We have waited a while to get Courtesy debut EP and here it is. Beautiful compositions of ambient euphoria in trancy realms.

The title actually describes this very well. Slow and drifting ambient soundscapes. But with enough pulse to keep the "party" going.

Amazing droney evolving soundscapes!

Italo, new wave and sexy cute R&B melts together, when System Olympia takes the stage.LTD repress of her 'Delta Of Venus' debut album.__________________________"System Olympia drops her album debut and, in turn, initiates her Okay Nature label. 'Delta Of Venus' takes elements of minimal synth/wave, pop, contemporary R&B, and fashions them into this steely, icy cool and highly original new form whilst keeping loyal to the DIY tradition. Stunning release that you really don't want to miss." Sounds Of The Universe

Originally recorded in 1977, but too weird for the 70's, so released in 2015. Talking about making music for the future.. Tame Impala, John Maus etc. go home.

Super tropisch 🌴*REPRESS* A techno-nature synthesis for an East-West confrontation / a musical travelogue from a Dutch musician searching for inspiration from the East in the early 80s.

Echoes of sweaty rave anthems and classic IDM head trips can be heard strewn throughout Ways’ serpentine compositions, awash in deep ambient swirls and intriguingly twisted samples.Think of Aphex Twin smoking a spliff with Beyonce, Jlin and DJ Rashad and deciding to form a band of some sort..

A collection of ethereal songs that move through the mercurial weather patterns of minimalism and dream pop - sparse, but lightly dub-infused songs and instrumentals, equally icy and wistful, characterized by melodic fretless basslines, spaced-out harmonics, watery piano and marimba, hushed vocals, and tape echo treatments.

Celist Cecilie Trier is back with yet another astonishing album on always reliable danish outlet Posh Isolation.LTD edition comes with a tape of string sketches.

Cecilie Trier is back with yet another astonishing album on always reliable danish outlet Posh Isolation.

Psychedelic and arrestingly soulful jazz. Enter the zone... zone.#topgamecoverartPress text________________________________Moves is their sixth release, and somewhat of a milestone. In addition to it being the octet's most psychedelic and arrestingly soulful release thus far, it's also their longest—their first, in fact, to cross into bonafide full-length territory. They're marking the occasion by joining the roster of Toronto favourite Telephone Explosion Records.Touted as “innately personal” by DownBeat Magazine, Brodie West's unique vision has been nourished by a bafflingly diverse array of sources. Meeting the legendary Dutch drummer Han Bennink in 2000 at age 24 not only sparked an ongoing creative partnership (including two records), but also led him in a number of other fruitful directions. Bennink was the connection to exploratory punks The Ex, who brought West aboard for their collaboration with Ethiopian saxophonist Getatchew Mekurya, which produced recordings and tours worldwide.Where the Brodie West Quintet (Astral Spirits, Ansible Editions) trades in clever jazz asymmetry and his duo Ways is a stark and focussed exploration of rhythm, Eucalyptus is where this eclecticism is most audible. The band simmers with polyrhythmic percussion, laid-back jazz sweetness, various strains of psychedelic wonk, and subtle tropical aromas from dub on “Rose Manor,” named after the retirement home of his musical grandmother Lorna (ever a source of inspiration for West) to Bossa Nova, as heard on “It's In A Move.” Its streaks of free-form bedlam and pure sonic texture keep listeners poised for perplexity and cheerful volatility.Moves manages to approximate the playful, intoxicating warmth the band conjures in their beloved local live appearances. Eucalyptus has made a tradition out of mounting month-long residencies at Hirut, a cozy east-end eatery that serves delicious Ethiopian cuisine. Hirut even gets a nod in the credits. Perhaps it's because this record's subtle whimsy and inviting disarray draws so much from the spirit of those evenings.A large part of this odd concoction's success comes down to West's co-conspirators, a veritable who's who of Toronto's underground music community. Trumpet player Nicole Rampersaud, who has since relocated to Fredericton, New Brunswick, has sculpted her unique tone as composer-in-residence at Halifax's EVERYSEEKER Festival and in collaborations with the likes of Rakalam Bob Moses, Anthony Braxton, Joe Morris and Telephone Explosion's own Joseph Shabason. Ryan Driver (clavinet) has cut a series of gorgeous song records for Tin Angel Records, and collaborated with Eric Chenaux (Constellation) in various projects, while leading a number of his own imaginative outfits. Michael Smith (bass) plays with Toronto psychonauts the Cosmic Range and has toured and recorded with MV+EE, Sandro Perri plus countless others. Fellow Perri collaborator, percussionist Blake Howard brings the palpable joy of his playing to collaborations with Marker Starling, Little Annie, and the surrealist mischief of GUH. 2021 saw Nick Fraser (drums) leading a disc on Hat-Hut's Ezzthetics imprint. It follows a string of other celebrated recordings with international out-jazz heavyweights like Tony Malaby and Kris Davis for Clean Feed, Astral Spirits and more. In addition to pursuing his delicate solo song work, drummer Evan Cartwright plays in both of West's other projects, and has performed and recorded with Tasseomancy, The Weather Station, US Girls, Badge Époque and Andy Shauf.Another exciting development unveiled on Moves is the presence of guitarist Kurt Newman, who replaces longtime member Alex Lukashevsky. Newman's whirling treatments and colorful array of tones figure prominently into the ensemble's new and disorienting sound. Newman was the co-founder of premiere Austin improv festival No Idea alongside Chris Cogburn. A ceaseless collaborator who's worked with the likes of Sarah Hennies, Tetuzi Akiyama, Mats Gustafsson, he also leads his own projects such as Country Phasers and the Nashville Minimalism Unit.

It doesn't get more soothing than this. If you are in the emotional corner, this might make you cry. Want to b one with nature and yourself. Let Alice help you.Press text______________________________Morning Trip & Yoga Records are proud to finally reveal one of the ultimate lost masterworks of new age music: Alice Damon’s Windsong. Gently propelled by Damon's haunting breath-of-life vocal winds reminiscent of Joan La Barbara underscored by field recordings and Damon's fretless bass sound calling to mind mid-70 Joni Mitchell, Windsong is traveling music, for the roads or for the skies. Instantly moving, it conjures vistas both romantically familiar and cosmically mysterious — waterfalls and wind, the voice of the earth, as heard through heavenly prisms.Damon attended college in Massachusetts, where she formed and fronted the all-female garage band called The Moppets in the late 60s. The band began to garner national attention, but Damon moved instead to the wilds of northern Vermont to homestead and raise a family. In 1981 or thereabouts she was able to gain use of an early Sony digital home recorder, and created her masterwork, Windsong.But Damon waited until 1990 to release a packaged version of this album, now titled "Windsong II", and sent samples to regional distributors like Vermont’s fabled Silo-Alcazar, where a copy of the album was first discovered, but little evidence exists of a proper commercial release. Alice Damon passed on in 2011 and remained essentially unknown until the landmark I Am The Center: Private Issue New Age In America 1950-1990 first revealed her genius to a wider audience two years later. Now, just in time for the recording's 40th anniversary, Alice Damon's Windsong may at last be heard as one of the most singular, moving and profound examples of new age music's psychedelic essence. Morning Trip & YogaRecords proudly present Windsong.

New vaporous LP from Aboutface. A climate emergency-themed project combining field recordings, spoken word, lucid dreaming with leftfield, ambient and dnb. TIP!Press text, which is way too long.. 🤣__________________________________Gatefold Vinyl. Limited Edition. A self-release. All artist profits from this release are to be donated to Extinction Rebellion’s legal fund to help provide counsel to those protesting against contributors to the climate emergency, much needed since the UK government have decided to criminalise disruptive protesting, at a time when civil disobedience is urgently needed most to force action and help mitigate the climate emergency. Conceptual artist Aboutface reveals his vaporous new LP, a vital climate emergency-themed project which utilises poetry collected from his dreams alongside sound recordings captured during polar expeditions to Antarctica’s most vulnerable areas c/o the Alfred Wegener Institute - a centre for polar and marine research. Featuring long-term violin collaborator Taro and dream prose reciter Leyla Pillai, it explores a surreal intersection between the collective dream realm and the disappearing polar cryosphere. The water that glows like dancing glass cuts crimson comes after his warmly-received debut LP on revered experimental London label AD93. Released last September, the four-tracker titled °s was inspired by patterns found in urban nature, such as the fibonacci sequence, and it also introduced Aboutface’s lucid leanings into poetry as an inspiration source to spur sound creation. Weaving between experimental, ambient and leftfield territory, his follow up comes off of a three-month period of dream journaling. “A recurring theme of flooding came through,” he explains. “I’d see a railway line that led into the sea; a room filled with seawater; a city centre flooded.” He’d become adept at recalling their content in more detail, which was further aided by a meditation practice to prolong the hypnopompic state - the state of consciousness leading out of sleep. “Revisiting and reflecting on this theme, I decided to pursue a project based on glaciology and rising sea levels. Following some initial research, I initiated a dialogue with the Alfred Wegener Institute, who kindly granted access to their incredibly valuable expedition recordings. A lot of these are taken from polar locations that aren’t there anymore, as well as the mammals that once inhabited it, because the glaciers and ice shelves are retreating rapidly. This LP presents a piece of aural history in that regard.” Another interesting development in Aboutface’s processes was his ability to see dream prose. Sections of text literally seen in his dreams became the song titles in advance of the music being made and influenced the songs through musical interpretation. “Take the title track - I saw this line of text typed out in red on an old typewriter.” Next came his acrylic painting of a glacier with a background made from recycled plastic cosmetic bottles collected from the UK’s coastlines. Aboutface and violinist Taro would then take turns performing to and in front of the painting as a guide. “The track starts off with traditional harmonious nature sounds - birdsong, a gentle stream and insects. It progresses to synthetic representations of nature in a dystopic future, such as the sounds of a printer mimicking a seagull, and the metallic drones of machinery being shaped to imitate the crashing of sea waves. Taro used his violin to interpret the painting textures and an acceleration of glacial ice density loss and subsequent climate destruction - his playing starting as a gentle meandering, then progressing to sharp foreboding arpeggios all in one 12-minute improvised take. I then used this as the master unedited template to build my own musical interpretations and composition around.” Perhaps the most poignant of the tracks is the opener. Featuring the evocative sound of ice falling into the sea and breaking away from an ice shelf that’s since retreated towards the Antarctic landscape, the track is a masterclass in affective composition. “ ‘Small hands and feet in the sand show you the great illusion’ comes from a dream in which I saw a group of children on the beach, articulating their perspective through drawings in the sand, revealing the truth in what’s truly important, right now and for our future. You can hear sea leopard calls throughout which sounds like underwater lasers reflecting off the glacial base. I shaped and composed their vocalisations to have an evocative impact on the listener, which I think is achieved, especially with the pensive quality and prowess of Taro’s playing.” Concerned with a lack of transparency of the true environmental impact of music releases, Ben is also including an essay which highlights the hidden environmental cost of current music consumption, and the potential reforms to stimulate industry action with the aim to contribute to music becoming more environmentally sustainable and energy transparent. Enabling consumers and artist’s alike to exercise their judicious right to make an environmentally informed choice to release or consume music, in a time of climate emergency. Eco-friendly recycled vinyl , limited to 300 copies only. Mastering and lacquer cut by Ruy Mariné at Dubplates & Mastering. Meditators are also invited to immerse themselves in a bonus package of polar soundscape compositions, crafted by Aboutface for guided dream meditations to aid lucidity and recollection. Available on request.

Press_________________________"Hydroplane reinstate their formidable 1997 debut of sublime guitar atmospherics, fragile lyricism and droning incidentals with an overdue vinyl and digital reissue.An offshoot of the now-féted The Cat’s Miaow, the trio formed after drummer Cameron Smith decamped to London, charting new territory with tape loops, manipulated samples and a borrowed Jupiter 4 in the wake of Endtroducing. Adopting a handle that Dean Wareham once considered calling Luna, Hydroplane intended to only ever release Excerpts From Forthcoming LP, a single-sided 7” sonic collage, before imploding in mystery. Their label however insisted they deliver their taunted album. From the comfort of a Brunswick flat, they continued to record soaring melodies and restrained song structures to 4-track, sculpting dramatic Radiophonic Workshop cues weighted in reverb and near-perfect dream pop lead by Kerrie Bolton’s empyrean vocals.Bored of industry expectation and largely ignored by local audiences, the reluctant performers followed the way of The Cannanes and formed meaningful overseas alliances by mail and phone, securing releases on Michigan outpost Drive-In and Broadcast launching pad Wurlitzer Jukebox. Championed by John Peel with twenty spins on his converted Radio One slot and even polling in Festive Fifty of 1997, the humble three-piece still walked to their neighbourhood shops undetected.Previously only available as a US-issued CD, this reminiscent late-night suite establishes Hydroplane as an everlasting ember in Australia’s beloved indie nexus."

Press_________________________Pacific Rhythm is elated to present a grounding offering from Oakland's Space Ghost entitled Private Paradise as our first release of 2022. The LP is an ode to Space Ghost's time spent at Sea Ranch on the Northern California coast, a place he and his partner visit to refresh their spirit and regain optimism and enthusiasm for the outside world.Private Paradise possesses a rare ability to restore, rejuvenate, and inspire through each listen and is something we've only grown more and more fond of during the unforeseen complications we encountered during its release over the past two years. It's a piece of music that feels like a perfect nod to where we've been musically for the past 8 years and where we see ourselves heading in the future. Deep, contemplative, and uplifting audio that compels its listeners to focus on the positive forces in the world and the power of being present in a moment.

Emotional ambient deep house! Lay back and get sun bathed in positive energy 🕶

Like a musical breath of fresh spring air. Wonderful, drifting, playful instrumental recordings - including zither. And very "hyggeligt"!

This is a record made by a cat on synthesizer. No, it´s just picture of a cat on a synthesizer. It´s nice and oldschool 70´s "Berliner" style electronics.

SVIN plays guitar, drums, sax and electronics. They do it to the max. They know what they are doing. You should also go see them live.______________________________________PressOn the seventh album ‘Introducing SVIN’, the Danish avant garde rock-trio SVIN widens its musical scope once more by incorporating electronics and vocal collaborations with renowned singers Bisse and Marie Eline Hansen. The result is a dynamic, techno-mechanic sounding record, that aligns with the contemporary ever accelerating integration of the digital and analog domains of man and machine within human existence and experience.SVIN is an avant garde rock band based in Copenhagen, Denmark. The band has made their mark on the international music scene since debuting in 2011 with the album ‘Heimat’. After consolidating the current line-up, SVIN released their 5th album ‘Virgin Cuts’ in 2018. The album features music that drags the listener into a sonic loophole between noise-infested rock, drony landscapes, new age minimalism and dusty afro-tripping, drawing on heavy inspirations from nature, folklore, ceremonial music and avant-garde.

From droney electronics to cinematic pointalistic structures.

2LP, remaster - Imperial Tiger Orchestra's Mercato [12th years Anniversary Edition] includes the best of both albums Mercato & Addis Abeba remastered with bonuses live recordings in London, Paris, Addis, Tokyo & Cape Town.For fans of Les Ethiopiques, Mulatu Astatke, The Heliocentrics, Muluqen Melesse, Mahmoud Ahmed

Princess Diana of Wales, by London-based Australian Laila Sakini, is A Colourful Storm's latest and most curious project. Someone, no one, a notion, a feeling... Sakini offers clues but no simple answers. Vocal-led pieces 'Still Beach' and 'Fragments of Blue' are brittle and intoxicating, contemplating recklessness and unfulfillment of a past life: "Watching the future wash away / Giving it up to have this day". She studies closeness and, incredulous of the feelings that emerge, wonders if detachment is impermanent. She catalogues these emotions as a series of memories, colours and images. 'Evaporate', sedated and hushed, is a secret confession and ode to resolution, albeit, fatally, only a temporary one: "Take some form / Later on when I can do this / When we can do this / Together".Behind the album is a stage of dubwise disorientations evoking in-between states of the everyday. 'Swing' and 'Closer' are woozy and dreamlike, their voices summoning ghosts of fortunes past while 'Exhaust' finds an aperture in our protagonist's daydream. A perilous foreshadowing of the incantatory 'Choir Chant', whose spell pacifies her inquisition, submerging both self and feeling into the deep blue sea. RIYL: Grouper, Kali Malone, Drew McDowall. Full- colour sleeve with insert.

Tribal electronics, dubby downbeat, sedated house and disoriented breaks coming from Molto Brutto's Andreas Kunzmann. Following on from his essential reissue of II aka Molto Brutto's feverish and freaky second LP, Basso fires up the Growing Bin lathe for a further foray into AK's eccentric catalogue. Recorded between 1998-2005 and unreleased until now, these genre-fluid tracks retain the unorthodox charm central to the Austrian's art. Sometimes dancing is just falling to music, and Andreas lives the life unbalanced.

'GALAXY MY DEAR'! GALAXY! We are definitely getting there. Roll it 🚬 lean back 💆🏻‍♀️ and lift off 🚀 Banfi gotcha!Cosmische late 70's experimentations 🎹🎛_____________________________PressSynthesizer king J.B. Banfi, a.k.a. Giuseppe 'Baffo' Banfi, hit the record market with the great italian prog rock outfit Biglietto per l'Inferno who released a legendary LP in 1974 on Trident and have been reivindicated in several occasions since with the release of lost recordings from the era as well as unearthing an unreleased 1974 live album. The band existed between 1972 and 1975, and had both Pilly Cossa on Hammond doing the virtuoso work and Baffo's keyboard explorations adding sound texture and atmosphere. Their second LP was recorded and mixes were to be produced by Klaus Schulze, but it remained unissued due to the Trident label flop. The band split shortly after this, but Baffo continued his experiments with electronic keyboards.In 1978 Baffo released his first solo LP 'Galaxy My Dear', credited to J.B.Banfi and echoing huge influences from his friend and master Klaus Schulze, who would also produce his two next releases. A total DIY domestic home recording, with all the limitations implied but also with all its warmness within, 'Galaxy My Dear' is entirely played by Banfi and shows an accurate taste in his use of the synths, plus of course a strong kraut / cosmiche appeal that links the album's sound to that of the early Tangerine Dream or Ash Ra Tempel, but also brings a hint of Jean-Michel Jarre or even a certain reminiscence of the early electronic experiments by Franco Battiato and is a good contender to be filed along other Wah Wah reissues like those of Roberto Cacciapaglia or Franco Leprino.One of its songs, "Gang (For The Rock Industry)" has been recently used as the opening track on Soul Jazz Records' Space, Energy & Light. Experimental Electronic And Acoustic Soundscapes 1961-88 compilation.

The musical vortexes of Caterina Barbieri rewire time and space. Listening to the Italian composer and modular synth virtuoso has felt like traveling at light-speed and slow-motion all at once since 2017's breakthrough double-album Patterns Of Consciousness. 2019's acclaimed Ecstatic Computation pushed even further with the lead single "Fantas", where a haunting melody hurtling towards its supernova climax felt like witnessing the life and death of a burning star. Far beyond any new age trope or modern synth trend, her music stands alone in its ecstatic intensity and cataclysmic emotional impact. Marking the debut album on her new label light-years, Barbieri now delivers her most profound work yet - a journey through inner-space as vast as a universe and as intimate as a heartbeat. The Spirit Exit opens and we fall in.

Midori Takada is back with her first album in 23 years. Two long cuts where her Japanese new-age traditions mets polyrhythmic african traditions. Mind-bending!_________________________PressWRWTFWW Records and MEG Museum (Geneva) are honored to present the first new solo album by renowned Japanese percussionist Midori Takada (Through The Looking Glass) in 23 years, Cutting Branches For A Temporary Shelter, available on vinyl LP, housed in a 350gsm sleeve, with OBI, and liner notes, as well as on digipack CD.Recorded in a live setting and played with instruments conserved in the collections of the MEG Museum, Cutting Branches For A Temporary Shelter is Midori Takada’s very own rendition of "Nhemamusasa", a traditional work emblematic of the musical repertoire for mbira of the Shona of Zimbabwe, well known worldwide, thanks notably to its version by Paul F. Berliner included on the famed 1973 album The Soul of Mbira.The choice of this title by Midori Takada evokes the links between traditional African and contemporary music which are the foundation of this work, and it also translates the resolutely multicultural vision of the artist.Midori Takada explains: "African music is remarkable for its polyrhythms. Not only are there simultaneously several rhythmic motifs, sometimes as many as ten, but furthermore it may be that the part played by each musician has its own starting point and its own pace, all combining to form a cycle. All the cycles progress at the same time according to a single metrical structure which functions as a reference point, but which is not played by any one person from beginning to end. The structure emerges out of the multi-level parts, all different. With the Shona, the musical system is based on the polymelody: one performs simultaneously several melodic lines which are superimposed, each having its own rhythmic organization. It is truly captivating. In Western classical music, one four-beat rhythm induces some precise temporal framework and regular reference points, which come on the strong beats 1 and 3. But in the logic of the Shona musical system, and in other African music, the melody can begin in the very middle of the cycle and be continued up to some other place in an autonomous manner, as if it had its own personality. It’s very rich."The album comes with in-depth liner notes that include an interview with Midori Takada, a point of view by Zimbabwean scholar, musician and activist Forward Mazuruse, and background information on the project by Isabel Garcia Gomez and Madeleine Leclair from MEG Museum.The sleeve features an artwork by celebrated Zimbabwean painter Portia Zvavahera.Part of the budget for the album was donated to Forward Mazuruse’s Music For Development Foundation whose aim is to identify, nurture, and record young but underprivileged musicians in Zimbabwe. The album is released in conjunction with Midori Takada and Shomyo of Koya-san's You Who Are Leaving To Nirvana, also available on LP and CD on WRWTFWW Records. Points of interests- For fans of percussion, Mbira, environmental, marimba, minimalism, traditional, African music, Japanese music, Through The Looking Glass, and very old music instruments.- First solo album by Midori Takada in 23 years, available on vinyl and CD, music played with instruments from the collection of the MEG Museum in Geneva, artwork by Portia Zvavahera.

A leading force in the dub techno/glacial drone scene of present.______________________________PressThere isn’t much to go on other than the soundscapes when it comes to Civilistjävel! What is rumoured to be a figment of the pre-internet era tapping into a similar consciousness as Biosphere, Chain Reaction or early Fax +49-69/450464 is ultimately left up to second guessing. For the average listener crossing paths with the project, a steady run of small-run, minimally packaged LPs has cemented Civilistjävel! as a leading force in the dub techno/glacial drone scene of present.However niche that may sound, this collection of tracks for Perko’s new FELT imprint navigates the same territories as the previous outings but with the folkloric tag “Iron Night” to help guide our ears. A Swedish expression for long nights of frost that damage plants and crops, the spectral and foreboding atmosphere of the opening cut already hints at the direction of the album. Combining dense ambient synth layers with hard to place industrial motifs (sometimes in rhythm, sometimes chaotically arranged are what Civilistjävel! does best, indeed Järnnätter unfolds as a piece of work you can really spend time with. At points it feels as if the machines in some old factory complex have spluttered back to life through some unknown force and have begun to sing to one another. Other times the atmosphere is akin to a hydrophone placed deep into an ice-covered lake and the synthetic pulses of ‘A2’ are the only vaguely human touch. However, the sparse melodic flourishes across the record stem from an interest in psalms and early Swedish folk music, the juxtaposition of machine-led intuition and personable studiousness adding a hidden depth to the album.If the collectability of previous Civilistjävel! outings are anything to go by, we encourage you to act fast!Artwork by Rebecka Holmström.

Super playful and uplifting deep-house from Sweden.Endless and emotional. TIP!

Copenhagen old-timer yet and again brings the funk to the dancefloor. Asmus Odsat brings the IDM 'Only Smoke', while Martinez brings the electro!

Another bleepy and dreamy 90´s stomper made available again!

Dreamy trance/ambient classic finally getting the reissue treatment!

Dreamy trance, popping breaks, steady beats, big basslines. What more do you want?

X-Kalay delivers as always. Top quality breakbeat/ambient/electro. It´s the good stuff... Roza Terenzi in remix duty btw.

A proper house tune reissued from the Mineral Cuts camp. Of course it´s still breaky and sexy and all of that...

Big and bouncy club tunes ready to work that dancefloor!

Top quality house productions for prancing on the floor!

After 20 years of silence - Memphis is back still delivering top quality quirky club music on this self released 12".

Acidic electro and deep techno in classic Die Orakel styleeee

Floor weapons locked and loaded! Euphoric tech music

Trippy dancefloor-electro, dub sirenes, it´s all there!

The only genre not listed for this on Discogs is tech house. We would call it tech house. The good stuff!

Jdotbalance taking it to the next level with this mix of freetekno, broken beats and trippy textures.

HardTechno4HardNights. Original trax works - Hadone remix rips!

This is hard. Just like life...

A four track EP with three very different DJ Fett Burger original tracks and a glorious remix by SVN. A little for every occassion, one could say 😘The first track a left leaning percussive house track with heavy presence of liquid funk!The second track a different sounding break beat track with a heavy underground sound, a driving and shifting and chopped up beat in various styles.First on the flip side DJ Fett Burger's Planetary Exploration explores house house music with the spirit of underground hip hop with the touch of weirded out electro funk. The second track is good friend and XI partners SVN's remix. A three part ten minute master remix! A mellow, melodic and beautiful sounding piece.

A samba funk disco grail finally reissued 💃🕺So many hits on this awesome 1983 recording by one of the giants of Brazilian music, Jorge Ben. This masterpiece includes the great boogie joint ‘Rio Babilonia’ as well as the all-time classics ‘Taj Mahal/Pais Tropical’, the soulful opener ‘Eu Quero Ver A Rainha’ featuring Tim Maia, and many other samba funk jams arranged by Lincoln Olivetti.Hard to find on vinyl these days, this reissue will make many collectors happy!DESCRIPTIONJorge Ben is someone who needs no introduction. Since his first hits in the 60s, this artist has become one of the greatest icons of Brazilian pop music. His anthems "Mais Que Nada" or "Pais Tropical" are probably two of the most ever-listened Brazilian songs of all time.After being involved in the Tropicalia movement and incorporating the influences of Afro-American funk into his repertoire, with the support of his backing band -Trio Mocotó-, his very personal samba sound also opened up to the new musical trends coming from the States at the edge of the 70s.Boogie and disco music were making headway and soon became popular in the Brazilian market. Jorge Ben's albums recorded at the beginning of the 80s reflect this trend and deliver a good number of outstanding tunes.This masterpiece includes the great boogie joint ‘Rio Babilonia’ as well as the all-time classics ‘Taj Mahal/Pais Tropical’, the soulful opener ‘Eu Quero Ver A Rainha’ featuring Tim Maia, and many other samba funk jams arranged by Lincoln Olivetti.An essential addition to any Brazilian music collection.

Press text - pure storytelling______________________________________________________Much in demand album from 1986.Not much is known about the mysterious pop sensation Vumani or his short musical career. Originally from KwaZulu Natal he made his way to Johannesburg in the mid 80’s to follow his dream of becoming a recording artist. He was able to make that dream come true when talent scouts from Decibel Music came across the charismatic youngster. At the time Decibel was still a small fish trying to make waves and the label believed in Vumani they had found the star they were looking for. Being a label with mostly groups signed to the catalog they needed a Front Man to push into the growing demand for Solo Artists that were dominating the airwaves and catching the hearts of youngsters.Up to this point Decibel had one major hit record. In 1986 they released a single by an artist named David Thanzwane. The music was a direct rip off of the first hit Single by Shangaan Disco pioneer Paul Ndlovu. Copying the music of both sides of the original single the “covers” offered different lyrics and hooks also sung in xiTsonga. This was enough to trick the masses and the single led to record sales for the small label. The unintentional outcome of the single was that from then on the producers and label had one sound they wanted to pump out in hopes of recreating that magic. This desire to create another Shangaan Disco hit would be the backbone of the Vumani sound and what makes his music so special and collectable after all these years.That same year Vumani would release two Singles, Black Mampatile and Guy Fawkes. Musically these playful and fun singles would have great appeal to youngsters as they sung of daily life in the Townships. Black Mampatile being a game of Hide and Seek, Banana Kari referring to the trucks that would go around the Township exchanging chips and snacks for glass bottles and of course every child’s favourite reason the dress up on November 5th, Guy Fawkes Day. Both singles were received well and a few more tracks were later recorded to create the full album Isiqedakoma. Although he would sing in Zulu the music was unmistakable for Shangaan Disco. The synth heavy bass lines and happy melodies along with relatable fun lyrics were a perfect blend for an album that would make people dance if they were out at a Tavern or Shabeen on a weekend or just enjoying at home with family and friends.Vumani quickly became the Label’s top priority with managers making sure he always had the freshest clothing styles to go along with his persona, and he never missed any performances or opportunities to impress a crowd. His popularity grew in the Township’s but with that came the unfortunate and all too common problems with fame. He started getting mixed with wrong crowds. He would record another album for Miracle Music, the Decibel sub label that had emerged to focus on the more underground sounds of the post synth pop era. Musically things were going well for Vumani but it would be his life off the stage that would catch up with him. Always known for his commitment to his music and fans one day he uncharacteristically failed to show up and was never heard from again. His body would later be found in a burnt car on the outskirts of Soweto. What led to his tragic death was never known but with the company he kept it is not hard to imagine what one of the many situations that led to that horrific ending could be. His funeral was attended by the entire Township it seemed as people packed the service and flowed out onto the streets, a testament to his popularity and the love the people had for one of their own.

Sout African afro-synth disco classic! A must have for every serious disco boogie synth collection.Press text________________________________________Four tracks by one of the biggest names in South African disco: Condry Ziqubu. A regular on the local soul scene since the late 1960s in groups such as The Flaming Souls, The Anchors and The Flaming Ghettoes, by the mid-80s he had qualified as a sangoma (traditional healer), recorded with Harari (the biggest group in the country at the time), fronted his own group Lumumba, and travelled the world as part of Caiphus Semenya and Letta Mbulu’s band.In 1986 he ditched Lumumba and released his first solo hit, ‘Gorilla Man’. Opening with an audacious 20-second intro, the song tells the story of a man preying on women in downtown Johannesburg. It highlights Condry’s winning formula of lyrics that touch on everyday South African issues and places (without drawing the attention of apartheid censors). Musically the song draws obvious influence from Piano Fantasia’s 1985 Euro-disco hit ‘Song for Denise’.Also included on this new anthology is another song from the same album, the politically charged ‘Confusion (Ma Afrika)’, as well as ‘Phola Baby’ from his 1988 album Pick Six – a call to men to “stop pushing your woman around … what kind of man are you?” – and ‘Everybody Party’ from 1989’s Magic Man, a straight-up party song with no political or social intimations, other than as a brief escape from the harsh reality of the time, one that still resonates today.

Press text_____________________________________________Following the success of the first Planet Love compilation, Safe Trip has delved even deeper into the roots and formative years of trance music. The result is a vivid snapshot of heady, trance-inducing music released between 1990 and ’95.Like its predecessor, Planet Love 2 does not deliver a straightforward chronological run-down of influential ‘proto-trance’ cuts and key early anthems. Instead, it casts its’ net far wider for inspiration, joining the dots between trance-inducing tracks in a disparate mixture of interconnected styles.Before trance became rigidly defined in the late 1990s, the term was more loosely used as a descriptor, with the tag variously being attached to tracks that combined elements of techno, ambient, breakbeat, deep house, electronica, progressive house, acid, tribal and new beat. What unified these disparate musical strands was an emphasis on groove, melody, atmosphere and – more often than not – psychedelic intent.You’ll find all this and more amongst the 12 colourful and emotive tracks from around the world that make up Planet Love 2. The hard-to-pigeonhole, early ‘90s New York rave scene is represented by the immersive ambient of Lazer Worshippers’ ‘Free Flight’, Revelation’s trippy gem ‘First Power (Domination Dub)’ and the delay-laden drums, held-note new wave chords and psychedelic electronics of ‘Time Warp’ by Moodswings.The UK’s rarely discussed role in the development of early trance – often via tracks that touched on ambient techno and progressive house – is represented by the Obsession Project’s prototype melodic trance obscurity ‘Untitled Part 3’, the Arc’s fast-then-slow rework of The Moody Boyz ‘The Pygmy Song (Nocturnal Version)’ and ‘X O Surf’ from The Deep, a breakbeat-driven workout that defies easy categorization.Naturally, the popularity of early trance in Europe is reflected in the track listing, too. Check the formative progressive trance of French producer Innertales’ ‘Odysee’, two tracks from Italy (T.E.W’s ‘Doubt Int’ and Alien Signal’s melodic ‘Deep Sky Delights’), and a trio of often overlooked cuts by German artists (early Svan Vath number ‘L’Esperanza’, the Jam El Mar co-produced ‘We Come in Piece (Desert Mix)’ by Dance 2 Trance, and ‘A Source’, the opening track from Tobias Beldermann’s first EP as Redeye.Offering a deeper and more diverse definition of early trance than volume one and packed to the rafters with sought-after and overlooked gems, Planet Love 2 is a fitting follow-up to Safe Trip’s first collection of formative trance treats.

Press text__________________________________Fresh yet nostalgic, melodious yet deep; that's what newcomer from Chicago, Emil Gayles has brought us with his new EP as a second installment of our Contrafact label aiming on deeper house from the windy city.Seduction will stomp your mind, body and soul straight into space with superb percussions, a never ending bass groove and melodramatic chords. Spirit Dance on A2 adds foam to the milky way with a jolly high tone bass line and clutching high hats, shaking up your mind.Instant lift off with the atmospherical Fly Birdy on the B1 side, whilst Monlade hitchhikes you from Saturn to Jupiter

Specific States of Mind. Loraine James & TSVI (also know as Anunaka) show of production and innovation skills 🧨

Boo's does what Boo do best. Oldskool, rough and exciting house music for dancing!Press________________________A vinyl affair, the Living Waters EP sees the Chicago native at his very best, as he combines his customary, old-school, rough-and-ready approach with a newfound approach. The end result is an EP that brilliantly encapsulates all that's great about the label and the artist - as they look to the future but also nod approvingly in the direction of the past.With Living Waters, Boo tried to capture the label's movement, and we built this record together with him to make it as consistent and different as possible. For example, in this world, water is always moving regardless of whether it's in the clouds or on the ground or at sea or in rivers. So yes, elements of Boo's classic sound remain, but they're infused with a unique excitement and an unpredictability that not many artists are able to conjure up these days.' After so many years in the game, few producers still do it quite like Boo Williams.

Press_____________________________Emerging from the shadows with 2021s ‘Bring Me Sunshine’ album, electro duo Sons of Slough see their debut 12” back in print via Perko’s FELT label. A quiet highlight of turn of the millennium-era British dance music that takes cues from the New York and Detroit schools of thought, ‘Live EP’ is rough, heavy and proves just as effective on the dancefloor two decades later. The Sons played shows with Richie Hawtin, Two Lone Swordsmen, Dave Clarke, The Chemical Brothers and more, often performing (as the title might suggest) in a live context. Indeed, the A1 cut ‘Snares and Temptations’ was a regular fixture, reportedly taking the roof off the place at the first Dedbeat Weekender as well as some of the worlds ‘less congenial establishments’. It's a sharp, low-end laden assault on the senses making great use of a distorted vocal sample and Drexciyan-like drum programming. The other three cuts are equally as powerful, vocoders and 'squelchy messes of clicks and whirrs' aplenty. The second instalment of FELT, 'Live EP' hints at the stylistic breadth yet to come via Perko's newly christened aural lovechild.

razorsharp electro tools!

Mori Ra strikes back at MM Discos with "Gaia Edits", after the successful release back in May on the label of the "portuñol" duo, Da Silva and Dj Katah welcome again Osaka's best record collector with 4 new high quality editions.Staying loyal to his eclecticism, Mori Ra approaches this time a lil more to the dancefloor by doing a more hedonistic work than his previous release on "MM Discos" , an exuberant "disco-no-disco" exercise mixed with ethnic references, wicked percussion, charming marimbas and an endless of psychedelic elements. A record done for the soul; spiritual, mystic, highly addictive and 100% danceable.A very special release where the Japanese artist has involved his son who helped with choosing the sound source for this record.

Up and coming Melbourne DJ and producer Jennifer Loveless gets remixed by DJ Fett Burger on this special 12" on Sex Tags UFO.Both remixes are groove shaking remixes working around Jennifers joyful and uplifting melodies, sounds and pads. Extra rhythmic elements and percussions are added, bass grooves and new melodies to give it more depth, and tweaked and mixed to give both tracks a different dimension that they deserve.

That perfect oldskool house and techno sound that won't and can't die. Uplifting Shedism sound.

Synthy zouk

It´s Aphex...

Ambient bliss

Badness direct from the source!

Nice wriggly acidic techno tools

Awesome danish disco gem! "Fly And Spider" and "Ride Of Revenge" are the winners.

Top quality softcore house!

Rare gospel groover!

Awesome disco-dub experiments!

Tuffest drums

Ooooh so much funk!

Take your ears to paradise!

Awesome funk classic previously only released on 7 inch!

Give that busy mind of yours a break with this blissful Japansese soundtrack from 1980 packed with ambient and new age soundscapes.

Paula Temple: a dancefloor dominatrix

In demand Afterparty tech

In demand break beats!

Napalm Death is metal that somehow fits the experimental music section. And you already have the t-shirt so why not buy the record? You poser...

Funky sunshine music

Big trance!

Great jazz comp. selected by Theo Parrish

Great record! Also works great pitched down...

White label (not on discogs) version of this great ambient house record by Project Pablo.

French disco killer!

250 copies made. 32 BIT audiophile dubbing from the original analog master tapes. Remastered by Bernard Fevre aka. Black Devil Disco Club.

Two great italo tunes now on 1 record! Number 98 of 100 copies made.

Title track is straight fire! Acid fire.

Abract tribalistic and trancy techno. Uff its goood!

This is awesome. Buy it before the Dj next door does!

This is a serious moving trance track! WTF!Just don't play the side with the horrible vocals on..

This is how hard trance should sound like. Oh damn. Doesn't matter which version you pick. It will lit the floor!