Finally, the recordings are out from the massive IFM madness that took place mid of May in The Hague. The full video recordings from the Panama Racing Club Terrace and from the PRC itself. Also, the full recordings from the SEER and Achterhoek stages are now available.
Tickets for IFM2027 are already available, make sure you will be there.
www.intergalactic.fm
Dario Rossi approaches electronic music like few others. His work as a percussionist has brought his unique rhythmic abilities to audiences around the globe. Born in Italy, Rossi combined percussion with samplers and synthesizers. His energy and talent have allowed these machines to be incorporated into his distinctive palette with very special results. 07Sep83 is his Bordello debut, with the title piece opening the four tracker. Beats cascade as analogue warmth laps the shore. Slow with a magnetic groove, elements of italo, wave and synth-pop intertwine to create a clean, bright sound that is at once familiar and totally unique. Vocals arrive with “We’ll Meet Again.” Tempos rise while keys are emboldened by rich guitar strings. Lyrics counter with a melancholic tone that shifts into hope and fortified belief as melodies rise ever higher. The flip is “Lost.” Sharp drum patterns support notes that hark back to the majesty of Bobby O, the live sax by Augusto Pallocca and disco glory combining in this journey through genres. “Beat the Devil” closes. Sizzling from the outset, snares roll and snap. Rossi’s percussive prowess is on full display as synthlines flow over rhythmic ripples to the subtle and soulful strings that bring down the curtain.
For thirty years, Alden Tyrell has been at the forefront of electronic music. This analogue alchemist has concocted heady grooves that transmute genres: acid, disco, electro, house, italo and techno; no style left unturned. Under his Tyrell Corporation moniker, he returns to the Bordello with a sound forged for dancefloors. Midnight Machines is a warm embrace that melts electro‑disco with star‑gazing synthlines. “Midnight Machines Pt. 1” balances robust melodies and incising snares with soulful undercurrents and joyous breaks. Past energies are re‑channelled. Arpeggiators rumble as beats throb. Beneath it all, there is a greater consideration of the interplay of elements. This focus pulsates through speaker cones on the needle‑drop of “Love in Decay.” Elated key changes and bright shifts are tempered by bittersweet moments, early‑morning light piercing fresh mists of grey. Tempos rise on the flip with “Midnight Machines Pt. 2.” Sci‑fi‑scored disco lifts ever higher as scaling notes untether themselves from the floor and soar above vibrant rhythms. Coy and alluring, the bright “Romance Obscura” closes the record. Cowbells and bending wavelengths open into an expansive, intoxicating melody where keys search the horizon as arms fold around celestial bodies.
Slow Motion’s own Franz Scala adds to his impressive collection of edits with a vibrant rework of XS5’s “I Need More.” His signature robust percussion ties everything together, with chest hitting snares and expansive atmospherics. Scala’s gift for immersing listeners in the energy of the dancefloor is on full display, skillfully building anticipation for key elements of the original track while allowing the vocal hooks to resonate. Scala lowers the tempo and maintains a fierce low end, creating room for dynamics to flourish. This Portuguese 1988 gem receives his revered and respectful treatment, making it a noteworthy addition to his mighty catalogue.
Vivod presents ‘Southview Community Center’ EP from Cestrian. The release features five essential tracks pressed to vinyl, with all eight tracks available digitally. A collection of dystopian electro workouts designed to clear the mind, fuel the imagination, and offer just the faintest glimmer of hope—though not too much. Dark, driving, and unmistakably Cestrian, this is a soundtrack for uncertain times.
Hungarian based CT Kidobó debuts on Rotterdam Electronix with ”Life of Crime” EP, a functional and highly effective 4 tracker inspired the French Electro sound.
With skynet T.6, the time has come for Robotron to expand the network of Skynet Cybersonix. From the signal zones emerges Dopplereffekt – with a conceptual transmission between time-fields, entropic resonance, and asymptotic states – entitled ‘Eonfield’.
New Flesh Records returns with its 34th release, bringing together two long-time affiliates: Boris Divider and label mastermind Umwelt. On the A-side, Boris Divider delivers “A New God”, a hypnotic slice of stripped-back electro built around his signature robotic vocoder work and a tightly coiled arpeggiated loop that borders on obsession. Umwelt’s remix sharpens the edges, injecting a cold, metallic sheen that amplifies its physicality, engineered for peak-time impact without sacrificing the original tension. Flip to the B-side and Umwelt steps forward with “Digital Ruins”, a dystopian song that thrives on contrast: powerful, driving rhythms collide with soaring, almost melancholic synthwave textures, giving the track its emotional charge. Boris Divider’s reinterpretation leans further into austerity, reinforcing the rhythmic framework while steering the piece into colder, more abstract territory that privileges atmosphere and textural nuance over immediacy, yet remaining firmly anchored in his established sonic identity.
New chapter unlocked. The Exaltics deliver their most sophisticated work yet, Five extraterrestrial transmissions of precision electro and techno. Alienating melodies, robotic basslines, and a burning planet in the rearview mirror. Space, sound, and imagination…
In the late 1960s, the coastal city of Paramonga, just a three-hour drive north of Lima, gave rise to a vibrant music scene shaped by surf, rockabilly, and tropical sounds. Among its protagonists were two musicians, Víctor Ramírez and Maximiliano Chávez, who, with their psychedelic guitars, Fender amplifiers, and wah-wah pedals, would define not only their own sound but also shape the musical identity of the region. Under the mentorship of their manager, Néstor “Romanito” Robles, the two guitarists added a few remarkable percussionists to the lineup and formed Los Orientales. Their debut single, “Lobos Al Escape,” recorded in 1970, reached the very top of the Peruvian charts, catapulting the band to national fame and spreading their electrifying cumbia throughout the country. Despite this early success, internal tensions led to a split between Víctor and Maximiliano, resulting in two rival groups with the exact same name. Seeking wider recognition, Los Orientales de Paramonga of Víctor Ramírez – the band featured in this project — traveled to Lima and signed with Sono Radio, the country’s leading label. The seven songs on Side A of this compilation are from the LP “Con Sabor Tropical” from 1972, and the six songs on Side B are from the LP “Tremendo Ritmo” from 1973, while Sides C and D are compilations drawn from their 45 RPM singles. Together, these recordings offer a complete journey through the sound and spirit of Los Orientales de Paramonga at their peak.
Ben Vida, Will Epstein and Booker Stardrum; three Hudson Valley-based musicians whose individual CVs associate Nicolas Jaar, Darkside, Tyondai Braxton and Jefre Cantu-Ledesma, though Play Time sounds like no collaboration they’ve ever done so far. Forming through mutual habit, passion and convenience, Epstein and Stardrum relocated to the Hudson Valley in 2020-21, began playing at Vida’s house, and developed a residency at Tubby’s in Kingston. The new LP was recorded over two days in a converted wooden barn, live in one room, with no separation, resulting in a “polymetric pulse” minimalism more than the sum of its parts. Magic Object is really one such, its traditional scales and vintage textures climbing and flourishing like vines against a trellis of live drums from Stardrum, especially on our favourites ‘Q&A’ and ‘Waves Within Waves’. “Magic Object” is a polymetric blend of improvisation and pulse minimalism for saxophone, drums, and Moog.
Gūsū is a transcultural music project born from the confluence of two distinct artistic voices: Xueyan Chen and Nicolas Balmer. Together, they create a complex dialogue of sound that bridges the ancient and the modern, exploring the liminal spaces between tradition and experimentation. Gūsū returns with a second release, “Inhabiting Me” is their second release.
Forest Drive West returns to Mantis with a double pack of crooked, finely chiseled rhythms and porous, tactile atmospherics. Hovering comfortably between the distinct energies of drum & bass and techno, Joe Baker has helped define the creative upsurge in crossover tempos and tones with a practice that focuses on mood and presence rather than genre tropes. His first releases appeared 10 years ago on influential labels like Livity Sound, Rupture and Hidden Hawaii. He reconvenes on Mantis after delivering the first release for the Delsin series back in 2020. The scope across these eight new tracks is steeped in Baker’s trademark restraint and subtlety, but equally he explores a broad scope of energies and tempos. From ambient, spacious downtempo and slow-motion, heavily dubbed drum mantras through to crisp, techy drum funk and dancehall-coded swagger, the range within the distinctive Forest Drive West sound is more versatile than ever. It’s a range cemented further by the guest appearances on the album, as Patrick Russell comes on board for snarling, D&B-coded workout ‘Uromastyx’ and DB1 lends his chops to mesmerising closing breakbeat trip ‘Planes’. Exquisite sound design with a mysterious streak binds these various approaches together. With club impact matched by spatial immensity, Mantis 1920 furthers the surefooted, intentional sound Baker has been shaping out as Forest Drive West for the past decade.
Much like the fusion resulting in the output of light and heat within a star, the last seven years for Dave Sumner, aka Function, have been defined by immense change and an outpouring of creative energy. What began in late 2016 as a period of burnout from a relentless touring life became a catalyst for the most prolific recording era of his career. At the time, the studio became the only viable escape, a space to transmute exhaustion into a gestalt work. Aeternum (Existenz) serves as the missing element in this creative arc. It acts as the final chapter of a cycle, that began with the 2019 album Existenz and moved through Subject f (Transcendence), Awakening from the Illusory Self, and Green EP. Drawing inspiration from the seven stages of alchemy, this mini-album represents a cathartic process; a natural end point of a psychological cycle and the beginning of a new curve. Across the six tracks on the mini-LP, recorded 2016-2019, Function builds a unique world, one which underlines his place as one of the luminaries of contemporary techno.
Poeme Electronique was Dave Hewson (synthesisers, production), Sharon Abbott (lyrics, lead and backing vocals), Julie Ruler (backing vocals) and Les Hewson (bass), formed in 1980 by Dave Hewson in South London, UK, in 1980. Dave was studying music and as a rare kind of student species he had a deep fascination for New Wave and electronic music thus also playing and recording electronic music ever since using the Boss DR-55, Cosmo Sound Super Drum, Elka Rhapsody 610, EMS Synthi AKS, Korg MS-20(X2)/Polysix/Polyphonic Ensemble 1000/VC-10 Vocoder, Linn Electronics LM-1, Octave Kitten, Roland RS-09/VP-330 Vocoder Plus, Simmons SDS-V Kit and Yamaha CS-80. This deluxe 2LP vinyl retrospective album includes original material from 1981/82, 16 tracks of which 14 have never been published before.
Vibraphone Records is back with a new release by Danijel Kevic. Classy retro Acid House with the remarkable Vibrapohone sound.
Four definitive Der Zyklus tracks on the Clone Aqualung Series. Featuring the aquatic funk of ”Mxyzptlk” and the rigid, robotic pulse of ”Formenverwandler.” Included are the Dopplereffekt-esque tracks ”Der Tonimpulstest” and ”Die Dämmerung Von Nanotech.” Essential Detroit-rooted electro-techno that has been out of print for far too long. Absolute must have masterpiece by Heinrich Mueller (Dopplereffekt / Arpanet).
The Hipodrome Of Music 