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Over three years after the release of his latest record, Belgian singer-songwriter Bram Vanparys finally returns with breathtaking new music. His songwriting has often drawn comparisons to the music of Bob Dylan and Neil Young, but the new record 'Silent Days' reveals that Vanparys has been on a journey into new musical territory.

After 'Wild Flowers' (2015), which he recorded in Los Angeles with Ray LaMontagne's former live band, Bram Vanparys kept his guitars locked away in their cases for months. Too many questions had been bothering him and soon he found himself struggling with his musical direction and his artistic integrity. Partly so because he felt that his almost archaic approach on songwriting was pushing him down a dead end street and partly because his interest in rich and complex arrangements started to grow stronger. In 2016 he bought an old trailer and went living in the countryside to work on his new sound. A harsh winter and a tragic breakup with his wife set the mood for a new set of songs and soon Vanparys started recording again.

'Silent Days' comprises both classic songwriting reminiscent of the old masters such as Leonard Cohen and Bob Dylan and on the other hand dark, complex arrangements that refer to late Talk Talk and even Radiohead. Guitars were played with kitchen knives and the heavily manipulated acoustic sounds reveal that Vanparys might have been listening to Kurt Vile. Bram's lyrics are deeply honest, touching, but never sentimental and his once so angelic voice now sounds hoarse and mature.

The Bony King of Nowhere is the pseudonym of Belgian singer-songwriter Bram Vanparys. He released his debut album 'Alas my love' to critical acclaim in 2009, which was followed by his second and most celebrated album 'Eleonore' in 2011. In the aftermath of 'Eleonore' he was asked to write the film score for the movie 'Les Géants', for which he was awarded by Les Magritte du Cinéma for best original soundtrack.










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Alltime Classic !!! Must Have !! Repressed !

11 track album by Patrick Cowley. Perhaps one of the most revolutionary and influential people in the cannon of disco music, Cowley created his own brand of Hi-NRG dance music coined 'The San Francisco Sound.' By the mid-70ies, Patrick's synthesizer skills landed him a job composing and producing songs for disco superstar Sylvester such as 'You Make Me Feel (Mighty Real)', 'Dance Disco Heat' and 'Stars.' This helped Patrick obtain more work as a remixer and producer. Of particular note was his 18-minute long remix of Donna Summer's 'I Feel Love'. By 1981 Patrick released a string of dance 12inch singles, like 'Menergy' and 'Megatron Man', creating the soundtrack for a generation. Prior to his passing on November 12, 1982, he recorded two more Hi-NRG hits, 'Do You Wanna Funk' for Sylvester and 'Right On Target' for Paul Parker. In 1981 Patrick was contacted by John Coletti, owner of famed gay porn company Fox Studio in Los Angeles. John had heard about Patrick's music from the legendary Sylvester and proposed he write music for his films. Patrick jumped on this offer and sent reels of his college compositions from the 70s to John in LA. Coletti then used a variable speed oscillator to adjust the pitch and speed of Patrick's songs in-sync with the film scene. 'School Daze' is a collection of Cowley's instrumental songs recorded between 1973 and 1981 found in the Fox Studio vaults. Influenced by Tomita, Wendy Carlos and Giorgio Moroder, Patrick forged an electronic sound from his collection of synthesizers, modified guitars and self-constructed equipment. The listener enters a world of dark forbidden vices, introspective and reflective of Patrick's time spent in the bathhouses of San Francisco. The songs on 'School Daze' range from sparse prototechno to high octane funk to somber post-punk to musique concrete, revealing the depth of Cowley's unique talent.

Spanning over 14 tracks, the new Grimes album features collaborations with Janelle Monae and newcomer, Taiwanese rapper Aristophanes. It was recorded primarily in her home studio in Los Angeles, CA, where she relocated to in 2014. Like all of her previous albums, 'Art Angels' was written and recorded entirely as a solo endeavor. The new album features more live instrumentation than ever before on a Grimes record. She plays piano, guitar and violin, continuing her evolution as a musician and a producer for her most ambitious album to date.
LP - with 14 Exclusive Art Prints designed by Grimes and Download.
CD - With two bonus tracks to the LP.

repressed !

2026 Repress!

2022 Repress

"Cellular Automata" is the new album from Dopplereffekt (Rudolf Klorzeiger and To-Nhan), their first in ten years since 2007's Calabi Yau Space on Rephlex.

Cellular Automata approaches mathematical growth and decay as an iterative process, with each data input considered individually relative to the overall model. The result represents one of the group's boldest creative endeavors, defying expectations while remaining unmistakably Dopplereffekt.

Cellular Automata is the third Dopplereffekt release to come via Berlin's Leisure System label, following 2013's "Tetrahymena" and 2014's "Hypnagogia".

After the creation of his own label and four EPs (Intuitive, Blend, Exil, Singles), here is Thylacine with a first album called Transsiberian, named after a recent trip to the other side of the world.

In the spring of 2015, William left for Russia with a video crew. The goal: to get carried away by the famous Trans-Siberian, which connects Moscow to Vladivostok, and stop at the option of fixed and impromptu meetings with local personalities. Time is divided between intense encounters and long train journeys where William locks himself in his cabin to compose. At the option of these stops which, over the days, nourish William's inspiration, he has the right to a concert offered as a welcome by the old ladies of the native village of the graffiti artist Artemiy, polyphonies in Irkutsk, a bell ringer of bells, a traditional musical trio in Kazan, surfers in Vladivostok. A shaman welcomes him in his yurt on the shores of Lake Baikal, with his two little daughters, Aikhai and Mandukhaï. All can be found on Transsiberian, a concept album that places the taste for travel and his curiosity about others at the heart of his contemplative songs. Evolving in the world of contemporary art, for which he composes regularly, William sees an album as a work where performance counts but also emotion and, above all, manner of doing things. "The process of creation matters as much as the end," he says.

Kompromat Is A New Band Formed By Vitalic & Rebeka Warrior. Inspired By Old Berliner Techno, Its Music Fits Somewhere Between Einstürzende Neubauten And Crash Course In Science. Punk, Rock, Dark & Sweet, Kompromat Smells Like A Battle Cry & A Call To Prayer. It Makes You Wanna Lift Your Arms In The Air And Dance While Crying.

From playing chaotic house parties in their home city of Oxford to becoming major festival headliners across Europe, Foals' trajectory has been remarkable. They've earned critical acclaim (NME and Q Award wins, plus Mercury Prize, Ivor Novello and BRIT Award nominations) and fan devotion (1.7 million sales of their four Gold-certified albums) in equal measure. And while the majority of contemporaries have fallen by the wayside, Foals continue to hit new peaks.

After more than a decade in the game, Foals again embrace that love for the unconventional with the bravest and most ambitious project of their career: not one, but two astonishing new albums: 'Everything Not Saved Will Be Lost'. A pair of releases, separate but related, they share a title, themes and artwork. 'Part 1' will be released on March 8th, with 'Part 2' following later in the year.

'They're two halves of the same locket,' frontman Yannis Philippakis explains. 'They can be listened to and appreciated individually, but fundamentally, they are companion pieces.

Fundamentally tethered but possessing their own personalities, the two bodies capture the most compelling, ambitious and cohesive creations they've ever produced. Eager to break the traditional pop song structure which they felt they were becoming increasingly tapered to, the 20 tracks defy expectation. There are exploratory, progressive-tinged tracks alongside atmospheric segues which make the music an experience rather than a mere collection of songs. Yet the band's renowned ability to wield relentless grooves with striking power and skyscraper hooks also reaches new heights.

The album's lead single 'Exits' is a case in point, featuring Philippakis conjuring the image of a disorienting world via a contagious vocal melody. It's a fresh anthem for Foals' formidable arsenal, but also an ominous forecast.

'There's a definite idea about the world being no longer habitable in the way that it was,' says Yannis. 'A kind of perilousness lack of predictability and a feeling of being overwhelmed by the magnitudes of the problems we face. What's the response And what's the purpose of any response that one individual can have'

'Exits' signposts what to expect thematically from both instalments of 'Everything Not Saved Will Be Lost'. The title is a warning that anything - from the tiniest fleeting moment of inspiration through to the planet's own biological diversity - can be under threat of being irrevocably erased.

It's a theme that permeates throughout the album's material, as Foal mirror the public neuroses that have been provoked by our current cultural climate. Paranoia of state surveillance Fear of environmental collapse Anxiety over Trump's next potentially cataclysmic move It's all there in these apocalyptic songs.

'Lyrically, there are resonances with what's going on in the world at the moment,' summarises Yannis. 'I just feel like, what's the utility of being a musician these days, if you can't engage with at least some of this stuff These songs are white flags, or they're SOSs, or they're cries for help... each in a different way.'

The new albums' journeys began as the 'What Went Down' era ended. Founding bassist Walter Gervers departed on amicable terms after playing the Festival Paredes de Coura in Portugal in August 2017. Foals felt that he couldn't be replaced - a decision that ushered in a period of recalibration, reorganisation and, ultimately, rejuvenation.

After taking a little time out, Foals - completed by Jimmy Smith (guitar), Jack Bevan (drums) and Edwin Congreave (keys) reconvened - with Yannis on production duties, who, together with Edwin, also covered the bass parts. They began by writing in a rehearsal space before exporting those sketches into the recording phase at 123 Studios, Peckham, with the assistance of engineer Brett Shaw. They'd repeat the cycle between the two spaces, effectively creating an ongoing feedback loop as they sought to push every new idea to the finish line.

1 x 12" black vinyl 180gsm
- label 4/c
- discobag on reverse board with matt varnish
- gatefold on reverse board with matt varnish
- shrinkwrap