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Auf dem Weg zur 100. Eccentric Soul 45 widmet sich die Numero Group ihren Wurzeln in Ohio mit drei Replika 45s aus dem Capsoul-Universum. Capsouls Kronjuwel, das Harmonie-Quartett Johnson, Hawkins, Tatum & Durr, haben in ihrer kurzen Zeit nur zwei Platten aufgenommen, aber der Song "You Can't Blame Me" des Quartetts gilt als ein klassisches Beispiel für den rauen und ungestümen Soul-Sound, für den Numero bekannt ist. Eccentric Soul from the heart of it all.

Auf dem Weg zur 100. Eccentric Soul 45 widmet sich die Numero Group ihren Wurzeln in Ohio mit drei Replika 45s aus dem Capsoul-Universum. Capsouls Kronjuwel, das Harmonie-Quartett Johnson, Hawkins, Tatum & Durr, haben in ihrer kurzen Zeit nur zwei Platten aufgenommen, aber der Song "You Can't Blame Me" des Quartetts gilt als ein klassisches Beispiel für den rauen und ungestümen Soul-Sound, für den Numero bekannt ist. Eccentric Soul from the heart of it all.

Editrix is a Massachusetts-rooted trio known for their wild, gnarly take on experimental rock. Blending jagged guitar riffs, unpredictable rhythms, and bursts of cartoonish eccentricity, the band creates a sound that's both chaotic and compelling. Composed of singer and guitarist Wendy Eisenberg, drummer Josh Daniel, and bassist Steve Cameron, Editrix thrives on musical risk-taking, often veering into noise-rock territory with a playful edge. On their latest release, The Big E, Editrix unleashes their fangs, resulting in a demonic wall of scuzz. But for as intense as Editrix sounds, the act is convivial and easygoing _ ingrained in deep friendships and speedy, yet jovial recording sessions. Editrix's most pummeling moments seem to be founded on a heartfelt connection, adding emotional resonance to their most feral noise. In the three years since their second LP Editrix II, Eisenberg, Daniel, and Cameron have thrived in individual states of motion _ in and away from music. New York City-based Eisenberg is an accomplished solo artist in the avant-garde realm, receiving recent acclaim for their album Viewfinder (released by American Dreams in 2024). They are also a prolific collaborator, performing in a handful of projects alongside the likes of romantic partner more eaze, Bill Orcutt, David Grubbs, and others. Cameron relocated from Massachusetts to New York City around the same time Editrix II came out, taking a slight step away from music to return to school. Daniel is the only member of Editrix left living in Massachusetts, and performs with the eclectic bands Landowner, Hot Dirt, and The Leafies. Due to Editrix being scattered, the band's new album, The Big E, found them toying with a fresh process. Editrix was quick to write off the idea of collaborating remotely, as the act relishes the warmth of happy accidents that only happen in person. The Big E sparked with Eisenberg, Daniel, and Cameron compiling a list of albums they each admire to establish a self-professed "vibe" up front. King Crimson, My Disco, and Horse Lords were a few key touchstones that shine through, their grounded grooviness balancing erraticism. Eisenberg also found themself infatuated with `70s outlaw country and Van Dyke Parks production. The Big E is titled after a comedic bit between band members, sharing its name with a prominent regional fair in Western Massachusetts, although the title-track aptly features massive E chords. When held up alongside Editrix II _ which found the act toying with Finnish death metal and harsh noise _ The Big E feels settled in its skin. Editrix recorded The Big E with legendary tech death producer Colin Marston (Krallice, Behold_, Dysrhythmia) at his soon-to-be-shuttered studio in Queens. Though these tracks sound toiled over and technical, they are very spontaneous. The majority of The Big E was captured live, with a handful of overdubs added after the fact and came to life over the course of four focused, but rewarding days. Eisenberg uses zen words like "meditative" and "evocative" to describe Editrix's methods, but the end result is crunchy, intricate, and impressively baffling. Easygoing as the band's operation may be, The Big E is a strong jump forward for Editrix inching them towards the center of the avant-rock constellation.

This is a tribute & was made during a place of sadness & grief for two amazing humans we lost last years, Rob Maguire on 18 december 2023 & Lea-Rose Besson aka Radical Softness on 15 February 2024.

They were the most unconditional loving persons I ever met, sharing love, breathing love, teaching us so much about being better everyday, leaving us as their mission on Earth were completed.

Still, the ones who stay, stand still. With only our memories to remember their souls, being infused by their aura of life forever. Its from those people when you feel instantly good around, making you feel comfortable, loving yourself more, accepting yourself & being vulnerable while powerful.

From all over the world and especially in Berlin, many of us where impacted so much by their kindness and souls, offering us a space to be heard & seen, when so many of us couldn't. We all know that it was such a privilege to knew them & shared wisdom with and timeless experiences, being kids around old souls, teaching us how to love beyond time & space.

Its from this place that most of the tracks of this EP were created, fighting for resilience through dark times. I felt the need to make them this tribute while healing from pain to find love in myself and others. Being grateful for everything that happens in life even if it never last.

Gaman, from the Japanese means, perseverance. That illustrate never giving up on ourselves, our dreams, our life, keep shining one day after the other, because being alive is the most unique privilege we will ever have.

While everything is temporary, music still belong, making them heard a little bit longer through vibrations.

My dear Rob, my dear Lea, may you rest in peace, may we see us again in another realm. We love you.

Am 29. Juli 1985 veröffentlichte C.C. Catch mit I Can Lose My Heart Tonight ihre allererste Single – ein Song, der nicht nur den Startschuss für eine der prägendsten Karrieren im europäischen Synthpop-Universum markierte, sondern zugleich zur künstlerischen Hit-Vorlage für den unverkennbaren Sound der Ära wurde. Vierzig Jahre später erscheint zum Jubiläum eine auf 1.000 Einheiten limitierte Vinyl-Maxi in ikonischem Blau – mit allen vier Original-Versionen des Songs, neu remastered von Blank & JonesDas Remastering 2025 durch Blank & Jones holt die zeitlose Energie dieses Hits mit technischer Raffinesse in die Gegenwart: wärmer, breiter, brillanter – ohne die nostalgische Magie zu verlieren. Ein Song, der Generationen verbindet: I Can Lose My Heart Tonight (2025 Remaster) erscheint am 25. Juli 2025 digital und erstmals als Blue Coloured 12” Vinyl Maxi mit allen vier Original-Versionen.

For our 100th Eccentric Soul 45, Numero returns to our Ohio roots with three replica 45s from the Capsoul universe. Marion Black’s timeless two-sider “Who Knows” b/w “Go On Fool” made a few blipsupon its 1970 release, but has taken on a life of its own soundtracking prestige TV and car commercials around the globe and finally going gold after 65 years. We discovered Ron Harrington’s “Because You’re Mine” demo amongst the Capsoul tapes, a demo cut for founder Bill Moss that never escaped greater Columbus. The mid-tempo harmony joint “It Happened To Me Again” adorns the flip, with a lo-fi funk backbeat tossed in for good measure. Capsoul’s crown jewel group harmony quartet Johnson, Hawkins, Tatum & Durr cut just two records in their short time together, but the quartet’s “You Can’t Blame Me” has endured as a classic example of the raw and unhinged soul sound that Numero is known for. Eccentric Soul from the heart of it all.

For our 100th Eccentric Soul 45, Numero returns to our Ohio roots with three replica 45s from the Capsoul universe. Marion Black’s timeless two-sider “Who Knows” b/w “Go On Fool” made a few blipsupon its 1970 release, but has taken on a life of its own soundtracking prestige TV and car commercials around the globe and finally going gold after 65 years. We discovered Ron Harrington’s “Because You’re Mine” demo amongst the Capsoul tapes, a demo cut for founder Bill Moss that never escaped greater Columbus. The mid-tempo harmony joint “It Happened To Me Again” adorns the flip, with a lo-fi funk backbeat tossed in for good measure. Capsoul’s crown jewel group harmony quartet Johnson, Hawkins, Tatum & Durr cut just two records in their short time together, but the quartet’s “You Can’t Blame Me” has endured as a classic example of the raw and unhinged soul sound that Numero is known for. Eccentric Soul from the heart of it all.

Der Blues stand schon immer im Mittelpunkt des Allman-Vermächtnisses und war ein grundlegender Einfl uss in Devon Allmans Karriere. Nun präsentiert er ein brandneues, mit Stars gespicktes Album, das seine Fans begeistern wird und zumindest in Teilen am 27.07. bei seinem Auftritt beim Herzberg Festival vorgestellt wird. Die 10 neuen Songs sind ein weiterer Beweis, dass der Blues ein zutiefst persönliches und universell resonantes Genre ist.

THE INFINITE STREAM TO ETERNITY LAYS IN THE UNDERSTANDING OF THE WHIRLING ASCENT TO PERFECTION’

Jon Tye, aka Ocean Moon is a man who truly needs no introduction. For the last 30 plus years, the founder of LO RECORDINGS has consistently been a part of some of the most seminal and groundbreaking sonic excursions of our time — MLO, Seahawks, Cherry Garcia, and Brain Machine, to name a few.

After his recent album for Music From Memory, ‘Ways To The Deep Meadow’, Ocean Moon now sets his controls for the heart of the sun and takes the listener on an epic journey into a world of vibration, wild oscillations, molecular transformation and altered states of consciousness.

Inspired by the kaleidoscopic majesty of 4 Hero, Terre Thaemlitz, and Alice Coltrane combined with the the wonders of the cosmos, 'SHIMMERING STATES' is an electronic symphony that feels like a magical sonic voyage into deep space.

Mit der Wahl des ehemaligen Roxy-Music-Mitglieds und David-Bowie-Kollegen Brian Eno als Produzenten erweiterten Talking Heads ihren Sound für ihr 1978 veröffentlichtes zweites Album erheblich. More Songs About Buildings And Food zählt zu den besten Werken der Talking Heads. Der Einfluss des Produzenten Brian Eno ist deutlich zu spüren, da er die Band in immer innovativere Gefilde vorantrieb. Das gesamte Album, sogar der kleinere Hit, eine von Eno bearbeitete Coverversion von Al Greens „Take Me To The River“, klingt auch 36 Jahre später noch erstaunlich frisch. Diese Super Deluxe Edition erweitert das Originalalbum um ein Bonusalbum mit seltenen und bisher unveröffentlichten Studio-Outtakes sowie einer bisher unveröffentlichten kompletten Show aus der More Songs…-Tour, die im Oktober 1978 im Entermedia Theatre in New York City aufgenommen wurde. Das CD-Format enthält eine Blu-ray-Disc mit Dolby Atmos, 5.1 und Hi-Res-Stereo-Mixes sowie zwei bisher unveröffentlichte Live-Auftritte in voller Länge, die 1978 auf Video aufgezeichnet wurden.

Mit der Wahl des ehemaligen Roxy-Music-Mitglieds und David-Bowie-Kollegen Brian Eno als Produzenten erweiterten Talking Heads ihren Sound für ihr 1978 veröffentlichtes zweites Album erheblich. More Songs About Buildings And Food zählt zu den besten Werken der Talking Heads. Der Einfluss des Produzenten Brian Eno ist deutlich zu spüren, da er die Band in immer innovativere Gefilde vorantrieb. Das gesamte Album, sogar der kleinere Hit, eine von Eno bearbeitete Coverversion von Al Greens „Take Me To The River“, klingt auch 36 Jahre später noch erstaunlich frisch. Diese Super Deluxe Edition erweitert das Originalalbum um ein Bonusalbum mit seltenen und bisher unveröffentlichten Studio-Outtakes sowie einer bisher unveröffentlichten kompletten Show aus der More Songs…-Tour, die im Oktober 1978 im Entermedia Theatre in New York City aufgenommen wurde. Das CD-Format enthält eine Blu-ray-Disc mit Dolby Atmos, 5.1 und Hi-Res-Stereo-Mixes sowie zwei bisher unveröffentlichte Live-Auftritte in voller Länge, die 1978 auf Video aufgezeichnet wurden.

Repress!

More ultra rare disco-soul from the sunshine state! Phillip Wright only dropped 1 45 single under his own name on TK Disco`s tiny Dash label in 1976. Long sought after & coveted by lovers of rare disco & modern soul "keep her happy" has never been reissued in its original 45 format, until now!

Often fetching around the $200 mark for a used copy this sublime slice of funk deserves to be heard by a wider audience, sadly Phillip never achieved the commercial success of his sister Betty but perhaps now this obscure single of his will make people hit the dancefloor in 2015!

Repressed, remastered & re-released in it`s original dinner 45 rpm format with all original Dash records artwork intact in conjunction with Joe Stone / TK Disco, Miami FL.

While the drama continues and we keep fighting the demons of our daily struggle,.. a man from another place locked himself down in a black lodge, conceiving new material to share with the world. 214 isn't just a number, it's music from an extradimensional place, high up the North Bend mountains. Frequencies coming from a red room, filled with electronic circuitry parallel connected to our inner soul. Lyle At Dawn is Chris Romans third offering for the Frustrated Funk familia. Setting the pace for more to come, as we connect to the Shipwrec multiverse for a full album release to follow shortly after this mind bending EP. You have been warned..

2025 Repess

Soma welcome Manchester born - Berlin based Setaoc Mass for his label debut with the 'Surface For Air EP'. A longtime favourite of the Soma camp, Sam's high energy Techno and creative style has been sought after for some time. With some huge releases on his own SK11 imprint, Sam delivers four devastating, club ready weapons.

Sam's driving style is prevalent on all 4 tracks yet he still injects a dose of emotion in each as twisted sequences and ambient, ethereal soundscapes are peppered throughout giving each one a unique, distinctive sound.

Limited remastered official reissue of a boogie masterclass from 1983, mixed by the legendary Morales and Muzibai (M & M Productions), this grabs you from the off with its super-funky bassline, tight double handclaps and compulsive cowbells before Andrea Stone's dreamy falsetto vocals jab funk shaped holes all over the heady groove. Flip over for the mind-blowingly tasty full dub mix including full intros and reprise (for some reasons unavailable on the original and promo releases), a big favourite of many in-the-know disco DJs and hugely in-demand since being one of the standouts on Dimitri from Paris' Nightdubbin' compilation.

Best of 2Pac is a posthumous greatest hits compilation series from Tupac Shakur released in two parts: Thug and Life. Both albums were released on December 4, 2007 in the United States and December 3, 2007 in the United Kingdom. Both compilations consists mostly of songs released before his death.

2025 Repress

Bite the Day is a new Idjut Boys label imprint. We do an occasional London Party of the same name.....the concept is that there isn't one, musical anythingness and more often than not intending to involve collaborative collision with a hitlist of audio gymnasts whose talents can mask our lack of
said talent.

From the vaults of Idjut time past, Dominican Dolla Man delivered a lyric we thought boots some cold reality into today. The mighty Emperor Machine man was called upon to deliver his ministry of musical justice take. If you can figure out the words they are better than your average Christmas
rap song.

GIRASOLES is the ninth studio album from multi-platinum singer-songwriter Jay Wheeler. In what many will find is some of his most personal work to date, it’s clear that music is his refuge, with the album representing the birth of a renewed version of himself. The moving 15-track album musically represents three stages: difficulties faced in life (represented by planting a seed), a period of transformation (growth), and maturity (a full bloom). GIRASOLES represents the feeling of being stuck, life’s challenges and the moments where personal growth seems impossible. However, as you mature through time, overcoming challenges and obstacles, you bloom into something beautiful. The message is clear: “Never settle and keep working on yourself, show love to others, and continue to evolve despite difficulties, just as sunflowers continue to grow toward the light,” Wheeler expressed. “People talk about outcomes, but no one talks about the process of getting there. This is ‘Girasoles,’ an album full of emotions, showing my evolution as an artist and a man. I want fans to identify with each track and make it their own,” shared Jay Wheeler about “Girasoles”, an album dedicated to the three most important women in his life: Zhamira (his wife), Aiunii (his daughter), and his mother. 2xLP, pressed on Canary Yellow Vinyl and housed in a Gatefold Jacke

Das 1. Album ist das gigantische Debütstudioalbum des deutschen Duos Modern Talking. Das Album erreichte den Spitzenplatz in Deutschland, vier Wochen an der Spitze der Charts und 18 Wochen unter den Top 10. Es verkaufte sich weltweit mehr als acht Millionen.

"Back For Good" ist das siebte Studioalbum und das erste Comeback-Album des deutschen Duos Modern Talking, das 1998 erschien, nachdem das Duo nach einer Pause von über 10 Jahren wieder zusammengefunden hatte.

Classic Muller material comes in a totally new mix, and mastered by the great Sultana Engineering from Nice / France. Accompanied by 4 new trax from Frank Muller. Pure Techno in a colourful Analog Masking. Recorded 100% on Reel to Reel Tape, so play it loud.

Pünktlich zum 20. Jahrestag ihres Debüts veröffentlichen We Are Scientists ihr neues Album "Qualifying Miles", mit der sich die New Yorker Band auf ihre Wurzeln besinnt und auf die rohe Unmittelbarkeit des gitarrengetriebenen Indie-Rocks samt reduzierter "Band in einem Raum"-Ästhetik setzt, mit dem sie in den 1990ern aufgewachsen sind. Obwohl Sänger und Songschreiber Keith Murray nicht mit einem thematischen Rahmen loszog, entdeckte er schnell einen roten Faden, der sich durch die neuen Songs zog: "Erst als wir sie ausgewählt hatten und ich begann, die Texte etwas zu überarbeiten, wurde mir klar, dass diese Songs viele ähnliche Themen behandeln: Wehmut gegenüber der Vergangenheit, eine Art melancholische Nostalgie und solche Dinge." Der Veröffentlichung voraus geht eine ausgedehnte Tournee, die bereits Ende April in Mitteleuropa beginnt, die Band nach UK und zu einigen Sommerfestivals führt, und im Folgejahr diesseits und jenseits des Atlantiks fortgesetzt wird.

Pünktlich zum 20. Jahrestag ihres Debüts veröffentlichen We Are Scientists ihr neues Album "Qualifying Miles", mit der sich die New Yorker Band auf ihre Wurzeln besinnt und auf die rohe Unmittelbarkeit des gitarrengetriebenen Indie-Rocks samt reduzierter "Band in einem Raum"-Ästhetik setzt, mit dem sie in den 1990ern aufgewachsen sind. Obwohl Sänger und Songschreiber Keith Murray nicht mit einem thematischen Rahmen loszog, entdeckte er schnell einen roten Faden, der sich durch die neuen Songs zog: "Erst als wir sie ausgewählt hatten und ich begann, die Texte etwas zu überarbeiten, wurde mir klar, dass diese Songs viele ähnliche Themen behandeln: Wehmut gegenüber der Vergangenheit, eine Art melancholische Nostalgie und solche Dinge." Der Veröffentlichung voraus geht eine ausgedehnte Tournee, die bereits Ende April in Mitteleuropa beginnt, die Band nach UK und zu einigen Sommerfestivals führt, und im Folgejahr diesseits und jenseits des Atlantiks fortgesetzt wird.

This was Don Thigpen's first recording as an artist, but he was no stranger to the studio. In fact he was the individual behind many heavy tunes that came out of the Jackson area. He and good friend Sam Anderson also cut a record on his CJR labelb (Capitol Jackson Records) called "Shirley Baby", also a highly coveted record if you got a copy to sell or record let us know). The name "LEO" became Dons preforming pseudonym. Leo was also his zodiac sign, which he deemed edgy enough to marquee this electro heavy track "Fee Fi Fo Fum". The inspiration for the song came from the computer craze of the 80s. Much like Zapp & Roger's track "Computer Love" an inanimate object is worshipped and then romanticized by a love affair. The song literally depicts a computer falling in love with a woman and attempts to communicate with her by seductively flashing the words "Fee Fi Fo Fum" on the screen.

Pink Butter’s debut EP is a bold fusion of jazz, R&B, hip-hop, and indie, blending structured composition with raw improvisation. Rooted in deep grooves and spontaneous creativity, the project channels influences like J Dilla, D’Angelo, and Robert Glasper while carving out a sound uniquely their own.

With live instrumentation at its core, the band brings an organic, dynamic energy that bridges classic and contemporary influences. Collaborations with legendary artists like T3 of Slum Village and Jermaine Holmes (D’Angelo) add an undeniable depth, reinforcing their vision of modern soul-jazz innovation. This release isn’t just a collection of songs—it’s an experience where musical chemistry and fearless creativity take centre stage.
Pink Butter is a Scandinavian collective of four musicians—Oskar Bettinsoli (guitar), Björn Lehnert (keys), Malte Bergman (bass), and John Bjurström (drums)—dedicated to the art of live performance and improvisation. Merging jazz’s freeform energy with the rhythmic pulse of hip-hop and the soulful depth of R&B, the band’s sound is both timeless and forward-thinking. Their approach embraces the rawness of live musicianship, creating a fresh sonic landscape that resonates with the essence of legends like J Dilla and D’Angelo. With a deep respect for both classic and modern influences, Pink Butter is not just making music—they’re redefining the space where jazz, soul, and hip-hop converge.

Pink Butter’s debut EP is a bold fusion of jazz, R&B, hip-hop, and indie, blending structured composition with raw improvisation. Rooted in deep grooves and spontaneous creativity, the project channels influences like J Dilla, D’Angelo, and Robert Glasper while carving out a sound uniquely their own.

With live instrumentation at its core, the band brings an organic, dynamic energy that bridges classic and contemporary influences. Collaborations with legendary artists like T3 of Slum Village and Jermaine Holmes (D’Angelo) add an undeniable depth, reinforcing their vision of modern soul-jazz innovation. This release isn’t just a collection of songs—it’s an experience where musical chemistry and fearless creativity take centre stage.
Pink Butter is a Scandinavian collective of four musicians—Oskar Bettinsoli (guitar), Björn Lehnert (keys), Malte Bergman (bass), and John Bjurström (drums)—dedicated to the art of live performance and improvisation. Merging jazz’s freeform energy with the rhythmic pulse of hip-hop and the soulful depth of R&B, the band’s sound is both timeless and forward-thinking. Their approach embraces the rawness of live musicianship, creating a fresh sonic landscape that resonates with the essence of legends like J Dilla and D’Angelo. With a deep respect for both classic and modern influences, Pink Butter is not just making music—they’re redefining the space where jazz, soul, and hip-hop converge.

The Mighty Rootsmen features the unparalleled talents of Reggae superstars
Toots Hibbert, Luciano, Gregory Isaacs, Michael Rose, and the rhythmic prowess of Sly & Robbie, Mikey Chung, Robbie Lyn, and Sticky Thompson, alongside Zap Pow Horns members David Madden, Calvin ‘Bubbles’ Cameron, and Glen DaCosta. A groundbreaking collaboration – it is a celebration of reggae’s iconic artists, seamlessly blending the genre’s rich rhythms with rock and soul classics.

Brought together by producer Ralph Spall (Paul McCartney, Billy Joel, Cat Stevens) and recorded at the famous Anchor Studios in Jamaica. The album’s unique sound comes from the decision to let the musicians’ instincts drive the creative process, striking a balance between homage and innovation. Featuring classic tracks from the likes of Tom Petty, The Steve Miller band, The Eagles and Fleetwood Mac. It is produced with a reverence for authenticity and musical mastery. This once-in-a-lifetime project brings together a dream team of Jamaican legends, paying tribute to their artistry and the art of collaboration.

This is Timeless classics with a reggae supergroup. Tracks like “Fly Like an Eagle” showcase Steve Miller’s unexpected, soulful guitar work layered over a reggae groove. Meanwhile, Mike Campbell’s guitar on “I Won’t Back Down” deepen the album’s connections to rock royalty. Yet, the project remains firmly rooted in reggae. "My intention was to try to do something that hadn’t been done in reggae before by putting these giants of the genre together to make a record that leaves you with good feelings, they’re very recognisable as the songs they are but have a distinct reggae feel and stamp.” reflects Ralph.

The Mighty Rootsmen stands as a tribute to the enduring power of reggae music—an album that brings joy, good vibes, and a profound connection to musical history.

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

Grisline is a fresh-born label exploring the balance between light and shadow — a sonic playground where genres blend, bend, and collide. Rooted in the pulse of electro, techno, and house, we’re drawn to contrasts, emotions, and movement, always in search of unexpected harmony.

Our first release comes from Fabrega & Christian, delivering four original tracks that chart a dynamic journey across the dancefloor. The title track, Dark Chai Bowl, opens with a groovy electro cut full of harmonic twists and crisp synth work, setting the tone for the ride ahead. Onda Vampiresca dives into darker territory, layering driving rhythms with flickers of brightness — a hypnotic blend for losing yourself in the moment. On the flip, Lilac Lebal ramps up the intensity with a percussive, floor-focused tool built for peak-time energy. Finally, Lampin’ (featuring Ku$h) winds things down with a smooth, atmospheric break — perfect for the after-hours or sunrise sets.

Named after the old district where Jesse lived during one of the most vibrant years of his life, La Pavonia EP captures the warmth, unpredictability, and deep musical curiosity that define him. Drawing from memories of joy, love, and discovery—and echoing the floral name linked to Runas' Spanish roots—the EP unfolds across four distinctive cuts.

“Crystal Swamp” opens the journey with eerie pads, buzzing synths, and a groove shaped by introspective winter days. “Body Blaster” follows with a raw, body-moving rhythm, born from a shift between Electro and Progressive moods and anchored by a punchy TX-81Z bassline. On the flip, “Warp” plays with imperfection and transformation, turning a single synth and stretched percussion sample into something strangely human. The EP closes with a remix of “Warp” by Belgian-Peruvian producer DC Salas who transforms Warp into a slow-burning, groove-heavy trip, layering thick basslines, subtle percussive shifts, and a progressive pulse. It's a hypnotic rework that keeps the original’s raw textures while opening it up for late-night floors and deeper moments.

Folk-Musik hat die schlechte Angewohnheit, als eine todernste Angelegenheit dargestellt zu werden. Sie ist etwas, zu dem man weint, sie ist übermäßig heilig, sie ist feierlich von Kritikern und Historikern betrachtet. Aber das Folk Bitch Trio, die ehemaligen Highschool-Freundinnen Heide Peverelle (,they/them"), Jeanie Pilkington (,she/her") und Gracie Sinclair (,she/her"), haben einen gemeinsamen Sinn für Humor , der tief in ihre Musik eingebettet ist und sie zum Leuchten bringt, sicher vor den selbsternsten Fallen des Genres. Now Would Be A Good Time, ihr Debütalbum, erzählt lebendige, viszerale Geschichten und ist witzig und dunkel-ironisch in der Art von Schriftstellerinnen wie Mary Gaitskill oder Otessa Moshfegh. Ihre Musik klingt vertraut, aber die Songs sind modern, jugendlich, singen akut durch dissoziative Tagträume und ärgerliche Trennungen, sexuelle Fantasien und Medienüberflutung, all die belanglosen Ressentiments und kleinen Demütigungen, die Anfang zwanzig in den 2020ern sind. ,Cathode Ray" beginnt mit Vorsicht, seine ersten Harmonien kommen in großen, schleifenden Seufzern an. Es ist verletzlich, aber auch ein wenig bedrohlich, mit , einem weit offenen Refrain und einem geräumigen, luftigen Beat, der alles verankert. ,Moth Song", ein Song über unerwiderte Liebe und ,von so durchgedreht zu sein, dass man sich wie im Wahn fühlt und verrückte Dinge halluziniert", bildet das sparsame Herzstück des Albums, wobei Anita Clarks wogende Geigenstimme wie in einem Traum in den Fokus hinein- und wieder herausdriftet. Andere Songs sind nicht so schräg, sondern schildern brutal vertraute Momente am Ende von Beziehungen: Der spannungsgeladene, emotional flüchtige Torch-Song ,The Actor" handelt laut Peverelle davon, ,zur One-Woman-Show deines Partners zu gehen und dann Schluss zu machen". In ,Hotel TV", einer hypnotischen, nächtlichen Träumerei, geht es darum, ,einen Sextraum über zu haben, während man neben seinem Partner sitzt, und der Partner ist ein Lügner", erklärt Pilkington. Die stärkste Verbindung zwischen dem Trio, abgesehen von der Freundschaft, ist Musik. ,Wir haben alle darüber gesprochen, dass wir Musik liebten, als wir aufwuchsen, , und dass wir wussten, dass Musik ein großer Teil unseres Lebens sein sollte", sagt Pilkington. Dieses Gefühl, dass Musik eine angeborene Berufung ist, im Gegensatz zu Hobby oder Torheit, war berechtigt: Das Folk Bitch Trio tourte bereits auf durch Australien, Europa und die USA und unterstützte dabei so unterschiedliche Bands wie King Gizzard, Alex G und Julia Jacklin. Sie haben bei Jagjaguwar unterschrieben, einer Heimat für einzigartige Ikonen und Ikonoklasten (Bon Iver, Angel Olsen, Sharon Van Etten, UMO und andere), und sie haben ihre ersten eingefleischten Fans mit schillernden Harmonien und bissiger Lyrik gefunden, die über Genreerwartungen und Publikumsgrenzen hinausgehen. Das sind die Herausforderungen: Es geht darum zu lernen, wie man ein Leben ohne Liebeskummer und Verlierer-Ex lebt, wann man im zeitgenössischen Nihilismus versinkt und wann man mit seinen Freunden lacht, und warum sich das Leben so flüchtig und unwirklich anfühlen kann. In diesem Sinne fühlt sich Now Would Be A Good Time wie ein Handbuch für das moderne Leben an: eine Botschaft dreier stolzer Folk Bitches, die gemeinsam Schönheit und Weisheit finden, wo sie können.

With this new EP called "Last Night A Bassline Saved My Life", again released on Unsure, Stefan Schwander further refines the philosophy and sound of his latest concept While My Sequencer Gently Bleeps. Following his idea of reduction Schwander used only the Elektron Monomachine to shape four amazing tracks, beautifully balanced, searching for the perfect groove, stripped of all unnecessary.
"Compromise", the first track, may even be a reminiscence to Schwanders legendary releases as Antonelli Electr, supertransparent and supercrisp, yet still warm, deep and human, an understated wonder of a track! "Persona" and the title track got those dubby chords and effective synths, an inimitable tightness and basslines that can save your life indeed. And on "Escalator" Schwander comes up with extraordinary rolling and twisting rhythms and some sonic essentials that only the master of the sequencer can deliver. Distinguished.

Für die 100. Eccentric Soul 45 widmet sich Numero Group ihren Wurzeln in Ohio mit drei Replika 45s aus dem Capsoul-Universum. Eine dieser Singles, Marion Blacks zeitloser Two-Sider ,Who Knows" b/w ,Go On Fool`, wurde bei Veröffentlichung 1970 fast übersehen, hat aber ein Eigenleben entwickelt und wurde nach 65 Jahren Soundtrack für prestigeträchtige Fernseh- und Autowerbung rund um den Globus wiederentdeckt. Eccentric Soul from the heart of it all.

Die Neuauflage der Compilation »The Collection« von Al Bano & Romina Power, die ursprünglich 1998 erschienen ist, umfasst eine Auswahl der größten Hits des Duos, darunter Klassiker wie »Felicità«, »Sharazan« und »Ci Sarà«. Diese exklusive Doppel-LP, die im Juli 2025 erscheint, enthält die komplette Trackliste der Compilation.

**silkprinted sleeve. ltd edition

Mastered by Yves De Mey