Cerca:1999

Zweite EP zu Jeff Mills' neuer Videoserie "The Director's Cut Documentary" mit Interviews von Szeneleuten wie Künstlern, Club- und Plattenladenbetreibern zu Jeff Mills, seinen DJ-Skills und der Geschichte seines Axis-Labels. Die parallele 180g Vinyl-Serie enthält teils unveröffentlichte Raritäten aus den Axis-Archiven, oftmals remastered, und wird zum Jahresende in einer CD-Compilation gipfeln.

2024 Repress

A perfect combo is the second release for the catalogue of Kaiser's imprint K S R. The infamous duo 999999999 introduces the A-side with a 90s banger cut followed by Kaiser and Eric Fetcher's tr909 textures and hypnotics journeys. Different is the B-side, with Wrong Assessment meeting Conrad Van Orton and their huge and experimental designs.

Ancut Approaches Different Shades Of House Music. Breaky Percussions Ride Over Dark And Pulsing Basslines, While Progy Melodies Interweave Deep Chords Into A Waving And Unconditional Movement.

For the third release on Intergraded, we welcome Tracey to the label. Having cut his teeth as a DJ and producer in Amsterdam over the last 15 years his sound has developed into something both classic and futuristic. Across the 'Outcome' EP he follows on from his two excellent EP's on 'Voyage Direct', with four tracks that traverse from electro, sci fi soundscapes and trippy club rhythms that fit perfectly into the sound of the label.

Franco Battiato is often heralded as Italy's answer to Brian Eno. A quizzical composer/lyricist, Battiato turned pop music upside down in the early '70s with three classic LPs - Fetus, Pollution and Sulle Corde Di Aries - that formed a confluence of avant-folk sensibilities and analog electronics.

Pollution from 1972 is the captivating follow-up to Fetus. Like its predecessor, the album features Baroque textures, motorik rhythms, weird tape effects and Battiato's perfectly oblique vocals. Upon hearing Pollution, Frank Zappa joyfully proclaimed it "genius."

While Battiato's core group of collaborators remains largely the same as on his debut, this phenomenal band (joined by an eighteen-year-old Roberto Cacciapaglia on keys) appears even more in the foreground on Pollution. Out of the Ash Ra Tempel-like riffs and urgent guitar strumming emerge hypnotic grooves and cinematic flourishes, suggesting a futuristic meeting point between Stereolab and Ennio Morricone.

Dedicated to the Centro Internazionale Studi Magnetici, Pollution touches on themes of environmental catastrophe. Futurist allusions seep in through eccentric lyrics (at times sung backwards) about hydraulics, magnetic fields, etc., yet listeners don't need to speak the artist's language to grasp his melancholy vision. With Pollution, Battiato solidifies not only his cult figure status, but also many of his forward-thinking ideas on rock 'n' roll.

Superior Viaduct is honored to present the first-time domestic release of Pollution on vinyl. Reproducing the original gatefold jacket, this reissue is part of an archival series that chronicles Franco Battiato's masterful body of work from 1971 to 1978.

When Perlon started releasing their 'SuPERLONgevity' compilation series in 1999, it was not evident that the name, which had initially been chosen just for pun, would become a self-fulfilling prophecy. Now, Perlon is in its 20th year, indeed, and preparing the celebration of this anniversary, the label invites its listeners to enter the sixth round of illuminating expression, once more driven by playfulness and fluffy swingtime. This time, the journey extends to eight sides with no guidepost except maybe the order to set the controls for the heart of the potoo. 18 tracks unfold their magic formulas to release a cascade of funky blobs. The collection reflects the label's unique interpretation of sound and vision, of caring and sharing, of 'glitches and itches' - by forward and froward thinking artists who set landmarks and break standards for the sake of the sound of the extraordinary. Here's what you will find in this brand-new Perlon toy box that adds one more shade to the corporate colour scheme: House bubbles that sound like they come straight from a 'Bällchenparadies". A motor drive with a sexy beat. Tribal dances, warped ballads, romantic fantasies. Heavy bass fundaments with aerial notes that hover above like helium balloons. A meditation machine, chilly chimes and future clockworks. Speaking things with nonsense as a foreign language.

We are very happy to announce the 10th release by Fresh & Low on their own “TREASURES” series on RAWAX! This time, we have the honour of presenting something very special. It’s a split EP featuring Fever Tension—originally released on Black Vinyl Records in 1999—and Fresh Juice II, also first released on Black Vinyl Records in 2000.

Highly recommended!

New remix series from the Veteran New York City producer / DJ / keyboardist Scott Wozniak.

2 Killer remixes of well-known artists given a new house music twist for the floors, evoking the golden era of The DFA (Darryl James, Fred McFarlane and Allen George) remixes on Fall Out Records in early to mid 00’s.

Limited Stock act fast!

The Original Mix was first released in 1996 on a single sided 12", the 4th release on the B.I.T. Productions label and became a club anthem in the North of England. In 1997, a single sided white label was released that had a Pumped Up remix by Maximum Project and in 1999, a remix by Da Fool, which incorporated the bell sound from "Meet Him At The Blue Oyster Bar" with a new melody was also released. Since then, it has become an 'Old Skool' piano anthem across the UK. In 2021, a 25th Anniversary double pack was released with 8 mixes including 5 New Remixes by Sarasota, The Crowdpleasers, Miguel Sanchez/Carlos Garcia and Pianohead. This 30th Anniversary Edition includes the Original 1996 Mix and Maximum Project 1997 Remix plus the Da Fool 1999 Remix and the Pianohead 2021 Remix on Gold Vinyl.

The single is the latest collaboration from the pioneering electronic artist and follows “Intertwine,” which featured TT, aka Theresa Wayman of Warpaint. Other collaborations on A Body Of Voices include “Turns,” featuring the ethereal vocals of Nicole Miglis (Hundred Waters), and “True Love, Don’t Be Afraid” featuring Stephen McBean (Black Mountain & Pink Mountaintops), “Fight or Flight” ft. Aisha Badru, “Falling” ft. Maiah Manser and multi-instrumentalist Aaron Shaw, “Floating” ft. multi-instrumentalist and composer Spencer Zahn, and the unreleased track, “Take Me” ft. Raphaelle Standell-Preston (Braids, Blue Hawaii). A Body of Voices delivers the most collective and melodically driven project of his acclaimed quarter-century. Having spent decades mastering his natural instincts for space, tempo, and timing, LaValle set a deliberate goal to break beyond his usual parameters by inviting an expansive community of vocalists and marquee indie players into his realm. The resulting record pushes his sonic map entirely, seamlessly blending his signature, textural synthesis with a vibrant tapestry of voices spanning dream-pop, alternative, and R&B. Nearly thirty years into the project, A Body of Voices proves that while The Album Leaf remains unmistakably his, it is a pioneering musical universe he is never afraid to redefine.

This songwriting-focused approach on A Body of Voices marks a natural evolution for an artist who has been steadily making his mark as a soft-spoken innovator since 1999. Now based in Los Angeles, LaValle started out in the San Diego music scene, creating vivid, rhythmic, soaring instrumentals centered around the Rhodes piano. Over more than two decades of acclaimed releases on seminal labels like Sub Pop, City Slang, and others, he has become a definitive touchstone for meditative electro-organic music. While earlier milestones like 2023’s Future Falling and 2024's Blast EP found him increasingly renewed by outside perspectives, A Body of Voices brings that collaborative spirit to its full, unbridled potential.

EverEve - "Seasons", "Stormbirds" & "Regret"The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

EverEve - "Seasons", "Stormbirds" & "Regret"The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

Project Pat, the older brother of Three 6 Mafia’s Juicy J, is a legend in the Memphis rap scene. He began rapping in the 90s with Killa Klan Kaze and released several independent mixtapes. In 1999 he released his debut album Ghetty Green via Hypnotize Minds/Loud Records. In December of 2000, he released a new single and video “Chickenhead” which blew up on the charts and led to the release of his second album Mista Don’t Play: Everythangs Working. Mista Don’t Play produced by Three 6 Mafia’s DJ Paul and Juicy J was certified Gold a mere two months after its release.

The song showcases Prince's signature blend of funk, rock, and pop, featuring catchy melodies and his iconic guitar work.

Justin Berkovi presents You're so Alien - The Remixes. His classic track from 1999
comes around new remixes from Johannes Volk, Lee Holman and from Justin himself.
Higly recommended!

Fast-rising pianist and producer Yoni Mayraz presents his debut LP ‘Dybbuk Tse!’ revealing the story of a malicious possession that is taking over one’s body and soul.

Dybbuk, known from Jewish folklore, is a malevolent wandering spirit that enters and possesses the body of a living person. It’s a cursed soul of a dead one that wanders tirelessly for sins committed during their life. The most vulnerable victims are the young and the sinful. Possession can be taken literally or as an analogy to the burden that young people carry generations back, which they have no influence on, and which they have to accept. Dybbuk can only be removed by exorcism. The titular ‘Dybbuk Tse!’ is a command to remove the spirit from the possessed body. The album is a story about possession but also about exorcism through music.

Recorded live with his band over the course of a spring week last year, ‘Dybbuk Tse!’ is indeed experimenting with the ‘darker side of things’, but yet with a somewhat lighthearted approach which is so typical of Yoni’s work. He easily combines jazz with the sound of 90’s New York hip hop and raw old school breakbeat. The album interweaves unique Middle Eastern melodies, sophisticated structures and sounds, and beautifully crafted solos played by some of the promising talents on the scene.

London based Israeli born pianist and producer Yoni Mayraz has set foot in the instrumental music scene with his EP ‘Rough Cuts’ released in 2020. Since then, Yoni and his band have been playing major venues and festivals around the world including the legendary Ronnie Scott’s and The Jazz Cafe, to name a few, bringing raw energy to stage with live versions of the studio materials, and stretching the melodies and structures into a Dancefloor-focused take on jazz.

RAWAX proudly welcomes Benrd Maus & Thilo Stolle aka Maus & Stolle to the artist family!
We are happy to bring you their outstaning output back on vinyl again. Starting with Maus & Stolle "Part 3," formerly released on iconic Klang Elektronik in 1999.
Highly recommended!

The Japanese-born duo Miho Hatori and Yuka Honda relocated to New York and christened themselves with the band name Cibo Matto, which is Italian for “crazy food”. The band teamed up with drummer Sean Lennon, percussionist Duma Love and drummer Timo Ellis for their second studio album Stereo Type A, which was originally released in 1999. It was the last album before the group disbanded a few years later, until their 2011 reunion. With this album Cibo Matto received praise for combining styles and genres such as heavy metal, pop and hip hop, while the album was also described by critics as “eclectic, hot and funky”. It was the band’s way of breaking down stereotypes.

Ron Trent’s Primitive Arts originally released on Peacfrog Records in 1999 is a triple LP collecting some of Trent’s most beloved tracks released on his own label, Prescription Records, and rounds it off with a few new cuts that easily assimilate with Trent’s best material.

„Whut? Thee Album“ ist das Debüt-Studioalbum des legendären Rappers Redman. Das am 22. September
1992 veröffentlichte Album erreichte Platz 49 der Billboard 200 und Platz 5 der Top-R&B-Album-Charts
und wurde später in den Vereinigten Staaten mit Gold ausgezeichnet.
Das Album präsentierte Redmans unverwechselbaren Vortragsstil, seinen bissigen Humor und den rauen
East-Coast-Sound durch herausragende Titel wie „Time 4 Sum Aksion“, „Tonight’s da Night“ und „Blow
Your Mind“.

RAWAX proudly presents the 5th release by Gerald Mitchell on his own RAWAX MOTOR CITY - series.
This time we have the honor to present you "Groove Within The Groove". This classic came originally out on 430 WEST in 1999!
Don't feed the Discogs Sharks!

Dark Entries is Filling Your Silence with the help of J.D. Slater. Legendary actor, director, and composer J.D. Slater is sometimes known as “the Lou Reed of gay porn.” Slater cut his teeth in the New York punk scene, even opening for the Talking Heads and Blondie at CBGB with his project Frenzy. A true polymath of the erotic, he co-founded Raging Stallion Studios with Chris Ward in 1999, which has remained a prolific outlet in the world of gay pornography. Having spent years in front of and behind the camera, 1999’s Filling Your Silence was his debut as maestro. This album collects the soundtracks from the first two Raging Stallion films - Sexpack One and Sexpack Two - to bring us nine tracks of sleazy beats and trance-like moments of pure ecstasy. Album opener “Seduction” begins with the iconic synthetic pan flute, one of the defining sounds of the 1990s, before pulling us along with its wild grooves.

Halfway through its nine-and-a-half- minute course, it breaks down to bust out a jazzy electric piano vamp. “Running with Scissors” ups the tempo with some crunchy breakbeats to undergird its portamento-laced lead synth. Elsewhere, like on “Mercy” and “Mercy (2nd Movement),” we see Slater embracing a bleep-adjacent sound close to early Nightmares on Wax or 808 State. Filling Your Silence’s endless grooves pursue that oceanic feeling. This record comes with a one-sided insert that includes archival Raging Stallion press materials. In the words of the Bay Area Reporter, Filling Your Silence is “quite possibly the best music for sex ever written.” A bold claim, but we can’t help but agree.

Oleander, the American rock band formed in Sacramento, California, made their major‑label breakthrough with February Son in 1999. The album became a defining moment in their nine‑year career, earning Gold certification and propelling the band into mainstream visibility. To support the release, Oleander performed at Woodstock ’99, further cementing their place among the era’s rising alternative rock acts.

February Son delivered Oleander’s most successful material, blending post‑grunge energy with melodic hooks and emotionally charged songwriting. The first single “Why I’m Here” gained widespread recognition through its placement in the hit TV series Dawson’s Creek, while Oleander’s music also appeared in the films American Pie and Scary Movie, expanding the band’s reach to a global audience. Further singles from the album were “I Walk Alone” and “Why I’m here”.

Dark Entries is Elbow Deep in the Hoopla thanks to J.D. Slater. Legendary actor, director, and composer J.D. Slater is sometimes known as “the Lou Reed of gay porn.” Slater cut his teeth in the New York punk scene, even opening for the Talking Heads and Blondie at CBGB with his project Frenzy. A true polymath of the erotic, he co-founded Raging Stallion Studios with Chris Ward in 1999, which has remained a prolific outlet in the world of gay pornography. Elbow Deep collects the scores from three late 1990s fisting-focused Club Inferno films: At Arm’s Length, Hand Over Fist, and Heads or Tails. Never before released, these works show Slater digging deeper into the electronic music production techniques that were blossoming in that era, like loop-based sampling. Says Slater, “Suddenly I could have access to every instrument in the world. My whole concept of sound and structure evolved with the technology.” The works here are trance-inducing groovers, laced with acid and dosed with brooding ambience. Check out the Gregorian vibes on “Grand Fuck,” the legato lurch of “Stallion Funk,” or the frosty atmospheres of “At Arm’s Length.” Elbow Deep in the Hoopla comes with an insert featuring an interview with J.D. Slater. Starkly sexy, these tracks remind us of Slater’s creed: “The main rule for writing a porn score is to remember what you are writing for.”

“I marvel afresh at Béla’s extraordinary vision, his indefatigability as a creator, his galvanizing presence as a bandleader, and of course, his freaking banjo playing. Live Heart will reverberate through and energize the bluegrass community forever.” – Chris Thile Live Heart: My Bluegrass Heart at the Ryman is a 3LP set that captures one legendary night in bluegrass. On January 8, 2022, in the aftermath of a Nashville blizzard, Béla Fleck was joined by three generations of renowned players who together brought the fire: Sam Bush, Michael Cleveland, Jerry Douglas, Stuart Duncan, Sierra Hull, Edgar Meyer, Justin Moses, Mark Schatz, Billy Strings, Bryan Sutton, Tony Trischka, and Molly Tuttle. The celebrated banjo virtuoso and musical adventurer has both dug deep into his instrument's complex global history and unlocked the breadth of its possibilities. He has earned 19 Grammy awards, and his acclaimed studio album My Bluegrass Heart, was a homecoming in sound. The music Fleck composed for his GRAMMY-winning My Bluegrass Heart is the third chapter in a decades-spanning trilogy that began with 1888’s Drive and the Bluegrass Sessions in 1999. This live record encompasses bluegrass in its core – the intergenerational passing down of music – and is nothing short of a masterpiece in sound, artistry, and community.

We are very happy to announce the 10th release by Fresh & Low on their own “TREASURES” series on RAWAX! This time, we have the honour of presenting something very special. It’s a split EP featuring Fever Tension—originally released on Black Vinyl Records in 1999—and Fresh Juice II, also first released on Black Vinyl Records in 2000.

Highly recommended!

a time patterned is Lara Somogyi’s second full-length work: an electroacoustic harp record that maps personal transformation through rhythm, resilience and resonance. Built from loops, pedal textures and electronics, virtuosic arpeggios, stacked tape machines, ambient processing, contemporary extended harp techniques, sweeping symphonic language, and field recordings.

Compiled onto one vinyl album for the first time, Landlocked (Numbers, 2026) presents Hallucinator’s 1999 debut album originally released under Mark Ernestus and Moritz von Oswald’s label Chain Reaction. Writing much surrounding the culture of what would be later considered ‘Dub Techno’ and its’ primary distribution center, Hard Wax, leads one down roads of shifting primary sources and decades old overheard smoke break recollections. Maybe brevity primes the listener to the paralinguistic to approach the sound on its terms; focusing on how things are uttered and not what.

This theory will remain unconfirmed. Hallucinator original press release left us with three or so gestures to consider over the years since:

“A new act on CHAIN REACTION”s distinct productional thesis. HALLUCINATOR are 3 people from he UK/London and this their first release ever- that’s all what the artists want to let us know…. This record is dedidacted to the memory of Stephen Lawrence!”

The first gesture is one of personnel. Since ’99, we’ve gotten to learn a bit more about the artists behind the Hallucinator project. All London-based, all writers, composers, and sound-designers— Anna Piva, Edward George, Trevor Mathison. These three seem to flow between parameters as aesthetic tactic and tacit structure to the work itself. For example, other collaborative shapes have come from this lineup including Flow Motion (Piva, George and Mathison) as well as the now defunct Black Audio Film Collective of which George and Mathison are founding members.

The second gesture is in the second line of the previous press release, “distinct productional thesis.” Much of Landlocked’s affect and sequencing seems to suggest an emotional study of entropy at the level of sediment. Rhythms play with space and capacity through polyvalence. The production chose subtractive vertigo, often switching and bringing back in elements that vanished from the track 6 minutes ago. Dubbing out so much of a track, one begins to associate sound akin to memories held in the experience of running your hand across a concrete block as a child. Felt (re)memberance in lieu of narrative tale. Using textures that flicker between colour and percussion, Hallucinator’s 12-tracker of loudspeaker perception music might be a mediation on the psychic wake of the Cold War. Intermittent strata of ambience and groove convects an active margin rifting event underneath a scorched geology of power in Western Europe. Again, this is all grapevine hearsay.

But it’s silence that voices the third gesture. The album’s sparse application of the written word touches on the ennui paradox of being landlocked on an island. Stuck. Trapped in the psychosis of occidental hypercentricism. A looping silence of Black British tragedy: “to the memory of Stephen Lawrence”. 18 year-old Lawrence was stabbed to death at a bus stop in southeast London by six white men in 1993. The rift of grief and implicit reiteration of modern subordination left by this hate act went legally silent for almost two decades until Lawrence’s killers were ultimately sentenced to virtually life in jail in 2012. Only six years removed at the time of Hallucinator’s initial invocation of rememory, the mind-numbing accretion of what Black Studies Professor Denise Ferreira da Silva might call “unpayable debt”, finds demonic ground across Landlocked, forming an aural sense of what continues to be refused.

The album ventures through spaces of overactive non-happenings: ‘Red Angel’’s factory floor dub flashes between smokestack and jungle visions, or the halfway mark’s stilted breath of ‘Dusk’ lending its mood to the sort of sedated dreams built from daily life under colony rule for instance. That linked rhythm links us back to our linked fates across Black and Brown folk is real, thus the syncopated signals through this work behave on the level of transnational radiotelegraphy, sounding out its windswept tension of a body negotiating a meat-grinder schema of linear production and wage for others to know that unspeakable thing can be broadcast in every drum tongue.

As the silence continues to reverb, we return to the sort of meaning-making that cannot be told but felt. Soothing to some, disturbing to others. Landlocked, a Rorschach test for a crumbled empire.

A well needed vinyl re-issue of these sought after Break 3000 Electroclash classics from the period 1999-2003.
Originally released on Meuse Muzique in Maastricht, The Netherlands.

"Plastique People feat. Zusi" became a club hit again these past few years and saw the original vinyl prices soar on Discogs. "Last Emotion" was previously unreleased and brought back to live again thanks to the great Argentinian label "Calypso's Dream" who did the fine "The Rise Of Poseidon I" release three years ago that also included the fierce banger "Sacrifice", which became a hit back in the days when it was first featured on the massive DJ Kicks compilation by Tiga in 2003. The re-issue by "Calypso's Dream" sold out in a few weeks and was never re-pressed. The vocoder anthem "Emolotion" saw a vinyl only comeback on the cool Italian label "Mondo Phase" from Milan together with "Plastique People" in 2023, these limited copies were gone in days as well.

As a lot of people missed out on these Electroclash anthems by Break 3000 in the first vinyl re-issues we thought now is the right time to give them another run and make them available again. Enjoy!

All tracks were re-mastered by Salz Mastering in Cologne. Music & Art by Break 3000.

The third and final full-length, double album from the Elephant 6 Recording Co. co-founders. Their first record in 27 years from the Athens, GA band. A legend is a heavy thing to carry. It has been 27 years since the last album by The Olivia Tremor Control. In that time, they have influenced countless bands, been the subject of documentaries and biographies, and now, finally, improbably, there is a third Olivia Tremor Control album. In the 1990s, The Olivia Tremor Control released two albums of experimental and psychedelic pop genius, Music from the Unrealized Script: Dusk at Cubist Castle (1996), and Black Foliage: Animation Music Vol. 1 (1999). As founding members of the Elephant 6 collective, they redefined the US underground scene, injecting bright paisley colors and sonic adventure into a scene weighed down by grim irony and a fear of pretension. Work began on the album as far back as 2005 but progress was slowed by other projects, other responsibilities, but in 2010, the band of Hart, Doss, John Fernandes, Pete Erchick, Eric Harris, and Derek Almstead began to record. By 2011 The Olivia Tremor Control had reemerged as a fully active band and added AJ Griffin to the lineup as well as touring members Scott Spillane and Robbie Cucchario. The band was now recording constantly and were fast on their way to completing the album. Then in the summer of 2012, Bill Doss suddenly, tragically passed away. With everyone still in shock and grieving, work on The Same Place came to a halt. Every attempt to resume the project stalled until 2023, when, after watching the Elephant 6 Documentary, Athens producer/musician Jason NeSmith came on board to help. In 2024, with the album nearly finished, Will Hart unexpectedly passed away. Drawing on Will's extensive collections of notes, The Same Place was finally completed by the surviving band members, the broader Elephant 6 community, and producers Derek Almstead, Jason NeSmith, and Ron Kwasman. The Same Place does everything The Olivia Tremor Control ever did well. It also does it better, and goes further, than anyone could have imagined was possible.

Continuing M-Plant's Perpetual Masters series, October sees the vinyl release of Robert Hood's "Red Passion I".

"Red Passion I" was original released in 1999 on his Duet label featuring three tracks of Minimal Techno at its most hypnotic and effective, stripped back to the essentials. It layers taut rhythms, subtle modulation and deep Detroit groove. Hood's mastery lies in making tiny shifts feel monumental, creating sustained tension and movement without excess.

A timeless example of minimalism achieving maximum impact, which is now remastered for 2026 by Thomas P. Heckmann.

The songs of Jules de Corte are condensed, folky gems with an almost effortless charm. Poised between the intimate and the universal, between lightness and darkness, they touch on religion, love, loss, and the small dramas of everyday life. Yet they resist easy translation. Packed with wordplay, de Corte’s signature alliterations, humor, and local cultural references, the songs inevitably lose something in another language. Still, when a Belgian quartet of improvisers takes them on, joined by American songwriter Bonnie ‘Prince’ Billy, the songs are reborn rather than merely transposed: literal fidelity gives way to interpretation, and what is lost in words is often gained in spirit.

Even without tracing every change, their overall effect is fascinating. Songs are slowed down, often doubled in length, and filled with unexpected musical intrusions. They gain fuller arrangements and are placed in an entirely new context. Replacing de Corte’s piano with guitar can create a radically different vibe, as in “Mariska.” An added solo can heighten the contrast between childlike perspective and the almost matter- of-fact brutality of “Little Anita.” In “The Stranger,” another use of contrast unsettles the everyday harmony, transforming it with a subtle, disorienting twist.

Ultimately, these performances show that interpretation is not successful simply because it is literal. With the groundwork laid by Linus, Bonnie ‘Prince’ Billy further liberated the songs from their original versions. Lyrics and melodies become malleable, shaped by his recognizable cadences, timbre, and personal quirks. Like his collaborators, he allows himself the freedom to bend the material to his own approach. There is no radical break between this performance and his other records. Listeners familiar with the originals may be puzzled at first; for those new to de Corte, it is a wholly different experience.

Does it really matter that the original “Little Jesus, Mighty God” is a 100-second nugget combining playful naivete with biblical fervor? In the hands of these five explorers, the song becomes an intriguing contemplation, with subtle musical shades and a recitation in which every syllable carries a maturity that offers a new perspective. Then there is “The Outsider,” which feels as genuine as any original American folk song. The musicians’ process is more than reinterpretation—it is reimagination, bringing new musical compatibility and emotional depth. Whether that depth was there from the start, waiting to be uncovered, or created in the process is beside the point. What matters is that Linus and Bonnie ‘Prince’ Billy have made the essence of these songs their own, paying homage yet dancing to their own tune.

Linus is the Belgian duo of guitarist and banjo player Ruben Machtelinckx and reedist and synthesiser player Thomas Jillings. Across five previous albums — Onland (2014), Linus + Skarbø / Leroux (2015), Felt Like Old language at the crossroads of folk, jazz, minimalism, chamber music and free improvisation. Their music is adventurous, shaped by a particular sensitivity to texture, timbre and the subtle interaction between musicians.

What began as a duo gradually grew into a flexible musical world, bringing Linus together with musicians such as Nils Økland, Ingar Zach, Niels Van Heertum, Øyvind Skarbø and Frederik Leroux. Yet each new constellation has remained recognisably Linus: music in which carefully considered forms leave space for intuition, interaction and the unexpected.

For their sixth album, Linus takes a new step by moving into the world of song and text. Inspired by a shared love for the late Dutch songwriter Jules De Corte, the album is a reimagining of De Corte’s unique repertoire. More than simply interpreting De Corte’s songs, they absorb and reshape them, bringing them into dialogue with their own musical language. In keeping with this open approach, they are joined by celebrated vocalist Bonnie “Prince” Billy. With albums such as 1999’s I See a Darkness appearing on several greatest album lists, Bonnie “Prince” Billy is a cult figure in the alternative folk scene, and his highly intuitive way of singing seamlessly matches the subtle interplay Linus has developed over more than a decade.

2026 Repress

Autumn of 2022 marked 20 years since the initial release of Metro Area's first and only album, Metro Area. Environ had already remastered and re-released this essential LP for its 15th anniversary. So this time around, we're doing something a bit different.

To celebrate two decades of Metro Area, Environ has partnered with renowned mastering engineer Matt Colton (Metropolis Studios) to remaster and recut the first four Metro Area 12"s: Metro Area, Metro Area 2, Metro Area 3 and Metro Area 4. Unlike the album reissue, these records include the original, extended 12" versions of all songs, including some which have never been re-released.

Metro Area is the duo's first 12" EP, originally released in 1999.

RAWAX proudly presents the 5th release by Gerald Mitchell on his own RAWAX MOTOR CITY - series.
This time we have the honor to present you "Groove Within The Groove". This classic came originally out on 430 WEST in 1999!
Don't feed the Discogs Sharks!

The word classic is a much overused one, but in the case of this much in demand 1999 four tracker, it's no exaggeration. There has been much conjecture over the years over the identity of the producer - or producers - behind the mysterious Clint Foster name, but our lips are sealed, we ain't no grasses. All we will say if you like your techno seriously laced with acid, tough and sinewy but equally funky then then you'll love this. Opener 'Indium' is pinned down by machinefunk handclaps, a gloopy bassline and a synth line that coasts pretty majetsically. 'Patterns' is faster, harder and dubbier, not a million miles in its rhythmic shuffle from Carl Craig's 'My Machines', while 'Throughway' is the truly hypnotic one, big on the atmospheric scale. 'Afterdark' closes things, airy synths swelling and hovering over an addictively chunky beat. No names, no packdrill, just four essentially fantastic bits of classsy techno that haven't dated in all the years since. Essential.

This Cologne-based producer still serves 90s UK tech house the old fashioned way! While collectors and resellers scour Discogs and Dollar bins for forgotten treasures from the golden age of tech house, another generation of producers is looking to start a new one: One of them is Cologne’s Anatoli, whose “class struggle ep” on Das ist das Ja delivers four deep cuts inspired by his love for and stompy US and UK tech house from the turn of the millennium. With its driving basslines, stripped down arrangements and dubby chords “class struggle” is crafted to get a dancefloor going like it’s 1999 – not a phone in sight. by DJ Fucks Himself