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Very limited Red Opaque vinyl. Single LP w/ printed inner sleeve + Download card. "a startling balance between chaos and structure, building up gorgeous torrents of sound that land with a crash" - THE NEW YORKER // A terrific blend of hardcore, punk, noise, and yes, pop. - INTERVIEW MAGAZINE // one of 2021's most thrilling listens. - STEREOGUM // What if Andy Warhol was really into Converge and CrossFit? That's the logline, as the now eight-piece band attempts to reflect pop music and pop culture through the heaviest, most swole lens possible. - PITCHFORK Best New Music // The Armed are set to release ULTRAPOP: Live at the Masonic Temple, an incredible live soundtrack from the band's narrative-driven concert film of the same name. The album and film were captured in the opulent chapels, imposing asylum rooms, full-size indoor handball courts, halls (and more) of the mysterious Masonic Temple of Detroit; a 550,000 square foot fortress in the heart of the city. ULTRAPOP: Live at the Masonic features breathtaking, hyperactive performances of tracks off The Armed's break-out album ULTRAPOP, selections from their second LP, Only Love, the CYBERPUNK 2077 single "Night City Aliens" and culminates in the ultimate catharsis with the entire collective converging for the devastating closer "On Jupiter." The Armed's latest album ULTRAPOP, released in April of 2021, received acclaim across the board, gaining the highly coveted Pitchfork Best New Music and praise from The New Yorker Magazine, Vulture, Stereogum, Revolver. AV Club, Fader, Bandcamp, Entertainment Weekly, Interview Magazine, and so much more. Reaching the same extremities of sonic expression as the furthest depths of metal, noise, and otherwise "heavy" counterculture music subgenres, it finds its foundation firmly in pop music and pop culture. A joyous, genderless, post-nihilist, anti-punk, razor-focused take on creating the most intense listening experience possible, and now with ULTRAPOP: Live At The Masonic, the most intense live experience possible.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7" single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low prole while making his heart felt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with. The first thing you notice listening to Les Imprimés is the high level of musician-ship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a HipHop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is an artist on his own terms. Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experi-ence behind the boards he built his own studio on the island of Odderoya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape. However, "it wasn't until COVID, when things locked down, that I was really able to nd the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his inuences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine. "It is his sound, his fingerprint, his sensibility, that makes his music hard to put in a box. The album showcases both Martens' range and his ability to make a cohesive album. The lead single "Falling Away" starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On "Still Here" he professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like "You" and "Our Love" mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens' lyrics and delivery leave you singing the melodies long after they finish. "Love & Flowers" finds Martens in a moment of clarity with a song that ts the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor or while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like "Muse" and "Chess" that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens' lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There's an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7” single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low profile while making his heartfelt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with.

The first thing you notice listening to Les Imprimés is the high level of musicianship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a Hip Hop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is as an artist on his own terms.

Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experience behind the boards he built his own studio on the island of Odderøya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape.

However, "it wasn't until COVID, when things locked down, that I was really able to find the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his influences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine."

It is his sound, his fingerprint, his sensibility, that makes his music hard to categorize. He has crafted an album of songs with different energies that all fit together to make one gorgeous record. The lead single “Falling Away” starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On “Still Here” he professes his resilience through life’s twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like “You” and “Our Love” mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens’ lyrics and delivery leave you singing the melodies long after they finish. “Love & Flowers” finds Martens in a moment of clarity with a song that fits the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like “Muse” and “Chess” that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens’ lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There’s an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

In Japanese, the word “Guru-Guru” refers to the state of spinning, whirling.?
This state is captured in the work of Japanese artist Hoshina Anniversary, who makes his third appearance on MUSAR with his EP Guru Guru and marks the return of the label after an extended break.

Hoshina’s self-titled brand of ‘Watechno’ has appeared on well-loved dance music labels like ESP Institute, Volvox’s Jack Dept and Young Marco’s Safe Trip, alongside MUSAR where he also appeared as Shifting Gears back in 2022; an electronic-jazz-centered moniker.

His Guru Guru EP captures the latest snapshot of Hoshina’s sound and sees him draw from Japanese language as a through-line.
The title track is the clearest representation of his ‘Watechno’, where he uses Japanese instrumentation on top of a menacing EBM-style march. The track's slowly whirling momentum is the “Guru-Guru”.

On tracks like “Banri”, which means far away in Japanese, we see new shades to Hoshina’s work as he mixes a Japanese Wadaiko drum groove with acidic elements and piano melodies to make a track of contradictions which pairs roughness with elegance. Whereas on “Usagi”, Japanese for rabbit, Hoshina fires up the BPM.
Piano melodies remain here but their effect is more drifting and emotive than on “Banri”.
“Kaga” is named after a place in the southernmost part of Ishikawa Prefecture, between Kanazawa City and Fukui City.
On this track, Hoshina’s love for jazz comes through and even mirrors the work we heard from him under Shifting Gears.

Freak Frequency was a fitting title for the new material Greg Obis was planning for Stuck, the frenetic and twisted post-punk outfit he formed in 2018. Inspired by the doomy social economics of Mark Fisher’s Capitalist Realism, the bleak worldbuilding of horror games Demon’s Souls and Bloodborne, and the bombastic yet arty satire of Devo, Obis channelled his audio analogy into Freak Frequency, an album ringing out with explosive sounds and ideas.

Stuck formed after Obis’ previous projects, Yeesh and Clearance, called it quits in short proximity. Obis is on guitar and vocals, which span from booming theatrics to ecstatic yelps. The project’s rhythm section is completed by shoegaze guitarist-turned-chugging bassist David Algrim and tightly wound drummer Tim Green—also a graphic designer, and the artist responsible for Stuck’s distinctively unified visual aesthetic. Original co-guitarist Donny Walsh contributed freely inventive lines for the first few years of the project, including on Freak Frequency; Ezra Saulnier of Red Tunic, the newest member of the band, now brings calculated contrapuntal riffs to match Obis’ parts.

The building blocks of Stuck include the egg punk eccentricities of Uranium Club and The Coneheads filtered through noise rock power, à la Jesus Lizard or Slint; that melange is glittered with the precision microtones of Unwound and Women. “I want the feeling of immersion and chaos and tension, with a big guitar amp playing a big chord,” says Obis of his inspirations, citing friends and peers Cloud Nothings and Preoccupations. “But I want it delivered by having a lot of smaller points of light poking through.”

In fact, writing for Freak Frequency began while Content’s recording was still underway—beginning with “Scared,” which features acoustic layers under feedback squalls. “Time Out,” with motoric guitars in the sputtering lineage of Wire, was also composed in late 2019. Obis wrote it about the cycles of compulsion and shame woven into social media use, and the way negativity drives algorithmic engagement. It became an exciting exercise for the group in ramping up speed; “I thought I knew how far I could push Tim’s tempos,” Obis recalls. “But Tim kept insisting we do it 20 bpm faster than what I had. He is an absolute monster for playing that.”

Album opener “The Punisher,” a spiral staircase of disembodied guitars and rhythmic slams over a 2/4 beat, came in the aftermath of the January 6 insurrection. It felt immediately emblematic to Freak Frequency, and Obis describes it as his favorite Stuck track: one he wishes he could write again and again. “It hits all the boxes that Stuck can do: it’s goofy, but there’s a lot of intricate guitar interplay, and at the end, there’s a big payoff,” he explains. The last song written was “Do Not Reply,” a pre-album single that came to Obis after engineering for Melkbelly and channelling their earworm melodies. Algrim wouldn’t let it on the record unless Melkbelly’s front person Miranda Winters dueted on vocals; she was happy to oblige, and the gritty epic closes Freak Frequency.

With slippery snark, percussive heft, and funhouse mirrors of sludge, Freak Frequency delivers its needed screeds with gratifying nuance. If Stuck’s interpretation of this messed-up world goes down like a bitter pill, it’s only because its sugar coating is too delicious to keep from eating.

Healing Force Project continues its sonic journey towards territories of dub/reggae derivation. In this case, creating for Analog Versions, two tracks with a dark flavor, introspective but never banal. In the piece "The Bathysphere Stalks The Ganja", which gives the title to the 10inch record, there is a well-defined rhythmic gait, obviously with a markedly dub timbre and a structure that almost transforms into a jungle mantra, almost giving the listener a feeling of sensory loss. Continuing on this type of production and composition, "Jah Connection" develops on a slow groove in the first bars of the track, and then opens up to contexts close enough to the breakbeat and with a voice that repeatedly punctuates the riddim that is created step by step. Bottom line: whoever listens to this project just has to let themselves be carried away by these timeless sounds.

Samosa Records reaches its 30th release in style, and who better to mark the occasion than label boss De Gama with the superb ‘Tropical Gangster’ - a three tracker slice of vinyl heaven that’ll blow you face first into your summer paddling pool.

Opening this super-tropical affair on the A-side is afro beat stomper ‘Karibu Funk’ - and it wastes no time at all in introducing us to its tribal rhythmic awesomeness. The beats, the vocals, the outrageously funky bass and horns are a musical representation of an African sunset. A serious groove.

A2. brings us ‘Lucky Fellow’; a twisting, turning bouncy bass-bomb of a tune with a flute riff that would charm the clothes off you. De Gama is very much in Pied Piper mode here - you’re powerless to resist the sexy overtures of the drums, the haunting synth lead and solid bass line. Sizzling hot.

On the B-side De Gama offers a cool ‘Piña Colada’ after all the heat of the A-side. This Piña Colada, however, offers an oasis of many delights and flavours. What starts as a furious latino drum call breaks to a tropical bassline and hypnotic keys. The vocals are the cherry on the cake of an amazing arrangement of layered sound. Goosebumps.

The Tropical Gangster is an exceptionally special Samosa release befitting the occasion of reaching the 30 milestone, and another example of the consistently brilliant output from Samosa Records. Expect this one to sell out fast.

Die meisten in der Musikindustrie sagten eine neue Thrash Dämmerung voraus, nachdem eine dritte Welle die Szene in den frühen 00er Jahren erreichte und für genügend Nachwuchs sorgte, um in den Ruhestand gehende Veteranen wie Slayer zu ersetzen. Es stellte sich heraus, dass 20 Jahre später eine junge dänische Band sich weigern würde, im Status Quo zu verharren und die Szene mit einem der aufregendsten Debütalben seit Municipal Waste's "Waste 'Em All" heftig traf. Diese Band war DEMOLIZER, und im Jahr 2022 begaben sie sich erneut ins Studio, um das neue Album "Post Necrotic Human" aufzunehmen, nachdem sie die dänischen Autobahnen mit ihren alles zerschmetternden High-Speed-Riffs und erdrückenden Donner-Breakdowns bereist hatten. Das Album wurde in den Plague Studios aufgenommen und gemischt, und in No Masters Voice gemastert.
Das bedeutet, dass du schon bald deine Nachbarschaft mit dem nicht enden wollenden Gebrüll der neuen Platte von Demolizer auf allen Streaming-Plattformen und auf deinem Plattenteller bestrafen kannst! Demolizer, die 2018 gegründet wurden, spielen zermürbenden, harten und ungefilterten Thrash Metal, bei dem du deine Zähne mit zerquetschten Fingern aufheben wirst, nachdem du den Pit knapp überlebt hast. Demolizer ist die Manifestation eines großen, wütenden Mittelfingers, der dem Establishment entgegengestreckt wird, und bietet den härtesten, schnellsten und thrashigsten Thrash Metal, von dem man nur träumen kann! Die Dänen haben in den letzten drei Jahren zwei Alben veröffentlicht: das "Thrashmageddon"-Album und die EP "Upgrade", die weltweit gute Kritiken erhielt. Mit mehr als 100 Shows im Rücken sind sie mehr als bereit, dir mit ihren messerscharfen Riffs die Eingeweide rauszureißen und mit ihren Breakdowns auf den Überresten herumzutrampeln.

Die meisten in der Musikindustrie sagten eine neue Thrash-Dämmerung voraus, nachdem eine dritte Welle die Szene in den frühen 00er Jahren erreichte und für genügend Nachwuchs sorgte, um in den Ruhestand gehende Veteranen wie Slayer zu ersetzen. Es stellte sich heraus, dass 20 Jahre später eine junge dänische Band sich weigern würde, im Status Quo zu verharren und die Szene mit einem der aufregendsten Debütalben seit Municipal Waste's "Waste 'Em All" heftig traf.

Diese Band war DEMOLIZER, und im Jahr 2022 begaben sie sich erneut ins Studio, um das neue Album "Post Necrotic Human" aufzunehmen, nachdem sie die dänischen Autobahnen mit ihren alles zerschmetternden High-Speed-Riffs und erdrückenden Donner-Breakdowns bereist hatten.

Das Album wurde in den Plague Studios aufgenommen und gemischt, und in No Masters Voice gemastert. Das bedeutet, dass du schon bald deine Nachbarschaft mit dem nicht enden wollenden Gebrüll der neuen Platte von Demolizer auf allen Streaming-Plattformen und auf deinem Plattenteller bestrafen kannst!

Demolizer, die 2018 gegründet wurden, spielen zermürbenden, harten und ungefilterten Thrash Metal, bei dem du deine Zähne mit zerquetschten Fingern aufheben wirst, nachdem du den Pit knapp überlebt hast. Demolizer ist die Manifestation eines großen, wütenden Mittelfingers, der dem Establishment entgegengestreckt wird, und bietet den härtesten, schnellsten und thrashigsten Thrash Metal, von dem man nur träumen kann!

Die Dänen haben in den letzten drei Jahren zwei Alben veröffentlicht: das "Thrashmageddon"-Album und die EP "Upgrade", die weltweit gute Kritiken erhielt. Mit mehr als 100 Shows im Rücken sind sie mehr als bereit, dir mit ihren messerscharfen Riffs die Eingeweide rauszureißen und mit ihren Breakdowns auf den Überresten herumzutrampeln.

2023 Repress in updated tea stained sleeve

For the 20th Samurai Red Seal 12 we welcome the grand master of breakbeats for his debut with Samurai Red Seal. Paradox now appears rarely outside his own labels so we are honoured to have him as a special guest on Samurai Red Seal. 'Scorpius' is a potent, menacing, refurbishing of the golden years of DnB with the heaviest drums and bass on any tune in your set.'Crate Logic' is perhaps the funkiest tune you will hear in the genre in 2013, built around an authentic funk break that is transformed into and unmistakeable Paradox groove. The full artwork dedicated sleeve is designed around the ethos and theme of the 12, reflecting the dusty crate groove and highlighting the lost artform of 'crate digging' in modern DnB. This will be the 147th Paradox 12 single!

Bourassa is back and serving us a scorching new summer hit. This time, label boss Smolny doesn't hold back, unleashing a powerful holiday anthem titled "Need Love." If you're truly in dire need of some love, this track is definitely for you!

It starts off slowly and nostalgically, seasoned with a distinct amen break. The growing tension sends shivers down your spine, while a beautiful trance chord intertwines with a long pad in the background. Adding to the flavor is a twisted female vocal that seductively flirts with your senses. It all culminates in a euphoric experience, gradually building up to release the accumulated energy. Finally, everything explodes as a strong and expressive bass line hits you like a ton of bricks.

The following track "Running" takes a more tranquil approach, transporting us to a dreamy realm. Broken drums keep propelling us forward, never allowing us to pause. The melodic chord gracefully emerges, creating a chill atmosphere and setting the mood. After the breakdown, grooving bongos complete the picture.

The B-side features two fantastic remixes of the title track, "Need Love." The first one is a fierce breakbeat roller from Denham Audio. With its powerful bass and mesmerizing droplets cascading in the background, it creates a distinct hypnotic atmosphere. The change in bassline to the typical speed garage sound delivers an even more potent punch at the end.

The second remix is crafted by SLG, who flawlessly captures the sound of the '97s, creating a track in the progressive trance style from that era. A brilliantly composed bass line constantly propels the track forward, building tension alongside the melodic line. A real dance floor killer!

Be With present the first ever reissue of the ultra rare double pack DJ promo of Malcolm McLaren & Bootzilla Orchestra's "Call A Wave". Originally slipping out in 1989 to a select few, there were rumoured to be only ever 300 copies pressed. Indeed, the entire package never got a proper release and now goes for a small fortune.

Say what? Bootsy Collins, Jeff Beck and Malcolm McLaren, all in one band, composing over a Barry White sample? And that's just the original. But you can forget about that for now. Here we have the incredibly sought-after "DFC Dance Mix", mixed by Massimino Lippoli of Morenas / Sueño Latino fame for the legendary DFC Italy. It's a throbbing, vital, dramatic slice of dreamy ambient house. A deep, entrancing track that's both blissful and dancefloor dynamite. It features the iconic, disaffected female vocal chopped up over elegant piano snatches, Beck's ace guitar stylings over rolling, heavy drums and a killer, hypnotic bassline with sparkling harp coming and going. It's exotic, otherworldly and brimming with that very special late 80s/early 90s Mediterranean vibe. Yes, it's Balearic, it's House. Above all else, it's a pure uncut slice of halcyon summer days, pressed on wax.

But on side B we also have the mesmeric "Breakdown Mix", again mixed by DFC Italy. For some, *this* is the mix to have - and who are we to argue? This time, the vocals are treated so they're uttered backwards, contributing to the wonderfully disorienting magic of this particular mix.

And how could we forget the equally iconic "Orbital Mix"? Not by the actual group Orbital, but courtesy of S'Express's Mark Moore & William Orbit, no less. A brilliant, beautiful remix that's perhaps more musical. They make more obvious use of the sample from the original Barry White track ("I'm Gonna Love You Just a Little More Baby") that Malcolm was inspired by. Flip over to Side D to find the duo's uber-horizontal "Return To The Deep Ambient Mix", a floaty, beatless gem that'll leave you swooning.

To round out this quite astonishing package, the "New Age Mix", again coming from the DFC Italy camp, elegantly sends us off into the cosmos with minimal percussion and maximum vibes.

Every mix on this DJ double pack is truly killer. Simon Francis remastered the original audio for this release and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 2x12" well and truly pumps. The immaculate Record Industry pressing will ensure this incredibly sought-after masterpiece finds a home in many more DJ boxes this and every summer. For the artwork, we've recreated the original DJ promo, a plain white gatefold sleeve complete with the iconic burnt orange hype sticker. Hold tight. Roof down, tops off.

Hot on the heels of his successful first Rubi Records release, Ashley Tindall, AKA Skeptical, comes with another three-track EP showcasing his evolving and expanding sound. The opener, 'Rhubarb', shows clear influences of fatherhood, with sampled sounds of happy childhood leading into what is possibly Skeptical's deepest track to date. While this is no piece of bland 'intelligent' D&B by any stretch, the build up intro of warm pads that leads into a chilled head-nodder stands a good chance of having you listening with eyes closed, smiling as fond memories wash over you. Next up is the deceptive 'Capsize'. Starting with the strings of an old sea shanty, the track sounds like it will follow the more chilled route of 'Rhubarb', before the introduction of some twisted minimal sonics and trademark 'steppy Skeppy' drums quickly change that notion! The swift addition of a fizzing, rubber-band b-line completes the switch up and you're sailing on far from calm waters. The return of the shanty violins amidst this is inspired, showing that breaking from the expected norm is not just something that this producer isn't shy of doing, but something he does exceptionally well. To round off, Skeptical steps back into more typical sonic territory with a slice of intense D&B minimalism titled 'Foiled'. This deceptively simple-sounding track hides a wealth of meticulously-crafted and perfectly-balanced elements that deliver a somewhat claustrophobic atmosphere that will appeal to lovers of the outer-edges of cutting-edge D&B. Skeptical's new EP promises to be just as successful as his first release, showcasing his unique and evolving sound.

This July the esteemed scribe, proper DJ, and discreetly deft twiddler Bill Brewster, drops the latest instalment in his ‘After Dark’ series, for Late Night Tales.

A throbbing, louche and leisurely affair, groove is very much at the heart of this freestyle selection, a vibe which Bill de- scribes as “a basement, a red light and a sound system. Or, as the Beastie’s once rapped, slow and low, that is the tempo”.

There’s Hawaiian drum machine bossa balearica from Island Band, percussive afro post punk from Czech jazz singer Jana Koubkova, and breathy-bubbling-dubwise-slap-bass-soul from Debbe& The Code.

There’s also sultry deep house mood music from Lanowa, infectious bouncy jazz funk breaks from Canada High, and Nail’s life affirming re-edit of singer songwriter Gilbert O Sullivan’s electro pop gem ‘So What’.

Bill’s own studio skills are present and correct too, featuring an undulating bassy version of country troubadour Jeb Loy Nichols, reworked along Alex Tepper under their Hotel Motel moniker, and a chugged-up squelchy disco take on Khruang- bin, this time paired with Raj Gupta, as Mang Dynasty.

Chock full of exclusives, tracks are either completely brand new, or available digitally for the first time, whilst others are wallet-rinsing rarities if purchased elsewhere. Whichever way you slice it though, every tune is a highlight, working equally well as standalone nuggets, or within Bill’s fluidly cohesive mix.

Whether he’s taking the roof off a club with his unique selec- tion of deep and tough house music, enchanting a backroom with a genre-bending set of disco, Balearic, rock and hip hop or playing chillout music in a bay in Croatia, Bill Brewster is the man for all occasions.

In a former life, Bill was a punk rocker, a chef and also the co-editor of football magazine When Saturday Comes but has been a record nerd all of his life. He began DJing in the 1980s, but came into his own in the early 1990s, particularly during a two-year stint in New York running DMC’s office, where nights at the Sound Factory and hanging out with Danny Tenaglia gave him the musical grounding you can still hear in his music today.

Bill was also one of the founding residents at Fabric in London, a position he held for five years. There are few still playing regularly today that have his dedication, eclecticism and encyclopedic knowledge of music.

His parallel life is as a writer, and with his long-term part- ner-in-crime Frank Broughton, they have written four books together, including the acclaimed ‘Last Night A DJ Saved My Life’ (latest edition published last July), ‘How To DJ (Prop- erly)’ and ‘The Record Players’.

He has been working in the industry’s fringes for over 40 years including the running of various labels from Twisted UK and Forensic in the ’90s to Disco Sucks and Anorak in the noughties.

He is one of NTS radio’s new residents for 2023 and his ‘Low Life Loves You’ show is available on the first Tuesday of every month.

Celebrate Hip-Hop At Fifty and Bad Boy records with the ground-breaking self-titled album by the R&B group, 112. Double Platinum Debut Album from 112, who carry the distinct honour of being one of the 1st R&B records released on Bad Boy.
With chart-topping hits like "Cupid," "Only You," and "Peaches & Cream," this album is a collection of timeless classics that will have you singing along and reminiscing about the magic of love. Whether you're in the mood for slow jams or upbeat grooves, 112 has you covered with their diverse range of soulful tracks.

smokey vinyl

French label and promoter Much More recordings is proud to present the first vinyl our collection.

This vinyl features 6 tracks ranging from breaks to techno and passing by acid and electronica, designed for soundsystem and anchored in their proper original and analogic techno sound.

We believe that redefining the essence of the genre is now critical. After years of promoting parties in Paris and Europe, Much More has gathered artists considered to be the essence of techno. Artists who know how to turn knobs without screens.

They continue to make the mob sweat on the dance-floor, with a simple at first yet efficient recipe that holds a myriad of subtleties.

On our table lies a lemon slowly withering away, a fruit that once was as much suave than sour. Our artists are as ripe as this yellow sphere lying in the open. They possess the experience and knowledge needed to forcefully broadcast this emergency rebirth that techno desperately needs. Our creations are neither nostalgic nor futuristic, they aim to be atemporal. They are naked to artifices, raw to over-tuning, built and cut upon the very ageless tools that defined and will name what is Techno.

Far from us the desire of claiming to be the only definition of the genre, nor forgetting about its primal cravings. Whereas Amarou, Skudge and Sawlin showcast the narrative scope of our passion, Wrong Assessment, Arnaud le Texier and Falling Echoes will remind us what is raving under the strobe's fire.

It's music from urban centers and countrysides, for big room and inner space.
It's music without tag or time, where every loop stops and unfolds on its own.

We are back to the essence, and yet, much more.

First-ever vinyl repress of her classic 1982 fan-favourite album, third in a series of remastered vinyls of her 1980s albums, and part of Cherry Red’s on-going re-issue campaign of the star’s EMI catalogue in association with RT Industries.

Remastered from the original master tapes and pressed on green coloured vinyl with refreshed artwork including new inner sleeve.

Includes the singles ‘Machinery’, ‘Are You Man Enough’ and ‘I Wouldn’t Beg For Water’ as well as her original recording of ‘Wind Beneath My Wings.’

Sheena Easton rocketed to overnight fame in 1980 with the BBC broadcast of ‘The Big Time’ – arguably the first pop reality show – subsequently breaking records with her first two singles ‘Modern Girl’ and ‘9 To 5’ simultaneously hitting the UK Top Ten. Within a year, she had topped the US Hot 100 with the renamed ‘Morning Train (Nine To Five)’, recorded the Bond theme ‘For Your Eyes Only’, released two platinum-selling albums and become an international sensation.1982 proved another whirlwind year for Sheena – beginning with her ‘Best New Artist’ win at the Grammies, followed by first national US tour, the recording of her first TV special ‘Live At The Palace, Hollywood’ and capped with the release of her third album
– the aptly-titled ‘Madness, Money and Music’. Produced by Christopher Neil, the album ranged from the hyperkinetic new wave-infused ‘Machinery’ via the smooth west coast yacht rock of ‘There When I Needed You’ to classic, Streisand-style balladry on the top 20 AC hit ‘I Wouldn’t Beg For Water.’ It also included one of the earliest recordings of the classic ‘Wind Beneath My Wings’.

The English-Irish electronic/dance duo Moloko released their first album Do You Like My Tight Sweater? in 1995.

It’s one of their most experimental records, before moving on to a more mainstream approach. Roisin Murphy is carrying the album with her versatile vocals, both in range and style, while Mark Brydon created the breakbeats, sound effects and groovy disco lines.
This is electronica at its best, danceable and funky.

The album includes their hits ““Fun for Me” and “Dominoid”, besides fan favourites like “Day for Night” and “Where Is the What If the What Is in Why?”. They never slow down in their exiting music and absurd lyrics, but that’s exactly what makes this record unforgettable.

Pure joy to be danced on all night.

Do You Like My Tight Sweater? is available as a limited edition of 3000 numbered copies on turquoise vinyl.

Throughout 2022, The Wedding Present’s ‘24 Songs’ series saw the legendary indie band release two new tracks a month as double A sided 7”s, ultimately creating a much-sought-after box set. David Gedge has now re-curated full-length versions of all twenty-four tracks for a new compilation album that will also comprise five bonus recordings including one featuring The Wedding Present’s first guitarist, Peter Solowka.

‘24 Songs’ was a doff of the cap to The Wedding Present’s ‘Hit Parade’ project of 30 years previous. That series proved to be a real milestone for the band with them becoming only the second-ever artist to achieve twelve Official UK Top 40 hits in a calendar year – at the time something that only Elvis had achieved!

David Gedge says: “When it came to compiling the ‘24 Songs’ album, I decided not to sequence the tracks in chronological order. With six sides of vinyl, you have six ‘beginnings’ and six ‘ends’ to play with, and I felt that the opportunity to build some kind of a musical journey was too good to miss! Listening back to this collection, I have to say that I genuinely believe that, for this project, The Wedding Present have recorded some of the best tracks in our history. I loved releasing the singles, but it’s satisfying to have them all rounded up together.”

“The idea of releasing another collection of twenty-four tracks did initially seem quite daunting,” admits David Gedge in the deluxe-CD sleeve notes but, with Jon Stewart (also of Sleeper) having joined the band at the end of 2019 and their subsequent writing partnership flourishing, he began to feel confident that they would be able to produce a year’s worth of music. And, with one of the UK’s most influential independent record labels by their side in Clue, a key partner to EMI North who will be distributing the record - there was no looking back.




























[xa] 27. Jump In, The Water’s Fine [Japanese Edit]
[xb] 28. We All Came From The Sea [Utah Saints Remix]

Il Bosco's cousin from Irlam is back on Red Laser.

Three bangers and one weirdo track.
VERY LIMITED - so sort ya widge and get on it. INABITEVERYONEELSE!

The Moiss Music label seems to like to drop their EPs two at a time. They did it in February and they're doing it again in May. This eighth outing collects four more lively disco cuts, each with their own subtle influences. Berobreo's 'White Rabbit' for instance has funky undertones with loopy guitar riffs and nice breaks. The Magic Track's 'Jamming With Mom' meanwhile is more sensuous and deep, with late-night synth work and seductive vocals. Oldchap's 'I Want To Show You' has an expressive soul vocal with more low-slung grooves and Alexny's 'Not Bad' then gets quick, clipped and loopy for its lip-pouting disco thrills.

First time on wax for P.0.3 and BLUMET!!!

Printed sleeve

A1 TRASHIN is a POWERFUL 194 bpm melodic hardfloor banger, old school off beat bass, full of mini breaks and surprises with a stomping kick!! FIRST DEBUT FOR P.0.3 ON VINYL!!!

A2 ANTRAX is a mega TRIBE CORE track with an impressing solid kick and mental melodies. Slowing down a bit to 165 bpm, driving off beat bass and ghosty effects, nice mixing tool!! FIRST DEBUT FOR P.0.3 ON VINYL ALSO!!!

B1 BLUE ANGER is the very first debut on vinyl for BLUMET, 2013 RS7000 drum machine remake. The track recall IVAR THE BONELESS war cry saying "you cannot kill me". Mad 210 bpm angry tune to make the crowd gabber kick the air! Edit and mix from STITCH!

B2 THE NAME OF DOVA is an old school hardfloor unreleased banger at 180 bpm from the infamous UZI. Stomping and deep first part with fidget recalls and digi sound effects, second part goes melodic on a Zelda Epic theme sound like, very cool!

MASTER from the very talented producer and Master engineer 1NC1N.

GRAPHICS from STITCH!!

Frantic breakbeats, epic strings and a booming sub kick off this percussive belter. Tension decreases and rises through a breakdown, before things get switched up with a more percussive bassline and various little elements and fx. One to tease out that last bit of energy in the late hours..

“Scrollers” is a mad, industrial, syncopated, 140 bpm, not-quite-garage slapper. Built from messy, undulating percussion loops and filtering snares, lots of noise and warping bass interludes, it’s a hectic piece of tuneage that unexpectedly delivers a sliver of respite at the very end. Picture scrolling through your endless feed of doom and nonsense until you chance upon than one clip that reinstalls a bit of hope, giving you the resolve to finally put your damn phone away and actually do something.

S Transporter is Izaak S and Ryan Spencer, a pan-American duo of exact origins unknown. With roots spanning from Detroit to San Francisco, the project is somewhere around four years old, though no one remembers exactly when it started. The songs were initially demoed in Ryan's bedroom and promptly forgotten about in the chaotic whirl of both members’ efforts in other music projects, DJing, and party-throwing ventures until Ryan played them at his weekly, Monday Is The New Monday (co-founded with PGS' Ben & Zach). Immediately, the songs burst with new life into our ears, and we excitedly requested to hear more. In a tale every creative can relate to, Ryan simply didn't know if they were any good. We found them extraordinary.

What followed were several months of additional recording sessions in a collective effort to finalize the tracks, done at Ryan's apartment in Southwest Detroit, Izaak's in SF, and the Portage Garage in Hamtramck. Bay area DIY underground luminary Anya Ghiorzi joined the group and contributed her vocal talents to the songs, which began to exhibit a sound representative of the genre-collisions featured at MITNM– from krautrock and boogie to trance, acid, and house– in a way other PGS releases have hinted at, but have not fully expressed until now.

S Transporter is the name of the EP, the project, and all four songs. A maximalist sound with a minimalist presentation, naming the songs - so many years after their inception - would, perhaps, take away from the feeling that struck all three of us the first time we heard them on a club-grade sound system.

Izaak S and Anya Ghiorzi are San Francisco residents, musicians, and DJs in the Loveshadow dance collective.

Ryan Spencer is a Detroit resident, DJ, co-founder of Monday Is The New Monday, and is a member of Freakish Pleasures.

"S Transporter 1"
Uptempo, backspin-laden electro/acid with a winding 303 bassline that reveals itself slowly over the pulsing breakbeat backbone. Immersive, haunting and enchanting.

"S Transporter 2"
Downtempo electro. Slap bass. Heavy boogie. Sensual vocals reminiscent of early Chris N Cosey carry you through this industrial funk heater. Heavy synth lines and rhythmic grooving guitar that is club-ready for dance floors of all kinds.

"S Transporter 3"
A fast paced, percussion forward adventure with balaphone melodies and bending synth pads. Spoken words guide the journey, arriving at a movement inducing Juno ascension that dances into a calm end.

"S Transporter 4"
Encompassing the seemingly disjointed, individualistic styles of S Transporter 1-3, ‘4’ combines elements of the entire release into one final gesture. ‘4’ could be Byrne/Eno ("Regiment"), but it's something else - the product of decades of dance music history, distilled by two musicians & DJs into one song.

credits
releases July 19, 2019

PGS 010
S Transporter
"S Transporter"
EP

2015-2019
Written, Mixed and Produced by Izaak S & Ryan Spencer
Vocals by Anya
Bass on “2” by Lucas De Leon Turner
Percussion & additional production on "3" by Shigeto
Percussion on “3” by Julian Spradlin

Mastered by Josh Bonati at Bonati Mastering
Recorded at Izaak's apartment in San Francisco, Ryan's apartment in Southwest Detroit and the Portage Garage
Records Pressed at Archer Record Pressing, Detroit, MI
Design by Will
MMXVIX

Fueled By Ramen will be reissuing one seminal album from our 25- year history each month throughout the calendar year of 2021. For June 2021, we will be releasing Gym Class Heroes’ third studio album ‘As Cruel as School Children’ on silver vinyl.

We are currently working on a 16 part podcast that will delve into the history of FBR, it’s cultural relevance and Global impact over the past 25 years. Each episode will look at the careers of some of our most important artists, and deep dive into the making of albums told by the artists themselves in their own words.

At the essence of this album is Ark & Pit's supreme happiness, and freedom, from adhering to the rules of arrangements and musical clichés. The delicacy in which these ten tracks are made seems at first listen to be almost breakable, like a painting on a spiderweb. Each track flows into each other like a downward bound slinky - intentionally scattered and unpredictable. The only musical rules adhered to here are those which are pure and good, all others have been discarded… This is punk by day and house by night. This is summersaults, 90s hip-hop, skateboarding in L.A and hands in the air. This is truly how a duo, or brothers (which they are), work. Text by Bruno Pronsato

RAR001 was featured in Resident Advisor's Best music of July list

RANT & RAVE
An enigmatic new sound is oozing out of your speakers. Seemingly self-tasked with reviving the essence of the techno rave style, Rant & Rave Records presents the world with an updated vision that sounds exactly like it should. Based in Berlin, the techno epicenter, It's a dangerous new label, unafraid to stir things up and break the rules. Run by Tresor resident and Sonic Groove recording artist Maedon, the label intends to inject some hard-hitting fun back into the techno underground. About to be revealed; EPs from Maedon, Lady Starlight, JoeFarr (of Turbo fame), and veteran industrial techno guru Mark Crumby, (aka Codex Empire, Konstruktivitis). Look for Rant & Rave records this summer at all fine record shops.


RAR 001
Berlin-based American expat Maedon (Tresor, Sonic Groove) ushers in the arrival of Rant & Rave Records with a slickly produced debut EP entitled 'Cease and Desist'. '1989' opens with booming kicks, driving mechanical percussion, and hallelujah samples interspersed throughout. The droning rave synths sound eerily akin to kamikaze dive bombers heading directly for your brain. 'Grandstand' and the title track 'Cease and Desist' continue in this direction, abundant with hypnotic electronics and relentless energy. On 'The Worlds So', Maedon shares her thoughts on the state of world current events with looped vocals 'The worlds so fucked... all we can do is dance'. Gritty, dark rave tracks for peak time workout that provide a nice blueprint of what to expect from this label. No prisoners taken.

Habibi Funk is excited to share “Marzipan” - our first full length contemporary release courtesy of Beirut’s multi-instrumental phenom Charif Megarbane, also known as the man behind prolific Cosmic Analog Ensemble. The LP is a journey into Charif’s styling, one he terms “Lebrary”: a vision of Lebanon + Mediterranean expressed through the kaleidoscopic sonics of library music. Drawing from artists that encapsulates the HF sound, such as Ziad Rahbani, Ahmed Malek and Issam Hajali, Charif translates these influences into an LP that is equally at home in ’23. We always wondered why Charif’s music stayed under the radar for so long, that all changes with “Marzipan”.
Charif Megarbane, the staggeringly prolific producer, instrumentalist, and all-around musical mastermind returns with full LP “Marzipan.” Following his previous release of EP “Tayara Warak” in 2022, “Marzipan” is a sonic journey that seeks to capture the full scope of Megarbane’s habitus. As a composer and producer, Megarbane touts hugely versatile, sometimes volatile musicianship — his 100+ catalogue of projects (including legendary groups like the Cosmic Analog Ensemble, Free Association Syndicate, Monumental Detail, etc.) features a huge domain of sonic direction. This collection was previously developed in Megarbane’s own Hisstology label which hosts a wealth of collaborative efforts. Now, Habibi Funk represents Megarbane under his own name. Megarbane finds a sonic through-line in his surrounding soundscapes as he draws on the chaotic energy of the crowded Beirut metropolis (“Souk El Ahad”), the warm atmosphere of the Lebanese countryside (“Chez Mounir”), or the lushness of a Mediterranean beach resort (“Portemilio”). Reflecting the aural composition of his direct surroundings into kaleidoscopic instrumentation provides a unique insight into how one musical phenomenon transposes sight into sound. Habibi Funk is thrilled to share “Marzipan” and finally throttle this under-theradar phenomenon into the solo spotlight. Despite the magnitude of his catalog, Megarbane’s LP sounds as fresh—as resolutely inspired—as a debut record. “Marzipan” continues down the winding path he trod on EP “Tayyara Warak” (released Decmber, 2022) which features solid footing in the hectic city sounds Megarbane hears as home. Despite his obvious musical acumen, Megarbane’s greatest talent seems to be his open ears. In many ways, “Marzipan” is a cartographic feat — it travels and traces a journey across many dimensions (both sonic and physical). Megarbane’s instrumental catalogue is vast: toy glockenspiel, harpsichord, pedal steel, a classic Wurlitzer, et al are used liberally on the record. The resultant sound is as sprawling as the musician’s instrumental dexterity. “Marzipan’s” closing track “Bala 3anouan” can be translated loosely to “without address” — a fitting final word. Despite the entire record being a sincere testament to Megarbane’s environmental approach to music-making, the record is not bound to any particular coordinates, or any particular sound for that matter. The vastness of his influences — beloved artists like Ahmed Malek and Issam Hajali (both Habibi Funk veterans); West African funk deep cuts; European cinematic scores; et al — result in a record of somewhat unparalleled expansiveness. Floating melodies and frantic rhythmic interludes both find natural homes across “Marzipan.” The record is tinged with psychedelic elements—fuzz-drenched guitar, sliding microtonal interludes, hypnotic rhythmic breakdowns. Reflecting on his creative process, Megarbane cites a stream of consciousness approach: “It’s a very spontaneous, playful, and diary-like approach and workflow…I trust my instinct because instinct is based on experience.” Lead single “Souk El Ahad” opens the roll-out with a raucous energy, out June 12. Megarbane abstracts busy city sounds into a psychedelic framework, casting technicolor hues on everyday experience. Following is second single “Pas de Dialogue” out June 23. The track jerks the listener towards a more meditative state with lulling harpsichord and expanding, cinematic sound. “Marzipan” will be available physically and digitally everywhere on July 14, 2023. Be sure to listen for focus track “Chez Mounir” that captures the warmth of community in a joyful, laidback groove.
Uncover greater insight into the world of Charif Megarbane in the booklet accompanying the LP

Repress!

IFP represses... Mr Gruber minimals acid elements ... B side opens with THE track from IFP... Offfering a High freq abuse to turn minds into madness for a kick.... Diving break !! Last track is a slo a reverbless kick. Kind of a bloody dancefloor minimalistic ! Esta Loca !

Marc Richter aka Black To Comm released his debut record 20 years ago. In 2023 he is still busy releasing music under various disguises and is currently signed to the Thrill Jockey label. To celebrate this anniversary his own Cellule 75 label is re-releasing some classic out-of-print vinyl albums that originally came out on the defunct Type and De Stijl labels. The LP will feature a full-colour lyric sheet / poster exclusive to this edition.

After releasing the critically acclaimed Alphabet 1968 on the seminal Type label (Grouper, Jóhann Jóhannsson, Yellow Swans), Richter chose De Stijl for this 2012 album, an American label that had just put out future classics by the likes of Circuit Des Yeux, Hype Williams and Wolf Eyes.

EARTH is a 2009 silent film by Ho Tzu Nyen, one of Singapore's foremost visual artists. After hearing Black To Comm's Alphabet 1968 Ho Tzu Nyen invited Richter to accompany the film at Berlin's Asian Film Festival, Unsound in Krakow and several other art biennals and music festivals around the world.

In his own words: "Most of the music was composed under the influence of heavy pain killers while recovering from a broken leg (the recordings literally took place in bed). The music (like the film) is about slowness and decay, states of unconsciousness, sleeping and waking up, dying and being reborn. The film is a post-apocalyptic collage based on paintings by classical European painters (Caravaggio, Delacroix, Rembrandt, Gericault) -- the music translates this concept employing corresponding collage-based sampling techniques using loops made from vintage vinyl and shellac records combined with acoustic and electronic instrumentation and voice."

From the original De Stijl one-sheet:
"Richter’s already formidable expressive power stretches over all of EARTH. Reflecting the countless cyclical forces that make up, oh, more or less everything we know and are, the music on EARTH is bracing, lovely, bustling and still, and at times bittersweet, a commingling of sensations and emotions that can’t be neatly separated from one another. (EARTH is complex, as you know.) Guests on EARTH include David Aird, a.k.a Vindicatrix (on the Mordant Music label), contributing startling vocal work; Renate Nikolaus on an array of instruments and noise devices; Rutger Zuydervelt (singing bowls); and Christopher Kline (singing saw). EARTH is Black to Comm’s seventh album and his debut for De Stijl, following the acclaimed Alphabet 1968 (on Type) and last year’s vinyl-only collaboration with Mike Kelley of Destroy All Monsters (on the En/Of label)."

Alex Neilson in The Wire:
"The most marked aspect of Earth is the voice of David Aird, aka Vindicatrix. Imperious and dolorous, he has the gravity of post-Climate Of Hunter Scott Walker, David Sylvain or Klaus Nomi stripped of the pathetic ritz. This is something that's easy to do badly, but Aird pulls it off with aplomb. On "The Children" he breaks into a morose yodel, rolling the words around his palate and colouring each syllable black before gifting them to the air. The meaning isn't understood verbally as much as viscerally. Beneath Aird's ululations, Richter casts handfuls of angelic debris from keyboards and digital devices, generating a celestial electronic tapestry reminiscent of Japanese musician Nobukazu Takemura. Sounds vie and twist at frequencies you can't so much hear as feel in the bridge of your nose, and the variety and full-bloodedness of the accompaniment is what prevents Aird's vocal from occassionally lapsing into shtick."

12” LP cut at 45 (for the first time) (color vinyl only) Pressed on a 12" for the first time and cut at 45 RPM so it's EXTRA loud. Jacket is an extra hefty 24pt board with printed inner sleeve full of rare never before seen photos When Acid King pressed up their self-titled debut EP on a tape and started handing them out at shows with business cards, it wasn’t an aesthetic choice. It was 1993. And while the world was still reeling in the aftermath of grunge breaking big on rock radio, this dirty-as-hell trio founded by guitarist/vocalist Lori S. were digging into even heavier vibes. Born out of Lori's shiftless days of wasted youth hanging around Chicago-area public parks, Acid King laughingly adopted the name from the book 'Say You Love Satan' and its subject Ricky Kasso, a local drug dealer who killed a friend over angel dust, thereby becoming the stuff of Satanic Panic local news broadcasts all over the country. Founded after a move to San Francisco, Acid King were outliers on punker bills in the tradition of West Coast rifflords like Saint Vitus and Sleep, and this four-song outing captures them at their rawest. Long before the career-defining roll of Busse Woods (1999) and the psychedelic mastery of their latest offering, Beyond Vision, this EP set in motion one of American heavy rock’s most landmark careers. Presented on reissued vinyl through RidingEasy Records – the original 10” was on Sympathy for the Record Industry – Acid King’s Acid King also established one of the most crucial partnerships in underground rock in that between Lori S. and producer/engineer Billy Anderson (see also: Neurosis, Sleep, Om, Amenra, Eight Bells, Cattle Decapitation and too many others to list). As Acid King went on to help define stoner rock in the mid and late ’90s with Zoroaster (1995), their Man’s Ruin Records split with Altamont (‘97) and Busse Woods, that creative relationship would flourish no less than the band’s sound, and here it is distilled to its meanest and most elemental self. Led as ever by Lori, Acid King at the time featured bassist/vocalist Peter Lucas and drummer Joey Osbourne – legend has it both had to read 'Say You Love Satan' before joining – and Melvins drummer Dale Crover had a hand in producing it as well as singing lead on “The Midway” after Lucas took a turn on “Drop.” A preface to the many majesties to come throughout Acid King’s many-storied career, behold the formative incarnation that started it all. A piece of heavy rock history AND killer riffs? You can’t possibly go wrong. - JJ Koczan, May 2023

Tresor is proud to present the debut split 12" from Chloe Lula and Ireen Amnes. Meeting in the darker, harder-edged side of the Berlin techno scene in 2019, the pair have regularly collaborated and performed together, but Synergy marks the first time they've shared a record sleeve. Amnes describes Synergy as "the world we built while thinking about our journey as friends and the connection we share as people and artists," and while the record highlights their relationship and shared influences, it also showcases how each has grown into their respective lane.

Amnes' tracks lean into significantly more distorted territory, characterized by a dense fog of grainy pads punctured by sharp, expertly-programmed percussion. On "Our Bodies," these fragments are sculpted into driving hardware gear, replete with distant vocals and acidic squelches, where "Fragments of Desire" makes space for a more somber attitude, descending into murky, psychedelic electro.

In counterpoint to Amnes' deep atmospherics, Lula's contributions are driven by intricate sound design and a focus on dancefloor
impact. Taking cues from Regis and the Birmingham techno sound, she reins in the distortion of 2021's Errant Bodies for aufnahme + wiedergabe in favor of rolling techno and breakbeat-inspired rhythms that nod to her EBM influences. Making use of the extra space, she builds tension through heaving, textured basslines and crescendos of noise, and on EP closer "Event Horizon," she carves through the beat with her own metallic vocals.

Synergy includes a digital bonus track from each artist. Lula's sees her pushing deeper into finely-tooled techno territory, her drums at a swift, driving gallop, surrounded by ominous swaths of reverb. In contrast, Amnes crafts a gritty warehouse trip, sharpening the angles of her drums and detuning her synths until they sound bent and alien. Complete with the EP's physical cuts, these tracks are a testament to how the pair can simultaneously complement and contrast with each other, departing from their shared sonic origins and ending up in wildly dierent destinations.

Sharing a mutual love for Dance Music in all its shapes and forms please welcome Philipp Lauer & Johannes Albert for the first time together. These Bucketheads overcame the franko-hessian border and give us a 3-Tracker on the A side that is "Based On Boss". The title track swims in 909 Drums, vocal samples shine through, and organ chords lead the way. You will be moving your feet with "Four 44", still all about a basement, a red light and lots of feeling. Rounding things up with the loopy powers of "Posh-O-Rama", if you are in need of soft breaks with a lovely twist. Now who's the boss?

Speaking B sides: Hamburg-Moenchengladbach-London? Probably not your everyday route. Three pillars in their own leagues team up for "Survivor": Boris Dlugosch, Marc Romboy and C.A.R. on vocal duties. Created in times of lockdowns and standstills "Survivor" is a midtempo stomper, slightly dark yet extra moving. Clocking in at 110 BPM a percussive beat is haunted by C.A.R.'s voice and a hypnotic robot bassline. Occuring melodies and pads do the rest. Remix time? Oh yes! Spicing and speeding things up a little the Johannes Albert remix arrives with additional chords, gated snare drums and maybe even happiness.

Our label is thrilled to share yet another mind-blowing electro/proto-techno track by Art Programming (Art P), following the release of "Genscher Pull N Push". This track was originally the final piece on their self-titled album, released on cassette in 1983 under the P.A.P. label from Bremen.

To this day, the track remains almost completely unknown within collector's circles. However, let's take a moment to imagine what might have happened had the recording been released as a vinyl 12" back in 1983. Could it have been a game changer? We will never know for sure. Nevertheless, one thing is certain: with its punchy Roland 808 rhythms, and catchy synth lines and vocoder, it undoubtedly qualifies as a classic German electro track, and one of the earliest techno/proto-techno recordings.

At almost 8 minutes in length, this track includes one of the most exhilarating breaks in electro music of that era, showcasing extensive drum editing and effects. It strongly resembles the sound that Detroit would become famous for in the years to come, but make no mistake - this record was produced straight out of Bremen, a relatively small city in Northern Germany.

For the flip side of the single, we enlisted Alexander Arpeggio, the owner of Mond Musik und Eine Welt label, to edit the track while preserving its original spirit. As a member of the acid techno project Aufgang B and the synth-pop minimal duo OTTO, he not only has a deep understanding for this kind of music but also possesses the ability to give the song a different feel with greater dancefloor appeal. He has slightly reduced the tempo of the track and emphasized the instrumental and break parts, resulting in an exciting remix that is DJ-friendly and has everything you could ask for.

The 12" release comes with the original Art Programming logo in a vintage style, packaged in a generic black sleeve with hype sticker. It is limited to only 200 copies. This is a serious gem that you won't want to miss out on, so act fast!

A1 - Interconnected

Taking the reigns again for his latest solo EP, Aural Imbalance opens in style as Interconnected blends delicate keys and ambient soundscapes swirling together creating a sumptuous, serene intro before brisk amen patterns gently roll their way into the mix, filtered perfectly and set over silky, graceful 808 undertone bass, transporting your mind across the oceans to distant shores - while equally catering for the discerning dancefloor.

A2 - Solitude

Aural Imbalance showcases all aspects of his incredible production journey on Spatial with Solitude, an anthemic, almost spiritual track with enveloping escalating swathes of powerful somber mood ambience, set upon finely crafted rousing drum patterns which punctuate proceedings perfectly. Solitude is a track which lives long in the memory - it is an experience you will identify with on your own level, within, as the title suggests.

AA1 - Subliminal Messages

A melancholic, unnerving amtmosphere introduces Subliminal Messages, shaped with enchanting synthwork and light hi hats, accentuating a mournful audio landscape. As the tightly constructed breakbeats unfold, immersive sub bass adds depth and presence to the mix and the listener is taken on a meditative voyage to the inner spirit, challenged to understand and reflect.

AA2 - Sentience

Closing the EP, Aural Imbalance shakes things up again as Sentience carves a more upbeat vibe, a beautiful addictive earworm melody composed with gently refined keys instantly grabbing the attention. Filtered breaks are slowly introduced before announcing themselves fully, a sublime drum loop layering a dynamic percussive energy as the catchy melody captivates us throughout.

A1 - Burst Transmission

ASC returns with another stellar solo EP and Burst Transmission dives straight in head first to kick things off, pulsing crafted breakbeats and computer FX intertwine and stack with smooth synths, keys and trademark vocal hits. A powerful undertone bassline perfect for the dancefloor keeps the momentum going with blissful speckles of detail in the composition, including expertly tuned bongo drums scattered throughout.

A2 - Whispers

Sci-fi vibes take center stage as ASC channels that classic 720 energy with Whispers, a track which utilises sharp stabbing snares in distinct, forceful drum patterns which develop and adapt over halcyon synthwork. Respite comes in the middle of the track as the breaks change and settle the vibe briefly, before we are thrust forward again with those epic breaks commanding our attention once more.

AA1 - Psionic bond

ASC continues the retro sci-fi vibes with Psionic Bond, entering with zapping laser FX and a haunting vocal sample echoing before thunderous breaks thrash their way into the track, epic kicks and sharp thrusting snares dominate proceedings while through the wooshing layers of synthwork a distinctive bassy melody elevates the composition. This one is going to send the lucky discerning dancefloor into extra-sensory fever.

AA2 - Future Music

Ending the EP with something a little different, Future Music gives us a true taste of the old school brand new. A building intro lashes you with jabbing bass and effects, classic hi-hats rattle and slowly the 90's jungle breakbeat edits are released in waves as the piece progresses. The construction of the breaks is staggered sparingly, weaved with an influx of effects and samples creating a truly unique experience.

Yo! Boombox is the new instalment of Soul Jazz Records’ Boombox series on the early days of hip-hop on vinyl and features some of the many innovative underground first-wave of early rap and disco rap records made in the USA in the period 1979-83.

The album includes the first releases of seminal groups such as Grandmaster Flash & The Furious Five and The Funky Four Plus One More through to a host of rarities and little-known obscurities such as the Carver Area High School band’s ‘Get Live 83’, an awesome record made at a Chicago high school.


The album is released as a deluxe triple LP complete with 3x full inner sleeves of extensive sleeve notes, exclusive photography and original label artwork. There is also a very-limited one-pressing only special deluxe version that comes with an extra bonus super-rare 7” single of ‘Magic’s Rap’ by Magic’s Trick, aka ex-marine Magic Fraga, a record that was only ever available on US military bases!


Yo! Boombox also features the stunning photography of Sophie Bramly, one of a very select group of photographers (alongside Henry Chalfant, Martha Cooper, and Joe Conzo) who were allowed full access to document the exciting early days of hip-hop in New York.
These first exuberant wave of innocent, upbeat, party-on-the-block rap records were the first to try and create the sounds heard in community centres, block parties and street jams that first took place in the Bronx in the mid-1970s. Where the first DJs – Flash, Kool Herc and Bambaataa – were back-spinning, mixing and scratching together now classic breakbeat records like The Incredible Bongo Band’s Apache or Babe Ruth’s The Mexican, these first pre-sampling rap records were all made using live bands, often replaying then current disco tunes.

As Chic’s ‘Good Times’ was to ‘Rappers’ Delight’, the songs here feature then-current dancefloor hits such as the Tom Tom Club’s ‘Genius of Love’, Cheryl Lynn’s ‘To Be Real’, MFSB’s ‘Love Is the Message’ while MCs rapped over the top, creating a unique new sound. In fact, the links between disco and rap date back earlier to the ‘party style’ MCing of figures such as the legendary DJ Hollywood or radio DJs like Frankie Crocker.

This new Soul Jazz Records collection
celebrates these first old-school rap
records, bringing together rare, classic
and obscure tracks released in the
early days of rap.

La Escuela Moderna launches with a retrospective revisiting the UK electro and breaks scene at the turn of the millennium. A double album featuring eight tracks, Tactical Shifts covers the years 1995 - 2003, presenting a vibrant era celebrating the creativity and innovation that characterised this pivotal era in British electronic music.

The compilation opens with the starry-eyed Ayemooth, an early transmission from The Wee Paton (The Wee Djs, Distorto). Followed up by The Illistines channelling the free spirited Castlemorton. Re-Incarnated sees the trio on a percussive funk roll. Opening the B-side, System UCS (Neil Keating and Harold Slater) provide a growling electro track with Memory Trace, first released on Break/Flow. The first record closes with a rugged breakbeat number by Milo Smee AKA Kruton.

Rag and Bone co-founder NoYeahNo opens the B-side with the rollicking Pushing Percussion, an early entry in the seminal label. Nick Philphin and John O'Donnell's Orphic project brings the relentless beat science of Obvious Intruder. Lunar builds momentum with the bleepy breaks of Orbiting Ganymede and Phil Holmberg AKA Schematix wraps up the comp with the sinuous pads of Magnum Six.