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With his new EP “Insides”, Palham Music owner Pressburg, delivers a true minimalist house masterpiece.

Dubbyrim starts off with taperecorder processed dub chords, guided by a haunting (-lybeautiful) bassline. Memory Gospel is J Dilla having musical intercourse with Lowtec. And With You is slower, sensual four to the floor house music at its best.

With this record, Pressburg expands his musical horizons, not only sticking to previous experimental records he made, but taking those experiments now to the dancefloor.
We are very happy that renowned dj's such as Move D, Roger 23. Sensu and Lerosa have included the tracks already in their setlists.

This is Pressburg’s first throw on Someguy Records.

ABOUT PRESSBURG:
Pressburg lives in a rural idyll on the foothills of the Thuringian Forest. That’s where he produces his meandering tracks which he has been releasing on his house label Palham Music, since 2003. His approach is technically cognitive, fitting for his reservedly modest character.

ABOUT SOMEGUY RECORDS
Someguy Records is the brainchild of G?s Ramboer, aka Someguy, a political journalist with a passion for music. The label aims to be a haven for house music artists that don’t strictly aim for the peak time of the party, but rather provide that surprising opening or closing track. There’s no rules to what or who is involved with the label, but most acts are situated left of the center.

Current and future acts include:
Someguy, Different Fountains, Pressburg, Sensu, Mikkel Metal, Mary Yalex, D man.

Cosmoba is a brand new Manchester based imprint from Kalcagni. Fresh from releasing his ‘Manners’ EP on Distrito 91, Kalcagni dishes up 4 slices of funk fuelled electro for this label debut.

Lead track ‘Lost In The System’ features retro stylings and gritty electro bass hooks. This is swiftly followed up by ‘Multislacking’, the result of a weekend spent twisting up a modular rig, with wonky bass squelches and 80s pads underpinned by slamming beats.On the flip side, ‘Culture Vulture’ introduces some heavy 303 workouts, before 'After The Fact’ rounds off the EP nicely, taking the acid vibe in a slightly darker direction with wonky reese synth fills and jacked up breaks.

Mr Projectile, one of our favorite IDM producers from back in the day, has given La Luna the chance to share some of his unreleased IDM tracks from the early 2000’s. The album is an eclectic blend of ambient, IDM and experimental electronics.

These sounds are a time machine to simpler, less chaotic times and have become essential listening these days. We envision this album spinning on a sunny Sunday afternoon, filling your room with the delicate and deep textures of electronic music and soothing your uncertainty. Enjoy a nice cup of coffee and explore your thoughts as you speed through time and space. Hopefully serving as a special reminder that we are all in this madness together.

Not only is the music stellar, but we are honoured to have Marcello Raeli, an Italian artist and car designer, accompany the music with his wonderfully mind bending artwork. Marcello is an artist who has designed some of the most insanely beautiful/fast cars on the planet. Here we get to take a deep look into his mind and marvel at the incredible interconnectedness created in this piece and appreciate the sense of depth and space created for this album.

Keith Tucker and Gerald Donald of Dopplereffekt did it......They finally got together two of the originators from the monumental Detroit electronic groups Aux88 and Drexciya. The combination of these two musicians has created a retro bombardment of funk as only Keith Tucker and Gerald Donald can bring.
That unearthly eerie funk and strings from other worlds. This release gives a sense of a melding of Cybotron and Kraftwerk....That snappy intelligent funk that Detroit so heavily influenced and unleashed to the universe

1) "Star Gazing"- Is reminiscent of Cybotrons eclectic funk style with Tucker unmistakable electronic vocals and electronic beats slapping you in the face.

2) "Telescope Array"- Is an extension of Gerald Donald legendary aliases that give listeners that cold minimal drum and beautiful arps that hypnotize. Thumping bass line and .....bonus vocal interlude at the end of this interstellar track

Club of Jacks presents their 6th vinyl-only release - Hoovers EP.
This heavyweight 4 tracker fuses that trademark Club of Jacks House & Garage sound with an injection of raw Rave energy, delivering an EP that's as upfront as it is nostalgic.

Kicking things off on the A side is 'The Hoovers Track', an homage to a certain UK Garage classic (we'll let you work it out) but with a twist - combining a slamming 909 beat with a dirty Alpha Juno hoover line and a roucous breakbeat on the breakdown. A2 track 'Fall On Me' is a bumping Deep House groove flecked with evocative old-school vox and samples that raise the temperature.

On the flip side, things get a little moodier with the 2-Stepper 'Rub-A-Dub' mixing heavy sub bass with organ grooves, pianos, chopped breaks, dancehall shouts and a sweet female vocal chant. Finishing off the EP is 'Watch It' which samples a voicemail from a conversation the COJ boys had with none other than El-B and cuts it up over a rolling 4/4 bass groove. Limited edition clear vinyl hand-stamped pressing.

Written/Produced/Mixed by Club of Jacks.A Mastered by Henry@Pitchcraft.

Three generous portions of blissful beats on the Electric Shrine imprint, kicking off with the downbeat (in BPM terms) but lively 'Solar Visions' coming on like a dub mix of a lost Chic classic, 'What You Love' more like prime-era John Carpenter remixed by a mischievous Orb and 'Un Amore Supremo' a slow motion (one of the slowest we've ever encountered) reverb-fest, designed for more eccentric chillout rooms. And that's all before the opera singer pitches in.

TwoStep2 aka DJ Relay and Jo Public have been known for their superlative but distinctly old skool sounds, but lead track on this three cut 12" is rather a subtle departure. The beat is a little more wonderfully wonky than you might expect and the bassline bigger and more adventurous, with pleasingly original results. 'Starlight' plays off its abrasive backspins with fluttering harps that are more Luke Vibert than Sticky or Noodles, true genius, and a bubbling beat to boot. 'Weapon of Choice' plunders ravier elements but again, it's no museum piece with its off kilter piano and slowed down, drowsy atmospherics. If you're looking for memorable tunes that stick out rather than fit in, make this your destination.

Ever spent Christmas in New
York City? It’s pure magic…the
department store decorations,
the nip in the air putting color in
the cheeks of eager shoppers, the
general spirit of bonhomie that
pervades the street and subway,
and—if you’re lucky—the silent
beauty of a fresh snowfall reflecting
in the streetlights. Having grown
up in New York, Lea Michele knows
well just how spectacular New York
can be during the holiday season;
and on this, her Top 40 2019
album, the Glee star (currently
playing Fanny Brice in Funny Girl on Broadway)
captured a sleigh-full of that Yuletide joy. The centerpiece of the
record is “Christmas in New York,” an original that, in her words,
“paints this beautiful picture of New York, but it also is really about
what it means to be with your family and friends and engaged in that
holiday spirit.” The rest of the record, which is produced by Glee
producers Alex and Adam Anders, is equally transcendent, featuring
duets with fellow Glee stars Jonathan Groff (the voice of Kristoff
in Frozen) and Darren Criss, plus a showstopping vocal display on
“Angels We Have Heard on High” with Cynthia Erivo. For its vinyl
debut, Christmas in the City comes to you in a gatefold album jacket
containing a printed inner sleeve featuring beautiful shots of Lea
spreading some Christmas cheer. A snow white vinyl pressing limited
to 1500 copies…Merry Christmas!

Beautiful instrumental Soothsayers 8-track album mixed and dubbed by Sao Paolo-based by Grammy-winning bass player/producer Victor Rice (Easy Star All Stars, Skatelites, Cedric Brooks), already popular with UK soundsystems including Channel One, Real Roots Soundsytem

Radio support from:

BBC Radio 1 Xtra - Rodigan

BBC Radio 1 - Rob Da Bank

BBC6 Music - Huey Morgan

Worldwide FM - Gilles Peterson, Colleen Murphy

Star Trek to soulstress - Lieutenant Uhura aka Nichelle Nichols was a groundbreaking actor, singer and trailblazer and these two standout tracks sound as sweet as they did over 50 years ago.

A valuable collectable must for Soul, Northern fans & well as any true Trekkie...original copies are changing hands for £250+.

Remastered and reissued on 7 inch with large / dinked centre hole in Epic generic paper sleeve.

Art Of Primitive Sound is a sensational journey to the origin of Music. In his crucial research chapter on the Paleolithic, Walter Maioli between 1986 and 1991 investigates the soundscape of different geographical, climatic and botanical environments, in which the mystery of the ancient human-nature relationship resides. What emerges is an expanded and unprecedented Paleorganology, with a range of acoustic and natural instruments from all over the World. Rubbing of fossils, animal artefacts, plant elements of all sorts, everything becomes sound and each object opens up forms of imaginary communication, psychic effect and unexplored languages. Whistles, flutes, leaf and shell rattles, rhombuses, horns, bone pipes, slate slabs, bamboo arches, stones, vertebrae, seeds, stalagtites etc...how great can be the Natural Orchestra inherent in the spirit of forests, rivers, caves, seas, swamps or Amazon jungles? Thanks to an interdisciplinary partnership (Anthropology, Archaeology, Botany, Ethnomusicology) of collaborating friends, Maioli directs an Opera of universal character inspired by the archaic essence of sound and infrasonic dimension.

Joining techno mainstays Spencer Parker, Leo Pol and label boss Mella Dee among others, BLACK GIRL / WHITE GIRL are the latest artists to come to Warehouse Music serving up an EP of mind-expanding techno rollers.

The Holland-based duo have made a name for themselves producing weighty, no-nonsense techno cuts to reputable labels Super Rhythm Trax, Balkan Vinyl, and more recently, their independent Bandcamp series Dancefloor Destroyers which remade old school classics in the image of jack: acidifying everything from Robyn to Donna Summer, these tools show off the pair’s ability to make a club (re)werk.

Now with their ‘Multiverse EP’, BLACK GIRL / WHITE GIRL take their sound to another plane where kick drums slide over spectral voices, bleeps smudge into cosmic fractals, and minimal hi-hats make way for a slinkier, deeper energy than on previous releases—all without spilling a drop of their signature raw power.

After releasing a successful collaboration album last year, Memphis, TN artist, Young Dolph returns with his highest charting album in his career, Rich Slave. The title is Dolph's commentary on how he is perceived – that no matter how much money he has – in the eyes of America, he will always be a slave. Rich Slave is the album that Young Dolph has shown growth in the sense that he has touched on current events, and social commentary with songs like, The Land that say, "they say this the land of the free, but it looks like the land of bullshit to me". With little features aside from Megan Thee Stallion, Key Glock, and G Herbo, Rich Slave showcases Young Dolph's charismatic skill, and ability to inspire those after him to pursue entrepreneurship.

For fans of - Booker T & The MGs, James Taylor Quartet, Georgie Fame, Big Boss Man. Groovy Hammond garage rock instrumentals from Billy Childish (Thee Headcoats/CTMF etc) and featuring James Taylor (Prisoners/JTQ) We’re loving this new album by The Guy Hamper Trio! Who’s in the band sunshine? Mainly myself on guitar, Julie on bass, Wolf on drums, and of course Jamie on Hammond. A great bonus is Thee Headcoats with Bruce and Tub guest as rhythm section on a track or two. You and James Taylor go back a long way. Do you remember how you first met? The Prisoners were a young group who played with us (the Milkshakes) in the early 1980s. One day they turned up with an organ player, Jamie. Jamie used to then borrow my Selmer guitar amp to play through. You’ve revisited a few old classics on this album, and given them a true makeover. How would you describe The Guy Hamper Trio’s sound? I guess there must be a derogatory term for it but I might need some help finding it. In the very early days of The James Taylor Quartet (Wolf was their drummer back then), I was in the Natural Born Lovers (A blues group with Big Russ and Sexton Ming). We used to be the support for them. I really liked their sound and I guess The Guy Hamper Trio is not a million miles from that blues-influenced, film soundtrack vibe, man. There you made me say “man”. Next thing you know I will be saying “cool!” Let’s just say it's a wizard sound, Jamie is such a great player. Prior to this album The Guy Hamper Trio’s sole release was the ‘Polygraph Test’ 7” from 2009. Why such a big gap? It takes time for all of us to get all our solders in line. “Get on with it mush! And trifle not, your time is but short!” What inspired the album’s title track All The Poisons In the Mud? It’s actually the title of a novel I’ve been writing, and rewriting, over the past 12 years, and is taken from a quote from I Claudius by Robert Graves - a formative influence on me as a 15 year old. The sleeve art is pretty different to your other recent records, could you tell us a about that? Who designed it? I nominally designed it but the truth is that it's essentially a rip off of a Saul Bass sleeve he did for Duke Ellington. We started mining that seam back in the Milkshakes when Bruce (Brand) did the sleeve for Thee Knights of Trashe. The album closes with a storming cover of Jimi Hendrix’s “Fire”. What do you think Jimi would make of your version? I've been a fan of Jimi since my elder brother brought his records home in the '60s. Jimi was well known to “dig” others work and interpretations and would no doubt smile, narrow his smoky eyes and say “cool man!” and I would no doubt reply "wizard Jimi!" TRACKLISTING 1. All The Poisons in the Mud 2. Come Into My Life 3. Moon of the Popping Trees 4. Girl From '62 5. Full Eclipse of the Sun 6. Sally Sensation 7. 7% Solution 8. Step Out 9. Polygraph Test 10. The Kids are all Square 11. Skinwalker 12. Fire

Amsterdam based Mausovic Dance Band make madcap music intent on expanding musical universes. Powered by elastic rhythms and some potent dub wizardry, the five-piece are synonymous with flipping global music traditions and creating new, sound-system stylised, synth powered, dance-floor experiments. Whilst their 2019 debut album on Soundway Records offered a frenetic mix, imbued by the Colombian champeta, Ghanaian highlife and spaced out disco, their new forthcoming album Buckaroo Bank, set for release on Swiss label Bongo Joe Records, feeds off the industrial sounds of New York City, post punk and early electronic explorers. At the very centre of the project is the dub, the Mauskovic echo chamber, guided by their universal hero Lee Scratch Perry and made possible by their studio friend Kasper Frenkel who provided the tools this new Mauscovic riddim philosophy. A proper family band (4 of them are related), and fronted by Nico Mauscovic who is also part of Zamrock touring band W.I.T.C.H., the group have released various singles since their debut album including on Berlin label Dekmantel and most recently, on experimental Swiss label Bongo Joe, their perfect home for brand new album Buckaroo Bank.

Headcat is an American rockabilly supergroup formed by vocalist/bassist Lemmy (of Motörhead), drummer Slim Jim Phantom (of The Stray Cats) and guitarist Danny B. Harvey (of Lonesome Spurs and The Rockats).

The band was formed after recording the Elvis Presley tribute album by Swing Cats A Special Tribute to Elvis in July 1999 to which the future bandmates all contributed. After recordings were finished they stayed at the studio and Lemmy picked up an acoustic guitar and started playing some of his old favorite songs by Johnny Cash, Buddy Holly, and Eddie Cochran. The rest of the guys knew them all and joined in. The name of the band was created by combining the names Motörhead, The Stray Cats, and 13 Cats, which resulted in Headcat. In 2006, the band released their first studio album on June 27, Fool's Paradise. It included cover songs from artists such as Buddy Holly, Carl Perkins, Jimmy Reed, T-Bone Walker, Lloyd Price, Elvis Presley, and Johnny Cash. On the recordings, Lemmy played acoustic guitar. In later years, Lemmy began to use his signature Rickenbacker bass in live performances.

The band's second studio album, Walk the Walk...Talk the Talk, was released in 2011. This was the first new material by the band in eleven years, following up from the Lemmy, Slim Jim & Danny B album in 1999. It has two original songs ‘American Beat’ and ‘Eagles Fly on Friday’. While the first album was all acoustic, the second studio was all electric with Lemmy playing bass like he did in Motörhead.

Dreamcatcher is a previously unreleased live concert which was recorded at the Dreamcatcher theatre at the Viejas Casino in Alpine CA on 1st Feb 2008. It was produced by the band and mastered by guitarist Danny B Harvey.

»Hallway Waverider« is Mikko Singh’s second album for Morr Music under his Haleiwa moniker. Blending the washed-out aesthetics of dream pop with a lo-fi take on modern psychedelia, it is a fuzzy record in more than one sense. The ten songs see the multi-instrumentalist explore the sonic idiosyncrasies of analogue recording equipment while also expressing a self-assured statement by a musician who has carved out a niche for himself and feels perfectly at home in it. “This record is like me telling my teenage self that I am OK,” says Singh. “Back then, I was recording my song ideas on cassette players but held the belief that music should be recorded in an expensive studio with expensive gear in order to be real.” As it turns out however, Singh had been right from the start, having come full circle as an established artist some twenty years later.

After exploring the affordances of vintage equipment for 2019’s »Cloud Formations« LP, Singh worked with a Tascam 244 4-track cassette recorder and Tascam 388 8-track reel-to-reel recorder to transform the sounds of his vintage synthesizers, bass, the occasional guitar part, and drums supplied by Svante Karlsson for »Hallway Waverider«. By experimenting extensively with the machines’ unique sonic qualities and constantly reworking the pieces in regards to their sound signature over the course of two years, Singh has found the perfect equilibrium of electronic music and lo-fi aesthetics while navigating with ease through styles like driving surf rock, gritty garage punk and ethereal dream pop. On his new record, he seamlessly integrates these influences into anthemic yet soothing songs.

The title of the album refers to Singh’s halcyon days as a teenager spent listening to punk music and—in wintertime—skateboarding in his own bedroom. The lyrics refer to surfing as a nod to both his own experiences with riding the waves and the music genre that has provided him with inspiration throughout his career as a prolific recording artist with three solo albums under his belt. However, surfing primarily serves as a metaphor for something bigger. “It’s about things in life that are important to me; things that make me feel good and soothe the mind,” he explains. It comes as no surprise then that »Hallway Waverider« is also dedicated to a key figure in his life. “The album is an ode to my mother who passed away in 2015,” says the artist. “She made it possible for me to have a good childhood and to be able to do what I love.”

This sense of closure and being at peace with himself is also expressed in lyrics like "A sea stroll. Going slower. Feeling featherlight,” expressing a calm that perfectly mirrors the music’s steady grooves and welcoming overall feeling. Starting with the upbeat »River Park/ Sleeping Pill«; to the almost ambient, synthesizer-heavy »A Bottomless Pit«; or short, punk-inspired and bassline-driven outbursts like »Watered Down« or »Halulu Lake«; to the blissful title track that closes the album, Singh opens up a whole panorama of different moods across a broad variety of musical styles. They are connected by that rare thing: a unique musical vision expressed by an instantly recognisable sonic signature.

Based on original 1967 BYG sampler. Newly mastered to vinyl from original BYG tapes. Lacquers cut by Alchemy Mastering at AIR STUDIOS. Introduction by surviving BYG co-founder Jean-Luc Young. Track-by-track notes by author, journalist and BYG-authority Kevin Le Gendre. Cd: expanded cd edition in deluxe gatefold sleeve & printed inner wallet Based on original 1967 BYG sampler. Expanded with 5 additional tracks exclusive to CD. Digitally mastered from original BYG tapes by Nick Robbins. Introduction by surviving BYG co-founder Jean-Luc Young. 16-pages booklet with track-by-track notes by author, journalist and BYG-authority Kevin Le Gendre. *** BYG were a pioneering independant record company, one of the first labels to actively promote diversity and support black African-American musicians and multi-cultural artists worldwide during the 1960’s and 1970’s. Beginning in March 2022, BYG will reissue their now rare and collectable original albums. Newly remastered from the original BYG tapes, each album will be released on LP facsimile-edition & CD with exclusive sleeve notes by Kevin Le Gendre and John Masouri, in high-definition digital audio, downloads and streaming formats. “BYG were passionate in supporting diversity, against prejudice and narrow-mindedness so I am proud we fought for all our artists and their music, no matter what they were, who they were or where they were from ... This sampler is a testament to their creativity...” Jean-Luc Young, 2021

BYG album, facsimile-edition. Newly mastered to vinyl from original BYG tapes. Lacquers cut by Alchemy Mastering at AIR STUDIOS. Exclusive liner notes by author, journalist and BYG-authority Kevin Le Gendre. Also available as expanded CD edition in deluxe gatefold sleeve with 6 original single-version tracks. Cd: expanded cd edition in deluxe gatefold sleeve & printed inner wallet Original 1970 BYG album. Expanded with 6 original single-version tracks. Digitally mastered from original BYG tapes by Nick Robbins. 16-pages booklet with exclusive liner notes by author, journalist and BYG-authority Kevin Le Gendre. *** Formed in the late 1960s Alice was arguably the most interesting of the crop of French bands that put their own spin on the blues rock scene born in Britain and America. Playing a gaggle of instruments, including woodwinds and vibes, the combo had a sound that often departed from guitar-led grooves to incorporate European classical music and South American folk. “This re-mastered version of Alice’s auspicious BYG debut provides an opportunity to reassess a band that deserves wider recognition ...” Kevin Le Gendre, 2022

Earwiggle returns with a new 11-track (2x12") compilation for its 30th release, featuring The Mover, Heidi Sabertooth, Kerrie, Surit, Arjun Vagale, Pyran, Keepsakes, Ingen, Slave To Society, Duran Duran Duran and Dublin Terror Squad. Conceived during the pandemic, "Music For The Wilted Generation" is a tense exploration through dark minimal, industrial and club techno sounds, that culminates with some of the fiercest material to appear on the label yet.

Created and conducted by Sam McLoughlin (N.Racker, Sam and the plants) & David Chatton Barker (Folklore Tapes), Environmental Meditation Music (EMM) is a collaborative project with the natural world, where handmade instruments are placed in the environment and are played by the wind, rain, grass, snow and rivers. The instruments capture and channel the innate rhythms and frequencies of the elements, converting them into a fluid and detailed blend of modulating drones, birdsong, dripping water and the sounds of distant polyrhythmic drumming, overtone flutes and ringing chimes. The instruments include River Harps, Water Gongs, Clock Chimes and Aeolian Flutes, and are made using a variety of materials ranging from guitar strings, rubber bands, saw blades and jars, many of which are amplified using contact microphones. Since 2017 the duo have collected many hours of recorded material, which has been hewn into a long form digital edition and this two-sided 46min long playing record. For the record sleeves, a paintbrush was suspended on a branch using string. The sleeve was cut and placed upon a table with string passed around four bamboo canes in order to keep the brush contained above the card. Windy days were chosen to animate the brush. The brush was dipped into black drawing ink and begun at the middle of the card. Lastly the sleeve was left under rain drops. In total 305x card sleeves were created using this process and so each edition of the record is unique.

Full Artwork Sleeve. Remastered and Recut for 2022 by Lewis Hopkin at Stardelta Audio Mastering

The Vinyl version features six D&B tracks on 3×12' Vinyl. From the bright, florescent metallics of 'Celestial Navigation,'(feat S.P.Y.) through to the darker tinges of the sharp-edged, sparse landscape of 'Hot Hands.' D&B gets a slightly more menacing dub makeover, while 'Paulista' (feat S.P.Y.) & 'Wacky Races' both hold the layered, tightly produced drum programming that Intalex is known for. 'Meltdown' is a typically immaculate, roller that stems from collaborating with Calibre. The album's standout is the beautifully emotive 'Climbing Up The Walls, which features the vocals of Drum & Bass producer Danny Fierce, and stands as a breathtaking, adventurous take on Radiohead. These tracks are currently being championed by the main beat seekers of D&B such as Radio 1s Fabio & Grooverider, Hype, Friction, Tony Coleman, Nu Tone. Ant TC1, Andy C.

2022 Repress

The Artist Concurrently Known As Jackmate has been already been indoctrinated into our cult since he signed onto he Pampa bookings roster awhile back. As SoulPhiction he is also co-founder of Philpot, the Stuttgart-based label, home to the majority of his releases over the past 10+ years. Anyway, we get the privilege of stamping the Turkey logo on SoulPhiction's first proper release of 2013, following his remixes for Murat Tepeli and Detroit Swindle. 'When Radio Was Boss' is a tribute to those magical electromagnetic waves that ruled yesteryear. With that prototypical Pampa percussion-rattling and clanking its way into the room-and a warm, round bassline bounce combined with some symphonic froth in the atmosphere, this track definitely demands airplay. On the dancefloor, at least! (And right in the middle of the track, catch the pleasantly jarring shout-out from WBAU, the call sign of the defunct New York radio station that counted members of Public Enemy and hosts of Yo! MTV Raps amongst its staff.) On the flip, the bpm gets cranked down just a bit for 'Maybachswagger"-If the A-side is a tribute to radio, the B has roller-skating on its mind. Starting out spooky with a sampled voice cooing over a slightly detuned bassline, the surprise comes in the final third, when a kawaii disco vibe drops in, seducing you onto the rink for a few laid-back laps.

Michele Manzo - musician and producer who boasts international collaborations with Omar Lye-Fook, Georgia Anne Muldrow and Declaime - is the man behind the second release of Angis Music, italian label curated by DJ Samuele Pagliai. The EP presents 3 different scenarios resulting from a spontaneous live session, which reflects the multiple influences and symphonic approach of an artist with various styles. This work, inspired by the science fiction novels of William Gibson - godfather of the cyberpunk genre - opens with the song "Burning Chrome", conceived as a nighttime escape taking you at lightening speed through the alleys of a city that is galaxies away. Continuing on to the B side we have "Chiba City Park", where the broken beat and abstract harmonies create an ambience similar to that of those in Neuromancer. Finally, "Nebula's Grace" is a cosmic jam where time slowly floats away in dub echoes and disappears into the depth of space.

First trained in his church choir, Print played in R&B bands in high school and later developed a reputation as a standout rapper. On Adventures in Counter-Culture, he experiments with the synths, keyboards, and drum machines that connected the musical dots of those early days.

Print began pursuing his career as a musician in 2001, working on several hip hop projects including his collaborative project Soul Position with DJ/Producer RJD2. Releasing The Unlimited EP & 8,000,000 Stories on Rhymesayers Entertainment with RJ, Blueprint began work in 2004 on what would become his first solo album, 1988. The success of that album allowed him to tour extensively throughout North America and Europe, before returning home to focus on writing and recording his next album. When he sat down to work on this sophomore effort, Print began with the dark, soulful and sample heavy hip hop of the early 90's, but soon found himself hitting a creative wall. What shook him loose was a new mission: to create an album that encompassed every facet of music he knew, blurring genre lines and bringing it back home as one cohesive listening experience. The more he worked to pair new found interest in rock & electronic music with his love of hip hop, the more he was able to break down that creative barrier.

Thus began his Adventures in Counter-Culture, a monumental undertaking that would involve reinventing himself as a musician and person. His growing cynicism with the world, his disdain for pop culture, the state of politics, and an apathetic, uninspired society, all worked as fuel to inspire this sophomore album. Moved by the impact that sampling lawsuits were having on the music community, Blueprint also decided to return to his roots and began writing and producing his own original content.

2022 Repress

Pioneers in their own musical approaches, Alva Noto and Ryuichi Sakamoto, began their exploration of sound in the evocatively titled V.I.R.U.S series in 2002. After more than a decade from the release of the collection's final installment with "Summvs" in 2011, NOTON reissues all the five albums between June and October 2022.

With its impressionistic atmosphere, in this collaborative project two generations met and shared the idea of electronic music as an inspiration source for new musical structures. Over a series of five albums, Vrioon (2002),Insen (2005), Revep (2006), utp_ (2008), and summvs (2011), the duo have explored blending electronic and acoustic sounds into a meditative whole that is at once expressive, breathing and precision-engineered.

Remastered in collaboration with Calyx Mastering, the recordings of Vrioon, Insen, Revep, Utp_, and Summvs are made available on vinyl and CD under the title 'reMASTER, accompanied by exclusive, unreleased compositions and housed in a beautifully designed sleeve with original cover art by Carsten Nicolai.

On his third album Blizz Munich-based drummer and producer Simon Popp further blurs the line between electronic and organic sounds. In carefully crafted, slow-growing tracks tuned metal percussions cut through searing synth pads, sucking the listener into a sonic vortex.
Informed by personal and spiritual themes, Popp's debut album Laya, as well as his 2021 follow-up Devi make use of rhythms as storytelling mechanisms. Contrasting light and dark, organic and synthetic sounds, his compositions engage in a dance of subtle complexities, enticing the listener into the practice of close listening.
Throughout Blizz, a panopticon of metallophones takes flight, floating freely over earth-bound counter rhythms, conjuring up call and response techniques inherent in polyrhythmic music. This technique favors experimentation over perfectionism, leaving space for happy accidents to unlock new melodic possibilities. According to Popp, "it's much more interesting to try to push the boundaries of an instrument to see what's possible."

Live At Robert Johnson proudly presents the new »Holographic Witness« EP by Niall Mannion aka Mano le Tough!

Please enjoy four very special tracks made by experienced Irishman Mannion near beautiful Lake Zurich. Four tracks to jump into like Zurich folks jump into the Limmat to get carried away. Now here's YOUR chance to get carried away too!

Let's start with the hypnotic grooves of »Holographic Witness« with its subtle handclaps and percussions turning this bass-line driven monster to further heights - a bass-line quite reminiscent of that special Miami sound made famous by the Murk guys back in the early 90ies. Add some balearic guitar riffings and wait until that mighty bass drum comes back in after 6 minutes and you'll find yourself dreaming on a dancefloor in heaven.

Niall continues with more pounding drum sounds in next tune »Kakooja«. Stabbing synths sounds dominate this track while Niall manages to create another dreamy vibe again for this monotonous (in a very positive way that is) work of art - a dreamy vibe which can be found on any of Niall's EP's tracks. This leads us directly to »Last Floating Figh, Liufe Floating« where Mr. Mannion floats into much quieter shores. It's a very meditative affair which makes you want to listen to it over and over again once the tune comes to an end. We think that Señor Villalobos might unleash this one very soon onto some European dancefloor … don't you think?

On »Weather Master«, this EP's last track, Niall masters the art of trippy sounds for a fourth time building another dreamy hypnotic groove that is just beautiful. Maybe too beautiful for this world … we don't know, but what do we know? We're fans. Fans of Mano Le Tough who does not seem so tough at all considering his first offering for Live At Robert Johnson.

Maybe you should consider becoming a fan too - in case you aren't already …

Sláinte, Niall! We raise our glasses respectfully!

Bristolian power-improv duo Run Logan Run continue their link-up with Worm Discs and producer Riaan Vosloo on Nature Will Take Care Of You – a monumental slab of contemporary energy music that draws on the heavy soul of David Axelrod and the fiery commitment of Archie Shepp. Working with an expanded line-up that includes singer Annie Gardiner (daughter of the late guitarist Ricky Gardiner, who played and collaborated with Iggy Pop and David Bowie) plus a string quartet and a brass section, saxophonist Andrew Neil Hayes and drummer Matt Brown have once again steered Run Logan Run in a dramatic new direction. Churning, future-forwards and emotionally tuned in, Nature Will Take Care Of You reaches out towards propulsive rock and psychedelic soul, while keeping one foot in the radical jazz-not-jazz of Bristol’s ever fertile improv scene.

The core of Run Logan Run’s sound is the dynamic conjunction of Matt Brown’s agile and powerful drums with Andrew Hayes’ looping, pedal-treated sax motifs. No matter how the duo augment and enhance their music, the kernel of their art has always been the spiralling energies generated by this essential musical relationship. Explorations of repetition, dissolution and dervish-like disorientation remain a central part of their project, with Brown weaving a tight rhythmic armature for Hayes’ unshackled journeys into sound. But though they began within Bristol’s improvised music scene, their vision has been increasingly structured and expansive, and the arrival of producer and bassist Riaan Vosloo (Nostalgia 77) for 2021’s For a Brief Moment We Could Smell The Flowers allowed to them move outwards to explore pulsing, cinematic synth-scapes. Vosloo is behind the boards again on Nature Will Take Care of You – and the duo’s vision has broadened a step further.

Sobald ein Song mit einer auf mehreren Spuren aufgenommenen Kakophonie des Kotzens beginnt, liegt die Vermutung nahe, dass er auf der dunklen Seite des musikalischen Spektrums zu verorten ist. Dies trifft bei TCHORNOBOGs epischen Track 'The Vomiting Choir' genau ins Schwarze. In 24:08 Minuten windet sich eine absteigende Spirale in eine schier bodenlose Grube, die mit einem größtenteils dissonanten Klangmiasma aus purer Negativität, aber auch überraschender Komplexität gefüllt ist. TCHORNOBOG wandeln weiterhin auf verschiedenen Wegen gleichzeitig, die von und zu ihrer mutmaßlichen Position in der Mitte der Kreuzung von Death, Doom und Black Metal weg- und hinführen. Freunde von DEATHSPELL OMEGA, THE RUINS OF BEVERAST und ULCERATE erkennen wahrscheinlich die allgemeine Richtung, aber die amerikanische Band aus Portland, Oregon schlägt einen ganz eigenen Kurs auf diesen stockdunklen musikalischen Gewässern ein. Wer in ihrem Kielwasser segelt, begegnet neben vielen anderen wundersamen Erscheinungen vielleicht auch dem Geist der frühen MOTORPSYCHO. TCHORNOBOG wurden 2014 von dem in der Ukraine geborenen Multiinstrumentalisten Markov Soroka ins Leben gerufen, der auch für andere Projekte wie AUREOLE, DROWN und KRUKH bekannt ist. Der ukrainische Name "Tchornobog" basiert auf einer rekonstruierten slawischen Gottheit, für die es kaum Belege gibt; außer einer Notiz in der "Chronica Slavorum", die der deutsche Chronist Helmold von Bosau im 12. Jahrhundert verfasste (und die später kopiert und phantasievoll angereichert wurde). Dieser vermutete Verursacher von Pech und Unheil, der in zahlreichen Schreibvarianten mit der Bedeutung "Schwarzer Gott" auftaucht, schaffte es als "Czernobog" untere anderem auch in Neil Gaimans Roman "American Gods" sowie dessen anschließender TV-Adaption. Das selbstbetitelte Debütalbum "Tchornobog" erschien im Jahr 2017 unter großem Beifall von Fans und Kritikern und wurde mittlerweile von Lupus Lounge weltweit wiederveröffentlicht. Derzeit arbeitet Markov Soroka an seinem zweiten TCHORNOBOG-Album. Als ersten Vorgeschmack auf die bevorstehende musikalische Dunkelheit dürfen wir alle aus vollem Hals in 'The Vomiting Choir' auf dem Split-Album einstimmen.

Sobald ein Song mit einer auf mehreren Spuren aufgenommenen Kakophonie des Kotzens beginnt, liegt die Vermutung nahe, dass er auf der dunklen Seite des musikalischen Spektrums zu verorten ist. Dies trifft bei TCHORNOBOGs epischen Track 'The Vomiting Choir' genau ins Schwarze. In 24:08 Minuten windet sich eine absteigende Spirale in eine schier bodenlose Grube, die mit einem größtenteils dissonanten Klangmiasma aus purer Negativität, aber auch überraschender Komplexität gefüllt ist. TCHORNOBOG wandeln weiterhin auf verschiedenen Wegen gleichzeitig, die von und zu ihrer mutmaßlichen Position in der Mitte der Kreuzung von Death, Doom und Black Metal weg- und hinführen. Freunde von DEATHSPELL OMEGA, THE RUINS OF BEVERAST und ULCERATE erkennen wahrscheinlich die allgemeine Richtung, aber die amerikanische Band aus Portland, Oregon schlägt einen ganz eigenen Kurs auf diesen stockdunklen musikalischen Gewässern ein. Wer in ihrem Kielwasser segelt, begegnet neben vielen anderen wundersamen Erscheinungen vielleicht auch dem Geist der frühen MOTORPSYCHO. TCHORNOBOG wurden 2014 von dem in der Ukraine geborenen Multiinstrumentalisten Markov Soroka ins Leben gerufen, der auch für andere Projekte wie AUREOLE, DROWN und KRUKH bekannt ist. Der ukrainische Name "Tchornobog" basiert auf einer rekonstruierten slawischen Gottheit, für die es kaum Belege gibt; außer einer Notiz in der "Chronica Slavorum", die der deutsche Chronist Helmold von Bosau im 12. Jahrhundert verfasste (und die später kopiert und phantasievoll angereichert wurde). Dieser vermutete Verursacher von Pech und Unheil, der in zahlreichen Schreibvarianten mit der Bedeutung "Schwarzer Gott" auftaucht, schaffte es als "Czernobog" untere anderem auch in Neil Gaimans Roman "American Gods" sowie dessen anschließender TV-Adaption. Das selbstbetitelte Debütalbum "Tchornobog" erschien im Jahr 2017 unter großem Beifall von Fans und Kritikern und wurde mittlerweile von Lupus Lounge weltweit wiederveröffentlicht. Derzeit arbeitet Markov Soroka an seinem zweiten TCHORNOBOG-Album. Als ersten Vorgeschmack auf die bevorstehende musikalische Dunkelheit dürfen wir alle aus vollem Hals in 'The Vomiting Choir' auf dem Split-Album einstimmen.

grey marbled vinyl

Two young British producers share their skills for this thoughtfully constructed futuristic two-tracker. Jasper Tygner, who has been championed by Radio 1's Jamz Supernova, Jaguar and Sian Eleri, is a rising star crafting blissed out electronica. Meanwhile fellow Londoner Joe Hertz has also skyrocketed to success, especially since last year's soulful jazz-inflected Current Blues EP.

These two collaborative tracks are delicate soundscapes that borrow and reimagine club sounds. 'Equals' forms a slowly swelling early hours pulse with futuristic melodies, at once gentle and danceable. 'Second Thought' has a hazier beat, with swooping post-rave synths to ease you from the clubnight out into the morning light.

Birdy Sanjazz and Philo Philta. A dream team of birds. Birdy scatters beats like birdseed, Philta makes pickypicky. One after the other. You can still hear "Grrrrr, there isn't more than one 16 per grain" and then he's fluttered on. How long this winter was, but luckily the birdhouse was always well stocked. Well-fed, they are now moving on, from Karlsruhe to Würzburg and back. Always look from above, down on this small world with its people and human-like creatures. A few of them approaching, as always. Timothy Morris, Slice, Johannes Onetake, DJ Ketch, Toby Tobsucht. Beep beep, album ready.


Birdy Sanjazz und Philo Philta. Ein Dreamteam an Vögeln. Birdy streut Beats wie Vogelfutter, Philta macht pickypicky. Einer nach dem anderen. Man hört noch „Grrrrr, mehr als einen 16er gibt es nicht pro Korn“ und schon ist er weitergeflattert. Was war dieser Winter lang, aber zum Glück war das Vogelhäuschen immer gut gefüllt. Jetzt ziehen sie wohlgenährt weiter, von Karlsruhe nach Würzburg und zurück. Blick immer von oben, nach unten auf diese kleine Welt mit ihren Menschen und menschenähnlichen Wesen. Ein paar von denen wie immer mit im Anflug. Timothy Morris, Slize, Johannes Onetake, DJ Ketch, Toby Tobsucht. Pieppiep, Album fertig.

Authentic original release track listing and artwork, issued for the first time on special transparent lime coloured vinyl.

The sleeve features CROWN T72907 wallpaper version of the original multiple variant release. Of the original 30+ designs, this was Ian’s and original designer Barney Bubbles favourite, who referred to this version as ‘The Clarence’.

Damiano von Erckert’s ‘The Past, The Present The Future’ lands on Aus music this November perfectly in time for the winter season. TPTPTF is Damiano’s third studio album and sees him perfectly balancing rave euphoria with more cuddly intimate moments moving effortlessly from deep Detroit techno to the spacious kraut sounds associated with his homeland. ‘The Past The Present The Future’ has depth substance and timelessness all packaged beautifully by design and art legend Eike Koenig

'The Past, The Present, The Future is for all independent thinking romantics and specialists looking for urban melancholy and the feeling of freedom and security. It is for those who find themselves in the dust and rain of the night darkness. It serves people who are determined to conquer their inner fears and readjust the orientation of their minds to banish stress, anger and despair from their lives. Finally, it is the soundtrack for lovers and fighters who want to slow down time and create new patterns to open up new dimensions in their lives as ravers, dancers and people of the night. It is about forgotten fragments of past sounds and the simplicity of clubbing'

solid white vinyl

After 11 long years Pohjola reignites it's furnace to bring a new release by a (let's pretend he's) young Serbian producer Lag. Finding a common language in pursuing the unsaid parts of techno, labelboss Rivet aka Grovskopa and Lag turned their long, meme-and-trolling-fueled friendship into a gorgeous-looking record (art by Trudy Creen, additional design work by Dejan Ilic). The music it bears is as offset as it is functional: offering a palette of both straight and broken beats driven by vocal snippets, genre-defying arrangements and, most importantly, scream-inducing club moments. Trust us, we tried them in the wild.

Second Editions presents a new collaborative work by Marja Ahti and Judith Hamann.

After their distinguished duet ‘Portals’ for Cafe Oto's Takuroku label, ‘A coincidence is perfect, intimate attunement’ is a wonderful sophomore collaborative work pieced together over two years of changing seasons, ideas, moods, and feelings. The release is formed from a shifting field of sound correspondence that pivots on moments of coincidence, of a tuning in.

What are we opening ourselves to when we tune in to sound? How can one be truly open to a sound? How can the activity of recording move beyond notions of capture and release into more generative frames? Rather than a tool purposed for preservation or ‘conservation’ of memory, of time and place, can recording sound instead form new vibrant or vibratory spaces of attunement?

‘A coincidence..’ is an LP length composition of multiple interlocking parts, created through exchange, alignment, unpredictability: the title borrowed from poet Fanny Howe falling right into place, a flock of birds in flight, pitches matched and moved across different geographies and temporal frames. Marja & Judith have created an intuitive, lyrical longform piece that considers the idea of attunement itself as, in some sense, the smallest form of measure or denominator connecting their respective practices: across field recording, just intonation, electronic sonorities and instrumental bodies. ‘A coincidence..’ reflects a sense of a willingness to tune in to impulses given, or gifted to the other, a position that embraces an intimate synchronicity.

Recordings & correspondances between 2020-2022. Mixed by Marja Ahti & Judith Hamann. Mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin, 2022. Title quotation from Night Philosophy by Fanny Howe, Divided Publishing, 2020. Photogrpahy by Joshua Bonnetta. Thanks to Nino Bulling, Niko-Matti Ahti and leo. The work was supported by Kone Foundation, Akademie Schloss Solitude and NEUSTART KULTUR.

Marja Ahti (b. 1981) is a Swedish-Finnish composer and sound artist based in Turku, Finland. Ahti works with field recordings and other acoustic sound material combined with synthesizers and electronic feedback in order to find the space where these sounds start to communicate. She makes music that rides on waves of slowly warping harmonies and mutating textures – rough edged, yet precise compositions, rich in detail. Ahti has presented her music in many different contexts around Europe, in Japan and the United States. She is currently active in the duo Ahti & Ahti with her partner Niko-Matti Ahti and in the artist/organizer collective Himera.

Judith Hamann is a cellist and performer/composer from Narrm/Melbourne in so-called Australia, currently based in Berlin. Their work encompasses performance, improvisation, electro-acoustic composition, field recording, electronics, site specific generative work, and micro-tonal systems in a deeply considered process based approach to creative practice. Currently Judith’s work is focused on an examination of expressions and manifestations of 'shaking’ in solo performance practice, a collection of works for cello and humming, as well as ongoing research surrounding ‘collapse’ as a generative imaginary surface, and the ‘de-mastering’ of bodies (human and non-human) in European settler-colonial heritage instrumental practice and pedagogy. Judith likes working with and thinking-with other artists which sometimes includes people like Joshua Bonnetta, Dennis Cooper, Charles Curtis, Golden Fur (with James Rushford and Sam Dunscombe), Lori Goldston, the Harmonic Space Orchestra, Sarah Hennies, Yvette Janine Jackson, and Anike Joyce Sadiq.

Leipzig-based musician, engineer, and producer Friedrich Brückner has, despite his youthfulness, been a decisive figure in the Leipzig music scene for literal decades, being involved, in one way or another, in many, if not most notable releases coming out of the city. Having received a classical musical education, Brückner most recently figured as part of the German-American band White Wine, playing the bassoon and bass, but has also, as either musician, producer or sound designer, toured internationally with the likes of Yoko Ono, Get Well Soon, Modeselektor, or Dear Reader.

For a few years now, Brückner has been working on his solo debut, which now comes in the form of his remarkable »Polyism«, out on Altin Village & Mine. On it, Brückner puts his considerable musical chops to use, in the service of a rollercoaster of an album that truly eschews categorization, being, as its title suggests, a work of being multiform. While the sound takes wide ranging cues from jazz, new age, dub, electronics to post punk, Brückner’s compositions never feel accidental in the slightest. Instead they share a distinctive sense of dramaturgy, a pronounced attention to sonic texture, and a sense of purpose both within the individual pieces as well as in the context of the album as a whole. The result is an LP that is astonishingly coherent, considering the multitude of means it employs.

On »Polyism«, Brückner also enlists a veritable all-star cast of guest performances, ranging from his parents Isabell and Bernd Brückner, both professional musicians, on saxophone, clarinet, and flute, Martin Wenk (Calexico) on trumpet, to Hendrik Otremba (Messer) and Brückner’s four-year-old daughter Rosa both on vocals, to name but a few. Each lend their own notes to »Polyism«, a work of what it means to live, that is, to be many. Truly exceptional stuff!