Cosmic JD
Gizmo Slush

Sublabel of Undersound Recordings devoted to electronic music on 10" format.The tracks are inspired by the artist's childhood memories of walks on green hills many years ago. While they are produced with different approaches, both from the digital and hardware world, they paint a personal picture of the artist's personality.

Thomas Melchior provides a foretaste of his upcoming album.

Melbourne’s very own Reflex Blue takes us on a five part journey through the terrain of his mind to bring in to reality the Twin Waters EP.Through this project Reflex’s unique fusion of deep, earthy sounds and other worldly aetherial textures, help us find the way back to a primal place, buried within us all.Digital and natural worlds come together in this project to work in harmony, coupled with a healthy dose of psychedelic accents, we are left in a mind altering state somewhere between transcendent euphoria and ecstat- ic dance... We hope you enjoy the ride.

Dreamt up spontaneously by Walrus (Brussels) & Adi (Bogota) during a listening session in Berlin, the label revolves around feelings of friendship and fun in music, with its feet always itching for the dance floor. Crisp music is the message, with each split EP thoughtfully balanced and artwork in the form of a puzzle by Joe Delon, which has to be solved to discover the tracks and their makers. Let’s play!

Since he started producing music, Berlin-based American sound artist Jake Muir has been obsessed with sampling. His 2018 album "Lady's Mantle" was based on manipulated chunks of vintage Californian surf rock, and its follow-up, 2020's midnight symphony "The Hum Of Your Veiled Voice" was sourced from a wide variety of old records, and inspired by the work of experimental turntablists like Marina Rosenfeld, Janek Schaefer and Philip Jeck.On "Mana", Muir looks back to a misunderstood musical movement. Around 1995, a group of New York producers and DJs - including DJ Olive, DJ Spooky and Spectre - pioneered a genre-dissolving sound by unifying hip-hop techniques with ideas pulled from dub, jungle, ambient music and industrial noise. Badged "illbient", it was a short-lived genre that felt like a high-minded psychedelic cousin of the UK's trip-hop.Muir uses illbient as the springboard for "Mana", utilizing a selection of samples to inform his frothy drones and foreboding atmospheres. He ushers the material into 2021 by diverting it through his own contemporary worldview, attempting to recreate the hyperreal fantasy histories of Japanese RPGs (think "Dark Souls" and "Final Fantasy") and nod to sensual, tactile soundscapes of European industrial labels Staalplaat and Soleilmoon. The result is a magickal, sensory journey that's as physical as it is representational.If the illbient producers were encouraging a burgeoning experimental music landscape to emphasize the tactile feeling of turntablism and sample manipulation, Muir is doing the same with "Mana". Each track heaves and breathes not just with his cultural reference points, but with layered, complicated emotions. We can hear joy, sadness, desire and anguish, obscured by disintegrating noise, hallucinogenic harmonies and sub-aquatic bass. It's electronic music that's rooted not in technology, but in touch.