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Bone White & Orange Splatter Vinyl. John Carpenters Soundtracks für die jüngste Halloween-Trilogie, die er zusammen mit seinen langjährigen Mitarbeitern Cody Carpenter und Daniel Davies komponierte, markierten die Rückkehr des legendären Regisseurs und Komponisten zur Filmmusik nach fast zwei Jahrzehnten Pause. Halloween (2018), Halloween Kills (2021) und Halloween Ends (2022) wurden alle von David Gordon Green inszeniert, der Carpenter bereits früh in die Vorproduktion einbezog und ihn schließlich als ausführenden Produzenten und Soundtrack-Komponisten für die Trilogie engagierte. Halloween Expanded, ursprünglich 2019 veröffentlicht, erscheint nun in einer brandneuen Verpackung und ist damit ein neues Highlight für Fans, das sie ihrer Sammlung hinzufügen können. Halloween aus dem Jahr 2018 war ein Erfolg, der die kühnsten Träume aller Beteiligten übertraf. Der Film startete mit den höchsten Einspielzahlen in der Geschichte von Blumhouse und den höchsten in der Geschichte der Halloween-Reihe. Es war unvermeidlich, dass bald zwei Fortsetzungen, Halloween Kills und Halloween Ends, grünes Licht erhielten. Green unterschrieb für die Regie beider Filme, wollte aber nicht davon ausgehen, dass John, Cody und Daniel für die Filmmusik zurückkehren würden. ,Ich nehme nichts als selbstverständlich hin", sagt er. ,Man hofft also, dass sie eine gute Erfahrung gemacht haben. Ich weiß, dass wir Spaß an dem Projekt hatten, aber man weiß nie, wie die zeitlichen und finanziellen Interessen der Leute aussehen und all diese Dinge. Die Realitäten des Geschäfts, des Filmemachens, laufen nicht immer so reibungslos ab. Aber es gab keine Probleme. Wir sahen uns an und sagten: ,Wie können wir das hinbekommen? Lassen Sie es uns noch einmal versuchen.` Zweimal." Die erweiterte Version von Halloween enthält mehr als 28 Minuten zusätzliche Musik aus dem Film und bietet ein noch vollständigeres, immersives Hörerlebnis. Das zusätzliche Material der erweiterten Ausgabe umfasst insgesamt 24 neue Titel, die auf zwei weiteren Seiten der Deluxe-Doppel-LP verteilt sind. Diese neue erweiterte Ausgabe enthält brandneues Artwork von Chris Bilheimer und ein exklusives 24x36-Zoll-Poster, das von Creepy Duck entworfen wurde. Erweiterte Versionen der Soundtracks zu ,Halloween Kills" und ,Halloween Ends" sowie ein Box-Set mit allen drei erweiterten Editionen werden ebenfalls am selben Veröffentlichungstag bei Sacred Bones erhältlich sein.

LA-based producer Real Bad Man and Michigan rapper Willie the Kid release their new collaborative album, Midnight, via the producer’s own Real Bad Man Records label. The album, which marks the producer’s second collaborative project of the year following Dear Psilocybin with ZelooperZ, includes guest appearances from UK rapper Sonnyjim, New York’s Lord Sko and frequent RBM collaborator Boldy James, who will be releasing his own Real Bad Man-produced album in May.

The album came together naturally for the pair, letting each new song inform the identity of the project as a whole. Speaking about how they identified that central theme of the album, Willie says, “I think where Adam and I agreed upon is that the stand out records were all themes for the night, late night drive, after hours dinners, shopping, private rooftop hotel suites, it’s a thinking album, a cruising album preferably enjoyed at night…midnight””

Midnight marks the early stages of what’s shaping up to be a prolific run of collaborations for Real Bad Man in 2025. His second album of the year builds off of the momentum he sparked last month with his first full-length album with ZelooperZ, Dear Psilocybin, which The FADER called “clear-eyed and focused in its own fantastical way”. Working as a duo with the dynamic lyricism of Willie the Kid after the psychedelic sounds of Dear Psilocybin, Real Bad Man returns to the essential underground beatmaking that he first emerged onto the scene with through his On High Alert series. His crackling, lo-fi production pairs perfectly with Willie’s gritty delivery, laying a foundation for the longtime lyrical stylist who has worked alongside some of the genre’s modern heroes including Nas, Lil Wayne, The Alchemist, Roc Marciano, Curren$y and more.

Listen to Midnight above, see below for more details on Midnight and stay tuned for more from Real Bad Man coming soon

The Fun House sessions give an unfiltered look at The Stooges' creative process. Side One features Down on the Street (Take 1), Loose (Take 2), T.V. Eye (Takes 7 & 8), and Dirt (Take 10). Side Two includes 1970 (Take 3), Fun House (Take 3), and Freak (L.A. Blues) (Take 1). These raw, unreleased takes highlight the band’s raw energy and proto-punk sound, offering insight into a record that would go on to shape punk, noise rock, and underground music for decades

With his first EP on Token, Phara conjures up four tracks detailing dancefloor impact with robust personality. In 'Second Skin', the Belgian artist is eager for resolution, keeping tension high with the bold analog sound he's known for. Coming eye to eye with the label's sound, Phara pays homage to Token while fiercely defending years of artistic direction - layering the label's astral ambiance with his unstoppable movement.

'Second Skin' sets Phara's intentions clear. The titletrack rolls forward like heavy machinery with what seems like shifting vocals breathing life into the stereo image. This first cut is a gold standard of peaktime production, creating a sense of purpose at the core of urgency. Claps and rides boom and whip around the track that lumbers on with chord stabs to add soul to flare. 'The Ring', however, takes the listener into another direction. Heavily centered on the drum sequence with a sharp slap-back delay, Phara plays with resonance, sparking psychosis amongst movement. Playful in the short term, 'The Ring' proves to be an ultra-hypnotic track reserved for a set's high intensity stretches on an already surrendered dancefloor. Taking this energy and pulling it in, 'Neon' comes to establish a bit more intimacy at first. Here, the producer diffuses his elements into themselves and, in turn, creates a thick ambiance that drives the record forward in space and dissonance. 'Neon' is inquisitive and almost spiritual in its effect, playing with the line between a unified dancefloor and an introspective journey. The conclusion to the EP is 'Blood', a return to dryer production - at least in the beginning. Ambient, almost psychedelic synth work sucks in the listener over unwavering energy to create a closing track worthy of its name. Rolling through to the end, 'Blood' delivers the final blow to an insatiable record on Token by Phara.

Indian Summer of Love finds The Bongolian immersed in a new set of sounds and influences for a new Belle Epoch. It’s a musical landscape informed by the Sixties psychedelia of India via a Haight Ashbury happening.

It’s a kaleidoscopic vision that takes us from a 20th century Fin de Siècle and lands us in the here and now of the 21st Century. It’s for dancers, for seekers and is all underscored by The Bongolian’s trademark heavy rhythms and breaks. It’s another fine instalment of essential cuts for the dancefloor and for high fidelity listening, quality is guaranteed.

From the East to the West, welcome to the Indian Summer of Love. Nasser Bouzida performs drums, percussion, guitars and keys whilst the album features several new flavours to the Bongolian sound with the prominent instrumentation of sitars and bansuri, along with flute, trumpet, saxophone and trombone performances from several stellular international guest musicians.

Double LP pressed on transparent neon pink and opaque neon green vinyl Including exclusive unreleased tracks Holographic gatefold sleeve Reversible artwork concept After months of overwhelmingly positive reviews on the game and half a million streams on the digital album, it is finally time to announce the physical release of the original soundtrack for Sorry We're Closed. Akupara Games, à la mode games and Black Screen Records put every effort into the vinyl that lives up to the one-of-a-kind nostalgic, survival horror game with rich lore, deep characters and multiple endings. While players explore unsettling locations in Sorry We're Closed, they're being haunted by the chilling tracks, created by C.Bedford, Okumura, Devix and Catton Arthur. The soundtrack is as diverse as its artists: From the atmospheric and minimalistic electronic pieces by C.Bedford, who involved in the development of the game, to the full-on hip hop tracks by Okumura, Devix is adding a sensible folk track, while Catton Arthur is finally throwing in some heavy guitars to complete this excentric and highly enjoyable mix. For the vinyl release of the Sorry We're Closed soundtrack, the teams of à la mode, Akupara and Black Screen created a package that has its twists and turns. It comes with colourful neon LPs, transparent pink and opaque green, that are housed in a shiny holographic gatefold sleeve that you can turn around to see a second, alternative artwork.

Don your bandanas, leather jackets and distressed jeans, because heavy metal is about to shine brighter than ever as Swedish newcomers BOMBER bring back the hottest era in hard rock history. Asserting their own trademark blend of 70s and 80s inspired classic and hard rock with catchy hooks, top-notch guitar solos and a vibrant aesthetic, BOMBER brings you their debut album, Nocturnal Creatures, via Napalm Records! After explosive live shows in Sweden and a subsequent tour of Germany, the hard rockers prove that the glorious era of rock isn’t over and that they’re already setting the highest standards on Nocturnal Creatures. On ten powerful tracks, BOMBER turns the night into an intoxicating adventure that convinces both old and new fans of the prominent classic and hard rock genre. Album opener and title track “Nocturnal Creatures” opens the gates with epic storytelling and interludes the following passionate ride through “Zarathustra”. With fiery vocals, melodic guitars and untamable drum-play, the track gets the listener’s pulse pumping, while “Fever Eyes” ensnares with wistful weeping choirs and guarantees a quickly increasing temperature. “Black Pants Magic” emerges into an unforgettable high-class rock experience through its industrious and catchy hook, while songs like “A Walk Of Titans (Hearts Will Break)” and “You’ve Got Demons” surprise with dynamic melodies and Anton Sköld’s powerful voice. On “The Tiger”, BOMBER send their listeners right into the eye of a raging thunderstorm of riffs driven by brilliant grooves, while “Kassiopeia” sets the strings on fire with its marvelous solos. Bursting album closer “Aurora” presents Nocturnal Creatures’ crowning achievement, bringing the 40-minute escapade to the edge of the world. With their new studio album, Nocturnal Creatures, the rising stars of Sweden establish a milestone in the legacy of hard rock that leads the once so majestic genre to new glory – marked by their very own special vision!

Big one from Milanese maestro Inner Lakes. Hell-bent on making 2025 his year, the Kalahari debutant maintains form and momentum with the latest in a flurry of vital releases.

A meticulously-crafted 4-tracker imbued with menace and urgent, late nite throb, it’s precisely the spiralling, nocturnal kinda style that has become his hallmark. Streetwise, upfront and packing a sizeable amount of f*ck-off NRG.

Expect noirish, night-stalking rave suspense and hardware-fuelled, high-velocity torque. Best heard in the company of shadow-dwelling spectres, or perhaps, at the event horizon of a black hole.

DJ tools reveal greater depth and nuance upon closer inspection, and disembodied vocals lure inquisitive ears deep into the dream state. Finely measured throughout, it’s a masterful balance between functionality and full-blown dancefloor immersion, all courtesy of a fella at the top of his game.

Written and Produced by Inner Lakes.
Mastered and cut by Kassian Troyer at Dubplates & Mastering.
Distributed by One Eye Witness.
Artwork by S.O.N.S

Spanish producer Larsson delivers a deep and hypnotic 4-tracker for Fuxbau Records, marking his vinyl debut on the label. Written in the rural village where Larsson grew up, the EP carries a sense of groundedness and clarity. Created in his parents' home, surrounded by nature and far from urban distraction, the tracks reflect a setting where ideas unfold organically. The result is a tightly cut selection of groovy, rolling techno - stripped back, hypnotic, and full of tension. That contrast between calm surroundings and high-impact club energy runs through all four tracks: stripped-back yet detailed, functional yet full of soul.

Georgette Sayegh & Melhem Barakat – Belghi Kull Mawaidi & Instrumental:

Finally, hopping across from Egypt to Lebanon for this infectious number, Georgette Sayegh delivers what some consider her magnum opus in a captivating duet together with Melhem Barakat, and on the flipside a stripped-down instrumental version that’s equally catchy.

Georgette Sayegh is a legendary Lebanese singer and actress known for her tender and dulcet voice that echoed the grace and beauty of the inimitable Fairuz yet carried its own unique warmth. Her passion for collecting vinyl at an early age formed her eclectic musical palette, and she eventually caught the eyes of the Rahbani brothers and played the lead role in a monthly play written by Fairuz’s son, Ziad. Georgette’s household classic "Yay Yay Ya Nassini” shot her to stardom across the Arab world in the 1970’s, and till this day carries the exact same nostalgia of a Lebanese summertime anthem – flirtatious, jolly, and unfettered. In Belghi Kull Mawaidi (I cancel all my appointments), Sayegh’s voice entwines with compatriot and fellow household staple, Melhem Barakat in an emotional display of longing and depth - her voice delicate yet powerful, effortlessly blending with Barakat's commanding baritone.

The instrumental version on the flipside (surprisingly a stereo mix) reveals a highly catchy arrangement that is lush and emotive, driven by strings that glide smoothly through the melody, while brass instruments add a touch of drama. The rhythm section, punctuated by a steady percussion, anchors the track, allowing the interplay of instruments to build a sense of urgency and longing, accurately reflecting the struggles and emotional resilience that defined Sayegh’s own life.

This reissue, remastered with painstaking care, brings both versions of Belghi Kull Mawaidi back to life, making it an essential addition to any avid listener, DJ or collector’s shelf. It captures the timeless beauty of two of Lebanon's most cherished musical icons, their voices and instruments merging to create a track that resonates through the ages.

Muhammad Al-Najjar
London, April 2025

credits
Audio restoration and vinyl mastering: Colin Young
Lacquer cut: Timmion cutting lab
Sleeve and label artwork: Grotezk Studio
Under License of Voix de L'Orient

Give It Up Or Turnit a Loose (Edit) by James Brown b/w Web (Edit) by Hampton Hughes / Give It Up or Turnit a Loose (Bonus Breaks) by James Brown| Galaxy Sound Company — GSC45-044, test pressing | The long-running @galaxy_sound_company imprint has been responsible for some superb re-edits over the years, most of which are pleasingly purist in tone — meaning they are pro rearrangements with no added effects but & needless new beats or cheap trickery like so many out there— making any of their releases cop-on-site. & as you can hear from the test pressing, the 44th in the stellar series delivers yet again.

Side A is a masterclass in breakbeat editing of a b-boy classic sample source. Yes, there are many killer JB edits out in the universe, but when you see that the legendary Black Cash & Theo AKA Thelonious Beats take a turn, you know you gotta cop this mutha on site. Here the edit master bravely returns to one of the main sources of the dawn of hip-hop — JB’s comp “In The Jungle Groove” which was released in 1986 to capitalize on it’s popularity in the genre at the time. The comp is named for a breakdown section that appears in “Give It Up Or Turnit a Loose” which is the workout we have here. JB quiets the band down to handclaps, footstomps & congas played by Johnny Griggs. After he raps a little, JB cues legendary drummer Clyde Stubblefield back in, followed by bassist Bootsy Collins & the rest of the band. JB wasn’t intentionally trying to create a perfect batch of hip-hop samples in the late 60s & early 70s, but he couldn’t have succeeded any better if he had been. This edit may enter well-worn territory but he uniquely delivers an edit that showcases why it inspired so many & still delivers the goods to help you get your party started off right & quickly.

Next up on the flipside we are treated to an edit of “Web” by Hampton Hughes, from his 1974 David Axelrod produced & arranged album “Northern Windows”. Heads will recall it as the core sample for “Off the Record” by Hieroglyphics, from the 1998 LP “3rd Eye Vision”. This jazz-funk burner features a stellar line-up:
Piano/keyboards = Hawes
Trumpet = Allen DeRienzo, Snooky Young
Trombone = George Bohanon
Sax/flute = Jackie Kelso, Jay Migliori, William Green
Electric Bass = Carol Kaye
Drums = Spider Webb

But wait, GSC ain’t done yet! We get some bonus beats from the A-side. Another reason why doubles are highly recommended when you need assistance in your set.

*Long overdue reissue of the first album by The Hanging Stars to coincide with their tour support slot with Edwyn Collins – initial 300 copies come with 12 x 12 print*

“In late-Sixties California, the Byrds and Flying Burrito Brothers combined traditional country music with hippy rock to great success. The influence lingered and whatever cultural relevance it has this is a delightful, transporting listen” – The Times 4/5

London-based psych-folk outfit The Hanging Stars re-release their much-loved debut album Over the Silvery Lake on Crimson Crow. Blending folk pastoralism with swampy 60s Americana, they sound like the missing link between the California desert sun and the grey skies of London Town. The album was recorded between LA, Nashville and Walthamstow, with each of these vastly different places leaving an indelible mark on the songs.

Now signed to the Loose Records label and fronted by London-based songwriter, singer and guitarist Richard Olson (The See See, Eighteenth Day of May), The Hanging Stars are essentially a loose collective of people who weave together a blissed-out psychedelic tapestry. The rest of the core band is made up of Sam Ferman on bass and Paulie Cobra on drums, Horse on pedal steel and Patrick Ralla on banjo, guitar. They jam rather than write and hang out rather than rehearse, harnessing a kind of tipsy euphoria resplendent with luscious arrangements and glorious vocal harmonies.

During 2015, prior to this album’s original release the band released two critically acclaimed singles via The Great Pop Supplement (both of which also appear on the album). “Golden Vanity” was premiered by The Line of Best Fit who said; “you'd be forgiven for thinking you'd just unearthed a rare deep cut from the late 60s/early 70s boom of psychedelia infused Americana” and “The House on The Hill” was described by The Guardian as; "a hazy, desert-dream of a song, nicely sharpened with steely-eyed guitars, Mersey-laced harmonies and just a whiff of the Gun Club”.

There are a number of allusions to nature and the weather on the album, borne in part out of the contrasting surroundings in which it was produced. The band’s fascination with Americana led them to record some of the material Stateside, laying down some of the parts at Battle Tapes Studios in Nashville (Lambchop, Paperhead), as well as at Vision Quest Studios in Los Angeles with Rob Campanella. His work with The Quarter After, The Brian Jonestown Massacre, Beachwood Sparks The Tyde, and GospelbeacH was a perfect match to capture their sound and they even had San Franciscan legend Chrystof Certik step in on lead guitar for a couple of tracks.

Following the LA recordings, a trip to the Californian desert provided the core notion of what they wanted to produce - a shard of light that they clung on to whilst recording the rest of the album in the significantly more rain-soaked atmosphere of Walthamstow, London, under the watchful eye of Brian O'Shaughnessy at Bark Studios (The Clientele, Comet Gain). As the band explained at the time: “Ultimately we hope you can hear both the sand and the rain in this record.”

The Hanging Stars place themselves firmly as part of a long folk tradition encompassing European and North American influences – as a continuation rather than a pastiche of these styles. This is the sound of a band really coming in to their own, fully formed and in no doubt of their vision. With Over the Silvery Lake they succeeded in producing a record, which has the country, blues and folk traditions at its heart.

Pop-punk veterans Teenage Bottlerocket are primed to release their new LP Ready to Roll, the band's first full length for Pirates Press Records. "This time around, there was no big concept, no pressure. We just wrote songs that felt good to play," explains bassist Miguel Chen. "That freedom brought something fresh. It reminded us why we started doing this in the first place. The vibe is all about reconnecting with the joy of making music together. "The band returned to The Blasting Room in Fort Collins, CO, with Andrew Berlin behind the board & Jason Livermore overseeing the final master. "The Blasting Room is like home for us," says Miguel. "Working with Andrew and Jason is always a smooth ride-they know how to pull the best out of us." Fans got their first taste of what's to come via the lead single "She's the Shit." Ray Carlisle wrote the song for his wife Rachel, who he says "loves to give me a hard time-she rolls her eyes when I rock out in front of the mirror, makes fun of the music I love, and calls me an old man when I bring up movies she's never seen. And I totally love her for it." As for the song, Ray says, "It kicks the door open. It sets the tone for the whole record-fast, catchy, and not taking itself too seriously. Just the way we like it." This back to basics approach carries through the album, making it equally satisfying for longtime fans & newcomers alike. "Whether it's your first TBR album or your tenth," says Miguel. "There's something here for you." It's packed with everything you'd expect from TBR with a few surprises the band think you'll love - including a couple of songs where Miguel steps up to the mic for his first-ever lead vocals! "We're lucky to still be here, making music with our best friends, and connecting with people who get it," sums up Miguel. "Ready to Roll is exactly what it sounds like-we're stoked, and, in a way, we're just getting started."

Pop-punk veterans Teenage Bottlerocket are primed to release their new LP Ready to Roll, the band's first full length for Pirates Press Records. "This time around, there was no big concept, no pressure. We just wrote songs that felt good to play," explains bassist Miguel Chen. "That freedom brought something fresh. It reminded us why we started doing this in the first place. The vibe is all about reconnecting with the joy of making music together. "The band returned to The Blasting Room in Fort Collins, CO, with Andrew Berlin behind the board & Jason Livermore overseeing the final master. "The Blasting Room is like home for us," says Miguel. "Working with Andrew and Jason is always a smooth ride-they know how to pull the best out of us." Fans got their first taste of what's to come via the lead single "She's the Shit." Ray Carlisle wrote the song for his wife Rachel, who he says "loves to give me a hard time-she rolls her eyes when I rock out in front of the mirror, makes fun of the music I love, and calls me an old man when I bring up movies she's never seen. And I totally love her for it." As for the song, Ray says, "It kicks the door open. It sets the tone for the whole record-fast, catchy, and not taking itself too seriously. Just the way we like it." This back to basics approach carries through the album, making it equally satisfying for longtime fans & newcomers alike. "Whether it's your first TBR album or your tenth," says Miguel. "There's something here for you." It's packed with everything you'd expect from TBR with a few surprises the band think you'll love - including a couple of songs where Miguel steps up to the mic for his first-ever lead vocals! "We're lucky to still be here, making music with our best friends, and connecting with people who get it," sums up Miguel. "Ready to Roll is exactly what it sounds like-we're stoked, and, in a way, we're just getting started."

Bedouin return with their first release on their Human By Default label of 2025, ‘Heavy On My Mind’ – a super-group collaboration with London-born mainstay Robin M and Morcheeba co-founder and lead vocalist SKYE.

A masterclass in blending live instrumentation with subtle musicality for the dancefloor, ‘Heavy On My Mind’ brings SKYE’s entrancing original vocals to the fore over a grooving backdrop of organic beats, lush Spanish guitars, and rippling piano chords. The result is a seven-minute ethereal odyssey set to dazzle wide-eyed dancers as they march into the cosmic unknown.

Widely renowned DJ and producer duo Bedouin have cemented their status as global tastemakers, known for their deep, hypnotic, and worldly musical sensibilities. As they gear up for another standout summer season, including high-profile festival appearances at Sonus, Sziget, and the return of their award-winning SAGA residency on the White Isle, Bedouin team up with Robin M and SKYE to deliver one of their most intimate productions to date.

"We made this tune with summer on our mind... our new collab with Robin M and Skye is now ready to be your soundtrack on and off the dance floor" Bedouin

"I’m delighted to be part of this stunning track. It has an energised spiritual vibe. Lyrically speaks of yearning and desire. I cannot wait to hear it played loud in the club” SKYE

“Heavy on Your Mind came together in one of those rare, effortless sessions, where it just clicked. Bedouin and I went back and forth after, refining the track with such a natural flow. We knew it needed a fresh vocal to really elevate it, and the first person who came to mind was my friend Skye from Morcheeba. She absolutely nailed it and her top line brought the whole track to life" Robin M

Formed in the early 1980s, Primal Scream paid their indie rock dues and experimented with their sound for almost a decade before finding their feet with the era-defining dance/rock hybrid Screamadelica album. It spawned their first hit singles, ‘Loaded’, ‘Come Together’ and ‘Movin’ On Up’, after which they became a chart regulars for over a decade. This carefully curated 17-track collection, first issued in 2019, covers their fascinating journey from 1986 to 2000, taking in their most successful period but also detailing the evolution of their sound before they broke into the mainstream.

Back from the undead in the fresh (because we believe in upgrades & afterlifes!) is this new pressing of the first of all Gastr del Sol records, The Serpentine Similar. It is one of several distinct initiators of a definitive musical drift in the 1990s, and a drift all of its own, to boot! At the time, this album was largely heard within an underground whose boundaries were clearly defined - but if today"s sound-pool of "commercial" music is deeper and wider than it was back then, it is without a doubt due to the cracking open of certain doors of perception by Gastr del Sol, alongside their esteemed others. The year was 1992. After a bruising run of tour dates the year before, the final lineup of Bastro, a power-trio of David Grubbs, Ken (Bundy) Brown and John McEntire, retired, exhausted. Shortly thereafter, they were rebirthed, sans drums, via a new set of ideas composed in the cut-down configuration of Grubbs on guitars, keyboards and vocals and Brown on bass. Playing in duo format opened up sound and intention, leaving the need for speed (and the stock in rock) out, while letting in an expanse of brooding, droning acoustic space that highlighted the songs" serpentine shapes. This was something so radically different as to require a new calling card: henceforth, Gastr del Sol. Signing to Teen Beat, Gastr del Sol completed The Serpentine Similar in late 1992 for release the following year (the DC reissue came in "97). In the final rendering, Serpentine"s roof-rent, white-sky execution was attenuated with several percussion appearances from the prodigal John McEntire. Over the next five years, his cameo presence was a constant in Gastr del Sol"s steadily-evolving tradition of significant breaks from tradition at every turn. There would be an even more significant tradition-breaker onboard for all this; following the release of The Serpentine Similar, Jim O"Rourke joined Grubbs in Gastr as Brown exited (to focus on Tortoise, with McEntire et al). For the new Gastr duo, a world of new directions in music awaited, the future became the past, and the music of Gastr del Sol emerged from the thin air, then returned there. Now, The Serpentine Similar has been returned to vinyl from the temporal streams of contemporary music listening, a glorious rematerializing of all its spatial details on LP for the first time in 20 years.

20th Anniversary Edition of «The Creep» by Slomo, this ambient doom masterwork is available on vinyl for the first time via Ideologic Organ. This is a storied album of verbal history, and emerged from a figurative long barrow deep within a virtual space of great depth and contemplation, an inverted framing of acoustic space with heavy floors ranging from the wake of COIL to the heaviest Japanese fire of psychedelia to the monuments of drone coagulating in the early ‘aughts. A first CDR edition in 2005 garnered focus of heavyweights like SUNN O))), Julian Cope, the esoteric legendary record store Aquarius, and the Wire.
Ideologic Organ are honoured to have been tasked to bring this to a limited LP for the very first time, and collaborated with mastering genius Rashad Becker to create a 61 minute single LP in a perfect cut.
Highly Ritualised Somnambulant Glumbient Downer band from Yorkshire, UK.
‘Slomo is a 2-piece made up of myself, Holy McGrail, and Howard «Iron Man» Marsden. Our debut album THE CREEP was released in a run of 100 copies on FUCK OFF & DI in 2005, after attracting a great buzz in its earlier promo form. THE CREEP is a single 1-hour-long track recorded live with minimal overdubs & zero eye-contact. Malnourished musical structures flourish, flounder and flag in virtual stasis.

With influences ranging from Burt Bacharach to Quincy Jones, Tilsley Orchestral No.10 belongs on the shelves of all record collectors. Sweeping strings, pounding drums, leaping flutes, and polished horn sections take the listener on a sonic journey of late 60’s orchestral pop. Composed and arranged by the library legend Reginald Tilsley, this eponymous collection of recordings digs deep into jazz harmonies that adds a level of complexity while maintaining the simplicity of easy listening, highlighting the true genius of the composer.
Tilsley Orchestral No. 10 spans a spectrum of spirits, from the lows of lost love (Sue) to the highs of winning the big game (Grand Slam). This LP features a favorite of hip-hop producers, Warlock, which has been sampled in songs by artists including Cam’ron, KRS-ONE, Soulja Boy, and Jay Electronica.