NEW ARRIVALS

Sensible Soccers return to 8mm Records with a remix EP that hands three standout tracks to a trio of cult producers. Tolouse Low Trax transforms ‘Efeito Zandinga’ into a hypnotic collision of afrobeat rhythms and stripped-back techno, while Danilo Plessow reworks ‘Saravá’ into a driving acid house cut that balances club energy with the warmth of the original. Peaking Lights close the record with a spacious reinterpretation of ‘Rosa Mota’, drawing out its dub and psychedelic elements into a drifting, cosmic finale. Together, the three remixes offer contrasting perspectives on Sensible Soccers’ sound, connecting psychedelic dub, afro-futurist rhythms and adventurous dance music.

Enigmatic label/collective life is beautiful fully establishes its lore on a colossal 3LP sprawl: 39 tracks of whimsical outsider biz arcing from lo-fi strums to asymmetric pop, jazz improv, poetry, noise, abstract hip-hop, spoken word and whatever else captures the thing, from artists you'll know and a fair few you won’t, featuring Bianca Scout, aloisius, VOICE ACTOR, James Massiah, Kenichi Iwasa, THE NARRATOR, Isaiah Hull, Pretty V and many, many more. A self-styled gesamtkunstwerk, life is beautiful was established by aloisius in 2022 as a radio show, before turning into a collective, a series of live performances, and then inevitably a record label a year later. Their first comp makes some attempt to pull all their various strands into something cohesive, but like many of the best collectives - Mica Levi’s Curl crew for example - so much of the beauty and joy comes from following the breadcrumb trail deep into wherever they take you. This is a label, after all, that dumped their demos and experiments ("resources and inspiration") on a file exchange portal on their own site, so you get the idea that nothing is quite fixed, and there are no easy answers - just the pleasure of tagging along for the ride. The set opens with tracks from each of the founders, who establish the label's core sound. NWAKKE begins with 'i need you in a positive way', a cloudy hypnagogic R&B marvel that juxtaposes cool-headed vocal runs with tape-fucked field recordings and piano. Then, the mic's handed to Amber Joy, aka THE NARRATOR, who also serves as the label's artistic director; on 'SUDDENLY', she oozes a skittish post-everything collage that chops cheap synths and choral vocals into a dreamy modern hymn. aloisus' 'you are god' runs out of its stuck groove as if it emerges from the very same thought, blurring gospel moans across LinnDrum loops. Bianca Scout hands us a taster of her collaborative work with London's Cajm on the hypnotic 'Welcome to Hello', while poet Isaiah Hull teams up with y+Your for the wonked 'vampire money'. Basically there's a whole record of music from the crew before 'veneration...' even begins in earnest, and it only gets better from here, running through aesthetic experiments from multi-instrumentalist Kenichi Iwasa, self-styled "beat wizard" psychedelic ensemble. (who's one half of Brum's Everything is Psychedelic with Tony Bontana) and Thom Dehli before we reach the compilation's crown jewel, a 21-minute live jam from okk70 ensemble. We can't tell you exactly who's playing, but it's worth the price of entry alone, a squirming slo-mo jazz side that gets to the roots of the life is beautiful sound - like some cross between ’87 era Prince and Oren Ambarchi’s Ghosted Trio, except deep in the basement. Elsewhere, there's a chewably eccentric solo moment from Bianca Scout ('superscribe 24'), a phenomenally moody collaboration between VOICE ACTOR and aloisius ('24'), a spirited, lo-fi transmission from London's josiane pozi and a deeper than deep jam from orchestra379, aloisius' "collective improvisation project" that's featured artists like Ben Vince, Kenichi Iwasa and abi asisa. Label comps are often a slog but this one's stuffed to the gills with genuinely creative experimentation from some of the scene's most interesting outsiders, the sprawl really does come close to harnessing the vibe.

cv313’s Altering Illusions returns with five signature cuts alongside a rare, otherworldly dub from the elusive Radius project. Mixed and recorded in Detroit, the collection distils cv313’s deep, reductionist techno into long-form, analogue meditations. Remastered by Stefan Betke (Pole) at Scape Mastering, the sound is given renewed depth and clarity without losing its raw, submerged character. This edition also introduces an additional piece drawn from the interpolation tapes series, pushing further into cavernous low-end and hypnotic repetition. Across its runtime, Altering Illusions moves with patience and weight, built from sub-bass pressure, minimal structure, and finely tuned atmospherics—hallmarks of cv313’s enduring approach to dub techno.

Rattly, stripped-to-the-bone IDM gear that harks back to simpler times, BOT1500's second proper album is simple and elegant, more concerned with the emotional weight of its melodies than the complexity of its beats. You might remember Shinichi Koboyashi's last BOT1500 album 'Surreal', that appeared back in 2022 on AD93's Lith Dolina sublabel. And since then he's been relentlessly prolific on his Bandcamp, issuing regular single track updates that chart his creative process. But 'The Black Sea' is his first longer set in a while, assembling a handful of tracks that highlight his recent interest in minimalism, emotion and dub production techniques. The familiar monosynth groans and dry, jazzy breaks on 'Abstract Springs' might resemble Squarepusher for a moment, but it's much chillier, sparser gear, with space around each element that softens the impact of the hyperactive edits. And on 'Shadows', that same mood pervades the track even when the beats have been silenced; Koboyashi gives just as much importance to his chiming analog synths, coaxing out fragile melodies that sound as if they've been plucked out of time. And there's a precision to his programming that's immediately impressive. On 'XB 1', his soft focus glitches and woody hits graze the post-dubstep landscape but subtly reframe it, setting the meticulous rhythms against echoing single note sine hits and melancholy pads. And the track's sequel 'XB 2' is an even harder punch to the gut, with exquisite melodies and knife-edge drums that shuttle us right back to 1996 for a moment, an underground dominated by Clear Records, Spymania and Rephlex.

Lee 'Scratch' Perry – Disco Devil Vol. 3 continues this archival run from Studio 16, collecting six extended mixes cut at the legendary Black Ark between 1977 and 1979. Drawing together key voices including Jolly Brothers, Max Romeo, Leroy Sibbles and Devon Irons, the set captures Perry’s studio at full tilt—stretching rhythms into hypnotic, echo-laden excursions. From the meditative pull of ‘Conscious Man’ to the driving force of ‘Dread Lion’, these versions foreground the interplay between vocal and dub, with Perry reshaping each track through space, repetition and raw analogue effects. Later edits of ‘Forward With The Orthodox’ and ‘When Jah Come’ round out the set, linking the original sessions to their continued legacy. A vital snapshot of Black Ark-era invention, where roots reggae meets dub at its most exploratory.

The new opus on Macadam Mambo is a very special double LP by the Italian artist Oltrefuturo. Inspired by the Adriatic Sea where he is coming from, Valerio (Oltrefuturo) composed 8 tracks in between Ambient, Dub and Downtempo full of emotions reflecting his environment. The Music is gorgeous with special vocals and atmospheric lines, and very cool down beats. It’s an album to listen at home but it can easily be played in the club at the right moment (check the tracks “Die Kosmmische Trance” and “Ritmo Tre”). 8 long tracks specially pressed on 2 vinyls for a louder sound. TIP!

The legends of the golden era of Italian soundtracks and library music go by many names, but the backbone of that era’s definitive sonic identity is most often identified as I Marc 4 (also known as Marc 4 or I Marc Quattro). While the moniker might be less familiar to the uninitiated, it is a simple acronym derived from its founding members: Maurizio Majorana (bass), Antonello Vannucchi (organ), Roberto Podio (drums and percussion), and Carlo Pes (guitar). The number "4" serves to highlight the core synergy of these four master musicians. Their journey began in Rome’s vibrant jazz scene of the 1950s and early 1960s, where they honed their craft as members of the RAI national orchestra and collaborated with the most prominent jazz and pop icons of the day. However, it was their pivotal role in defining the Italian cinematic sound of the 1960s and 1970s that secured their legacy. Their unmistakable style was an eclectic fusion of beat, jazz, classical, and Latin influences—textured with early synthesizers, experimental sound effects, and a blend of electronic and baroque instrumentation. Consequently, their initials are etched into the credits of countless landmark recordings by legendary composers such as Nino Rota, Armando Trovajoli, Gianni Ferrio, Alessandro Alessandroni, Piero Umiliani, and Ennio Morricone. Beyond their work as session luminaries, they produced a vast body of library music under their own name at the legendary Telecinesound Studios in Rome. These recordings were released through prestigious library labels like Sermi, Ricordi, and Fonit Cetra, as well as through their own imprints: Nelson Records, Silver Men, and Silver Music, spanning a definitive series of sixteen albums. Ten of these volumes were issued on Nelson Records during the 1970s, featuring the now-iconic military stencil design. Each release was color-coded: red (G.L.P. 1001), dark blue (G.L.P. 1002), gold (G.L.P. 1003), light green (G.L.P. 1004), brown (G.L.P. 1005), black (G.L.P.1006), light blue (G.L.P. 1007), yellow (G.L.P. 1008), orange (G.L.P.1009), and cool green (G.L.P. 1010). The series was completed by two elusive companion releases: S.M. 2001 on Silver Music and S.M. 2002 on Silver Men, both presented in the same distinctive brown sleeve. Rediscovered in the 1990s and 2000s, these Nelson releases have since achieved cult status among collectors, producers, and DJs worldwide. The final two installments, S.M. 2001 and S.M. 2002, remain the rarest and most enigmatic of the set. Often overlooked, they contain some of the most profound "hidden gems" in the group’s catalog. The tracklist traverses a wide stylistic spectrum: from the rare groove and proto-hip hop energy of "Trama Nella Metropoli", "Beat Morbido", and "Candy", to the lush cinematic atmospheres featuring the ethereal vocals of Edda Dell'Orso on "Summer In Love", "On The Rain", and "Arcobaleno". The collection is rounded out by sophisticated jazz pieces like "Flauti Ensemble", "Passeggiata", and "Atmosfere Dolci”. Sonor Music Editions has meticulously curated the finest moments from these two rare albums for this first-ever dedicated reissue. Bringing together the best of Silver Music (S.M. 2001) and Silver Men (S.M. 2002), this release retains the iconic stencil artwork but introduces a striking silver finish. This design choice honors the original ten-album sequence while shedding new light on these outstanding recordings—works that remain, in every sense, golden.

Under the name The 4th Street Orchestra, in the mid-70s Dennis Bovell released a series of albums for the UK sound system scene, each pressed in limited quantities. YUH LEARN! stands as a fine example of Bovell’s creativity and production skills, a record with a strong Jamaican roots appeal, loved by sound system selectors and capable of taking every listener on a deep journey through the many shades of dub music. This is a limited-edition vinyl only, first time reissue of one of the rarest and most sought-after albums from Dennis Bovell’s legendary catalogue.

Here’s a monster of its own. Not to be confused with Trevor Jackson early 2000 project (even if the british producer has obviously been informed by post-punk, dub, post-industrial and the likes) Playgroup was more than anything a collective, based somewhere around Bristol and London. Drummer Bruce Smith was the key figure behind the project. Neneh Cherry husband and fabulous motorik force for The Pop Group, The Slits, New Age Steppers, African Head Charge and – more recently - Public Image Limited, Bruce brought the post-punk aura into the realm of controlled chaos with several partners in crime. Playgroup is the so-called English version of Jamaican dub, informed by the industrial revolution and the studio wizardy of On U Sound acolytes. Crucial Tony (Creation Rebel, Dub Syndicate, Singers & Players) on bass and guitars, Sean Oliver (New Age Steppers, Rip Rig & Panic) on guitar, the almighty Style Scott (Creation Rebel, Dub Syndicate, New Age Steppers) on drums and percussionists Eskimo (African Head Charge, Creation Rebel, Mark Stewart And The Maffia) and Bonjo I (African Head Charge) are among the main conspirators here. Produced by none else than Adrian Sherwood Epic Sound Battles Chapter One still resonates with its original dark humor and guerrilla warfare tactics.

Debut solo album for Alternative TV front man and long-time running UK punk scenester, originally released in 1980 on Deptford Fun City Records. Mark Perry was also the man behind the iconic Sniffin' Glue zine, founded in July 1976. The album was produced by Grant Showbiz, principally known for his work with The Fall, The Smiths and Billy Bragg, and it is literally an art-rock nugget. Sort of an autobiographical work, the record is full of twisted hooks, showing the dark side of post-punk. Less hysterical than the output released with Alternative TV, Snappy Turns should be considered as a post-apocalyptic pop record. It could have been easily included in the infamous Nurse With Wound list (guess what, his former band was there) introducing several connections to the so-called "grey area". In particular, the disturbing tape loops and the violin heard in "Death Looks Down" are perversely informed by late Throbbing Gristle, a band seriously informed by the same aesthetics (Alternative TV used to rehearse in TG studio in Hackney back in the days, while former ATV member Alex Fergusson founded Psychic TV with Genesis P-Orridge). As the shadow of doubt surrounds the nearby future, Snappy Turns could be easily an appropriate soundtrack. Contains two bonus tracks from the 1980s 7" Whole World's Down On Me.

After the space-time experience and the translation into music of the Bible of Japanese civilization, the Fulukotofumi, the following year, in 1973, Hiromasa Suzuki pushes his research and experimentation beyond the borders of his own country by venturing, with the usual companions of adventure (Kunimitsu Inaba, Hideo Sekine, etc.), along the lights and shadows of the Silk Road. A backward journey in search of the musical and cultural sources of mainland Asia, from the gates of India to the roots of China. If the Biwa lute characterized the previous chapter dedicated to the profound ancestral of Japan, here, the sitar, the Asian instrument par excellence, becomes a new narrator; Suzuki plans and manages the interventions by juxtaposing it with an opera that, like the previous one, always remains strongly jazz and rock, at times very similar to Ian Carr's Nucleus. A precious find in the endless and seminal musical archeology of modern Japanese music. Gatefold cover with insert.

The Fulukotofumi is the most important and ancient historical chronicle of Japan. The content of this work becomes an inspiration for the creation of a sound transposition of the legends and myths that most marked the spirit and inspiration of Hiromasa Suzuki, as a musician and as a high-level composer. The music that is concentrated between these grooves is a representation of the best that moved in the early seventies in the jazz-rock orbit at an international level; in addition, very strong infiltrations of tradition, characterized above all by the extremely calibrated and perfectly ad hoc interventions of the Biwa (lute of the Japanese tradition once used by blind monks to recite poems) and the Wadaiko drum. From its entirety, a highly evocative and magical sketch in nine suites emerges, a viaticum towards the most ancestral past of Japan, but at the same time also immersed in the modernity and expressive relevance of the land of the rising sun. A masterpiece that, buried for too long in the archives, is finally back reissued on vinyl with original graphics on its gatefold cover and enriched by an insert with the translations of the precious introductory essay contained in its original edition. Accompanying Suzuki's acoustic and electric piano is the crème of Japanese jazz that gives free rein to one's primordial instincts. Some passages come close to progressive, especially thanks to Kiyoshi Sugimoto's Allan Holdsworth style guitar.

You can recall John Lurie from his amazing performances in Jim Jarmusch ‘Permanente Vacation’ or ‘Stranger Than Paradise’ (even his cameo in Paris, Texas and Desperately Seeking Susan), but the long & tall man from Minneapolis is essentially an outstanding musician. From 1979 onwards he was the leader of The Lounge Lizards, a band he put together in downtown New York with the help of brother Evan (piano, organ), Arto Lindsay (on guitar), Steve Piccolo (on bass) and Anton Fier on drums. Their music was ironically labeled as "fake jazz", being their style a combination of punk rock attitude and no wave with strong doses of jazz. Over time they became increasingly appreciated for their originality which combined musical experiences gathered from all over the world, welcoming new members in the crew such as Tom Waits guitarist Marc Ribot. Their music still stood the test of time and their first live appearances are set to be remembered as wild and sophisticated at the same time.

Barry Brown in fine style, produced and arranged by Linval Thompson with rhtyhms from the Roots Radics and King Tubby's mixes...nuff said!

Thompson Sound proudly presents LINVAL THOMPSON & FRIENDS VOLUME 1, a set full of classics and the definitive roots reggae compilation of 2020. This solid set showcases a unique string of top reggae aartists including HORACE ANDY, FREDDIE McKAY, CEDRIC “CONGOS” MYTON, JUNIOR DELGADO or the same LINVAL THOMPSON, all of them at their best during the golden era of reggae (late 70´s early 80´s). All the songs has been produced by Linval Thompson who also offer us in this set two previously unreleased songs by Horace Andy and U Brown, which makes the set even more special. This compilation is the best opportunity to enjoy such an amount of reggae stars in one unique set; it also is the best way to highlight the importance of Linval Thompson as a producer, contributing to the solid development of Jamaican popular music

Classic 1978 album with Linval Thompson on vocals. Recorded at Channel One and mixed at King Tubby's. Essential in every collection!

An ode to a very good girl, Luna. It is my hope this record is soothing and trippy because it is trippy how soothing she is to me ºo∞Oº

Chicago’s excellent, shapeshifting Kino Disk chase 8004’s ace dub abstractions with Eustress’ actions in familiar meadows of overgrown FX, farming post-dub techno landscapes highly tipped FFO Vladislav Delay, Echospace, False Aralia. Peripheral to the Windy City’s fecund undergrowth, Indianapolis-based Heath Gillespie aka Eustress practises forms of dub techno at gauzy arm’s reach from the OG source. On the six tracks of ‘Exit’, his 2nd release for the label, he distorts familiar tropes to taste, diffusing a palette of windswept dub chords and unanchored bass in space crackling with an iridescent grayscale filament. His approach broadly swerves dub techno’s club momentum in favour of soothing meditation, letting everything hang out and slosh, loosely suspended in gritty yet lush amniotic plasm with an effect calling to mind the etheric depths of Echospace or even Werkbund’s atmospheric enigmas. A hands-on background as mixing engineer comes to the fore in his work’s sensory tactility, convecting minds from a slow tempest to beatific bliss-out, rumbles of distant dub chord thunder and carpet rolling gouch-out, ultimately stranding up on the 8 min peninsula of ‘Exit 6’, under a borealis play of smudged, harmonised light, nerves combed into the breeze.

Emotional Rescue returns after a much-needed year hiatus, refreshed and ready, as it moves into its 15th year, to further explore the environs of oft-forgotten musical secrets and present them to new heads and minds. To celebrate, the label looks back to one of its favourite collaborations, the music of French ‘Ethno-Industrialists’ Vox Populi! in presenting a truly unique EP of 'In Dub', inspired remixes by 4 fellow Paris based artists of today in Full Circle, Froid Dub, Krikor and Shelter. 'In Dub' takes a selection of songs from the series of albums reissued or compiled on Emotional Rescue and sister label, Platform 23, and gives the Master tapes to this talented ensemble to offer their own, unique dub reworks. Coming about after a special meeting of all the protagonists at a Paris warehouse party, the project explores the on-going advances in technology offered, mixed with pure talent and a respectful homage. Formed by Axel Kyrou and including wife Mitra, as well as long-term music and art partners Pierre Jolivet aka Pacific 231 and Francis Lafont aka FR6 Man, they forged a path from obscure, drum and drum-based cassette releases on to fully realized albums and compilations on their now cult Vox Man Records. Alexis Le Tan and Joakim’s Full Circle project starts, with their electronic dub remake of Soleyman Dub from the ‘Alternatif Réalisme’ compilation (ERC079). With releases on Good Morning Tapes, Offen and their own “Released” label, their plaudits as master diggers and producers of dubby tripped-out inspired electronics – releasing slowed Trance some 10 years before anyone else – is inspired. Tuning in and turning on the original dub into a mantra style slow-breaks (Digi)dub is the perfect experimental flavour. Jube Man is next, a twisted, psychedelic dub out by rising stars Froid Dub. The stand-out from the ‘Magiques Creations’ release (ERC052), an album that explored Vox Populi’s furtive post-industrial period of 1984 to 1988, Jube Man was the perfect selection by the duo of François Marché and Stéphane Bodin. Froid Dub have steadily developed their “cold” Digidub style to acclaim – releasing a steady flow of dub inspired electronics on their own label Delodio, as well as recently appearing on sister label Emotional Response’s 10th year anniversary collection, ‘All Trades’. Their haunting, shuffling and murky acid / piano dub, with the drifting “Space Echoing” of Mitra’s vocals from the live desk mix, creates a ghostly version to effect. Next, master mixer, producer and engineer Krikor serves a steppers remake with his “OverDub” of Zen-Dub. With a career that spans releases on Tigersushi, LIES and Soul Jazz, his sound has developed from Electro, House and Techno, to Acid, Bleep, Dancehall, Dub and touches of Gabba. Taken from Vox Populi!’s master-opus Aither (ERC030), the first of our reissues dating back to 2016, Zen-Dub’s pacey, lo-fi dub experience is transformed and overdubbed into an incessant sound system throb, a true bass quaking “steppa”. To close, Micro Climax is put through Shelter’s increasing avant dub exposition. Appearing on the likes of Growing Bin, Emotional Response and his own Protopost, as well for – and being in-house designer – on the much-missed Séance Centre, Alan Briand aka Shelter productions have developed from Balearic, Edits and House to explore Avant, Raga and live Dub productions. Appearing on the recent ‘Ethniques Pyschedeliques’ compilation on Platform 23 (PLA032), in original form Micro Climax is a sprawling 10-minute ethno-dub of whispered vocals, drone and sub bass. Shelter strips it back, keeping background effects, adding live bass and percussion to create a wonky, slow, shuffling ska-lite excursion to complete a true 'In Dub'.

Epic 2 hour trip of astral-planing, ambient psychedelia shimmering with displaced traces of pop, slurred acid grooves and ample flange. Definitely one for the road or rail trip this summer, and FFO The KLF, Fennesz, Jefre Cantu-Ledesma, Eno. “From the edges of a hallucinatory torpor, Rue des Garderies continue their explorations in psychedelia — Femacosmé presents here a new piece recorded live at the Pe:rsona festival, at Domaine des Éveils in the summer of 2025. An adventure guided by blur, the intangible, the impermanent, where layers, voices, sounds, and organic and synthetic echoes resonate, emerge, then fade away — as if to deceive reality, or at least our perception of it. More than two semi-improvised hours in which Rue des Garderies (Sweetzak, Désiré Bonaventure & Vasco Cesaretti) summon us to an astral yet motionless journey — somewhere between ambient, IDM, and post-pop.”

Habibi Funk’s new sister label Audible Beauty Records second release: A landmark collection retelling the untold story of Malaysian jazz featuring 9 songs from the legendary composer, arranger and trumpet player Johari Salleh. Salleh played a crucial role in shaping the sound of modern Malaysian music across radio, television, film and live performance and has composed dozens of popular songs in his decades long career. His personal musical passion always was jazz, reflected in this deep selection of jazz works that were previously unavailable unless you had one of the few dozen copies pressed locally in the 1970s. The album doesn’t only highlight his musical statue as a composer but also as a outstanding trumpet soloists bringing together jazz, spiritual undertones and Malaysian folkloric themes balancing slower pacing deep, modal grooves with more upbeat jazz funk leanings. For fans of Salah Ragab, Ahmed Malek, Mulatu Astatke, Dollar Brand and co.

Habibi Funk’s new sister label Audible Beauty Records debut release: We originally came across Soliao's music after visiting Malaysia and Indonesia as part of some DJ gigs for Habibi Funk and were immediately head over heels with the music. A landmark collection retelling the untold story of Malaysian jazz featuring 11 songs from the legendary composer, arranger and pianist Alfonso Soliano, originally recorded for Radio Television Malaysia (RTM) and only released in a run of a few dozen copies for radio broadcast. Widely regarded as one of the foundational figures of Malaysian music, Soliano blended jazz, Latin influences and traditional Malay musical forms into a uniquely local sound of all original compositions. The recordings also feature contributions from some of Malaysia’s most important musicians and composers of the era, including Johari Salleh and Ahmad Nawab. For fans of Salah Ragab, Ahmed Malek, Mulatu Astatke, Dollar Brand and co. The release includes extensive liner notes and previously unpublished archival photographs documenting Soliano’s life and legacy. Includes a special gatefold LP with a 12-page booklet attached to the sleeve and featuring in-depth essays, archival photography and historical material. Fully licensed from the Soliano family.

Kikagaku Moyo's debut album exerts an elemental power. Enlivening their sound with sitars, percussive drums, theremins, wind instruments and ethereal vocals, the band manages to sound powerfully spacious and lazily serene all at once. Their songs can be light as air, or heavy as earth. Many evolve out of intense experiences of engagement with the natural world. The album’s first track, “Can You Imagine Nothing?” was written over a night spent jamming on a suspended footbridge in remote mountains. As the song progressed the bridge began to sway, making band members feel as though they were floating weightless in midair. =Band Description= Kikagaku Moyo started in the summer of 2012 busking on the streets of Tokyo. Though the band started as a free musiccollective, it quickly evolved into a tight group of multi-instrumentalists. Kikagaku Moyo call their sound psychedelicic because it encompasses a broad spectrum of influence. Their music incorporates elements of classical Indian music, Krautrock, Traditional Folk, and 70s Rock. Most importantly their music is about freedom of the mind and body and building a bridge between the supernatural and the present. Improvisation is a key element to their sound.

Hotel bed in a cold sweat, a ceiling fan rotates slowly, flashbacks of helicopters and drones. He closes his eyes but it’s all strobes and explosions. What to do? Escape? Or stay and finish the mission? Meanwhile, sounds heard through the radio static turn into a motorik pulse, the clicks and clacks of the Complex, encryption deciphered, zoned-factor authentication - reprogramming its listener until all that’s left is a scrambled man.