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Plastik People Collections dropped this one back in 2019, and it became an instant classic that soon sold out. It has since rocketed in price on the second-hand markets, so thankfully, the label is reissuing it this summer. Cultured Pearls's 'Mother Earth' is effortlessly cool garage-house with bumpy drums and expressive piano jams perfect for outdoor dancing. Night Society's 'You Turn Me On' has an authentic US edge and hot and humid groove with passionate vocal cries, then JJ Can's 'I Don't Know Why' is a dubby and low-slung deep garage sound with chopped vocals and a timeless appeal. Three vital cuts that will be huge all over again this year.

Japan’s electronic music scene has always stood out as uniquely distinctive. In the late 1970s and early 1980s, a wave of underground projects, bands, and independent labels—primarily based in Tokyo and Osaka—began crafting their own sound. Inspired by the post-punk, new wave, and experimental movements emerging from Europe and North America, these artists embraced a DIY ethic, using whatever technology they had access to in order to forge something entirely their own.

This movement, often referred to as the "Nippon-wave" scene, remained largely hidden from the outside world. Many of its releases—on cassette tapes, flexi-discs, and privately pressed vinyl—were never distributed beyond Japan’s borders, making them rare treasures for the few who managed to discover them. “Nihon No Wave” presents a selection of these long-overlooked recordings, making them accessible to listeners beyond Japan for the first time.

Pickle Darling has always existed just outside of the periphery. In a heightened time of fast music, algorithmic consumption and rapid virality, Lukas Mayo (they/them) has remained focused on the album. Their discography is a reflection of their creative evolution, and they deliberately look for ways to push sonic boundaries from release to release. Since debuting with Bigness in 2019 followed by Cosmonaut in 2021, Mayo has curated a catalog that is deeply personal and strangely tactile, where tiny, unexpected details_an off-kilter loop, a whispered aside, the warmth of an old Casio_become as crucial as melody itself. Their 2023 LP Laundromat was a precise and polished expansion of that world, a record that felt like it had been carefully placed behind glass. Their forthcoming fourth album, Battlebots, by contrast, is unruly and full of static: a collection of songs that feel like they could only ever exist on scratched CD-Rs passed between friends. Self-recorded in their home studio in Christchurch, New Zealand, it finds Mayo taking a scalpel to their own songwriting. Songs were stretched, chopped, reversed. Some ideas started as "unlistenable garbage" before morphing into something unexpectedly beautiful. If a song felt too straightforward, Mayo had to mess it up. That friction of old and new, organic and digital, melody and noise is what drives Battlebots. Drawing inspiration from a strange, scattered lineage: Four Tet's Rounds, The Books, Neneh Cherry's Broken Politics, The Wrens' Three types of reading ambiguity, but also the emotional directness of 2000s pop like Madonna's Ray of Light and Robyn's Body Talk, the result is an album that feels like a glitch in the system, pushing against past constraints while embracing the weird, beautiful mess of making something new.

In the spring of 2020, Ben Cook _ a.k.a. Young Governor, Young Guv, or just Guv _ was holed up in the New Mexico high desert, his U.S. tour having been abruptly covid-cancelled during a southwest swing. He and his bandmates were living moment to moment in something called an Earthship, a solar-rigged adobe structure sustainably constructed with, among other things, recycled bottles and tires. And out there in the serene vastness, as a short ride-it-out stint turned into a nine-month sojourn, Ben was writing music, slowly, little by little, mostly at night while the others slept. By the New Year, almost in spite of himself, he had created a new album, two new albums actually, and through the ordeal he was forever changed. In a place he never expected to be, under circumstances no one could have predicted, and in the face of physical isolation, emotional desolation, and existential dread, Ben created GUV III & IV, a collection of songs dedicated and testifying to the eternal healing power of love _ how to find it in the world, in others, and most importantly, in himself.

The album introduced a lush, complex dream world that the singer, composer, and producer created and inhabited largely on her own. She produced all the songs, and wrote and performed everything on the self-released collection outside of a re-imagined cover of Pink Floyd’s “Green is the Colour” and 2 other tracks (“The Time,” “Give It Back To You”), which started as instrumentals written by Survive’s Kyle Dixon (who composed the Stranger Things soundtrack with his bandmate Michael Stein), to which Ainsworth wrote melodies and added lyrics. Ainsworth, who’s relocated to Los Angeles from Toronto since 2017’s Darling of the Afterglow, explains that the collection revealed itself to her “as a play taking place in Mother Nature’s vanishing home,” aka Phantom Forest, and that she’s singing from 3 perspectives: herself, Mother Nature, and Greek Chorus. For instance, of the album’s opener, “Diamonds Cutting Diamonds,” she explains: “The Greek Chorus sets the scene, narrating and offering direction on how to enter Phantom Forest. It’s my hope that the listener will imagine the narration to be directed to them as well, as they begin the journey of the album.” You’ll get a sense of this from the collection’s edenic cover art and the playful, pastoral video for the album’s first single, “Can You Find Her Place.” Its inspiration came from Ainsworth’s love for Italian Renaissance painter Botticelli’s 15-century masterpiece “Primavera,” an allegorical representation of the burgeoning fertility of the earth in spring. She notes: “The video features the Greek gods of the painting in a choreographed Baroque style dance.” Keeping with the personal feel of the collection, her sister Abby Ainsworth directed the clip. In line with the classical and historical depths of Phantom Forest, Ainsworth, who holds a Masters Degree in film scoring composition from NYU and studied composition as an undergrad at McGill, notes that although the album might be considered pop, she approached it as an orchestrator. “Even if I’m dealing purely with synths,” she says, “The songs are like a score, each one an evolving journey. I love to use strings so I’ve included my string arrangements on ‘Tell Me I Exist’ and ‘Can You Find Her Place.’ I recorded live musicians on drums, bass, and guitar on ‘Edge of the Throne,’ ‘The Time,’ and ‘Floating Dream,’ and wove those live elements into my programmed elements.” Phantom Forest is a beautiful, vast collection that mixes the historical and the hands on, with hooks about the apocalypse and people obsessively using face-recognition software to see what paintings their face match with, in search of some kind of connection. It’s a journey that holds up to close listening (and lyric reading) and to dance floors, but that can also exist on a purely emotional plane. In all cases, it asks that you listen, and take some kind of action.

o C4 II. Zealots of Stockholm [Free Information]



[s] D4 Life: The Biggest Troll [Andrew Auernheimer]















[o] C4 II. Zealots of Stockholm [Free Information]



[s] D4 Life: The Biggest Troll [Andrew Auernheimer]

Automatic Writing is pleased to welcome Olivier Romero to the family. A longstanding figure in the Paris underground scene, Olivier has more recently gained international recognition through a series of solid releases supported by selectors such as Raresh, Dyed Soundorom, Cristi Cons, and Gene On Earth.

The Past Present Future EP showcases the breadth of his musical range—from hip-hop-tinged tech house to subtle, infectious deep house grooves. REFLEX BLUE contributes a more introspective, UK-flavoured take on the already timeless "The Past Future."

Lathe of Heaven kehren mit ihrem zweiten Album Aurora zurück, einer kühnen Erweiterung ihrer klanglichen und thematischen Palette, die sich wie eine Reihe lebendiger, emotionaler Vignetten entfaltet. "Aurora" ist eine bisher unerforschte Variante des Lathe of Heaven-Sounds, die eine delikate Balance zwischen ihren Punk-Wurzeln und einer fesselnden New-Wave- und 80er-Jahre-Post-Punk-Ästhetik bietet, die Einflüsse aus dem britischen und finnischen Post-Punk der mittleren 80er-Jahre mit subtilen Nuancen aus dem Underground-Pop der 90er-Jahre und der Gegenwart kombiniert. Aufgenommen mit Ben Greenberg bei Circular Ruin und gemastert von Brad Boatright, ist das Album klanglich beeinflusst vom melodischen Rock von The Cure, Musta Paraatis Gothic-Post-Punk-Synthie und intensivem Schlagzeugspiel und A Flock of Seagulls' Art-Pop-Gesang und Gitarrenriffs. Textlich schreckt Aurora nicht vor schweren Themen zurück. Aurora ist als eine Sammlung von Science-Fiction-Kurzgeschichten gedacht, die von Themen wie Antikolonialismus, Vielfalt und Gleichberechtigung beeinflusst sind und sich in den Texten niederschlagen. Diese Geschichten sind von den Romanen von Ursula K. le Guin, Octavia Butler, Greg Egan und Peter Watts inspiriert und führen den Hörer in mythische, kühne und etwas beunruhigende Realitäten. Der Titeltrack "Aurora" spielt in einer dystopischen Zukunft, in der die Erde aufgrund von nuklearem Fallout längst verlassen ist - er erforscht Themen wie Verlust, Liebe und Hingabe. "Oblivion" befasst sich mit dem Phänomen der semantischen Sättigung - wenn man ein Wort oft genug sagt, verliert es seine Bedeutung. "Exodus" ist eine Neuinterpretation des Schiffsparadoxons von Theseus und erzählt von der Erfahrung, das Bewusstsein in einen neuen, perfekten Körper zu übertragen. An anderer Stelle steht "Portrait of a Scorched-Earth" für einen direkten Akt des Widerstands. Als einer der emotionalsten Songs des Albums bricht er mit der üblichen lyrischen Abstraktion der Band und ist eine schonungslose Abrechnung mit den Schrecken der modernen Kriegsführung und der Vertreibung, die in der gelebten Tragödie von Gaza wurzelt. Lathe of Heaven hoffen, dass "Aurora" ein breites Spektrum an Emotionen hervor ruft und zum Nachdenken über den Zustand unserer Realität und der Menschheit anregt. Es ist literarisch, ohne prätentiös zu sein, politisch, ohne zu predigen, und emotional, ohne mit der Wimper zu zucken. Jeder Song hält ein Stück eines zerbrochenen Spiegels, und was zum Vorschein kommt, ist eine prismatische, verwundete Schönheit, die mit tausend Gesichtern zurückstarrt. "Aurora" erhebt den Anspruch, "ohne Angst in das traumlose Vergessen zu zittern". Sie sind herzlich eingeladen.

WYRD, the third full-length album by Crawling Chaos, is an anthology-based work built around a series of archetypes tied to the concept of destiny, fate, and becoming. In the Northern European culture these ideas are encapsulated in the term wyrd, as opposed to notions of free will and self-determination. The main theme is expanded and explored across the album's ten tracks following a narrative thread which unites some of the most fascinating female figures of classical mythology, European folklore, and history-from the Norse Norns to Macbeth's witches serving Hecate, from the Greco-Roman Furies to the fearsome Thessalian necromancers. As with Crawling Chaos' previous works, WYRD is full of literary quotes and easter eggs, offering subtle nods to the most curious among the listeners. Musically speaking, the album is uncompromising, heavy, and very dark.

Limited marbled vinyl. WYRD, the third full-length album by Crawling Chaos, is an anthology-based work built around a series of archetypes tied to the concept of destiny, fate, and becoming. In the Northern European culture these ideas are encapsulated in the term wyrd, as opposed to notions of free will and self-determination. The main theme is expanded and explored across the album's ten tracks following a narrative thread which unites some of the most fascinating female figures of classical mythology, European folklore, and history-from the Norse Norns to Macbeth's witches serving Hecate, from the Greco-Roman Furies to the fearsome Thessalian necromancers. As with Crawling Chaos' previous works, WYRD is full of literary quotes and easter eggs, offering subtle nods to the most curious among the listeners. Musically speaking, the album is uncompromising, heavy, and very dark.

Die Alternative Rocker Pinkshift aus Baltimore, inspiriert vom Grunge der 90er, Pop-Punk der 2000er, Riot Grrl, Punkrock und Post-Hardcore, sind mit ihrem zweiten Album zurück. Aufgenommen von Sänger*in Ashrita Kumar (they/them), dem Gitarristen Paul Vallejo (he/him) und dem Schlagzeuger Myron Houngbedji (he/him) ist "Earthkeeper" konzeptionell aufgeladen und warnt: "The year is 2025. We are living in the mass surveillance state, where they are watching you. They are watching everything you do. They know where you live, they know who you talk to, they know what you like -they know what you look like. You better not slip up." Nach mehr als zwei Jahren unermüdlichen Tourens an der Seite von Bands wie Mannequin Pussy, PUP, The Linda Lindas, Jigsaw Youth, Pussy Riot und Origami Angel, sind Pinkshift nicht mehr dieselben Menschen, die sie waren, als sie 2022 ihr Debüt Love Me Forever veröffentlichten. Sie sind gewachsen, gereift und haben sich durch ihre Erfahrungen verändert. Pinkshift stehen für Einigkeit, Kollektivität, Gemeinschaft und Aktion, aber vor allem hofft das Trio aus Maryland, dass ihre neuen Songs auch eine persönlichere, emotionale Resonanz haben werden. Ice Blue LP oder Digipak-CD

Woo, formed in 1975 by brothers Mark and Clive Ives in London, is known for its experimental blend of folk, jazz, ambient, and electronic music. Their sound, characterised by the delicate integration of acoustic and electronic elements, has earned them recognition in ambient and healing music spheres. Over decades, the duo has produced over 1,500 tracks, evolving a unique style that evokes dream-like atmospheres and a meditative, soothing quality perfect for moments of reflection.

Dedicated to intertwining the serene beauty of music with the nurturing process of planting seeds when the first new signs of life emerge in the growing season. A carefully crafted collection of ambient & minimalist soundscapes, occasionally branching into the new age. A soundtrack for quiet moments of sowing, nurturing, & witnessing the slow reward of growth.

Each artist will release a recycled cassette and digital format. We plan to release one cassette each month from November through June, aligning our releases with the ideal growing period. Each physical release will precede its digital counterpart by a few months, allowing the music to be experienced in its intended form first, with the tangible connection of a cassette and seeds before becoming accessible to a broader audience in the online sphere. This staggered release allows listeners to engage with the music more profoundly and intentionally, akin to the patience and care required in gardening. Best get that portable cassette player on eBay!

Each release will serve as a soundtrack to quiet moments of sowing, nurturing, and witnessing the slow, rewarding growth process, both in plants and in the listeners' lives. Whether tending to a window sill garden or simply seeking a peaceful retreat in sound, "Music to Watch Seeds Grow By" is an invitation to pause, listen, and cultivate.

Early DJ support including Tom Ravenscroft, Deb Grant, Vladimir Ivkovic,Ruf Dug, Eva Geist, Domenic Cappello, Fergus Clarke & Sofie K.

The album C.Q. was originally released in 1968 by the Dutch Nederbeat band The Outsiders, featuring Wally Tax (vocals), Ronnie Splinter (guitar), Leendert "Buzz" Busch (drums), and Frank Beek (bass guitar)._x000d__x000a_The Outsiders, hailing from Amsterdam, were a key figure in the Dutch Nederbeat movement—a local interpretation of beat music inspired by the British Invasion. Though the album C.Q. initially struggled commercially, it has since gained recognition as a psychedelic and garage rock masterpiece._x000d__x000a_C.Q. is available as a limited edition on yellow coloured vinyl and packed in a gloss laminated gatefold sleeve.

Produced by Joe Barresi (Queens of the Stone Age, Tool), The Dissent of Man finds Bad Religion pushing the boundaries of their music as much today as they did in their formative years as a genre defining punk band. Over the course of making the album, primary songwriters Greg Graffin and Brett Gurewitz"s songwriting was informed by life changing events, with Graffin writing his forthcoming book "Anarchy Evolution" and Gurewitz embarking on parenthood again. The result is one of the band"s most forward thinking and musically varied albums ever. The Dissent of Man is not only a snapshot of the band"s personal experiences of the past years but also of their continued maturity in songwriting, capturing an array of styles ranging from blazing punk rock songs like the opener "The Day That the Earth Stalled" and "Meeting of the Minds" and classic rock-tinged cuts like "Cyanide" and "Turn Your Back on Me" to radio rock ready hits like the first single "The Devil in Stitches." The Dissent of Man is a testament to why Bad Religion has remained relevant for the better part of three decades. Already having cemented their place in history as a groundbreaking band who helped create a movement in Los Angeles with classic releases like How Could Hell Be Any Worse?, Suffer, Recipe for Hate, Stranger Than Fiction and Process of Belief, Bad Religion continue to inspire and create with a unique style that continues to cross boundaries and transcends genres."

'The story of IDM in the USA begins in Miami’ - Fact Mag

Control Freak Recordings are thrilled to be launching its new reissue sub-label with Soul Oddity’s Tone Capsule - a seminal electro/IDM classic from mid-90s Miami.

Originally released as a series of 3 EPs, the reissue compiles these into an album, newly remastered by Keith Tenniswood (Radioactive Man) - available digitally and, for the first time, on 2x12" LP album.

Soul Oddity marked the first outing for a pair of musicians who were instrumental in bringing the UK's post-rave IDM scene to the US. Having bonded over a love for the Warp output at the time, the pair fused this influence with the sound of their native Miami, where hip-hop, breaks and bass soundtracked a lively party scene.

A masterpiece of machine-driven, emotionally abstract storytelling, Tone Capsule rivals some of the best of 90s leftfield electronica. Twitchy beats and gloopy synth-funk are melded into jams that make for a seriously otherworldly listen - as forward-thinking now as it was in 1996.

This record kickstarts our new reissue sub label Capsule Freak - marking the beginning of our dive into the rich past of dance music history which has brought the scene we love to where it is today. We can’t think of a more fitting time capsule to begin this journey with - over two years in the making, we hope you find this release as wild and intriguing as we do.