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Blue Vinyl / Vinyl only

ix3m and Denis Andreev team up for a two track release on 123.ro. They have shared their common interests and taste in music for the best possible result.

After our last release titled “jazz Baileys” we are back with House Experience Vol.2., this time in Ep format, presented by Bs As deep.
The previous volume was clearly dedicated to being a various artists, also with the participation of Bs As deep.

We have been working since vinyl number 4 with musicians, who have a participation in almost all the tracks released.

When we talk about musicians, we are including keyboardists, saxophonists, percussionists, guitarists or bassists.

Our goal or common thread has always been to achieve a warm and forceful sound, so that it can be heard in any environment, and at the same time be used at any time of the night, on a dance floor.
With those involved in both past and current releases, we share a common idea, which guides us in the interpretation of each song.
We also base ourselves on house influences from the late 90s (96,97,98,99)

Personally, we are moved by those times in which the sounds become more sophisticated, more elaborated in detail, and that is when we believe that the house that we listen to today with soul and jazz sounds, take on more relevance.

They also promote Afro and Latin percussion, leaning towards that New York and Puerto Rican fusion.

For all this, we like to include classic instruments, such as roland rhodes, the much-loved Juno, or korg packages with their inevitable M1.

Many shots are made live through a session expressed by the musician, who improvises for a while, from there we extract some part, which can be used several times in several tracks.

It is always necessary to do an editing job to adapt and correct any dissonance or variation in time that implies desynchronization in the beat. All this working in the sequencer of the daw to use.
On this album you will be able to hear soulful house sounds strongly impacted by keyboards, flutes and session basses, as well as some perfectly adapted percussion samples.

AI-31 sees the debut release from a new collaboration between Samuel van Dijk (Netherlands) and Rasmus Hedlund (Finland). Both key proponents to the scene in Northern Europe, they come together with mutual understanding and a common vision to sound. Dialog acts as a conversational exchange that sees the interplay of dynamic frequencies, evocative imagery and contemporary sonic art. Spread across four sides, the album as a whole exists as a kind of metaphysical process, eternally growing and contracting — change is the only constant, marked by a continuous progression of sound and space.  

Expansive, deep, and at moments arresting, Dialog unfolds with sweeping soundscapes and shimmers with tactile sonic details. A chasmic rift of scintillating drone structures, each layer exposes a series of ever-deeper shades. In a play of dynamic dualities, the pair harnesses both earthly materials as well as access to more ethereal dimensions in the music. Side A begins with sub-terrestrial ruptures, gestating in a process of constant elemental changes. Rattling hits sputter amongst a state of nascent chaos, yet continues to be maintained in self-regulating stasis. Side B sets a more introspective tone, whispering with ghostly artefacts and bubbling synth lines, before building into a driving energy of layered field recordings and mechanistic timbres. The essence of form continues to be contested, until it subsides into momentary calm on side C. A cleansing period of soft drones float into the space and the pace slows, washing away remnants of past. The journey continues with side D’s conclusion - a solemn contour that reaches its internal extent, to then finally return to its source. 

Suns of Arqa is a sonic mission created by luminary Michael Wadada, who began in 1979 after receiving higher guidance in Jamaica while working with roots reggae chanter Prince Far-I. It is a prolific traveling music collective that has seen over 200 collaborators, meant to connect people from all cultures and walks of life through a “deeply spiritual vibration that merges cultures, faiths and musical genres”. Wadada combines ancient Hindustani raga systems with Piobaireachd and Nyabinghi roots drumming, creating ritualistic world music infused with dub and reggae.

The lyrics combine both mystical and sensory elements, often including prayer and referencing a higher power but finding root in experiences common to all people- memory, sight, and physical sensation.

Their first album, Revenge of the Mozabites, was a collaboration between Wadada and On-U Sound creator Adrian Sherwood. Following its 1980 release,Peter Gabriel invited them to perform at the first WOMAD festival. Today, the record is regarded by some as a cult classic. Over the years they have played at many major music festivals including Glastonbury, Big Chill, Telerama Dub Festival, and Transmusicales, and released over 40 albums on Virgin, EMI, Interchill Records, Antler Subway, Red Rhino, and their own label, Arka Sound.

Suns of Arqa has had a seminal influence on the World Beat sound, and continued to make appearances at seasonal festivals and sacred ritual spaces all over the world until 2021. Michael Wadada passed away in the midst of planning their U.S. tour for this release. The record is a compilation of some of Wadada’s and Sleepers Record’s favorite old Sun of Arqa tracks, mixed by Youth and Adrian Sherwood, and mastered by Eroc (drummer of Grobshnitt).

Notable collaborating artists include: Guy Called Gerald, UK producers Youth and John Leckie, Greg Hunter, 808 State's Graham Massey, Finley Quaye, Sounds From the Ground, Bryn Jones aka MuslimGauze, Adrian Sherwood, John Cooper-Clarke, The late great Professor Stanley Unwin, Eric Random, New age guru Tim Wheater, Astralasia, Prince Far-I, The Orb's Alex Patterson, Zion Train, and Gaudi.

"And although the Great Spiritual being Michael Wadada has returned to source and his body to earth at our time, his music is alive and will continue to be a great force for higher spiritual realms and raising vibration through occult frequencies...Suns of Arqa will continue to raise the vibration of the hearts and minds of humanity" – Angela aka Angel-Eye (Wadada's wife and bandmate)

The next release in the Phonica Special Edition series comes from Ukrainian duo Asyncronous who first came to our attention after hearing their critically acclaimed debut on Berlin label Slow Life, 'The Art of Fighting In A Dream'.
A Phonica favourite, it provided the soundtrack to many days in the shop throughout the year, culminating in its inclusion in our top ten Best Singles of 2019!

The Phonica Special Edition series is focused on one-off projects, special remixes or collaborations, highlighting music that is slightly left of the dance floor and pairing it with unique artwork.
This time featuring a beautiful piece by celebrated Ukrainian artist, Mykyta Storozhkov.
The pair initially joined forces in an effort to explore human imagination and life experiences through music, focussing on creating feelings and atmosphere rather than be constrained by genre limitations. The result on this EP is a hazy cosmic trip through their universe of synth swells, deep sub bass and meticulous percussion.

The journey begins on 'Padma Kirtanam' with a constant drone providing the backbone to a building tension scattered with drums. The tension releases and makes way for A2 'Shinkansen', a beautiful track with minimal drums and dubbed out synths which echo around the listener's ear. Closing the A side 'Volta' continues this aesthetic but adds a 4x4 kick drum upping the groove to a cosmic deep house jam.

'Avalanche' kicks off the B side of the record with a syncopated bass line and skitterish hi hats. The energy is at its highest level here and only stops to make way for the next track 'Blocks of Despair'. The tempo drops and drum hits reverberate above stretched out bass notes creating arguably the most heartfelt tune of the release.
The EP ends with 'Midnight Sun' an ambient excursion that invites you to drift off with Asyncronous into outer space.

Today we have many opportunities to discover the world and travel through it without leaving your own room. In the age of globalisation, with the help of knowledge, technology and imagination, you can instantly teleport yourself to mystical temples of India or see the sun above the polar desert at midnight. No more borders - we are connected like never before, as if we are not at different ends of the globe, but on a single and indivisible continent that is not mapped but exists in a plexus of global events, information flows and digital environment.
This is our common home. Our new Pangaea.

talo-Iranian producer Sciahriar Tavakoli, commonly known as Sciahri, after releasing on renowned label as Ilian Tape, Mord, Opal Tapes/Black Opal and MANHIGH finally presents his first long playing record “Double-Edged”, and he does it on his own imprint, Sublunar Records.

The LP is an extended, carefully compiled exploration of the many facets of his signature sound, where emotional melodies collide with dense and rasping basslines.

The artist aims to express emotions with unsettling simplicity, showcasing techno compositions that are both thoughtful and primal.

Within the space of ten tracks, Sciahri’s sound design reveals his structure, pushing the listener through a labyrinth of textures and rhythms.

For the 10th release label owner Barbara Preisinger is gathering seven unreleased tracks on two seperate 12inches, by previous Slices Of Life artists as well by producers who have a relationship to the label through frindship, events and personal support. Each track presents the personal unique style of it´s producer, but all have a feeling for warm sounding organic house grooves in common, what Slices Of Life stands for since the beginnings in 2009.

6 weeks after SOL10.1 hit the stores with contributions by THE MOLE, BAAZ, DANA RUH and JOHN TEJADA, the 2nd part of the SLICES OF LIFE compilation celebrating release number 10 is following: The A side of SOL10.2 is dedicated to the legendary Berlin producers and Dj duo CAB DRIVERS: - A Complex Situation' catches us with its irresistable swinging groove and filigrane synth lines. OSCAR SCHUBAQ, DJ, Producer and co-owner of the label Tardis Records, starts the B-side with - K-Beat', a rough jackin house tune, which takes a surprising turn to a sunny sounding swing during the 2nd part. The great finale of SOL10 comes from the parisian Deeply Rooted label owner and extensive vinyl collector DJ DEEP. With - Spices Of Life' he created a wonderful, atmospheric and deep piece of music carried by rolling basslines and playful melody fragments.

- Dj Deep and Cab Drivers has been worldwide very well known and respected producers, label owners and DJ´s with a large fanbase since the 90 ies. Osacr Schubaq is co-ownung the label Tardis together with Eli Verveine

- first 500 copies come in dark red printed sleeve

Cause we love Vinyl..... Here is the first Vinyl from the Label JACKFRUIT RECORDINGS, a new label founded in 2017. Label Owner is the Berlin based Artist, DOMPE, known for good arranged House Sounds. He releases a lot, a real creative mind. Four handmade tracks can be found on the Vinyl. THE JOKER: Do you need a Joker Deep and warm Techhouse-Bassline So who is you favourite Buffoon now Risky grinning attitudes sounds you have to hear loud. After that bomb it's time for an new experience: It's time to Boogie. 1,2,3,4 what are you waiting for Move your Body to the Groove. CRY: snappy sounds, a necessary amount of percussions and a beat that makes you teeter along. FREE BIRD: Here are some very new House Beats for you! It is really time for some spring feelings, so the sounds go fresher! And it feels like hearing the bird singing, sitting in the sun meanwhile. Real Groove comes through your Speakers - turn is loud! Percussions make you hooo. So shake your body once again and dance until the spring is coming. JACK BROWN: Hey Sweetheart you are such a hot fruity! Another brilliant cooperation between AGENT! and DOMPE and as it is common: never change a winning team! These both guys living in Berlin are not only Friends; they got a perfect match with their sounds and ideas. Soundaholics with playful whims in their heads. There is a rumour that JACK BROWN gives his Name to JACK FRUIT. Not really just kidding. JACK BROWN makes you dance, drags u to the middle of the floor. Charming Bassline, Vocal and a direct urge for snipping your fingers.

After dropping several tracks and performing at select festivals throughout the years, Ólafur Arnalds and Janus Rasmussen dedicated the year 2014 to explore the area in-between Ólafur's more acoustic, piano-based solo work and Janus's synth-heavy electro pop, with their collaborative electronic project Kiasmos.

By focusing solely on their self-titled debut album, Ólafur and Janus have been able to combine and further develop their unique sound aesthetics to complete an album driven by their mutual love for electronic music. Made in Ólafur's newly build studio in Reykjavík, Iceland, a majority of the album was recorded using acoustic instruments next to a variety of synthesisers, drum machines and tape delays. It features a live drummer, string quartet and Ólafur performing on the grand piano, producing an ambient, textured sound, which makes it a perfect home listen and equally danceable record. If you listen closely, you can spot them record the thumb piano, finger snapping and even the sound of the metal grinder of a lighter slowly to replace the usual electronic hi-hat sounds, giving the album a far more intimate and unique atmosphere.

We decided to start almost completely over with this record, so most of the material is written this year with the idea of making a record that can stand as one piece rather than a collection of songs. I am very excited to get a proper record out exploring a different territory than I am used to. I touch a lot on electronic genres in my own music but never have the opportunity to go full out electronic like we do here.' - Ólafur Arnalds

The Kiasmos project has been around since 2007, but because of all our other projects we never really got the time to sit down and write all the tracks we always wanted to. So when we early this year finally found the time to sit down and make a full length album there was so much we wanted to try out. The result surprised us a bit, it's deeper and more emotional than we imagined it to be, but that's the beauty of being able to make an album.' - Janus Rasmussen

Long-term Erased Tapes graphics collaborator Torsten Posselt at Feld Studios in Berlin created the cover artwork. Feld Studios was a natural choice for Kiasmos, seeing he also designed the cover for their Thrown EP, released previously.

Kiasmos is made up of Icelandic BAFTA-winning composer Ólafur Arnalds, known for his unique blend of minimal piano and string compositions with electronic sounds, and Janus Rasmussen from the Faroe Islands, known as the mastermind of the electro-pop outfit Bloodgroup. Based in Reykjavík, Arnalds used to work as a sound engineer, often for Rasmussen's other projects, where the two musicians discovered their common love for minimal, experimental music. They eventually became best friends, often hanging out in their studio, exploring electronic sounds.

“Man has such a predilection for systems and abstract deductions that he is ready to distort the truth intentionally, he is ready to deny the evidence of his senses only to justify his logic”
Fyodor Dostoevsky - Notes from Underground (1864)

The Intermittent Signal is the sound of resistance.

In the year since The Sick Man Of Europe’s debut album was released, the world has moved on. Steady hands have slipped from the levers of power, logic has shifted underground and the message grows more urgent with every passing day.

Repetition has been relearned and the machine rhythms repurposed, this time with increased intensity. Arrangements have moved beyond the bare bones economy of the first record and there’s a newfound melodicism in places. Clarity and conviction ring true through the static and noise, while utopian ideas to remodel a broken system gain traction. This is a rejection of the attention economy and a call to reconnect through community and organisation. Those simple acts that were once commonplace have become increasingly radical as new fractures emerge.

“Through repetition the message has gained weight and become something more urgent,” The Sick Man Of Europe explains. “The vehicle for this message needed to evolve, grow to gain the strength to carry it. We’ve landed on something more expansive, immediate and immersive. Less is more. Until it isn't.”

“Man has such a predilection for systems and abstract deductions that he is ready to distort the truth intentionally, he is ready to deny the evidence of his senses only to justify his logic”
Fyodor Dostoevsky - Notes from Underground (1864)

The Intermittent Signal is the sound of resistance.

In the year since The Sick Man Of Europe’s debut album was released, the world has moved on. Steady hands have slipped from the levers of power, logic has shifted underground and the message grows more urgent with every passing day.

Repetition has been relearned and the machine rhythms repurposed, this time with increased intensity. Arrangements have moved beyond the bare bones economy of the first record and there’s a newfound melodicism in places. Clarity and conviction ring true through the static and noise, while utopian ideas to remodel a broken system gain traction. This is a rejection of the attention economy and a call to reconnect through community and organisation. Those simple acts that were once commonplace have become increasingly radical as new fractures emerge.

“Through repetition the message has gained weight and become something more urgent,” The Sick Man Of Europe explains. “The vehicle for this message needed to evolve, grow to gain the strength to carry it. We’ve landed on something more expansive, immediate and immersive. Less is more. Until it isn't.”

Few records sit between genres as confidently as Schöneberg. Not quite techno, not quite trance, not quite house, and precisely because of that, instantly recognisable as something of its own. Originally released in 1993 as part of Marmion's Berlin E.P. on Superstition Records, the track became one of the defining anthems of early European club culture, championed by Tony De Vit at London's legendary Turnmills Trade events and played in the best clubs across the UK, Benelux and beyond.

Schöneberg grew directly out of the duo's DJ sets at the Bunker in Berlin-Mitte. Between techno and trance, Mijk van Dijk and Marcos López were looking for a common ground. The track was recorded in a single night, the result of that search. Its defining details were deliberate: the hi-hat arriving unusually late, the short disorienting break that became a trademark. As López puts it: "For me the piece is still a condensed version of an entire DJ set."

In 2023, Superstition marked the 30th anniversary with a 21-track remix collection spanning three decades of reinterpretations. Now the track returns to vinyl, focused and stripped back to three versions: the original 1993 mix, the in itself legendary Marmion Remix, and the interpretation by DJ T., appearing on vinyl for the first time.

Pressed on orange coloured vinyl, this 2026 reissue sees all three versions carefully remastered from the original sources and newly recut for vinyl, bringing renewed depth and clarity while preserving the character that made Schöneberg a classic.

Some recordings herald the future in ways that are impossible to see in real time. Teodros Makonnen With His Organ (ቴዎድሮስ መኮንን ከኦርጋኑ ጋር), by the artist Teodros Makonnen, also known as Teddy Mak, is one of those. Today, electronic sounds, synthesizers, and digital production are taken for granted in Ethiopian music, but in the early 1980s, they were novelties that polarized opinion. Even to this day, the story of Teodros Makonnen’s legacy has never been properly told. He played a decisive role in defining the sound of the digital era of Ethiopian music that emerged in the 1980s and beyond, both as a keyboard player and as a producer, songwriter, performer, and sound designer.

Ethiopian music was at a crossroads in the early 1980s. Much like music in the rest of the world, technology and automation heralded either a quantum leap in musical development or the annihilation of musicianship, depending on who you’d ask. The changes were incremental nonetheless, but with the benefit of hindsight one can clearly see that the changes meant different things in different contexts. Drum machines and electric organs came to replace many hotel bands because, all of a sudden, one musician could control drums, melody, and accompaniment. Teodros was one of the first musicians in Ethiopia to explore the possibilities this opened up.

Teodros’ father, Captain Makonnen Beri, was a chief pilot at Ethiopian Airlines and a music enthusiast at that. This would prove important to his development, as Makonnen brought back a piano from Germany, which would lead to the first steps in Teodros’ long musical career. Captain Makonnen’s work as Head of Flight Operations and as a pilot exposed him to the wider world that was far from commonplace for most Ethiopians. In a house where music captivated the whole family, the piano gave Teodros’ talent an outlet. Not only was a piano at home rare in Ethiopian households, his father also brought an Indian teacher to their home to teach Teodros and his brother, Captain Samuel Makonnen, music theory (solfeggio or ear training) and piano. Teodros and his youngest brother, the late great Dereje, a member of both the legendary Ibex Band and the Ethiopian reggae group Dallol, took up music from that point onward, with Teodros beginning to develop his proficiency at the age of eight. His father encouraged him to practice tirelessly at home, and Teodros later received musical schooling at the German School in Addis Ababa.

His obvious talent led to studies and formal education at the Yared School of Music, followed by continued studies in American jazz at Northern Virginia Community College in Virginia. Teodros cut his teeth professionally in his mid-teens, not only as a keyboardist, but also as an arranger for the Wabi Shebelle and Dahlak bands in the 1970s. He mastered electronic sequencing early, rising to prominence through the midnight recording sessions held during the military curfew. The pressures imposed by the curfew required precise and disciplined recordings, and Teodros delivered just that. This, in turn, led to collaborations with iconic artists such as Mulatu Astatke, Aster Aweke, Menelik Wossenachew, Tilahun Gessesse, Mahmoud Ahmed, and Alemayehu Eshete.

In those days, he sat in as a keyboardist with the Dahlak Band when Dawit Yifru took a hiatus to study in Russia, and also with the Ethiostar Band. He secured a residency at the Wabi Shebelle Hotel with the Shebele Band, together with Zelalem Tadese (drums), later succeeded by Elias Bekele, Mulugeta Hailu (bass), Teferi ‘Bibisha’ Mengesha (guitar), Kumelachew G/Selassie (trumpet), and Teshome Deneke (saxophone). A friendly competition developed between the bands associated with the Ras Hotel (the Ibex Band), Ghion Hotel (the Dahlak Band), and Wabi Shebelle Hotel (the Shebele Band). The music scene at Wabi Shebelle saw teenagers commanding the spotlight in an industry otherwise dominated by musicians of an older generation.

At the Wabi Shebelle Hotel, Teodros met a diplomat from Saudi Arabia and later visited him at his home in Addis Ababa, a meeting that had unexpected musical consequences. The man owned a Yamaha double-deck keyboard. That evening, they recorded Teodros Makonnen With His Organ (ቴዎድሮስ መኮንን ከኦርጋኑ ጋር) in one take. This recording, a cornerstone in the early digital sound of Ethiopian music, came about almost by chance, simply because Teodros got the opportunity. Traditional Ethiopian songs were cast in a wholly electronic style.

Once freed from backing duties, Teodros’ keyboards could explore dreamlike soundscapes that took Ethiopian music in new directions. Even though the cassette contained well-known Ethiopian songs, they were given highly original arrangements, performed on an electric organ with drum machine backing and rhythm patterns that left the listener with suggestive, lingering sounds. “Libesh Kabashen” (also known as “Anchi Bale Game”) and “Odu Gol Golesa” wrap you in the very stuff that dreams are made of.

Originally released on cassette only, this recording exudes a mystique that surpasses even some of the most obscure Ethiopian recordings of the day. It remained more or less unknown outside of Ethiopia until now. Some of the tracks, like “Addis Fikir,” are permeated with an almost naive buoyancy, free-floating sounds that lost contact with the ground the moment they were conceived. Others, like “Meche New Hageren Yemayew” and “Lelitu Alnega Alegn,” carry a moodier, quirkier timbre, with pulsating rhythms in the background. Yet even the darker pieces contain an unmistakable wave, something essentially Ethiopian. If most recordings of Teodros’s contemporaries at the time were teeming with atmosphere, his songs seem instead at home in the stratosphere, almost ethereal. Some of the music here could be filed under “lullabies,” were it not for the recurring, almost brooding feeling that engulfs the listener on the aforementioned tracks. You could easily be forgiven for drifting into a blissful haze as the music washes over you.

Up to the advent of electronic music production, Ethiopia was totally dominated by big bands on the one hand, and small groups on the other. The former were tied to large institutions such as the military, the latter emerged from the entertainment industry, in hotel bars and nightclubs. These groups were commercially driven, and bands ultimately had to foster a mercenary approach to employment, albeit not to the passion for music. In the light of this, Teodros’ musical legacy can be seen in two ways. On the one hand, he is a key player in Ethiopian music from the 1970s onwards, leaving an indelible mark through hundreds of compositions and arrangements, including soundtracks for numerous documentary films and advertisements for different companies. On the other hand, the way he and others employed electronics brought Ethiopian music onto a fork in the road.

The replacement of traditional instruments with electronic equipment was seen as impending doom by some. Others, like Teodros, saw new avenues for performance, production, and creativity. Just as later producers like Abegasu Shiota of Admas, Teodros was a trailblazer who opened paths that it took Ethiopian music as a whole more than a decade to rush into. The hotel scene had already been pushed toward electronic music by financial necessity and cost-cutting. Today’s revived global interest in Ethiopian music from the seventies and eighties, alongside a broader resurgence, has changed the reasons for using digital means of music production. They have become tools for musical dreaming. This is where the dreaming began.

With Random Constraint Satisfaction Problems, the ever elusive and shape-shifting Thomas Bush offers up a new album of category scrambling song craft. Since earlier solo efforts like Old And Red (2018), Preludes (2022) and The Next 60 Years (2024), Bush—currently based in Malmö—has traced a digressive path that has proven him capable of everything from murky wobbling dirges to uptight head-bopping laments to crystalline synth chords that hang precariously in the air over your new favourite bass line. Like its title, the album's songs/tunes/opportunities for pleasure offer the listener further evidence of a sensibility that is equal parts ambiguity and clarity.

In addition to his solo work, Bush has worked with a range of collaborators in one-off configurations and longer term projects like RAP (with Guy Gormley) and cATHOLIC CHURGH (with Jon Auman). Critical responses to Bush's output have often focused on his predilection for certain folk-ish impulses and instrumentation, but, judging from releases like 2026's guld, his definition of "folk music" seems to have as much to do with A Guy Called Gerald as it does with Shirley Collins or John Martyn.

For all of its diversity, what unites Bush's ever-expanding body of work is its dual commitment to experimentation and a job well done.

“Random Constraint Satisfaction Problems was recorded at Vista Studio 1, Malmö between 2022 and 2025. After creating an account at academia.edu for the purpose of reading a text now forgotten, I began to get emails asking me questions such as ‘Thomas Bush, did you write “Brucellosis and Sacroiliitis: A Common Presentation of an Uncommon Pathogen”?’ or ‘Are you the Thomas Bush who wrote “ATR-dependent phosphorylation of FANCA on serine 1449 after DNA damage is important for FA pathway function”?’, which began to make me wonder if I was, or if not, perhaps I should.

The resulting work is an attempt to find meaning in this, and other chaotic and ambiguous situations through analysis using materials and equipment available to hand. Being sensitive to signs and following them with enthusiasm. Both the source material and evaluation is presented.”

"Psicofásicos" by The Silver Pumpkins is a unique document: an EP that is virtually impossible to find in its original edition, offering an essential glimpse into Bolivia's thrilling 1960s rock scene-raw, wild, and unlike almost anything else. Beyond the ubiquitous covers of Cream and Jimi Hendrix recorded by countless South American bands, this EP features the far less common 'Pushing Too Hard' by The Seeds and, most notably, the dark, powerful 'You're Gonna Miss Me' by the 13th Floor Elevators. Bolivia boasts an extraordinary musical legacy of raw, garage-driven '60s sounds. Alongside Peru, it was one of the South American countries where the greatest number of recordings in this style were released-captured with limited resources but overflowing with spontaneity, energy, and attitude. The difficulty of obtaining the records that were shaping the latest Anglo-American rock trends of the 1960s in many Spanish-speaking Latin American countries led to a proliferation of local bands covering their musical heroes. Well-known artists such as Cream, Jimi Hendrix, and Iron Butterfly were reinterpreted by countless groups, making these songs available to local audiences without having to rely on imported records reaching their countries. By doing so, these bands helped spread the cutting-edge rock music already making waves elsewhere in the world. What makes this release particularly unusual is that the band chose to cover second-tier cult acts rather than the obvious classics-groups that only briefly cracked the U.S. Top 50 in the late '60s, such as The Seeds and 13th Floor Elevators. Originally released on the Bolivian Psicofásico label, this exceptionally rare EP pairs The Seeds' garage anthem 'Pushing Too Hard' with the ferocious, immortal 'You're Gonna Miss Me' by Roky Erickson and the 13th Floor Elevators. The raw power of the original songs is pushed even further here by the rudimentary recording techniques and the limited instrumental skills of the very young members of The Silver Pumpkins. The result is a one-of-a-kind document-virtually impossible to find in its original pressing-that helps complete the picture of Bolivia's fascinating '60s rock scene. First-ever reissue.

In an era where pedalboards, laptops and samples have become commonplace, American blues-rock/metal guitarist and singer Eric Steckel goes against the grain and harkens his listeners back to the days when great guitars were played loudly through great amps. Hailed by many as the top rising star of Blues/Rock, Eric delivers a powerhouse performance that has left audiences in 30 countries (and counting) mesmerized. "My forthcoming new album, 'Sandstorm' is the most fun I’ve had making a record in my career thus far," comments Eric Steckel. "The incredible vibe in the studio brought forth tons of new and spontaneous material such as the title track 'Sandstorm' which instantly became my favorite track on this album and a perfect representation of this body of work." Eric has toured worldwide sharing the billing with Steve Vai, Gregg Allman, Johnny Winter, John Mayall, Ray Charles, Larry Carlton, Robben Ford, and others and was voted into Total Guitar magazine's list of "The 100 Greatest Blues Guitarists of All Time" and named one of "10 Future Blues Stars” by Guitar Player.

The first GTG X release brings together some of the most sought-after tracks on Grab The Groove, previously available only digitally. The four artists featured on the record share one thing in common: a puristic approach to techno, each translating it through their own distinct perspective.

On « Bless We », find a super fresh Jungle groove, no too much amen break, and very orientalized. With "Concrete Coulds" the amen break is back, and fat, a bit like a DJ K style : fat and slammin' ! At least, "Aurora" drops into oldschool deep Jungle... Once again Junglelivity brings fresh tunes, out of the common fields, with colors, relief and a variety of structures. A superb record ! SUPPORT !

Después de llover” is about musical conversations between two people who have only recently met; they come from very different places, do not speak the same languages, and perhaps have little in common other than the resonance of their instruments. This encounter leads them to explore an imaginary world where they share sounds to build a place where they can go and play with the moisture of the plants growing in the water, listen to the pudus playing with the herons, rest on the floripondios, and perhaps stay there waiting for the rain to return.
These pieces were recorded on summer day in 2025 at Indrė’s house with kanklės, txompe, and violin.

“Ruins are the style of our future cities, future cities are themselves ruins.” - Izosaki Arata

A note from Lawrence English: Nostalgia is not an ideology, though in this moment, we could be mistaken for thinking it might be just that. Over the past years, the idea of nostalgia has been filtered through various political and technological lenses and has become a tool used for forgetting, rather than remembering. Instead of embracing histories’ complexities and inconsistencies, this version of nostalgia seeks only singular recollection. This contemporary phenomenon of nostalgia has become a methodology at best, and a weapon at worst, used to erode the past and project forward a collapsed and unimaginably sanitised version of things, places, and ways of being from former times. It’s this projection that sees it playing a mounting role in a social pathology associated with reducing the imagined possibilities of future.

The Rest Is My Ghost is a record that interrogates the manifestations of this reductive futuring and celebrates those that have tried (and failed), and those who continue to push back against decayed and revisionist positions. It’s a record that considers the weaponisation of nostalgia for the purposes of cloaking possible futures.

In recent times, I’ve proposed a term for this weaponised use of nostalgia, something I have called Acid Nostalgia. I offer it as a shorthand to describe the de-contouring of the future through a corrosive fixation on a flatten rendering of the preceding times. It is, in part, a certain type of lazy cultural scripting where tropes of the past are presented in the absolute, as empty pictorials; photocopies without any original from which to draw actual meaning, or useful detail.

Acid Nostalgia describes an increasingly common political projection of nostalgia that exists without any subjective connection to the memory surrounding and contained within it. Like acid poured onto a surface, this use of nostalgia seeks to erodes and smooth out the complexity and texture of lived connection and longing, which has until recently guided contemplations of nostalgia. Acid Nostalgia instead erases the texture of histories and de-contours the past, and in doing so dematerialises the horizon of possibility, which by its very nature marks the beginning point for any (and all) imaginable futures. Acid Nostalgia is a dreamless screen, where uncertainty, restlessness and aspiration are subjected to corrosion, breaking down and neutralising the wellspring of futures which are birthed from within the ambiguously charged, complex and at times chaotic atmospheres of the present.

The Rest Is My Ghost is not however some universal reading of these things and happenings. Rather it draws its breath from a very personal pathway carved through my own fraught experiences of nostalgia and framed through a disparate collage of chance encounters, situations, places and provocations. It takes oblique notes from civic and architectural references such as Japan’s Metabolist movement, Hong Kong’s ‘one line sky’ and Los Angeles’s vanished Sodium Vapour lights. It interpolates texts – factual and fictional – by authors such as Franco Berardi, Kate Crawford, JG Ballard, Katsuhiro Otomo, Mark Fisher and Alexei Yurchak who have each so wonderfully sought to rupture the familiarity of now, and push us towards other ways of imaging ourselves, our surroundings and our very ways of being in this world.

I also owe a debt of thanks to Adam Curtis in helping launch what has become this edition. It was his provocation, in a conversation we shared about an overwhelming and profound sense of uncertainty around being able to predict the immediate future and how to respond to that, which sparked the earliest inklings of this edition.

The Rest Is My Ghost is ultimately a record about the promise of constructions and connections to come, material, social and political. It's a record that accepts the fragility of failure as a source of ultimate potential, and a position from which the deepest freedom of imagination might be sought and summoned forth to conjure even the most unimaginable, (but) possible futures.

Ein Konzert ist ein Ereignis, bei dem Songs zu neuem Leben erwachen. Deshalb trägt dieses Album den Titel "Live!", erklärt Jarvis Cocker zu diesem besonderen Werk im Pulp-Kanon. "Es ist sowohl eine Tatsachenfeststellung (es handelt sich um die Aufnahme einer Liveband) als auch eine Herausforderung (kommt schon! Alle sollen lebendig werden!)." Gleichzeitig ist es auch sowas wie der erste Filmsoundtrack von Pulp: Der von Garth Jennings inszenierte Film "What Do You Do For an Encore?" erscheint weltweit am 25. September. Die Zusammenarbeit zwischen Pulp und Garth Jennings reicht bis ins Jahr 1997 zurück, als er das Musikvideo zu "Help the Aged" drehte. Als Pulp 2023 ihre Rückkehr auf die Bühne ankündigten, nahm Garth Kontakt auf und bot an, das Bühnenkonzept mitzugestalten. Im Juni 2025 filmte er schließlich die beiden Auftritte der Band in der Londoner O2 Arena, die das Herzstück des Films bilden. Diese Konzerte liefern auch das Material für das Livealbum. Es waren die 566. und 567. Shows der Bandgeschichte und zeigen eine Gruppe auf dem Höhepunkt ihres Könnens. Aufgenommen in der Woche, in der "More" - Pulps erstes Album seit 24 Jahren - Platz 1 der offiziellen UK-Charts erreichte, fängt das Album genau den Moment ein, in dem die Band als kreative Kraft zurückkehrt: alte und neue Klassiker erstmals vereint.

Re- Release in Transparent Blue Curacao Vinyl

With governments finally admitting that UFOs do in fact exist, and humanity attempting to heal from a state of recent crisis, the timing couldn’t be more appropriate for the newest addition to the HYPOCRISY catalog: WORSHIP, due to be released Fall 2021 via Nuclear Blast Records. Aptly titled, the album cover shows a mass of humans reaching up mindlessly to the sky as glowing spaceships shaped like the HYPOCRISY crosses sigil beam down to descend upon earthen civilizations and Mayan temples. Designed by artist Blake Armstrong (Kataklysm, In Flames, Carnifex, etc.), WORSHIP’s artwork speaks to the history of the relationship between humanity and extraterrestrials. “They’re coming back to collect,” explains founder and HYPOCRISY mastermind Peter Tägtgren.
A track entitled CHEMICAL WHORE breaches the subject of pharmaceutical addiction, and those who engineer it. “We are all chemical whores. We regularly consume prescriptions and drugs because we think we need it; we use one pill to heal the damage done by another medicine... it’s a vicious cycle.” Musically, it’s the only song that was written by all 3 core members of the band and translates into a recognizable, mid-tempo HYPOCRISY sound much like ERASER or FRACTURED MILLENIUM. Traveling from Sweden to Russia, the band also shot an official music video for CHEMICAL WHORE.
The DEAD WORLD music was written by Peter Tägtgren’s son, Sebastian. “We actually started to write an album together, something like 11 or 12 songs, but we never put any vocals in there and we just sort of set it aside. Then when I started writing HYPOCRISY I realized I really liked the song… it feels fresh. I think my kid got some new blood in there.” While the song comes equipped with a modern feel, the writing is still old fashioned at its core. Going into detail about the illuminati and black ops government, the lyrics examine how miserable these figureheads and theories can make us. “Call it fantasy, call it sci-fi, there are plenty of conspiracies in the world but I find these ones interesting,” explains Tägtgren.
GREEDY BASTARDS is another track outlined by simplicity and catchiness. Chugging riffs encapsulate a sound that almost verges on the realms of thrash while still keeping its feet firmly planted in the world of death metal. The lyrics touch on the greed and methods of control that we see various governments around the world today; how they manipulate people against one another and abuse the masses.
For Tägtgren, the inspiration to write new HYPOCRISY comes in waves. “I believe we were out on tour for another project and I began to get hungry again. I started spitting out some new riffs and when I had 7-8 songs done, I invited the rest of the guys to join me and contribute, and from there we started putting everything together. We had a break for a few months, continued recording, went back on tour… it never stops. There was a lot of jumping back and forth, and then COVID came and things got really weird.”
Tägtgren was one of the many musically inclined who was forced into sudden isolation upon the onset of COVID 19, only for Tägtgren, this is common practice when creating new songs. “A lot of things in the world stopped, and it was time to finish everything I hadn’t finished.” As usual, all recording and mixing took place at Tägtgren’s home studio in Sweden.
It has been 8 long years since the last record, and HYPOCRISY fans can feel the itch. WORSHIP is 11 tracks of precise, ferocious musicianship. Commonly inspired by the fusion of the modern and the ancient, HYPOCRISY has once more found a way to combine innovative ideas with classic sound in order to deliver something metalheads can enjoyably consume with awe and brutal vigor. HYPOCRISY is Peter Tägtgren (Lead Guitar & Vocals), Mikael Hedlund (Bass Guitar), and Reidar “Horgh” Horghagen (Drums).

There is a kinetic energy that binds drummer and producer Karriem Riggins and singer-songwriter, rapper, and producer Liv.e, the spark that happens when instinct meets flow and spirit finds rhythm.

Their collaborative debut as GENA (short for “God Energy, Naturally Amazing,” and loosely inspired by Gina from Martin), The Pleasure Is Yours feels like a playful, soulful conversation between two kindred improvisers: Liv.e’s smoky, unpolished vocals glide through Riggins’ warm, percussive universe. Rooted in jazz, soul, and hip-hop, Liv.e brings a raw, experimental approach to R&B, while Riggins known for his work with Common, Erykah Badu, The Roots, Madlib, and his close kinship with J Dilla, extends his lifelong dialogue between jazz improvisation and beat science.

Together they create a world that’s analog and ethereal, percussive and poetic, bridging eras without settling in one, the sound of two artists finding a new shared language rooted in rhythm, vulnerability, and exuberance.

Pressed on 180g vinyl, the album comes in an embossed sleeve and is avaible in red and black splatter.

At the Moers Festival 2018, OXBOW got together with Peter Brötzmann to deliver a memorable performance, bringing out the best of two legends in their very own genres while playing old and new Oxbow songs together. Oxbow, formed in 1988 in San Francisco, plays a blend of noise rock, avant garde jazz, musique concrè te and blues, creating intimate soundscapes, with overtones of paranoia, revulsion and exaltation. They released a couple of cult albums, eg. on. Neurot, Hydra Head. Peter Brötzmann , active since the 60s with his distinct saxophone sound, is one of the key musicians in European Free Jazz. ,I think we have at least one thing in common: a certain kind of energy, which we could share and where we will meet." Peter Brötzmann *** Peter Brötzmann -saxophone / Eugene S. Robinson - vocals / Niko Wenner - guitars, piano / Dan Adams - bass guitar / Greg Davis - drums

Boston’s Vermillion Sun Records has returned with its second offering, featuring Gummies Records boss and Steep co-founder Cutty (aka Cutwoes). As a child, Cutty was allergic to most common pets, prompting him to explore the world of amphibians, mainly…frogs. Each night as he dozed, his room was filled with the chirping of his slinking brothers and sisters. He has been immersed in sound ever since. Since traversing the deepest ravines of local music as a clubber, DJ, producer, label head and promoter, his productions, like his DJ sets, consistently bring unexpected twists and turns. Bouncy and psychedelic techy house goodness, beautiful ambient moments, downtempo groovers in the perfect time and place, breaks to make you dance and shake. VSR 002 encapsulates Cutty’s whole approach, delivering propulsive and tasteful tech house with ambient, dubby, tribal, and progressive influences.

Lillies in October sets the stage, book ended by gorgeous ambient waves before breaking into rolling tribal infused grooves. The Machine God delivers psychedelic wonk and circumstance providing the tech to soundtrack your deviousness. The B-side, Cutty provides a hypnotic and heady groove to sway away in Wooden Rollercoasters, while Wiersma delivers a remix full of funk and swing, showcasing how years on the dance floor can meld mind, movements and music. Whether as tools to assist the discerning DJ, or a journey for eyes closed and head down dancing, this is your gateway to hear what’s happening in the Boston underground.

Die Essenz des modernen Gothic Rock auf einer LP! „Gothic Spirits – Best Of Vol. 1“ vereint eine handverlesene Auswahl der besten Songs des Genres und bietet atmosphärische Klangwelten, kraftvolle Gitarren, epische Melodien und unverwechselbare Stimmen.

Freuen Sie sich auf musikalische Highlights von Szenegrößen wie Beyond The Black, Xandria, Therion, Sirenia und Exit Eden sowie weiteren namhaften Künstlern der Gothic- und Symphonic-Metal-Szene. Diese Compilation ist der perfekte Begleiter für langjährige Fans und alle, die die faszinierende Welt des Gothic Rock und Metal neu entdecken möchten.

The neo-soul movement of the late 1990s, which fused classic soul sounds with contemporary elements, heralded the arrival of some of the greatest R&B recordings of the decade. Albums like Lauryn Hill's The Miseducation Of Lauryn Hill, D'Angelo's Brown Sugar, and Maxwell's Urban Hang Suite were all born of this trend, while artists such as Mos Def, The Roots, and Common whole-heartedly embraced the sound, creating some of their most timeless material in the process. These are some of neo-soul's great successes, but a slew of underground acts were what set the initial blueprint for their more pop-friendly acquaintances to follow. Acts such as R&B duo Groove Theory. The New York pair, consisting of singer/songwriter Amel Larrieux, and producer Bryce Wilson, (A veteran of the legendary 80s electronic group Mantronix) helped set the tone for neo-soul via their lone studio release, the self-titled Groove Theory. The nearly hour-long record features 14 tracks of Wilson's smooth soul arrangements and atmospherics merged with golden era boom-bap beats, and Larrieux's siren-quality vocals, inspired equally by a combination of Native Tongues, peak Marvin Gaye, Joan Armatrading, Soul II Soul, as well as elements of breakbeat, jazz fusion, and even trip hop. It's a definitive, but often overlooked classic of the 1990s, which helped expand contemporary R&B's sound, render Billboard hits out the tracks "Tell Me", "Keep Tryin'", and "Baby Luv", and even found the time for a Todd Rundgren cover. On the cusp of Groove Theory's 25th anniversary, Get On Down is proud to bring you this vinyl reissue of an underrated 90s gem. The original record has never been re-released on wax since its 1995 debut, but is now presented here with fully remastered audio, and bundled in a full-color insert sleeve with complete lyrics and liner notes.

Nollman and his cohort took a considered approach to developing sonic relationships with the orcas and other animals they encountered, always keeping a respectful distance as they found one another with their ears. Orcas' Greatest Hits collects hydrophone recordings drawn from over 60 hours of interspecies collaboration recorded between 1985 and 2002, showing the playful ways in which Nollman engaged the orcas from the portable studio floating above their home. What we hear is the focused listening by the cetaceans and humans as they search out sonic space among one another, finding in that dialogue potential common ground for deeper understanding.

For the 10th Anniversary of the iconic and unique For Honor, Kid Katana Records teamed up with Ubisoft to bring you this high quality album on an exclusive double vinyl. With over 35 million players since its release, For Honor has kept on bringing new content in the game, enriching the players’ experience with new Heroes, Factions and Music to keep the battle for survival and honor alive.


The physical edition is a premium 2LP designed in close relationship with the game's creative team:


● Track selection handpicked by For Honor team, including 2 new tracks (Year 10 exclusive) and a track never released before from Y1 Season 7
● 2 Golden vinyls
● Exclusive cover art with glossy effect on the logo
● Exclusive 16-page booklet with insights on each faction’s music, liner notes
from the game’s creative team and composers Luc St-Pierre, Danny Bensi and
Saunder Jurriaans



The tracklist is a selection of music from the 10 seasons of the game, one side per faction:

In December 2025, I performed alongside Asmus Tietchens and Jetzmann at the final Hörbar Ausklang Festival. This cassette was produced for that occasion. It contains preliminary studies for my live modular synthesiser performance.

The tape wasn't sold on the night, and its release ended up being postponed until now. At one point I had almost forgotten that I had even produced it. Now it's finally here—but what does that change?

Side A features a 24-minute piece titled Aber Was Ändert Das? (What Does That Change?)
Aber Was ändert Das? – Two oscillators coupled via a comparator and routed through a filter bank form the foundation of this piece. Eight filters within the bank are modulated by a synchronised octal triangle wave. Over time, the modulation gradually unfolds like an abanico (fan), shifting into different patterns. The impulses slowly dissolve into noise. A looping voice tape is added to the texture, and the piece concludes with a melody of comb-filtered sine tones.

Side B presents several variations and adjustments of a self-generative patch.

Quantitative Unbestimmbarkeit I-V (Quantitative Indeterminacy I–IV) – At the core of these pieces is a source of uncertainty and three function generators programmed in mutual feedback. The tonal material is derived from a wave-folded sine wave, a noise source, and a pinged state-variable filter. This type of self-generative patch is commonly known as a Krell patch.

The edition is limited to 50 copies. Release day will be the August 7th, 2026.

The title Miszellen Band is derived from the term Miszelle (plural: Miszellen), which refers to a short informative text or brief scholarly essay, often published in academic journals or collected volumes under a "Miscellanea" section. The word originates from the Latin miscella, meaning "mixed things". Such texts typically explore highly specific subjects without the scope or depth of a full-length study. They often consist of etymological notes, addenda to previously published work, concise discussions, or small discoveries from archives.

In an era of excess and endless distraction, Margaret Glaspy rejects the noise in favor of something far more essential. Before setting to work on her fourth full-length album I Am Both, she stepped away from social media and soon discovered a clarity of mind she hadn't experienced in years, followed by a sustained burst of creative momentum. As she penned her lyrics in longhand and then polished them up on a typewriter, Glaspy assembled a selection of songs that span from fictional vignettes to unguarded self-revelation to empathetic observation of the troubled world around her. Produced by Joe Henry (the three-time Grammy-winning singer/songwriter/producer known for his work with luminaries like Aimee Mann and Joan Baez), I Am Both ultimately stands as a striking new statement from one of the modern music canon's most formidable songwriters.

Brighter Discs opens with its first release from label founders Kamma & Masalo. Born out of Brighter Days, the duo’s long running party series since 2014. A colourful get together where generations mix freely, DJ legends share space with new voices, and the dancefloor is treated as common ground. Brighter Discs carries this same spirit into recorded form, a natural continuation following the Brighter Days compilation previously released on Rush Hour.

Brighter Discs starts things off with ‘Can’t Fake The Feeling’, built around the original vocal by Renee Mohannon, taken from the 1989 release produced by house music pioneer Joe Smooth. The vocal is fully cleared and officially licensed, with everything surrounding it newly written and produced, resulting in a club track that honours the emotional core of the original vocal while giving it new space to shine.

The ‘Club Mix’ unfolds with immediate lift, a classic yet upfront house energy carried by Kamma & Masalo’s elevating instrumentation moving in lockstep with Renee Mohannon’s vocal. A pure club track celebrating dance music to the fullest.

On the flip you will find K&M’s ‘Unity Dub’, a darker, percussion driven workout that strips things back and presents the track in a different light. A twilight version that highlights the duo’s versatility and deep dancefloor understanding.

Kamma & Masalo have tested both cuts extensively while touring, from sun soaked festival stages to esoteric club spaces. Each version has been shaped in real rooms and refined on the road, ensuring the tracks are heard in their best possible form.

All produced with care and free-spirited party energy, Brighter Discs 001 marks the beginning!

The recordings on Volume II were captured in Copenhagen, Denmark on January 18, 2020. Guided as much by human instinct as by musical intention, the ensemble moved through the evening with a shared sensitivity…listening, responding, and trusting the moment as it unfolded. Though Morten McCoy admits to having felt quite ill that evening, nothing in the music suggests restraint. Instead, what remains is a vivid, playful exchange, where McCoy and Johannes Wamberg carry both Part I and Part II as a flowing conversation, speaking through sound rather than words.

Part I begins abruptly, almost throwing the listener back in time to the exact moment the improvisation was born. Jonathan Bremer steps to the forefront, providing a solid, melodic bassline as Kristoffer and Eliel, perfectly in sync, lay down a steady foundation for whichever voice chooses to rise above the rhythm.

This is also one of the few I Am An Instrument recordings to feature two guitarists. Johannes Wamberg leads the way, shaping the harmonic direction, while Steven Jess Borth II adds subtle rhythmic textures through muted palm work, deepening the groove without ever stepping into the foreground.

Part II unfolds with Morten McCoy on his Moog One, delivering a beautiful, expansive solo. Using a carefully chosen patch, the sound pulses through the rhythm, moving with the groove rather than above it, riding the beat like a wave through the ocean.
Shaped by trust, presence, and collective improvisation, Volume II captures a group deeply attuned to one another, allowing intuition and momentum to guide the unfolding form.
——
Volume III was recorded in Copenhagen on March 5, 2020. Little did anyone know that only days later, the world would be placed on pause for years. Captured just before that moment of global stillness, this session carries a heightened sense of presence, a final gathering before silence reshaped everything. Recorded in a space more commonly associated with a club atmosphere, the music draws on a different kind of energy and immediacy. With Eliel Lazo unable to attend, the group invited Victor Dybbroe of Girls In Airports to join on percussion, subtly reshaping the ensemble while preserving its core spirit. Part I opens with Steven Jess Borth II calling out on tenor saxophone, answered by Morten McCoy on Wurlitzer electric piano. The piece gradually unfolds into a meditative groove, patient and expansive, carrying the listener through an eight-minute journey of layered rhythm and restraint.

Part II begins with Jonathan Bremer on stand up bass, slowly joined by the rest of the ensemble as each voice enters with intention. Midway through, an unexpected vocal melody from Borth emerges, drenched in reverb and delay, later reappearing as a melodic line on the tenor saxophone.

Part III is led by Morten McCoy on Wurlitzer electric piano. His signature melodic language sets the direction, guiding the ensemble while leaving ample space for the music to breathe and evolve through collective improvisation. Reprise returns to the closing moments of Part II, its title reflecting its origin. The familiar groove reappears, transformed into a distinctly Jamaican-influenced rhythm, over which Borth delivers a final tenor saxophone solo, bringing the conversation to rest.

Any questions about any of these products feel free to get in touch and we'll help you out!

a a1. Part I [Vol.2]
[b] a2. Part II [Vol.2]
[c] a3. Part I [Vol.3]
[d] b1. Part II [Vol.3]
[e] b2. Part III [Vol.3]
[f] b3. Reprise [Vol.3]

2026 Repress

SHDW's label Mutual Rytm rounds out another year with 'Symbiosis' - an excellent split EP from Greek artists ANNE & Sera J, featuring six fresh cuts and four digital bonuses.

The release title comes from the Greek word 'Symbiosis', which means living closely together for a significant period and can be used to speak of a mutually beneficial interaction between individuals. And that is precisely what can be said of ANNE and Sera J, who have grown through life as partners and, more recently, as musical peers. This split EP is their first release alongside one another, and one that presents the story of their innermost feelings, with their full label debut following fine contributions to the label's 'Federation Of Rytm II' compilation back in March.

ANNE has had a busy few years making her mark with potent techno on labels such as Soma, Hardgroove, and Life In Patterns, while Sera J is just as revered for his tunes on the likes of Out Of Place, DifferentSound and more.

ANNE takes the A-side, firstly with the fiery diva vocals and thumping techno drums of 'Heal My Soul' and then the more physical and banging drum programming of 'Turn Back Time'. It's a big, metallic cut with rumbling bass and sleek synths peeling off the groove, while her final track 'Zephyrus' has plenty of infectious bounce and eerie pads to keep dancers on their toes.

On the flip, Sera J kicks off with the electrifying synth stabs and cantering techno power of 'Blue Dancers' and then offers up 'Common People' as twisted leads and slamming drums all run through with alien sound effects and bright stabs. To close, 'Delusion' is a psychedelic cut with roaming leads that bring plenty of cosmic energy to the unrelenting kicks.

In addition, each artist serves up a pair of digital bonuses: ANNE with the hurried funk of 'Serene' and loopy intensity of 'Victor', and Sera J with the liquid, dubby dynamics of the hard-hitting 'Intensity' and monstrous energy of 'Bodies Don't Lie.'

Futurismo are thrilled to present Give Thanks, the long out of press 1984 hardcore classic by Articles Of Faith. Produced by Bob Mould, and newly remastered directly from the original tapes, this powerhouse of a record is now coming on both LP and CD after being unavailable for decades. Originally released in 1984, the debut LP Give Thanks by Chicago hardcore legends Articles Of Faith, is proof a hardcore record can be both political and poetic. Fuelled by rage, introspection and a musical progression that could be seen as a blueprint for what would later become known as post-hardcore, this album ticks every box you want from a record of the era: intense, emotive, scathing, unpredictable, all topped off by the masterful production of Bob Mould (Hüsker Dü/Sugar). Give Thanks is perhaps overlooked in many top ten’s of the genre, but leaving the bands debut LP off that list would be a mistake. A demonstration in raw emotion and political angst, Give Thanks harnesses a sound that could have only happened during the Reagan era. Hardcore was of course a musical explosion built upon aggression and discontent, yet Give Thanks forcefully fuses this concept of raw power with a multitude of musical influences at a time when some of their contemporaries perhaps seemed to tread water. Whilst the principles and sonics harnessed on AOF’s debut album may have had more in common with the sounds coming out of Washington D.C., this record has an authentic Chicago savvy running through it, effortlessly projecting a street level tone whilst simultaneously aiming to show the possibilities of what a hardcore record could be. In retrospect, AOF’s debut was a hardcore album ahead of it’s time, perhaps the reason it’s fervent themes and artistry still feel so fresh and relevant. Whether that’s due to Vic Bondi’s gravelly tones geared to critique the societal regime at play, or the considered guitar work aimed to both blast and texturize, or the intense drums rhythms inspired by jazz and dub, there is a depth to the final album that feels like a band testing their parameters, one listen to ‘Every Man For Himself’ and you know you are listening to something special. Familiarity and originality rarely crossover, but in this case they coexist to leave us with a forward thinking punk record that is more interested in shouting it’s emotions from the street, than it is screaming into a vacuum.

A true American hardcore record, and a must for fans of Minor Threat, Dead Kennedy’s, Bad Brains and Fugazi.

Gloss laminated digipak CD & Limited edition pink & white colour vinyl.