Vanguard Sound follows up on Guerilla Soul’s self-titled EP with label co-head Chris Mitchell delivering Feng Shui Flow. Feng Shui Flow is an exploration into deep harmonic textures in the form of three distinct offerings. A1 Primordial Gravitational Waves- As the name suggests, inspired by the possible discovery of gravitational waves believed to be reverberations of the big bang. Staccato Bass and drums provide the heavy background for a pulsing bass wave, accented by synths and chords conjuring up visions of interplanetary manifestation. B1 Eurínome- Melancholic and intensely emotive chords and bass layered with intricate drums to paint this impression of the mysterious water goddess. B2 4th Density- A synth heavy offering with several layers of bass, string like patches, and a sprinkling of choral sounds driven by a pair of kick drums Into a plane of telepathy, harmony and ascension.



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Anunnaki Cartel is back with release #4! This time it's a solo EP from Chris Mitchell. 4 tracks of dope analog sounding Chicago techno & acid, just the way we like it! Limited copies, don't snooze..


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Chris Mitchell is back on Plan B Recordings for his third EP with the New York underground crew who has been churning out deep, raw and original house and techno! Label bosses, DJ Spider & Dakini9 supply remixes of both tracks from Mitchell. The Vanguard Sound Crew strikes again!

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Following up on the success of Amir Alexander’s Idiot Savant Masterpieces, Vanguard Sound continues the struggle onward with Snakes, Heat and Concrete by Chris Mitchell. Raw, underground and forward continues to be the direction.





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Vanguard Sound is back with it's newest record. Chris Mitchell's Phrenetic EP! is Vanguard Sound's second release. Coming on the heels of the wildly popular Vanguard Sound vol. 3, this EP continues to uphold the aesthetic created with the first release, while simultaneously expanding it. The Phrenetic EP features four tracks from the mind and studio of a quickly rising North American talent that all walk the fine line between house and techno. All are very complex rhythmically, with both banging drums, and lush tones. A perfect 3 way marriage of classic Chicago, Detroit, and New York vibrations, the record contains set peaks, as well as transitional tracks that allow DJ's to traverse from house to techno and back. Already receiving massive amounts of positive feedback, this EP is proving to be a more than worthy follow up to VS001.


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Chris Mitchell presents to us two potent tracks for his debut release on Plan B Recordings. Label mates, Dakini9 & Amir Alexander give us their take with remixes of each track. The A Side track “Lonely Nights” has a deep house edge which can work well on on any dance floor. The B Side “Worker Ants” track is a bit more spacey with robotic glitches & grtty synths

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In the era of micro dosing, Squirrels On Film will provide you with a generous portion of the good stuff. Build your Acid House into an Acid Pleasure Fantasy Castle Extravaganza with the current selections from these various squirrels (on Acid).
“Unless You Have Wings Like a Bat” will conjure the ghosts of rave past for the séance, and all your funky friends have been invited. The Warehouse has drum machines in the red, and skeletons in the closet, all wearing smiley face masks and handing you gel tabs you probably shouldn't take.
A Squirrel you'll be hearing from more in the phuture, Chris Mitchell hits next with “trks.” The dystopian dance party is on tonight. There's no going back. You're too far gone. The walls only appear to be shaking and breathing heavily like they're dancing and you're standing still.
San Francisco's Sepehr jacks the tab further on “Servant's Taunt” like the Criminal Justice Act had never been passed. It could be Miami Bass or a field in England but it's a party, and everyone's eyes are perfectly dilated.
Bayview Acid Squirrels "Love Is The Slug" is pure phuture phantasy pleasuredome meltdown. You Will Never Be The Same.

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The fifth release in the sonic saga of San Francisco's electric noise factory Squirrels On Film is the first solo EP from label co-founder C.l.a.w.s., and his first solo release since 2017's “Stygian Morass” on Left Hand Path.His distinctive, idiosyncratic take on Techno has found its way onto the Various Squirrels, and as half of Kit 'n C.l.a.w.s with Joshua Kit Clayton, but “Splat City” is his party, and you're invited. The dance begins with “Into The Eyes Of The Zombie Queen,” its Liquid Sky cold-wave disco throb complete with laser zaps, Simmon's tom fills and drunk punk Moroder bass. This is C.l.a.w.s. in full-on Fun Mode, so feel free to break out the party favors. “Pacific Fog Authority” escalates the mirror-ball Goth Drama to delightfully inappropriate crescendos. “Slug Bait” gets a bit tougher, the motorik, leather-bar shuffle exploding in ecstatic strobe light seizures . “Splat City” keeps things heavy and depraved, a sleazy nightmare smoke-machine Strip Anthem. Your next late-night Cosmic Adventure has a perfect soundtrack.

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Psychedelic sound explorer Its Own infinite Flower, who was
responsible, along with head squirrels Solar & C.l.a.w.s., for San
Francisco underground punk rave/happening Hostile Ambient
Takeover, unleashes his first official release, The Plumes of Love (ARE BLACK!). After contributing a track to 2017’s Spacetime Continuum/ Juju & Jordash curated Air Texture V compilation, this four track EP of abstract tech-noise brings the sounds Its Own Infinite Flower refined in the basements & warehouses of the Bay Area’s underground music scene to the wider world, whether it’s ready or not.
“Drone, Drugs ’n’ Dissonance” creeps into life as a thunderstorm of
white noise, out of which a cold-rave pulse somehow metastasizes into something resembling techno, although this is a deformed, uncivilized, unwanted mutation, separated at birth & raised in a toxic wilderness. It builds slowly before turning up in a rage of digital distortion, a black metal dub party held at the edge of a melting glacier. “Oh, Empire of Roses” is a Dada Phycho Jazz Electro number. Dissonant synth chords snake around each other in a playful ouroboros of manic future funk, never knowing if it’s starting or stopping, coming or going. Relentless bass throbs through the track, which almost threatens to bubble into classic acid electro before fizzling out. On side two there is “Devotion to a Peacock Angel,” an angular breakdance groove for the characters in the bar scene in Star Wars. Electro dub rhythms keep stay grounded as everything else rips apart in all directions over the course of the track. On “Misfortunes of El Dorado” a soundsystem bangs in the next room, only the deepest bass escaping, shaking reality until it’s torn apart in waves of distortion, a classic techno synth string wandering over the top of everything in a full blown Techno Jazz Odyssey.

SQUIRRELS ON FILM continues its adventure at the edges of techno
with the mind bending stylings of Its Own Infinite Flower’s debut EP,
fitted with another beautiful hand-drawn, full color sleeve by New York artist Bert Bergen. The Plumes of Love (ARE BLACK!).

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Distortion, static electricity & drum machines turned up to eleven, your next Punk-E Rave Party can be appropriately soundtracked with SQUIRRELS ON FILM’s 3rd (or 4th, who’s counting?) EP, ready to de-sanitize any dancefloor prepared for the adventures in sweat-drenched HEAVY RAVING contained within. Label Headz Solar & C.l.a.w.s. reach beyond their hometown of San Francisco, to Mexico City’s Yoan Rodriguez LOKIER. Her first full EP for the label, following the appearance of “Headless” on the limited edition Various Squirrels Volume Two, contains four tracks of enthrallingly unkempt body music & neo-goth techno depravity. The Artist & DJ currently based in Berlin is half of She Made Monster with Morgan Hammer, & her remix work appears on Throne of Blood, Ivan Smagghe’s Les Disques de la Mort & elsewhere. “Last One” is first, a gritty workout in horror rave, all overdriven drums, intricately programed to build alongside arpeggiated synth bass and slasher flick strings, at once classic and contemporary. “Not Always Works” is sleazier yet, featuring LOKIER’s distinctive dead-pan distorted vocals, heard recently on Krikor’s LP for L.I.E.S., put to great effect here atop an ear-worm synth riff and again expertly programed drums, never afraid to bleed into the red. Atonal, yet bizarrely melodic strings and pads drift confidently above. “Tmrrw” makes use of vocal samples over a pummeling industrial techno explosion… like a Nitzer Ebb cassette that’s been duplicated too many times, turned up way too loud, with an angry goth banshee queen telling it like it is through a broken fuzzbox. “What Is Truth” rounds things off in the murky dub/electro bog of your most lucid nightmares, the drums and synths awash in tape echo and reverb. LOKIER’s music sits perfectly within SQUIRRELS ON FILM's left of center techno punk aesthetic, albeit with clear intentions on the feral dystopian dance party happening near you. SOF is very excited and honored to unleash this wild squirrel into the civilized world, packaged inside another eye-catching, original hand-drawn full color sleeve by New York artist Bert Bergen. It should be clear by now: SQUIRRELS JUST WANNA HAVE FUN.

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The Squirrels from San Francisco are back and they're wearing white after Labor Day â?? pressing up a limited white-label 12", full of the throbbing electro, altered-states body music, and head-in-the-clouds techno you've come to expect from Squirrels on Film.

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