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Ultimo Tango (Milan) & Glossy Mistakes (Madrid) are thrilled to announce the release of "Tribal Organic: Deep Dive into European Percussions 79-90", a compilation of otherworldly percussion-driven tracks, digging deep into this unknown realm of a past era.
Compiled by Luca Fiore and Glossy Mario, the album takes listeners on a rhythmic journey through the diverse sounds of Europe from 1979 to 1990. This collaboration between two like-minded labels highlights forgotten recordings from across Europe, including works by artists from France, Spain, Germany, Italy, Austria, the Netherlands...
Opening with the ethereal “Rainforest” by British female duo Ova, this collection weaves together nine tracks from artists who were deeply influenced by global percussion traditions. With hints of jazz, new age, gamelan, and West African rhythms, these tracks feature instruments like congas, tablas, and shekeres, and reflect a shared fascination with the organic beat of the drum.
From the industrial-meets-African grooves of Jean-Michel Bertrand’s “Engines”, to the hypnotic accordion and tribal chants of Cuco Pérez’s “Calabó Bambú”, the compilation offers a cross-cultural listening experience that is both meditative and invigorating. Despite creating these works in isolation during the last years of the Cold War, each artist was inspired by a borderless world of sound. The compilation pays homage to these nomadic musicians who respected the traditions they drew from, while contributing their own experimental takes on percussion-led music.
In Tribal Organic, Glossy Mario and Luca Fiore have unearthed a treasure trove of rhythm-driven tracks that blur the lines between nations, genres, and cultures. This compilation offers more than just music; it’s a listening experience that is both spiritual and grounded—bold, exploratory, and deeply rooted in the beat of the Earth. <iframe style="border: 0; width: 350px; height: 472px;" src="https://bandcamp.com/EmbeddedPlayer/album=3608275395/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://glossymistakes.bandcamp.com/album/tribal-organic-deep-dive-into-european-percussions-79-90">Tribal Organic: Deep Dive into European Percussions 79-90 by GLOSSY MISTAKES</a></iframe>





Recorded in 1957 and released on the Prestige label, "Sound of Yusef" features Lateef's quintet with Wilbur Harden - flugelhorn, Hugh Lawson - piano, Ernie Farrow - bass, and Oliver Jackson - drums. Lateef's aesthetic was a perfect mixture of hard-driving jazz and a variety of ethnic materials. Even though If compared to later works, "Sounds of Yusef" is still very much rooted in Jazz while the use of traditional ethnic instruments adds colors and flavors without really deviating from the American Jazz tradition. Lateef shines on both tenor sax and flute while the rhythm section swings hard throughout a varied repertoire including an airy version of Strayhorn's ultra-classic "Take the A Train" and a contemplative Lateef's original called "Meditation".
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Refracted's "In Veil" materialises as the third emission in the Titrate series. A gradual unfolding across six passages, each step a study in the dissolution of boundaries.
Here, time becomes elastic - synthetic textures breathe alongside captured moments of reality, neither demanding prominence nor seeking refuge in the background. Percussion appears as memory rather than rhythm, while drones hover like fog over unknown lands.
Cut to 180g vinyl and embraced by 350gsm reverse board, "In Veil" doesn't announce its presence but rather seeps into awareness.





One of the very best ever Tribal Ambient Dub albums, originally released on the famous Australian Extreme label.
Brilliantly new mastered, sounds way better than the original recordings.
Includes bonus songs from other Extreme releases.
For fans of early WARP, Muslimgauze, Future Sound Of London, The Orb, Rapoon and alike.
Clear vinyl is only available in the boxset, the regular vinyl edition is black vinyl.
Laminated cover, printed also on the inside, with OBI.
AKT22 Paul Schütze – The Anihilating Angel LP -> out in January 2025
AKT21 Paul Schütze – Deus Ex Machina 2LP -> out in February 2025
The boxset contains all 3 albums at once!


People believe that the magic of Muslimgauze works best with looong tracks. Think the same? Then "Al-Zulfiquar Shaheed" is exactly for you! 75 minutes of mellow eastern-style hypnotism. Consisting of only five parts, the album shows Bryn's ability to create lengthy and detailed compositions filled with Arabic percussion, droning keyboards, vocal samples and ethereal atmospheres.
A strong rhythmic, yet melodic album, that should be in the collection of every Muslimgauze fan. Definitely one of Bryn's best ever albums


"Citadel" is the fourth album release on EXTREME by this enigmatic Manchester-based group. For over 10 years, Muslimgauze have defined their style as a Western re-contextualisation of traditional Middle Eastern music enhanced by technology to form a post-modern mix of music, politics and culture. Muslimgauze construct the music through ethnic instruments that are a frame for dark and sometimes foreboding aural tapestries that capture the essence and mood of the music of the Middle East and the plight of the Palestinian people.
"Citadel" is an album of exotic Arabic textures where traditional instruments intermesh with technology, found sounds and voices meld with drones and synthesizers. The album uses both eastern and western rhythmic patterns embedded in layers of shifting soundscapes. The title track "Citadel" with incessant tablas piercing through swirling cymbals and a haunting melody. "Dharam Hinduja", where staccato percussion moves to fill the space between pulsing inverted samples, and "Opel" with drones building only to be overpowered by machine-gun rhythms. "Masawi Wife & Child" has a subdued rhythmic undercurrent while "Infidel" stands out with its strident percussion fusing with a myriad of sounds. "Shouf Balek" incorporates traditional strings that interplay with rhythm and voice, and "Beit Nuba" with mesmerizing chants weaving between a persistent drum beat. It all draws to a close with "Ferdowsi" where percussive improvisations rise and fall through a minimal soundscape.
Muslimgauze produce a raga music for the technological post-cyber age. Shifting cultures out of ancient history into the current day, transcending those traditional forms. "Citadel" has a voice of what is now and perhaps what is to come. In these troubled political times, peace through people being unified in harmony whilst maintaining their own strength and cultural identity is a vision to strive towards.
– from the original Extreme press-release
The original tracks were perfectly remastered for this first time ever vinyl release and the new masters received high praise from the Extreme Music owner Roger Richards.
New sleeve designs were created by Oleg Galay, who is famous for his artworks for many Muslimgauze reissues.
All 4 album covers are made from extra heavy cardboard with deluxe spot UV finish and inside print.




Turn On Arab American Radio, Muslimgauze Archive Series volume 34
"Through this release, the music stays on the minimal side, leaning heavily on using a drum machine and minimal Middle Eastern samples and instruments, but like the radio signals only. As I like minimalism and the occasional Muslimgauze release, I immensely enjoyed this."
Vital Weekly number 1365
The relationship between Bryn Jones’ music as Muslimgauze and the track/abum titles he would provide (sometimes right on the tapes he would send in for release, but often determined later, sometimes even giving two different pieces months apart the same title, accidentally or not) has always been a little mysterious. Jones himself can no longer be asked, and as we continue to investigate the swathes of material he provided, you hit sources like the DAT or DATs that make up the contents of the new double LP Turn On Arab American Radio. Nine tracks, the first LP/four tracks titled “Turn On Arab American Radio,” and the other LP/five tracks labelled only “Arab American Radio.” None of them sound particularly radio-esque, although given the simultaneous vastness and ornate focus of Jones’ Muslimgauze work that gap between name and sound is far from atypical.
Instead here the de rigeur percussion loops that underpin this particular set of tracks, while occasionally clipping into the fierce distortion that Jones either loved to use or couldn’t get away from, steer away from both the more consistent application of that distortion as well as the Middle Eastern and Asian influences he often used. It’d be a stretch to call anything here basic boom-bap production but they come closer to it than a lot of Muslimgauze production. And while those loops are, as always prominent, they’re not actually the focus; settling into steady vamps as structures for Jones to pursue an extended and often more gentle exploration of the other sample sources he has here. There are stringed instruments, the sound of water, but most prominently or strikingly the human voice. Nothing is in English but tone and the occasional word (“familia”, “passport”) still provide guides. There are ululations, snatches of melody; but most often speech, dialogue, often tense and harried sounding. Is this what Jones was thinking of or referring to with his “Arab American Radio”?
As with so many other questions about Muslimgauze, we’ll never know the answer to that one. (Most pertinently in this case we might wonder who appears here, and what the context of these recordings is. But Jones never provided that with his submissions.) Here, even though those inexorable loops pound on, indefatigable, that emphasis on some of the people Jones chooses lends a measured gentleness to much of Turn On Arab American Radio, at least within the context of his body of work. The last thing you hear at the end of the second LP is one last question from one of the many speakers on this peculiar Muslimgauze radio, echoed away into infinity. We may never have answers, but those questions continue to resonate.





It was quite unexpected to see the very prolific and talented Pieter Kock featuring on Macadam Mambo - which is usually used to new-comers - as he has released a lot in the past 2 years on very nice labels like RIO, Meakusma or Moonwalk X. But, the demos that he sent were so good that there was no question about doing something. And with a lot of possibilities, to prepare a double album that is now composed of 16 quality tracks for 1h20 of music… What vibes are in here! It’s heavy, loudly, loopy, mental, smokey, and always surprising. Pieter has is very own universe, and is without doubt one of the most interesting electronic musician at the moment.
Should we ask you to give chance to this opus, and tell you you won’t regret it ? We don’t think we need to do so... ☺




Mutant steppers techno maverick Carrier caps 2024 with a doublepack of the sought-after first two 12”s issued on his own label - both now trading for twice the price 2nd hand - comprising some of the deadliest, most stripped down twists on club music fundamentals of the decade so far - big one if yr into T++, Photek, Chain Reaction, Burial.
As Carrier, Guy Brewer has rigorously consolidated his fascinations with technoid dance music physics to proper, cult acclaim. Distilling the rolling pressure of his D&B work as half of Commix with the granite hewn heft of his techno streak as Shifted, and the finely spaced pressure of his sound design that defined his Alexander Lewis and Covered In Sand bits, the project has come to represent the bleeding edge of club music in a way mistakenly thought lost to a previous era.
The bloody-minded focus on his thing has resulted in a frankly jaw-dropping new sound that still conveys the increasingly rarer rush of the new that we once felt hearing Photek and Source Direct in the late ‘90s, or in the refined rolige of Autechre and T++/Monolake 12”s in the ‘00s, thru the mutations of 2562 and A Made Up Sound, or Raime’s writhing shapeshifting into the 2010s. Fair to say those lineages were fractured by Covid-enforced dancefloor downtime, but Carrier still holds their principles of obsessively tight, syncopated percussion and subbass rhythm programming and proprioceptive sound design close to heart with diehard, visionary effect.
From the squashed woodblock drums and dry concrète tone of ‘Into the Habit’ and rugged techno dub of ’Shading’, thru the tendon-tweak lean of ’Still So’ on the ‘Neither Curve Nor Edge’ 12”, and over to the pressure of his subaquatic shimmy in ‘Coastal’, or lip-bitingly taut 2-step swivel of ’Wood Over Plastic’ on the ‘In Spectra’ 12”; his skeletal rhythm trax dare to dance in lesser heard but wholly vital niches of club music in a way that plays to club needs, not wants.
No hyperbole, it’s just 100% deadly if you ask we, and makes the other 99% of dance music producers right now sound like line-dancing copycats in relief of his sound: a painstakingly chiselled pursuit of the dragon that drove UK dance music - particular the ‘hardcore ‘nuum - to thrilling, inspirational degrees from the late ‘80s thru the ‘90s and into the present. After wriggling our socks off to his new live set on The White Hotel’s faithful rig a few weeks ago, we can only confirm he’s the best to do it right now, and this doublepack is fucking unmissable if you follow.
For the dancers, DJs!
</p><iframe style="border: 0; width: 350px; height: 274px;" src="https://bandcamp.com/EmbeddedPlayer/album=246103884/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://0207carrier.bandcamp.com/album/neither-curve-nor-edge">Neither Curve Nor Edge by Carrier</a></iframe><iframe style="border: 0; width: 350px; height: 241px;" src="https://bandcamp.com/EmbeddedPlayer/album=3759117354/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://0207carrier.bandcamp.com/album/in-spectra">In Spectra by Carrier</a></iframe>




More Japanese lysergic madness ! The 1972 soundtrack for Shuji Terayama's visionary movie of the same name contains all the elements necessary to reach composer & theatre producer J.A. Caesar's intended pleasure-centers. Disturbing, but in the end truly innovative, this soundtrack is as certified gateway to the underworld in the vein of classic by Faust, Cosmic Jokers or early Amon Düül.
"This mighty soundtrack for Shuji Terayama's nihilistic movie of the same name contains all the elements necessary to reach J.A. Caesar's intended pleasure-centers. Here, turmoil, mind-numbing repetition, abject misery and grisly partriarchs abound, and all orchestrated by Caesar's damaged proto-metal and choral-led psychedelic sound. Mind-infesting in the truest sense, this soundtrack played in the dark is as certified a Gateway to the Underworld as any acknowledged classic by Faust, Magma, the Cosmic Jokers, Ash Ra Tempel or early Amon Düül." --Julian Cope, Japrocksampler.</p><iframe width="560" height="315" src="https://www.youtube.com/embed/0KGi-KJQkak?si=-GuIwoImAyG7euYw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>

Think about Can as performed by a shaman commune ! Two long LP-side size compositions, focusing on tribal rhythms (without real drummer), heavy-folk and electronic samples and loops. Takahashi Yoshihiro (Brast Burn) was the man behind this cultish project originally released in 1974. Buried deep in time, this obscure artifact is something of a revelation. No group information was ever given, and no production date or location is indicated, however, it would seem that this record and the "Brast Burn" LP (also reissued by Paradigm) are both by the same group of Japanese nutters and that they were both recorded in the mid seventies in Japan. But all you really need to know is that it is stone cold fantastic, a wild and manic trip full to the brim with hypnotic jams constructed from all manner of eclectic instruments.
The tribal blues sound is augmented with fascinating tape experiments, electronics, environmental sounds, moaned (howled) vocals and a host of musical delicacies, as dangerous as they are delicious. The influence of German bands such as Can, Faust and Guru Guru is evident throughout, so too is the influence of the good Captain (Beefheart that is) whose gut wrenching blues dirges find compadres in this unearthed swamp. Deranged psychedelic music for anyone with a passing interest in Kraut rock, the new Japanese psychedelic scene (most of whom owe these pioneers a great debt) or great music from the edge of the solar system. Recommended.<iframe width="560" height="315" src="https://www.youtube.com/embed/6kWuJcXCYCM?si=qzWOtQkBPaAemmZ5" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>

