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RYUICHI SAKAMOTO'S LANDMARK 1981 ALBUM REISSUED FOR THE FIRST TIME IN DECADES OUTSIDE OF JAPAN. THE ALBUM WILL BE REISSUED IN ITS RARE JAPANESE EDITION TOGETHER WITH A 2-LP LIMITED EDITION FEATURING THE ALBUM PLUS A 2ND LP FEATURING ITS NEVER-RELEASED FULL INSTRUMENTAL MIX, ALL REMASTERED BY BERNIE GRUNDMAN.

Wewantsounds is proud to announce the reissue of Ryuichi Sakamoto's third solo album "Hidari Ude No Yume" (Left Handed Dream), originally released in 1981 on the Alfa label. Save for a small-scale Dutch vinyl release in 1981, it is the first time the album's original Japanese edition is released outside of Japan (the European release on Epic Records included significantly different tracks and mixes). Newly remastered from the original tapes by renowned engineer Bernie Grundman, this LP edition comes with original artwork featuring a striking cover shot by famous photographer Masayoshi Sukita (sourced from the original negative), OBI strip and 4-page insert with new introduction by journalist Anton Spice. The album will also be released as a 2-LP limited edition gatefold including the album's full instrumental mix.
Ryuichi Sakamoto's third album, "Hidari Ude No Yume" was recorded at the legendary Alfa Studio 'A' in Tokyo during the Summer of 1981. it came after "B-2 Unit" in 1980 and his debut album "Thousand Knives Of" in 1978, the very year Sakamoto was invited by Haruomi Hosono to join Yellow Magic Orchestra alongside Yukihiro Takahashi. In the process, they became global stars as the group rewrote the rules of electronic pop and toured around the world, yet Sakamoto was keen to remain active as a solo artist.
?In 1981, the musician decided to record an album rooted in Pop, following "B-2 Unit" which had a more of an experimental edge and his landmark electro debut from 1978. For this new album entitled "Hidari Ude No Yume," Sakamoto invited British producer Robin Scott, who had had huge hit with 'Pop Muzik,' to co-produce. They entered the Alfa studio in July 1981, accompanied by a handful of musicians. These included his fellow YMO musicians Haruomi Hosono and Yukihiro Takahashi, keyboard programmer extraordinaire Hideki Matsutake who'd been on Sakamoto's first two albums and became YMO's unofficial fourth member, violinist Kaoru Sato, saxophonist Satoshi Nakamura and American guitarist Adrian Belew who'd played with David Bowie, The Talking Heads' "Remain In Light" and more recently, Tom Tom Club’s debut (co-writing 'Genius Of Love').
?Together, they created a fascinating mix of pop, ambient and electronic music with elements of avant garde and traditional Japanese music, the whole firmly rooted in a solid groove. Sakamoto wanted to give the album a spontaneous feel and decided to let ideas flow and evolve organically during the sessions as musicians would develop them together. From the funk of 'Relâché' to the new wave feel of 'Venezia' and the ambient minimalism of 'Slat Dance,' the album is remarkably consistent while displaying a wealth of global influences as shown by the diversity of instruments featured on the credits: Marimba, didgeridu, traditional Japanese instruments such as the Sho and Hichiriki flutes.
?The album was released in Japan in 1981 and Epic Records picked it up for Europe a year later but decided to release it in a significantly altered version. The sequencing was completely reshuffled and two tracks, 'Saru No Ie' and 'Living In The Dark' were completely dropped while three others, ‘Relâché’, ‘Tell 'em To Me’, ‘Venezia’ were heavily remodelled with english lyrics and became 'Just About Enough', 'Once In A Lifetime' and 'The Left Bank'. Last but not least, a new English-sung track, 'The Arrangement,' was added, making the album nine tracks instead of ten for the Japanese edition.
Altogether this International version called "Left-Handed Dream" was a very different album from the Japanese one and although both were successful at the time and further established Ryuichi Sakamoto as a global solo artist, the Japanese edition of "Hidari Ude No Yume" remains largely unknown to international ears.
Wewantsounds is now delighted to release this original Japanese edition for the first time in decades as a single LP together with a 2-LP limited-edition set adding, as a bonus, its fascinating instrumental mix, discovered in the label's vaults a few years ago (Note that 'The Garden Of Poppies', 'Slat Dance' and 'Saru No Ie' are instrumentals but for the consistency of the album we kept them on the Instrumental Mix). "Hidari Ude No Yume" is an essential album in Ryuichi Sakamoto's rich discography. It is now available in its purest original Japanese form.

Following the success of their EPs released last year on Scissor and Thread, Frank & Tony return with another outing of deeper than deep house with a three track EP including an expansive collaborative exploration with Comatonse recording artist Will Long.
The title track, Understanding takes a nod to 90s Chicago deep house with a slow rolling groove set against plush pads and euphoric stabs sure to send dancefloors swirling in the earliest of nights and mornings alike. We Begin, a dreamy trip of emotive soundscapes, kicks things up a notch with jazzy undertones but a drive meant for peak times as it unfolds in moods and grooves for ages.
The EP then culminates with a vast rework of the same track in collaboration with Comatonse artist and DJ Sprinkles collaborator, Will Long, pushing the EP to psychedelic lengths as the essence of what we call a house groove reaches new idiosyncratic heights. Essential.

Welcoming a vibrant selection of artists to the label, Oblivium records presents OBL 002V Various Artist. This 4 tracks is an ambition project that unites 4 great artist with diverse approsches to music production, 4 different minds and vision, 4 declination of the same mood. We like to experiment and try to pusch our boundaries over. Tommy Vicari jnr, Flaze, Carlo di Roma, Jay Tripwire & Jehr

Cypress Hill’s self-titled debut album was hard as nails, with very few pop concessions. There was humor, but it was laced by cackling, homicidal sneering. Not well known outside of the hardcore hip-hop scene at first, faces of the three group members weren’t usually shown clearly in press photos; they preferred the shadows. As their first singles began hitting the airwaves and record racks, the press and music fans started to take notice.


From the opening notes of the group’s first single, “The Phuncky Feel One,” to deeper album cuts like “Stoned Is The Way Of The Walk” and “Tres Equis,” it was clear that Cypress Hill was something different. And very, very dope. The world Cypress Hill espoused was gang-ridden and far from cheery, but they managed to laugh through the pain. Lead rapper B-Real took each fuzzed-out, rock-hard DJ Muggs beat as a challenge, jumping around it like a spark off a joint as it makes its way to the concrete. MC Sen Dog always had B-Real’s back, to bring intensity and a no-bullshit gruffness that made the group both menacing and unpredictable.


When they introduced percussionist Eric Bobo to the mix in the early 90s, it brought new dimension to the band, making their live performances one of the most unique and accomplished shows in hip-hop. Journalist and author Chris Faraone highlights the group’s relationship in the reissue’s liner notes (which is included only in limited edition Skull) saying, “By the late ‘80s the undisputed Cypress unit finally formed. B and Sen realized that their diametric styles - the latter’s deep wrangle, the former’s inimitable high notes - complemented one another righteously. By then Muggs had bangers in the bag, as well as industry experience from a jaunt with the New York duo 7A3. B and Sen waited while Muggs messed with 7A3, and in that time began to build the blueprint for their raucous and weeded no-holds-barred style. Besides getting schooled on industry pitfalls, Muggs had also grown into hip-hop’s most formidable young producer, while straddling the bi-coastal gap.”

Cypress Hill’s debut went gold by the end of 1991 and has since pushed past double platinum status, making it the first album for a Latino-American hip hop group to do so. The album received raves from the likes of Rolling Stone and the Los Angeles Times, saw a #1 Hot Rap Single with the release of “The Phuncky One” and helped the band win Artist Of The Year at the 1992 Source Awards. After 25 years, it should come as no surprise that Cypress Hill is a cornerstone of the group’s live set to this day.

The xx existieren in einem selbstkreierten Kosmos. Ihr Debütalbum "xx" bewegte sich mit wundersamer Vollkommenheit zwischen Vieldeutigkeit und Reduktion. Im Zeitalter der totalen digitalen Öffentlichkeit war "xx" Popmusik mit maximalen Privacy Settings und definierte einen neuen Stil. Nun sind Romy Madley Croft, Oliver Sim und Jamie Smith zurück mit einem neuen Album: "Coexist".Vieles ist zwischenzeitlich passiert, vor allem ist die Band erwachsen geworden. Nach der Veröffentlichung des Debüts im Sommer 2009 verbrachten die drei den größten Teil der folgenden eineinhalb Jahre weit weg von zuhause, um ihren Sound in Ohren und Herzen rund um den Globus zu tragen. Von Amerika über Australien und Japan wurde die Band von Publikum und Kritik gleichermaßen gefeiert, und der Erfolg zeichnete sich auch in steigenden Albumverkäufen und dem Gewinn von Awards wie dem renommierten Mercury Music Prize ab. Während der anschließenden Bandpause wurde dann der stillste der 3 Bandmitglieder, Jamie, zum Gesicht von The xx. Zwischen seinen vielen DJ-Gigs arbeitete er stetig an seinen Fertigkeiten als Produzent und entwickelte dabei einen ganz eigenen Stil. Remixe wie etwa für Adeles Über-Song "Rolling In The Deep" oder die Bearbeitung von Gil Scott-Herons letztem Album machten aus Jamie einen hoch angesehenen Produzenten auch jenseits des Band-Fames. Für Drake produzierte Jamie den Titeltrack seines Millionensellers "Take Care". Für das neue Album arbeiteten dann erstmals alle drei von Anfang an zusammen in ihrem eigenen Studio. Während weiterhin Spuren von R&B im Sound von The xx zu finden sind, ist ein vermehrter Einfluss von elektronischer Musik spürbar. In Romys Loop-artigem Gitarrenspiel und den entsprechenden Basslines spiegelt sich dieser Aspekt. Alles in allem ist "Coexist" ein selbstbewusstes, erwachsenes Album geworden, auf dem sich wenig und doch zugleich vieles geändert ändert. Älter und weiser klingt es, sicherer und immer noch von außerordentlicher, zarter Tiefe. Es ist das Album geworden, auf dem das Licht nach dem Leid zurückkehrt.

Michael Mayer’s IMARA imprint is proud to announce a reissue of German electronica maestro Schlammpeitziger’s second album, Freundlichbaracudamelodieliedgut. Originally released in 1996 by Köln’s A-Musik label, it was the first Schlammpeitziger release to signal to a much wider audience that there was something very special going on in the music of Jo Zimmermann, the mastermind behind Schlammpeitziger. And while he’s subsequently gone on to release a further eight albums for labels like Sonig, Pingipung, and Bureau B, Freundlichbaracudamelodieliedgut is where it really all started for this most singular musician, illustrator and performance artist. Named after the ‘Schlammpeitzger’ or Weather Loach, a fish that breathes through its intestines, moves through substrate, and is surprisingly sensitive to changes in barometric pressure – hence its name – Schlammpeitziger is a similarly remarkable, singular creature.

Like all Schlammpeitziger’s music, Freundlichbaracudamelodieliedgut is overflowing with melody. Using the simplest of set-ups – much of his early music was made with Casio keyboards – Zimmermann magics entire worlds of joy and melancholy. The nine songs here are both rich tributes to the joys of the everyday, and surreal fantasias. “Cosmic Fick” sails out to sea on clouds of taffy and spindrift; “Winterschlafsüßbärentraum” slips and slides around a dream aviary of the mind; the closing “Mango und Papaja auf Tobago” is a diorama spun from springs and Slinkys. Sometimes there are echoes of more peaceable Kosmische music – think Cluster circa Sowiesoso – and both the pacing and the amorphous, tactile textures sometimes recall Chris & Cosey. But Zimmermann’s unique signature is everywhere on Freundlichbaracudamelodieliedgut – simply put, no one else makes music quite as lovely and incandescent as this.

The album’s initial release coincided with an explosion of interest in the music coming out of Köln. This was a unique moment – one where pop, techno, house, ambience, avant-gardism, musique concrete, heavy DSP, and all kinds of other creative phenomena got muddied up in the ‘general jelly’ of Köln’s fast-moving, spirited musical communities. Zimmermann was closely aligned with the music coming out of the A-Musik and Sonig labels – a tightly-knit collection of artists centred around the A-Musik record store, making all kinds of weird and wonderful music, from the electronica of Mouse On Mars to the compositions of Marcus Schmickler, from the electro-acoustics of C-Schulz and Hajsch to the digitalia of FX Randomiz. Zimmermann himself would collaborate with the latter on an album under the name Holosud; friends such as Mouse On Mars and Kompakt’s Reinhard Voigt turned up on Freundlichbaracudamelodieliedgut’s remix EP.

Here, then, is one of the loveliest albums of its era, a pop-electronics album of serious play, one as moistly melancholy as it is melodically riveting. Freundlichbaracudamelodieliedgut is rare beauty indeed.

Michael Mayers Label IMARA ist stolz darauf, eine Neuauflage des zweiten Albums des deutschen Electronica-Maestros Schlammpeitziger, “Freundlichbaracudamelodieliedgut”, bekannt zu geben. Ursprünglich 1996 vom Kölner Label A-Musik veröffentlicht, war es die erste Veröffentlichung von Schlammpeitziger, die einem viel breiteren Publikum signalisierte, dass in der Musik von Jo Zimmermann, dem Mastermind hinter Schlammpeitziger, etwas ganz Besonderes vor sich ging. Obwohl er seitdem weitere acht Alben für Labels wie Sonig, Pingipung und Bureau B veröffentlicht hat, ist “Freundlichbaracudamelodieliedgut” der Ort, an dem alles für diesen einzigartigen Musiker, Illustrator und Performance-Künstler begann. Schlammpeitziger, benannt nach dem “Schlammpeitzger” oder Wetterbarsch, einem Fisch, der durch seine Därme atmet, sich durch den Untergrund bewegt und erstaunlich empfindlich auf Veränderungen im Luftdruck reagiert – daher der Name – ist ebenfalls eine bemerkenswerte, einzigartige Kreatur.

Wie alle Musik von Schlammpeitziger ist auch “Freundlichbaracudamelodieliedgut” voller Melodien. Mit einfachsten Mitteln – ein Großteil seiner frühen Musik wurde mit Casio-Keyboards gemacht – zaubert Zimmermann ganze Welten voller Freude und Melancholie. Die neun Songs hier sind sowohl reiche Hommagen an die Freuden des Alltags als auch surreale Fantasien. “Cosmic Fick” segelt auf Wolken aus Karamell und Gischt hinaus aufs Meer; “Winterschlafsüßbärentraum” schlittert und gleitet durch einen Traum-Vogelkäfig im Geist; das abschließende “Mango und Papaja auf Tobago” ist ein Diorama aus Federn und Slinkys. Manchmal gibt es Echos von friedlicherer Kosmischer Musik – denke an Cluster circa “Sowiesoso” – und sowohl das Tempo als auch die amorphen, taktilen Texturen erinnern manchmal an Chris & Cosey. Aber Zimmermanns einzigartige Signatur ist überall auf “Freundlichbaracudamelodieliedgut” zu hören – ganz einfach, niemand sonst macht Musik so lieblich und leuchtend wie er.

Die ursprüngliche Veröffentlichung des Albums fiel mit einem Aufschwung des Interesses an der Musik aus Köln zusammen. Dies war ein einzigartiger Moment – einer, in dem Pop, Techno, House, Ambient, Avantgardismus, Musique Concrete, Heavy DSP und allerlei andere kreative Phänomene sich in der “Allgemeinen Gelee” der schnelllebigen, lebendigen musikalischen Gemeinschaften von Köln vermischten. Zimmermann stand in enger Verbindung mit der Musik der Labels A-Musik und Sonig – eine eng verbundene Gruppe von Künstlern rund um das A-Musik-Plattengeschäft, die alle möglichen seltsamen und wundervollen Musikrichtungen produzierten, von der Electronica von Mouse On Mars bis zu den Kompositionen von Marcus Schmickler, von der Elektroakustik von C-Schulz und Hajsch bis zur Digitalia von FX Randomiz. Zimmermann selbst würde mit letzterem an einem Album unter dem Namen Holosud zusammenarbeiten; Freunde wie Mouse On Mars und Reinhard Voigt von Kompakt tauchten in der Remix-EP von “Freundlichbaracudamelodieliedgut” auf.

Hier also eines der schönsten Alben seiner Zeit, ein Pop-Electronics-Album voller ernsthaftem Spiel, so feucht melancholisch wie melodisch fesselnd. “Freundlichbaracudamelodieliedgut” ist wahrlich eine seltene Schönheit.

Watch The Sun is the next studio album from the acclaimed musician, PJ Morton. Following a prolific and remarkable creative run that saw 5 consecutive years of GRAMMY Nominations and 6 LPs since 2017, Watch The Sun aims to take a step back from it all. Looking to escape from outside noises and influences, PJ Morton chose to record in the secluded and storied Studio In The Country, where Stevie Wonder worked on 1979’s Journey Through The Secret Life of Plants, and artists like Allen Toussaint, Betty Davis and Dr. John have all recorded. Featuring the previously released “Please Don’t Walk Away,” & “My Peace,” the album is set to be his biggest and most anticipated release to date, delivering one of the most expansive sonic palettes he has ever developed as producer. Watch The Sun includes appearances from JoJo, Mr. Talkbox, Chronixx, Stevie Wonder, Nas, Wale, Jill Scott, Alex Isley, El Debarge, Zacardi Cortez, Gene Moore, Samoht, Tim Rogers & Darrel 'MusiqCity' Walls.

Tunesday Recordings proudly presents its third release, bringing the two balearic pop originals "Brazilian Breeze" and "Mysterious Nights" from the sought-after 1986 LP "Leaving You" by Preludio to today's dance floors. The Italo-influenced songs mark the very ¦rst work of Peter LaSalle who has made a name for himself with several releases under the moniker Sound Surgeons in the 2000's. As a ¦rst endeavour
under the moniker DNA (standing for Danny, Norm & Andres), the trio centered around Andres Astorga aka Trujillo brings out their own vsionary reworks with nothing but the songs' titles as inspiration. On "Brazilian Breeze", they dive deep into an ocean-blue rippling with cool synthesizer sequences and steel drums. "Mysterious Nights" teases you into a Linn Drum-driven adventure in which hazy waves mingle with late 80's guitar licks and soothing brasses. Many thanks to Peter LaSalle for making this reissue possible and many thanks to
Santi Oviedo for literally revising the original artwork.

After more than a decade releasing quality music on prestigious labels worldwide, Italian artist Nico Lahs launches his new label, U FIT, with two new solo EPs. The first, Distant Shadows, is a 4-track EP that showcases all of Nico's skills and his ability to juggle the most diverse shades of deep house.

A package that collects proper club tracks, groovy stuff, emotional deep house, and raw and deep tunes. Simply what one would expect from Nico Lahs. Tip!

Factory Benelux presents a limited crystal clear vinyl edition of Dark Light, the eighth studio album from post-punk trailblazers Section 25, originally released in 2013.
Recorded in 2012, Dark Light would be the band’s first collection of new material since the tragic loss of founder Larry Cassidy in 2010, and marked a return to the smooth electro and synth-pop textures first explored on their seminal 1984 album From the Hip. These echoes are amplified by the presence of co-vocalists Beth and Jo Cassidy, as well as a sublime cover image by iconic artist/designer Peter Saville.
Much of Dark Light was produced in collaboration with remixer Derek Miller (aka Outernationale), and includes new versions of single tracks Colour Movement Sex & Violence and Inner Drive. Other stand-out cuts include future pop classic My Outrage, also released as a single on Record Store Day.
“A revelation. The group were once doomy post-punks whose 1984 electronic album From the Hip anticipated house music and thrilled New York clubland. Now the deaths of singers Larry and Jenny Cassidy have inspired their daughter Bethany to carry on the family business and give the band a makeover. The collision of the original members’ brittle rhythms and the angelic voices of Bethany and similarly fresh-faced co-singer Jo takes recent material into shimmering club-pop heaven” (The Guardian, 2014)
Now released on vinyl for the very first time, FBN 145 is limited to just 500 copies pressed on crystal clear vinyl. The digital copy contains several bonus tracks.

BOTANICA is the newly established Japanese label created by DJ/ Producer, Iori Wakasa. It was formed for him to utilize it as a foundation for the realization of his own unique, artistic expression.
And now, he has the pleasure to announce his label’s inaugural title with the release of his own BOTANICA EP.

Born in 1988 in a rural Japanese city surrounded by mountains and the sea with a mild climate, Iori grew up playing RPGs with a father who was a devoted game aficionado. And he was introduced to electronic music through game music from an early age and formed his musical sensibilities through playing the classical piano around the same time.

Influenced by the spirituality and idiosyncrasies of punk rock and ethnic and indigenous music in his youth, also gradually influenced by the Tokyo club scene and the music, it didn't take him long before
he made the choice to start DJing at the age of 17 and soon afterwards, started exploring the path of music production as a form of self-expression.

Iori set up Botanica to convey 2 main concepts of 'presenting music that provides each listener with their own viewpoint' and ‘to construct a fusion between 'nature' and 'man-made objects and human
activity’. Through the experience of traveling around Japan, Europe and Asia and connecting with people of different languages and cultures, he became to appreciate that music transcends all languages and grooves, and the framework in which he would like to shape his perspective and embody it as his way of life is what he envisions as the vital expression for BOTANICA, The two tracks and the artwork included in this first EP are the first steps towards hopefully chronicling the story of the vortex that he resides in now and the new forest that he plans to weave in the future with his label.

'The Pure Land' means in Japanese 'Gokuraku-Jodo (= a space where you can live in bliss)', but in English it is closer to 'utopia' or 'paradise'. However, 'The Pure Land' is a musical work that evokes a
hypnotic and pleasant euphoria through the gradual layering of multiple rhythms and soft particles of spatial sound design. It is also shaped with the aim of liberating the listener and guiding them towards their primal self.

In contrast, 'Lunar Down' expresses the changes that occur in the human state of mind during the extended period from moonrise to moonset especially when the moon sets from its zenith and is completed with a focus on maximum dance floor impact via an inner voice that resonates in the brain that echoes throughout a well-textured bass line and rhythm track.

The artwork for the front cover of this EP was created by SHINOZAKI HILOSHI, an illustrator who has been traveling and painting to express his true way of life that he learnt in the 10+ years of commuting between Tokyo (the end) and the Hawaii Islands (the beginning), and the graphic designer hiro, who stands by Iori`s side as his life partner and as the person who understands him the best. Iori`s first steps are complemented by the label design and art direction by graphic designer hiro, who stands by his side as his life partner and most understanding partner, and the proof is the physical cut, which is presented as the foundation for the future.

CLEAR VINYL. LIMITED TO 300 COPIES!


Suzanne Ciani’s Improvisation On Four Sequences somehow represents the complete histo- ry of electronic music, as the enthusiastic audience at Week-End Fest 2021 were lucky enough to experience. From the awakening of American avant-garde music at the end of the 1960s, right through to the development of the electronic sound of the club scene in L.A. and New York. But above all it is the dialogue between artist and machine, which simply ends when the concert is over, that comes across. Laconicism, precision, sound sensitivity and the weight of a tradition that Ciani was instrumental in founding all come together. It is spectacular precisely because it is so unexciting.

Read any article or comment thread about the Seattle noise-rock outfit GREAT FALLS and you're likely to see descriptors like cathartic, heavy, crushing, and unhinged. Maybe even psychotic. And sure, those are all apt: For over a decade, vocalist/guitarist Demian Johnston and bassist Shane Mehling (who also played together in the early-2000s noisecore band PLAYING ENEMY and the experimental duo HEMINGWAY) have honed their sludgy, overwhelmingly intense brand of heaviness, punctuated by delectably discordant riffs, terrifyingly low, thwacking bass lines, and mesmerizingly tight percussion. In the live setting, too, they’re notorious for a stage presence that is so aggressively confrontational and menacing that Mehling once broke his own arm mid-set.

But the most striking aspect of GREAT FALLS, setting them apart from the murky sea of sludge metal and AmRep-inspired noise-rock bands, is their ability to paint a deeply, utterly human story through an all-out assault on the senses: an art the band has perfected on their fourth full-length album OBJECTS WITHOUT PAIN, out September 15 via NEUROT RECORDINGS.

The album is not only their NEUROT debut, but also the first LP featuring drummer Nickolis Parks (GAYTHEIST, BASTARD FEAST), who joined the band prior to the release of their exhilarating, cacophonous 2023 EP,FUNNY WHAT SURVIVES.

OBJECTS WITHOUT PAIN takes us on a bleak, purgative journey through a separation–a snapshot of the turmoil and indecision that occurs after the initial realization of someone's misery, and before the ultimate decision to end a decades-long partnership. From the foreboding intro riffs of “DRAGGED HOME ALIVE” to the end of the 13-minute closer “THROWN AGAINST THE WAVES,” its eight tracks explore the thoughts that come up when a person is staring down the barrel of blowing up their life: How did this happen? Is it too late for a new life? Will the kid be OK? What will make me happier: familiar torment or unknown freedom?

Memory is malleable. The day you met the person you love, what color shirt was she wearing? At precisely what angle did the sunlight strike his face? How exactly did they glow? These little details are precious, but the strange thing is, the more you cherish them, the more they change. Each recollection is another potential touch point where stories can shift—each replay degrades the truth. Reality's rough edges smooth, with time. Objectivity is a myth: cameras and recording devices all contort image and sound. There's no way to know exactly how things were. And yet we still tell the stories, to try to capture how things felt, even though the truth is always slipping through our fingers.

Lemon Quartet's second albumArts Festseems to unconsciously circle this thematic territory. Full of loose, yet lush repetition, it seems to function like memory—each dizzy melody recalling and rewriting what came before, subtly shaping each piece as time passes. Not that they seem especially concerned with the passage of time anyway. They space out, they work in the realm of feelings, scribbling melodious abstractions that feel familiar. Rich with compassion, harmony, and gestures toward ecstatic—if not objective—truth, it's full of the sort of pieces that demand you return to them, but sound a bit different each time, new details overtaking familiar comforts. Are you hearing them for the first time? Or just for the first time in a long time? Either way, drift away, and try to remember…

Der aus Seattle stammende Produzent Jeff McIlwain, alias Lusine, kehrt mit seinem 9. Album Long Light zurück und feiert damit sein zwanzigjähriges Bestehen bei Ghostly International. Lusine, der als Einfluss für unzählige elektronische Künstler wie die Londoner Loraine James und andere gilt, ist bekannt für viszerale, kinetisch neugierige Musik, die Techno, Pop und experimentelle Kompositionen miteinander verbindet. In den letzten Jahren hat McIlwain sein Handwerk mit mehr kollaborativer, songorientierter Arbeit in die Höhe getrieben. Long Light" zeigt die durchgehende Linie; seine charakteristischen Looping-Muster und Texturen sind dynamisch und dennoch minimalistisch wie immer. Strukturell geradlinig, straff und hell, strahlt das Material als das direkteste in seinem Katalog, mit Gesangsbeiträgen von Asy Saavedra, Sarah Jaffe und den Sensorimotor-Kollegen Vilja Larjosto und Benoît Pioulard. Lusine hat seinen Sound schon früh gefunden, aber er hat nie aufgehört, an seinem Potenzial zu feilen, geduldig die Ablenkungen zu dekonstruieren und die Rätsel zu lösen. Mit Long Light erreicht ein prozessgeleiteter Künstler ein außergewöhnlich erfreuliches Niveau an Klarheit und Unmittelbarkeit. McIlwain sieht den Titel, der der lyrischen Phrase "long light signaling the fall again" entnommen ist, die Benoît Pioulard für das spätere Titelstück geschrieben hat, als einen Leitfaden, der mehrere Bedeutungen widerspiegelt. "Es gibt diese Art von Paranoia, bei der man nicht weiß, was real ist, es ist ein Zeitalter der großen Angst und es gibt all diese Ablenkungen", erklärt McIlwain. "Es ist wie ein Spiegelkabinett." Dem langen Licht zu folgen ist der einzig wahre Weg, und diese Metapher wendet er auf die Aufnahmen des Albums an, die ebenfalls einen zyklischen Charakter haben, ähnlich wie die Jahreszeiten. Wie der Beginn des Herbstes schließt das Album eine Periode der Kultivierung ab; "Musikmachen ist ein Kampf und man muss eine Menge Geduld haben." Long Light ist der Beweis dafür, dass das, was jenseits des Lärms, am Ende des figurativen Tunnels liegt, all die Arbeit wert ist, die man auf dem Weg dorthin geleistet hat. In der gesamten Sammlung identifiziert McIlwain das zentrale Klangelement, einen Gesangsausschnitt oder eine einfache Beatsequenz, auf dem alles andere aufbaut. Auf dem Opener Come And Go" vervielfältigt er eine Gesangseinlage seiner langjährigen Mitarbeiterin Vilja Larjosto zu einem himmlischen Chor, der an den Sensorimotor-Hit Just A Cloud" erinnert. Es ist die Bass-Hook auf der Single "Zero to Sixty", die sich um die Stimme von Sarah Jaffe windet, deren geschmeidiger Tonumfang und coole Darbietung die Quelle für Lusines unverwechselbares Mapping ist.

Der aus Seattle stammende Produzent Jeff McIlwain, alias Lusine, kehrt mit seinem 9. Album Long Light zurück und feiert damit sein zwanzigjähriges Bestehen bei Ghostly International. Lusine, der als Einfluss für unzählige elektronische Künstler wie die Londoner Loraine James und andere gilt, ist bekannt für viszerale, kinetisch neugierige Musik, die Techno, Pop und experimentelle Kompositionen miteinander verbindet. In den letzten Jahren hat McIlwain sein Handwerk mit mehr kollaborativer, songorientierter Arbeit in die Höhe getrieben. Long Light" zeigt die durchgehende Linie; seine charakteristischen Looping-Muster und Texturen sind dynamisch und dennoch minimalistisch wie immer. Strukturell geradlinig, straff und hell, strahlt das Material als das direkteste in seinem Katalog, mit Gesangsbeiträgen von Asy Saavedra, Sarah Jaffe und den Sensorimotor-Kollegen Vilja Larjosto und Benoît Pioulard. Lusine hat seinen Sound schon früh gefunden, aber er hat nie aufgehört, an seinem Potenzial zu feilen, geduldig die Ablenkungen zu dekonstruieren und die Rätsel zu lösen. Mit Long Light erreicht ein prozessgeleiteter Künstler ein außergewöhnlich erfreuliches Niveau an Klarheit und Unmittelbarkeit. McIlwain sieht den Titel, der der lyrischen Phrase "long light signaling the fall again" entnommen ist, die Benoît Pioulard für das spätere Titelstück geschrieben hat, als einen Leitfaden, der mehrere Bedeutungen widerspiegelt. "Es gibt diese Art von Paranoia, bei der man nicht weiß, was real ist, es ist ein Zeitalter der großen Angst und es gibt all diese Ablenkungen", erklärt McIlwain. "Es ist wie ein Spiegelkabinett." Dem langen Licht zu folgen ist der einzig wahre Weg, und diese Metapher wendet er auf die Aufnahmen des Albums an, die ebenfalls einen zyklischen Charakter haben, ähnlich wie die Jahreszeiten. Wie der Beginn des Herbstes schließt das Album eine Periode der Kultivierung ab; "Musikmachen ist ein Kampf und man muss eine Menge Geduld haben." Long Light ist der Beweis dafür, dass das, was jenseits des Lärms, am Ende des figurativen Tunnels liegt, all die Arbeit wert ist, die man auf dem Weg dorthin geleistet hat. In der gesamten Sammlung identifiziert McIlwain das zentrale Klangelement, einen Gesangsausschnitt oder eine einfache Beatsequenz, auf dem alles andere aufbaut. Auf dem Opener Come And Go" vervielfältigt er eine Gesangseinlage seiner langjährigen Mitarbeiterin Vilja Larjosto zu einem himmlischen Chor, der an den Sensorimotor-Hit Just A Cloud" erinnert. Es ist die Bass-Hook auf der Single "Zero to Sixty", die sich um die Stimme von Sarah Jaffe windet, deren geschmeidiger Tonumfang und coole Darbietung die Quelle für Lusines unverwechselbares Mapping ist.

Join Ryudo and his team on their greatest adventure yet! We're delighted to be collaborating again with Game Arts on this new vinyl edition of the Grandia II soundtrack, composed and arranged by Noriyuki Iwadare and entirely remastered for the vinyl format!

A cult title for the Dreamcast released in Japan in 2000 and acclaimed in particular for its innovative combat system, the game recently benefited from a remastered version in 2019 on Nintendo Switch and PC.

The Grandia II Memorial Soundtrack Edition comes in the form of a luxurious vinyl box set, newly illustrated for the occasion by the game's original character designer, Youshi Kanoe.

It contains 3 yellow color discs inserted in individually illustrated sleeves and a newly designed 16-page booklet with illustrations by Youshi Kanoe and new comments from the team, including Kei Shigema (Scenario Writer), Atsuko Nishida (Designer), Noriyuki Iwadare (Composer) and vocal Kaori Kawasumi.

The Grandia II Original Soundtrack CD Edition comes in the form of a luxurious box set, newly illustrated for the occasion by the game's original character designer, Youshi Kanoe.

It includes 2 CDs and a 16-page booklet with illustrations by Youshi Kanoe and new comments from the team, including Kei Shigema (scriptwriter), Atsuko Nishida (designer), Noriyuki Iwadare (composer) and singer Kaori Kawasumi.

Das nunmehr 20. Studioalbum der erfolgreichsten deutschen Art- & Progressive Rockband ELOY. Es ist zugleich das 3. Album einer einzigartigen, vom Band- Mastermind Frank Bornemann als Rock Opera gestalteten Trilogie über das Leben und Schicksal der französischen Nationalheldin und Heiligen Jeanne d´Arc.
Bereits die beiden ersten Alben mit dem Titel „The Vision, the Sword and the Pyre, Part 1 & 2“, auf denen sich diverse illustre Künstler (u.a. Alice Merton) auf der Gästeliste befinden, wurden nicht nur durchweg positiv rezensiert, und erreichten hohe Chartsplatzierungen, sondern fanden auch aufgrund ihrer auf profunden Kenntnissen basierenden Umsetzung in allen historischen Details auf kultureller Ebene viel Beachtung.


Mit „Echoes from the Past” legt nun der Autor nochmal nach, und lässt den durch die Handlung der ersten beiden Alben führenden Protagonisten und Waffengefährten von Jeanne d´Arc, Jean de Metz, die aufwühlenden Ereignisse der Vergangenheit auf sehr emotionale Weise reflektieren.


Musikalisch entstand dadurch ein Werk, bei dem sich sensible und atmosphärische Passagen mit gewaltigen, dramaturgisch geprägten Klangwogen abwechseln, die den ELOY-Fan sicherlich an frühere Konzept-Werke der Band erinnern werden.


Diese Melange ist aber gemäß Frank Bornemann, der sich bei dieser Produktion erneut mit Veränderungen im Line up konfrontiert sah, voll beabsichtigt. Obwohl es sich bzgl. seiner musikalischen Elemente bestens in die Trilogie integriert, ließ es bei seiner Entstehung offensichtlich doch viel Spielraum für künstlerische Momente, die man nicht erwartet, aber die sich außerordentlich prägend für das Album auswirken, welches wieder einmal einzigartig ist.

UMA, Alt-Pop-Sängerin/Produzentin aus Barcelona mit Zweitwohnsitz in London, präsentiert nach zwei EPs, auf denen sie Kult-Folk-Künstlerinnen wie Linda Perhacs, Josephine Foster und Sybille Baier neben klassischer spanischer Gitarrenmusik kanalisierte, ihr neues Mixtape. JAI ist sowohl eine Erweiterung der Pulverfass-Chemie zwischen ihr und ihrem Co-Produzenten/Partner Luke Bower aka Lucy Lu, als auch eine Reise in einen reiferen Sound, bei dem sie mehr denn je ihren Instinkten und Eigenheiten vertraut. UMA zäjlt nicht nur für Mary Ann Hobbs (6 Music) und Jack Saunders' Future Artists (Radio 1) zu den zukünftigen Champions. Die LP erscheint auf recyceltem Eco-Vinyl, bei dem jedes Exemplar andersfarbig ausfällt.

Soundway presents Circus Underwater’s 1984 self-titled masterpiece. Remastered and extended to a double LP, this deluxe version includes six unreleased tracks unearthed from the original ¼” tapes, and presented with an insert, including never-before-seen photos and the fascinating story behind the music.

Featuring artwork from Grateful Dead collaborator, David Lundquist, the album encapsulates a unique moment in time. Echoing the story of a generation that grew up in the 50s and 60s where music was everything, two friends embark on a journey of experimentation which begins in the beatnik suburbs of Washington DC and travels to the heart of hippie San Francisco.

The result is an opus that fearlessly blurs the boundaries of genres and embraces diverse influences. Elements of prog, rock, ambient and wave music culminate in an odyssey that seamlessly bridges the gap between the spaced-out creativity of the 70s and electronic music of today

Stevie Ray Vaughan's third studio album Soul To Soul was released in 1985, just two years after his massive debut Texas Flood. Moving more into a soulful R&B-tinged blues sound, Stevie included two new band members on keyboard and saxophone for Soul To Soul. The band know their way around a number of cover versions of songs penned by Hank Ballard, Doyle Bramhall, and Willie Dixon, bringing a variety of influences into SRV's brand of modern blues. His own compositions such as “Say What”, “Ain't Gone 'N' Give Up On Love” and “Life Without You” reveal an artist that is ever passionate in delivering real blues, and growing in his songwriting at the same time.

Soul To Soul is available as a limited edition of 1500 individually numbered copies on blue marbled vinyl.

Stevie Ray Vaughan's third studio album Soul To Soul was released in 1985, just two years after his massive debut Texas Flood. Moving more into a soulful R&B-tinged blues sound, Stevie included two new band members on keyboard and saxophone for Soul To Soul. The band know their way around a number of cover versions of songs penned by Hank Ballard, Doyle Bramhall, and Willie Dixon, bringing a variety of influences into SRV's brand of modern blues. His own compositions such as “Say What”, “Ain't Gone 'N' Give Up On Love” and “Life Without You” reveal an artist that is ever passionate in delivering real blues, and growing in his songwriting at the same time.

Rina Sawayama commemorates the one year anniversary of her critically acclaimed album 'Hold The Girl' with a physical repressing of the album featuring new artwork.

'Hold The Girl' sees Rina juxtapose intimate storytelling with arena-sized songs for an ambitious and original album that successfully excited fans and critics alike. Reflecting on all that the year has brought her, the physical re-issue and her redesigned tour for Hold The Girl: Reloaded demonstrates Rina's intent to provide a more intimate understanding of her creative process and unique point of view during the creation of the album.

"If you can imagine a love child between MAC DEMARCO and SPAR-KLEHORSE, then this would be what you're left with." - SO YOUNG MAGA-ZINE
Raised in North Queensland, Australia, Jarrod Mahon is not one to shy away from bold new endeavors. Once parting ways with his previous record label in 2019, Mahon chose to go fully independent, relocating to Berlin in 2019 (where he still resides), despite having no contacts at all in the country. What’s more, having recorded/performed under the pseudonym Emerson Snowe for over a decade - during which time he home-recorded five albums and 13 EP’s, toured with the likes of King Krule or Ariel Pink, played showcases SXSW and the Great Escape, the works - Mahon took that brave, most uncommercial decision to release under his own name and start almost totally anew.
“There was never really a concept to that name Emerson Snowe other than having some kind of separation from who I was as a person,” Mahon explains, “using a moniker gave me that confidence to push myself further mentally and to give myself some kind of a freedom”. And through the process of creating what would become his debut album, Mahon saw that he had outgrown the need for this protective persona. ‘Everything Has A Life’ was meant to be the debut Snowe album”, he admits, “but after I finished mixing it with Syd Kemp, co-producer I realized that I had actually grown a lot and was much more comfort-able with who I am and what my personal beliefs are.”
The choice of ‘Everything Has A Life’ as the album title, pulled from beauteous opening track ‘All I Know’, neatly summarizes this new outlook: moving on from ‘self-pity’ of the past-self by becoming present for the loved ones around you, improving understanding of one’s own self, via the wider world at large.
That track marks the first written during a lockdown stint in LA where Mahon wrote and recorded every day for 2 months, produced nigh on 250 demos and birthed the bulk of the record. It also brought Mahon back to his all-time favorite, Sufjan Stevens’ Ilinois and its blend of widescreen orchestral landscapes and more candid, naked acoustic-leaning variations - an important influence for the album's stylistic contrasts. Another key inspiration for the record too brought Mahon back to his roots - those full-bloom strains of his Mum’s Beloved Neil Diamond, an annual Christmas irritant to Mahon as a child, yet an artist he’s come to respect in adulthood. “Whatever the reason, with age I came to love the big show band sounds,” he says, “the idea of a performer on stage with a mas-sive orchestra with strings was amazing to me.”
With the help of producer Syd Kemp (Ulrika Spacek, Vanishing Twin), such grand designs could be met. - “When we first met, he asked me if I would like real strings on it. I said of course.” Enter Magda Mclean on violin (Caroline/the Umlauts), and Gamaliel Rendle Traynor on Cello (Sweat, Fat White Family), whose strings helped lift the record to romantic new heights.
He continues: “I said to Syd that the only thing I wanted to achieve with this rec-ord was that I wanted it to make me cry at one point. And we got there eventual-ly.” The final culmination of all these strands, ’Everything Has A Life’ is indeed a treasure trove of emotive riches. Locking into that bittersweet, quintessentially ‘pop’ combination of triumphant rhythms and confessional, stream-of-consciousness lyrics plucked straight from the heart, Mahon faces up to years of substance abuse with a series of gorgeous, blushing melodies: “I was using, I was drinking, I was lying to my friends, I was messing up again, I was hiding from myself”, he joyously chants on ‘The Growing’.
A banquet fit for an indie king, Everything Has A Life is loaded with psych-pop lusciousness (‘All I Know’) and anthemic glam fuzz (‘Death Of The Ladies Man’, ‘Deadstar’, or ‘Sonny is my Best Friend’); recalling that foundational Sufjan Ste-vens influence too with shambling flecks of country (‘Charly (Romantic Heart)’). There’s also those lo-fi crepitations of ‘My Man’ and ‘I can’t’ harking back home-recorded demos that lie at the core of Mahon’s creative process.

ENG Dark, atmospheric heavy Americana from Austin, TX, haunting, psychedelic ghost-town sounds for fans of Woven Hand, Russian Circles, and Dead Meadow! Lord Buffalo is a mud-folk band from Austin, TX. They make music together under cover of darkness. Their songs are bricks with which to build a house slowly. They will not be rushed. They will not be quiet. They are the trees clapping, the rocks crying out, the whistle in your snore. Imagine the haunted sensibility of artists like Chelsea Wolfe, David Eugene Edwards (Woven Hand, 16 Horsepower) and Ian Astbury (The Cult) fused with the spacious, expansive psychedelics of Dead Meadow and All Them Witches. Lord Buffalo creates somber, crashy, ghost-town Americana on new album "Tohu Wa Bohu," thick with captivating intensity and brooding heaviness of the soul. 'The sound of Lord Buffalo - that atmospheric diving headlong into the very heart of darkness - is unsettling. And it's magnificent.' _Laurie Gallardo, KUTX Brand new 2023 pressing on sleek transparent coke bottle-green vinyl!

Als Carly Simon bei Jac Holzmans Elektra Records unterschrieb, war dies der Beginn einer Beziehung, die auf Vertrauen und gegenseitiger Bewunderung beruhte.

Zur Feier ihrer Zusammenarbeit hat Jac eine Sammlung von Tracks aus Carlys ersten drei Elektra-Alben zusammengestellt, die seiner Meinung nach ihre Zusammenarbeit und den Bogen ihrer Partnerschaft am besten repräsentieren. Mit Erinnerungen von Jac und Carly, herausgegeben von Ted Olson, erforscht diese "Sammelalbum"-Sammlung die Art und Weise, wie ein junges Talent und ein erfolgreicher Labelboss zusammenwirkten, um einen Sound zu schaffen, der die Singer/Songwriter-Bewegung definierte, die mit dem Feminismus der frühen 1970er Jahre zusammenfiel.

Wie klingt der Ballermann - betrachtet durch eine volkstümliche Sonnenbrille? Heino interpretiert die größten " Lieder meiner
Heimat".

Eine der größten Volksmusik- und Schlagerikonen Deutschlands schnappt sich in diesem Jahr das Mikrofon und damit auch die Krone als neuer Partykönig - wenn Heino die erfolgreichsten deutschsprachigen Partyhits der letzten Jahre in seine unvergleichliche Klangwelt überführt.

Auf dem neuen Album, das die seit gut 65 Jahren im Rampenlicht stehende Ikone mit der Trademark-Sonnenbrille gemeinsam mit Hitproducer Christian Geller aufgenommen hat, präsentiert Heino nur
die größten Party-Hits auf seine Art und widmet sich erstmals der balearischen Hoch(stimmungs)kultur.

HEINO knüft damit an das gefeierte Rock-/RapCoveralbum "Mit freundlichen Grüßen" aus dem Jahr 2013 an - denn auch jenen #1-Longplayer hatte er gemeinsam mit Christian Geller aufgenommen.
Das Produkt ist als CD & Doppel-Vinyl erhältlich.

Static Dress haben ihr Signing bei Roadrunner Records bekannt gegeben und Details zu einer Deluxe-Neuauflage ihres Debütalbums Rouge Carpet Disaster verraten.

Mit Rouge Carpet Disaster (Redux) erweitert die Band ihr gefeiertes Debütalbum um ein neues Artwork und vier neue Redux-Versionen der Singles, darunter: "Courtney, just relax" (ft. World Of Pleasure), "Attempt 8" (ft. Sophie Meiers), "Di-sinTer (Glitter Redux)," und "such.a.shame" (Smoking Lounge Redux) Albumcover / Tracklisting
unten. Rouge Carpet Disaster (Redux) wird in mehreren Vinyl-Varianten erhältlich sein, wobei jeder LP eine zusätzliche 7"-Vinyl mit den vier Redux-Tracks beiliegt.

Ursprünglich unabhängig veröffentlicht, erwies sich Rouge Carpet Disaster als ein Wendepunkt für Static Dress . Produziert von Erik Bickerstaffe von Loathe und geschrieben von Static Dress , zeigt das Album einen phantasievollen Sound, der Emo, Screamo, Metal, Pop,
Elektronik und vieles mehr umfasst und eines der ambitioniertesten Statements innerhalb des Rockformats seit Jahrzehnten darstellt.



























[m] 13. Courtney, just relax [ft. World Of Pleasure]
[n] 14. Attempt 8 [ft. Sophie Meiers]

We are very happy to present you the newest eudemonia record by no other than Zeta Reticula. The Slovenian born artist needs no introduction as he has released several iconic releases during the last 23 years. For this EP he explores his more melodic side and presents three unique tracks ranging from Electro to Breakbeat.

From the intricate fictional details packed into the cover art (cocreated by Palomo and designer Robert Beatty), to the lyrical collage
of pop culture and political references, to the music’s early-digital
sheen, the album evokes the 80s golden age of rock stars like Bryan
Ferry and Sting leaving their own breakthrough projects to strike out
as jazzy solo musicians. It’s parody, sure - of rock star ego trips, the
mall-ification of America, and our own self-obsession, even on the
brink of apocalypse - but it’s also dead serious, the sound of history
repeating itself as the Doomsday Clock clicks past its Reagan-era
maximum and nuclear anxiety comes back into style along with digital
synthesizers and sax solos. The deeper it pulls you into its own
uncanny reality, the clearer it becomes how thin the borders are
between Alan Palomo’s ‘World of Hassle’ and our own.

Wewantsounds is delighted to announce the first international reissue of Ayako Shinozaki's hard to find LP "Music Now For Harp" released in 1974 by Nippon Columbia. The LP was released on the label's cult "Master Sonic" series and features Shinozaki's harp soundscape on works by renowned composer Toru Takemitsu and Katsuhiro Tsubono. The highlight of the album is the spaced-out, ethereal 25-min ambient epic 'Heterodyne' featuring cult musician Takehisa Kosugi (Taj Mahal Travellers, Group Ongaku) on electric violin and sound waves. The album has been newly remastered by Nippon Columbia and is reissued here with its original artwork designed by legendary Japanese graphic designer Kohei Sugiura. It includes a 2 page insert with new liner notes by Alan Cummings.

In the swirl of underground music emerging from Dunedin, New Zealand in the 1980s, Peter Gutteridge stands as one of the era’s most intense and shadowy figures. Despite being a founding member of The Clean and The Chills, Gutteridge would eschew indie-rock fame for the hypnotic and driving sounds of his later bands such as Snapper.

Fittingly, it is Pure—Gutteridge’s lone solo album of intimate home recordings—that serves as the most revealing and celebrated release of his career. As Peter Jefferies writes in the liner notes, “That’s what’s so good about Pure. Not only the songs, but the name, the name for the recording. It is as pure as you can get. That’s the real deal, when it goes from nothing to something and he catches it on his machine.”

Originally released on cassette in 1989 on Xpressway, Pure documents Gutteridge’s stunning use of 4-track as instrument. Featuring lo-fi pop gems and interstitial sketches, the LP combines densely layered keyboards and guitars, distorted drum machines and possessed-sounding vocals to create a truly singular work of undistilled artistic vision.

While Gutteridge denied that he was the architect of the “Dunedin Sound,” Pure sits comfortably next to the most revered Flying Nun releases of its time. Shifting exquisitely from churning rattle to an airy ease without losing momentum, these twenty-one songs hold a lasting place in the canon of DIY music. Recommended for fans of Syd Barrett, Jim Shepard and early Fad Gadget. Includes drawing chosen by Peter’s family.

Japan has produced some exceptionally talented jazz drummers and among them is Tatsuya Nakamura, who joins the BBE Music J Jazz Masterclass Series with his album ‘Locus’ from 1984, a session covering several bases, from heavy percussive samba to meditative avant-ambient. This is the album’s first ever reissue, although a track from ‘Locus’, ‘¼ Samba’, was included on J Jazz vol. 3. Nakamura began his drumming career as a teenager, inspired after seeing the documentary film “Jazz on A Summer’s Day” and listening to his idols Art Blakey and Miles Davis. By his early twenties, Nakamura was working with such luminaries as free jazz guitarist Masayuki Takayanagi, pianist Masaru Imada and band leader & composer Mitsuaki Kanno. In the mid-70s, like several other Japanese jazz players, Nakamura decided to make the move to New York where he studied drumming with Roy Haynes, and performed with members of the AACM and players from the loft and free jazz scenes including Richard Davis, George Adams, John Hicks, and Pharaoh Sanders. Returning to Japan, Nakamura continued playing as leader of his Japanese band The Jazz Fellows and in 1979, he went into the studio as leader for the classic “Where Is The Quarter” session featuring Masaru Imada, Hideto Kanai and Kenji Mori. This session includes the original percussion heavy version of ‘¼ Samba’ and was followed by a period back in NYC during which he recorded the funky/free session ‘Rip Off’ in 1980. 1984 saw Nakamura working as leader of a heavy-duty fusion septet and in February of that year he led them in a performance at Audio Technica Hall. The album ‘Locus’ on Sea Horse Records is the label’s one and only release. On ‘Locus’, Nakamura is joined by a stellar line-up. On trumpet is Shinobu Fujimoto and he’s joined by seasoned bass player Hideto Kanai (1931 -2011) who began playing in the mid-1950s, appearing on King Recs All-Star Jazz Series before going on to be a regular fixture on the legendary Three Blind Mice (TBM) label, backing many of its leading artists. He even released his own album on TBM, ‘Ode to Birds’ in 1975. On guitar is Kazumasa Akiyama. Born in Tokyo in 1955, he taught himself guitar at 10 years old and was influenced initially by The Beatles and Ray Charles, and later Jimi Hendrix, Cream, Chicago Blues, and jazz. When he was a student, he got a chance to appear on Sadao Watanabe's radio program ‘My Dear Life’, which led him to join the Isao Suzuki Group and Mikio Masuda Group. Akiyama released his first leader album ‘Dig My Style’ in 1978 and is still an active musician. On keys is the incredible Jun Fukamachi (1946-2010). Born in Harajuku, Tokyo, Fukamachi started playing the piano at the age of three, showing an extraordinary talent, recognised as a child prodigy. He became a professional musician while still in school and released his first album ‘Portrait of a Young Man’ on Polydor in 1971.

Lunatic Rec. delivers a diverse album by Electro veteran Manasyt.
On this record the artist shows his own dystopic view on the random game of life. Black or white? Women or men? Sexuality? IQ? State? Religion? Destiny or American Dream? The darkness of this record’s sound doesn’t really leave a choice to answer. Between fast edged drums and offkey harmonics you get thrown into the ups and downs of a likewise horrible as appealing fever dream in seven sequences. The vinyl comes in a handmade screenprinted fullcover, limited to 300 copies. Download code included.

Worriers' new album Trust Your Gut is what happens when a queer Springsteen sleeper cell emerges to throw an indie rock house party. It’s the opening scene of Empire Records if it were soundtracked by Frightened Rabbit. It’s about yearning for a better self when you constantly feel neither here nor there. While that isn’t entirely about their gender, it’s absolutely a part of songwriter Lauren Denitzio’s lived experience as a millennial. After Worriers released an album the same week as the 2020 lockdown - and after a history of what can only be described as music industry slapstick comedy - Denitzio rebuilt their songwriting practice from scratch. Armed with a small artist grant, new collaborators, and a lot of time on their hands, Trust Your Gut was written by taking everything apart and putting it back together again. The album was written and arranged with drummer Atom Willard (Against Me!, Angels & Airwaves), pianist Franz Nicolay (The Hold Steady), and guitarist Frank Piegaro who joined the band in 2019. With bass recorded by Allegra Anka (Cayetana) and strings by Ethan Philbrick, Trust Your Gut crafts a world of heart-punching indie rock with pop and folk influences after a career of fierce punk-leaning anthems.

The debut album from Winnipeg psychedelic jazz-funk collective Apollo Suns, 'Departures' (Do Right! Music), finds the band evolving across new styles and moods, encompassing the shifting tides of the pandemic years.

Produced by Juno award-winning producer Ben Kaplan (Bootsy Collins, Five Alarm Funk), Departures is a cinematic journey inspired as much by artists like Goblin, Lettuce, and Frank Zappa as film, TV and video game scores and soundtracks. The band combines classic compositional techniques with synths and electronics, showcasing genre-melding finesse. Introducing strings, acoustic guitar, grand piano, and lap steel into the mix, Apollo Suns explore the visceral and heavy, the elegant and ethereal, epic house rock to New Orleans-y brass, proggy pathways, string-backed balladry, greasy funk and beyond.

"It's been a heavy couple of years. We wanted to make an album that summed it all up," says bandleader Ed Durocher. "I always kind of think of music as the different parts of life. Sometimes it's aggressive, sometimes it's fun and loose, and sometimes it's sad and hard. So, since we don't have vocals, a lot of these songs try to convey those experiences through sound."

Ein Meisterwerk unentrinnbarer Finsternis!

Die schwedische Instanz SHINING wird am 15. September 2023 ihr selbstbetiteltes 11. Studioalbum über Napalm Records veröffentlichen. Die 1996 gegründete Band gilt als eine der kontroversesten und musikalisch brillantesten Bands der Black Metal-Szene.
Auf ihrem elften Werk präsentieren sie sich noch düsterer und brutaler als je zuvor. Laut eigener Aussage wird Shining ”eine abwärts gerichtete Reise in Stereo sein, die die Welt in eine hypnotisierende, unentrinnbare Dunkelheit tüncht”.

Auch wenn die musikalischen Einflüsse hauptsächlich im Black Metal liegen, lässt sich die Band um Mastermind Niklas Kvarforth nicht auf ein Genre alleine festlegen. SHINING verbinden auf unvergleichliche Weise Einflüsse aus verschiedenen Stilen wie Klassik, Jazz und Progressive Rock, um eine düstere Stimmung, schmerzende Wunden und tiefe Leere klanglich darzustellen. Themen wie Selbstzerstörung, Selbstmord und Gewalt spielen eine wichtige Rolle in der Musik der Band. Im Laufe von zehn Studioalben, darunter Meisterwerke wie das legendäre V. Halmstad und Redefining Darkness, haben SHINING sich eine große Fangemeinde erspielt, die in den Bann des musikalischen Genies und der exzentrischen Art von Niklas Kvarforth gezogen wurde.

'5 years since the premature departure of this free-thinking Rocker, Rachid Taha was an iconic musician switching, twisting and turning electronic music with Rock and Pop, underlined by North African rhythms, with a unique diversity and freedom, firstly as part of Carte De Sejour and then as a solo artist. He left us a body of work full of the intelligence of his reflection and all the spontaneity of his music. This wonderful 16 track Best Of is released on CD and 2LP set and features this most famous tracks.Reviews and Ads – R2, Mojo, Guardian, Songlines and London Macadam

'Reneé Rapp’s debut album Snow Angel kicks off her new era of music by putting her heart in full display as she continues to round out her already-multidimensional artistry. Executive produced by Alexander 23, the album captures Rapp’s ability to unabashedly speak her truth, whether it’s through emotional ballads or infectious pop hits. In just a year, Reneé has already sold out shows nationwide while netting hundreds of millions of streams, making Snow Angel one of the most anticipated albums of year.

Much coveted in certain collector circles, this release offers 4 tracks originally recorded in 1985 by, at the time, high school starlet Paola Belloni. All tracks are sung in Italian and consistently easy to appreciate but "Vattene" and "Un Uomo Semplice" steal the show with remarkable downtempo smoothness gliding in the lower BPM ranges. Although many studios at the time would have already standardized more synthetic sounds brought by widespread access to electronics in the mid 80's, these recordings offer a more organic and warm sounding instrumentation - one solid round aural aperitivos. Officially re-issued with original artwork and re-mastered at Manmade mastering in Berlin.

Sunny Crypt is happy to announce its third release: the reissue of the now elusive Nine Minutes to Cairo - Nine Minutes To Cairo 12”, a mysterious post Cosmic 2- tracker with strong New Beat reminiscences from a one-off studio project. Originally released in 1991 by Westside Music, this reissue brings it back to life with a brand new artwork by Matteo Cerri, full remastering by Manmade Studio and cut at 45rpm for your eventual wrongspeed pleasures.

Fake Yourself is an act of revolt as much as it is a celebration of life and an expression of human alienation. As usual in most of his work, soFa here reflects contrasts and contradictions as our existence so often does. It’s about sadness and joy, ups and downs and the fine line which connects them to tell a story. Fake Yourself comes as a spontaneous output of an artist escaping a scene of which the constant superficiality is unavoidable. Mistakes and wrong production with a strong DIY flavor are a conscious choice to not lose the spontaneous feeling which defines these recordings. A pure and direct self, exploring a realm of sound with sharp curiosity, emotion and humour. Where simplicity and complexity marry. This album is a good example on how some of the most authentic musical explorations are the most personal ones. soFa leaves all boundaries behind and let many of his influences confluence. Unconsciously or not, traces of IDM, Disco, New Beat, Dub and mostly Krautrock cross heavenly paths, followed by ironic and confronted vocals and his hypnotic signature basslines. Everything seems to make sense, to fill the chapters of an adventurous short novel. What makes Fake Yourself remarkable is not the deep blend of genres, but the definition of one man shaping and finding his authentic sound. Killing boundaries to create this journey in his very own "style-no-style". All tunes were improvised, recorded and arranged within 10 days in a wooden cabin, isolated in the middle of the nature in Alentejo/Portugal in 2022. This album was not meant to happen and one can strongly feel its spontaneous soul. No overdubs.

The latest project by "El Gusano", a moniker of the elusive Pablo Arrangoiz, aka Dj Fitness, Bauzer Vep, Señor Faxwater, Glue Boy, Goiz and too many more to list (seriously, check out his Bandcamp/discogs). Arrangoiz is a Mexican native based in Miami, known as much for his ever varying aliases as he is for his scrupulous production and sui generis live and DJ sets. Focused on incorporating Latin ritmos with contemporary elements of his other influences such as house, techno, free jazz, German new wave, electro, Miami bass, noise, and more, Arrangoiz’s production, much like the artist himself, is one of a kind.

Saka La Bolsita", the inaugural release on Impacto, the new label and love child of Miami powerhouse producers Nick León and Jonny From Space, is a sonic conglomeration of acid cumbia with slivering jazz chords, microtonal reggaetón constructed with a tuning system made by finding the overtones of air conditioners, demonic dembow with a dash of house, Autotune Festival sex music, and all out pure ratchet core with an El Chavó sample. Including collaborations with lifetime friend Matt Angel AKA "El Descarao".

Rare Montreux festival sessions from 1982.
Live Album by Detroit/Tribe Jazz Icon Reggie Fields.
Featuring an All-Star Line-up.
First ever vinyl reissue.
180g BLACK vinyl limited to 500 copies (w/obi strip) . Non-Returnable.



The Real ShooBeeDoo (AKA Reggie Fields) has always been a consistent name on the Detroit jazz scene … Fields who played with Pharoah Sanders while he was living in Motor City, worked with Sun Ra in the late 1970s and early 80s and who was also a close associate of the Afro-centric TRIBE label and artist collective, leaving his marks on a few essential TRIBE sessions such as Phil Ranelin’s “The Time Is Now!” as well as Ranelin & Wendell Harrison’s masterpiece “A Message From The Tribe”. It was Wendell Harrison who gave Fields the chance to record his landmark solo album (Reminiscing from 1981) to be released on his Wenha imprint. Reggie chose to record under his moniker “The Real ShooBeeDoo” because he built a rock-solid reputation as an internationally acclaimed performer under that name.



In 1982 he embarked on a European tour and performed at various clubs in countries such as Germany, Holland, Belgium, Italy, Switzerland, Luxemburg, France and Norway. This ecstatic touring vibe can later be heard on his fantastic ‘‘Live at Montreux Jazz Festival, 1982” album (simply called ‘Good To Go’).



“Good To Go” which we are proudly presenting you today features 10 tracks consisting of smooth Jazz-rumbas, French avant-garde jazz vocalizations, bass lines that can blow through walls as if they were made from paper, foot stomping rhythmic beats, lyrics that are pure poetry and ecstatic beats that took the crowd on a musical trip that ended in them raving for more. Playing before a large and enthusiastic crowd, Reggie’s spiritual cosmic free-flowing rhythms took the audience by storm…and the stakes were high because the bill was pretty impressive, he shared the stage with some of the biggest names in the genre (the festival bill also included Miles Davis, Dizzy Gillespie and Sonny Rollins).



Also…a quick closer look at the cast of all-star players featured on the album is most likely to be enough to get an impression that this is a very special record. Detroit preferred pianist Earl Van Riper brings his rich musical experience to the table that he perfected during his collaborations with Marcus Belgrave, Eddy ‘Cleanhead’ Vinson, Dinah Washington, Wes Montgomery and countless others. On the tenor saxophone we have Robert Barnes known for his work with Donald Bird…and last but not least we have Tani Tabbal on drums who is famous for his performances and recordings with Roscoe Mitchell and Sun Ra!



All of the above makes this rare album a total must-have that just begs for a prominent place in your record collection.



Tracklist:

Jumping With The Bellboy , Dark Eyes , Qu'est Ceque C’est , Do You Call that Friendship , Oo Shoobee Doo , Crazy She Calls Me , Have You Met Miss Jones , Ye Brac Hareesee , Hit That Jive Jack , Too Late Now

Piotr Kurek’s new album “Smartwoods” is a sprawling root system of tiny melodic phrases that loop and curl around subtly evolving instrumental thickets. The Warsaw-based producer and composer takes his cues from early music, baroque music and experimental jazz, entangling his influences with filigree traces of contemporary computer music and fueling it with sonic vapors from the near future.

Made up of seven distinct segments, the album blurs its acoustic and electronic elements into an illusory hedge of abstract sound. Harp, saxophone, clarinet, double bass, voices and guitar twist into computerized processes and synthesizer chirps, creating an uncanny dreamworld where the real isn’t always what it seems. Each player is entwined with the other to create a living, breathing whole.

Like Kurek’s painterly 2021 album “World Speaks”, “Smartwoods” is also inspired by visual art - particularly the whimsical work of Algerian-French graphic designer Jean Sariano. The album cover features artwork by Polish painter Tomasz Kowalski, whose shapeshifting creatures and miniature stories aptly reflect the music’s wild fantasy. The first manifestation of “Smartwoods” – a live show at Unsound in Kraków in 2022 – featured animations by Italian artist Francesco Marrello, who put together a visual treatment for the single “Harps”.

Music composed, arranged and produced by Piotr Kurek
Anna Pašic - harp
Tomasz Duda - clarinets, saxophone, flute
Wojtek Traczyk - double bass, electric bass
Piotr Kurek - keyboards, MIDI wind controller, electric guitar
Recorded in June and November 2022 by Piotr Kurek, Piotr Zabrodzki (Studio Pasterka) and Tomasz Duda

In 2015, Cico Beck ( Joasihno, Aloa Input, the Notwist ) and Markus Acher ( the Notwist, Tied & Tickled Trio, Rayon ) started the project "You + Your D.Metal Friend" as a collective for improvisations and ideas apart from their other bands.

They will experiment with different settings and instrumentations and will collaborate with other artists for the music and the cover-artwork.

For "Sonnier", their first recordings, Cico and Markus started with percussion instruments from around the globe, analogue synthesizers and all kinds of acoustic and electronic devices to layer music that sounds like the memory of Gamelan, Italian library-records and minimal electronic experimentation... music, they listened to a lot before recording.

"Sonnier" will be available on vinyl (incl. download-code), limited to 300 for the world, and will not be repressed. Packaged in heavy-cardboard-LP-covers from second-hand records, they collected from their local record-stores with a screen-printed and numbered artwork glued on it. Designed by Richard Greenan from kit-records, London, and printed by Senor Burns (Red Can). Each cover is unique and hand numbered.

Stunning multi-track recording, pulled from the band’s live set at the Kennedy Center on September of 1971. One track, the jazz-tinged “Goodbye” was released as part of the Chicago Six Decades Live and was the most streamed track on that set. The rest of the set is previously un-released. The collection will include liners and a poster.

Tasty Treats Records is happy to present another great artists: Shaka.
Title track is a pure dancefloor track with nice strings,organ solo and with the piano chord with lot of old school house influences.
B side is a totally different kind of song influenced by jazz and latin music with a groovy percussion session,a fat bassline and soulful vibrations.

Tony Bennett, who sadly passed away recently, is one of the most popular artists and entertainers of the USA.

During his magnificent career, he sold more than 50 million records and won 19 Grammys.

Thanks to his collaborations with artists such as Lady Gaga, Tony Bennett is also very well known among the younger generations.

The compilation „Have A Good Time With Tony Bennett“ displays the many facets of the singer and makes clear how many hits he had.

„I Left My Heart In San Francisco“ , „Rags To Riches“ , „Blue Velvet“ , „Cold Cold Heart“ to name a few.

The fans of Tony Bennett can look forward to a vinyl featuring 18 tracks and almost 50 min. running time.

Ladies & gentlemen,

We hereby bring forth a series of purified strains and upgraded weapons from a pulparallel world.

It all started with a circular piece of bronze 10” vinyl which, 3 years later, deserved to be recornditioned. Therefore, we’ve revisited said piece with the intention to bring levels of euphoria to yet another level. Cut and pressed on 12” vinyl for longer grooves and optimal DJ performability.

In other words, when PULPCORN001 is a star, PURECORN001 is a black hole.

Own at your own risk.

The Duca Bianco label swerves its usual various artists' format to allow CW - who has appeared on those before - to step up with his own solo EP. He is a mysterious artist but is well known for his immersive record collection and legendary sets on the London scene. He is one-third of the Beauty & The Beat party and brings his unique twists of Afro and soul to this quartet of tunes. 'Karambolage' opens up with lots of big horns and noodling string sounds over a ramshackle beat then things take a cosmic turn on the rather more psychedelic 'Six Times Seven' with its Nippon-koku polyriddims, while 'Ou Ka Jis Fe Kole' is a party starter with a Zouk dub edge and 'Nzimbab' is built on a low slung and swaggering rhythm.

London-based underground label Release Sustain is proud to announce the release of a brand new EP by Chicago's Jamal Moss, Mathematics Recordings label head, is one of the most uncompromising artists in the game. Famed for his raw, lo-fi approach to house, he messes with the rules and makes unpredictable, unforgettable sounds like few others. Here he arrives on London's Release Sustain with four cuts of relentless drum programming and acid melodies that traverse the line between house and techno. From the slow and wonky opener to the coruscated 'The Dark Hold of the Bold' via the distorted and deprived 'The Nu Glance Sound' this is a fine EP.

The house of Sakskøbing is witnessing a spawn of a sub label with the catalogue code RVZ. This is a coastal part of the main city, with abundance of nature & clear water, the rhythms in Zealand as one may say. The number one comes together as a four track Various Artists and consists of long-term friends of Sakskøbing as well new faces welcomed to the label.

The side A comes from a hardware live project Cattle Freq consistent of three musicians SIL, Keroz and BRTS. The trio have launched the project called Cattle Freq with performance of all original material recorded & rehearsed in the outskirts of their hometown in the end of 2021. Following up is the close friend of the label the Tommy Vicari Jnr, an artist highly praised not only in his native city Sheffield but is consistently played by hard working dj’s in the whole world. With “No matter what” the gentleman returns to label for the second time since 2016 which marks for a special date.

Foxbam Inc is a new label from underground Scottish talent Foxtrot and countryman and long-time acid lover Egebamyasi. Both feature on this first EP which is a various artists affair inspired by many years of playing and partying in the dance world. HIs 'Freaky Foundations' kick off with flat-footed and hard-assed techno, then comes Mr Gasmark who has roots in back metal but loves "a dark acid cocktail". He serves up a high-octane 303-laced monster banger here in the form of a remix of Araknoid. Egebamyasi's 'Fryer State Of Unconsciousness' is a wall of distorted noise and sheet metal synths that never let up. Last of all is a remix from Mark Archer, half of the legendary Altern8, and here offers up a jacking house cut with fat acid lines tearing it up.

This record"s origin story is as elusive as Pharoah was about everything Pharoah. It was born out of a misunderstanding between him and the India Navigation producer Bob Cummins, and was recorded at a crossroads in his career with a group of musicians so unlikely that they were never all in the same room again. There was a guitarist who was also a spiritual guru, an organist who would go on to co-write and produce "The Message", and a classically trained pianist - his wife at the time, Bedria Sanders - who played the harmonium despite never having seen one. At times ambient and serene, at others funky and modal, PHAROAH radically departed from his earlier work. It would become one of the artist"s most beloved records and one of the great works of the 20th century. With Pharoah Sanders" blessing, the limited edition embossed version of this 2 LP box set presents the definitive, remastered version of PHAROAH, his seminal record from 1977, along with two previously unreleased live performances of his masterpiece "Harvest Time". This is the first official rerelease of PHAROAH, which has been bootlegged often since its original release in 1977. These exceptional live versions of "Harvest Time" - which Pharoah performed during an intense European tour in the summer of "77 and which are included here for the first time - turn the original, beloved composition on its head. PHAROAH will be released a year after the legendary tenor saxophonists" untimely passing, and two years after the release of what was to become his final album, the widely acclaimed PROMISES, a collaboration between the composer Floating Points and Pharoah Sanders, featuring the London Symphony Orchestra. The first pressing of this limited edition box set comes with an embossed cover and is accompanied by never-before-shared photographs and ephemera, as well as a 24-page booklet featuring rarely seen photographs, interviews with many of the participants, and a conversation with Pharoah himself.

Brussels-based power trio Don Kapot are set to release their rousing new album 'I Love Tempo' on the 15th of September via W.E.R.F. Records - NEWS distribution.

A lifeboat of free jazz, afrobeat and krautpunk sailed by Giotis Damianidis (bass), Viktor Perdieus (baritone saxophone) and Jakob Warmenbol (drums), the album follows the release of their critically acclaimed 2022 album 'Un Peu Live' recorded with Dutch multi-instrumentalist, vocalist and composer Fulco Ottervanger, and described by Bandcamp Daily as a 'very fun mix of modern jazz and krautrock.'

Don Kapot strike hard with their fourth album, mixed and co-produced by Greg Saunier (Deerhoof). Using a wide range of instruments, they evolve their sound into a solid complex rhythmic wave, shaken by demented samples and punk attitude.

From the vibrant, pounding rhythms of opening track 'Me Pig' to the off-kilter, whimsical beats of 'Macarona' and 'Terryble,' Don Kapot integrate new instruments and sounds into their repertoire, including keyboards and sampling. The groove remains a central element to the sound as the trio deliver a palpable blend of high tension and joyous energy where genres are demolished.

Elsewhere, the funk-heavy 'Bernadette' allows the magical, freestyle sax work of Perdieus take centre stage while 'Don Be No' is an urgent, flippant blast of vigour and zest before the album title track 'I Love Tempo' is an exhilarating and hypnotic journey that combines the freedom and verve of free jazz with the trance-like zeal of artists such as Tony Allen, Fela Kuti and Kologbo

Releasing their self-titled debut album in 2018 via Mr. Nakayasi Records, in 2021 they signed to Flemish record label W.E.R.F. Records and have released three albums under the label and have performed sold-out shows across Belgium and the Netherlands.

The players in Don Kapot also extend their musical adventures to other projects. Damianidis leads Punk Kong and has performed with Akira Sakata, Sakis Papadimitriou, Oghene Kologbo, Tony Allen, Baba Ani, Balasz Pandi and Gonzalo Almeida among others. Warmenbol was a member of The Unrevealed Society, Robbing Millions and M(h)ysteria. He also performs with Ruth Tafebe & the Afrosoul Messengers (with Giotis), Under The Reefs Orchestra and Monolithe Noir. Perdieus performs in Punk Kong and with Pompelmoes and The Milk Factory and took part in Ifa y Xango, Laia Arkestra, Bolhaerd, Nest and VVolk. He has also recorded and played with Andrew Cyrille (Bambi Pang Pang).

Hellfish and Bryan Fury, the Axe Gabba Murda Mob, are two of the biggest innovators in hardcore techno. Both have been pushing the genre in all kinds of directions for over two decades providing the pulse for thousands of parties around the globe. So with this in mind, we are honoured to present 'Baby Eaters', an earth shaking joyride to the very edge of the human psyche and beyond.

The eponymous A-side strikes terror into the hearts of men, splitting brain cells like atoms with destructive chain reactions of radical distortion and soul-stripping screams. Pure demonic catharsis, sound frequencies don't get more violent than this. The B side 'Acid Abyss' is an LSD stained hardcore techno anthem where eerily cold voices are strangled by crunchy bellowing kick drums and bleeding 303s. Despite still being cranked up, the precision of the fills in this track offsets the chaotic kicks of the A-side, coming off almost subtle in comparison.

This single is for connoisseurs coming lovingly housed with artwork by the wonderful Jim'll'Paint it, depicting the deadly duo conducting some rather grizzly research in their underworld studio.

For fans of: Venetian Snares - Bloody Fist

Boulderhead makes his debut on Natural Frequencies a new imprint from Handy Records.

Four bouncy bass tech house cuts in true Boulderhead form, driving percussion, soaring synths all embellished with trancy textures. Bridging the gaps between House, Techno and Trance.

If that isn't enough for you already Luca Lozano steps in for remix duties, moulding his signature style into a pacey 140bpm stomper.

Having established his name with releases on Craigie Knowes, Small Hours, Running Out Of Steam, Gestalt and more. Were gassed to have Boulderhead on our first record.

Repress.

RAWAX proudly welcomes Ian Pooley to the artist family!
Overthirty years into his career, Ian Pooley continues to be a favourite of house & techno fans and DJs, remaining a highly respected figure within electronic music.

He is enjoying one of the most fruitful periods of his career, with fresh material drawing more house and techno lovers to his fanbase, while classic older cuts are being reintroduced to new generations.

We are pleased to present you in future some of his timeless past & present releases. Starting with "Relations". This 2x12" came out originally in 1996 on iconic Definitive Records, runned by Richie Hawtin & John Acquaviva. The re-mastered version will be available on solid 180 Gramm vinyl

The first release on deadbeat Records comes in the shape of an EP by Rnbws. Pressed on ltd edition 140g vinyl. Only 300 records pressed. All profits will go directly to the artist for this release.


DJ Support:

Jay Carder
“Rnbws wake up / don’t say a word - sweet Jesus what belters”

Adam Curtain
“Tracks are sounding wicked btw! Will play the A1 for sure, it's a great EP”

Adam Shelton
“DOPE trax! full support on this BOMB!”

Farsight
"Rnbws release is sounding sick! Been playing 5321 and Spinner"

Adam Antine / Dawn Razor
"Great release mates!"

Oldfield
"Sick release - been playing 54321 out loads"

After the A/V performance at Up To Date Festival back in 2022, Claudio PRC’s “Unda” project is going to be released as LP on vinyl and digital next September 2023.

Claudio PRC’s upcoming ambient album is a sonic journey through ethereal landscapes and intimate atmospheres. Drawing inspiration from the waves and their movement, “Unda” (in Sardinian native tongue “wave”) evokes a sense of calmness and introspection. Throughout the whole piece, Claudio PRC creates a blend of meticulously crafted organic and synthetic elements that seamlessly integrates together, showcasing his versatility as an artist and his commitment to exploring all facets of electronic music. With its textured layers, this work offers a soothing and reflective musical experience, inviting the listener to escape into a world of contemplation and meditation.

Toronto-based producer and DJ Ciel is renowned for a style of dancefloor material that’s as heady as it is visceral. The Xi’an-born artist’s ascendant profile has seen her cutting- edge and club-ready EPs released on UK labels Peach Discs and Coastal Haze, as well as Stateside imprints Spectral Sound and Mister Saturday Night.

As a member of the renowned collective Discwoman and the creator of femme-forward party Work in Progress Ciel’s thoughtful narratives are clear, running in parallel to the perception-altering sounds that are consistently woven deeply into her wide-ranging sets, beloved mixes and inventive collaborations. Now the Parallel Minds label co- founder is crystallising her imaginative and omnivorous sound with her !K7 Records debut, ORLANDO.

Written during her emergence from an uncharacteristic bout of writers’ block, the three original tracks of Orlando chart a return to the musical self, spurred along by a cinephile’s embrace of film, a love of classic literature, and a curiosity for the oddest corners of popular culture. “SCENES FROM A MARRIAGE” might share a name with the episodic series, but is rather a nuanced critique of the modern rite of union, moving through structured chapters, and mirroring the un-static nature of longtime love.Inspired by Virginia Woolf’s radical novel, and its superphysical protagonist, “ORLANDO” considers the cult literary figure who lived from the renaissance to the modern age, and embodies both sides of the sex binary.

The thrown sounds and aural illusions of “EL CALIFA” create the effect of a beckoning, beguiling psychedelic experience. To complete the EP, Ali Berger, Ciel’s recent collaborator on the Jacktone Records’ release Damn Skippy! repurposes the mind-bending flourishes of “El Califa” into a noodly and spacious deep house production, replete with pillowy, gauzy pads.

There's a buzz building around Australia’s Featherstone and his debut EP for the UK's Gated cements his reputation for acidic, emotive electro. These four tracks see the Adelaide-based artist with one eye on the dancefloor and one on pulling as much soul as he can from his gear. This is glassy-eyed stuff, deeply melodic but punchy as hell, with all four tracks hitting hard

Ole Kirkeng is finally ready to drop his highly anticipated debut album. On Still Not Lost, the listener is treated to an artist bursting with talent and creativity. The young singer-songwriter impressed on the 2021 EP Rocking Chair – a release that landed him a deserved Spellemann award (the Norwegian “Grammy”) on his first try. So, this time around, the expectations are high. Not only for the songs that make up Kirkeng’s first album, but also for the artist he is becoming. Looking back at the searching musician who arrived back in Norway after years abroad, we now see an entirely different artist unfolding. The confidence he exudes on stage, the wittiness and wordings of his lyrics, and – last but definitely not least – the songs! If he isn’t already a star, he is fast becoming one. Still Not Lost was recorded and produced along with Norwegian guitar legend and studio wizard Geir Sundstøl, and the result is just top class craftsmanship in all areas. Ole Kirkeng is a songwriter of the old school, who can stand comparisons to names such as Nick Lowe, Randy Newman, Jackson Brown and Father John Misty. He puts a lot of time and effort into the songwriting trade, and that’s obvious when listening to this collection of tunes. From the immediately catchy “Stupid Questions” via the cute and humorous “I Fell in Love WIth You (at IKEA)” to the epic Dylanesque title track, Still Not Lost contains eight songs, flowing freely between americana, folk and indie – all killer, no filler. Still Not Lost is Ole Kirkeng’s debut album and is released on Die With Your Boots On Records on September 8, 2023. After touring both US and Eu with the likes of Courtney Marie Andrews and Molly Tuttle, he has a lot of experience as a touring musician, but as a solo artist this is still a new life for Ole Kirkeng. «Still Not Lost» is Ole's debut album, and will be released on September 8th. It's a beautiful collection of songs, which makes a perfect follow up to his first EP, «Rocking Chair».

All vinyl is in a Gatefold jacket w/ two 12pg booklets, printed insert + download card. SH289LPCB // SH289LPIE are both for Indie stores only. CD Packaging: Digipak w/ 12pg lyric poster insert. The Armed return with their new album Perfect Saviors, the first new music since 2021 breakout release ULTRAPOP. Providing a full accounting of album contributors for the first time, Perfect Saviors was produced by the band’s Tony Wolski along with Ben Chisholm and Troy Van Leeuwen, with contributions from Julien Baker, Sarah Tudzin, Mark Guiliana, Justin Meldal-Johnsen, Eric Avery, Stephen Perkins, Josh Klinghoffer, and many more. The album was mixed by Alan Moulder. Vocalist Tony Wolski offered this statement on the album: “Too much information has made us dumb and confused. Too many ways to connect have inadvertently led to isolation. And too much expectation has forced everyone to become a celebrity. Predictable primal dangers have given way to newer social ones. And the result is a world that is confounding and terrifying but ultimately still beautiful. We hope this record is exactly all of that, too. Perfect Saviors is our completely unironic, sincere effort to create the biggest, greatest rock album of the 21st century.” Perfect Saviors is the conclusion of a trilogy of albums examining and dissecting what constitutes “pop culture” in a world of limitless information and access. Using “pop music” loosely as a format in which to express these ideas, each album used composition and presentation as a way to challenge these questions further. Perfect Saviors is the ultimate product of this evolution. Using one of the world’s most well-known mixing engineers to create a beautiful album fully immersed in the language and world of pop through the inherently unique, extreme, and perverse lens, The Armed communicate their art. Perfect Saviors follows 2021’s critically acclaimed album ULTRAPOP which landed on numerous Best of 2021 lists including Pitchfork, New York Times, Stereogum, Revolver, and many more. Album announce along with first single/video "Sport of Form" and which features Julien Baker on vocals and Iggy Pop playing God set for June 27th . Indie Exclusive Sea Blue vinyl in gatefold jacket w/ two 12 page booklets + printed insert Limited to 1500. FADER cover confirmed to run with announce and additional Cover story features confirmed with The Guardian, Revolver and Kerrang! will run. Supporting Queens of the Stone Age on their North America Headline arena tour in August, UK/EU headline tour scheduled for early 2024. An interactive ARG campaign with numerous stages of engagement is underway and will continue through release. A website, media mailings and various social media interactions are leading fans to find easter eggs including songs, album info, videos and much more. Videos for all three focus tracks are completed and will be released along with each song. UK PR handled by Adrian Read at Inside/Ou.

Pure Noise Records and Pabst Blue Ribbon have teamed up again to present ‘Dead Formats Volume 2’, a 15-track compilation featuring the Pure Noise Records roster sharing their takes on classic songs from Elton John, New Radicals, The Kinks and scene favourites Taking Back Sunday and more. The concept with Volume 1 was originally curated as a way for fans to discover new, like-minded bands, the same way legendary comps like Atticus’ Dragging The Lake, Punk O Rama, or the Vans Warped Tour Compilations did in the 90’s and 2000’s. Volume 2 will open up a wealth of artists from across the years.

Founding member of Buffalo Springfield and folk-rock supergroup Crosby, Stills, Nash & Young, Stills' first solo album, Stephen Stills, earned a gold record, is the only album to feature both Jimi Hendrix and Eric Clapton, and climbed to #3 on the album charts. Stephen Stills’ single "Love the One You're With" became his biggest solo hit, peaking at number 14 on the Billboard Hot 100 and is the first track on this collection. 14 tracks from Stephen Still’s First US Tour, previously unissued and recorded Live at The Berkeley Community Theater in 1971, featuring David Crosby on two songs. In 1971 Stephen Stills embarked on a US tour, opening each show with an intimate acoustic first set, and closing each night with a riveting electric set featuring the Memphis Horns. These historic, previously unreleased recordings took place over two nights at the Berkeley Community Theater, with David Crosby joining him on vocals and guitar for "You Don’t Have To Cry" and "The Lee Shore." These recordings find Stills at peak performance in both vocal delivery and musicianship, effortlessly incorporating alternate instrumentation on his instantly recognizable tracks, including a seamless medley of “49 Bye Byes" and "For What It’s Worth” unexpectedly played on piano. Hand-picked by Stills from his personal archives, this album captures timeless and era defining performances. Fans who were lucky enough to catch his historic debut trek, dubbed “The Memphis Horns Tour,” were treated to the balladeer, the raving troubadour, the acoustic bluesman, the soul driver, and by far the most passionate music maker. Backed by a loyal cast of friends, including his usual steady rhythm section—drummer Dallas Taylor and bassist Calvin “Fuzzy” Samuels—along with keyboardist Paul Harris, guitarist Steve Fromholz, and percussionist Joe Lala, these Northern California shows were one of the most unique and intimate stops on the tour This album, rather than being an artifact from a bygone era, sparkles and stimulates. It cajoles you into thinking, feeling and—most importantly—moving. Stephen Stills Live At Berkeley 1971 is a cornucopia of priceless sound—and all of it bears the distinct and loving fingerprint of Stephen Stills.

"Mid Air" ist ein Album über das Feiern, die Zuflucht und die Erlösung auf der Tanzfläche. Es ist ein Album, das sich mit Liebe, Trauer, Beziehungen, Identität und Sexualität beschäftigt. Es ist Romys Liebesbrief an die queeren Clubs, in denen sie Gemeinschaft und Anschluss gefunden hat. Die Entstehung des Albums, ihres ersten Soloprojekts, war ein Prozess, bei dem sie sich selbst außerhalb von The xx kennengelernt hat und in dem sie auch noch die Zeit hatte, sich zu verlieben. Es gibt einen Moment, ein Zwischenspiel, ein paar Tracks in "Mid Air", als Romys Stimme leise den Text "it hit me in mid air" singt. Diese Erkenntnis führt uns direkt in den Song "Enjoy Your Life", die zweite Single des Albums, die wie eine Offenbarung klingt. "Meine Mutter sagte zu mir "genieße dein Leben"", singt Musiker Beverly Glenn-Copeland im Refrain - ein Sample aus seiner Platte "La Vita". Als Romy den Satz zum ersten Mal hörte, hat er sie umgehauen - eine Erinnerung in den Tiefen der Trauer, dass das Leben kurz ist und man es in vollen Zügen genießen sollte. Freude, Verbundenheit, Liebe zu suchen. Während die Strophen die härteste Zeit nach dem Verlust ihrer Eltern zum Ausdruck bringen, ist der Refrain eine Art feierliche Ruhe. Schmerz und Freude tanzen zusammen. Die Art von Liedern, die Romy am liebsten mag - das, was sie "emotionale Musik zum Tanzen" nennt - Lieder wie "Smalltown Boy" von Bronski Beat oder "Dancing On My Own" von Robyn. Das ist die Art von Musik, die "Mid Air" inspiriert hat, die Art von Musik, die Menschen in Clubs zusammenbringt, insbesondere in queeren Clubs. Romy begann als Teenager in Londoner Queer-Clubs aufzulegen und sieht "Mid Air" als eine Rückkehr in diese Zeit, ein Pop-Dance-Album, das die Orte beschwört, an denen sie sich zum ersten Mal in das Genre und seine Kraft, Menschen zu bewegen, verliebt hat. Die Tatsache, dass das Album größtenteils unter Ausschluss der Öffentlichkeit entstand, als Romy die Clubs vermisste, machte diesen Impuls, ein Album zu schaffen, das in einem Club ein Zuhause finden könnte, umso wichtiger. Die Zusammenarbeit mit Fred Again.. und Stuart Price (der eines von Romys Lieblingsalben, Madonnas "Confessions on a Dancefloor", produziert hat) sowie mit Jamie xx, einem ganz engen Freund, Mitglied von The xx und Kollaborateur des Tracks "Enjoy Your Life", sorgte für die perfekte Balance zwischen Emotion und Tanzbarkeit. Auch wenn Romy nicht damit gerechnet hätte, dass ein solches Album jemals zustande kommen würde, als sie 2018 begann, mit Fred zu schreiben "Mid Air" führt uns durch die Höhen und Tiefen - einer Nacht, einer Beziehung, von Trauer und Heilung - und endet schließlich an einem Ort des Optimismus. Der letzte Track "She"s on My Mind" ist eine bewusste Anspielung auf den Disco-Song, der am Ende der Nacht in angesagten Queer-Clubs wie der Paradise Garage gespielt wurde und bei dem die getrennt tanzenden Körper zueinander fanden. Es ist das Ende eines Albums, das die besonderen, aber flüchtigen Momente der Ekstase feiert, die man nur in der Tanzmusik finden kann. Oder wie Romy es ausdrückt: "Das Gefühl der Gemeinschaft in den Clubs ermöglicht eine Flucht vor der Realität der Welt. Ich bin vielleicht nicht das Leben und die Seele einer Party, aber in der Atmosphäre eines Clubs zu sein, zu beobachten und sich zu verbinden - dadurch fühle ich mich weniger allein und lebendiger"

"Mid Air" ist ein Album über das Feiern, die Zuflucht und die Erlösung auf der Tanzfläche. Es ist ein Album, das sich mit Liebe, Trauer, Beziehungen, Identität und Sexualität beschäftigt. Es ist Romys Liebesbrief an die queeren Clubs, in denen sie Gemeinschaft und Anschluss gefunden hat. Die Entstehung des Albums, ihres ersten Soloprojekts, war ein Prozess, bei dem sie sich selbst außerhalb von The xx kennengelernt hat und in dem sie auch noch die Zeit hatte, sich zu verlieben. Es gibt einen Moment, ein Zwischenspiel, ein paar Tracks in "Mid Air", als Romys Stimme leise den Text "it hit me in mid air" singt. Diese Erkenntnis führt uns direkt in den Song "Enjoy Your Life", die zweite Single des Albums, die wie eine Offenbarung klingt. "Meine Mutter sagte zu mir "genieße dein Leben"", singt Musiker Beverly Glenn-Copeland im Refrain - ein Sample aus seiner Platte "La Vita". Als Romy den Satz zum ersten Mal hörte, hat er sie umgehauen - eine Erinnerung in den Tiefen der Trauer, dass das Leben kurz ist und man es in vollen Zügen genießen sollte. Freude, Verbundenheit, Liebe zu suchen. Während die Strophen die härteste Zeit nach dem Verlust ihrer Eltern zum Ausdruck bringen, ist der Refrain eine Art feierliche Ruhe. Schmerz und Freude tanzen zusammen. Die Art von Liedern, die Romy am liebsten mag - das, was sie "emotionale Musik zum Tanzen" nennt - Lieder wie "Smalltown Boy" von Bronski Beat oder "Dancing On My Own" von Robyn. Das ist die Art von Musik, die "Mid Air" inspiriert hat, die Art von Musik, die Menschen in Clubs zusammenbringt, insbesondere in queeren Clubs. Romy begann als Teenager in Londoner Queer-Clubs aufzulegen und sieht "Mid Air" als eine Rückkehr in diese Zeit, ein Pop-Dance-Album, das die Orte beschwört, an denen sie sich zum ersten Mal in das Genre und seine Kraft, Menschen zu bewegen, verliebt hat. Die Tatsache, dass das Album größtenteils unter Ausschluss der Öffentlichkeit entstand, als Romy die Clubs vermisste, machte diesen Impuls, ein Album zu schaffen, das in einem Club ein Zuhause finden könnte, umso wichtiger. Die Zusammenarbeit mit Fred Again.. und Stuart Price (der eines von Romys Lieblingsalben, Madonnas "Confessions on a Dancefloor", produziert hat) sowie mit Jamie xx, einem ganz engen Freund, Mitglied von The xx und Kollaborateur des Tracks "Enjoy Your Life", sorgte für die perfekte Balance zwischen Emotion und Tanzbarkeit. Auch wenn Romy nicht damit gerechnet hätte, dass ein solches Album jemals zustande kommen würde, als sie 2018 begann, mit Fred zu schreiben "Mid Air" führt uns durch die Höhen und Tiefen - einer Nacht, einer Beziehung, von Trauer und Heilung - und endet schließlich an einem Ort des Optimismus. Der letzte Track "She"s on My Mind" ist eine bewusste Anspielung auf den Disco-Song, der am Ende der Nacht in angesagten Queer-Clubs wie der Paradise Garage gespielt wurde und bei dem die getrennt tanzenden Körper zueinander fanden. Es ist das Ende eines Albums, das die besonderen, aber flüchtigen Momente der Ekstase feiert, die man nur in der Tanzmusik finden kann. Oder wie Romy es ausdrückt: "Das Gefühl der Gemeinschaft in den Clubs ermöglicht eine Flucht vor der Realität der Welt. Ich bin vielleicht nicht das Leben und die Seele einer Party, aber in der Atmosphäre eines Clubs zu sein, zu beobachten und sich zu verbinden - dadurch fühle ich mich weniger allein und lebendiger"

In the early seventies, Joey Gilmore embarked on his musical journey, captivating audiences with a series of unforgettable singles that showcased his raw talent and unique style. It wasn't until 1977 that the culmination of his musical endeavors arrived—the release of his highly anticipated debut record.

This debut album marked a pivotal moment in Joey Gilmore's career, solidifying his reputation as a self-taught guitar virtuoso and soulful singer. The record resonated with listeners, capturing the essence of his artistry and leaving an indelible impact.

Now, after a 45-year wait, the time has finally come for a vinyl reissue of Joey Gilmore's debut album. This reissue is a celebration of his timeless music, meticulously crafted to preserve the authenticity and integrity of the original recording. Every note, every lyric and the original design of the sleeve has been lovingly restored to transport you back to the magic of that era.

Get ready to immerse yourself in the unadulterated funk and soul of Joey Gilmore's music, as this remarkable reissue brings his debut album back to life. Allow the melodies and rhythms to envelop you, taking you on a captivating musical adventure that transcends time. Revisit the magic, rediscover the artistry, and let the music of Joey Gilmore captivate your soul once again.

Curated by Reference Point residents Mark GV Taylor and George Arthur, this 15 track
compilation album features tracks the pair have played at their peripatetic, Europe wide
events since 2012.
Stretching from the 1970s to the present day the Reference Point compilation spans a whole
range of genres, tempos, languages and grooves where the quality of music is paramount
whether $1.00 bin records or $1000 rarities.
Reference Point, 'a place to hear the music', is a truly trans-global album with music from
Argentina, Brazil, Oakland, Detroit, Texas, London and more, including tracks from private
press albums, from artists who have played at Reference Point events and from current
artists such as MF Robots and Caixa Cubo.
Releasing as a CD, digital and a double LP, Reference Point is another essential compilation
from BBE Music and one that belongs in the collection of all collectors and lovers of great
music

Structured chaos- perhaps the most fail-safe description of the ins and outs of being an artist. Between the peculiar highs and all too relatable lows, chaos follows art like houses in motion; all lofty ambitions, and fast-paced progress. For Brighton’s Porchlight, chaos, and the art of being a band, in all its complex commodities, is nothing more than mere childsplay, in the grand scheme of lawless artistry.

Loosely inspired by tales of small-town rural England- cottage villages with dark exteriors, ‘Wives Tales & Hymns of the Earth’ as a whole, is the outcome of five individual tales coming together to form a conceptually emphasised entity to end all conceptually emphasised entities. Completed by the poetic brood of ‘Blue Chalk’, the jagged anxieties of ‘Spin Doctor’ and Porchlight aficionado familiarities of opening track ‘From Monday’, in just short of twenty minutes ‘Wives Tales & Hymns of the Earth’ perfectly captures the sweeping emotions of a debut; a soul-stirring, ear-pounding documentation of a group taking their first steps into a whole new unknown of their own fine-crafted design.

The first vinyl release from American artist Sydney Spann, Sending Up A Spiral Of well encapsulates Spann’s body of work thus far. On their music, which reacts to themes of family systems and care work, Sydney writes, “people who have done care work —nannies, sex workers, therapists, nurses— may possess their own musical knowledge, developed over time through particular modes of voicing practiced to achieve a desired outcome in their labor. Attending intimately to these ways of voicing and listening and bringing them into a sound practice could be a way to legitimize a less recognized kind of musical knowledge.”

Sending Up A Spiral Of explores this unarticulated expression through sound and song. The titular piece traces Spann within some quixotic woodland, as if beginning inside of some urban fairy-story. Self-soothing singing quivers under dragging branches, peeling cement and other tactile grit. The work drops into a new proximity half-way through as electronic contours overtake the environment. Sine-tones smolder in a pulsating choreography, perhaps reminiscent of Richard Maxfield’s “Night Music” played at half-speed.

The second section of the record depicts a series of five smaller portraits, expressed (or disguised) as lullabies. An oceanic humming permeates them. “Possession” and “Purposeful Evening” are the most song-like lullabies, with their verse-chorus repetition and melodic simplicity. Innocuous words “baby” and “honey” are encoded with deeper, often painful connotations. Sydney’s voice and vision for this album is ambitious, cloaked in the strains and contradictions of what love means in the nuclear family.

A 16-page artist pamphlet of rubbings, photographs and sheet music accompanies the LP, along with a digital PDF of Spann’s thesis “Sending Up A Spiral Of: A Musical Epistemology Made Through Care Work.”

ltd 700 copies on black vinyl housed in reverseboard printed sleave with printed inner sleave. Comes with lyric booklet, poster and postcard inserts ** Formed in 1968, The Plastic People Of The Universe – named after a Mothers of Invention song and heavily influenced by Frank Zappa and The Velvet Underground – were iconic figureheads of the Prague Underground, a loose collective of Czech poets, philosophers and artists considered a threat by the Communist government. Banned and jailed under Czech communism The Plastic People Of The Universe are a true story of artistic perseverance, Authorities claimed their music would have a "negative social impact", and they were banned from playing for the public, having to play secret shows in remote locations. The raw DIY sound of their recordings escaped to Europe on tape and was released without the band's knowledge, their first album being a document of artistic defiance against the control of a stringent political environment they lived under.

Egon Bondy's Happy Hearts Club Banned, PPU's debut LP, was recorded in 1973-74, but not released until 1978 (and even then, only in France). A beguiling album of lo-fi experimental rock that falls somewhere between Can, The Fall and Canterbury psych-folk with Ayler-esque sax solos. First-time vinyl reissue and it is limited. Essential.

One of the best band you never heard of

Preceded by his reputation as a rap experimentalist, Bladee is a prolific and highly inventive entity with work spanning and intersecting the worlds of music, art and fashion.

He began his career as a teenager, trading art and lyrics with close friends. After releasing his first projects, international recognition came quickly and his network of Stockholm innovators soon arrived at the vanguard of a new era in music culture.

Working on Dying is a collaborative mixtape between Bladee and Philadelphiabased producer collective Working on Dying. Features appearances from Yung Lean and Ecco2k.

Preceded by his reputation as a rap experimentalist, Bladee is a prolific and highly inventive entity with work spanning and intersecting the worlds of music, art and fashion.

He began his career as a teenager, trading art and lyrics with close friends. After releasing his first projects, international recognition came quickly and his network of Stockholm innovators soon arrived at the vanguard of a new era in music culture.

333 is Bladee's fourth solo album. Produced by Whitearmor, Gud, Mechatok, Lusi of Ripsquad and Joakim Benon of JJ, the album has no guest appearances.

Preceded by his reputation as a rap experimentalist, Bladee is a prolific and highly inventive entity with work spanning and intersecting the worlds of music, art and fashion.

He began his career as a teenager, trading art and lyrics with close friends. After releasing his first projects, international recognition came quickly and his network of Stockholm innovators soon arrived at the vanguard of a new era in music culture.

Exeter is Bladee's third solo album. Produced entirely by Gud during a trip to Sweden's west coast, the album features two appearances from Ecco2k.

ltd 700 copies on black vinyl housed in reverseboard printed sleave with printed inner sleave. Comes with lyric booklet, poster and postcard inserts ** Formed in 1968, The Plastic People Of The Universe – named after a Mothers of Invention song and heavily influenced by Frank Zappa and The Velvet Underground – were iconic figureheads of the Prague Underground, a loose collective of Czech poets, philosophers and artists considered a threat by the Communist government. Banned and jailed under Czech communism The Plastic People Of The Universe are a true story of artistic perseverance, Authorities claimed their music would have a "negative social impact", and they were banned from playing for the public, having to play secret shows in remote locations. The raw DIY sound of their recordings escaped to Europe on tape and was released without the band's knowledge, their first album being a document of artistic defiance against the control of a stringent political environment they lived under.

Egon Bondy's Happy Hearts Club Banned, PPU's debut LP, was recorded in 1973-74, but not released until 1978 (and even then, only in France). A beguiling album of lo-fi experimental rock that falls somewhere between Can, The Fall and Canterbury psych-folk with Ayler-esque sax solos. First-time vinyl reissue and it is limited. Essential.

One of the best band you never heard of