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Red Splatter Viny

Redscale is back! Fantastic news that was hard to keep secret the last few months. After a solid 3 years of working exclusively on building the Greyscale label, owner grad_u felt its the right time to also focus
on his own music. And we all can't be more happy to hear what he's been up to!
Redscale #10 has all the hallmarks of the classic output but the energy is dialed up to 11. 'Siren' is a pure dancefloor packer! It has that ideal combination of underground techno club power and catchy
supporting chords. Think Aril Brikha's 'Groove La Chord' and you get the idea of a true heater.
'Dancefloor is Dangerous' is on the B-side and it was specifically made for a gig where grad_u showcased his live chops warming up the crown for Jeff Mills. That big club dub techno sound made to perform live in China, Iran, France and others.
This vinyl will come with full printed cover and special center label artwork. Pressed with black and orange splatter effect on transparent red vinyl with one side that even plays inside out! Expect to move
the masses with these 2 showstoppers!
We can't say it enough. Redscale is back!

2026 Repress

Four standout remixes to celebrate the 20th anniversary of iconic Australian duo Madison Avenue’s classic, ‘Don’t Call Me Baby’ from Patrick Topping, Spencer Parker, Mousse T and Super Disco Club. Be prepared as one of the world’s most prominent vocal tracks just got bigger.

Australia’s Madison Avenue continue to celebrate their 20th anniversary of ‘Don’t Call Me Baby’ a certified UK, European and US Billboard hit that returned late 2019 to cement no.1 positions across Aria Charts, Beatport and Traxsource. Now Patrick Topping, Spencer Parker, Mousse T and Super Disco Club take it to a higher level that’ll see it dominating clubs for many years to come!

A tale of two halves the A side see’s man of the moment Patrick Topping and veteran of the scene Spencer Parker provide two tech-y interpretations, the former an acid tweaked destructive whirlwind and the later a looped-up dub stomper. On the flip it’s nu disco at its best with a pair of remixes from Mousse T and Super Disco Club.

On Patrick Topping / Spencer Parker remixes:

Ben UFO - Very Nice Acid Mix
Danny Howard (BBC Radio 1) - Absolutely ripped it to shreds and turned into an absolute club weapon for 2020 (Patrick Topping’s Remix)
Annie Nightingale BBC R1 - Great reworks!
Black Madonna - Nice! | Change Underground - Premiere
Hannah Wants - Both bangaaaaaaaas. nice packageeeeeee

Australian label Nightime Drama, run by Peter Fincher (aka Vibrio) and Shaun Franklin (aka Trebek) now serves up its second standout release of 2016. This four track affair comes hot on the heels of the last by Yoshihiro Arikawa, and is a second release on the label by Aussie live act, DJ and producer Trinity, with Steven Tang and Italian based Andee on the remix. Trinity has also released on OOC, Coincidence and Android Muziq and regularly performs all round Europe. His sound deep and cosmic, heady and hypnotic, as the fresh tracks here prove. Cascade Drive is seven minutes of direct and elastic house with spacey pads and driving drums carrying you through the cosmos. From the Earthmothern label and one half of RK's, Andee strips it back to a slick rubber kick drum then layers in a forceful acid line and icy hi hats to really get you under its spell. The longform groove is physical and cerebral in equal measure. The next original is Expansion, and again finds Trinity serving up a hi tech and soul infused deep techno sound that is lithe and liquid, smeared with great pads and truly timeless. Emphasis boss Steven Tang is the perfect man to remix given his style, and his version flips the cut into a more heavyweight and banging techno effort, but one that is just as littered with sci fi sounds, spaceship trails and intergalactic energies.

Madelyn Byrd returns to Glasgow’s Somewhere Press with a hazed set of weightless soundscapes. »Night Rider« opens in widescreen with the chirp of cicadas dancing across a desert landscape, before Shiroishi’s saxophone eventually cuts through the dark like neon. The story Byrd tells is close to their heart: they spent their teenage years in the Sonoran Desert, the vast subtropical expanse spanning parts of Arizona, California, and Mexico. Its seemingly alien landscape — pocked with giant, tree-like cacti and looming rocky outcrops — is lodged in the cultural memory, a quality Byrd draws on as they slowly reveal their poetic narrative.

The album plays like a road movie of sorts, moving through Byrd’s memories and setting them to very different rhythms. Clattering drums emerge on »Of Nature, Of Bodies, Of Dreams«, while Byrd’s soft tones, processed to sound almost otherworldly, glide gently across the metallic clangs. Each track highlights a form of movement: there is the microscopic, insectoid crunch of »Imprint«, where guitar prangs meet Shiroishi’s spirited runs, while »Into Sonoran Pool« creates motion from the atmosphere itself, recreating the thick desert air with shimmering electrical currents and psychedelic processes.

At this point, the album begins to echo Robert Ashley’s late-period theatrical work: compositions that broke with familiar formats, juxtaposing dialogue with knowingly experimental orchestral flourishes. Byrd strikes a similar note through a fusion of poetry, sound design, choral music, and chiming, listless ambient elements that also recall Harold Budd. Budd grew up in the Mojave Desert, which borders the Sonoran, creating an eerie parallel with the moods he conjured throughout his long career.

Byrd finds a similarly aesthetic link to the West Coast landscape, referencing the history of experimental music while establishing their own voice. As the album rides into the sunset with a roar of engines, they offer a distinct vision of pop: »What Is, What Was« integrates a chugging break and ketamised vocal hook, while the finale, »In Perfume, Remember«, lands as a James K-like heartmelter.

Released in 1983, "En la guía, en el listín" remains a permanent anomaly in the history of Spanish pop music, with few clear predecessors and even fewer descendants. It is an imperfect yet fascinating catalog of the many faces Derribos Arias could reveal. Its sound combines odd electric rock, leftfield proto-hip-hop, and dark, immersive songs that simply defy categorization. An essential album. Includes liner notes and the artwork of the original insert. By late 1981, the San Sebastián-based group La Banda sin Futuro had already transformed into Derribos Arias. Their first two singles dazzled critics eager for new ideas capable of placing Spanish pop alongside the contemporary music increasingly arriving from abroad in real time. 'Branquias bajo el agua', the standout track from the band's debut single, topped the list of Best Songs of 1982 as voted by listeners of Diario Pop on Radio 3 (Spanish National Radio). With an expanded four-piece lineup and a larger budget than they had enjoyed for their earlier singles, the band entered the prestigious Kirios Studios to record their album, with Paco Trinidad serving as producer. The electric intensity of 'Intima decoración' and 'Crematorio' -angular, off-kilter reinterpretations of a strain of rock descended from The Velvet Underground and The Stooges, a style with virtually no precedent in Spain-are excellent examples of the band's sound. To aberrate was the key term Poch used to describe his ineffable working method: a fearless creative freedom without which songs such as 'Lo que hay' could never have existed. The track stands as a leftfield proto-hip-hop number, later reworked as 'Disco pocho,' demonstrating both his admirable lack of prejudice and his complete disregard for any commercial ambitions the album might have had.Unfortunately, this album would never have a follow-up.

Doomcrusher fuse stomping industrial riffs, uncompromising gutturals and uplifting hooks - modern core with electronic depth and metal roots.

In the crucible of the apocalypticatmosphere that envelops our world, Doomerusher was forged. Born out of the deepest desire to be the harbinger of change, the band emerged with a resolute mission: to defy the impending doom that looms on the horizon. Founded by Andy Posdziech (Any Given Day), Jean Bormann (Rage), Marv Kinkel & Rob Lee, Doomcrusher's sound is a powerful fusion of stomping and heavy mid-tempo industrial riffs, seamlessly intertwined with uncompromising gutturals that resolve into unfolding and uplifting hooks. The band's sound is further enriched by sophisticated electronic elements, adding depth and complexity to their musical tapestry. The ambition is clear - to redefine modern core music while staying true to the roots of the metal genre. Their music is not merely an auditory experience; it's a journey through the realms of sound, a deliberate exploration of the boundaries of heavy music. Doomcrusher stands as a defiant force against the inevitable, a rebellion that crushes the darkness of doom with an unwavering belief in the transformative power of music. DOOMCRUSHER BIO SHORT: Forged in the apocalyptic atmosphere, Doomcrusher blends stomping industrial riffs with guttural vocals and uplifting hooks. Their music, a deliberate exploration of heavy soundscapes enriched by electronic elements, redefines modern core while honoring metal roots- a defiant force against impending doom

Natalie Imbruglia ist Millionen von Menschen mit ihrem weltweiten Hit "Torn" bekannt, einer der bis heute prägendsten Songs der Neunziger. Damit begann eine außergewöhnliche Erfolgsserie, die u.a. 2 BRIT Awards, 3 Grammy-Nominierungen, 8 ARIA Awards und 7 Mio. verkaufte Exemplare ihres Debütalbums "Left Of The Middle" umfasst. In jüngerer Zeit stand sie durch Auftritte an der Seite von Olivia Rodrigo erneut im Rampenlicht. Jetzt ist der perfekte Moment für ein neues Kapitel: ihr neues Album Algorithm mit der Lead-Single "Upside Down".

Algorithm zeigt Natalie Imbruglia in einer neuen Ära – geprägt von Selbstermächtigung, Freiheit und kreativer Erfüllung. Das erste Album der australisch-britischen Pop-Ikone seit fünf Jahren ist eine echte Tour de Force: ein zutiefst persönliches Werk, das eindrucksvoll daran erinnert, warum wir uns ursprünglich in ihre Musik verliebt haben. Es erscheint in einer Zeit, in der sich der kulturelle Zeitgeist wandelt und Popmusik wieder stärker zur Tanzfläche tendiert – mit einer Ausrichtung, die sich an den eleganten Pop-, Disco- und House-Elementen von Robyn orientiert.

Nach dem UK-Top-10-Comeback mit Firebird (2021) meldet sich Natalie Imbruglia auf Algorithm voller Energie und Tatendrang zurück. Sie ist Co-Produzentin und -Autorin jedes Songs, neben namhaften Kollaborateur:innen wie MyRiot (London Grammar), David Sneddon (Lana Del Rey), Fraser T Smith (Adele, Stormzy, Sam Smith), Gary Lightbody von Snow Patrol, Anu Pillai (Lewis Capaldi), Tobie Tripp (George Ezra), Mark Crew (Bastille, James Arthur) und Dan Priddy (Rag’n’Bone Man, Bastille). Im Anschluss an die Veröffentlichung des Albums wird Natalie Imbruglia ausgewählte Festivaltermine spielen und auf Tour gehen.

Natalie Imbruglia ist Millionen von Menschen mit ihrem weltweiten Hit "Torn" bekannt, einer der bis heute prägendsten Songs der Neunziger. Damit begann eine außergewöhnliche Erfolgsserie, die u.a. 2 BRIT Awards, 3 Grammy-Nominierungen, 8 ARIA Awards und 7 Mio. verkaufte Exemplare ihres Debütalbums "Left Of The Middle" umfasst. In jüngerer Zeit stand sie durch Auftritte an der Seite von Olivia Rodrigo erneut im Rampenlicht. Jetzt ist der perfekte Moment für ein neues Kapitel: ihr neues Album Algorithm mit der Lead-Single "Upside Down".

Algorithm zeigt Natalie Imbruglia in einer neuen Ära – geprägt von Selbstermächtigung, Freiheit und kreativer Erfüllung. Das erste Album der australisch-britischen Pop-Ikone seit fünf Jahren ist eine echte Tour de Force: ein zutiefst persönliches Werk, das eindrucksvoll daran erinnert, warum wir uns ursprünglich in ihre Musik verliebt haben. Es erscheint in einer Zeit, in der sich der kulturelle Zeitgeist wandelt und Popmusik wieder stärker zur Tanzfläche tendiert – mit einer Ausrichtung, die sich an den eleganten Pop-, Disco- und House-Elementen von Robyn orientiert.

Nach dem UK-Top-10-Comeback mit Firebird (2021) meldet sich Natalie Imbruglia auf Algorithm voller Energie und Tatendrang zurück. Sie ist Co-Produzentin und -Autorin jedes Songs, neben namhaften Kollaborateur:innen wie MyRiot (London Grammar), David Sneddon (Lana Del Rey), Fraser T Smith (Adele, Stormzy, Sam Smith), Gary Lightbody von Snow Patrol, Anu Pillai (Lewis Capaldi), Tobie Tripp (George Ezra), Mark Crew (Bastille, James Arthur) und Dan Priddy (Rag’n’Bone Man, Bastille). Im Anschluss an die Veröffentlichung des Albums wird Natalie Imbruglia ausgewählte Festivaltermine spielen und auf Tour gehen.

Eighteen months on from the runaway success of The Only Place I Know — the debut that crashed in at #1 on the ARIA charts and #2 on the ARIA Vinyl Chart — Lake Macquarie's Surf Trash are back, and they're not watering it down. Their sophomore album No Chaser lands neat, on the rocks, no apologies: ten tracks of melodic surf-pop-punk hammered out by a band that has clearly spent the last year sharpening every edge.

It's a record you can hear the kilometres in. Between The Only Place I Know and now, Andrew Scott, Lachlan Jackson, Patrick Russell and Nick Scott have torn through a sold-out national run, criss-crossed the UK and Europe, and made a habit of leaving rooms louder than they found them. No Chaser carries the dust from all of it — bigger choruses, leaner production, a touch more bruise underneath the gloss. There's still that windows-down, salt-on-the-windscreen feel that made the debut impossible to ignore, but it's wired into songs that swing harder and cut deeper. Less wistful afternoon, more last-light drive home with the volume creeping up.

The four-piece make melodic surf-pop-punk that sounds great turned up loud — driving in your mate's car on the way back to the beach. Their debut, The Fire Note wrote, "delivers a dynamic debut… blending raw energy, introspective depth, and timeless indie rock flair." Manchester World called their first show on UK soil "epic… high energy and great song after great song," and the live reputation has only grown since: a band that's earned every inch of the ceiling it now hits.

No Chaser is the sound of them no longer waiting for permission. Singalong harmonies, fast tempo changes, good old-fashioned rock 'n' roll with a sense of urgency.

What is Buck? Buck is a state of mind, a way of life, a demeanor that gets you through the good times and the bad. If you ask Brainstory, It is also the energy that permeates their debut album. Kevin, Tony, and Eric are a trio of brothers bounded by blood, fate, and a small town with nothing to do. Their story begins in the long lost lands of the San Bernardino Valley, in the twilight zone known as Rialto, California: An arid wasteland of boredom and empty lots. Through punk rock and skateboarding they found temporary liberation from the local monotony. However, it wouldn't be long before a hunger for more led them to explore musical realms beyond that of the hardcore punk they admired. After stints at music school and steady disappointment trying to navigate their local jazz scene they moved to Los Angeles and Brainstory was born. Through a introduction from Chicano Batman's bassist, Brainstory caught the ears of Big Crown head honchos Danny Akalepse and Leon Michels. Shortly thereafter they were on their way to Queens, to record at The Legendary Diamond Mine with Michels at the helm. An instant chemistry yielded 10 songs in 10 days and now Brainstory has gifted the world with one hell of an introduction to all things Buck. Highlights include the sublime slow burner, "Dead End" which was the A-side to their first 45 on Big Crown that sold out in a matter of days. With Kevin's sublime falsetto floating atop Tony and Eric's unflappable and unmistakable backbeat, this tune has become a favorite with the ballad heads, the low-riders, and the slowie collectors. "Breathe" showcases another side of their sound taking a page out of the Shuggie Otis playbook and flipping the script with some stoned out west coast swag. Kev and Tony's father, Big Tone, an accomplished performer himself, steps in on "Peter Pan" to sing lead vocals over a chorus of friends and family. Bassist extraordinaire, Tony, takes over lead vocal duties on "Sorry", a smoked out, G Funk groove that is just waiting to be sampled. These guys have come a long way from their self released EPs and opening tours with Chicano Batman. Their musical growth is undeniable, and taking their California sunshine vibes and mixing them with Michels' NYC aesthetic has proven to be an amazing combination. It's a debut record that pulls influences from so many genres seamlessly it's hard to nail down. Call it Funk, call it Rock, call it Soul, but over here at Big Crown HQ, we've decided to call it BUCK.

Stray Cats is the first album from Rockabilly band Stray Cats, first released in the UK by Arista in 1981. It was successful in Britain, peaking at No. 6 on the UK Albums Chart, and produced the UK Top 40 hits 'Runaway Boys' (No. 9), 'Stray Cat Strut' (No. 11) and 'Rock This Town' (No. 9). The Rock and Roll Hall of Fame later listed 'Rock This Town' as one of the songs that shaped rock and roll.

Stray Cats debut album came hot on the heels of the two hit singles 'Runaway Boys' and 'Rock This Town,' both energy filled rockabilly songs that hearkened back to the
1950s era of pure rock & roll with an updated, clean '80s sound highlighted by the prominent double bass playing of Lee Rocker and drumming of Slim Jim Phantom.

This album was by far their most successful, hitting number six in the charts and their only entry into the Top 40.

¡Hola amigos! ¡Dieciséis guarniciones de chile picante, peyote loco y tequila helado! ¡Hermoso!
If there's one thing I'm good at it's finding records. It doesn't matter where in the world I am, I find records, the best records, the rarest records. And always in Mint condition. I have a knack for it. One place I like to hunt for records is South of the Border, in Mexico. You can find great records there, way out in those pequeños pueblos del desierto. Another great thing you can find is cactus.
Mexico is famous for cactus. You got your Ariocarpus, your Turbinicarpus, your Mammillaria. You got cactus of all kinds, big and small. Little ones like Eplithelantha, psychedelic ones like the peyote Lophophora, and rare ones like Aztekium. But my favourite is Mammillaria humboldtii. Now this one is very hard to find. The villagers over in Hidalgo know where it is, and they go high up in the mountains to look for it.

Now these guys, they take their time. But when they come down from those mountains, they bring back the most beautiful specimens. I really mean it, they're beautiful. They're like clumps of fluffy white golf balls, and they have these cute little pink flowers. Beautiful I tell ya. I pay precio alto for a good specimen of Mammillaria humboldtii.

Title track Tokyo Midnight opens with a groovy guitar riff and continues into an upbeat rhythmic workout, complete with a funky bassline and ululating keyboards. Yurika’s enchanting voice ties things together in a soft yet hypnotic musical whirlwind.

On the B-side, Nasnusa, a beautiful guitar solo flows into a captivating rhythm inspired by traditional Mizrahi music. Yurika’s delicate vocals evoke a love story: a couple watches the sunset as the gates to a new world begin to open. As Nasnusa fades into the light, her lover recalls her beauty and reflects fondly on the wonderful time they shared together.

Founded by Amir Sadot and Ilan Smilan, Sababa 5 have been playing together for two years and recently built their own recording studio. “We just wanted a place to record our music where the whole band could fit together in the same room… so we built the place ourselves! Mind you, there’s not a lot of space… in fact, we’re a bit crammed in there, but that’s how we like it.” Sababa 5’s musical style has been shaped by all its members and continues to evolve while always remaining deeply groove-centric. Their sound is rooted in surf rock and retro funk, drawing strong inspiration from Arabic folk and funk music of the ’60s and ’70s, as well as artists from that era such as the legendary Aris San.

Yurika is a Japanese performer born and raised in Tokyo. During her teenage years, she discovered belly dancing and quickly fell in love with the art form. She later travelled throughout the Middle East to deepen her studies, learning from choreographers such as Orly Portal and performing alongside renowned artists including Raquy Danziger, Boom Pam, and Ouzo Bazooka.

DYING VICTIMS PRODUCTIONS is proud to present the highly anticipated debut album of Poland’s TORPOR, Ɖungeon Ɖescent, on CD and vinyl LP formats. TORPOR were formed in Warsaw by three school friends and music fans under the huge influence of Bathory. While recording their first release, Burning Realms / Behold the Spell of Black Fortress, in dusk of 2017, the band were laying their music foundations inspired by the epic side of black and the haunted / melancholic side of early ‘80s heavy metal. Since their last release – 2021’s The Ancient Tales EP, which was actually recorded in 2019 – TORPOR parted ways with their drummer, who alongside Mike Magister I.V. and Franciszek Archont, was a founding member of the trio. Upon the arrival of a new drummer and long-time friend, Bloodhammer, they recorded their debut album. It marks the result of their work and path undertaken. "We knew it was our direction to follow and polish, so now, after some time, we can happily present our debut album, Ɖungeon Ɖescent,” the band state. “It is our first real record that pictures our vision exactly how we liked to. After years of wandering around basement rehearsal rooms and two self-released demos, we are finally coming out of our lairs with this LP under the banners of DYING VICTIMS." Their past connections with fellow labelmates ARMAGH and FUKKIN’ VENGEANCE somewhat explains TORPOR’s link to the idiosyncratic side of ancient heavy metal, which has taken far more prominence on Ɖungeon Ɖescent over the first-wave black metal side – but that’s only part of the picture. Some might call it “cleaning up,” others might liken it to a harnessing of feral energies, but TORPOR’s emphatic-yet-stoic strut conveys equal amounts of energy and mystery, finesse and fine-tuning. Of course, the power-trio can kick into high gear when they want to, be it heroic gallop or even hypnotic blast, but their sense of movement from one moody segment to the next imparts a narrative flow that’s part and parcel of their lyrical imagery. Or, perhaps it’s true swords & sorcery metal without belaboring the point – no “COOL IMAGERY DUDE” without the music & atmosphere to back it up, more specifically – that harkens to a glorious, sadly bygone era. However you approach this Ɖungeon Ɖescent, TORPOR have surely delivered a cult classic in the making. Passion, authenticity, the reverberating ring of truth…ancient powers arise from time immemorial

One of the biggest “re-discoveries” of obscure eighties US Metal/Hard Rock are Ashbury from Tuscon in Arizona. The band, led by brothers Randy and Rob Davis, did originally record two very hard to find albums: »Endless Skies« in 1983 and the (belated) follow-up »Something Funny Going On« (issued in 2010). However, the roots of the band go way back to the late 1970s, when multi-instrumentalist Randy Davis formed his very first band (called Ashbury South) in Southern Oklahoma in late 1977. The original vinyl edition of »Endless Skies« came out in 1983 (with a circulation of 1,000 copies). ”It was a complete indie project all the way,” states Rob Davis. “We worked mostly on a budget of $ 5,000 for the entire project. Our distribution was through Tower Records in the western United States.” Ashbury's sound has sometimes been compared to Jethro Tull and the Davis brothers are indeed not too unhappy about this comparison: ”We both have a big smile on our face with that question,” they explain. “Yes, we are proud to be compared with Jethro Tull.” Ashbury's first album does feature an iconic artwork. Who was responsible for it and what does the cover signify? ”The cover signifies Creation, and the choices we all make,” elaborate Rob and Randy. “The cover obviously coincides with the opening song 'The Warning', about the Prophet who warns against bad choices, evil and greed. The final touch was a 'fantasy' setting, a look just off from any real world appearance.” Randy and Rob Davis are playing as brothers in Ashbury, they have always been the core of the band: ”We would not continue performing as Ashbury without both being involved. We write independently, and also together, therefore the very creation of the music would be different if one of us left the band. We also both sing lead vocals, so the sound of the band would be altered. I might refer to a recent tour concerning Styx - touring without Dennis DeYoung - therefore it's NOT Styx.”

Auf ,Reflections Vol. 3: Water Poems" bringen Félicia Atkinson und Christina Vantzou ihre Freundschaft und ihre atmosphärische Kunstfertigkeit in einem feierlichen Fokus zusammen. Gesprochene Worte und orchestrale Fantasie fließen wie Nebenflüsse in einen einheitlichen Strom und ergeben eine Sammlung traumhafter Lieder und Klanglandschaften, die im Meer, im Himmel und in den Steinen verankert sind. Mit elektroakustischen Instrumenten, Gesang und Umgebungsgeräuschen lädt Water Poems die Zuhörer in einen unbewussten Raum ein, irgendwo zwischen alltäglicher Intimität und dem Geheimnis des Ozeans, aus dem alles Leben entsteht. Atkinson und Vantzou haben sich 2009 kennengelernt und seitdem immer mal wieder zusammengearbeitet, aber ein Konzert 2019 in der Philharmonie in Paris hat dieses Projekt richtig in Gang gebracht. Da beide jetzt an der Küste leben (Félicia am Ärmelkanal, Christina am Mittelmeer), wurde das Meer natürlich zu ihrer Muse. ,Das Meer wurde nicht als monolithische Postkarte betrachtet", erklärt Atkinson, ,sondern eher als eine Person an sich; eine Energie, ein Geheimnis, ein komplexer Charakter, dem wir als Menschen, die am Meer leben, jeden Tag begegnen." Im Dialog mit dem Land und der Küste nahmen ihre Sprache und ihre Klänge einen sakramentalen Charakter an. ,Ein feierliches Gefühl, ein Gefühl des Dienens, zieht sich tief durch dieses Album", bemerkt Vantzou, ,ich habe das schon einmal gespürt, aber hier, in der Zusammenarbeit mit Félicia, ist es stärker." Stimme, Atem und wässrige Texturen prägen den Ton des maritimen Mysteriums von Water Poems. Neu in Vantzous Praxis und seit langem ein prägendes Merkmal von Atkinsons Werk, gewinnen ihre gesprochenen Worte hier an relationaler Intimität, indem sie sich gegenseitig und die Uferpromenade ansprechen. Die Texte wurden über zwei Jahre hinweg gemeinsam zusammengestellt. Mit radikaler Unschuld lenken sie das Bewusstsein auf die verborgene Auftriebskraft und die unbewussten Strömungen, die durch das Leben fließen: ,Wie kann ein Boot schwimmen? Wie kann ein Flugzeug fliegen? Wie kann ein Körper schwimmen? Wie kann ein Mensch träumen?" Was mit nah aufgenommenen Stimmen und Feldaufnahmen begann, wurde um Synthesizer, Gongs und Metallophone, Klavier, Vibraphon, Rhodes, Gitarren und Mellotron erweitert. Das Gezeitenklavier des Eröffnungstracks ,Film Still / The Sea" zieht uns in die unbewussten Gewässer des Albums. Enthalten sind Feldaufnahmen, die Vantzou in Delphi in der Nähe des legendären Orakels von Pythia aufgenommen hat - ihr griechisches Erbe verleiht diesem Ort der Vorfahren eine zusätzliche Dimension. Dieser Track und ,Water Poems" als Ganzes sind Ausdruck unseres geologischen Erbes und rufen zum Schutz der Küsten und zu einer Vertiefung unserer Beziehung zu unseren Küsten auf. Ein Teil der Einnahmen aus dem Album geht an Arion, ein gemeinnütziges Naturschutzprogramm für das griechische Mittelmeer. Der langjährige Freund und Mitstreiter John Also Bennett hat bei ,Scorpio Purple Skies", dem kosmischen Finale des Albums, mit E-Gitarre, Lap-Steel-Gitarre und Gesang mitgewirkt. Diese üppige Instrumentierung passt super zu den Science-Fiction-Visionen und der feierlichen Atmosphäre des Albums. Water Poems wurde in The Old Carpet Factory, einem Herrenhaus aus dem 18. Jahrhundert auf der griechischen Insel Hydra, in der Villa Medici aus dem 16. Jahrhundert in Rom und in Les Dunes, Atkinsons Heimstudio in der Normandie, aufgenommen. Mehr als das historische Prestige dieser Orte war es die spürbare Geschichte ihrer Landschaft, die die Musik geprägt hat. Atkinson sagt, dass sie sich zu ,Orten mit seltsamer Anziehungskraft" hingezogen fühlten. In der Villa Medici ,haben Steine und Mineralien das gesprochene Wort beeinflusst", bemerkt sie. ,Wir beide legen Wert auf Gefühl, Atmosphäre und Klang", fügt Vantzou hinzu, ,was er hervorruft und was er bewirkt. In unserem Fall konzentrieren wir uns auf die grundlegenden Elemente: Wasser, Luft, Fels, Kosmos - allesamt lebenswichtig.» Von der Insel Kreta aus arbeitete Vantzou den finalen Mix fertig und tauschte dabei Dateien mit Atkinson aus. Immer noch mit der Küste verbunden, verlief der Mixing-Prozess geduldig und wurde von wichtigen Pausen geprägt. Water Poems spiegelt wider, was die Meeresbiologin Rachel Carson uns in Erinnerung ruft: ,Am Rande des Meeres zu stehen bedeutet, Wissen über Dinge zu haben, die so nahezu ewig sind, wie es das irdische Leben nur sein kann." Es zelebriert rituell dieses ozeanische Gefühl als wichtige Quelle der Gelassenheit und Intelligenz. In einer Welt, die von hitzigen Meinungen und ökologischer Vernachlässigung geprägt ist, lenkt Water Poems unsere Aufmerksamkeit auf ,die Quellen der Quellen". Damit schafft es Raum, um uns wieder mit unseren elementaren, animalischen Instinkten zu verbinden und uns auf tiefere Strömungen einzustimmen. Water Poems von Félicia Atkinson und Christina Vantzou ist der dritte Band von Reflections, einer Reihe zeitgenössischer Kollaborationen von RVNG Intl..

Not just a musical project, but an outlet for him to push the envelope of extreme music, challenging the listener to leave behind preconceptions of genre limitations and to approach the music with an open mind. In his exploration of the musical outer limits, he is joined by fellow seasoned pros Steve Tucker (Morbid Angel) on vocals, Flo Mounier (Cryptopsy) on drums and Derek Sherinian (Dream Theater, Steve Vai, Malmsteen, Kiss) on keys. An allstar line up that grabs the attention of any metal/ progressive music enthusiast. The project began whilst Sonny was on tour with Morbid Angel. Sonny explained the concept of the band to Steve Tucker, who was intrigued and fully committed to getting involved. Sonny wasted no time and began handwriting transcripts for what would become the earliest Arise From Worms material, whilst on tour.

“Dub Walks In” is a five-track 12-inch vinyl release by Tokyo-based dub producer Hummingbird, created in collaboration with vocalist and melodica player ANNA OZAWA.

The record blends deep dub textures with organic vocals and melodica, exploring a spacious sound rooted in sound system culture.

ANNA OZAWA was a member of The Slits during the Ari Up–led reunion period and is also known for her work with Japanese dub band Dry & Heavy.

‘ИМА (Ima)’ is a work by KiMiMi, the solo project of a musician Shin-ya Ohno, which captures the layers of time and the presence of people inhabiting ‘Arimasuton Building’―a self-built structure created over 20 years by architect Keisuke Oka, located in Mita, Tokyo, and reconstructs them into music.

A multi-instrumentalist who masterfully handles a diverse range of instruments, with the gaida (an ancestor of the bagpipes) – which he studied in Bulgaria – at the core of his sound, KiMiMi has previously brought traces of daily life and folk melodies recorded during his travels back to the scale of home recording, weaving fantastical folk soundscapes through cassette tape works and stage music.

Alongside his musical activities, he has participated in the construction work for ‘Arimasuton Building’, recording the sounds of hammers and steel beams echoing on site, lunchtime chatter, the melodies of instruments played by others, and the sound of cars passing by. From the end of 2022, a zine titled ‘Monthly Arimasuton Building Urimasu’, based on this construction project, was launched. KiMiMi incorporates these recordings into the musical works he contributes to each issue, layering sounds from live instruments―including the gaida, accordion, guitar, flute, ukulele, piano, foot-pump organ, melodica and xylophone―alongside a few synthesiser tones, to shape a soundscape imbued with the humidity and breath of the site.

KiMiMi’s creative process is characterised not by planned construction, but by an attitude of entrusting the work to chance, intuition and the passage of time. Fragmented recordings are layered, set aside for a time, and then unearthed again. Through this repetition, the music naturally takes shape. This resonates perfectly with the process of ‘Arimasuton Building’, which was built up improvisationally, layer by layer, without any pre-prepared blueprints.

‘ИМА (Ima)’ marks the current stage of KiMiMi’s sonic journey and represents an attempt to gracefully transcend the boundaries between architecture and music, documentation and creation, and the individual and the community. The clamour of the city, the tranquillity of manual labour, laughter, and every sound resonating at the Arimasuton Building site blend with KiMiMi’s music, reflecting the very passage of time in which people live.

On his new album, Micha Acher rearranged compositions for bands such as Tied & Tickled Trio and Ms. John Soda from previous years.

Why are we interested in ghosts? What fascinates us about the eerie? According to cultural theorist Mark Fisher, the allure that the eerie possesses is not captured by the idea that we „enjoy what scares us“. It has, rather, to do with a fascination for the outside. For that which lies beyond standard perception, cognition or experience, as he writes in his book „The Weird and the Eerie“.

In fact, also none of the 15 pieces from Henry and the Ghost is really scary. On the contrary, they all feel strangely familiar. Like revenants or doppelgängers, which in fact they are. They have all been released before. But in a different form. In different line-ups. With different band projects such as Tied & Tickled Trio, The Notwist or the Alien Ensemble.

With the „Songbook“, Micha Acher's aim was, as he says, to find out how the familiar pieces sound in a chamber music instrumentation. Therefore he met with Theresa Loibl (bass clarinet, piano), Timm Kornelius (bassoon), Markus Rom (guitar, banjo, electronics) and Simon Popp (drums, percussion) in his living room for a musical séance in the summer of 2022. The séance lasted two days. Afterwards, Markus Rom (Oh No Noh), added some haunting electronical ideas.

The mood of most of the pieces is melancholic. There are surprising twists and siren-like melodies. Just as ghost stories should be. However, most of the songs sound very light-footed. With their feet in pop, folk, jazz and classical music. Pieces such as „Johanna“ with its wheezing harmonium and spooky piano, or the dreamy „Modest Farewell“ on the other hand have a cinematic flair. Immediately faces and scenes arise in the mind. But at the beginning, there is „Hamlet“. It starts with ghostly electronics and merges into a calm, almost classical guitar piece. Could it be that the ghost of Hamlet's father is hiding between the strings?

„34E“ begins with a banjo. Then the deep humming of Micha Achers sousaphone and the other brass instruments kick in. In the slow, solemn „Aelita“, the sousaphone starts a dialogue with a children's piano. With the banjo and the other wind instruments acting as mediators. The title of „All Tomorrow's Past“ brings Velvet Undergrounds „All Tomorrow's Parties“ to mind. Another ghost from the past. What connects the two pieces is free-floating percussion, which accompanies the sumptuous melodies.

„Arc“ takes us on an exhilarating voyage at sea, with the sousaphone providing powerful propulsion. Towards the end, things get quite turbulent. With the clarinet stirring up the water, before the sea calms down again. „Henry and the Ghost“ is characterised by a ghostly mood change between major and minor. In „Radio Four“ the banjo with its stoic chords keeps the lively brass section in check. „Solid Ground“ is imbued with melancholy. „Space Minor“ takes us into outer space, with the power of sousaphone and percussion.

„Tomorrows“ is filled with cautious optimism. And the concluding „Nordlead“ turns out to be a revenant of the instrumental „N.L.“ from The Notwist's legendary album „Shrink“ from 1998. In the new version, the piece sounds like a distant echo. One that also brings to mind how Micha Acher's music has evolved. Which new worlds he explored and opened up since the nineties. And yet Acher's signature is recognisable in every single note of this fascinating „Songbook“.

Soul Jazz Records’ ‘Calypso – Musical Poetry in the Caribbean’ was first issued in 2014 and has been out of print for nearly 10 years. On its release ‘Calypso’ was voted one of the year’s best 50 reissues in Rolling Stone magazine and received glowing reviews in Pitchfork, The Guardian, Songlines and many more. This new edition has been fully remastered and comes as a one-off limited-edition double vinyl pressing on translucent green vinyl, complete with bespoke inners featuring extensive sleevenotes, notes on all the artists and songs featured, and original artwork and photography. The album is also available in a new card-edition CD package, also with complete notes and text.

Featuring Lord Kitchener, The Mighty Viper, Count Zebra, Lord Flea, Lord Hummingbird, King Fighter, Lord Growler, Lord Byron, Lord Ivanhoe and other members of Calypso’s aristocracy and aristocrats, the album features the music of Calypso in its many styles. Calypso is one of the most exciting and enduring forms of musical expression that first emerged at the beginning of the 20th century – swinging, persuasive rhythms, brilliantly expressive melodies, and lyrics of great humour, wisdom and wit. Here you will find music from Trinidad, birthplace of Calypso, other Caribbean islands including Jamaica and the Bahamas, as well as sounds from the style’s subsequent onwards journey including Britain, Panama and the United States. Calypsonian songs play out a role in society similar to the storytelling Griots of West Africa (and the corresponding music of Kaiso); with their own tales about popular and incredible news items, modern life, local politics all mixed up with sexual innuendo, one-upmanship, comedy and more. At its source, Calypso is intricately and inextricably bound to the social history of Trinidad and its myriad of traditions, beliefs, folklore and fables. As the music spread around the world, both from the diaspora of many of its performers as well as its commercial success, the subjects of songs similarly took on local topics.The most notable singer of Calypso in England was the Trinidadian Lord Kitchener, who came to Britain in 1948 on HMS Empire Windrush, along with fellow Calypsonians Lord Beginner and Lord Woodbine.

The wonderfully unrelenting Instinct label from Burnski welcomes Gabriel Munoz for a brilliant five-tracker. Munoz is an 18-year-old from the Netherlands who is fast turning heads with his well-informed and fresh style and the garage prodigy opens up here with 'Arisen', a fast-paced and silky deep garage house cruiser with starry-eyed synth work. 'Pulse Sector' is another deft cut with neat 90s stabs buried deep in dusty drum rotations and balmy pads. There is more sleaze to 'Tell Me Something', 'Ghost' is all about the throbbing bassline and 'Movement' brings some more playful early UKG motifs and fat drums and bass. Fresh tackle from a fresh talent.

Next in the We’re Going Deep label series, he welcomes 4 tracks of completely fresh material from a relatively unknown Italian producer, Davide Tonini. Hailing from the much fabled Adriatic coastal party town of Rimini in Italy, Davide has been shaping and sculpting Electronic sounds for well over 3 decades now. Having first started releasing music under his ‘Wet Basement’ alias back in 2015, his sonic palette traverses IDM, Techno, Deep House, Acid and Ambient soundscapes.

Having spent decades honing his practice, he has both self-released his music and worked with the long standing Odrex Music in Berlin. And there’s something deeply irresistible about his output that screams class and quiet dedication. In his own words, in around 2005 he got into the world of Eurorack and a few years later, Serge Modular. Since then, he’s been totally hooked...

In more recent times, Davide has recorded and released 2 digital LPs worth of material for ‘Detroit Underground’ under his own name, so it seems fitting that We’re Going Deep are now hosting a debut 12” cut – offering up 4 cuts of trademark sumptuousness. Bringing together the best of influences that touch on the likes of Aril Brikha, David Alvarado, Deepchord, Convextion and Basic Channel, he weaves together their respective magic to a new whole point of inflection that is both of this world and the other. All tinged with a warmth and smile that could only originate in Mediterranean climes.

The aptly named ‘A-1’ kick starts the EP in fine fashion as shimmering chords cut through rays of floatingly filtered synthesis, all beautifully dubbed out to a steady rolling kick and neatly shuffled high-hats, with precision bass notes interjecting to add an additional layer of funk. With bliss set to maximum, this is nothing short of genius. Followed by ‘Bilateral’, Davide offers a touch more space and lets the bottom end lead, whilst neatly filtered chords flicker to and fro - seeping their way into your consciousness as the tight drum work brings you to groove mode.

On the reverse, ‘Drive’ burrows further into emotive depths as Davide bathes you in layers of dub and twinkling melodics, all passed through a hazy film of goodness. Rounding off the EP with the deft touch of Distanze Logaritmiche – a soft roller that steeps you in undulating chords and cavernous effects. This is high class music that deserves patience and your attention to reap the ultimate rewards from a true master of his craft.

"Carol Maia & Jeremy Gustin’s haunting collaborative album is the result of a long distance partnership during which tracks were traded back and forth across thousands of miles, Jeremy working from his home studio in Brooklyn and Carol from hers in Rio De Janeiro. Later they enlisted support from a number of key players in the Rio scene, Frederico Heliodoro, Paulo Emmery, Ricardo Dias Gomes, and from Brooklyn’s musical community, Will Graefe and Ryan Dugre, to shape this understated masterpiece of sophisticated global pop and quiet experimentalism.
"It's hard to describe what Carol, Jeremy and their guests have achieved on 'it's nice to see a lake in your eyes', a kind of pop music that stands outside of time and is neither Brazilian, American or of any other recognisable place. Maybe it's risen out of the lake they imagined into being? Maybe it's formed like rain in the thousands of miles of air between Rio and New York? Whatever happened was certainly alchemical as you will hear.
"Carol told me her writing on this record was greatly influenced by her reading of Marcelo Ariel's poetry book A água veio do sol, disse o breu so maybe the best thing to do to describe this music is to let you read one of his poems:

A luz do ser é como a água
também veio do Sol
onde todos os planetas querem entrar

Dentro do Sol
O ser é imóvel
como a gratuidade de um êxtase
parecido com a respiração

Fora do Sol
o ser é móvel
Tempo eternidade
e tempo cronológico

The light of being is like water
it also came from the Sun
where all the planets want to enter

Within the Sun
Being is immobile
like the gratuitousness of an ecstasy
similar to breathing

Outside the Sun
Being is mobile
Time eternal
and chronological time

"Jeremy Gustin is an unorthodox drummer, percussionist and songwriter who has toured and recorded with Joan as Policewoman, Iggy Pop, David Byrne, Marc Ribot, Delicate Steve, and Norah Jones. If you follow Hive Mind then you probably know him best from his amazing work on Ricardo Dias Gomes' Muito Sol. Jeremy is also in the experimental pop bands Star Rover and Blurry the Explorer.
"Carol Maia is one of Rio's new generation of singers and musicians currently lighting up the city's vibrant music scene. She also featured heavily on Wolfgang Pérez's album Só Ouço, which was released on Hive Mind in 2025."

In Sheep’s Clothing announces the long-awaited vinyl pressing of Marc Leclair’s beloved 2005 album Musique pour 3 femmes enceintes. The album will also be available on streaming for the first time via Community Music Group.

For years after Marc Leclair released Musique pour 3 femmes enceintes, he heard from listeners who had lived with the record in an unusually intimate way. Many described how the music became part of the emotional landscape of the months leading to birth. “I never expected that,” Leclair says. “Many women told me they listened to the record throughout their pregnancies. They said it made a real difference, that it helped them. It became more than just a record.”

First issued on CD in the early 2000s, Musique pour 3 femmes enceintes (Music for Three Pregnant Women) now returns in a new edition from In Sheep’s Clothing Hi-Fi, appearing on vinyl for the first time as a double LP. The record is being pressed in Detroit at Archer Record Pressing, the historic plant behind deep-groove classics by Juan Atkins, Kevin Saunderson, Underground Resistance, UR’s Jeff Mills, and J Dilla.

Listeners who know the Montreal-based Leclair through his better-known work as Akufen might be surprised by the tone here. During the same years he was shaping the intricate micro-sampling tracks that made Akufen a cult figure on labels including Perlon, Force Inc. and Trapez, Leclair was quietly developing this far more personal project. The meticulous craftsmanship remained the same, though the focus shifted from the hyper-detailed cut-up rhythms of his dance records toward something slower and more atmospheric. “I always compare my work to a jeweler,” Leclair says. “It’s really very precise. I’m a bit of a detail freak. I can spend hours or days on just one phrase in one song. Everything has to be perfectly put together.”

The project began almost accidentally. A few members of Leclair’s circle became pregnant nearly simultaneously, including one who had long believed she couldn’t conceive. The first track he recorded for the project wasn’t meant to advance a larger concept, he says. “It was meant to highlight the fact that three of my closest friends became pregnant at exactly the same time.”

Leclair was already a father with a three-year-old daughter, so the emotional terrain of early parenthood was familiar. Gradually the idea expanded. “I began thinking, why not make a whole album that celebrates this and also follows the entire pregnancy, the nine months,” he says. The music developed piece by piece, including a track originally commissioned by the Berlin experimental duo Rechenzentrum that would later become the album’s opening movement.

Nearly seven years passed between the first composition and the finished album, and the music mirrors the strange arithmetic of pregnancy itself. What begins as a single idea multiplies outward, sounds layering and branching until the album feels less like a sequence of compositions than a living process unfolding in time. “I work very slowly,” Leclair says. “Everything has to be something I’m completely behind. I never want to rush anything. I want things to come naturally.” Across its 72 minutes, the album blossoms with the patience of a long meditation on time, growth and emergence.

When Musique pour 3 femmes enceintes first appeared via Mutek, it circulated quietly but steadily. Critics who discovered it later recognized its unusual scope. In a 2006 Pitchfork review, Mark Richardson gave the record an 8.1, calling “150e Jour” “an unfailingly gorgeous and tightly sequenced quilt of guitar and piano samples reminiscent of Tangerine Dream,” and describing “85e Jour” as infused with “viscous pop ambient drift, the gauzy synth pads ebbing and flowing with rhythm.” Boomkat described the album as “a majestic opus from a producer that's always promised so much — here delving into a panoramic construction of almost visibly radiant music that works so beautifully through each and every second of its 72 minute lifespan.”

The new In Sheep’s Clothing Hi-Fi edition finally presents the record in the format Leclair long imagined. “I always thought that record deserved a vinyl edition,” he says. Spread across two LPs, the music now has room to unfold at its natural pace. More than twenty years after it first appeared, Musique pour 3 femmes enceintes remains what it was from the start: a carefully shaped meditation on transformation and the quiet miracle of life beginning.

La Contra Ola, the cult compilation showcasing the treasures of Spain"s 1980s synth wave and post-punk scenes, is finally back in stock on Les Disques Bongo Joe. Originally released in 2018, this anthology quickly became a must-have for fans of analog sounds and avant-garde music, capturing a period of raw creativity and cultural upheaval in post-dictatorship Spain.

Born into a musical family Al Manfredi started writing songs when he was child. As a teenager in 1965, he formed the Nuts & Bolts in the small beach town of San Clemente, California. Inspired by the Kinks, the Beatles and the Byrds, the group separated themselves from the pack by also performing original material written by Manfredi and band mate Mike Ingram. In late 1966 they changed their name to the Lost & Found and relocated to Phoenix, Arizona, where they cut a rare single, “Don’t Move Girl” b/w “To Catch the Sun,” which now commands high coin from ‘60s garage collectors. When they returned to San Clemente in early 1967 their music had taken a more psychedelic direction. The Lost & Found were riding high that year, until tragedy struck. Ingram was found hanged under suspicious circumstances and soon after Lost & Found drummer Mike Ryer died of cancer at the age of 19. Heartbroken, Manfredi gave up on the band scene completely and moved to Garden Grove to teach at his family’s music store. But alone, behind closed doors, he kept writing songs and working on his music, recording hours of tapes, often tracking all the instruments himself. In 1973 he chose six of his best songs, some of them written back in the Lost & Found days, and had them custom-pressed as an LP. Only a handful of copies were pressed, and most of these were sent out to various record companies in the hope of landing a deal. Despite the outstanding quality of the music, there were no takers. But decades later, collectors discovered the Al Manfredi album and hailed it a West Coast rock masterpiece. In his Acid Archives book, Patrick Lundborg called its discovery a deus ex machina and compared it to David Crosby’s first solo album and Hawaii-era Merrell Fankhauser, “not just the acutely captured mellowness, but the self-confidence and the talent.”This little-known West Coast rock masterpiece was rediscovered and celebrated by Acid Archives founder Patrick Lundborg and others around the time that Manfredi died in 1995. This version of the album, overseen by Manfredi’s son Exile, and with Manfredi’s story told by Ugly Things’ founder Mike Stax, presents the complete package of an incredible lost and found artist. Contains the album, as originally issued, on side A with unreleased music on side B.

The super rework magician Scruscru has been cooking up more goodness for Volume two of Blur's ReWax EP, and it's packed with disco-meets-jazz house class. First up, he tackles Sweet Fruity Brunch's 'Red Parrot' and makes it into a rolling jam with lush pads. Elsewhere, 'Rhythm Roulette' has punchy drums but plenty of piano euphoria, 'Matine' becomes a coy and funky number and 'Gift Of Love' is a romantic heart 'WalkToWalkIN' is a shuffling and jazzy vibe and 'Empyrean Jazz' closes with some spiritual percussion and gentle horns that will always seduce once the lights go low.

Celebrating the 30th Anniversary of Jennifer Warnes' Pop Classic on Crystal Clear Green Vinyl!
All-Tube Mastering by Chris Bellman at Bernie Grundman Mastering from the Original Master Analog Tapes on 180 Gram Vinyl!
One-Time Pressing of 3,000 Individually Numbered Copies!
New Inner Sleeve and LP Labels!
Pressed at RTI!

Impex Records is celebrating the 30th Anniversary of The Hunter with a one-time, individually-numbered pressing of 3,000 in crystal clear green vinyl! Jennifer Warnes’ acclaimed follow-up to Famous Blue Raincoat features a Grammy-nominated recording by Elliot Scheiner and all-tube mastering by Chris Bellman at Bernie Grundman Mastering using Jennifer’s personal original analogue master tapes.

‘The Hunter’ was released five years after her breakthrough with ‘Famous Blue Raincoat’. A TOP 100 LP when first released in 1992, The Hunter’s audiophile credibility is best summed up by Elliot Scheiner’s Grammy-nominated recording and mix. It contains the charting single “Rock You Gently,” a sonically dense yet expansive cover of The Waterboy’s classic “The Whole of the Moon,” a soulful Jennifer Warnes/Leonard Cohen composition “Way Down Deep,” Todd Rundgren’s “Pretending to Care” and even a Donald Fagen tune (“Big Noise, New York”). She owns every tune here, backed by a-list session players who ground the songs with solid and unobtrusive authority, letting Jennifer’s peerless interpretive skills bring the soul of every lyric to the forefront. Ms. Warnes uses her voice to serve the lyrics, allowing the song to return the favour.

“The follow-up to Warnes’ FBR offers crisp percussion cues, solid bass throughout – but especially during “Way Down Deep” – and a surprise chamber quartet on the title track” – Neil Gader, TAS Guide to Audiophile Demo Disc

Arista (now Sony/BMG) never released The Hunter on vinyl in the U.S. A regular-weight LP floated around Europe for a while but is not noted for exceptional sound or quiet vinyl.

“Remastered by Chris Bellman at Bernie Grundman Mastering, the sonics are luscious. Warnes has always had an audiophile’s ear and was hands-on with this effort–one of the last from now-defunct Cisco Records. It soars effortlessly, restoring warmth and delicacy and easily besting the earth-bound but otherwise excellent CD. It’s an example of both an artist in full charge of her powers, and analogue art its very best.” – Greg Cahill, The Absolute Sound

A meteorite and a lost EP from an experimental electronic talent escape their grim fate: remain unknown to human civilization forever.

Around 2015, Gareth Smyth (aka Lumigraph) produced two tracks before uploading them on his Soundcloud page under the name “Canyon Diablo”, a tribute to a meteorite that crashed in Arizona 49,000 years ago. Amazed, the future co-founder of M+M Disques barely had time to download them onto his hard drive before they were deleted... until today.

Behind the extraterrestrial sounds of this 2-tracker, Lumigraph seems to want to establish communication with planet earth using its own means. In the dubby “Flamingo Drive”, he patiently builds up his sluggish groove before bringing in a reassuring and catchy bassline. On the B-side, the avant-garde “America Song” combines industrial rhythms, drone guitar, and Pierre Henry-ish noises.

* fine art printed insert + PVC sleeve

Brendan Eder follows up minimalist 70s-jazz concept with new ambient-classical album, THERAPY. Brendan Eder is a Los Angeles composer and drummer best-known for his eponymous genre-bending ensemble of woodwinds, drumset, and bass; as well as his film scoring work, most notably on four short films for director Ari Aster. On March 3, 2023 Eder released his third album, THERAPY, a collection of meditative woodwind arrangements recorded primarily at Church of the Good Shepherd in Arcadia, California.

The quest for THERAPY came during a period of deep spiritual curiosity. Eder was avidly watching testimonies of near death experience survivors (NDEs), pouring over books of Theosophical artwork and philosophy, and
processing experiences of grief, uncertainty and spirituality.

Eder wanted to explore the threshold between the spiritual and physical dimensions, and create music that could evoke its shape and texture — a theme further illustrated in the original album artwork and single covers by Adam Rabinowitz. Eder felt he must be on to something when, on a whim, he looked up the tempo of a piece he was calling “137 Riddle.” Turned out to be “the most important number in the world” in theoretical physics, as well as a provocative number in Jewish mysticism.

Since 2020, Eder's cover of Aphex Twin's “#20 (Lichen)” has garnered over two million streams. Appropriately, THERAPY delivers two new Aphex Twin arrangements alongside eight original pieces.

Maintaining his track record of recording the best musicians Eder can find, THERAPY features special guests Nailah Hunter (harp), Henry Solomon (saxophone), and Ethan Haman on The Newberry Memorial Organ at Yale University.

REVNOIR is one of the most exciting new forces to emerge in the rock and metal world. Officially unveiled in September 2023, the project has been quietly evolving behind the scenes for nearly two years, led by the talented trio Maxime Rodriguez-Medallo, Julien Ho-Tong, and Kaz Nakazawa. Blending elements of modern rock, crushing metal, and dark electro, REVNOIR crafts a powerful, melodic sound that resonates with both emotional depth and cinematic intensity. Since their formation, the band has made impressive waves—already surpassing 1 million Spotify streams across their four latest singles and building a loyal listenership with over 70,000 unique monthly listeners on the platform.

Their explosive live energy was on full display when they joined Future Palace on a European tour and later proved their rising star status with a sold-out headline show at La Maroquinerie in Paris (550 capacity) in April 2025. Now signed to Arising Empire, REVNOIR are gearing up for their next big chapter: supporting Coldrain on their massive UK/EU headline tour this winter. Spanning 17 dates across 10 countries, including major stops in the UK, Germany, France, Netherlands, and more, the tour marks Coldrain’s first European run in over four years and is set to draw thousands of fans each night. As main support on every date, REVNOIR will be performing in some of the biggest venues of their career so far—introducing their sound to a whole new wave of international listeners and firmly cementing their place among the most promising heavy acts of this new generation.

Period Music is a research process involving Susanna Gonzo, Merma Suelo, Tuce Alba, Elizabeth
Gallon Droste, Agnese Menguzzato, and Farah Hazim. The six artists aim to attune to the different
temporalities experienced through our bodies, drawing from multiple meanings of period – from the
menstrual cycle to musical repetitions and astronomical revolutions.

r'tu
A central meaning of the Sanskrit word for ritual, r'tu, is menstruation, the original ritual. The root of
r'tu is in arithmetic and rhythm/.

Period Music has been staying with essential matters on how we listen to time and rhythms in our
bodies and in the world. Questioning the tempo of everyday life in an accelerated system like that of
modern society, the group has opened up co-creation spaces to listen to embodied memories.
Through dialogue, improvisation and jam sessions, the six artists attuned to e ach other’s processes,
composing music, word scores and drawings – ultimately sounding together.

This work embodies other notions of community through archetypes, embracing the impermanence
that reveals the countless rhythms of life. Period Music speaks of friendship and connection, and
invites you to take on a journey of interconnectedness between our rhythms and the broader social
structures influencing our lives.

The project emerges from conversations that began in Berlin in the fall of 2023, including a one-week
residency at Atelier Josepha in Ahrenshoop by the Baltic Sea in April 2024. The first physical iteration
of this project will consist of a book and a vinyl. The album features looping improvisational compositions encoded with messages about multiple temporalities. The accompanying book gathers poetic memories, letters, photographs, symbols, and drawings that emerged during the process

Rolando’s back in the game with Syncrophone Remixes Vol.2—flipping DJ Qu’s “Undescribed3,” Detect Audio’s “Synchronize,” and Anthony Shake Shakir’s “Arise.” Three exclusive remixes, pure underground techno for real heads. Detroit spirit, cop this 12” before it disappears!

DJ Feedbacks :


Honey Dijon : DJ Qu is the one for me. Will def support!
Raresh (ar:pi:ar) : super! thanks
Truncate : Thanks!
The Advent : Smooth bgrooves on here.. 3 - Anthony 'Shake' Shakir - Arise (Rolando Remix)
Anika Kunst (Symbolism / RSPX) : Cool release. Arise rmx is beautiful. Thanks!!
Harvey Sutherland (MCDE / PPU / Voltaire Records) : DJ Qu flip for me, thanks!
Scott Grooves : The Shake is the one
Satoshi Tomiie (Abstract Architecture) : Wooow hot hot hot
Roman Fluegel (Roman Fluegel, Dial, Cocoon, Playhouse, Robert Johnson) : The Remix for Shake is the one for me.
Erol Alkan (Phantasy Sound) : Downloading Thanks!
Enrica Falqui (ERIS, Plexus 4) : I like it!
Daniel Avery (Phantasy / Fabric) : Awesome
Laurent Garnier : cool release
Elisa Bee : Only love for Rolando, thanks x
Slam (Soma) : Brilliant - thanx
San Proper (Perlon / Rush Hour / Proper's Cult) : Totally what i needed to hear, Rolando remixing Shake & Q, my heroes lined up. I will enjoy playing all 3 mixes. One Love.
Axel Boman (Studio Barnhus) : killer remixes!
Terry Farley : DJ Qu mix my fave - heads down LETS GURN
D'Julz (Bass Culture) : great work !
gilbr (Dj Gilb'R / Chateau Flight (Versatile)) : Like the Shakir remix thanks for sending
Ben Sims : Now downloading... will check asap!
Lea Lisa (Phonica Records / Folklor Club) : mental, really good one
Dj Deep (Deeply Rooted) : Super nice package! Dj Qu's Undescribed3 remix for me here! Thank you
Mike Shannon (Cynosure) : Rrrrreeeeemix!! Thx
Efdemin (Dial) : Wonderful remix package!
Inland (Inland) : Hellooo. These are great. Qu and Shake versions both killer! Thanks
Kai Alce (Real Soon) : DJ QU remix bangin
Uncertain (RSPX, WRKTRX, Suara) : remix 1 for me
Harri (Sub Club) : very nice all three will play and support
Blasha & Allatt (Meat Free) : Thank you!
Marcel Dettmann : thx
Richie Hawtin (M_Nus) : downloaded for r hawtin
Luke Solomon (Classic / Freaks / Music For Freaks) : all killer
Luke Slater : Thanks Ro!
Ame (Innervisions) : thanks
Felix Dickinson (Futureboogie, Rush Hour, Cynic) : I like this
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Alienata (about blank) : Very nice remixes, all of them, thx!
Nat Wendell (Depth of My Soul, Courtesy of Balance, Love & Loops) : Dope remixes!
Dave Clarke (white noise radio) : Not my sound, but please keep them coming !

Jubiläumsedition inklusive dem Original Sonderlust Album und einer zweiten Disc mit zwei brandneuen, unveröffentlichten B-Seiten und einer ,Demo-arigato"-Version von Sonderlust mit frühen Demos jedes Songs. Die Doppel-LP erscheint auf farbigem Vinyl: "Bone Vinyl" (LP1) und "Gold Vinyl" (LP2). Vor zehn Jahren war Kishi Bashi nach jahrelangen Tourneen zu seinen gefeierten Alben ,151a" und ,Lighght" kreativ und emotional ziemlich ausgelaugt. Die orchestrale Ausgelassenheit, die seinen Sound früher geprägt hatte, begann zu verblassen, was ihn dazu brachte, seinen künstlerischen Zweck zu hinterfragen. Aus dieser Erschöpfung entstand ,Sonderlust" (2016), eine sehr persönliche Neuerfindung, die von Verletzlichkeit, analoger Wärme und spiritueller Ehrlichkeit geprägt ist. Ishibashi verzichtete auf kunstvolle Violinen-Loops und setzte stattdessen auf Vintage-Synthesizer und reduzierte Texturen, wodurch ein Album entstand, das vor souliger, menschlicher Energie nur so sprühte. Songs wie ,Say Yeah", ,Honeybody" und ,Ode to My Next Life" fingen sowohl den Schmerz als auch die Freude der Selbstfindung ein und verankerten seine üppige Fantasie in gelebter Erfahrung. Jetzt, mit seiner Neuauflage zum 10-jährigen Jubiläum, steht Sonderlust als ein entscheidendes Werk da - in dem Kishi Bashis schillernde Verspieltheit der Selbstbeobachtung und Verbundenheit Platz machte. Die Neuauflage zeigt ein überarbeitetes Artwork des ursprünglichen Cover-Künstlers Ssin Kim, das Wachstum und eine neue Perspektive symbolisiert. ,Wenn man jünger ist, kann die Welt überwältigend wirken", reflektiert Ishibashi. ,Mit zunehmendem Alter beginnt man, seinen Platz darin zu sehen." Was als Album über Liebeskummer begann, ist zu einer zeitlosen Meditation über Empathie, Kreativität und die bleibende Schönheit des Menschseins geworden.

Our Mirage have carved out a distinct voice in the heavier music scene with emotionally charged lyrics, atmospheric textures, and searing intensity. Formed in 2017, the band quickly gained momentum through an ever-growing fanbase and a string of compelling releases. Their 2022 studio album Eclipse has amassed over 15 million streams on Spotify, cementing their reputation as one of Germany’s most exciting new metalcore exports. Now, the band is gearing up for their most ambitious release yet: Fractured Minds, due out on January 30th, 2026. The record promises to be even more explosive, expanding on their signature mix of crushing heaviness and emotional depth. The momentum is already undeniable —with five singles released from Fractured Minds to date, the band has accumulated over 5.5 million Spotify streams on those tracks alone. Meanwhile, Our Mirage currently count more than 260,000 monthly listeners on Spotify, underlining their ever-growing international presence. Beyond streaming success, Our Mirage have proven themselves a formidable live act, playing major festival stages such as Summer Breeze Open Air and delivering powerful, emotionally raw performances night after night. In January and February 2026, the band will embark on a co-headline tour, bringing Fractured Minds directly to fans across Europe.

Born to Dominican and Brazilian parents, xavi grew up bouncing from place to place, picking up inspiration wherever he landed. His first love was baile funk, but he was raised on classic hip-hop, eventually notching up production and songwriting credits for Vince Staples, Demi Lovato and Ariana Grande. But the major label life wasn’t giving; sick of the industry, he headed back to São Paulo to soak up the atmosphere and connect with artists on the ground. Before long, he started uploading quickfire bangers to SoundCloud – at this point there are over 350 of them on his feed – an »evolutionary playlist« in his own words, bursting with ideas.

»balança e paixão« is his debut release, proper, a 12-cut snapshot of chaotic, trailblazing, turbulent genius – bending thrashed rhythms into relentless vocal chops from a laundry list of young brazillian MCs. Built on ear-zizzing »tuin« hits and razor’s edge cuts, he creates hypnotic ripples that wedge themselves between São Paulo’s weirdo fringe (artists like JLZ and Iguana) and the percussive, MC-heavy sound of funk ritmado, one of the contemporary scene’s most vital and recognisable strains. Crucially, you can hear a Photek-like approach to space in his productions too, filling the gaps with metallic clangs to lend his rhythms their own unique dimension. The flipside takes it slower, deeper. On »sei q tu gosta« (I know you like it), DJ Leal Original and MC Vuk Vuk’s voices are transformed into ghosted sibilances next to xavi’s sonar pings and woodblock hits with an almost avant-dancehall slant, like some choice Equiknoxx dub, while on »cuidado bandida« (be careful bandit), he deploys bone-rattling trills that bite down on atmospherics that wouldn’t be out of place on Akira Yamaoka’s »Silent Hill« OST.

“The blueprint was simple: Hot Chocolate rhythms, George Murray bass lines, classical music instruments with pop sensibilities. We, the architects, however, were complicated.” Paul Simpson, 2025 Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce the release of the much-mythologised ‘lost’ album by CARE – the group made up of IAN BROUDIE and PAUL SIMPSON Prior to forming Care, Ian and Paul had been very active in the Liverpool post-punk scene. Ian played alongside Holly Johnson, Jayne Casey, Budgie and Bill Drummond in Big In Japan, before joining the Original Mirrors. He also produced several early records by Echo and the Bunnymen, most notably the albums Crocodiles and Porcupine. Paul had played with school friend and future Bunnyman Will Sergeant in Industrial Domestic and the founding line-up of The Teardrop Explodes, before going on to form The Wild Swans. CARE were brought together late in 1982 by mutual friend Will Sergeant, when Paul was looking for someone to play a guitar part for a new song he had written. Ian obliged and asked him to return the favour by singing on one of his songs Tall Ships. When Bunnymen manager Bill Drummond heard the result, now retitled My Boyish Days (Drink To Me), he secured the pair a deal with Arista on the back of it. Care would go on to release three acclaimed singles over the course of a twelve-month period between 1983 and 1984 – My Boyish Days (Drink To Me), Flaming Sword and Whatever Possessed You – before Simpson, still struggling to come to terms with the break-up of his previous band decided not to continue. Although top 40 success eluded Care in the UK, the group quickly found an adoring fanbase in the Philippines, where all three singles became huge hits. Love Crowns and Crucifies marks the first vinyl release of the previously unheard songs gathered together on 1997’s Diamonds and Emeralds CD. Working closely with Paul Simpson and with the approval of Ian Broudie, Needle Mythology has been given access to the original quarter-inch tapes which housed everything that Broudie and Simpson recorded together.