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DJ Support: Sidney Charles Chris Stussy, Archie Hamilton, Toni Varga, Catz 'n dogz, Tough Love, Neverdogs, De La Swing, Marco Carola, REBOOT, Rich NxT, Steve Lawler, Josh Butler, Okain, Ilario Alicante, Joseph Capriati, Leon, Marco Faraone, Riva Starr, Hector Couto, Archie Hamilton

Feel the infectious beats and raw energy of Sidney Charles' latest EP, 'Reso Riddim', which is dropping on his very own Heavy House Society imprint. Renowned for his distinct take on house music, Sidney Charles delivers a powerhouse two tracker that embodies his signature sound and energy for the dancefloor. As a DJ and producer, Sidney Charles has carved out a unique niche in the electronic music scene with what fans affectionately refer to as 'The Sidney Sound.' This signature style is built on heavy low ends, chunky drums, and cavernous low frequencies that connect directly with the body. With tracks like 'House Lessons' and 'Warehouse Romance,' and more recent 'Space Bass' and 'No Way Out,' Sidney established himself as a force to be reckoned with, showcasing his affinity for rough, dirty sounds with a modern twist. 'Reso Riddim' kicks off with the title track, a driving and edgy peak time weapon that boasts a stripped-back groove and an infectious bassline. Breakbeat elements add depth and dimension in the break, creating a track that is guaranteed to get the dancefloor moving and jumping. With its pulsating energy and relentless rhythm, 'Reso Riddim' sets a strong tone for the EP's journey. On 'Rawline 98,' Sidney Charles channels the spirit of the '90s with pumpin' jackin' beats, garage-inspired chords, and an old-school bassline that harkens back to the golden era of house music. The track exudes a bouncing energy and infectious swing that transports clubbers to a bygone era while keeping the dancefloor firmly rooted in the present. The 'Reso Riddim EP,' is also available on Vinyl which will include two extra tracks 'Objection' and 'Charles’ List,' for those who love the feel of wax both in their hands and on the decks

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

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

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

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

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

Max Volume solo EP on Audiotrix.
Minimal or mental, Breakbeat pumpin music...
Defenitly kind of a family sound remaining here... Uncommercial one.

Luv !

The vibrant label "Bunte Kuh" from Basel, Switzerland, releases brand new remixes of the track "JeBoDa" which was originally released on the label a year ago by the trio Dan Bay, Chill Sander & Between Machines, as well as "More Rooms" - a new original track from the artist trio.
A total of seven artists closely associated with the label reinterpret the catchy and intoxicating original, delivering inspiring remixes for the dancefloor. These new works span various genres, rooted in Down Tempo and Organic House, as well as Melodic House, Minimal, and Indie Dance.
Iorie enriches his remix, paving a vibrantly painted path to another dimension, full of love for detail. Kon Faber significantly increases the tempo, distilling the original down to its essence and adding splendid and powerful synths.
Focusing on the organic spirit of the original, Olivan carefully dresses his remix in a stylish framework of diverse layers and emotional depth. With minimal influences and gentle dub techno elements, Mira Vána crafts an immersive remix that captivates step by step, pleasantly dissolving the mind.
Hypnotically, Niju takes us on a special and completely ecstatic journey through his cosmos, enchanting body and mind with a magically rich remix. Niki Sadeki fuses the darker parts of the original with a unique spirit, creating an extraordinary piece through heartfelt arrangement and powerful instrumentation. Bīsu writes a psychedelic-tinged and completely new story with his remix, plunging the track into deep club waters that seem to separate the mind from the body.
With "More Rooms," Dan Bay, Chill Sander & Between Machines add a captivating and charismatic new track to the release. Organic elements merge with facets of the electronic, inviting an excursion into the night full of fluorescent elements and fairy-tale breaks whose aftereffects slowly but surely transform into unforeseen climaxes.
The remixes and the original will be released splitted on two digital EPs and then all together on vinyl.

Legendary and genre-defining Detroit label Metroplex Records is keeping on with its run of carefully selected releases from its classic-studded catalogue. The remastering and recut was done with uttermost care, using the newest mastering and audio-restoration technologies. These Techno and Electro benchmarks, taken from original sources, have never sounded better. Originally released in 1994 'Sonic Sunset' runs at over 50 minutes over five tracks that explore ambient electronica, techno and even trance. It includes the long versions of 'Neptune' and 'I Wanna Be There' two bonafide Model 500 classics. Recorded in Berlin and engineered by Maurice Von Oswald.

Two years after the stunning AFRICA OSCURA, Four Flies Records is back with another gem from Giuliano Sorgini's secret archives, this time one which unearths some of his darkest, eeriest music – that is, pieces he composed in the mid-70s for some of the most infamous, low-budget horror movies ever made in Italy.

This collection brings together a selection of original recordings from those movies, which were directed by "Italian Kings of the B's" Angelo Pannacciò, Salvatore Bugnatelli, Luigi Batzella, and Guido Zurli, with whom the Roman composer worked intensively throughout the 70s. Due to the very low-budget nature of the films, Sorgini recorded the soundtracks entirely on his own, in his Cat & Fox Studio in Rome. He played drums and percussions and added overlapping layers of analogue synths to create a superbly sinister soundscape, thus turning a constraint into an opportunity.

The result is a journey into the mysterious atmospheres of the Italian occult-sounding music of the time, something very close to the dark electronic masterpieces that made Sorgini famous, such as ZOO FOLLE or THE LIVING DEAD AT MANCHESTER MORGUE.

OCCULTO features ten previously unreleased tracks characterized by enigmatic moods, obscure beats and esoteric themes. All tracks are taken from original master tapes that remained buried in the composer's archives for decades.

The LP comes in a deluxe jacket and inner sleeve designed by Luca Barcellona. Also available in digital format with three previously unreleased bonus tracks.

Another gem from the extensive Flipper Music catalog, more precisely from their Flower sublabel, "Dreams For Sax" is possibly one of the most stand-out productions from their studio ensemble Gruppo Sound, this time around featuring saxophonist Paolo Russo with keyboardists Stefano Galante and Vittorio Quattrini. First released in 1987, the songs recorded for "Dreams For Sax" are a beautiful melange of easy-listening electronic and jazzy vibes, from mellow tunes such as "Dawning" and "First Class" to some killer floor-filling italo disco bangers such as "Walking On Air" and "Dance Power". A groovy Italian library banger from the 80's now available on vinyl for the first time since its original release as a limited edition of 500 copies.

Composed by legendary library guitarist and founding member of I Gres, Silvano Chimenti, and accompanied by his orchestra, "Disco Music" is an essential release of the Usignolo catalog and probably one of the most sought after titles of the series. This album displays a broad range of styles masterfully blended together by Chimenti, going from disco-funky bangers "Happy California" and "Autostrade Americane" that lead way to the more dramatic and suspenseful vibes of "Society Problem" and "Tragedy", finishing off with the rock vibes of "Indian Summer" and the mellow atmospheres of softer, lounge-like songs such as "Lady Primavera" and "Chiara". One of the most complete and well-rounded library albums of its era, "Disco Music" is finally available on vinyl once again after a very long time as a limited edition pressing of 500 copies.

Human Worth are proud to present the killer debut EP 'God Pile' from Leeds duo Grub Nap, featuring members of Thank, Dvne and Cattle, with a portion of proceeds donated to charity. Grub Nap are a 50/50, double headed, four legged, semi haggered, party at the front business at the back mash up of Dan Barter (Dvne, Joe Pesci) and Steve Myles (Thank, Cattle, Groak, Khuda). They first played together in a hardcore band in their late teens and have teamed back up to churn out sludgecore for folks with short attention spans and no interest in wizards or flag waving. A reunited earful, a midlife distraction, a questionable whiff from the back of the fridge. Crawl on in, the water’s foul. 'God Pile' is a golden brown, 15 minute, crumbly, introspective riff lattice. Snappy(ish) songs about greed, crippling anxiety, suburban nuclear mishaps and flagellant rozzers – 6 knuckle dragging clods of down tuned insolent rage. So pummelling is their racket, that they caught the ears of "supergroup" Empire State Bastard (featuring members of Biffy Clyro, Oceansize and Slayer) who invited the duo on the debut UK tour. Human Worth have pressed up a limited edition of black vinyl, with a stunning etching on side B featuring the art of Steve Myles, with 10% of all proceeds donated to Leeds Mind – promoting positive mental health and wellbeing and providing help and support to those who need it most.

repress !

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’
Bunny ‘Striker‘ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ ( more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home made mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

“I want it to feel like you’re right there in the room with us.” And in 10 songs and 40 minutes, Wunderhorse capture the raw power and energy that has set them apart as one of the most formidable live acts of recent years. With rugged hooks, unfiltered noise, and fierce melodic sensitivity, Midas rips up the script of traditional second albums and establishes the band as an endlessly addictive and rousing generational talent.
In late 2022, the release of their debut album Cub saw singles ‘Purple’ and ‘Leader of the Pack’ dominate radio airwaves. Landmark performances filling Glastonbury’s Woodsies Tent (FKA John Peel Stage) and selling out London’s Kentish Town Forum months in advance followed tours with Pixies and Fontaines D.C. and stadium appearances with Sam Fender, signalling the band’s arrival as one of the most prominent and exciting new guitar acts in the UK.
With Grammy Award-winning producer Craig Silvey (The Rolling Stones, The National, Florence + The Machine) on board for their sophomore record, the band looked to do something different. Their goal – in the very same studio that Nirvana put In Utero to tape and PJ Harvey recorded the Mercury Prize-nominated Rid of Me – was to push themselves outside of their comfort zones.
“There’s absolutely no faking on this record,” ends Slater, “it's not supposed to be perfect; it’s supposed to be a snapshot, even if it is a bit of an ugly portrait. That's how it was then, and that's how you're gonna see it.” And it sounds like you’re right there in the room with them.

Saxophonist and composer Wayne Escoffery reflects on love, loss, and solitude on his stunning new album, an atmospheric and haunting mood piece, Alone, featuring a remarkable all-star quartet with pianist Gerald Clayton, bassist Ron Carter, and drummer Carl Allen. In the summer of 2023, saxophonist and composer Wayne Escoffery found himself alone in a way that he’d never quite experienced before. He was away from home, on sabbatical in Europe with a month to himself between tours. A long-term relationship had just ended, and he was confronted with the loss of friendships that he’d once valued. Worst of all, he’d suffered a broken finger that left him unable to play the saxophone for the first time since he’d picked up the horn in high school. “Normally, my coping mechanism would be the saxophone,” Escoffery laments. “But even that wasn't available to me for about nine weeks, so I just had to be alone in my thoughts.” He made good use of this alone time, conceptualizing the music that makes up his striking and singular new album. What emerged from that solitude was an extended mood piece, a workunique in Escoffery’s typically wide-ranging catalog for its sustained atmosphere of stark melancholy and searching introspection. Alone was conceived during a time of isolation, heartbreak, regret, and reflection, but the experience of the album is far richer even than that. In the end, “I was forced to reflect on life and what was most important to me,” Escoffery concludes. “The concept of this album grew out of that reflection.”

Limited to 350 copies

Stop what you're doing and give us your full attention because Hell Yeah mainstay My Friend Dario's new album Senza Estate is going to define the sound of summer 2024. It's an eclectic eight-track collection that has something for everyone and is inspired by dreamy Italian soundtrack composers Piero Piccioni and Umiliani.

Curveball Italian talent Dario is a real dance floor don who collides acid, nu-disco, breakbeat and electro. His take on Balearic is unique and always sends dance floors wild, as proven with his last outing Food For Woofers Vol 2 earlier in the year. His new album is the sound of life by the Mediterranean, Balearic audio pleasure for daytime dreaming and nighttime dancing with vocal tracks written and performed by the UK's Space Echo Records associate Darene Obika.

Dario hails from Catania on the island of Sicily and his inspiration for Senza Estate, which translates as 'without summer,' was an imaginary holiday, weekends at the seaside, car journeys in the sun, relaxing sunsets and late-night dancing. 'For five years, I worked in a shop six days a week so despite living on a Mediterranean island I could never enjoy these things. Instead, I locked myself in the studio and jotted down the ideas, sensations, melodies and rhythms I had about another lost summer.'

'Keep On Cruising' is a downtempo opener with innocent synths that are filled with hope and promise for the warm months ahead. 'Zingarella' is a wide open sea view with wispy pads, seductive flutes and jazzy melodies that bristle with life and the tropical title cut gets more dancey on shuffling broken beats and radiant synth glows. There's a seductive laid-back cool to the tumbling keys of 'Marittimo' and 'What You Need' is a horizontal groove with loved-up vocals, 'Falò' pairs sensual acoustic guitar with work with pillowy drums and 'Il Pianeta Proibito' layers up sci-fi synths and stuttering bass into a bubbly sound that leads to cosmic take-off. 'Acid Panorama' is the melancholic closer which hints that the summer sun is setting one final time after weeks of carefree fun.

But the good news is, you can repeat the joys of My Friend Dario's masterful Senza Estate over and over again.

The Slovak trio Berlin Manson was formed as a so-called apartment band in the dark days of Corona lockdowns. The founders Patrik Nagy and Adam Dragun compensated for the lack of cultural activities by creating new and original music, where Patrik provided D.I.Y. made electronic beats with live guitar playing and Adam provided his lyrics full of irony and criticism of the scene and society.

After the first successful concerts and singles, the cloud around the name Berlin Manson is steadily growing. It wasn't until a track and music video titled I'm not dancing I'm nodding my head that catapulted them into the limelight of the alternative scene, heralding their debut EP Life Ends When You're Thirteen (2022). Later, the original duo were joined by drummer Tomáš Tabiš, who is also in the band 52 Hertz Whale, whose album was also released under the Weltschmerzen label. Their concert performances have gained more momentum and their drive has made them one of the most popular club and festival line-ups in Slovakia and the Czech Republic.

After a successful collaboration on the 2023 single Hotel Kyjev with Pisht Kralovic a.k.a. FVLCRVM, the band is releasing their first full-length album Poor but Sexy, with which they are moving under the Weltschmerzen roof. The fusion with roots in electronica, punk, pustpunk, rave and HC is once again complemented by Adam Dragun's great lyrics, which alternate social engagement with sarcasm, irony and cynicism, or nostalgia and sadness. On the current release we can also hear collaborations with guests such as Katarzia, Edúv Syn, Fvck Kvlt, Temný Rudo, Dušan Vlk or Paris.

After teaming up with Boldy James to release Real Bad Boldy (2021) and Killing Nothing (2022) and linking up with rising star Pink Siifu for Real Bad Flights (2022), Real Bad Man returns to announce his first collaborative album of the year with Serpent.

Serpent brings Real Bad Man together with the inimitable Kool Keith and is produced in its entirety by Real Bad Man. Serpent features appearances from Slug of Atmosphere, Ice-T, Edan, Cool Calm Pete and Zeelooperz.

“My rhymes go where the tracks take me and Serpent took me on a journey through time and space. I channeled Ultra, Ocatgon, Rhythm X, and Black Elvis to make something new and mind-blowing” Kool Keith declares. When the Serpent bites, don’t try to understand it; just enjoy the injection. The sound dynamic crystals mix so proper, my vocals and guest appearances are set in the right spots.

“My goal for this album is to capture my favorite parts from Keith’s catalog. I wanted to make beats that got into his (Keith’s) subconscious” Real Bad Man maintains. “I think it worked. “

THE LIGHT IS LEAVING US ALL is one of the C93 albums that haunts me the most. I was OverMoon and Blessed to work on it with the Astonishing Aeonic Beautiful Talents of Reinier Van Houdt, Alasdair Roberts, Ossian Brown, Rita Knuistingh Neven, Andrew Liles, Aloma Ruiz Boada, Michael York, Davide Pepe, Ania Goszczyńska, and Giulio Di Mauro. Once again, the Voice in the Mask of one of my favourite authors, and longest colleagues, Thomas Ligotti, also joined C93.

The album’s title was given to me in a dream, in which I saw The Souls of humans pouring out of their eyes, and returning to God—The Light Had Left Them Quite!

On THE LIGHT IS LEAVING US ALL, I brought together my studies of specific Akkadian and Biblical Hebrew texts that I was translating with my friends and teachers Professor Martin Worthington, Ola Wikander, and Professor Seth Sanders, and also Channelled my fascinations with The Red Barn Murder of 1827 and “The Witchcraft Murders” of “Bella” in Hagley Wood in c.1941 and Charles Walton in Lower Quinton in 1945.

All this time, the birds were sweetly singing, the kettle was on, the milkmaid was singing, and the policeman was dead—all this while the birds were softly singing, and The Light Was Leaving Us All.

Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

Reeling In The Weeks—which felt like Years — after my first Current 93 album, I had started on the difficult second C93 album, DOGS BLOOD RISING.

Having been asked to appear on both Top Of The Pops AND The Old Grey Whistle Test 93 times in the same week after the release of NATURE UNVEILED, I realised that God was telling me that I had hit on a winning formula of Christian eschatology and Apocalyptic Christian texts over a SoundScape As Cool As Flies, but that I was missing the vital ingredient of a Simon & Garfunkel song. DOGS BLOOD RISING — which I described to myself in a VISION as an album which hoped, wished, and made bad trips sound like good trips — was essentially the Mirror Night of NATURE UNVEILED, although only half of it was recorded at Roundhouse Studios. Squats were calling, and 8-track studios were all I was able to afford. DOGS BLOOD RISING didn’t chart, except in my NightSweats. Listening to it now, it makes me as restless as I was then, staring beyond the windows there, watching and praying for something, someone, anything, anyone.

Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

SWASTIKAS FOR NODDY is possibly, probably, maybe, or not, a seminal and sidereal masterpiece, the inspiration for 93,000 Masks On Nothings, none of which were Groovy. For me, well, it was my first Hallucinatory PickNick, and the skies turned Pixie Red for it.

I was given the album’s title during an Acid Trip: seeing Noddy Crucified In The Sky, I asked God what the most inappropriate BirthDay present for Noddy might be. God answered me from the Acid Whirlwind: “Swastikas!”

I recorded her in a run-down basement studio in West London, whilst I was simultaneously recording IMPERIUM. On playing the finished album to certain well-chosen friends, I was told by them that I had “destroyed Current 93”, and that it sounded like “demented children on drugs singing Simon & Garfunkel in a playground”. I then knew the album sounded exactly as I had dreamed it to sound, and as God had intended it to sound. Had I ditched the earlier darkness, and skipped into flowered fields? Great Black Time had already told me “NO!—GO!”

Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.