Cerca:80s

FIRST TIME EVER ON LP
LIMITED EDITION CLEAR VINYL - ONLY 1000 UNITS PRESSED
COMPACT DISC BACK IN PRINT FOR THE FIRST TIME IN 10 YEARS - Now On 8 Panel Digi-Pak
FINAL SMITHEREENS ALBUM WITH ORIGINAL LEAD SINGER PAT DiNIZIO
PRODUCED BY DON DIXEN (REM, GIN BLOSSOMS, MARSHALL CRENSHAW)

“Crushing chronic chords with the dyne-rhythm section to fuel it all, are not only still here, but stronger than ever”. No Depression

"Everything in Smithereens' world is like a film noir shot in psychedelic colors. But this New Jersey band has a talent for creating fresh variations that prevent dust or mist from clouding their music. "Smithereens 2011" reaches a peak with the song that opens the album, the sour-tempered yet utterly transporting "Sorry.” Ken Tucker, NPR

"Wholly satisfying blast of classic Smithereens songcraft and melodicism, colored with Pat DiNizio’s impassioned vocals, Jim Babjak’s thick-toned, stinging guitar, Dennis Diken’s imaginative, powerful drum work and Severo “The Thrilla” Jornacion’s stylish bass. The entire collection sounds like a return to The Smithereens’ mid-to-late ’80s glory years, both song and performance-wise.” GOLDMINE MAGAZINE

“And 2011’s songs – the songs! – vintage! Picks up where Green Thoughts left off. Pop Dose

My Boy, the third solo record from New Zealand singer/ songwriter Marlon Williams, announces an artist emerging anew. Gone is the solemn, country-indebted crooner with the velvet voice - in his place comes a playful, shapeshifting creature. Following the release of his second album, 2018's Make Way For Love, Williams' toured the world, playing major festivals and collaborating with Lorde, Yo-Yo Ma and Florence Welch. He also forged a fledgling acting career with roles in films The True History of the Kelly Gang and Netflix series Sweet Tooth, as well as a cameo in Oscar winning film A Star Is Born. My Boy parlays this flush of worldly experience into a vivid record as spirited and kinetic as the unfolding life of its performer. "I've always explored different character elements in my music," says Williams. "And the more I get into acting, the more tricks I'm learning about representation and presentation. To get braver and bolder with exploring shifting contexts and new ways of doing things." As the pandemic paused global travel, Williams found himself at home in New Zealand, reconnecting with family and friends. Soon new demos and lyrical themes emerged: of self-identity and escapism; tribalism and a gnarled family tree; and ruminations on the role of masculinity and mateship. Co-produced with Tom Healy and recorded at Roundhead Studios in New Zealand, My Boy finds Williams' leading a new band through a set of genre-hopping tunes: from the cheery sway of `My Boy' and chugging `80s noir sheen of `Thinking Of Nina', to the charging synth of `River Rival', and the sultry pop jam `Don't Go Back.' All this sonic and emotional whiplash is intentional, and ultimately My Boy sees Williams having fun, even while interrogating the behaviors of himself and those around him.

My Boy, the third solo record from New Zealand singer/ songwriter Marlon Williams, announces an artist emerging anew. Gone is the solemn, country-indebted crooner with the velvet voice - in his place comes a playful, shapeshifting creature. Following the release of his second album, 2018's Make Way For Love, Williams' toured the world, playing major festivals and collaborating with Lorde, Yo-Yo Ma and Florence Welch. He also forged a fledgling acting career with roles in films The True History of the Kelly Gang and Netflix series Sweet Tooth, as well as a cameo in Oscar winning film A Star Is Born. My Boy parlays this flush of worldly experience into a vivid record as spirited and kinetic as the unfolding life of its performer. "I've always explored different character elements in my music," says Williams. "And the more I get into acting, the more tricks I'm learning about representation and presentation. To get braver and bolder with exploring shifting contexts and new ways of doing things." As the pandemic paused global travel, Williams found himself at home in New Zealand, reconnecting with family and friends. Soon new demos and lyrical themes emerged: of self-identity and escapism; tribalism and a gnarled family tree; and ruminations on the role of masculinity and mateship. Co-produced with Tom Healy and recorded at Roundhead Studios in New Zealand, My Boy finds Williams' leading a new band through a set of genre-hopping tunes: from the cheery sway of `My Boy' and chugging `80s noir sheen of `Thinking Of Nina', to the charging synth of `River Rival', and the sultry pop jam `Don't Go Back.' All this sonic and emotional whiplash is intentional, and ultimately My Boy sees Williams having fun, even while interrogating the behaviors of himself and those around him.

A Lost Hi-NRG Gem Returns – After 38 Years!

Another iconic diamond of German electronic disco is finally back on vinyl after 38 years! This is no ordinary reissue – it’s a Mike Mareen production, the mastermind behind the legendary “Love Spy”. Released under his Night’n’Day Records, a label that ruled the ’80s dancefloors, this track is pure Hi-NRG gold.

Enter “Roadrunner”, a high-energy banger from Jeff Harrison, this time hiding behind the alias U.K.. Packed with playful synths, an electrifying tempo, and Jeff’s dynamic vocals, this track is made for the dancefloor—like a fitness trainer hyping you up for that final rep!

But that’s not all! This special edition also includes never-before-released versions straight from the original recording session. Stored on tape, buried in a drawer for 38 years, and now – FINALLY – ready to hit your turntable.

Get it. Spin it. Feel the energy!

Wellen.Brecher is an electronic band with punk attitude, which has been transcending and subverting electronic music genre boundaries for the past 6 years. After the release of Tierisch Verboten, which can confidently be described as the "soundtrack to inclusion", and a strong second release on our label Killekill, LIEBESERKLARUNG is the band's first full length album. Including a series of first-class remixes.
Refreshingly, the entire release is not based on the corny bad trance traditions loved by contemporary Buffalo shoe wearers. Instead - intentionally or not - it follows a series of almost historical musical quotations from over the last 40 years with each track on the album feeling like a new adventure.
The album opens with TUROFFNER, which has a kind of an Afrika Bambaataa intro, before turning into a wonderfully tresoresque/Detroit techno beast, always commented on or counteracted by the vocals - just like (almost) all the tracks on the album: a new round, a new crazy ride - bumper car lyrics on a powerful stomping reduction of a 90s track.
From here we leap backwards in time into grey West Berlin of the 80s with ROBOT GIRL which shifts and drifts like a bug in buttermilk somewhere between Grauzone and Alan Vega. Next track KAPUTT kicks in with a bang and smashes everything in the best EBM tradition - this could have been played in a techno club in Frankfurt, both in terms of lyrics and sound. Line up for Elektropogo please!
After all the stomping Wellen.Brecher bring in something completely different with VOICE OF A GENERATION: dramatic vocals over delicate breaks which gradually dissolve into arpeggios on a high-quality trance carpet. Challenge complete!
JULIA takes us back to the late eighties in the dark but fun Belgian-Detroit early trance with new beat appeal. TUNNEL TRANCE would have been a good fit for dancing around the Berlin Siegessaule in, let's say, 1998. Relentless 4/4 beats with a hook-line on speed surrounded by acidophilic bows and, on top, the vocal commentary arriving as if from the man behind the glass of the Ferris wheel. In
your mind's eye, you can see fur-shoed gym ravers in bright neon jumping through the Tiergarten like rubber balls. The cover version of the classic TECHNO DJ is an hommage to good old punk - torn apart and reassembled in true Wellen.Brecher style. The closer TIERISCH VERBOTEN brings all the emotion rushing back: fat beats beckon slowly from afar, before the curtain comes up for an epic synth finale.
The harsh, albeit true words really drive you in. It's not necessary, but perhaps it's good to point it out: Inclusion can easily be experienced with music like this. Fuck AfD!

Wellen.Brecher is an electronic band with punk attitude, which has been transcending and subverting electronic music genre boundaries for the past 6 years. After the release of Tierisch Verboten, which can confidently be described as the "soundtrack to inclusion", and a strong second release on our label Killekill, LIEBESERKLARUNG is the band's first full length album. Including a series of first-class remixes.
Refreshingly, the entire release is not based on the corny bad trance traditions loved by contemporary Buffalo shoe wearers. Instead - intentionally or not - it follows a series of almost historical musical quotations from over the last 40 years with each track on the album feeling like a new adventure.
The album opens with TUROFFNER, which has a kind of an Afrika Bambaataa intro, before turning into a wonderfully tresoresque/Detroit techno beast, always commented on or counteracted by the vocals - just like (almost) all the tracks on the album: a new round, a new crazy ride - bumper car lyrics on a powerful stomping reduction of a 90s track.
From here we leap backwards in time into grey West Berlin of the 80s with ROBOT GIRL which shifts and drifts like a bug in buttermilk somewhere between Grauzone and Alan Vega. Next track KAPUTT kicks in with a bang and smashes everything in the best EBM tradition - this could have been played in a techno club in Frankfurt, both in terms of lyrics and sound. Line up for Elektropogo please!
After all the stomping Wellen.Brecher bring in something completely different with VOICE OF A GENERATION: dramatic vocals over delicate breaks which gradually dissolve into arpeggios on a high-quality trance carpet. Challenge complete!
JULIA takes us back to the late eighties in the dark but fun Belgian-Detroit early trance with new beat appeal. TUNNEL TRANCE would have been a good fit for dancing around the Berlin Siegessaule in, let's say, 1998. Relentless 4/4 beats with a hook-line on speed surrounded by acidophilic bows and, on top, the vocal commentary arriving as if from the man behind the glass of the Ferris wheel. In
your mind's eye, you can see fur-shoed gym ravers in bright neon jumping through the Tiergarten like rubber balls. The cover version of the classic TECHNO DJ is an hommage to good old punk - torn apart and reassembled in true Wellen.Brecher style. The closer TIERISCH VERBOTEN brings all the emotion rushing back: fat beats beckon slowly from afar, before the curtain comes up for an epic synth finale.
The harsh, albeit true words really drive you in. It's not necessary, but perhaps it's good to point it out: Inclusion can easily be experienced with music like this. Fuck AfD!

This re-issue of the Cocteau Twins' 1993 album has been remastered by Robin Guthrie and is pressed onto high quality 140g vinyl . Cocteau Twins vocalist Elizabeth Fraser, guitarist Robin Guthrie, and bassist Simon Raymonde formed in Grangemouth, Scotland in the late 70s. The brainchild of Guthrie and original bassist Will Heggie, by 1981 they had added Fraser and the following year signed to 4AD, one of the most illustrious of the indie labels. With Raymonde replacing Heggie in 1983, the trio went on to create some of the most unique and otherworldly music of the 80s, built around Guthrie's chiming guitar and Fraser's unmistakable soprano. By the early 90s, the group had just released their most successful album, the commercial Heaven or Las Vegas, but the relationship with 4AD was coming to an end. Mercury imprint Fontana was going through something of a purple patch, signing former underground bands, and by 1992, Cocteau Twins had joined The Fall and the House Of Love. The group's debut album for Fontana, Four-Calendar Cafe, was released in October 1993. Its gossamer melodies and largely upbeat pop bely the turmoil the group were going through. Barney Hoskyns, writing in Mojo, said that Four-Calendar Caf was "the most poignant, heartrending Cocteaus record of all, an album of naked confession and raw beauty . . . Sadness never sounded so luscious." Simon Raymonde agreed: "I think in time people will realise what a great album Four-Calendar Caf is. Because I think it's beautiful." Led by the single Evangeline, the reached No 13 in the UK album chart and is much-loved by fans.

Don Kashew returns to Subject To Restrictions Discs with the album ‘Bellows’. A haunting, melodic, maudlin affair, as one would expect from the Zurich-based producer, with a variety of ‘breathing’ instruments as a fulcrum, that challenges any physicality.

The compositions draw from the pool of New Age music and neo-folk of the 80s and 90s. But ‘Bellows’ stretches and looks at the future, deliberately blurring lines that were supposedly anchored. So, Don Kashew has begun a new phase in his musical expression; quivering, but grounded and interwoven in a rich arras of synth work and overlapping woodwind sounds.

Texas jazz, funk and soul group PHYREWORK were signed to Mercury Records in 1978 releasing an acclaimed self titled album. They measure up to the bands that inspired them: Sly and the Family Stone, Earth Wind & Fire, Tower of Power - to name a few.

PHYREWORK recorded a plethora of songs that went unreleased - this record documents the legacy of this brilliant band. We are proud to present eleven dazzling songs circa 1977 - 1982, nine of which are originally unreleased and two from the elusive early 80s 7” single.

We are honoured to have the liner notes written by David Ritz, author of the definitive books on Ray Charles, Marvin Gaye, Aretha Franklin, and many more.

Texas jazz, funk and soul group PHYREWORK were signed to Mercury Records in 1978 releasing an acclaimed self titled album. They measure up to the bands that inspired them: Sly and the Family Stone, Earth Wind & Fire, Tower of Power - to name a few.

PHYREWORK recorded a plethora of songs that went unreleased - this record documents the legacy of this brilliant band. We are proud to present eleven dazzling songs circa 1977 - 1982, nine of which are originally unreleased and two from the elusive early 80s 7” single.

We are honoured to have the liner notes written by David Ritz, author of the definitive books on Ray Charles, Marvin Gaye, Aretha Franklin, and many more.

Repressed LP on Neon Orange Vinyl. “ESG's fusion of sweet soul and punk attitude with an intuitive understanding of dance music remains.” The Guardian “This is still funk with an alien otherworldliness the likes of which George Clinton never envisioned, stripped to its barest essentials for maximum impact.” All Music “ESG are as cool as ever.” The Guardian Pumping their way out of the South Bronx of New York in the early 80s, this rhythm and dance-punk outfit made unforgettable funk that was also unusually rooted in post-punk. This powerhouse of raw and cutting edge music ultimately made them ahead of their time. ESG enjoyed success sharing stages with PiL and Gang Of Four and have been heavily sampled as many musicians including TLC, Wu-Tang Clan, Beastie Boys and Liars.

The industrial treasure chest of Laurent Petitgand & Thierry Mérigout Geins’t Naït unit gets a third and final archival jag, playing to a spectrum of styles from misfit tape cut-ups to sludgy grooves and trampling sidewinds of the filthiest, sickest calibre.

The three volumes mining the Geins’t Naït Archive have parsed some 40 years of work for the most potent industrial blatz, culminating in some of the gnarliest and richest tackle on this final volume. As also highlighted on releases via Vladimir Ivkovic’s Offen Music label, it’s hard to fully surmise Geins’t Naït’s oeuvre, but you kinda know it when it hits. It’s industrial, or more specifically post-industrial, in the classic sense of everything after Throbbing Gristle and their famous label; buzzing with atonality and often heavily rhythm-driven, but not necessarily built for the club. In some senses, it's adjacent to freakier ‘floors in a way shared by the likes of Bourbonese Qualk or Din A Testbild, likeminded miscreants who emerged in TG’s shadow during the ‘80s.

‘Archives 3/3’ opens with a particularly Gallic slant on the paradigm in ‘Michel’, and shells a slew of thee crankiest gear that shares a certain tone and thrust toward trippy abstraction with Anne Gillis. ‘Abstrac 2’ finds them speaking in ogreish tongues on an uncanny waltz, before dialling up the pomp with near-EBM levels of muscularity and fanfare on ‘Poiro’, and unleashing reverse-looped heck like a La Peste joint in ‘GN is Good For You’. The keening pulse and nose attack of ‘Rappel’ reminds us of CHBB, and the evil slug of ‘Hate’ feels summoned from Parisian catacombs, whilst ‘Wladimir’ stands out for its phosphorous synth burn and prototypical Él-G poetry, leaving ‘Base Cour’ to souse the senses in distortion and barnyard squabble.

A reggae cover of Marvin Gaye's '60s soul classic and The Police's '80s hit!

Australia's reggae dub unit, Springtones, has reimagined two massive hits from Marvin Gaye and The Police through the lens of reggae fusion and dubwise, now released on a 7-inch vinyl!

Side A features a dubby and masterful cover of Marvin Gaye's 1967 soul classic, "I Heard It Through The Grapevine," with vocals by Gayl, brought to life by the Springtones. Side B showcases "Walking On The Moon," The Police's 1979 smash hit, covered by drummer Dubbin' Darryl?renowned for his unique reggae sound infused with funky soul?alongside the Springtones and Jamaican vocalist Noya. This track blends dubbed-out horns, deep electro basslines, and Noya's ethereal vocals in perfect harmony. The artwork, which pays homage to the Japanese edition of Marvin Gaye's singles, is also a must-see!

Einige nannten Studio, das Projekt der schwedischen Musiker Dan Lissvik und Rasmus Hägg, "das fehlende Glied zwischen The Cure und Lindstrom", Pitchfork hörte Durutti Column und Can, als das Duo sich als Teil einer sich locker entwickelnden Szene entfaltete - zunächst neben dem Label Service (Jens Lekman, The Whitest Boy Alive) und später Sincerely Yours (The Tough Alliance, jj) - und den Boom der 2010er Jahre an der Schnittstelle von elektronischer und psychedelischer Musik, angeführt von Indie-Größen wie Caribou, Four Tet und Darkside, vorwegnahm. "West Coast, ihr bahnbrechendes Debüt aus dem Jahr 2006, fängt eine ferne Romantik der Balearen ein, die auf Krautrock, Disco, Dub und Afrobeat trifft, mit Pop-Lyrik aus dem New Wave, modernisiert von zwei Göteborger Kunsthochschulabsolventen. Sie zitieren DJ Screw, J Dilla und Joy Division sowie fühe 80s Live-DJ-Sets von Beppe Loda, DJ Mozart und Baldelli. Damals auf Vinyl gepresst in limitierter Auflage über ihr eigenes Information-Label und bis heute auf den meisten Streaming-Diensten nicht zu finden. Im Nachglühen des Albums im Jahr 2007 verschwanden Studio hinter einem Berg von Remix-Anfragen (darunter ein Remix für Kylie Minogue, der veröffentlicht wurde) und der Bürokratie des Labels. Eine erweiterte Version des Albums erschien unter dem Titel "Yearbook 1" auf CD und erreichte Platz 23 der Pitchfork-Jahresliste der Top-Alben des Jahres 2007. "West Coast" landete schließlich auf Platz 57 auf der "Best Albums of the Decade"-Liste von FACT Magazine.

Mike Montgomery’s lifelong fascination with music began as a solitary endeavor. After secretly mining his dad’s record collection of golden 60s and 70s icons and tumbling headlong into 80s skateboard culture and its thrilling soundtrack, Mike learned guitar and started amassing songs on his Tascam Porta-Studio, chronicling hushed bedroom melodies with each new chord he discovered. Soon, he founded thistle, a wonderfully self-sufficient power trio that served as a rich opportunity to tinker with every stage of the music-making process. Through four LPs and two EPs between 1992-2013 and countless thistle shows criss-crossing North America, Mike discovered how to book a tour, repair equipment, run live sound, manage a label, build a studio, and foster a community of collaborators.

Inspired by R.Ring’s looseness and a growing confidence in spartan songwriting, Montgomery’s latest project - under the Nervous Verbs moniker - further peels back the layers of production and fussiness that might accompany access to a fully appointed studio. Instead of ensconcing himself in Candyland with limitless options, Montgomery treated his latest batch of songs as field recordings, often using phone memos to document melodies and entire performances at their inception, where and whenever they might materialize. He realized “there was something about the idea of noticing I had captured something of myself that I couldn’t recreate on subsequent attempts.” As he collected these home sketches, he shared them with friends (including Kelley Deal, Lori Goldston, Devin Ocampo, Joe Suer, Kate Wakefield, Rick McCarty, Adam Nurre, Matt Hart, Dan Dorff Jr., and Alexis Marsh) who responded with supportive contributions, fostering the initial sparks. “All of the extra tracks people sent me that I dressed the songs up with showed me that these were sturdy enough to hold those layers.”

China Crisis BBC Sessions have been compiled onto vinyl by Scottish label Last Night From Glasgow, released in early 2025. The release features the band's two John Peel sessions recorded with the BBC in March 1982 and January 1983, now remastered and available on vinyl and CD. The album includes the BBC session recording of hit single Wishful Thinking. The Complete Sessions follows on from recent album China Greatness released in May 2024, a collection of the band's best tracks now newly arranged and mixed. China Crisis remain one of the UK's most beloved pop bands. Formed in Merseyside in 1979, the core duo of Gary Daly and Eddie Lundon remains unchanged 45 years on. They rose to fame in the early 80s with chart success single Christian and single Wishful Thinking, album Difficult Shapes & Passive Rhythms reached No.21 in the UK album charts in 1982. China Crisis continue to tour extensively and boast over 325,000 monthly listeners on Spotify.

Emergent polymath Brother Aten makes his first outing on Bruk with an icy slice of system-ready
minimalism, guided by the cooly detached voice of Ze R.
Taking cues from cult sci-fi and early 80s no wave, Fragmented Dystopia is a crystal clear
statement trimmed of all unnecessary baggage. The title spells out the mood — Aten's
soundscapes are stark and synthetic machine mantras punched out on outboard instruments
navigating gritty, futuristic zones.
On 'Unavailable' steadily humming drones shape the space in which Ze R. hovers, initially
delivering a deadpan denial before their humanity sneaks in as the track snakes through an
intricate lattice of crisp digital percussion. Short and razor-sharp two-parter 'Fragmented Dystopia'
finds an even sparser corner to occupy within Aten's subtly cyberpunk vision, where Ze R.'s
scattered words cut a measured figure delivered at acute angles before breaking into wilder forms
at the end of Part 2.

Originally from Brooklyn and now based in Berlin, Brother Aten has been weaving a fascinating
tapestry of audio and visual work as MAF. His artwork examines the fraught relationship between
technology and society. Ze R. explores dimensions of sexuality, subjectivity and individualism
through writing, performance and community organisation.

2026 Repress

MOLA's music is the unadorned antithesis to a rosy world. She celebrates herself to death, pulls you into her inner chaos and does without the usual romanticising transfiguration of the merciless disorientation that catches up with you on the way home after the last cigarette.

MOLA knows better than anyone that she is a border commuter - and she has never made a secret of it. Perhaps it was fate that the course of events abandoned her shortly after her birth in Erba, Italy, in Germany's most austere metropolis. In Munich, where flying free and falling free are a little more complicated than in the cesspit of Berlin, where one would naturally place Isabella Streifeneder and her music if one didn't know better.

Temporarily reduced to intimacy, then escalating into iconic 80s "Purpel Rain" pathos, MOLA illustrates the emotional chaos that the inner dialogue of left and right brain triggers in her. Unconventional pop music that bundles the nonchalance of great soul anthems, the grace of the Italo-disco of the eighties and the ingenuousness of lascivious hip-hop bangers instead of trying to sound modern by force.

MOLA celebrates defeat, exposes life lies, criticises adulthood, documents radical mood swings. She balances along the abyss in her ball gown, jokes about things you don't joke about, praises and curses intoxication and love - "Vino Bianco no longer tastes like dolce vita, it only tastes like losing".

You can now see MOLA supporting Fatoni, Roy Bianco & the Abbrunzati Boys, Mayberg and Kaffkiez in a flurry of strobe lights after sold-out "nothing breaks me" shows in Munich, Cologne, Berlin & Hamburg. In addition to a festival season that couldn't have been more beautiful, they finally have a big tour of their own coming up for their next album, which will see the light of day in September.

After more than 40 festivals "Snow in Summer" on well-known stages like Lollapalooza Berlin, Rocken am Brocken, Puls Open Air, but also as support for Udo Lindenberg at the Hermann-Hesse-Festival, "Life is Beautiful", the darned second record, sounds almost cynical, ironic or simply naive? In the end, it doesn't matter, because when you are overcome by this spontaneous feeling that is far removed from any rationality, you don't ask any questions. It tastes like the melancholy of a summer in its last breaths, like the last drink of an uncompromisingly insane night.

There is sweating, pogoing and feeling together. Even where it hurts.
You are not just an onlooker or a silent spectator, but part of this empowering feeling of "we".

Havoc are back, with the fourth release on their label, and arguably the strongest effort yet. Here we have 4 reimagined efforts, including a galloping disco delight that's been tamed to perfection, a deconstructed US New Wave track guaranteed to get the freaks and fiends moving (wait for that kooky vocal and guitar halfway through!), a little-known German 80s gem given the trademark Havoc treatment, and a catchy as hell slo-mo Austrian Europop groover. With these fellas edits finding favour with the likes of DJ Harvey, you know this is likely to disappear fast, get on this while there are still copies left!