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Exploring late-night, after-hours meditations on sound; ‘Everything Above The Sky (Astral Travelling with Luke Una)’ is a new compilation by the titular DJ, promoter and enigmatic cultural curator. Off the back of the E Soul Cultura phenomena, this compilation comes at a timely point in Luke’s rich career as he soars the heights of playing all over the world. Avoiding any chance of his sound being pigeonholed, Luke has put together a tracklist of songs and music that have a transcendental feel, after coming off the grid, going back to source, outside the city walls .

Music has long been believed to aid out of body experiences and many of us have searched long and hard for a combination of those elusive ingredients that might alleviate some of the monotony of everyday life, our daily routines and obligations, and those things that seem to block us from the spirit of the universe. In this collection, Luke selects music with all the right ingredients in just the right quantities, allowing the listener to engage in an esoteric journey of enlightenment through sound. Being a prolific collector of music, Luke initially delivered enough tracks to compile several compilations, making the licensing process the biggest effort to date for the label. The music moves softly and slowly, never becoming too intrusive, exemplifying the wonderful elevating properties of simple songs played from the heart.

Luke’s Everything Above The Sky manifesto reads, “Astral Travelling in the meadowlands with acid folk, spiritual jazz, around midnight hocus pocus, cosmic psychedelic soul, magical spellbound whirling swirling love songs, Brazilian ballads of light into machine soul gospel utopia dreaming, Balearic bossa, Outer Space ancient African drum, the breath of trees, escaping the big bad modern world, gathering round winter fires, walking amongst the bracken in Padley Gorge in late summer twilight, overlooking the Hope Valley, escaping ego, detaching and finally letting go amongst the stars with the slowly floating people. It’s beautiful beyond. Everything above the Sky”.

Beginning his career as an original Sheffield house young blood in the mid 1980s, Luke’s move to Manchester and partnership with Justin Crawford saw the birth of Electric Chair, a cornerstone cult night in the UK underground club scene. Then came Electric Elephant, a Croatian festival paying homage to their wild eclecticism from Balearic to Brazilian to É Soul, house, disco and techno. Luke’s much loved, long-running Homoelectric night and more recently Homobloc sell out festival for 10,000 souls has been at the forefront of Manchester’s LGBTQ+ cultural landscape. Luke’s Friday evening show on Worldwide FM captured imaginations and became a cult four-hour must-listen monthly journey for fans all over the world. Today, Luke remains, as ever, at the forefront of a changing milieu, pairing the momentous legacy of Manchester’s 80s and 90s scene with the delivery of what today’s club communities need to get down.

WRWTFWW Records is very excited to announce the first ever release of the highly-sought after original soundtrack from 1987 cult horror movie Dolls by multi-instrumentalist, composer, producer, music man extraordinaire Fuzzbee Morse. The limited-edition LP is a miracle of lostthen-found VHS era film scores and is housed in a heavyweight 350gsm sleeve with a bloody cutout sticker and exclusive composer notes.

Directed by Stuart Gordon (Re-Animator, From Beyond, Robot Jox...) and released by Charles Band’s infamous Empire Pictures (which later morphed into Full Moon Productions), Dolls is 80s campy VHS horror in all its glory, a fan-favorite with all the attributes needed for a frightening popcorn night, including one hell of a soundtrack with a very welcomed heavy dose of menacing synths, thunderous orchestrations, and quirky interludes.

The haunting score comes from master Fuzzbee Morse who composed it in Richard Band’s garage with a Yamaha QX-1 sequencer, an arsenal of vintage synthesizers, and a wide array of instruments. The result is a must-have (and never released before!) soundtrack that blends horror tropes with influences ranging from Igor Stravinsky’s The Rite of Spring to Bernard Herrmann, Frank Zappa, Beethoven, Charles Ives and Eleanor Rigby!

Dolls follows the WRWTFWW release of Fuzzbee Morse’s Ghoulies II (1988) as well as 3 other soundtracks from the Empire Pictures vaults: Richard Band’s Ghoulies (1985), TerrorVision (1986), and Troll (1986). All still available – complete the collection now!

Points of interests

- For fans of soundtracks, horror, cult, synth, ambient, classical, 80s, VHS, Charles Band, Full Moon Productions, Stuart Gordon, John Carpenter, b-movies, sci-fi, Gremlins, toys, evil toys, Toys R Us, the good old days, toys you can play with at 33rpm, Christmas presents.
- First ever release for the soundtrack of cult horror movie Dolls (1987), with cut out sticker and composer notes.

Music is storytelling, and some of the best stories have been told through centuries-old traditional folk songs. On their new album ‘Northern Sky’, The Wellermen have given this rich traditional musical history a new sound, hoping to continue to captivate millions of fans around the world. It helps that The Wellermen’s four members all bring their respective experience and perspectives to the table. The fact that they’re from different corners of the world really adds something to the music - there’s something romantic about the way the members have to go on a voyage to see each other.

The Wellermen’s history is well-known: having been the originators of the sea shanty trend on Tiktok, they’ve since gone from strength to strength, gaining a huge following across social media with new trends linked to their music. Their versions of ‘Misty Mountains’ and Ed Sheeran’s ‘Nancy Mulligan’, along with their spine-tingling rendition of ‘Hoist The Colours’ have racked up billions of views across Tiktok and youtube and over 110m streams of their debut album, and led them to appearances on shows like Ant and Dec, LAst Week Tonight with Jon Oliver, The Colbert Show and more.

The group have now returned with their new album ‘Northern Sky’, where they have gone above and beyond to show they are indeed masters of their craft. Recorded in a cottage in the picturesque hills of Surrey, they poured their considerable knowledge and prowess into the album’s 12 tracks, all of which fit their love of storytelling. On the Scottish folk song ‘Wild Mountain Thyme’, for example, the group’s harmonies and rich vocals capture the nostalgic, wistful nature of the song, which speaks of love and nature’s beauty. The group’s tribute to Johnny Cash on the song ‘Hurt’ is set to be a fan favourite - melding the raw and uninhibited torment of the original with the dignified but heart-rending grief of Cash’s version.

Elsewhere on the record the original song and title track ‘Northern Sky’ is a perfect demonstration of the Wellermen’s gift for creating a real dynamic, steering it gently from the darker, more ominous numbers into something truly uplifting. ‘Tall Tales’, another original, is a wonderful portrayal of humorous one-upmanship - a call-and-response that is likely to get crowds’ feet stomping and hands clapping. Say the Wellermen: “It’s all about connection and storytelling, and we hope the listeners are able to find something meaningful.” One thing is absolutely certain: these talented young men are in it for the long haul.

Music is storytelling, and some of the best stories have been told through centuries-old traditional folk songs. On their new album ‘Northern Sky’, The Wellermen have given this rich traditional musical history a new sound, hoping to continue to captivate millions of fans around the world. It helps that The Wellermen’s four members all bring their respective experience and perspectives to the table. The fact that they’re from different corners of the world really adds something to the music - there’s something romantic about the way the members have to go on a voyage to see each other.

The Wellermen’s history is well-known: having been the originators of the sea shanty trend on Tiktok, they’ve since gone from strength to strength, gaining a huge following across social media with new trends linked to their music. Their versions of ‘Misty Mountains’ and Ed Sheeran’s ‘Nancy Mulligan’, along with their spine-tingling rendition of ‘Hoist The Colours’ have racked up billions of views across Tiktok and youtube and over 110m streams of their debut album, and led them to appearances on shows like Ant and Dec, LAst Week Tonight with Jon Oliver, The Colbert Show and more.

The group have now returned with their new album ‘Northern Sky’, where they have gone above and beyond to show they are indeed masters of their craft. Recorded in a cottage in the picturesque hills of Surrey, they poured their considerable knowledge and prowess into the album’s 12 tracks, all of which fit their love of storytelling. On the Scottish folk song ‘Wild Mountain Thyme’, for example, the group’s harmonies and rich vocals capture the nostalgic, wistful nature of the song, which speaks of love and nature’s beauty. The group’s tribute to Johnny Cash on the song ‘Hurt’ is set to be a fan favourite - melding the raw and uninhibited torment of the original with the dignified but heart-rending grief of Cash’s version.

Elsewhere on the record the original song and title track ‘Northern Sky’ is a perfect demonstration of the Wellermen’s gift for creating a real dynamic, steering it gently from the darker, more ominous numbers into something truly uplifting. ‘Tall Tales’, another original, is a wonderful portrayal of humorous one-upmanship - a call-and-response that is likely to get crowds’ feet stomping and hands clapping. Say the Wellermen: “It’s all about connection and storytelling, and we hope the listeners are able to find something meaningful.” One thing is absolutely certain: these talented young men are in it for the long haul.

Anxious’ second album Bambi arrives this winter on Run For Cover Records. It’s been a whirlwind few years for the Fairfield, Connecticut five-piece – since the release of their debut album Little Green House, there’s been little time for anything other than consistent touring with bands like Hot Mulligan, One Step Closer and The Wonder Years. Somewhere during that endless grind, vocalist Grady Allen was sitting in a hotel room and stumbled upon a name typed into a long-forgotten memo on his phone: Bambi. “We should have named the band Bambi,” he recalls admitting to his bandmates. Bambi stuck with the band after that night and eventually it evolved from a “what-if” into the name of Anxious’ second full-length album.

Bambi is a record of remarkable growth, depth, ambition, and energy. It takes all the unsolvable and unavoidable problems of exiting adolescence and makes them resonate in urgent and authentic new ways. The album has deep roots in the storied lineage of Northeast tri-state hardcore and emo, but it also fully embraces the widescreen alternative rock songwriting at which Anxious have previously only hinted. It’s a statement of purpose, the kind of album that comes from a band reconciling where they’ve been with where they want to go. Bambi is the sound of Anxious putting everything on the line–and coming out on the other side better than ever.

Inspired by “big swing” records like Blink-182’s self-titled or Jimmy Eat World’s Clarity, Anxious set out to redefine the band without losing sight of what made them work in the first place. Tracks like “Head & Spine,” “Sunder,” and “Tell Me Why” showcase the scope of Anxious’ evolution, tapping crunchy ‘90s rock guitarwork, layered ‘60s-esque harmonies, and crisp, modern production that captures the unrivaled energy of seeing the band play live.

The Very Polish Cut outs are back with a new release, this time a solo outing by POLOTRONIC - who also happens to be a member of the infamous warsaw duo - Holiday80.
The EP entitled "Marzenia" (translated "Dreams") contains 4 tracks. 2 original productions, one remix and one reowrk and as with all TVPCO releases - its a very diverse affair aimed at the dancefloors. The EP kicks of with a brilliant re-imagination of a polish early 90s hip hop classic "Spalam Si?" ("I'm going down in flames") which the producer transforms into a house anthem with infectious vocal hooks, breaky percussions and lush piano stabs. This one is for sure some peak time material that will make the crowd dancing and asking themselves at the same time - where the hell did that one come from? Moving on is the title track "Marzenia" that might be the water to cool down the fire started by "Spalam Si?". It's a dreamy breakbeat house affair with lush bells and 90s inspired synths and female vocal snippets. It will for sure make you nostalgic. On the flip you will find the mesmerizing electro inspired remix for the track "Pami?tnik Manekina" by Grupa Jot, which was part of the 2022 released "Echo Wielkiej P?yty" compilation with obscure polish electronic music. This one was already available for some time in digital format only but now finally makes the jump to vinyl - as a long-time fan favourite. The EP ends with the jacking acid infused track "Jack" that is a deep mid-tempo heavy hitter for the later hours of the night. Polotronic adds here a male polish vocal sample that repeats the phrase "dyskoteka" ("disco"). The brilliant cover is as always, the work of the labels long time collaborator Bartosz Szymkiewicz.

Denison Witmer returns with a new collection of ten vibrant and pensive folk-pop songs recorded and produced by Sufjan Stevens, his long-time friend and collaborator. Anything At All finds Denison in a suitably reflective mood, mining sublime revelation from an ordinary, domesticated life. Topics like bird watching, carpentry, houseplants, and hiking offer insights into bigger, existential questions about life, death, meaning, and purpose. What are we doing with the precious time we have left on this earth? Whether it's spent making clocks, gathering berries, planting trees, or putting the kids to bed at night, these songs suggest that a life lived with thoughtfulness and care can lead to deeper joy and fulfillment. Recorded sporadically over a period of two years, Anything At All was primarily created at Sufjan's Catskills studio during the pandemic, with additional sessions recorded by Andy Park, in Seattle, WA. Contributors include Stevens and Park as well as Sam Evian, Hannah Cohen, Sean Lane, and Keenan O'Meara, amongst others. The album's musical aesthetic marries Denison's folksy, Mennonite vibe with Sufjan's signature bells and whistles: lush strings and woodwinds, women's choir, and an occasional jazzy saxophone weave their way around Denison's matter-of-fact vocals and acoustic guitar. These are simple folk songs with bursts of awe and wonder.

The influence of the UK’s Steel City on electronic music is well documented and undisputed and continues to push the envelope with key figures such as Winston Hazel (Forgemasters, The Step), DJ Parrot/Crooked Man, Richard Benson (RAC, SWAG, Altern 8), Chris Duckenfield (RAC, Popular Peoples Front, SWAG, All Ears Distribution), a thriving underground club scene and the likes of Synaptic Voyager reinforcing the city’s rich musical legacy.

Matt White and Paul Baines have been making off-kilter, emotive, late night electronic jams since meeting in the early 90’s and while life took them on different paths for a while, they have recently blown the thick layer of dust from their synths and drum machines and got busy in the studio to create some amazing new music which draws influence from that classic UK techno sound which played such an important part in the development of dance music culture around the world. With recent releases on Frame Of Mind, Acquit and Telomere Plastic the duo are clearly on a roll, wearing the heritage of their city on their sleeve and delivering what can only be described as heartfelt, authentic machine music made with love and soul.

From the opening beats of lead track Dawn Till Dusk we are drawn in to another place which feels comfortably familiar yet organic, fluid and loose in a way that tugs on the heartstrings. A million miles from cookie-cutter tech house, this is two guys in a bedroom studio, digging deep on hardware machines to create a sound to get completely lost in. Lonely Promontory takes things deeper still with immersive pads, taught electro beats and blissed-out melodic lines which give just hint of optimism and recall those beloved sounds of B12, Redcell and Likemind.

Flipping over we have Stellar Engine which goes a littler heavier on the beats and bass whilst still retaining a floating quality, once again highlighting the hardware jam workflow that Synaptic Voyager utilise in their studio. Once Exposed takes us back to those heady days of the early 90’s when techno, house and ambient electronics combined to create a heady blend of deep atmospherics and driving beats which could work on both dance floors and car stereos alike. Rounding off the EP we have Cognitive Network which goes for a straighter four on the floor techno groove and a killer bassline to lose yourself in. These recordings were delivered to the label in unedited long form (some tracks totalling 15 minutes or more in length!) which Jimpster lovingly edited into the versions which you hear on this release.

Volume 1 of this expertly curated project of 90s Italian House - put together by Don Carlos.

If Paradise was half as nice… by Fabio De Luca.

Googling “paradise house”, the first results to pop up are an endless list of European b&b’s with whitewashed lime façades, all of them promising “…an unmatched travel experience a few steps from the sea”. Next, a little further down, are the institutional websites of a few select semi-luxury retirement homes (no photos shown, but lots of stock images of smiling nurses with reassuring looks). To find the “paradise house” we’re after, we have to scroll even further down. Much further down.

It feels like yesterday, and at the same time it seems like a million years ago. The Eighties had just ended, and it was still unclear what to expect from the Nineties. Mobile phones that were not the size of a briefcase and did not cost as much as a car? A frightening economic crisis? The guitar-rock revival?! Certainly, the best place to observe that moment of transition was the dancefloor. Truly epochal transformations were happening there. From America, within a short distance one from the other, two revolutionary new musical styles had arrived: the first one sounded a bit like an “on a budget” version of the best Seventies disco-music – Philly sound made with a set of piano-bar keyboards! – the other was even more sparse, futuristic and extraterrestrial. It was a music with a quite distinct “physical” component, which at the same time, to be fully grasped, seemed to call for the knotty theories of certain French post-modern philosophers: Gilles Deleuze, Félix Guattari, Paul Virilio... Both those genres – we would learn shortly after – were born in the black communities of Chicago and Detroit, although listening to those vinyl 12” (often wrapped in generic white covers, and with little indication in the label) you could not easily guess whether behind them there was a black boy from somewhere in the Usa, or a girl from Berlin, or a pale kid from a Cornish coastal town.

Quickly, similar sounds began to show up from all corners of Europe. A thousand variations of the same intuition: leaner, less lean, happier, slightly less intoxicated, more broken, slower, faster, much faster... Boom! From the dancefloors – the London ones at least, whose chronicles we eagerly read every month in the pages of The Face and i-D – came tales of a new generation of clubbers who had completely stopped “dressing up” to go dancing; of hot tempered hooligans bursting into tears and hugging everyone under the strobe lights as the notes of Strings of Life rose up through the fumes of dry ice (certain “smiling” pills were also involved, sure). At this point, however, we must move on to Switzerland.

In Switzerland, in the quiet and diligent town of Lugano, between the 1980s and 1990s there was a club called “Morandi”. Its hot night was on Wednesdays, when the audience also came from Milan, Como, Varese and Zurich. Legend goes that, one night, none less than Prince and Sheila E were spotted hiding among the sofas, on a day-off of the Italian dates of the Nude Tour… The Wednesday resident and superstar was an Italian dj with an exotic name: Don Carlos. The soundtrack he devised was a mixture of Chicago, Detroit, the most progressive R&B and certain forgotten classics of old disco music: practically, what the Paradise Garage in New York might have sounded like had it not closed in 1987. In between, Don Carlos also managed to squeeze in some tracks he had worked on in his studio on Lago Maggiore. One in particular: a track that was rather slow compared to the BPM in fashion at the time, but which was a perfect bridge between house and R&B. The title was Alone: Don Carlos would explain years later that it had to be intended both in the English meaning of “by itself” and like the Italian word meaning “halo”. That wasn’t the only double entendre about the song, anyway. Its own very deep nature was, indeed, double. On the one hand, Alone was built around an angelic keyboard pattern and a romantic piano riff that took you straight to heaven; on the other, it showcased enough electronic squelches (plus a sax part that sounded like it had been dissolved by acid rain) to pigeonhole the tune into the “junk modernity” section, aka the hallmark of all the most innovative sounds of the time: music that sounded like it was hand-crafted from the scraps of glittering overground pop.

No one knows who was the first to call it “paradise house”, nor when it happened. Alternative definitions on the same topic one happened to hear included “ambient house”, “dream house”, “Mediterranean progressive”… but of course none were as good (and alluring) as “paradise house”. What is certain is that such inclination for sounds that were in equal measure angelic and neurotic, romantic and unaffective, quickly became the trademark of the second generation of Italian house. Music that seemed shyly equidistant from all the rhythmic and electronic revolutions that had happened up to that moment (“Music perfectly adept at going nowhere slowly” as noted by English journalist Craig McLean in a legendary field report for Blah Blah Blah magazine). Music that to a inattentive ear might have sounded as anonymous as a snapshot of a random group of passers-by at 10AM in the centre of any major city, but perfectly described the (slow) awakening in the real world after the universal love binge of the so-called Second Summer of Love.

For a brief but unforgettable season, in Italy “paradise house” was the official soundtrack of interminable weekends spent inside the car, darting from one club to another, cutting the peninsula from North to centre, from East to West coast in pursuit of the latest after-hours disco, trading kilometres per hour with beats per minute: practically, a new New Year’s Eve every Friday and Saturday night. This too was no small transformation, as well as a shock for an adult Italy that was encountering for the first time – thanks to its sons and daughters – the wild side of industrial modernity. The clubbers of the so-called “fuoriorario” scene were the balls gone mad in the pinball machine most feared by newspapers, magazines and TV pundits. What they did each and every weekend, apart from going crazy to the sound of the current white labels, was linking distant geographical points and non-places (thank you Marc Augé!) – old dance halls, farmhouses and business centres – transformed for one night into house music heaven. As Marco D’Eramo wrote in his 1995 essay on Chicago, Il maiale e il grattacielo: “Four-wheeled capitalism distorts our age-old image of the city, it allows the suburbs to be connected to each other, whereas before they were connected only by the centre (…) It makes possible a metropolitan area without a metropolis, without a city centre, without downtown. The periphery is no longer a periphery of any centre, but is self-centred”.

“Paradise house” perfectly understood all of this and turned it into a sort of cyber-blues that didn’t even need words, and unexpectedly brought back a drop of melancholic (post?)-humanity within a world that by then – as we would wholly realise in the decades to come – was fully inhuman and heartless. A world where we were all alone, and surrounded by a sinister yellowish halo, like a neon at the end of its life cycle. But, for one night at least, happy.

Clone Jack For Daze on a roll with Tom Carruthers up next. Tom delivering trax that will make you jack all night long! The 4 track EP reflects a keen ear for detail and a deep appreciation for retro-futuristic influences that made the genre. No nonsense classic bleepy techno with lush strings and contrasting metalic basslines fierce enough to keep the energy flowing till sunrise.

Miki Yui is a musician, artist, and composer, originally from Tokyo, who has been based in Düsseldorf since 1994. Her whose work has long explored multiple forms of media, while documenting liminal zones of perception. On her latest album, As If, Yui creates a subtly connected suite of electronic music, drawn from improvisations and randomised processes that she has engaged with modular synthesis. Deeply poetic in its expression, even at its most minimal, the six pieces on As If have a curious tenor – they are, each of them, intensely sensuous, almost haptic listening experiences, as though the laser focus that Yui displays towards her compositions allows her to engage them as almost physical presences in the world.

One of the keys that unlocks the intimate complexity-in-simplicity of As If was Yui’s encounters with the Amazonian rainforest in Manaus, Brazil in 2018. Finding that the sounds in the rainforest both shadowed and echoed the music she had been making for two decades, she embraced the possibilities of modular synthesis, the sounds of which she discovered “have astonishing similarities to the sounds I experienced in the rainforest.” There is, indeed, something natural about the way these sounds bloom in real time; in their dedicated focus to the subtle development and mutation of several discrete parameters of sound, they grow slowly, gradually, their rhizomic structures suggesting that we are always situated within the middle of sound.

Sometimes, the material here has a kind of febrile energy, as on the ticking, clacking electronics of “Generativ”, a track that seems to rotate in the air in front of the listener, the light reflecting off its multiple surfaces as we catch the intricacies of its micro-patterns. Elsewhere, we slide into a cooled but welcoming environment, like the late-night fire-fly horizon of “Song 4”; there’s also the humid, dripping tropical sunset that’s documented on “Summernight”. It’s a music that’s hard to locate external coordinates for, though there are, perhaps, some parallels with the work of Laurie Spiegel, Eliane Radigue’s Vice Versa, and Pauline Oliveros’s “Roots of the Moment”. But As If is an extraordinary collection of naturally developing, rich studies for slowly mutating, enveloping, elemental electronics.

Burning Hell was recorded in Detroit, MI in 1959, but not released until 1964. Even then, it was only available in the UK. This 180-gram vinyl pressing marks the first official worldwide single LP release of the album. The album was pressed at QRP in collaboration with Acoustic Sounds and features Hooker solo playing originals and classics. AllMusic writes that on this album Hooker proves himself to be an excellent performer who could have rivaled the Delta bluesmen of any era.

WRWTFWW Records is in a state of total bliss as it announces the release of the Pitstop Box compiling all 24 tracks from Japanese house music pioneer Shinichiro Yokota’s two acclaimed albums Do It Again and Again (2016) and I Know You Like It (2019). The collection, available on vinyl for the first time ever, is presented as six 45rpm-cut 12inches housed (!) in a superb slipcase box set created by Lopetz, designer, illustrator, typographer, and co-founder of Swiss graphic design studio Büro Destruct. Included as bonuses are two sticker sheets.

Previously only available on CD in Japan via cult electronic label Far East Recording, Shinichiro Yokota’s album discography finally gets a long overdue vinyl release in the form of a limited-edition box set housing (!) six 12inches and a total of 24 songs showcasing the house legend’s celebrated sound. With a production style drawing from a rich blend of funk, hip hop, electronic, and Japanese influences, Yokota’s music is loved for its simplicity, its hypnotic quality, and, most importantly, its SOUL – homegrown 90s soulful melodic club music…pure love!

The Pitstop Box, full of dancefloor treasures and sprinkled with downtempo gems, not only defines Yokota’s personal journey but also resonates as an essential contribution to the house genre and Japanese music in general. It includes his house hits (“Right Here Right Now”, “Night Drive” and the list goes on), a cover of “Simoon” by Haruomi Hosono’s Logic System, and a collaboration with his longtime partner and electronic music hero Soichi Terada.

Shinichiro Yokota began his musical history in Tokyo, inspired by electronic music giants such as Yellow Magic Orchestra and Kraftwerk. He co-founded Far East Recording with the great Soichi Terada (who also worked with WRWTFWW for the Omodaka compilation) in 1990. After releasing the now highly sought after Far East Recording album with Terada in 1992 (from which his viral hit “Do It Again” is from), he took a hiatus from music and, most notably, brought his passion for sports cars to the next level by launching Night Pager, a company he started with his wife, specializing in tuning sports cars and modifying limiters for competition racers. It’s this side of Yokota’s life which has inspired the design of the Pitstop Box. He triumphantly came back to music with the album Do It Again and Again in 2016, consisting of unreleased 90s recordings as well as new material, and followed it up with I Know You Like It in 2019. His work has influenced generations of producers, and has expanded Japanese house music's reach on the global stage. Experience it on vinyl now.

Full unadulterated pleasure forever - from night drives to dancefloors.

Rock & Roll Hall of Fame inductee, two-time Grammy® Award-winning Hip-Hop icon, Kennedy Center Honoree, actor, author, NAACP Image Award winner, entrepreneur, philanthropist, and founder/CEO of Rock The Bells, LL COOL J continues his trailblazing career with upcoming album 'The FORCE'.

LL’s highly anticipated 14th studio album The FORCE (Frequencies of Real Creative Energy) set for release September 6th follows over a decade long hiatus. The record was executive produced by Hip-Hop innovator and Rock & Roll Hall of Fame inductee Q-Tip, of A Tribe Called Quest. With this album, LL will help celebrate the 40th anniversary of the creation of Def Jam Recordings. As LL was the label’s first release, there is no better way to represent the legacy of Def Jam Recordings on its 40th year

Rock & Roll Hall of Fame inductee, two-time Grammy® Award-winning Hip-Hop icon, Kennedy Center Honoree, actor, author, NAACP Image Award winner, entrepreneur, philanthropist, and founder and CEO of Rock The Bells, LL COOL J has created one of the most multifaceted careers and brands in entertainment and continues to display his wide range of talents with every project.

Four decades after he first burst onto the scene, LL COOL J continues his vibrant, trailblazing career. LL COOL J helped elevate the burgeoning rap and Hip-Hop scene of the 80’s, which developed into the musical and cultural phenomenon that is Hip-Hop as we know it today. Of LL’s many contributions to the culture, he also is credited with the creation of the acronym “G.O.A.T.” - short for “Greatest of All Time.”

First introduced to the world in 1984 as a Def Jam Recordings’ flagship artist, LL is the first rap artist to amass ten consecutive platinum-plus selling albums, including his critically-acclaimed debut album, RADIO, and the international, timeless anthem and album of the same name, MAMA SAID KNOCK YOU OUT. LL’s hit singles include “Going Back to Cali,” “Doin’ It,” “Around the Way Girl,” “Loungin’”, “Headsprung,” and Hip-Hop’s first rap ballad “I Need Love.”

Up next, this fall LL is back to make his latest artistic contribution and continue to elevate Hip-Hop culture after over a decade long hiatus with the release of his highly anticipated new album, The FORCE (Frequencies of Real Creative Energy), executive produced by Hip-Hop innovator and Rock & Roll Hall of Fame inductee Q-Tip, of A Tribe Called Quest. With this album, LL will help celebrate the 40th anniversary of the creation of Def Jam Recordings.

In December 2017, LL became the first rapper to earn the prestigious Kennedy Center Honor, which is America’s highest achievement for any performer. In addition, he received his star on the world-renowned Hollywood Walk of Fame on January 21, 2016.
In March 2018, LL launched his own SiriusXM timeless Hip-Hop channel entitled “LL COOL J's Rock The Bells Radio,” garnering millions of daily listeners. The channel features a wide range of innovative and timeless Hip-Hop content, music, interviews, and in-depth retrospectives curated, programmed, and presented by the award-winning artist himself. Since founding the radio station, Rock The Bells has developed into a global platform that has become the preeminent voice for timeless Hip-Hop. Rock The Bells focuses on content, commerce and experiences that honor the CULTURE and the core elements of Hip-Hop – MCs, DJs, Breakers, Graffiti Artists – and more. Rock The Bells hosted its inaugural eponymous music festival in Queens, New York in August 2022, which sold out back-to-back years in 2022 and 2023, where LL headlined both festivals.

LL COOL J was inducted into the Rock & Roll Hall of Fame on October 30, 2021, in Cleveland, Ohio for the 36th annual induction ceremony. Considered by most as the crowning achievement for one’s musical career, the ceremony was a celebration of LL’s lasting impact on Hip-Hop and the music industry.

In Summer 2023, LL COOL J, Rock The Bells, and Live Nation Urban kicked off his first arena tour in 30 years across North America called The F.O.R.C.E. Tour, inspired by the name of LL’s forthcoming album. Living up to the acronym for Frequencies of Real Creative Energy, the lineup for this tour was personally curated by LL COOL J. Building off their amazing performance together on the GRAMMY® Awards earlier that year celebrating the 50th Anniversary of Hip-Hop, all dates featured collaborative live performances with preeminent Award-winning Hip-Hop band The Roots, the legendary DJ Jazzy Jeff, and DJ Z-Trip.

LL hosted the GRAMMY® Awards for an unprecedented five years in a row from 2012-2016, for which he earned rave reviews. In addition, he hosted and produced the GRAMMY® Nominations Concert Live Special for seven years and has also been a presenter at the Emmy®, Golden Globe® and SAG Awards. Most recently, at the end of 2023, LL helped produce CBS’ live concert special A GRAMMY Salute To 50 Years Of Hip-Hop, which celebrated the 50th anniversary of Hip-Hop and was nominated for an NAACP Image Award.

LL has always been an avid philanthropist involved in numerous causes, including literacy for kids as well as music and arts programs in schools. Founded in 2005, LL’s charity “Jump & Ball” – which takes place every August in his hometown of Queens, New York – aims to give back to his local community by offering an athletic and team building program dedicated to bringing wholesome fun to young people.

Between being a musician, actor, philanthropist and entrepreneur, LL COOL J is the ultimate multi-hyphenate whose career continues to expand and where he remains one of the most beloved and innovative brands in entertainment. He currently resides in both New York and Los Angeles.

Picking up where "Máquina de Vénus" (Blacksea Não Maya) left off, this is now 100% DJ Kolt at the controls. Slow, grinding power tools working their way across the complex web of ideas the producer lays down. Truly a next level thing, taking elements from recognized styles such as tarraxo, EDM, even trap, bending their accepted signifiers to suit his own creative mind instead of the crowd pleasing monster that constantly haunts Dance Music. Here we find a wonderful, twisted approach to the dancefloor, one heavy on brain activity, fantastically moody, showcasing music that we long ago quit trying to define.

"Despertar" (again) changes the game, adding secret doors and pathways previously unheard and unthought of. This right here is the mark of a unique producer. You'll have a hard time trying to compare Kolt with any other artist on Príncipe, much less on the outside world. A keen sense of groove filters through all tracks, the dance is never forgotten but you know there are certain demands - you can't just expect a straight line to "a good night out", there's an effort required, you'll have to reach out as well so you can let loose and connect with the universal Master Plan.

The album is all made up of liquid transitions as much as rock-hard foundations, perfectly capable of being explicit when honouring the roots but so committed to a new stance that one may feel thrown off balance by the sheer genius of

Eagles Their Greatest Hits Volumes 1 and 2 is brand new bundle of two of the best-selling albums of all times. The collection combines the Eagles Their Greatest Hits (1971 -1975) and Eagles Greatest Hits Volume 2. They are packaged in a slip case, showing the covers on the outside, with a sticker on the front explaining the contents and a backer card with the track listings. Greatest hits Volume 1 is one of the biggest selling records of all time with over 40million sales.

The medium is the message! Vinyl has always been our preferred medium for releasing music and without this tactile form of presentation, Samurai Music would not continue in its current form. Vinyl is the ultimate personification of what the label wishes to represent. Music always comes first, but the vinyl artefact is king for us. Hyaku is the 100th Vinyl release on the Samurai Music label. Through the many twists and turns of the industry in our almost 17 years of existence, the Samurai Music vinyl releases have maintained their aspiration for quality, unique design that stands the test of time. Praise and thanks always to our long time designer Ryan Quinlivan and the many pressing plants we have worked with over the course of our labels lifespan.
To celebrate this milestone we have assembled a gang of producers that best represent the Samurai Music sound of now to contribute tracks that they feel best encapsulates their take on our sound.
Hyaku is a mutable mix of vibrations that navigates from the searing ambient drift of Ancestral Voices all the way through to the heads down assault of Dom and Roland. Singular takes that capture the artistry of this impressive crew of creators at their glistening best.
Finally we'd like to thank everyone who has ever and continues to support our vinyl releases. We are forever grateful!

Walter Bassani is back once again, alongside Andrea Bassani and Dafne Valla, in a new good ol 80’s flavor filled production and arrangement of one his 1983’s songs, “Mister game”

This new iteration mixes a modern style and approach with the original 80’s sounds for you to dance with all night long.

Vinyl numbered in limited edition in fluo green color.

2026 Repress

Seit seinem kostenlosen Mixtape "LiveLoveA$AP" aus dem Jahr 2011 gehört A$AP Rocky zu den meistgehypten Rappern der neuen Hip Hop Generation. Mit seinen Songs "Peso", "Purple Swag" und seiner aktuellen Single "F#king Problems" hat er in der Hip Hop Blog Welt eingeschlagen wie ein Komet. Sein Rap-Style speist sich sowohl aus Bone Thugs-N-Harmony, Mobb Deep und The Diplomats, als auch der Down South-Ästhetik von UGK, DJ Screw und Three 6 Mafia. Sphärischer Hipster-Hip Hop von Produzenten wie Clams Casino, Burn One, Beautiful Lou, A$AP Ty Beats und SpaceGhostpurrp, dazu Südstaaten-Drums mit Chop & Screw-Spaß und die Überheblichkeit, wie sie nur ein echter New Yorker rüberbringen kann.

"Hipster by heart, but I can tell you how the streets feel."

A$ap Rocky ist ein Star. Das erkennen nicht nur die Szene-Postillen recht schnell, sondern auch die Major-Industrie. Sony bekommt den Zuschlag und nimmt ihn und seine A$AP Crew unter Vertrag. Das Dollar-Zeichen im Namen steht ab sofort zurecht da.