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Hardwarez, the third LP by Master Boot Record (aka MBR) on Metal Blade, sees multi-instrumentalist mastermind Vittorio D'Amore (aka Victor Love) aurally exploring the duality of technology and humanity in 9 intense and incandescent tracks. The LP, which follows 2022’s Personal Computer and 2020’s Floppy Disk Overdrive, comes from the expansive mind of Love, an Italian producer who emerged from the underground as an anonymous project in 2016 to create the soundtrack for the cyberpunk point-and-click adventure game VirtuaVerse. The project seamlessly evolved into a standalone entity, releasing over 14 albums in just a few years.
To create Hardwarez, the technologist worked by live streaming his desktop on YouTube while composing new music. Everything is programmed via MIDI. “The very first song I wrote is actually also the first single, “CPU,” he says. “Even though the other songs on the album have a quite different style, the type of riffing and the different melodic section of this track worked as a base to upgrade the sound before moving forward.” “CPU” is also where Love decided to test the real guitar overdubs and was inspired by the results.
“With every album I’ve upgraded bits of the sounds, adding new layers,” he says. “In Hardwarez the core sounds for synth guitars, leads and pads are still those that constitute the trademark MBR sound, but what makes this album very different is the addition of guitar overdubs that play along synth guitars for both the rhythmic and solo sections.”
Intensive touring augmented with live musicians helped Love to make the decision to include real guitars to achieve a massive sound and boost the enhanced frequency spectrum of the instrument. “On this record there are a lot of heavy riffs with palm muting and my lead guitarist Shreddy recorded most of those leads and solos as well playing in unison with synth leads and adding extra energy to them.”

Still Music Chicago is thrilled to announce the reissue of Jiraffe's ''Out'A The Box,'' a legendary dance record from New York City. Originally released in 1988 on Goldqwest Records, this track emerged from the collaboration between Richie Weeks and Al Smith. This limited 12'' release includes a full sleeve with a never-before-seen picture of Richie Weeks with Vaughan Mason at Vaughan home studio and a story of ''Out'A The Box''. Richie Weeks, known for his work with The Jammers and Weeks & Co, founded Goldqwest Records after Salsoul Records closed. Inspired by his friend Vaughan Mason, Richie ventured into house music production, recording demos that caught the attention of Reynald ''Crazy Frenchman'' Deschamps of M.T.I Exports. A generous supporter funded Goldqwest's third release, leading to Richie and Al Smith creating ''Out'A The Box'' at Al's home studio in Philadelphia. The track blended post-disco, dance, latin, and proto-house elements, achieving cult status among DJs worldwide.

With the debut album "Mechanical Spin Phenomena", MNEMIC introduced themselves to the metal world impressively: Their music, made of heavy Thrash riffs, Progressive elements, modern synthesizers and electronic samples created both a hard and spacy atmosphere – therefore the band decided to describe their sound as Fusion Future Metal. Crushing songs like 'Ghost' and 'Liquid' got stuck in your head so easily and the comparisons to bands like FEAR FACTORY, MESHUGGAH or STRAPPING YOUNG LAD were drawn soon. But MNEMIC are not a simple copy of those acts – they are a band with their own ideas and self-contained style. "The Audio Injected Soul" shows MNEMIC grown and more mature. Less complex than "Mechanical Spin Phenomena", the band worked a lot with melodies and set a high value on creating catchy refrains. The result is amazing songs like 'Dreamstate Emergency', 'Door 2.12' or 'Deathbox' groove like hell and unify brutality with melody. Finalized by a dynamic cover version of DURAN DURAN's 'Wild Boys', "The Audio Injected Soul" is all in all a perfect package of ten punishing Modern Metal songs that will catapult MNEMIC to the major league of the genre! Tue Madsen, who again took care of the producing in his Antfarm Studios in Aarhus/Denmark, additionally provided the album with a clear and explosive sound that displays the effect of each track fully.

Pioneering Dutch punk band, the Squats, was one of the first to emerge from the underground of late 1970s Nijmegen.

Pioneering Dutch punk band, the Squats, was one of the first to emerge from the underground of late 1970s Nijmegen.

repress !

Patrice Scott emerges from the studio, once again, with a fresh 4-tracker of authentic Sistrum sounds to soothe, move and invigorate listeners, worldwide.

The vibes are high and the grooves are modern, yet firmly rooted in tradition. Put simply, this is proper deep house music for the heads, crafted as only Patrice can. Enjoy the sonic journey…

1 – For My People
A low-slung groover, “For My People” opens the EP in fine form. Soft chords lay the groundwork as the bassline bobs and weaves through the rhythm section. Liquid synth stabs soon punctuate the groove, as dreamy layers float in and out. Without a doubt, this is a high quality head-nodder and a dancefloor delight.

2 – Let’s Dance
Elevating the BPMs ever-so-slightly, “Let’s Dance” gets moving with a proper, straight ahead rhythm, sprinkled with just enough shuffle to add that P. Scott signature. Blippy keys bounce atop a backdrop of sweet synth chords while the bassline punches through in refined fashion. This is the Sistrum brand of deep, hypnotic, spiritual house music, straight up.

3 - Abstract Jazz
This one is all about those keys… Amidst the crisp, punchy beats, the electric piano dances and hypnotizes. There is really only one option when this cut is on the system - close your eyes and feel it.

4 - The Detroit Track
Nothing less than an homage to his hometown and the sounds and culture that have shaped a musical revolution, “The Detroit Track” is a study in timeless quality. Jazzy synth riffs, punchy bass, spacey echoes and classic, shuffled beat structures remind us that Detroit house music has a special magic unto itself. Feel the magic and let it move you.

Gil Tamazyan is the founder and president of Capsule Labs, a boutique pressing plant, record label and analogue mastering studio in Los Angeles. He has been making cultured sounds for twenty years and does everything from deep house to Italo disco while drawing on a wide range of influences from the words of jazz, funk and more.
-On “Morning Cleanser,” Gil Tamazyan beautifully crafts a deep house record with notes of jazz sprinkled throughout.
-Pressed on 180g black vinyl for the best listening experience.
Gil Tamazyan unveils "Morning Cleanser," a musical gem that masterfully blends house and jazz, showcasing his signature authenticity and groove. The EP begins with "Bumper Car Theater," where Gil's craftsmanship paints a spacious sonic landscape. A steady bassline anchors the track, while ethereal chords drift, inviting introspection and calm. As dawn breaks, the title track "Morning Cleanser" emerges with vibrant chords and infectious beats. The groovy bassline sets the rhythm, and spirited vocals infuse the track with energy, awakening the senses and stirring the soul.
Continuing the journey, "My Body" offers a sultry exploration of sound and sensation. Smooth keys intertwine with dreamy vocals, creating a warm and intimate ambiance. The rhythmic groove carries listeners away, transporting them to a realm of pure musical delight. Closing the EP, "News Cast" weaves a tapestry of rhythm and melody. Powerful kicks and a punchy bassline drive the track, while a sultry saxophone ties back to the opening track, adding a sense of allure. With "Morning Cleanser," Gil Tamazyan delivers a mature and grounded musical experience, inviting listeners to tune in and vibe out.

On this LP you hear two kanteles built by the Master Luthier Rauno Nieminen. One of them is a copy of a historical instrument built by the folk poet Ontrei Malinen in 1833. It is carved from single piece of pine, and it has five bronze strings. The other one is carved from a single piece of spruce. Its lowest seven strings are bronze, and highest three strings are English iron. On most tracks the two kanteles are played simultaneously.

For me, playing these instruments is searching for meaningful ways to interact with wooden objects from another time. By choosing a set of 5 to 15 frequencies and plucking them, I'm able to think, feel, and imagine more than I could without the instruments. the patterns that emerge from the vibrating strings give temporal shapes to thoughts.

The music on this album is improvised. It was recorded at home after dark and outdoors in daylight during 2020-2022. No overdubs or edits were made afterwards. On the last track the kantele is accompanied by detritus gathered from the forest floor.

Tuokioita translates to moments. This music is about colouring time.

In the early 1990s, before the era of social media dominance, skateboarding culture found its voice through magazines and VHS video releases, notably from brands like Santa Cruz and Powell Peralta. These videos not only shaped the skateboarding world but also influenced creativity across various industries worldwide.

In 1988 and 1989, two groundbreaking videos, "Shackle Me Not" and "Hokus Pokus," emerged from the fledgling skateboard company: H-Street, unleashed a seismic shift in street skateboarding. These videos are revered as iconic masterpieces, celebrated for their innovative skateboarding sequences and unforgettable soundtracks.

“What’s particularly interesting about Hokus Pokus was its soundtrack, largely comprised of demo cassettes, unsigned artists, and bands with loose ties to the brand. Some of the songs were goofy, others almost anthemic, and few sounded of their time. Perhaps it was the repetition or the fact that Matt Hensley could have skated to the sounds of a broken oven and it would have been iconic, but the songs in Hokus Pokus became a secret handshake for the hardcore—people who really gave a shit about skateboarding’s culture not just the act”.

Artless / Anthony Pappalardo

“When we were filming for Shackle Me Not we were still a brand new company and hardly anybody knew who we were and it was so brand new. I was so busy skating and I noticed there was like a movement in skateboarding, you could feel there was a change in the way, in the tide, not just white H-Street but with every company. I think that video, the H-Street video was saw raw, with the crazy music, and you know, just the wackiness of all of it, I think that feeling went out into the world, and kids everywhere understood you don’t need to live 20mn away from Del Mar to actually be part of what’s happening. I think that just opened up the world of skateboarding to more people”

Matt Hensley – Pro skater and Floggin Molly band member.

Fast forward 35 years, and H-Street, in collaboration with Paris (France) based label Stereo Ronin Records, embarks on a momentous project to release special edition vinyl soundtracks from these seminal videos. This exclusive release features meticulously remastered tracks, including new versions and previously unreleased gems on vinyl, making it a treasure trove for any skateboarding enthusiast.

Curated from bands like Kirk & The Jerks, Sub Society, Wonderful Broken Thing, Voluntários da Pátria and The Cry, representing the golden era of skateboarding music, this album promises an unparalleled experience for fans of Punk Rock, Indy Rock, and of course, skateboarding.

Working alongside RTM Studio in Paris, Stereo Ronin Records has undertaken a remastering journey, ensuring that this vinyl edition delivers a truly unique sonic experience, capturing the essence of a bygone era while resonating with contemporary audiences.

In the story of Los Sanders, many sources can be found to understand the emergence of “chicha”, a style associated with the life of migrants in the city that saw its heyday in the 1980s, but also to understand the connections between youth music, “new ola”, and rock with tropical rhythms.

Los Sanders serve as a bridge between periods and styles, and their ability to adapt to musical genres and reinvent them has given them a unique style. Los Sanders de Ñaña reflect a Lima that was transforming, giving way to a new face and a new urban soundtrack.

In the universe of Peruvian tropical music, one can distinguish a wide variety of styles. One of the most unique is known as the “carretero” style, also referred to as the “Carretera Central” sound, which alludes to the sound developed by a series of musical groups that became known during the 1970s in the areas surrounding this major highway. At that time, this area received a large influx of migrants from the provinces who came to the capital in search of a better future. The initiators of this carretero style were Los Sanders de Ñaña, and following them, other groups emerged, not only creating a unique style but also establishing a circuit.

John Mayall is often referred to as the "Father of British Blues." Born on November 29, 1933, he's primarily known for his work as a singer, songwriter, and multi-instrumentalist, particularly as a harmonica player and keyboardist. Mayall gained prominence in the 1960s as the founder and leader of the band John Mayall & the Bluesbreakers, which served as a launching pad for numerous British blues and rock musicians. Mayall's Bluesbreakers lineup famously included Eric Clapton, Peter Green, and Mick Taylor, all of whom went on to achieve great success in their own right. His band became a crucial part of the British blues movement and influenced countless musicians around the world. Over the years, John Mayall has released numerous albums both as a solo artist and with various iterations of the Bluesbreakers. His music spans a wide range of blues styles, from traditional Chicago blues to more experimental and progressive sounds. Mayall's influence on the development of blues and rock music cannot be overstated, and he will always remain a respected figure in the music industry. This John Mayall release from Indigo Records ''Through The Years Live 60's to 80's'' are live recordings presented on Blue vinyl.

Originally released to a fan base and music press that were unprepared for the band to move on from the punk fury of "Crossing The Red Sea", The Adverts "Cast Of Thousands" has since been recognized as a lost classic of the time. TV Smith's cutting observational lyrics and sharp musical instincts saw his song writing grow and move in unexpected directions. The primal thumping was replaced by dynamic and driving drumming, acoustic guitars and probing solos emerged, and Tim Cross joined to add keyboards and fill out the overall sound. The one constant was the pounding throb of Gaye Advert's bass. Encouraged to experiment by surprise producer Tom Newman (Mike Oldfield "Tubular Bells") the band found themselves stretching creatively, both in song writing and recording techniques. They might agonize over the sound of recording a match being lit in the middle of one song, while doing a single take of a vocal via a microphone hung in the bathroom for another. Giant choirs were built meticulously over multiple tracks, while the sound of a rat running through the reverb room would be captured forever. The results wrapped some of TV's best songs in strange and inventive sounds to compliment his anti-pop smarts and rock and roll heart. They did not know it at the time, but the band was falling apart. Tensions would soon rise to the level that replacement players were called in to finish their final tour. Punk fans left them in droves. Critics skewered the singles from the album. Their record label had moved on to the next big thing. Feeling that they had reached a creative peak made the tumble even harder to swallow. Time has been very kind though, and fans discovering punk after the first wave have been able to hear "Cast" for what it is - a brilliant and biting collection of rock and roll. Still full of stomp and swagger even when stripped down on "My Place" or via the anthemic surge of "Television's Over", with TV's hook factory on full display on the anti-love song "Love Songs", and the band closing the album with the creeping ballad "I Will Walk You Home"; The Adverts had grown from a great punk rock band to a great rock band. Black vinyl.

Vinyl only! Be fast. Limited copies!

Swiss intergalactic 3 piece experimentalists lean on a Dadaist theme for their late-night, jam-inspired, and smokey beat laden trip to the cosmos.

Distilling surf rock, jazz and ambience, energised and patched together with spoken word samples, wind instruments and, blunted hip hop beats, ali dada’s album SUM is their invitation to dadaversum’ - their eccentric universe of sound and emotion.

Featuring Orlando Ludens (guitar & ambient soundscapes), Rulla (beats & field recordings) and Max Licht (brass & trombone), experimentation is the trio’s constant and SUM is the result of jams and associative distillation’ always with a fluid sense of genre.

Whilst SUM clearly takes new and furtive steps, ali dada’s sound is wholly their own. Nothing feels rigid here and rules don’t apply. Improvisation lingers in the air, even after the last note fades. A series of sound sketches, dense in detail, stylistically rich, SUM gives licence to couch-melt, sungaze or for those used to wintry climes, add another log on the fire.

“The songs often emerge from imperfect elements or mistakes, like from a loop or glitch. or something I played that wasn’t quite clean and building on that becomes the challenge ” recalls Orlando. Rulla adds “I play a lot of instruments, very, very badly and in music production, I’m trained to craft something awesome out of wonky sounds. That’s how songs emerge from unusual sounds”.

As for who played the double bass, no one remembers. Who belongs to the band and who doesn’t is open to interpretation. Though a core group exists the spotlight remains on experimentation through jam sessions. ali dada is a construct, a dadaverse.

Highlights include the album’s opener 'abolish the police', a mix of guitars, weirded-out wind instruments and Häuserfrau’s ever chilled vocal presence. 'tone print' is the band’s first single from the album, which combines sliding guitar, the infamous psychedelic Tim as a narrator, some early CPU game sound-splats and a meteoric dope beat, providing the head nodding groove. 'ohnedi'’s ambient charm features some gorgeous manipulated choir moments and some fidgety electronic synths.

2024 Repress

One foot in the nineties and another in the future, New Yorker Holden Federico's music updates the funk and grit of techno's formative era for modern dance floors. The four tracks on Inner Order, his second EP for the SK11X series, squeeze maximum power out of few elements, with peak-time cuts presented on the A-side and his deeper work on the flip. Heavily road tested in label boss Setaoc Mass' DJ sets, this EP is proven to do the business on a big stage, while still paying tribute to techno's musical roots.

In 2007, Céu debuted her self-titled album, becoming one of the select Brazilian artistsnominated for an American Grammy in the World Music category and is widely regarded as one of the most in_¼éuential Brazilian artists of her generation. With now six albums to her credit, Céu has transcended borders, captivating audiences on five continents at prestigious festivals such as the Montreal Jazz Festival, Coachella, Roskilde, Rock in Rio and Lollapalooza. She is renownedfor her collaborations with both Brazilian and international artists like Duran Duran, Herbie Hancock, Jorge Ben Jor, Gilberto Gil and Emicida. Recorded in the USA, the album features musical production by Céu as well as Brazilian musician and producer Pupillo (drummer of Naçao Zumbi) and American multi- instrumentalist and arranger Adrian Younge (co-founder of Jazz Is Dead). Recorded at Linear Labs Studio in Los Angeles, Novela is Céu"s sixth studio album. It was captured live on tape, in a dynamic moment that demands total presence. A number of artists feature on the record: American MC and songwriter LadyBug Mecca, Franco-Senegalese singer and songwriter anaiis, American singers Loren Oden and Jensine Benitez, American DJ and producer Frankie Reyes, French artist Hervé Salters (General Elektriks) and Brazilian national treasure Marcos Valle. In Novela, ancient technologies, healing, creaminess, bolero, polished stars, echoes of soul music, things of the earth, rap, and whispers to guides emerge. Throughout the record, there is a reaffirmation of the author"sfearlessness, committed to her time, in the complexity and beauty of creative work. Always keeping the diversity of Brazilian music on the horizon.

Limited Gatefold LP version on 180g transparent vinyl, with 4-page lyrics booklet (777x) Tusmorke, arguably the most atavistically trollish, acid-drenched musical act ever to come out of the kingdom of Norway makes yet another eternal return, this time to take the fellow traveller on a subterranean expedition to the kingdom of the Fair Folk! Dawn of Oberon is the band's 12th album, released 12 years after their debut "Underjordisk Tusmorke" (2012). 12-12-12 - That makes this album twice as occult as 666. The band says: "This record is a testament of a tumultuous time. We had a new drummer, Kusken, and keyboard player, Herjekongen, in 2022 and immediately started working on the epic Dawn of Oberon. This behemoth had been wallowing about since the start of the millenium, never quite finding its shape and form. We thought of this as a trial by fire to galvanize the new members. During jams at rehearsals and concerts, new themes emerged, resulting in a sort of sequel in the form of Dusk of Tawblerawn part 1-5. Kusken decided to quit after just 8 months but agreed to document the time we had spent together. All the music was recorded in our rehearsal space and studio in 2022-2023. The record is a manifestation of our Peter Pan syndrome; our aesthetics and ideals remain unchanged for the last 25 years. Never grow up, just grow old. This time we go away with the fairies all together, to the far-away land of the far-out mind.

Blending death growls with ethereal soundscapes and elements of progressive rock, Crimson Veil have been stunning audiences with their unique take on metal. The group of multi-instrumentalists emerge as a new project from their previous band, Birdeatsbaby, who worked with the likes of Paul Reeve (Muse fame) and John Fryer (Depeche Mode, Nine Inch Nails…). Their music was featured in ‘Close to Me’ (Channel 4 thriller starring Connie Nielson and Christopher Eccleston) and was reviewed by magazines such as Orkus and Prog. Stepping further into the heavy world of alternative metal, these accomplished musicians now embark upon a new chapter with a suitably esoteric name, Crimson Veil. Their debut album promises to engulf the senses with a dark visual aesthetic and a musical style that will challenge your preconceptions of metal. Lead singer, Mishkin Fitzgerald, having had most of her musical training at church, was strongly influenced by hymns, classical music and later on, all things rock and metal. Mishkin met guitarist and bassist, Garry Mitchell, when the two were studying music at University in Brighton. A thriving musical partnership was formed, with a mutual love for dark and progressive music. Later joined by infamous Hana Piranha on violin, cello and harp and renowned drummer Anna Mylee, the band have forged a musical path that’s a unique combination of their past and current passions. For their world debut, the four-piece from the UK joined Lordi as part of their Unliving Pictour Show. Dressed as deities of light and darkness, the band transform the stage into a sinister scene of flowers, thorns and animal skulls. Described as “ritualistic, even shamanic” their live performances are a blend of fragile beauty and fierce energy that pulls the audience into an unearthly world of their design, the world of Crimson Veil.

Volume Two in the Electro Sampler Series of Nijmegen's finest Shipwrec. Another compelling electro V/A with tracks by Konerytmi and Ian Martin, amongst others. SES1 set out what quality electro means for Shipwrec. The first in the series brought together six musicians from far and wide, musicians who journey through the colder edge of their analogue instruments with a clear ear for the floor. SES2 starts where its predecessor left off. The genre bending Ian Martin opens with the frigid funk of "Metaphysical Travellers." Stripped back, the track is bare in terms of its elements. Despite such meagre ingredients, Martin concocts an engaging and rich work of darkened grooves and sinister undercurrents. o-0._.0-o is the playful pseudonym of acid freetekno enthusiast Owen. His contribution, "Acidrobotik", releases a free and wandering 303 lines that forges a bubbling path through crisp percussion. The flip brings an artist better known for his work in techno. Cliche Morph delves into the clinical side of his palette and emerges with the stunning "Placebo." Balancing alienated and arctic blasts with a thawing warmth, the outcome is pure classic electro. A rising star of machine music follows, Fleck E.S.C. A dirty bassline is further sullied by layers of gritty distortion and glitched vocals in this re-wired work of ghetto. A legend of electronics closes, Kirill Junolainen. Under his lauded Konerytmi moniker, this synthesiser shapeshifter delivers "Kuva Alkio." Stuttering bass and tight drums are the foundation from which sci-fi inspirations take hold, sailing strings tethered by a terse snare as SES2 is brought to a triumphal close.