Trance Vinyl 114 Items

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.

Credit 00 is back on track with four monsters in his bag that are almost too dangerous to get unleashed. The Uncanny Valley regular from Leipzig sends us down into the electronic vortex while taking some detours to places that haven't been visited in a long time. Thanks to his DIY attitude and an open mindedness for all kinds of music, you can find traces of jungle, garage, trance or even 90s pop and gabber in this hard rocking machine funk. He's juggling with sounds and genres like no one else. It's just so much fun to listen and dance to these tunes. Indeed, there is no other...

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.

Label head Blue Hour steps up for the next release with an impressive two tracker, offering a new exploration of sound from the Berlin based producer. First up on the A side ‘Dimensions’ reveals a dramatic and eery driving Techno track with an atmosphere akin to early British IDM releases but with a more dancefloor-focused approach. ‘Dimensions’ is punctuated by warped mechanical percussive fx, pummeling drums and relentless groove highlighted by a simple yet effective melodic line which boldly opens things up and cuts through the complex layering of sound as the track evolves. On the B side ‘Sun Dogz’ adopts a similar soundscape, however picks up the tempo with a more Trance orientated production inspired by darker Goa/Psy styles and modern Fast-Trance productions. Hypnotic acidic lines, spatial fx and tribal percussion guide the listener to the main event. A heavily reverbed metallic hook and unique piece of sound design which takes multiple twists and turns along the course of the track. The EP wraps up a year of multiple successful releases from the label, with next year marking 10 years since the labels inception - keep an eye on things to come.

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.

«I am the bridge between the day and the night that never ends, I am the acid drop that beads on your dancing body, I am the metallic breakthrough that crosses your being when I catch your wet hands, I am the brutal wave that grazes your dark gaze and your tired eyes, I am the titanium and the cyprin, I am the adrenaline, I am that being that invents, desires and revolts, I am that jolt of desire that tears me when it is dark, I am a psychoactive substance diluted in honey, I am the back that you caress, I am our first and last dance, I am the one who seduces you, I am the one who obsesses you, I am the solitary dance that bewitched me the first time we met, I am the cry muffled by our restless bodies, I am the movement that pierces and unfolds as if it were the last. I am solid and liquid, mechanical and organic, I am your first and last time, I am Baraka.»

French duo Baraka present their first eponymous EP. Dive into their cathartic universe in which they celebrate their love for club culture using powerful TR8s, incisive break beats, synthetic layers inspired by trance and trip-hop as well as cavernous female voices.

This alliance of electronic music, 90’ aesthetics and dreamy undulations intertwine like the yin and yang and promise a mystical universe with futuristic imagery.

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.

Ki/ki's slash label takes a deep dive into the history of hard trance and proudly presents a first re-issue of a true classic and personal favorite 'Emerald' by Swiss production group Artemis. Originally released back in 1995 on the Swiss label Atoom Records, it's one of the most sought after gems from this era. At its fast pace of 180 bpm it's impressive how subtle and dreamy the 9 minute journey is, a truly unique piece of hard trance history. Remixes come from Sansibar, Alpha Tracks and label owner herself Ki/ki.

"Stroom pull out two fathomless Acid Trance burners from '93/'95. Artwork by Lucien"

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.

quality 4 tracker mit high class 3d feeling cover

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!

re:discovery records is proud to announce the reissue of 1993's 'Synaesthetic' by A Positive Life. This seminal release is revered and beloved by fans and followers of early 90's electronic, IDM, techno, dub and chill out music. Key tracks include the Orb-esque 'The Calling', the magnificent 'Pleidean Communication' and the chill out dub classic 'Aquasonic' among others. This new reissue also adds the track 'Warehouse 5am' which was orginally only releases on the American cd version and not the original vinyl. Spread across 2 vinyl with new updated artwork by Grid Pattern and insert input from the label and the artist themselves, this will surely be the reissue highlight of 2021.

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.

While digging for music at Snickars records in Stockholm, local producer, DJ and promoter Maya Lourenco aka Parallax Deep came across two classic goa/psy tracks. These were ‘Gobi Desert’ by 100th Monkey & Tristan (released on Matsuri Productions in 1995) and ‘Bunker’ by Four Carry Nuts (released on Aurinko Records in 2000). She took the records home and began working on creating her own edits by expertly slicing and re-arranging different sections of the tracks and coming up with her own unique versions staying true to the original identity, giving new life to two classics from decades past.