The Eastern European Cut Outs - the spin-off series of The Very Polish Cut Outs - continues to excavate those hidden gems from all parts East...

As always the selection is as varied as it is exceptional.

From a Hungarian Disco banger, to a Soviet New Wave workout via an absolute smash of a symphonic Serbian Gypsy Disco-Not-Disco jam to a mesmerising Czechoslovakian accidental Space-Disco delight...
It's another secret knowledge sureshot for the seekers.

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Pol Rax's album (simply titled Pol Rax) with the artist's recordings from the years 2000-2010, including the ultra-hit 'Dla Ciebie', is an electro-banger that simply had to be put on vinyl!

The publishers, i.e. The Very Polish Cut Outs and Superkasety Records, have chosen, together with the artist, 8 tracks recorded in the first decade of the new millennium - some of them are released for the first time, others have so far lived to see only digital editions (by Seek Records), and only 'Dla Ciebie' was released earlier on CD (by the famous French label Kitsune).

For a long time single tracks of Pol Rax were available only on YouTube, and after releasing those few tracks mentioned before, the artist from Wroclaw put the synthesizers aside and retreated into the shadows.
It was then that - as Eltron aptly put it - "a legend was born".

'Dla Ciebie' and other tracks were gaining popularity on Youtube, famous polish footballer Artur Boruc even danced to the rhythm of Pol Rax's #borucdance and club dance floors were heating up with tracks like 'Rock Your Video' and 'Za Pozno'.

This album, played and sung entirely by Pol Rax and a few guests, is not only electro bangers for the disco. It's also ambitious (synth)pop that definitely deserves to be played often on the radio. There are some hits on the album, but there's also the sensual 'Goraco' with guest appearance by Julee, or the melancholic 'Zatrzymac sie'.
Pol Rax himself mentions among his inspirations (for the music, but also for the lyrics he writes) the new wave of the 80's, the raw pop of early Bajm or the synth sound of Dwa Plus One.
These sources can be perfectly heard in his music, but there is also something else - sometimes a bit of French touch in the spirit of Daft Punk, other times minimal wave or boogie funk.
It is diverse, but nevertheless very coherent, and the whole album is perfect to listen to from cover to cover...

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Andrzej Korzynski is, without a doubt, one of the most important, celebrated and influential Polish musicians of the XX century.
He wrote plenty of pop hits, created a very famous and extremely successful Franek Kimono project, collaborated with world renowned movie directors like Andrzej Wajda and Andrzej Zulawski, and played a key part in the legendary studio group Arp Life. Korzynski is also well known for his soundtrack for a cult classic for kids, "Mister Blot's Academy".

All in all, he's perceived as an extremely creative person, a real pioneer who helped introduce synthesizers to the world of domestic film and pop music. A true artist with many faces, a handful of projects, and a musician that cannot be pigeonholed. Without any doubt, he is really something.

So, with all that being said, no wonder that The Very Polish Cut-Outs' attention was drawn by the Master's work.

Without further ado, we have an honoor and pleasure to announce this release.
Four remixed tracks from the very rich artistic output of Andrzej Korzynski. All the tracks were carefully picked by the composer himself, out of a dozen proposals. It is worth adding that such a release was a personal dream of Zambon, the TVPCO's founder, especially given the fact that his very first edit was "Baby bump", a cut by the aforementioned Arp Life group.

"Niezle Numery" EP consists of four top notch edits and remixes brought to you by a well-known pack of producers closely related to the label with the famous rooster logo.
Holiday 80 guys take over the A side having expertly cut original material by Zenek Czubaty (the predecessor of the legendary Franek Kimono studio output), finishing off with two thumping peak-time heaters with infectious vocals.
On the flip you can find a more relaxed and reflexive take with a downtempo twist. Pejzaz adds his trademark sound to "Monika", a piece deeply immersed in slo-mo vibe, while Karol Aleksander's "Welwet" is a nu-disco tinged groover with a personal touch. This EP is strictly dedicated to the lovers of hidden dance floor gems and die-hard collectors of rare stuff.

The outstanding cover was designed by long-time collaborator, Bartosz Szymkiewicz.


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Tired of another EP filled with US disco or afro boogie edits? Then we got you covered – after 3 years The Very Polish Cut Outs are back with another instalment of their samplers. This new offering is filled with 4 delicious polish tracks edited for making the dancefloor sweat.
The A-side has starts with a new edit from Holiday 80, the Warsaw duo steals the show with a proper stomper „Twa Jasna Widze Twarz” („I can see your light face”), a heavy party weapon with infectious vocal hooks based on a totally unknown track by a very famous Polish folk band. The next track is deep disco at its best - „Dzinsowe maniery” („Jeans manners”) edited by Karol Aleksander who joins forces with Bisti, a new talent on the TVPC roster. Their reinterpretation of a pretty unknown song by superstar Polish diva is a straight floor-filler infused with soul vocals.
On the flip side, you will find two edits by the Belarusian maestro Schmoltz, who once again proves, that he’s the master when it comes to digging obscure tracks from behind the Iron Curtain. The first piece is „Piosenka mlodych wioslarzy” („The song of the young rowmen”) an energetic time-bomb as well as a crazy combo of organ stabs and groovy horns. The other cut is a hypnotizing edit of “To bedzie koniec” (“This will be the end”), a Polish new-wave unheard classic with a psychedelic twist. The cover sleeve was designed by the long-time label collaborator Bartek Szymkiewicz.

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Tracklisting
A1 OBEDEYA - BEMINE
A2 DJ FRANKIE - MACUMBA
B1 OBZERV - ANNIHILATOR
B2 DJ SACRED - SWIRL ON 20s

Sales Note
The long awaited first release of ULTRALOW has finally arrived, on wax! A four track VA, each one a different style (for the real ones that can handle). Featuring artists from London, Argentina and Ukraine, always in support of the underground, ULTRALOW
MOTHERFUCKERS will take up space in your collection

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Balmat 17 marks both a return and a new frontier. It is the second album on the label from Patricia Wolf, whose 2022 album See-Through is one of the most beloved in Balmat’s catalog; it also marks the first time that Wolf has turned her hand to a film soundtrack. The results are every bit as magical as fans of the Portland, Oregon, composer’s music might expect.

Hrafnamynd—Icelandic for “raven film”—is a new feature-length documentary by experimental filmmaker Edward Pack Davee. Shot on a mix of film and digital formats, and incorporating his father’s Ektachrome slides from the 1970s, the autobiographical film works on multiple levels at once: a reminiscence of his childhood in Iceland, an exploration of landscape and folklore, and a documentary study of the island nation’s ravens—including a talking raven named Krummi.

Wolf is the perfect artist to score such an unusual film. Mixing ambient music and field recording—including extensive experience documenting bird song—Wolf brings an unusually empathic perspective to her music. In the context of Hrafnamynd, her airy melodies, pensive atmospheres, and vivid textures intuitively complement the film’s grainy film stock and blown-out colors. Friends for years, the two artists further bonded when Wolf asked Pack to film music videos for her songs “Woodland Encounter” (from See-Through) and “The Culmination Of” (from I'll Look For You In Others). Pack used Wolf’s previously recorded music as placeholders as he began assembling a rough cut of the film, which made her a natural choice to help him complete his idiosyncratic vision with an all-new, bespoke score.

But Wolf’s soundtrack also indisputably stands alone as a full-length album. Largely created using the UDO Super 6 synthesizer, it features a carefully distilled palette of warm, string-like pads and darkly glistening mallets, rounded out with the very occasional introduction of nylon string guitar. Musically and stylistically, the album’s 11 tracks represent both a continuation of the ruminative sound of See-Through and also an extension into new expressive modes. Few musicians, ambient or otherwise, are as skilled at balancing melody with atmosphere, or at finding ways to eke fresh at finding ways to eke fresh, surprising sounds out of an intentionally reduced toolkit. Meditative, immersive, and emotionally generous Wolf’s Hrafnamynd soundtrack evokes a range of ambient classics from decades past while confidently marking out its own verdant patch of ground.


Artist’s Statement:
Edward and I have been friends for years, but we really started to get to know one another better after I hired him to make music videos for my songs “Woodland Encounter” and “The Culmination Of.” For those projects we got to spend a lot of time hiking in various locations around the Pacific Northwest with his camera, very nice lenses, and tripod. Keeping quiet, hidden, and vigilant we searched for wildlife, good light on the trees, meadows, lakes, rivers, and skies. Edward was already an appreciator of my music and I was already in awe of his filmmaking talents so it felt like a great fit. Although we work in different areas of art our styles compliment one another. We both tend toward slow and careful pacing, with a focus on emotion and introspective reflections on life and the landscapes around us. For this reason, Iknew that I could trust Edward to create videos for my music. We saw so many beautiful and unexpected things on our filming days, but I was moved to tears once I saw how magnificent and poetic it all was. His video work from the cinematography, to the editing, and color correction helped bring my inner vision to life.

A few months after that, Edward surprised me with an invitation to work on the soundtrack for his new film, Hrafnamynd. I enthusiastically said yes. I had always wanted to work on a film, and I knew that his filmmaking style would be inspiring to write music for. I had recently acquired an UDO Super 6 synthesizer but hadn't used it much. I decided that this would be the synth that I'd use for the film. It has the ability to sound very modern, but can also sound so warm and fuzzy, like a synth from the 1970s. It turned out to be the perfect instrument for this project as the film itself straddles time from the ’70s to today.

When Edward sent me the rough cut of the film, he used placeholder music to help give me an idea of the emotion and energy that he was hoping to achieve for each scene. For many of the scenes, Edward used music from my albums as temporary tracks. This told me that he trusted my work and style and therefore I should just trust my intuition with how to proceed. I wanted to make sure that everything that I made was a direct reflection of what was happening on screen, a mirror of its emotion and energy so people could really lock into the film psychologically. This process took my composing to unexpected places—like being led by a strange cat or a raven that seemed to have something to show me. I found that the approach made the music so much more dynamic than my usual style. I really enjoyed being influenced by the action and dialog on the screen. Thankfully, Edward was very happy with the work. I made sure to handle this project with the utmost care because this is about his life and his family, and an exploration of the experiences that made him an artist and filmmaker. While watching the film many times over, I found myself thinking about my own family and my early memories with them and how the place where I grew up has influenced who I have become. I found that his film invites the viewer to reflect on their own lives in a similar way. I hope that this music and film can guide others to contemplate on the history of their beingness and the people and places that shaped them.

Another aspect to this project is the splendor and wonder of Iceland itself. I had the opportunity to visit Iceland for the first time in 2023. I got to play a show there for the Extreme Chill Festival and met many friendly and brilliant Icelanders. I also got to collect field recordings that I used in the film. It's a fascinating place and culture that easily captures the hearts and imaginations of anyone who visits. Whether you spend your time in the city immersed in its impressive arts scene, or venture out into the wilderness to behold its wondrous landscape, it will leave a lasting impression. The soundtrack is also a love letter to Iceland itself.

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Introducing: Temporary Blessings, the new project by stalwart Naarm / Melbourne trumpet player and composer Liam McGorry. Assembled to realise McGorry's compositions drawing on 1960s Italian & French soundtrack music, Temporary Blessings brings together trusted instrumentalists and fellow travelers from Melbourne's rich enclave of cinematic soul. With Liam at the helm, the group is composed of members of Surprise Chef, Karate Boogaloo, Saskwatch and Let Your Hair Down. The resulting recordings realise McGorry's sonic visions of film noir, giallo, library music and cinematic soul, captured live in one room with what the maestro describes as "a shared spirit". The recordings, produced by paragon Henry Jenkins, bring together emotive string arrangements, tough horns and a steadfast rhythm section with an acute attention to detail McGorry has developed over years in the saddle.

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Lapalux (Stuart Howard) is a UK-based experimental electronic music producer known for his emotionally charged sound design, intricate textures, and immersive sonic storytelling. With releases on Brainfeeder and widespread critical acclaim, Lapalux has built a loyal global following and earned consistent airplay on BBC Radio 1, BBC 6 Music, and NTS. His work has been championed by DJs including Mary Anne Hobbs, Benji B, and Tom Ravenscroft, and praised by outlets such as The Guardian, Resident Advisor, XLR8R, and Clash. Lapalux's music occupies a unique space between IDM, ambient, and leftfield electronica — rich in atmosphere, detail, and feeling.On the Grid is Lapalux's latest EP — a deeply intricate, hardware-driven exploration of rhythm and emotion that fuses fragmented IDM with warm analogue tones and deep dynamics. The EP showcases Lapalux's continued evolution as a producer, balancing intricate sound design with powerful melodic undercurrents. It follows years of refinement in the studio, drawing on his signature use of modular synthesis, Digital and analogue hardware and organic imperfections. With a limited vinyl pressing and strong fan demand, On the Grid stands as a key release in Lapalux's catalogue and a compelling addition to any store's forward-thinking electronic selection.

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New Environments & Rhythm Studies finds Andrew Pekler returning to the humid zones he explored on previous albums such as Sounds From Phantom Islands and Tristes Tropiques. Split between longer immersive compositions and shorter glimpse-like sketches, these 12 tracks feature new juxtapositions of Pekler's familiar palette of synthetic field recordings, warm, undulating electronic textures, shifting percussion patterns and serene melodies.

As with much of his recent work, Pekler's compositions here are structured around the beguiling effect of synthetic and non-synthetic sounds mirroring, mimicking and modulating one another. The teeming atmospheres within tracks such as Globestructures, Cymbals In The Mist or Globestructures: Option II are, despite their seemingly anthropogenic nature, entirely synthetic. Elsewhere, the lopsided grooves of Cumbia Para Los Grillos or Fabulation For K are derived from recordings of crickets and other insects which Pekler loops and uses to trigger electronic percussion – producing a pleasantly skewed rhythmic base for the fragments of melody which are layered on top. The six Rhythm Studies also follow the same principle – a playful interweaving of the organic and synthetic.

New Environments & Rhythm Studies is a further attempt to re-describe past tropes which laid claims to authentically represent music and sound from beyond the Western world (exotica, ethnomusicology, field recording) as undertakings of the imaginary.

Written and produced by Andrew Pekler, mastered by Giuseppe Ielasi, artwork by Morgan Cuinet, graphic design by Dmytro Nikolaienko.

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French DJ/producer Simo Cell is gearing up to drop a new 4-track EP on his label TEMET. He reimagines the Blog House/French Touch 2.0 movement, presenting a futuristic evolution of its iconic sound with a distinct Simooo twist and the raw energy of contemporary club music. It's a big day! Meet FL Louis, a (real) puppet designed by Simo Cell and the robotic voice behind the music. Stay tuned, clips coming soon!

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Second offering from Leo Gibbon’s MUDLINE imprint sees the producer reunite with grime’s perennial wild card, Trim, for a two-sided pressure test that flexes both restraint and raw power in equal measure.

On Side A – Orbit Step, Gibbon leans into the emotive end of the 140 spectrum — all reflective pads, sci-fi shimmer, and subbed-out swing — with Trim delivering a rare, inward-facing performance. It’s grime as meditation, anchored by subtle tek textures and lyrical ambiguity. The accompanying acapella, exclusive to the vinyl, is a potent bonus.

Side B – Danny and Darren flips the script entirely. It’s a no-frills, floor-ready juggernaut — grime at its most ballistic. Trim in full yardman mode here, riding the riddim with relentless intent. It’s sweaty, chaotic, made for late sets and soundsystem abuse.

Instrumentals included on both sides, giving extra room for exploration and dubplate mischief.

A bold second chapter from MUDLINE, Orbit Step builds on the promise of Happy Lovers and underlines Gibbon’s growing prowess in crafting versatile 140 tools with personality — while Trim, as ever, shapeshifts with ease.

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