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In 2005, Andrew Bird was a previously unimaginable combination of virtuoso violinist, singer-songwriter, guitarist, and whistler. With that year’s album The Mysterious Production of Eggs, Bird minted a new sound that continues to be imitated today.
To celebrate the 20th anniversary of The Mysterious Production of Eggs, Andrew Bird is releasing a very special boxset featuring a 54 page book including photographs, special surprises, and two essays: one written by Andrew himself, and another by Anders Lindall examining the circuitous and fascinating process Andrew and collaborators took to record the album.
The boxset also includes the original release of the album, alongside two LPs of never before released material, on black vinyl. On one LP, a one-to-one playthrough of the album but of demos, live cuts, and alternate versions. The third LP includes more never released rarities on Side A, and a selection of songs from the original album performed by Andrew with the Nu Deco Ensemble. The original cover artist has created all-new artwork for the anniversary piece.

Written in 1971 and read here by the author himself "Through the Billboard Promised Land Without Ever Stopping" is Derek Jarman's only known work of narrative fiction. Providing a prelude to some of the imagery Derek Jarman would use later in his career, particularly the alchemical dreamscapes in the film "Blue", it is a surreal, hallucinatory fairytale, signposted with elements of modernity, that has much of the mythic and archetypal about it. With tantalising autobiographical details and a panoply of chromatic landscapes and psychosexual symbols, this richly poetic story details a journey with no destination or purpose across a mythical America, undertaken by the young blind King Amethyst and his valet John. Previously only ever released on cassette (2022, Prototype Publishing, Ltd 80), this vinyl edition features facsimile images of the story's handwritten drafts from Jarman's archive and photos by the artist Michael Ginsborg, a close friend of Jarman's throughout the period of the story's writing. Licensed from House Sparrow Press / Prototype Publishing, and The Estate of Derek Jarman.
• Ltd x 500 copies on heavyweight 180gm black vinyl in gloss sleeve.

Crypt of the Wizard is proud to make available two legendary underground albums by Slutet on vinyl and digital formats. Here we present the debut self titled LP Slutet - Slutet
Slutet originated in Uppsala well over a decade ago, first emerging as a loose idea around 2010. The original cluster of strangely like minded individuals - Dingir, Ryttersson, J.P., Sviatopolk, were equally set on starting a cult as they were a band, the former emerging as a loose collective known as The End Commune, while the latter eventually began rehearsing together as Slutet on September 1, 2013.
From this constellation three notorious demo tapes sprung which were self-released in very limited numbers, and only available by trading bodily fluids, blood, and/or hair for the cassettes. “A very loose guess but we made probably around 20-30 hand-drawn/custom demo tapes of the first three releases. We got blood and hair from many places, actually the very first offering was from INDONESIA. Slovakia, Germany, USA, Argentina, Norway, Canada, Finland followed.... if my memory serves..... hazy years indeed”
J.P. left early 2015. Later that year, after trying the band as a bass-drum-vocals outfit for a while, Fjalar joined on guitar. This is the classic constellation. Dingir, Ryttersson, Fjalar, Sviatopolk. The same troupe playing to this very day.
While the difficulty of obtaining the demos certainly added to the band’s bottomless mystique, the subsequent release of the self-titled compilation / LP secured their reputation as one of the most interesting and unorthodox bands recording under the somewhat ill-fitting moniker of ‘underground black metal’.
First released as a cassette by Berlin label Teratology Sound & Vision, and later on vinyl in an edition of 100 by Goatowarex, the self-titled LP is the definitive document of the very early and very wild years of the band as they begin to take form, fulminating against whatever was on offer.
“Between September 2013 and September 2014 we rehearsed and recorded 3 very crude demo cassettes; although sub-par in many musical and performance-wise aspects, the passion seeping through those recordings were evidently very real.”

The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995 The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT and Tee Pee. BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club.

Some years ago, Kjell Bjørgeengen and Keith Rowe attempted to convert video signals into sound by setting up Rowe’s pickups next to an old CRT monitor, turning its magnetic field into a sound generator. Rowe further developed the system with David Jones at Alfred University, slimming down the setup using a copper coil, a circuit board, a video input, and a telephone pickup. Jones named it the »Flood Coil«, and it’s that instrument you can see on the album’s front cover and that lies at the core of these recordings, made without any physical live input from the artists themselves. In essence, it’s generative music in its purest form.

Bjørgeengen’s video feed is generated by oscillators, then routed into Marhaug’s pedals and then back into the Flood Coil, so any visual shifts alter the sound, and any modification to the sound changes the video. The duo have played this setup live many times, but for this studio version they left the system to do its thing without any intervention for two minutes at a time before moving onto the next idea. They recorded hours and hours using this process and then selected 18 highlights for this album, extracting harsh noise, power electronics, lulling feedback drone, and peculiar rhythmic snippets to show the scope of their technique.

A wall of growling, hi-octane Pulse Demon-style noise opens the set, gradually exposing us to more asymmetric textures, shifting through unstable repetitions that transform Merzbow’s metal-inspired screams into »Aaltopiiri«-era rhythmic noise. It’s remarkable, actually, how much Marhaug and Bjørgeengen can squeeze from the system, chancing on shivering, lower-case chugs and pops, galloping drums, soundsystem subs, and grinding blast beats that sound like Napalm Death’s »Scum« piped through a broken amp stack. It ain’t pretty, but noise/industrial freaks will revel in the fierce delights inside.

Brighton-born, Cincinnati-based producer Marsh a.k.a Tom Marshall. ‘Lailonie’ is Marsh’s second studio album and debut Anjunadeep LP. After joining Anjunadeep back in 2018 via ‘Explorations 07’ with ‘Black Mountain’, Marsh has gone on to release a string of well received original EPs including ‘Prospect’ with label mate Nox Vahn, ‘Eu Topos’ and his latest ‘Lost In You’ as well as remixing some of the biggest artists in dance music including Above & Beyond and Armin van Buuren.

Marsh has previously released on Silk Music, where he released his debut album ‘Life On The Shore’ in 2017; and Enhanced Music’s progressive house imprint Colourize. Over the past 2 years, Marsh has become a firm Anjunadeep fan favourite all the while establishing himself as a future star of the electronic scene with a steady stream of tastemaker backing from Joris Voorn, Rufus Du Sol, Kölsch and BBC Radio 1’s Pete Tong and Phil Taggart. Recent years have seen him tour globally with Above & Beyond as well as share the bill with legends like Sasha & Digweed and Guy J.

To mark the 25th anniversary of its release, Doubts and Convictions by Troublemakers is officially reissued, more than twenty years after its original release in 2001.


Never reissued until now, this emblematic French Touch album—originally signed in Chicago, USA—captures a moment when French electronic music opened up to jazz, soul and transatlantic grooves.


A cult record whose sound remains timeless.

As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes.

The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process.

Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever.

The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before.


‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms.

2025 Reissue.



Münchenbuchsee, a suburb of Bern, Switzerland. Stephan Eicher is the youngest of three children. His father, a radio and TV repairman, is also a jazz violinist and a sound tinkerer in his spare time. In the family home's converted fallout shelter turned studio, Mr. Eicher experiments with homemade sequencers, tortures handcrafted drum machines, and abuses reel-to-reel tape recorders—all under the fascinated gaze of young Stephan.

The boy quickly develops a musical curiosity, exploring sound through various experiments and wanderings. Alongside his younger brother Martin, Stephan crafts audio plays on a homemade multi-track recorder (essentially several cassette decks hooked together!), which they write, record, add sound effects to, and perform for family and friends. Just a couple of nice kids, really...

Then comes 1972, and Lou Reed's Transformer album changes everything for the Eicher kids. For 13-year-old Stephan, it's a revelation—especially "Vicious", the opening track, which he plays on repeat for months. He convinces his father to buy him an electric guitar. Not stopping there, his father also builds him a tube amp using an old radio.

Then comes adolescence. A rough one. Stephan leaves home at 16 and moves to Zurich. With obvious artistic talent, he persuades his art teacher to help him get into F+F, a radical, alternative art school—despite his young age. Accepted, he starts learning video techniques, determined to become a filmmaker.

At F+F, Stephan organizes Dada-style happenings and concerts with a group of friends known as the Noise Boys. Among them: one of his teachers on bass, Veit Stauffer on drums (who would later found ReR/Recommended Records), his girlfriend Sacha on vocals, and Stephan on guitar. In one of their early performances, they release a remote-controlled mouse covered in dull razor blades into the audience to create panic and chaos. Keeping with this aggressive, confrontational spirit, they once played a concert while wearing headphones blasting Tristan and Isolde, trying to perform their own songs simultaneously—to maximize the cacophony. The goal was always the same: clear the room.

Their “songs,” if you can call them that, followed suit. Take "Hungeriges Afrika", for instance—performed entirely with power drills and some drum feedback.

To make ends meet, Stephan returns to Bern on weekends to work as a waiter at the Spex Club, the city’s main punk venue. On September 16, 1980, during a show by proto-electro group Starter, the police raid the club and arrest everyone. Stephan, who manages to avoid arrest, seizes the opportunity to “borrow” Starter’s gear left behind. He suddenly finds himself in possession of a Roland Promars synth, a Korg MS20, and a gorgeous CR78 drum machine, which he runs through a Big Muff distortion pedal to get that perfect gritty sound.

He then sets out to reinterpret some Noise Boys tracks, reworking them during impromptu sessions recorded on a dictaphone (yes, a dictaphone—now the lo-fi sound makes more sense, doesn’t it?). He ironically titles the resulting cassette "Stephan Eicher spielt Noise Boys" ("Stephan Eicher plays Noise Boys"). This gem features seven tracks, which are the ones reissued here.

Back in Zurich, he visits his friends Andrew Moore and Robert Vogel, who have a DIY cassette duplication setup. They make 25 copies of Stephan Eicher spielt Noise Boys for Stephan and his friends. Robert encourages him to visit Urs Steiger of Off Course Records and play him the tape.

Without much hope, Stephan shows up at Urs’s office. But Urs is instantly hooked and suggests releasing a 7” single. Due to space constraints, they reluctantly drop two of the seven tracks ("Hungeriges Afrika" and "One Second"). As for the musical score featured on the cover—it was randomly chosen and remains a mystery to this day. Calling all music theory nerds!

The 7-inch is pressed in 750 copies and released in the first week of December 1980—a date Stephan remembers well, as it’s the same week John Lennon was killed. Smartly, Urs sends a promo copy to François Murner, Switzerland’s answer to John Peel, who hosts a show on alternative station Sounds. Murner falls in love with the record and starts giving it airtime. To Stephan’s surprise, sales follow—and people actually seem interested in his music.

Even this modest underground success scares Stephan a bit. He stops making music for a year and moves to Bologna, where he works as a programmer at Radio Città, a feminist radio station.

Meanwhile, Stephan’s younger brother Martin, who’s also involved in the punk scene, joins the band Glueams as a singer and guitarist. Glueams, named after the fanzine run by two of its members (drummer Marco Repetto and bassist GT), eventually rebrands as Grauzone. Stephan is invited to their shows to project hacked Super 8 visuals live on stage.

Urs Steiger, now working on a compilation titled Swiss Wave – The Album, asks Grauzone to contribute alongside bands like Liliput, Jack and the Rippers, The Sick, and Ladyshave (Fall 1980).

For the album, Martin tasks Stephan with producing their recording sessions. Under Stephan's artistic direction, two tracks emerge: "Raum" and "Eisbär". During "Eisbär", Martin plays a minimalist bass line borrowed from post-punk band The Feelies (just an open string). Drummer Marco Repetto struggles to keep time. Later that evening, unhappy with the takes, Stephan builds a four-bar drum loop from a ¼-inch tape and uses it instead of the flawed original. He then adds bleepy synths and wind sounds to complete the track’s icy vibe before handing it over to Urs.

The Swiss Wave – The Album compilation is released quietly at first, but things snowball thanks to "Eisbär", which eventually becomes a smash hit—selling over 600,000 singles.

Meanwhile, Stephan plays in a rockabilly band called SMUV (named after Switzerland’s social security agency) and begins producing artists, including the debut album of Starter (1981), which includes a more pop-oriented version of "Minijupe".

By early 1982, Stephan starts spending time with the post-punk girl band Liliput (formerly Kleenex). They’re older than him, and he happily drives them around in his Renault Major, acting as their roadie.

By 1983, Grauzone—signed to the major label EMI, which turned out to be a misstep—is falling apart. Stephan begins to pivot toward a more mainstream pop sound with his debut solo album Les Chansons Bleues.

But that... is already another story.

This album brings together some of the finest music ever released on Black Jazz Records which in its short four-year history, between 1971 and 1975, released over 20 superlative albums which all successfully blending spiritual jazz, funk and soul jazz of the highest calibre. Similar to other independent jazz labels at the time, including Strata-East Records and Tribe Records, Black Jazz focussed on a number of key artists, most of whom first established their career during this period, and all of whom are featured here. Featuring The Awakening, Doug Carn, Walter Bishop, Chester Thompson, Kellee Patterson and more. Black Jazz Records was founded in Oakland, California, by pianist Gene Russell and percussionist Dick Schory.

The label released twenty albums between 1971 and 1975. Artists who recorded for Black Jazz Records included Cleveland Eaton (bassist for Ramsey Lewis), keyboardists Doug Carn and Chester Thompson, vocalist Kellee Patterson, saxophonist Rudolph Johnson, bassist Henry Franklin, and spiritual fusion group The Awakening. The label was distributed and financed by Ovation Records, based in Chicago. Schory founded Ovation in 1969, shortly after leaving RCA. Schory was a Grammy-nominated percussionist who was also known for his development of the stereo recording techniques including Dynagroove and RCA Victor’s Stereo Action. Schory also pioneered quadrophonic sound, and a number of Black Jazz Records were in quadrophonic and other formats such as ¼” tape and 8-track.

Black Jazz launched in 1971 with Gene Russell’s ‘New Direction’. Russell was the creative force behind the label, acting as producer, engineer and A&R and focussed on developing new solo artists. The most successful of these was Doug Carn, who released four albums featuring his wife, Jean Carn, as vocalist. She later changed her name to Jean Carne and became a successful soul singer signed to Gamble and Huff’s Philadelphia International empire.

The earliest foundations of the Detroit Harmony group ‘The Gaslight’ came when future lead singer Oliver “Butch” Cheatham via an introduction by his sister Jackie joined a group known as ‘The Young Sirs’ who recorded, “There’s Something The Matter (With Your Heart/African Love” for Magic City during 1969. The group included Oliver’s future brother -in-law Allen Cocker (Jackie’s future husband).

Oliver and Allen went on to form a new vocal quartet with Curtis “Kippy” Anderson and Michael Eatmon. Under the group name of ‘The Gaslight’ they signed to Uptight Productions Incorporated, a local production company founded by local businessmen Marvin Figgins and Arnold Wright. The Gaslight were the only vocal harmony group signed to Uptight Productions and as such, it was they who made the most recordings across two label imprints Grand Junction and Black Rock. The Gaslight’s first single “I Can’t Tell A Lie/Here’s Missing You” was released on Grand Junction (GJ1001) in 1970, For the groups second single Figgin’s placed them under the guidance of legendary producer/songwriter, the late George McGregor under whom they recording “Drifting Away/If You See Her” Grand Junction (GJ1002) released in 1971 For their next release Figgin’s switched the group to his Black Rock label to record “Out Of My Hand/I’m Only A Man” Black Rock (2002) under the pseudonym of Butch & The Newport’s With “Butch” being Oliver’s nickname. A later, second release of “I’m Only A Man” but with a different flip side “I’m Gonna Get You” came out on Grand Junction (GJ1100) in 1973 with the performing artist credits reverting back to ‘The Gaslight’.

Upon leaving Uptight Production’s the group found a new home when George McCregor took them to a new fledgling label T.E.A.I (an abbreviation for “Tellin’ Everybody About It”) owned by ‘The Dramatics’ Road Manager Charles Underwood. ‘The Gaslight’s’ first and only release for T.E.A.I, was the mellifluous 1975 double sider “Just Because Of You/It’s Just Like Magic”. Underwood had precured a working relationship with Polydor Records who picked the release up for national distribution three months later. As good as the record was due to poor promotion it failed to make any notable noise and eventually sank with the group soon after breaking up.

During Soul Junction’s later dealings with the late Oliver Cheatham, respected UK Collector Andy Rix mentioned he owned a three track acetate containing the two mentioned T.E.A.I/Polydor tracks plus a third unissued dance track “Hard Times” which through a licensing deal with Charles Underwood Soul Junction now present to you on a three track 45, released under its full title “Hard Times Are Coming, Hard Times Are Here” backed with a previously unissued mix of “Just Because Of You” alongside the issued 45 version of “It’s Just Like Magic”.

Blademasters is a new Melbourne instrumental project formed by Patrick Ryan (Cantrips) and Lachlan Stuckey (Surprise Chef). Built around the central conceit of "duelling" acoustic guitars - Ryan on steel-string and Stuckey on nylon-string - the project draws on 1960s and 1970s live studio recording traditions, foregrounding ensemble interplay, room sound, and performance-led arrangements. The wider lineup features musicians associated with Melbourne's instrumental soul and funk scene, including members of Surprise Chef, Cantrips, Karate Boogaloo and Ella Thompson's band.

Recorded live over a single day, Kings Knight / Live by the Blade was tracked with two acoustic guitars performing together in the room alongside bass and drums, with piano and vibraphone overdubs added sparingly. The release is influenced by David Axelrod's Pride (1970), particularly its fusion of cinematic orchestration, Latin and folk inflections, and deep rhythmic foundations. Both tracks share related harmonic material, presenting two contrasting but connected movements: the A-side's dramatic, tension-building opener and a more restrained, groove-led B-side. The release is presented on 7-inch vinyl with digital distribution.

AE Productions in association with Sure Shot Recordings and In Effect Recordings are pleased to announce a 10 Year Anniversary Edition of the critically acclaimed Phill Most Chill and Paul Nice album as the Fabreeze Brothers.

The hugely successful first edition which was pressed on colour vinyl and supplied in double fold out sleeve sold out in only 2 weeks from release date and then the 2nd pressing black vinyl edition sold out a little while later but has for years been out of print but is increasingly requested by shops, via email, social media, AE Productions website back in stock requests, etc…

As it has been 10 years since original release back in 2015 at the time of proceeding with manufacturing, it was the perfect opportunity to do a 3rd pressing to mark the anniversary but we had to pull out all the stops for a 3rd run of this incredible album and also make it subtly different again in packaging design from the 1st and 2nd pressings so that each has it’s own particular feel and quality.

With help from the original designer and all-round vinyl artwork supremo Mr Krum we have found some nice adjustments for the gatefold sleeve where the detail from the insert sheet found in the original issues is incorporated into the inside panels of the sleeve. We have also tweaked the hype sticker to mark the 10th Anniversary Edition and updated the vinyl labels so as to work better with the new Splatter vinyl which follows the original red and yellow vinyl but each splattered with the opposite colour.

For something a little extra we have compiled a Limited Expanded Edition Double Cassette Box Set that includes the original album and also a ‘Bonus Tape’ which features all of the remixes, alternate versions, Original Versions of album cuts and bonus tracks found on B-sides of the array of singles and we included for good measure 2 tracks that only appeared on the promotional only LP sampler that ended up being different on the final release. This is limited to cassette just for the non-vinyl heads as all of these tracks already appear on vinyl. The outer box is A5 card in black with gold foil Fabreeze Brothers logo and comes with discography booklet.

‘The Bonus Tape’ from the box set is also available as a standalone cassette release with alternate j-card art work so that it has it’s own flavour and so that anyone that purchased one of the original run of cassettes that sold out before we could even ship any copies, did not need to purchase the main album again unnecessarily and to make it noticeable from the Expanded Edition Box Set version.

This version also has an alternate shell design in keeping with the clear shell with dark liner that was commonplace back in the 90’s and the cassette geeks may note the red text on the spine as was also a common design back then – giving this a pseudonym of ‘the 90’s tape’ during the design process.

We couldn’t stop there so we also have an extremely low quantity Limited Edition Mini Disc version which is the main album plus 8 of the bonus tracks from The Bonus Tape – only missing the 2 least significant alternate versions but clocking in at just a few seconds under 80 minutes – the absolute maximum for the format! Mini Disc???!!! You’re probably asking – yes!

While looking into the cassette duplication options we realised that the duplicator also offers Mini Disc production so we thought that it may be worth doing a very small run just because not only are professionally manufactured Mini Disc’s rare in Hip Hop, they are rare within the entire music industry as they never really took off as a medium to purchase music but ended up as the choice for home recorded Walkman and car use. Indeed, AE boss Mr Fantastic still has his main machine, portable and old discs. Amazingly also, the sleeve artwork transferred brilliantly to the Mini Disc template. They are manufactured using high quality Sony discs using ATRAC 4.5 codec.

All releases are supplied with unique free download codes on cards that are included inside the packaging but also with the Expanded Edition cassette and Mini Disc having 2 cards – 1 for the main album and a 2nd card for ‘The Bonus Tape’. The free downloads are supplied direct from Phill Most Chill’s Bandcamp page keeping it independent.

2026 Repress!

(Long awaited 2026 repress, Black vinyl) While the original, 2013 version of Robert and Lyric Hood's bittersweet banger had already managed to leave tear stains on dancefloors across the globe, the 2014-released “Re-Plant” of 'Never Grow Old' has undeniably lived up to its name. As likely to be rolled out by Carl Cox as Ricardo Villalobos, 'Never Grow Old''s quickening synth stabs and piercing symbols wrap tenderly around a heart-wrenching vocal to make up a track that is both poignant and euphoric. It's the ultimate crying in the club track, the cheat code to getting crowds to embrace each other, and the track you'll probably want to ring your loved ones to tell them about, all wrapped into one.

Juju Love, one of the earliest tracks created by HIA, receives it's first release on vinyl. Side A of the EP has been given over exclusively to Juju Love, cut at 45rpm for maximum bass, fidelity and dynamic range.

Unearthed for HIA's celebrated live performance at Terraforma festival in 2022, Juju Love has become a favourite with audiences around the globe at HIA's extensive live shows in recent years.

Previously only available as a live recording on a limited promo cassette tape 'HIA Live From The Back Of Beyond' (1993) and more recently on the digital only 'Preform' release on Headphone records.

Combined with Speedlearn (Frontal Lobe) and W.H.Y on Side B, these three tracks together are taken from a particular moment in HIA's timeline.

Speedlearn (Frontal Lobe) the definitive version of this track, was released on HIA's debut 'Speedlearn EP'(1993). Inspired by an episode of the surreal 1960's cult tv series The Prisoner, in which Speedlearn - a subliminal television-based education program presented as a revolutionary fast-track method of learning - turns out to be a tool for mass thought control and indoctrination.

W.H.Y appeared on Ambient Dub Volume 2 on Beyond Records (1993) and Preform.

All three tracks have been remastered & cut for vinyl by Stefan Bekte (Pole) at Scape Mastering,

12" vinyl in black disco bag, initial pressing of 300 copies.

‘Soul Psychédélique’, released on Two-Piers, takes you on a journey into the world of Psychedelic Soul & Funk, from its early beginnings in the 1960s and 1970s to the current crop of artists championing the more Psychedelic, Trippy end of the Soul sound today.

‘Soul Psychédélique’ brings together legends of the Soul Psych scene, such as Curtis Mayfield, The Chambers Brothers, Marlena Shaw, The Temptations, and the brilliant ‘Sugar Man’ by Rodriguez. Place alongside Soul Titans like Isaac Hayes, Bobby Womack, Chairman of the Board, Terry Callier all delivering stunning Psychedelic Nuggets for your Listening pleasure. Throw in some covers like ‘Dear Prudence’ by The Five Stairsteps, ‘Hard to Handle’ by Patti Drew and ‘California Dreamin’’ Bobby Womack and finish with some brilliant modern-day exponents of the scene like Khruangbin, Gabriels and Michael Kiwanuka. The result is a crazy ride through the world of Psychedelic Soul and Funk. If you ain’t dancing and smiling by the end - what the hell is wrong with you!

‘Soul Psychédélique (The Best of Lounge & Exotica 1954-2022)’ is the fourth instalment in the ‘Psychédélique’ Compilation series on Two-Piers, following the critically acclaimed ‘Pop Psychédélique (The Best of French Psychedelic Pop 1964-2019)’, ‘Garage Psychédélique (The Best of Garage Psych and Pzyk Rock 1965-2019)’ and ‘Lounge Psychédélique (The Best of Lounge & Exotica 1954-2022)’ and is available on 2LP Coloured Vinyl

The 10,000 strong party drew together DJs, fans, listeners, singers, live acts and MCs together to showcase every shade and style encompassing a 174 heartbeat. As the Finsbury Park fun continues and round two promising even bigger stage takeovers and a myriad of artist weaponry, we present an equally bursting drum & bass double disc, the 'Hospitality In The Park 2017' LP. In the same vein as our all- day summer special, this huge 70 track mash- up spans across a full 360' perspective of the genre; representing the established, up and coming, soulful, obscure, liquid, innovative, dark, techy, neuro, jungle style and everything in between.

Included are over 25 brand new exclusives from reputable drum & bass titans Danny Byrd, S.P.Y, Makoto and Keeno, there are VIPs from Metrik and Nu:Logic, remixes from Hugh Hardie, Total science, Camo & Krooked and Calibre, and a 'Bullet Proof' banger from Krakota. Across two mixed CDs we've drawn for this year's surefire summer weapons with Fred V & Grafix, The Prototypes, 1991, High Contrast, The Upbeats, Breakage in the mix. With this year's Incubator stage pulling artists that are rising through the ranks, up and comers' Whiney, Unglued, GLXY and Kyrist bring exciting new offerings to the compilation.

Both fans and artists came together from all over the globe last year and we expect no less in 2017. Equally, this compilation gives an international perspective covering all corners of the globe from Japan's Mountain, the USA's Flite and Ownglow, the Netherlands Black Sun Empire and New Zealand's Shapeshifter. Drum & bass is stronger than ever and it's here to stay. See you at the park!

Cory Wong's eagerly awaited new studio album, Lost In The Wonder! The collection spotlights Wong's remarkable gifts as a producer, writer, arranger, band leader, and master of modern pop craftsmanship, while of course never losing sight of his trademark guitar virtuosity. Lost In The Wonder further affirms Wong's enduring love of musical collaboration, boasting a truly eclectic range of guest artists that includes Taylor Hanson, Devon Gilfillian, Stephen Day, Cody Fry, Yam Haus, Louis Cato, Ellis, Elysia Biro, Benny Sings, Theo Katzman, and Magic City Hippies.

House royalty unite. Ralphi Rosario’s Chicago pedigree meets Bob Sinclar’s global dancefloor finesse on this uplifting, piano-charged vocal house weapon. A driving 4/4 groove underpins soaring chords and a powerful lead vocal from Donna Blakely, while Lego’s production keeps the low-end tight and club-focused. A great Chicago-classic where Bob Sinclar transformed it into a club weapon with energy, poise, breakdown drama and hands-in-the-air moments.

Big-room soulful house with crossover appeal.

The sonic worlds of Devon Rexi and John T. Gast collide in a vital meeting between two singular mavericks!

Following two lauded EPs on cult label South of North, Amsterdam-based Devon Rexi prepare to release their much-anticipated debut album, recorded by and featuring elusive 5 Gate Temple devotee, musician and producer John T. Gast, whose acclaimed catalogue continues to flourish.

Devon Rexi is a trio made up of Nicola Reverda (Nicolini), Nushin Naini and Goya van der Heyden (La Rat). They’ve quickly carved out their own sonic world, traversing krautfunk, post-punk and psyched-up no wave, all laced with a dub-heavy experimental mentality. Breathstep captures the band’s bass-heavy incantations, ripe with melodic chaos and rhythmic improvisation, while devilish cackles and processed vocals flirt over a jukebox of dubbed snippets and sliced textures.

The introduction of John T. Gast as producer and collaborator pulls the Devon Rexi sound deeper into bubbling dub territory, while his own palette is stretched and pushed into new terrain. Though Gast has firmly cemented his singular sound over the last decade, this interconnected process marks new ground for all involved. The result is a supreme convergence of esteemed musicians and a wickedly fine debut collaborative record.

Breathstep finds its home on Bristol imprint Accidental Meetings, whose ever-evolving sound and wide-ranging discography continue to grow. The album was recorded over the last year across Amsterdam, Lisbon and London.