Mannequin Records presents Electronic Corporation 1998–2006, a compilation bringing together rare and long unavailable recordings by the German electronic projects H.E.I.M. Elektronik and MAS 2008.
Active around the turn of the millennium, both projects share the involvement of producer Ive Müller while developing distinct collaborations and approaches to electronic music. H.E.I.M. Elektronik was founded in 1996 by Holger Erlenwein and Ive Müller (after the two artists split in 1999, Müller continued using the name), while MAS 2008 is the project of Ive Müller together with René Kirchner. Though separate entities, the two projects explored a similar sonic territory: stripped-down electro, minimal electronics and machine-driven body music shaped by analog hardware and a raw DIY production ethos.
The roots of Müller’s work go back to the final years of the DDR. As a teenager he worked as a licensed DJ — officially known as a “Schallplattenunterhalter” — operating a travelling disco across Saxony. With limited access to official Western releases, music circulated through cassette recordings taped from West German radio stations such as RIAS Berlin, NDR2 and Bayern3. Together with friends he travelled between youth clubs and discos around Leipzig with a “rolling discotheque”: a Russian Wolga pulling a trailer loaded with Electro-Voice sound systems sourced through the black market.
At the turn of the 2000s this background in underground electronic culture resurfaced in a series of recordings rooted in electro, EBM and minimal machine music. The tracks collected on Electronic Corporation 2000–2002 capture this moment: cold sequences, driving rhythms and stark synthetic textures produced with a direct and uncompromising approach.
Compiled and remastered by Rude 66 from the original sources, Electronic Corporation 2000–2002 documents a small but fascinating chapter of German underground electronics from the early digital era.
out of Stock
Last delivered 71 days ago available to reorder, subject to availability
The Obits played their first show on January 12th, 2008 at the Cake Shop in NY, and wow, what a show! Captured live at the time and finally released on vinyl. Eleven songs, ranging from fan favorites like One Cross Apiece and Widow of My Dreams to unreleased tracks like You Took an Axe. Mastered for vinyl by JJ Golden, Cake Shop is a must for any Obits fan. Pressed on limited edition clear vinyl.
GERDie Chopi Timbila zählt zu den großen Orchestertraditionen Afrikas und ist tief in der Kultur der Chopi im mosambikanischen Distrikt Zavala verwurzelt. Ihre charakteristischen Mwenje-Holzxylophone sind in sieben gleichmäßigen Tonabständen gestimmt und erzeugen eine mikrotonale Klangwelt, die sich deutlich von westlichen Tonsystemen unterscheidet. Die Ensembles vereinen Musiker verschiedener Generationen und Erfahrungsstufen, während jährlich neue Kompositionen entstehen, die Gemeinschaft, Geschichte und das Leben der Vatxopi widerspiegeln. 2008 wurde die Tradition von der UNESCO als Immaterielles Kulturerbe anerkannt und gilt bis heute als eine der komplexesten und schönsten musikalischen Ausdrucksformen Mosambiks. Mit Ecos Do Legado (Echoes Of The Legacy) ehren die Brüder von Timbila Ta Venancio, allesamt Söhne des legendären Timbila-Meisters Venancio Mbande, das Lebenswerk ihres Vaters und die kulturelle Bedeutung der Chopi-Musik. Die 2026 im Studio Bom Dia in der Provinz Inhambane entstandene Aufnahme interpretiert Mbandes Erbe neu und bewahrt zugleich dessen Geist und Tradition. Die zehn Stücke folgen der überlieferten Reihenfolge einer klassischen Timbila-Aufführung und entfalten eine zusammenhängende musikalische Erzählung. Ecos Do Legado ist damit zugleich Hommage, kulturelles Dokument und eindrucksvoller Beweis für die lebendige Zukunft dieser einzigartigen Tradition.[ENG]The Chopi Timbila is one of Africa's great orchestral traditions, deeply rooted in the culture of the Chopi people of Zavala, Mozambique. Its distinctive mwenje wood xylophones are tuned in seven equidistant pitches, creating a microtonal sound world markedly different from Western musical systems. Timbila ensembles bring together performers of different ages and skill levels, with new compositions created each year to reflect community life, history, and tradition. Recognized by UNESCO as Intangible Cultural Heritage in 2008, the tradition remains one of Mozambique's most celebrated and sophisticated musical forms. On Ecos Do Legado (Echoes Of The Legacy), Timbila Ta Venancio honors the legacy of revered timbila master Venancio Mbande through the work of his sons, who perform and reinterpret his enduring musical vision. Recorded in 2026 at Studio Bom Dia in Inhambane Province, the album serves as both a tribute to Mbande and a celebration of Chopi cultural heritage. The ten pieces follow the traditional sequence of a timbila performance, unfolding as an interconnected musical narrative. Ecos Do Legado stands as a powerful testament to a living tradition whose cultural significance continues to resonate across generations.
Die Chopi Timbila zählt zu den großen Orchestertraditionen Afrikas und ist tief in der Kultur der Chopi im mosambikanischen Distrikt Zavala verwurzelt. Ihre charakteristischen Mwenje-Holzxylophone sind in sieben gleichmäßigen Tonabständen gestimmt und erzeugen eine mikrotonale Klangwelt, die sich deutlich von westlichen Tonsystemen unterscheidet. Die Ensembles vereinen Musiker verschiedener Generationen und Erfahrungsstufen, während jährlich neue Kompositionen entstehen, die Gemeinschaft, Geschichte und das Leben der Vatxopi widerspiegeln. 2008 wurde die Tradition von der UNESCO als Immaterielles Kulturerbe anerkannt und gilt bis heute als eine der komplexesten und schönsten musikalischen Ausdrucksformen Mosambiks. Mit Ecos Do Legado (Echoes Of The Legacy) ehren die Brüder von Timbila Ta Venancio, allesamt Söhne des legendären Timbila-Meisters Venancio Mbande, das Lebenswerk ihres Vaters und die kulturelle Bedeutung der Chopi-Musik. Die 2026 im Studio Bom Dia in der Provinz Inhambane entstandene Aufnahme interpretiert Mbandes Erbe neu und bewahrt zugleich dessen Geist und Tradition. Die zehn Stücke folgen der überlieferten Reihenfolge einer klassischen Timbila-Aufführung und entfalten eine zusammenhängende musikalische Erzählung. Ecos Do Legado ist damit zugleich Hommage, kulturelles Dokument und eindrucksvoller Beweis für die lebendige Zukunft dieser einzigartigen Tradition. ENGThe Chopi Timbila is one of Africa's great orchestral traditions, deeply rooted in the culture of the Chopi people of Zavala, Mozambique. Its distinctive mwenje wood xylophones are tuned in seven equidistant pitches, creating a microtonal sound world markedly different from Western musical systems. Timbila ensembles bring together performers of different ages and skill levels, with new compositions created each year to reflect community life, history, and tradition. Recognized by UNESCO as Intangible Cultural Heritage in 2008, the tradition remains one of Mozambique's most celebrated and sophisticated musical forms. On Ecos Do Legado (Echoes Of The Legacy), Timbila Ta Venancio honors the legacy of revered timbila master Venancio Mbande through the work of his sons, who perform and reinterpret his enduring musical vision. Recorded in 2026 at Studio Bom Dia in Inhambane Province, the album serves as both a tribute to Mbande and a celebration of Chopi cultural heritage. The ten pieces follow the traditional sequence of a timbila performance, unfolding as an interconnected musical narrative. Ecos Do Legado stands as a powerful testament to a living tradition whose cultural significance continues to resonate across generations.
Next up in our Cuban Classics series, one of the jewels of record label Areito’s extensive and sought-after catalogue. Ricardo Eddy Martinez’s Expreso Ritmico from 1978 is a prized album fusing funk, disco, and orchestrated influences with Afro-Cuban percussion, Latin breaks, and lush vocal harmonies.
Whilst maintaining its distinctive Cuban identity, Expreso Ritmico is one of the more American / Western-influenced Cuban titles of the time drawing inspiration from jazz funk, disco, and library music. The album was directed, written, and orchestrated by keyboardist and drummer Ricardo Eddy Martinez, who was also the mastermind behind the orchestration of the Los Reyes 73 album (that was recently reissued by Mr Bongo). Martinez would later go on to work with international musicians and singers such as Gloria Estefan, José Feliciano, Chick Corea, and many more, whilst also working as a sound engineer in the US.
Produced by Adolfo Pichardo, who worked on much of Areito’s output, Expreso Ritmico is packed with gold. The opening title track carries a loose, breezy Latin-disco-funk vibe that breaks into a brilliant Afro-Cuban workout. ‘Que La Tristeza Se Fue’ was expertly sampled and looped by Jazzanova on their 2008 song ‘Look What You Are Doing To Me, featuring Phonte from the hip hop group Little Brother. Elsewhere, ‘Tambo Iya’ has an Afro-funk, Soul Makossa-esque groove, while tracks such as ‘Te Quedas’, ‘Mi Conga Es La Que Es’ and ‘La 132’ run with a heavy pulsating Latin-funk sound. Head to the sultry psych funk of ‘Este Tumbao’ for a spacey journey that blends and morphs through genres.
Istanbul-based producers Grup Ses and Gökalp K present their collaborative album on SOUK Records, showcasing a distinctive fusion of musical styles such as hip hop, grime, dubstep, and jungle. Two years in the making, their self-titled album features contributions from Cologne-based multi- instrumentalist Elektro Hafız, Marseille-based DJ Syr from Scratch Bandits Duo and Ethnique Punch, a Turkish MC & producer now based in Bremen.
Grup Ses project began in 2007, initially focusing on edits and breakcore mash-ups. By 2008, it evolved into a beatmaking project incorporating elements of humor and local materials such as records, tapes, and radio broadcasts, which have become the signature Grup Ses sound. Grup Ses has previously collaborated with sub-labels of Discrepant, releasing two albums on SOUK and three mixtapes on Sucata Tapes.
Gökalp K, the alias of composer and sound designer Gökalp Kanatsız, has been releasing music since 2011. Under this name, he has released two albums and performed as a DJ. Alongside his beat production, he also composes electro-acoustic music and collaborates with creative studios as a sound artist on various interdisciplinary projects.
Precisely one year after Lézire, Crush of Souls is back with his third full-length album.
The musical endeavour of Charles Rowell – active in the indie/punk global scene since 2008 with bands like Crocodiles, Flowers of Evil, Issue – is just like its creator: always cooking up something. Relentlessly.
Now, as it was perceivable by the trajectory undertaken by after his previous LP, Captive Youth leaves goth rock and dark folk aside and head swiftly towards some old school 80’s EBM & 90’s Industrial dance vibe. After all, any album exploring themes of dystopia, politics and sexuality requires a strong rhythm. So how could this new chapter not mention seminal synth-pop and body music classics such as Technique by New Order, Belief by Nitzer Ebb, Towards Thee Infinite Beat by Psychic TV and Pressure Points by Anne Clark?
Forever a displaced soul, Charles’ album number three feels like a revision of Crush Of Souls and also a reanimation of his captive youth spent moving from town to town. The energy of the wandering worker poet. Warehouse basslines, artillery fire backbeats. Romance and melancholy wrapped in barbed wire. All this and more oozes from nine new tracks that inevitably deliver that blurry sexy urban vibe that’s become the project’s trademark.
Features collabo hit single Domination with Sade Sanchez from L.A. Witch.
XKatedral Anthology Series II (An Anthology Of Slowly Evolving Timbral Music), featuring exclusive music from Kali Malone, Jessica Ekomane, Mats Erlandsson, Theodor Kentros, Wilma Hultén, and Maria W Horn.
"XKatedral Anthology II is the second instalment in a series of archival releases dedicated to presenting music by composers affiliated with XKatedral working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2018 - 2020. This collection of pieces focuses on the use of synthetic sound and algorithmic composition languages as tools for precise work within the realm of spectral exploration. In addition to this, the electronic instrumentation in many of the pieces is augmented by acoustic instruments.
The first piece on side A is Kali Malone’s Music for Low Quartet. This piece is an adaptation of the composition “Rose Wreath Crown” originally released on The Sacrificial Code in 2019. In this iteration, the music is scored for two double basses played by Vilhelm Bromander and Zach Rowden, and sine tone electronics performed by Malone herself. The recording of this piece was made at EMS in 2019.
Closing side A is Jessica Ekomane’s ‘First Light’. This computer music piece focuses exclusively on digital sound, layering razor sharp synthetic textures into an otherworldly dynamic weave. The music heard here is a reworked version of a piece originally commissioned by Semibreve in 2020.
Side B contains the work ‘Hands Melt In The Sun’ by Mats Erlandsson. This composition is built from electronically processed tuned zithers and synthetically generated tones arranged in a series of chordal inversions over a sustained fundamental tone. This music, written as a love-letter to the localized drone tradition of Stockholm in the years 2008-2012, was composed and recorded in seven days while in residence at Ställbergs Gruva in Bergslagen, in the summer of 2018.
Opening the second half of the collection is Rough Draft v.7 by Theodor Kentros. Kentros’ compositional practice usually combines acoustic and electronic source material and in this piece he molds the sound of the Buchla 200 and a collection of recorded wind instruments into a molten mass of sound. In its original form, this music was presented as a multichannel immersive work and even in the current stereo configuration it retains some of that enveloping sense of depth.
The second piece on side B, Inertia, is by Wilma Hultén, who makes her debut on record here. An exclusively synthetic piece, Inertia utilizes internal digital feedback in a sealed synthetic system to manifest a harmonic field that swells and abates throughout the length of the piece, interspersed by small gestural elements.
Closing Anthology II is Maria W Horn's work ‘Dies Irae’ for female vocal quartet, pitched glass and synthesis. ‘Dies Irae’ uses a modified form of traditional tonal harmonic language to invoke an uncanny and restless middle ground between the classical western polyphonic vocal tradition and contemporary electronic music. The version heard here is a live recording from Eric Ericssonhallen in Stockholm on May 30th 2020. Performing the piece here are the vocalists Katarina Henryson, Lisa Holmgren, Vilma Ogenblad and Paula Wegmann, as well as Maria herself on glass and electronics."
The duo Sławek Pezda & Witek Ryć is a project by Krakow-based musicians, a hybrid of ambient, noise, experimental music, jazz, trance, electronica, and ethnic music. The two musicians' musical paths were united by the practice of meditation, which also significantly translates into their musical language and the need to share the peace that flows to the listener through sound.
In their recordings and live performances, the musicians utilize tenor saxophone, modular synthesizers, electronics, drums, flutes, drum pads, Tibetan bowls, gongs, and a wide array of percussion instruments. They have played together in improvised concerts, relaxation concerts, chamber sessions, and even spiritual jazz.
"Kardamon" is the result of one of the live sessions, where the rhythm, based on a simple pulse flowing from a frame drum, accompanied by Ankle Bells (Indian janissary bells played with the foot), is enriched by Sławek's tenor saxophone. In addition to the aforementioned instruments, a synthesizer and a Roland HPD 20 drum machine were also used, accompanied by various percussion instruments (shaker, chimes, bells, etc.), as well as a fragment of Witek's own field recordings from the Polesie National Park.
The remix on the B-side was created by DJ PLASH, who gave the duo's original sounds a completely new dimension. Plash (Marcin Przeplasko) is arguably one of the most sought-after DJs playing for b-girls and b-boys worldwide, a feat culminating in his official performance behind the turntables at the last Summer Olympics. PLASH is Witek's neighbor from Krakow's Nowa Huta district.
The front cover artwork is a painting by Witek Ryć, and the entire album was assembled and framed by Animisiewasz. Mastering was handled by Eprom. The single is limited to 150 copies and is being released by Funky Mamas and Papas Recordings, a label specializing in seven-inch singles since 2008.
Echonomist drops debut Rekids EP with ‘My Religion’. He follows his recent remix for Frankey & Sandrino on the label with collaborations with OVEOUS and Ede.
Greece’s Echonomist, aka Petros Manganaris, returns to Rekids with the ‘My Religion’ EP, arriving 30th January 2026 and featuring collaborations with OVEOUS and Ede. It follows his 2025 remix for Frankey & Sandrino, which won plays from HAAi, John Digweed, Auntie Flo, and more, alongside recent music on labels like Habitat, Innervisions, and its sublabel, Exit Strategy.
Echonomist’s ‘My Religion’ EP opens with the title track, where he teams up with Hyper Soul founder OVEOUS for a loopy, hypnotic cut driven by an alarm-like sequence and tripped-out spoken word vocal. OVEOUS returns on ‘We Surrender’, adding psychedelic, warped phrases over deep bass and an infectious clap-led groove. On the fl ip, Echonomist joins fellow Innervisions artist Ede for ‘The Heat’, a heavy-hitting, party-starter packed with larger-than-life
sirens, big snare rolls, and funky sample work. Petros closes the EP solo with ‘Master Groove’, pairing the drums back while echoing spoken lines ride above an irresistible bassline, rounding off a versatile release built to land with adventurous listeners and on peak-time fl oors alike.
Greek DJ, producer, and live performer Petros Manganaris became Echonomist in 2008 and has since become known for his prolifi c output on labels Innervisions, Afterlife, Kompakt, TAU, and more, alongside collaborations with the likes of WhoMadeWho and numerous top-tier remix projects for Âme, Ry X, and Stephan Bodzin.
In the mid-90s, Ken Ishii rose to prominence, with a futuristic sound rooted in Detroit’s machine soul yet unmistakably his own. Hailing from Sapporo, Ishii quickly became synonymous with futuristic, cutting-edge productions, and ‘Jelly Tones’ – originally released on R&S Records in 1995 - was the breakthrough release that propelled the Japanese producer to global notoriety.
Driven by the success of its lead single ‘Extra’, whose iconic and surreal, anime styled video directed by Koji Morimoto (of Akira fame) became a cult classic - the album cemented Ishii’s status as a pioneer who seamlessly fused Detroit techno influences with forward looking sound design and uniquely Eastern melodic sensibilities.
Now reissued on vinyl for the first time since 2008, this 30-year anniversary edition of ‘Jelly Tones’, celebrates the album’s lasting legacy and continued influence with the dynamic rhythms, crystalline synth textures, and sophisticated arrangements that set Ishii apart - from the propulsive elegance of ‘Stretch’ and the layered complexity of ‘Pause in Herbs’, to the tribal, otherworldly darkness of ‘Moved By Air’ and the lush close of ‘Endless Season’.
Integral to this collection as well as the dazzling energy of tracks like ‘Extra’, comes the shimmering synthscapes of ‘Cocoa Mousse’, and the intricate futurism of ‘Pneuma’ - all of which highlight Ishii’s masterful command of both the dancefloor and more cerebral electronic spaces. ‘Jelly Tones’ remains a testament to Ken Ishii’s vision and to a moment when techno became a global language.
On "The Afrodub Experience," Umberto Echo takes us on a ride across four continents, exploring 50 years of Afro-Caribbean music history with numerous collaborators.
The inspiration is the Afrobeat of the 1970s, which he discovered through original musicians from Fela Kuti's "Africa 70" band in the Berlin project "Afrobeat Academy" which he began to fuse with dub and reggae.
Mitwirkende
wird veröffentlicht am 17. Oktober 2025
Recorded by Umberto Echo and the musicians in Berlin, Hamburg, Munich, New York, Melbourne,
Kingston Jamaica & São Paulo between 2008 and 2024
Mixed by Umberto Echo & Silvan Strauss, November 2024 at Apollo Studio Berlin
assisted by DJ Tobi Neumann & Robin Ludyga
Produced by Umberto Echo, co-produced by Silvan Strauss
Mastered by Umberto Echo
Artwork by aDUBta
Umberto Echo published by KKBB Publishing/Edition Dubvibes
Drums: Silvan Strauss, Giuseppe Coppola
Drum Programming: Silvan Strauss, Gengis Don, Umberto Echo
Bass: Daniel Stritzke, Oghene Kologbo, Patrick Frankowski, Giorgi Kiknadze
Percussion: Samuel Wootton, Nicholas Ado-Nettey, Umberto Echo, Djakali Kone, Giuseppe Coppola
Guitars: Umberto Echo, Mandjau Fati, Ferdinand Kirner, Oghene Kologbo, Giovanni Agostini
Cora: Sebastian Cuevas, Djakali Kone
Saxes: Ben Abarbanel-Wolff, Florian Riedl, Giovanni Pecorini, I Sax
Trumpets: Benny Brown, Philip Sindy, Sebastian Kölbl
Trombone: Roman Sladek
Keys: Barney McAll, Lionel Wharton, Markus Kuczewski, Umberto Echo, Silvan Strauss, Milo Winter
Vocals: Lenna Bahule, Gengis Don, Vimbai „Vee“ Mukarati, Mark Wonder, Tydal Kamau
Backing Vocals: Runtendo Machiridza, Tariro neGitare, Erica Nevell
Daniele Baldelli
Considered one of the first DJs in Italy, Daniele Baldelli began his career in 1969 mixing vinyl at the Tana Club in Cattolica (his hometown),
predating the birth of the modern DJ by several years. In the following years, he solidified his talent and technique at histor such as the Tabù Club, Baia degli Angeli, and Cosmic. From 1979 to 1984, Baldelli created his unique and eclectic style, blendi ic clubs ng seemingly distant sounds and musical styles, complementing them with tempo adjustments (bpm) and deliberately extreme equalization,
creating a truly distinctive sound, known as "Afro Disco." Soundscapes and tribal percussion blend with early electronic music experiments, and Baldelli's sets become truly mystical experiences, where, for the first time, the temples are replaced by the dance floor.
The documentary film "A Cosmic Life" has just been released, starring Daniele Baldelli alongside other illustrious guests from the nightclub scene, recounting the history and formation of this movement from the 1970s to the present.
Gaudi
A producer/musician among the most highly regarded on the international dub/electronic scene, over the past 30 years Gaudi, from his
London studio, has contributed significantly to expanding the boundaries of musical genres with high-profile releases and innovative
music production techniques. Recently nominated for a Grammy Award with 'Mass Manipulation', the album he produced for the reggae
band Steel Pulse, and also nominated for a World Music Award with his album 'Dub Qawwali' with Pakistani singer Nusrat Fateh Ali
Khan, Gaudi has collected a series of number 1s on the international charts: Billboard - with the album 'Heavy Rain' by Lee "Scratch"
Perry, 'Vessel of Love' by singer Hollie Cook and with 'Mass Manipulation' by Steel Pulse -, UK Chart n.1 with the album 'Prism' by the
band The Orb (with whom he has collaborated as a producer and keyboardist since 2008), with 'Blue Monday' - by Gaudi himself with
the band Dub Pistols -, UK Dance Chart n.1 with 'Jus Come rmx' produced with DJ Angelino for Cool Jack. He also reached no. 41 the UK charts with the album ‘Midnight Rocker’ by reggae singer Horace Andy (known to the general public for his hits with Massive in
Attack), no. 13 with the album ‘Dubwise 2’ by the band Dreadzone and no. 5 in the Italian charts with the song ‘Lasciala Andare’, written
by him for Irene Grandi. With 19 solo albums and 350 remixes and productions under his belt, Gaudi, with his artistic versatility, has
worked with Groove Armada, UB40, Simple Minds, Brian Ferry, Devo, Big Audio Dynamite, Damian Marley, Seun Kuti, Mad Professor,
Trentemøller, Grandmaster Flash ft KRS-One, Lamb, Don Letts, The Beat, Deep Forest, African Head Charge (in which Gaudi is a keyboardist and dubmaster), Elisa, Scientist, Dub FX, Roedelius, Caparezza, Caravan Palace, EMF, Sizzla, Jovanotti, Sly & Robbie, Piero Pelù, Youth of Killing Joke, and Maxi Priest, to name just a few. Capleton,
Daniele Baldelli & Gaudi
DJ Daniele Baldelli and producer Gaudi first met three years ago at the Jazz Cafe in London. Mutual respect and an innate need to
create new stylistic fusions were the catalysts for Baldelli and Gaudi, leading to a series of subsequent meetings that inevitably culminated in the need to create music together. The project began at Gaudi's Metatron Studio in London using analog equipment and later
moved to Baldelli's studio in Cattolica, where the two organically defined their sound, also inspired by Baldelli's precious record collection. The duo consolidated a powerful compositional symbiosis, and the project, born from a simple initial groove, later transformed
into an entire EP consisting of four original tracks and a highly innovative sound, featuring fusions of psychedelic-funk, tribal-dub,
electronic-disco, and, of course, "Afro-Cosmic"! Daniele Baldelli and Gaudi began their sonic collaboration without setting any stylistic
direction and with the intention of not creating pre-established goals to achieve; it is a project of pure artistic freedom guided by their
compositional instinct and their experience. Constantly active with their evenings and live concerts, Baldelli and Gaudi have performed
individually in many of the best international clubs and festivals.
Quiet Village collaborate with Vanessa Daou on 'Naked Hunger’ Legendary New York artist and The Daou front-woman Vanessa Daou lends vocals to Matt 'Radio Slave' Edwards and Joel Martin's second release on the ‘The Quiet Village’ imprint.
Matt ‘Radio Slave' Edwards and Joel Martin's critically acclaimed Quiet Village project follow-up, 2024's 'Reunion' with the Vanessa Daou collaboration, 'Naked Hunger' on September 5th, '25. 'Naked Hunger', which comes in 'Vocal Mix' and 'Spoken Word Mix' versions, sees Quiet Village employ their hypnotic sensibilities to one of house music's most tantalising vocal talents in Daou, resulting in a mid-tempo house cut that completely envelops.
While the vocal mix of 'Naked Hunger' leans into the interplay between Vanessa Daou's cosseting song voice and spoken vocals, with the rest of the track embracing a subtly dubby ethereal musicality, Quiet Village ramp up the instrumentation on the' Spoken Vocal' version with bass guitar and piano flourishes accompanying her sultry poetic delivery.
'Naked Hunger', Daou's first collaboration with Quiet Village, marks her first release since 2019's 'Little Black Dress'. Throughout her illustrious career, the acclaimed three-time #1 Billboard Dance Chart topper has collaborated with Danny Tenaglia, David Morales, Mood II Swing, Ralphi Rosario, Terry Farley (Farley & Heller), Charles Webster, Horse Meat Disco's Severino Panzetta, Hifi Sean, and Eli Escobar.
Friends since meeting at Goldie's legendary MetalHeadz sessions at London's Blue Note in the '90s, Quiet Village, aka Matt Edwards and Joel Martin, began releasing their brand of dubbed-out, balearic-and-beyond tracks in 2005 via NYC's Whatever We Want Records. The duo's 2008 'Silent Movie' LP was a critical smash hit that resulted in remix commissions for the likes of Bryan Ferry, The Gorillas, Leftfi eld, Francois K, Massive Attack and many more. After a few years in the wilderness, unable to use their nom de plume due to contractual restrictions, the pair launched The Quiet Village label in 2024 with 'Reunion', a stunning 6/8-time urban jazz odyssey, a favourite of the likes of Luke Una, Gilles Peterson and Ryan Elliott.
Regular Offcial Authorised Vinyl Version, Original Soundtrack, 350g Sleeve, Black Inner, Sticker, 12 140g Vinyl - The first ever OFFICIAL vinyl release of the soundtrack for Mamoru Oshii's legendary science fiction anime film GHOST IN THE SHELL (1995). - LP cut from the original master reels at Emil Berliner Studios, official Ghost in the Shell artwork
We Release Whatever The Fuck We Want Records is thrilled and honored to announce the first ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science fiction anime film GHOST IN THE SHELL (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon), the album comes as a LP accompanied by a bonus one-sided 7 housed in official Ghost in the Shell artwork sleeve with silver gilt printing and a Japanese obi, and contains extensive 24-page liner notes. The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers, alongside Joe Hisaishi and Ryichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme 'Making of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a time
Commemorating the 15th anniversary of Wiz Khalifa's 2008 mixtape, Star Power, Rostrum Records is releasing the mixtape’s first-ever vinyl pressing! The limited-edition package features retro video game inspired artwork and outer space colored vinyl discs, housed in a NES cartridge style die-cut inner sleeve. Also included is a lyrics insert resembling a video game instruction booklet.
Originally released on September 17, 2008, Star Power is an essential document from Wiz Khalifa's early career, helping develop his lush sound and establish his reputation as the game's hardest-working and most talented stoner. Hosted by DJ Deez, the tape features multiple guest appearances from Wiz's close associate Chevy Woods, then known as Kev Da Hustla, and production sculpted at the legendary I.D. Labs by Pittsburgh natives like Sledgren, E. Dan, Johnny Juliano, Rocky Fontaine, and Big Jerm, who produced hits for Wiz, Mac Miller, and more during his career. Spanning 23 tracks, Star Power exhibits the melodic mastery and strong songwriting that soon made Wiz Khalifa a superstar, acting as a crucial stepping stone from Pittsburgh prominence to worldwide recognition.
We’re starved for two-sided 12”s in the world of ambient music, but Chris Madak aka. Bee Mask has refreshingly graced us with one this week.
It should be said that there’s Skee Mask and then there’s Bee Mask; the latter is far more unsung, undeservingly so. Madak’s music is abstract and cerebral enough to have lent him credo enough to have released on the likes of Weird Forest, Spectrum Spools and Room40.
But this latest reissue, ‘Versailles Is Not Too Large Or Infinity Too Long’, hears him plunge the aethereal heights for the US label Unifactor. Originally released on cassette on Chondritic Sound in 2008, these pieces deserve the renewed attention and the fresh laying to wax, since they’re not “regular ole” ambient cuts in the slightest.
Unafraid of indulging the high end freqs, Bee Mask fleshes out a mood of uncertain, urgent bliss - sizzling, crunching and soaring the drone, as if its maker were a modern Icarus flying too close to the sun.
Fans of American metal act Iced Earth have long hoped for a new sign of life from their icons. On 28 April 2023, the wait will be over at last: Guitarist and founder member Jon Schaffer has announced the release of two new EPs on ROAR! Rock Of Angels Records. Entitled 'Hellrider' and 'I Walk Among You', these releases will include rare recordings from the transition phase between singer Tim 'Ripper' Owens' and predecessor/successor Matt Barlow in 2007 and 2008, a particularly exciting and eventful period in Iced Earth's band history. The 'Hellrider' EP consists of the songs 'Prophecy', 'Birth Of The Wicked' and 'The Coming Curse', originally from the album 'Something Wicked This Way Comes' (1998), voted one of the best power metal records of all time by Metal Hammer. In late summer 2007, all three tracks were re-recorded, featuring Tim 'Ripper' Owens. Schaffer: "Before now, these releases hadn't been issued on anything other than CD. Now they've been remastered, with new artwork, new mastering, new formats on vinyl, picture disc, and they'll be available for digital download for the first time."
Paul Hammock es el artista por todos conocido como Cignol, sin lugar a dudas uno de los genuinos revolucionarios dentro del sonido electro de la última década y media. Sus trabajos llevan surcando nuestros Technics desde 2008 a través de los sellos de vanguardia electrónica del nuevo milenio.
En su decimocuarta referencia en vinilo, el sello Valenciano HC Records, tras una imparable y ecléctica línea editorial, publica el nuevo trabajo del genio de Dublín titulado Binary Choices. Un maxi en el que nos domina un profundo sentimiento de melancolía cósmica a través de cuatro cortes que nos sumergen en una odisea espacial.
Adentrarse en cada corte del vinilo es como viajar hasta diferentes cuerpos celestes y dejarse sorprender por su atmósfera ensoñadora, y es que solo es necesario que transcurran 58 segundos de Binary Choices, primer corte de la cara A, para sentirnos arropados por un sentimiento de suma nostalgia, alegría y futurismo. Una inteligente combinación de pads, sintes y brillantes percusiones que nos adentran en un astro inexplorado repleto de extrañas vegetaciones, increíbles seres multicolores y horizontes infinitos que activan nuestra sinestesia.
Un emocionante, decidido y contundente ritmo 4x4 a baja velocidad nos traspasa el alma al surcar la superficie de Broken Circle. Un recuerdo olvidado en forma de aterciopelado sonido se crea frente a nuestros ojos en la consecución del compendio de melodías intimistas que componen sus 4:14 minutos, en los que encuentra sosiego nuestra mente y bálsamo nuestro alma.
La cara B del vinilo regresa al cristalino, eléctrico y veloz ritmo roto con Momentum Gateway, track en el que sus dominantes y ácidas cadenas de bajos se enrollan y juegan en sincronía perfecta con sus diferentes capas de teclados y su vibrante e iridiscente pad.
En el último planeta al que nos transporta Cignol, suena en cada uno de sus parajes Validity Movement, track con el que nos dejamos guiar por su grueso y áspero bajo principal, que contrasta con los delicados sintes y atmósferas que lo rodean. Una experiencia sónica tan delicada, íntima y eficiente que podría servir tanto como banda sonora en la creación de un nuevo universo como en la contemplación de su ocaso final.
Finalmente, por un lado, el trabajo de master del lanzamiento ha sido llevado a cabo por Steve Voidloss en Black Monolith Studios en Londres y, por otro, Dani Requeni completa esta obra con la dirección del arte gráfico de la misma.
Birimingham’s TRMNL Records returns with its third release this September, coming courtesy of Paris, France’s Djebali.
Djebali has been releasing his twist on House and Techno since 2008 via the the likes of Fuse London's label and sub-label Infuse, Burnski’s Aesthetic, Chez Damier’s Balance Music, REda daRE Records and of course his own self-titled Djebali label which has been the predominant home for his output over the past decade.
Here though we see Djebali join the roster of the fledgling TRMNL Records, launched by the Birmingham club night of the same name so far the imprint has unveiled two EP’s by East End Dubs and Samu.l to date and here the story continues.
Title-cut ‘Rave Vision’ leads with a squelchy acid bassline and robust drums running alongside gritty stabs, spacey atmospheric pads and choppy vocal samples. ‘Line 56’ follows, shifting focus to dubby stab sequences, heavily swung drums and a bumpy bass groove all flowing with a subtly nuanced feel throughout.
The Hypnotic floaty sounds of ‘Cotton Candy’ then round out the release, diving deeper via an amalgamation of airy synth flutters, resonant synth licks and snaking subs atop a shuffled drum groove.
DJ Support:
Marco Carola
Chris Stussy
Rich Nxt
Davide Squillace
Mahony
Ilario Alicante
Jorge Savoretti
Silvie Loto
Hermanez
Tobi Neumann
This is Fugazi's debut record, released in 1988. These 7 songs were later combined with the 6 tracks from the Margin Walker EP and released on the 13-Songs Maxi CD.
This EP (on red vinyl) was re-cut from the Silver Sonya masters in 2008 at Chicago Mastering Service and comes with a free MP3 download of the album.
Alex Kolodziej was born in Poland and raised in Cologne, Germany. Since he moved to Vienna in 2008 for a degree course in psychology, he immediately checked out the austrian capitols nightlife and got involved with several people from the scene. During the 2010s he was one of the most booked djs for techno and house events in the city, and was also a staple of the cult venue Ochsenfrosch. Although he produces electronic music since 14 years, only a few tracks came out officially via various digital labels. Partygoers heard the majority of his unreleased work only at his rare live performances. After a long hiatus and several harddisk crashes, it is a pleasure for us to announce that he finally makes his comeback on forTunea with his first vinyl release!
Tech House is a genre that has been spoilt over the last 10 years. While most of them follow the cookie-cutter-aproach, Alex' - Workaholic dives in psychedelic sounding rhythm collages, that captures the hectic daily routine in modern society. - Slacker Attitude might be a slow-paced tune, but it's extraordinary drum patting and trippy atmosphere lets you forget that it's only 112 bpm fast. Last but not least, Peletronic contributes a late night dub treatment of the latter. Coming soon in a record store near you!
LIMITED TO 300 COPIES -- Mastering by Patrick Pulsinger
Following the success of two collaborative releases (EMC “The Show”/2008 and Ace & Edo G “Arts & Entertainment” /2009), Masta Ace joins forces with the metal faced MF Doom for Son of Yvonne, a highly personal concept album that celebrates the life and legacy of Ace’s recently departed Mother. Like his 2004 landmark Disposable Arts, Son of Yvonne is meticulously constructed with stories, settings, and characters that resonate with flesh and bone humanity. Interstitial vignettes provide a thematic backbone to the experience, and each track complements and completes the previous to form a narrative whole: a sometimes visceral, sometimes nostalgic slice of Ace’s young life in Brownsville, Brooklyn. Entirely underscored by MF Doom’s iconic Special Herbs instrumentals, Son of Yvonne features the Juice Crew general Big Daddy Kane, new comers Pav Bundy (The Bundies), Reggie B and even MF Doom on the mic. It’s Masta Ace’s no frills flow, however, that looms largest above the dusty samples and digger loops that define Doom’s production. Ace’s photo-realistic rhymes about stick-up kids, spraycan artists and wack emcees add extra gravity to his already celebrated reputation as “truly an under-appreciated rap veteran and underground luminary” (Allmusic Guide). Like Eminem recalls in his 2008 autobiography The Way I Am, “Masta Ace had amazing storytelling skills. His thoughts were so vivid.” TRACKLIST: A1. DJ Ski's Intro A2. Ninteen Seventy Something A3. Son Of Yvonne B1. Da Pro B2. Store Frontin B3. Me & My Gang B4. Crush Hour feat Pav Bundy C1. Think I Am feat Big Daddy Kane & Mf Doom C2. Fresh Fest Reggie B C3. Hoe-Tel-leftovers C4. Slow Down D1. Home Sweet Home feat Pav Bundy D2. Dedication D3. I Did It D4. In Da Spot feat Milani The Artis D5. Outtakes
For over 25 years, David Madson (aka Odd Nosdam) has been stationed away from the light of the mainstream, diligently working the nightshift. Every so often, we awake to find another of his bleary and beautiful missives slung into the waking world – albums whose assemblages of sampled grooves, atmospheres and voices are unified by a hallucinatory sense of melody, like disparate visions strung together through ribbons of sleep-talk. From his earliest days as a member of the seminal group cLOUDDEAD, through his remixes for artists such as Boards of Canada and Black Moth Super Rainbow, Nosdam has been reporting back from his rounds upon the perimeters of culture and consciousness, forging a musical language all of his own.
On Patrol is the second Odd Nosdam LP to be released on The Notwist’s imprint Alien Transistor – following on from the 2019 album Mirrors – and continues a collaborative history that begun with a 2008 remix of The Notwist song, “Sleep”. It’s a love letter to the vinyl format, produced with the aim of optimizing for a single LP. This objective permeated every aspect of the album’s production, from the duration of each side through to the vinyl mastering (Jessica Thompson) and lacquer-cutting (Dubplates & Mastering, Berlin). As we've come to expect, the album is built almost entirely from found sounds, many of which were taken from obscure and second-hand vinyl gathered during Nosdam’s ceaseless crate-digging escapades. Other sources include field recordings made in 2022 at the Catalonia summer home of artist Salvador Dalí, which are baked into the swirling sci-fi glide of “Here to Know (Adéu Mix)”, and a sumptuous clunking bass line courtesy of Organi’s Mike Walti, which runs like an infinite highway through the fuzzy, sunbaked sprawl of “Deepsimple”.
Odd Nosdam’s work has always swept the entire atmospheric spectrum, from rhythmic vigour to levitational beauty. On Patrol is perhaps his finest assimilation of these extremes. “Sgt. Pepsi” is the perfect case in point: a formidable slow groove capsizes into vinyl crackle after a mere minute, before the song resurrects itself through sweeping strings and vocal harmonies, sliding against each other like the overlain romantic denouements to a dozen Hollywood films from the 1940s. Elsewhere, “Get You In (Belong Mix)” drapes shoegaze guitar over a trundling funk backbeat, straddling the physical world and the outer realms, while hushed voices point toward the song's implied themes of cultural cliques, critical consensus and the plight of the eternal outsider: “Sure, I can get you in... these people are my friends, I’m one of them - I belong.”
This is music that both endures and disappears. Odd Nosdam has always wielded a strange relationship with time, scrambling association with any specific era, weaving together numerous tempos simultaneously. There is no master clock. Each track could happily hold up as an infinite loop, yet Nosdam clearly favours the potency of the gone-too-soon, applying the fadeout just as hypnosis starts to crest. Indeed, the songs are both the product of meticulous long-term construction and spontaneity. While the foundations of On Patrol have come together over several years, the recording process involved channeling vibes through a vintage Roland Space Echo and bouncing song fragments back and forth from hard disk to cassette 8-track, gifting a phased permanence to creative decisions made on the fly – a hat-tip to the production processes of Nosdam's longtime hero, Lee ‘Scratch’ Perry. Like a recurring dream, On Patrol appeals to both the plains of momentary ephemera and the long-established backchannels of the unconscious, equal parts revelation and deja vu.
The long-awaited vinyl re-issue of ‘Hawk’ from Isobel Campbell and Mark Lanegan.
Isobel Campbell (ex-Belle & Sebastian) and Mark Lanegan (ex-Screaming Trees, Queens of the Stone Age) third album Hawk, will be reissued on November 6th on LP and CD.
Hawk builds on the critical acclaim of 2006’s Mercury Prize-nominated Ballad of the Broken Seas and 2008’s Sunday at Devil Dirt, solidifying the duo's signature dynamic—Campbell’s ethereal, whispery arrangements juxtaposed against Lanegan’s deep, gravelly baritone. Written, arranged, and produced entirely by Campbell, Hawk was recorded across studios in Scotland, England, and the United States. The 13-track record expands their sonic palette far beyond classic country-folk, venturing into dusty Southern soul, garage-rock stomps, and soaring gospel arrangements. "With this record, I wanted to stretch the canvas further," says Isobel Campbell. "Mark and I have built a true shorthand together over the years, which gave us the freedom to push into heavier grooves, raw blues, and sweeping orchestral textures while keeping the core intimacy intact. Album Highlights & Key Collaborations "You Won't Let Me Down Again" — The album’s lead single, driven by a hypnotic rhythm and featuring a searing guitar solo from former Smashing Pumpkins guitarist James Iha. "Come Undone" — A moody, slow-burning Southern soul ballad showcasing Lanegan at his most vulnerable. Townes Van Zandt Covers — Faithfully rendered versions of "Snake Song" and "No Place To Fall," the latter featuring guest vocals from American singer-songwriter Willy Mason. "Lately" — A cinematic album closer that swaps the pair's vocal interplay for a rousing, brass-tinged gospel choir.
Die britische Singer-Songwriterin und Musikerin Martina Topley-Bird wurde durch ihre Zusammenarbeit mit
den Trip-Hop-Pionieren Tricky und Massive Attack in der Musikbranche bekannt. Besonders hervorzuheben
ist ihr gefühlvoller Gesang auf dem Track ”Teardrop” von Massive Attack aus deren Album ”Mezzanine”,
der zu seiner atmosphärischen Wirkung beiträgt. Auch auf Trickys Debütalbum ”Maxinquaye” (1995)
hat ihre eindringliche Stimme den unverwechselbaren Sound geprägt. Als sie 2003 zu einer Solokarriere
überging, erntete sie mit ihrem für den Mercury Award nominierten Debütalbum ”Quixotic”, das bei Independiente Records erschien, großen Beifall der Kritiker. 2004 erweiterte Topley-Bird ihre Zusammenarbeit
und lieh ihre Stimme den Gorillaz-Tracks ”All Alone” und ”Kids with Guns” von deren Debütalbum ”Demon
Days”. Seitdem hat sie weitere Alben veröffentlicht, darunter ”Anything” (2004), ”The Blue God” (2008)
und ”Some Place Simple” (2010).
Martina Topley-Birds von der Kritik hochgelobtes und für den Mercury Award nominiertes Debütalbum
”Quixotic” wird zum ersten Mal auf Vinyl veröffentlicht. Diese erweiterte Ausgabe enthält das Originalalbum sowie drei B-Seiten und einen unveröffentlichten alternativen Mix der ersten Single ”Sandpaper
Kisses”. Sie wird auf Doppel-Vinyl gepresst und in einem Gatefold-Sleeve verpackt sein.
out of Stock
Last delivered 22 days ago available to reorder, subject to availability
For her new and most radical album »Electroacoustic Works for Halldorophone«, Martina Bertoni used the electronic instrument at EMS Stockholm to create four pieces that are massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming—almost ambient and always demanding your full attention.
Martina Bertoni returns to Karlrecords with »Electroacoustic Works for Halldorophone,« her most radical album yet. The foundation for the four electroacoustic pieces was laid during a residency at Stockholm’s legendary Elektronmusikstudion (EMS) that the Berlin-based cellist and composer used to explore the curious instrument, originally designed by Halldór Úlfarsson in 2008, as an algorithmic system in order to examine tunings and the mathematical relationships between Aiming to analyse and understand their interaction beyond the composer’s control, Bertoni sought to engage more deeply with the concepts of time, tuning, and, most importantly, control. Accordingly, her four »Electroacoustic Works for Halldorophone« seem both massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming— almost ambient and always demanding your full attention.
While the halldorophone—famously used by Hildur Guðnadóttir for her »Joker« score—roughly resembles a cello and can be played like one, it is an electronic instrument. The vibration of its strings is being picked up, amplified, and then routed through a speaker. This creates a feedback loop that becomes increasingly complex depending on how much gain is added to individual strings. Úlfarsson gave Bertoni a carte blanche for how to handle the instrument, but she stresses that she relied on »minimal interventions—some string strumming and plucking« that set the interactions of different sounds and frequencies into motion. »I decided to not approach it like a cellist would,« she explains. »Instead I used it as a kind of generative organ by turning it into a feedback machine, with tuned feedback triggering more feedback depending on the tuning, which was based on tetraphonic scales that I could apply on the four main strings as well as the sympathetic group of strings.«
Bertoni recorded the material in the EMS studio, later composing and arranging the four complex pieces in her home in Berlin, after which they were mixed and mastered by Ciaran O’Shea. While this can be considered a compositional abstraction process, traces of her concrete work as a performer are firmly ingrained in the music. »The halldorophone doesn’t have a line output, just a double set of speakers, which is why I recorded all sounds with two microphones in the EMS studio,« she explains. »That’s why there’s plenty of breathing sounds here and there—label owner Thomas Herbst and I jokingly refer to the album as my ›chamber music record‹.« And indeed, there is a striking sense of intimacy to these four pieces throughout which individual sounds, harmonic frequencies, and even subtle rhythmic figures seem to move both on their own accord but also according to a underlying vision that steers their interplay.
Indeed, »Electroacoustic Works for Halldorophone« is an album built on and marked by contrasts. The soothing polylogue of single sounds in the higher register on opener »Omen in G« is counterpointed by massive bass drones, while the second piece, »Nominal in D,« plays a cunning game of repetition and difference by combining thick textures with all kinds of rhythmic elements. »Fades in C«—the longest of the four pieces, clocking in at 17 minutes—unlocks the emotional potentials of the sonic qualities of the halldorophone, sounding at once serene and anthemic, and »Organon in D« closes the album by underscoring how Bertoni’s unconventional approach allows her to seamlessly transform simple, quiet tones into complex, towering walls of sound.
Album #5 der brandneuen Vinyl-Serie mit zukunftsweisenden Aufnahmen der musikalischen Avantgarde.
Mauricio Kagel (1931–2008) wurde als Sohn jüdischer Eltern in Buenos Aires geboren. Seine Familie
war vor politischer Verfolgung in Russland nach der Oktoberrevolution nach Argentinien gekommen. Kagel
wuchs in einer der dynamischsten gesellschaftspolitischen Phasen der argentinischen Geschichte auf.
Exotica ist seiner Zeit zwar bemerkenswert voraus, steht aber gleichermaßen im Einklang mit der Kulturlandschaft der frühen 1970er Jahre. Als sich der Hippie-Trail seinen Weg um den Globus bahnte, fanden
Sitars, Gongs, Bambusflöten, Gamelans und gestimmte Perkussionsinstrumente zunehmend Eingang in die
Pop- und Avantgardemusik Europas und der USA.
Exotica – unter Einsatz von mehr als 200 Instrumenten aus aller Welt – spielt sich wie eine fröhliche
Komödie in fünf Akten. Ähnlich wie Shakespeare und Beckett setzt Kagel Humor meisterhaft als Mittel
der Kritik ein und hält der Kulturlandschaft seiner Zeit einen grellen Spiegel vor.
Gemastert und geschnitten von den originalen analogen ¼-Zoll-2-Spur-Masterbändern von Rainer Maillard
und Sidney Claire Meyer in den Emil Berliner Studios.
Limitierte und nummerierte Auflage mit Original-Artwork und einer neu gestalteten, wunderschön gearbeiteten Sammler-Cover mit neuen Liner Notes von Bradford Bailey, gepresst auf 180-g-Vinyl
New colour cover (fluorescent and metallic) and new ‘Crystal Red Method’ colour for the vinyl.
Recut from the Silver Sonyare masters in November 2008 at Chicago Mastering Service, features a new blue cover , BLUE VINYL, and comes with a free MP3 download of the album.
racks 1-8 are from the first Minor Threat 7". Tracks 9-12 are from the "In My Eyes" 7 Inch. The Digital version of this record includes the song "Stand Up," from the Flex Your Head compilation. All songs are available on CD.
Recorded: April & August 1981
Released on 12": June 1984
Ian MacKaye vocals
Lyle Preslar guitar
Brian Baker bass
Jeff Nelson drums
out of Stock
Last delivered 8 months ago available to reorder, subject to availability
Coloured vinyl reissue of the sixth studio album by Canadian technical death metal masters Cryptopsy, originally released in 2008. Notable for a significant shift from their technical death metal roots to a deathcore sound, incorporating breakdowns, clean vocals, keyboards, and metalcore elements, which showcased drummer Flo Mounier's skill and introduced new vocalist Matt McGachy.
Repress of the 10 year anniverssary vinyl reissue of “The Empyrean” By John Frusciante cut for the original analog tapes at Bernie Grundman’s mastering. includes hi res audio download card. THE EMPYREAN is the eighth solo album by JOHN FRUSCIANTE. It was originally released in January of 2009, reaching number 151 on the US Billboard 200, 105 on UK Albums Chart and number 7 on the Top Heatseekers. It contains contributions from RHCP bandmate FLEA and former guitarist of The Smiths Johnny Marr. John Frusciante is an American guitarist, singer, composer, and producer. He is best known as the guitarist of the rock band Red Hot Chili Peppers. He recorded five studio albums with them and was recently inducted into the ROCK & ROLL HALL OF FAME. Frusciante has an active solo career, having released twelve solo albums and five EPs; his recordings include elements ranging from experimental rock and ambient music to new wave and electronica. He has also recorded with numerous other artists, including the Mars Volta, for whom he was a studio guitarist (and occasional live performer) from 2002 until 2008; Josh Klinghoffer and Joe Lally, with whom he released two albums as Ataxia; and various collaborations with both Klinghoffer and Omar Rodríguez-López. He has also produced and/or recorded with Duran Duran, Wu-Tang Clan, Swahili Blonde, Black Knights, The Bicycle Thief, Glenn Hughes, Ziggy Marley, Johnny Cash, George Clinton, Johnny Marr, Dewa Budjana and others.
out of Stock
Last delivered 67 days ago available to reorder, subject to availability
MXKR2078
Introducing the near-mythical Boyd Jarvis/Danny Krivit remix of Sade’s 1992 (LP-only) downtempo masterpiece ‘Couldn’t Love You More.’ Originally making the rounds in 2008, this release finally sees the light of day in a completely remastered and sonically optimized 12" version for RSD 2026. Mr. K combines the irresistibly flawless qualities of the original with Jarvis’s epic keyboard jam, extending it into a magnificently evolving fourteen-minute dancefloor classic. Crucially, for those who were able to get their hands on the first issue of this rare gem, the sonic faults that marred that pressing have been completely eliminated, and we can finally hear this rework as it was intended by Mr. K and the late, great house legend Jarvis himself. With a lengthy instrumental on the flip side, this twelve-inch single is fully primed for warm ups, late nights, balearic beach sets or anywhere you want to just want to bask in the warm chords and lush arrangement of a true modern RnB classic.
out of Stock
Last delivered 25 days ago available to reorder, subject to availability
Incl. Pryda, Dexter Connection, Superfunk feat. Ron Carroll, Dave Swayze, Chris Bangs feat. Rita Campbell, Hyper Pearl, Daniel Bovie & Roy Rox, The Disco Freaks, The Mackenzie feat. Jessy
Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.
With Samplers 9 & 10, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!
SAMPLER 9
A1) Pryda - Allein (Original Release 2012)
Pryda, the legendary alter ego of Eric Prydz, has earned iconic status in the electronic music scene with his refined productions and epic tracks. Under this name, he has released several hits that have stood the test of time, including Allein. This track is a progressive house masterpiece built around a sample from Polarkreis 18's Allein Allein and is infused with the characteristic Pryda sound: grand, hypnotic, and emotionally powerful.
With its timeless and universal appeal, Pryda - Allein has captivated fans worldwide. The track is an absolute floor-filler that forms a highlight in any DJ set. Notably, this iconic track has never had a vinyl release, making this edition extra special for both collectors and lovers of true electronic music history.
A2) Dexter Connection - Baby Be Mine (Original Release 2003)
Released in 2003, this delightful groover samples Michael Jackson's Baby Be Mine and Brothers Johnson's Stomp. The track combines funky basslines with a tight, rhythmic groove that immediately invites dancing. The nostalgic vibes from the classic samples provide a familiar sound, while the modern production gives it a fresh, contemporary twist. Ideal for DJ sets where you want to get the crowd in the right mood.
A3) Superfunk feat. Ron Carroll - Lucky Star (Original Release 2000)
This track needs little introduction. Released in 2000, with soulful vocals from Ron Carroll, it quickly became an iconic hit within the house scene. Lucky Star was the breakthrough single of Superfunk, a French house group,and sold over 500,000 copies worldwide. The track reached number 42 on the UK Singles Chart and has since become a staple in house and dance sets.
With its funky basslines, catchy melody, and infectious groove, it's a perfect mix of disco, house, and soul. The track includes a sample from Chris Rea's Josephine, adding to the recognizable and nostalgic vibe. Lucky Star became not only a floor-filler but also an anthem of the French house movement, alongside acts like Daft Punk and Cassius who dominated the world in the same period.
B1) Dave Swayze - Goldwave (24K) (Original Release 1996)
This 1996 trance classic needs little introduction. Goldwave is a timeless track that continues to resonate with trance lovers, thanks to the unique combination of dreamy synths, hypnotic rhythms, and epic build-up. The track is a true ear-candy and touches anyone who hears it. Originally released in 1996 on Belgium's DiKi Records, it quickly became a classic in clubs like La Bush, Illusion, La Rocca, and many more.
To this day, Goldwave is still played in the sets of many DJs, and remains a favorite at retro trance events. The track has stood the test of time and remains a key track for fans of old-school trance. It's a piece of electronic music history that makes people dream on the dancefloor with its dreamy Goldwave.
Warm Weather by Chris Bangs feat. Rita Campbell is a summery, uplifting track that perfectly evokes the atmosphere of Ibiza. The song blends house and trance with the infectious vocals of Rita Campbell, creating a warm, relaxed vibe. The Ibiza BeachBall Vocal Mix adds a touch of Balearic energy, with a calm rhythm and melodies that immediately remind you of sunny beaches and carefree days. Originally released in 2000 on the UK label INCredible, it remains a hidden gem for many trance lovers.
C1) Hyper Pearl - Can You Feel The Pain (Up & Vox Version) (Original Release 1995)
This 1995 trance classic made a lot of noise in clubs like Illusion, La Bush, Lagoa, and At the Villa. Pure old-school trance with emotion and drive like only that era could produce. A fantastic track, produced by Carl Drake, Matt Spinner, and Zzino, originally released on Belgium's Aquatic label.
C2) Daniel Bovie & Roy Rox - Stop Playing With My Mind (Dub) (Original Release 2008)
Daniel Bovie (aka Danny Van Wouwe) is a versatile producer with dozens of tracks to his name, many of which are considered classics. This track is no exception. Originally released on the legendary Strictly Rhythm label, co-produced with Dutch producer Roy "Van Luffelen" Rox, this track quickly became a floor-filler and charted in Belgium and the Netherlands. The vocals wereprovided by the talented Nelson.
D1) The Disco Freaks - Make My Dreams Reality (Chord Memory Mix) (Original Release 1997)
Originally released on an EP by The Disco Freaks, the alter ego of producers Bart Grinaert and Lajos Meszaros. This mix, which is much stronger than the original, quickly became a club classic and was played extensively in clubs like Illusion, Carat, and Extreme. A delightful, groovy, and uplifting track that combines disco elements with house. The Chord Memory Mix adds a nostalgic touch by using warm chords, funky basslines, and uplifting percussion.
D2) The Mackenzie feat. Jessy - I Am Free (Marino Stephano Club Mix) (Original Release 1997)
I Am Free by The Mackenzie needs little introduction and is a must in every DJ and vinyl lover's collection. This mix, often played at our parties, is something special. The man behind many legendary trance classics, Marino Stephano (RIP), hasreworked this version in his unmistakable way. The remix has an energetic and captivating vibe, with deep, hypnotic beats and floating synths. A beautiful track in its original version, it continues to fascinate.
out of Stock
Last delivered 3 months ago available to reorder, subject to availability
DYING VICTIMS PRODUCTIONS is proud to present IRON KOBRA’s highly anticipated third album, Eternal Dagger, on CD and vinyl LP formats. Additionally their two previous albums will be re-released at the same time. Formed in 2008, Germany’s IRON KOBRA began with a noble mission: to bring heavy metal back to its unpolished, rough, and weird roots. Influenced by heroes of old like Iron Maiden, Cirith Ungol, Living Death, Manowar, and Tank with a sprinkle of punk, the band brewed up a venomous concoction of catchy-yet-speedy heavy metal with maximum potential for engagement – whether it was singing along to, banging your head, and / or raising your fist! Their first few years were busy, releasing the Cult of the Snake demo in 2009 and the Battlesword EP the year after. After playing extensively all throughout Europe and earning a reputation for being a force to be reckoned with live, IRON KOBRA teamed up with DYING VICTIMS in 2012 for the release of their momentous debut album, Dungeon Masters, and three years later for their more refined second album, Might & Magic.
The years after – especially those around the pandemic – brought the band’s external momentum to a crawl. But behind the scenes, they were still writing and playing select shows, even venturing as far as Japan. Now, at very long last, IRON KOBRA return to stake their claim as kings of swords & sorcery metal with Eternal Dagger! Granted, the characteristically amazing cover artwork suggests a sci-fi bent, but the timeless HEAVY METAL the Germans unleash here is vintage IRON KOBRA: immediately recognizable as them, but still reflecting on (and refining) their past, incorporating influences from their favorite bands to result in something that will be YOUR favorite soon enough! Aided by the gleaming & glorious production of Stefan Castevet (Vulture, Luzifer), Eternal Dagger explodes with excitement at every turn, its nine songs ranging speed metal tracks like “Trembling Dungeons” to NWOBHM-fueled rockers like “Shibuya Nights” and epics like "Mountains of Madness.” It goes without saying that IRON KOBRA’s arsenal here offers a wide variety of pure metal gold, evoking the likes of Exciter, Brocas Helm, Diamond Head, and early Running Wild but, of course, with their undeniable personality and panache. So strap yourselves to your seats, maniacs: the Cult of the Snake is back, bringing you heavy hymns that will pierce your eardrums like a heavy metal drill
To Cherish zeigt Northcote, das Projekt des kanadischen Singer-Songwriters Matt Goud, in einer Phase persönlicher und kreativer Erneuerung. Seit 2008 bekannt für seine warme Stimme, seine aufrichtigen Texte und energiegeladenen Live-Shows, hat Northcote durch Touren in Nordamerika und Europa sowie gemeinsame Auftritte mit Künstlern wie The Gaslight Anthem, Frank Turner und Hot Water Music eine treue internationale Fangemeinde aufgebaut. Das Album entstand in den Rain City Studios in Vancouver unter der Leitung von Produzent Jesse Gander, der den Songs eine kraftvolle, unmittelbare Klarheit verleiht. To Cherish spiegelt eine Zeit des Umbruchs wider - das Ende einer langjährigen Beziehung, eine wichtige spirituelle Übergangsphase und die kreative Aufbruchsstimmung nach der Rückkehr auf die Bühne. Musikalisch knüpft das Werk an die intime Dynamik der Duo-Tourneen an. Langzeitpartner Stephen McGillivray trägt mit seinem charakteristischen Gitarrenspiel maßgeblich zur Atmosphäre bei, unterstützt von Paul Rigby, Percussionist Mike Battle und Bassist Eric Paone. Die Songs vereinen lyrische Tiefe mit emotionaler Intensität und laden dazu ein, die Höhen und Tiefen des Lebens bewusst wertzuschätzen.
In the vibrant, post-millennial landscape of independent hip-hop, few collective names commanded as much respect as the Living Legends. A monumental alliance of some of the West Coast's most respected solo artists—including Murs, The Grouch, Eligh, Aesop, Bicasso, Luckyiam, Sunspot Jonz, and Arata—the crew's 2008 album, The Gathering, served as a powerful declaration of their unity and enduring relevance.
The Gathering was a snapshot of a legendary crew working at the peak of their collaborative power. The project masterfully weaves together the diverse styles of its eight members, moving effortlessly from the conscious storytelling of Murs to the soulful, introspective flow of The Grouch and Eligh, and the abstract lyrical dexterity of Aesop. The production, handled largely within the collective, provides a lush, sample-heavy, and distinctly West Coast soundscape that perfectly complements the lyrical fireworks. Tracks like the anthemic title track "The Gathering" and the legendary posse cut "After Hours" showcase the organic chemistry that made the Living Legends a seminal force in underground music.
For the first time ever, this pivotal album is being officially pressed on vinyl. This highly anticipated Record Store Day 2026 release finally delivers The Gathering to the format its rich, soulful production has always deserved. This limited edition pressing is presented on striking Coke Bottle Clear Vinyl, a perfect visual complement to the album's crisp, refreshing sound.
A crucial artifact of independent hip-hop history, The Gathering on vinyl is an essential addition for fans who have supported the Living Legends for decades and a must-have for vinyl collectors looking to own a tangible piece of the era's best crew collaborations. Don't miss the chance to own this definitive, first-ever vinyl pressing of a true underground classic.
Hard rock paired with a pinch of cowpunk and hearty Danish gruffness: This unique mix has earned D-A-D a passionate fan base whose loyalty and devotion extends far beyond Scandinavia. A bond just as deeply rooted, as that between Hamburg dark rock giants MONO INC. (whose current album Darkness once again conquered the top spot on the German charts) and their raven family. Back in 2008, MONO INC. paid tribute to D-A-D with a cover version of “Sleeping My Day Away” and today, what belongs together rocks together, as MONO INC. plays D-A-D! What's more, in MONO INC.'s version of Grow or Pay, their epic, melancholic dark rock meets the unmistakable raspy voice of D-A-D singer Jesper Binzer.
“We've adored D-A-D since we first saw them live in the early 1990s,” explains MONO INC. mastermind Martin Engler. “The fact that we were able to get Jesper Binzer on board for our version of ”Grow or Pay“ and that D-A-D will also be joining us as special guests on our 2026 tour in Bremen and Munich is almost too much of an honor.”
Hip Hop’s golden era constituent, Queens’ native, the godfather of Mafioso rap, legendary and influential emcee, Kool G Rap, broke out in the late 80s and early 90s as one half of the duo with DJ Polo. Together, Kool G Rap and DJ Polo released three undisputed classic albums; beginning with their debut album, Road To The Riches (1989), Wanted: Dead or Alive (1990) and Live and Let Die (1992).
Simultaneously, G Rap and DJ Polo gained notoriety as members of the Juice Crew, whose noteworthy membership includes DJ Marley Marl, Big Daddy Kane, Masta Ace and Roxanne Shante At the height of hip-hop’s golden age, The Juice Crew was the definition of innovative and not only influenced the culture as a whole (style, lyricism, creativity), but also impressed the importance of style, substance and technique upon the next wave of street ambassadors.
After a successful run with DJ Polo and the Juice Crew, G Rap embarked on a solo-career, with his solo debut, 4, 5, 6, (1995), which was preceded by Roots of Evil (1998) and The Giancana Story (2002). Since then, we’ve only been intermittingly blessed by bodies of work from the Kool Genius Of Rap; Half a Klip (2008), Riches, Royalty, Respect (2011), Return Of The Don (2017) and Son Of G Rap with 38 Spesh (2018).
Now, the recent National Hip-Hop Museum inductee returns with his first solo-album in
five-years with Last Of A Dying Breed, entirely produced by Domingo, which features collaborations with AZ, NEMS, Vado, 38 Spesh, Royal Flush and Big Daddy Kane; with production supplied by Domingo. Kool G Rap’s "Last Of A Dying Breed" is now available on limited edition vinyl, digipack CD and cassette.
What's the first thing you think of when someone mentions Thee Oh Sees? Probably their riot-sparking live show, right? Visions of a guitar-chewing, melody-maiming John Dwyer careening across your cranium, rounded out by a wild-eyed wrecking crew that drives every last hook home like it's a nail in the coffin of what you thought it meant to make 21st-century rock 'n' roll? Yeah, that sounds about right. But it misses a more important point-how impossible Thee Oh Sees have been to pin down since Dwyer launched the project in the late '90s as a solo break from such sorely missed underground bands as Pink and Brown and Coachwhips. (While Dwyer still records songs on his own, Thee Oh Sees is now a five-piece featuring keyboardist / singer Brigid Dawson, guitarist Petey Dammit, drummer Mike Shoun and multi-instrumentalist / singer Lars Finberg.) That restlessness extends to everything from the towering, thirteen-minute title track of 2010's Warm Smile LP to the mercurial moods of 2008's The Master's Bedroom Is Worth Spending a Night In. Now, Thee Oh Sees chase the home-brewed symphonies of Castlemania with the scrappy, high-wire hooks of Carrion Crawler / The Dream. Originally envisioned as two EPs, it was cut live to tape in less than a week at Chris Woodhouse's Sacramento studio in June, reflecting the battering-ram bent of the band's live show better than any bootleg ever could. "As I'm sure most would agree," explains Dwyer, "Castlemania was more of a vocal tirade. This one's meant to pummel and throb." That it does, whether one blasts the slow, speaker-bruising build of "The Dream," the sunburnt organs and dovetailing guitars of "Crack in Your Eye" or the interstellar instrumental "Chem-Farmer," a perfect example of what happens when one takes a well-oiled machine-a gang of rabid road warriors, really-and adds a second, groove-locked drum set to the mix. To listen is to realize that Dwyer's music is as manic as the underground comic inclinations of his artwork; colorful and confusing in a way that's more than welcome. It's downright refreshing, like a slap in the face at 5:00 in the morning. Or, as Dwyer puts it, "You have to leave a mark somehow."
-Boxset mit vier Alben featuring Drummer Neudi (u.a. Manilla Road, Trance, Griffin, Savage Grace…)
- Limited Edition mit handsignierter Autogrammkarte
Schon mit 8 Jahren entdeckte Andreas Neuderth, der seit Mitte der Achtziger nur noch den Spitzname NEUDI benutzt, sein Talent für das Schlagzeug. Sogar bereits schon etwas früher wurde er zum Fan harter
Rockklänge, die üblichen Verdächtigen wie Kiss, Status Quo und Rush. Mit 15 Jahren, im Jahr 1986, taucht sein Drumming erstmals auf einem Tape der Band SUDDEN DARKNESS auf, was 2026 zu einem Jubiläumsjahr für
den heute in Rheinhessen lebenden Musiker darstellt. Seine bekanntesten Stationen sind neben MANILLA ROAD (2011 bis zum Tod von Mark Shelton im Jahr 2018) und SAVAGE GRACE (2009/2010) aktuell TRANCE,
ROXXCALIBUR, ANGEL OF DAMNATION, IRONSWORD, JAMESON RAID und die Manilla Road-Nachfolgeband SENTRY. Das 1994er ECONOMIST Album „New Built Ghetto Status“ bezeichnet Neudi trotz all diesen genannten Namen als „eines der drei besten Alben, auf denen ich zu hören bin“. In der Tat darf man getrost sagen, dass es den Stil von ECONOMIST wohl nur einmal gibt. 1995 wurde die CD von Massacre/Intercord lizensiert, doch
mit dem progressiven Stil war man seiner Zeit einfach zu weit voraus.
Als Reissue, erstmals als Doppel LP mit dem unveröffentlichten zweiten Album „Mind Movies“ erschienen, erntete man nun endlich die verdient euphorischen Kritiken. VIRON (2004/2006 und 2008) war nach einer Zeit
der Experimente Neudis Rückkehr zum traditionellen Metal, den er als Fan auch zuvor nie verlassen hat. Die zwei hochgelobten Alben waren indirekt der Vorgänger der erfolgreicheren Band ROXXCALIBUR. SCROLLKEEPER
ist eine Band aus Texas, die für ihre EP „Wetico“ als Manilla Road-Fans mit Neudi zusammenarbeiten wollten. Neudi ist bekannt für sein „busy drumming“. Beeinflusst von Neil Peart (Rush), Randy Foxe (Manilla Road) oder Ian Paice (Deep Purple) bietet er nicht nur die genreübliche Rhythmusarbeit „im Hintergrund“, sondern bringt das Instrument teils auffällig in den Vordergrund. (Infotext von Michael Gresner, Januar 2026)
