Techno / House
650 products
A lifelong admirer of DAF, Fixmer has been playing El Que in his DJ sets for years, considering it one of the band’s most enduring and powerful pieces. His connection to the track and to DAF’s groundbreaking legacy is the core inspiration behind these two new remixes, created with both reverence and bold creative vision.
On the “El Que (Terence Fixmer Leather Remix)”, Fixmer remains close to the original’s raw, muscular pulse while injecting a sharp, modern club sensibility. The remix builds on DAF’s unmistakable rhythmics but adds a contemporary momentum that feels like a natural extension of the band’s DNA. “It was like imagining what I would do if I were a member of DAF today,” Fixmer says.
The second version, “El Que (Terence Fixmer Drive Remix)”, ventures deeper into Fixmer’s own territory: darker, hypnotic, and peak-time focused. Tension and release are crafted with surgical precision, taking the original’s spirit into a harder-edged, suspense-driven sound world. It’s a version built for late-night floors without ever losing the soul of El Que.
Fixmer explains:
“I’ve been playing DAF’s El Que in many of my DJ sets for years. It’s a track I deeply loved from the first listen. I’m super proud to have remixed DAF — one of my cult bands and a major influence on my sound and electronic universe.
For the "Leather Remix", I wanted to stay close to the original while bringing modernity and club momentum. For the "Drive Remix", I pushed the track toward darker, peak-time and hypnotic techno, keeping the soul of the original intact.
I wanted to make versions that make you think: ‘I know this track… but wait — what is this version? I want it!’ When I tested them, that’s exactly what happened.”
DAF remains one of the most influential bands in electronic music history. These new remixes by Terence Fixmer reinforce the timeless power of El Que while offering two striking, club-ready perspectives for a new generation of listeners.
Released in 2016, this album was created primarily using the legendary vintage 1980s Cheetah MS800 synthesizer, showcasing Aphex Twin's signature experimental spirit. Layering retro textures, it weaves thick basslines and uniquely distorted electronics into undulating currents that gradually pull listeners deeper. Its inorganic yet oddly humorous, strangely addictive texture is Aphex Twin's signature sonic magic. A singular classic born from the fusion of vintage gear devotion and futuristic soundscapes.
In the vibrant streets of Tembisa, South Africa, amidst the sprawling urbanity connecting Johannesburg and Pretoria, the story of Moskito began. Formed in 2001 by Mahlubi “Shadow” Radebe and the late Zwelakhe “Malemon” Mtshali, the group first emerged as a powerhouse of pantsula dancers. However, their undeniable passion for music soon led them down a new path—one that would cement their place in kwaito history. Spending countless hours on the street corners of their township, where they were born and raised, Shadow and Malemon danced and sang with an infectious energy that attracted crowds. It wasn’t long before the duo decided to channel their talents into a kwaito group, and after adding friends Patrick Lwane and Menzi Dlodlo, Moskito was born.
(Pantsula dancing emerged in the 1950s among Black South Africans in townships and continually evolved until it became intertwined with kwaito music culture. The stylized, rapid foot movements and characteristic low-dancing became associated with kwaito as it took over South African urban culture into the early 2000s.)
With limited resources, the group displayed immense creativity, recording demos using two cassette decks and instrumental tracks from other artists. They would rap and sing over an instrumental playing on one deck while the second deck records their performance. Their determination paid off when they submitted their demo to Tammy Music Publishers, who were captivated by Moskito’s style.
“Kwaito was the thing ‘in’ at the time. If you did music you did kwaito. We wanted to fit in and actually it was easy,” says Radebe. “We didn’t have engineers in the group, so the first time in a real studio was with Percy and Thami to record Idolar.”
That same year, the group released their debut album, Idolar, under Tammy Music. The album was an undeniable success reaching gold status selling over 25,000 units and earning them a devoted fan base across South Africa and neighboring countries like Botswana, Swaziland, Namibia and Zimbabwe. Moskito collaborated with industry legends such as Chilly Mthiya Tshabalala, who was known for his work with Thiza and Spoke ”H.” They drew inspiration from Thami Mdluli a.k.a Professor Rhythm, who had dominated the disco scene back in the 80s and 90s. Mdluli helped with musical arrangements and executive produced the album and signed on producer-engineer Percy Mudau, while Shadow and Malemon took pride in composing most of their songs. Like many of the rising kwaito artists of the time, they didn’t have music production or engineering backgrounds so they required support from engineers together their ideas down on tape.
They were inspired by South African kwaito icons like Trompies, Mdu, Mandoza, and Arthur Mafokate, alongside international heavyweights like Snoop Doggy Dogg, Dr. Dre, 2Pac, and R. Kelly, Moskito created a sound that was uniquely theirs—a perfect blend of local flavor and global influence.
Light in the Attic is honored to announce the long-awaited reissue of Synthesizing: Ten Ragas to a Disco Beat, the revolutionary 1982 album from composer and musician Charanjit Singh. Pairing Indian classical ragas with then-state-of-the-art Roland synthesizers and drum machines, Singh created an electronic masterpiece that was far ahead of its time.
Recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts, but that’s where the story begins…
Released in cooperation with Singh’s estate, Synthesizing: Ten Ragas to a Disco Beat arrives on June 26th. The 10-track album was remastered by Johanz Westerman at Ballyhoo Studio Mastering and stretched across 2-LPs for the highest quality listening experience. The vinyl was pressed at Optimal Media and housed in a gatefold jacket that replicates the original artwork.
An accompanying 16-page LP booklet features previously-unreleased photos and two new essays: the first from Arshia Fatima Haq and Jeremy Loudenback of Discostan—a multimedia collective and record label focusing on music from South West Asia and North Africa—while the other comes from filmmaker and writer Rana Ghose of event and film production entity REProduce Artists, who managed Singh in his final years and documented his triumphant return to the stage. Additionally, fans can find a limited-edition pressing of Synthesizing: Ten Ragas to a Disco Beat on ‘Pearlescent Transcendent Future’ Color Wax, while the album will also be reissued on CD with a 32-page booklet containing all of the above.
More on Synthesizing: Ten Ragas to a Disco Beat:
Indian multi-instrumentalist and composer Charanjit Singh (1940–2015) never intended to be an electronic dance music pioneer when he recorded 1982’s Synthesizing: Ten Ragas to a Disco Beat. Yet three decades later, his inventive use of state-of-the-art synthesizers and drum machines would prompt some to crown him the “Godfather of Acid House.” The real story, however, runs much deeper.
A native of Mumbai, Singh spent much of his career as a Bollywood session musician, collaborating with renowned composers like RD Burman and Shankar–Jaikishan, and appearing on some of the most iconic Hindi film hits of the ‘60s and ‘70s. Outside of the film industry, Singh recorded several of his own albums and toured the world alongside the era’s biggest stars—an opportunity which allowed him to collect new instruments, including synthesizers and other electronic devices. As psychedelia and disco wove their way into Bollywood scores, Singh was at the forefront, integrating a host of electronic textures into his work (his hypnotic Transicord introduction on “Dum Maro Dum” from 1971’s Hare Rama Hare Krishna is among his most recognizable performances).
By the turn of the ‘80s, however, Singh was disenchanted by the creative limitations of session work and embarked on a solo career. Not long after, on tour in Singapore, he discovered three Roland devices that had just hit the market: the TR-808 drum machine (released 1980), the TB-303 bass synthesizer (released 1981), and the Jupiter 8 synthesizer (released 1981). While this trio would fuel early electronic dance music in the coming years, Singh was among the first known artists to pair them on record when he was inspired to create his next album, Synthesizing: Ten Ragas to a Disco Beat.
Using only the three devices and recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats, while programming the TB-303 to follow classical Hindustani scales. From the hypnotic drones of “Raga Bhairavi” to the uplifting jams of “Raga Bairagi” the album proved perhaps to be a bit too visionary for its time. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts.
Two decades later, Dutch DJ and record collector Edo Bouman was in New Delhi when he came across an old copy of Ten Ragas. Bouman was astounded by what he heard—electronic music that had all the hallmarks of acid house, recorded five years before Chicago DJs coined the term. Bouman spent the next few years tracking down Singh and, in 2010, reissued the album on his label, Bombay Connection.
Soon, Ten Ragas became a viral sensation, sparking disbelief and debates about the origins of acid house. But, as Haq and Loudenback explain, those in the conversation “Had little frame of reference for [Singh’s] music outside of the parameters of western club music.” Viewed through the lens of the Hindi film industry, they argue, the album’s through-line comes into focus. In the ‘60s, when Western artists were looking to India for inspiration, Bollywood was “A laboratory for discovering sounds, and for harnessing every new technology that could be found or repurposed…. Singh’s album is more fittingly placed within the framework of the expansion of Bollywood’s experiments in disco, rather than that of acid house.”
“Perhaps this is yet another example of how a public engages with those who are ahead of their time,” adds Rana Ghose. “This record is a direct consequence of a centuries-old classical music form, rendered through the lens of a visionary who used the vanguard of technology at the time to recast it, resulting in an artefact that, almost 40 years later, is finding entirely new audiences in an era marked by a changing and uncertain global landscape of soft-power assertion. Considering this reassessment is as exciting as it is fascinating. Much like this record.”
While Ten Ragas sparked plenty of conversations within the electronic music community, it also gave a bemused Singh a surge of newfound fame during the final years of his life, allowing him to play with his live collaborator Johanz Westerman (Thee J Johanz) to thousands of fans at packed club shows and festivals in Europe, the U.S., and India. Among those fans are Australian duo Glass Beams (who covered “Raga Bhairav”), German electronic duo Modeselektor, and Thom Yorke, who ranked “Raga Lalit” as one of his “6 Tracks You Need to Hear” via the BBC.
Most importantly, however, Ten Ragas resonated deeply with South Asian artists, who saw electronic music from India being recognized with new reverence. In the words of Vish Matre (of the UK DJ duo Dar Disku), “This record will be remembered for, not being the predecessor to another genre, but being a precursor to a lot of new music from the diaspora that relied on it as inspiration.”
Light in the Attic is honored to announce the long-awaited reissue of Synthesizing: Ten Ragas to a Disco Beat, the revolutionary 1982 album from composer and musician Charanjit Singh. Pairing Indian classical ragas with then-state-of-the-art Roland synthesizers and drum machines, Singh created an electronic masterpiece that was far ahead of its time.
Recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts, but that’s where the story begins…
Released in cooperation with Singh’s estate, Synthesizing: Ten Ragas to a Disco Beat arrives on June 26th. The 10-track album was remastered by Johanz Westerman at Ballyhoo Studio Mastering and stretched across 2-LPs for the highest quality listening experience. The vinyl was pressed at Optimal Media and housed in a gatefold jacket that replicates the original artwork.
An accompanying 16-page LP booklet features previously-unreleased photos and two new essays: the first from Arshia Fatima Haq and Jeremy Loudenback of Discostan—a multimedia collective and record label focusing on music from South West Asia and North Africa—while the other comes from filmmaker and writer Rana Ghose of event and film production entity REProduce Artists, who managed Singh in his final years and documented his triumphant return to the stage. Additionally, fans can find a limited-edition pressing of Synthesizing: Ten Ragas to a Disco Beat on ‘Pearlescent Transcendent Future’ Color Wax, while the album will also be reissued on CD with a 32-page booklet containing all of the above.
More on Synthesizing: Ten Ragas to a Disco Beat:
Indian multi-instrumentalist and composer Charanjit Singh (1940–2015) never intended to be an electronic dance music pioneer when he recorded 1982’s Synthesizing: Ten Ragas to a Disco Beat. Yet three decades later, his inventive use of state-of-the-art synthesizers and drum machines would prompt some to crown him the “Godfather of Acid House.” The real story, however, runs much deeper.
A native of Mumbai, Singh spent much of his career as a Bollywood session musician, collaborating with renowned composers like RD Burman and Shankar–Jaikishan, and appearing on some of the most iconic Hindi film hits of the ‘60s and ‘70s. Outside of the film industry, Singh recorded several of his own albums and toured the world alongside the era’s biggest stars—an opportunity which allowed him to collect new instruments, including synthesizers and other electronic devices. As psychedelia and disco wove their way into Bollywood scores, Singh was at the forefront, integrating a host of electronic textures into his work (his hypnotic Transicord introduction on “Dum Maro Dum” from 1971’s Hare Rama Hare Krishna is among his most recognizable performances).
By the turn of the ‘80s, however, Singh was disenchanted by the creative limitations of session work and embarked on a solo career. Not long after, on tour in Singapore, he discovered three Roland devices that had just hit the market: the TR-808 drum machine (released 1980), the TB-303 bass synthesizer (released 1981), and the Jupiter 8 synthesizer (released 1981). While this trio would fuel early electronic dance music in the coming years, Singh was among the first known artists to pair them on record when he was inspired to create his next album, Synthesizing: Ten Ragas to a Disco Beat.
Using only the three devices and recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats, while programming the TB-303 to follow classical Hindustani scales. From the hypnotic drones of “Raga Bhairavi” to the uplifting jams of “Raga Bairagi” the album proved perhaps to be a bit too visionary for its time. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts.
Two decades later, Dutch DJ and record collector Edo Bouman was in New Delhi when he came across an old copy of Ten Ragas. Bouman was astounded by what he heard—electronic music that had all the hallmarks of acid house, recorded five years before Chicago DJs coined the term. Bouman spent the next few years tracking down Singh and, in 2010, reissued the album on his label, Bombay Connection.
Soon, Ten Ragas became a viral sensation, sparking disbelief and debates about the origins of acid house. But, as Haq and Loudenback explain, those in the conversation “Had little frame of reference for [Singh’s] music outside of the parameters of western club music.” Viewed through the lens of the Hindi film industry, they argue, the album’s through-line comes into focus. In the ‘60s, when Western artists were looking to India for inspiration, Bollywood was “A laboratory for discovering sounds, and for harnessing every new technology that could be found or repurposed…. Singh’s album is more fittingly placed within the framework of the expansion of Bollywood’s experiments in disco, rather than that of acid house.”
“Perhaps this is yet another example of how a public engages with those who are ahead of their time,” adds Rana Ghose. “This record is a direct consequence of a centuries-old classical music form, rendered through the lens of a visionary who used the vanguard of technology at the time to recast it, resulting in an artefact that, almost 40 years later, is finding entirely new audiences in an era marked by a changing and uncertain global landscape of soft-power assertion. Considering this reassessment is as exciting as it is fascinating. Much like this record.”
While Ten Ragas sparked plenty of conversations within the electronic music community, it also gave a bemused Singh a surge of newfound fame during the final years of his life, allowing him to play with his live collaborator Johanz Westerman (Thee J Johanz) to thousands of fans at packed club shows and festivals in Europe, the U.S., and India. Among those fans are Australian duo Glass Beams (who covered “Raga Bhairav”), German electronic duo Modeselektor, and Thom Yorke, who ranked “Raga Lalit” as one of his “6 Tracks You Need to Hear” via the BBC.
Most importantly, however, Ten Ragas resonated deeply with South Asian artists, who saw electronic music from India being recognized with new reverence. In the words of Vish Matre (of the UK DJ duo Dar Disku), “This record will be remembered for, not being the predecessor to another genre, but being a precursor to a lot of new music from the diaspora that relied on it as inspiration.”
Light in the Attic is honored to announce the long-awaited reissue of Synthesizing: Ten Ragas to a Disco Beat, the revolutionary 1982 album from composer and musician Charanjit Singh. Pairing Indian classical ragas with then-state-of-the-art Roland synthesizers and drum machines, Singh created an electronic masterpiece that was far ahead of its time.
Recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts, but that’s where the story begins…
Released in cooperation with Singh’s estate, Synthesizing: Ten Ragas to a Disco Beat arrives on June 26th. The 10-track album was remastered by Johanz Westerman at Ballyhoo Studio Mastering and stretched across 2-LPs for the highest quality listening experience. The vinyl was pressed at Optimal Media and housed in a gatefold jacket that replicates the original artwork.
An accompanying 16-page LP booklet features previously-unreleased photos and two new essays: the first from Arshia Fatima Haq and Jeremy Loudenback of Discostan—a multimedia collective and record label focusing on music from South West Asia and North Africa—while the other comes from filmmaker and writer Rana Ghose of event and film production entity REProduce Artists, who managed Singh in his final years and documented his triumphant return to the stage. Additionally, fans can find a limited-edition pressing of Synthesizing: Ten Ragas to a Disco Beat on ‘Pearlescent Transcendent Future’ Color Wax, while the album will also be reissued on CD with a 32-page booklet containing all of the above.
More on Synthesizing: Ten Ragas to a Disco Beat:
Indian multi-instrumentalist and composer Charanjit Singh (1940–2015) never intended to be an electronic dance music pioneer when he recorded 1982’s Synthesizing: Ten Ragas to a Disco Beat. Yet three decades later, his inventive use of state-of-the-art synthesizers and drum machines would prompt some to crown him the “Godfather of Acid House.” The real story, however, runs much deeper.
A native of Mumbai, Singh spent much of his career as a Bollywood session musician, collaborating with renowned composers like RD Burman and Shankar–Jaikishan, and appearing on some of the most iconic Hindi film hits of the ‘60s and ‘70s. Outside of the film industry, Singh recorded several of his own albums and toured the world alongside the era’s biggest stars—an opportunity which allowed him to collect new instruments, including synthesizers and other electronic devices. As psychedelia and disco wove their way into Bollywood scores, Singh was at the forefront, integrating a host of electronic textures into his work (his hypnotic Transicord introduction on “Dum Maro Dum” from 1971’s Hare Rama Hare Krishna is among his most recognizable performances).
By the turn of the ‘80s, however, Singh was disenchanted by the creative limitations of session work and embarked on a solo career. Not long after, on tour in Singapore, he discovered three Roland devices that had just hit the market: the TR-808 drum machine (released 1980), the TB-303 bass synthesizer (released 1981), and the Jupiter 8 synthesizer (released 1981). While this trio would fuel early electronic dance music in the coming years, Singh was among the first known artists to pair them on record when he was inspired to create his next album, Synthesizing: Ten Ragas to a Disco Beat.
Using only the three devices and recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats, while programming the TB-303 to follow classical Hindustani scales. From the hypnotic drones of “Raga Bhairavi” to the uplifting jams of “Raga Bairagi” the album proved perhaps to be a bit too visionary for its time. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts.
Two decades later, Dutch DJ and record collector Edo Bouman was in New Delhi when he came across an old copy of Ten Ragas. Bouman was astounded by what he heard—electronic music that had all the hallmarks of acid house, recorded five years before Chicago DJs coined the term. Bouman spent the next few years tracking down Singh and, in 2010, reissued the album on his label, Bombay Connection.
Soon, Ten Ragas became a viral sensation, sparking disbelief and debates about the origins of acid house. But, as Haq and Loudenback explain, those in the conversation “Had little frame of reference for [Singh’s] music outside of the parameters of western club music.” Viewed through the lens of the Hindi film industry, they argue, the album’s through-line comes into focus. In the ‘60s, when Western artists were looking to India for inspiration, Bollywood was “A laboratory for discovering sounds, and for harnessing every new technology that could be found or repurposed…. Singh’s album is more fittingly placed within the framework of the expansion of Bollywood’s experiments in disco, rather than that of acid house.”
“Perhaps this is yet another example of how a public engages with those who are ahead of their time,” adds Rana Ghose. “This record is a direct consequence of a centuries-old classical music form, rendered through the lens of a visionary who used the vanguard of technology at the time to recast it, resulting in an artefact that, almost 40 years later, is finding entirely new audiences in an era marked by a changing and uncertain global landscape of soft-power assertion. Considering this reassessment is as exciting as it is fascinating. Much like this record.”
While Ten Ragas sparked plenty of conversations within the electronic music community, it also gave a bemused Singh a surge of newfound fame during the final years of his life, allowing him to play with his live collaborator Johanz Westerman (Thee J Johanz) to thousands of fans at packed club shows and festivals in Europe, the U.S., and India. Among those fans are Australian duo Glass Beams (who covered “Raga Bhairav”), German electronic duo Modeselektor, and Thom Yorke, who ranked “Raga Lalit” as one of his “6 Tracks You Need to Hear” via the BBC.
Most importantly, however, Ten Ragas resonated deeply with South Asian artists, who saw electronic music from India being recognized with new reverence. In the words of Vish Matre (of the UK DJ duo Dar Disku), “This record will be remembered for, not being the predecessor to another genre, but being a precursor to a lot of new music from the diaspora that relied on it as inspiration.”
An inspired coming together of musical minds. To celebrate the 20th anniversary of In A Space Outta Sound, George Evelyn aka DJ E.A.S.E has handed over the tapes to dub maestro Adrian Sherwood to go on a heady version excursion with eight tracks from the original record, in the spirit of the reggae and sound system roots that informed the original album. The result is a fresh take on a much-loved classic, in the lineage of albums such as Massive Attack’s No Protection and Spoon’s Lucifer On The Moon. Features bold new re-works of iconic tracks such as “You Wish” (appearing here as “You Bliss”) and “Flip Ya Lid” (mutated into “Flippin Eck”). As well as his trademark mixing desk wizardry, Sherwood has also brought in some of the core On-U Sound players to add additional instrumentation and turn this collaboration into something which is much more than the sum of its parts.
Alpenglühen starts 2026 with two close friends working together in the 11th one.
Atàvic is the collaborative project between Estrato Aurora and Absis, merging two distinct yet complementary approaches to electronic music. The project is rooted in texture, atmosphere, and subtle narrative, allowing sound to evolve organically and without excess.
They together bring a refined sense of space and detail, working with ambient layers, restrained rhythms, and melodic fragments that unfold slowly. Here is a 4 track release with a more tactile and material approach, focusing on timbre, resonance, and sonic density, blurring the line between abstraction and structure.
The alignment between Atàvic and the label lies in a shared appreciation for subtlety, patience, and sonic storytelling, where each release is conceived as a complete and meaningful statement.
With this reference, Atàvic contributes a work that resonates with alpenglühen’s aesthetic ethos while reinforcing the collaborative project’s own identity: music that invites close listening and reveals its nuances slowly.
If you’re looking for a peak-time, dancefloor-driven banger to keep you moving until sunrise, this is not that record.
But if you’re after a mind-blowing experience that challenges and expands your listening (and dancings), this one’s for you. Don’t overthink it.
(Limited quantity / Japanese Obi included / Booklet included) Richard D. James, aka Aphex Twin. At a young age, he earned the title of “Techno Mozart” and is widely recognized as the pinnacle of electronic music and the flagship artist of WARP RECORDS. This legendary album, released under the name Polygon Window and which changed the history of electronic music, is finally being reissued on LP with Obi.
“Corpus Delicti EP” marks the first vinyl release by Mazlika, a Tokyo‑based trackmaker and DJ who is also active as a dancer.
A raw and addictive 12-inch from Robert Bergman, 9 Lives Of The Cat – Lives 1–5, drawing inspiration from Chicago house and lo‑fi electronic music from the Dutch West Coast.
R We There Yet? is a split EP by Stefan Ringer, a leading figure of the next generation house scene who is based in his hometown Atlanta while maintaining a truly global presence, and Takuro Higuchi, owner of the record store/record label Dotei Records. The two first met when Stefan visited Japan for the first time in 2023, and deepened their connection through a DJ tour across Japan in 2024. This project began when Stefan visited Takuro's home and Takuro confessed that he was making music, but struggling to finish a track. Stefan suggested that they produce a split EP, and when Takuro said, "I'll try" Stefan said “You are not just trying. You are doing it.” This was the fire that Takuro needed - encouraged by his words, Takuro began working on music again and finally finished two tracks. The title R We There Yet? comes from a phrase repeated in Stefan's track A2, Road to Shizuoka. It was inspired by the long, unexpectedly drawn-out drive Stefan and Takuro took while on tour from Hachioji to Shizuoka, and evolved into a broader reflection — Am I (or are you) really reaching the things we're striving for in life? Am I truly working hard to move forward? It’s a message that questions one’s journey, daily practice, and the spirituality that lies within. I hope you also enjoy Taizo Watanabe’s artwork, which beautifully captures the theme of encounters that transcend place and time.
The official soundtrack to Jean-Cosme Delaloye's documentary about the life and career of Detroit techno pioneer Carl Craig, 'Desire: The Carl Craig Story' is set for digital release on June 20th 2025, with 2x12” Vinyl and CD editions to follow on July 18th 2025.
The collection, coming via his prolific and seminal Planet E Communications, features music from across Craig’s vast catalog, including several tracks that have never previously seen full digital release. Its selections span his many aliases and projects, offering a rare glimpse into the full scope of his groundbreaking career.
Among the rare and remastered tracks featured is No More Words - originally released in 1991, newly reissued on vinyl and available digitally for the first time. A foundational track in the Detroit techno canon, No More Words captures the emotive synths and tight grooves of Craig’s sound that would soon resonate across dance floors worldwide. Its reissue marks a moment of reflection on the genre’s roots and evolution.
Another remastered track from Craig’s extensive archive is The Truth, a deep cut from Craig’s discography under his Designer Music alias, now widely available for the first time a quarter-century after its original release. The film’s end credits are scored by the contemplative Meditation 4, an ambient production previously only available on Craig's 2013 Masterpiece compilation CD for Ministry of Sound.
Iconic remixes such as his Grammy-nominated rework of Junior Boys’ Like A Child is included alongside lesser-known but equally epic remixes such as his sublime 2012 mix of Slam’s Azure, which is employed for the film’s title credits and had previously only seen a limited release. Also featured across the soundtrack’s multiple formats are iconic Carl Craig productions under his 69, Psyche/BFC and Innerzone Orchestra aliases, and collaborations with Moritz von Oswald and Francesco Tristano.
The soundtrack serves as a companion to the new documentary directed by Jean-Cosme Delaloye and produced by Sovereign Films, which follows Carl’s journey from Detroit’s middle-class roots to global stardom, set against the city’s decline and recovery. The film explores his work at the intersection of music, art, and culture, from his collaborations with Bottega Veneta to his Party/After-Party installation, acquired by the Detroit Institute of Arts and exhibited at MOCA Los Angeles.
Featuring interviews with Gilles Peterson, Roni Size, Laurent Garnier, DJ Minx, Kenny Larkin, Moritz von Oswald, and James Lavelle, Desire highlights Carl’s championing of Detroit’s Black creative excellence and the often-overlooked African-American roots of electronic music.
A miraculous union of techno and dub reggae, featuring two tracks remixed by Mark Ernestus & Moritz von Oswald's Basic Channel, "Remake (Basic Reshape)" (1994) and "The Climax (Basic Reshape)" (2001) under the name Carl Craig-Paperclip People. A universal masterpiece of immersive ambient dub techno, remixed by von Oswald's Basic Channel.
originally released on Main Street Records in 1998, and repressed in 2025.
unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1993 by Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2025.
This was his first studio album in four years since his last album, "Endless Talking", and the first release since moving to EPIC/SONY RECORDS. This work was the result of sessions and collaborations with Arabian musicians, with an inclination towards the 'world music' that was gaining attention at the time. Deployed often in pop culture as punchline, Hosono takes such sight-seeing and transforms it into a metaphor for sample-heavy electronic music, drawing from various cultures and weaving them together into a new holistic vision. Omni Sight Seeing is the clearest iteration of this concept, as he alights on Algerian raï, Martin Denny exotica, and acid house, too. It’s one part Jon Hassell-esque Fourth World, one part Duke Ellington “jungle music,” with Hosono’s singular outlook running through it all.
Since his debut in 2001 on Chain Reaction — the sublabel of the legendary Basic Channel — electronic music producer Shinichi Atobe has fascinated not only dub techno and minimal club audiences but also devoted music lovers around the world. After more than a decade of silence, he began releasing consistently from Manchester’s DDS (Demdike Stare’s label) in 2014, reaffirming his unique presence in contemporary electronic music.
In July of this year, Atobe suddenly launched his own private label, Plastic & Sounds, and now announces its second release, “A1. SynthScale / A2. Disappear | AA. Between Thoughts”, available as a 12-inch (45RPM / limited press) vinyl and in digital formats.
Opening track, elevation synth dub tech “SynthScale” intertwines ascending and descending synth lines with a driving rhythm, revealing hints of progressive rock within its elevation of synth-driven dub techno. “Disappear” follows with floating high tones, an unexpected piano motif, and bursts of tightly struck drums that create a surging momentum. The over ten-minute-long “Between Thoughts” centers on a deep, weighty bassline, interwoven with subtle voice samples, unfolding softly and gracefully into a long-form minimal house piece in Atobe’s unmistakable style.
Mastering and vinyl cutting were handled by Rashad Becker in Berlin, who has worked extensively on Atobe’s previous releases.
After more than 10 years of silence since his debut in 2001 on Chain Reaction subsidiary of Basic Channel, he has been consistently releasing music since 2014 on DDS label in Manchester, UK, attracting not only the club audience of dub techno / minimal but also the enthudieatic music fans around the world. Electronic musician Shinichi Atobe has established his own private label Plastic & Sounds.
The first release on Plastic & Sounds includes two tracks: ‘Whispers into the Void’, which gradually and ascetically develops from minimal synths and rhythms with the introduction of a flowing piano refrain, and the floor use ‘Fleeting_637’, which develops immersive minimal dub techno at around 125 BPM. Mastering / record cutting was done by Rashad Becker in Berlin, who has worked on many of Shinichi Atobe's productions.
phatmedia presents 'UK Rave Flyers 1988–1989' - including over 800 flyers from iconic events like Shoom, Hedonism, Future, Spectrum, Land Of Oz, Apocalypse Now, Hypnosis, Sunrise, RIP, Coozz, Trip, Sin, Genesis, Rage, Wetworld, Rave At The Cave, Boilerhouse, Trip City, the Hacienda and many more one-off / smaller promotions.
"phatmedia presents UK Rave Flyers 1988–1989 is a deluxe book showcasing original flyers from the breakthrough years of UK acid house. Sourced from the phatmedia archive and beyond, it captures the raw energy of a scene that exploded from underground parties into a nationwide movement.
Featuring high-quality reproductions of flyers promoting warehouse raves, club nights and early promoters, the book highlights the DIY creativity and bold visual style that defined the era. It’s a visual journey through the scene’s formative years, with the narrative led by the flyers themselves, interspersed with quotes from DJs, designers, promoters and ravers - including Dave Little, Andy Boilerhouse, Pez, Steve Reid (Shoom), Ellis Dee, Chalk E White, Nicky Holloway, Mr C, Ratpack & many more - plus, photos from clubs of the era taken by Dave Swindells, Kevin Cummins, Peter J Walsh and Gavin Watson.. This commentary offers cultural context, making this an essential document of one of the most radical and influential moments in British youth culture.
“We would be lost without Dave’s incredible documentation of flyer history. If we didn’t have his absolute precision in sharing dates within the timeline. So much of the exact history would be lost. phatmedia is an asset to the entire rave scene and history.” - Billy Daniel Bunter
“Rave flyers capture an essential piece of cultural history. More than just advertisements, they reflect the creative energy of the early rave scene and serve as a window into the underground music culture of the time. Each flyer tells a story about the events, people, and communities that helped shape the movement.” - Eddie Richards
“This book is more than just a collection of flyers; it’s a time machine. It’s a tribute to the birth of a culture that shook the world. We built something from nothing. Every flyer, every illegal rave, every risk we took, it created a movement that would become a multi-million pound industry.” - DJ Phantasy"