
Basic Mind returns to Good Company Records with an EP of 100% fully-organic, bio-dynamic, and naturally psychedelic dance music.

Basic Mind returns to Good Company Records with an EP of 100% fully-organic, bio-dynamic, and naturally psychedelic dance music.

The Jak has returned witH Dirty bLends 5 in extremely limited quantity introducing nU cOhorts to the label. These new artist aliases to the label have contributed to the further effort of maintaining the sound from the early inception of dance tracks like the days of old that still lives and breathes in us today that honors and treasures enriched essential dance music history. William Kincaid (a rugged accomplice) smacks it fiLthY iLL on the A-Side wit a MUDDY whiPLash idea of tHe Music Box made 2 Jak 4 Crazies for ‘Can’t Be’. Lex Lathan (a villainous apprentice) Slays off the B-Side wit Jakbeat/Detroit damage on Mayhem Manipulation.

Since 2014, Public Release has been enlisting the raw, trademark groove of Richard Sen on a variety of remixes, so it was inevitable that a solo EP would eventually materialize. Now the UK legend drops his solo EP “My Definition of Funk” on Public Release. These three raw, gritty, hard-hitting, peak-time tracks are quintessential Richard Sen, combining the energy and influences of post-punk, breaks, and house in one sturdy sonic package.

Four cuts of retroactive house music. Deep bleep acid house, dystopian machine groove, street-lit dance tracks and live techno jams.

Moustache Records’ occasional series of multi-artist EPs, You Can Trust a Man With a Moustache, finally reaches its fourth instalment, some 13 years after volume one landed in stories. The formula remains the same: think muscular, throbbing and wildly camp fusions of High-NRG, Italo-disco and turn-of-the-80s European electro-disco. This is arguably best exemplified via the throbbing, Bobby Orlando-meets-Giorgio Moroder thrust of John Noseda’s ‘Climax’, which fittingly builds to a breathless conclusion as the track progresses. Elsewhere, Perdu brilliantly doffs a cap to Pet Shop Boys’ chart-topper ‘Heart’ on ‘Mind Phrases’ (we think Chris Lowe would approve), while there’s a similar mid-80s PSB feel about the shiny chords, throbbing sequenced bass and memorable lead lines of Kendal’s ‘Mort Sur La Dancefloor’.

Telephone Man bring the joy of the Paradise Garage to Mafalda’s Tropic of Love with expansive 17-piece live disco EP, Angel. A coming together of close friends Nostalgia 77 aka Benedic Lamdin and DrumTalk aka Nathaniel Pearn, Telephone Man fuse the stirring arrangements and technical prowess of library music with a dance floor sensibility drawn straight from the heart of Larry Levan’s NYC.

Introducing Jogada, the group behind PÚCA001, a Berlin based trio made up by João Comazzi, Dave Murrin & Gavin Kenny. ‘Cavalo’ is their debut release and is the result of a string of weekly sessions held throughout the stagnant year of 2020. After years of friendship and sharing music together, they started exploring what happens when different musical backgrounds join forces. The group is heavily inspired by traditional Brazilian rhythms, instruments and sounds from nature, infused with some dusty synthesisers and a quest for exploring the unknown.

The triad of Mutant Beat Dance brings an entirely different approach with numerous vocal appearances and raw funkiness. The kind of sound that brings images of dark and dirty city streets to mind that would not feel out of place as the soundtrack for an cult 80s film about about street gangs i.e. the Duke from Escape From New York…or Style Wars. The Wave and House sounds are present but then there’s distorted walking bass guitars and snapping drums give it this more swampy sound, and also the more punk rock sound of The Stooges or The Cramps. This release is the feeling of listening to a band and not just some guys who are making electronic music. This is an excellent juxtaposition of styles that is effective in both manners.
Continue reading “Mutant Beat Dance – No Comfort For Control [NAT020]”
“The album is a dialogue between the inner self and outer, and romance of eternal and immortal existence. Hence the first single, ‘Miriam’ being a ballad to the Vampiress main character in The Hunger book and film from the 80s. How do we make an emotion timeless?“

Russian producers Namesis and Sunko, show us their origins with this album. Where we can find a very marked roots between synthwave, Ebm and coldwave. Voices that make you shudder from the depths of your being. It also has three remixes that perfectly capture the matrix to take it to the next level, each remixer in the field that feels more comfortable. “On the Knees” is an album full of power, strength and grit.


It’s been more than 2 weeks since Putin called for Russian troops to invade Ukraine, causing pain and suffering to innocent people. As a response to this aggressive action, Pinkman offers a new album by Russian artist LVRIN to raise funds to help those affected by the war.
All proceeds of this release will go to the Humanitarian Aid For Ukraine fund by the National Bank of Ukraine: bank.gov.ua/en/about/humanitarian-aid-to-ukraine

For that new split of the series, we welcome two heavyweights of the deviant electro scene. On the A side, the French producer Maelstrom. On the B side, Russian punks Locked Club and RLGN, known for their no-holds-barred nuts tunes on Private Persons. Expect some cold groove, loony breaks, high-pitched distortions, oriental influences, ravey vocals and of course much TB-303 !

For the 2nd release of Pinkman’s sublabel Mindri, the mad professor Univac arranged an excursion through a toxic wasteland. Stripping the sound to its raw atomic rhythms and rendering mayhem into a state of survival. ‘Helicon’ is a 4-tracker of gritty electronics, served with Univac’s no-frills attitude.

This spring Gymnasty is debuting with his release Yugoslavian Space Program. Alongside satellites, rockets and asteroids you will get a chance to discover a country that was once a bright star itself. Get ready for a nostalgic journey from ambient scapes to electro club slappers.

LDI Records serves up a celebration of The Hague’s famous electro sound with native Cliff Dalton aka Sander Evers behind four originals and fellow West Coast legends Legowelt and Rude66 both remixing.

Sdban Records will reissue several installments of the legendary library series ‘A Special Radio ~ TV Record’ on vinyl. These were originally released on Belgian imprint ‘Selection Records’ between 1975 and 1981. N°15 in the series was the Belgian milestone jazz album ‘Solis Lacus’ released in 1975. Solis Lacus is the cult group around renowned Belgian pianist Michel Herr, a pioneer of electric jazz in the 70’s in Europe. Michel Herr rose to international prominence after winning the first prize at the jazz festival in Loosdrecht, The Netherlands, in 1971. He accompanied many European and American jazz stars on foreign tours and ran the group Jazztrack with saxophone player Wolfgang Engstfeld in Germany. At the same time, he set up his own band Solis Lacus, which consisted of Belgian musicians who had all made a name for themselves on the national jazz scene of the 1960s including Richard Rousselet and Bruno Castelluci both from Placebo. Inspired by the reigning jazz-rock sound of the day, Herr expanded his musical vocabulary and started to play electronic keyboards. Solis Lacus recorded its only album in the course of 1974 and 1975, before the members of the group headed in their own direction.

On a balmy Brazilian night in February, 1981, a crowd gathered in Rio de Janeiro’s Gávea neighbourhood under the iconic dome of the city’s Planetário (Planetarium). Alongside musicians like Helio Delmiro and Milton Nascimento (who were in the audience that night), they were there to see the great ”Bruxo” (sorcerer) Hermeto Pascoal live in concert, with his new band formation which would become known simply as ”O Grupo” (The Group). Most of the compositions performed that night at the Planetário had never been recorded before, and many are unique to this album, including the wild ‘Homônimo Sintróvio’, the exaltant ‘Samba Do Belaqua’, ‘Vou Pra Lá e Pra Cá’ and ‘Bombardino’, which features Hermeto’s wonderfully absurd call and response mouthpiece soliloquy. Then there’s the stunning 7/4 Samba ‘Jegue’ which builds with inventive dissonance, before releasing yet another celestially colourful, celebratory refrain. The show also features the first recorded performances of ‘Era Pra Ser e Não Foi’ and ‘Ilza na Feijoada’ (inspired by Hermetos’ wife Ilza’s famed black bean and meat stew), which Hermeto later recorded on his 1984 studio album ”Lagoa Da Canoa Município De Arapiraca”. Across the recording of the Planetário concert, wild improvisation meets groovy, virtuosic vamping on progressive, extended psychedelic jams. The tracks are generally built around a beautiful, transcendent melody; instantly recognisable as being Hermeto’s, and for the most part, the musicians then solo over extended two chord vamps. There’s a plethora of powerfully delivered rhythms, wild solos and the performances are punctuated by Hermeto’s unpredictable, at times comical sonic antics.

A fundraising album with all profits donated to Red Cross Ukraine.

Premium solo material from Jordan CGZ (Magic Mountain High, Juju & Jordash). An unbounded trip around the producers musical universe. Sounds ranging from icy futuristic soundscapes to crunchy melodica techno workouts, Other-wordly Jazz explorations to hazy Rhodes washed Deep house memories.