Trance Vinyl 116 Items

Danny Corten and Youri Parker head up our next 12” vinyl adventure on Bonzai Records with a duo of pumping tracks to get the floors rocking on Love Is An Ocean. Danny Corten aka Danny C is a Belgian DJ and producer with a plethora of releases under various labels. He and Youri have been collaborating in the studio for many Years, and he formed part of the Cherry Moon Trax collective. His DJ skills took him all over the world, performing in top spots with top rated DJ’s. Producing music has been somewhat of a success for Danny, his track, I Want You, climbed high in the Belgian charts with the follow-up, In My Mind, soared in the French charts. His tracks have also gained solid support amongst his peers, and he continues to churn out only the finest quality sounds. Youri Parker was influenced by the early 90’s rave and house music sounds. He started to spin vinyl in 1992 and soon after he gained a residency in the legendary Cherry Moon club, where he would stay for over a decade. During this time, he spun alongside some of the world’s most famous jocks and he also joined the mighty Cherry Moon Trax, which consisted of some of the biggest names in Belgium. He has produced a raft of track with many different artists, most of which got picked up and championed by the likes of Carl Cox, Tiesto, Sven Vath, Jeff Mills and more.

Love Is An Ocean gets the floor moving right from the off as heavy beats, spritely percussions and teasing acid flavours lay the foundation. The track builds nicely alongside ethereal vox and airy pads before a mighty, gritty synth line takes control for the duration. Pure pumping adrenaline that does not disappoint. First released in 2020, Reactivate proved popular and so getting cut to vinyl was a no-brainer. The track dishes out an upfront groove filled with energy and drive, with the intro boasting classic rave stabs and a teasing, underlying 303 lines. A short build up takes us to thumping kicks which ramp up the energy levels to critical mass. The main break imposes an infectious hook which, when coupled with the kick drums, unleashes a pounding groove straight to the pleasure receptors. The track oozes retro charm with a contemporary structure, something that will delight the crowds no doubt.

Axces Recordings presents the debut EP by CX, the producer alias of label affiliate Søren Kinch. The tracks on this release evoke a sense of melancholy and ethereal beauty, with a refined approach that complements the sound of modern club music.

The three tracks—Formula, Cobra, and Plethora—share a common structure of fast-paced grooves with a patient progression throughout. However, while Formula and Plethora both create an airy and hypnotic atmosphere, Cobra stands out by combining soft vocals with a harsher sound reminiscent of Robert Leiner.

As a teenager, Søren met Torsten aka Helmuth Kool (1976-2015), a beloved figure and promoter from Aarhus who profoundly influenced his approach to music and raves. They often traveled to Berghain in Helmuth's old Saab 900 with only 4 gears. On this EP, Søren has dedicated the final track to Helmuth, who sadly passed away way too young—A playful and soaring track that Helmuth would dance to at his afterparty in heaven.

Søren has been a part of the former Vektor crew and co-founded the renowned, though now defunct, club 'Et Andet Sted' in Copenhagen before joining Axces Recordings—a label that focuses on releasing club music and hosting intimate dance parties. It’s run by Alfredo92, A. Waze, Kasper Marott, Martin Gilleshøj, Matilde Gomes, and Popmix."

Beyond the Outer Limits by Cult of the UFO is a new solo recording produced by Anthony Barker of Overlords of the UFO. Due to Anthony being an integral contributor to the music of Overlords of the UFO, the four tracks maintain the trademark retro analogue sci-fi vibe of Overlords of the UFO, although with a more contemporary edge. This is the 3rd release by Enlightenment Records.

After being featured on the "Realm Of Consciousness" installment as well as the all encompassing "Unity"-project - Coeus releases his first solo offering on Afterlife titled "Beyond Dreaming". 2024 Repress on orange Vinyl!

Spt009 marks the return of Changer to the label, with 3 original tracks (pres. by Oprofessionell) alongside a remix by co-label head Frank Heise.

Delivering his first solo EP in over two years, Blue Hour releases Origins, the 21st release on Blue Hour Music. Following a succession of remixes, V/A contributions and an EP under his Tracing Xircles alias earlier this year, the Berlin-based producer and DJ shares four tracks diving deeper into his UK roots. Channelling breakbeat, techno and trance with the hallmarks of 90’s rave, Origins builds upon the foundations created from his EP ‘Devotion’ in 2020. In this eclectic EP, Blue Hour explores several sonic palettes. The title track blends celestial chords with urgent drums and acid basslines, while uplifting vocals and subtle melodies wind through the track. ‘True’ dips more heavily into breakbeat territory with evolving and immersive pads, soaring strings and a twinkling synth-line. A dynamic fusion of fast-paced energy and soft touches.

On the flip, ‘Emergence’ dances a delicate line between melancholia and elation, as dystopian chords pool with a squelchy acid sequence and a classic house vocal. ‘Searching’ closes on an ambient tip with spell-binding pads and an angelic melody, conveying a bright side to Blue Hour’s aesthetic, akin to Origins as a whole.

Edition of 500. Includes insert.

It's been a true pleasure but also a rather chaotic experience to follow the progress of Blod from a close distance since the beginning. I have fond memories of receiving the odd cassettes from the early days, like the severely fucked up Unga Röster (later issued as an LP on Förlag För Fri Musik) and the awfully mesmerising Prat Om Depression recording. Returning to Leendet Från Helvetet for the first time for long a while, it's quite evident that the album marked a new phase in the troubled Blod universe. There's few traces left of the found tapes/audial voyeurism and brutish stop/rec editing that made up the first few releases, instead we are served with what is pretty much a proper album in a, sort of, traditional sense.

The record opens with a sole beat from a hand drum soon accompanied by a beautiful and very Blod-ish subtle melody from a glockenspiel but it only takes a few minutes before Gustaf's past as a free jazz aficionado is noticeable with the rather rough saxophone burst of 'Natten'. It's not until the title track that things kicks off for real though, most likely the first example of the sound and, maybe more so, very special feeling that I would say most people associate Blod with nowadays. To me, it's the sound of growing up in Sweden in the 80's; having two channels on the TV, eating brown food, rainy summers, taping commercial stuff on the radio, playing D&D in a purple tent in the garden. Memories of that certain bright light that can occur during the Scandinavian summers, those warm days when the skies are foggy. Long windswept grass and a very peculiar feeling of utter boredom. Arguably, Blod has never sounded more Blod than on this track, this is the very essence of the man's work right here. The progamm continues on side B with the solemn piano piece 'Lust', another saxophone rager and then the flipside's centrepiece 'Tro, Hopp & Kärlek' which pretty much mirrors the title track in it's larger-than-life scope and pure beauty.

Edition of 500 includes insert & large poster.

Swedish progg is not to be confused with "prog" as in progressive rock music. When we are talking about progg, we are refering to the Swedish music movement influenced by the political climate of the late 60's, to some extent the hippie movement and in many cases also Swedish folk music. Music highly driven by an political agenda. Blod's Knutna Nävar, originally released in an edition of 150 copies on Förlag För Fri Musik in 2018 and later a small cassette run, is pretty much a lost progg classic from the 70's. This is not a case of copying a certain sound though, far from it, neither are ideas really rehashed nor does the album feel nostalgic in that sense. Rather it feels like if someone has read about the progg movement and all the records but never actually heard it, yet decided to do an album and somehow managed to succeed big time.

Further developing the sound palette and ambience initiated with parts of the Leendet Från Helvetet recording, the music feels slightly louder and more in your face. It's like it's more of everything. The melodies are immediate and it's quite impossible to resist the brash catchiness of it all. Albeit mentioning progg music and it's importance for this recording, the actual musical side of Knutna Nävar has in reality more in common with soundtrack/library music and Swedish composers like the late Björn Isfält when you attempt to break it down. The crude DIY approach and anything-goes mentality just adds an extra dimension to it all and ultimately places the music somewhere else. There's a rather blunt use of samples throughout the record (sources probably best to leave out, though you don't have to be a Einstein to figure these out), but then again this is made by the same guy that gave the world the Abba album. Those samples have managed to become an integral part of the music through the few years that has passed and though well familiar with the records those snippets are now to me genuinely Blod and nothing else.

Neon Affair marks Ayū’s first solo EP on Harmony. The EP explores different genres and moods amidst electronic dance music. From the very beginning, Neon Affair is infused with hazy, sparkling sounds that add an exciting, yet supersonic touch to the fast-paced nature of the record.

Side A dives in with “Neon Affair” ‘s dance-floor-driven beats, oscillating between building drumline swells and weighty basslines, alongside “Sentient” whose bouncy and trancy-inspired rollers will guide you through the introspective and beyond.

The B-side, for beat seekers, embarks on a spacey journey of edgy progression, contrasting “Point Nemo” 's ecstatic vocals with the stardust melodies of “Space to Come.”

This collaboration between Skatebård, Philipp Lauer & DJ Sotofett dives deep into flux borders of italo, new beat and the melodic sides of industrial. A-side is contoured by a synthetic bassline riff on trigged drums & percussions for a full club version. B-side's two tracks are both differently bass driven, one with live piano solo and the other with airy whistles. All tracks cleverly composed with a richness of melody, rhythm & engaging arrangements.

Purveyor of lovecore, fabba and cakebeat, bestie and all-round DJ-inspo Angel D’lite blesses Ritual Poison with her ‘Re4mat’ EP.

‘Werk My Body’ is a swirl of feminine energy, empowered vocals blending with hardcore breaks and hyper bass, a four four switch warping temporally before the track drops again. Local Group return the remix favour from their own recent EP, slowing ’Werk My Body’ to a 140 emo-banger, trance melodies sandwiching a proggy mid-section, the bass bumping throughout.

‘R u Ready’ keeps the NRG and BPMs high, breakbeats rolling over booming sub and dubbed out rave stabs, the sexual charge of the female ragga vocal frank and unashamed. ‘Re4mat’ signs off, the hallowed B2. Drawing on rave anthems of the past, it looks boldly to the future.
“This particular historical juncture holds possibilities for change that we’ve never before experienced,” declares Angela Davis, as the euphoria subsides for a moment. ‘Re4mat’ and start again.

Still transmitting from Lockdown in the UK. Banoffee Pies Records 14th release in the original series comes from London based Angel D'lite. A deep passion for rave and NRG with an established high-octane approach to music, heavily influenced by hardcore and early pop bangers, her debut EP further reflecting this mood. Three heavy club tracks and a broken beat dubbed remix from JAY to round things off.

A double take, an awkward smile, my cheeks begin to blush When from the dance floor my eyes lock with those of my club crush A person I don’t recognise a figure floating there But to a luster, love can muster almost anywhere A quick exchange of broken words plays out between my ears Should I approach them or will then the magic disappear The bass begins to growl at me, the snare begins to bark Who am I to you except a stranger in the dark Will my adoration meet an elated response Or is this not the place for a romantic renaissance And with that thought I feel my body pulled into a trance I think I’d best forget it close my eyes and start to dance

quality 4 tracker mit high class 3d feeling cover

Harmony013 is a result of the cooperation between Alfred Czital and Ayu, capturing the spontaneity and energy of the duo's musical synergy from their recently performed live sets.

The EP envelops listeners in a trancy and deep sonic journey, weaving a dynamic tapestry of progressive sound that carries a sense of innovation.

Agents Of Time are back on Afterlife with the Midnight Drive In Santiago EP, following their debut Forest Of Lies in 2018. Known for their distinct, synth-driven take on electronic music, the duo showcase their production prowess with four tracks that demonstrate their ability to tap into your emotional centre with varying styles. ‘Santiago’ is the melodramatic opener with its mesmerising melodic riff and bright layered synth work. ‘Midnight Drive’ takes us for a meandering moonlit spin in a shiny black Chevrolet Corvette. ‘Chain Reaction’ utilises an insistent rhythm and emotive pads to hypnotise you and draw your emotions to the surface. Finally, ‘Out Of Format’ invites us to explore the dark, mysterious corners of the universe as we embark on a whimsical cosmic journey beyond the stars. 2024 repress on dark green Colored Vinyl!

Two brand new smash hit singles the world has not been asking for. Absolutely vegan, hd-ready and with some extra heavy sub bass. Turn it up!

Marie Montexier, the head behind Paryìa, releases the label’s first EP by the German-Turkish artist a.b.u.3.0.3. Creating a range of slow and fast rhythms while mixing different genres from experimental structures to floor fillers, Paryìa I doesn’t only highlight a personal and intimate side of a.b.u.3.0.3.’s work but also Marie’s sense for crossing genre boundaries. Influenced by this father’s culture a.b.u.3.0.3 blends elements of traditional anatol-folk with electronic music that shaped his youth. He combines bass heavy techno rhythms with deep acid patterns, letting his arrangements oscillate between nostalgic moods and contemporary sounds.

NYC’s 75 Dollar Bill began its prolific career in 2012, after percussionist Rick Brown—a veteran of the indie underground (Fish & Roses, Run On, V-Effect)—and noise scene guitarist and multi-instrumentalist Che Chen—connected via MySpace. Since that initial jam session, when Brown began experimenting with his signature plywood crate drum rhythms, they have released three LPs and a clutch of self-released cassette and digital releases. Last year’s double album I Was Real received serious critical acclaim—The Wire calling it 2019’s Album of the Year. On their first live album, Live At Tubby’s, 75 Dollar Bill assembled a unique “little big band” [Sue Garner on bass, Cheryl Kingan on sax, Steve Maing on guitar, Jim Pugliese on percussion and Karen Waltuch on viola] for the small Kingston, NY club show. Recorded on the last day of their spring tour, the record puts a new perspective on themes from their body of work: a little more intimacy, a little more freedom, a little more controlled chaos. Brown’s idiosyncratic rhythms are all the more hypnotizing in Tubby’s cozy setting, and Chen’s furious guitar work cuts and hums with sounds seemingly only attainable on stage. It’s an album both challenging and immediate. The expanded 75 Dollar Bill’s affinity for improvisation and the avant-garde even leads to a rousing take on the Ornette Coleman classic, “Friends And Neighbors” that feels right at home in their own repertoire. The listener can’t help but feel present and part of the communal joy and catharsis being shared here in this room. This performance at Tubby’s turned out not only to be the last show of their tour, but the last show possible as the pandemic hit. Originally offered as a digital-only release on 75 Dollar Bill’s Bandcamp, Live At Tubby’s now documents a highlight and closure of sorts; this kind of musical improvisation and community interaction being on hold for the foreseeable future. This double album on Grapefruit will have to tide everyone over until it can all happen again.