NEW ARRIVALS

Neon Castle hones in on a fleeting sub-genre of early to mid-’80s female fronted ambient folk. For a brief moment, glistening slide guitar, ethereal voices, fretless bass, drum machines and satin sounds all intertwined, conjuring a sound at once familiar and otherworldly—pop structures laced with strange visions. Some songs sway with the warmth of open ranch-land—originating from the same myths Stevie Nicks devoted herself to; others are shrouded with candlelit mysticism, crafted with the very staff Kate Bush might have wielded. Together, these pieces reveal a singular tapestry.

Compiled by Charles Bals—now in his third collaboration with Smiling C—Neon Castle affirms his rare gift for storytelling through sound. Each track unfolds like a scene from an imagined film: castles glowing with noble gas, kingdoms awash in purple haze, wild horses roaming free, hair cascading to the waist. The collection sketches a realm both new and 'upon a time', a world where fantasy takes shape through music. With Neon Castle, attentive listening becomes narrative.

Going Up, originally released in 1983, is one of the most curious and enduring records from British studio mavericks The RAH Band. Long out of print, it now sees its first ever vinyl reissue courtesy of Shocking Music and Rush Hour.

Led by super-producer, arranger, and multi-instrumentalist Richard Anthony Hewson, The RAH Band has always existed just outside the mainstream. Blending jazz-funk, sci-fi synth pop, and cosmic lounge, their sound never quite fit the mould. That might explain the cult status they’ve held ever since. Beloved by Balearic heads, rare groove collectors, and adventurous synth diggers, Going Up is perhaps their most influential record.

At the centre of it all is the intro track “Messages From The Stars”, the band’s runaway cosmic hit. A spacey, retro-futurist groove that has become a viral favourite in recent years, it now boasts hundreds of millions of streams, with a new generation discovering it through TikTok and YouTube. But it was originally just one track on this understated 1983 album.

The rest of Going Up is just as compelling, filled with dusty drum machines, off-kilter instrumentals, woozy vocals, and that unmistakable early '80s charm. It is a snapshot of a band in transition, blurring the lines between leftfield pop, sci-fi funk, and home-brewed synth experiments.

Out of print for over 40 years, Going Up finally gets the reissue treatment it deserves. Restored and remastered, and still sounding like nothing else.

Bringing together two distinct yet complementary forces in electronic music, Zohar and Nymfo join for their first collaborative release on Dekmantel.

Zohar’s sound is defined by razor-sharp precision and pulsating percussive energy storm-like sonics that disorient and excite in equal measure. With a background shaped by years of commanding dancefloors, she has carved a diverse and eclectic path, where rattling low-end and rhythmic tension form the foundation. Known for her technical refinement and mixing wizardry, Zohar intuitively seeks unexpected connections, always pushing her listeners into new territory. Following several contributions to Dekmantel compilations, this marks her first full-length release on the label.

Nymfo has been an essential figure in drum & bass since the late ’90s. Starting out in Eindhoven’s rave and jungle scene, he quickly became known for his fierce DJ sets and later, his productions. His catalogue spans acclaimed labels such as Metalheadz, 1985 Music, Commercial Suicide, Hospital Records, Critical, Dispatch, Shogun Audio, and many more. With two albums and a steady output of singles and EPs, Nymfo has consistently balanced raw dancefloor energy with a deep, refined production ethos.

Their paths crossed countless times in the scene, yet it wasn’t until Dekmantel invited them for a special Dekmantel Connects performance an ambitious setup with eight CDJs and four mixers that they shared the decks for the first time. The synergy of that moment carried into the studio, where their collaboration took shape. This release now returns them to the Dekmantel family, presenting their joint vision: a dialogue between low-end weight, rhythmic intricacy, and forward-thinking club sonics.

“Tunggak Semi” is the third album from Indonesian musician and producer Bambang Pranoto. Originally released in 2000, it’s an exemplary slice of what has become his signature style, a dream-like meditation on aspects of nature, combining elements of accordion, acoustic guitar, flute and percussion. The compositions cross eastern and western notation to inhabit a world of their own, a world between worlds, where harmonies reflect the beauty and joy of nature.

Bambang had a rather atypical entry into music, and studied electronics and telecommunications, before he took advantage of the wave of computer software like Cubase and Protools in the 1990s that enabled him to set about recording his own compositions and soundscapes. After playing in groups, he developed his own approach to constructing his productions. He invites musicians to record interpretations of his themes, which he then pieces together in Protools like a jigsaw puzzle. “The musicians have never even met!” he chuckled on a Skype call.

“Tunggak Semi” refers to the giant trees that appear all over Bali, and their process of renewal and regeneration. “If you cut the tree, and leave the roots, they will grow again. Everytime we cut, they grow again. It’s limitless. This philosophy means there’s always something new coming, whether an idea or music, anything.” This approach has grown out of Bambang’s studies into meditation, including Indian and Chinese scriptures, also Balinese and Indonesian religions. Music, like meditation, is a daily practice, and acceptance of the music and its ‘unfinishedness’, forms a central part of the process.

“We must not just think, but we must also feel, and we must accept that feeling,” explains Bambang, and that’s a step of opening one’s mind to possibility. It seems in keeping with two of Bambang’s musical inspirations, namely Ryuichi Sakamoto and Peter Gabriel, both known for their love of world folk music, and fusion of musical traditions. That’s mirrored in Bambang’s own collage-like approach, recording elements and piecing them together to make something unimagined. While the acoustic sound palette for “Tunggak Semi” is rooted in live recordings, Bambang is not afraid to put the digital technology to good use.

“We have to use the computer as a tool in the best way we can,” Bambang says. “Sometimes people say music is made by people, not by the computer, but it’s just another piece of equipment. What can we compose from this equipment? It’s technology music!”

Written and produced by Bambang Pranoto at interactive garden studio, Depok, Bogor between September and December 2000. 2025 version remastered by Wouter Brandenburg at Brandenburg Mastering.

Limited Japanese edition. Years before Scientist and Jammy battled the space invaders, Tradition dreamt up a sci-fi jazz/dub odyssey in north London.

Captain Ganja and the Space Patrol is one of the most singular dub albums that barely saw the light of day. A conscious effort to create a new breed of dub centred around the cosmic synths and keys of Paul Thompson. Making use of an early Roland sampler, Tradition broke away from the standard drum / bass workouts that ruled the day. With the Captain, dub becomes an atmosphere, a feeling, not a formula - littered with baby’s cries, tribal chants, radiophonic noodlings and library soundtracks for space-age bachelor pads.

Bag of Max Bag of Cass is a joint work from Zach Hill and Lucas Abela. Hill, while primarily known as a founding member of Death Grips, is a titan in music—a visionary drummer, master of velocity and compositional design. Abela’s practice stands alone in the world of free improvisation, forging entire universes literally from shards of amplified glass. These aren’t songs so much as vast, textured fields. Here, noise becomes a sonic environment of focus and intensity. For all its volatility, the music holds an unlikely stillness. Hill’s rhythms refract against Abela’s sustained, splintered overtones, forming a labyrinthine architecture ever ready to ensnare you.

Growing up in the sound system culture of Leeds in England, George spent a fiver, courtesy of his mum, on a battered old speaker box he named “Echo45”. That box led him to Kevin Harper, a founding member of Nightmares on Wax, a chance meeting that would change the course of his life.

With the latest music “Echo45 Sound System”, Nightmares On Wax takes that lineage a step further—a mixtape that feels like both a celebration and a declaration. It's a living, sound system journey inspired by the original “Echo45” speaker box that merges soul, roots, hip-hop, dub, and electronic textures with a fearless spirit.

Featuring a carefully curated ensemble of collaborators—including Yasiin Bey, Greentea Peng, Sadie Walker, Liam Bailey, and more—the record doesn’t just reflect where Nightmares on Wax has been. While deeply rooted in his origins, sound system culture, and pirate radio, it boldly announces where he’s going.

80年代レゲエ界に革命を起こした最強のリディム"Sleng Teng”に乗せた沖縄民謡、ウチナースレンテンプロジェクトがついに始動。待望の7インチリリースが決定！

Churashima NavigatorのNu-dohとISLAND HERLEMのSHINGO (MC)のDJユニット島's (シマーズ) による、80年代レゲエ界に革命を起こしたリディム "Sleng Teng"に乗せた沖縄民謡のわらべうた「赤田首里殿内」を7インチでリリース。カップリングには「てぃんさぐぬ花」を比嘉いつみ(唄、三線)そして、宮古島出身のBlack Wax、浜田真理子のサポート等で活躍するMARINO（Sax）をフィーチャー。録音、編集は沖縄を代表するアーティストHARIKUYAMAKUが担当。

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1980年代、ジャマイカのダンスホール・シーンにコンピューターライズド革命を起こしたモンスター・リディム"Sleng Teng（スレンテン）”。沖縄で、詠み人知らずの唄として古くから歌い継がれてきた民謡「赤田首里殿内（あかたすんどぅんち）」、「てぃんさぐぬ花」。島’sのDJ Nu-dohが25年もの間、構想をあたため続けてきた「Sleng Teng×沖縄民謡」のチャンプルー・プロジェクトがついに実現した。そもそもは「"Sleng Teng”を聞いて、これは音階的に沖縄民謡が絶対合うとピンときた」のが始まりだと言う。かつて名曲「バイバイ沖縄」が生まれたように、レゲエと沖縄民謡は惹かれ合う。それを直感できるのは、まさにうちなーんちゅの血というべきか。「赤田首里殿内」は、もとは琉球王朝時代に首里殿内にて弥勒（みるく）様を迎える祭礼で歌われていた唄。今では“シーヤープー シーヤープー”などの囃子に合わせて、子どもたちが体を使って遊ぶ童歌としても親しまれている。「てぃんさぐぬ花」は、親の教えを心に染めなさいと歌う教訓歌。両曲とも沖縄では幼い頃から耳にすることの多い代表的な民謡だが、たとえうちなーぐちがわからない人でも、ふとメロディーを口ずさんでしまえるキャッチーさがある。その選曲の意図には「気軽に親しめる曲で世界中に沖縄の唄が広がってほしい」というDJ Nu-dohの切な願いがある。「必ず会って話をして音楽を作る」をモットーに、参加アーティストと友小（どぅしぐゎー）の絆を育み、音遊び、唄遊びを共にして完成した入魂作。25年越しに実った“ウチナースレンテン”が、2024年、世界に羽ばたく。

文／岡部徳枝

"For A Fleeting Moment" is the result of the dialogue between the Swiss photographer Simone Kappeler and the Japanese musician Tomotsugu Nakamura initiated by IIKKI, between March 2023 and May 2024.

the complete project works in two physical imprints:

a book and a disc (vinyl/cd)

it should be experienced in different ways :

the book read alone

the disc listened to alone

the book and the disc read and listened to together.

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Tomotsugu Nakamura is a musician and graphic designer residing in Tokyo, Japan. His primary artistic practice is to compose music with some fragments of minimal acoustic and electronic tones and some field recordings. In Concert, he he has played with various genre of musicians and his works have been released by Kaico, Audiobulb Records, and more recently by the French label LAAPS.

After studying photography, music, drawing in a Fines Arts school, David Nissen changed direction to get involved in cinema where he works there as director of photography for feature films or advertising, without ever forget about photography. French photographer David Nissen takes us on an atmospheric journey through fog, rain and fading lights. Explaining that he enjoys being in a contemplative state, he says he enjoys walking, driving, listening to music, which inspires him a lot. He is looking for a strong, powerful light, an atmosphere that can tell a story, which will be an invitation to travel through his images. With a background in cinema, it makes sense for him to approach photography like a director in search of the perfect location… the result is broody, sublime, as well as cinematic. His shoots in France and abroad are opportunities to exercise his photographer's eye, to make such personal and intimate series of photos during solitary wanderings in places that each have their own story to tell or to invent. The rare human beings who appear take on the appearance of movie characters whose enigmatic thoughts we would like to know...the visual strength of certain places or architectures, under singular light atmospheres, takes the visitor into a fiction in which he himself becomes an actor is an exchange of glances. Also photographing through impurities or raindrops, his search for materiality gives a thickness that we encounter in painting, his approach to photography is deliberately pictorial and emotional.

For him, cinematography and photography are two passions that merge and feed off each other: Write a story with Light.

« If cinema and photography have a marked tendency to intersect, it is because there are affinities and contrasts between them that bind them by nature. The photographic image being consubstantial with the cinematographic image, there are relations of opposition at the level of the modes of existence of their images for a spectator: on the one hand the animated images, in sequence, projected, temporalized... other, the single fixed image, printed, not temporalized. As a result, everyone can try to approach the other, cinema proves the experience of photographic fixity with the freeze frame, while photography experiences the experience of cinematographic sequentiality with the representation of movement with the effects of shake or spinning in his photos.

A brief historical and technical reminder makes it possible to establish that the similarities are due to the fact that photography is the fundamental material element at the base of cinema: the cinematographic photogram is by nature a photographic image. With the photo, the spectator generally has a close relationship, which allows him to enter into a relationship with it by sight and touch: the photograph is an image that the spectator can hold in his hands to look at it, he is somehow physically "attached" to the image. This attachment is physical, allowed by the small size. With the cinema, the spectator has a relationship of relative remoteness and comes into contact with him by sight and hearing. This distancing, this physical detachment, this border between the viewer and the film that the large format facilitates, the viewer's gaze "plunges" into the image. For the photo, this place is above all a private, intimate, enlightened environment in which it has an assigned place, arranged, collected, hung... the viewer does not really have to move, he can freely choose the moment of reading and manipulate the photo, the viewer has a certain hold over the photo. For the film, the place is often a public space, specially designed and dark, the spectator must move, "we are going to the cinema" take his place and a seated position, motionless, passive. The moment of reading is programmed, the viewer has no control over the film. » David Nissen

Nobody brings the ruckus quite like the Japanese. IKKII records invited Masaya Ozaki & Kaito Nakahori to join forces with visual artist Erwan Morère to create a hazy landscape of distorted violins on one of 2017’s most trying ambient noise efforts. Mythologies is limited to 300 copies, all fitted with beautiful hand-made artwork. Highly recommended for those who love drones in all colors of noise.

Akhira Sano is a Tokyo-based music artist who has recorded since 2019 several albums on labels such as Important Records, IIKKI, and recently 12K among others. Working with electronic, instrumental, and concrete sounds, he crafts immersive assemblages of long overlapping tones and blurred resonance, cut through with textural crunch and hiss.

Aiko Takahashi is a Nova Gorica-based musician, a spirit that has released albums on various labels. Just like the line that separates the two cities where Aiko lives, Gorizia and Nova Gorica, divided between two countries yet united as one, Aiko’s music exists on a boundary. A line that separates silence from peculiar, almost imperceptible sounds. Too quiet to be Ambient, too Ambient to be Sound Art.

Two years ago, after a first complete release on IIKKI with "It Could Have Been A Beautiful", Aiko Takahashi comes back with a second complete album, this time, on LAAPS.

"This album is a delicate, meditative collection recorded between March and November 2024 in Aiko's former studio, a secluded spot near the River Isonzo, between Gorizia and Nova Gorica in Slovenia. The Grass Harp was made specifically for LAAPS, who asked Aiko to create a new complete piece of sounds. As always, it was largely recorded using dense layers of manipulated loops that weave in and out of the recordings, shaping them in a singular way through effects pedals, tape decks, and tape loops. The Grass Harp is a meditation on decay and silence, blending warm soundscapes with soft, playful melodies. That’s Aiko’s signature sound."

Tomotsugu Nakamura is a musician and graphic designer residing in Tokyo, Japan. His primary artistic practice is to compose music with some fragments of minimal acoustic and electronic tones and some field recordings. In Concert, he has played with various genre of musicians and his works have been released by Kaico, Audiobulb Records, and more recently by the recent label LAAPS.

’’Nothing Left Behind’’ is his second release on LAAPS after his well acclaimed album "Literature" released in July 2020.

A crucial introduction to the 'King of Kikuyu Benga' and the first career-spanning retrospective of the incredible catalogue of the late, great Joseph Kamaru.

17 tracks that run the gamut from vibrant dancefloor chants with high life-esque guitars, to afro funk, drum machine and keyboard driven disco grooves, and folk style laments. The music is raw, immediate, danceable, and packed full of memorable hooks. The incisive lyrics range from protest songs to relationship advice. Joseph Kamaru was an incredibly popular figure in his native Kenya, connecting with everyone from high-powered politicians to the rural and urban working class, and his music deserves a much wider international audience.

The visionary Walter Maioli (Futuro Antico, Aktuala) and the eccentric electronic musician John Zandijik first met in 1984 when they both gravitated toward the experimental Sound Reporters collective, participating in the release of Ethnoelectronics (1986). Shortly afterward, the two met at Zandijik's studio in Rotterdam, where they completed their journey of exploration to the edge of the Universe in just three nights. The recordings were made only after 3 a.m., when psychic energy is at its peak, and inspiration belongs solely to the realm of dreams. It was a ritual of long galactic fluctuation, where the mystical sound of the flute was filtered and expanded by the Aureal system, a device capable of breaking it down into cascades of aureal harmonies. Through its extemporaneous approach, the music transforms perceptions of ancient pyramids or tropical forests into phosphorescent nebulae, luminous fountain openings, and unprecedented planetary interstices—interstellar portals leading to new archetypal-ancestral visions. It feels like sailing through colored orbits in the red gases of Jupiter and Mars, lost and dissolved forever in the engines and gears of the most secret cosmos. Between Pink Floyd-esque psychedelic flashes and Tangerine Dream-inspired sidereal architectures, Maioli and Zandijik reveal the most phantasmagoric and unknown side of Sound Reporters.

Before Guaracha UFO propelled Meridian Brothers onto the international stage, Eblis Álvarez was already shaping his singular sonic universe in the shadows. Released only on CD in between 2009 and 2012 via local label La Distritofónica, Meridian Brothers VI and VII never had wide distribution or media exposure. Yet, these albums represent a crucial phase in the band’s evolution, capturing the energy of Bogotá’s experimental cumbia scene at the time.

On VI, Álvarez crafts a hallucinatory patchwork of cumbia and vallenato, using his guitar as the guiding thread before layering other instruments on top. VII pushes experimentation even further with a custom-built sampling algorithm, generating unpredictable loops and grooves. These two albums laid the foundation for the radical fusion and irreverent spirit that would later define Meridian Brothers.

Now reissued on vinyl for the first time, these historic recordings offer a raw and fascinating glimpse into the origins of one of Latin America’s most forward-thinking musical projects.

Before Guaracha UFO propelled Meridian Brothers onto the international stage, Eblis Álvarez was already shaping his singular sonic universe in the shadows. Released only on CD in between 2009 and 2012 via local label La Distritofónica, Meridian Brothers VI and VII never had wide distribution or media exposure. Yet, these albums represent a crucial phase in the band’s evolution, capturing the energy of Bogotá’s experimental cumbia scene at the time.

On VI, Álvarez crafts a hallucinatory patchwork of cumbia and vallenato, using his guitar as the guiding thread before layering other instruments on top. VII pushes experimentation even further with a custom-built sampling algorithm, generating unpredictable loops and grooves. These two albums laid the foundation for the radical fusion and irreverent spirit that would later define Meridian Brothers.

Now reissued on vinyl for the first time, these historic recordings offer a raw and fascinating glimpse into the origins of one of Latin America’s most forward-thinking musical projects.

Nicola Ratti, Alessandra Novaga, Enrico Malatesta

Imagine a series of small movements in an empty space. Imagine their shadows on the floor, there’s a natural light sliding in from the 3 windows on your right side. There’s no silence here. There are people outside waiting for others, waiting for the people since what we do is not visible, since we do it when in silence and there is no silence here.

Nicola Ratti: synthesizer, piano, whistling

Alessandra Novaga: electric guitar

Enrico Malatesta: percussions

Recorded, mixed and mastered by Giuseppe Ielasi, Monza, 26-27 February 2022. Special thanks to Centro d’Arte di Padova.

Nicola Ratti is a versatile musician and sound designer who has long been active across diverse experimental fields. His sound production creates systems shaped by repetition and expansion, with a particular focus on building environments that resonate with the spaces and architectures we inhabit, and on balancing the emotional and perceptual orientations to which we are accustomed.

Alessandra Novaga is a guitarist who has been exploring, for years, the possible territories her instrument can lead her to. She has crossed through the most classical worlds, reaching into intangible abstractions without setting boundaries between the two. Sound, meanings, encounters, and narratives are the elements that guide her path.

Enrico Malatesta is a percussionist and independent researcher working within experimental contexts that intersect music, performance, and territorial investigation. His practice explores the relationship between sound, space, and movement, and the vitality of materials, with a particular focus on surfaces, listening modes, and the articulation of multiple layers of information through an ecological and sustainable approach to percussion instruments.

Gaudi’s Jazz Gone Dub is a masterclass in genre fusion, seamlessly blending the improvisational essence of jazz with the heavy atmospheric grooves of dub. Known for his eclectic approach to music production, Gaudi pushes the boundaries yet again, creating a sonic landscape that feels both nostalgic and refreshingly innovative.

Four years in the making, from the opening track it’s clear that Jazz Gone Dub is more than just a mashup of styles, it's a thoughtful exploration of the intersections between two rich musical traditions.

Gaudi’s multi-instrumental talents are on full display, and the presence of reggae royalty is palpable, courtesy of rootsy melodies from David Hinds (Steel Pulse), Jah Wobble’s iconic bass grooves, Ernest Ranglin’s intricate guitar lines and Sly & Robbie’s rhythmic genius.

Add Colin Edwin of Porcupine Tree, Sardinia’s Train to Roots band, Manu Chao collaborator Roy Paci, veteran guitarist Marcus Upbeat, Mr Woodnote and Tim Hutton’s brass work, Gavin Tate-Lovery’s sultry sax and flute, Horseman’s percussive flair plus Vlastur’s serious basslines, and the result is a rhythmic foundation that’s both solid and fluid, allowing the jazz elements to float freely above the dub undercurrents.

Despite this star-studded line-up, Gaudi remains the glue that holds this gem together: his production is meticulous yet organic, allowing each track to breathe and evolve naturally. The use of space, delays and reverb—a hallmark of dub music—is expertly handled, giving the album a dreamy, immersive quality. Tracks like Susceptible and Alabaster Moon showcase Gaudi’s ability to create mood and atmosphere without sacrificing melodic and rhythmic complexity.

In Jazz Gone Dub Gaudi has crafted an album that feels both timeless and forward-thinking, a celebration of musical synergy where the free-spirit of jazz meets the deep resonance of dub. Whether you’re a fan of either genre or simply appreciate masterful musicianship and innovative production, this album is a must-listen.

Yokota's most upbeat and playful release on the Skintone label.

Will heralded a disarming, groove-based return to deep house. A wild melange of bumping beats, freestyle samples and esoteric goodness. Recorded over the same period as Grinning Cat this anomaly within the Skintone catalogue was seen as a way to circumvent the swirling politics of his club-oriented releases elsewhere.

In itself Will was a reminder of Yokota’s ability to deliver a complex array of sounds within a more recognisable format.

Glimmers of a missing link in the connective tissue between the hardcore continuum and Dub-Spectrum arts. A tome all its own, as if one is sifting through an archeological dig in aural form, hearing layers of the past, present, and future.

Om Unit presents Acid Dub Versions III, the third set of remixes of material taken from all three volumes of his legendary Acid Dub Studies album trilogy. Taken together, all three Acid Dub Studies releases and their remix companions have proven a highly influential series, and Om Unit’s best-selling work by far. He’s toured relentlessly throughout the EU and the US throughout 2025 presenting live versions of the material to consistently sold-out crowds and overwhelmingly positive response from both longtime fans and newcomers alike.

The album celebrates the legacy of the acid dub project with a high-caliber set of remixes. These include such prolific luminaries as Daniel Avery, Satoshi Tomiie, Richard Fearless (Death in Vegas), Tadd Mullinix (as Dabrye/Ghostly International) and Tilliander (TM404/Mokira/Kontra-music).

Portland-based dub generals Alter Echo and E3 (of BSI Records and ZamZam Sounds fame) and UK dance pioneer Bok Bok (Night Slugs) join forces with newer faces like Beatrice M (Tectonic/Tempa), Dubrunner (Menace), Azu Tiwaline (Livity Sound), N1_Sound (Spiritual World), Krotone (Of Paradise/Challenger Deep), Piezo (Subaltern/Hundebiss), RS Tangent (Trilogy Tapes) and lowkey noise/techno/ambient polymath Misseterspoon (Avon Terror Corps).

Each artist was given free reign to interpret using material from anything from all three albums. The result is a heady mixture of dubs from many angles, each one multi-faceted and high-quality. The variety of approaches puts Acid Dub Versions III firmly in the realm of legendary modern dub compilations as Macro Dub Infection and Box of Dub.

With the possibility of more acid dub in the works from Om Unit, Acid Dub Versions III stands as a testament to the project's ongoing evolution—bridging scenes, generations, and styles—and reinforces its lasting influence on the trajectory of 21st century electronic music. This is definitely one for the heads.

The 9th Riddim Dub School psychonautic explorations in the 5th dubmension. The first side brings us DARE! VAMPIE, a tune made by Prince Istari and Nozomi in courtesy of the Dubstressors. This was done while Prince Istari holds a Dub Science seminar. Here you go with four versions in a strip down dub style. Flipside brings synth line driven stepper SONIC ATTACK OF THE CIRCADAS. that one and the following two versions of DUBMENSIONAL SACNTUARY are both supported by the old Hohner Rythm 80 percussion machine. Is Prince Istari dropping out from mid highschool with this release? Or will he be back for the 10th grade? we may see.