A highly sought after album from UK's mid 90's underground trance/rave scene, originally released on the Magick Eye Records (label co-founded by Swordfish from Astralasia). "Cubic Space" is the only album released by SYT (Shave Yer Tongue) and it came in a double LP format, featuring 8 tracks in a wide range of paces, with extended length excursions ranging from downtempo atmospheric dub to faster trancey electronic psychedelia. More

The second release to come out of Sound Metaphors’ collaboration with the Italian electronic music Don, Gianpiero Pacetti aka JP Energy. “I Have A Pessimistic Outlook Of Life E.P.” showcases a considerably more mature and polished sound relative to the previous release as the artist moves into the end of the 90’s and seems to shed the naive playfulness one could still hear in “Strano E.P.” with it's Italo-disco influences. Here things get more serious and even more “industrial” with a darker and perhaps more cynical tone, not unlike the title of the EP. A 3 track record, very much oriented towards the dance floor, “Fantastic Machine” comes in at over 130BPM with a very metallurgical flavour, something one could imagine hearing at a moving assembly line for car engine parts in a factory somewhere in Brescia, yet with an overlaying eerie nuance. “Automatic Sun” comes in with a very driving beat, the secret weapon of the release by all means, very effective employment of electronic percussive elements. And finishing the EP, Gianpiero’s Requiem to the format, a once record store owner who by 1999 might have already been feeling the tides of change brought in with the early CDJs (one could imagine) “The End Of Vynil” goes into full on electro territory with the beat and very much in tune with the title expresses a funerary darkness with the melodic elements. All in all, no need to put on sunscreen for this one. Remastered with new full cover artwork. More

A continuation of the extensive research project initiated last year between Sound Metaphors, Transmigration and surviving eye-witness/historian Ray Castle. An in depth analysis of the dancefloor landscape that developed in Goa during the 80s' and early 90's well before "Trance" became the unfortunate dirty word it is today. Before "trance" was even a genre, Goa was brewing a scene with unparalleled aesthetics, with a constant influx of dedicated collectors and DJs coming and going to this tropical underground dancefloor haven, filtering through vast amounts of emerging electronic music of the times and distilling only the finest of "Special Goa Music". Here is another compilation of our chosen most impactful tracks that would have been soundtrack to a very special and pure moment of freedom in dancefloor culture before the bastardisation of what we now know as "Goa Trance". A highly sought after selection of New Beat, Proto Techno, early Progressive/Trance, Industrial, EBM and House Music. Featuring photographs of the events presented in a double LP gatefold with poster and liner notes by Ray Castle himself. Re-mastered at Manmade mastering in Berlin. A generous body of research essential to any well rounded record collection. More

"Something Scary" is probably one of the most representative examples of Belgian New Beat as the genre shifted to Hard Beat, by one of the key figures in the explosion of the early Belgian rave scene Rembert De Smet. Starting with the first few seconds of the track, the listener is presented with what could arguably be one of the most unforgettable New Beat acid bass lines to attack the human ear. Very much in your face, characteristic of a genre that emerges from studio experimentation during a time when Chicago Acid was establishing itself and already contaminating the UK. Although relatively simple in terms of production, the way De Smert employs all the elements at play is ingeniously effective, from the simple vocal sample placement to the bassline, propelling it timelessly throughout decades to follow as an iconic example of the Acid sound in Europe. Re-released with two new remixes by the masterful Anatolian Weapons. Remastered at Manmade Mastering in Berlin. More

"Something Scary" is probably one of the most representative examples of Belgian New Beat as the genre shifted to Hard Beat, by one of the key figures in the explosion of the early Belgian rave scene Rembert De Smet. Starting with the first few seconds of the track, the listener is presented with what could arguably be one of the most unforgettable New Beat acid bass lines to attack the human ear. Very much in your face, characteristic of a genre that emerges from studio experimentation during a time when Chicago Acid was establishing itself and already contaminating the UK. Although relatively simple in terms of production, the way De Smert employs all the elements at play is ingeniously effective, from the simple vocal sample placement to the bassline, propelling it timelessly throughout decades to follow as an iconic example of the Acid sound in Europe. Re-released with two new remixes by the masterful Anatolian Weapons. Remastered at Manmade Mastering in Berlin. More

Although one could imagine that by 1993 any Italo Disco nuances would have been vanquished from sophisticated Italian production setups of the time, it is hard to ignore its presence in this particular work of Italian DJ and producer Gianpiero Pacetti. Much more so than in the work of his contemporaries at the time who would have shifted into full on early progressive trance in pursuit of novelty. Resulting in a refreshingly playful exploration of melodic themes, an aesthetic only to be heard again more than 10 years later with Dutch works like Alden Tyrell. With exception of Alvorada which distinguished itself as completely detached from any of the previously mentioned influences, diving deep into percussive samba elements adjoined by alluring arpeggios and other subtle melodic ornaments characteristic of early progressive trancey movements of the time. Includes new remix of “Alvorada” by Berlin's E-Talking. Remastered with new artwork. More

Cafe Del Mar chill out classic classic from 1992. Tap into your subconscious and conquer anything with these 4 different mixes featuring the voice samples of new age hypnotist Barry Konicov, known for an outstanding proclivity towards not paying Federal Tax in the US, but also for being the founder of Potentials Unlimited, a self-help hypnotism program that became especially popular in some circles during the 80s and 90s. From beat less ambient excursions to rhythmic drum samples these mixes explore modern Balearic themes in different ways - take a trip. More

Hidden gem from the early 90s Frankfurt electronic sound, checking all the boxes for shifting gears in any well lubricated dancefloor, female cyborg spoken word about something important in a k-hole, dramatic/dreamy pads, new beat like acidity nuances, driving percussive bass lines, hard one to go wrong with. Re-issued with two previously unreleased mixes from the artists.

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Another release from the always surprising CATT records inventory, this time a generous 5 tracker EP featuring a wide variety tasting in early UK synthetic club sounds with 4 different projects. Clearly abandoning any pop influences in structure, these tracks celebrate the dancefloor's needs in a healthy club scene that would have already started to see a new wave of producers with backgrounds shifting from the conservatories to the dancefloor and DJ booths. Perfectly streamlined driving beats for maximum dancefloor effect of an epoch that would borrow from European new beat scenes while simultaneously establishing itself as a reference in club culture worldwide, timelessly transposed to current dance floors. Can't go wrong, thoroughly remastered at Manmade mastering in Berlin.

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Early 90s' UK club oriented project comprised by "two young lads that made a record", as innocently described by Mark Lloyd, one half of Deep Pearl together with Mark Robertson. Originally released on mysterious private press label called "Big Apple" based in Croydon (South London). A dancefloor oriented production that seems to transition from earlier acid sounds into more hypnotic early progressive directions, propelled by an established Mediterranean appreciation of its epoch combined with a somewhat naive rawness and energy in the studio, keeping it simple and effective at upper 130's BPM. Clearly the work of someone with veteran status in rave mileage. A-side features dreamy female vocals (courtesy of two other young lads from Germany, at the time, also known as "Air Liquide"), easy to imagine being played over a dusky horizon in Ibiza or an airfield in Suffolk. B-side mix is another peak dancefloor torpedo armed with heavy breakbeat shrapnel, hard to miss - if you know you know - newly re-issued with new artwork channeling Sean Connery memorabilia in acid mode "Hunt for Tie-dye October".

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Sound Metaphors and Transmigration take another dig at the CATT Records catalogue with another EP comprised of two cuts that have been part of the secret weapon arsenals of many seasoned DJs and collectors. A side investigates what might come across as a British response to the Belgian New Beat contingent that had been brewing for a while at the time, serious bass lines and synthetic Gregorian chants echoed over solid four on the floor action. B side unfolds the rhythm in half beat with a breaky electro/freestyle indulgence with Led Zeppelin samples unexpectedly sprinkled about. Highly effective on the dancefloor. Remastered at Manmade Mastering in Berlin.

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Hard to go wrong with another one from the mystery CATT Records catalog, once secret weapons to many seasoned dacefloor operators, brought back to clubby spotlights via the Sound Migration imprint. Originally released in 1990, this EP constitutes a sterling archetype of early sampling techniques woven into salubrious base lines, stripped down drum machine work and minimal melodic flavors - undoubtedly propelling a highly efficient Baleric deep UK club sound on to a new generation of dancefloors of its time. Another powerful example of the sound that established a direct correlation with airfare prices from UK to Ibiza. Original artwork with remastered and digitally restored sound.

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A few years past the Technotronic hitmachine times, Belgian producer Jo Bogaert explored other outlets for big room club force to brew. Although his Nux Nemo project was more New Beat focused, “I Feel It” steps away from its roots and into the Rave/Techno realms. A powerful addition to the DJ's dancefloor arsenal, the Fast Forward Mix checks all the boxes for guaranteed dancefloor menace at peak time hour. Comes with the original beat-less “No Beat Mix” version and now for the first time with two additional new remixes by Berlin's finest Juan Ramos and Trent.

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Sound Metaphors and Transmigration explore the early underground Goa party scene with a 2x12” compilation.

A collection of Techno, Italian-House, New Beat and Post Punk all heard on the same dancefloors amongst Goa's tropical beaches during the late 80's and early 90's. What is now understood as Goa Trance was once preceded by an amalgamation of many different genres smuggled to Goa in tape format by true music devotees that filtered through all that was being produced in the West shaping a unique dancefloor sound that could only pertain to the “Special Goa Music” genre. Sound Metaphors teams up with Transmigration and journalist, DJ and first hand witness of the scene at hand - Ray Castle – to present a meticulous body of research into the sound signature of that unique scene. 11 highly sought after tracks presented in a double LP gatefold format with an A1 poster insert and insightful liner notes by Ray Castle. A tracklist so lush, your discogs wantlists will forever be grateful – buy on sight.

“Everything about the Goa counterculture was illicit. The music from vinyl was bought with black market money and bootlegged onto cassettes and backpacked to India. Collectors and DJs would swap, dub and edit it, for free parties. The music was disseminated tape-to-tape by a clandestine traveller clique of ragtag party makers. This highly coveted ‘Special Goa Music’ contained a vibe—a brain-infesting vibe—capable of triggering apotheosis-like states for dosed up dancefloors, only possible for sunrise Goa parties in nature, in India.” - Ray Castle More

An Italian disco classic produced by one of Italy's top disco pop entrepreneurs – Constantino Paolini – featuring the voice of Vesuvian actress and TV personality Patrizia Pellegrino. “Musica Spaziale” is a fast paced synthy disco number adorned with signorina Pellegrino's silky smooth vocals, featuring lusty cosmic nuanced lyrics that arguably invite the listener to some form of astral bliss in the company of the blond starlet. A classic amongst collectors and specialists of the genre, made available to your record collections once again without having to sell any of your kidneys. In addition, also an extended edit, that patiently slows down the tempo but also extends this cosmic climax on the dancefloor in a manner respectful to the original masterpiece, allowing the dancers to savor every moment of this celestial voyage without all the rush of the 7" version . Flip it and things get propelled in direction to some other acidic orbits with DJ Asshole's tripped out downtempo 8' intervention. Restored, remastered and featuring original “coloring book” style artwork from its original release date. More

The original Berlin dance floor trouble makers from the early 90s, Saba Komossa and Gabi Delgado's joint project Anti-Time was a powerful soundtrack to Berlin's nightlife after the wall came down. Merging their naive curiosity with access to latest studio equipment guided by an unmatchable instinct for what works on a dancefloor, Gabi and Saba created a sound so classic and unmistakably their own that still today it refreshes the ears. For many an established masterpiece, for others a time capsule love message from over 3 decades ago, but for everyone it's an essential piece of European club scene history. This album combines both of the known Anti-Time releases from 1990 and 1991 into one release. More

A few years past the Technotronic hitmachine times, Belgian producer Jo Bogaert explored other outlets for big room club force to brew. Although his Nux Nemo project was more New Beat focused, “I Feel It” steps away from its roots and into the Rave/Techno realms. A powerful addition to the DJ's dancefloor arsenal, the Fast Forward Mix checks all the boxes for guaranteed dancefloor menace at peak time hour. Comes with the original beat-less “No Beat Mix” version and now for the first time with two additional new remixes by Berlin's finest Juan Ramos and Trent.

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Sound Metaphors gives they keys of the label's catalogue vaults to Aggelos Baltas aka Anatolian Weapons and this is the result. 5 tracks previously released on our labels now submitted to the studio prowess of the Greek machine. Dubbed out, tripped out, slowed down, sped up, mind blown. Aggelos brings his distinctive flavor to the table and re-constructs some of our dacefloor oriented favorites from the early 90's. From California's Exist Dance label to Italian underground tracks and even a Disciples' number, Aggelos cherry picks his weapons for the most spaced out of dance floors, sounding big and effective, can't go wrong.

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French electronic label Croisière Musique makes a striking return with an exciting new release from the cutting-edge Paris-based artist, Edith Progue.

Known for his collaborations with the underground collective Supernova and for his dazzling live performances, such as the one at Eglise Saint-Merri in Paris, Edith Progue is a master at melting aerial classical textures with minimalist techno rhythms, forming a unique sonic journey.

Each track of the Surya EP takes listeners on a trip through a starkly captivating sonic landscape. Intricate patterns weave together to create an immersive rhythmic framework, while subtly layered textures and atmospheres add a palpable sense of depth and space.

Surya (A1) is a club-ready banger that masterfully blends stripped-back rhythms with haunting textures. Despite its alluringly dark vibe, the track maintains an undeniable dancefloor appeal.

On the B-side, Via Negativa (B1) and 10,000 Things (B2) are pieces that blend impressions of 90’s electronica and film scoring, inviting listeners to delve into their own thoughts while being carried away by the music.

Cover painting by Mino Sassy. Artwork by Basor. More

A double LP collection of retrospective works ** FULL INFO COMING SOON!

TRACKLISTING
A1 Crazy Love
A2 Call You Back
A3 Little Bit Of Our Love

B1 Samba De Howa Howa
B2 Love Luv Rendez-vous

C1 (Earth In) Blue
C2 Dancing On Mars
C3 Tsun-Ban-Tsun-Yeah

D1 Super Love
D2 Love Me One More Time More

Dance music has always been grounded in a sense of place. Chicago, Detroit, London, Berlin—a zip code can tell you as much about the music as the year it was made.

But beyond the nuts and bolts of the here and now lies a netherzone where some of the best electronic music floats, impossible to pin down. Swayzak’s Snowboarding in Argentina is one such record.

The title hints at its uncanny placelessness. The music has nothing outwardly to do with Argentina, for one thing. The work of UK producers David Nicholas Brown and James S. Taylor, it was recorded in a number of locations—mostly bedrooms—around London. Yet there is little that is quintessentially British about the music. Instead, Brown and Taylor drew much of their inspiration from, on the one hand, the luminous chords and silky heft of Detroit techno, and on the other, the staccato drums and clipped textures that were then beginning to bubble out of Berlin and Cologne.

That brings us to the question of time. For if Snowboarding in Argentina belongs to nowhere, it is equally a product of nowhen.

On a practical level, the music took shape in the mid to late 1990s, although it took nearly 10 years for it to come to fruition. Brown and Taylor began jamming on instruments, then machines, in the late 1980s. Then,
after Brown suffered a serious car accident, the two musicians began working together more seriously. Trial and error yielded a promising single with a downtempo vibe that a hired-gun studio producer promptly ruined; Swayzak retreated to their bedrooms. They learned about Chain Reaction from a radio show, found new ways to burrow into the circuitry of their machines, and by 1996 they had hit upon their sound. brought 10 copies of the first to Berlin’s Hard Wax, sold them directly to the shop for a fistful of Deutschmarks, and turned around and spent the money on records; that’s how DIY electronic music worked in those days.) The album itself appeared in 1998 on London’s Pagan label and quickly built a cult following. It was clear that the music was in conversation with its contemporaries: Heard from the right angle, it was possible to imagine it as a halfway point between the proto progressive house of Underworld and the monochromatic minimalism of Kompakt. But it also didn’t quite sound like anything else around; it was a dispatch from an unknown territory that needed no special understanding to decipher.

A quarter century later, Snowboarding in Argentina sounds simply eternal. Certain hallmarks of ’90s production are available—the music’s almost murky warmth is a reminder of what electronic music sounded like before software swallowed everything into its digital maw—but there’s nothing dated about it. The exploratory nature of these tracks, as the result of experimenting with their machines’ limitations, never eclipses their musical or emotional essence.

Long since been deemed a classic, Snowboarding in Argentina remains an underdog in the annals of electronic music. Its semi-obscurity was surely not helped by the decision to publish nine of its original 12 tracks on the CD, and seven on the vinyl, with only four appearing on both formats. Twenty-five years after
its original release, Lapsus’ Perennial Series edition unites, for the first time, all the album’s tracks as a single triple-vinyl package, rounding out the 12 original songs with previously unreleased material. Working
off the original DAT premasters, Swayzak have created new edits of all the tracks. The result might be considered the definitive edition of the album as it was meant to be, after a 25-year journey. It seems fitting that an album so timeless would continue morphing throughout its lifespan. For fans, it’s the chance to hear a beloved album as never before. And for newcomers, it’s the perfect introduction to a record that, in its own quiet way, reshaped the sound of electronic music, opening up new frontiers unbound by cartography or calendars.

The core of Snowboarding in Argentina appeared on a series of three two-track singles in 1997. (Taylor brought 10 copies of the first to Berlin’s Hard Wax, sold them directly to the shop for a fistful of Deutschmarks, and turned around and spent the money on records; that’s how DIY electronic music worked in those days.) The album itself appeared in 1998 on London’s Pagan label and quickly built a cult following. It was clear that the music was in conversation with its contemporaries: Heard from the right angle, it was possible to imagine it as a halfway point between the proto progressive house of Underworld and the monochromatic minimalism of Kompakt. But it also didn’t quite sound like anything else around; it was a dispatch from an unknown territory that needed no special understanding to decipher.

A quarter century later, Snowboarding in Argentina sounds simply eternal. Certain hallmarks of ’90s production are available—the music’s almost murky warmth is a reminder of what electronic music sounded like before software swallowed everything into its digital maw—but there’s nothing dated about it. The exploratory nature of these tracks, as the result of experimenting with their machines’ limitations, never eclipses their musical or emotional essence.

Long since been deemed a classic, Snowboarding in Argentina remains an underdog in the annals of electronic music. Its semi-obscurity was surely not helped by the decision to publishnine of its original 12 tracks on the CD, and seven on the vinyl, with only four appearing on both formats. Twenty-five years after its original release, Lapsus’ Perennial Series edition unites, for the first time, all the album’s tracks as a single triple-vinyl package, rounding out the 12 original songs with previously unreleased material. Working off the original DAT premasters, Swayzak have created new edits of all the tracks. The result might be considered the definitive edition of the album as it was meant to be, after a 25-year journey. It seems fitting that an album so timeless would continue morphing throughout its lifespan. For fans, it’s the chance to hear a beloved album as never before. And for newcomers, it’s the perfect introduction to a record that, in its own quiet way, reshaped the sound of electronic music, opening up new frontiers unbound by cartography or calendars. More

Black Magic Woman, birthed out of the production outfit of Ron Trent featuring Harry Dennis most known for his previous work with Larry Heard. Harry Dennis one of the leading poets to come out of house and contemporary music in the 80's and 90's.
Being on the forefront of songs by storefront groups powered by both Larry Heard and Marshall Jeffereson The IT and Jungle Wonz critically acclaimed dance classics "Donnie" and "Time Marches on" helped revolutionize dance inteligenca world wide . Together with Trent's production they weave a spell with this ode to the power of the feminine form " Black Magic Woman". Previously released and powering dance floors globally, Sacred Medicine brings you a set of revisions by production and DJ master Joe Jouquin Claussell who's edit and revision has been highly sought after for the past 4 years along with our young and upcoming talent producer and DJ Coflo. By the introduction of Casmena from Ocha records Coflo first approached us with his remix 4 years ago and now under our direction we are putting it to work. These magical forms are now ready for you to explore and generate power into your world. More

Bitin’ Back is Micky Finn’s debut release. Originally written in 1989, it wasn’t released until 1991 on Fokus Recordings. Heavily played in the warehouse parties, illegal parties and pirate radio stations at the time, these are two breakbeat tracks that are made to make you move.

The record is presented in a full colour housebag designed by Micky himself, which includes the opening lines of the Six Million Dollar Man printed on the bag, the source of the vocal sample on ‘She’s Breaking Up’. More

Originally released only on private press CD in 1994 - German esoteric Midori Takada-ish ambient tribal jazz record. Ultra tip! More