrate Psi Phenomenon.

"Soutien Gorge" make a much welcome return to release their latest album "Tarskapcsolatodban" on "Touched Music". I'm not as familiar with their backcatalogue as I would like to be but intend to remedy that Asap! The double CD compilation "Meseerdö" on Touched Music is a great place to do that... Soutien Gorge are two guys from Hungary who make interesting experimental electro-acoustic music. Their first release was around 2002, making this release their 20th anniversary release ! This latest release Tarskapcsolatodban by Soutien Gorge makes me think fondly of a lot artists on labels like City Centre Offices, Morr Music, and some outlyers on Warp Records. Musically coming in somewhere between, Isan, B. Fleischmann, and Plone. The melodies have simple, often nursery rhyme like appeal. Arrangement wise there are acoustic and electronic instruments, with some field recording elements, and and sampling of speech in to me what is just a foreign language and difficult to understand. Good use of guitars to create additional layers at times remind ne of Duo-505, the B. Fleischmann side project. The field recordings and reserved electronics reminds me of the 2018 "Wanderwelle" album "Gathering Of The Ancient Spirits" on "Silent Season (Canada)".

Son Zept - "Northern Ireland's resident electronic compositional polymath" (The Quietus) - debuts on Analogical Force with a 5 track EP. "New Ireland Chrome" comes from the soundtracking of an imagined futurist Ireland. This EP is an inventive genremash of grime, braindance, acid, ambient, rave and other difficult to describe soundworlds. Artwork comes from Geometric Love, UK.

Utterly unmissable first digital edition of SND’s god-tier triple pack, cruelly out of print since 2008, now finally available to discerning dancers/DJs - packing a pinnacle of avant-dance beat science certain to connect with fans of garage, UKF, footwork and experimental minimal techno A peerless masterclass in nanoscopic funk editing, ‘4,5,6’ has never bettered in our books. It originally arrived as a limited pressing of 300 x 3LPs in 2008 but has been sorely notable by its lack of availability ever since, often leading us to offer wild handed descriptions to bewildered mates, who, even if they looked for 2nd hand copies, would still be stumped as nobody in their right mind is selling a set. However that is all corrected with this first digital edition, representing one of the most crucial reissues of the decade and an unmissable opportunity to revel in some of Mark Fell and mat steel’s finest work, bar none. When it landed in 2008, a decade after SND’s seminal early trio of self-releases, ‘4,5,6’ frankly took our heads off. It marked a leap in form from their self explanatory ‘Tender Love’ LP of 2002 with a return to their early EPs’ avant club focus, but drawing on processes and tekkers they had sharply refined over the interim. Aspects of the deep house, garage and computer music that originally inspired them are rendered inside out, revealing and recalibrating their mechanics in something like an iridescent Haynes manual one could dance to, or simply marvel at if the legs weren’t willing. It stood out a mile from the rote minimal techno and dubstep of the time, which had started moving in the “future garage” direction by 2008, and effectively gave the sharpest side-eye to that sound, innovating-not-imitating in order to update and galvanise the original ‘90s forms with visionary mix of pointillist and mercurial flex. But, no mistake, for all its radical restructuring of garage and related styles, the results aren’t intended for chin stroking: they’re a direct, physically urgent extension of Mark and mat’s deeeep love of dance and electronic music, itself rooted in original synth-pop/industrial and the first wave of US deep house/garage/techno that took their generation, and cities such as Sheffield, by the balls.

Reissue of SND’s god-tier triple pack, packing a pinnacle of avant-dance beat science certain to connect with fans of garage, UKF, footwork and experimental techno. When this peerless masterclass in nanoscopic funk editing, a decade after SND’s seminal early trio of self-releases, »4,5,6« marked a leap in form from their self explanatory »Tender Love« LP of 2002 with a return to their early EPs' avant club focus, but drawing on processes and tekkers they had sharply refined over the interim.

After our inaugural release by STL we look to a long running UK based artist Soomro. Growing up in the W10 part of London, Honest Jon's was a stones throw away and Soomro's first proper musical eduction. At a young age he was absorbing and digging through various genres and artists like King Tubby, Pink Floyd & Miles Davis, then going onto experience first hand in his teens the 90's golden era of UK underground dance music, from listening to UK Garage artists like R.I.P. Productions and Tuff Jam at the Gas Club to Drum & Bass artists like Dillinja and Source Direct at the Blue Note. These experiences were the foundations that helped shape and influence what Shaun does musically till this day.

After 4 years LMD returns with a stunning EP from Shaun Soomro. With releases from: Petre Inspirescu, Thomas Melchior, Ion Ludwig, STL, Hieroglyphic Being & Burnt Friedman. LMD have a long history of releasing daring leftfield house & techno. Growing up in London Shaun was heavily influenced by Drum & Bass, UK Garage and the psychedelic sounds of Pink Floyd.

Copy closer to NM

Alkisah Versi Hitam is a radical deconstruction and reimagination of Indonesian duo Senyawa's most recent album Alkisah by Hamburg's Marc Richter aka Black To Comm. The original album was released to critical acclaim in February of this year as a decentralized release on a multitude of labels from all corners of the world, Germany’s Dekorder being one of them. Richter is now completely reinventing the original album from scratch by doing an almost Teo Macero-level production job here, cutting up the originals and (re)constructing new material from scratch.

Arcane chants and vocal cut-ups, fierce freeform percussion, grimy No Wave collage, monochrome drones exploding into multicolour streams, unearthly psychedelic Noise and sheer sonic mayhem, warped discordant rhythms between moments of calming beauty - it's never easy to digest but the outcome is both ecstatic and transcendental - never sounding anything less than a fully formed singular album.

A special cassette version of the album will be released by Jordanian label Drowned By Locals.

Black TO Comm is the moniker of Hamburg composer/musician Marc Richter who is creating intricate multi-layered collage based works for labels like Thrill Jockey, Type and Dekorder. His 2019 album "Seven Horses For Seven Kings" revealed an increasingly angry, transcendental and fearless approach, attaining new levels of urgency through noise, volume, rhythm, repetition, atonality and beauty.

Jogjakarta’s Senyawa embody the aural elements of traditional Indonesian music whilst exploring the framework of experimental music practice, pushing the boundaries of both traditions. Their music strikes a perfect balance between their avant-garde influences and cultural heritage to create truly contemporary Indonesian new music. Their sound is comprised of Rully Shabara’s deft extended vocal techniques punctuating the frenetic sounds of instrument builder, Wukir Suryadi’s modern-primitive instrumentation. Inventions like his handcrafted ‘Bamboo Spear’; a thick stem of bamboo strung up with percussive strips of the animal skin along side steel strings. Amplified it fuses elements of traditional Indonesian instrumentation with garage guitar distortion. Sonically dynamic, the instrument can be rhythmically percussive on one side whilst being melodically bowed and plucked on the other.

They have collaborated and performed with many notable musicians such as Stephen O'Malley of Sunn o))), Otomo Yoshide, KK Null, Keiji Haino, Rabih Beiani, Trevor Dunn, Greg Fox, Arrington De Dionysus, Melt Banana, Damo Suzuki and Oren Ambarchi.

A steady and sure buzz has been building around Steve Young’s ‘Scarper’ project over the past few years, particularly since his acclaimed 2017 debut album ‘Warmer Squares’ and subsequent dancefloor favourite ‘E-Funk', which won over fans from Skream to Carl Craig with its genre-crossing appeal. Marking a noticeable shift in direction and a new sense of focus, Scarper returns with four tracks of varying styles and influences. Drawing from dub, techno, breakbeat and rave, he mainly shoots for the floor (with a clear emphasis on bass weight), although as always, there is ample headphone fodder. Opening with ambient intro 'Wavecrush,' Scarper moves through dub- infused downtempo with the Weatherall-esque chugger 'Metadub,' swiftly picks up the energy with the chunky beats and deep bass of ‘Metadome,’ and concludes with high-octane face melter 'Slab,' which throws tech-breaks, dark garage and jungle/hardcore vibes into the pot. More quality from Scarper.