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Following the release of their Top 20 charting second album So When You Gonna..., Dream Wife (Alice Go, Bella Podpadec and Rakel Mjöll) now share live album IRL – Live in London 2020, a limited vinyl pressed on Neon Orange wax. Fortuitously recorded by their FOH engineer at London's Peckham Audio this past January, it documents what was expected to be the band’s first of many shows of 2020. Featuring highlights from their first and second albums, plus the previously unreleased song "Cheap Thrills", the recording has undoubtedly captured a blistering performance that showcases the trio's trademark ferocity.

ollowing the demise of emo band Mineral in 1997, singer/guitarist Chris Simpson (Mineral/ Zookeeper/ Mountain Time) and bassist Jeremy Gomez reunited to form The Gloria Record. Taking an acoustic and more organic approach than their previous work, The Gloria Record (with the addition of guitarist Brian Hubbard, drummer Matt Hammon, later replaced by Brian Malone and Ben Houtman on the keys, organs and synthesisers) were unarguably the logical progression from Mineral’s emo throes - quieter, delicate and fervently impassioned. Heralded as a “band with big visions and bombastic sounds”, the quintet fostered their admiration for artists with similar arena sized visions ( Radiohead, REM, U2) to produce a sound that was reminiscent of their British contemporaries and American indies. In 1998 the band released their self-titled EP, followed by the intricate offering of 2000’s A Lull In Traffic and 2002’s full length effort Start Here, before disbanding after extensive US tours in 2004. Start Here, the brilliant debut album from The Gloria Record is back on vinyl at long last. Originally released in April 2002, the ten songs are bolstered with four bonus tracks including rarity The Dead Brother, a live version of L’Anniversaire Triste and demos of I Was Born In Omaha and My Funeral Party. Start Here will be released on black double vinyl in a gatefold sleeve on April 16th. The Gloria Record in the press: “…stacked to the gills with nuances that pay back repeat listens in a big way.” - Austin Chronicle “Where their earlier works were true emotional explorations -- singer Chris Simpson's heart fully on sleeve -- The Gloria Record abandons their emo roots for an indie rock growl” - Popmatters “Simpson’s work in Mineral and the dream-pop act The Gloria Record had long established him as a formidable songwriter…”

Dean Martin was a real showbiz animal. Adept as a singer,
comedian and actor, he was probably most at home in the night
spots of Las Vegas, along with his fellow 'Rat Pack' members. This
collection of his greatest recordings demonstrates just why Dean
Martin was (and is) so popular. Enjoy

17 Track compilation of all of their studio recordings, remastered and pressed on Electric Blue Vinyl. Presented in gatefold sleeve with never seen before photographs ,a printed lyric inner sleeve and poster.
The VIP’s were formed in 1978 while at Warwick University. Within weeks they were gigging at clubs in the Midlands, often on the same bill as THE SPECIALS in Coventry. Soon they found a manager, Clive Solomon, who with Timmy Mallet (now a TV and Radio presenter) and both students at the university, financed the group’s first single the EP ‘Music For Funsters. In the summer of 1978 they built up a loyal following in London. The single was picked up by John Peel, who played it constantly on his BBC radio show through the year. The 3 track EP, featuring ‘I’m Perfect’, ‘I Believe’ and ‘Boys of the City’ was released on Clive Solomon’s own ‘Bust’ label.
In 1979 the VIP’s could be found playing all over the country, frequently on the same bill as Squire, stablemates on Clive Solomon’s label.
In early 1980 they went into Olympic Studios in Chiswick to record some tracks with ex-THE ANIMALS bass player and SLADE/Jimi Hendrix manager Chas Chandler. The track ‘I Thought You Were My Friend’ was recorded at these sessions A few weeks later a major record deal was agreed with Gem Records/RCA and ‘Causing Complications’ came out in March. To coincide with the release the VIP’s went on tour supporting SECRET AFFAIR.
After the tour the single ‘The Quarter Moon’ was released, another track produced by Mike Leander. It received extensive airplay around the UK and beyond, and was also picked as BBC Radio 1’s Record of The Week by DJ Mike Reid on his Morning Show, as well as being Radio Luxembourg’s ‘Power Play’ for two weeks. The constant touring, recording and radio play had earned them a spot on Top of The Pops but they were suddenly told -on the afternoon that they were due to appear - that an industrial dispute at the BBC had resulted in the show being cancelled. Disappointed, they continued to record and tour, this time with MADNESS, THE BEAT and DEXYS MIDNIGHT RUNNERS amongst others. This time Bob Seargent (of The BEAT and HAIRCUT 100 fame) was recruited to give ‘Need Somebody To Love’ that sparkle and edge to capture The VIP’s live sound on vinyl. Although perhaps the most representative of the band’s sound, Top of The Pops again eluded them.
By the end of 1980 the VIP’s were selling in Spain, Germany, Italy and France through the RCA label but they seemed to be losing heart with the business. Illness -Jed had been touring with a collapsed lung - and tensions saw the band play their last concert at Leicester University. A fourth and final GEM single, ‘Things Aren’t What They Used To Be’ (a song taken from their earlier Mike Leander recording sessions) proved to be their last. With several songs still to be recorded, it was a frustrating time for all.
Paul Shurey and Guy Morley has already made alternative plans for THE NEW VIP’s and recruited Simon Smith from THE MERTON PARKAS to play drums while Paul returned to his native keyboards. With Tony Conway on guitar and Andy Godfrey on bass they became MOOD SIX.
Paul Shurey played a central part in the birth and proliferation of the Rave movement in the 80’s, 90’s and 2,000’s, initiating a great a great many DANCE RAVES all around the world. Very sadly he died in 2017. He was also a gifted artist/cartoonist, and it’s his picture which graces the album’s sleeve. He is a brother very greatly missed.
Guy Morley works in film editing and Andrew Price is involved in developing community projects in and around his native Bristol.
“We became lifelong friends and shared a great and very exciting rock and roll dream.”

2012 tracks for the first time on vinyl in an edition of 200 copies

These tracks where once included on a CD-R that came with the first 100 S.M. Nurse 12" EP’s “30th Anniversary 1980-1983” (Domestica Records) - now remastered and better sounding, available for the first time on vinyl including an extra track!

Robby Horsfall († 2013): lyrics, vocals
Menko Konings: compositions, instruments

* remix (2021) by Rude 66

** remake S.M. Nurse track

SUIR is a duo based in Cologne, Germany. Formed in 2016 when Denis Wanic (guitar and vocals) and Lucia Seiss (synths, guitar and bass) joined forces for their band project.

In a constant interplay of guitars and synthesizers, supported by minimalistic and electronic drum rhythms and melancholic lyrics, SUIR produces a reverberated psychedelic post-punk defined by a dense, lynchesque sound. Especially their live shows are known for their cinematic, atmospheric music defined by complex sound walls and the hypnotic visualisation – like waking up from a dark and intense dream.

Being locked down in their apartment/studio in Cologne during the Covid-19 crisis, not able to play live shows, they re-recorded a selection of tracks from their previous albums in a live rendition to capture the raw intense feeling of their live shows which they are dearly missing right now. The session also includes the previously unreleased track “Not Accustomed To Be Hurt”

Conceived at the heel of Italy's boot-shaped peninsula in Apulia, Patrick Belaga's Blutt makes music for the unruly imagination. The title is an old German word for 'naked', 'bare', but it can also mean 'blood' when spelt blut. Take away another letter and it makes 'butt'. None of these definitions and adaptations were what prompted the classically-trained composer and cellist to name his second album with a word simulating the sound of a punctured artery. That came later. Blutt's nine woozy compositions are inspired by a contemplative road trip with a friend, and the mysterious muffled music heard from an unidentified source. It was a combination of jazz and classical music that haunted Belaga's wanderings through the Byzantine town Gallipoli, and soon infected his dreams of long-gone civilizations. This record is its outcome, where organic instrumentals and electronic production merge into a sound that's both contemporary and ancient. Samples of mewing incantations and tape hiss sway atop the waltzing thud of piano chords on "Sigh". Composite layers of Belaga's cello play in downcast harmony on "Rust". There's a wistful sense for the romantic, in the eerie rhythm of a piece like "Momentum". The quarter tones of an Eastern European and Middle Eastern folk scale probe a profound melancholy via Kai Knight's violin. Its notes are haunted by a field recording of running water on "Unsoft", echoes of panpipes and a Jew's harp on opener "Lilt". As a consummate composer and performer known for his work with artists Wu Tsang, boychild, Josh Johnson and Asma Maroof, Belaga's Blutt is itself marked by flawless collaborations. Vocalist and instrumentalist Jazmin Romero sings and composes the surreal melodies of "Grey Eye". Multidisciplinary dance artist and producer Riley Watts contributes to the muted, motorik movement of "The Tunnel is a Tower". Together, the record plays as a stunning soundtrack to the strangeness of sleeping, and the heartbreaking transience of time. Like an intense dream half-remembered, the emotions persist after waking but for the sharp machinations just outside of the mind's reach. The album is mastered by Rashad Becker, featuring artwork by Giovanni Furlino & design by N MRE 08.

Elusive UK producer Kilig brings a six-track EP spanning the British sound palette - forward, complex, with inflections of jungle and garage - to the new Shall Not Fade Classic Cuts imprint. Off the back of releases for Scuffed and Origins in 2020, kilig pairs their intimate knowledge of London's rave scene with more minimalist tinges for What My Mind Needs EP, a simmering club record soaked deep in ambience.

Taking sombre organic vocal samples and delicately placing them over a sharp two-step rhythm, opening track "Closer" is intangible, fantasy-like - the memory of music in your ears after you've left the club. There are echoes of Burial's seminal Untrue across the EP. Kilig aptly reflects the certain melancholy of British club music in the gritty "Overthinking" and mournful "Without You", an ensemble of distorted vocals and dramatic droning synth.

The rest of the record pushes into a more euphoric atmosphere - the title track is a soaring rave number while "Clocking In", a wild beast of a track, glitches and confuses. "I Wanted To Call & Tell You" swells in waves of breakbeat, bringing together the emotional core of the record, fading to gentle keys, the dream of raves to come in 2021.

Demon Records presents Distortion: 2008-2019, the third in a series of four expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould.
Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. Volume three in this new series covers the period 2008-2019 and contains many of Bob Mould’s most celebrated recordings including Silver Age (2012), Patch The Sky (2016), and Sunshine Rock (2019).

MICROCORPS is the new project by artist and musician Alex Tucker (Grumbling Fur, Alexander Tucker, Imbogodom) exploring electronics, cello and voice. The debut release XMIT, an eight-track album featuring collaborations with Gazelle Twin, Nik Void, Simon Fisher Turner and Astrud Steehouder, is out on 16 April 2021. Tucker's ever-evolving soundworld continues to unfold with this collection of harsh realms centred around processed electronic systems, strings and vocal manipulations. On the new album, MICROCORPS employs altered voices, sound synthesis and atomised beat constructions. In a move away from previous projects XMIT investigates erasing the self, removing obvious traits of the hand and voice, and allowing a focus on the humanoid rather than the human. Instead of recognisable lyrics and coherent imagery, MICROCORPS evolved synthesised voices to generate alternate characters. He expands, "I was investigating how language brings our world into being and how manipulating the actual grain of the voice could open up momentary shifts in perception." Each track is born from a balance between composition and improvisation within set parameters. At each stage audio is heavily processed and then reconfigured. Setting up systems that are non-repeatable, where decisions can be premeditated and intuitive but never the same with each performance, using hardware and instruments outside of the computer to make live stereo takes that have limited room for editing and mixing. "I'd been looking into combining dream music with machine rhythms, but there are so many great examples out there of both music forms, so I started to cut up the drones and really filter the drum patterns to create a hybrid space." The album artwork features manipulated ink drawings by Tucker that originally featured in his recent comic ENTITY REUNION 2. XMIT refers to a time in which information both physical and nonphysical transfers at an alarming rate beyond human comprehension into an age which is at once banal and terrifyingly alien.

Old school never die !! Tracker sound !!!
Purple Marbled Transparent vinyl - LTD 000

Hailing from London, UK, PUPIL SLICER are preparing to release their debut album, Mirrors, via Prosthetic Records. Combining all the sharp edges of angular mathcore with the bonecrushing intensity of grindcore, PUPIL SLICER are guaranteed to leave their mark on 2021. Mirrors captures the frenetic energy that propels PUPIL SLICER forward, making their snarling blend of mathcore, grindcore, death metal and more a truly essential listen. For all the disjointed chaos and jagged edges present on Mirrors - and there are many - PUPIL SLICER has created an enticing, cohesive collection of songs that represent a marked period of time in the lives of its creators. Complemented further by the distinctive collage cover art by Nick Povey, this debut album is equal parts grit and sass.

Needle Paw is the first solo album by Nai Palm, the lead singer and composer of R&B future soul outfit Hiatus Kaiyote. A two-time Grammy nominated singer, songwriter and musician from Melbourne, Australia, Nai Palm is a composer, instrumentalist, producer, vocalist and poet who approaches all of these self-taught disciplines with an intuitive, infectious grace. This gift has sent her and her band Hiatus Kaiyote on a journey to sculpt songs that have been received and treasured across the globe. Their success set the stage for Nai’s first solo effort.

Comprised almost entirely of her guitar playing and vocal arrangements, Needle Paw is Nai Palm’s self-imposed challenge to explore the potential for immortality and timelessness within her music by stripping away the produced layers to focus on the element that is closest to the source of the human soul: the voice.

Needle Paw is the rawest glimpse into Nai Palm’s musical world. It is dreamlike, honest, and beautifully transparent, revealing her musical ruminations to listeners with a courageous vulnerability and artistic generosity. Nai sees this album as a reminder to musicians that they don’t have to rely on production to expose their gifts.

Needle Paw features acoustic versions of Hiatus Kaiyote favorites “Atari,” “Mobius,” “When The Knife,” “Molasses,” and “Borderline With My Atoms”, as well as covers of songs by David Bowie (“Blackstar”), Radiohead (“Pyramid Song”) and Jimi Hendrix (“Have You Ever Been (To Electric Ladyland)”).

MICROCORPS is the new project by artist and musician Alex Tucker (Grumbling Fur, Alexander Tucker, Imbogodom) exploring electronics, cello and voice. The debut release XMIT, an eight-track album featuring collaborations with Gazelle Twin, Nik Void, Simon Fisher Turner and Astrud Steehouder, is out on 16 April 2021. Tucker's ever-evolving soundworld continues to unfold with this collection of harsh realms centred around processed electronic systems, strings and vocal manipulations. On the new album, MICROCORPS employs altered voices, sound synthesis and atomised beat constructions. In a move away from previous projects XMIT investigates erasing the self, removing obvious traits of the hand and voice, and allowing a focus on the humanoid rather than the human. Instead of recognisable lyrics and coherent imagery, MICROCORPS evolved synthesised voices to generate alternate characters. He expands, "I was investigating how language brings our world into being and how manipulating the actual grain of the voice could open up momentary shifts in perception." Each track is born from a balance between composition and improvisation within set parameters. At each stage audio is heavily processed and then reconfigured. Setting up systems that are non-repeatable, where decisions can be premeditated and intuitive but never the same with each performance, using hardware and instruments outside of the computer to make live stereo takes that have limited room for editing and mixing. "I'd been looking into combining dream music with machine rhythms, but there are so many great examples out there of both music forms, so I started to cut up the drones and really filter the drum patterns to create a hybrid space." The album artwork features manipulated ink drawings by Tucker that originally featured in his recent comic ENTITY REUNION 2. XMIT refers to a time in which information both physical and nonphysical transfers at an alarming rate beyond human comprehension into an age which is at once banal and terrifyingly alien.

‘An Increase In Entropy’ is the third and final triumphant piece in the trilogy of the 90’s Jungle / Drum and Bass flavoured releases from ASC for Samurai Music.

Chris Liebing and Mathew Jonson remix Marco Faraone on ‘No Filter Remixes (Part I)’, landing March on Rekids.

Marking the first remix package from Marco Faraone’s 2020 ‘No Filter’ LP, Radio Slave recruits fellow dance music titans Chris Liebing and Mathew Jonson for a pair of remixes on one of dance music’s most essential imprints. Liebing steps up for the A-side, delivering a knockout take on the original. Creeping ambience and deep bass weight bubble throughout the track as additional percussion and synthesis unravel towards a climactic finish.

On the flip, Jonson turns in a distinctively delicate version, clocking in just shy of twelve minutes. Fluttering percussion swirl around off-kilter chords and vocals to craft a hypnotic, dream-like atmosphere.

The NE-21 return to She Lost Kontrol after their first pitch-perfect 80s dark wave release in 2016. After releasing a collaboration with Donato Dozzy with the project ‘Men with Secrets’ at the beginning of the year, the duo lands on the label with their new work “In The Realm of Electricity”. The album is a collection of 8 tracks composed and recorded between 2012 and 2020 at the Sy6 studio in Boscoreale. The outcome is a perfect blend of synth pop and minimal wave, filled with icy synths, shuddering bass, and anthemic vocals, ranging from mumbled vocoder to arch talk-singing. While diverse in atmospheric scope, swells of ghostly synths circle the driving beat throughout, producing a haunting totality drenched in an ethereal midnight trance; the submerge of cold, spectral vocals sing within the darkest depths of a starry soundscape – the gloomy romanticism of low, distant vocals bursting with post-punk melancholia. The track’s unease between purpose and utility create a discrete synthesis, and, like a piece of speculative fiction, the memory of the body and its coalescence with the future become prime motives for this liquid age. Akin to Ballard or Philipp K. Dick, the workis not only dreamlike and surreal, but vocally sinister, as if this spectrum of lush new wave ‘80s pop and Almond-style weirdness hides a truth waiting to be grasped. The album in essence sounds unashamedly distinctive, unique and charming. Whether you fall in love with the whole act or you’re just stunned by the bizarreness of it all, one thing’s for sure – you’ll be compelled and gripped right to the infectiously smutty end. Composed, recorded and mixed by Nicola Buono & Lino Monaco at Sy6 Studio. Vocals and lyrics by Lino Monaco. Mastering by Joshua Eustis, Los Angeles. Design By Michelangelo Greco She Lost Kontrol Records 2021

After a long hiatus, Romain Azzaro is reactivating his Rouge Mécanique Musique imprint with an exciting collaborative project, exploring new musical territories.

As the world started to flip on its head early in 2020, a quintet of musicians formed in Berlin : Paul Behnam (guitar), Sacha Hladiy (grand piano), Nicolai Johannsen (vibrating metal plates), Ruth Mogrovejo (viola), and Azzaro himself (zither) recorded their first album over 3 months in Azzaro’s living room, studio and basement. In Hladiy’s words, “a magical musical circus”. The collision of these different personalities and sensibilities makes Colours Of Now a singular, spontaneous and inimitable object, exploring neoclassical, ambient and experimental music.

“Romain had a wide open vision for a brand new project, connecting musicians from different horizons,” says Paul Benham, “a lot of different processes and beautiful vibrations were shared at this moment in his place.”

Nicolai Johannsen adds: “Colours Of Now is a portrait of a time which was and wasn’t; an alternation between existence and its opposite. The album is a collective formation, realized through different energies drawn to the same centre.”

“This album has become a compilation of people,situations and emotions to me,” explains Ruth Mogrojevo. “2020, the year in which we all met, has been an orderly metamorphosis from which we cannot exclude our professional activities. We all met playing music and deep down we knew that the whole project could be something great and actually meaningful.”

« Colours of Now » is a quintet that formed in early 2020 during quarantine in Berlin. The self-titled album, produced and mixed by Romain Azzaro, explores the different shades of sound in a time where uncertainty leads to the present moment.

Swirling layers of OST-style sound design, dreamy choir vocals andtraditional Chinese folk combine across eight dynamic and transportivetracks on Birdy Island, the latest album by Beijing-based producer/artist,Howie Lee, due out in April 2021 on Mais Um. Fresh off the back of several high impact, club-centring album releases on Maloca, SVBKVLT and his influential, Do Hits label, on top of remixes for artists includingLawfawndah, Charlie XCX & Sophie, Lee presents his most organic andexpansive project to date. Written, produced and recorded entirely by Leeat the back end of 2018 (with the exception of the album's resident four-piece choir made up of rising Beijing artist, Fishdoll, Shanghaisinger/producer, Yehaiyahan and West by West, with Lee himself alsoincluded), Birdy Island's almost exclusively acoustic yet broad soundpalette threads continuities between ceremonial Taoist music, early Buchla synth experiments, and FWD nights at London's Plastic People.

After making a name for itself through acclaimed reissues of forgotten gems, Lyon’s Tunnel Vision Records is back, this time with a previously unreleased cult EP from the Serbian underground: InnVision’s Lake produced by Welljam aka Velja Mijanović, one of the pioneers of electronic music in Serbia and host of the legendary “Liquid” show on Yu Radio.

While it is fairly common these days for tracks to reach cult status after being uploaded to Youtube and picked up by its recommendation algorithm, the story of the Lake EP is truly unique.

Picture this: it’s the summer of 94 in Serbia and despite US sanctions, something was going on in the country’s musical underground with open-air parties on lakesides and other natural locations, fuelled by a feeling of freedom and creativity. At the time, InnVision was a 26-year-old producer inspired by the likes of The Orb, Brian Eno, Underworld, and Spooky. Unconcerned with adhering to trends or finding ways to make commercially-viable music, he created the tracks on this EP with Cubase running on an Atari computer and several synths fairly common at the time.

But the result was beyond anything common or ordinary. Described by its creator as “organic (ambient) house, but you can call it trance”, LAKE is rapture in its highest form. Pure enthusiasm seems to be driving this uplifting track, with an abundance of heavenly arpeggios and positive energy, along with masterful arrangements that make it even more grandiose, while retaining a light and dreamy quality (perhaps it is no coincidence that Lake in Serbian evokes weightlessness). It is one of those rare tracks that have a deep impact on body, mind, and soul and for which the repeat button was created. While adhering to a central theme, it never feels stale and this is explained by the fact that it was arranged live, with InnVision muting and tweaking everything in one go, which makes this track a “deskmix”, to use dub terminology. In fact, the producer remembers jumping around and shedding occasional tears while he recorded the final take.

On the flipside is another previously unreleased track, the forward-thinking NIGHTY. By no means filler, this is a timeless track with a subaquatic feel. With lush pads and elements doused in delay and reverb, you’d think this is a purely ambient cut, but it’s much more than that. Subtle melodic and rhythmic elements are engaged in a dialogue, and distant breakbeat samples can be detected in the background, enough to induce movement but never overtaking the vibe carefully created by InnVision. The result is a track that is at the same time featherlight and impossible to listen to without some sort of movement. Once again, truly unique music that transcends time and place.