Loraine James lets her influences run wild on her third Hyperdub volume, sampling DNTEL, Telefon Tel Aviv and Lusine on tracks that dig into her emotional core. Featuring guest appearances from Marina Herlop, keiyaA, Corey Mastrangelo, Eden Samara, George Riley and Contour.

Remixes is a brilliantly inventive, ground-breaking, and masterfully curated future jazz crossover landmark centering on the legendary avant-garde trombonist Phil Ranelin, co-founder of Detroit’s radical 1970s Tribe Records collective, released in 2002 on the boundary-pushing electronic imprint Hefty Records. Spanning over 53 minutes across ten revolutionary reinterpretations, this high-fidelity document captures a stellar generational bridge where Ranelin's historic, deeply spiritual, and politically charged avant-jazz master tapes are opened up to the absolute elite of turn-of-the-century IDM, glitch, post-rock, and underground hip-hop producers. Rather than dropping cheap club beats over old horns, these electronic visionaries radically deconstruct the acoustic architectures of Ranelin's catalog. The tracklist is packed with high-concept electronic gems, highlighting Prefuse 73's hyper-edited, glitchy MPC MPC fractures on Wife (Pieces of Detroit Mix), Jan Jelinek's warm, micro-sampling minimalist dub textures on Sounds from the Village, Morgan Geist's deep, Detroit-techno inspired Rollerskate Mix, and Telefon Tel Aviv's stunningly cinematic IDM treatment of Time Is Running Out, alongside a fierce, dystopian hip-hop beatscape carved out by El-P. Exceptionally preserved in pristine dual-format lossless and high-bitrate audio with full artwork scans, this definitive compilation stands as an absolute mandatory cornerstone for global collectors of modern broken beat, electronic jazz fusion, and historic Detroit avant-garde evolution.

Stop Making Fans is a brilliant, genre-blurring studio album by the acclaimed Austrian electronic producer and multi-instrumentalist Bernhard Fleischmann, released in 2018 under the legendary indie-electronic imprint Morr Music. Spanning over an hour of intricate soundscapes, the record masterfully captures Fleischmann's signature blend of organic instrumentation, warm analog synth textures, and micro-glitch electronic percussion. The tracking arrangement showcases a beautiful evolution from quiet, introspective ambient passages into driving, beat-oriented indie-pop rhythms and minimalist leftfield electronics. From the clever nod of We've Heard The Talking Heads Talking to the sprawling, hypnotic layers of the title track and the atmospheric depth of Endless Stunner, the album balances melancholic weight with playful rhythmic exploration. Exceptionally produced and deeply textured, this album stands as an essential milestone for dedicated aficionados of contemporary electronica, IDM, and avant-garde indietronica.

After thirteen years of silence from the compound, during which anticipation has grown day by day, Boards of Canada finally return. Inferno retains their signature melodies and atmospheres, drawing on the esoteric influences explored in Societas X Tape (their 2019 NTS mix for Warp Records’ 30th anniversary) and the darker ambience introduced on Tomorrow’s Harvest, further deepened by an expanded role for speech soundbites.

Amon Tobin is an expansive, multi-format anthology that showcases the vast creative output and sonic evolution of Amon Tobin across live performance, studio experimentation, film scoring, reinterpretations, and archival material. Released in 2012 by Ninja Tune, the collection is structured as a deep exploration of his hybrid electronic language, blending IDM precision, cinematic orchestration, and rhythmically complex sound design. The ISAM Live material captures his groundbreaking audiovisual performance era, where sound and structure are reshaped into immersive, spatial experiences. Monthly Joints presents more intimate studio sketches and experiments, while Selected Scores highlights his work in cinematic composition with tense, atmospheric storytelling. The rarities section expands into lost material, collaborations, and early experiments that reveal the foundations of his style. Additional reinterpretations by various artists reframe his work through new perspectives, emphasizing the adaptability of his compositions. Live orchestral recordings further bridge electronic and classical performance practices, reinforcing the project’s scope as both retrospective and forward-looking. The result is a massive, genre-defying collection that documents one of electronic music’s most innovative artists across multiple creative dimensions.

CD "Life in Moments" contains alt. mixes of tracks previously only available as bonus downloads with FSOLDigital orders and six new recordings.
First recognized as the dance duo behind the club hits "Stakker" (as Humanoid) and "Papua New Guinea," Future Sound of London later became one of the most acclaimed and respected international experimental ambient groups, incorporating elements of techno, classical, jazz, hip-hop, electro, industrial, and dub into expansive, sample-heavy tracks, often exquisitely produced and usually without easy precursor. Notoriously enigmatic and often disdainful of the press, the group's Garry Cobain and Brian Dougans worked their future-is-now aesthetic into a variety of different fields, including film and video, 2- and 3-D computer graphics and animation, the Internet, radio broadcast, and, of course, recorded music…

First recognized as the dance duo behind the club hits "Stakker" (as Humanoid) and "Papua New Guinea," Future Sound of London later became one of the most acclaimed and respected international experimental ambient groups, incorporating elements of techno, classical, jazz, hip-hop, electro, industrial, and dub into expansive, sample-heavy tracks, often exquisitely produced and usually without easy precursor. Notoriously enigmatic and often disdainful of the press, the group's Garry Cobain and Brian Dougans worked their future-is-now aesthetic into a variety of different fields, including film and video, 2- and 3-D computer graphics and animation, the Internet, radio broadcast, and, of course, recorded music…

Flica is an electro-acoustic outfit produced by Euseng Seto from the evolving music scene of Kuala Lumpur, Malaysia. Born in 1982, he begun his exquisite journey in conceptualizing and producing delicate home-brew music since 2005 with his first electronica duo project muxu with member Huat Liang. Having realized the need to explore further and experiment with his own music style, Euseng Seto started Flica in early 2007, solely crafting and producing music on his own. As a result, the subtle sounds that Flica creates are exceptionally melodic and uncomplicated, which perfectly mirroring his perceptions towards daily personal feelings on life and nature.
As a debut album, "Windvane & Window" (2008) is created by minutely structured beats mixed with some other elements such as sweet voice sampling, and melodies which tenderly played with piano or guitar…

On their 2016 full-length, The Digging Remedy, Plaid claim to have revisited their Detroit techno roots. While this might cause longtime fans to expect something similar to the duo's pre-Warp recordings, particularly the solo tracks recorded under pseudonyms including Atypic and Balil, the album isn't quite as danceable as the work they produced during the early '90s. In some ways, it's slightly darker and less playful than many Plaid albums, continuing with the cinematic flair of their previous decade's output. (The duo recorded a few soundtracks during that time, most of which were only available in Japan or digitally.) Opening track "Do Matter" trickles in with John Carpenter-esque synth melodies and creeping, suspenseful rhythms that skip a beat rather than sticking to a 4/4 pattern…

Plaid are the London electronic music duo Andy Turner & Ed Handley. They are former members of The Black Dog and used many other names (such as Atypic and Balil) before settling on Plaid. They have collaborated with female singers Mara Carlyle, Nicolette and Björk, and have released records on the labels Clear, Warner, Black Dog Productions, and Warp Records.
Plaid - Double Figure (2001). Inspired to get back to basics after the release of the Trainer retrospective, Plaid returned in 2001 with an LP of tough machine music, closer to the melancholy beatbox style of their mid-'90s singles than the rangy, dynamic sound of 1999's Rest Proof Clockwork. Except for the cycling guitar-like lines on the opener "Eyen," there aren't many traditional-sounding instruments on Double Figure…

Manchester's Bola is Darrell Fitton, whose 1995 debut 12-inch for Skam under that name helped shoot the now-collectible label to underground notoriety. Although the first of Fitton's released tracks appeared on the Warp label's Artificial Intelligence II compilation in 1995 and displayed the same style of chrome-dipped melodic techno adhered to by many Warp artists, his subsequent Bola material focused in on a heartier, less accessible aesthetic. His self-titled Skam EP combined vaguely funk-fueled rhythms with harsh, austere synth textures and almost industrial-grade distortion. With the exception of compilation tracks for Silent Records' U.S.-released Skampilation, the Skam-V/Vm collaboration061, and the mostly obscure Mask series (a joint venture between Skam and Munich's Musik aus Strom), three years separated Fitton's debut from his next proper release; "Aguilla" was an extremely limited-run three-track seven-inch released by Skam in 1998…

Rob Gordon was a co-founder of the UK's Warp Records, onetime whizz-kid employee of Sheffield's Fon Studios and creator of Forgemasters'mighty underground “Track With No Name.” Recorded during his mid-90s freefall from an acrimonious split with Warp, Ozoona is one of the only surviving longform examples of Gordon's mercurial art, and therefore represents something of a coup for Fax. “She Ship” is an elegant, urbane update on ‘bleep'techno, while “Flat Pack”'s Moog input suggests this track is Namlook's main contribution to the CD. The 17-minute “Blackbird Suite” is a loose, swinging take on ‘intelligent'drum 'n'bass that sounds like a band of cybernetic jazz virtuosi. But “The Hunt” raises the bar entirely: a manic, monotonous grey slew of compressed Hardcore breaks that's rarely been outrun, even by the likes of Autechre in their more jackhammering moments.

The North London group Komputer began its career in the late '90s as an electro-pop act modeled largely after Kraftwerk but changed its style considerably in subsequent years, moving toward a more original sound. Comprised of Simon Leonard and David Baker, Komputer actually began as a trio, also featuring Jane Brereton, and debuted on Mute Records in 1996 with a self-titled, four-song EP led by "Valentina Tereshkova," a future single for the group. A year later, in October 1997, Mute released The World of Tomorrow, Komputer's first full-length album. Seemingly a literal homage to Kraftwerk, characterized largely by analog synths and vocoderized singing, the album spawned three singles - "Looking Down on London," "Valentina," and "Terminus" - that Mute released individually with accompanying remixes over the course of 1997 and 1998…

Aural Float compiled the soundtracks for the german cult TV-series "Space Night", that has been broadcasted every night at TV-station BR.
With it's futuristic visuals Space Night pretty soon reached "cult status" among the young night watchers. A futuristic show that accompanied the afterwork and afterparty life of young people and electronic music fans. Coming home from the club at night and chilling to the sounds of the cult show, Aural Float created a bridge to chill out and come down. Space Night had certainly left its marks to a whole generation of electronic music enthusiasts.
Guardner, Lemongrass, Jens Buchert, Röyksopp, Aural Float, Ruxpin, Chris Zippel, The Orb and many others.

Aural Float compiled the soundtracks for the german cult TV-series "Space Night", that has been broadcasted every night at TV-station BR.
With it's futuristic visuals Space Night pretty soon reached "cult status" among the young night watchers. A futuristic show that accompanied the afterwork and afterparty life of young people and electronic music fans. Coming home from the club at night and chilling to the sounds of the cult show, Aural Float created a bridge to chill out and come down. Space Night had certainly left its marks to a whole generation of electronic music enthusiasts.
Fresh Moods, Guardner, Sniper Mode, Index ID, Max Melvin, Jens Buchert, Quantum Leap, Nor Elle and many others.