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few paper scuffs

Contexture is another classic example of a true friends & family gathering. The Nijmegen based imprint, running for over 12 years was born out of a tight group of friends with the same passion. 12 years later, their strongest releases are still based on this exact same principle, collect and release music from the inner circle. Julien Fuentes, Dorcas label head, starts things easy with his Klaridub ambient mix. It's quickly followed by familiar Eshu faces Jocelyn and Yasin Engwer, classic dub techno beats from the Eshu vaults. There's also room for new faces, the recently launched collaborative project between Vand and Shoal as Voal dropping their 'Eight Ball' as their Eshu label debut. Flawless minimalistic grooves that make a perfect fit for their long awaited contribution. Label head Ivano Tetelepta teams up with Pirat Records own Christine Benz. After sharing the DJ booth together multiple times they also joined forces in the studio recently and crafted this squeeky techno drifter. There's also an additional 10", exclusive to the Eshu Bandcamp, includes two beats from Klaridub, bringing some excellent smoke ready, head steady dub-techno cuts.

Griffé is back and starts 2024 on a high note with Five Ten, Lausanne based producer & dj, co-founder of Flight Mode. His Surveillance EP highlights his love for acid, breaks & electro while delivering a gloomy and anguish atmosphere. Four powerful tracks for the darker hours of the night.

The Sound Of Love International 004 is a particular poignant collection of rarities, collectables and unearthed gems, pulled together by the Italian DJ and crate digger Budino. For the last two years, the pretty coastal town of Tisno in Croatia has been devoid of the (now) legendary Love International week-long celebration of music, leaving thousands of revellers and regular devotes with only the sounds of Love International to keep the spirits strong until the next time friendships are rekindled and dance resumes under the sun and the stars. Luckily, the fiesta is scheduled for a return to Tisno from 13th – 19th July 2022. Budino, AKA Valentina Bodini, has a lifelong passion for vinyl, amassing an enviable collection of multi-genre LPs and singles via her years spent in Italy and now in Berlin. As resident DJ for Discodromo’s CockTail d’Amore parties, her enthusiasm for music and digging knows no boundaries, and her instalment into the Sound Of Love International series gives us an aural insight into her musical realm. Musically, The Sound Of Love International #004 is a smorgasbord of sound. Opening with the glacial tones of Peter Seiler’s 1986 new-age gem ‘Serengeti’, the twelve track selection glides through proto-house, tribal ambience, industrial EBM, balearic dance and so much more. It’s a testament to the ground- breaking nature of these tracks that most of the music here was originally released some 30-40 years ago. Inclusions from Oliver Leib’s The Ambush project, Vibes Of Rhythm and Scott Edward stem from the post house & techno explosion of the early 90s, whilst the early proto-electronic experiments from the likes of Kirlian Camera, Clock DVA, Bourbonese Qualk and Pyrolator are welcomely revived for a new audience. Interestingly, a flexi-disc only release of ‘Hark’ by William Orbit & Laurie Mayer’s early 80s Torch Song project is also included here, elongated by Budino herself in the edit suite. Two brand new productions from DJ Blasy and Budino & Berko ensure that business is brought bang up to date, offering a unique and modern spin on the sounds of Budino, and her tantalising selection on this compilation.

Active for over 25 years as a music journalist, writer and author of books, Giosuè Impellizzeri was, for a period, also a composer. Through several records recorded since 2002 as DJ Gio Mc-505, he has developed a sound obtained on the crossroads between chiptune, electro and synthetic disco with a few glimpses of funk, techno, house and EBM. Now completely dedicated to journalism, Impellizzeri has stopped creating music for over a decade. In the drawer, however, he still had unpublished tracks, written and produced in the past, and five of them now end up in this EP entitled "Saved From Oblivion": from the cinematic "Il Bacio" to the legoweltian "Jupiter Lander", from the biting "Picnic On Pluton" "to" Sexy Song "that plays with 80s synth pop up to cybernetics" The Eyes Of Memory "in which you can see trails of SID style. Made between 2005 and 2006 and recorded live in a combination of hardware and software instruments, the tracks of the EP are subject to an adequate and effective mastering.

Secluded Earthy Sagway Stunts

Cover with beginning of seam split on top spine and creasing on corner, close to VG+

Shiny cover with goffering, printed insert. Cola Boyy gets members of Mgmt, The Avalanches, Chairlift’s Patrick Wimberly, AIR's Nicolas Godin, Myd, Infinite Bisous, and John Carroll Kirby on debut album. There’s liberation on the dance floor in the songs of Matthew Urango – glimpses of revolution that glimmer beneath the disco ball. “I want my music to bring people together,” says the Californian pop innovator, best known as Cola Boyy. “Because standing together is our best chance at fighting this shit show.” The shit show in question is a broken, brutal system the acclaimed multi-instrumentalist has witnessed up-close. Urango was born with spina bifida and scoliosis in Oxnard, California: a town in which almost 30,000 are estimated to live in poverty. Prosthetic Boombox, his eagerly awaited debut album, might at first glance seem a joyous confetti-burst of pop eclecticism, engineered to sound like “scanning between stations on a car radio, landing on all these different sounds and styles” as Urango puts it. Dig deeper, though, and you’ll discover a simmering sense of rebellion. “The working class are injured, struggling to pay rent and struggling to put food on the table,” he says. “I want to represent that.” Prosthetic Boombox achieves that goal in a thrilling flurry of inventive indie, funk and soul: take Urango’s car radio analogy, place it in a time-travelling Delorean with Prince in the passenger seat, and you’re half-way there.

From "Made By Desire" to "Remade By Desire": The Uncanny Valley label from Dresden, Germany curates a remixed and reworked version of the debut album by local pop heroes Atna and takes us on a trip through various styles of Club Music, electronic Pop excursions and music college Rock'n'Roll. When Atna sent the German pop world and beyond into rapture with their debut album "Made By Desire" in 2020, the Uncanny Valley crew was also very excited by the duo's life-affirming pop concept. Soon, the idea of a cooperation came up. Since both the band and the label operate from their base in Dresden, contacts were quickly made and the first meeting was so productive that the plan for a collaborative remix and rework album was soon turned into action. Uncanny Valley put together a selection of stylistically diverse artists that took account for the various influences in Atna's music and reflect the multifaceted sounds of the Uncanny Valley label cosmos. After the initial idea two years ago, "Remade By Desire" is now an album that puts the Atna songs into new musical context, but sounds surprisingly coherent given the stylistic diversity of the artists involved. It's as if all the musicians had attended a studio retreat for a week and experimented with what is possible when you mix their respective skills. The result is a true crossover album that takes us from edgy techno over orchestral ambient to jazzy punk and challenges without overchallenging.

For Ac006, Alien Communications welcome Omega Men to the label - for the Berlin duo’s first release outside of their own imprint. Across 4 highly functional tracks, ‘Fluchtweg' brings together various flavours of electro and techno, with highly distinctive sounds arising from their unique process of production.

The French electro genius returns to New Flesh Records. Author of a remarkable "Moving Corridors" contribution on the mighty "Elektro Diktators Vol.1 - The French Dissidents" compilation (New Flesh 15) back in 2015, dynArec delivers today on Umwelt's imprint four raw and dystopian slaughters calibrated for maximum impact on the dancefloor.

The title track signs a no nonsense aquatic electro/techno tune a la Drexciya, tinted with melancholic strings and heading Speak n' Spell samples. Pure madness! Cyberpunk "Correlation" goes harder, offering a pounding 4/4 song enhanced by appealing vocoder lyrics and deep synth flights while syncopated "Influoncers" coming next focuses on a more robotic, experimental yet unhealthy approach. Final cut "Clean It Up" concludes the EP on a machine funk note characterised by insane female vocals, distorted chords, relentless bassline and futuristic touch throughout.

Magnetic and emotional, forward thinking "Disenchanted EP" alternates in a minute between very melodic moments and epic hard techno sequences. With roots from both Germany and Detroit, this electro masterpiece sees dynArec in full effect, showing his unique sense of the dancefloor thanks to an incredible use of bass, rhythm and pads that makes the tracks effective and advanced at the same!

Still in shrink but opened with hype sticker. Numbered copy. Clear vinyl seems unplayed. Tiny corner wear. Limited edition.

In the mid-90s, a resurgence in Electro-Industrial was firmly focused on dance-floors. At this pivotal time, two San Francisco metal scene defectors, Mike Wells and Mike Cadoo, connected through a mutual friend. Bonding over their shared appreciation for non-metal influences, Wells, armed with a sampler and a couple of synths, had crafted a few tracks. Cadoo swiftly added vocals to these compositions, and thus, Gridlock was born. With relentless dedication, the duo embarked on sculpting a grittier, more ominous variant of electro-industrial. Steering clear of the upbeat rhythms typical of the genre, they opted for a dystopian, dirge-like pace. Drawing inspiration from iconic acts like Skinny Puppy, Einsturzende Neubauten, and Fields of the Nephilim, they pieced together the Sickness demo. Eager to share their creation, they distributed the demo to anyone who would lend an ear, including many users on the rec.music.industrial newsgroup. Despite numerous rejections from industrial music labels citing its lack of danceability, Pendragon Records saw potential and took a chance. Thus commenced the earnest endeavor of crafting their debut album, The Synthetic Form. Upon its release, it marked a pivotal moment in industrial music, ushering in a fusion of classic, experimental, and dystopian ambient elements. Pendragon Records tantalizingly teased the album as "Unleashing a World of Your Demons," offering a glimpse into its bleak exploration of themes like regret and personal turmoil. Over the years, Gridlock evolved through three subsequent albums, progressively exploring diverse sonic territories beyond the confines of industrial music. However, their journey met an acrimonious end with the duo parting ways, leaving behind their albums as poignant relics, elusive on digital platforms and sought after by collectors at premium prices... until now. In a heartfelt tribute to Mike Wells, who tragically passed away in 2022, Viasonde, with the blessing of the Wells family, embarks on a mission to reintroduce Gridlock to the world. The four main Gridlock albums will be reissued on vinyl for the first time, starting with The Synthetic Form double LP. Available on June 7th, this limited edition release will be featured on clear vinyl with black and bone splatter alongside standard black vinyl. Additionally, 50% of the proceeds from LP sales will be donated to the American Foundation for Suicide Prevention, honoring Wells' memory.

Dan Barrett—the man behind Have A Nice Life, Giles Corey, and Enemies List Home Recordings—has unveiled his sophomore album as the electronic project Black Wing on The Flenser. No Moon is a gorgeous chillwave / post-punk record with nine bleak yet blissful songs and is a fitting close out to the year 2020. Written over the course of the last few years, with about half of the songs penned over the last six months (mostly due to pandemic “free time”), No Moon is a heart-wrenchingly honest outpour of emotion. Throughout the writing process, Barrett was having recurring dreams and felt a strange sense of timelessness—that, combined with quarantine is what he simply describes as “a weird experience.” Barrett explains, “Quarantine was profoundly isolating. With writing this record, more than anything I just wanted to prove to myself that I could make something out of it. That ended up being a lot of songs about feeling isolated, a lot of ‘trapped in my own head’ moments. I think that was a lot of people’s experience as well.” Barrett formed Black Wing in the mid-2010s as an opposite to his project Giles Corey; where Giles started as “only acoustic instruments allowed,” Black Wing started with only digital instruments. In 2015, Black Wing released its first proper full length, …Is Doomed, to great critical acclaim. Much like that album, No Moon bubbles with electronica and indie-pop with earworm melodies and affecting lyrics. But No Moon is a transitional change from Black Wing’s debut; the songs here are a bit more experimental and there’s a significantly wider emotional range to them. The lyrics are haunting and personal and resonate deeply with the listener. The nine new tracks on No Moon are gloomy yet glorious, heavy while ambient, overwhelming yet alluring, and offer an earnest and honest look into one’s self during such a troubling and confusing year—something everyone can relate to.

From the Dicker that keeps on digging

Deine Lakaien, the legendary electronic avant-garde duo are an iconic German dark music act who have been popular for over three and a half decades! With their new full-length "Dual +", Deine Lakaien continue to ride the impressive creative wave their compelling previous double-album "Dual" caused. While "Dual" was strictly following a principle of cause and effect that juxtaposed one cover version on the first album with a new song that was inspired by it on the second record. "Dual +" keeps the basic formula, but comes across as more compact, multi-layered, and experimental, while also leaving more space for relaxed divergence. With their 11th studio album, "Dual +", classically-educated composer and pianist Ernst Horn and vocalist extraordinaire Alexander Veljanov are further exploring the musical vector that the duo had taken on "Dual" by playfully adapting some of their musical influences and making them their own, but always serious about the composition and respectful towards the original. By ostensibly showing the connection to their own creations and making a part of their artistic process transparent, Deine Lakaien also state that music does not grow out of thin air – as clearly as Beethoven could not have created his symphonies without the works of Bach before him. Founded in 1985, the German duo started as a purely electronic avant-garde dark wave project. Taking their name from a reference in the song 'Die genaue Zeit' by German experimentalists Einstürzende Neubauten, the band self-released "Deine Lakaien" in 1986, which spread by word of mouth and created an underground buzz. The debut set the duo clearly apart from electronic contemporaries such as Yazoo, Soft Cell, Eurythmics, and OMD by virtue of their singular dark sound. Deine Lakaien have created yet another marvellous piece of music with "Dual +". Their art comes with multiple layers and can be read in many different ways or simply be enjoyed as one amazing song after the other unfolds and the dividing lines between cover versions and original songs begin to blur until they are without meaning to the true beauty revealed.

The making of a maiden album can be a capricious process. One moment of outright musical flow paired with another period of sustained creative struggle are feats experienced by seasoned producers the world over. So when Miraclis was forced to hole away in his makeshift studio - in the midst of a global pandemic - the stage was set for something magical. Now it will see the light of day for the very first time.

Having released two singles on Secret Teachings to critical acclaim already this year, Chilean talent Miraclis will accomplish a milestone achievement in July with the release of his debut album: Origin Of Truth.

Difficult experiences were fundamental to the creation of such work, as were Miraclis’ inherent musical interests. He explains: “Origin Of Truth had its birth during the pandemic. I created it as a way of communicating to myself the sensations and feelings that were spinning around my head at the time. I've always been inspired by Bristol trip hop, as well as classical rock, and these genres definitely contributed to the making of these melancholic tracks. In a way I wanted to fuse all the musical influences that were part of my childhood, up until this point now, so this album really means a lot to me. It was my way of communicating, when there was a lack of social contact and communication itself was hard to come by.”

It's this meditative quality that initially drew Damian Lazarus to the project. “It’s a record that has its roots in electronic music, but it’s a very alternative, very deep, melancholic album. I find it both soothing and stirring at the same time, and that’s a quite interesting juxtaposition in that it feels edgy but delicious at the same time,” says Lazarus. “The fact that this was written in this place surrounded by the most incredible desert landscapes makes this a very important piece of work to me. It doesn’t sit in any particular genre, which is why it feels right for a Secret Teachings release. It hints at so many genres that I as a DJ am quite into, and it feels like a first as it’s unique and unclassifiable. That mystical, esoteric, edgy feel makes this a perfect release for the label.”

Sonnet opens proceedings, with ghostly vocals residing next to raw instrumental elements throughout. Miraclis’ signature guitar riffs soon converge on saddened keys, paving the way for Scienter. It takes the form of an instrument-based, electronic-inspired cut, building slowly before reaching a crescendo midway through via an enrapturing acoustic solo.

Floating Child comes next, brimming with a darker intensity courtesy of broody synth pulses and rhythmic hi-hats, as Shiver arrives next. There’s a rock-leaning sensibility to the piece that gives way to earnest lyrical offerings, opening swiftly into the breakbeat-esque world of Perceptions. Hard-hitting drums act as the focal point, with electric chords adding depth and intrigue, whilst Bright continues in a similarly heartfelt vein.

Introspective pads leave us feeling pensive, ahead of Interstellar taking us on a celestial journey through warped bass tones. Acting as the LP’s penultimate number, it’s a four-and-a-half minute showcase of guitar-based musical goodness and one that perfectly sets the stage for Trapped, a closing saga of suitably emotive proportions.

Miraclis earned his stripes as a DJ under the name Max Clementi in his native Chile, as well as Spain after a stint at the Barcelona SAE Institute. Playing and writing music since his parents gave him his first guitar at age twelve, he found himself inspired by synth wave, electronic pop, trip hop, and psychedelic rock of the ‘80s and ‘90s, drenching himself in music by the likes of Massive Attack, Tricky, Depeche Mode, and Nine Inch Nails. However, it wasn’t until he had to move back to Pucón to take care of his father during the pandemic that he began working on what would become Origin Of Truth.

Serendipity seems to play a large part in Crosstown Rebels’ new label Secret Teachings. Just look at the story of how Damian met Miraclis in the first place. It involved a chance midnight encounter in Pucón, Chile at a woodland campfire after the DJ was locked out of his hotel room. This meeting of minds was the start of a remarkable friendship, where Miraclis invited Lazarus to stay at his house and break bread with his family. The two kept in touch, exchanging music and ideas as a result.

This 7" double-header delves into the vast vaults of Bobby Orlando, a prolific New York producer whose muscular mutations of electro, Italo-disco, freestyle and Hi-NRG were popular in gay clubs around the globe. He specialized in "concept groups" - made-up acts fronted by session singers who were hired in to front the tracks he produced. Two of these concept acts are showcased here. On the A-side you'll find "Yum Yum (Eat 'Em Up)" by The Beat Box Boys, a stripped-back and slightly silly - but undeniably fun - electro workout from 1985. On the B-side you'll find an edited version of the Latin Rascals dub of fine 1985 freestyle cut "Set Me Free", which was credited to Teen Rock and bears some similarities to Orlando's early productions for the Pet Shop Boys.

On July 1st Ploy's ascendance continues with 'Unit 18' – a new EP dedicated to his record label and club night Deaf Test's spiritual home – Venue MOT Unit 18 in Bermondsey, South London. With an already loyal following and fabled atmosphere, the parties inform Ploy's productions and vice versa. "These are three rave tracks, all influenced by sound system culture, with my take on different styles, made for various times of the early hours in our sweaty venue", he comments. Maintaining the floor-focused approach of his previous, acclaimed 'Rayhana' EP, here Ploy brings more organized chaos. Sound waves blast away cobwebs with gale-force power, and jolt you awake, like an intravenous shot from the mains. These forthright, no-nonsense workouts appear simple, but are incredibly well-made, revealing discreetly clever touches likely to provoke 'how did he do that?’ scrutiny from other producers. With ten-ton-kickdrum pressure, snares like booted dustbins and an intense build of energy, on 'Stinky' a soundclash turns into a back alley brawl... with lazers. Influenced by drill bass lines, UK bass music and soundsystem culture, the 'stink and perspiration’ lyric will be surely be apt, especially with a July release date. Imagine the scene: whilst a deranged, malfunctioning robot MC yaps and undulates, vampires chase their victim through a packed rave, before feasting on flesh. Ravey and riotous, with horror flick tropes and a touch of electro, the 138bpm wallop of 'Ninety One' is an ode to his year of birth, when magpie like, sample heavy tracks made for innocent, nonoverthought, but compelling anthems. Grimey like the dance after which it's named, title track ‘Unit 18’ is a 155bpm half-time stomper, with nods to bounce, 00s hip hop, UK drill and dubstep. Combining flying congas, wookie moans and a classic DMZ stye flute line, this low slung, personality filled throbber will stand out and turn heads

This record is the first part of Aline Umber’s Album. The 4 tracks are recorded live cuts reshaped in their studio with electro and space sounds accompanied by vocals, an effective recipe with unprecedented results

Dune Messiah develops misanthropic persona on the new album Moments of Bliss.

This release is limited to 100 copies. This is the first instalment of the newborn white label series on Subject To Restrictions Discs. Zurich based DJ and producer Don Kashew delivers a dark dystopian journey that begins with the search for the last open ‘Supermarché’. It continues with the well-known lethargy of the past months translated in the track ‘Koto Nord’. At long last, we are successful and dance together to ‘Bamboo’ in united melancholy.

How a boy from the Sri Lankan jungle formed the greatest post-punk band you’ve never heard. Fronted by an intense singer with an oblique songbook and a mysterious past Glorious Din were unlike any other group to emerge from San Francisco’s ‘80s underground. With singer Eric Cope, the chosen persona of a Joy Division-obsessed Sri Lankan boy who travelled halfway around the world to follow his punk dream.

Sam Shepherd aka Floating Points has announced his new album Cascade will be released on 13 September via Ninja Tune. Along with the announcement Shepherd has shared lead single 'Key103' which comes with visuals continuing his ongoing collaboration with Tokyo based artist Akiko Nakayama.

Cascade is an eruption of unfinished business. In late 2022, Shepherd – renowned for drifting between genres as freely as his stage name implies – found himself in the Californian desert working on something new. Mere Mortals, his first ballet score, created with the San Francisco Ballet, was to be a collision of sound and dance exploring the ancient parable of Pandora through the prism of technology. "It was one of quite a few left turns I was taking around that time", recalls Shepherd. You can say that again: Promises, his multiple end-of-year-list-topping previous record, released in 2021, had seen him swap his typical modular synth tapestries and intricate drum patterns for airy dreamscapes, crafted with late legendary saxophonist Pharoah Sanders and the London Symphony Orchestra. It was a collaboration so popular, a Mercury Prize nomination and sold-out show at the Hollywood Bowl in September 2023 followed. Between these projects and an upcoming anime score for Adult Swim - from the outside it might have seemed as though Shepherd was departing the dance floor for good. But as he wrote his ballet score by day, at night he found himself longing for the sweaty communion of a dance floor. For the pulse-racing abandon of electronic music.

Sam Shepherd aka Floating Points has announced his new album Cascade will be released on 13 September via Ninja Tune. Along with the announcement Shepherd has shared lead single 'Key103' which comes with visuals continuing his ongoing collaboration with Tokyo based artist Akiko Nakayama.

Cascade is an eruption of unfinished business. In late 2022, Shepherd – renowned for drifting between genres as freely as his stage name implies – found himself in the Californian desert working on something new. Mere Mortals, his first ballet score, created with the San Francisco Ballet, was to be a collision of sound and dance exploring the ancient parable of Pandora through the prism of technology. "It was one of quite a few left turns I was taking around that time", recalls Shepherd. You can say that again: Promises, his multiple end-of-year-list-topping previous record, released in 2021, had seen him swap his typical modular synth tapestries and intricate drum patterns for airy dreamscapes, crafted with late legendary saxophonist Pharoah Sanders and the London Symphony Orchestra. It was a collaboration so popular, a Mercury Prize nomination and sold-out show at the Hollywood Bowl in September 2023 followed. Between these projects and an upcoming anime score for Adult Swim - from the outside it might have seemed as though Shepherd was departing the dance floor for good. But as he wrote his ballet score by day, at night he found himself longing for the sweaty communion of a dance floor. For the pulse-racing abandon of electronic music.

What If It Works’ first release, minimum wage maximum joy arrives by way of newcomer 11:68PM. Produced in Berlin in the winter of 2020 and mixed & mastered at the newly minted Brewery Studios, minimum wage maximum joy’s five tracks are precision-tooled for the club, showcasing 11:68PM’s veneration for UK-leaning house and techno.

11:68PM’s moniker, as well as the EP title minimum wage maximum joy draws on the artist’s experience of balancing the grind of the 9-5 with dreams of realizing his creative vision. The skittish breaks on “Bluff Mind State” and “Sway”’s glitchy “Call Mohandes Dub” reveal this state of mind, while “Vertical Mobility” reveals a playful side with its irresistible acid bassline and soaring synths.

In 11:68PM’s words: “Writing the record in the evenings in my bedroom on one of the loudest streets of Neukölln, after I had clocked out from work, I found myself in the ever-present struggle of being artistically active while making ends meet. In making this EP, I decided to prioritize my own desires and not wait for some hypothetical moment to pursue this project that might never arrive.”

Visually, this is underscored by Philipp Pess’ striking artwork, depicting the gaunt face of a man whose tired eyes hint at a lifetime spent in front of a screen.

With minimum wage maximum joy, 11:68PM offers a compelling glimpse into a new generation of Berlin’s left-of-centre club producers.

Following a string of releases on a who’s who of top labels such as Planet Euphorique, Salt Mines, Haws and Craigie Knowes, prog-trance pioneer Lisene drops a full-length LP on his On Rotation imprint. With 8 hyper-detailed tracks ranging from club-focused techno, progressive and electro to slo-mo downtempo, Lisene brings his A-game to an album sure to cement his place as one of the most exciting producers and DJs in the UK’s underground music scene.

Created over several years with a perfectionist’s attention to detail, “Science Friction” flits between moods and sonic environments with ease while retaining the cohesion of Lisene’s inimitable production style. Despite being an album, this is still very much a record for the DJs, featuring heads-down club tracks and bass-heavy electro crafted with precision and a cinematic sense of scale. For the home listeners, expansive slo-mo soundscapes and cerebral synth odysseys float high above the clouds, with widescreen details revealing themselves ever further with each re-play.

“This album has been 15 years in the making and represents a culmination of everything I’ve worked towards in defining my own sound and style without letting myself be pigeonholed. I’m immensely proud of each track - it really reflects where I was at musically while making this, while giving a glimpse into my future sound. This is a record that deserves to be played on the finest sound systems and hi-fis, and I couldn’t be more happy with how it’s turned out. Dive in and enjoy!”

Combining influences from across the spectrum of dance music with a cinematic sense of psychedelia and his own inimitable production skills, “Science Friction” is sure to see a lot of airtime across the festivals, after-parties and living rooms of the world this summer and beyond.

On Rotation is a Leeds based label, event & mix series run by Chris I’Anson, Lisene & Adam Pits. Artwork illustrated and designed by Patch D Keyes.

Coming hot on the heels of dynArec's 'Murder is The Number' EP, Sync 24's Cultivated Electronics label presents this double-pack by Alonzo, aptly named 'They Come In Twos'. Originally from Miami and now based in New York, Alonzo has previously released on W.T. Records, Zement, RotterHague, Phormix, Kraftjerkz, and Lost Soul Enterprises. He's also known as Lithium Parasites alongside bandmate, Vidrio. Alonzo's uncompromising approach draws influence from bleak urban landscapes, old city ruins, kinematics and all things bass which he finely represents across these 8 new tracks. Pressed on Yellow and Black vinyl!!!

Here's the first vinyl record release by Alien Rave. We still can't explain the strange circumstances surrounding this record, which came to our attention in a mysterious and unexpected way. A coded message through Ableton Live led us to a strange place where we found the recordings. The instructions were very clear - all we had to was follow them You'll find the results on this interstellar '94 electro-break track. Alien Rave sets out to get inside your head, introducing evocative and epic mental moments that give way to energetic tunnels built on a solid rhythmic foundation carefully designed to withstand elegant ultrasonic bass frequencies. For electro-break fans, this record could be seen as a journey which originated in the German-inspired Florida scene before eventually finding its way back to Spain. It's funny how Florida, home to some of the most robotic and extraterrestrial electro-break music, is also one of the hot spots of the global UFO phenomenon. Coincidence? Maybe, but we're looking forward to the next contact: we know it's coming.

Completing Dsum's latest album, 'Double Distance' emerges as the final quintet of tracks, igniting a celestial voyage for listeners. Opening with the pulsating energy of 'Protons,' the EP traverses the electro/techno spectrum, paying homage to electronic music's nascent era. From introspective ambient tones to pristine explorations of electro soundscapes, each track encapsulates a sonic odyssey of depth and innovation. Scheduled for release on vinyl and digital platforms in July, 'Double Distance' forms an integral component of the forthcoming album 'Water In The Moon.'

Brace yourself for a trio of dancefloor weapons that seamlessly blend irresistible grooves and infectious percussions, expertly crafted for maximum impact on any sound system by the master Dan Ghenacia

Breaking Greedy Creepers Powerslam

Poetic Hovering Synth Tinkerer.

Quirky Rethought Cyber Assault

Classic Aphex Twin 12" with four nice mixes!

Created during the dark days of lockdown, Rnbws' debut on Nehza Records is a luminous blend of contemporary breaks, enchanting techno and a flash of house. Each track tells a story of our connexion to Earth and an ongoing glimpse of danger within sight. Rnbws has dubbed each side of the release “Dark” and “Bright'' to represent moody tones and doom-ridden rhythms on Side A, while Side B leans towards spirited melodies to signify hope and restoration.

Side A — the “Dark Side” — opens with ‘Could Happen To Anyone’. Led by a twisted vocal that morphs into a myriad of crispy hi-hats and low-slung basslines, the intro track reflects the theme of the label; consumerism in the Western world and the terrifying consequences inflicted by human behaviour that could indeed, happen to anyone. ‘Modelicious’ follows suit, stepping up the pace with loopy 808 drums and crunchy percussion, kindling Rnbws flair for electro. ‘Untied’ fizzes with a bang of The Prodigy’s early sound thanks to stripped-back drums and a fully charged synth exploding to the fore, which Rnbws intricately reworked for the record.

On the flip, 'Devotion' marks the “Bright Side''. The track is a mesmerizing house groove, layered with uplifting chords and arpeggiated synths to provide a burst of heartfelt rhythm. This is the track made for hazy outdoor settings to welcome festival season as Roni curates each release in tandem with the four seasons.

‘Salvation’ settles the pace with an acid-drenched lead splattered against dreamy pads and smooth bass, hinting that there is still time to take action and salvage the Earth. The ambient-style ‘Stupid’ closes the EP, neatly taking Rnbws' preceding productions and packing them into one short, shimmering departure to end the aural trip. In the style of Nehza Records, the final track title coincides with questioning the warped view of those in power who fuel the destruction of our environment.

M.E.S.H., Karen Gwyer, Ital Tek, Lord of The Isles Remixes. Emerging artists rarely exceed listeners’ expectations with a complete album right out of the box, but Deena Abdelwahed is the exception that proves the rule. While the young artist of Tunisian origin stood out with her daring DJ sets, it is her surprising first album, “Khonnar", released at the end of 2018 on InFiné which sealed her status of eclectic producer, guaranteeing her a place among the best releases of the year by Resident Advisor, Trax, Tsugi, The Quietus and Vinyl Factory. Khonnar remixes compiles a series of remixes in 12”, inspired by the unique atmosphere of Deena Abdelwahed’s first album, while extending it across the entire spectrum of electronic, club and experimental music.

When we first heard from recent Kompakt signing Emma Kollmorgen, with 2021’s “You Are The”, she was hymning the complexity of romance: “Love is scary as fuck!”, she said. On her debut EP, “1243”, she’s built on that intensity and offered up a five-track suite of night-vision electronic pop, bristling with a stealthy sensuality. It’s a cinematic collection, building from the brooding “Escape”, through the drifting, tactile pulses of “Taciturn”, the gritty, bustling noises that run underneath the smoke-signal torch-song of “All The Wild Animals”, and the closing, tear-stained melancholy of “Home”. “You Are The” reappears here as well, settling in perfectly amongst new friends.

It’s a completely assured first EP from an artist who’s been slowly and steadily building her own sonic world. From her early days, when she busied herself by learning guitar and joining bands, Kollmorgen always had a vision of doing something “more independent”, to allow her to find her own sound and write her own songs. A brief creative alliance with the Berlin DJ duo Dole & Kom led to some recordings and live performances. All the while, Kollmorgen was carefully shaping her production and sound designing skills with Ableton Live, and exploring distinctive musical terrain in collaboration with co-producer and multi-instrumentalist Paul Seidel (The Ocean Collective, Fern, Nightmarer). She joined the Kompakt family after a recommendation by Patrice Baumel, who also remixed her debut single with typical flair.

On “1243”, though, Kollmorgen fully inhabits her songs, gifting each of them with a sweet, subtle sway, her vocal and lyrical openheartedness balancing the bluer hues of her production. Each song is confident and poised, Kollmorgen relying on cross-thatched patterns of texture as a web to support her melodies: “I like patterns,” she says, “they give me something to hold onto, something stable in an unstable world.” The songs feel as though they’re grappling with moments of revelation and experience in Kollmorgen’s world, which makes sense, given her approach to music: “I never had a diary,” she reflects, “so writing songs is my way of expressing and dealing with life.” On 1243, you’ll catch some glimpses of life lived, made sonorous through songs beautifully sung.

"Another Italo Disco Pearl, Vega Synthauri! One the most spontaneous and genuine tracks of the first half of 80s. The song, written by composer Daniele Pace (co-author Corrado Conti), is a futuristic and galactic dance floor piece with a heavy rhythmic focus where the main melodic line has a classical music feel to it. A lovely combination! This track by Donna Laser is one of the most significant electronic tracks of the entire Italo-Disco scene even beyond the mid-80s, was arranged by the talented Mark Owen (aka Marco Colucci). His synthesizer skills are a true art! This release was mixed at the renowned Trafalgar Recording Studios of Rome by Gaetano Ria, one of the most accredited technicians of the country in that period. "Grace Kelly's Song" on the flip is a very beautiful quiet nostalgic piece, that could fit perfectly into an Italian dramatic film of the late 70s or early 80s, a cute and delicate track to unwind after the monster killer on side A! Masterpiece created by the young visionary DJ Marco Marati. Stunning release!"

After a short break mezin is back with the 4th record, helmed by Crihan. An Ordinary Family is a special affair, put together over a long period with a special narrative in mind, embodied by 4 pieces representing each of the main characters in F.M. Dostoevski magnum opus (or so we think!) The Brothers Karamazov. In this exercise of imagination, Alin attempts to push his creative juices to new heights to represent his perception of the novel’s titular actors. From religious themes, distant church bells and organs, yet, a lighthearted Aliosha to the dark reveries and otherworldly echoes of Ivan through to the sheer power and brute force of Dmitri and finally intersecting with sly, slinky but confident Grushenka. An Ordinary Family sets off on an ambitious trip that, we hope, will spark some curiosity for the novel, but we’ll be happy if you keep on dancing, too!

By the late 1980's Ton Lebbink was a well respected figure in Amsterdam's alternative scene: he was the drummer for the Amsterdam post punk group Mecano, a true punk poet and worked as a bouncer at Amsterdam's main music venue Paradiso. He released two solo albums, both in his unique narcotic style: laying absurd Dutch wordplay over stripped down frigid instrumentals.As the decade came to an end, Ton - already well in his forties - moved away from the often destructive and dangerous nightlife. After a series of odd jobs Ton started as a fitness instructor at an Amsterdam gym called Splash. Meanwhile, the 90's brought the latest musical craze to Amsterdam: House music began to flourish through clubs like RoXy, iT and Mazzo. With House being the ideal score for his fitness classes, the once well known cult figure faded into anonymity at a 120 beats per minute. His musical endeavours were focusing more on finding the right beats for aerobics exercises with self-devised exercise - eventually leading Ton to bootleg some of them on cassette tapes himself.In parallel to this radical shift, Ton did not stop making music. On the contrary, piles of demos showed high activity but in a direction no one was looking. Inspired by music to move to, Ton recorded hours of music that activated the body while staying true to his playful mindset. Discarding his voice as an instrument, the Roland W-30 sampler became his tool to communicate. Gathering vocal snippets from close friends, barflies and pets, a repertoire developed where witty repetitiveness could exist. Going through a vast collection of demos, pictures and many anecdotes, Rubber has been able to create an EP that gives insight into Ton's overlooked 90's era.Three playful dance tracks by Ton Lebbink taking his complete own take on the Amsterdam House revolution of the 90's. Full of inventiveness: hip-shaking grooves, hypnotic beats and rousing vocals. Tracks to move to and tracks to groove to. Essential dancefloor workout tunes for you and me. Ah yeah!

Gravity Loss will be the first EP released as part of Dsum's eagerly anticipated album, 'Water In The Moon.' Since his last album in 2022, he is pleased to announce a 12-track project focused purely on electro sounds, aiming between experimental ambient and Detroit techno, and which might be his most musical album to date. To be released on his label Back Door, Dsum's fourth album has been years in the making and sees him go back to the sound of his electronic music roots. The album's inception traces back to the lockdown period of 2020, serving as a tribute to his introspective musical exploration and honoring the genesis of electronic music. Featuring an analog sound loaded with lush pads, spatial synths, and solid raw 808 electro rhythms, tracks are brought together with a succession of short variations and instrumental snippets, contributing to a vision of what sound in outer space should be. 'Gravity Loss' alongside 'Double Distance' will be the two EPs bringing "Water In The Moon" to life, both to be released on vinyl as well as digital. This project's wax version sees ten tracks spread across 2x12" records releases in June and July, followed by the full album release in a digital format with extra exclusive tracks featuring all twelve songs in their original intended order.

Limited Edition.

Cover close to VG+ with seam split at upper seam.

Following up on a strong launch with Braintalk, Human Sense Technology returns for their 2nd entry; this time from the man of many styles, Eastern Zurich's very own Dan Piu, with Modern Utopia Thought EP. Dedicated to his youth and influenced by future visions of creation, the atmosphere and arrangement on this EP permeates into the imagination with colors of suspense, harmony, and spherical textures showcasing the finer lines of deep frequency. Courageous indeed as this EP embraces the mysterious in an eccentric bliss that charms the listening experience in a way that grooves the body as much as it moves the mind. Welcome to Modern Utopia EP, where there are no constraints on creation or time.

For its 9th release after its relaunch, Apnea Records proudly presents another E.R.P. record, this time in the form of a 2x12" album. "Faded Caprice" is a mesmerizing journey into the heart of summer's fading glow. Crafted with meticulous attention to detail, each track is a sonic tableau, capturing the essence of hot afternoons and wistful sunsets. E.R.P.'s signature blend of deep, cosmic funky electro gems resonates with emotional depth, inviting listeners to lose themselves in its hypnotic embrace. From the pulsating rhythms of "Miami Nice" to the introspective melodies of "Cape Earl," "Faded Caprice" stands as a testament to E.R.P.'s artistry and vision, offering audiences a glimpse into the boundless possibilities of sound and emotion.

Jayda G, the Grammy-nominated writer, producer, DJ, environmental toxicologist, campaigner and broadcaster, is set to return with her new full length album ‘Guy’. Co-produced with Jack Peñate (who has previously worked with the likes of Sault, David Byrne and Adele), with contributions from Lisa-Kaindé Diaz (of Ibeyi), Ed Thomas (Stormzy, Nia Archives, Jorja Smith) and more.

The album arrives on the back of a busy few years that have seen her Grammy-nominated (for her mid-pandemic single “Both Of Us”, created with producer Fred again..); release a trove of high-profile remixes for the likes of Taylor Swift and Dua Lipa; tour the worlds biggest festival and stages including Glastonbury and Coachella; release a compilation for the renowned DJ Kicks series and highly praised collaboration with Aluna; appear as a guest judge on BBC’s ‘Glow Up’; marry her childhood sweetheart in her hometown of Grand Forks, BC (in the same house her parents got married decades earlier); and contribute to the immersive installation ‘Undercurrent’ (New York, June ‘21) which focussed on the Climate Crisis, alongside artists like Khruangbin, Nosaj Thing, Mount Kimbie and Bon Iver.

The new album ‘Guy’ brings Jayda’s own voice and words more prominently into focus than ever before, across 13 tracks that draw on her House, Disco, RnB and Soul roots while emphasizing her pop songwriting sensibilities, interspersed with archival recordings of her late father, the eponymous William Richard Guy.

The Athenian producer and co-founder of WonTon records made his debut in 2020, with the album "irina" and his collaboration with Lena Platonos on the eponymous track, putting him on the lists of the top domestic albums of the year. His fixation with analog synths, endless synthetic sequences and world-weary narratives of urban everyday people continues in the second LP with the, representative of his sound, title "cancellation" (ματαιωση).

Still in shrink, but opened, with hype sticker

Portage Garage Sounds is proud to present the label's first LP, "Capturing Animals" (PGS 017) by Charles Trees. Recorded over a two year period, Capturing Animals preserves the isolation and individual atomization experienced by all over recent years as well as the jubilance of humanity's reconnection.

The 11 track album presents itself as an interconnected work--the listener is guided through the album's narrative and sequential structure effortlessly by Trees' arrangement and showcase of his production and composition talents. The album offerses glimpses of early Detroit techno, flashes of EBM, drips of acid (and full-on doses in "FRQDNK"), stripped-down electro, UK RNB, prominent vocals (as heard in "Stave I" and a Sophie cover), and composed works of live strings.

Capturing Animals is a high point for Trees' and Portage Garage Sounds. The raw talent and dedication is unmistakable. The artist and the label are moving onto higher ground and reaching upwards.