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Die französisch-irische Alternative-Rock-Metal-Band MOLYBARON ist bekannt für ihren energiegeladenen, harten Sound, der Elemente aus Alt-Rock, Hard Rock und modernem Metal zu einem eklektischen, dynamischen Klangerlebnis verschmelzen lässt. MOLYBARON liefern eine intensiv rohe, originelle musikalische Signatur, welche Fans aller Genres anspricht. Mit "SOMETHING OMINOUS" verschieben MOLYBARON die Grenzen und präsentieren eine einzigartige Mischung aus tiefem Groove, stampfendem Metal und Heavy Rock. Songs voller Charakter, die durch eine donnernde Rhythmussektion, krachende Bässe unter riffgeladenen Gitarren und chilligen Synthies vermittelt werden. Tracks mit eingängigen Refrains, die durch nachdenklich stimmende Texte geprägt sind, nehmen den Hörer mit auf eine Reise voller Überraschungen und neuer Entdeckungen. Das Album ist ein Beweis für MOLYBARONs außergewöhnliches musikalisches Können, das mühelos durch ein breites Spektrum an Emotionen und Musikstilen navigiert und ein wahrhaft eindringliches Erlebnis schafft. Jeder Track ist akribisch ausgearbeitet und geht nahtlos von stampfenden Hymnen zu introspektiven Balladen über. Der unverkennbare Sound von MOLYBARON wird sich tief einprägen. Die Texte von "SOMETHING OMINOUS" befassen sich mit tiefgründigen und manchmal provokanten Themen und erforschen die Komplexität der menschlichen Erfahrung in der heutigen Zeit. Sie ziehen sich wie ein roter Faden durch die 10 bewusst knapp gehaltenen Songs und kommen direkt auf den Punkt, sind aber aktueller denn je: Alterung, Verfall und die Erosion der Gesellschaft. Das Album nähert sich dem akuten Bewusstsein für den Lauf der Zeit, wenn wir älter werden - dem nachklingenden Bedauern über kostbare Zeit, die mit unwichtigen Dingen und Beziehungen verbracht wurde, der Erwartung, die zu verlieren, die man liebt, und der Angst, alt und allein zu sein. Darüber hinaus geht es um den aktuellen Zustand der Politik - die Absprachen zwischen Staat, Medien und großen Unternehmen; die Manipulation der Öffentlichkeit, die systematische Zensur von Andersdenkenden und unabhängigem Journalismus. Dieses Album ist nicht einfach nur Musik; es ist berauschend und macht süchtig und hungrig nach mehr. "SOMETHING OMINOUS" ist ein Muss für Deine Sammlung.

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.

Our reality as a human race has been one of cruelty, vitriol, and chaos

All the horror that surrounds us creates a reality that we as individuals are force fed to consume - This 9-track album explores our existence with themes of corruption, isolation, suicide, bigotry, and war

It delves further into studio production, further blurring the line between the acoustic and synthetic worlds. Extreme metal elements are thrown into the mixture of traditional Bugandan percussion and club sounds they've become synonymous with.

The distorted, chaotic energy of the record is channelled into a direct critique of the hostile immigration and freedom of movement policies implemented in the UK, as well as across the world. Fuelled by their frustrations with this intentionally convoluted system, the group have produced their most cataclysmic effort to date.

"Linking the high intensity drumming of the Ugandan Nilotican Ensemble with UK producers Spooky-j and pq, Nihiloxica's off the hook energy has been laying waste to tours and dancehalls since pre- pandemic days...the title track provides a vehement answer in the form of four minutes of corrosively headbanging Afrotech. A hostile environment for fascists." - The Wire

Two x Grammy nominated band Code Orange return with their highly anticipated fourth studio album, The Above, their first for Blue Grape Music. The Above is the follow up to 2020's critically lauded album Underneath, which earned the band their second Grammy nomination.

Underneath closed out 2020 on multiple year-end lists including NPR, The New York Times, Billboard, Noisey and Revolver.

The band has major global touring planned in support of the new album and have shared the stage with $UICIDEBOY$, Deftones, Slipknot, Korn, System of a Down, Loathe, Power Trip and many more.

The new album features the single "Take Shape" featuring Billy Corgan of The Smashing Pumpkins.

RIYL: The Fall, Royal Trux, The Dead C, Shirley Collins, ’70s British progressive rock, Dean Blunt.
Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning this year with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions is conducting a systematic retrospective of the storied group, including a multi-year LP reissue effort and a forthcoming comprehensive CD box set and an over five hundred page book. Recorded in summer of 1994 at S.H.P studios (frontman Graham Lambkin’s parents’ home), the group’s sophomore record Put the Music In Its Coffin is a more sinister, saturnine affair than their debut City Lights. Coffin was many listeners’ introduction to the Shadow Ring, who had hitherto self-released their music, courting a steady stable of international fans through the magazine and mail-order catalog Forced Exposure. For their follow-up, the duo reached out to the ascending Philadelphia label Siltbreeze, whose eclectic roster of sneering, low-fidelity rock and noise connected disparate subterranean scenes from rust-belt America to the English Midlands, Dunedin, and beyond. As luck would have it, Siltbreeze proprietor Tom Lax was already a fan of the band’s first record and arranged to release both a 7” and their “difficult second album.” The connection proved to run deeper than vinyl within six months, Lax would pick up the pair from the airport for their spring 1995 US tour. This episode marked not only their first trip to the States but their first live performances at all, formally introducing the Shadow Ring to the American underground and solidifying the allure of the Folkestone pair. From the get-go, the record has a menacing, vile ambience. Its opening track “Horse-Meat Cakes,” inspired by an anecdote by pulp author Philip K. Dick about how he and his wife subsisted off low-grade pet food when he first arrived in San Francisco, sets the tone lyrically and sonically. Subsequent tracks are filled with Rabelaisian body horror and sinewy, haptic diction. “I try to pass out vital organs, convinced that they are waste,” intones Lambkin in “Heart, Liver & Lungs,” before a chorus of detuned guitars kicks in, nearly drowning out the speaker’s account of consuming chevaline intestines. Later songs similarly detail vernacular cooking (“Caribbean Porridge,” about a cornmeal hangover cure), bodily processes (“Nocturnal Middle Rumbles,” about nighttime defecation), and creaturely conflict (“Crystal Tears” and “Spin The Animal Dial”). The album’s makeshift percussion and teenaged rawness resembles the verve of City Lights, while its screeching strings and gnarly distorted vocals give it a sparse, miasmic atmosphere that look towards the uncompromising, otherworldly experimentation of the band’s Hold Onto I.D. (1996) and Lighthouse (1997), making this one of the Shadow Ring’s most distilled musical statements

Originally released on the Sprüngkartellwachs label (and highly sought after) now comes as a rerelease on Mat Carter’s own Varial label.

A four track track ep striding electro, techno, down beat and new wave flavours. ‘Raspmutal’ kicks things of with spaced out techno flair, offering a mutating analogue mover, constructed with large systems in mind. Driving dancefloor fodder laden with spiralling dub-wise effects. ‘Downturn’ follows with a finely tuned piece of liquid electro. Stripped down and turbo-charged this twists and turns through fragmented beats and lush melodies, creating a sublime and fluid mix.

‘Fullow Street’ is a bundle of down tempo leftfield beatism inspired by hot humid nights in huge cities. A blissed out journey through hazy hip-hop beats and lush, glistening electronics. ‘Process’ completes the ep with dancefloor delight that has more than a nod towards the timeless, analogue sounds of experimental new wave and electrodisco. Beats build into a shimmering eighties-tinged workout, with wave upon wave of gorgeous keys.

Jdotbalance left the moon and the sky for a city that works. This is their first offering for the ESP Institute. On side A, 'Sublimate' combines two aspects of a digital pipe and mallet assortment—both as the percussive base for a groove, and as an interstitial layer where inherent resonances are massaged into melody. Bubbles and squeaks dance around the sound-stage periphery, occasionally pierced by high frequency statements, presenting as either ghostly yelps from the aether or as bursts of kaleidoscopic shards. A third of the way through the track, the instrumentation truly does sublimate, crystallizing into a new self—bolder and naughtier, abandoning its pensive optimism for a detour around the spectrum's dark end. On the flip, 'Precipitate' continues with its predecessor's primer of metallic percussion, but accelerates the pace to reveal Jdot’s attitude leaning toward cunty malice. The kick drum relentlessly pounds us as 16th note droplets metamorphose from chrome-dipped hail into full-blown acid wind. As intensity retreats beneath the digital rubble and the track draws to a close, so does our stream of Jdot’s consciousness. These two songs will accelerate your nervous system.

ZentaSkai unveils stunning, high-concept house album on Mask Records.


ZentaSkai undertook a period of research into the underlying structure and organisation of the human brain before writing ‘The Architecture Of The Mind’. The Berlin-based artist then took what had been learned and kept it in mind when writing the music that marks Mask's first album release. It comes with extensive background notes on each track, and an operational manual of sorts - notes from the artists as to the effects each piece will have on those who hear them.
"The message conveyed by this album is that life itself is filled with music, but our egos often prevent us from being in harmony with this symphony. Inner chaos and silence can be challenging to bear, leading us to seek solace in external noise. We have constructed a barrier between our inner and outer worlds, causing us to lose touch with the rhythm of harmony. However, by embracing the illusion of separation and dancing to good music, we can rediscover harmony with ourselves and our environment. To fully experience the essence of the album, it should be played loudly on a proper sound system or high-quality headphones. By immersing themselves in the music, individuals can engage with its transformative power and potentially find a deeper connection with their own minds and surroundings." - ZentaSkai.

The gorgeous 'Mind Mapping' opens up with deep and dubby drums and lush harmonies that soothe you to your core, '030' then has more raw, heavy drums with many layers of glowing synths, glassy melodies and organic found sounds. 'Fügung' keeps the deep and introspective moods coming before the crisp tech of 'Flow Dreaming' ups the ante with more drive and layers of vocal whispers, hi-hats and smeared dub chords.


Elsewhere the likes of 'Quiet Reflection' lean into the groove with swirling pads and one-word vocal sounds drifting through the air over propulsive drum loops, and 'Boiling Range' suspends you in deft synth loops amongst the stars over a prickly house beat.
The superb synth craft and well-designed grooves continue through the dusty deep house of 'Karl-Marx-Allee' and minimal dub of 'Dynamic System' before the elegant melodic techno of 'Apeiron' and dreamy synthscapes of 'Parallel 30' close the album in a reflective fashion.


This is a deeply evocative album with a fully realised concept that is as thought-provoking as it is immersive.

Plant43 wrote a trio of EPs over the winter season at the end of 2022 and the start of 23 and has been putting them out on his own Plant43 Recordings label.

This third part from the man born Emile Facey is another emotional rollercoaster that conveys the wintry scenes in which they were written while also taking you on to the more warm and optimistic light of spring.

Lithe electro rhythms and icy synths open up on 'Tidal Flexing' while 'Reflective Waves' gets a little darker and more intense. 'System's Edge' is a celestial cruise with quick, slick drums and masterful leads then 'Mind Drift' channels Drexcyian cyborg funk to close. The final part of the story comes on coloured vinyl but only in limited quantities.

Raw Poetic, das Duo aus MC/Poet Jason Moore und Gitarrist P-Fritz (Patrick Fritz) präsentiert sein neues Werk auf Def Pressé. Nach den 'radikal optimistischen Unternehmungen' (The FADER) und dem 'spirituell abgestimmten Hip-Hop' (Bandcamp) von 'Laminated Skies' und dem Triple-'Magnum Opus' (Jazziz) von 'Space Beyond The Solar System' folgt mit 'Away Back In' eine transzendente musikalische Fusion aus Hip-Hop, Jazz und Garage-Rock, untermauert durch das geschickte Drum-Programming und die Produktion des langjährigen Kollaborateurs Damu The Fudgemunk. Progressiv und voller Soul ist 'Away Back In' vollkommen anders als seine Vorgänger.

Directly from Brazil, Data Assault steps up to deliver a fast paced 5 track EP, featuring a remix from the outstanding Martinelli. The artist has a solid career of sonic experimentations that are fueled by a radical stance, with productions that inevitably find their way into clubs and sound systems all around the globe. Besides producing his own parties that have been making waves in the local scene in Brasilia.

"Dor e Miseria" is inspired by the Brazilian socio-political disaster which occured from 2018 to 2022, bringing beats treated with lots of compression and distortion, accompanied with aggressive vocal chops and melancholic pads. His fierce production style is joined by Martinelli, who's remix completes the picture and makes an interpretation that delivers everything with a simple approach, combining 808 drums, funky basslines and an impeccable percussive movement.

"Movida Pelo Odio" e "Euforia Sinistra" discharge influences from the dirtiest beats of Grime and 8-Bar Techno, with aggressive synths interspersed by acidic elements that dominate the sonic image of the EP. The last track "Furia Funk" closes with heavily compressed and saturated 909 drums, and 303 acid lines screaming loudly.

Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning this year with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions is conducting a systematic retrospective of the storied group, including a multi-year LP reissue effort and a forthcoming comprehensive CD box set and an over five hundred page book. Recorded and self-released by the group's own Dry Leaf Discs in 1993, City Lights is the debut record of the then duo Graham Lambkin and Darren Harris_an assured arrival statement teeming with stripling angst and ambition. Lifelong chums Lambkin and Harris were barely nineteen and living at home in the seaside town of Folkestone, Kent, with few overhead expenses. The two were freshly employed as a forklift operator at a hardware store and an aide at a home for children with disabilities, respectively, affording them the time and funds to commit to a proper full-length release. Frontman Lambkin describes the album as a "microscopic examination of leisure activities, this time centered around a nightclub," a conceit surging through its lyrics, song titles, cover art (depicting an audience of cats and mice at the Leas Club, a Folkestone fixture), and flip side (replete with fictional bandmates and pseudonymous liner notes). On a recently-acquired secondhand guitar, Lambkin plays repetitive, brooding licks that form the record's backbone, weaving in and out of sync with Harris's free-form percussion and the pair's sing-song poetry. Tracks range from unraveling nursery-rhyme ditties to extended jams awash with Casiotone and toy piano noodling. The duo's musical hobby-horses work themselves in: the influence of Mark E. Smith's breathless deadpan, the headless outer-edges of ESP-Disk's back catalog, the eerie atmospherics of Hirsche Nicht Aufs Sofa, and the deconstructed rock tunes of the Dunedin scene are all detectable, although there is a sui generis quality to the Shadow Ring's artless temerity. "I've got to see and taste those city lights," intones Lambkin on the album's title track_indeed, this is a record of naked drive and pent-up desperation, and a shimmering glimpse of what's to come. For Fans of The Fall, Royal Trux, The Dead C, Shirley Collins, '70s British progressive rock, Dean Blunt.

In a realm where the threads of fate intertwined with the tapestry of existence, there existed a timeless construct we call “MENG”. This transcendental domain pushed a sanctuary where an unholy wisdom was safeguarded. Within its twenty-two walls, the experiences of countless sages and seekers resided, forming a reservoir of enlightenment, of vision and of identity.

Among the enigmatic texts that adorned the shelves of The Memory Palace, one stood out—the "Tubular Heaven," a chapter that held the essence of the universe's patterns and transformations. The book we speak of is the Book of Change - I Ching. Legend has it that the Memory Palace embodied the vibrations of those who sought its wisdom, guiding them to the Slow-Chain’s pages where hexagrams unveiled the secrets of existence.

Amidst this cosmic dance of knowledge, there lived a young wanderer whose name we do not say out loud. Driven by a deep yearning for understanding, this Warrior ventured into the city of Tanoy. With every step, he felt the resonance of centuries long gone, as if the walls whispered to him the essence of reality itself - “you may fall as long as you stand up again. Repeat this 1000 times and you will understand me. Only then can we control the sound.” As he reached for the illuminated Book of Change, a light was cast onto a newly fabricated realm of questions.

One hexagram, in particular, was essential. The cryptic symbolism was perplexing. Upon meditation, we slowly begin to realize that life is indeed a tapestry of imperfections, yet from these glitches we arise with profound growth and transformation.

As our curiosity spikes, we delve into the pages that follow, discovering an unexpected connection between I Ching and the world of Jeans, no denim. In ancient times, the craft of weaving denim mirrored the wisdom of these hexagrams. Just as threads interwove to create a durable fabric, I Ching reveals how life's experiences intertwine to form a meaningful existence. Denim, like life, is sturdy yet adaptable - a true testament to the harmonious balance between falling and standing.

As this journey comes to a gentle end, we must stress that hexagrams prove that other divination systems exist. It has become clear that the patterns hitherto observed are not confined to one culture, tradition, mind or body. Instead, they echo throughout history, manifesting in various divination systems across our globe. Hexagrams are a universal language, transcending boundaries and demonstrating the interconnectedness of humanity's pursuit of higher understanding.

We can now truly emerge from the Memory Palace, carrying the wisdom of everything above us. It’s time to Drag A Friend into this Made Up Reality. Or is it? We now understand that life's glitches are the catalysts for growth and that just as threads wove together to create denim, experiences wove together to create a meaningful existence.
As we walk beneath the open sky, we whisper into the wind, "Hexagrams are the echoes of universal truths, proving that the search for wisdom knows no bounds."

The chimes tingle in the deep subset of your imagination. As the pages of the Book of Change unfurl one last time, the shimmering tapestry of our shallow minds unravels.

We have revealed the kaleidoscopic corridors where perceptions dance in hallucinogenic symphony to the hymns of our rich minds.

Never Before Reissued On Vinyl! After the smash success of Deee-lite's debut record World Clique, and their now-iconic dance club hit "Groove Is In The Heart", anticipation was high for a follow-up from the New York-based dance music trio of vocalist Miss Lady Kier, and producers DJ Towa Tei and Super DJ Dmitri.

For their sophomore record Infinity Within, Deee-Lite opted to venture in a different direction of sorts. The club-embracing disco-funk sounds and groovy vibes of World Clique were everpresent, but while that record contained themes of global togetherness, Infinity Within took a more socially aware route, with politically charged themes of environmentalism, (To show their bonafidese, Infinity Within was one of the first titles to be issued in an ecologically friendly Eco-pak.) sexual liberation, voting rights, and critique of the juidicial system.

Taking major inspiration from the ancient Chinese divination text I Ching, Miss Lady Kier would later explain that Infinity Within was a natural progression for the group, not a departure. Elaborating in an interview with Reflex Magazine, she remarked: "The reason why we titled this new album Infinity Within to balance out World Clique’s idea of looking outward and thinking about unity is if you look outward, you should look inward to see what you’re doing as an individual.

Because people seem to be so passive I’d like to see people turn their TV sets off and start protesting." Infinity Within was not the overwhelming commercial success that World Clique was, but it's tracks shined on the Billboard Dance Club charts, with it's lead single "Runaway" reaching #1 on the chart, bolstered by a Gus Van Sant-directed music video.

The record also featured a slew of top-tier collaborators, including Parliament veterans Bernie Worrell, Maceo Parker and Bootsy Collins (Returning from their appearances on World Clique) as well as Bootsy's brother Catfish Collins, legendary house DJ Statoshi Tomiie, and rap verses from Michael Franti, Jamal-Ski, and a pre-"Tennessee" Arrested Development.

Even though critical reaction at the time was cooler than their debut, over the years Infinity Within has been considered an underrated
gem of 90's dance, a classic of early club and house music, and a remarkable follow-up for Deee-Lite.

EP opener ‘Scary Movies’, is a wickedly euphoric slice of driving techno that rushes the bassbins and dials up the serotonin levels to the max. A true mutant roller that’s guaranteed to drain the smoke machine dry. Following that is ‘Getting’ a snarling and unpredictable masterclass that traverses through jagged techno and twisted breaks. A proper hard working number, loaded with attitude and built specifically for all night sessions.

‘Esvedra’ kicks off the B-side and keeps things moving at a blistering pace. A laser-focussed club cut that is guaranteed to run amok through every space it graces. A razor sharp face melter stacked with hammering percussion and lethal drum work. Rounding off the release is Yushh’s brooding and expertly restructured remix of ‘Getting’. A heady cocktail of UK Bass in its most sinister form and a heavy dose of the more off-kilter and forward-thinking sounds coming out of not just Bristol but the UK as a whole. This is proper lights down and sound system up material at its finest.

‘Scary Movies’ unequivocally displays Dawn Razor’s skills as an increasingly confident producer and one of the most important artists emerging out of the Russian scene. While simultaneously showcasing Yushh’s inherent ability to think well outside of the box each and every time. Blue Vinyl Edition.

Italian legend Walter Del Vecchio aka Quiroga pays tribute to the acid house era on Hell Yeah with a new package that comes with two originals, an ambient mix and a remix from cult hero DMX Krew.

Quiroga released his last sublime album Passages on this label and it came as the latest entry into a discography filled with beauty and detail. He is a talented musician from Naples who has his own left-of-centre take on the Mediterranean sounds of the city, as he shows once again here with a house-leaning outing.

Quiroga has teamed up with cult musician Dario Bassolino and called upon Whodamanny's mixing skills for these new tracks. First is 'Once Again', a punchy and chunky house cut with skewed bass spraying about the mix. Its rough analogue edges are lit up by searing acid lines that never quit and will turn any party into a cauldron of intensity. The Ambient Version is a full-flavour downtempo workout that keeps the wild acid lines, adds in some FX, old-school piano chords and a yelping female vocal next to a blissful breakdown. 'Once Again' (DMX Krew Remix) is then a bumping acid-electro monster with fat drums and the manic 303 offset by serene chord work to make for a perfectly emotional dance floor delight.

'Freak The Funk' is a second original cut, as rides of crisp snares and snapping drum breaks blend with a warm bassline and smeared cosmic chords up top. It's a classy peak-time house cut with magical pixelated synth melodies.

Alongside superb artwork from PlanetLuke, this is another essential package from Hell Yeah.


DJ Support:

Sean Johnston (ALFOS), Kristian (AME), Fango, Front De Cadeaux, Sinchi Collective, Phat Phil Cooper, Balearic Gabba Sound System

Repress with the same visual and the original lackers from one of the ebst Falcom record. A pure Hard Tribe, progressive underground EP. Enjoy !

Repress!

Progressive mental tribe... repress of a LTD 10 copies test press oldtimer !

Skarra Mucci is a Jamaican Reggae and Dancehall artist born in Kingston. Known as the "Dancehall President", his career counts 7 solo albums, including the essential "Return of the Raggamuffin" (2012) and countless classics and cult collaborations, such as the hit "My Sound" from the album "Greater Than Great" (2014) which exceeds 15 million cumulative Spotify and YouTube streams and the critically acclaimed album "Dancehall President" (2016) with its tour of more than 100 dates around the world, from Mexico to China.

5 years after the release of "Skarra Mucci & The One Love Family" (2018), this essential figure of Jamaican music, with his versatile flow and recognizable voice, announces a new studio album with multiple influences "Perfect Timing", which is scheduled for release on September 29, 2023.

The album opens with a hybrid roots-tinged hip hop riddim. Brass and percussion resonate throughout the track as Skarra Mucci gives way to a mesmerizing voice sample that gives the track “Here I Come” all its depth.

An introduction that sets the tone for an album tinged with a mix of genres by Skarra Mucci and his team of top producers brought together by Undisputed Records. "Perfect Timing" is indeed an ode to Reggae of all eras, full of nods to the Sound System culture, from its beginnings to the present day. From the choice of the featurings to that of the producers, nothing is left to chance to offer us a journey through the highlights of this rich culture which has never ceased to evolve, without any period being left behind.

For his 1st single, it is with a major player in the current Reggae scene that Skarra Mucci has chosen to announce the release of his 8th solo album by inviting the Martiniquais Yaniss Odua on the title "Roots Rock Reggae".

Accustomed to albums teeming with successful collaborations, "Perfect Timing" is obviously no exception to the rule. We find in particular on the title "Street Dance" the essential French producers of L'Entourloop, with whom he released the very successful EP "Golden Nuggets" (2019, 6 titles, 17M cumulative streams Spotify and YouTube) to drop once again a banger between Hip-Hop and Dancehall in line with their huge 2013 hit “Dreader Than Dread” (38M combined Spotify and YouTube streams).

Jamaican legend Johnny Osbourne also takes part in the celebration for a version of his classic of the digital era "What A La La", with Skarra Mucci on the Stalag riddim replayed for the occasion by the beatmaker specialist in the matter: Manudigital.

Skarra Mucci continues his exploration of various styles and influences with the very groovy "Dancehall", produced by the musicians of Dub Akom, in which he lets us perceive all his class and his swing. We also find the massive “Who Fool Them”, a UK stepper track produced by Evidence Music, but also the future Dancehall classic “Rappa Pam Pam”, or the huge “Misty Babylon” in a much more Roots register.

The album "Perfect Timing" ends with the eponymous title, on a riddim and Lovers Rock melodies carried by a joyful piano and a groovy bass. A finale in the form of a declaration of love for Reggae, this music which gave him so much and to which he gave everything.

See you on September 29, 2023 to discover "Perfect Timing", Skarra Mucci's new album.

Like a well-wrought character in a Hollywood movie, 'Standards from
Film', guitarist Mike Moreno's fourth Criss Cross album, exists atop a
solid, cogent back story
Recorded in December 2021, when the world and New York City - Houston-born
Moreno's home for more than two decades - were no longer on COVID lockdown,
it documents the leader's exhaustive investigations into the provenance of ten
iconic standards that, as he puts it, "are the summer jazz workshop tunes" - they
say you have to learn these songs if you want to be a jazz musician. You learn
them very young or in the beginning days of your journey into this music.
The album was recorded December 22, 2021 at the Samurai Hotel Recording
Studio in NY. Recording engineer Mike Marciano also did the editing, mixing and
mastering at Systems Two in NY

The undoubted Queen of British Soul and 2023 Olivier Award winner, Beverley Knight returns with a brand new album The Fifth Chapter - on September 29th on Tag8/BMG. The album Includes the first single “Last One On My Mind” which was ROW on R2 and the follow up “Systematic Overload ” which we expcct to also be a R2 favourite
Zoe Ball will be playing Systematic Overload as a first play on R2 on 17th September. Beverley appears at R2 In The Park on 16.09 with appearances on Vernon Kaye TOMY, Rylan KaRyoke appearance confirmed live and interviews with Graham Norton, and a Chris Evans session on Virgin. Press to include Guardian, Sunday Times, and Attitude.
The Fifth Chapter comes on the back of what has undoubtedly been Beverley’s most successful period ever as the iconic Ms Knight celebrates 30 years making music with several top 10 albums and over a million UK albums sold.
UK national TV appearances will support the album release - we expect Royal Variety, Strictly, Sunday Brunch, The One Show and BBC Breakfast news performances and interviews, while Beverley has already appeared on ITN News, and GoggleBox on the launch of the album.
Beverley will take on her biggest ever UK tour throughout October and November, to over 30,000 people, ending with a headline date at the London Palladium on November 14th. The album brings together some of the greatest contemporary songwriting talent including Diane Warren, Seb Coe, Ollie Green and Andrew Roachford, as well as co-production with the likes of AC Burrell, Jimmy Hogarth, Mitch Allen & Josh Cohen/DJ Waldie, The Fifth Chapter is a spectacular journey through the inspirations that have defined her incredible career.
Beverley has collected numerous awards and accolades including an MBE, three MOBO Awards, numerous Brit and Mercury Music Prize nominations and, most recently, an Olivier Award for her role as Emmeline Pankhurst in the critically acclaimed musical SYLVIA at London's Old Vic Theatre. She also recently appeared as a judge on Starstruck alongside Adam Lambert, and Shania Twain.

Rory McPike is an artist who holds a special place in the core of Melbourne’s musical heart. His primary alias for the past 5 years, Rings Around Saturn, has been releasing sub loaded technotic synthesis with hints and glimpses of a 140 bpm’d dubstep track on the horizon — The horizon is here — Welcome.

Goose Step pays homage to the UKs 06-07 dubstep powerhouses with undeniable sound system power itself. Minimalistic on first listen, rude tune on the fourth. Goose Step is a piece we have been looking forward to pressing for a long time here on Modern Hypnosis. All this talk about dubstep, we almost forgot about the A side!!?!!

THX Assassin has more character than Mary and Pippin in LOTR. A hot piece of dub garage combining ultra pleasing sonics with clean percussion, articulated wubs and a halfway vibe check.

Both tracks mastered and cut by Beau Thomas @ Ten Eight Seven Mastering. 180g black 12” vinyl.

"The Flying Guillotine 2" is the bloody sequel to Serenace's first appearance on Shaw Cuts in 2019, continuing the head-lopping violence with a group of freedom fighters lead by the heroic Ma Teng battling against the evil despot Emperor Yung and his reign of terror.

Teng has developed a protective device, similar to a spiky metal umbrella, that allows him to defend against the deadly flying guillotine attacks of the violent regime. "Current", its bombastic drum patterns, razor-sharp synth waves and vicious vibe strengthens the rebels to resist the brutal assaults.

But the Emperor immediately reacts, creating a double flying guillotine to counter Ma Teng's iron umbrella and the rebel union is left defenseless again. "Aiming From A Distance", a vivid breakbeat cut combining rolling percussion, arpeggiated synth chords and sirens from hell, raises the rebels' hopes to give them another answer.

Secret insurgent Na Lan infiltrates the Emperor's inner circle by gaining his trust with a group of female warriors whom he allows to train with the flying guillotine palace guards. However, Na Lan only wants to steal the plans of the improved weapon and deliver it to the rebel squad, in order to devise another counteracting force. With the crisp bassline and the energy-filled breaks of "Test 21", the rebels can gain an insight into the elaborated guillotine and find a possible way to defeat it.

Farron's profound techno version of "Current" brings in the necessary tension for the final showdown. The improved double flying guillotine VS a new secret defensive system. Will the rebels be able to team up and defeat the tyrant once and for all? No matter what happens, the saga continues.

Limited BioVinyl 2023 repress, which provides an ecological alternative to the conventional vinyl record with strictly no sound or visual compromises.
“We all dance away our lives to the tune of the sovereign pleasure-pain axis.” – David Pearce, The Hedonistic Imperative

Pleasure-seeking and pain-avoidance as a rave metaphor fits the music of Sam Barker. The Berghain resident and Leisure System co-founder has spent the last few years exploring the euphoric potential of altering key variables in dance music formulas.

This was especially true on his 2018 Ostgut Ton debut EP Debiasing, which was flush with unconventional rhythmic chord stabs, melody and percussion but devoid of kickdrums. What seemed like an experimental exercise on paper was in reality equally geared towards the club: tracks that worked for the floor but resisted the genre categorizations that kick drums often provide. This has come to define Barker’s sound.

Now, on his debut solo LP Utility, Barker turns his focus toward melding experimentation and dancefloor pragmatism with the psychology behind the musical decision making process. In his own words: “After ‘Debiasing’ it occurred to me that my musical decisions were often unintentionally utilitarian, following an instinct to maximize pleasure in one way or another. It’s sort of unfashionable to admit, but by removing elements that have strong genre associations, this became a natural consequence.”

Accordingly, Utility is a playful but non-ironic musical approach to a whole spectrum of utilitarian and transhumanist ideas: from models for quantifying pleasure and “gradients of bliss” to abolishing suffering for sentient beings (not just people) through the ethical use of drugs and nanotechnology. Over nine tracks, Barker’s vision ebbs and flows through waves of deeply psychedelic musical vignettes; free-floating and futuristic melodies and rhythms as targeted brain stimulation. The sound draws heavily on modular synthesis, as well as self-built mechanical instruments and plate reverbs to create atmospheres that are at once alien and emotionally recognizable, functional and utopian.

Utility is by no means a concept album. Instead, it is an honest take on music as both pleasuremaximizer and consciousness-expander.

“We all dance away our lives to the tune of the sovereign pleasure-pain axis.” – David Pearce, The Hedonistic Imperative

Vergnügungssucht und Schmerzvermeidung als Rave-Metapher – das passt zur Musik von Sam Barker. Der Berghain-Resident und Leisure System-Mitbetreiber hat im Laufe der Jahre das euphorische Potenzial der Veränderung von Variablen in der Dancefloorschablonisierung erkundet.

Das traf besonders auf sein Ostgut Ton-EP-Debüt Debiasing zu, das nur so sprudelte vor unkonventionellen rhythmischen Akkordfolgen, Melodien und Percussion – die Kickdrum aber wegließ. Was auf dem Papier wie eine experimentelle Übung wirkte, war tatsächlich gleichermaßen für den Klub gemacht: Stücke, die auf dem Dancefloor funktionieren, sich dem oft vorgegebenen Kickdrumdiktat und damit einhergehender Genrekategorisierung aber verweigerten. So hat sich Barkers Klang definiert.

Auf seinem Solodebütalbum Utility widmet Barker seine Aufmerksamkeit nun aber der Verschmelzung von Experiment und Dancefloorpragmatismus mit der Psychologie hinter dem musikalischen Entscheidungsfindungsprozess. In seinen eigenen Worten: „Nach Debiasing kam mir in den Sinn, dass meine musikalischen Entscheidungen oft unbeabsichtigt utilitaristisch sind, einem Instinkt folgen, Glück auf die eine oder andere Art zu maximalisieren. Das einzugestehen ist recht unmodisch. Aber durch die Auslassung von Elementen mit starken Genreassoziationen, wurde dies eine recht natürliche Konsequenz.“

Dementsprechend ist Utility eine spielerisch-neckische aber unironische musikalische Betrachtungsweise eines ganzen Spektrums utilitaristisch und transhumanistischer Konzepte: Von Modellen zur Quantifizierung von Wohlergehen und Verläufen von Glückseligkeit („Gradients of Bliss“) zur Abschaffung von Leid für fühlende Wesen (meint: nicht nur den Mensch) über die ethische Nutzung von Drogen und Nanotechnologie. Im Laufe von neun Stücken ebbt und schwillt Barkers Vision durch Wogen zutiefst psychedelischer Musikvignetten; freifließende und futuristische Melodien und Rhythmen als gezielte Hirnstimulation. Der Klang gründet stark auf modularer Synthese, ebenso wie selbstgebaute mechnische Klangerzeuger, Instrumente und Plate Reverbs Atmosphären schaffen, die gleichermaßen fremdartig als auch emotional vertraut wirken, funktional und utopisch.

Utility ist keinesfalls ein Konzeptalbum. Vielmehr ist es eine aufrechte Auseinandersetzung mit Musik als Freudenmaximierung und Bewusstseinserweiterung.

‘Gentle Confrontation’, Loraine James's third Hyperdub album, opens a new chapter of her real and sonic life in which she examines her past and present. It's a positively languid, enjoyably disjointed set made while listening to her teenage favourites; math rock and emo-electronic such as DNTEL, Lusine and Telefon Tel Aviv. The album also features an ever more diverse set of peers, placing them in her unusual musical settings and drawing out sensitive and reflexive performances. At other times the album stretches out into a drifting ambience as if seeking a sense of bliss in the everyday. ‘Gentle Confrontation’ is about relationships (especially familial), understanding, and giving back a little grace and care, while the tone of the record criss-crosses watery ambience with denatured rhythm and asmr beats. These 16 tracks are Loraine's best work yet, and a personal and musical leap forward, delivering a totally unique vision of electronic pop music.

High Roller Records, insert, ltd 460, handnumbered, Picture Shape Schallplatten sind besondere Accessoires, welche einzigartig aussehen, aber sicherlich nicht die Klangqualität einer herkömmlichen Pressung darbieten werden. Vor allem sind sie als Sammlerstücke mit optischem Faktor zu betrachten. Leichte Verkrümmungen durch den Herstellungsprozess, die jedoch die Bespielbarkeit nicht beeinträchtigen, können auftreten.

Pressed On Clear Vinyl! To celebrate the 25th Anniversary of UGK's first album, Get On Down goes the extra mile, presenting it for the first time ever on vinyl. AND 2LP clear vinyl at that, giving the strutting, funky grooves the chance to really stretch out on your system. Back in 1992, Southern hip-hop was still proving to the world that it could sustain a fan base that was chiefly raised on rap from New York and LA. The Geto Boys and 2 Live Crew had made strong cases by the earliest '90s, and Pimp C and Bun B were ready to make their own. Most of the trunk-bumping bass comes from drum programs and basic sampling on these tunes - in later years they would build their sound into something even fuller and deeper. Self-produced with additional work from Houston locals Bernie Bismark and Shetoro Henderson, the tracks here are minimal, slow and menacing, which matched their lyrical approach quite nicely. You can hear the beginnings of the group's true greatness in these early lyrical workouts - several taken from the regional cassette-only EP The Southern Way that got them signed to Jive - with tales of street hustles, relationships and self-reliance in a world stacked against them. They may have been done early-on, but that doesn't mean they aren't crucial to UGK's legacy - cases in point being the three singles: Something Good', a charismatic update to Bill Withers' Use Me Up', and Pocket Full Of Stones' (the latter featured on the Menace II Society soundtrack). Beyond the singles, deeper cuts like I'm So Bad,' Feels Like I'm The One Who's Doin' Dope' and Cramping My Style' made it clear to the world that this crew had the attitude and charisma to make even bigger waves in the years to come.

`Gentle Confrontation', Loraine James's third Hyperdub album, opens a new chapter of her real and sonic life in which she examines her past and present. It's a positively languid, enjoyably disjointed set made while listening to her teenage favourites; math rock and emo-electronic such as DNTEL, Lusine and Telefon Tel Aviv. The album also features an ever more diverse set of peers, placing them in her unusual musical settings and drawing out sensitive and reflexive performances. At other times the album stretches out into a drifting ambience as if seeking a sense of bliss in the everyday. `Gentle Confrontation' is about relationships (especially familial), understanding, and giving back a little grace and care, while the tone of the record criss-crosses watery ambience with denatured rhythm and asmr beats. These 16 tracks are Loraine's best work yet, and a personal and musical leap forward, delivering a totally unique vision of electronic pop music.

WORMHOLE brechen mit "Almost Human", ihrem dritten Album und dem ersten für Season of Mist, aus dem Untergrund hervor. Die Band aus Baltimore hat mit ihrer Tech-Slam Attacke ein Loch in das Death-Metal-Kontinuum gerissen! "Almost Human" zeigt den rasanten Aufstieg von WORMHOLE. Es gibt keine Decke, die sie nicht durchschlagen können.

WORMHOLE brechen mit "Almost Human", ihrem dritten Album und dem ersten für Season of Mist, aus dem Untergrund hervor. Die Band aus Baltimore hat mit ihrer Tech-Slam Attacke ein Loch in das Death-Metal-Kontinuum gerissen! "Almost Human" zeigt den rasanten Aufstieg von WORMHOLE. Es gibt keine Decke, die sie nicht durchschlagen können.

The extraordinary trio creates a fascinating, atmospheric fusion of electronic sounds, piano, violin, percussion, field recordings, and mystical Ladino texts and chants with "Metamorfosa." Metamorfosa is a new band project founded by Marlene Schuen (Italy), Dimitri Andreas (Belgium), and Marc Romboy (Germany).

The arrangements, co-compositions, and production come from Marc Romboy and Dimitri Andreas (Music Man, Systematic). Marc Romboy has been releasing electronic music since 1991 and has performed worldwide in legendary clubs like Berghain, Rex Paris, Fabric London, and Womb Tokyo. Marlene Schuen's lyrics for Metamorfosa revolve around nature and stories of mythical creatures in the mountain world of South Tyrol, taking the listener into the world of her homeland.

Her impressive voice and singing style deeply touched and fascinated
Marc and Andreas from the very beginning, ultimately inspiring them to create this fusion of electronic sounds, atmospheric piano parts, violin, field recordings, percussion, and Ladino singing.

My Light, My World is a gorgeously slammin’ four track release by Brooklyn-based Ryan Clover on Eris Drew’s Ecstatic Editions imprint. We fell in love with Ryan’s music as we wore out the grooves on his killer 12 inch for ARTS. The tracks featured on My Light, My World are a perfect fit for Ecstatic Editions because, much like Eris’s sets, the tracks are beautiful musically and genuinely emotional, but they also seriously slap and translate powerfully on large sound systems. It is hard to find Big Room records with so much heart, so the label jumped to sign the tracks and prepare the project for release.

Clover’s arrangements on the EP unfold in truly magical and unexpected ways with buildups giving way to gorgeous musical passages. “We Love (We Feel)” is a heartfelt instrumental which sets the tone for the record, while the title tune “My Light, My World” declares boldly “ITS ON!” before heeding to woozy chords and a sax riff that sounds amazing in the mix. Flip the record over for “Here We F***ing Go!” which is a total boast track for deck players but doesn’t lose its sweetness in the process, and the powerfully fun closer “Let Me Tell U Sumthin’” which reminds sweaty dancefloors that “Love Is Special.” Ecstatic Editions hopes you’ll put your needle in the groove and dance hard to one of the season’s sweetest bangers.

The EP features original art by Karina A. Linares and mastering by Trutone legend Carl Rowatti.

Its been five years since Belgium's WeMe Records lovingly selected the first ever collection of Heinrich Mueller's (Drexciya/Doppleffekt) best remixes/remodels for a new generation of listeners that won't have to pay collector prices to have them on vinyl. Volume 2 of False Vacuum is now with us and still has riches to choose from.

These 13 rare and hard to find tracks (3 of which make their vinyl debut) all deliver in different ways as he systematically reinvents each one.

Beginning with his raw and now classic remix of Ultradyne's 'Clones', the hard-edged dance-floor friendly 'Woman's Scent' by Cisco Ferreira (The Advent), the more laidback and futuristic sounding 'Bohrium 274' by Jauzas the Shining and Victoria Lukas, the slow and mysterious and first time on vinyl 'Somehow' by Rough Days For Diamond Trade, reinventing the darkest of dance-floors on 'Rytumtraks 0002' by Albert van Abbe, the moody masterpiece and first time on vinyl 'Now We Continue' by White Car, Duplex's 'Autoslug' sounding like its been rearranged inside a black-hole, a balancing act between the light and darkness on Fasenuova 'Cachito Turulo', an insistent rise and falling workout for As One's 'Where Did He Go and Why', a tightly wound and almost meditative 'The Truth' by The Exaltics, an angular stomping march of the robots 'Longwang' by 6D22, a jumpy fidgety groove for first time on vinyl 'Forty Eight Hours' by Yan Wagner and perhaps one of his most sublime pieces is kept for last with 'So Long For A Small Storm' by Dollska.

Join Ryudo and his team on their greatest adventure yet! We're delighted to be collaborating again with Game Arts on this new vinyl edition of the Grandia II soundtrack, composed and arranged by Noriyuki Iwadare and entirely remastered for the vinyl format!

A cult title for the Dreamcast released in Japan in 2000 and acclaimed in particular for its innovative combat system, the game recently benefited from a remastered version in 2019 on Nintendo Switch and PC.

The Grandia II Memorial Soundtrack Edition comes in the form of a luxurious vinyl box set, newly illustrated for the occasion by the game's original character designer, Youshi Kanoe.

It contains 3 yellow color discs inserted in individually illustrated sleeves and a newly designed 16-page booklet with illustrations by Youshi Kanoe and new comments from the team, including Kei Shigema (Scenario Writer), Atsuko Nishida (Designer), Noriyuki Iwadare (Composer) and vocal Kaori Kawasumi.

The Grandia II Original Soundtrack CD Edition comes in the form of a luxurious box set, newly illustrated for the occasion by the game's original character designer, Youshi Kanoe.

It includes 2 CDs and a 16-page booklet with illustrations by Youshi Kanoe and new comments from the team, including Kei Shigema (scriptwriter), Atsuko Nishida (designer), Noriyuki Iwadare (composer) and singer Kaori Kawasumi.

ORKA is a duo comprising Francine Perry from London and Jens L. Thomsen from the Faroe Islands. They crossed paths in the vibrant club scene of London, an immersive world that had a profound impact on their creative journey. ORKA's music draws inspiration from the Hardcore Continuum and UK sound system culture, blending it with elements of minimal techno, progressive electro, and ambient music, resulting in a diverse range of stylistic influences. Now ORKA emerges with their long-awaited new album. Once again, they greet us with their distinct blend of earthy tones and a bold, adventurous spirit, taking us to a realm bursting with neon-lit hues, pulsating club beats, and an abundance of sensory stimulation. Aptly named "All At Once," the album title provides a clue to the auditory and sensory experience that awaits the listener in this immersive record. ORKA has continuously evolved as a project over many years and iterations, embracing fluidity and a relentless quest for fresh sonic amalgamations. Their journey has been marked by a gradual refinement, stripping away layers to reach the core essentials. This transformative process has unfolded over the years, reaching from their site-specific, cowshed sampling and band-based expedition in "Livandi oyða" (2007) to the bold, innovative exploration of minimalist techno in "Vað" (2016). However, their latest release, "All At Once," signifies yet another remarkable leap forward in their artistic evolution. The seeds of this artistic progression were already planted in previous releases like the <13 EP (2017) and the hard-hitting techno single "Juno" (2018). However, it is with the arrival of the album "All At Once" that ORKA's vision fully blossoms, unveiling a vivid and expansive sonic landscape. This latest offering presents a glorious and vibrant tapestry, showcasing a maximalist approach to techno that pulsates with energy coupled with their signature meticulous attention to sound design, reflecting a deep awareness and intentionality in their creative process. If this album was to be thought of as a place, it would be a shimmering, futuristic, buzzing kind of city with vibrating night-time drizzle from above and endless glowing lights in the distance. Several of the tracks are built around cut-up vocal samples that are divided from their semiotic meanings and reconfigured as loops, and thus mined for their timbral and percussive qualities. Recurring collaborators South London duo LV (Hyperdub, Keysound, Brownswood) are featured on a handful of these tracks, mixing in their complex cocktail of grime and bliss. The result is a sort of queer erotic dance-floor mysticism, and the closest to a full-blown dance record that ORKA have ever made. There must be a club in that shimmering futurist city of the night.. and it is a collective, inclusive and alluring place. There is no need to fear any dancefloor exhaustion by listening to this album though, as there are also moments of floating cyber beauty and pure enveloping warmth to be found among its tracks. As always, following the artistic journey of ORKA is a joyous experience, filled with unexpected twists and turns that keep us captivated.