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Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 2 contains a wealth of notable tracks and slept-on gems. These include Q’s ‘From Within (Body Mix)’, a lesser-known cut from the trio better-known as Quazar (Gert van Veen, R.o.X.Y co-founder Eddy De Clercq and Eric Cycle), Eric Nouhan’s melodic masterpiece ‘Technobility’, which is appearing on vinyl for the first time since 1994, and a rare collaboration between regular production partners Maarten van der Vleuten and Mike Kivits (better known as Aardvarck), which was initially released on a special R&S Records’ offshoot set up by the label’s co-founder, Renaat Renaat Vandepapeliere (Integrity II’s ‘Living In Fantasy’).

Other highlights include Exposure’s ‘Love Quest’, a highly sought-after 1991 track by The Hague-based DJ/producer Maurits Paardekooper, and an ambient-infused Andrew Weatherall favourite originally released by Stealth Records in 1993, Hole In One’s ‘Spiritual Ideas For Virtual Reality’.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 1 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 3 is packed with in-demand tracks and hard-to-find gems, including a previously CD-only cut from Dutch techno originator Orlando Voorn (1999’s ‘Still’), a genuine rave classic from The Hague by hardcore DJ Charly Lownoise as Fluxland, and a killer cut from prolific producer – and genuinely influential pioneer – Aad De Mooy AKA D-Shake. He’s represented on this volume by Paradise 3001 cut ‘Surfin The Cuban Waves’, which first appeared on ESP Records in 1993.

Other highlights include Direct Movement’s ‘Natural Chemistry’, a sought-after slow house cut produced by Dennis Buné, who had an enormous impact on the Dutch house scene as Jaimy, and ‘Delphi (Rewaxed)’ by NYX, a highly regarded and hard to find single from former new wave and synth-pop producer Bart Barten, and occasional studio partner Hanz Meyer.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 3 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

Video Age make breezy and timeless songs that are so ine­able, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

Video Age make breezy and timeless songs that are so ine­able, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

Video Age make breezy and timeless songs that are so ine­able, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

Sea Blue in Coke Bottle Clear Vinyl.

Because Hold, Jack Tatum's fifth album under the moniker Wild Nothing, was written in the aftermath of new parenthood during the pandemic, it was probably inevitable that it would be searching and existential music. But during the recording process, the artist known for synth-pop tastefulness used it as an opportunity to reach for a new sonic maximalism and wider set of influences. With contributions from longtime collaborator Jorge Elbrecht, Tommy Davidson of Beach Fossils and Hatchie's Harriette Pilbeam, first single "Headlights On" features an acid house-worthy bass groove and breakbeat that prove Tatum is playing for the rafters. Tatum produced the rest of the record on his own, partially out of necessity, due to the challenges of the pandemic. The songs were eventually brought to Adrian Olsen at Montrose Recording in Richmond to begin recording drums and filling in the gaps. While largely a product of isolation, Hold also reflects the things Tatum has learned from collaborators, both on previous records and during his acclaimed work with Japanese Breakfast and Molly Burch. The rest of the record was mixed by Geoff Swan, who listeners might know for his work with Caroline Polachek and Charli XCX. Swan put Tatum's vocals high in the mix, and throughout the album, he embraces playful vocal processing like never before. Tatum moved from Los Angeles back to his home state of Virginia about five years ago in search of a scaled-back lifestyle. The relatively suburban environment - and the occasional regret it inspired - proved to be great artistic fodder. It's the paradox of modern America - the suburbs are supposed to be stultifying to art, but they are so full of human desperation perfect for dramatizing. On "Suburban Solutions", he presents an anti-jingle with an acidly bright synthesizer melody, imploring you to sign on the dotted line, put your feet up, and embrace sweet oblivion. Adding to the song's menacing cheeriness is a chorus-sung bridge, made with assistance from Molly Burch and Tatum's wife, Dana, It was loosely inspired by the classic Martika song "Toy Soldiers" and the long-ago pop craze for children's choirs, and he embraces the trend's less-than-stellar reputation. By design, Hold dwells in uncertainty and fear, but in a package that encourages meditation and a bit of fun. "In the face of the pandemic, I think being a parent really forced my hand," Tatum said. "I felt that I had no other choice but to have a positive outlook on the world. Because if I were to give in at any moment and say, "Oh, everything is horrible," then I'll feel as if I've lost and I've given up on my son being able to thrive in this world."

Sea Blue in Coke Bottle Clear Vinyl LP + artist signed art print. Only 200 available.

Because Hold, Jack Tatum's fifth album under the moniker Wild Nothing, was written in the aftermath of new parenthood during the pandemic, it was probably inevitable that it would be searching and existential music. But during the recording process, the artist known for synth-pop tastefulness used it as an opportunity to reach for a new sonic maximalism and wider set of influences. With contributions from longtime collaborator Jorge Elbrecht, Tommy Davidson of Beach Fossils and Hatchie's Harriette Pilbeam, first single "Headlights On" features an acid house-worthy bass groove and breakbeat that prove Tatum is playing for the rafters. Tatum produced the rest of the record on his own, partially out of necessity, due to the challenges of the pandemic. The songs were eventually brought to Adrian Olsen at Montrose Recording in Richmond to begin recording drums and filling in the gaps. While largely a product of isolation, Hold also reflects the things Tatum has learned from collaborators, both on previous records and during his acclaimed work with Japanese Breakfast and Molly Burch. The rest of the record was mixed by Geoff Swan, who listeners might know for his work with Caroline Polachek and Charli XCX. Swan put Tatum's vocals high in the mix, and throughout the album, he embraces playful vocal processing like never before. Tatum moved from Los Angeles back to his home state of Virginia about five years ago in search of a scaled-back lifestyle. The relatively suburban environment - and the occasional regret it inspired - proved to be great artistic fodder. It's the paradox of modern America - the suburbs are supposed to be stultifying to art, but they are so full of human desperation perfect for dramatizing. On "Suburban Solutions", he presents an anti-jingle with an acidly bright synthesizer melody, imploring you to sign on the dotted line, put your feet up, and embrace sweet oblivion. Adding to the song's menacing cheeriness is a chorus-sung bridge, made with assistance from Molly Burch and Tatum's wife, Dana, It was loosely inspired by the classic Martika song "Toy Soldiers" and the long-ago pop craze for children's choirs, and he embraces the trend's less-than-stellar reputation. By design, Hold dwells in uncertainty and fear, but in a package that encourages meditation and a bit of fun. "In the face of the pandemic, I think being a parent really forced my hand," Tatum said. "I felt that I had no other choice but to have a positive outlook on the world. Because if I were to give in at any moment and say, "Oh, everything is horrible," then I'll feel as if I've lost and I've given up on my son being able to thrive in this world."

The new record is Bombino’s first full album in over
five years, and follows 2018’s ‘Deran’, which garnered
praise like, “the Sultan of Shred” from The New York
Times, and “the World’s Best Guitarist” from Vice.

Paisley Park Enterprises, in Partnership with Sony Music Entertainment and Warner Records, announces expanded reissue of Prince & the New Power Generation’s multi-platinum album Diamonds And Pearls. This 12LP+ Blu-ray features 47 previously unreleased tracks and over two hours of live filmed concert footage in high definition.

Following the successful release of the 1999 Super Deluxe Edition (2019), and Sign O’ The Times Super Deluxe Edition (2020), the Diamonds And Pearls Super Deluxe Edition represents the third deep dive into Prince’s vault. It includes a total of 75 audio tracks across 7x CDs and 12x 180g vinyl records.

The set offers a newly remastered version of the album, plus 15 of the incredible remixes and B-sides from the era, including the never commercially released “Gett Off (Damn Near 10 Min.)” mix. The Super Deluxe Edition also features 33 previously unheard studio gems from Prince’s Illustrious vault, ranging from alternate versions of album tracks to numbers Prince gave away to other artists, and songs recorded while on the road in 1990.

Prince & The NPG previewed the Diamonds And Pearls Tour at Prince’s Minneapolis club, Glam Slam, on January 11, 1992. The sweaty, sold-out, last-minute show captures the sheer joy and sense of endless possibility that came to define this era. This previously unreleased live concert performance has been mixed from the 24-track master and rounds out the audio content of this 12LP set.
This same previously unreleased concert is also presented in stunning 2K video on the Blu-ray disc that accompanies both Super Deluxe Edition formats, in Stereo, 5.1 Dolby True HD, and Dolby ATMOS audio formats. The Blu-ray also features Prince & The New Power Generation’s performance at The Special Olympics at the Metrodome in Minneapolis in July 1991 (also in Stereo, 5.1, and ATMOS), as well as a previously unseen soundcheck.

The Blu-ray is completed by the long out of print Diamonds And Pearls Video Collection, originally released on VHS and LaserDisc in 1993. The 120-page hardback book which accompanies the SDE set features unseen photos by Randee St. Nicholas, and essays by: author & broadcaster Andrea Swensson; Archivist and Senior Researcher for the Prince Estate Duane Tudahl; British music critic and Prince expert Jason Draper; De Angela L. Duff, an Industry Professor at NYU Tandon School of Engineering in Brooklyn; Social Media Personality KaNisa Williams; and an introduction from Public Enemy founder, Chuck D.

Wewantsounds is delighted to announce the release of "TOUCH," a selection of sought-after tracks produced by Yuji Ohno, one of the most revered producers and arrangers on the Nippon music scene. His blend of Jazz, Space Funk and Disco have long been highly sought-after by DJs around the world and we've been given unique access to the Nippon Columbia vaults and to Mr. Ohno himself to come with a versatile selection from his 70s body of work, all bearing his uniquely recognisable sound. The set includes works with singers Nanako Sato, Hatsumi Shibata and Ken Tanaka alongside tracks from his cult anime soundtracks for "Lupin III" and "Captain Future." Approved by Yuji Ohno himself, "Touch" was remastered in Tokyo by Nippon Columbia and features liner notes by Nick Luscombe in conversation with the maestro and artwork by Optigram's Manuel Sepulveda.

Born in Atami in 1941, Yuji Ohno started learning the piano at a young age and formed his own band during his teenage years, getting into Jazz in the process. After high school, he entered the prestigious Keio University in Tokyo and played in the revered university big band alongside two other pianists, Masahiko Sato and Hirosama Suzuki, who would have an illustrious career in their own right. After University, Ohno became a professional musician and started playing with the new wave of Japanese Jazz musicians forming his own trio and recording with the likes of Hideo Shiraki, Terumasa Hino and Masahiko Togashi from 1967 onwards.

At the turn of the 60s, Ohno started to veer away from the Jazz scene as he realised, as told to Nick Luscombe that "the jazz music being played by the Japanese at the time was only chasing the cutting edge, and was ignoring the roots and origins of jazz." Ohno therefore shifted his efforts to film and TV and also to producing artists for various Japanese labels, becoming one of the most in-demand composers, arrangers and producers in Japan. This is when Ohno developed his unique sound across a wide variety of styles. More than anything else, he got renowned for his anime soundtracks, particularly with the Lupin III series - represented here by the superbly funky "Silhouette" - which made his fame in Japan

Whether it's jazz, funk, disco or Pop, the "Ohno Sound" is unmissable both in terms of melodies and arrangements, on a par with those of such legends as Quincy Jones and Michel Legrand. Ohno's melodies are sophisticated yet accessible and there's a great sense of space in his productions especially when it comes to slow-burning grooves as heard on "Kirameku Inner Space" from the cult anime soundtrack "Captain Future" or "The Soaring Seagull" from the sought-after 1975 album "Electro Keyboard Orchestra." This album was recorded with seven fellow musicians including Kentaro Haneda and Ohno's old friend, Masahiko Sato and using twenty Korg synths to create a unique blend of futuristic jazz funk. "The Soaring Seagull" could be the perfect embodiment of Ohno's signature sound when it comes to instrumentals. The producer was however equally at ease with producing lush disco extravaganzas such as "Subterranean Futari Botchi" by Nanako Sato or "I Wish You Love" by Hatsumi Shibata, a revamp of Charles Trenet classic, both colourful and glitzy.

Ohno's versatility is on display here with a couple of jazz vocal tracks, "Speak Low" by Ann Young accompanied by the Yuji Ohno Trio and Mieko Hirota's fast and furious "I Want to Be Happy" while he also excelled at crafting gorgeous mellow songs such as Ken Tanaka's "Lilac-gai No Aki" and Hatsumi Shibata's "Mouichido Kikasete" closing the selection on a perfect note. "Touch" is just a tiny selection from Yuji Ohno's immense body of work and it will hopefully open the ears of Japanese music lovers to one of the most important musician, producer and arrangers of his generation.

The first Latin soul collection featuring a mix of chart-topping hits and deeper cuts from the crown jewel of the mambo era Tico Records, celebrating the iconic imprint’s 75th Anniversary. The 2-LP set includes 26 tracks from trailblazers Tito Puente, Ray Barretto, Joe Cuba, Celia Cruz, Eddie Palmieri, La Lupe, Willie Bobo and more. New liner notes by DJ Dean Rudland that tell the story of the New York City label that launched the careers of some of the most revered names in Latin music.

Two visionary maestros, Pierre Bastien and Michel Banabila, unite in their first collaborative album, Baba Soirée. The veterans of electronic music bring their unique expertise to the table, resulting in a captivating fusion of experimental styles. Bastien’s mechanical loops and experimental instrumental setups merge seamlessly with Banabila's sound design and impeccable skills of sampling collages. It's not a dance party, nor is it an avant-garde intervention. It's a soirée: a cultivated evening of sonic alchemy hosted by these two charismatic gentlemen.

Pierre Bastien is a composer and multi-instrumentalist with a background in French literature. He has spent decades crafting an idiosyncratic world of experimental sound with his self-built mechanical orchestra Mecanium. It was most notably showcased in audiovisual releases on Aphex Twin's Rephlex label. Bastien's creations are a mesmerizing combination of traditional instruments (he has a vast collection) and mechanical automatons. The violin in the track Rotomotor, for example, is physically played by one of his machines. In Baba Soirée, Bastien also plays a prepared cornet (Slow Dance, Banbas Aura), infusing the recordings with a breathy, dreamy dimension.

Michel Banabila, a sound artist, composer and producer, possesses an eclectic musical repertoire that defies genres. His seamless blend of minimal electronica, tribal ambient, and neo- classical influences has earned him a prominent place in the world of experimental music, and an impressive discography (Knekelhuis, Bureau B, Séance Center, a.o.). Banabila serves as the creative sampling editor for Baba Soirée, expertly weaving together the recordings to craft an evocative sonic tapestry.

The two share a curiosity for traditional instruments from various cultures. The instruments used in the recordings are shown in the cover artwork. A mutual admiration for each other's work paved the way for this fruitful artistic partnership of the Rotterdam-based artists: Collaborating on a single as a fundraiser for Yemen in 2022 set the stage for the creation of Baba Soirée.

For Pierre Bastien, Dada, Fluxus and International Situationism have played a significant role in shaping his artistic vision. The title Baba Soirée is an homage to Kurt Schwitters and Theo van Doesburg's "Kleine Dada Soirée" collaboration which took place exactly a century ago. There's an unmistakable stoicism and an anarchic not-giving-a-f*** attitude in these recordings by Bastien & Banabila, which resonates in the light of this Dada reference.

«YENTL: Deluxe 40th Anniversary Edition» feiert den 40. Jahrestag der Veröffentlichung des Films und des Soundtracks Yentl. Disc 1 enthält den Original-Soundtrack zu Yentl, und Disc
2 enthält 15 Tracks, die Barbra als Demos in ihrem Wohnzimmer auf einem Stereo-Kassettendeck aufnahm, um den Film zu drehen, wobei Barbra jeden Track kommentiert. Bei den
Aufnahmen wird Barbra nur von Michel Legrand am Klavier begleitet

Das fing mit Superpunk Mitte der 90er vollkommen ambitionslos an. Plan war es, eine Band zu gründen, um auf Partys Kracher aus den Sixties zu spielen. Leider scheiterte die Band bereits an relativ simplen Garage-Rock-Klassikern wie "I need you" von den Kinks. Und wer hätte gedacht, dass "Friday on my mind" derart viele Akkorde hat? Das kann sich doch nun wirklich kein Mensch merken. Da erschien es erheblich einfacher, sich eigene Songs auszudenken, konnten andere schließlich auch. Aber erst mal musste ein Name her. Zur Auswahl standen "Fifi", "Schnellbus", "Hamburg Spinners", "Superminister Riesenhuber" und "Superpunk". Mit einfacher Mehrheit und wie immer ohne viel nachzudenken, entschied man sich für letzteres Mit den ersten eigenen Songs wurden dann richtige Konzerte gespielt, die zum Teil gut ankamen. Bei einem dieser Auftritte war auch Thies. Dem gefiel, dass die Band, jetzt aus dem Stegreif memoriert, "wie eine total zerkratzte Ray-Charles-Platte auf falscher Geschwindigkeit" klang. So gut gefiel das dem Thies, dass er fortan als Keyboarder dabei war. Und das ist auch wirklich eine treffende Beschreibung für den frühen Superpunk-Sound. So, jetzt aber: Es wurden fleißig eigene Songs gemacht und als genügend da waren, dachte sich die Band: "Die könnten wir eigentlich mal aufnehmen." Auf der Straße, irgendwo zwischen "Eis-Gerd" und "Pudel" trafen sie Bernd Begemann, der sagte: "Ich habe einen 4-Spur-Kassettenrekorder, ich nehme euch auf!". "Toll, danke, Bernd!" Und so brachte Bernd seinen Kassettenrekorder, mehrere Kassetten (die teuren, Chrome II), Mikrophone und eine seltsame Apparatur (ein Stimmgerät) mit in den Übungsraum im Bunker bei der Apostelkirche und nahm mit einer Engelsgeduld das Album auf. Auf der Straße, irgendwo zwischen "Heinz Karmer"s" und "Komet" traf die Band dann Bernd Kroschewski, der sagte: "Ich habe ein Label, ich bring euer Album raus!" "Toll, danke, Bernd", hieß es erneut. Und so erschien ziemlich genau vor 25 Jahren "A bisserl was geht immer" auf Fidel Bastro. Da waren, muss man zugeben, etliche Hits drauf: "Matula, hau mich raus", "Ich kann nicht nein sagen", "Das ist heute nicht Dein Tag", "Die Axt im Walde". Aus der ambitionslosen, verhinderten Partyband wurde dann doch noch eine (beinahe) richtige Band, mit Platte und Label und dem ganzen Schnick Schnack. Sogar auf Tour sind Superpunk mit dem Album gegangen, das war was, zwischen Hölle (null Zahlende in Kassel) und Himmel (ausverkaufter Pudel, Rekordgage von 300 Mark + gekühlte Freigetränke). Falls ihr noch nie "A bisserl was geht immer" gehört habt, stellt euch eine Mischung aus 39 Clocks, Cockney Rejects und dem Ramsey Lewis Trio vor. Zugegeben, leichte Kost ist das nicht, aber einer, wenn nicht der einzige Meilenstein des Hamburger DIY/ Outsider/Beats

Founded and curated by DJ and producer Samantha Togni, Boudica is a platform that aims to give visibility to women, trans* and non-binary artists. Since the platform was first launched in 2019, Boudica has evolved into a series of club events in London at venues like The Pickle Factory, Fold and E1, a radio show, a music conference and a record label.

Boudica's mission is to promote greater gender equality within the music industry. By showcasing diverse role models from marginalised communities across the music industry, they aim to engage and inspire young and upcoming artists to pursue music careers irrespective of their background and experience within the field.

In 2020, they launched the inaugural Boudica Music Conference at Freemasons' Hall. The full day included educational panels, workshops and live music designed to encourage more artists from marginalised genders to pursue careers in the music industry. In 2022, Boudica not only held London's edition of the conference at the same venue, but they also expanded to Europe. In partnership with Pioneer DJ, they held their first edition of the conference abroad in Bologna at the Museum of Modern Art. Boudica Music Conference is touring in Europe in 2023, featuring talks, workshops alongside Pioneer DJ and club nights.

Last year, they launched the Boudica label, to support and celebrate female, trans+ and non-binary producers. Supported by Arts Council England, the label features artists such as Feminyst, Nur Jaber, Wanton Witch, OCD, Infinity Dreams, Peachlyfe, Yazzus and founder Samantha Togni. Their previous releases have garnered support from major music publications such as RA and Mixmag, resulting in a third VA release.

The third vinyl, 'Dark As It Gets', is a reflection of Boudica's continual musical evolution. The release marks a first for the platform, as they issued a callout for trans+ producers across the world to send in a track to be included on the vinyl. 'Dark As It Gets' by MIIIA was selected, and the title not only encapsulates the EP's energy but also Boudica's drive to support upcoming artists in the electronic music space.

The third vinyl commences with Rotterdam-based duo Animistic Beliefs' 'Vu Sua La Gi?'. The atmospheric track begins with menacing synths that are soon after enmeshed with vogue, gqom and percussive vocal chops that build towards a rewarding, melodic breakbeat cadence at its close.

New York-based Jasmine Infiniti's 'Top Shop' is the second track on the release. Skittish breaks and warped vocals skip across brooding, muted chords that eventually dissipate to reveal a hypnotic synth melody.

The vinyl's B-side begins with Metaraph's 'Emotional Intelligence'. The track marries pummelling kick drums, heady chords and transcendent melodies, all of which serve to guide the listener from triplet hard bass to trance bliss.

Finally, the title track, 'Dark As It Gets', produced by competition winner MIIIA, delivers a powerful sonic ending to the vinyl. In her own words, the track's relentless momentum and intricate incorporation of sampling leads listeners on a 'hypnotic, sassy and intense' techno journey from beginning to end. The uncompromising track's fierce groove emblematizes Boudica's third vinyl commitment to forward-thinking, idiosyncratic production.

The third vinyl concludes the initial Boudica trilogy, depicting members of the Boudica community as contemporary royalty, drawing inspiration from the queen herself.

The first release of Clinical Records is here! This brand new label combines repressing old gems with newly produced tracks by upcoming producers that are inspired by the sound from back in the day that we all like!

The A side is originally from Sleepwalker, 1 out of 3 from the trio Boom Generation. Both of the tracks were originally release in 1992!

A1 - Saying Hi There is an energetic, upbeat track with a driving bassline that will get any party going.

A2 - Fruitface comes with an infectious groove and old school stabs which are perfect for any warmup set.

B1 - Push Me Up is from new artist Ben Diggins and combines a heavy sub with groovy piano chords and a steady groove, one for the house heads!

B2 - Loosduinseweg is from Boss Priester, an artist that is really making way for himself. He puts a new touch to old school sounds with a groove to die for, a must have!

Jetzt ist dann aber Schluss mit der Gemütlichkeit! Christian Fuchs und David Pfister haben als Mitglieder der Brachial-Wienerlied-Kapelle "Neigungsgruppe Sex, Gewalt & Gute Laune" die österreichische Dialektpop-Welle maßgeblich mitinitiiert. Jetzt gehen sie als Die Buben im Pelz wieder einen Schritt weiter. Und gleichzeitig zurück. Und finden, dass das Wienerlied auch wie Velvet Underground mit Meidlinger L klingen kann. Oder im Sinne legendärer Ahnherren wie Helmut Qualtinger oder Gerhard Rühm, wie ein Zyankalizuckerl schmecken muss, das im weißen Spritzer aufgelöst wird. Aufgenommen im steirischen Studio des Produzenten Bernd Heinrauch eingespielt mit einer großartigen Schar von GastmusikerInnen und FreundInnen gelingt Fuchs und Pfister auf ihrem gemeinsamen Debütalbum ein Rotzbubenstück sondergleichen. Inklusive roher Gewalt und abgedrehten Sex'n'Drugs-Stories, aber auch rasiermesserscharfem Pop&Trash-Appeal. Da wimmelt es in den Songs von Protagonisten in grindigen Pelzen und engem Leder, die sich die sunglasses after dark auf die Schnapsnasen drücken. Tatsächlich schnappen sich die Buben im Pelz, frei nach Sacher-Masoch, das heiliggesprochene erste Velvet Underground Album - ja, das mit dem Bananen-Cover! - und übersetzen die wild aufgekratzte Energie und speckig-dreckige Lust der Stücke ins gache und goscherte Wienerische. Der hektische Großstadtspeed des einstigen New Yorks kracht auf die aktuelle schäbige Noblesse der Donaumetropole. So scharf und modern nach Großstadt triefend hat Wien schon lange nicht mehr geklungen. So aufregend gefährlich gfeanzt und finster auch nicht. Der Tod ist ein Wiener und er trägt jetzt Pelz. Und jetzt ist die gesuchte Debut-Platte der Buben im Pelz als hochwertige 180g-Vinyl-Neuauflage wieder erhältlich, neu umgeschnitten und mit besserer Klangqualität als bisher. Auch eine CD-Version im Digipak ist lieferbar.

Jetzt ist dann aber Schluss mit der Gemütlichkeit! Christian Fuchs und David Pfister haben als Mitglieder der Brachial-Wienerlied-Kapelle "Neigungsgruppe Sex, Gewalt & Gute Laune" die österreichische Dialektpop-Welle maßgeblich mitinitiiert. Jetzt gehen sie als Die Buben im Pelz wieder einen Schritt weiter. Und gleichzeitig zurück. Und finden, dass das Wienerlied auch wie Velvet Underground mit Meidlinger L klingen kann. Oder im Sinne legendärer Ahnherren wie Helmut Qualtinger oder Gerhard Rühm, wie ein Zyankalizuckerl schmecken muss, das im weißen Spritzer aufgelöst wird. Aufgenommen im steirischen Studio des Produzenten Bernd Heinrauch eingespielt mit einer großartigen Schar von GastmusikerInnen und FreundInnen gelingt Fuchs und Pfister auf ihrem gemeinsamen Debütalbum ein Rotzbubenstück sondergleichen. Inklusive roher Gewalt und abgedrehten Sex'n'Drugs-Stories, aber auch rasiermesserscharfem Pop&Trash-Appeal. Da wimmelt es in den Songs von Protagonisten in grindigen Pelzen und engem Leder, die sich die sunglasses after dark auf die Schnapsnasen drücken. Tatsächlich schnappen sich die Buben im Pelz, frei nach Sacher-Masoch, das heiliggesprochene erste Velvet Underground Album - ja, das mit dem Bananen-Cover! - und übersetzen die wild aufgekratzte Energie und speckig-dreckige Lust der Stücke ins gache und goscherte Wienerische. Der hektische Großstadtspeed des einstigen New Yorks kracht auf die aktuelle schäbige Noblesse der Donaumetropole. So scharf und modern nach Großstadt triefend hat Wien schon lange nicht mehr geklungen. So aufregend gefährlich gfeanzt und finster auch nicht. Der Tod ist ein Wiener und er trägt jetzt Pelz. Und jetzt ist die gesuchte Debut-Platte der Buben im Pelz als hochwertige 180g-Vinyl-Neuauflage wieder erhältlich, neu umgeschnitten und mit besserer Klangqualität als bisher. Auch eine CD-Version im Digipak ist lieferbar.

Das bahnbrechende Album Spirit Trail von Bruce Hornsby aus dem Jahr 1998 wird dieses Jahr 25 Jahre alt. Im September werden BruceHornsby & The Noisemakers eine Herbsttournee, um diesen Anlass mit einer Spirit Trail:25th Anniversary Edition Box-Set.Spirit Trail 25th Anniversary ist ein 3-Album-Boxset, das das remasterte Album, vier unveröffentlichte Tracks und zehn Live-Songs enthält unveröffentlichte Tracks und zehn Live-Songs.

Dark Red Vinyl. Lambent Material is the debut album by Eluvium , the moniker for composer Matthew Robert Cooper 's sonic experiments and explorations. First released in May of 2003, Lambent Material was immediately recognized as much for its artful simplicity as it was for its deceptive complexity - an album of melodic austerity, alien transmissions, and titanic waves of cathartic noise. Previously only available on vinyl as part of Eluvium 's Life Through Bombardment Vol. 1 box set (a 7xLP collection released in 2008 that has been sold out for well over a decade), Lambent Material - Anniversary Edition finally gets its first standalone vinyl release. Beautifully remastered for vinyl by LUPO at Loop_O Mastering, it is packaged in a full-color jacket and heavyweight inner sleeve with fully restored original artwork.

Confidence Freaks Me Out is an exercise in patiently constructed joyous absurdity. Each compositional choice was guided by a desire to confound and amuse. Scaffolded by process-first mutant serialism and maximalist cheek, the album crams every inch of the canvas with stimulation, tempered by a lighthearted stupidity. It’s artrock with a bit of orchestral goof, a timid ensemble with party hats on, two composeurs playing musical parlour games

Chicago-based producer/multi-instrumentalist Ben Billington makes music under the name Quicksails.

A pillar of the Chicago experimental scene and its branches across the midwest and national DIY circuits, Billington has enriched his communities through overlapping roles as a musician and curator /
promoter of freak sounds for more than two decades. In addition to his work as a solo artist, he has performed with bands such as ONO, ADT, Circuit Des Yeux, Tiger Hatchery, and Ryley Walker’s
band. Billington’s solo recordings as Quicksails encompass everything from free jazz-inspired electro-acoustic production to rhythmic synth-pulse tapestries to music focused on what could be
considered one primary instrument among the many he works with: the drum kit and auxiliary percussion. Surface, his fifth release to appear on Hausu Mountain, combines all of these idioms into
one diverse program while also expanding his palette to rope in his more recent experiments with touch-sensitive custom synthesizers and modular systems. Surface shimmers with a sense of tonal
sophistication and emotional resonance that sets a high-water mark for the Quicksails project.

The album’s mind-bending juxtapositions of electronic and acoustic sound sources of contrasting fidelities charge each composition with energies at once alien and familiar — rooted in free improvisation and
jazz traditions while streaking off into realms of lush synth arrangement, and textural abstraction.


Within Quicksails’s dense fields of sound, one voice stands out with particularly bold contrast: the saxophone of modern experimental stalwart Patrick Shiroishi (Fuubutsushi, The Armed, a multitude of
improvised collaborations on labels like Astral Spirits and Touch Records), who guests on three of the album’s ten tracks. Shiroishi’s sax performances alternately burst out in squalling atonal spirals and
glow with neo-noir melodicism as if glimpsed in the smoke under a streetlamp on a darkened city corner.

History has shown that the greatest bands–bands with that certain, ever elusive quality called lasting power–neither conform to nor buck the trends of their time, but rather force the times to catch up to them. Sheer Mag has such lasting power in droves. After almost a decade spent carving out a career that has already become the stuff of modern underground legend, the band’s new stand-alone single, “All Lined Up,” comes alongside the announcement of their signing to Third Man Records–their first partnership with a larger independent label–who will also be physically and digitally re-releasing the entirety of Sheer Mag’s back-catalogue, including their cult-beloved early EPs I (2014), II (2015), and III (2016), as well as their first two breakthrough LPs, Need To Feel Your Love (2017) and A Distant Call (2019). Sheer Mag’s sensibility, as fervently beloved by baseball-tee clad garage rockers and tattoo-less indie kids as it is by leather-and-stud-loyal punks, finds its strength in an unconventional mixture of refined complexity and straight-forward pop prowess. Seamlessly trading between head-turning guitar heroics and a charmingly timeless blend of disco, hard rock, and garage inflected hooks, Sheer Mag’s oft-referenced, never-replicated sound has played an undeniably large role in stoking the current resurgence of interest power-pop forward rock music. While quickly adopted as a fan-favorite amongst the sweat-caked crowds of the early 2010’s underground, time has attested to Sheer Mag’s singular cultural mutability: though never straying too far from their home-town Philadelphian origins

Thomas Walsh is the founder and frontperson in critically endorsed Irish cult-pop band Pugwash. His
classic pop songwriting has garnered him an impressive collection of celebrity recognition from artists
like Brian Wilson, Jeff Lynne and Joe Elliot. Guest contributions on the album comes from Dave
Gregory (XTC, Dukes Of Stratosphere), Joe Elliott (Def Leppard), Michael Penn, Neil Hannon (The
Divine Comedy), Matt Berry (What We Do In The Shadows). ANDY PARTRIDGE - "Pugwash
(Thomas Walsh), at their best, are almost Beatle-like in their greatness. They are THAT good”

Thomas Walsh is the founder and frontperson in critically endorsed Irish cult-pop band Pugwash. His
classic pop songwriting has garnered him an impressive collection of celebrity recognition from artists
like Brian Wilson, Jeff Lynne and Joe Elliot. Guest contributions on the album comes from Dave
Gregory (XTC, Dukes Of Stratosphere), Joe Elliott (Def Leppard), Michael Penn, Neil Hannon (The
Divine Comedy), Matt Berry (What We Do In The Shadows). ANDY PARTRIDGE - "Pugwash
(Thomas Walsh), at their best, are almost Beatle-like in their greatness. They are THAT good”

For those who still believe prog is a four-letter word, Caravan remain a mystery - More fool them, for they are missing out on some of the sweetest and most tuneful melodies in 70s rock, whether it be the jazz- inflected vaudeville of the title track of If I Could Do It All Over Again, I'd Do It All Over You, the gentle celebration of Virgin On The Ridiculous from Caravan & The New Symphonia or the funky ambition of The Dabsong Conshirtoe on Cunning Stunts. Formed, like Soft Machine, from the group The Wilde Flowers, Caravan have much in common with UK 70s prog, punning titles, gatefold sleeves, many songs well over 10 minutes long, frequent line- up shifts, but they always had an innate accessibility – partly due to guitarist and lead vocalist Julian 'Pye' Hastings' easy- on-the-ear singing style. Recorded at Tollington Park Studios (Decca 4) in North London, Cunning Stunts was Caravan's final studio album for Decca; with a tweak in line-up, it produced some of the group's most mature, fluid music, especially in the 18- minute The Dabsong Conshirtoe. 'Have you heard our story, a mystery it seems, gather round come listen, see the spectacle within,' the group state on the album's opening track The Show Of Our Lives. Had the group not been called Caravan and the album Cunning Stunts, Lover could have been a Top 10 single. This re-issue faithfully replicates the original 1975 Decca Records UK release and is pressed onto high quality 180g vinyl

For those who still believe prog is a four-letter word, Caravan remain a mystery - More fool them, for they are missing out on some of the sweetest and most tuneful melodies in 70s rock, whether it be the
jazz-inflected vaudeville of the title track of If I Could Do It All Over Again, I'd Do It All Over You, the gentle celebration of Virgin On The Ridiculous from Caravan & The New Symphonia or the funky
ambition of The Dabsong Conshirtoe on Cunning Stunts.

Formed, like Soft Machine, from the group The Wilde Flowers, Caravan have much in common with UK 70s prog, punning titles, gatefold sleeves, many songs well over 10 minutes long, frequent line-up shifts, but they always had an innate accessibility – partly due to guitarist and lead vocalist Julian 'Pye' Hastings' easy-on-the-ear singing style.

Recorded at Tollington Park Studios (Decca 4) in North London, Cunning Stunts was Caravan's final studio album for Decca; with a tweak in line-up, it produced some of the group's most mature, fluid
music, especially in the 18-minute The Dabsong Conshirtoe. 'Have you heard our story, a mystery it seems, gather round come listen, see the spectale within,' the group state on the album's opening
track The Show Of Our Lives. Had the group not been called Caravan and the album Cunning Stunts, Lover could have been a Top 10 single.

This re-issue faithfully replicates the original 1975 Decca Records UK release and is pressed onto
high quality 180g vinyl.

Bill Seaman is a musician, media artist and media researcher int the field of interactive and generative music (he calls this recombinant music). He has been working on a series of works that combine elements of ambient, noise, experimental, new classical and more. He describes these works as being alt.genre. He has recorded five solo albums (on Eilean Rec. and Fluid Audio) and a numerous of collaborative albums with some music artists such as Craig Tattersall, John Supko, Offthesky, Rutger Zuydervelt, Stephen Vitiello, between others. Seaman has also often created video works to accompany a number of his solo and collaborative pieces. Seaman is self-taught as a musician and composer, and is a Professor in the Music Department at Duke as well as Art, Arth History & Visual Studies.

Since releasing a track on the RND034873349921 compilation on the Pause_2 label in 2001, Tim Diagram has released over thirty-five albums as a solo artist or as part of collaboration projects. he has appeared on many well-respected labels, such as; False Industries, Static Caravan, Nomadic Kids Republic, Fluid Audio, Time Released Sound, Chemical Tapes – to name but a few. Tim runs the Handstitched* label in the UK which specialises in bespoke, handmade packaging for the more electro-acoustic and drone-like elements of his and other artists work, and he is involved in audio-visual commissions, including art gallery installations and music videos for a global clothing brand. As well as Maps and Diagrams, Tim also records music under the Atlantis name and works in collaboration with Genoveva Kachurkova as Bluhm, with Charles Sage as Hessien, alongside Rob Lyon as Somme & with Arbee under the name Emba.

Stephen Spera is a New York based artist working in sound, photography, and plastic arts. His works have been released on some labels such as Handstitched, Tesselate, and Editions Vaché. In 2020 he began a series of collaborations with Bill Seaman, as the two artists admired each other’s work and found much in common. Their work together was graced with an ease which kept them composing an album- “Architectures of Light” -which was released on Britain’s Handstitched label. The project was very well-received. The two stay in touch and kept working, joined now by Tim Martin whose work as Maps and Diagrams was long-admired by Stephen and Bill. They too found instant understanding of each other’s work, and “ The World was turning Before” is the result of their collaboration. The three artists possess an almost uncanny communication that enables them to work whilst still enjoying each other’s individual voice, and this trio has come together so well that, in Spera’s words, “We no longer know who played what…”

It’s mid- to late-1975, what remained of Big Star is no longer, Third/Sister Lovers was sitting on a shelf and Alex Chilton was in Memphis at a very low point. Chris Bell spent a large part of the year in London trying to get a solo record deal, but turned up empty and flew home to visit family in late summer. While at home, Bell was cutting more solo tracks at Ardent, one of which, “You And Your Sister” needed a harmony vocal, so he called in Alex.

Das selbstbetitelte Album der schwedischen Death-Metal-Legenden DISMEMBER wurde ursprünglich 2008 veröffentlicht und ist das einzige Album in der Karriere der Gruppe, auf dem Mastermind, Schlagzeuger und Produzent Fred Estby nicht vertreten ist. Dennoch beendete es das erste Kapitel in der Geschichte der Band auf einem hohen Niveau und bot eine wütende Performance von Sänger Matti Kärki, einige straffe Grooves ('Europa Burns', 'Dark Depths') und brillante melodische Parts in Songs wie 'Under a Blood Red Sky' oder 'Black Sun'.

Orange vinyl, 100 only

Cardiff-based, DIY-folk-pop collective, Quiet Marauder, are set to release their 5th album at the end of October 2023. This follows on from their madcap 111-song debut album, MEN (2013), as well as the more recent Tiny Men Parts (2020) and The Gift (2021), and continues their long-established relationship both with their label, Bubblewrap Collective, and Canadian collaborators, The Burning Hell.
Recorded in a Snowbird Studios pop-up in Lourinha, Portugal, Introducing Malcolm Del Monte continues the band’s fascination with high concepts and musical, album-length storytelling. At its core, it is an album about self-identity, isolation, and our innate fluctuations as human beings. Set during the pandemic, the album's a very loosely autobiographical (read: almost entirely false) account of band leader Simon M. Read's day-to-day life during Covid lockdowns with partner, Kadesha Drija, and imaginary friend, Malcolm Del Monte.
Choosing to largely avoid the topic of the pandemic altogether, Introducing Malcolm Del Monte instead charts the highs and lows of these living arrangements. These range from outrageous daytime drinking (high) to disagreements on the nature of perversion (low), with the first half of the album covering Malcolm’s emergence and ultimate expulsion from the house. With his absence being sorely felt, the second half sheds light on the alternative voices looking to fill that Malcolm-shaped space: a murderous green giant; a despondent Milk Tray Man; and a broken-necked, hypersexual Jet from Gladiators.
As with their previous story-based albums, the foreground narratives act to enable background allusions to other core concerns: the power of nostalgia; advertising and cultural consumption; well-being and isolation; balancing acts of the self. Ultimately, the album’s message is of striking a balance between self-questioning and improvement, and most of all, not being too hard on yourself when things don’t feel quite right.
Sonically and seamlessly ranging from alt-folk to industrial synth to melodic indie-pop, Introducing Malcolm Del Monte covers a lot of ground. Injected with the musicality of Quiet Marauder themselves, as well as Canadian kindred spirits, The Burning Hell, instrumentation includes flute, piano, chunky bass, acoustic and electric guitar, programmed beats, synthscapes, bamboo clarinet, bongos, and a heap load of vocals. Indeed, alongside the main lead voices of Simon M. Read, Kadesha Drija and Malcolm Del Monte (Rowan Liggett) there are guest performances from My Name Is Ian and The Burning Hell’s Mathias Kom.
The album will be preceded by lead single and video Momma Mia! I Made You Some Sangria! on 22nd September,

Produced by legendary rock historian and Bomp! Label founder GREG SHAW, the Los Angeles all-female combo delivers a neo-60's garage punk classic.

"Paula Pierce refused to play it cute. On the Pandoras' debut album she outsnarled, out- screamed, out- fuzzed and out araged the male- dominated competition--like a well-aimed go-go boot to the jugular." - Mike Stax

For anyone familiar with the Swedish progg movement of the '60s/'70s, this album will feel both familiar and completely new. The songs have a distinctive feeling where jam session- like soundscapes are balanced with exquisitely wellwritten melodies. Like A mixture of Slowgold and Dina ogon in the soundscape and whith a vocal tone that in some parts of the songs reminds of (Markus) Krunegard. The music brings back the summer evenings and lazy days vibe.

With a dreamy undertone in the sound but a story that is more serious. All songs are recorded on tape, adding even more character to the sound. Jattedam is an unfiltered expression of whatever absurd fantasies, fantastic pretensions, soulheavy burdens, clear insights, insatiable curiosities may come their way. Join the band and explore "Onda Blommor".

Planet P Project is Tony Carey's pseudonym for his science-fiction themed progressive rock side venture from his more pop-oriented rock releases. Its first three albums, Planet P, Pink World, and Go Out Dancing, Part I (1931) were released in 1983, 1984, and 2005, respectively, and the first two saw a fair amount of MTV video airplay. Planet P's most well known singles were Why Me?, a sweeping, energetic romp about outer space and isolation, and the downbeat Static. Go Out Dancing, Part I (1931) is the first of a trilogy; part two, titled Go Out Dancing, Part II (Levittown) was released in May 2008 and Go Out Dancing Part III (Out in the Rain) was released in 2011.

Planet P Project is Tony Carey's pseudonym for his science-fiction themed progressive rock side venture from his more pop-oriented rock releases. Its first three albums, Planet P, Pink World, and Go Out Dancing, Part I (1931) were released in 1983, 1984, and 2005, respectively, and the first two saw a fair amount of MTV video airplay. Planet P's most well known singles were Why Me?, a sweeping, energetic romp about outer space and isolation, and the downbeat Static. Go Out Dancing, Part I (1931) is the first of a trilogy; part two, titled Go Out Dancing, Part II (Levittown) was released in May 2008 and Go Out Dancing Part III (Out in the Rain) was released in 2011.

Exarde’s just keep it spinnin’. This time our protagonist was originally born in Transylvania, so he knows something about the dancing vampires you often see at parties. This is confirmed by the fact that his release also contributed a lot to the gothic side of the dancefloor.

MAR.C is obsessed with dark sounds but specifically loves a guitar, acid and weirdly uplifting electro sounds. So, by his words this EP is exactly concentrated on frequencies between these two spectrums. On the remix duty’s we got P.O with his interpretation which gives an even more unique vibe as a groover for the closing scene.

The Spanish-Dominican label led by the Spanish Sergio Parrado and the Dominican Jee Bear presents its Lmtd series, where art, design and music go hand in hand. A collectible series where each reference is a piece of a mural by the Argentine designer Lucien Le Grub, this being the first of four.

This first reference is the work of Chilean Alejandro Vivanco (Cadenza, Melisma) who joins forces with fellow Chilean Dorian Chavez (8bit, Viva Music) to bring us this incredible “Dabtrack”.

The original cut (A1) is to go back in time, return to the essence of the mid-2000s where artists like Luciano or Ricardo Villalobos put the Andean country in the eyes of the world with their organic micro house. “Dabtrack” is about this, but with a renewed sound, where the organic and the digital embrace to create an intense track, with fat basses that will make the sound system rumble. Special synths that catch you to create a magnificent sound collage.

The A2 is for the master master and lord of the deep sound. We are talking about the Romanian Mihai Popoviciu, who brilliantly reinterprets the track and takes it to his own terrain, but without neglecting the essence of the original and giving it his particular groove that works so well late at night. The groove, together with the set of synths, which elaborates it magnificently, makes his remix of Dabtrack” an indispensable work in the DJ's suitcases.

Now it's time to close this incredible album. For this we have reserved the entire B-side for one of the Chilean artists who has left the most mark in the last two decades on the international electronic scene: Pier Bucci. He takes us on a 12-minute journey through his signature style where anything can happen. Little more to say, we invite you to discover it for yourself. Because it is a work of art.

Now on vinyl - limited to 200 copies. Brazilian composer, guitarist and singer Pedro Rosa release his debut album ´Midnight Alvorada". Pedro, who was born in São Paulo in Brazil but has lived in Spain for over 15 years, has a long musical road behind him and soon share his debut album that reveals his most intimate and respectful relationship with music and composition since he was 10 years old. Midnight Alvorada is an invitation to see with someone else's eyes. Above all, to feel with the heart of the other.

The album features a combination of rhythms, such as samba, baião, ijexá, bossa nova and waltz and features the participation of prominent names in Brazilian music, such as Jurandir Santana, Mônica Salmaso, Vanessa Moreno, Zé Luis Nascimento and Ivan acerdote.. "This album was conceived with my songwriting partner Rafael Mourão, who wrote 8 of the 10 songs on the album in partnership with me.

Rafael is an extension of me and vice versa. A bizarre similarity in the way of seeing and feeling the universe " says Pedro. In Midnight Alvorada, Pedro had great support from Jurandir Santana, an instrumentalist, composer and music director residing in Barcelona. "Jurandir, who has been one of those favorite musicians for a long time, and I started to have an increasingly strong friendship. He is an artist who is motivated by the sound. If he likes

“Praying to god whether or not I believe there is one” - PH

Petra Hermanova and Unguarded announce In Death’s Eyes (UGD-009), the debut solo LP under the artist’s own name. This LP features nine tracks utilizing folk and sacred musical technique and instrumentation which drift between song and heavy distorted drones. In a disciplined display of beauty, pain, and astute musicianship, Hermanova brings forth a notable accomplishment of an album. In Death’s Eyes confronts death from start to finish with a rare fervor that leaves one feeling it was utterly necessary for Hermanova to produce - to survive. The transcendent impulse, or the influence of religious music, bears heavily on Hermanova’s compositions in her choir arrangements, but is most apparent in her use of pipe organ, opening the record on Black Glass. Having written organ parts for a significant portion of the record, she sought out the renowned organist Denny Wilke to record with her in the Merseburg Cathedral. Captivated by Wilke's profound skill as a player and knowledge of the Ladegast organ, Hermanova invited him to collaborate on Two Deaths where he delivers an impressive improvisation. While religious music offers spiritual solace from grief, folk speaks to the human and earthly as told by the individual, be they songs of suffering or joy, sin or salvation. To Hermanova, the clean promise of liturgical music is not enough to alleviate the blunt pain of grief. Contrasting the spiritual is the voice of the individual sufferer - the folk musician. For Hermanova, the autoharp embodies this contrast. The autoharp, a familiar sound in Appalachian folk music since its mass production in the late 1800’s, is an affordable instrument designed for the unskilled player. It is the antithesis of the organ which is costly, gargantuan, reserved for skilled players, and quite literally a part of the church. Through In Death’s Eyes the sounds of transcendence blend with the worldly, the tension between them poignantly expressing Hermanova’s struggle for spiritual resolution against the reality of death and loss. Like Hermanova’s lyrics, the artwork, conceptualized by Enes Güç and Evelyn Bencicova, is riddled with symbolism and allusion. We find Hermanova on the cover, digitally rendered. Reclining like an anatomical Venus, her vital organs are exposed, suggesting she is denied a transcendent death and is instead immaculately human. Bearing a sickle, her legs are metallic like armor, both symbols of protection. We see here in this image, as we hear in the nine tracks of IDE, the metaphoric state of someone ravaged by loss, choosing to tear herself open in an attempt to heal. - Reece Cox Petra Hermanova is a musician and visual artist based in Berlin. In 2018, Hermanova began working with the autoharp, which has since become the central pillar of her musical practice. Drawing inspiration from folk, medieval drone, and contemporary textural expressions, as well as Appalachian autoharp music, she creates emotionally driven arrangements accompanied by vocals. In her lyrics, she speaks to the fragility and tenderness of the human condition, religious conceptions of death, and introspective landscapes through narrative and symbolism. Hermanova debuted live at the Berliner Festspiele event The Sun Machine is Coming Down, performed at Trauma Bar und Kino accompanied with her choir, and recently took part in Sorour Darabi’s durational performance From the Throat to the Dawn. Her debut solo album, In Death’s Eyes, is set for release in 2023 on the art platform and label Unguarded. The album, where she wrote for the autoharp, pipe organ, solo voice and choir, features the acclaimed organist Denny Wilke playing the 19th century Ladegast organ of the Merseburg Cathedral. She has toured internationally with previous projects, including extensive sound and visual collaborations with Jon Eirik Boska (Hydropsyche) as well as with her award-winning band Fiordmoss. She was recently announced as a SHAPE+ platform artist.

Semi Delicious return for their 16th edition with the impressive ‘Asylum Of Love’ VA inviting faces old and new to the imprint. A label noted for bringing together impressive collections of talent, SEMID016 is no exception with contributions from Krywald & Farrer, Gallegos, Tattie Dee, Omar Smadar & DJ Gear, Scarlett O’Malley & label boss, Demi Riquisimo.

The A-side welcomes Krywald & Farrer, Gallegos and Tatie Dee. The release kicks off with ’Seize The Source’ from the aforementioned Krywald & Farrer. A classic house beat with modern, psychedelic flourishes, the track sets the tone nicely for an EP loaded with club ready heaters. Up next is label regular Gallegos with ‘Asylum of Love’, in keeping with the
house-centric motif, Gallegos delivers an acid laden, Chicago inspired weapon. ‘For My Niece’ by Tatie Dee wraps up side one on dreamy, Balearic tip.

Omar Smadar & DJ Gear’s ‘Check One’ opens up the B-side. A cruising progressive jam that's certain to be heard throughout the autumn and for the duration of 2023’s club season. Next Rinse FM resident and Club Cowgirl label boss Scarlett O’Malley makes her Semi Delicious bow with the grooving percussive ‘Hey Party People’. Demi himself puts the finishing touches on SEMID016 with a 2023 interpretation of his own ‘Rocking You Internally’ from his own ‘Mirage Over’ EP, released on the same imprint.