Suche:d strange

Camisole Records welcomes you on board for this Business Class Library compilation. During your flight you will be listening to music by Serge Bulot, Alan Shearer, Gérard Gésina and Pascal Wathelet. All these 80's electronic library tracks have been curated by your captain Silver Fox to assure you a pleasant journey. 'To Thwart Soul' by Gérard Gésina will guarantee you an easy take-off while 'Ondulations' by Serge Bulot is perfect to calm down during turbulences. For hours of magnificient dreams try 'Mouvements' by Pascal Wathelet. Landing with'Hollywood' or 'Marathon Life' by Alan Shearer will prepare you for your busy day to come. We thank you for flying on Camisole Records and hope to see you again on our lines. This trip is limited to 500 copies.

The main motivation behind the creation of ORACULO RECORDS label was to release directly the material produced by the label managers Nico Caban~as and Vanessa Asbert under SYNTHS VERSUS ME alias so to celebrate the reference OR50 they present an EP with a selection of unreleased material on vinyl, including their very acclaimed and awaited version of "Goodbye Horses". This record is available as gift / free digital download at ORACULO RECORDS bandcamp. It arrives on 12" EP format and produced in a ONE-OFF truly ultra limited edition of 150 copies lacquered pressed on 180 gr. high quality solid black vinyl. All tracks have been specially remastered for LONG CUT vinyl by Eric Van Wonterghem.

From Rotterdam to Saint Petersburg, to Portugal and Florida the worldwide Fokuz Family knows no bounds when it comes to crafting soulful drum and bass. The Collaborations EP showcases how team work makes the dream work.

Record Kicks Celebrates 15 Years In The Business With A Collection Full Of Exclusive New Singles. Available In Ltd Edition Double Clear Vinyl Lp, Cd And Digital Download. Side By Side With Similar Outfits Like Daptone, Truth And Soul, Freestyle Or Timmion, Under Its Motto "the Explosive Sound From Today's Scene" Milan-based Independent Label Record Kicks Has Been Pitching The Contemporary Funk & Soul Scene Since Day One.

With Over 200 Releases Under The Belt, Rk Has Released Bands From All Over The Globe And Earnedthe Support Of Vip Fans Such As Kenny Dope, Jamie Cullum, Craig Charles And Not Least Jay-z, Thanks To Which The Label Has Recently Received A Grammy Nomination For Hov's Use Of Hannah Williams' "late Nights And Heartbreak" As Backdrop For His "4:44". The New Instalment "record Kicks 15th" Coming Out Next May 18th On Double Clear Lp, Cd And Digital Download, Celebrates 15 Years In The Business With A Collection Full Of Exclusive New Tracks And The Very Best Of It's Roster.

The Album Kicks Off With Rk's Latest And Youngest Signing:
From Chicago, Heavily Inspired By The Impressions And Leroy Hutson, We Are Proud To Present You "the Devonns" With Their Super Soulful Debut Single "come Back", An Appetizer Of Their Debut Full Length Expected To Land On Rk Next Autumn. Another New Signing To The Label Is Men Of North Country's (acid Jazz Records) Side Project "the Faithful Brothers", Here With Their New Single "one More Time".

Other Exclusive Tracks Of The Comp Are "this Strange Effect", A Coverup Of The Hooverphonic's Single From 1998 Brought To You By Dutch Northern Soul Disciples The Tibbs, "love You Back" From Detroit Deep Funk Outfit Third Coast Kings, "the Sort" By The Buenos Aires Mod Reggae Kings The Crabs Corporation, "top Dog" By British Funk Combo The Hook & Slingers And Straight From Down Under "you Don't Know Me" By The Always Great Dojo Cuts.

Along With These New Exclusive Cuts, Dig On Some Label's News Singles And Heavyweight Classics Such As Dj Shadow's "this Time" Taken From Baby Charles Debut Lp, "don't Throw Your Love In The Garbage Can" By James Brown's Original Funk Diva Martha High Feat Japanese Funk Ambassadors Osaka Monaurail, "psycheground" The Brand New Afro-funk Single By Calibro 35 And Then Portuguese Tnt Dynamite Marta Ren & The Groovelvets, Toronto Soul Queen Tanika Charles, Uk Funk Ambassadors The New Mastersounds, The Diplomats Of Solid Sound And The Already Mentioned "late Nights & Heartbreak" By Hannah Williams & The Affirmations.

"a Heavy Selection Of Mod-rockers, Garage And Psych-funk Tracks," Runs The Sub-title Of New Compilation Series, Down In The Valley From Perfect Toy, Encapsulating In A Nutshell The Multifarious Pleasures On Offer.

Volume 2 Continues The Good Work Of Volume 1 With Yet Another Breathtaking Selection. Morning Reign's Previously Unreleased Can't Get Enough Of It Provides Big-ass Funky Thrills Along With This Volume's Only Cover - The Penny Arcade's Mod-funk Take On Funky Way. Next Come Two Frantic Garage-soul Cuts From A Pair Of Super-obscure Groups: 1906 & Company And Band Of Gold While Rex Garvin & The Mighty Cravers' Titty-shaking Instrumental Strange Happenings Slows Things Down To A Monster Shimmy With Retro Horror Movie Vibes. The Animal Show Band's Tell Daddy Provides The Male Answer To Etta James' Tell Mama And Rocks Just As Hard As The Original While Gino Scorza's Funk-tinged Soul Heater Little By Little (which He Originally Privately Pressed Himself) Gets Reissued For The First Time. Closing The Album Is A Real Treasure By Big John K In The Shape Of His Heavyweight Slab Of Soulful Blues-funk - Poor Souls.

Once Again, Chan The Man - Previously The Guiding Light For Perfect Toy's Down & Wired Series - Was The Driving Force Behind This Project. It Is His Incredible Knowledge, Combined With The Network Of Record Collectors, Djs And Vinyl Nerds That He Has Established Over The Past Few Decades Which Have Made It Possible To Come Up With Such A High-octane Selection Of Super-heavy And Extremely Rare Tracks. Accompanied By Detailed Liner Notes And Never-before-seen Photos Of The Artists, Down In The Valley 2 Sets The Bar High For Future Volumes.

Females have never figured strongly in the ranks of blues and rock guitar players, but the woman featured on this LP can claim to be one of the formative influences on modern rock 'n' roll guitar. Sister Rosetta Tharpe is remarkable, not just because she was an acclaimed gospel singer from the late Thirties to her death in 1973, but because she was also one of the earliest exponents of the electric guitar. In fact she helped to invent the whole concept of rock lead guitar. Her guitar-playing, which featured a fingerpicking style unusual at the time, strongly influenced Elvis Presley, Johnny Cash, Jerry Lee Lewis, Etta James, Little Richard and Bonnie Raitt. Enjoy some of those moments on this collection selected from her prolific first recording decade.

NHK yx Koyxen walks at any speed and on any surface he desires to trance-scend. His "Parallel Tempo EP" takes a mindful plunge into layers of rigorously murmuring gestures. Speed is relative to size. As they are streched and bent, the planes engage in parallel movement. This is an exploded drawing, unlocked from time.

The Japanese artist and producer NHK yx Koyxen contiunes to unveil his unique vocabulary, as the "Parallel Tempo EP" builds on a series of releases for L.I.E.S., Diagonal, DFA and The Trilogy Tapes. Publishing drawings and music alike, NHK yk Koyxen aka Kohei Matsunaga offers playful and sometimes unexpected glimpes of the "almost common". Performing on electronic music's timeless DNA, he offers those who step in a resonating space, in which loose objects are bound to embrace each other.

'Fifteen' celebrates the work of Ben Lamdin, the musical maverick behind the Nostalgia 77 guise, with an eclectic compilation of tracks spanning fifteen years of jazz, hip hop, blues, funk, downtempo, soul and psychedelia.
Handpicked by Nostalgia 77 and Tru Thoughts, this retrospective showcases the best recordings and remixes from the respected producer, composer, songwriter and guitarist, spanning a range of projects. Featured on this fantastic anniversary release, are classics like Prince Fatty's "Medicine Chest Dub" and the second to none take of "Seven Nation Army" featuring the phenomenal vocals from the ever-soulful Alice Russell. Also included on the retrospective, the beautiful tripped out hip hop take on "Sleepwalker" from fellow Brightonian producer Ambassadeurs, and a track from Lamdin's country soul project with acclaimed songwriter Jeb Loy Nichols.

Southend quartet Ghost Music release their evocative debut album I Was Hoping You'd Pass By Here via Arlen on 19 January. They create careful, considered songs, weaving lo-fi lullabies with gliding guitars and understated arrangements. Influenced by Silver Jews, Flying Nun and K Records, they explore themes of nature, love, loss and a melancholic English romanticism embellished with beautifully spectral melodies and executed with startling subtlety.

Despite this record being their debut, the band has produced a veritable wealth of music over the past 20 years in various guises. Ghost Music revolves around the songwriting partnership of Matt Randall and Lee Hall, who had played together in the 90s with John Peel favourites Beatglider. More recently Randall has received critical acclaim as Plantman, with his three albums Closer to the Snow, Whispering Trees and To The Lighthouse receiving praise from The Guardian, Uncut and Mojo. When Randall and Hall reunited to collaborate on another album together, they brought in the talents of Roy Thirlwall on bass (Melodie Group) and Leighton Jennings on drums (Dark Globes) to complete the band.

The original idea would be that the songs would be 'ghosts' and create 'ghost music' to resurrect and dust off old songs that they had already started. Lee had found the beginnings of 'Home Dog' on a dusty old 4-track and he had recorded 'Strange Love' on his iPhone in 2014, whilst Matt had written 'My Cloud' as far back as 1997 (the night he moved out of his parents' house). As the album began to take shape, the ghostly premise took a back seat, as they began to breathe new life into the songs they found the impetus to write new ones.

Randall explains the songwriting process; 'When we were in Beatglider together and in the past we'd made a 'thing' out of writing long songs with a lot of changes. This time we pared it back a bit and stuck to the melodies more. We really wanted to make a proper guitar record. Lee's my favourite guitarist and it was lovely to see him stretch out on these songs with his diamond fingers.'

Not afraid to wear their influences on their sleeves, Ghost Music's sound is instantly familiar, echoing beloved bands from the 90s such as Pavement ('Home Dog' has a definite 'Range Life' feel), Galaxie 500 ('Blindspot'), Yo La Tengo ('Heart Shaped Holiday' is influenced by the languid YLT songs that peak after a short intro) and even old-school rock'n'roll ('Strange Love' was born out of an appreciation for the instantly engaging opening riff in 50s songs). Yet Ghost Music's work never feels derivative, being instead effortlessly emotive, melancholic and affecting, creating a world of sound that is hugely reassuring and a tonic for the modern age.

Debuting under his given name for Maddjazz Recordings' second offering, is DJ, producer and synth enthusiast Henry Keen.

Henry's music was discovered after a long night of online digging, and after several exchanges, it was apparent that Henry was making music that defined exactly what Maddjazz is striving to achieve; honest music that's free of form and not constrained by any genre or tempo.

Henry has been making music as Soundspecies alongside brother Olly since 1998 and the duo are also members of London-based experimental Gnawa band, Electric Jalaba. He also produces solo under the alias, The Room Below, initially reworking close friend Paul White's 'Rapping With' album but more recently exploring dance floor territories with releases on UK imprint 'Don't Be Afraid'.

70's Baby is a raw and honest record. A collection of uptempo grooves written in various locations around hectic inner London. It's spirit is born out of the freedom of the CDR sessions at the now defunct club Plastic People, where many of Henry's productions were first shared, and where tempo and genre were irrelevant. It references Henry's love for the instrumentation, recording techniques and sounds of the 1970s, the decade of his birth. Featuring a tasteful blend of worldly and otherworldly sounds, It owes itself to modern and ancient dance themes alike.

We are so pleased and honored to be presenting this mini LP to the world!

This is volume 1 out of 2 of hip hop gone wrong from John Daly's West 2 West project.
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Following up last years well received The Smoke Clears, John Daly returns to the label under another alias - West 2 West which was debuted on Jheri Tracks Vol 1. Equally as atmospheric as the ethereal Smoke Clears, this project is the result of his ongoing hip hop obsession. MPC workouts inspired by current listening, the result isn't quite hip hop, but sits nicely in the all city beat discography. There's an after hours headphone feel to the set - spanning twenty four tracks split evenly over two 12 inches - Volume 1

Your Planet Is Next: a bold threat! Are we talking about Earth The apocalypse Well, with the Doomsday Clock set 30 seconds closer to catastrophe following recent political happenings, Arvid Wretman might be on to something. Or is it a message for planets beyond; a warning of our inevitable interplanetary colonialism in light of the above Wretman's celestial, machine-driven other worldly tracks suggest an attempt to communicate beyond the realms of E*rth.

Making his recorded debut in 2014 with a limited edition self-released cassette tape, Your Planet Is Next quickly caught the ears of those paying attention. He followed up with Junk Yard Connection's debut long player, featuring a more refined set of electro productions that bounced jovially, chugged menacingly and punched erratically and since then; has released a more dusty, experimental cassette offering on Opal Tapes as well as a fantastically lighthearted and life affirming EP for Studio Barnhus (featuring a cover of Cher's 'Believe', believe it or not!)

Fast forward to 2017 and Arvid crash lands on planet Acid Waxa (rumoured to be something of a spiritual home coming) in slick Scandinavian style with I Just Disco; 4 irresistible cuts spanning acid, house, electro and outsider pop at it's most charming and with a tour of the UK to boot!

Following 2016's much-acclaimed solo album Mondo Alterado (HIPPIE 008CD/LP), original Pachanga Boy and Hippie Dance mentor Rebolledo returns to the limelight with the jam-packed Mondo Re-Alterado, tapping into his vast and varied network of friends and fellow soundsmiths. Artists such as Superpitcher, DJ Tennis, Maceo Plex, Red Axes, Fango, or Fantastic Twins deliver stunning takes on Rebolledo's unique signature sound, creating a full suite of exclusive remixes, cover versions, and reinterpretations. From the super-energetic club rumblings of Maceo Plex's "Discótico Pléxico" to DJ Tennis's dreamy "Pimiento Drive Version" of "A Numb Gas To The Future" or Fantastic Twins' party bomb "Fantastic Pow Pow", the journey through Mondo Re-Alterado is full of twists and turns -- a world where an epic, cinematic soundscape such as Superpicher's "Rainboy Super Space" sits comfortably alongside the claustrophobic, punishing banger that Fango sculpted from stand-out cut "Pow Pow". Meanwhile, Red Axes turn the casual narrative of "Life Is Strange, Life Is Hard, Life Is Great" into a bouncing workout -- a great companion piece to "WANT", Danny Daze and Shokh's propulsive, jagged dub version of "Fears Come True". Other highlights include Jörg Burger aka The Black Frame with the lush "Black Rainbow Woman", Paulor's country rock extravaganza "Discótico Desértico" and not one, but two excellent contributions from former Italians Do It Better honcho Mike Simonetti. It's a magical, surprising ride that finds beauty in contrasts -- while staying tuned to Rebolledo's spirit of adventure and powerful sense of style.

Running a record label offers adiversified and challenging field of activity. This is particularly true when speaking of tiny independent re-issue labels where one, two or three guys have to take care of everything. Tracking down musicians, collecting their stories, writing the liner notes, creating the cover artwork, mastering the songs, promoting the release, communicating with pressing plants and distributors, and so on. Most of the tasks mean fun with the exception of one thing which nobody here at Tramp is keen on doing: writing the sales notes.

Far be it from us to praise our release to the skies. Naturally, we are pretty much convinced of the sheer quality of each song, otherwise we would not have invested so much time and efforts into completing those compilation albums. One thing which surprises us is that despite thousands of Rare Groove compilations on the market neither of the songs to be found here has been compiled elsewhere yet. A fact that not only fills us with pride but also determines our claim for the future. As for now we have done our homework and it is time to let the music speak so that the Gunn High School Jazz Reunion, Keither Florence, Robert Cote, Plas Johnson, Charlie Chisholm Boss-tet, and all the others get the recognition they so richly deserve for their talent and work.

When Tramp opened its doors in the early 2000s it was just for the fun of it. A business plan did not exist and nobody involved with the label had studied anything music related. It was just a bunch of crazy record collectors and music lovers with a simple idea: to share their favourite music with the world. Nobody could have known that this would last for 15 years - and there is no end in sight.

After his tape release on Anime Solitarie Cassette, Bellatrix arrives on Veleno Viola with an esoteric mix of mutant body music and acid.
White vinyl.

This box contains all four solo albums by Bill Wyman, the first Rolling Stone to release a solo record. The first two (from 1974
and 1976, both issued on Rolling Stones Records) were made the help of a galaxy of musical friends like Lowell George, Dr John,
Joe Walsh, Van Morrison, the Pointer Sisters, Danny Kortchmar, Dallas Taylor, Leon Russell, Bob Welch and Nicky Hopkins.
- The eponymous third album was home to Bill's 1981 big hit single (Si Si) Je Suis Un Rock Star' as well as follow-up hits
Come Back Suzanne', A New Fashion' and Visions, while fourth album Stuff' appeared in 1992, originally in Japan only.
- The albums are now issued on vinyl for the first time since their original release (and 'Stuff' on vinyl for the first time ever),
gathered together in a beautiful rigid slipcase. The new inner sleeves feature all the lyrics and the musician credits.

'Soul Jazz Records' new journey into the mighty vaults of Clement Dodd's Studio One steps once more into the fertile musical environment of Jamaican music in the late 1960's and early 1970's, from the sweet harmony vocals of seminal 1960s Rocksteady right up to the nascent birth of Reggae and Roots music at the start of the 1970's. Sleevenotes to this album are by Steve Barrow, author of 'Rough Guide to Reggae' as well as Soul Jazz Records' own 'Reggae Soundsystem Cover Art' books.

While Ska at the start of the 1960's had taken American Rhythm and Blues as its main influence, Rocksteady focused on the emergence of American Soul music - with Jamaican vocal harmony groups such as The Gaylads, John Holt & The Paragons, Carlton & The Shoes showing a particular fascination with the close harmonies of Curtis Mayfield and The Impressions and other US Soul acts. Here The Heptones even feature with a cover of Bob Dylan's 'I Shall Be Released'.

The influence of Soul music on Jamaican Rocksteady and Reggae is almost palpable, so much so that one wonders how much more successful singers like Delroy Wilson, Alton Ellis, Slim Smith and John Holt would have been had they been born in Chicago, Detroit or Memphis. Artists such as Alton Ellis, Delroy Wilson and Owen Gray defined the era - a slowed down beat as Jamaican political and social heat slowly increased when the 1960's progressed into the start of the 1970's - and the music evolved further from Rocksteady into Roots Reggae. This album is released on heavyweight gatefold sleeve double vinyl (plus download code), CD with slipcase and digital album (ex-North America).

'Sometimes life can kick you in the nads,' says Dominick Martin (aka Calibre). 'When life does do that, I need to make music like this. With its tones of hope and gospel-level layers of self-recorded vocals. Raw, uplifting, soulfull... Even to the most ardent of Calibre follower, ' Grow' sounds like nothing else he's done before. Yet it's not actually on the album it gave a name to. Partly because its ultimately positive veneer (even though it was written in the midst of two toxic relationships - one personal, one with the bottle) doesn't quite complement the deeper, more contemplative aesthetic of the album. But also because this is the start of a whole new story for Calibre...

'A part of Dominick is a poet and a part of him is a man who's lived through Northern Ireland at its worst,' observes Craig Richards . 'There's a gentleness and a tension to him and his past and his experiences. Somewhere in that middle ground is his music.'

Taken from a interview by Dave Jenkins for DJ Magazine.

REPRESSED !!

Originally self-released as a 7'' in 1982, Plath release is definitely one of the obscure gems of the Italian underground. TIP!
Plath were a duo from Prato, formed in 1982 by Silvia Innocenti (voice, bass guitar) and Fabrizio Lucarini (synth, drum machine). Plath were influenced by Throbbing Gristle and early Cabaret Voltaire works, moving in between two essential thematic actions: first, the constant search of a sound which aims to reflect the current reality as they were interpretating it and, second, the constant exposure of their anarchist ideological thinking against the established political and social system.

Mastering by Ruud 66.

Original 7'' graphics reworked for this issue.

While the A-Side includes the original single in full, with the classic 'I Am Strange Now', recently unearthed by Alessio Natalizia/Not Waving in his monumental 'Mutazione' compilation released by Strut Records in 2013, the B-side instead contains a killer percussive edit of Alessandro Adriani made for the most crazy mental dancefloors..

RAWAX is very proud to present the 5th release of the "Paul Johnson Traxx Series" on Chiwax!
We're celebrating the 20th Anniversary of Paul's legendary album "Second Coming".

EP 5

After his successful debut album SUPER VATO (CÓMEME CD LP 01) from two thousand eleven, his highly praised mix CD MOMENTO DRIVE (KOMPAKT CD 117) from two thousand fourteen, and all-around mayhem during his adventures as one half of the Pachanga Boys, Xalapa's finest REBOLLEDO returns with his second solo album MONDO ALTERADO: a recollection of moments and experiences from recent years, colorful mnemonics encompassing the brightest and the darkest. The result is a kind of soundtrack for a movie that doesn't exist, a sonic journey designed like a mixtape that faithfully reflects Rebolledo's background as DJ and producer. Nine tracks connect for one overarching narrative, sharing elements, motives, details as they blend together. The artist's signature can be found all over the place, roaming between straight, rock-drenched drumming, sinister atmospheres, raw synth textures, exciting peaks and foggy bottoms - but always following this kinetic flow and drive which is such a big part of Rebolledo's compelling charme.

"...don't ask if there will ever be a Volume 2. We don't know yet. What we do know is that if we ever come across a similar tour de force as Don McCaslin's composition, Praise Poems, then there will certainly be one..." These were the final words of the sales notes for Praise Poems Volume 1 - which we proudly released earlier this year. And indeed, since then, we have discovered a tune which led us to continue to curate this series of obscure, soulful, jazzy and spiritual sounds from back in the day. The song to which we refer to is Abraham Battat's jazz-samba masterpiece, Fly Away. Fly Away is a righteous combination of sonorous jazz guitar, crackling drums and warm acoustic piano. Floating through the tones as if in a private concert for you in your very living room, it is an earnest, honest vocal performance bringing a rainbow message of freedom and liberty to the world. This is the standard by which we judged the entirety of this compilation. Though they may be known in some circles, selections by Richard Martian, Larry Covin, and The Gingerbread Express are in the same category of pure beauty. Of course, good luck finding a copy of Larry Covin's Masquerade or the Portis Brothers' Summer Love. The single hit you receive while doing an online search is the exact same copy from which we took the master. To find a needle in a haystack is a cakewalk compared to turning up a copy of some of these gems to be found here.

Let's focus on Ricardo Tobar: Born in Chile and now residing in France, Tobar picked the "creative border crossing" as the common thread for his album "Collection". Musical experimentation and crossing musical borders - Tobar refers here directly to the style and sound of the great new-wave-bands of the 80s and 90s. With the help and influence of their new electronic instruments (that often met classic rock guitars) the post-punk-electronic-movement turned almost everything upside down. No matter if the result was moody and mysterious or romantic and hedonistic, all sounded new and different back then and paved the musical path for a whole generation - the reverberations of that episode are noticeable until today.
Tobar plays with the musical approach of the post-punk-era, he mixes, merges and experiments fearless with styles and moods. He creates a wide range of "own styles" and even dives into abstract sound fields - listening electronic in best form! Ricardo Tobar breathes the air of his own musical universe and is not refering to the typical styles of this genre - you won't find any Detroit, Berlin or Sheffield reference here. Although produced in France, Tobar's album doesn't have anything of the sweet and lovely french listening touch. It also won't beam you into the north of England and the grey and cold Sheffield winter like so many other electronic albums try to do.
"Collection" contains full compositions, sound collages, experimental sounds and even proper beat based tunes. Tobar rather creates than produces and is presenting a bigger picture with his collection. Many electronic music artists are trying to do this however Tobar delivers a collection with an impressive range and it seems he did all this in an almost nonchalant way. He plays and combines his instruments and sounds at the same time very sensitive and harmonic but also brave and dissonant without risking to be inaudible at any point. He creates atmospheres by using electronic sounds and layers. Listening to the sound of "collection" almost appears like reading an acoustic book. This album is full of interesting sounds and ideas and is far from being boring or even too demanding.

Reminiscent of a time where we were releasing 4-tracks sampler every month (remember the Secret Gems From The Vault) It is naturally that we thought about a various artists sampler in order to introduce the new wild bunch.
I said new but some of them are pretty familiar, which is the case with the almighty D'julz or Raw District for an incredible update on 2007 « Fast Forward » which deserves its title, Do I need to introduce D'Julz I don't think so, one of the most sought-after French dj and producer, he never disappoints.
Then we are pleased to welcome Accatone, having several EP's and remixes released since 2008 and a full album in 2012 on labels like Dabit, Apparel, Piston Recordings, Roots & Wings, One to One, to name some, and having his work remixed by legendary Matthew Herbert or Jay Tripwire (Poker Flat, Tonality), Piek, (Cadenza, Paulatine, diynamic), Accatone is becoming a full-grown producer by conquering the likes of Dj Sneak, Laurent Garnier, Stacey Pullen, Slam, Timo Maas, Danny Tennaglia, Olderic, David Labeij, Mirco Violi, Severino Panzeta (Horse Meat Disco), Paco Osuna and many others !
Scan Mode aka Alberto Sánchez began his career in the year 1998 and has since traveled throughout the Spanish territory, performing in major venues and festivals alongside the likes of Jeff Mills, Sven Väth, Dubfire, Marco Carola and Richie Hawtin to name a few. He is regarded as an eclectic artist who has taken different professional profiles during his musical career. His music is on the edge of House and Techno with brilliant melodies and rhytmic, Kike Henriquez began editing in Alex Flatner's labels, Later released on labels like BluFin, Greenhorn and with some of the best artists from the tech-house & deep-house scene, Introduced to David Duriez by Something Different(s head honcho Jesus Pablo, Kike soon joined the task force behind this new BR100 release, Another artist to watch out.

Early Support from:

Raresh / Nathan Coles / Dan Ghenacia / Claudio Coccoluto / Fred Everything / Tiger Stripes / Doc Martin / Shur-i-kan / Luke Solomon & more

Showcases acts who have performed at Something Cold over the years, + friends & allies. North America's minimal DIY synth explosion is represented by bands from East coast to West. LTD 200 repress.

The original 12'' vinyl releases of Stomp The Beat and 1990 were two “Holy Grail” releases of Chicago House as they were only available for a short time before Gherkin Records went into inactive status in around 1991. At the time Larry Heard chose to not disclose the fact that he was the producer behind the Gherkin Jerks EPs. The two releases were a concept of experiments where he dove deeper into the equipment and do some creatively different tracks from his Mr. Fingers sound. These two legendary EPs have been heavily influential on other artists to this day. Often sampled or referenced they are true house classics and still amaze 25 years after their creation. Also on this album three bonus tracks, which are from the same Gherkin Jerks sessions but never released as such. Psychotic Fantasy was on the Dance 2000 pt. 2 album and Ecstasy is the full original take which makes its first appearence here. Reznaytor is an exclusive track for this release, never available before.

God is an Astronaut's seventh full-length album, Origins, is their first as a five-piece and cements their place as one of the world's most intense, musically- and visually-inventive post rock bands. Renowned for their searing live shows in which the music is married with provocative projected imagery, GIAA consider each of their albums to be a sonic 'photograph or snapshot of who we are in that moment of time' and Origins is perhaps their most saturated, striking snapshot to date.

*Origins is notable also in GIAA's return to Rocket Girl records, who licensed the band's breakthrough album, All is Violent, All is Bright in 2005. In the eight years since then, GIAA have continued to release albums and an EP on their own Revive Records (A Moment of Stillness EP, 2006, Far From Refuge, 2007, God is an Astronaut, 2008 and Age of the Fifth Sun, 2010), amassing a vast following on social media sites (150,000 fans on Facebook, half a million listeners on ) and touring extensively, establishing themselves as Ireland's most intense, incandescent live act.

*Comprising a dozen tracks, Origins fluctuates from controlled ferment ('Calistoga') to plaintive, piano-led reverie ('Autumn Song') to rhapsodic, unapologetically melodic fever ('Signal Rays') while never losing its focus.
Experimenting with 'a multitude of stompboxes', the newly bolstered line-up gives the songs an added richness, apparent on Origins perhaps most obviously on the first single, 'Spiral Code' which has already received numerous radio plays on specialist radio.

Intelligent Manners highly anticipated 'The Movement LP' is finally here.
After dropping numerous singles and EPs on Fokuz, Celsius, Have-A-Break and a string of other labels he still continues to conquer new musical spaces during this project. Well known producers such as Enei, Command Strange, Nuage and vocalists Iriann Joyce and Pouyah took part in completing some of the tracks on the LP, which has 14 in total.
Intelligent Manners proves once again he is a rising star in the current d&b scene, his productions are warm, tasteful and suitable for a club environment as well while relaxing at home. If slick, melodic and well-crafted dance music is your thing, you've probably come to the right place.

All Day I Dream offers a soft and serene close to a snowy season with A Winter Sampler VII, a 12-track compilation out now. Continuing the label’s tradition of seasonal collections, the latest installment gathers a global cast of artists whose productions capture the reflective calm and subtle warmth that arrives as winter begins to thaw.

Mit gerade mal 17 Jahren releaste Joey Bada$$ sein erstes Mixtape "1999" welches den Sound der goldenen Hiphop-Ära der 90er Jahre adaptierte, so authentisch und selbstverständlich als sei er mit dabei gewesen.
Die Kritiker überschlugen sich in ihren begeisterten Rezensionen und es folgten Features mit Asap Rocky, Kendrick Lamar, Mac Miller & Action Bronson. Der junge Brooklynite ist schon längst mehr als nur ein Geheimtipp. Die ersten audiovisuellen Kostproben gab es in den vergangenen Monaten in Form von "Big Dusty" und "Christ Conscious". Am 20. Januar erscheint nun sein Debütalbum, das den Titel "B4.DA.A$$" trägt.

Hekt's debut album Forever is released 1st May 2026 on Numbers, with the first single "Someday" featuring Valeria Litvakov out now.

Made with his friends Henriette Motzfeldt & Catharina Stoltenberg (solo and together as Smerz), Copenhagen-based composer/producer Fine Glindvad (who records as Fine), and Valeria Litvakov, Forever is built around juxtaposition: pop and bass brushing shoulders with dopamine fueled EDM. The record is a funhouse of mirrors where polystyrene arpeggios skitter underneath uplifting chords.

As Hekt describes the record: "Forever is desire and digital synthesis, car rides and lingering perfume. It’s missing someone who was never really there, holding on to something you didn’t want in the first place. The songs you hear when you’re falling in love on the dancefloor, and the songs you hear when you open your eyes and realize it’s just you alone with the DJ, the last one to leave. Songs to make out and break up to. A party so good you get depressed it can’t last forever."

Forever is a continuation of Hekt's work exploring the emotional core of pop music. "Someday" is the soundtrack to a hundred imagined futures with strangers in the club, as pristine arps and heartswelling chords skitter under Valeria Litvakov's ruminations, both lovestruck and terrified. Smerz add a level of fantastic to the slanted otherworldly pop of "Up in the Air, So" and "Forever." On both tracks, the melodies are squishy and impressionistic, the sound of all those memories we make in dance floors, taxis home, and in the blurry morning sunshine as we adjust to reality.

And while guest vocalists abound on Forever, Hekt also takes a turn at the mic himself. On "Without You" he shakes up a perfectly mixed cocktail of melancholy and beauty. And on "Promise" his voice is turned into another melodic accent against the fragile IDM sound design. Elsewhere he turns up the aggro. Dueting with Catharina Stoltenberg on Boys Noize's secret weapon, "Anytime Anywhere," the two trade bars across a compressed field of static and feedback while little hints of sub and wiry synths circle the edge of the stereo.

Hekt's music has always attempted to redefine what club music can and might be. This reimagining of the very basic building blocks of the dance floor is felt across Forever where he leans into the emotions of 2010s EDM. "What I loved about hardstyle and jumpstyle was the emotional intensity that kind of music can bring if you’re in the right setting. And I think that is what has stuck with me from EDM too. Emotional intensity," he explains. "It’s just been the soundtrack to some of the most fun moments in my life." On "But I Can't Really Show You," he compresses the EDM-era into 3-minutes. Vocal catharsis, dubstep womp, and soaring chords make it sound like the entirety of Tomorrowland being processed through MAX/MSP. This Skrillex-meets-Calvin Harris colossus is designed to destroy every sub woofer as it pulls on every last heart string.

And then there are the straight-up club stompers. "Baby" is UK club music reimagined with the steely lines of Danish modernism - think DJ Q going b2b with Errorsmith. It has a bassline made out of flubber with a vocal chopped beyond recognition as it bounces across chromatic synth lines. Even when he strips things down on the slinky garage-esque "Big Things," there are still unexpected twists and turns. The melody sounds like an Ibiza House compilation played in reverse, alongside drums that swing in and out of psilocybin bleeps and bloops. On other tracks like "Dream" and "You Won't Believe," the tropes of dance musics past, present, and future are dissolved in baths of synthesis and polished sound design.

Forever is a record where club music and Scandinavian EDM seamlessly mixes into avant-garde pop. Hekt has crafted singular and unclassifiable love songs alongside effortless bangers, making an ode to those eternal dance floor moments where time stops and you start hoping for something big.

The Messier Objects returns with the second release on their label containing ten new tracks from the new TMO alter ego ‘Messier One.’ The work combines nostalgic IDM, eerie ambient and dreamy dub techno into one mini-album, inspired by the brute forces of nature and the power of healing and regeneration.

Expect to feel the force of nature on the A-side, where tracks such as ‘Earth’s Signal 04’ and ‘The Greatest Ebb Current’ contain distorted and fuzzy pads, eerie and vague echoing vocals, and whitenoise patterns that somehow feel strangely calming. Together with the broken drum patterns on tracks such as ‘Who Do You Worship?’, and the distorted kicks on ‘Kaalo Asmi Loka Kshaya Kritpraviddho’, the A-side manages to create crude IDM and ambient patterns – resembling historic natural events as if you were there yourself.

On the B-side. the noisy and broken patterns from the previous six tracks are replaced with warm and meditative sounds. ‘Two Tides’ is filled with soothing arpeggiated soundscapes and echoing voices, and the organic jungle chants and mythical vocals in ‘Rebuilding Temples’ further continue the process of regeneration. The B-side is accompanied with two remixes from Messier808 (known from the first release), who brings his typical meditative 4x4 patterns to the table, accompanied by dreamy textures, cyclical melodies and illusive effects from a now ‘healed’ society.

This thoughtful release brings a complete story told in only ten chapters. As always, their releases are backed by breathtaking artworks using vibrant and organic colours, completing an intriguing mini-album.

The Sound of Love International 008 curated by Ivan Smagghe.

The next chapter of Love International's compilation series with Test Pressing arrives through the lens of Ivan Smagghe. Guided by his long-standing mantra, “the style of no style,” the 12-track selection drifts effortlessly between shadow and light - a reflection of the festival as he knows it.

This is Smagghe’s version of Love International: unpolished in the right places, intuitive, and deeply attuned to the stranger corners of the Adriatic experience. The compilation captures the balance at the heart of the festival: connection, curiosity, and a shared rhythm that holds it all together. Slightly out of reach yet exactly where it should be.

‘Tippex in My Eye’, Roman Flügel’s third single with Erol Alkan’s Phantasy Sound, nonetheless charts exciting new territory for the prolific German producer, finding him in collaboration with London-based vocalist and songwriter, PYTKO. Already established as a member of Phantasy’s creative family following her cultishly received 2022 debut LP ‘The Way We Blush’, PYTKO searching, surrealist lyrics and performance provide perfect synthesis for Flügel’s first ever vocal collaboration.

Somewhere between digital dub and avant garde shades of electro-pop, ‘Tippex in My Eye’ slowly works a strange and spacious magic, meditating on bassweight while moving ever-forward with sparse piano and distinctly Flugelesque synthesis. Throughout, PYTKO’s enigmatic vocals intertwine with this ambitious arrangement, acting as an incantation for a brief but refreshingly strange journey.

Each of these elements are repurposed with hypnotic, psychedelic impact on an alternate ‘Dance Mix’. Immediately tapping into Flügel’s well-established nous for turning minimalism into euphoria, PYTKO herself becomes a guiding force for the dancefloor, as the track builds thrillingly toward a cosmic breakdown and dramatic release.

Roman Flügel’s ‘Tippex in My Eye (ft. PYTKO)’ will be released on Phantasy on May 15th 2026, available on limited-edition vinyl and streaming.

"Disco Chimi" by Dominican-raised Cuban artist Charles is the second release on Coco Maria's newly found Club Coco label. Comes with 4 paged insert with liner notes and art.

Charlie Chimi — the alter ego of Charles Garmendia — is a globe-trotting, kaleidoscopic creator best known for La China de la Gasolina. A percussionist for legendary Zamrock band WITCH, L’Eclair, and other international acts, Charlie moves fluidly between roles as a live performer, studio musician, and visual artist.

Like the iconic Dominican street burger it’s named after, the Charlie Chimi project is a spicy mélange of Afro-Cuban rhythms, funk-driven basslines, and playful, inventive wordplay — touching on everyday rituals like making lunch, as well as the trickier themes of illusion, hustle, and deception in the animal (and human) world.

Charlie has assembled an international crew of “Chimis” to help him run the numbers, delivering a dizzying, theatrical live show that feels like peeking into the hazy back room of a bodega: old men slamming dominoes, bachata blasting, and a cosmic sandwich opening a wormhole to somewhere far stranger.

San Diego’s Mrs. Magician has always bent surf music and punk into something delightfully off-kilter — sun-soaked, hook-heavy power pop with a lyrical fixation on life’s darker undercurrents. Their 2012 debut, Strange Heaven, was a nihilistic pop statement that grew into a cult classic. The 2016 follow-up, Bermuda, sharpened the edges with punchy, nervy songwriting. Both records were produced by John Reis (Rocket From The Crypt, Hot Snakes, Drive Like Jehu), cementing the band’s place in Southern California’s underground lineage. Now, in 2026, Mrs. Magician reemerges with their long-awaited third LP, Spiritual Hangover. Recorded at Dave Grohl’s Studio 606 and Singing Serpent Studios with producer Christian Cummings, Spiritual Hangover finds songwriter Jacob Turnbloom trading youthful nihilism for something more reflective. Where earlier records wrestled with existential dread through anthemic defiance, this new collection embraces uncertainty — an admission of ignorance in the face of the human condition, paired with a genuine longing for connection and understanding. The humor remains. The hooks are sharper than ever. But the perspective has shifted.

These songs feel less like a declaration of dominance and more like a celebration of fragility — an acknowledgment that life is fleeting, confusing, and still worth enjoying. The album features Andrew Montoya (drums) and Mark Rivera (bass) of The Sess, Ian Fowles (guitar) of The Aquabats, and John Reis (guitar). Spiritual Hangover channels the bright urgency of late-’70s power pop through a distinctly Californian lens — warm, melodic, and irresistibly alive. “Super fun, well crafted, with great melodies. It gives me that late ’70s power pop energy I loved so much as a kid. Every track has something joyous to grab onto. In a world full of bleak news, Spiritual Hangover is a warming blast of California sunshine.” — Walter Schreifels (Gorilla Biscuits/Quicksand)

Mit der Oxblood Vinyl Edition kehren die frühen Klassiker von 16 Horsepower in besonders eindrucksvoller Form zurück. Secret South zeigt die Band auf ihrem dunkelsten, weitläufigsten Terrain: eine fiebrige Mischung aus Gothic Americana, Folk, Country-Anklängen und okkult schimmernder Schwermut. Bandoneon, Banjo, Hurdy-Gurdy und entrückter Gesang formen einen Sound, der fernab jeder Moderne wirkt und dennoch zeitlos bleibt - archaisch, intensiv und voller Sogkraft. Während die Stücke zwischen asketischer Kargheit und opulenter Weite pendeln, entfaltet sich die volle emotionale Wucht eines Albums, das bis heute Kultstatus besitzt. Parallel zu dieser Wiederveröffentlichung feiern 16 Horsepower ihre Reunion-Tour 2026 in Originalbesetzung, ein Ereignis, das europaweit für ausverkaufte Häuser sorgt. Eine essenzielle Edition für Gothic-Americana-, Folk- und Alternative-Sammler.

In Sheep’s Clothing announces the long-awaited vinyl pressing of Marc Leclair’s beloved 2005 album Musique pour 3 femmes enceintes. The album will also be available on streaming for the first time via Community Music Group.

For years after Marc Leclair released Musique pour 3 femmes enceintes, he heard from listeners who had lived with the record in an unusually intimate way. Many described how the music became part of the emotional landscape of the months leading to birth. “I never expected that,” Leclair says. “Many women told me they listened to the record throughout their pregnancies. They said it made a real difference, that it helped them. It became more than just a record.”

First issued on CD in the early 2000s, Musique pour 3 femmes enceintes (Music for Three Pregnant Women) now returns in a new edition from In Sheep’s Clothing Hi-Fi, appearing on vinyl for the first time as a double LP. The record is being pressed in Detroit at Archer Record Pressing, the historic plant behind deep-groove classics by Juan Atkins, Kevin Saunderson, Underground Resistance, UR’s Jeff Mills, and J Dilla.

Listeners who know the Montreal-based Leclair through his better-known work as Akufen might be surprised by the tone here. During the same years he was shaping the intricate micro-sampling tracks that made Akufen a cult figure on labels including Perlon, Force Inc. and Trapez, Leclair was quietly developing this far more personal project. The meticulous craftsmanship remained the same, though the focus shifted from the hyper-detailed cut-up rhythms of his dance records toward something slower and more atmospheric. “I always compare my work to a jeweler,” Leclair says. “It’s really very precise. I’m a bit of a detail freak. I can spend hours or days on just one phrase in one song. Everything has to be perfectly put together.”

The project began almost accidentally. A few members of Leclair’s circle became pregnant nearly simultaneously, including one who had long believed she couldn’t conceive. The first track he recorded for the project wasn’t meant to advance a larger concept, he says. “It was meant to highlight the fact that three of my closest friends became pregnant at exactly the same time.”

Leclair was already a father with a three-year-old daughter, so the emotional terrain of early parenthood was familiar. Gradually the idea expanded. “I began thinking, why not make a whole album that celebrates this and also follows the entire pregnancy, the nine months,” he says. The music developed piece by piece, including a track originally commissioned by the Berlin experimental duo Rechenzentrum that would later become the album’s opening movement.

Nearly seven years passed between the first composition and the finished album, and the music mirrors the strange arithmetic of pregnancy itself. What begins as a single idea multiplies outward, sounds layering and branching until the album feels less like a sequence of compositions than a living process unfolding in time. “I work very slowly,” Leclair says. “Everything has to be something I’m completely behind. I never want to rush anything. I want things to come naturally.” Across its 72 minutes, the album blossoms with the patience of a long meditation on time, growth and emergence.

When Musique pour 3 femmes enceintes first appeared via Mutek, it circulated quietly but steadily. Critics who discovered it later recognized its unusual scope. In a 2006 Pitchfork review, Mark Richardson gave the record an 8.1, calling “150e Jour” “an unfailingly gorgeous and tightly sequenced quilt of guitar and piano samples reminiscent of Tangerine Dream,” and describing “85e Jour” as infused with “viscous pop ambient drift, the gauzy synth pads ebbing and flowing with rhythm.” Boomkat described the album as “a majestic opus from a producer that's always promised so much — here delving into a panoramic construction of almost visibly radiant music that works so beautifully through each and every second of its 72 minute lifespan.”

The new In Sheep’s Clothing Hi-Fi edition finally presents the record in the format Leclair long imagined. “I always thought that record deserved a vinyl edition,” he says. Spread across two LPs, the music now has room to unfold at its natural pace. More than twenty years after it first appeared, Musique pour 3 femmes enceintes remains what it was from the start: a carefully shaped meditation on transformation and the quiet miracle of life beginning.

On their fourth proper studio album Ruckus, Galactic wholeheartedly move not so much away from their past as a bad-ass New Orleans jazz & roll band, as they move toward another of its traditions: Voodoo funk.

Not merely content to stick to Mardi Gras or Dr. John esthetics, Galactic points firmly toward the technological present with their primordial groove machine music. Bass, bass, and more bass is the order of the day, and strange keyboard sounds come bubbling under like some lost Lee Perry session gone digital. Ruckus is a spooky ride to the other side of midnight. That moment in time when anything is possible.

This is musical rebirth of a band. Galactic was made all the better for its brave new direction. Ruckus is a album packed with ass-burning grooves and was produced by Dan The Automator.

Ruckus has not been available on vinyl more than 2 decades, and now it's finally out again as a limited edition of 750 individually numbered copies on yellow & green marble vinyl, and includes an insert.

Luis Malon returns to Overthink Records with a 4-track EP.

Four cuts rooted in his distinctive, functional sound.

Driven by raw drum machines, acidic lines and precise sequencing, the release moves between techno and electro with a direct, dancefloor-focused approach — tight, hypnotic and built for late hours.

Drumcode returns with its flagship A-Sides series, led by a huge new Adam Beyer single that highlights the 20-track compilation.

If you want a snapshot of techno in any given year, look no further than Drumcode’s annual A-Sides compilation. The release broadly charts the evolution of the genre, while giving a platform to standout demo’s Adam Beyer has received across the course of the year with many emerging artists finding their music on Drumcode for the first time. Case in point – Wehbba, Charles D and Raxon who all debuted on the label via a track on the A-Sides series and have gone on to become regular contributors to Beyer’s influential labels.

This year’s compilation features an exciting mix of established heavy-hitters, alongside a slew of new faces set to make their mark on the genre. ‘We Don’t Say Please’ – is emblematic of Adam Beyer’s sound in 2025 – fresh, experimental and thriving on cross-genre pollinations, as elements of bass music, rap and techno collide, underpinned by a distinctive UK vocal. The results are inspiring.

Elsewhere, the 20-track compilation brims with highlights. HI-LO’s ‘NYC to Amsterdam’ has inflections of New York house fused with driving techno elements. Nicole Moudaber returns to DC in cahoots with the rising ZLATA for the super-charged ‘Report to the Dancefloor’. Oscar L & Charles D mint a new collaborative partnership with the immersive, spacey cut ‘Lift Me Up’. LUSU continue their red-hot run following the recent ‘Move 2 the Groove’ EP, and craft a straight-up mind-mashing single ‘LIKE THIS’. Mark Reeve is in trademark strong form with hypnotic ‘My Mind’, which comes to life via a massive synth led. The fantastic Kaufmann shares her ‘People are Strange’, a nod to a classic vox, re-contextualised for a modern techno audience.

As is tradition, a troupe of ascendant producers land on Drumcode for the first time. They include Uruguay’s Enzo Monza, who delivers the crisp ‘Late Night’ – a favourite of Beyer’s; Mattia Saviola, whose ‘Parallel Dimension’ is a powerful cut with fantastic sound design; Romanian artist Tao Andra, who shares the celestial ‘Unity’; and long-time industry stalwart AdamK, who makes a richly deserved Drumcode debut in partnership with Vikthor feat. MC Stretch on the stunning ‘Silence + The Sound’.

Let The Light In is Tommy Chikara his debut album, functioning as a true discovery journey in his way to exploring new sounds and energy. The album is a curation of 13 tracks ranging from Techno to House, from Ambient to Jungle.

Some grooves don’t rush to the dancefloor — they crawl there, slow and heavy, like smoke wrapping around a bassline. With Fragments of Reality, The Balek Band sculpt an electronic funk that lives between shadow and light — an end-of-the-world fever dream, a Barjavel-style Ravage where chaos turns nihilistic.

No sequencer grid here — just four musicians sharing the same room, shaping air and tension together: drums locked tight with a slap bass, a guitar dripping with echo and heat, and a one-man orchestra behind his machines, weaving acid lines and synth arpeggios while mixing the band live — drenching it in delay, reverb, and saturation, like a dub producer in a Kingston studio, Lee Scratch Perry or King Tubby conjuring ghosts through smoke.

This isn’t fusion — it’s friction. A living ritual where the TB-303 hums, and machines don’t dominate but converse with the human pulse. Each track feels like a night that refuses to end — that humid in-between where trance slips into languor, and the body starts to think for itself.

The record recalls the cosmic jazz of Alain Mion or Eddy Louiss meeting the fiery energy of West African afrobeat musicians freshly arrived in a smoky Belleville basement in the mid-’80s. When The Balek Band summon ghosts, it’s only to reshape them — bending the past into something futuristic, alive, and strangely refreshing. Both disciplined and delirious, Fragments of Reality feels like a promise at dawn: dark funk for the late hours, slow acid for warm blood.

This EP isn’t nostalgic, though it remembers. It’s a transmission from a parallel past — a moment when jazz players met drum machines and decided never to stop playing. Each note sweats, each rhythm breathes. You can almost see the light cutting through the haze, faces half-awake, half-possessed.

The Balek Band aren’t recreating a moment — they’re keeping it alive.
Flesh and cables. Impulse and patience.
A band, not a loop.
A trip, not a format.

Aspetuck has been steadily carving out a name for himself through releases on Never Late and Oslated, garnering a respected following for his DJ mixes and festival performances. Aspetuck’s latest record, Immersion, was sequenced and curated from dozens of ideas spanning a transformative few years in Griff’s life. The album is less a snapshot in time and more of a memory bank - flashes of fatherhood, loss, modular rabbit holes, late-night studio sessions, and long walks by the Hudson River with his daughter.
The emotional undertow of the album is immediate. Opener Hit Me With Your Pet Shark is one of the earliest compositions in the collection, created just months after the loss of Griff’s brother and during the sleepless swirl of new parenthood. Built around a single sound from Spectrasonics Omnisphere, found while rediscovering his brother’s studio gear, the track sets the tone: restrained yet searching, personal without becoming precious.
From there, The Printing Press captures the raw energy of a live jam in Griff’s upstate New York basement, running through a 1980s Tascam mixer like a lo-fi assembly line of synths, pads, and drum machines. REI, named after a spontaneous family mission to find a pink water bottle, encapsulates his knack for imprinting daily minutiae into sound. And title track Immersion- once known simply as Tuesday 303 Jam- emerges from a dinner break and a blender, distilling modular sketches and distorted drums into a powerful, slow-motion march.
Under, Under The Tree hits hardest. Built around a grainy iPhone voice memo of Griff’s daughter singing by the Hudson. And closing the album is Bobik, a collaborative studio session with Moon Patrol channeling the playful chaos of a close friendship and modular exploration. Named after a joke about their golden retriever and filled with alien textures from Griff’s beloved EMU XL7 gifted years ago by his late brother, it’s a fitting send-off to an album that straddles celebration and mourning with grace.
The artwork comes courtesy of Peter Skwiot Smith, whose textured analog/digital aesthetic resonated immediately with Griff’s original vision. Peter’s treatment draws on Griff’s personal photography and leans into motion, blur, and the layered nature of memory, echoing the album's sonic tone without overexplaining it.
Mastered by Sven Weisemann, Immersion is available on blue smoke colored 12”

Originally released in 2012. A long-in-the-making soundtrack to acclaimed filmmaker Grant Gee's documentary about German writer WG Sebald. »Patience (After Sebald)« is a multi-layered film essay on landscape, art, history, life and loss - an exploration of the work and influence of German writer WG Sebald (1944-2001), told via a long walk through coastal East Anglia tracking his most famous book »The Rings Of Saturn«. Much like The Caretaker's oeuvre, Sebald's works are particularly focused on themes of memory, both personal and collective, making Kirby the ideal candidate for this score.

Grant tasked him with soundtracking responsibilities, but rather than thrift shop shellac, the source material for »Patience« was sourced from Franz Schubert's 1827 piece 'Winterreise' and subjected to his perplexing processes, smudging and rubbing isolated fragments into a dust-caked haze of plangent keys, strangely resolved loops and de-pitched vocals which recede from view as eerily as they appear. Mastered by Lupo at D&M, the album is adorned with another specially commissioned painting by Ivan Seal.

2026 Repress

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

Inox Traxx joins Somov, drifting between deep melancholy and moments of peak-time reflection with her signature sound. Label head Ignez closes the release with a reinterpretation of Circle.

High Focus Records are proud to present the latest collaboration from Verb T & Illinformed. ‘Stranded in Foggy Times’ both continues and completes the trilogy that began back in 2015, with ‘The Man with the Foggy Eyes’, before broadening the horizons with last year’s release ‘The Land of the Foggy Skies’. This final chapter returns to the same conceptual landscape as its predecessors, but also sees Verb T & Illinformed returning to a more classic approach to album making. In spite of its concept, the Foggy Trilogy is something of a personal outpouring for Verb T, with the original aim being to vicariously discuss the trials and tribulations that play a part in his life, including his struggles with chronic illness and the feeling of alienation from leaving his hometown, while also reflecting on the state of the world as a whole. Their approach to making the album meant taking it back to the most natural form, where the idea for the track would be outlined, Illinformed would make the beat, Verb T would write to it and then they would tweak and adjust accordingly. The result is 19 of the most finely crafted tracks to emerge from the UK shores this year. As with the previous albums, ‘Stranded in Foggy Times’ finds Illinformed moving away from the more rugged sound that has shrouded the British scene over the last few months, thanks to his collaborations with the likes of Datkid and Wish Master, instead providing Verb T with an arguably more mellow backdrop. From the string and piano driven introduction on ‘Legacy’, to the blissful head-nod vibes of the closing track, ‘Blind Faith’, the union between beats and rhymes sits at the perfect level. The album also boasts one of the most impressive guestlists of the year, one that is very much a product of both players’ worlds. Thanks to Illinformed’s Bristol connection, there are features from the likes of Res One, Datkid, Leaf Dog, Smellington Piff and Chillman, as well as some locally sourced cuts from DJ Rogue. While on Verb T’s side of the fence, we have features from Rye Shabby and Moreone, along with a collaboration that reignites the same creative spark he found in his early days, as King Kashmere steps into the booth on Feeling Strange. All in all, ‘Stranded in Foggy Times’ does exactly what it sets out to do, by drawing the trilogy to a close while also providing insights into Verb T’s personal world and the world at large. The fact that it also happens to be one of the strongest rap albums of the year is the icing on the cake

'Double Seven, released by Trojan in late 1973, was the last album Lee 'Scratch' Perry would release on the label for some considerable time, and it was essentially the final album project he put together before establishing his own Black Ark studio. Opening track 'Kentucky Skank' sets the tone with a slow creeper whose frying sounds underscore its role as a praise song to the Colonel's KFC recipes; the cosmic Moog blips come courtesy of Ken Elliott at Camden's Chalk Farm studio, also prominently featured on U-Roy's double-tracked, stereo-panned gambling ode 'Double Six.' David Isaacs' 'Just Enough' was cut a few years prior, which makes it slightly out of phase with the rest of the set, though the enigmatic 'In The Iaah' sounds mightily fresh, with its uncredited chorus said to come courtesy of the Wailers. Perry's own 'Jungle Lion' has hilarious roars from the maestro at the start, strangely grafted atop a reggae re-make of Al Green's 'Love and Happiness.'

'Overall, Double Seven melds the soul, funk, reggae and dub elements that were constant in Perry's work during this phase. His enhanced audio spectrum and endless reference points would keep his music continually apart from that made by his peers.'
—David Katz (excerpt from the liner notes)

Release week Focus Track: Paint the Rain RELEASE TIMELINE 12/10 - TMR signs Natalie Bergman Announcement with video on Youtube: I Will Praise You (Live) 01/27 - Announce w/ PreSave/PreOrder IG1: Talk to the Lord + (music video) 02/24 - IG2: Shine Your Light On Me + (music video) 03/24 - IG3: I Will Praise You (album version) 04/21 - IG4: I’m Going Home Potential Video Asset - Live set of all the IG tracks released 05/05 - IG5 and Official Music Video: Paint the Rain 05/07 - STREET DATE w/ Focus Track: Paint the Rain Mercy is Natalie Bergman's debut, a self-produced solo album recorded in the strangest of times, during a personal period of profound sadness and reinvention. It's startling, and often beautiful — a rush to the edge of the cliff, with an unflinching look below Recorded at her brother's home studio in Los Angeles, CA, Bergman has already had a lengthy, successful career as one half of the brother-sister duo Wild Belle, but this is the first time she wrote and played all the material. This record absolutely pulses with redemptive power; it is replenishing and original, and deeply cathartic. And before we go any further, you should know that this is kind of a gospel record. It should also be said -- Natalie made this record because she absolutely had to. The music of Mercy began to germinate a few months after she lost her father in a wrong-way, head-on collision. He and her step-mother were killed by a drunk driver. Shortly after, Natalie visited a monastery in the southwestern desert, and there she began to embark on this album. "The first song I wrote on Mercy was 'Home At Last,'" she says. "It is the best song I have ever written. I sing a lot about home on this record. Believing in that place has been my greatest consolation. I had an urgency and desperation to know that my father was there. His sudden death was a whirling chaos that assaulted my mind. This album provided me with my only hope for coming back to life myself. Gospel music brings hope. It is the good news; it’s exemplary. It can bring you truth. It can keep you alive. These songs have kind of written themselves, and they rely on me to sing them.” Natalie Bergman made one of the first great albums of 2021.

‘Call To Arms & Angels’ is the title of the twelfth studio album from South London collective Archive.

 A 17-track double CD / triple LP recorded at RAK studios in London and released on
Dangervisit/PIAS.

 Deluxe editions of the album also include a bonus ‘Super8’ album of new and
exclusive instrumentals, as featured in the band’s ‘Super8’ documentary that will
accompany the release of the album.

 Produced by Archive and long-time collaborator Jérome Devoise, ‘Call To Arms &
Angels’ is the band’s first studio set since 2016’s ‘The False Foundation’.

 Talking about the new album, Darius Keeler says, “Writing our twelfth studio album
was an extraordinary time for the band. The song writing became an unfolding
narrative as the world got stranger and more disturbing every day. With people’s
freedoms being pushed to the brink, the suffering Covid caused and the terrible
events in the US lead by Trump and the rise of the Right, anything seemed possible.

 “To reflect on these times as artists brought up a darkness and an anger, but also a
strange kind of inspiration that was at times unsettling. It really made us appreciate
the power of music and how lucky we are to be able to express our feelings in this
way.

 “It seems there is light at the end of the tunnel, but there are always shadows within
that light.”

 Deluxe 2CD album plus ‘Super8’ bonus CD in 40-page casebound Polaroid
bookpack.

 2CD album.

 Deluxe vinyl box set with white coloured vinyl 3LP (exclusive to this box set), ‘Super8’
bonus LP on white vinyl (exclusive to this box set), deluxe 3CD with Polaroid booklet
and 12” x 12” art print.

 Triple LP on gold vinyl in triple gatefold sleeve.
 Triple LP on green vinyl in triple gatefold sleeve.
 Triple LP on black vinyl in triple gatefold sleeve.

Relapse presents a remastered reissue from the undisputed king of Japanese noise-MERZBOW. "Pulse Demon" is one of the most celebrated releases of Masami Akita's storied 4 decade long career. Composed entirely by live noise concrete and the use of a fuzz box, "Pulse Demon" eschews all overdubs and studio trickery, laying MERZBOW bare. What follows in these recordings is the pure essence of unfettered noise. The rawness in "Pulse Demon" is palpable; praised as "genuinely extreme, downright torturous sounds that are strangely compelling in their shredding intensity." (A.V. Club) upon its original release in 1996. Remastered by James Plotkin (ISIS, ELECTRIC WIZARD, FULL OF HELL, and more,) the "Pulse Demon" reissues features "Extract 1", a never-before released track that was recorded as part of the original "Pulse Demon" sessions.

Originally released on CD in Japan in 2003, as a love letter & thank you to his Japanese fans. Recorded at home, produced, engineered & mixed by Matthew Sweet (bass, guirars & vocals) with the classic ‘Girlfriend’ era lineup of Ric Menck (drums), Greg Leisz (guitars) and the genius electric lead guitar of Television’s Richard Lloyd. The sleeve art is by renowned artist Yoshimoto Nara. In the liner notes, Sweet describes the album's title as an attempt at reverse English: "If I did it correctly, the title should seem a little strange or wrong, but still meaningful! The true definition is supposed to be a 'love you' life, one devoted to loving someone or something, even life itself!"

“an excellent modern guitar pop album, filled with great hooks and harmonies and irresistible ringing six-strings”
Allmusic

“Kimi crackles with Girlfriend‘s energy, as Lloyd and Sweet’s guitars provide antagonistic foils as they did more than a decade before on cuts like “Tonight We Ride.”
Rolling Stone

DJ Himitsu is a Tokyo-born, London-based producer and DJ, known for his understated approach and deep knowledge of Japanese vinyl and book culture. Following a debut EP of acid house on Australian imprint Lunatic Music in 2023, 'Exotic Animals' marks a new waypoint in Himitsu's artistic evolution.

On this debut full length, driving 303 basslines and kickdrums are traded in for obscure recordings and convoluted samples, which spiral and fuse to form shuffling, heady new compositions. Like shattered pottery reassembled into top-heavy sculptures with golden glue, 'Exotic Animals' shapes and juxtaposes opposing forms and fragments, with lolloping aplomb.

When not producing, DJ Himistu runs Caravan - a vintage Japanese record, ceramics and bookshop in London. It's with the same warmth, care and curiosity that he arranges his findings in the plunderous grotto of 'Exotic Animals'. In this way, stepping inside this work is like entering a remote trading post of instruments, memoirs and other sonic curios - as Himitsu stands patiently at the counter.

Recommended for fans of Jon Hassell, Giovanni Venosta, Discrepant.

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

The tenth anniversary edition of Venetian Snares' Traditional Synthesizer Music adds ten more tracks and alternative versions previously available only on a limited edition compact disc from the artist's Bandcamp.Traditional Synthesizer Music is a collection of songs created and performed live exclusively on the modular synthesizer by Aaron Funk. Each sound contained within was created purely with the modular synthesizer. No overdubbing or editing techniques were utilized in the recordings on Traditional Synthesizer Music. Each song was approached from the ground up and dismantled upon the completion of its recording. The goal was to develop songs with interchangeable structures and substructures, yet musically pleasing motifs.

Many techniques were incorporated to "humanize" or vary the rhythmic results within these sub structures. An exercise in constructing surprises, patches interrupting each other to create unforeseen progressions. Multiple takes were recorded for each song resulting in vastly different versions of each piece, a number of which are released for the first time on vinyl and digital for this updated version of the album. BIO Aaron Funk, mainly known artistically as Venetian Snares, is a Canadian electronic musician based in Winnipeg, Manitoba who’s been working since the mid nineties. He is widely known for innovating and popularising the breakcore genre being something of its breakout star. His signature style features complex drums and unusual time signatures and a knack for making ultra-vivid music that takes listeners into unusual places, from the aggressive and extreme, to the surreal, comic and sometimes plain beautiful. His musical explorations extend out in many different ways, from the complex Hungarian, classical-inspired Rossz Csillag Alatt Született, to acid explorations as Last Step, to innovations with modular synths on Traditional Synthesiser Music.

As a collaborator, he’s made music using intimate recordings as musical elements with the artist Hecate as Nymphomatriarch, as Poemss with Joanne Pollock, where they both sing over strange delicate pop. He’s recorded an album of rich, edited improvisations with producer and guitarist Daniel Lanois and he’s also part of the sometime duo Speed Dealer Moms with John Frusciante. Most recently he features on Rosalia’s album Lux on the song Reliquia, providing drum programming and production input.

Crypt of the Wizard is proud to make available two legendary underground albums by Slutet on vinyl and digital formats.
Slutet originated in Uppsala well over a decade ago, first emerging as a loose idea around 2010. The original cluster of strangely like minded individuals - Dingir, Ryttersson, J.P., Sviatopolk, were equally set on starting a cult as they were a band, the former emerging as a loose collective known as The End Commune, while the latter eventually began rehearsing together as Slutet on September 1, 2013.
From this constellation three notorious demo tapes sprung which were self-released in very limited numbers, and only available by trading bodily fluids, blood, and/or hair for the cassettes. “A very loose guess but we made probably around 20-30 hand-drawn/custom demo tapes of the first three releases. We got blood and hair from many places, actually the very first offering was from INDONESIA. Slovakia, Germany, USA, Argentina, Norway, Canada, Finland followed.... if my memory serves..... hazy years indeed”
J.P. left early 2015. Later that year, after trying the band as a bass-drum-vocals outfit for a while, Fjalar joined on guitar. This is the classic constellation. Dingir, Ryttersson, Fjalar, Sviatopolk. The same troupe playing to this very day.
Following on from the compilation Slutet began work on their next offering entitled Jihad. While the departure of J.P. left them temporarily without a guitarist, a chance meeting with Fjalar at a rave ushered in a new era for the band. “I met the drummer and the bass player at a psytrance rave in the forest. I didn’t have any band and I wanted to play music and I saw this fucking weirdo with long dreads and a Hellhammer shirt and I just went up to talk to him”.
After Fjalar joined the rather chaotic fray, songwriting duties were spread out more broadly and Jihad was rehearsed and recorded in a haze. First released as a cassette by Manifest Of Hate Creations, and later on vinyl in an edition of 100 by Goatowarex the release quickly sold out and became as legendary, and as incredibly difficult to obtain as the previous releases. “It has got some psychedelic improvs, some very unorthodox and quite genius vocal work, some electronic undertones, some noisy ambience, a message of existentialism; all this wrapped up in some sloppy but very authentic and intense black metal-ish music.”
“After the vinyl compilation was out (early 2015) we felt probably a bit directionless, and, having parted ways with a befriended and talented guitar player, we felt maybe a bit morally weakened to continue. First, for a year almost, we toiled on without the 6-strings and rehearsed quite lengthy material for a proposed upcoming LP. However, that material never surfaced. Then we got a new guitar player (Fjalar) and created and recorded this mess”.
It is with great pride that we make these albums available to a general audience and in a wider pressing without need for bloodshed.

Return to Sky is the follow-up to the band's classic Euporie Tide, which consolidated the band as a crucial underground force in the European psych scene and spread their unique brand of warm-toned stoner rock to a wider audience. The album is a condensed piece of acutely experimental, yet immensely engaging, instrumental rock. Each of the album’s five epics unfolds as a microcosm of the band’s genre-transcending psychedelia at large, yet adds something different to the whole.
The tracks on Return To Sky travel far and wide: heavy, detuned riffs are transformed into wide, pastoral soundscapes, and fluid minimalism warped into swirling crescendos and back again. Occasionally the band even manages to sound turbulent, fuzzed-out yet strangely peaceful at the very same time. Whereas so much of today’s psychedelic scene comes off as merely a tribute to a certain period of the past, Causa Sui has always been on a different mission. More than any other record in their catalog Return To Sky declares their roots in the avant rock of the late 1990s - where different eras and genres merged into something that resonated as much with the present as it celebrated the past. It also reveals the fact that members of the band has had their hands in many different projects since the band’s debut album in 2005: solo excursions into synthesizer music, collaborations with members of Sunburned Hand Of The Man and Tortoise as well as film soundtracks and improv sessions with krautrock legends Faust and Damo Suzuki. It has all worked a subtle influence on the kind of band they have become. On Return To Sky their sound is more earthy and heavy than other Causa Sui record, but it’s also a record that has absorbed everything from shoegaze and vintage Italian film music to spiritual jazz and afrobeat into its fabric. Causa Sui has never sounded deeper or more mesmerizing than on this set.

Agustín Giri returns to Rummel with his first album, Universal Maps. The Argentinian producer moves from slower BPM's to faster club music through a dub-influenced selection that represents his unique sound.

We are pleased to announce the first FEX live album, Don't Look Back. The release features selected recordings from two concerts in Paderborn and Uelzen, both captured in 1985. All tracks on the album are previously unissued, including entirely unheard songs such as It's a Hard Life, Just Get Back, Legend, and Waiting Song, alongside a previously unreleased version of Subways of Your Mind, widely known as "The Most Mysterious Song on the Internet."
One of the most striking aspects of the album is the remarkable sound quality of the live recordings, as well as the strength of the performances themselves - particularly given that FEX were still considered a newcomer band at the time. The four-piece lineup consisted of singer, guitarist, and primary songwriter Ture Rückwardt, Michael Hädrich on keyboards and occasional second guitar, Norbert Ziermann on bass, and Hans-Reimer Sievers on drums. In 1985, the band was preparing for broader exposure through a nationwide tour organized by the small promotion company HBM-Musikbüro.
The album opens with the psychedelic Skyscraper, a track Rückwardt reportedly regarded as a personal favorite to perform. Hädrich contributes dynamic synthesizer layers, while Ziermann underpins the track with a distinctive slap bass groove. This is followed by the energetic rock number It's a Hard Life, which once again demonstrates that the band possessed multiple songs capable of matching the impact of their best known track Subways of Your Mind.
After this energetic opening, the album shifts into a more restrained mood with the synth-pop ballad I Got My Eyes On You. It is followed by Strange Feeling, presented here in a particularly compelling live version that arguably surpasses the previously released studio demo featured on the Skyscraper LP, with Rückwardt delivering one of his most expressive vocal performances. On Goldrush, another fan favorite, it is Hädrich's DX7 synthesizer work that stands out.
Don't Look Back continues to flow seamlessly, moving between styles such as new wave, synth pop, and a blues-influenced form of classic rock. On It's Good To Know, a song addressing the theme of stardom, the band returns to a heavier rock sound. In contrast, the synth-driven Just Get Back reflects on the conflict in Northern Ireland, then ongoing at the time. Lines such as "It's the money, it's the money why they come along" are directed at mercenary soldiers, while "even Sunday's a killing time" directly references Sunday Bloody Sunday by U2.
Previously known songs such as Dirty Slapstick and Heart in Danger lead into We Don't Want It No More, perhaps the band's most striking pop ballad. It is easy to imagine that the track had the potential to achieve radio success in the 1980s. The following piece, the epic Legend, explores themes of loneliness and love simultaneously. With poetic and abstract lines such as "some isolate in the falling rain" and "that's why I count all the reasons they call out for living, sadness is falling inside," it builds an almost eerie atmosphere.
One of the final highlights of the album is Subways of Your Mind, recorded in Uelzen. In this version, Rückwardt's vocal performance is even more on point than on the previously issued recording from Paderborn. Another notable moment is the driving, 1970s-inspired rock 'n' roll track Waiting Song. Both the composition and its live performance carry an energy that could easily stand alongside the repertoire of bands such as AC/DC. It was usually the track that FEX ended their concerts with, calling out each band member at the end of the song.
This leads to a broader reflection: it is striking that FEX did not achieve a wider breakthrough at the time. The performances captured here suggest a band capable of delivering consistently, song by song, note by note. It is not difficult to imagine FEX performing in large venues and engaging sizeable audiences. In reality, however, most performances in 1985 took place in front of relatively small crowds. The recordings featured on this album originate from the Roxy club in Paderborn and a small, unknown venue in Uelzen, likely in front of fewer than fifty attendees.
An essential figure behind these recordings is the engineer known only under his nickname Hase (German for "rabbit"), who was responsible for capturing not only these concerts but many other surviving FEX recordings. Bringing his own mixing desk to performances, he developed a deep familiarity with the band's material and was able to shape the live sound with precision, including the timely use of vocal effects. The original recordings existed only on cassette and required careful and extensive restoration work. Zoey Cairs was finally responsible for bringing them to their present quality.
This album marks the beginning of the Live Waves series, following the rediscovery of additional recordings that have gained international attention since November 2024, when they surfaced through what has been described as the largest "lost wave" music search to date. The title of this first live LP Don't Look Back carries a certain paradox. While the album invites listeners to revisit recordings from forty years ago, FEX themselves were always oriented toward the future. In that spirit, further releases of brand new material are already planned.
The cover artwork is once again based on an image by Magnussen from the Kiel archive, depicting the Prinz-Heinrich-Brücke. The bridge, once located in the northern part of the city, no longer exists. As a symbol, however, it remains fitting: a bridge stands for movement and connection - qualities that FEX sought to embody on tour, bringing their music to different places and audiences.

What better way to celebrate 100 releases than with a handmade box containing soul expanding music!? Höga Nord Rekords have reached an important goal and releases a rare box set containing all 12” from the HNRUK-series plus a new record from Birds, unique for this box. Except Birds, this compilation includes Dark Strands, High Boys, Vox Low, Timothy J. Fairplay, Fontän, Bird Of Paradise, Mythologen, Jamie Paton and Frak.

The music is of course the main focus of all releases on Höga Nord Rekords but what birthday gift comes without a proper wrapping? This exclusive handmade box made in Norrmalms kartongfabrik in Stockholm, is a celebration to the Scandinavian Bronze age. You’ll find rock carvings like those on the artwork scattered over the land but mostly near Gothenburg, home of Höga Nord Rekords on the Swedish west coast.

Archaeological evidence proves similarities in ornaments and pictures between the Nordic and European Bronze age, just like you find common features in the music released on our label. Though the acts in this compilation box come from all over Europe and beyond, they stem from an obscured and mysterious common source of escapism, purity and creativity.

From Wisdom Teeth’s recent compilation nagoyaka na kaze / 和やかな風 (quiet wind)—which cast a spotlight on the Japanese city of Nagoya—emerges “2++”, a new label launched by abentis, who curated the compilation alongside Facta and K-LONE as a central figure in the scene. Conceived as a series introducing facets of Nagoya’s underground electronic music to the world on vinyl, its inaugural release is abentis’ debut album, Dim Grow.

Across the album, intricately designed electronic mallet sounds—created using Ableton Live’s physical-modeling synthesizer—take center stage. Fresh and percussive like marimba or kalimba, yet simultaneously carrying an otherworldly, unreal quality, these tones form the core of the record’s sonic identity. In moments of near-silence, a crystalline resonance poised between glass and metal shimmers with subtle shifts in temperature, giving the album its distinctive texture.

While resonating with the sonic sensibilities of fellow Wisdom Teeth affiliates such as K-LONE, Tristan Arp, and Salamanda, abentis’ uniquely strange palette can be traced back to one of his strongest influences: Haruomi Hosono. In particular, Hosono’s mid-’70s tropical-infused solo albums — Tropical Dandy (1975), Bon Voyage Co. (1976), and Paraiso (1978) — serve as a key reference point. Symbolically reflected in Hosono’s marimba and vocal performance at a 1976 live show in Yokohama Chinatown, the marimba functioned as a central instrument for constructing imagined exotic landscapes inspired by Martin Denny and Hawaiian music.

For abentis—who worked at a local jazz bar before becoming active as a hip-hop beatmaker—the language of “tension chords,” a harmonic vocabulary rooted in jazz and R&B that hovers ambiguously between brightness and darkness, forms a consistent grammar throughout Dim Grow.

Behind the album’s core theme of “mallets + tension chords” lies a broad musical lineage: the harmonic sensibility of Claude Debussy, who anticipated the tensions of jazz; the proto-minimalist spirit of Erik Satie; the marimba-centered structures of Steve Reich; their continuation in Japan through Mkwaju Ensemble (with Midori Takada and production by Joe Hisaishi); and the subsequent branches into post-rock, electronica, and ambient music.

Growing up in Nagoya—an industrial city where creative independence is deeply valued—and being rooted in punk and hip-hop counterculture scenes naturally fostered abentis’ affinity with these predecessors. His practice between genres, combined with an encounter with the highly cross-pollinated musical perspective cultivated around Wisdom Teeth, provided the framework through which his own musical language crystallized. Dim Grow stands as the natural culmination of that journey.

Bright Opaque Orange Vinyl, Opaque Turquoise Vinyl & Semi-Opaque Natural Vinyl. ,Images of Life" ist ein die gesamte Karriere umfassendes 3xLP-Retrospektive-Boxset, das die beeindruckende Bandbreite und Tiefe von Detroits unbekanntem Songwriting-Genie Ted Lucas beleuchtet. Die erste Platte ,Strange Mysterious Sounds (1965-1970)" zeigt Teds Annäherung an die psychedelische Major-Label-Szene durch seine Bands The Spike Drivers, The Misty Wizards und The Horny Toads. ,Rainy Days (1970-1974)" präsentiert die akustische Wärme und den Charme seiner Solokarriere, die denjenigen am besten bekannt sind, die bereits mit Teds selbstbetiteltem ,OM"-Album von 1975 kennen. ,Impossible Love (1979)", das verschollene zweite Album, präsentiert Ted sanft und fast schon im ,Yacht-Rock"-Stil, ohne dabei jemals die wahre Kunstfertigkeit und das handwerkliche Können des einmaligen Talents Ted Lucas zu verraten.


































[xh] 11IMPOSSIBLE LOVE [ACOUSTIC]

I first encountered Pascal Comelade’s music thirty years ago—and nothing has sounded quite the same since. I was immediately captivated: he is an artist like no other, whose sincere and selfless love of music is always evident, especially in his tender reworkings of other people’s songs.

Comelade seems to work like a watchmaker: meticulous, precise, and obsessive—yet always drifting into something dreamlike. His music opens hidden doors, telling strange and beguiling stories filled with obscurity, kindness, and reserved humour.

Back then, my fascination was instinctive. Today, with a few more words at my disposal, I look to this exceptional 70-year-old French musician and feel exactly the same pull.

Métaphysique Du Hit-Parade is the first vinyl compilation devoted to Pascal Comelade’s favourite cover versions. It spans a forty-year career and traces sixty years of rock and roll history along the way. “Sheena Is a Punk Rocker” becomes a soft, soothing lullaby that may well have made the Ramones weep. Then there are his idiosyncratic tributes to Jonathan Richman (“Egyptian Reggae”) and The Kinks (“Sunny Afternoon”), alongside nods to formative heroes such as The Gun Club, Captain Beefheart, and MC5.

Two exclusive recordings stand out particularly: Bob Dylan’s “Girl from the North Country” and Nirvana’s “Come As You Are”—a song that shaped my early youth. Both were recorded especially for this release.

Jan Lankisch, January 2026