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2025 Repress

The Godfather of Hardcore, Marc Acardipane, needs no introduction. His outstanding releases over the past 30 years speak for themselves. He has been instrumental in helping to create electronic music history, with countless well-known productions which have been unsurpassed by any other artist of this calibre. His timeless masterpieces have been and always will be heard at hardcore raves spanning the circumference of the Planet. With "9 Is A Classic", "Slaves To The Rave", "Pitch-Hiker", "Stereo Murder" and "We Have Arrived", just to name a few, he clearly proves who's the boss. "The Most Famous Unknown" is a well compiled collection of Marc's music, which showcases a mere portion of what he has composed and produced since the early nineties! The vinyl and digital selection of "The Most Famous Unknown" features remixes by Body Sushi a.k.a. VTSS & Randomer, Dasha Rush, Gabber Eleganza feat. Delirio, Jasss, Kilbourne, Minimum Syndicat, Nina Kraviz, Perc, Solid Blake, Stranger, Umwelt and VTSS, which all deliver excellent interpretations of tracks they have chosen to revamp. All original tracks have been re-mastered to the highest possible standard of quality.

Repress!

This is the fourth release in the critically acclaimed Environments series and continues where the third left off. It is a fourteen track journey from the river's delta to no-man's land where murmurations lead across supercontinents and back to the clear light of reality. Strings meet choirs - cascading down to the glass valleys of synthesised biophany.
'Murmurations' was the track featured on an exclusive vinyl 10' release for Record Store Day in 2012, it coincided with the CD version of this album's release that year. The album also has collaborations with Riz Maslen (Neotropic) and Ivor Novello award winning composer Daniel Pemberton.

LOCKJAW is up first with a moody yet optimistic progression through the traffic. There are upbeat and urgent tones just on the dry side of squelch, with arpeggiators emerging from the white noise of the hats’ long tails into clean synth work, as elongated tones gently push their way out of the filter, drawing out against the shorter synth loops that shimmer and echo with tight delays.

AROUND comes in punchier and with more pronounced percussion, gives a sense that something is up, and haze has been left behind.It acts as a precursor to more arpeggiated bass tones, gently meandering as they make their way to menacing metallic chords and modulations, allowing the keys which follow to have a sense of place before you’re pushed back into grooves and reprise.

ADAPT builds a slow and steady groove layered with, rather than punctuated by, metallic soaked chords like Basic Channel in bed with a fever. Vocal loops and lead lines creep their way out of the filter and cymbals gently exhale into, then inhale out of existence, blending with the reverberating chords and sedated pads which weave their way among the foggy reflected tails.

CONTACT slows things back down but punches through harder, with expansive sinister tones from the word go, in a Carpenteresque fashion that suggests it’s now time to make that Escape From Los Angeles. A feeling perpetuated by the vocal samples, pulsing synths and slower arpeggiated bass which act as groundwork for clean, moody strings and chords which perfectly round out this dystopian futurescape.

Gwenan takes us on an unusual excursion on her new EP, marking the sixth release on Snaretrade Records. Through four windows, we peek into scenes from an unknown script, cleverly disguised as club fare. The A-side starts out bustling and hasty, then takes us out for a melancholy moment in the sun. The B-side has us pause at home in a little skit brewed on a modular rig, before sliding off into the depth of night, where brooding thoughts come out to show their teeth. A remarkable and playful journey, in which Gwenan pays homage to her favourite author, with nods to her youth growing up in Wales.

Mr. Computer sees two figureheads of Dutch electronics pay homage to the voice of electro disco, the vocoder. Figi and Luca dell’Orso team up to sing praise of a tool that has crossed genres and styles and give the little metal larynx deserved limelight on their own three track theatre. Rumbling bass is shot through with crisp snaps in the title piece, warbling vocals rising as keys dance in this wonderful collaboration.

Production across the 12” is beautifully clean and sharp, allowing the rich analogue sound and robotic lyrics to be fully appreciated. Of course, as happens with the vocoder, those lyrics are just that shade of bittersweet. That brooding quality is used to full effect by Luca dell’Orso in “Fire with Fire”. A bold and daring melody is countered by a tale flecked with sorrow, the brightness and immersion of synths contrasted by the filtered and fractured human voice. Figi flies solo for the finale. “Moonlight (Vocoder Version)” dips words in a thick mechanical syrup, a story of burning love recanted to moonbeam rinses and bending disco bars.

A true celebration of man and machine.

Rocco.fx opens the portal of his new label: Clixx Records. CXX001 - Dub Selvatico is an EP with 4 tracks that border the most complex and dub sides of modern techno. Side A, a direct shot for the dancefloor makes it clear what are the intentions of the Argentinean producer, while Side B, is his more introspective look at techno. The Berlin based label brings us his first appearance, letting us choose between 4 different tracks but with the same conductive thread, the modular synthesizers.

Originally released in 2015

To celebrate Molly Nilsson’s most enduring fan-favourite album to date, Night School and Dark Skies
Association are releasing a limited 10th anniversary pressing on Red-Gold vinyl, limited to 500 copies.
Since its release in late summer of 2015, Zenith has come to be considered Nilsson’s greatest album to date. Now
on its 6th pressing, in 2025 Zenith represents the mid-point in the songwriter’s career to date and contains firm fan
favourites in Mountain Time, Happyness and her most popular song, 1995. Zenith sits square between Nilsson’s
original flurry of DIY creativity and her later, outward-looking political material.

A sweeping, cinematic, emotional change is in the air. Molly Nilsson's sixth studio album Zenith begins with clear, wide eyes open to Earth as we would love it to be but seldom is. Recorded in her home of Berlin and whilst touring and, as ever, conceived, produced, written and recorded in solitude, Zenith is Nilsson's big statement and consequently her most affecting work to date. It sees her reveling in big arrangements, sweeping synth strings, bigger choruses and emotions. Like the rest of us she looks within and to endless sunsets in wonder and puzzlement

"Are You in Heaven?" was famously shouted by Roxy DJ Eddy de Clercq to the crowd at one of the very first legendary house parties in Amsterdam. This phrase not only symbolizes an iconic moment that captured the spirit of the era—it’s also the title of one of the three tracks featured here.

In 1991, inspired by the dance music craze that swept across Europe at the time, Arnoud Winkler and Jochem Peteri (who would later become the one-man supergroup Newworldaquarium) produced music that is equal parts euphoric, emotive, vital, and vibrant—youthful in spirit, naive yet clever. A European translation of a US-American art form, born from pure enthusiasm and concentrated passion for a culture that, to this day, continues to resonate universally.
Originally released on Lower East Side Records, the story told here is full of rave symbolism, after-party joy, and literal can-you-feel-it moments: rattling sub-bass, blissful pads, whispering voices, dub techniques, and subconscious peak-time signals.
Complemented by a new edit of Ulysses Horizon by Gerd Janson (alongside a revised version of the original), alongside Flowerdale Beach, and Are You in Heaven?, the music here hasn’t lost a single inch of its charm or allure. A taste of Dutch house deluxe.

DJ Support: Peggy Gou, Prospa, Special Request, Annie Mac, DJ Seinfeld, Kolsch.

Pink Vinyl Limited Pressing

One of the biggest, breakbeat channelling stompers out there, courtesy of the in-demand duo Borai and Denham Audio, finally gets an official release with three fiery remixes via Room Two Records. A track that’s ripped through airwaves and club dancefloors alike, ‘Make Me’ has all the hallmarks of a future classic. Doused in Amen breaks, rattling subs, rave stabs and an instantly recognizable mid ‘80s Donna Allen sample. Together the track feels like a long forgotten rave anthem from the ‘90s with its mix of high intensity breaks and soulful vocals.

With the original sample cleared, three producers step up to remix this undeniable anthem. First Sheffield’s Big Ang with her Rave To The Grave remix, playing homage to her hometown with a bassline and bleep flavoured rework. Mani Festo then hits hyperspace with his glitched out, jungle warper, before Paul Sirrell closes out proceedings serving up a huge slice of piano house heat

First-ever vinyl pressing of Spillage Village’s Bears Like This Too Much!

After much anticipation, Spillage Village’s most celebrated project Bears Like This Too Much finally lands on vinyl! This exclusive release features the group’s biggest tracks, including the fan-favorite "M.O.M.," pressed on stunning clear vinyl with brown and blue splatter—perfectly reflecting the album’s vibrant, genre-blending energy.

As the crown jewel of the Bears Like This trilogy, this project highlights the collective's creative peak, with dynamic contributions from J.I.D., EarthGang, 6lack, and more. The bold and experimental sound that defines Spillage Village is brought to life on vinyl for the first time, making this a must-have addition to any collection.

Secure your piece of Spillage Village history with this limited-edition splatter vinyl.

A solid 4th instalment to the Clergy 10 Years anniversary celebrations, with tracks from Norbak, Hemka, Sciahri, Sera J, Phara, Measure Divide & Cleric.

SEVEN's latest release stands as a proper example of how house and techno complement each other. "Saveur de Monbi" exemplifies SEVEN's commitment to blending classic and modern sounds, delivering an EP that is both timeless and fresh. Available exclusively on Beatport from April 18th, 2025 and on all major platforms and in stores on May 2nd, 2025.

A1 - CRYME x Ben Reymann - WTTD The perfect opening track doesn't exist... "WTTD" stands for "Welcome to the Dancefloor" and sets the tone of this EP. Starting with heavy kicks, syncopated low toms, and hot vocals that ease you into the night, it tells a story about how we can feel and let loose while being on the dancefloor together.

A2 - CRYME x Ben Reymann - Acid Array "Acid Array" is driven by a low-resonant 303 bassline and is supported by ever-evolving atmospheric pads that stretch across the entire track. Simple and sharp hats, along with a powerful clap that cuts through the mix like butter, make up a perfect groove.

B1 - CRYME x Ben Reymann - Midnight Journey "Midnight Journey" is a drum-focused minimalistic track. The reverb-soaked, dreamy pads contrast with the rather rough drums, creating a nostalgic feel that is both sad and happy at the same time.

B2 - CRYME x Ben Reymann - Midnight Journey (Volpe Remix) On the B-side, we are happy to have Argentinian artist Volpe on board with his interpretation of "Midnight Journey." He flipped the track, giving it more drive by adding extra drums and changes in the rhythm structure while keeping the reverb-soaked, dreamy pads from the original. His classic, moody filter sweeps fit perfectly on top.

B3 - CRYME x Ben Reymann - Chordance "Chordance" stands out due to a rather clean mixdown. The playful rhythms of the toms combined with soulful chords as the main element and a big pulsating low end round the EP off with class.

SEVEN's latest release stands as a proper example of how house and techno complement each other. "Saveur de Monbi" exemplifies SEVEN's commitment to blending classic and modern sounds, delivering an EP that is both timeless and fresh. Available exclusively on Beatport from April 18th, 2025 and on all major platforms and in stores on May 2nd, 2025.

A1 - CRYME x Ben Reymann - WTTD The perfect opening track doesn't exist... "WTTD" stands for "Welcome to the Dancefloor" and sets the tone of this EP. Starting with heavy kicks, syncopated low toms, and hot vocals that ease you into the night, it tells a story about how we can feel and let loose while being on the dancefloor together.

A2 - CRYME x Ben Reymann - Acid Array "Acid Array" is driven by a low-resonant 303 bassline and is supported by ever-evolving atmospheric pads that stretch across the entire track. Simple and sharp hats, along with a powerful clap that cuts through the mix like butter, make up a perfect groove.

B1 - CRYME x Ben Reymann - Midnight Journey "Midnight Journey" is a drum-focused minimalistic track. The reverb-soaked, dreamy pads contrast with the rather rough drums, creating a nostalgic feel that is both sad and happy at the same time.

B2 - CRYME x Ben Reymann - Midnight Journey (Volpe Remix) On the B-side, we are happy to have Argentinian artist Volpe on board with his interpretation of "Midnight Journey." He flipped the track, giving it more drive by adding extra drums and changes in the rhythm structure while keeping the reverb-soaked, dreamy pads from the original. His classic, moody filter sweeps fit perfectly on top.

B3 - CRYME x Ben Reymann - Chordance "Chordance" stands out due to a rather clean mixdown. The playful rhythms of the toms combined with soulful chords as the main element and a big pulsating low end round the EP off with class.

Aimer Perdre is a movie by the Guit Brothers and tells the story of Armande Pigeon; the queen of shenanigans. In Brussels, she struggles to make ends meet because she can’t stop gambling on everything, always ending up on the wrong side of luck. When she teams up with Ronnie one night, everything changes – they win it all. And when you hit a winning streak, you have to know when to stop.

For Aimer Perdre, Brooklyn NY native Simon Hanes travelled to Brussels in order to work directly with the directors, synchronizing the editing of the film with the composition of the soundtrack so that both processes would influence each other. Hanes and the Guits spent 3 months working alongside each other almost every day, passing ideas back and forth and allowing the soundtrack to grow organically. The music is an honest representation of Hanes’ experiences over those months, which he spent couch surfing across Brussels, sharing meals and ideas with new friends in broken refrains of French and English – falling asleep at the Cinémathèque, and occasionally breaking into abandoned buildings…but thats a story for another time.

Throughout all this, Simon hired musicians he met in bars, members of the Brussels experimental/artistic community, singers from a choir that was rehearsing in the squat where the Guits built their editing room…All the while sculpting the soundtrack out of these seemingly dissolute elements and constantly blurring the line between the compositional process and his day to day life.

Finally the process culminated in hiring the FAMES string orchestra for ONE SINGLE HOUR (all they could afford) to achieve the full orchestral sound the film’s climax so clearly needed.

The end result, like the film itself, is a reflection of life – a hodgepodge of sounds, colors and ideas that come together to create a beautiful, unique tapestry, sometimes harmonious, other times less so.

Comes with a limited edition flexidisc with a bonus track.

2025 Repress

The Colombian producer whose name is on everyone's lips, figure of the underground in his native land, Felipe Gordon makes a sensational debut on our beloved label SKYLAX RECORDS ! His fabulous Django Mango EP mixes his house music obssessions with his love for Latin & jazz music. Adept of analog equipment and eminent musician, he gives us a real work of art to store alongside Nuyorican souls legends (master at work in mind). Kicking off the release, the title song django mango takes us through the swirls of the alleys of bogota, a bit as if moodymann had paid for a first class round trip in bogota , a laid-back title that can be enjoyed at any time of the day. a clever mix of funky bassline & a light piano that almost reminds us of the masters of the buena vista social club (without the vocals!) in house mode. A masterpiece in itself. on A2, we can hear this mixture again the perfect fusion between the golden-age house aesthetics and the cultural sounds of South America all complemented by a superb vocal during the break "our names are nick names wich won't reflect where we came from" a statement in itself ! The b-side from the outset gives us perhaps one of the best songs of the ep, the brilliant dakar, a subtle mix of rhodes, swaying bass and African children's chants. And to end, D, Fuck Off All Your Trouble, is an ode to the resilience of the motor city in the purest style of the 313. A brillant debut !Skylax 4 Ever

A1 - Planet Genesis

Chronicle makes his Spatial debut in style with Planet Genesis, opening with a beautifully crisp 2-step break over light atmospheric padwork, quickly accompanied by Hot Pants snares and dancing strings. Graceful hi-hats and insanely subtle vocal usage ebb and flow in the mix while soothing melodies enter and depart at will. The breakdown offers an intense change of tone before the breaks resume and continue the journey to a destination unknown.

A2 - Crystal Clear

Very much living up to its title, Crystal Clear sees Chronicle deliver a finely tuned assortment of beats with a remarkable clarity that truly shines in the "old school brand new" sensibilities of throwback atmospheric drum & bass. Snippets of various classic breaks can be heard in the mix with a superb attention to detail, taking you back with a style quite reminiscent of the golden era of late 90's Logical Progression.

B1 - Libra

Airy pads and a rousing yet subtle melody delicately introduce Libra, as Chronicle gradually builds towards a thrilling yet thoughtful amen workout set to blissful atmospherics. With a plethora of exquisite production techniques on show, the track showcases the versatility of Chronicle, offering something new to enjoy on each listen - the layers of detail are truly impressive.

B2 - Higher Limits

Echoing whirs and clicks dance playfully around light pads in the unique DJ-friendly intro to Higher Limits, a detailed, joyful track which celebrates a bygone era with sharp, expertly edited breaks and a smooth 808 bassline to die for. Micro melodies and long waves of delicious synths add texture and depth to the mix, resulting in the perfect closing track to a superbly varied and elegantly produced debut EP.

Words by Chris Hayes (Spatial / Red Mist)

Edits by Mr K
Edit heavyweight Danny Krivit edges close to full-on remixes with these two extended takes on soul genius Stevie Wonder’s timeless tunes. Using isolated instruments and vocals, the familiar classics take new shape in the able hands of Mr. K, providing a fresh look at cuts that have never faded in popularity. ‘Master Blaster’, Stevie’s tribute to Bob Marley, gets an attention-grabbing intro that is tailor-made to slide right into DJ sets, while the flip, the R&B essential ‘I Was Made To Love Her’, is filled with breakdowns and clever cuts that will open the eyes and ears of even the most jaded soul fanatic. Masterful work from NYC’s edit king and a fitting tribute to the Motown legend on a loud 12-inch readymade for club play. Record Store Day special!

In celebration of our 10th anniversary, we're proud to present the 5x12" VS10YRS VA Collector's Box

20 artists. 5 discs. All Vault Sessions.

At the heart of this double album, and amid the intense internal struggle between creative instinct an artistic reasoning, Ziggy has identified two key themes: Inspire and Radicalise. It is within this duality that the 15 tracks of this new work, recorded between Berlin and London throughout January 2024, take shape. Throughout its creation, the crew enlisted a familiar pallet of materials, seeking those obscure and vintage music-making machines, meeting a myriad of percussion and drums with the new addition of electric guitar as the band ventures into disco / highlife inspired territories. bring this ambitious project to life, Ziggy enlisted a team of forward thinking musicians across Europe and the UK alongside old friends and collaborators from the grassroots in Melbourne, Australia: Lewis Moody (Energy Exchange Records), Szabolcs Bognar (Abase), Eric Owusu (Jemba Groove), and Tom Varrall (Jamie Cullum) form the core rhythm section alongside a hefty list of guest appearances (from the likes of Oscar Jerome & Tom Driessler) making this truly the most ambitious and diverse incarnation of ZFEX to date.

To speak to Luca Daniel Schwarz aka LDS about his music is to be enthusiastically guided into a complex world of his own creation: clean and powerful techno which pulses with life from the textured patterns and drum sequences that have fills and accents that would make anyone who’s picked up a set of drumsticks envious. Yet this ecosystem of noise is deceptive; Schwarz’s process for making music is very different to how a live drummer would create the same subtlety of performance. Forever researching new technology, Luca got deeply interested in different programming languages, and created a series of probability-based music tools for manoeuvring sounds and sequencing.
Manipulating those probabilities takes a skilful alchemy, needing understanding of both musical structure and how the tools he devised work. To return to the drummer analogy, if the drummer is focussed and intentional in the moment of playing, then the method used in LDS tracks is almost diametrically opposed, with all of the intention coming in the assembly of the instruments, potential paths, and gateways; once play is pressed the music flows, following all the rules that were set in advance, not unlike a domino run or Rube Goldberg machine. And like a domino run, the results are fascinating and, ultimately, fun: staccato vocals pop in and out in ‘zipp prompt’; laser-like synths pulse; background noises sweep across the aural plane of the dub techno of ‘diff, blockmix’ and ‘pow’ adding texture that brings vitality all-too-easily missed out when complex mathematical
processes become entwined with music creation. The high sensitivity to texture and rhythmic detail in Stadion Progg is multiplied further on Jean Redondo's remix - whose track, Hypersonic, was the backbone of 2023’s ‘yet’ compilation on Tresor.
The balance between technology and a sense of fun might also come from the maker; it’s not easy to overstate Schwarz’s passion for what is now his favourite way to make music, “it never gets boring. There’s always a moment of anticipation to see what actually emerges.” And the true “power of 2” comes into play when the resulting music can be fed back through the system again and again, potentiating the music in exponential ways.

”Operation Timeframe” is a fusion of styles between two artists who have made waves in their careers: Franco Falsini and Saverio Celestri. On one side, we have a pioneer of electronic music; on the other, the product of years of evolution.

Franco has a rich musical history and a diverse array of influences: starting from progressive rock and arriving at electro-pop, he approached electronic music with a substantial musical background. After founding and participating in various bands across the United States and England, he collaborated with the renowned record label Polydoor. In the early 1990s, he combined his skills as a guitarist and producer, beginning to perform worldwide. In track A2, “A Molecular Affair,” you can clearly hear this blend, which transports us back a few decades and lets us savor a gem deeply rooted in a quality-rich past.

Saverio also had an initial approach to electronic music partly rooted in rock, though more toward alternative rock. Moving to Berlin at a young age, he developed his sense of electronic music in a city teeming with inspiration. Here, he combined his background in electronic, pop, and rock to create brilliant tracks that captivate dance floors worldwide with his Electro, EBM, Synth-Pop, and more. With the B1 track “Veleno,” Saverio follows in the footsteps of his friend Franco, closing the album with “Traveling,” a track structured in Synth Pop, enhanced by the crystal-clear voice of Brazilian artist Lourene.

This is a record that focuses on that frame in which the two artists perfectly align their past and future, projecting it directly into the present, as only two geniuses can.

- Everything Is Connected Too is the second instalment of Blancmange's finest moments on vinyl.

- The companion to 2024's Everything is Connected, Everything is Connected Too delves further from recent moments like 2024's 'Again I Wait For The World' and 'Bliss' (both on vinyl for the very first time) to 'Sad Day (Original)', one of their very first outings from 1981. The collection traverses 4 decades of the band's inspired take on leftfield pop.

- Limited Crystal Clear vinyl - Record Store Day 2025 Exclusive.

2025 Repress

*`Almighty Jah' is the fifth release from Alpha and Omega on Partial Records, following on from `Pure and Clean', `Rastafari', Show Me a Purpose' and Jah Protection which all sold fast.
* With vocals by Dub Judah­, this is a pri­me example of the heavyweight 1990s UK dub style, with this track dating from 1992, now appearing on a 45 for the first time.
* Previously only available on a now-deleted Dub Judah / A&O album (also titled `Almighty Jah'), this is the in-demand vocal cut of A&O's `Rastafari' which is now backed by a previously unreleased dub version.

Das Grammy-nominierte Album von Janelle Monae ist auf Crystal Clear Vinyl gepresst und enthält die Hits "Pynk", "Make Me Feel" und "I Like That".

Finally, it's here: the new Kettel! And we certainly know we're on the Kettel estate: the delicate melodies, complex orchestrations, and the crisp sound design offer familiar musicality. The new Kettel hasn't skimped on ideas and details, and each track opens a courtyard that rewards surrender and attention--we want to linger there. One thing is clear from Dubio: if you thought you'd heard all of Kettel by now, you're mistaken. In the new Kettel, doubt (dubio in Latin) and dissonance have also become part of the beauty--and in doing so, it breathes more character and liveliness than ever.

The A-side puts the fun in a funky psychedelic disco stomper complete with sing-along chants and breakbeats. Imagine an overlooked KID CREOLE garage dub cut. The B-side is a fresh take on classic Italo disco with analog percussion, vintage synths and his own guitar and bass.

At this point, Southern Italy's Giovanni Damico is basically an honorary Windy City Native. I don't think he's ever been to Chicago
but he certainly has status on all sides of the City. Damico's collaborations with Chicago's Star Creature kicked have spanned the
better part of the last decade with just as many vinyl releases during that time spanning 2 LPs, 2 EPs, a handful of 7's and an appearance on the 2020's Star Creature Vibes label compilation not to mention the over 20+ 12's and a dozen appearances on labels ranging from MCDE, Lumberjacks in Hell to Kalakuta Soul, Bordelllo A Parigi, his own White Rabbit Recordings and more.
That perfect blend of Tracky Italo Early Drum Machine, Bang the Box type of Proto House Electro Soul with adventurous and ambitious beats and melody combos pulled from a range of global influencers, mixing of electronic and acoustic instruments giving some of the most full body unique compositions in dance music, each being accomplished, evolving and truly unique.

180 grams / vinyl only


Based Faith unveils Spell Three Twenty Nine, a sacred incantation to the dance floor. This limited edition no repress release brings together four divine interpretations of the original track, each a hymn to the groove.
Cesare vs Disorder blesses us with deep, rolling pads that lead us into a meditative state, while Arval stirs the soul with a techy, high-energy remix designed to lift bodies in motion. Frink delivers a precise, floor-focused cut that radiates purity in its clean production, and finally, Richard Rozen presents the original-a slow-burning, capturing of a moment in time for those seeking deeper dance floor transcendence.
This record is a relic of the faith, pressed in limited numbers for true believers of the power of the dancefloor.

ML performs the most romantic, hypnotic guitar loop - live from under the sink! On the B-side, a coffee machine imitates a cyborg’s cleaning organ.

“Babyyyyyy, where r uuuuuu?”

Comes with special handmade design and two speed options! Very low business risk.

Mastered by Maximilian Schweizer at SMS™.

Chris Ryan Williams (trumpet & electronics) and Lester St. Louis (cello & electronics) work together as HxH (H by H). Their skills have seen them move smoothly across various situations, constantly carving out new terrain and working in new configurations of musicians at a rapid pace. While worth reading, their biographies capture only a part of their complex rhizome.

HxH started about three years ago. The project is a direct response to all their activity with others and more importantly all their future leaning sonic desires. Their debut album STARK PHENOMENA is both their first studio recording and their first physical release. The album is appropriately set to be released by KMRU on his growing label OFNOT. It’s an ideal introduction to their sound world and their approach.

HxH describe their music as “electroacoustic,” but until recently the presence of Black musicians in this field has been greatly overlooked and largely ignored, making this phrase only partially appropriate. What HxH do really is to always be unpredictable. Every gig is a new soundscape. Sometimes you might hear echoes of Autechre or Robert Hood but then the sound-field will open up into a new terrain all their own. Chris and Lester bring together techniques from across the sound spectrum of electronic music and also draw on their deep backgrounds in Jazz, Improvisation, Classical and Noise scenes to create a sound that is true to them. After all, these two have worked with the likes of Bennie Maupin and the music of Black Fluxus artist Ben Patterson. Their rhizome is deep.

One of the ways that their unique approach manifests is in their merging of both acoustic instruments and electronic instruments in real time. This is something few have managed to do – but their spontaneous leanings work in both complex and accessible ways because of their deep understanding of landscape crafting. You can hear this clearly on the track “Pyrex Vision.” Their approach makes it tempting to compare their music to Sun Ra jamming with Laurel Halo – a comparison that would be only partly accurate.

Chris and Lester note that the sounds on STARK PHENOMENA are “imbued with such hopeful, gracious care; one that is far flung from obsessive carefulness or fuck the world carelessness, but more a caring embrace without the fuzziness of nostalgia.”

They note that when they began working together, they would “always come back to speaking on our concepts of an architecture of the expanse,” noting that their live sets often take on the joyfully noisy task of “dreaming big.” For HxH it was essential that STARK PHENOMENA have a quality that is “almost sculptural.” They consider the album “an object to be viewed from all sides.” This kind of thinking has resulted in them directly engaging with numerous sculptors and artists including Torkwase Dyson. Shape wise HxH’s sound fields work in a parallel to Dyson’s black architectural works.

They also note that the opening cut “BEACH” (the opening and longest track from the album) was “written weeks after our first gig in a studio session donated to us by our dear friend jaimie branch.” And that Pyrex Vision “was continually being edited months after sending our ‘final mixes’ to KMRU.” Their sound sources and samples come from studio sessions, live gigs, durational installations, 3am improvised downloads and more.

KMRU notes: "I think there is an in-between layer on this record. I was first caught by the Pyrex Vision track which organically flows between monologue, subtle field recording, and instrumentation. It's such a beautiful track, evoking deep emotion through simplicity. STARK PHENOMENA effortlessly glides in between imaginative mosaics of sounds — free yet complex — unlocking memories within its layers."

Repress

Written and recorded in singer-poet Karsyn Henderson, guitarist-banjoist Paul Lecours and percussionist Ryley Klima’s basement alongside bassist Chris Clegg, then mixed and mastered by longtime collaborator Noah Baxter, this self-produced introductory effort from the Montréal four-piece stylishly amalgamates elements from hardcore, punk, shoegaze, sludge, and folk.

Violence is a brazenly poetic homage to small town roots, a mashing of modern Western Canadian hardcore and folk. Extensive in scope, this debut full-length by Truck Violence takes the listener through wide-ranging dynamics, from solemn acoustic ballads to wrathful electric anthems. Deftly fractured rhythms and breakdowns, complex harmonic entanglements, emphatic screams of discontent, are met with hopeful, melodic tracks musing about the steady grip of a tight-knit community.

From somber, deceivingly happy banjo sequences to crashing noise and cries, Violence uses expression as a mirror, looking upon oneself with clarity, aiming to attain a sense of unadulterated truth of the matter. There is little modern music taking an honest look at the Western Canadian countryside, tackling themes such as addiction, abuse and dysfunction.

Truck Violence’s first album does just that, uniquely capturing this involuted setting through a wide lens to both contextualize and emphasize what it means to be overwhelmed, to feel shame, to struggle with self-destructive ways, to thrust oneself into art as an escape.

Side A’s “Intergalactic Love Song” by the Diddys & featuring Paige Douglas is a vocal version of the Charles Earland's instrumental classic (who also produced the track) & is a disco-tinge jazz-funk groover that you will want in your bag. It glides across the dancefllor with a breezy ease & pulls you in.

B. side
On the flip, we have“Searching The Circle” by Barbara & Ernie from the classic psyche-folk soul album “Prelude To …” (Ctollion - SD 9044), produced by Joel Thorn. It’s a wonderfully weird little record that has a sound that's unlike anything else I can think of.

This trippy early-70s folk-jazz-soul nugget featured here from guitarist Ernie Calabria & singer/keyboardist Barbara Massey (back-up for Cat Stevens, amongst others). Arrangements are by the pair, but Deodato also had a hand in the record too along w/ Grady Tate on drums, Ralph McDonald on percussion, & Sam Brown on guitar.

It holds a righteous groove undercurrent that recalls Richard Evans or Charles Stepney. Massey’s vocals have a flanged-out quality that's clearly overdubbed, creating a double-voiced sound that's almost a bit like Brasil 66! Completely

Some of these songs ­first time on LP. The Sound of Big Crown. Gold foil cover art. An amazing listen. Big Crown is proud to present the next volume of Crown Jewels, our various artists compilation series that highlights some of the most popular tunes next to some of the more obscure. Every artist on Big Crown stands on their own two feet with ease, but together, something else becomes apparent. If you discover one artist on the roster and it brings you to the label, it's very likely you will ­nd more that you enjoy. The Crown Jewels comps are just that, a chance to get a listen to the whole roster in one place. Even though not all BC artists can be found in the same aisle of the record store, after listening to Crown Jewels Vol. 2, it should be clear how they all ­t on the same record label. When we started Big Crown we wanted to have a label that’s only boundaries were de­ned by our taste, not by genre. We think that this is a perfect example of that. Thank you to everyone who has supported us thus far and please stay tuned as we have a lot more music on deck

Clear Memory welcomes En Direct back. After their appearance on CLEAR001 they released two EP's on our sister label Lunatic. With 'The Illusion Of Control', En Direct release their first album. A long player diving deep into the realms of the human mind and its abyss. Exploring insecurities, uproar and mania with Industrial studies and EBM, rounding it off with bittersweet Minimal Wave and Electro for the sleepless Edition of 200, comes with Info-Sheet.

This fantastic debut from MshCode on the Guidance label. Full on dark edges jungle mayhem, perfectly produced with clean drums and atmospheric pads, but a sense of deep menace and a claustrophobic toughness to the tearing amens and broken beats.

A1. Mike Berardi is put in the spotlight with an incredible breaks original. Originally born and raised in Italy, Mike has been bringing exquisite sounds to the concrete jungle for over a decade. Mike Berardi has made a name for himself, even working with big names such as Chez Damier. Having an ear for what dance floors crave, his productions continue to land on huge labels around the world. 


A2. Samuel Padden is a producer who needs no introduction. His reputation for making incredible records has brought him around the world, with more and more DJs dropping his originals on the dance floor. The rising star generously delivers another banger to lucky listeners.

B1. Jay Tripwire is clearly an artist who is channeling energy from alternate universes. With a sound unmatched, and a discography like an encyclopedia, Jay Tripwire is undoubtedly one of the greatest producers of all time. We proudly present his mind melting 12-minute minimal masterpiece.