First vinyl pressing of Baroque by Japanese composer and multi instrumentalist Susumu Yokota. The full length album was originally released by United Sounds Of Blue in 2014, a subdivision of Frogman Records on CD format. Now it is being re-released by Barcelona-based record label Modern Obscure Music as a double LP.

Baroque is one of the most significant albums of Susumu signed under his original name, and this is the first time the album will be pressed on a double LP 12". Yokota, was an eclectic, highly prolific electronic musician and composer from Japan who died in 2015 at 54.

"There is always fear, rage, and ugliness existing behind beauty. I have been trying to express ki-do-ai-raku (the four emotions: joy, anger, sorrow, and happiness) through music. I would like to express even one's hidden emotion with reality. It's my eternal goal." Baroque is a clear example of this, through the deep listening of the album you can experience all of those feelings in just one record and feel how his music influenced the next generation of producers during the two next decades till today. The Tokyo-based artist devoted his time and creative energy to achieving this goal, and the result is a vast discography that begins with banging early acid house tracks in the 1990s, moves across the next two decades to include deep house and Detroit-influenced techno, a stunning run of ambient electronic albums and, in his last decade, a glorious confluence that wove his various skills into a series of borderless electronic records.

Modern Obscure Music team is really excited to bring this gem to the light, Baroque is remastered and distributed in two 12" to be played in clubs and home sound-system bringing the best quality of sound to have the best experience. 

TRACK LISTING

A1 Deformed Pearl 6:06
A2 Deep Sea Diva 5:54
A3 Gem Stones 5:37
B1 Keel 5:12
B2 Re 4:47
C1 Extension 4:25
C2 Royal Flush 5:50
C3 Boreas 5:25
D1 Spinner 5:44
D2 Nacre 6:04

“Earth, Our Planet?”: A call for environmental awareness. This time, Pedro Vian - the founder of Modern Obscure Music - presents his fourth solo album (following his 2020release, "Ibillorca"). "Earth, Our Planet?" promises to immerse us in a moving odyssey, crossing the boundaries of musical genres to provoke an urgent meditation on the protection of our planet. On this occasion Vian has composed the album influenced by the myth of the eternal return, the compositions are long and repetitive, generating
states of pure
trance.

Pedro Vian, singular for his fusion of genres and styles, ventures into even more complex territories in "Earth, Our Planet?". From the first listen, it is evident that this work treads the line of convention and breaks the boundaries of electronic and experimental music with artistic dexterity. The album weaves together texture, hypnotic rhythms and melody. Each track reveals his distinctive ability to create immersive landscapes, guiding the listener into deep emotional introspection. This is not just music; it is a transformative experience. The beauty of this album lies not only in the musical vision. The album features high-calibre collaborations that add layers of creativity and elegance. Trumpeter Pierre Bastien, whose early productions left an indelible mark on Aphex Twin's Reflex label, infuses "A Day in Rotterdam" with a unique emotional resonance. Violinist, Asia, renowned for her avant-garde approach and ability to conjure unique landscapes, elevates the album's opening tracks "Urobóros" and "Les Tambours Subterraniens". Their skill and sensitivity intertwine perfectly
with Vian's artistic vision. In addition, Italian producer Daniele Mana, with whom Pedro Vian collaborated closely on his previous album "Cascades", known for his experimental approach and talent for creating extraterrestrial atmospheres also contributes to "Les Tambours Subterraniens". His artistic perspective adds more complexity and texture to the piece, pushing the boundaries of contemporary electronic music. There is also a collaboration with Raül Refree, an artist with whom Vian worked with last year, presenting
“Font De la Vera Pau”, an album that The Guardian defined as 'a wonderful piece of electroacoustic music, a captivating mix of strings and analogue synth drones which sometimes flirts with Alice Coltrane-ish spiritual jazz'.

With "Earth, Our Planet?", Pedro Vian not only offers up some of his best work to date, but it is also a call to reflect on our relationship with the natural world. As a part of a planet where environmental awareness is more crucial than ever, he urges us to protect and preserve our world as an extension of ourselves. This extensive work is a statement, Vian addresses the
notion that too often we prioritise immediate needs over the well-being of the planet. It highlights the fact that we often consider the Earth as a possession when, in reality, we are but a part of it.

TRACK LISTING

1. Uróboros
2. Les Tambours Suterraniens Feat. Mana
3. Satan’s Voice
4. Lucid Dreams
5. Un Storia Infinita
6. The Limit Of Nothing feat. Raul Refree
7. A Day In Rotterdam Feat. Pierre Bastien
8. Your Face Shines More Than The Sun
9. Hipódromo
10. Crema Lent

A cross-cutting label exploring the boundaries between different disciplines based on deep listening and music research, Modern Obscure Music return with "INRI (Industria Nacional Del Ruiddo Infinito)" by Dellarge.

Inspired by the scenic beauty of his studio's surroundings at Lake Pátzcuaro in Michoacan, Mexico; Alejandro Barba - aka Dellarge - delves deep into the depths of his artistic consciousness to craft a spiritual album that encapsulates the essence of the place. "Industria Nacional del Ruido Infinito" (National Industry of Infinite Noise) serves as a vessel for Dellarge's innermost self-expression and reflections on the potential of humanity. A mesmerizing blend of ambient, futurism and industrial sounds that transport listeners into a realm of mysticism and duality, and stands as a testament to Dellarge's artistic growth and his ability to transcend boundaries, offering listeners an immersive experience that connects them to his world.

Drawing inspiration from numerous sources, Dellarge found creative fuel in books such as 'El Arte de los Ruidos' by Luigi Russolo, 'Manifiestos y Textos Futuristas' by F.T. Marinetti, and science fiction classics including 'Congreso de Futurología' by Stanislaw Lem, 'Neuromancer' by William Gibson, and 'Dune' by Frank Herbert. Musically, he delved into the works of Coil, Michael Bundt, The Threshold Houseboys Choir, krautrock legends CAN and Popol Vuh, early Kraftwerk, Arthur Brown, Yello, Esquivel, The Residents, and Hector Lavoe for inspiration.

When asked about the creative process behind the album, Dellarge revealed a disciplined routine that involved immersing himself in the sounds, focusing on minute details that connected with the vivid world he envisioned. Ethereal tracks such as "Viento Androide" and "Viaje al Sol" offer a glimpse of a hopeful future, while darker compositions such as "Corpus de Sangre" and "Toro de Falaris", explore the wickedness and compassion within humanity. Each piece in the album represents a unique sonic journey.

"Viaje al Sol" is remixed by the sadly recently departed Juan Mendez aka Silent Servant alongside an exclusive reworking of "Cascabel" by the founder of Modern Obscure Music, Pedro Vian.

TRACK LISTING

1. Viaje Al Sol
2. The Maestro
3. Esferas De Cristal
4. Mama
5. Cascabel
6. Juguentes Rotos
7. Sigilo
8. Orquesta Sinfonica Angustia
9. Toro De Falaris
10. Perdon De Judas
11. Viento Androide
12. Corpus De Sangre


A. Viaje Al Sol (Silent Servant Remix)
B. Cascabel (Pedro Vian Remix)

Jamal Moss aka Hieroglyphic Being aka The Sun God aka Chicago avant-electronic genius, student of Adonis, protege of The Muzic Box and overall overlord of experimental dancefloor mechanics returns with a BRAND NEW ALIAS (!!) and drops his second record for esteemed label Modern Obscure Music.

Encased in strange artwork which stretches out images of various dogs, it took me a while to realize that it was Jamal Moss behind the release. I have a feeling this is a deliberate move by the artist to offer up a body of work that's to be judged in its own merit, without any preconceptions alluding to what to expect.

Die-hard Moss fans will, of course, recognize the warped galactic production aesthetic favoured by the producer during his near-30 year career but this is a decidedly new (non)direction taken by the already quite non-linear and indeed, oft-astray producer.

Two tracks of over 18 minutes length each which crawl deceptively through tectonic mounds and deep underground caves; somehow churning up the landmass through a powerful array of equipment: Moog Mother 32 Semi-Modular Analog Synths, Behringer 303 Clones, Dr - 5 Drum, Korg Ddd1 Drum Machine, Ensoniq Mirage Workstation, Stagg Electric Upright Bass Casio Dh-100 Digital Horn Midi Sax.

TRACK LISTING

Alpha Parte - Magna Controversia 
Omega Parte - Quomodo Erit Finis