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With »The Future Is Futuristic«, the fifth album for Haleiwa (and third with Morr Music), Stockholm’s Mikko Singh draws from a deep well of nostalgic feeling, while making music that feels razor-sharp, on point, and full of hazy dream-pop pleasure. After 2019’s »Cloud Formations« and 2022’s »Hallway Waverider«, which imagined psychedelic post-shoegaze and mantric pop songs into being, »The Future Is Futuristic« feels like both consolidation and magnification; the noise-drenched songs feel thicker, heftier; the electronic interludes playful and kinetic; the rhythms boundless. It’s as though Singh has truly found his metier, his voice, a place from which he’s comfortable to indulge in the kind of home-recorded worldmaking that has always marked Haleiwa out as something special.

»The Future Is Futuristic« passes by in a rush of whiteout tones and scurrilous energy; the whole thing is over within half an hour, Singh ensuring his songs say exactly what they need to say – no more, no less – before bustling through into the next ecstatic pop moment, pushing the music further into the zone. While his music often has a similar, drenched quality to shoegaze, on »The Future Is Futuristic«, Singh seems to be settling in alongside other spirits – there are touches of the experimentation of both A.R. Kane and Flying Saucer Attack here; the more motoric tunes recall New Zealand’s Snapper; the glitchtronics have a City Centre Offices sensibility, while the sparkling folksiness of the melodies can recall Bristol bands like Light or AMP.

But it’s ultimately not about influence, beyond perhaps Haleiwa nestling alongside some like-minded souls in perceptive listeners’ minds. Instead, thrill to the rush of rhythms that float between jungle and punk on »Flourishing« and »96«, the latter a reference, from Singh, to moments of early revelation – »it’s about being thankful for having found punk rock and skateboarding at a young age, in 1996.« There’s also the hypnotic dream-rush of the opening »Smoke Will Rise«, the beautiful Cure-esque guitars swimming through »Sunset Street« and »Strange Notes«, the tumbling rhythms and heady, elated chord changes that grant lift-off to »Wave Chaos«… A real panoply of pleasures, in fact.

»The Future Is Futuristic« was recorded solely by Singh on four- and eight-track in his home studio, with a quick trip to Telefonstudion to record drums. Recording at home grants a certain intimacy to »The Future Is Futuristic«, even as the songs, at times, bliss their way off into the skies; there’s something both expansive and intimate about the music here, as though Singh is grappling immensities into intimacies. It also feels deeply personal for Singh, a summation of much of what he’s done over the years; as he says, simply and clearly, »The album is in my interpretation a mix between punk, electronic music, and dream pop.« The threads that connect these creative phenomena? Energy, texture, melody, tone, sensuality; pure pop pleasure.

Dajusch brings his distinctive sound to Backspin Records with 'Oracle', a five-track EP that showcases his instinct for powerful grooves, deep low end and carefully selected synth work, rounded out by a remix from Dutch techno veteran Sterac. Another strong addition to Regal's Backspin Records, this EP balances Dajusch's musical sensibility with his feel for high impact club music, keeping the focus firmly on club functionality.

Opening with 'Boxer', Dajusch immediately strips things down to their essential elements. A buzzing deep bassline provides the foundation while a repeated vocal hook becomes the central motif, surrounded entirely by percussion including a punchy kick, heavy toms and crisp hats. 'Narrow' introduces a saw wave synth that functions simultaneously as bassline and lead, gradually building tension through repetition and a slowly opening filter before a droning pad leads into the return of the drums. Closing the A-side, 'Reeses Piece' is built around a wide gliding Reese bass moving across di?erent notes. A heavy breakbeat, clean claps and hats provide the framework while a high-pitched vocal brings a distinct 90s rave energy, with swinging toms adding movement to an already groovy production.

On the flip side, the title track 'Oracle' shifts the focus towards melody, with Detroit-influenced synth work taking centre stage. A classy melodic motive is complemented by heavily processed vocals transformed into euphoric, drone-like elements, adding another dimension without losing the track's directness. 'Strings' closes the original material with a hefty saturated kick while string synths carry the main theme. Drums straight out of a classic drumcomputer and warm chords build into a more expansive breakdown before returning to the groove. Closing the EP, Sterac's remix of 'Narrow' takes the original saw synth motive into a more hypnotic direction, playing with its pitch and arrangement while reducing the percussion and pushing an already deeper kick further into the mix, giving the synth work more space to breathe.

With 'Oracle', Dajusch delivers a focused statement rooted in classic Techno while remaining connected to a modern sound. Another strong addition to Regal's Backspin Records, this EP balances Dajusch's musical sensibility with his feel for high impact club music', reinforcing the label's dedication to forward-thinking techno with a clear respect for where techno came from.

In celebration of John Coltrane's centennial, this 3-LP boxset includes all 3 albums recorded with Wilbur Harden in 1958 for Savoy Records: Mainstream 1958, Tanganyika Strut and Jazz Way Out. Featuring players including Tommy Flanagan, Curtis Fuller, Doug Watkins, Louis Hayes, Art Taylor and more and cut from the original tapes by Kevin Gray at Cohearent Audio the album is pressed on 180-gram black vinyl at RTI and housed in Stoughton tip-on jackets and new liner notes from Syd Schwartz.

This album features most of The Searchers’ early hits, along with a selection of album cuts and B-sides—which really come to life in these live recordings. The standout tracks are the ones they never recorded in the studio. What’d I Say was previously released from their 1963 Hamburg Star-Club recordings, but this live version captures even more energy. The album also features radio performances that were never studio recordings, including Memphis, Tennessee, Red Sails In The Sunset, and Let The Four Winds Blow. So, put this record on, sit back and relive the heyday of one of the UK’s finest and most enduring bands: Ladies and Gentlemen, I give you The Searchers!
Sleeve notes by Peter Checksfield

This album presents 22 live-in-the-studio BBC recordings from 1963–1965 that have never been released before. It includes all the hits and misses from that period, along with three tracks that were never recorded for EMI: Chuck Berry’s Johnny B. Goode, Jagger and Richards’ So Much In Love, and the band’s own composition Falling In Love Again—previously undocumented. For fans of The Swinging Blue Jeans, this long-awaited release is a must-have.
Sleeve notes by Peter Checksfield.

Optmst has spent the last decade establishing himself as one of Belfast most distinctive underground producers with releases on Shall Not Fade, R&S records & Cloudcore. Rooted in club music but resistant to easy definition, his debut EP Flux moves through 140BPM pressure, postdubstep weight and garage-adjacent rhytms . Warm analog electronics meet infectious grooves, IDM detail and a melodic sensibility that pulls you back to the hook.

Luis Reich and Max Wurden's Reverence traverses superb ambient and electroacoustic territory with sustained tones, radio interference, fragmented speech and plenty of harmonies that shift almost imperceptibly. 'Sono' opens wide with drones meeting distant brass, before 'Lens' marries brooding bass pulses with floating brass top notes that pass by like half-remembered thoughts. The title track strips everything back to a sparse, suspended core and 'Horfunk' brings damaged broadcast noise to a textured soundscape. 'Studio Blue' closes out slowly and patiently with plenty of sonic decay. A subtly dramatic record.

Highscore is one of the newest-and quite sensational-discoveries in funk of the 1980s out of Germany. Two tracks Breakin' Out and Girls So Fine, both recorded about 40 years ago and shelved ever since, are finally receiving a long-overdue 12" release.

Label founder DJ Scientist tells the story of how the tracks were uncovered:

"Several years ago, while researching the Crea label-after we had already licensed 'You're Not The One For Me' by Peter Patzer-I also wanted to find out more about another band on the label: Nuages, who had released the stunning jazz-funk/fusion album Cumulus.

Interestingly, a Discogs user had uploaded a hand written promo letter from one of the band members along with the LP. In it, drummer Mike Bach mentioned plans for a second album, as well as a single featuring a 'coloured singer'-which caught my attention. (A note on language: the original letter from 1985 uses the term 'coloured.' We've chosen to quote it directly as a historical document, but want to be clear that this reflects the terminology of the era and not language we would use today.)

Digging deeper, more information was found on Bach's own website, where a project called 'High Score' was mentioned. I immediately got in touch and asked if the recordings from that project still existed. Unfortunately, Bach couldn't locate any of the material at the time.

Years passed before we reconnected, when we featured 'Strange Weekend' by Nuages on our recent yacht rock compilation. I still had the Highscore project in mind and asked again. Once more, Mike had to deny-but he made another effort and reached out to former collaborators. A few weeks later, guitarist and composer Hermann Behrens discovered cassette tapes containing tracks from the Highscore project. I couldn't wait to hear them…"

To go back a bit: Nuages were a jazz-rock band from Bremerhaven, originally formed by guitarist Joachim "Fussy" Fuß in 1982. The lineup included Mike Bach (drums and percussion), Klaus Hinners (bass), and Frank Fischer (keyboards). In 1984, John Dillard, a U.S. GI stationed in Germany, joined Nuages for several live performances as a soul singer.
Around 1985/1986, Dillard and Bach then teamed up with Hermann Behrens with a new focus on electro funk and disco: Highscore was born.

When the three demo recordings were finally sent to us, they immediately blew us away. Breakin' Out stood out as an incredible electro-funk boogie gem-exactly what we had been looking for. What's more, it didn't sound like a rough demo at all, Breakin Out was a well-arranged and almost perfectly recorded track, driven by fresh, vibrant synths, drum machines and guitar. The cassette mix wasn't entirely final, but the remaining details could be refined during mastering.

The B-side, Girl So Fine, impressed just as much-equally strong and just as captivating as the A-side. Our reaction was immediate: this had to be released without delay!

Most importantly, there are a few more recordings from Highscore. However, these only exist as multi-track studio reels, which currently cannot be transferred. In the best case, more material from the band may surface soon-hopefully without another long wait.

The 12" release Breakin' Out / Girl So Fine" comes with a newly designed picture sleeve, featuring an original photo of the band members, including background singer Ruben Hopkins who does not appear on these two recordings.

The vinyl edition is limited to 400 copies.

House and techno's most innovative improviser, KiNK, lands on Mutual Rytm X.

Offering four more thrilling dancefloor weapons, the iconic talent lands on SHDW's new Mutual Rytm X Series to deliver the label's second release.

Legendary Bulgarian artist KiNK is widely regarded as one of the most respected live acts on the global scene. He is a noted tech wizard who creates loops on the fly, crafts killer drums and never fails to hypnotise dancefloors. He has released on almost every influential label of the last 15 years and taken his unrivalled live show to all corners of the world, often drawing on those sets to bring aspects and inimitable qualities from his performances into his tracks. This innovative approach has helped to solidify his reputation as a groundbreaking figure, inspiring a new generation of musicians and producers, and he once again showcases precisely why he's in a league of his own here with a first appearance on SHDW's newly minted Mutual Rytm X.

'Unicord' opens up this new EP in thrilling fashion with sleek, Detroit-style synth loops flashing up top as the heavy, pounding while warm drums drive things down low. 'Quantum Shake' brings 90s energy with new school sound deists - the dubby drums are fast and urgent, the synth craft is deft, and the percussion adds texture to a straight-up but sophisticated techno anthem. 'Pitch Down' then brings fantastically unhinged synth leads that spray and zip about the mix to boggle the brain. Rattling percussive loops and chunky drums keep things moving as those synths get even more wild. To close, the digital bonus 'Highpass Lowpass' is a masterfully muscular cut with rugged bass and taught synths interlinking to mind-melting effect.

Released in the winter of 1995, Dah Shinin’ introduced Smif-N-Wessun as torchbearers of the gritty, sample-driven East Coast sound that defined a generation. Backed by Da Beatminerz’ haunting, jazz-laced production and supported by their Boot Camp Clik brethren, Tek and Steele delivered a debut that was as raw as it was revolutionary — capturing the essence of mid-90s Brooklyn.
Now, 30 years later, Dah Shinin’ returns in its most complete form. The 30th Anniversary Definitive Deluxe Edition brings together for the first time in one place, the full original album, two essential remixes "Wrekonize" and "Sound Bwoy Bureill" and rare material, including the long-unreleased “Nuttin’ Move But Da Money,” finally available officially after years on white label.
Pressed across three LPs and housed in a premium tri-fold jacket featuring original artwork, newly commissioned liner notes, period photography, and archival content, this expanded edition stands as a tribute to the album’s creation and legacy. From the underground anthem “Bucktown” to the crew showcase “Cession At Da Doghillee,” every track celebrates the timeless sound that made Dah Shinin’ a classic.

Severed Heads reattach themselves to Dark Entries for an expanded reissue of their 1991 opus Cuisine (With Piscatorial). As originary Aussie industrial legends – although founder Tom Ellard would balk at being branded as such – Severed Heads shaped the continental subcultural sound with their kitchen electronics, chaotic tape loops, and infectious nursery-rhyme-esque melodies. Cuisine (With Piscatorial) was the long-running project’s ninth album, and is a commentary on the state of music. Ellard explains: “The whole food joke is really about what music's about and how disposable it is; people have records like they have cups of coffee.” The album also presents a turn away from the dancefloor formalism of the era, which Ellard dismissed as already sufficiently explored. Cuisine brings us punchy pop kernels of the prime Heads variety, all clocking in around three minutes. Cuts like “Pilot in Hell” and “Ugly Twenties” rank among the band’s best through their deadly skewering of synth pop tropes. But the album also offers us a Piscatorial section, where Ellard felt free to “go fishing for ideas.” Here we get a taste of the project’s demented cut-up sensibilities, like on the “Quest for Oom Pa Pa” suite, where vintage jazz records are collaged into an angular nightmare. This double-LP reissue is the first time that Cuisine (With Piscatorial) will appear on vinyl, with a previously unreleased early version of “Seven of Oceans.” Also included is a 6-page booklet with liner notes, lyrics, and press clippings.

Edgar debuts on Dark Entries with Pavor, an 11 track LP of sleazy disco, warped synthpop, and gothic cumbia. Veteran musician Luis Gutierrez has spent the past two decades touring in bands, running Lalalandia Studio, and building his practice in Oakland and Guadalajara. But now, for his first solo outing, he has become Edgar, a pop star who knows no limits! “Edgar feels mightier than anyone but is always reduced to his vices” says Gutierrez, and Pavor delivers vices in spades. From the opening salvos of “Otra Agua,” it’s clear we’re in for a wild ride: seasick synths slide along slamming disco beats, menacingly chanted vocals sit amid a flurry of careening horror movie samples. The mischief does not abate as we’re guided through a demented funhouse of genre detournements.

Edgar puts his indelible fingerprints over every inch of this vinyl, from uptempo numbers like the spooky chip-tune frenzy of “Nunca Mas” to the twisted cumbia of “Panteon.” We’re even treated to a fairly faithful (and majestic) Spanish-language cover of Amanda Lear’s “Follow Me,” here titled “Sigueme.” EBM, space disco, and horror movie soundtracks all find their way into the mix on Pavor, but the diverse palette comes together perfectly, like a Yello album for the 21st century. Pavor comes housed in a sleeve designed by Eloise Shir-Juen Leigh and features a photograph by Izaak Schlossman. Also included is an insert with lyrics and notes. On Pavor, Edgar brings us a healthy dose of pure excess, reminding us that dread can be a hell of a lot of fun.

Green Tee Latte & Cappucchino Variant. Shall we add a little milk? Black Screen Records and Toge Productions have once again teamed for the vinyl repress of Andrew Jeremy's soothing, relaxing and jazzy lo-fi soundtrack to the coffee brewing and heart-to-heart talking simulator Coffee Talk on limited edition vinyl. For the first time, the soundtrack will be available on Green Tea Latte & Cappuccino Ink Spot double vinyl and comes in a beautiful gatefold sleeve with stunning original artwork by Natto (@vulpetrope) and liner notes by the Coffee Talk developer team. "Jazzy chords, hip-hop beats, vinyl crackles, a chilled mind and heart, and a prayer, that's all you need to make music for Coffee Talk. It's soothing, relaxing, and most importantly, keeping the warmth of your heart." - Andrew Jeremy, Game Producer / Music Composer

What's Left is the new album by Tom Henry, releasing November 20th, 2026 on Royal Oakie Records. Where his debut album Songs to Sing and Dance To leaned into big dreams, What's Left is a record about what remains once the dust settles, delivered with the wit and charm of a young rocker in his prime. The familiar influences are still there — Paul McCartney and Big Star loom large (though there's a little more Third/Sister Lovers this time around), but now the songs are lush and polished, with new sounds creeping in around Henry’s trademark power pop hooks. On a handful of tracks you can even hear strains of Syd Barrett influenced acid-folk alongside psychedelic rock that recalls The Brian Jonestown Massacre or The Beatles at their most lysergic.

Produced in collaboration with David Glasebrook (Patti Smith, Peter Case, Sugar Candy Mountain), and engineered by Glasebrook and Stephen Shirk, the album was tracked across two cities at Shirk Studios in Chicago, IL and The Garden Shed in Oakland, CA, where Glasebrook also handled mixing and mastering. The record's cross-continental origins reflect the movements of Tom’s own life over the past half decade, which found him departing his native Chicago for Los Angeles before returning home four years later, and lend the album its distinctive sound of Midwestern grit mixed with California sunshine across all twelve tracks.

Opener "Someone I Need" sets the tone: an old-fashioned, up-beat rocker built for a roadside diner jukebox somewhere out along the backroads of your mind — it's crunchy tape tones and horn arrangement lending warmth to the song as the narrator asks for a dance and beckons the listener along for the ride. By "It's Not Meant to Be," the record turns inward, wrestling with the exhaustion of trying to find love in the modern age — especially for someone who wears their heart on their sleeve and often comes to find their suitor's wardrobe doesn't have room. "Silverlake Song," reminiscent of early Donovan, kicks off with otherworldly sitar — a wry postcard from the west, tracing how the shimmering promise of L.A.'s Silver Lake enchants, bargains with, and ultimately tries to ruin the starry-eyed dreamer — and very nearly succeeds.

In addition to Tom–who sang and played guitar, bass, and keys–the album features musical contributions from co-producer David Glasebrook, Brian Daley, Joe Daley, Finn Swingley, Lewis Patzner, and labelmates Graham Patzner, Charles Lloyd, and Simon Beins. Liner notes come courtesy of Ian F. Svenonius, who — in the guise of one Johnny Sincere of Integrated Star Management Ltd. — recounts his company's failed attempt to sell Tom Henry a gimmick: a space suit, a coal miner's neckerchief, a lounge pianist's dead-eyed shades. Tom turned them all down. As Svenonius tells it, when reminded that every story's been told and every gimmick's been used, that all that's left is to admire the photographs of what's gone before, Tom simply shrugged: rock 'n' roll is an eternal spring, and if this is what's left, that's just fine with him — it's what he likes to do.

For the fifth release on At A Glance, Shabi delivers a four-track collection of groove-driven house music built for long nights and packed dancefloors. Blending rolling drums, infectious basslines, soulful vocal touches and a deep sense of movement, AAG005 captures the label’s love for timeless club records with a fresh and contemporary edge.

Opening with “All Night Stompin”, Shabi sets the tone with a driving rhythm and irresistible swing designed to keep bodies moving from start to finish. “Teach You” follows with warm grooves and hypnotic vocal elements, balancing energy and atmosphere in equal measure. On the flip side, “Dee Vibe” dives deeper into stripped-back, late-night territory, locking into a raw and infectious groove, while “Free Our Minds” closes the EP on an uplifting note, combining soulful textures with a powerful dancefloor pulse.

Groovy, classy and effortlessly effective, AAG005 is a versatile house release that feels equally at home in intimate club settings, peak-time sessions and sunrise moments alike. Another essential chapter in the At A Glance catalogue.

Flowgeist emerges from a shared inquiry into sound and aesthetics. Genre remains peripheral; meaning stays tethered to sensation. The self-titled debut, released on Evighet Records (EVIGHET007), follows that logic across a full record, moving from matter to memory and giving passing states somewhere to stay. Trip Hop, Drum and Bass, post-punk, breakbeat, EBM, Techno and modular electronics all surface within it, summoned only where a feeling demands them, with acoustic instruments retaining their grain inside the electronic frame. The A side keeps its instruments close and its focus intimate, opening on "Molecules," where Zainab J Lascandri's voice and Arthur Boudet's guitar set the album's tone before it moves through cycles that won't break: a life stuck in place, a trust already gone bu14t still being tended, an attraction whose charm thins out under repetition. That inward attention eventually turns outward, closing the side on a colder note about how influence gets performed and mistaken for substance. The B side works through broken rhythm and cinematic scale. It examines political language for the seams in its polish, follows a relationship reduced to proximity without real contact, and rises to the record's most forceful club passage before settling into "Crystal Muse," where Massimo Capobianco's guitar moves alongside an extended modular passage, luminous and unhurried. The album closes by turning its attention to composition itself, treating the act of writing music as a way of holding onto experience before it disappears. Across both sides, the record travels from immediate, bodily feeling toward something more contemplative, carrying the same emotional attention from private entanglement into wider systems and finally into the quiet work of making the record itself.

House is the Religion. The DJ is my Deacon. The Music is my God and James Bangura is cool af.

Genuine, passionate, clear, authentic and real…. He isn’t trying, he just is. And his music is the same. It’s fucking cool. It’s real and authentic and it just is James Bangura. So it’s a real honour to add him to the Shall Not Fade roster; from Techno to Jungle to House and everything between the DC native can extract the true essence of a genre and simultaneously make it his own & pay homage to its roots.

So on Jack Sermon there’s no surprise when he flexes a seemingly generationally inherited knack for all things House (and Techno) and delivers four tracks of raw, real, genuine House music. OG shit.

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‘House is the Religion, and the DJ is my Deacon, but the music is my God” says the Evangelical vocal on title track ‘Jack Sermon’. Never has there been a more aptly named track…This is a jack sermon… an OG inspired Chi town cut channeling early house music’s soulful beginnings delivered with straight up jacking house beat offset with laidback dusty dub chords….. We don;t say this lightly but we’re calling anthem on this one.

‘Scat Pack’ takes a more percussive and drum forward House motif. Thunderous kicks tease techno but this is still house, NY at heart complete with voguing diva vocals . Blown out and choppy we could say ‘this could have been ripped from a late 90’s club recording on a lost tape’ but that would do disservice to the precise but invisible fusion that's been laid down here..

‘Funk To Berlin’ opens the flip side and in Bangura’s journey to explore classic forms of house and techno, this track may well have taken root from Dub techno pioneers from the past. Deep dub chords and deeper subs lead the track but that jacking percussion makes this more than homage. Machine Funk, Machine soul. AA side business.

‘The Green Line’ closes out the EP in style.. rolling it out with skittering synths that work like percussion, ethereal pads and a faint vocal ‘Chicago’ spiralling into itself making this track one you can get lost in. Some might argue that this one is techno but who cares. It’s the journey not the destination. Two tickets please.

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If you don’t know James Bangura’s music already (or even if you do) do some digging.. Look for releases on Mister Saturday Night, K7! and Floorspeed and check his output as part of “Black Rave Culture” with Amal and Nativesun and as a member of Groovedeep with Toronto’s Ciel and fellow DC native Jackson Ryland.

To close, we’ll leave you with this note from James……. told he is cool af.

House music, to me, exists on a wide spectrum. I’m inspired by its many forms: stripped-back minimalism, percussive drive, hypnotic textures, and soulful undertones. Rather than confining myself to one approach, I treat each track as an exploration—testing structure, pushing rhythm, and allowing subtle details to carry emotional weight. The studio becomes a space where groove and atmosphere meet intention. This body of work highlights that process. It reflects how I balance technical precision with feel, tension with release, and tradition with forward motion. Every decision—from drum programming to spatial design—is part of shaping a sound that feels honest and instinctive. - James Bangura

David Rodigan MBE and Defected Records announce the release of House Of Roots; a specially curated three-track remix project by the legendary tastemaker, DJ & broadcaster, reimagining Defected classics as they’ve never been heard before.

House Of Roots has been born out of a partnership that’s blossomed since David first touched down at Defected Croatia in 2025, with his performance becoming one of the defining moments of the entire festival. After returning to Croatia for this summer’s festival finale, Rodigan - this time armed with the House Of Roots remixes - delivered another landmark set, underlining exactly why he remains such a revered DJ & selector.

The House Of Roots project reimagines Defected’s rich catalogue through the lens of reggae, dub and drum & bass in a celebration of music genres that have continually inspired one another throughout the decades.

Enlisting legendary drum & bass originator Shy FX, jungle maximalist CLIPZ, and fabled dub reggae producer & engineer, Prince Fatty, to remix three of the label’s seminal records - Fish Go Deep’s 2006 classic ‘The Cure & The Cause’, Soul Central’s ‘Strings Of Life’ (2004) and The Vision’s ‘Heaven’ (2019) - House Of Roots marks some of David’s most important and intriguing curatorial work yet.

House of Roots comes as a limited edition 7” box set including the 3 remixes plus exclusive dubs and instrumentals plus a 16 page sleeve note collectors booklet.

Francesco Messina is perhaps best known for his split album with fellow composer Raul Lovisoni, Prati Bagnati del Monte Analogo, originally released on the seminal Italian label Cramps in 1979. Along with contemporaries Franco Battiato, Juri Camisasca and Giusto Pio, Messina helped reshape the world of modern composition with an organic rawness and haunting beauty.

In November 2023, Messina performed Prati Bagnati live for the first time in Milan, Italy – along with pianist Michele Fedrigotti, who appeared on the original LP. The concert was a tremendous success and led the composer to further reflect upon the music he made over 40 years ago. From his home piano – a hundred-year-old Schimmel with magnificent resonance – new pieces began to emerge out of these meditative sessions.

As Messina says in the liner notes, "The idea of making a new album wasn't the driving force at all; what mattered was trying to reconnect with the 'freedom' I had experienced back then while creating that music. I started over without haste or deadlines, simply trying to find a deeper, inner connection."

W.25TH / Superior Viaduct is honored to present Le api dell'invisibile. From the hazy drone of "For Florian" and the title track to the gentle swells of "Letter for an Absent Friend," the album is a lush amalgam of new age and ambient minimalism that is vividly reminiscent of Messina's earlier work.

The title draws inspiration from a famous reflection by Austrian poet Rainer Maria Rilke: "We are the bees of the invisible. We ceaselessly gather the honey of the visible, to store it in the great golden hive of the Invisible." It is a phrase that has long shaped the way Messina looks at his music – transforming lived experience into sound, making audible what normally eludes the eye.

A long-time figure at the heart of Samurai Music, Last Life makes his first appearance on SAIBAI trading his signature snarl for shadowy psychedelia and snaking beatdowns. Since 2015 Mauro Picciau has been cultivating a sound that maximises on the space that opens up around half-time 170, finding plenty of power while stretching out his rhythms. On this new release he pivots towards subtler tones and textures, and plugs directly into the wave of innovative artistry occurring at the intersection of D&B and deep techno. Writhing, taut sound design spells out the mood on opening track 'Gear Cutter', as Picciau gets expressive with metallic feedback tones that elegantly contort across the front of the mix. There's a strong sense of narrative that brings the track's dynamic movement to the fore, holding back energetic shifts with a measured intent to ramp up the tension. 'Norma' has a more ceremonial feel, locking into a steady pulse and letting distant clouds of melodic ambience create a bewitching atmosphere around the percussive mantras. 'Radian' speaks its own minimalist, techno-spirited language, drawing on alien murmurs and steely drones to strike a lighter note without breaking the mysterious fog that hovers over the EP. 'The Moat' leads on a heavier set of drums to close the record out, shaping space with skilful reverb and a tightly controlled synth pulse. Within this echo chamber, and across the whole release, Picciau has capitalised on this patient approach to bed infinitesimal ripples into the mix, rewarding the active listener and instilling his creations with a kinetic vitality that can always be felt, no matter how slight the sound is.

South African composer and producer Jason van Wyk is continuously honing his craft, with each consecutive release feeling like a clear evolution of its predecessor. Through his albums and soundtrack commissions, van Wyk’s technique at perfectly balancing melody and atmosphere is now more apparent than ever.
Inherent, his sixth aptly named album, finds van Wyk distilling his sound to where each note seems to have implicit cinematic intent, revealing intricate new details with every listen. Inherent features large swaths of warm, wispy ambient, ghostly piano and widescreen drone. Yet, at the very moment when all seems to apex, van Wyk presses on by mining his past endeavors in club music, neo-classical and scoring work to create something else entirely.
Distorted guitars, percolating synth arpeggios and poignant beat design propel the contemplative ambient sections into the light, bringing van Wyk’s sound into previously unexplored territory.

Some things in life are meant to be consumed whole: a perfectly paced movie, an oyster at Whitstable Bay, a novella on a sunny afternoon. Into this pantheon of singular experiences comes Runners, the second album from London instrumental rock quartet Dog Unit. The follow-up to At Home, the band’s cult favourite 2024 debut album, Runners moves seamlessly across its 42-minute runtime. It finds the quartet – comprising Sam Walton, Henry Scowcroft, James Weaver and Lucy Jamieson – crafting tracks that undulate, churn and yearn in service of a greater purpose as they plough fertile fields of sonic storytelling. Made over the first four months of 2026 at the band’s studio in Limehouse, East London, Runners finds the core group, alongside producer and long-time collaborator Mark Estall, operating with greater ambition and scope than ever before. This time they commissioned a string quartet specifically for this project, and reappointed noted experimental bass clarinetist Heather Roche, as well as taking in a cavalcade of instruments at their studio, including vintage synths, drum machines, pianos, and harmonium. The band’s music is often compared to cinema, and if At Homewas a charming micro-budget indie flick bursting with potential, Runners is a widescreen realisation that stands up to repeat viewings.

*First-ever release on vinyl
*Produced in full cooperation with Hiroshi Yoshimura's estate
*Remastered from original sources by John Baldwin
*English translations of original 1996 release liner notes
*Reproductions of Yoshimura's handwritten recording notes
*Vinyl includes 5" x 7" postcard print

"My encounter with the Hoh Rain Forest, located inside Olympic National Park across the water from Seattle, felt like seeing a whole new world for the first time in my life. Long green fronds draped along the branches, like a scene in which fairies could be heard whispering to one another. But when you try to listen, no sound can be heard. Amidst the mysterious silence, in which no birds or insects make a sound, every living thing seemed to have stopped in its place, only to start dancing when some kind of spell is cast over them.
-Hiroshi Yoshimura

Originally issued on compact disc in 1996, Quiet Forest was Hiroshi Yoshimura’s last album-length work to be released before his passing in 2003. Largely inspired by his trip to the vast forests of the North American Pacific Northwest, the album is an aural reflection of the fantastical, surreal beauty he experienced as he walked through the otherworldly wilderness for the first time. The basic tracks were recorded in the fall of 1993. After numerous revisions to the song titles and a scrapped idea to overlay the tracks with nature field recordings, Hiroshi ultimately produced a latter-day masterwork that feels like the spiritual follow-up to Green, one of his defining works from a decade earlier."

CASSETTE VERSION

*Produced in full cooperation with Hiroshi Yoshimura's estate
*Remastered from original sources by John Baldwin
*English translations of original 1996 release liner notes
*Reproductions of Yoshimura's handwritten recording notes

"My encounter with the Hoh Rain Forest, located inside Olympic National Park across the water from Seattle, felt like seeing a whole new world for the first time in my life. Long green fronds draped along the branches, like a scene in which fairies could be heard whispering to one another. But when you try to listen, no sound can be heard. Amidst the mysterious silence, in which no birds or insects make a sound, every living thing seemed to have stopped in its place, only to start dancing when some kind of spell is cast over them.
-Hiroshi Yoshimura

Originally issued on compact disc in 1996, Quiet Forest was Hiroshi Yoshimura’s last album-length work to be released before his passing in 2003. Largely inspired by his trip to the vast forests of the North American Pacific Northwest, the album is an aural reflection of the fantastical, surreal beauty he experienced as he walked through the otherworldly wilderness for the first time. The basic tracks were recorded in the fall of 1993. After numerous revisions to the song titles and a scrapped idea to overlay the tracks with nature field recordings, Hiroshi ultimately produced a latter-day masterwork that feels like the spiritual follow-up to Green, one of his defining works from a decade earlier."

180g vinyl LP with original obi strip and liner notes reproduction, remastered and cut by Bernie Grundman, pressed and printed in Japan

Sony Japan is pleased to present Isao Suzuki's fourth album off the Three Blind Mice label, "Orangutan". The 1975 free jazz album features acclaimed saxophonist Mori Kenji and guitarist Kazumi Watanabe, and remains undiminished by the years.

DJ Support: Nick Warren, Andy Wilson, Bill Brewster, Max Essa, Simon Lee, Pete Herbert, Mark Broadbent, Be Lanuit, Coyote, Andy Pye, Andy Taylor, Steve KIW, Mike Bradbury, Pathaan, Steve Optix

NuNorthern Soul welcomes Lonely Deckchair, a deeply personal and nostalgic long-player shaped by memory, place and the passing of time. Rooted in a return to Aguadulce on Spain’s southern coast, the album reflects on childhood summers, family connections and the quiet beauty of life coming full circle.

Written as a dedication to the artist’s children, the record moves between reflective ambient passages, Balearic rhythms and gently propulsive grooves. Across the album, reversed guitar sequences, soft synthetic textures and field recordings create a dreamlike sense of revisiting the past—like flicking through faded photographs or Super 8 footage.

From the misty-eyed opener Rayman’s Kingdom through to the closing drift of Alhambra Space Station, the album captures moments of wonder, movement and stillness—sunlit coastlines, long drives, first experiences, and the emotional pull between leaving and returning.

Full sleeve notes from Robert Harris aka Dr Rob from BanBanTonTon

"Al Festa's musical genius was revealed at the age of 14 when was released ''Starway to Escher'' with the Italian prog rock band Bauhaus (1974). His talent continued with "Miss Manhattan" by Metropole Al Festa, Francesco Puccioni (aka Mike Francis), Claudio Giorgi, Sharon Russell vocalist), his very first disco-music song in 1981. Over his career - a dozen movie soundtracks and hundreds music videos - his involvement in the Italo-Disco scene of the early 1980s is noteworthy. Undoubtedly, his contribution to Kristal (himself Al Festa, with Anne Dattner and Max Liofredi) remains most memorable. "Ete Super" was written with Helene Chauvin, a close friend of the now legendary Jeanne Mas. Helene attempted success as Abilene with "Tout Tout Tout Mais Pas Ca" arranged by another Italo-disco legend, Pierluigi Giombini (1987). Returning to Kristal, what convinced Claudio Casalini - one of Al Festa's best friends - to create this vinyl reissue was not only the memory of this talented artist, who passed away prematurely, but also the track "Fallin'" on the B-side, which embodies all the composer's post-Romanticism, a song rich of emotional and sensitivity, with intimate and often dramatic tones. When you are about to purchase Kristal, keep this excellent B-side in mind. You will not regret the choice."

A bad idea rarely arrives all at once, it drifts in slowly, playful at first and impossible to resist. With Bad Idea, Warsaw-based Ukrainian artist uiava delivers Groovebox’s first-ever vinyl release: a five-track journey through house and electro, balancing warmth, tension, groove, and emotion across a 12” and digital EP. Bad Idea Pt.1 opens the record with a playful and constantly evolving house cut full of unexpected turns, swinging grooves, and subtle details. Fellow Warsaw artist PayoYayo reshapes the original into a driving, tool-focused reinterpretation, hypnotic, functional, and built for the darker hours of the dancefloor. On A3, Bad Idea Pt.2 sharpens the rhythm with restless percussion, rolling movement, and stripped-back energy designed to lock bodies into motion without ever standing still. Berlin-based artist Nat Wendell opens the B-side with a timeless nine-minute reform remix of Bad Idea Pt.3. Slowly unfolding and rich in detail, his version expands on the original’s emotional message, transforming it into a patient and powerful club journey suspended somewhere between introspection and peak-time energy. Closing the release, Bad Idea Pt.3 dives into deeper emotional territory, an electro piece filled with fragile melodies, playful tension, and a strong emotional message that lingers long after the last notes have faded away.

Originally composed by Collage in 1985, Herzschlag returns in a newly recorded cover version by Berlin-based synth-wave duo Bionda e Lupo. Describing themselves as a “boy/girl band like no other,” Lupo recreated the NDW-electro tune from the ground up using an impressive array of vintage instruments and studio equipment, including classic synths such as a Pro-One, a Roland Juno-60, and a Farfisa Syntorchestra. Bionda’s distinctive voice adds a new emotional depth to Katrin A. Kunze’s lyrics while still remaining true to the original spirit of the song.

Lupo of Bionda e Lupo has long been a devoted fan of Mit den Puppen tanzen, Collage's only release at the time, originally issued as a 12" single in 1984. Despite never managing to acquire an original copy, he considers the record unique within the German NDW landscape thanks to its unmistakable "Bravo-breakdance-meets-synth-pop" character. Indeed, Markus Kammann, Jürgen Grah, and Katrin A. Kunze drew significant inspiration from the electro-funk pioneers of the era, particularly Afrika Bambaataa's iconic Planet Rock. When we approached Bionda e Lupo about re-editing a track from the Collage's Motel d'amour release, they instead proposed recording an entirely new cover version.

Work on the project began in spring 2025 in coordination with Markus Kammann, who, together with Jürgen Grah, originally composed the music. Sadly, Kammann, born in 1958, passed away unexpectedly on October 17, 2025. This release is dedicated to his memory.
The liner notes reveal additional details about Kammann's remarkable life and achievements. He was the founder of the legendary Beatbox club in Wuppertal, which was once recognized as the "Best Club in Europe," and a co-founder of the Groove Attack record store. Groove Attack would later grow into one of the world's most influential music distributors, especially for Hip-Hop.

The 12" release is limited to 200 copies. Pressed on transparent red vinyl with black "smoke" effects, it comes housed in a picture-disc sleeve with an accompanying sticker. As an additional highlight, the record includes a previously unreleased NDW bonus track recorded around 1983 by Collage. It features Katrin A. Kunze as well as Thomas Kohl, the vocalist of Schwarze Bewegung.

- Red transparend vinyl with black smoke
- Housed in a picture-disc sleeve with large sticker
- Released in memory of Markus Kammann (1958-2025)
- Contains A4-sheet with liner notes
- 5 tracks, including the vinyl only bonus track "Hallo E.T.",
- Quality lacquer cut by Manmade Mastering

WRWTFWW Records announces the return of Louisiana-based composer and producer Jammin’ Sam Miller with A Link To The Past Tribute, his homage to the music of Zelda (A Link To The Past). His remake of the classic video game score is available as a limited edition green vinyl LP with artwork and sticker sheet by French illustrator Pierre Thyss, as well as an obi strip.

Originally composed by the legendary Koji Kondo, the epic 1991 Zelda soundtrack for the Super Nintendo Entertainment System is one of the most celebrated pieces of video game music ever, a sound that will automatically bring fans to a complete state of pixelized nostalgia bliss.

Jammin' Sam Miller entirely remade the soundtrack from scratch, note by note, without sampling any of the original audio. He recorded his cover versions by finding the original equipment used to create the score, translating the MIDI into a modern studio context, adding his keyboard sounds, and re-mixing and re-mastering the whole soundtrack with modern techniques. The result is a new experience of vintage Zelda music in full HD uncompressed glory and blessed with the beloved Jammin’ Sam Miller touch!

Pure heaven for video game music lovers!

2026 Repress

Words by Costanza Acernese
MOVING PRESSURE 04 / Obscur
With its fourth release, Moving Pressure welcomes its first external artist: young Slovenian producer Obscur. With a signature sound that is driving and subtly psychedelic, his debut on the label doesn't stray from the core tenets of its sonic ethos. Obscur delivers minimalism with purpose-dynamic, intentional, and wholly physical.
'F135' opens the A-side with a sinister tilt-rubbery squeaks stretch and coil around a flickering, synthetic voice. It's tactile and strange, without losing movement. 'Soul Eater' follows with a slow-burn crescendo, nestling psychedelic inflections into a warm low-end. On the flip, 'Stockholm Syndrome' pares things back. Dry, stripped rhythms carry an atmospheric tension-it's austere yet playful, leaving space for darker hues to linger without fully settling. A precise, heads-down statement. 'Blasphemy' follows with a tighter percussive grip and Feral-esque, panning modulations. Highs slice through a foundation of finely textured grooves-functional at its core, but laced with enough detail to give the track a sharper, more intricate edge. The digital bonus, 'Diamond City', stretches the sonic palette even further. Not through layers, but through tone: steel blues and deep violets bounce off metallic bleeps with cinematic restraint, closing the EP on a reflective note.

2026 Repress

Founded by Rene Wise, Moving Pressure is a record label aimed to explore the immersive dialogue between soundsystem music and the human body, celebrating the profound connection of sound and movement.

As the inaugural release, Moving Pressure 01 serves as a sonic diary showcasing Rene Wise's music storytelling. Each track on the EP contributes to a harmonious blend of innovation and restraint, inviting listeners to embark on a captivating journey through the artistry of sound and rhythm. Sometimes, it's the space between the notes that resonate the loudest.

For their first release, it was pretty obvious for Hypnophone to give a new life to an all-time favorite but forgotten project : GLO. Released in 1995 on CD’s only, « Even As We » is the first and last album of the duo, composed of Stephan Lewry and Gilli Smyth, both ex-members of the legendary rock band GONG and pioneers of psychedelic music.

This double LP, carefully handcrafted and redesigned, is the result of a lovely 2 years collaboration between Hypnophone and Stephan. A cosmic, unique masterpiece, who also features a new thirteen minutes track, specially produced by Stephan while remastering the album in 2025. In the dear memory of Gilli ♡

Note: Includes two printed inner sleeves, transparent red vinyl and an A5 insert.

Last year Ace Records were delighted to reissue The Brides of Funkenstein’s debut LP from 1978, “Funk Or Walk”. Featuring their hit single ‘Disco To Go’, this album put the Brides on the map and sold strongly.

Before sessions commenced for a second album, Lynn Mabry left the group before sessions commenced for a second album, leaving Dawn Silva alone at the altar. George Clinton added P-Funk backing singers Jeanette McGruder and Sheila Horne to the mix, creating a three-pronged vocal attack.
Sessions featured the cream of the P-Funk players including keyboard wizard Bernie Worrell, bassist Bootsy Collins and guitarist Garry Shider. The resulting album, released in 1979, was even better that their debut.

The title track ran for over 15 minutes on side one, showcasing the vocal and musical prowess of all concerned. Other tracks included ’Party Up In Here’, ‘Smoke Signals’, ‘Mother May I?’ and the gorgeous ballad ‘Didn’t Mean To Fall In Love’.
Although it did not spawn a hit single, “Never Buy Texas From A Cowboy” sold as strongly as “Funk Or Walk” and over time has been hailed as a classic P-Funk album.
With liner notes from Ace’s Ian Shirley, we are delighted to release it on orange vinyl and CD. You don’t need your mother’s permission to buy it either.

Repress!

Bikini Kill Records is excited to reissue of The Singles, on both vinyl and compact disc. This is the first time that it has been released as a 12-inch (special note for all you vinyl fanatics, we managed to keep it at 45rpm for better sound quality)! The Singles was initially released in 1998 as a CD only compilation of all of BIKINI KILL's 7's. Once called "their defining document" by Pitchfork it includes Bikini Kill's legendary collaboration with JOAN JETT on the New Radio (1993) single as well as the long out of print Anti Pleasure Dissertation (1995) and I Like Fucking (1995) singles.

New 4-track Ep From Austin, Texas Analogue Hardware Enthusiast Bill Converse. Immersed In The Early Days Of The 90s Midwest Rave Scene, Bill Began Djing At A Young Age In Lansing, Michigan. Luminaries Such As Claude Young, Traxx, And Derrick May Were Key Early Influences. Techno, Noise, Ambient And Tape Processing Are All Part Of His Uncanny Sound Palette. His Debut Album 'meditations/industry' Was Released On Cassette In 2013 And Edited For A Vinyl Release On Dark Entries In 2016 Followed By Two 12' Singles 'warehouse Invocation' And '7 Of 9' The Same Year. In 2017 Converse Released His Second Album 'the Shape Of Things To Come' Followed By The Double Ep 'salt Of Mars'.

'hulled' Is A 25 Minute Journey Spread Across 4 Tracks Of Glacial Abandon. All Tracks Were Recorded Directly To Tape With No Overdubs, Made At Converse's Home Studio. Bill Says These Tracks Represent 'ocean Waves In Stormy Conditions, Dark Grey Blue Water, Or More Generally Speaking Something Ominous And Beautiful.' The Songs On This Album Reveal A Sublime Influence From Detroit Techno, Idm, And Acid. Built Around Vintage Synthesizer Lines And Gritty Drum Machine Percussion, The Tracks Ebb And Flow Like The Effect Of Sun Shimmering On Water, Woozy, Gauzy And Ephemeral. All Songs Were Mastered For Vinyl By George Horn At Fantasy Studios In Berkeley.

Each Ep Is Housed In A Die-cute Jacket Designed By Eloise Leigh With Peachy Pink Patterns Landing On An Alien Water Planet And Seeing Mysterious Playing Forms Under The Turquoise Water. Each Copy Includes A Postcard Featuring Photo Of Bill With Notes.

Cat.no.: De 222
Format: Ep

Tracklisting

Indulge in a delicious audiophile preview with this Appetizer 12" from the upcoming 2024 compilation by Swiss DJ Princess P. This musical amuse-bouche offers a taste of her eclectic sound, in anticipation of her full, richly curated collection.

Swiss DJ Princess P, known for her eclectic sound, has been a dynamic presence in the electronic scene since the 90s. From her early days exploring house music to working at Plattfon Records, she's honed a genre-defying style. Her sets, a blend of savory house with indie and techno, are renowned at clubs and festivals alike, showcasing her deep musical knowledge and innovative spirit.

Half Speed Cutting and mastering by Sidney Meyer @ EBS Berlin Studios (formerly Deutsche Grammophon).

Liner notes by Kirk Degiorgio

Eclection’s lack of commercial success remains a mystery to this day. This selection of BBC Top Gear recordings demonstrates their song-writing strength and musical prowess. Only three tracks appeared on the band’s sole studio LP: the remaining nine songs suggest what a second LP might have sounded like. Highly recommended to fans of Fairport Convention, with whom Eclection share some musical DNA.
Comes with full recording credits and extensive sleeve notes.
Recording Quality Very Good/Excellent throughout.

The Temptations Get High on Psychedelic Soul: Cloud Nine Soars with Ambitious Arrangements and Production, Features Standout Vocal Performances and Instrumentation by the Funk Brothers

The Temptations’ Cloud Nine announced that Motown — and “The Sound of Young America” — would never be the same. Influenced by the emergence of cutting-edge rock and pop currents, as well as increasing sociopolitical turmoil, the album broke down barriers between rock, psychedelia, and soul while heralding the arrival of visionary arrangements and production techniques. Bookended by traditional R&B numbers, the 1969 record sent the Temptations in bold new directions and signaled the advent of psychedelic soul.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45PM 2LP set presents Cloud Nine in audiophile sound for the first time on a domestic pressing. This collectible reissue bestows Norman Whitfield’s extraordinary production with the grand-scale dynamics, natural tonality, expansive openness, and low-end weight it deserves. The timbre of each of the five members’ voices is readily identifiable — even within the group harmonies — bestowing a realism never experienced outside the recording studio.

Making its debut on 45RPM, the album further benefits from the wide groove space by playing with greater separation and more realistic presence than prior editions. Everything from the brassiness of the horns to the dry snap of the snare comes across with reference-grade clarity and positioning. And since Motown’s renowned Funk Brothers backing band plays on many of the cuts, you’ll want to savor every note. The imaging, soundstaging, and organic bloom-and-decay of the notes make that possible.

Amid Cloud Nine, the instrumentation and architecture stand out as much as any element. Never before had a Motown album contained such ambitious patterns and complex passages. Seemingly conscientious of the departure from their past methods, the Temptations and Whitfield bunched together the tracks that mark a deep dive into psychedelic territory and counterbalance them with seven sterling soul cuts that dovetail with Motown tradition drenched with heartfelt vocals, swelling strings, and finger-snapping beats.

On the original 33RPM release, traditional Motown soul — laden with heartfelt vocals, swelling strings, and finger-snapping beats — occupies Side Two. These songs reveal an ensemble still very much on top of delivering pristine pop-soul material graced with romantic sweetness, persuasive insistent, and soaring highs. Re-energized after the departure of lead singer David Ruffin, who was fired for a variety of reasons in June 1968, the Temptations seamlessly meld with his replacement, Dennis Edwards, on one melodic gem after another.

The collective tackles five songs co-written by the legendary Motown team of Barrett Strong and Whitfield. Not the least of which are the smooth, shuffling “Why Did She Have to Leave Me (Why Did She Have to Go)” and deceptively simple, horn-spiked “Gonna Keep on Tryin’ till I Win Your Love.” On these tracks, as well as on a lush rendition of the ballad “Love Is a Hurtin’ Thing” and pleading, tender send-up of the Gerry Goffin-Carole King classic “Hey Girl,” Edwards and Paul Williams take turns on the lead with the estimable Eddie Kendricks, Melvin Franklin, and Otis Williams providing backing support.

All five vocalists trade-off leads on the simmering title track, a groundbreaking composition shot through with wah-wah-pedal effects, liquid funk, deep bass lines, Cuban percussion, saturated reverb, and gang choruses. Whitfield mines each member’s natural vocal range with spectacular results, keeps time with cymbals, and channels both the heated temperatures and escapist desires of a society embroiled in war, conflict, and experimental drugs.

Amazingly, the Temptations top themselves on the similarly revealing “Run Away Child, Running Wild.” Nearly 10 minutes in length, the song explodes R&B parameters and harbors a cinematic scope. Urgent pianos, distorted guitars, stripped-down percussion, steamy Hammond organs, minimal bass motifs, five distinct voices narrating the tale of a boy who fled home and now finds himself amid the scary, unforgiving external world: They combine to give the urgent tune a walls-closing-in atmosphere where fear and desperation reign. Bolstered by an extended instrumental section that precedes a climactic return of the singers’ voices, “Run Away Child, Running Wild” equaled the success of the record’s title track, with both reaching No. 6 on the pop charts.