Sound Metaphors Records continues to explore the Italian early 90's techno scene with another re-issue of D.A.T.A.'s precious catalogue. Already 3 decades ago, 4 Italians got together in northern Italy to elaborate this sound, and it's only fair to say it's still timelessly effective, possibly a mixture of pure naivety and/or premeditated distilled club essence, bold and minimal in its use of rhythmic patterns generated by drum machines and samplers of the time. To imagine this music was being made in a time where only petrol company CEO's had cell phones, emails weren't even a thing, let alone social media, a time capsule into a special epoch where "progressive" or "trance" weren't quite established keywords yet. Re-issued with a new remastered face and 2 new remixes from studio guru Anatolian Weapons beautifully adding to this powerful exploration of club oriented electronics.

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This one is from the minds of the Exist Dance label heads, Michael Kandel & Tom Chasteen, who’s work as High Lonesome Soundsystem & Voodoo Transmission we have had the honour to reissue previously. Under their Eden Transmission alias, we hear them delivering something at once totally indicative of the West Coast rave sound that they helped define but also something that goes beyond any means of simple classification and defies pigeon-holing. Breakbeats, in varying shades of blissful and nightmarish, hoover bass mental breakdowns and reality melting samples from the mouth of the psycho-magus Jodorowsky collide with elements of Trance in it’s euphoric, embryonic form. Psychic travel guaranteed.

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By the early 1990s, multidisciplinary thinker, philosopher and mystic Terrence McKenna had found himself to be one of the darlings of the burgeoning rave scene - going on to become one of the most sampled voices in dance music to this day. However, the very high point of Terrence McKenna’s intersection with dance music is undoubtedly Alien Dreamtime - taking place at a 48 hour rave in 1993 San Francisco, a multi-media collaboration of didgeridoo, live video mixing and the sublime, techno-ambient, sonic wizardry of the unimitable Jonah Sharp aka Spacetime Continuum laying the foundation for McKenna to whip the audience into a frenzy as he belts out his musings on eschatology and peering behind the linguistic curtain through the power of the psychedelic experience. For the very first time, the recording of this seminal event is being released on vinyl format to help you tune into the Gaian mind.

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Francesco Farfa's first contribution to the early 90's italian electronic music scene, ranging from proto house sample based sounds to early progressive and techno nuances this EP is not easy to label in terms of genre, characteristic of most of the material on the legendary Interactive Test label. Undoubtedly a pioneering sound for its time, void of any major label artistic limitations, purely focused on underground dancefloor stimulation. Essential piece in any electronic music record collection.

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Francesco Farfa's timeless club EP "Learn To Fly" freshly remixed 3 decades after its original release in 1991 by 4 of Berlin's finest DJs and producers. A generous arsenal to choose from in terms of dance floor tools, from DJs, for DJs, equipping the record bag with something for a wide range of occasions, can't go wrong. A-side descends into big room darkness with Trent's re-interpretation, effectively complimented with Juan Ramos' bulging trancey approach playfully collaging elements from multiple tracks in the original EP. B-side goes in more ravey/progressive directions with an elevating elucidation by E-talking while Hamsa produces a more stripped down enhancement to the original theme.

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The archeological excavations into the cult Interactive Test label continues with a 4 track EP originally released by the label's Don, Franco Falsini, in 1991. Generously brought back to the bins, 3 decades later and still highly applicable to any tasteful dancefloor, a timeless expression of early italo-house.

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Little is known about the origins of this project, grasping the curiosity of many 90's trance diggers, this mysterious EP was originally released in 1994 on the now defunct London based label ITP Recordings. Presenting 3 tracks that dive deep into the trancy electronics of the time, going well into the 8 minutes marker on each track the producer takes the time to allow a pallet of atmospheric qualities to gently grow and layer themselves throughout. A very unique aural signature, almost as if fractals had a sound, organised in a highly effective manner for the psychedelic electronic music inclined dancefloor.

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Two track EP from the Italian early 90's cult label, Interactive Test, helmed by legendary Falsini brothers. Both sides going generously past the 8 minute marker and well into the upper 120 BPM class of affairs, "Farf-Ability" is another show case of the experimentally excursive approach to the early Italian progressive sound, this time on behalf of Francesco Farfa. Two flavours served confidently: uplifting daytime ravey on the A side, and darker trancier night time on the B side, heavy on the percussive samples. Remastered and re-issued with new full cover artwork, featuring photographic evidence of a special moment in time for Italian rave culture.

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Another EP from the vaults of West Coast rave scene specialists, Michael Kandel and Tom Chasteen. A side has two versions of a fast passed dancefloor oriented production tactfully presenting woven layers of rhythmic elements underneath dubbed out effects, “Crazy Jane” possibly channeling moments of Debbie Harris' “Heart of Glass” on LSD. B side gets more aggressive on many levels with a bit of a downtempo Gabber feel to it, raging synths and generous cymbal action all around, 3 versions, one of them featuring samples from Jimmy Stewart's 1946 monologue in “It's A Wonderful Life”, another one with very non-western elements mixed in, and finally Juan Ramos bringing a very dancefloor friendly version with a slight Euro-Dance late Hi-NRG edge to it.
"Recorded in Heaven".

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Another EP from the vaults of West Coast rave scene specialists, Michael Kandel and Tom Chasteen. A side has two versions of a fast passed dancefloor oriented production tactfully presenting woven layers of rhythmic elements underneath dubbed out effects, “Crazy Jane” possibly channeling moments of Debbie Harris' “Heart of Glass” on LSD. B side gets more aggressive on many levels with a bit of a downtempo Gabber feel to it, raging synths and generous cymbal action all around, 3 versions, one of them featuring samples from Jimmy Stewart's 1946 monologue in “It's A Wonderful Life”, another one with very non-western elements mixed in, and finally Juan Ramos bringing a very dancefloor friendly version with a slight Euro-Dance late Hi-NRG edge to it.
"Recorded in Heaven".

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Originally released in 1992 on Muzak, an Italian label founded by Leo Mas, Fabrizio Lazzari and Andrea Gemolottoand, which was fundamental in establishing a new Italian dance floor electronic sound in the early 90s strongly intertwined with US influences from what was happening in Detroit and New York at the time. Officially re-issued with new remix of "Fearless" by Berlin based Trent, stripping down the feisty banger from its breakbeat elements and implementing a new Acid feel to it.

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Sound Metaphors Records continues to explore the Italian early 90's techno scene with another re-issue of D.A.T.A.'s precious catalogue. Already 3 decades ago, 4 Italians got together in northern Italy to elaborate this sound, and it's only fair to say it's still timelessly effective, possibly a mixture of pure naivety and/or premeditated distilled club essence, bold and minimal in its use of rhythmic patterns generated by drum machines and samplers of the time. To imagine this music was being made in a time where only petrol company CEO's had cell phones, emails weren't even a thing, let alone social media, a time capsule into a special epoch where "progressive" or "trance" weren't quite established keywords yet. Re-issued with a new remastered face and 2 new remixes from studio guru Anatolian Weapons beautifully adding to this powerful exploration of club oriented electronics.

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Powerfully epic breaky sound hailing from the UK during the early 90s. Beautiful tempo juxtaposition of fast passed driving beats pushed by low ph bass lines under slower piano riffs and patient vocal elements making it a hard one to forget. Low end elements clearly carved from primordial UK Bass aesthetics taking the amen break to new plateaus already very much overlapping with Drum & Bass territory. Ultra dreamy vocals on some kind of The Mamas and The Papas reincarnation, UK dreaming all the way. Heavy ending track vibes. In addition, Juan Ramos' masterful half tempo remix offers the listener a completely different experience with full respect for the original, what else to expect from someone with this caliber of dance floor education <3 meticulously remastered.

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A time capsule from the golden age of Balearic history opened for the first time in 3 decades. Ibiza legends Leo Mas and Sergio Portaluri generously give Sound Metaphors the honor of releasing historical material from a special time and place. Originally produced in 1993 these tracks have been sitting in DAT tapes waiting for an opportunity to tell us a dancefloor story from a golden era where there were no smart phones or social media. Furthermore, the cherry on top, comes with none other than Apiento (Paul from Testpressing) gracefully remixing "Vogue Mars" into a breakbeat DJ tool bound to inspire new energy levels on the dancefloor. Mastered at Manmade Mastering in Berlin for optimal club efficiency.

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From the catlogue of Italy's charismatic Interactive Test label, helmed by the Falsini brothers, Sound Metaphors Records compiles a selection from the two volume "How To Use The World" series. A collection of raw, experimental proto sounding house numbers composed and played by Marco Calderoni with help on production and writing by Giacomo Brunetti. Originally released in 1991, these releases have since then become deeply craved items amongst collectors and specialists of Italo House. With a sound so unmistakably unique, these productions will be hard to forget, from a time when house music wasn't even concretely established as a genre, these experimental proto nuances in club oriented sound played a defining role in Italy's emerging club sound. Thoroughly remastered at manmade mastering in Berlin, same sound new body.

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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.

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Although his released body of work is relatively small, Dirk De Saever's EPs come with a rather unique aesthetic in sound. Once New Beat was established and exploded as a dancefloor craze in Europe, there seems to have been a bit of a flood of attempts at making “a hit” within the style, filter through most of that and you'll eventually land on Dirk's mini catalogue of top grade Belgian New Beat. This 12” is a compilation of De Saever's 3 EPs combined in one, featuring original mixes on the A-side and instrumentals on the B-side. First track comes with a simple synthesized melody that would have been New Beat chart material, but maybe the sampled lyric was too vulgar for radio play, and maybe Dirk didn't care. The kind of track that makes you think you already know it, yet it's still fresh to the pallet. A2 is like the soundtrack to a stroll down a rough neighborhood in the outskirts of Brussels when all of a sudden the drug dealer, obviously too high on his own supply, jumps out from behind a Friet met Maiyonaise stand trying to sell you some kind of illicit candy in rough translation from Flemish to enthusiastic English – take two of whatever it is he's selling and hope for the best. Later that night, in some warehouse after hours party the DJ plays A3 as your bad trip derails into full on nightmarish Belgian waffle brain damage - New Beat at its best. Always cruising around the 110 bpm marker, waiting to see what happens, no rush, nowhere to go, easy does it.

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Another powerful release from the Exist Dance catalogue, pioneering and shaping the sound of the US early 90's rave scene. A 4 track EP by High Lonesome Sound System - yet another project by Tom Chasteen and Mike Kandel - with a collection of different mixes of “Waiting For the Lights”. Overall a mighty rollercoaster ride in breaky prowess, playful sample wealth and driving synth riffs. Putting the Amen break to unprecedented monumental grandiosities on the dancefloor. Especially with the meticulous mastering on behalf of Manmade mastering. Can't go wrong, buy on sight.

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Another preciosity from the amazing Exist Dance catalogue made readily available to your record collections in newly remastered format. On the A side, “We're Go” is a 3 stage piece of breaky prowess developing throughout a total of almost 13 minutes spiraling around a catchy cosmonautic vocal sample. B1 brings a quintessential Rave energy to the table with samples from live crowds echoing over high octane break rhythms, would be hard to stand still for the duration of this - highly effective on a dance floor. B2 takes a turn towards more introspective moods as it brings in psychedelic elements intertwined with “world music” samples. Very much characteristic of the distinguished Kandel/Chasteen Exist Dance sound. West coast early 90's rave at its best, can't go wrong. “Recorded in Heaven, in 1991, according to the label.”

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