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Francis Ford Coppola’s coming-of-age drama The Outsiders (1983) adapted S.E. Hinton’s successful 1967 novel of the same name, using a young cast of rising stars (C. Thomas Howell, Tom Cruise, Matt Dillon, Rob Lowe, Emilio Estevez, Patrick Swayze, Ralph Macchio and Diane Lane) many of whom came to be known as the Brat Pack, defining a genre of 80’s films. The plot focuses on the rivalry between two gangs of teenagers in Tulsa, Oklahoma, one poor (Greasers), the other wealthier (Socs).

Coppola’s ambition was to achieve the widescreen scope ‘of a teen Gone with the Wind’, and he asked his father, Carmine Coppola, to score the soundtrack. The result is epic and romantic, a return to a golden age of Hollywood film composing which suits the stylised and epic cinematography, becoming darker as the characters fulfil their tragic destinies. Stevie Wonder co-wrote and performed the song that plays over the credits, ‘Stay Gold’, which is included on this release.

The inner sleeves feature extensive notes by Daniel Schweiger on the history of the film, the soundtrack and an insight into the Coppola father and son partnership.

El Michels Affair follows up the massive success of their full length Yeti Season with The Abominable EP. A collection of unreleased tracks, alternate takes, and instrumentals from the Yeti Season recording sessions. EMA's blending their signature cinematic soul sound with influences from Turkis Funk and the grittiest of Bollywood soundtracks yielded an instant classic The Fader calls "a carnival of dusty funk and soul". The EP starts off with the unreleased gem "Messy Grass" whose synth intro, peppered with distant yeti cries, gives way to a tremendous backing track that Tamer Pinarbasi's Qanun dances over. On "Cham Cham" EMA invites Piya Malik to the microphone again to share her styled storytelling vocals over the instrumental track from Yeti Season's "Perfect Harmony". Where some of the tunes on the EP have vocals added, some of them have them removed letting the band take center stage; "Poison Song", "Uncut Gem", "Smoked", and "Progress" are all instrumental here giving them a wholly different energy than the vocal versions. The EP is being released with two different covers, each one has two paintings from different Ghanaian mobile cinema artists commissioned through Chicago's Deadly Prey Gallery and are interpretations of the original album artwork. One version is paintings by Stoger and Heavy J, who also contributed cover paintings to the Return To The 37th Chamber album. The other version of the cover is two paintings by Teshie and Farkira.

• First time on 7-inch for the classic P-funk break beat cut as used by the Prodigy, Fat Boy Slim and others.
• It’s the same deal with the alternate version of the downbeat funk of ‘Cookie Jar’.

Described by his peers as a keystone in ambient-electro, Datassette is a bastion of the underground and one of alternative electronic music’s most exceptional and enigmatic talents.

His extensive and diverse discography spans two decades and includes a plethora of albums, EPs and remixes for independent record labels, including: Ai Records, Apollo/ R&S, Wall Of Sound, CPU and Shipwrec. His work and creative output also extends to the design of music libraries for TV and radio; producing sound effects for 8-bit video games; working as a graphic designer and co-running the Misc label.

Datassette has never been shy of creating complex, addictive and emotive music and this magical music formula is replicated on Sentinel, his new EP for Lapsus Records.

As is emblematic in his long-standing career, Datassette demonstrates a healthy non- conformist approach to conventional labels and pigeonholing. By using a combination of powerful vintage hardware and latest generation digital techniques, the British producer continually manages to redefine his sound. This new four track EP sees him fuse dub, electro, braindance, ambient, experimental electronica and even abstract hip hop.

Karma Sutra were an anarcho pacifist band from Luton, Bedfordshire who formed in the early 80’s after the demise of the legendary the Phallic Symbols. Karma Sutra only had one release at the time - an album self released in 1987 called Daydreams of a Production Line Worker which came towards the end of their lifetime. Sealed Records now release the earlier years of demos and compilation tracks on a 15 track round up. Be Cruel with Your Past and all Who Seek to Keep you There includes their first and primitive demo The New Economy Roast from 1983. It’s very basic and has a Bullshit Detector Compilation quality to it. A few years later came the second demo Shoppers Paradise which is the best material Karma Sutra recorded. Six tracks of well produced classic 80’s Anarcho punk with a driving sound. It’s passionate, tuneful and politically aware. How this wasn’t released at the time on vinyl, is a travesty. Also included is two tracks from the Mortarhate Compilations Who? What? Why? When? Where? and We Don't Want Your Fucking Law!. Finally the last three tracks were from the final line up of the band and were recorded with Spon from UK Decay adding more post punk elements to the sound. The LP comes with a 40 page booklet of Lyrics, handouts, fanzine interviews and statements. FFO: OMEGA TRIBE, CRASS, EXIT STANCE, ALTERNATIVE

‘U.S. Velvet’ is the debut release from the LAbased duo of the same name, made up of Zahara
Jaime and Collin Davis.
 Their debut single is a raw, post-punk mission
statement about the anxieties of living in the 21st
Century.
 The 12” single includes an instrumental version
(exclusive to the 12”) and a dub version by ATOsigned artist, Pachyman.
 Collin is currently an engineer and producer at
Stones Throw Studios in Los Angeles and Zahara
is a touring musician with The Simps and
Eyedress. Zahara and Collin both create solo
music as Zzzahara and Ynes Mon respectively.
 The duo will release a video to accompany their
‘U.S. Velvet’ single, which features a cameo from
Stones Throw’s founder Peanut Butter Wolf’s alter
ego, Folerio.
 Dub version of the single by Pachyman, who just
released his new album ‘The Return of…’ with ATO
Records and opened two shows for Khruangbin.
 For fans of Automatic, Anika, Beak>, Snapped
Ankles, Crack Cloud, Girl Band, Slaves, Yves
Tumor, Wu-Lu, Wire.

Aagyr Ferboden, a newborn noise project led by New Zealand songwriter Charlie Ryder. As a member of the band Yumi Zouma, Ryder’s typical work veers towards the pop-leaning side of alternative music - however Aagyr Ferboden finds the guitarist foregoing traditional structures to dive into more distortion and drone-filled soundscapes. With a debut album scheduled for release in late 2021.

“Like most things in life, our normal workflow can sometimes need a counterbalance, and over the years I’ve found that becoming part of a current helps to recalibrate from time to time. I’m thankful to the rest of the gang and our manager Phil for encouraging me to share these works, and I hope they can be helpful to others like they’ve been for

Cardinal Fuzz / Acid Test are proud to present to you the debut LP from Black Holes Are Cannibals – ‘Surfacer’.

Formed around the uber talent of Chris Jude Watson (founder of ‘Snakes Don’t Belong In Alaska’) who in BHAC found a band to take his vision to the outer most limits. BHAC are a collective with a varying line and each time they record all the music is improvised as they let their collective and innate abilities guide them, but what does bind them are the touchstones of Drone and Minimalism that runs through the music they create or just plain HEAVY. Call them Drone Metal or Psychedelic it matters not as the music created is an immersive, all consuming and thought-provoking transcendental listening experience that awaits those brave enough to take the ride with BHAC.

‘Surfacer’ was recorded at First Avenue Studios in Newcastle by the band using a TASCAM DR40 and is the embodiment of pent-up emotions gathered and endured during lockdown as they zap out every ounce of feeling and anguish into this recording.

‘Surfacer’ is not an album for the faint of heart with 2 long tracks of transcendence that will challenge and push you to lose yourself in the sonic experience of the timbre / vibrations of droning instruments and throat vocalisations as BHAC weave together mesmerizing waves of sonic texture.

‘Surfacer’ draws influence from bands like Neptunian Maximalism, Qujaku, Neurosis and the visual work of Andrei Tarkovsky, Kenneth Anger and Larisa Shepitko which influence the energy and darker sounds of the music while still taking influence from more traditional psychedelic sounds and experimental places like Taj Mahal Travellers, Suzuki Junzo, Pauline Oliveros, Vahvistusharha, and Tōru Takemitsu aurally and visual energies from occult works like Jodorowsky's 'Holy Mountain', Helena Blavatsky and Hilma Af Klint's Alterpieces 1-3.

As Terence McKenna might have said – BHAC are best experienced when listened to in complete solitude in a dark room while you are doing nothing else. To experience this album to the fullest, you must not have any distractions. Just sit down, relax, plug in, and let this album take you up into outer space.

‘Surfacer’ is pressed on Heavy Black Vinyl and presented in a 350gsm Outer Sleeve with artwork that perfectly matches the music drawn by James Watts (Inspiration coming to James from an article on beaked whales being "more surfacer than diver" before we had that jam and thats what inspired his drawing of an abstract beaked whale skull for the cover).

Straightaways is the second album by the American rock band Son Volt. It was originally released on April 22nd, 1997. The group was formed by Jay Farrar after his previous band Uncle Tupelo broke up. The sound of this album is much related to the sound of their first album Trace. However, where Trace is still very alt-country oriented, Straightaways has a more alternative rock sound.

2020, a year that will be forever engraved in our memories as Year One of the Covid debacle.

So much has already been said about it that we feel there is no need for more.

However, 2020 was also the year when we’ve released Tapan’s remix to Decha’s song Niebla from her sold-out debut album Hielo Boca as part of MT0028 Decha - Hielo Boca Remixes. This remix led to a fresh collaboration between the Serbian duo and the German vocalist, which in time bred a brand new track, titled simply TWENTY.

On Twenty, Tapan’s massive bass lines, heavy kicks and their sense for drama and epicness, meets Viktoria Wehrmeister aka Decha’s soft poetic lyrics and tribal style. The result is a massive slow yet heavy tribal industrial track for the alternative dance floors and late night situations in dark dark basements.

The record is comprised of 4 tracks, an original version and a beatless version as well as a deep and trippy dancehall interpretation by our favourite remixers Full Circle (aka Joakim & Alexis Le-Tan) and a punky mid-tempo banger by Mexican maestro and total inspiration Rebolledo who gives his signature sonic attitude to his interpretation of the original track.

What is techno if not a powerful conduit for energy? The movement of a sequence, the surge of an effects rush, the respondent reaction in every individual dancer and the moving mass of the crowd as a whole. Whether the frequencies transmit directly into the brain through the intimacy of a headphone reverie, reverberate through the architecture of a space or fill the formless void of the open air, techno’s potency to initiate and stimulate energetic events is profound. This is something Pfirter understands intimately, having spent more than 15 years exploring ways of manipulating the energy on a dancefloor.

Of course, energy is not just about volume and aggression. Tonality, spatial processing and composition can have just as profound an effect as the thump of the kick drum. On his new album Altered States, Pfirter proves that point by zeroing in on the cerebral, psychedelic elements of his craft across 10 incisive tracks. The Argentine producer consciously approached his second album (following 2019’s The Empty Space) with a minimal mindset, using a very focused set of drum machines and synths to achieve a consistency across the record. Captured over a short burst of creativity, it’s the sound of an artist pushing a limited array of tools as far as possible. Despite this concise palette, it’s not an album that repeats itself, but rather an extended trip that flows from one detailed, textured immersion to the next.

The dense, febrile waves of hard-oscillating ripples in ‘A Future In Chaos’ and the sparkling, off-key chimes adorning ‘Yearn’ all speak to Pfirter’s gift for extravagant, surrealist expression within his tracks. ‘Altered States’, by way of contrast, succeeds in its absolute immediacy – a piledriving statement of bleep-driven intent. ‘Boiler’ and ‘Convergence’ land somewhere in between, coiling around kinked rhythmic incantations which still push forwards with precision while offering a different angle from which to approach the dancefloor. Cementing the idea of the whole album as a listening experience, Altered States is bookended by ‘Venus’ and ‘Dissolution’, two minimal exercises in drone-oriented mood setting.

Pfirter understands the role of his music, and his own instincts as a performing artist. It’s crafted to be captivating for DJs as much as the attentive listener. Spanning linear rhythms and broken beats, moments of calm and writhing intensity, Altered States offers a multitude of energetic possibilities in the mix or as a standalone piece of music. Ultimately, it’s a masterful return from a leading light of the contemporary techno scene.

This is MindTrip!

Copenhagen based label Escho release “Escho 15 år: Burgers for my new life” - an extensive compilation of exclusive material for their 15th anniversary (2005-2020). The compilation gathers music by all the currently active artists of Escho - both Danish and international - 27 artists in total. Contributing artists for the compilation are (in alphabetical order): Anders P Jensen, August Rosenbaum, Astrid Sonne, Baby In Vain, BishBusch, The Bleeder Group, Bona Fide, Collider, Dane TS Hawk, Eric Copeland, Excepter, First Hate, Gullo Gullo, Homies, iB101, Iceage, Joanne Robertson, Kh Marie, Liss, Puyain Sanati, Small White Man, Smerz, Søren Kjærgaard, Thulebasen, Varnrable, Yangze and Ydegirl. About Escho and the compilation: The Escho sound was born 15 years ago in small apartments around Enghave Plads, a slightly run-down square at the west end of Vesterbro, Copenhagen, past the kebab shops and the porno shops and the drunks. A few years earlier, as teenagers, several members of the Escho crew had made extremely strange, crisp metal in a very popular band. Escho was a promoter and booking agent as much as it was a label in the early days. They put on small shows to foster and hype the local scene and they brought important performers from all over the world to Copenhagen for the first time. Black Dice, Gang Gang Dance, White Magic, Excepter, Hype Williams, Boredoms, Charles Hayward, they rippled through Copenhagen after they came. Eric Copeland stayed for months. Lorenzo Senni, now well known as a vanguard dance producer, brought his high-school hardcore band to Copenhagen. Escho found and asked these artists to play. And Escho played their humble part in giving sound back to the world. Iceage, Posh Isolation and the Mayhem scene went global. Escho is a lot about being in Denmark, what that sounds like, and projecting it for anyone to hear. Across its releases, Escho’s aesthetic has allowed for the amateurish and the obsessive, the soft and the hard. Escho is about the power of shared experimental experience. Escho has been going for such a long time that the kids who started it are now twice as old as they were when they came up with the name, the idea, the desire to start something. Much younger people, generations younger, work at the label. The world has transformed since then. Escho was born in a period of time where alternative and underground music existed on a private, separate plane to mass culture, and it now finds itself in a time where mass culture and the underground are porous. Tribalism and niche knowledge has been blended by the internet, erasing the border between mainstream and underground modes. Alternative thinking takes many forms now, and new artists continue to expand and interpret the sound of Escho, carrying with them the same curiosity that lit the first Escho sparks 15 years ago. As a whole, this compilation — it is important to note — is jagged in form and tone. It is not even close to a conventional scene compilation, where the sound of a clan flows together. This record doesn’t flow like that. And this, fittingly, makes this anniversary album a ‘classic’ Escho release, because conventions about form and presentation are thrown out the window and new conventions proposed. It is a reminder that Escho quietly remains an ongoing art project as much as anything else. More than its form and tone, however, this compilation is jagged because it is a document of today. It is not final, or conclusive in any way, because the contours of contemporary music are boundless. It’s jagged because Escho has been to a million shows, and put on a million shows, and still loves going to shows. It is a picture of pluralism, discovery and openness. It makes a case for having ears, and making art, and propagating this so that successive generations of young people do it too. This is exactly as it was in the beginning






















[v] 22 First Hate – Vampire Boy ¯\_(ツ)_/¯ [2020 Demo]

To start the year 2014, Stroboscopic Artefacts bring you SA021 - a remixes selection of tracks from Lucy's forthcoming LP Churches Schools and Guns. In presenting four of the album cuts in altered impressions, SA021 helps the label keep on re-examining the timbres, tones and textures of techno.

First up is the unsettled edit of 'Catch Twenty Two' by the young Italian producer Shapednoise. The infamous Heller novel of the same name (though in numerals rather than letters) was a satirical rampage through the futility and tragedy of conflict; this is also a rampage, littered with opaque utterances of sonic thrust, stood stoutly on an unpredictable and emotional structure of aural dissonance. Following this is the Italian maestro Donato Dozzy and his presentation of 'The Illusion of Choice'. The track bounds along like a train through the jungle, powered by a distant rumble and purring synths. Skittering and melodic percussion sounds a little like birds; the drums are made of rawhide, strong, insistent, controlled. Third in line is the remix of 'Laws and Habits' by Milton Bradley. This cut is hypnosis with little regard - not an accident, but effortless. Metallic distortion buzzes like bees across your head, zipping across the top of delicate hi-hats and an elastic groove. This is a walk through the 4am night, appreciative of the glimmering streetlamps, and fearful of nothing. Last is Eomac's rework of 'The Self As Another', bringing the record to a resonant conclusion. One half of label favourite Lakker, the Irish producer begins with a melody line cut from razor-sharp cloth. The pulsating beat is dressed in metallic shimmer, confidently pursuing a dangerous course. And yet there is a pause amid this brief insistence, a moment of perspective, perspicacity. The record considers its place, and asks for contemplation.

With a selection this strong, and of such ideas and identities, this contemplation is surely a worthy vice. This may be a prelude to the full record, but it is a cut made of vehement conviction.

Pink Vkinyl

Dylan Dylan joins the Shall Not Fade with her debut album Euphoria.

After years spent living on opposite sides of the Atlantic world events threw Laura Mary Carter and Steven Ansell of Blood Red Shoes back together into what has become the must fruitful era of their 17 years together.

“It’s been a loooong time since we both lived in the same city”, explains Steven. “I mean we actually wrote this album in LA at Laura’s place, then came to the UK to record it…and then everything went nuts”.

Realising very quickly that they wouldn’t be able to release the album or tour until the world returned to some kind of normality, the band found their energies quickly spilled over into other projects. Laura-Mary started a podcast, Never Meet Your Idols, with her best friend in LA, interviewing everyone from Zack Snyder to Mark Lanegan to CHVRCHES. It is now about to start its third season. Steven started applying his love of electronic music by writing and producing other alternative artists like Circe, ARXX, Aiko and XCerts, racking up millions of streams in the process.

Having worked together on Laura–Mary’s forthcoming solo mini album Town Called Nothing and restless from the lack of touring, the duo started jamming out in rehearsal rooms, which led to the light-speed writing, recording and release of the impossibly-titled Ø EP in the summer of 2021. Which concludes what the band call an “off year”.

And that brings us back to GHOST ON TAPE. It appears that like David Lynch’s The Lost Highway, nothing is linear in the world of Blood Red Shoes. Written and recorded before their most recent EP, GHOSTS ON TAPE is a huge jump into new terrain for the band. Musically and emotionally their most mature work, it is a complex, imaginative, and very gothic development on their sound. Musically, it leaves almost no trace of their former selves.

Parlophone Records/ISO Records are proud to announce TOY:BOX. The previously unreleased TOY album will be released on 7th January 2022, the day before David Bowie’s birthday. Available in six 10” vinyl versions, TOY:BOX is a special edition of the TOY album. The ‘capture the moment’ approach of the recording sessions are extended to the sleeve artwork designed by Bowie featuring a photo of him as a baby with a contemporary face. The package also contains a 16-page full-colour book featuring previously unseen photographs by Frank Ockenfels 3.

TOY was recorded following David's triumphant Glastonbury 2000 performance. Bowie entered the studio with his band, Mark Plati, Sterling Campbell, Gail Ann Dorsey, Earl Slick, Mike Garson, Holly Palmer and Emm Gryner, to record new interpretations of songs he’d first recorded from 1964-1971. David planned to record the album ‘old school’ with the band playing live, choose the best takes and then release it as soon as humanly possible in a remarkably prescient manner. Unfortunately, in 2001 the concept of the ‘surprise drop’ album release and the technology to support it were still quite a few years off, making it impossible to release TOY, as the album was now named, out to fans as instantly as David wanted. In the interim, David did what he did best; he moved on to something new, which began with a handful of new songs from the same sessions and ultimately became the album HEATHEN, released in 2002 and now acknowledged as one of his finest moments.

On March 13, 2020, Yumi Zouma's highly anticipated album, Truth or Consequences, was released. One day prior, the band played their first show of a fully sold-out US tour, at Washington, DC's DC9. This was also the day the Word Health Organization declared COVID-19 an official pandemic, resulting in the band cancelling the entire tour and flying back to Europe the next day - the day of their album's release.

"So after returning home and spending a few numb weeks adjusting to this strange new way of life, April came, the reality set in, and we quickly started to miss that feeling of exploring our new songs by night," the band says. "Writing new music around them, we took the songs of Truth or Consequences and found ourselves a new way of re-contextualising them safely, amidst the tragedy and fear going on in the world outside our windows – and the Alternate Versions were born. We encouraged each other to be bold, fearless, and to experiment like we would on stage – but from the comfort of our own bedrooms, living rooms and hallways.

Canadian Deathcore pioneers DESPISED ICON celebrate their 20th anniversary in 2022, so it’s about time to re-discover the beginnings of the band! The group’s debut album “Consumed By Your Poison” (2002) and their sophomore album “The Healing Process” (2005) are now available again via Century Media Records, both on limited coloured 180g vinyl with new vinyl mastering as well as a bonus CD and also as Jewelcase CD with selected additional bonus tracks from the band’s 2008 DVD-show. “Consumed By Your Poison” is actually available for the first time ever on vinyl and “The Healing Process” comes with alternate, previously unreleased mix/mastering Yannick St-Amand. Deathcore at its very best!

For fans of Tall Heights, Sufjan Stevens, & Indie Folk! Steadily building their artistic style and audience for the past seven years, New Jersey based alternative folk band Cold Weather Company carries a diverse sound, rich with harmonies and instrumental builds. The band combines the various writing approaches and influences of its three members, Brian Curry, Jeff Petescia, and Steve Shimchick, to create unique arrangements with intricate layering. Over the past few years, the band has earned over eight million cross-platform digital streams and supported acts such as Tall Heights, Jamestown Revival, and Juke Ross. On their fourth full-length album, Coalescence, Cold Weather Company continues to expand their acoustic-forward, alternative folk sound into new territory. With delicate additions of synths and electronic instruments, as well as a broadened palette of horns, percussion, strings, and harmonies, "Coalescence" explores each song down to its smallest sonic niche. Conceptually, the album revolves around growth by highlighting our capacity to better ourselves and our connections through introspection and reflection. Often occurring cyclically, especially in nature, the idea of growth also inspired the release process for the album which will be split into three parts, each representing a different conceptual facet. "With their spot on songwriting and boisterous melodies, Cold Weather Company is set to follow in the alt-folk leaning sounds of Avett Brothers, Ben Howard George Ezra

VIDO's way of independence with her first vinyl release on her own label. Coming from Frankfurt(Main), over many milestones to Berlin. "With limited given medium, creating something".

Enjoy the journey of a trippy, meditative, still a bit obscure danceable record of the VIDO Alias and her Alter Ego "M-Drive" that shows the last track with a voice insert.