Cerca:11

Erweiterte Deluxe-Jubiläumsausgabe von "The Fallen By Watch Bird", das neben dem Originalalbum auch das Kompendium "The Watchbird Alluminate" enthält, alternative Versionen und Neuinterpretationen von u.a. Demdike Stare, The Focus Group, Anworth Kirk und Emma Tricca. Seit der ursprünglichen Veröffentlichung vor 15 Jahren hat sich Jane Weaver zu einer der markantesten und experimentierfreudigsten Stimmen aus UK entwickelt und eine Reihe von gefeierten Alben veröffentlicht, darunter "The Silver Globe", "Modern Kosmology", "Flock" und "Love In Constant Spectacle". Es ist ein psychedelischer Femme-Folk-Rock-Teppich, der Einflüsse aus dem osteuropäischen Kinderkino, deutschen Kunstmärchen, der TV-Musik der 70er Jahre und elektronischen Soundtracks der 80er Jahre aufgreift. Dieses konzeptionelle Album, das von Synths und Mystik durchdrungen ist, verwebt Bilder von abwesenden Seeleuten, Telekinese, Tierbotschaften und weißer Magie mit heidnischen Themen wie Tod und Wiedergeburt. Ein prägendes Meisterwerk aus ihrer ständig wachsenden Diskografie, das ihre Reise von ihren folkloristischen und poporientierten Anfängen bis hin zu den psychedelischen Synth-Pop-Experimenten von heute dokumentiert. Das Album umfasst sieben Kapitel und enthält Beiträge von Septième Soeur Wendy Flower vom Folk-Pop-Duo Wendy & Bonnie, das 1969 das Album Genesis veröffentlichte, Lisa Jen, der walisischen Sängerin auf Gruff Rhys' Candylion, der verstorbenen amerikanischen Folk-Pop-Sängerin Susan Christie und dem bosnischen Folk-Musiker und Violinisten Behar. Als Extra setzt "The Watchbird Alluminate" die Reise fort, indem es in Drone, Psychedelia, Folk und weitere Klanglandschaften eintaucht. Einzel-CD oder limitierte 2LP-Edition in Marineblau und Cremefarbenem Vinyl, Gatefold-Sleeve + Obi-Streifen & DL-Karte.

Italian cinematic funk heroes Calibro 35 announce a limited edition 45 rpm vinyl featuring two previously unreleased singles. The record is pressed on clear orange vinyl, limited to 600 copies, making it a must-have collector’s item.

On the A side, Calibro 35 reimagine Grover Washington Jr.’s jazz-funk classic “Mister Magic” with an ultra-groovy cinematic funk stormer, perfect for DJs and collectors alike. On the B side, the Milan-based combo revitalizes Can’s krautrock anthem “Vitamin C” with a fresh jazz-punk energy, a track recently brought back into the spotlight through Kanye West’s sampling. Both tracks are taken from the Deluxe Edition of their latest studio album Exploration, set for digital worldwide release on February 6th via Record Kicks.

Praised by Rolling Stone as “the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years,” Calibro 35 have built an international reputation as one of the coolest independent bands around. Their music has been sampled by Dr. Dre, Jay-Z, and The Child of Lov (featuring Damon Albarn), and they’ve collaborated with icons such as PJ Harvey, Mike Patton, and Stewart Copeland, continuing to push their cinematic funk universe further.

To celebrate the release, Calibro 35 will hit the road starting mid-October, with two special U.S. shows in Miami and Los Angeles, followed by a European tour including Barcelona, Berlin, Paris, and London.

Rob Smith, RSD is not only a successful dubstep producer and pioneer of the Bristol sound, but also a very popular deejay travelling the world sharing his music. Coming from a reggae background and well-versed in sound system culture, Rob kept some of his best productions for his exclusive use when deejaying, the only way you would hear these gems was being played in one of Rob's sets. Fortunately, we've managed to persuade Rob to let Reggae Archive Records share these dubplate specials with a wider audience on a limited-edition vinyl LP. Compiled and sequenced in conjunction with Rob, the LP features nine tracks newly edited and mastered by Rob to enhance the bass playback on vinyl - it's cut heavy!
The tracks were recorded between 2006 and 2011, a time when one strand of dubstep heavilyembraced reggae and dub. Rob calls these tracks reggae infused dubstep and that's what they are, but Reggae Archive Records is a reggae label and this selection of dubstep tracks will most certainly appeal just as much to reggae and dub fans. Fusing dubstep beats, reggae samples, and seriously heavy basslines, this is a joyous celebration of musical cross fertilisation that has been tried and tested in clubs worldwide. In keeping with the dubplate origins of the tracks, we have designed the labels to replicate an old school acetate, while the sleeve pays tribute to seventies pre-releases albums with a replica stamp giving just the artist and title on a plain white sleeve with aged effect.

Hip Horns Brass Collective presents Brassvillain, a tribute to the cult album Madvillany by MF DOOM and Madlib with the collaboration of Las Ninyas del Corro, Ana Tijoux, Escandaloso Xpósito and Rodrigo Laviña. The catalan brass band covers iconic songs like Figaro, Meat Grinder or All Caps, with the metallic explosion that characterizes them and the voices of some of the best artists on the current rap scene. Daniel Dumile, aka, MF DOOM is not only a musical reference, but also the illustrations that accompanied his project have a great role in the history of hip hop. For this reason, Brassvillain is also a great graphic epic where the versatile artist Hermes LeBleu displays all his versatility. In the featurings appears HO$$$ Benítez, one of the most renowned drummers on the hip hop scene, who has already accompanied them on their previous releases, “The Dream” and “Thunder”. The production is by Hip Horns together with one of the best bassists and musicians in our country, Tito Bonacera, making this tribute a multidisciplinary meeting point between artists who grew up with the masked hero. On the B side we have two new singles from the band, BRAM! and Mulligan, in which they unleash their full potential both in composition and in execution to prove once again that they are one of the leading brass bands of the moment.

The debut studio album by the American rock band The Standells, Dirty Water was released by the Tower label in June of 1966. Taped in the midst of touring in a two-day session on April 4–5, 1966 at Audio Recording in Seattle, Washington, the LP takes its title from the homonymous song, which, along with its B-side "Rari," had been recorded on March 5, 1965, at Western Recorders in Hollywood, California and issued as a single. Dirty Water became the band's best-selling LP, peaking at #52 on the Billboard charts, and #39 in the Cashbox listings. The "Dirty Water" single peaked at #11 in Billboard and #8 in Cashbox. Along with Why Pick on Me, this is considered the group's strongest album.

RAWAX proudly presents Swayzak - Ping Pong/ Skoobarl from 2000!
We are very happy to re-issue this beauty and celebrate the 26th anniversary with a new mastering.
Don't feed the Discogs Sharks!

"Time Is Slipping Away is an album by American R&B/jazz fusion producer, composer, keyboardist and vocalist Dexter Wansel. It is the last of four studio albums released at Philadelphia International Records. The album contains songs with different styles from P-funk to sophisticated quiet storm music to instrumental jazz-funk. It features the two popular songs ""The Sweetest Pain"" and ""I'll Never Forget (My Favorite Disco)"". The former song features vocals by soul singer Terri Wells. Time Is Slipping Away is available as a limited edition of 500 copies on purple coloured vinyl and includes an insert with lyrics."

BRIXIA is a music collaboration project that began in Prague, founded by Czech multi-instrumentalist Max Lipovsky and Chilean synth aficionado Daniel Rodriguez. From the depths of a cold basement in Prague's Žižkov district, the duo crafted hypnotic rhythms and a fusion of cosmic, tropical, and oriental sounds during their never-ending live jam sessions—until they were finally ready to hit a record button.

Seeking a change of scenery, they packed up their instruments and drove 1,500 kilometers to Rome, where they recorded their music in the vibrant heart of Pigneto. There, they met Jonida Prifti, an Italian poet of Albanian heritage, and invited her to layer her poetry onto their tracks.

The result is both unexpected and deeply captivating. The title track is a dub-infused, ever-evolving piece of shamanic minimalism, laced with Balearic guitars and swirling synths that emerge only to fade back into the depths. Jonida's whisper-like vocals drift above it all—so ethereal they almost feel imagined.

In contrast, Vortice jolts you awake. This one will surely find its way into the bags of more adventurous DJs out there, with its driving post-punk bassline and near-harmonica melodies, it feels like a journey through uncharted territory. Jonida's voice guides you like a navigator, and suddenly, you've arrived.

Parra for Cuva returns in 2026 with a new LP – Nacar – and world tour, marking the next step in his ongoing artistic evolution. Known for creating immersive electronic soundscapes that combine organic instruments with detailed, emotive production, he now extends his vision with a renewed visual language and live experience that deepen the connection between sound and space.

The Suicide Handbook is Ryan Adams’ most elusive and mythic recordings. The album is a raw and intimate collection of songs that captures the songwriter at his most unguarded. Recorded at the beginning of his solo career and long circulating only through bootlegs, the album has earned a legendary status among die-hard fans and fans of the americana genre alike for its stark stripped-back beauty.
Acoustic arrangements and hushed, late-night vocals, these songs feel like private confessions set to tape. Adams leans into themes of heartbreak, isolation, and emotional vulnerability, delivering recordings that are as fragile as they are compelling. There’s an immediacy here that sets The Suicide Handbook apart from his studio releases. These are the original recordings in their rawest and un-touched form.
Released officially for the first time, experience the record as a cohesive piece, bringing warmth and depth to its lo-fi origins. The analogue format enhances every subtle nuance, from the quiet creak of strings to the tremble in Adams’ voice.
For longtime fans and collectors alike, The Suicide Handbook stands as a haunting, deeply personal snapshot of an artist laying everything bare—an essential addition to the Ryan Adams collection.

12 track LP from Pavel Milyakov AKA Buttechno, released on The Trilogy Tapes

The Lockheed F-117 Nighthawk was an American single-seat, subsonic, twin-engined attack aircraft and is a fitting name for this EP, which is equally low-key, menacing and devastating from RAN. Influences from Loefah, Youngsta and Boddika abound in these stark and dark dub soundscapes, which drip with dank warehouse vibes, ride on booming low ends that melt into an inky night and come with precision-engineered percussion. 'GBU-10 (External Guidance)' is a late-night search across a deserted city, 'JDAM (Signal Without Light)' has a more sub-aquatic feel and rolls more fluidly, while 'GBU-27 (BLU-109 Core)' is ominous, with ghosts of dubstep and broken beat lurking round every corner. Fantastically immersive and meticulously executed, not least because the EP was mastered by the great Transition Studios in South East London (early support from Carrier).

Often credited as the father of multi-media theatre, Alwin Nikolais (1910-1993) took complete creative control over his productions - including cutting-edge approaches to lighting and costume that transformed human bodies into shifting sculptural shapes, while also composing wildly innovative electro-acoustic and synth-based audio as accompaniment.

After initially experimenting with musique concrète and tape manipulation (as demonstrated on the 1959 LP Choreosonic Music of the New Dance Theatre of Alwin Nikolais) Nikolais became the first owner of Robert Moog's synthesizer at the Audio Engineering Society convention in New York in late 1964. Relying heavily on the Moog and later the Synclavier synth/sampler, these 21 tracks document Nikolais' highly-prescient compositions across the mid 1960s through to the late 1980s - existing not only as extensions of his other-worldly choreographic productions, but standalone pieces of foundational mid-century American electronic and experimental music.

"Born in Southington, Connecticut in 1910, Nikolais’s early years and early career were in acting, music and puppetry. It was not until the late 1930s that he began his work as dancer/choreographer in Hartford, Connecticut, where he was commissioned by the Avery Memorial Theatre, a part of the Wadsworth Atheneum, to create an evening-length work to the music of Ernst Krenek. Previously his work and study as a pianist-organist found him accompanying silent films. This sort of accompaniment required from the musician not only a playing skill but also a versatility in improvisation, matching movement to sound, and evoking mood to situation.

Nik was drawn initially to dance by his involvement with the percussion scores used by the illustrious early twentieth century German dancer Mary Wigman. In trying to learn more about percussion, he was lured into dance class and thus his career began. His development of music and dance occurred simultaneously. His introduction to the twelve-tone technique opened his mind to the expanding areas of atonal music, and his dealing with music as sound per se. In 1948, after being appointed director of the Henry Street Playhouse in New York, Nikolais formed the Playhouse Dance Company, later known as the Nikolais Dance Theater, and began his aesthetic orientation toward dance as a study of motion. By the 1950s, he had ceased creating literal dances and began his explorations and eventual milieu as an abstractionist.

Sound became an important part of his abstract theatre. For his first dances, which involved his new thinking of dance as both a visual and kinetic art, he used live percussion scores in which he directed his dancers to play instruments of all nature. There was a combination of children’s toy instruments as well as harsh and resonant automobile brake drums, and other pitched auto parts which he also used to accompany classes. Once he installed his own tape recording machines, he quickly used the limited range these instruments provided in a new way, slowing and increasing speed and reversing sound. He also made the sounds adhere to the choreographic structure (not the other way around), thereby giving the dance its independence from the musical phrasing. But the real need remained: the search for new sound. Nik made a sound library, recording noises and percussion and vocal sounds, which the French aptly called musique concrète. Needless to say, he became a master at splicing bits and pieces.

From 1956 to 1962 Nikolais composed eleven major scores for his theatre pieces using such techniques. In 1963, James Seawright, who at the time was assisting Nik in his productions and also working at the Columbia-Princeton Center for Electronic Music, recorded a sound bank for the production Imago (1963). With this material, Nikolais created his first synthesizer score. Imago won the Paris Grand Prix in 1968 and launched the Nikolais Dance Theatre towards its national and primarily international acclaim.

During the same period, Seawright came to Nik and told him of a young man who had invented and constructed a simplified synthesizer and insisted that Nik visit the electronic fair currently being held in New York. Nik did so and met Robert Moog. He was completely taken by the new machine and after making some suggestions to Moog, (which Moog made), Nik bought the inventor’s first machine with the aid of a Guggenheim Fellowship. Moog himself was astonished by what his machine could produce for Nik. This machine was later acquired by the Museum of Musical Instruments at the University of Michigan at Ann Arbor as the first Moog synthesizer. The Synclavier was Nik’s next source of sound and since the mid-1970s remained the major instrument in the Nikolais soundroom.

Alwin Nikolais has been honored and awarded throughout the world. He has received the French Legion of Honor, the Kennedy Center Honors, National Medal of the Arts, two Guggenheim Fellowships, as well as Mellon, Ford, and Rockefeller grants. He has been a recipient of NEA grants since 1966, been awarded five honorary doctorates, all for his remarkable achievements in Dance Theater. His genius has influenced several generations of artists."
—Murray Louis

2026 Repress

Ezra Feinberg's third album Soft Power sees the composer-guitarist enlist an impressive array of fellow musicians including Mary Lattimore, David Moore (Bing & Ruth), Jefre Cantu-Ledesma, Robbie Lee and share the life affirming lead single 'Future Sand'.

Defined by its abundance of melodies, repeating figures and ecstatic improvisations, Soft Power exudes an enlightened and transformative spirit to empower the listener. Feinberg, a practising psychoanalyst and former founding member of the San Francisco psychedelic collective Citay (Dead Oceans / Important Records) resides in the artistic enclave of upstate New York's Hudson River valley. Initial recordings emerged in the late summer of 2020, before added synthesis with collaborator John Thayer (Arp, Sunwatchers) during early 2021. Soft Power follows previous albums 'Recumbent Speech' (2020) and 'Pentimento and Others' (2018).

Feinberg artfully transcends the listener to an enriched place, his compositions distinguished by the deep humanity that lies at their core, plugging the listener into a state of wide eyed being, open and alive. Soft Power then is Ezra's own mantra but also one of power giving - a colourful catharsis translated into music.

Feinberg's music always speaks to the listener, but Soft Power, in whispering, speaks loudest.

"Much like everyday life, I wanted to convey these very plain, simple, tranquil, nearly quotidian aspects, but each piece contains this arc in which that form expands, is broken out of, so what starts out like a painting of flowers in a seaside motel turns into a riot of color and sound, or you feel slipped into a dream that feels like it could go on forever"

‘Va Va Voom’ – “Turbo-driven melodies and bittersweet vignettes”, The Times – was the debut album from Cinerama but, of course, not the debut from the band’s protagonist – David Gedge. Originally released in 1998, it was David’s first musical project outside of The Wedding Present, who, by then, had released five albums and established themselves as one of the UK’s most uncompromising and influential indie rock bands.

To be released in three formats, this celebratory re-imagining of ‘Va Va Voom’ sees David revisiting that remarkable debut. The Deluxe Edition consists of two coloured vinyl LPs and two CDs containing both a full studio re-recording of the original album together with a live recording of the album from August 2023, which can also be viewed on an accompanying DVD. A Double CD + DVD set contains both these recordings, along with the aforementioned DVD, while a Picture Disc also features the studio re-recording. All sets boast stunning new artwork.“In 1997, I took a break from being in The Wedding Present and began exploring the idea of writing songs on my own at home, using the new technology that had recently become available. That gave me the freedom to explore writing in the style of different kinds of music, such as the classic pop records of the 1960s and 1970s and the work of film composers like John Barry and Ennio Morricone. I used samplers and sequencers for the demos and session musicians in the studio, so there wasn’t a Cinerama ‘band’, as such, until we started playing live after ‘Va Va Voom’ had been released. Last year I decided to mark the 25th anniversary of that release by playing the album in full at my annual Brighton festival, ‘At The Edge Of The Sea’. I was struck by how different ‘Va Va Voom’ sounded, being played by a live band as opposed to those studio session musicians – there’s more vibrancy and energy – so I decided to re-record it!” - David Gedge

Preceded by his reputation as a rap experimentalist, Bladee is a prolific and highly inventive entity with work spanning and intersecting the worlds of music, art and fashion.

He began his career as a teenager, trading art and lyrics with close friends. After releasing his first projects, international recognition came quickly and his network of Stockholm innovators soon arrived at the vanguard of a new era in music culture.

333 is Bladee's fourth solo album. Produced by Whitearmor, Gud, Mechatok, Lusi of Ripsquad and Joakim Benon of JJ, the album has no guest appearances.

Repressed LP on Neon Orange Vinyl. Come Away With ESG - 35-year anniversary release of the classic genre-busting debut album by the Bronx sisters ESG. The sample-friendly opus that’s the inspiration for hip-hop, house and post punk. Music that falls outside of the no wave, new wave and post punk library, it’s for the dance floor but it’s not funk, there’s no horns, no driving organ; it’s the opposite of Sly And The Family Stone but no less cool and no less groovy. “A lasting document of their unique brand of minimal funk that would influence subsequent post-punk, hip-hop, and dance music acts. Stripped down to the most basic of drumbeats and rudimentary bass lines, ‘Come Away’ confirms the notion that the real rhythm is what happens between the beats. AllMusic // “This is dub disco with a punk edge.” Paste // “Uncut punk-funk straight off the streets of the South Bronx.” Record Collector // “ESG are that rare thing” Guardian // “Come Away with ESG sounds so shockingly current.” Paste // “A musical snapshot of New York City at the beginning of the '80s.” Allmusic

Long before Spotify algorithmically ruined discovery, Joshua Burkett was wandering the New England underground with nothing but a guitar and enough patience to make tar smells feel like deja vu. This compilation LP is your time machine back to when "knew someone who knew someone" was the only distribution network you needed. Free Folk for the eternally lost & happily found.

I've always admired DJ Rush for one simple reason: he brings the Funk to Techno like no one else. His tracks are instantly recognizable. The Major’s off-grid grooves are wild, unique and downright irresistible. You just have to move when they hit. That's why I'm beyond proud and excited to present my own take on DJ Rush’s classic "Get On Up”. It’s a track that captures everything I love about his sound. Even more special: For the first time in 20 years we're also releasing the original (remastered) version by means of a strictly limited 12” picture disc. Thomas Schumacher.

Tip-on Cover, Special Varnish

Available in the following Territories: Wordwide minus Japan & Korea

NOTON is pleased to announce12 Conversations, a collaborative album by Ryuichi Sakamoto and Alva Noto to be released on 18 September 2026.

The partnership between the legendary musician and composer Ryuichi Sakamoto and the German artist Carsten Nicolai (aka Alva Noto) has produced some of the most distinctive and enduring works in contemporary electroacoustic music. Beginning with Vrioon in 2002, the artists spent more than two decades fusing and expanding their disciplines, with Sakamoto's evocative, sustain-drenched piano compositions finding their counterpart in Nicolai's skilful and sensitive electronic detailing.
Each successive project further deepened their artistic dialogue: from the five studio albums of the V.I.R.U.S. series (Vrioon, Insen, Revep, Utp_ with Ensemble Modern, and Summvs), to their score for Alejandro G. Iñárritu's The Revenant; Glass (2017), a wholly improvised performance inside Philip Johnson's iconic Connecticut landmark, in which the pair fixed contact microphones to the glass walls, playing the architecture itself as an instrument; and Two (2019), a document of their live performance at the Sydney Opera House.

Across these works, their distinct approaches achieved a rare synthesis, a brilliantly sustained dialogue between piano and electronics, Sakamoto's warmth and melodic finesse meeting Nicolai's abstract electronic formalism to invoke a mesmeric quietude as deeply satisfying in its melodic resolutions as in the merger of its filmic romanticism and meditative subtlety.
12 Conversations brings together musical exchanges recorded in November and December 2022. Rooted in the same creative period that gave rise to Sakamoto's final solo album 12, these recordings were not originally intended as a standalone release. It was only after the completion of 12 that Sakamoto and Nicolai decided to present these exchanges as a work in their own right.
The album reflects the vitality and curiosity that defined more than two decades of shared inspiration: fluid, exploratory, and forward-looking. Created with openness and trust, it captures a creative process in constant transformation - sounds expanding, altering, and evolving through attentive listening.

Conceived as the continuation of an artistic dialogue extending beyond the physical, 12 Conversations honours Sakamoto's wish that these encounters should exist beyond the archive, offering an enduring testament to one of contemporary music's most revered collaborations.


Carsten Nicolai writes:
"A heavy breath can be heard in the recordings. Yet this work is not about remembrance but continuation, vitality, curiosity, and the spirit of experimentation that shaped an artistic relationship over decades.
The twelve pieces we exchanged in November and December 2022 possess extraordinary density: sounds expanded, altered, recontextualized. Initially, every intervention felt almost inappropriate. Yet this was part of our openness and trust: adding, shifting and radically yet softly transforming.
Even in these final exchanges, plans for future projects continued to take shape, mindful of finite yet firmly believing in the power of new ideas. We chose the name Conversations, which has become a space of memory and vision, where past, present and future intertwine.
For a long time, releasing this music seemed impossible. The loss felt too sudden, and the emotional connection too profound. As time passed, it became clear that these twelve musical encounters should have life outside the archive. To honor Ryuichi's wish, these pieces are now being released as the continuation of a dialogue that extends beyond the physical."

The first single, Conversation 3, will be released on Tuesday, July 14, 2026. The second single, Conversation 6, will be be released on Wednesday, August 26, 2026.
12 Conversations will be available worldwide on vinyl, CD and digitally. A Japanese edition will be available on Ryuichi Sakamoto's commons.

A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back’s ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann’s curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. Alongside a continuous mix, this release arrives as a 3LP gatefold, and as a limited edition cassette.

Closely associated with Berlin’s techno landscape, Dettmann was born and raised in the former GDR, then later immersed in the bleary-eyed counter cultural landscape of post-unification Berlin. Initially oriented by post-punk, industrial and new-wave music, Dettmann has been DJing since 1993, always expanding and perfecting his repertoire. He later began working behind the counter at the city’s tastemaking rave boutique Hard Wax, and a decade after he first dropped a needle, became (and remains) resident at notable local nightspot Berghain/Panorama Bar, where his instincts have helped sculpt the signature sound of both main dancefloors.

Of course, you’re probably not asking, “Who is Marcel Dettmann?” More importantly, you might want to know; just what treats has he gifted us here? The trip begins with a simple pitch-shift skywards, transforming Identified Patient’s creeping ‘The Female Medical College of Pennsylvania’ into a peak-time freakout, before an alternate take on Toctronic’s ‘Bis uns das Licht vertreibt’ emerges from the vaults for the first time. Dating from 1995, and one of Dettmann’s all-time favourites, Cristian Vogel’s ‘Untitled’ clambers back into the box with respectable cuts, while John Bender’s ‘Victims of A Victimless Crime’ kicks off the flip sporting a new arrangement, transporting us back to the foundations of a confident, stripped-back sound.

A few subtle edits to Clark’s perilously funky ‘Dirty Pixie’ takes us to Dettmann’s remix of Junior Boys. Produced in 2010, it transposes the Canadian duo’s sophisticated pop with our curator in his minimal prime, and has since become an irresistible prize for high-minded diggers. The same can be said for Experimental Products’ explosive proto-electro anthem ‘Who Is Kip Jones?’, empowered from pricey Discogs purgatory with just the slightest of tweaks. It’s deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance’s raw ‘The Human Factor’ and a shimmering new version of previous solo production ‘Water’, featuring close friend and Ostgut Ton ally, Ryan Elliot.

The second half of the Mastermix seamlessly connects the mechanical past and digital present of EBM and industrial in the dance, with Dettmann’s instincts as a guiding hand. Severed Heads’ iconic ‘We Have Come To Bless This House’ emerges with mere nips and tucks, while Nitzer Ebb’s ‘Shame’ is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of ‘Limbo’ from Swiss synth heroes, Yello.

Core musical memories are shaken and stirred with a context-shifting take on Frank Duval’s emotional classic ‘Ogon’, while Ian North’s ‘Sex Lust You’ and Ford Proco’s notable Coil collaboration ‘Expansion Naranja’ effectively throb with only minor adjustments, respectfully imagined as “shadow versions”. Meanwhile, a simple breakbeat lifts Albert Kuningas’s ‘Astraalprojektio’ in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby’s ‘Season of The Real’ inexplicably emerges somehow even funkier than before.

The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann, but only as he puts it, “in conversation with the original.” Concluding three discs and thirty years of commitment to the dancefloor, this Mastermix not only offers us the opportunity to eavesdrop on this endless exchange, but to gain some sought-after material for our own record collections.

To close out the year, Life In Patterns presents Spektrum II, the second installment in the compilation series curated by Ferdinger. This 16-track VA, scheduled to release in early December 2024, comes as a double vinyl with four digital bonus tracks and download codes.

Spektrum II ventures into the depths of dynamic techno, combining driving beats with intricate, groove-rich patterns. The compilation seamlessly shifts from deep, dubby tones to bright, euphoric moments, embodying the labels signature sound. Its a bold exploration of diverse sonic textures, blending harmonic and dissonant elements for an immersive listening experience.

2026 Repress

After a five-year hiatus, JKS makes a triumphant return to the iconic French label Molekul with a highly anticipated solo EP. Leading the release is the standout track, The Cult, a testament to JKSs evolution while staying true to the essence of his sound.

Built for the club, The Cult channels an undeniable sense of power through its driving rhythms and immersive energy. The tracks tribal undertones create an
almost ritualistic atmosphere, pulling dancers into its pulsating core. With expertly layered textures and a commanding structure, The Cult keeps the momentum
unrelenting from start to finish.

True to his roots, The Cult brings a distinct old-school vibe, laced with a plurality of influences that have defined his sound since the beginning. Its a journey through raw rhythm and immersive layers, a bridge between past and present, aimed squarely at making people move.

Matthias Reim ist zweifellos ein großfühlender Mensch. Ein beneidenswert produktiver Zeitgenosse ist er sowieso. Vor bald 35 Jahren hinterließ der Vollblutmusiker und Songwriter einen Aphorismus von bleibendem Wert: "Verdammt, ich lieb' dich". Liedzeilen, die aus einer Laune heraus entstanden, formte der damals 32 Jahre junge Mann zu einem Mammut-Refrain, der zu einem Millionenseller gelangte. Er hat rund zwei Dutzend Studioeinspielungen veröffentlicht, etliche davon brachen in Gold- und Platin gegossen Verkaufsrekorde. Auf dem neuen Longplayer "Zeppelin" präsentiert Reim seine 16 neuen Songs so frühlingsfrisch und auf den Punkt gebracht wie ein tatendrängender Newcomer. Einer, der sich gleichzeitig eines enormen Musikmacher- und Lebenserfahrungsschatzes ermächtigen kann. Anders lässt sich die gesteigerte Wahrhaftigkeit in "Zeppelin" nicht erklären. Reims Rock klingt heute handgemacht-rockiger als je zuvor, die Refrains sind größer geworden und die Balladen balladesker. "Zeppelin" ist kurzum der beste Reim aller Zeiten.

he Congos possess what all bands look for, that unique distinctive sound that draws the listener in. Alongside the great songs, lead singer Cedric Myton's singing, phasing and falsetto voice makes that just the case.
The Congos were formed by Cedric Myton (b. 1947, St Catherine, Jamaica) around the mid-Seventies when the
Rasta message was central to the reggae sound coming out of Kingston, Jamaica. But he had started out in the
Rocksteady era, when he formed the vocal group 'Tartans', taking lead vocal duties alongside Devon Russell, Prince Lincoln Thompson and Lindbergh Lewis.They cut 'Dance All Night' (1967) and 'Coming On Strong' (1968). The line-Up became The Royal Rasses and from this Cedric moved on to form the Congos on meeting Roydel Johnson, who had previously sang with Ras Michael and the Sons of Negas. Cedric's Rasta roots were firmly in place when he went to work with producer Lee Perry to cut the seminal album 'Heart Of The Congos' at Perry's just built, Black Ark Studios in 1977. Cedric Myton has carried on the mantle, cutting a set of tunes with the help of his good friend Mr Brent Dowe, who had previously sang lead vocals with the Melodians.This is the Dub set to the vocal album released on the Kingston
Sounds label called 'The Congos Feast'(KS008).With such strong songs, rhythms and vocals it always had the chemistry for a great dub set. Hope you agree and enjoy the dub excursion...

Originally released in 2006, "Ballad Of The Broken Seas" has remained a touchstone for fans of Folk and Americana, revered for its haunting melodies, rich storytelling, and the captivating interplay between Isobel Campbell"s ethereal vocals and Mark Lanegan"s gravelly baritone. The album was the first in a celebrated trilogy of albums that Isobel Campbell & Mark Lanegan recorded together, being followed by "Sunday at Devil Dirt" in 2008 and "Hawk" in 2010.

Celebrate the SpongeBob SquarePants Movie with the iconic movie soundtrack. Dive into the Bikini Bottom with tracks like "Goofy Goober Rock" and "Ocean Man," and songs from Wilco, Ween, and Avril Lavigne transporting you to the whimsical world under the sea. This soundtrack is a must-have addition to any music collection. On Yellow Vinyl

Tramhaus aus Rotterdam wurden nach der Veröffentlichung ihres Debütalbums "The First Exit" (2024) und zahlreichen Shows in ganz Europa (und weit darüber hinaus!) bereits als "DIE holländische Post-Punk-Sensation" beschrieben und wahrgenommen. Im Oktober 2026 erscheint das neue Album "Blister" bei Siluh Records. Die Band bewegt sich seit ihrer Gründung 2020 zwischen treibendem Post-Hardcore und Indierock-/Shoegaze-Anleihen, garniert mit einem Schuss kalkulierter Dissonanz. Dabei verorten sich Tramhaus, über die musikalischen Einflüsse hinaus, explizit als Teil einer organisch gewachsenen, internationalen Szene, eines Netzwerks aus unabhängigen Agenturen, Labels und Veranstaltern mit deren Hilfe die Band nach der Veröffentlichung ihres Debütalbums innerhalb ein, zwei Jahren zum Szene-Tipp und must-see avancierte. Kraftvoll, laut und selbstbewusst gewinnt Blister bei wiederholtem Hören an Format. Das Album besticht durch eine neue Eleganz sowie spürbarem Raumgefühl und enormer Wucht. Dies rührt zum Teil aus einer gewachsenen, detailierteren Produktion her, die auch die vielen Zwischentöne einfängt. Die schwindelerregende Natur des fast zweijährigen, ununterbrochenen Reisens spiegelt sich im Titel des ungeduldigen Eröffnungsstücks "Plovdiv" wider (ein Ort, an dem sie übrigens tatsächlich gespielt haben): Ein Glam-artiger Stampf-Rhythmus und eine federnde Basslinie treiben eine Reihe bedrohlicher Gitarrenriffs voran - Elemente, die allesamt jenen Sound widerspiegeln, mit dem Tramhaus in letzter Zeit die Konzertbühnen in Schutt und Asche gelegt haben. Auch weitere Stücke wie "Rat Race" und "I Was Never Alone" klingen ganz ähnlich. Die langsameren Titel des Albums offenbaren bisweilen eine ,rockistische" Erhabenheit, die sie zuvor lediglich angedeutet hatten: vielleicht im Stil der Pixies oder der späten Nirvana (man höre und staune!) - oder, an anderer Stelle als leises Flüstern, das an Nick Cave and the Bad Seeds erinnert. "Overachiever, Big Believer" und "Sly (Like Ever)" zeichnen sich durch eine beißende, knurrende Grundstimmung sowie geduldig ausgearbeitete Melodielinien aus - Eigenschaften, die im Jahr 1991 zweifellos hervorragend ins musikalische Zeitbild gepasst hätten. An anderer Stelle besticht "Solace" mit seinem offenen Akkordanschlag durch eine lässige Attitüde, die direkt einem Stück der Saints oder der Bad Seeds entstammen könnte. Das Beste wird sich für den Schluss aufgehoben: Bei "Swarm" bricht nach einem monolithischen, an die frühen Pere Ubu erinnernden Bass-Grollen ein grandioses, Sabbath-artiges Riff über den Hörer herein. Es ist ein hymnisches, transzendentes Stück, das in früheren Zeiten ein garantierter Hit gewesen wäre - eine Single, die Teenager auf der ganzen Welt dazu animiert hätte, ihre Air-Guitar-Künste vor Mamas Schlafzimmerspiegel zu perfektionieren. Also, das zweite Album der genau richtig neben dem Mainstream verorteten Postpunk-Niederländer*innen nicht verpassen!

Tramhaus aus Rotterdam wurden nach der Veröffentlichung ihres Debütalbums "The First Exit" (2024) und zahlreichen Shows in ganz Europa (und weit darüber hinaus!) bereits als "DIE holländische Post-Punk-Sensation" beschrieben und wahrgenommen. Im Oktober 2026 erscheint das neue Album "Blister" bei Siluh Records. Die Band bewegt sich seit ihrer Gründung 2020 zwischen treibendem Post-Hardcore und Indierock-/Shoegaze-Anleihen, garniert mit einem Schuss kalkulierter Dissonanz. Dabei verorten sich Tramhaus, über die musikalischen Einflüsse hinaus, explizit als Teil einer organisch gewachsenen, internationalen Szene, eines Netzwerks aus unabhängigen Agenturen, Labels und Veranstaltern mit deren Hilfe die Band nach der Veröffentlichung ihres Debütalbums innerhalb ein, zwei Jahren zum Szene-Tipp und must-see avancierte. Kraftvoll, laut und selbstbewusst gewinnt Blister bei wiederholtem Hören an Format. Das Album besticht durch eine neue Eleganz sowie spürbarem Raumgefühl und enormer Wucht. Dies rührt zum Teil aus einer gewachsenen, detailierteren Produktion her, die auch die vielen Zwischentöne einfängt. Die schwindelerregende Natur des fast zweijährigen, ununterbrochenen Reisens spiegelt sich im Titel des ungeduldigen Eröffnungsstücks "Plovdiv" wider (ein Ort, an dem sie übrigens tatsächlich gespielt haben): Ein Glam-artiger Stampf-Rhythmus und eine federnde Basslinie treiben eine Reihe bedrohlicher Gitarrenriffs voran - Elemente, die allesamt jenen Sound widerspiegeln, mit dem Tramhaus in letzter Zeit die Konzertbühnen in Schutt und Asche gelegt haben. Auch weitere Stücke wie "Rat Race" und "I Was Never Alone" klingen ganz ähnlich. Die langsameren Titel des Albums offenbaren bisweilen eine ,rockistische" Erhabenheit, die sie zuvor lediglich angedeutet hatten: vielleicht im Stil der Pixies oder der späten Nirvana (man höre und staune!) - oder, an anderer Stelle als leises Flüstern, das an Nick Cave and the Bad Seeds erinnert. "Overachiever, Big Believer" und "Sly (Like Ever)" zeichnen sich durch eine beißende, knurrende Grundstimmung sowie geduldig ausgearbeitete Melodielinien aus - Eigenschaften, die im Jahr 1991 zweifellos hervorragend ins musikalische Zeitbild gepasst hätten. An anderer Stelle besticht "Solace" mit seinem offenen Akkordanschlag durch eine lässige Attitüde, die direkt einem Stück der Saints oder der Bad Seeds entstammen könnte. Das Beste wird sich für den Schluss aufgehoben: Bei "Swarm" bricht nach einem monolithischen, an die frühen Pere Ubu erinnernden Bass-Grollen ein grandioses, Sabbath-artiges Riff über den Hörer herein. Es ist ein hymnisches, transzendentes Stück, das in früheren Zeiten ein garantierter Hit gewesen wäre - eine Single, die Teenager auf der ganzen Welt dazu animiert hätte, ihre Air-Guitar-Künste vor Mamas Schlafzimmerspiegel zu perfektionieren. Also, das zweite Album der genau richtig neben dem Mainstream verorteten Postpunk-Niederländer*innen nicht verpassen! Dieses frisch grüne Vinyl ist limitiert (100 Stück weltweit)!

Tramhaus aus Rotterdam wurden nach der Veröffentlichung ihres Debütalbums "The First Exit" (2024) und zahlreichen Shows in ganz Europa (und weit darüber hinaus!) bereits als "DIE holländische Post-Punk-Sensation" beschrieben und wahrgenommen. Im Oktober 2026 erscheint das neue Album "Blister" bei Siluh Records. Die Band bewegt sich seit ihrer Gründung 2020 zwischen treibendem Post-Hardcore und Indierock-/Shoegaze-Anleihen, garniert mit einem Schuss kalkulierter Dissonanz. Dabei verorten sich Tramhaus, über die musikalischen Einflüsse hinaus, explizit als Teil einer organisch gewachsenen, internationalen Szene, eines Netzwerks aus unabhängigen Agenturen, Labels und Veranstaltern mit deren Hilfe die Band nach der Veröffentlichung ihres Debütalbums innerhalb ein, zwei Jahren zum Szene-Tipp und must-see avancierte. Kraftvoll, laut und selbstbewusst gewinnt Blister bei wiederholtem Hören an Format. Das Album besticht durch eine neue Eleganz sowie spürbarem Raumgefühl und enormer Wucht. Dies rührt zum Teil aus einer gewachsenen, detailierteren Produktion her, die auch die vielen Zwischentöne einfängt. Die schwindelerregende Natur des fast zweijährigen, ununterbrochenen Reisens spiegelt sich im Titel des ungeduldigen Eröffnungsstücks "Plovdiv" wider (ein Ort, an dem sie übrigens tatsächlich gespielt haben): Ein Glam-artiger Stampf-Rhythmus und eine federnde Basslinie treiben eine Reihe bedrohlicher Gitarrenriffs voran - Elemente, die allesamt jenen Sound widerspiegeln, mit dem Tramhaus in letzter Zeit die Konzertbühnen in Schutt und Asche gelegt haben. Auch weitere Stücke wie "Rat Race" und "I Was Never Alone" klingen ganz ähnlich. Die langsameren Titel des Albums offenbaren bisweilen eine ,rockistische" Erhabenheit, die sie zuvor lediglich angedeutet hatten: vielleicht im Stil der Pixies oder der späten Nirvana (man höre und staune!) - oder, an anderer Stelle als leises Flüstern, das an Nick Cave and the Bad Seeds erinnert. "Overachiever, Big Believer" und "Sly (Like Ever)" zeichnen sich durch eine beißende, knurrende Grundstimmung sowie geduldig ausgearbeitete Melodielinien aus - Eigenschaften, die im Jahr 1991 zweifellos hervorragend ins musikalische Zeitbild gepasst hätten. An anderer Stelle besticht "Solace" mit seinem offenen Akkordanschlag durch eine lässige Attitüde, die direkt einem Stück der Saints oder der Bad Seeds entstammen könnte. Das Beste wird sich für den Schluss aufgehoben: Bei "Swarm" bricht nach einem monolithischen, an die frühen Pere Ubu erinnernden Bass-Grollen ein grandioses, Sabbath-artiges Riff über den Hörer herein. Es ist ein hymnisches, transzendentes Stück, das in früheren Zeiten ein garantierter Hit gewesen wäre - eine Single, die Teenager auf der ganzen Welt dazu animiert hätte, ihre Air-Guitar-Künste vor Mamas Schlafzimmerspiegel zu perfektionieren. Also, das zweite Album der genau richtig neben dem Mainstream verorteten Postpunk-Niederländer*innen nicht verpassen! Dieses frisch grüne Vinyl ist limitiert (100 Stück weltweit)!

"I Don't Know How But They Found Me...Again! (Deluxe)" ist die Deluxe-Version von Jensen McRaes von der Kritik gefeiertem Album ,I Don't Know How But They Found Me!" aus dem Jahr 2025 (,Das atemberaubende zweite Album der jungen Singer-Songwriterin McRae markiert den Durchbruch eines großen Talents." - Esquire), das am 18. September auf pinkem Vinyl erscheint. Neben der Trackliste des Originalalbums enthält die Deluxe-Ausgabe zwölf neue Songs, die zum ersten Mal in großem Umfang erhältlich sind: reduzierte Versionen von Songs, die vor den Aufnahmen zu ,I Don't Know How But They Found Me!" fertiggestellt waren, Live-Favoriten, die bei McRaes jüngsten Headliner-Tourneen und Festivalauftritten zu hören waren, eine neue Version von ,Mother Wound" mit Maisie Peters sowie weitere neue Titel, an denen Brandi Carlile und Brittany Spencer mitgewirkt haben. ,I Don't Know How But They Found Me...Again! (Deluxe)" ist eine pulsierende, eindringliche Sammlung von Songs, getragen von messerscharfer lyrischer Präzision und zeitlosen Pop-Melodien.