COMPILED BY MICHAEL REINBOTH Compost proudly presents the 13th chapter of this highly acclaimed compilation series. The exciting package 4-LP vinyl contains two yellow coloured and two black vinyls. As usual FSOJ is compiled by Compost head honcho Michael Reinboth with a solid sense of leftfield tracks, punchy floorfillers, ghostly, cinematic, balearic, frazzled, bitter-sweet or mind-shaking hybrid tunes.Several magazines voted FSOJ as the one of the best compilation series of all time. With this series starting 1995 the term Future Jazz became a genre landmark. FSOJ 13 including some exclusives, sought-after tracks and previously unreleased tracks. Some highlights are: First of all the Van Hai track in a Ripperton remix is a perfect opener into a tranquil music venture. A sheer bliss tune. Montezumas Rache Wu Du Wu, which was only released on vinyl before - still difficult to find the original 12 - is a freaky outstanding funk hybrid. Karim Sahraoui with a punchy Detroit-ish track, picked up from Derrick Mays Transmat label - is currently in the works with a follow up 12" later in 2017 on Compost. Acid Pauli delivers a brand new dubby balearic remix, which he recently did for Matanza, a live band from Chile. Peter Kruder came up with something special exclusive, a warm breath in the open air tune, which drives listeners into a chilled wormhole. Beside new names, bigger names like Axel Boman, Tony Allen with a Ricardo Villalobos & Max Loderbauer remix, youll find more lefties tracks from respected labels like Studio Barnhus, Innervisions, Lovemonk, Transmat, Mule, Tru Thoughts, Rebirth, Ninja Tune and m.o. next to other exclusive deliveries by Manuel Tur, Marsmobil, coupled up with semi exclusives: the first time on vinyl or digital. The 14th chapter is near. The time is right. http://compost-rec.com/

"Sirens" resonate a lot in 2026. "Sirens" are everywhere right now, in the many fields of the human reign, sounding at its highest level ever... Pioneering Swiss DJ and electronic music producer Ripperton joins forces with Berlin-based singer, composer and passionate aural storyteller Joy Frempong (OY) to create a beautiful and deeply moving piece of electronic music. And after three years in the making, "Sirens" finally emerges. The roots of this collaboration however reach back more than a decade. Around 2010, Ripperton first encountered Joy's first album with Oy after hearing it on Swiss national radio Couleur 3. Shortly after, he saw her playing live — a moment he describes as pure magic. So inspired, Ripperton approached her label with a request to remix her music. The label agreed, and in exchange, Joy promised to feature on one of his future productions. What began as a mutual artistic gesture quietly planted a seed and eventually, pretty much fifteen years later, that seed has fully grown. "Sirens" began as one of Ripperton's nocturnal modular jams — exploring and playing around with pulsating sequences, pure analogue sound textures and fluid, hypnotic structures. The track was then elevated to an entirely new level by Joy Frempong's deep, evocative lyrics and her celestial voice, transforming the song into something haunting and profoundly human. The song also grew on a shared work ethos rooted in patience, trust and refinement. A slow process, shaped by intuition and feeling rather than pressure. Listening over noise. The result is an emotionally charged composition that blurs the line between inner reflection and collective awareness — a sonic response to the sirens of our time.

Welcome to the fourth chapter of the ELASTE series! In this compilation I am progressing a style I am inaugurating: Vintage Futurism. The best metaphor for this genre is Charanjit Singh's 1982 album Ten Ragas to a Disco Beat in which he created a sound which mirrors, but more importantly pre-dates, the first acid house record by five years. It is no novelty record, but truly capturing the hypnotic potential of acid/house music. It became my key track for Elaste Volume 4. Previous incarnations of Elaste have aimed to catch the spirit of the late 70s Italian Cosmic Discotheque, a place where the history of DJing was rewritten within this microcosm. For this latest instalment I was most intrigued by weird of-the-time (or out-of as the case turned out to be) electronic disco, a vast genre! Bringing together those progressive avant-garde tracks that were expanding the genres of house, disco, acid, new wave; and ultimately use Elaste as a vehicle to highlight those tracks that were ahead of their time. These legendary works ranges from 1978 to 1996, a wide spectrum of musical history, in which some of the older tracks may sound modern, and newer ones sound may sound vintage.Many of these authentic back-to-the-aural-future moments were initial sparks for whole genres - Larry Heard s Disco-D alias happened just before house music. Greg Wilsons 1984 project Equip was produced for a UK Electro compilation, but never made the LP, because it sounded simply too futuristic. Michael Rinder s Gluttony cant be called Disco any more, not even Post-Disco. For Elaste Vol. 4 we have built Vintage Futurism as a home for these ultramodern mavericks. Dompteur Mooner About Dompteur Mooner: Mooner stepped into the limelight as part of Zombie Nation, whose 1999 smash hit 'Kernkraft 400' was signed to DJ Hell's Gigolo label and earned worldwide chart success. As one of the most knowledgeable experts in obscure vintage electronic music, Mooner however decided to do things a little less obvious from that point on: He left Zombie Nation and founded Erkrankung durch Musique, a label dedicated to releasing left-field electronica, from techno to experimental pop, old and new. He also a highly regarded DJ, known for his unmatched record collection and bootleg edits, such as his Girls Girls Girls Ep that combined great 80s girl bands as extented edits, or Greatest Hits, an hommage to dance orientaed Rock music. Mooner just finished his fourth chapter of Elaste, a compilation series for Compost Records that started the Cosmic Disco hype.