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Returning from time apart to a world forever changed, dread-fuelled duo A SWARM OF THE SUN bring with them their fourth studio album, `An Empire'; its brooding, yet beautiful, melancholic narrative arc allows the band to dig ever deeper into desolation whilst a newfound lyrical focus adds a tenderness that is both harrowing and heartwarming at once. With the early bones of forthcoming `An Empire' tabled by events beyond their control in 2019, Erik and Jakob came together years later and scrapped them in favour of creating something entirely new; something distinctly different to break the cycle, defy categorisation and reflect the uncomfortable uncertainties of the times we now live in. The result is astounding; continuing the thread of narrative composition seen on `The Woods', `An Empire' is a six-track tale told in four distinct movements that are nothing short of devastating, from plaintive piano ballads to raw, full-band fury. For instance, taken from the album's third side, lead single `The Burning Wall' embodies this sprawling compositional feat perfectly, with the painfully frank opening couplet of "I know I fail you / I know that I run" establishing a gripping narrative trajectory backed by a simmering, impatient pulse that slowly and inevitably rises to an inescapable crescendo of cymbal chaos and wall-of-sound guitar drone. Elsewhere, 18-minute epic `The Pyre' represents Side B of `An Empire' with the confessional intimacy of a waltz-time ballad; the raw, wavering emotion of Jakob's words accompanied only by a haunting, lilting piano refrain before it too is consumed by the bittersweet might of post-rock euphoria to leave only embers of the apocalyptic lyrics in its wake_ `An Empire' marks a significant evolution of A Swarm of the Sun's already indelible post-metal sound. With increasingly bleak times forcing the band to reassess their relationship with creativity and suffering, this new body of work captures all the anthemic, intimate highs and crushing, debilitating lows of modern life on a knife edge.

“If rock ’n’ roll’s a dream, please don’t wake me.” Midwife’s No Depression In Heaven, her fourth studio album, was written primarily in the back of vans while on tour endlessly over the course of the past few years. The record engages with the contemplative spirit of rock ’n’ roll from within a body in motion. No Depression In Heaven explores themes of sentimentality, the interplay between dreams, memory, and fantasy, and a familiar subject seen throughout all of Midwife’s work: grief. Madeline Johnston takes a look at the tender and transcendent underneath a hard exterior of leather and studs, exposing a different side of the heavy music scene, where Johnston’s project has been living and evolving. Recording at home in New Mexico between 2021 and 2023, Johnston aimed to create something that was rough around the edges, returning to a free recording process that was less focused on perfection and more attuned to expressing the spirit that lives inside of the songs. The album features collaborations with Chris Adolf and Michael Stein of American Culture, Ben Schurr and Tim Jordan of Nyxy Nyx, Angel Diaz of Vyva Melinkolya, and Allison Lorenzen. Inspired by ephemeral moments that make up life on tour, the totemization of vehicles, outlaws, and the psyche of America’s underbelly, No Depression In Heaven affirms Johnston’s existential status as a woman of the highway

We expect that many of you will have heard of Anton Barbeau, but for those who haven’t, and indeed those who have but don’t know much about him, here’s some relevant information. Anton is from Sacramento, California and has been putting out his music on a variety of labels since the early 90s. He has lived in the UK and Germany, and we believe he’s now back in California. A brilliant singer/songwriter and performer with an ear for a catchy, psychedelic tune, Anton has worked with plenty of celebrated artists over the years, including Scott Miller, Colin Moulding, Kimberly Rew, Andy Metcalfe, Morris Windsor, Robbie Mackintosh and many more. In 2006 he released ‘In The Village Of The Apple Sun’ on San Francisco’s Four Way Records as a CD only issue. When we started Blue Matter, Anton contacted us suggesting we might like to re-issue the album, as it had never been on vinyl, and he thought it’s overtly psychedelic direction would suit the label. We, of course, agreed. Having worked with Anton over 20 years ago, we were familiar with his output, and were overjoyed to get the opportunity to release this masterpiece on our label. Great songs, great playing, it’s a thoroughly wonderful album, and it’s a genuine pleasure to be working with the excellent Mr Barbeau once again.

FOR FANS OF... Vulfpeck, Steely Dan, Electric Light Orchestra. This album is a musical trip down memory lane. Remember when your Mom and Dad were listening and getting down to the AM Radio? This album is that vibe. These songs are stories from real people who wanted songs about their lives written by Matt Duncan during the pandemic. Matt Duncan's incredible ability to arrange is on full display as the different stories lend themselves to different sounds. Retro and authentic music fills the grooves to the brim on this LP. Piano riffs, swelling horn arrangements, and funky bass lines are ahead on this LP from Indie Music’s best kept secret. We can’t wait for you to spin this LP, and maybe you'll get Matt Duncan to write your song next.

A 140 gram pressing in 3mm spine red disco sleeve with sticker.

Vermelho Wonder is a Brazilian duo formed by music producer and DJ Márcio Vermelho and performer/singer Ivana Wonder. Since their formation in 2016, they have been acclaimed for their avant-garde and experimental style. ‘Se Você’ is an electronic torch song that was originally released digitally in 2021 by Gop Tun (also one of Brazil’s main festivals for Electronic music). For the first time the single is brought to Vinyl alongside a new Jura Soundsystem interpretation. Bonus track ‘Catman’ (Dub) rounds off the 12” with a touch of underground house.

Vermelho Wonder is a unique phenomenon, creating a one-of-a-kind atmosphere with their mix of performance, vocals, and DJ sets. Ivana's mysterious and captivating presence, combined with Vermelho's elegant production, has seen their live show delivering captivating performances at iconic venues such as SESC, CCSP, Oca do Ibirapuera, Teatro Oficina, and Hélio Oiticica's installation in Brasília.

Design by Bradley Pinkerton.

The legendary UK Thrash Band Solitary mark three decades of metal, with the release of a brand new album " Embrace The Darkness" which is the fifth of their thirty year career - and not only is it their heaviest, hardest, most confrontational release to date, it's undoubtedly their best yet, following on from the highly acclaimed "The Truth Behind The Lies" (Metalville Records 2020).

The UK's resolute and relentless kings of thrash, Solitary, have tapped into the thick, black blood that pulses sluggishly through the fat and filth congested veins of society. It is fact that we live in dark times; alongside war, pandemics, grief and horror. These are the days of division, where we turn against each other in politically driven hatred and against ourselves, choking on a social media diet of self-loathing and isolation.

Through our ever-glowing screens we watch the crumbling of virtue and the slow, agonised death of decency and honour. Solitary have stared into the alleyways, the cellars and the broken minds of our youth and forged their most unflinching album yet. This is their hymn to a dying world, their soundtrack to the end of days it's time to "Embrace The Darkness"

Mr Bongo’s Brazil 45’s series serves up another pair of Brazilian classics in the form of Rita Lee & Tutti Frutti ‘Agora É Moda’ and Pete Dunaway ‘Supermarket’.

'Agora É Moda' is a psychedelic, disco-boogie-groove monster brought to our attention by Greg Caz and Sean Marquand aka Brazilian Beats Brooklyn. Originally released on Rita Lee’s 1978 album Babilônia LP on Som Livre, this sublime track is drenched in squelching guitar licks, funk drums and sensuous cosmic vocal flavours.

Lee was the lead singer of Brazilian psychedelic rock band Os Mutantes and a hugely important figure in the Tropicalia movement. She sadly passed away in 2023 but her legacy well and truly lives on, loved both in and out of the music world.

On the flip side, Pete Dunaway’s ‘Supermarket’ is a rare groove/AOR masterpiece with a killer bassline, swaggering guitar and luscious string section layered with a perfectly delivered English vocal.

Pete Dunaway, real name Otavio Cardosa was a singer, composer, arranger and multi-instrumentalist from Sao Paulo, who spent the majority of his time composing for TV themes and library instrumentals.

Remastered with refreshed artwork.

Sasha returns with atmospheric gem 'How to Wear Raybans Well' Featuring remxes from heavyweights Roman Flügel and Nathan Fake.

Electronic luminary Sasha has had a busy 2024 that has so far yielded standout collaborations with the likes of Super Flu & Sentre and a solo single 'Florian Drift' that proves he remains at the cutting edge. His Last Night on Earth label continues to serve up a rich mix of melodic house and techno from the most exciting names in the scene and this latest solo single finds the boss head into new realms once more.

The superb 'How to Wear Raybans Well' is awash with fizzing dub chords and electric lines that flash about the mix. The deep rooted drums have a subtle bounce as they serve to sweep the floor off its feet and lock them into a state of melodic techno bliss.

First to remix is Nathan Fake, a UK talent who has always had his own unique sound. It's based on his mastery of synths and melody and has arrived on labels like Ninja Tune and Border Community as well as his own Cambria Instruments. His remix ups the ante and strips things away to bring more defined drums and crisp hits. The synths bring a range of emotions as they unfold with a mind of their own throughout this most captivating track.

Roman Flügel has been an ever present in the electronic world almost since the start. The German's output has covered endless ground from micro house to acid to techno on the most tasteful labels from his own Playhouse to Mule, Dial and Live At Robert Johnson. His remix is timeless surging techno that comes with waves of warming synths and unrelenting drum pressure designed for peak time dance floor wig-outs.

2024 Very Small Repress!!

It's time for another GAMM battle weapon, only the third one since we dropped the first one back in 2004!

This time 'Ukokos' and keyboard wizard 'Jabco' lay down some Dilla(ish) hip hop beats and piano action over that incredible live video clip that went viral with Kanye West's Sunday Service band doing a combined live cover of 'Keep Rising To The Top' and 'All Night long' - each cover with genre of gospel/soul. ... A serious battle weapon for any soulful head - Another G.A.M.M sureshot !!!

Typically, a band's big indie label debut doesn't come 15 albums into its career, but with Constant Smiles' Paragons, here we are. Primary songwriter and sole "constant" member Ben Jones_who considers Constant Smiles a collective_sees its impressive output as a way to document the group's evolution. Since its live debut as a noise duo on Ben's home of Martha's Vineyard in 2009, Constant Smiles has grown to include contributions from 50 other members, all of whom have personal connections to the group's extended family. And while the collective has indulged an array of musical whims along the way - including Ben's penchant for penning a new set's worth of material for each live performance - Constant Smiles' sound has tightened up considerably over their past couple of albums, in large part as a result of Ben's working relationship with Mike Mackey, who has become his main creative partner. This increased focus manifests on Paragons in the band's most cohesive batch of songs to date, ranging from shimmering psych-pop excursions to bittersweet, piano and string-accented strummers, and an execution that feels like a massive step forward for the band. Through its recent forays into dream pop and shoegaze (Control) and synth-pop (John Waters), Constant Smiles has learned how to incorporate its experimental inclinations more fluidly into the mix. Artists like Yo La Tengo, and the more recent Rat Columns, are good touchstones for Constant Smiles' musical approach - tethering to an indie-pop core while perennially mining genres, always finding new ways to intrigue listeners and pursue a unique vision. Paragons was produced and engineered by Ben Greenberg in the last two weeks of December 2020 at Gary's Electric, with additional recording done by Ben Jones at his home studio, The Void, and his Aunt Leanne's house. The album was mixed at Circular Ruin Studio and mastered by Josh Bonati. The band on Paragons consists of Jai Berger (who performed "Introduction"), Spike Currier (bass and synth), Matthew Addison (drums), Emma Conley (violin), Nicky Wetherell (cello), Adam Lipsky (piano), and Ben Greenberg (guitar and Mellotron).

At once a spiritually-charged journey and a shit-kicking party record, American Cream Band comes to Quindi covering all the bases.
American Cream Band was formed by Twin-Cities musician Nathan Nelson around 10 years ago, taking the form of improvised live shows and albums Frankensteined from these sessions into exultant, fully-formed records you can sink your teeth into. The trick with improvised music is to start with intentions, however abstract they might be, and Nelson leads his rolling cast of collaborators into the creative fray with subtle guidance which drives the impulsive musical moment forward.
The band's previous records have manifested on labels like Moon Glyph and Medium Sound, and now Presents arrives in a freewheeling flash of snappy new wave, skronky sax, call and response sass and some krautrock-minded sonic cosmology. The album came together in December 2021, when Nelson took ten musicians to legendary studio Pachyderm in Cannon Falls, Minnesota. Living together, eating together, and with Nelson quietly setting up his low-key magick intentions around Jupiter's planetary frequency and the studio's abundance of elephant statues and carpets, they laid down some drum-heavy sessions that became the building blocks of the record.
'Taste What We Taste' is the perfect example of an exuberant groove pounded on skins as a vessel for a joyous get-down, with the singers and players free to freak out on top. Nelson remains at the centre of the melee, throwing half-sardonic, half-heartfelt calls out for connection. 'Banana' celebrates nonsense and holds down the most serious of beats - a disco-not-disco deadeye dripping in late night sleaze and lysergic potential. On 'Royal Tears', the jagged guitar chops call back to Gang Of Four, while the hot n' heavy sax from Cole Pulice baits James Chance and all the other angular New York un-jazz misfits.
Amongst his other implied intentions for the recordings, Nelson wanted to channel opposites, not least the distinct male-female energies in his vocal sparring with the girls on assistance duties. It wouldn't be right to call them backing singers as they shoot back at his punchy mantras, bringing a certain fierce femininity that tips its hat to The B-52's Cindy Wilson and Kate Pierson, not to mention iconic post-punk bands like Au Pairs, Delta 5 and Bush Tetras.
There's space for the dreamier kosmische which has crept into the American Cream oeuvre in the past, as 'Sirens' opens the album up in a swirling pond of rag tag percussion and molten synths. 'Words Would Handcuff Us' cools the whole riotous assembly down in unmoored perfection, a strung-out Bossa nova seance dusted with celestial drips from analogue spaceships.
Equally treading the line between light and dark, conscious and unconscious, the sacred and profane, Presents is a life-affirming, creep-under-the-skin listening experience - a joyously transient chapter in the evolution of American Cream Band.

The impact, influence, and importance of Run-D.M.C.'s self-titled debut – the album that invented hardcore hip-hop and bridged rap, rock, and funk in then-unparalleled ways – cannot be measured. The first full-length record released by Profile Records, the 1984 set permanently changed the sound of music, broadcast streetwise wisdom to every corner of the country, and made the notion of a one-man band a distinct reality. Bolstered by an incendiary blend of staccato deliveries, stark beats, aggressive exchanges, evocative hooks, and socially conscious messages, Run-D.M.C. still hits listeners in the jaw with the same intensity it did nearly 40 years ago when it could be heard booming from ghetto blasters carried around city blocks nationwide.

Sourced from the original master tapes, pressed on MoFi SuperVinyl, and strictly limited to 3,000 numbered copies, Mobile Fidelity's 180g SuperVinyl 33RPM LP is the definitive-sounding version of the groundbreaking work cited by Rolling Stone as the 378th Greatest Album of All Time. This reissue also represents the first time this gold-certified effort has been presented in audiophile quality. Benefitting from the ultra-low noise floor, superb groove definition, and dead-quiet surfaces of SuperVinyl, Run-D.M.C. now plays with a clarity, immediacy, punchiness, and directness worthy of the artistry, urgency, and intellect of the trio's material.

The brilliance of Russell Simmons and Larry Smith's production comes into view as if the music is being broadcast on a giant system in a small club — only more focused, lively, and unlimited. Free of dynamic constraints and fatiguing harshness, this LP invites you to turn up the volume and experience the raw, rough, invigorating songs that changed the look, sound, and feel of hip-hop overnight. Think the trio’s sparse framework of drum machines, tag-team rhymes, keyboard accents, and turntable scratches is stuck in the mid-80s? Spin MoFi’s SuperVinyl LP and gain new appreciation for the music, messages, and production on display on Run-D.M.C.

Recorded in the wake of two successful and pioneering singles, both included on the album, Run-D.M.C. effectively took a sheet of coarse-grit sandpaper to the polish, sheen, and linear presentation of all the hip-hop that preceded it. Stripped to bare-bones foundations, the songs grab your attention and shake you by the collar with a combination of industrial-leaning rhythms, staggered deliveries, dance drama, and hard, minimalist percussion. Then there are the lyrics.

The LP broadcasts a smart mix of boots-on-the-ground reports, uplifting advice, and then-nascent b-boy culture. In one fell swoop, its narratives and music rendered the scene’s proclivity toward glamor and softness passé. Run-D.M.C.’s tough, cool-minded fashion sense showed the trio walked its talk and gave fans — particularly those living in long-ignored urban areas — heroes which with they could identify. Kangol hats, black jeans, leather jackets, Adidas sneaks, and gold chains were the new currency.

In every regard, Run-D.M.C. signifies the birth of modern hip-hop. Never more obviously than on the groundbreaking “Rock Box,” where rap and rock were first fused. As the first hip-hop video to receive regular rotation on MTV, the track eviscerated racial and social boundaries, awakened musicians and listeners to new possibilities, and redefined both popular music and, ultimately, popular culture. As the Roots’ Questlove has stated, it “ knocked down many obstacles, enabling hip-hop to become the new gospel."

Such teaching includes the real-world scripture of “Hard Times,” utopian hopefulness of “Wake Up,” and observational truths of “It’s Like That.” Released as the group’s debut single well before its eponymous album, the latter tune established themes and outlooks Run-D.M.C. would embrace during its career. Namely, the keen awareness of various prejudices, economic ills, and disruptive violence as well as the knowledge that education, self-motivation, and hard work were the ways to escape disadvantages and disillusionment.

Inspired and inspirational, the song reflects the spirit and shrewdness that courses throughout Run-D.M.C. That includes a detailed account of the trio’s not-so secret weapon (“Jam-Master Jay”), purpose statement (“Hollis Crew (Krush-Groove 2)”), and a revolutionary hybrid autobiographical narrative-dis track (“Sucker M.C.’s (Krush-Groove 1)”) widely regarded as one of the best hip-hop songs ever created. The same can be said for every moment on Run-D.M.C.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

2024 Repress

Thomas Fehlmann remains as one of the most endearing and respected artists on Kompakt. He has inspired generations of fans and musicians over the course of his 30+ year career. From his early days as part of the legendary band Palais Schaumburg, and the pioneering Detroit/Berlin act 3mb (With Juan Atkins and Moritz Von Oswald), to his longstanding membership with The Orb, combined with his contributions as a solo artist to esteemed imprints R&S, Plug Research and of course Kompakt, where we have proudly released two full length solo albums: Visions Of Blah (Kompakt CD 20/Kompakt 67) and Honigpumpe (Kompakt CD 59 / Kompakt 157), his musical works have been prolific, not to mention four singles and a full serving of tracks found on our Pop Ambient and Total collections. Now, after 3 years, Fehlmann returns with 'Gute Luft'…

'Gute Luft' is the result of months of work scoring the hit German TV film 24h Berlin - the longest documentary film in history which featured 80 camera teams following the lives of berliners over a 24 hour period. Obviously a huge challenge for Fehlmann, beyond the scope of the project and hours of music involved in a 24 hour film, there was dealing with the decision making process that went with working with such a large production team. As he shared scoring duties with another musician (separately), inevitably a lot of his music ended up not making the final cut. 'Gute Luft' is about re-tweaking and editing material from the countless hours of recording he had created. In a sense, 'Gute Luft' is Fehlmann's ideal soundtrack to the 24h Berlin documentary.

“while scoring the film and subsequently shaping it into a album, i found myself questioning what holds it all together in Berlin. I figured that 'Air', the good old 'Berliner Luft', is something that is guaranteed to touch everyone and everything in the city. Also with that Berlin is very green, the combination with the unavoidable city dirt makes for a distinctive blend which seems to infuse its vibrant scene unknowingly with a constructive drive. Besides that, 'Gute Luft' was also the title of a song from my old band Palais Schaumburg, of which I have very fond memories. Also (as he says with a wink) “Gut” is one word I have a profound relation to…”

Fans shall rejoice as Thomas Fehlmann doesn't feer far from his signature path of trailblazing the finer links of classic Detroit House and Techno with the submerged beauty of Berlin Dub. One will immediately recognize the classic scoring techniques Fehlmann brings to 'Gute Luft' - various themes and sounds resonate in various forms and versions throughout the tracks. As Thomas states, “There are also More Subtle Connections That Should Give An Overall Feel To The Score. I Also Brought In Elements From Tunes From My Previous Albums In recognition of the fact that I often feel that there would be so many more ways to explore and experiment with certain ideas than just on a single track”. Fehlmann clearly succeeds in synergizing the best of the past 20 years of Berlin's expansive history of electronic and dance music with 'Gute Luft'. A recreational album in every way in which he hopes will make you “Feel at peace with you and your environment, inspire you to lush, imaginative dinners, make babies, or just walk your own way with open eyes”. Well put Thomas!

This is a re-release of " Gute Luft " orginally released in 2010 on Kompakt.

Thomas Fehlmann ist nach wie vor einer der liebenswertesten und gleichzeitig angesehensten Künstler bei Kompakt. Im Laufe seiner über 30-jährigen Karriere hat er Generationen von Fans und Musikern inspiriert. Von seinen frühen Tagen als Teil der legendären Band Palais Schaumburg und dem bahnbrechenden Detroit/Berlin Act 3MB (mit Juan Atkins und Moritz von Oswald), bis hin zu seiner langjährigen Mitgliedschaft bei The Orb, kombiniert mit seinen Arbeiten als Solokünstler für Imprints wie R&S, Plug Research und natürlich Kompakt: Sein musikalisches Gesamtwerk ist beeindruckend. Wir sind stolz, bereits zwei seiner Soloalben veröffentlicht zu haben: “Visions Of Blah“ (KOM CD 20/KOM 67) und “Honigpumpe“ (KOM CD 59 / KOM 157). Ganz zu schweigen von vier Singles und jeder Menge Tracks, die sich auf diversen Pop Ambient- und Total-Sammlungen finden lassen. Jetzt, nach drei Jahren, kehrt Fehlmann mit “Gute Luft“ zurück ...

“Gute Luft“ ist das Ergebnis monatelanger Arbeit für den deutschen Fernsehfilm “24h Berlin - Ein Tag im Leben“ - der wohl längste Dokumentarfilm der Geschichte. 80 Kamerateams verfolgen das Leben der Berliner*innen über einen Zeitraum von 24 Stunden. Die größte Herausforderung stellte für Fehlmann dabei nicht die Komposition für einen solchen Film dar; vielmehr waren es die Entscheidungsprozesse im großen Produktionsteam, die ihm die meiste Arbeit abrangen. Da er sich die Aufgabe mit einem anderen Musiker teilte, endete es unweigerlich so, dass einige seiner Tracks nicht in den Final Cut kamen. Bei “Gute Luft“ ging es nun darum, Material aus den unzähligen Stunden an Aufnahmen neu zu bearbeiten und zu editieren. In gewissem Sinne ist “Gute Luft“ Fehlmanns eigentlicher Soundtrack zum 24-Stunden-Dokumentarfilm.

"Während ich den Film vertonte und anschließend zu einem Album geformt habe, habe ich mich gefragt, was hier in Berlin alles zusammenhält. Ich habe mir gedacht, dass 'Luft', die gute alte Berliner Luft, etwas ist, das garantiert jeden und alles in der Stadt berührt. Die Tatsache, dass Berlin sehr grün ist; gleichzeitig die Kombination mit dem unvermeidlichen Dreck einer solchen Stadt – das ergibt eine unverwechselbare Mischung, die ihrer lebendigen Szene unterbewusst einen bestimmten Drive zu verleihen scheint. 'Gute Luft' war übrigens auch der Titel eines Liedes meiner alten Band Palais Schaumburg, an das ich mich sehr gerne erinnere. Außerdem (das sagt er mit einem Augenzwinkern) ist ‚Gut‘ ein Wort, zu dem ich eine enge Beziehung habe ..."

Seine Fans können sich freuen, denn Thomas Fehlmann entfernt sich nicht weit von seinem charakteristischen Sound, mit dem er die feinen Verbindungen von klassischem Detroit House und Techno mit der versunkenen Schönheit des Berliner Dubs aufspürt. Man wird sofort klassische Soundtrack-Techniken erkennen, die Fehlmann auf “Gute Luft“ verwendet - bestimmte Themen und Sounds durchziehen in unterschiedlichen Formen und Versionen die einzelnen Tracks. Thomas sagt dazu: "Es gibt subtile Verbindungen, die der Erzählung ein zusammenhängendes Gefühl geben sollten. Ich habe Melodie-Fragmente aus früheren Alben einbezogen, um der Tatsache Rechnung zu tragen, dass ich oft das Gefühl habe, es gäbe so viele weitere Möglichkeiten, bestimmte Ideen weiterzuverfolgen und mit ihnen zu experimentieren, als nur in einem einzigen Track.” Fehlmann gelingt es hier, das Beste aus den vergangenen 20 Jahren Berliner Elektronik- und Tanzmusik-Geschichte zu bündeln. Ein wohltuendes Album in jeder Hinsicht, von dem er sich selbst erhofft, dass es seinen Hörer*innen "ein Gefühl des Friedens mit sich selbst und ihrer Umgebung vermittelt, sie zu phantasievollen Abendessen inspiriert, zum Babys machen oder sie einfach nur mit offenen Augen Ihren eigenen Weg gehen lässt." Gut gesagt, Thomas!

Dies ist die Wiederveröffentlichung von “Gute Luft“, erstmals erschienen 2010 auf Kompakt.

Industrias94 is back at the frontline with 3 new rave hits, lovingly pressed on 12” vinyl. Pre-order and digital downloads available now on our Bandcamp.

Euphoria Jones represents a sonic journey towards the golden era of UK hardcore, filling our heads with catchy stabs that will stick with you for days, alongside heavy and distorted drum breaks. After some years mashing dance floors as a dubplate, we are very proud to finally announce its release in a special limited edition.

This record is brought to us by the Sevillian regent of breaks and bass, Hartta! Producer and DJ from Seville, who lived in Bristol for some years where he drank from the legendary local sounds and its soundsystem culture which shaped the current electronic music scene. Alongside Random Vestax, they manage the label-collective Dead Trax, releasing music and putting on iconic club nights featuring local artists and international bookings, some of them playing for the first time in Andalucía, such as Nikki Nair, Aloka or Interplanetary Criminal.

“Who said that the hardcore would die?” Thus yells out the sample in Midnight Eulogy, the second track of this record, which in itself is proof that this genre is more alive than ever. The evolution of 90s breaks crystalizes in this banger, containing all the classic sonic elements from the rave anthems we love, but creating a fresh piece by combining these elements with an idiosyncrasy unique in its species.

The B-side is completed by a radical and ruthless remix of the title track “Euphoria Jones”, by none other than our own Bazofia! From the Fontanal, he brings us an acidic and darker version taking us through an all-terrain 4x4 beat to a drop representing a truly electrifying slap to the face.

16 Jahre nach dem letzten Studioalbum kommt das neue Album von LOIKAEMIE mit Namen "Menschen"! "Anschnallen! Unglaublich, aber wahr! Verdammte Axt!" Die Worte von Sachsens größtem Punkfestival hätten keinen Funken kleiner sein dürfen. Mit ihrem Überraschungs-Headliner verkündete das Back To Future 2019: LOIKAMIE ist wieder da! Innerhalb von fünf Jahren ging so gleich zweimal ein Ruck durch die europäische Oi!- und (Street-)Punk-Szene: Schwer die Emotionen beim Abschied 2014, umso größer die Euphorie beim Live-Comeback! Und noch größer angesichts 12 neuer Songs! Seit 2019 ist LOIKAEMIE wieder eine feste Größe, weit oben in den Lineups der Festivals und den Clubs, und das weit über Deutschland hinaus. Thomas, Eddie, Paul und Bruno konnten live nicht nur nahtlos anknüpfen, sondern eine Stufe emporsteigen, auf den Konzerten trifft sich Jung und Alt in seiner ganzen subkulturellen Vielfalt, LOIKAEMIE ist eine Band, auf die sich - im besten Sinne - alle einigen können. Auch die Kreativität ist wieder erwacht: 2022 erschienen mit "Lumpenmann" und "Tief im Herzen" die ersten neuen Songs seit 2007 (digital und als limitierte 7"-Single), dazu gesellen sich bisher "Was Soll Die Ganze Scheisse?" und "Lasst Uns rein", alles Vorboten des nun erscheinenden fünften Studioalbums "Menschen" und schon auf einer Menge Playlists zuhause. Kein Wunder, dass nach 16 Jahren die Erwartungen riesig sind, bei den Fans wie der Band selbst. Und ,Menschen" ist nicht weniger als ein Manifest dessen, wie Punkrock im Jahr 2023 klingen muss: Rotzig und melodisch, kompromisslos und reflektiert, politisch und gut gelaunt. Alle zwölf Ohrenfräsen atmen den unverkennbaren LOIKAEMIE-Spirit und doch ist ,Menschen" ein Riesenschritt nach vorn. Schon der überaus modern klingende Opener ,Wenn wir alle so wären" fegt alles weg, was derzeit belanglos auf Allgemeinplätzen durch den Punk pogt, vom anschließenden hymnischen Titeltrack bis zur abschließenden Selbsteinladung ,Lasst und rein" bleibt die Energie ganz oben, gleichzeitig ist das Album vielschichtig wie nie zuvor in der Bandgeschichte. Zu Streetpunk- und Rock'n'Roll-Brettern gesellt sich Reggea, Sprechgesang, Ballade und Melodien, die sich auch im Pop nicht verstecken müssten. Statt markiger Statements erzählen die Texte pointierte Geschichten, teilen durchdachte Gedanken zu aktuellen Miseren in der Welt, der Szene oder im eigenen Kopf. Aber es gibt auch keine Scheu vorm hymnischen Refrain, den fortan volle Konzertsäle gemeinsam intonieren können. Oi!, was sind das knallende Hits! Im Klappcover mit bedruckter Innenhülle, hier auf klassisch schwarzem Vinyl!

The very first Buchla synthesiser performance by revolutionary composer Suzanne Ciani finally makes its fifty year journey from its switch-on New York art gallery to its long deserved and discerning global phonographic audience.

With this previously unheard vinyl pressing, Finders Keepers Records are proud to present an archival project of ‘art music’ that not only redefines musical history but lays genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we have come to understand it. To describe Italian-American composer Suzanne Ciani’s resurrected Buchla concert records as genuine gamechangers would be a gross understatement. These records represent a musical revolution, an artistic revelation, a scientific benchmark and a trophy in the cabinet of counterculture creativity. This sonic installation album, alongside her recently liberated WBAI/Phill Niblock 1975 sessions (FKR082), are triumphant yardsticks in the synthesiser space race and the untold story of the first woman on the proverbial musical moon. While pondering the early accolades attached to these golden era New York recordings it’s daunting to learn that these records were in fact not even records at all.

What exists on this disc now was a manifesto and a one-time gateway to a new world, which somehow was only partially pushed ajar. Captured here is a genuine live act exploring new territories with a fully performable music instrument. If the unfamiliar, modernistic, melodic pulses, tones and harmonics found on these 1970’s artistic gallery collaborations/ live presentations (then soon to be followed by academic grant applications and educational demonstrations) had been placed in a phonographic context alongside the widely marketed work of Morton Subotnick, Walter Carlos or Tomita, then the name Suzanne Ciani and her infectious influence would have already radically changed the shape, sound and gender of our record.

With the light of Buchla and Ciani’s initial flame Finders Keepers continues the journey through the vaults of this increasingly celebrated music legacy, illuminating these ‘non-records’ that evaded the limelight for almost half a century. You can’t write history when you are too busy making it. With fresh ink in the bottomless well, let’s start at the beginning. Again

An All-Time Jazz Audiophile Masterpiece - Now on UHQR!
200-gram 45 RPM 2LP release limited to 5,000 copies
Mastered by Kevin Gray at Cohearent Audio from the original analogue tapes
Set includes 8-page booklet with liner notes by renowned jazz critic Bob Blumenthal
Pressed on Clarity Vinyl at Quality Record Pressings
Purest possible pressing and most visually stunning presentation and packaging!
One of the most classic jazz albums and live recordings, a regular on most best-of jazz lists!

The fourth and final album by one of the most influential groups in jazz history, the Bill Evans Trio album Waltz For Debby was originally released in 1962 as a companion to Sunday At The Village Vanguard. It captures the mesmerizing and intimate live performances of Evans and his trio at the Village Vanguard in New York City. The album showcases Evans' unique approach to jazz piano, characterized by delicate touch, introspective improvisation, and profound musicality.

The title track, "Waltz for Debby," serves as the centrepiece of the album. It is a hauntingly beautiful composition penned by Evans himself as a tribute to his niece, Debby. The waltz unfolds with a graceful and melancholic melody, carried by Evans' masterful piano playing.

Throughout the album, Evans and his trio venture into other classic jazz standards, including "My Foolish Heart," "Detour Ahead," and "Milestones." With each performance, they delve deep into the heart of the music, exploring its nuances and improvising with a profound sense of lyricism. Evans' introspective style shines through, as he delicately navigates the harmonies, unveiling layers of emotion and introspection.

The beauty of "Waltz for Debby" lies not only in the musicianship but also in the intimate atmosphere it creates. The live recording captures the ambiance of the Village Vanguard, with the audience's presence adding an extra dimension to the music. The subtle clinks of glasses, the occasional applause, and the hushed whispers become a part of the experience, enhancing the authenticity and charm of the album.

Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is creating the definitive Waltz For Debby reissue: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of this one-of-a-kind reissue.

Four glorious sides of 200-gram Clarity Vinyl from QRP, the world's best pressing plant. Cut at 45 RPM to reduce distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. UHQRs from Analogue Productions are the gold-standard in premium vinyl releases, with attention paid to every single detail. The proprietary vinyl compound enhances the sound quality, offering improved dynamics, detail, and tonal accuracy. The heavier vinyl minimizes resonance and warping, providing a stable and flat playing surface. And great care is taken to eliminate any surface noise or imperfections throughout the manufacturing process.

Overall, UHQR Clarity Vinyl from Analogue Productions is a sought-after format among audiophiles and collectors who value the highest possible audio fidelity from their vinyl records.

Waltz for Debby stands as a testament to Bill Evans' genius as a pianist and composer. It is a profound and evocative exploration of melody, harmony, and improvisation, revealing the depths of emotion and the artistry that Evans brought to his music. The album remains a beloved gem in the jazz canon, cherished by fans and musicians alike for its timeless beauty and the lasting impact it has had on the genre.

PYJÆN are delighted to announce the release of their second album 'Feast', planned for September 2021 on DeepMatter Records. The five-piece outfit reaches inside the deep, multidimensional well of what is broadly called Jazz, bringing together all its diverse components in a singular, emotional sound. After setting a blueprint for their multifaceted artistry, combining cross-genre sensibilities with ferocious talent on their first two releases, PYJÆN have been busy writing and recording music for their second album, their most accomplished offering yet. ‘Feast’ was recorded at Peter Gabriel's legendary Real World Studios in Bath over a full week in November 2020. This proved to be an unforgettable experience, which elevated the music and created an unrivalled connection between the 5 band members and the albums featured artists Nix Northwest, Elisa Imperilee, Hilts and Corto Alto.
With the recording of this new record, each member of the group brought their own specific flavour to the table.

They explain: “We want the album to showcase our growing abilities and confidence as a group of 5 individuals, each with strong personalities and varied sets of influences, while still leaving room for featured artists, an exercise we thoroughly enjoyed on our 'Sage Secrets' EP with Blue Lab Beats and Odette Peters.” The EP reached over 1M streams on Spotify within only a few months, testimony that the band has become a major force in the UK "Jazz and beyond" scene. Their new album will fearlessly navigate the world of funk, jazz, hip-hop and punk. With their trademark raw energy, their objective is to bring people together in their love for music. 

Adventurous songwriting, meticulous timing, incredibly tight horn arrangements and an obvious joy to play together are the PYJÆN trademarks. These are brought to the table in ‘Feast’ through vibrant melodies and rich cadences. The band presents a full course musical experience with four singles: in ‘Beetle Juice’ the band joins forces with rapper Nix Northwest to offer a delicious tune characterized by an easy-going yet alluring atmosphere. ‘The Nightbus’ sees a vivacious journey narrated by enticing piano, guitar and trumpet motifs. ‘Moonlight’ sets a sultry tone with Elisa Imperilee’s ethereal vocals accompanied by delightful and intricate beat sequences. ‘By Your Side’ is the final instalment before the great ‘Feast’ showcasing an enchanting vocal exchange between Byulah and Renato Paris. With its mouth-watering combinations of jazz, ‘Feast’ is a witness to the band’s exponential growth, taking listeners on a vivid sensory experience

Formed in 2016, PYJÆN is composed of Dani Diodato (guitar), Dylan Jones (trumpet), Ben Vize (sax), Benjamin Crane (bass) and Charlie Hutchinson (drums). Releasing their debut self-titled album to wide critical and public acclaim, they have gathered support from the likes of Gilles Peterson, Huey Morgan, Jazz FM, and Clash Magazine to name a few. Live, as seen at A Love Supreme, Ronnie Scott's, Jazz Cafe or Brainchild Festival, the atmosphere is sizzling and the sense of enjoyment communicated from the stage is infectious.

Having established himself as one of the most energetic and exciting Jazz musicians within the already thriving worldwide scene, New Zealand born, London based Drummer & Producer Myele Manzanza has made a major impact upon the global music landscape.

 A founding member of Electric Wire Hustle, Myele has released five solo albums, and racked up tours and collaborations with Jordan Rakei, Theo Parrish, Miguel Atwood-Ferguson, Recloose and Amp Fiddler amongst others . Myele has developed a strong live presence in his new London base; his quartet has shared stages with the likes of Hiatus Kaiyote, The Bad Plus, Alfa Mist, and drawing packed houses to top venues such as The Jazz Café and Ronnie Scott’s. Last year, the first two instalments of his 'Crisis & Opportunity’ record series saw him garner praise from Mary Anne Hobbs, Cerys Matthews, Jamie Cullum, Huey Morgan, The Guardian, Complex, Jazz FM, Lefto, Worldwide FM, Jazzwise and more.

Following the release of his last offering, a chance conversation between Myele and a young Barista at a local coffee shop occurred - their topic (centred around the trials and tribulations of following your musical passions) sent Myele down a spiralling path of internal reflection, spawning a new lease of creative energy and examination of new ways to approach his craft. The third addition to the heralded series, ‘Crisis & Opportunity Vol.3 - Unfold’ sees Myele change his approach from drummer / improviser, altering his sonic output to a more electronic dance music output, opting for a more producer / beatmaker focussed role. Sharing production duties with Lewis Moody (Zeitgeist Freedom Energy Exchange) and taking a more producer / beatmaker focussed role. His initial instinct was to create music that could be played in a club, but also incorporate elements music of the Jazz and technical musicianship he’s renown for.

Articulating his thoughts on the record’s genesis, Myele explains: ‘‘As the process developed, I was also drawing a lot of inspiration from vocal driven soul, RnB and songwriter-driven music to a point where I had lit a new creative fire. Reconsidering the direction of the album, I was left with the creative question “What broader ranges of emotion might my music be able to access, and what kinds of art could be made possible if I were to open up my music to hold space for singers and for stories?”

First single ‘Silencing The Sun’ features the vocal talents of fast-rising fellow Kiwi artist Wallace, whose spectral tones glide gracefully over the pulsating rhythm section and twinkling keys. On second single ’Therapy’ UK Soul royalty Omar weaves his trademark magic over a solid 4/4 beat, soulful key stabs and lush synths, bottling lightning into dancefloor alchemy. Final single ‘Unfold’ sees Rachel Fraser deliver a delicate and introspective vocal performance over stripped back instrumentation as cold, angular electronics juxtapose the warmth of piano keys and sweeping strings. With a wealth of additional incredible talent (such as China Moses and Rosie Frater Taylor) enlisted to further compliment the record’s grainy synth textures, emotive chord changes, driving low end sonics and expressive percussion, the scene is set for a beautiful, shifting and engaging listening experience.

Lemonheads’ seminal album ‘It’s A Shame About Ray’, lovingly reissued for it’s 30th Anniversary. The long overdue reissue includes a slew of extra material, including an unreleased ‘My Drug Buddy’ KCRW session track from 1992 featuring Juliana Hatfield, B-sides from singles ‘It’s A Shame About Ray’ and ‘Confetti’, a track from the ‘Mrs. Robinson/Being Round’ EP, alongside demos that will be released for the first time on vinyl. This reissue celebrates their prestigious fifth album, these deluxe bookback editions feature new liner notes and unseen photos.

Described by music journalist and author Everett True as “A 30-minute insight into what it’s like to live hard and fast and loose and happy with like-minded buddies, fuelled by a shared love for similar bands and drugs and booze and freedom.”. ‘It's A Shame About Ray’ had a considerable impact back in those heady, carefree days of '92, the record perfectly captures Dando’s ability to effortlessly encapsulate teenage longing and lust over the course of a two-minute pop song.

Singles such as 'My Drug Buddy' and the breezy perfect pop of the title track might stand out (plus the add-on of 'Mrs. Robinson' which later copies included), but the album's real strength lies in the tracks in-between; the truly fantastic 'Confetti' (written about Evan's parents' divorce), and the eye-wateringly casual acoustic cover of 'Frank Mills' (from the "hippie" musical Hair), a version that seems to resonate with every ounce of pathos and emotion felt for the lost 1960s generation. To hear Evan Dando sing lines like 'I love him/but it embarrasses me/To walk down the street with him/He lives in Brooklyn somewhere/And he wears his white crash helmet' is to truly appreciate how wonderful and tantalising pop music can be. Then, there's the rush of insurgency and brattishness on the wonderfully truncated 'Bit Part'; the topsy-turvy 'Ceiling Fan In My Spoon'... this was male teenage skinny-tie pop music on a level of brilliance with The Kinks, early Undertones, Wipers.