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10th Anniversary Edition features: Transparent Green vinyl. Gatefold vinyl including lyrics. 18"x24" Strange Pleasures poster. Download code, including bonus track "We Have the Future on Tape". Digipak CD with lyric booklet. In celebration of STRANGE PLEASURES turning 10, Still Corners are releasing a very special remastered 10-year anniversary edition on transparent green vinyl. The album has been remastered by John Davis at Metropolis London, described by Jimmy Page (Led Zeppelin) as ‘a master of his craft’. The anniversary edition includes all the album’s lyrics (for the first time) on a gatefold album sleeve, Strange Pleasures poster, digital download, including a bonus download ‘We Have the Future on Tape’. Originally released on Sub Pop, STRANGE PLEASURES has developed cult status since its release in 2013. Opening song, ‘The Trip’, captured people’s hearts with one YouTube video acting as a virtual community for like-minded fans around the world. ‘Fireflies’ (Pitchfork, Best New Track), ‘Strange Pleasures’, ‘Beginning to Blue’ and ‘The Trip’ have been used across film and television since the album’s release.

Christened ‘High Tide’ after the sudden rising of the LA River basin during a particularly epic and rare rainfall, this cosmic slop funk jam was born from the minds of Devin Flynn (Pixeltan) and Eddie Ruscha (Secret Circuit), two individuals with a deep connection to Los Angeles’ tap water sources. While traipsing through the aisles of an Atwater Village bodega, the two mustered up a plan to create a rhythmic piece so delectable as to turn peoples’ heads inside out and pummel the senses with a wobbly Jah Wobble bass sound and a toy drum machine ‘no toy’ style back beat. They figured if they laced it up with enough electronic scuzz, the masses would be sure to want to sip from its nectar.

When DFA got wind it was all systems go and, from then on, all relevant parties knew that they should sit on the track for at least five years before it was released, otherwise the world at large would not be ready for it. The remixes are by Eddie himself - as Secret Circuit - and Dr. Dunks, aka Eric Duncan, a fellow Angeleno (at least at heart). Eric and Devin rolled through the streets as small children, shredding curbs and tagging local ice cream trucks, so it was inevitable they would reconnect and jam on ‘High Tide’.

Devin Flynn is an animator, musician and teacher who has worked on projects like Gary Panter’s web series Pink Donkey & The Fly and MTV2’s Wonder Showzen. He has previously released on DFA with Pixeltan, a trio - Flynn, Hisham Bharoocha of Black Dice and singer Mika Yoneta - that recorded with The DFA at the label’s inception, creating two seminal singles.

Eddie Ruscha is another DFA veteran, having remixed artists including Wolfram and Museum of Love. He has been making music for decades, as Secret Circuit and with myriad other aliases and collaborators, in addition to recording under his own name. He has released on labels like Beats in Space and Emotional Response, among others.

For fans of Young Marco, Suzanne Kraft, Prins Thomas, Khotin, Gaussian Curve.

While 1995's Washing Machine LP moniker was a thinly-veiled jab at the corporate aesthetic ("no, you cannot turn Sonic Youth into a household appliance brand", the band even considered changing its name to Washing Machine but settled on the album title instead), their major label relationship was indeed a curious buzzpoint of talk on the street after their intake to DGC in 1990. It wouldn't be fair to say that this state of existence propelled the band to reinforce its independent mindset by releasing a series of opaque-looking, French-language-dipping, highbrow-looking releases on their own that focused on the more abstract improv/compositional side of the band; in all truths they had been heavily steeped in self-releasing spillover material prior to that. But after a pressure pot of the early 90's indoctrination into a new operational mode for the band and its visibility, and the forces around it attempting to shape their direction, it seemed like a good time to create a strong show of radical concept.

The Anagrama EP became the first in a series of the SYR label's Perspective Musicales releases seemingly cementing Sonic Youth's connectivity to an increasing public awareness in experimental composers of the 20th century (French or otherwise). The irony was that many of those original avant composers being rediscovered by the indie audience (Partch, Neuhaus, Reich, Messaien) often found themselves on major labels anyway! So, perhaps this reverse approach was a necessary concept/comment given the music biz climate of the 90's. Regardless of how apples and oranges fell in Xenakian probability/theory, it was clear that both Sonic Youth's stature in progressive music, aided by now unlimited taperoll time thanks to a home base studio downtown established after their Lollapalooza stint, gave the band plenty of trailblazing time for their self examination of untraveled avenues.

"Anagrama" unfolds into nine minutes of delicate textures, starting with thick drone segueing into moments reminiscent of the post-crescendo flutter/comedown of "Marquee Moon's" trail-out; Thurston, Lee and Kim's guitars all circling round each other taking delicate pokes and stabs before drifting into some post-rock rhythmic moves tapered with delicate percussive guidance from Steve Shelley. "Improvisation Ajoutée" reaches further out into dissolve with whirring oscillations, guitars hissing and clanking radiator-style in a short blast format that continues into "Tremens" and a spooked-out landscape of gelatinous notes snaking up slowly. The sparseness of attack is colorful, textures emit and linger, silent spots shine, all flanked by tasteful drumming that provides the thread to all the abstraction. Shelley's approach here is interestingly sideways to any kind of usual rock action, it's tempered, mutant and metronomic simultaneously. The finale track "Mieux: De Corrosion" is a real pedal-palatte showcase. Here, Plutonian guitar wash flanges upwards to buoy a myriad of colorful eruptions of amp-spuzz, chopped up tone blasts and general confusion. Out of the blue, some metallic one-note choogle kicks in and threatens to explode into some Judas Priestly motion, before it all sputters into aural glass showers, clang, and finally a ferocious wave of more flange hiss that crashes down on a dime.

This initial foray into SY's Perspectives Musicales series continued onward with releases featuring other co-conspirators, peaking with the ambitious 2CD Goodbye 20th Century that finally connects the band into full-on interpretations of other composers' pieces (as well as displaying their own new ones). The whole series is not so much an outlet for another "side" of the band, but a run that went hand in hand building new approaches of songcraft onto their own, more overground direction which included Jim O'Rourke (who hopped on during SYR3), adding additional density to A Thousand Leaves and other LPs of his era. Fans of the '86 Spinhead Sessions as well as the recently-exhumed later jams of In/Out/In will take in the sounds of SYR1 with glee.

On his third album as Etelin, Alex Cobb explores the intricacies of separation and belonging using field recordings and electronics, reconfiguring the dividing line between what is artificial and natural in the process. Maintaining a sense of playful reverence and lurking melancholy in its glitchy pastoralism, Patio User Manual hums with a meticulous and singular energy. From the loops and static pulses of "The Chemistry of Cobalt" to the tension and release of "Electrical Sailing," the listener is pulled into a sound world at once ambivalent and radiant, reaching its denouement in the lovely melody that closes the final track, "Picnic at Gas Station Park". Although the album might bring to mind the nuanced and imaginative ambient music published by labels such as Mille Plateaux, Sonig, and Silent Records in the 1990s, it is, in the end, a world of its own and very much of today. The patio as a stage for alienated life, pyrrhic in its isolation, deceptive in its promise of distinction. Orientation as disorientation, often unseen inside the frame but felt in the bones. What is out there, anyway, other than the thing we fear the most?



"Another day of weird weather and screens. What type of perfume did Philip Johnson wear when he designed Glass House? Is it actually possible to flee to the country when you’ve internalized a lifetime of intellectualized urban living? When you buy a DIY patio kit, you get instructions for how best to embed concrete or brick or flagstone into the natural world. The patio will make you enjoy your environment more. It will become yours. You can stand on it and think “this is Mine.” The structuralists talked about the importance of fixed camera position, but didn’t properly interrogate it because to do so would be impossible. It’s hard to believe that it really wasn’t long ago that computer music seemed exciting, novel, even radical. We’re now thoroughly estranged from eating what’s in season. Walking around the woods in southern Ohio in spring, I thought about the curious imperative of the patio, how my kids get excited about picking oyster mushrooms, the dynamics of switched capacitor filters, and how adequacy is tethered to doubt." - AC, May 2024

Hypnotism I is a new album from Foundation that the artist himself says has been a cherished part of his work since shortly after his previous work Mountain Ambient IV. We're told that its creation was a slow, immersive process that unfolded over months, with each layer evolving patiently. By composing intuitively, the album emerged naturally to reflect a glacial depth and subconscious growth. Its four pieces are all richly layered soundscapes with wispy melodies and dusty drones that sink you in deep and free your mind of all woes.

Bad Omens are coming off a wildly successful two years with the explosive success of their breakthrough third studio album The Death of Peace of Mind (2022). Hailed as “a stunning fusion of dark, Weeknd-esque pop and industrialized metalcore” CONCRETE JUNGLE THE OST serves as a world-building companion to Bad Omens universe, weaving lore from their CONCRETE JUNGLE comic series released by Sumerian Comics with samples, remixes, and new live versions of some of the bands best-known tracks.
















o D1. THE DEATH OF PEACE OF MIND [SO WYLIE PATCH] (ft. So Wylie)

Brigid Mae Power’s latest release, Songs for You, is a heartfelt collection of cover songs dedicated to her father. This album features her unique interpretations of tracks written by legendary artists like Roy Orbison, Tom Verlaine, Neil Young, and Cass McCombs, among others.

With a minimalist yet emotionally resonant sound, Songs for You offers a fresh take on these timeless songs while remaining deeply personal. Brigid Mae Power’s ethereal vocals and atmospheric arrangements bring a sense of nostalgia, reflection, and heartfelt tribute, making this album a powerful bridge between memory and music.

While many of the songs are performed solo, Brigid is joined by Ryan Jewell on drums and Shahzad Ismaily on bass, with Brigid herself playing vocals, guitar, electric guitar, organ, and accordion. Tracks 1, 3, 4, 7, and 8 were recorded at Analogue Catalogue by Julie McLarnon, while tracks 2, 5, 6, and 9 were recorded at home. The album was expertly mixed by Sean McErlaine and mastered by Brian Pyle.

Unbelievably killer and super, super heavy brand-new Psyche/Krautrock album coming out of nowhere from Brown Spirits, new on Soul Jazz Records!
Brown Spirits are from Melbourne, Australia. Their stripped down and tight musical unit is a trio (think Cream or Hendrix!) of raw bass, drums and shared guitar/keyboards meets the D-I-Y attitude and punk/post-punk intensity, giving them a unique hi-octane sound.

Limited edition - 250 copies

Coming from the vaults of one of the label heads 'Golden Ivy'. This single presents a full circle, baleo-industrial experience that makes its mark as a firm revisit to the label after some time spent being harbored by other imprints.

The foundation upon which this release stands originally stems from a sample from the mindfulness record ’Sinnenas dans” by the renowned Scanian folk musician and multi-instrumentalist Ale Möller. With its re-illumination graciously blessed by the original creator, it quickly transcends into flute-laden fourth world grandeur, underpinned by synthesized meanderings and industrial motorik. Flip the record for the version, and you’ll find label friend and artist Philipp Otterbach taking us on a post-punk dub jaunt of sorts, carefully decorated with his signature of deep and enigmatic sounds—often both sculptural and contrasting.

This record serves as a reflection of the label’s long-standing affinity for subtle rhythmicism and is well suited for mindful low-tempo dances in the many years ahead.

- Karen Dalton performance featuring seven never before heard songs - Limited pressing on Sky Blue colored vinyl - Old style, Tip-On Jacket, and 8pp heavy insert featuring a treasure trove of newly discovered photos, and a 6,000 word essay by Kris Needs // In 1962, Karen summoned Richard Tucker to join her in Colorado, extolling the healthier lifestyle, and plentiful gigs at Boulder folk club The Attic. Upon his arrival, the pair solidified their personal and professional relationship, riding horses in the mountains, and performing as a duo at parties and venues throughout Denver and Boulder. Stories of the spell they conjured - and rumours of tapes! - have circulated among friends and musicians who witnessed them, but until now, no recorded evidence had turned up. Shuckin' Sugar is the glorious result of three reel to reel tapes that miraculously found their way to us in November, 2018; which featured two complete shows from The Attic in January '63, and a benefit concert for The Congress of Racial Equality (CORE) recorded the following February. Their gigs would often include brief solo sets from Karen and Richard, in addition to the duets, and all seven solo songs of Karen's found on the three reels are included here, as well as five duets, sequenced as close to how it all went down as humanly possible. To describe the record would take a poet, but all I can say is that unveiling a missing chapter in the Karen Dalton story - with six songs we've never heard her sing before - is cause for celebration in Delmore's world.

Diese neue (!) Compilation vereint klassische Radiosessions der TVPs, den Meistern des DIY-Post-Punk und Indie-Pop. Die Doppel-LP enthält zwei BBC-Sessions aus den 80er Jahren, die bei John Peel und Andy Kershaw aufgenommen und ausgestrahlt wurden, sowie ein sehr rares WMBR-Set von 1992 mit Coversongs von Buzzcocks, Raincoats und Daniel Johnston sowie bisher unveröffentlichten Songs (und als digitaler Bonus die WFMU-Session von 1993). "Catchy hooks and schoolboy wit are in abundant supply." Pitchfork Die großartigen DIY-Fähigkeiten der Television Personalities und ihr liebenswertes, klappriges Auftreten haben sie auf so manchen subversiven Trip geführt, sowohl auf Platte als auch bei Live-Auftritten. Aber es war das Radio, das sie zum ersten Mal der Welt vorstellte, in einem Wirbelsturm wiederholter Airplays. John Peel ließ Außenstehende überall in TVPs alternative Welt eintauchen. Und auf dem Höhepunkt des Punk parodierten sie bereits die neue Revolution, ihre Single ,Part Time Punks" wurde zu einem Peel-Hit, und die Nachfrage nach weiteren Songs führte schließlich zu einer Session im Jahr 1980. In den 80er Jahren war Daniel Treacy so zu einem begnadeten Geschichtenerzähler gereift, der die moderne Welt aus seinen eigenen, verschwommenen Blickwinkel beschrieb. Seine Songs waren liebenswert, sofort identifizierbar und witzig, klare, scharfe Beobachtungen von oft magischer Tiefe. Treacy wurde zu einer Inspiration und unverzichtbaren Alternative des üblichen (auf der Insel nicht soo schlechten) Radioprogrammes, eines Mediums, das die TVPs zum Ende der 80er Jahre so gut wie aufgegeben hatte. "Tune In, Turn On, Drop Out" fängt den Weg dieses Pilgers ins Pop-Nirvana ein, ein psychedelisches Wunderland, das von dunklen und grüblerischen Momenten gezeichnet ist. Gehört wie durch ein knisterndes, Vintage-Transistorradio, welches vielleicht sogar unter dem Kopfkissen versteckt ist, so dass diese Skizzierungen der Gesellschaft ganz nah und intim Daniel Treacy's Psyche zeigen. Limitierte Doppel-LP, klassisch schwarzes Vinyl, Linernotes, gratis DLC mit Bonustracks!

Black Truffle is thrilled to begin 2025 with a rare solo release from Konrad Sprenger, alias of elusive Berlin composer-producer-instrument builder Jörg Hiller. A prolific collaborator, Sprenger has worked extensively with icons of American minimalism such as Ellen Fullman (with whom her recorded the gloriously eccentric song album Ort) and Arnold Dreyblatt (as a core member of the Orchestra of Excited Strings since 2009), as well as releasing their music on his impeccably curated label, Choose. As an instrument builder and installation artist, he has overseen the creation of a computer-controlled multi-channel electric guitar and, with Phillip Sollmann, a modular pipe organ system designed to be reconfigured from space to space.

In much of Hiller’s work, a scientific approach to acoustic phenomena co-exists with a pop sensibility and a sly sense of humour. Nowhere is this unique combination more in evidence than in his slim body of solo work, beginning with the startling diversity of instrumentation and compositional approaches heard on the short pieces of Miniaturen (2006) and Versprochen (2009), followed by the more single-minded exploration of the computer-controlled electric guitar on Stack Music (2017). Set brings together these various strands of Sprenger’s work into a wildly infectious, playful epic, performed by the composer and the mysterious Ensemble Risonanze Moderne. On the LP’s second side, we are also treated to a guest appearance from longtime collaborator Oren Ambarchi, on whose recent solo releases Simian Angel and Shebang Sprenger has made key production contributions. Ambarchi’s signature stuttering, swirling harmonics weave through a sparkling assemblage of electric guitars, acoustic instruments, percussion and electronics—though, given the deft use that much of Sprenger’s recent production work makes of midi-controlled sampled instrumentation, it’s anyone’s guess where the acoustic ends and the digital begins here.

As soon as the needle drops on the first side, we are inside a musical world that Set will inhabit for its 33 minutes: sparkling guitar harmonics and palm-muted notes, tuned percussion, crisp electronic drum hits, flashes of horns, and untraceable bursts of synthetic sound are arranged into a skittering polyrhythmic framework calling up the detail-rich percussive constructions of contemporary techno filtered through the pointillism of the post-serialist European avant-garde. Behind this shifting mist of particulate sound, winds and strings sound out held chords, reminiscent of Arthur Russell’s Tower of Meaning in their epic yet seemingly aimless drift. The relationship between elements is mysterious, appearing both carefully considered and almost random. Though never straying too far from where it begins, as the piece moves along, it spotlights increasingly bizarre instrument choices (shakuhachi and steel drums, anyone?) as well as momentary liftoffs into motorik propulsion. Set is a fascinating, mercurial thing: at once propulsive and fragmented, essentially static in form yet ever-changing in detail, unabashedly egghead in its construction yet sure to get the feet tapping.

Speedcore, flashcore, and finally arty hard music.
This album brings splendid insert, sleeves...
Like the two first records of this polish label we have here : a real aesthetic state of mind !

ENJOY !

- 2025 Repress
- Black Bio vinyl
- Cut at 45RPM for optimum sound
- Printed on heavyweight board outer sleeve
- Vinyl comes in black poly-lined protective bag
- Housed in a heavyweight PVC protective outer sleeve
- Hype front sticker

Blue Lake's new offering 'Weft' sees its creator Jason Dungan unearth new musical terrain
with a mini-album which presents the projects evolution. Finding inspiration in the craft of weaving and embracing a collective spirit as a band leader, all while readying a new studio album expected later in 2025.

It follows the lauded album 'Sun Arcs' (2023) with Pitchfork naming it (Best New Music, 8.3), amongst numerous other accolades. Blue Lake is the ongoing musical project of American born, Copenhagen based musician Jason Dungan which serves as his artistic platform as composer and collaborator. Developed over the period of 2024 and witnessed at live performances across a swath of European cosmopolitan cities and festivals, the project stands at a new creative juncture. The earthy title track 'Weft' emerges with a sense of ease and familiarity as looping guitar riffs in open tunings bed in around a warm cello pulse that provides the essential heartbeat. These interlinking parts align to create his most explicit version yet of an American writing country music in Scandinavia. Dungan named the release 'Weft' as a reference to the weaving practice of his partner, Danish visual artist Maria Zahle, whose work "Torso" is featured on the album's cover. With her works providing a constant source of inspiration to his music and practice as an instrument-builder, Dungan found a symbiotic connection between their mediums, which is reflected in the music on 'Weft'.

'Weft' is a collection of new works that casts a net into new sound territories with distinctive timbres yet always channelled through the refined lens of Dungan's prism. Infused with an ongoing connection to nature, it furthermore expands his unique meld of off-kilter folk, jazz, country and left-field experimental ambience. 'Weft' then is an accomplishment of growth, of bolder objectives and of collaboration with like minds. The Blue Lake project takes a dynamic step forward venturing into new creative spaces while leaving some clues along the way.

When Greg Freeman quietly released his debut album I Looked Out in 2022, it was immediately clear to the small community who heard it that the Vermont songwriter captured something intangibly exciting and distinctly American. Across 10 explosive songs that meld knotty indie rock with pastoral twang, he sings with a zealous urgency of shipwrecks, biblical visions, doomed drifters, dams breaking, and lives left in rearview mirrors. His evocative writing paints a world where revelation or ruin is behind every corner but it always leaves room for hope and human connection. A resoundingly confident LP, it’s a testament to Burlington’s vibrant music community and the pure magic of opening yourself up to creative risks and collaboration.

Now, for the first time, I Looked Out has been pressed to vinyl. Out digitally on Nov. 20 and on vinyl Jan. 17 via Canvasback/Transgressive, two bonus tracks are also available. On the digital release, there’s an acoustic duet version of “Long Distance Driver” with Merce Lemon, and on the vinyl, there’s the noisy sound collage “Sound Tests, Scraps, Lists.” Greg Freeman will release new music and this album’s full-length follow-up in 2025."

The Trails label appeared as a natural continuation of the crew’s parties. By joining minds with select producers they aim to showcase pieces that capture their collective vision of electronic music.

On TRAILS001, they bring us their close friend and graphic designer Bogdan Năstase going by the alias DJ Bogdan. As a reflection of the label’s philosophy and taste, the EP presents themes of melancholy, introspection, mystery and hope, all wrapped in a sound aesthetic reminiscent of 2000’s electro-techno with a touch of synth-pop. Shade Detector kicks off the A side with enough energy to entice crowds during those peak hours of the night. Next up comes the title track, Freakshow Parallax, a melancholic piece for the afterhours. Moving on to the B side we find Videofreex. This one’s a creative and flexible tune suitable at any point of the party. We wrap up with Fântâna Carteziană, a wonderfully twisted minimal techno track that pays homage to a lost period of Bucharest’s history.

1.12Bangin' On The Freeway - Bonus Track
1.13ECRP - Bonus Track

In diesem Jahr hat Kim Gordon ihr hochgelobtes und bahnbrechendes zweites Soloalbum The Collective veröffentlicht. Das Album wurde von Fans und Kritikern gleichermaßen gelobt. Die New York Times, Pitchfork, Rolling Stone, VOGUE, Vulture, NME, The Quietus und viele mehr nannten es bereits eines der besten Alben des Jahres 2024. Nun erscheint eine Deluxe Edition des Vinyls. Die Deluxe Edition enthält zwei neue Songs, das bereits veröffentlichte "ECRP" und den neuen Track "Bangin" On The Freeway", der von einem Video unter der Regie ihrer Tochter Coco Gordon Moore begleitet wird. Kim sprach über die neue Veröffentlichung und 2024 und sagte: "Ich fühle mich, als würde ich gerade erst anfangen! Danke für die ganze Liebe!" Die limitierte Deluxe-Version der Vinyl-Platte enthält eine 7" mit den 2 Bonustracks im LP-Sleeve und ist auf silbernem Vinyl gepresst. Gordon hatte ein turbulentes Jahr, in dem sie in ausverkauften Sälen und auf Festivals auf der ganzen Welt spielte, darunter Auftritte beim Glastonbury, Le Guess Who, Bumbershoot Festival und Ohana Festival. Das in Gordons Heimatstadt Los Angeles aufgenommene Album The Collective folgt auf ihr 2019 erschienenes Debüt No Home Record und setzt ihre Zusammenarbeit mit Raisen (Lil Yachty, John Cale, Yeah Yeah Yeahs, Charli XCX, Yves Tumor) fort, mit zusätzlicher Produktion von Anthony Paul Lopez. Das Album treibt ihre gemeinsame Welterschaffung voran, wobei Raisens beschädigte, aufgeblasene Dub- und Trap-Konstruktionen die Folie für Gordons intuitive Wortcollagen und hooky Mantras bilden, die Kommunikation, kommerzielle Sublimierung und sensorische Überlastung beschwören.

Sub Pop and Pissed Jeans mark 15 years of King of Jeans, Pissed Jeans' thunderous third album, with a fresh clear-vinyl pressing, limited to 1,000 copies. If 2005's Shallow was Pissed Jeans coping with moving out of their parents' homes, and 2007's Hope for Men their initial reaction to the mechanical lifestyle of a wage-earner, King of Jeans is their formal and uneasy acceptance of adulthood, by way of one hell of a rock record. Working with renowned producer Alex Newport (who holds a Fudge Tunnel pedigree and has worked with such luminaries as At the Drive-In, The Locust and Sepultura), Pissed Jeans have pushed further into the raw, minimal core of heavy rock music with King of Jeans. Masters of the mundane, beasts of the banal, high priests of the humdrum: these four, white, male high school graduates hardly look further than their own appendages for artistic inspiration, content to execute their own brand of brash and heavy punk music in the Joe Carducci-approved standard rock formation of guitar, bass, drums and vocals. From simple minds and simple fabrics comes this King of Jeans. And there can be only one.

It is a creative venture with inclusive approach. The message is simple, music has the power to unite minds across the continents, cultures, generations and decades.

The Paradise Projex; a music project started and developed by ex-music director musician, songwriter, producer Phil Edwards, showcasing writing, production, performance and creativity with a legacy developed over a number of years combining experiences into a unique soulful sound. It is a creative venture with inclusive approach. The message is simple, music has the power to unite minds across the continents, cultures, generations and decades. Coming in January 2025, the new album “I Am You”, ahead of which has been a digital single “Here & Now” (former No.1 UK Soul Breakers chart) and now a vinyl release of two brand new songs “Magic Night” and “Someone Like You”.

WRWTFWW Records is delighted to announce the first official worldwide reissue of Satsuki Shibano’s Wave Notation 3: Erik Satie 1984, the final album from the sound-defining Wave Notation environmental music series curated by Satoshi Ashikawa. Originally released in 1984 on the Sound Process label, Wave Notation 3 followed Ashikawa’s own Still Way (1982) and Hiroshi Yoshimura's Music For Nine Postcards (1982).

The highly sought-after album, sourced from the original master tape, is available as a double LP (housed in a luxurious heavyweight sleeve) for the first time ever. Digipack CD and digital formats are also available. This exclusive reissue, including English and Japanese liner notes by the artist, was supervised by Japanese ambient legend Yoshio Ojima.

Wave Notation 3 is a splendid tribute to seminal French composer and pianist Erik Satie, himself one of the main influences behind kankyo ongaku / environmental music (alongside Brian Eno, John Cage to name a few). The alphabetically-sequenced album features 26 pieces showcasing Shibano's unique piano interpretation of Satie’s works.

The artist explains: « For this album, I sequenced the compositions in alphabetical order of each title, irrespective of the period of each composition or style. By doing this, I attempted to effectively create ‘Music as an environment’ and at the same time, allow the listener to genuinely experience Satie’s music. »

Satsuko Shibano’s minimalistic approach to ambient classical is simply perfect and offers a beautiful and tranquil listening experience, furniture music with extra comfort and soothing simplicity, relaxing to the mind and to the soul. This Wave Notation deserves a spot among the pillars of Japanese environmental music, next to Midori Takada’s Through The Looking Glass, Hiroshi Yoshimura’s Green, and Satoshi Ashikawa’s Still Way.

True Game is the debut and sole studio album by American hip hop duo Mad CJ Mac. It was released on May 23, 1995 via Rap-A-Lot Records.

The highly praised and long sold-out 2LP album of transcendental psychedelic rock from the eternal Träden, formerly known as Träd, Gräs och Stenar, is finally available again. New limited edition pressing on multi-colored vinyl. Recorded live to tape in the band’s countryside music workshop, these mind-melting improvisations travel beyond time and space through the magical unknown, a manifestation of timeless organic music and free creation.

Swiss label Acquit welcomes back D'Funk for more of their no-frills techno. It's seductive stuff from the off with the opener 'In Your Hood' layers up mind-melting synth sequences with sleek beats. "Let's Play' is a more bulky cut with slamming drums and subtle percussive details then 'My Next Turn' pairs things back to rubbery drum loops and dubby chords that sound all gooey and gloopy. 'Glitch My Funk' picks things up with more taught kick drums that compel you to dance as the delicate cosmic vibes permeate the groove. 'Killing Me Deeply' is a nice raw analogue deep house closer that kicks like a mule.

Moody cacophonies, sonic dispatches from Japan, crystalline breakbeats that are more environment than rhythm: Jake Muir’s enmixed, described by Muir as a “(re)mixtape,” is a mind-bending deep dive into the enmossed archive. Besides reflecting the history of the label, Muir’s mix is a production in its own right. A Los Angeles native based in Berlin, Muir is a DJ and field recordist who “sees mixes as a vehicle to explore narratives outside of the album format.”

In Bathhouse Blues (2023), where Muir sampled various sources to explore gay cruising culture and sensuality, his more expansive, conceptual approach to the form is illuminated. Mixes are not just a linear succession of tracks with transitions—they’re excavations that also result in the creation of new audio artifacts. Inspired by the psychedelic impulses of illbient, Muir uses DJ and sound engineering techniques to melt down genre distinctions and create alien atmospheres.

From the enmossed community, Muir pulls from artists like bad lsd trips, Angelo Harmsworth, Nick Klein, Tetsuya Nakayama, and Patrick Gallagher to coalesce a super-compendium of the global sonic underground, all viewed through his own unique lens. Muir takes major liberties with processing and effects automation to carve new worlds from the soil of these preexisting works. Some of the tracks and material on enmixed are heavily edited, emphasizing specific harmonics or bass frequencies, and some portions contain three or four layers, putting artists in direct conversation with each other.

This heady approach—using the tools of both mixtape and remix—results in a super textual and dense palimpsest of the enmossed catalog. “Because mixes are more open- source,” Muir says, “it’s easier to express some ideas since there is more material to pull from.”

- Rob Goyanes

Silver foil printed j-cards on heavyweight iridescent ('Lapis Lazuli') recycled paper Duplicated at a carbon-neutral facility

After a kickass track on the newArray0 V/A, along with Nineties Entities, Binary Digit, MAURER and bell hooks, Silent Manifesto now returns with full length power, still advocating the power of the rave, the acid and the electro to cleanse the soul and start anew.

Yet, the journey is dark and difficult: meadows of technological ruins, rivers of benzodiazepine, mountains of self-contrition and guilt, these are but a few of the obstacles on this record, but do not fear, dear listener, as the fattest of the fattest kicks and the most sinuous bass lines will be your best allies.

Whether you want to dance, to reflect upon the past, the present, the future, to get fucked up in your apartment, this record is perfect for you.
Whether you are an electrohead, an urban pessismist, an optimist pastoral raver, a nostalgic of a future past, this record is also perfect for you.

Traders, cops, bankers, neo-liberalism enthusiasts, start-uppers, neophiles, technological believers, soldiers of power, authority, domination and progress, you can go fuck yourselves.

Superb album from 2013, a Dub malian melting point from High Tone familly.
All the tunes are definitly magic !

The Gatefold sleeve is splendid, and a booklet with paintuings from Emmanuel Prost.

BIG UP !

‘For the Roses’ is the fifth studio album by Canadian singer-songwriter Joni Mitchell and was released in November 1972. The album was released 50 years ago this November and is BPI certified silver. It was added to the Library of Congress’ National Recording Registry in 2007. The album was met with critical acclaim and notably features ‘You Turn me on I’m A Radio’ as well as ‘Banquet’ and the title track ‘For the Roses’.












l Judgement Of The Moon And Stars (Ludwig's Tune) 2022 Remaster

On October 18th, Nicolas Michaux will release his third album, titled Vitalisme. This album consists of twelve recordings made over the years on the Danish island of Samsø and at the Free House, the studio of Capitane Records in Brussels. Much like in his previous album Amour Colère, Michaux navigates between polarities in Vitalisme : dawn and dusk, birth and destruction, hope and cold lucidity, past and future. However, this time it is less about exploring the different poles of human experience and more about bringing them together at a precise point where life unfolds. Armed with impeccable writing in both French and English, Michaux traverses the familiar lands of inspired songwriters, addressing grand themes of timeless poetry as well as the empirical realities of the contemporary world: love, illness, war, wisdom, resurrection; but also climate change and class war

Reclaim Your Cities next frequency-jammer comes in the form of a heavyweight split 4-tracker, courtesy of two true techno pioneering figures: Mike Parker and Steve Bicknell.

The continued influence of these two artists on both our early raving days and now as a team working on providing you the most exciting, boundary-pushing tech wares is second to none. As you'll experience from the four jams constitutive of this unparalleled mindtrip of an EP, 'In The Years Ahead' is the living evidence the steadfastness of Parker and Bicknell's vision remains absolutely untouched. Zeroed in on taking ravers on an entrancing ride across pulsating corridors of whirring machine funk, sizzling acid and shape-shifting waves of sound, both sides of this EP share the best lot of both producers' uniquely innovative approach to rhythm and production.

Parker's opening cut, 'Solar Limb' is a textbook example of his complex, and heavily layered sound-design. An unflinching swing keeping time, brutal kicks punching holes in your head like giant steel hammers, the track may evolve slowly, repeating its post-industrial mantra over and over again, its flame doesn't flicker one iota. Switching onto red-level dance floor menace, 'Badlands' pulls out the heavy artillery: an overkill bombardment of puncturing 909 drums, vortical winds blowing in the back like some solar storm of sorts, and this ebb-and-flow of FX-drenched synth ripples branded on your cortex like odd signs of cult belonging. Bicknell's takeover starts with the rugged and wild 'Chaotic World', whose title is definitely not usurped. Enter a blazing maelstrom of frantic synth assault knocked askew, intense bass tectonic movements and smashing arpeggios on the path of war. The track develops a massive momentum, swelling from primordial raw matter into weirdly arranged modular constructions, like that of Kubrick's monolith emerging with ominous presence. 'In The Years Ahead' serves up a much distinctively elegant, glossy type of textural experience, synths playing pong in a hall of mirrors, interlacing and distorting as the percussive line unfolds its linear train-like groove. It dashes across landscapes of hypermodern glass and concrete with unrelenting horsepower, from techno's early sanctuary right up onto tomorrow's temple of unmapped potentialities.

This much special release, so dear to our heart, comes clad in a beautiful piece of design, and will be pressed to 180g audiophile quality vinyl for an enhanced listening experience.

Prepare for the new EP from Image Recordings. Starting out in late 2023 this is their third release, titled 'Kaizen.' This collection features an eclectic array of tracks, blending raw techno with booty influences, all drawing inspiration from the vibrant 90s house and techno era.

'Kaizen' showcases a distinctive sound created with drum machines and sampling hailing from the UK, delivering straight up club tracks.

This limited vinyl edition will include an additional track ‘Through My Mind’ exclusively for the physical release, while digital formats will feature only the three primary tracks.

Berlin bassist, composer, studio musician and sought-after sideman Thomas Stieger releases his solo debut album 'Choices'. Stieger's first album as a bandleader features guest appearances by well-known musicians such as trumpeter Randy Brecker, bassists Will Lee and Tim Lefebvre, drummer Wolfgang Haffner, as well as rising stars singer Alma Naidu and keyboardist Simon Oslender.
With his ambitious solo debut, Thomas Stieger, who has already played on over 100 recordings in various styles and released two albums as a member of the prog-fusion-cinematic-jazz band Marriage Material, shows his creative, very personal side.

'Choices' combines melodic groove tracks such as "Noemi's Song" and "Hissing the Flag" with the African-influenced "Chez Aly". The ballad "Resistance", the ode "Glimmer of Hope", the march "The Night You Changed Your Mind" and the title track are provided with string quartet arrangements. Stieger also jams to electro-dance grooves in "Night Ride", creates an atmospheric mood in "Lavender Skies" and closes with the beautiful "Ocean", sung by Alma Naidu.

Thomas started playing guitar at the age of ten and switched to bass at 15. He played in numerous bands and started his own jazz fusion projects. In addition to his work with the band Marriage Material, which he co-founded in 2018, Stieger played in various groups led by drummer Wolfgang Haffner and worked with many well-known artists and orchestras, including Gregory Porter, the Berlin Philharmonic Orchestra, Thomas Quasthoff and Sarah Connor.

Repress!

Compilation of 80s Turkish-Swiss band Café Türk, featuring selected works from their discography as well as previously unreleased recordings!

Café Türk's unrestrained sonic palette explores new wave, psych, disco and reggae with influences from Anatolia and Azerbaijan.2xLP includes a 4-page booklet with extensive liner notes and photos.

Café Türk are an inimitable Turkish-Swiss band formed in the 1980s, whose genre-bending sonic palette draws from Anatolia, the Caucasus and Western Europe. The group’s frantic trajectory connects Switzerland and the Turkish city of Kars with a background story as rich and unexpected as their sound. After three decades since they disbanded, Zel Zele Records have collaborated with Turkish crate-digger Grup Ses to give the music of Café Türk a new lease of life. This eponym compilation features original album tracks, singles and previously unreleased takes that trace the outline of the group’s history. From the rolling disco of the group’s debut recording “Haydi Yallah”; to the previously unreleased kosmiche of “Yıldızlar”, “Ali Baba From Istanbul”s Azeri grooves and German language vocals, to the psyched-out interpretation of Causaccian folk tune “Şamil”, Café Türk showcases the endless stream of ideas the band had during their time together between 1983 and 1989. Tracks come with an unrestrained spirit, weaving in the crackling energy of new wave, rock, disco and reggae with influences from Turkey and Azerbaijan.

This fascination in pulling different worlds together goes right back to the formative days of Metin Demiral, founder of Café Türk. Metin grew up in Kars, a provincial town in the Northeastern part of Turkey. Kars was once known for its multicultural communities; where you could hear locals speaking a range of languages, from Turkish to Azeri, Russian and Kurdish. In 1983 Café Türk won a contest set for Turkish groups based in Europe, organised by the label Türküola, home to Turkish stars like Cem Karaca, Selda Bağcan and Barış Manço. The resultant recording sessions gave birth to his new band and debut LP, Pizza Funghi. But Metin turned down Türküola’s offer to put the record out and instead self-pressed 1000 copies on his own Sound Concept label - driving as far as Berlin to sell them face-to-face to record shops. The record was picked up by a member of the German city of Nuremburg’s Cultural Department and soon Café Türk were invited to play for the local workers’ unions, many of whom represented immigrants from Turkey. These events only grew in popularity, the group ultimately spending five years touring similar shows in Europe, alongside more conventional tours and festivals. Metin had hoped to bring his new record to audiences in Turkey again, however, he found it impossible to get any of his songs played on state-sponsored radio, something he attributed to the infamously strict supervisory board of TRT, Turkey’s state-funded broadcaster. TRT tended to not accept songs that blended both western and traditional Turkish music in order to avoid “degenerating” Turkish folk music. Cafe Türk tried to fight this conservative mindset, but progressively resigned themselves to the political restrictions of the time

*Avant-garde Pop. Mixing meditation, sacred-geometry, searching for meaning behind the notes, Emika lost her mind trying to escape the reality of the lock-downs. Creativity in overdrive, determined to discover new dimensions: She produced VEGA. Named after the second brightest star after the Sun, VEGA is in the northern constellation of Lyra; one of the most beautiful sounding- instruments in Greek mythology. Vocals. Electronic. Classical. Collabs with Horace Andy (Massive Attack) +more.

From a club-friendly chrysalid onto deploying his wings as a full fledged pop artist in recent years, Saint Petersburgs Kito Jempere has enjoyed a journey unlike any other and his newest album, Part Time Chaos Part Time Calmness live-documents the chameleonic changes / game-changing paradox experienced this year between his life both as a musician and as a family man.

Better known for his work as a house producer which has earned him accolades from prominent dance music outlets throughout well over a decade of intense work both into and outwith the limelights, Kito has for all that never been focussed on writing solely discoid material, throwing as much effort over the years into multi-faceted parallel ventures, far and apart from strictly dance floor-oriented functionality. Yet, from this partition between various projects and mindsets, this is through a radical shift towards downtempo pop and out of the 4x4 loop that Kito got to fully assert himself as a musician, embracing the rejoicing variety of tone and mood of his tender loves, secret and not. The movie Ive never made but have the soundtrack for, Part Time Chaos Part Time Calmness is the fruit of change as much as change itself. A return to the simple means of his young self, his old trusty guitar from his late teens serving as the backbone to Killer Line and Love Myself But I Cant Make It Love, and the natural development to last years Green Monster, which
initiated these deep tectonic movements in Kitos approach to his art, PTCPTC is an intimate trip down the kaleidoscope of his present life. Joined up by an impressive cast of artists, including Jimi Tenor, Adam Evald and Hard Ton, Kito didnt just bin his old persona, he took it back to where it belongs. From the low-slung emotional folk of the opener, Killer Line, to the eerie flamenco-jazz hybrid Before Music Dies. via the broken soulfulness of Put Love Into Your Heart and anthemic 80s balearic breaks meets coastal synthwave vibe of Sounds of Love, the album pulsates with a refreshingly genre-unbound vision. To the naive, laid-back sonic bokeh of Footsteps,
succeeds the left-of-centre cinematic narrative of In The Countryside, which includes some fun nods to fictional brands taken from Tarantinos imaginarium (Red Apple cigarettes) or other movies like High Fidelity, after Nick Hornbys eponymous novel.

Freed from gridlocked programming and impersonal tropes, PTCPTC showcases a wide array of songs, beats, grooves old and new, some dating back to 2018 and improvised sessions with his 9-people Kito Jempere Band, all of which were finished within the same timeframe and with this all-inclusive momentum in mind. Through the epic synths of Absent Ascent. in revamping the universal classic Over The Rainbow with Celebrine, on the appeasing ballad Shorespotting feat. Evald or in the waves-ready closing cut Lovers, Jempere tells a tale of hard-earned emancipation and life-affirming freedom.