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Congratulations! 55th anniversary of debut

The third album "Single Man", released on April 21, 1976, was an album with many controversies from the production stage.
It was discontinued less than a year after its release, and then a movement to re-release "Single Man" arose, and it finally re-released in 1980, so it has
a twisted story.

The album features a variety of performances due to the transition period from the folk period to the electric arrangement period, and above all, many
masterpieces that can be said to be representative of the entire RC period, such as "Slow Ballad". The driving force just before the rapid climb to
"KING OF ROCK" after 1980 is already boiling in this album.

In addition to the latest remastered sound source from the original master tape of the album, this deluxe edition includes single songs from that time,
versions not included on the album, and a studio live sound source from tvk's "Young Impulse" at the time of the album's release.
It is a deluxe edition packed with the overflowing talent of RC Succession at that time.

The booklet includes for the first time all 17 images from the original jacket illustration, "Pictures for the Test of Painting Apperception of Infants and Children."

・Remastered by zAk
・Disc 1: Half-speed cutting / Disc 2: Normal cutting by Miles Showell at ABBEY ROAD
・180g heavyweight clear vinyl
・Booklet (17 images of "Pictures for the Test of Painting Apperception of Infants and Children" (illustrations by Minamioji Hajime), commentary, lyrics)
・Liner notes: Imai Tomoko, Sakai Hiroki

STANDFIRST Titanic, the project spearheaded by Mabe Fratti and Hector Tosta (aka I. la Católica), return with a sumptuous and life-affirming new album.



In her sensational 1929 biography Tiger Woman, dancer and socialite Betty May claimed her ‘coster’s eye’ meant she liked to wear as many colours as possible. “Colours to me are like children to a loving mother. Each is my favourite, yet I can never bring myself to deny the others by preferring one.” May’s bold and inclusive strategy is one that manages to transfer itself, almost a century later, to Hagen, the new record by Titanic.


Many will know Titanic as the Mexico City-based brainchild of cellist and singer Mabe Fratti and multiinstrumentalist Hector Tosta who is now operating under the pseudonym, I. la Católica, (taken, rather unusually, from the name of the street the pair live on). With Hagen, and their previous release, Vidrio, (2023), the pair are creating a distinctive signature sound in modern alternative pop music. Nobody else sounds quite like them. Both records have an open hearted nature and simple, winning melodies that play off against a taste for drama, spectacular orchestration and a feeling of otherworldly mystery. Hagen is the more ambitious, sometimes more mystical effort. From the opening handclaps of ‘Lágrima del Sol’, (a wonderfully uptempo playground chant translating as a tear from the sun but, surely, not referencing the brand of pineapple wine?), the record dances its way through various mid-to-late-eighties inspirations, lush and widescreen passages of melancholy and vertiginous contrasts.


Mystery is often found in the simple but slightly odd song titles. English translations of various track titles give, ‘you swallowed the gum’, ‘leak’, ‘a tear from the sun’, ‘raising the trophy’ ‘digging dimensions’, ‘the owner’, ‘the decapitated hen’ and ‘the trap is exposed’. All denote striking images, metaphysical hints and emotional cues or simple, even childlike actions. Though Fratti and Tosta don’t reveal its provenance, the album’s title could even be a crafty play on words: the listener would be forgiven in thinking the moments of brash contrast and eyebrow raising theatricalism in the music constitute a musical nod to German punk chanteuse, Nina Hagen.


On Hagen, singer and cellist Mabe Fratti once again displays her brilliant knack of speaking to us directly. There is never the suspicion of her playing to the gallery, and the directness of many of the lyrics don’t allow it. Parallel to this, Fratti has an almost magical ability to give Hector Tosta’s melodies, and her and Tosta’s lyrics ones imbued with an insight and meaning that feels otherworldly. Tosta admitted it was “pretty wild to hear Mabe take the interpretations to a different place” and the listener can pick up on the delight Fratti takes in (literally) adding a voice to the many narratives.


Two examples can be shown here: ‘Gotera’ (Leak) uses harsh slashes of cello and tough, gunfire-like guitars and drums and multiple vocal lines that could be acting as a Greek chorus. They play off brilliantly against Fratti’s soft, slightly baleful vocal take that delivers lyrics such as: ‘nobody knows where the leak is / but I know where it is / they fight in front of the door and / nobody can go in’. With ‘La Gallina Degollada’ the somewhat blithe melody melody line, sung with what could be sarcastic brio by Fratti, plays against an itchting rhythm and rasping guitar part. The punch comes when you see that the song is about a chicken that has been decapitated and read lyrics such as: ‘I already saw it, it moved, the decapitated chicken’ / ‘could it be that I'm broken’ and ‘Two people hurt each other by thinking that they no longer agree’/ ‘Hours pass and the chicken represents what scares me’.


There may be death and fights to deal with, but there is also a quality of chirpy self-reliance about Hagen that is a key part of its nature. Like Betty May and her colourful outfits, Hagen’s sound often revels in its own sense of richness. Throughout, the record delivers vaulting string sections or glutinous guitar squeals that could, like the powerful, driving ‘Escarbo Dimensiones’ (Digging Dimensions) have come directly from a glossy 1980s TV series. Fratti sees this “glam sound” developed by Tosta on the aforementioned track and ‘Te Tragaste el Chicle’ (You Swallowed The Gum), as moments that were truly “revealing” for the album as a whole during its making.


What else? The thud and thump of ‘La Trampa Sale’ (The Trap is Exposed), and its sudden change of tempo and mood betrays a monstrously ambitious piece of music, the players almost greedily creating the sounds. Other moments are heart wrenching: ‘Libra’ ends on a poppy chord switch that cleverly ramps up the emotion inherent in the music’s notation. You could almost imagine a teenager in a bedroom forty years ago, rewinding the track over and over on a small, cheap cassette player, unable to get enough of that sugarsweet switch. Elsewhere, Oneohtrix Point Never adds stardust and an unearthly sense of space on the changeable, slightly moody meditation, ‘Pájaro de Fuego’ (Firebird). The record ends with ‘Alzando el Trofeo’ (Lifting the Trophy), a track that could soundtrack a state wedding, what with its beautiful cascading piano parts, a sugary vocal and short triumphal guitar riffs that add a rich patina to the overall sound. Fratti: “When I doubled those vocals on ‘Alzando el Trofeo’ I felt there was an epiphany happening, right at that moment.”


Making a good record is a team game. Tosta and Fratti recall seeing Randall from Circular Ruin Studios in NYC “tweak the drums in ‘Libra’ to make that amazing effect of the gated reverb”, or the shaping of ‘Gotera’, “when (recording engineer) Nate Salon added some synths to the track.” Drummer Eli Keszler, “an amazing and versatile player” had the songs down pat in a couple of days” and, according to Tosta, Oneohtrix Point Never “just came to one of the sessions and we hung out, and after all the recordings he and Nate were together in some studio and out of nowhere they sent us some beautiful tracks for ‘Pájaro de Fuego’! Fratti concurs. “He decided that he wanted to record because he was listening to the record (Nate works closely with him) and he really liked it! It was a total honour, indeed!”


Bedazzled by the playing, the skyscraping ambition in the arrangements and the giddy moments of contrast thrown up by Hagen, we could allow ourselves a brief moment of flippancy and state that Titanic’s new record is Yacht Rock meets Aeschylus, full-on. It’s also worth speculating that, in this hyper-sensitive, intemperate age, Titanic’s music has the power, however fleetingly, to heal hurts. Hagen is a brilliant showcase for a fresh and enriching form of pop music: displaying a magpie eye for what glints and plundering what has gone before.


Like Vidrio, Hagen was partially and additionally recorded at Fratti and Tosta’s house, aka Tinho Studios in Mexico City, as well as Golden Girl Studios & Circular Ruin Studios in New York City. Mixing was done by Santiago Parra in Pedro y el Lobo Studios, Mexico City and mastered by Rafael Anton Irisarri at Black Knoll Studios, New York City. The recording engineer was Nate Salon.


Hagen featured Mabe Fratti on cello, vocals & backing vocals, I. la Católica on guitar, keyboards, prepared piano, bass & backing vocals, drums by Eli Keszler and synths in ‘Pájaro de Fuego’ from Daniel Lopatin and Nate Salon.


All compositions on Hagen are written by I. la Católica, except ‘Escarbo Dimensiones’ & ‘Pájaro de Fuego’, which were composed by I. la Católica and Mabe Fratti. The record was produced by I. la Católica and co-produced by Nate Salon & Mabe Fratti. And all lyrics are by I. la Católica except ‘Escarbo Dimensiones’, ‘Gotera’, ‘Gallina degollada’ & ‘Pájaro de Fuego’, which were written by I. la Católica & Mabe Fratti.

STANDFIRST Titanic, the project spearheaded by Mabe Fratti and Hector Tosta (aka I. la Católica), return with a sumptuous and life-affirming new album.



In her sensational 1929 biography Tiger Woman, dancer and socialite Betty May claimed her ‘coster’s eye’ meant she liked to wear as many colours as possible. “Colours to me are like children to a loving mother. Each is my favourite, yet I can never bring myself to deny the others by preferring one.” May’s bold and inclusive strategy is one that manages to transfer itself, almost a century later, to Hagen, the new record by Titanic.


Many will know Titanic as the Mexico City-based brainchild of cellist and singer Mabe Fratti and multiinstrumentalist Hector Tosta who is now operating under the pseudonym, I. la Católica, (taken, rather unusually, from the name of the street the pair live on). With Hagen, and their previous release, Vidrio, (2023), the pair are creating a distinctive signature sound in modern alternative pop music. Nobody else sounds quite like them. Both records have an open hearted nature and simple, winning melodies that play off against a taste for drama, spectacular orchestration and a feeling of otherworldly mystery. Hagen is the more ambitious, sometimes more mystical effort. From the opening handclaps of ‘Lágrima del Sol’, (a wonderfully uptempo playground chant translating as a tear from the sun but, surely, not referencing the brand of pineapple wine?), the record dances its way through various mid-to-late-eighties inspirations, lush and widescreen passages of melancholy and vertiginous contrasts.


Mystery is often found in the simple but slightly odd song titles. English translations of various track titles give, ‘you swallowed the gum’, ‘leak’, ‘a tear from the sun’, ‘raising the trophy’ ‘digging dimensions’, ‘the owner’, ‘the decapitated hen’ and ‘the trap is exposed’. All denote striking images, metaphysical hints and emotional cues or simple, even childlike actions. Though Fratti and Tosta don’t reveal its provenance, the album’s title could even be a crafty play on words: the listener would be forgiven in thinking the moments of brash contrast and eyebrow raising theatricalism in the music constitute a musical nod to German punk chanteuse, Nina Hagen.


On Hagen, singer and cellist Mabe Fratti once again displays her brilliant knack of speaking to us directly. There is never the suspicion of her playing to the gallery, and the directness of many of the lyrics don’t allow it. Parallel to this, Fratti has an almost magical ability to give Hector Tosta’s melodies, and her and Tosta’s lyrics ones imbued with an insight and meaning that feels otherworldly. Tosta admitted it was “pretty wild to hear Mabe take the interpretations to a different place” and the listener can pick up on the delight Fratti takes in (literally) adding a voice to the many narratives.


Two examples can be shown here: ‘Gotera’ (Leak) uses harsh slashes of cello and tough, gunfire-like guitars and drums and multiple vocal lines that could be acting as a Greek chorus. They play off brilliantly against Fratti’s soft, slightly baleful vocal take that delivers lyrics such as: ‘nobody knows where the leak is / but I know where it is / they fight in front of the door and / nobody can go in’. With ‘La Gallina Degollada’ the somewhat blithe melody melody line, sung with what could be sarcastic brio by Fratti, plays against an itchting rhythm and rasping guitar part. The punch comes when you see that the song is about a chicken that has been decapitated and read lyrics such as: ‘I already saw it, it moved, the decapitated chicken’ / ‘could it be that I'm broken’ and ‘Two people hurt each other by thinking that they no longer agree’/ ‘Hours pass and the chicken represents what scares me’.


There may be death and fights to deal with, but there is also a quality of chirpy self-reliance about Hagen that is a key part of its nature. Like Betty May and her colourful outfits, Hagen’s sound often revels in its own sense of richness. Throughout, the record delivers vaulting string sections or glutinous guitar squeals that could, like the powerful, driving ‘Escarbo Dimensiones’ (Digging Dimensions) have come directly from a glossy 1980s TV series. Fratti sees this “glam sound” developed by Tosta on the aforementioned track and ‘Te Tragaste el Chicle’ (You Swallowed The Gum), as moments that were truly “revealing” for the album as a whole during its making.


What else? The thud and thump of ‘La Trampa Sale’ (The Trap is Exposed), and its sudden change of tempo and mood betrays a monstrously ambitious piece of music, the players almost greedily creating the sounds. Other moments are heart wrenching: ‘Libra’ ends on a poppy chord switch that cleverly ramps up the emotion inherent in the music’s notation. You could almost imagine a teenager in a bedroom forty years ago, rewinding the track over and over on a small, cheap cassette player, unable to get enough of that sugarsweet switch. Elsewhere, Oneohtrix Point Never adds stardust and an unearthly sense of space on the changeable, slightly moody meditation, ‘Pájaro de Fuego’ (Firebird). The record ends with ‘Alzando el Trofeo’ (Lifting the Trophy), a track that could soundtrack a state wedding, what with its beautiful cascading piano parts, a sugary vocal and short triumphal guitar riffs that add a rich patina to the overall sound. Fratti: “When I doubled those vocals on ‘Alzando el Trofeo’ I felt there was an epiphany happening, right at that moment.”


Making a good record is a team game. Tosta and Fratti recall seeing Randall from Circular Ruin Studios in NYC “tweak the drums in ‘Libra’ to make that amazing effect of the gated reverb”, or the shaping of ‘Gotera’, “when (recording engineer) Nate Salon added some synths to the track.” Drummer Eli Keszler, “an amazing and versatile player” had the songs down pat in a couple of days” and, according to Tosta, Oneohtrix Point Never “just came to one of the sessions and we hung out, and after all the recordings he and Nate were together in some studio and out of nowhere they sent us some beautiful tracks for ‘Pájaro de Fuego’! Fratti concurs. “He decided that he wanted to record because he was listening to the record (Nate works closely with him) and he really liked it! It was a total honour, indeed!”


Bedazzled by the playing, the skyscraping ambition in the arrangements and the giddy moments of contrast thrown up by Hagen, we could allow ourselves a brief moment of flippancy and state that Titanic’s new record is Yacht Rock meets Aeschylus, full-on. It’s also worth speculating that, in this hyper-sensitive, intemperate age, Titanic’s music has the power, however fleetingly, to heal hurts. Hagen is a brilliant showcase for a fresh and enriching form of pop music: displaying a magpie eye for what glints and plundering what has gone before.


Like Vidrio, Hagen was partially and additionally recorded at Fratti and Tosta’s house, aka Tinho Studios in Mexico City, as well as Golden Girl Studios & Circular Ruin Studios in New York City. Mixing was done by Santiago Parra in Pedro y el Lobo Studios, Mexico City and mastered by Rafael Anton Irisarri at Black Knoll Studios, New York City. The recording engineer was Nate Salon.


Hagen featured Mabe Fratti on cello, vocals & backing vocals, I. la Católica on guitar, keyboards, prepared piano, bass & backing vocals, drums by Eli Keszler and synths in ‘Pájaro de Fuego’ from Daniel Lopatin and Nate Salon.


All compositions on Hagen are written by I. la Católica, except ‘Escarbo Dimensiones’ & ‘Pájaro de Fuego’, which were composed by I. la Católica and Mabe Fratti. The record was produced by I. la Católica and co-produced by Nate Salon & Mabe Fratti. And all lyrics are by I. la Católica except ‘Escarbo Dimensiones’, ‘Gotera’, ‘Gallina degollada’ & ‘Pájaro de Fuego’, which were written by I. la Católica & Mabe Fratti.

Rare groove fans, take note of yet another gem from the good folks at P-VINE as they reissue Les DeMerle's iconic cover of 'A Day In The Life,' famously sampled in O.C.'s hip-hop classic 'Time's Up.' It's a laidback and jazzed up sound with deep cut rhythms, big horns and conversational sax leads that hit different. Alongside the jazz-funk gem comes 'Aquarius' with DeMerle's sharp drum breaks (which in the past have been sampled by Jurassic 5, De La Soul and DJ Shadow) ride beneath funky keys work and joyous horns that persuade you to get up and move. Pressed in very limited quantities, it's a vital addition to any hip-hop or rare groove set.

Unlike anything we have heard from her before, Okkyung Lee returns to Shelter Press with "Just Like Any Other Day: Background Music For Your Mundane Activities", a deeply intimate body of recordings at the juncture of ambient music, minimalism, and the baroque, that stands as radical intervention with what experimental music can be, and the place that organisations of sound occupy in our lives. For more than two decades, Okkyung Lee has stood at the forefront of the most radical trajectories of experimental music: a virtuosic cellist and improviser, renowned for her creative rigour and emotive depth. Particularly noteworthy for her range, dexterity, and adaptability, over the last five years Lee's output has revealed unexpected shifts and developments that move far afield from the realms of free improvisation for which she is most well known. 2020's "Yeo - Neun", a heart-wrenching, ambient chamber work - drawing inspiration from the Korean popular music of her youth - was issued by Shelter Press to great critical response, followed closely by "Teum (The Silvery Slit)" - one of a series engrossing electroacoustic works created at Groupe de Recherches Musicales in Paris - on Portraits GRM, and then "Na-Reul" in 2021, regarded by Lee as a closing statement of more than two decades living in New York, which set the precedent of her allowing her emotions to fully occupy the forefront of the music for the first time. Marking her return to Shelter press, "Just Like Any Other Day": Background Music For Your Mundane Activities", encounters Lee upturning the apple cart once again, weaving a profoundly intimate artistic statement on completely unexpected terms. Like its three aforementioned predecessors, "Just Like Any Other Day" belongs to broadening shift in Lee's approach to composing that roughly aligns with her return to her native South Korea, having lived in the United States since her late teens. Infused with a deep reengagement with her own culture and relationship to memory, it is equally a response to those critical challenges and questions provoked by significant life change. Worked on in isolation, and continuously returned to, over the course of four years, the album's nine pieces began with a simple recognition that experimental music is not always what we imagine it to be. It is a practice and a pursuit - a music for which, at its inception, the outcome is unknown - rather than an idiom defined by certain syntaxes, approaches, and qualities of structure and sound. From this departure point, Lee began to inquire after the utility of music itself: what is it for, what does it do, and what place does it (or can it) occupy in our lives? This solitary and durational journey, each composition gradually moving through different phases and evolutions over years, led Lee toward uncharted ground: a music that is not only playful, introspective, and seductive, but also intended to provoke a relationship to experimental music beyond its normative expectations. Rather active or deep listening, it pursues passive listening. Rather than a grand statement, it is discreet. Rather than virtuosity, it embraces the elegant and direct. Even more strikingly, for the first time, the music of "Just Like Any Other Day" encounters Lee leaving the cello entirely behind. Created at home on keyboard, computer, and an inexpensive cassette recorder, "Just Like Any Other Day" presents a remarkable form of ambient music - organisations of sound that become their own environment, to be occupied - intended, as the album's subheading infers, as Background Music For Your Mundane Activities. An expansion of the creative pathways opened by the Korean pop imbued compositions of Yeo - Neun, aspects of electronic process explored by "Teum (The Silvery Slit)", and the emotive foregrounding of "Na-Reul", each of the pieces presented across the two sides of "Just Like Any Other Day" implies something far greater than the limits of its own temporarily: a mood, provocations of memory and place, mirrors for the solitude within which it was made, and palpable emotion lingering just out of grasp. For Lee, each of the album's compositions could be continued or looped for an indeterminate duration: straddling a ground between the minimal and the baroque, enveloping the listener in endless cycles of appreciating, repetitive and rhythmical notes, flirting with the melodic and implying a disembodied imagism that borders on the profound. Remarkably beautiful and direct, Okkyung Lee's "Just Like Any Other Day: Background Music For Your Mundane Activities" - issued by Shelter Press on vinyl - represents a radical reconfiguration of experiential music, stripped to its bare essence in defiance of the widely presumed aesthetic signifiers. Unlike anything we've heard from her before, this immersive body of intimate recordings not only reveals new dimensions of Lee's striking range as an artist, but also of how we might regard and occupy music itself: an ambience to lived and felt like a second skin.

"Taking influence from the pioneers of Música Popular Brasileira, Wolfgang Pérez has crafted an exquisite album of summery experimental pop music that encapsulates the beauty and chaos of modern Brazil. A must-listen for fans of Tom Zé, Gilberto Gil, Kiko Dinucci, Negro Leo, Ricardo Dias Gomes, and João Gilberto.

Genre-blending songwriter, arranger, and guitarist Wolfgang Pérez is set to release his highly anticipated new album Só Ouço in July 2025 on Hive Mind. Known for his unique fusion of influences, the German-Spanish artist first captured attention with his 2021 debut WHO CARES WHO CARES (Fun In The Church), followed by the critically acclaimed Spanish-language album AHORA (BAUMUSIK, 2024).

Só Ouço is the fruit of an 18-month creative residency in Rio de Janeiro, where Pérez collaborated with a group of young Brazilian musicians. Deeply inspired by the city's sounds and rhythms, the album marks an exciting chapter in Pérez’s evolving artistic journey.

In 2022, Wolfgang Pérez arrived in Rio de Janeiro on a university exchange to study composition, and quickly found himself immersed in the city’s rich musical landscape. Introduced early on to Rio icons like Thiago Nassif, Arto Lindsay, and Ana Frango Elétrico, what began as a semester turned into a transformative three-semester stay. Pérez absorbed the city's contrasts - it's beauty, its people, it's chaos and violence, all it's contradictions and life - while deeply studying Brazilian music at UFRJ/UNIRIO under the guidance of masters Josimar Carneiro, Marcello Gonçalves and Almir Cortes.

Wolfgang spent the first 6 months or so soaking in as much as possible, going to shows, to the baile funk parties, walking the streets, hiking the mountains in and around Rio, listening to music, making friends, learning where to go and where not to, learning the language, learning the slang, incorporating the culture. He used the time to forget himself in the vibrance of the city.

After this the band came together through a series of chance encounters and happy accidents...some loose jam sessions led to shows around Rio, where Wolfgang, alongside Luis Magalhães (bass), Pedro Fonte (drums) and Paulo Emmery (electric guitar), started to flesh out some of Wolfgang's compositions. At a show at Audio Rebel they met Angelo Wolf (owner of Wolf Estúdio and engineer for artists such as Bala Desejo, Dora Morelenbaum, Zé Ibarra, Marcos Valle, Antonio Neves and Ana Frango Elétrico); moved by the music, Wolf offered Pérez residency and studio time at Wolf Estúdio, providing the foundation for Só Ouço. Angelo was a catalyst for the production of Só Ouço, his openness and generosity helping to shape the sound of the record. Carol Maia, a young guitarist, lyricist and singer brought a sensitivity and tenderness to the songs, while Antonio Neves helped to pull together the brass and woodwind players who would complete the lush sound of the album.

Meticulously arranged, and beautifully composed, Só Ouço is a joy to listen to and surprising at every turn. Classic songwriting and cutting edge production blend to produce an album that is by turns tender and gentle, abrasive and unsettling, a joyful celebration of life in all its complexity."

INTEMPORARY AND INDETRONABLE FRENCH COLD WAVE CLASSIC in a SPECIAL EDITION to celebrate the 40th anniversary of this mythical album.



This edition includes a 45T with 2 previously unreleased tracks, available nowhere else.



Thierry Müller, who initiated the RUTH project, is not at his first try when the album POLAROÏD/ROMAN/PHOTO including the eponymous track is released in 1985. His older brother Patrick along with one of their cousins make his musical education and he quickly becomes familiar with contemporary and experimental music. He starts quite early to tinker sounds on old tape recorders by himself but it is in 1977 that Thierry launches with some friends his first group, ARCANE, while studying at the School of Applied Arts. Their sound is weird, a mixture of saturated scratches and feedback tapes: there is no discographic or scenic testimony of this experience.



Alongside ARCANE, Thierry is already working solo on his ILITCH project / concept, an experimental and innovative work, whose first album Periodmindtrouble is released in 1978 on the Oxigène label. Despite insubstantial sales, this album brings Thierry recognition and success in the very elitist circles of experimental and underground music.



ILITCH’s musical bias was too narrow for Thierry’s ceaseless experimental curiosity, parallel to these activities, he therefore develops a Punk project called RUTH ELLYERI with the author, actress and photographer Murielle Huster. The title is an anagram of Thierry Müller (the complete name is Ruth M. Ellyeri). The character is meant to impersonate one of his schizophrenic facets and allows him to extend his field of expressions to musical styles differing from those in ILITCH.

From this work, the very cult punk piece Mescalito emerges, song that can be found on the mythical but unfortunately very rare compilation 125g de 33 1/3 tours (1979) of the Oxigène label (first “french punk” sampler). At the end of 1978, he meets Philippe Doray at the Oxigene office. Doray is another big name of French experimental music. Thierry moves to his home near Rouen, a remote farmhouse with a music studio made of odds and ends.



They work on their respective creations but meet from time to time on experimentations in common, including CRASH (a tribute to JG Ballard) As early as 1982, a first version of the track Polaroïd/Roman/Photo is out under the name of the project RUTH. “I wanted to write a piece to make the girls dance and make fun of the boys. I plugged a small handmade clock on my Farfisa organ as a sequencer. I had a small Roland synth-guitar, I put the organ in it and that’s how it started.” Philippe is quite amused by the idea of working on a more Pop project and offers to write the text. Thierry works on other tracks for the future LP and asks some friends to write other texts : Edouard Nono, visual artist, writes the lyrics of Mots, Frédérique Lapierre those of Misty Mouse and Tu m’ennuies . It is her voice you hear on these 2 tracks and on the first version of Polaroïd/Roman/Photo. Later, Thierry settles down in the Anagramme recording studio to carry out acoustic sound recordings. But when the sessions are over, the 2 musicians are not too happy with the results of Polaroïd/Roman/Photo: according to them, they lack “flamboyance”. They decide then to record a new female voice with a professional singer and the sound engeneer Patrick Chevalot offers to mix the track in the Synthesis studio “so that it blows out”.



With his tape ready and the help of Jacques Pasquier (S.C.O.P.A. / Invisible records where Ilitch’s second album, 10 Suicides, is released) he starts to contact record companies. “I visited almost all the major record companies and was thrown out every time. Only at RCA’s I found someone interested in my music. It was Francis Fottorino who had signed Kas Product but when it reached the the big boss, no way! Philippe Constantin from Virgin records raised some hope but in vain.



The album was finally released in 1985 with Paris Album, a small independant label.” The album barely sells 50 copies in 1985, despite the eponymous title as a potential success. « In 2004, 2 DJs Marc Colin and Ivan Smagghe discover the track Polaroïd/Roman/Photo and decide to exhume it from oblvion. They release it on a compilation called So Young but so cold (Tigersushi) and then with Born Bad records on the BIPPP compilation in 2008. Thanks to them, the track and the album start a new life.



Alongside his activity as graphic designer, Thierry Müller carries on producing music under his name, those of ILITCH and RUTH for his own creations and various collaborations.

After last year's extroverted and funky album "Be Who You Wanna Be," Stef Kamil Carlens presents a more introspective double album recorded with Nel Ponsaers and Rahmat Emonds. Featuring 14 songs—some of his own compositions and very surprising covers or reinterpretations—this album emphasizes lyrics, vocals, and a band sound primarily driven by acoustic instruments. Once again, it stands as a key addition to the already very eclectic catalog of one of Belgium’s most versatile and productive artists. Stef Kamil Carlens & The Poem will tour starting in October 2025.

Das selbstbetitelte Album von Ava Luna markiert eine fundierte und introspektive Entwicklung für das Quartett aus Brooklyn. Die Band, die nun aus Carlos Hernandez, Julian Fader, Ethan Bassford und Felicia Douglass besteht, kehrt nach einer längeren Pause mit einem reduzierten Sound zurück, der sich auf Schlagzeug, Bass und zwei Gesangsstimmen konzentriert. Dieser Back-to-Basics-Ansatz, eine Abkehr vom ,kosmischen" Gefühl ihres Vorgängeralbums ,Moon 2", hat seine Wurzeln in gemeinsamen Erfahrungen in NYC und den Rhythmen des Alltags. Themen wie Erschöpfung, Gemeinschaft und fragile Freude tauchen in Songs wie ,Lasting Impression" über die Arbeitsmüdigkeit und ,Math Money Job", einem spielerischen Gesang über Wiedersehen und Verkörperung, auf. Julians Schlagzeug und Ethans Bass Themen wie Erschöpfung, Gemeinschaft und prekäre Freude tauchen in Tracks wie ,Lasting Impression" über Arbeitsmüdigkeit und ,Math Money Job", einem verspielten Gesang über Wiedersehen und Verkörperung, auf. Julians Schlagzeug und Ethans Bass treiben das Album an, das teilweise vom rohen Sampling-Stil von Soul Coughing inspiriert ist, der in Tracks wie ,Frame of Us" zu hören ist. Gesanglich bewegen sich Carlos und Felicia wie eine Einheit - sie verschmelzen, harmonieren und fragmentieren mit Absicht, besonders in ,Archive". Obwohl im Kern minimalistisch, ist der Sound des Albums üppig und strukturiert, angereichert durch Congas von Reggae-Legende Larry McDonald, Klavier, Samples und Gitarren-Noise. Songs wie ,Social Diving" und ,My Walk" spiegeln persönliche und urbane Geschichten wider, während ,Your Man" und ,Fancy" von Widerstandsfähigkeit und Würde erzählen. Das Ergebnis ist Ava Luna in ihrer ehrlichsten und raffiniertesten Form - ein Porträt von NYC und einer Band, die sich noch immer weiterentwickelt und nichts von ihrer Dringlichkeit eingebüßt hat.

cv313 and Federsen join forces again for the ‘Altering Dimensions Part One’ release, the initial drop in a series of collaborations which will later form together as one long player project.

Detroit-based dub techno pioneer cv313 (Stephen Hitchell of Echospace fame) and Federsen join forces on the forthcoming collaborative EP Altering Dimensions via Federsen’s own Alt Dub imprint. cv313, known for landmark releases such as Seconds to Forever and the deeply influential Dimensional Space LP, has been central to shaping the modern dub techno sound, blending immersive atmospheres with hypnotic rhythms. Federsen, celebrated for releases on Echospace Detroit, Grayscale, Synchrophone, Lempayung, Avant Roots and others. has also established himself as one of the genre’s most forward-thinking producers, bringing a meticulous, analogue driven warmth to his productions. Altering Dimensions marks a meeting of two highly respected producers in contemporary dub techno, bridging Detroit’s timeless legacy with Federsen’s cutting-edge sonic explorations.

The release comprises four alternate interpretations of the title-cut and leading the way is the original mix of ‘Altering Dimensions’, a seven-and-a-half-minute excursion through weighty low-end pulsations, spiralling atmospherics and ever unfolding nuance throughout. The ‘Redesign’ follows and shifts gears into a more robust deep techno realm as cavernous reverberations and shifting echoes ebb and flow alongside murky bass and sturdy drums.

The ’Dub’ mix follows on the flip-side, as the name would suggest laying focus on a more classic dub techno style with crisp percussion, billowing spaced out delays and vacillating subs before the ‘Reduction’ mix concludes the project, as the name would suggest stripping things down to the composition core atmospherics elements alongside oscillating percussive elements and fluctuating pads.

In a changing, unpredictable and turbulent world, something we can always rely on is a new Orb album, with the next holiday-for-the-head never far away. On what is quite possibly the millionth longplayer helmed by electronic lifer Alex Paterson; partnered with the now firmly-entrenched boy wonder Michael Rendall; the inspirationally productive outfit yet again deliver the goods, with one of their best yet.

"The Happening by Tomorrow Comes The Harvest is the least case, a provocative confrontation. It's a challenge or dare to the idea that music can be useful if we are able to experience it. I would imagine that to many, music having an objective beyond the listener doesn't make sense because the general thought is that Music is made for us to consume, to make us remember, to influence us and to make us feel something. The Happening does all those things but much more. What it does is expand the scope from us to "it". Creating and constructing music for the subject of existence is a tall order.

The concept of The Happening is about the beginning and the end of Time and Space; the initial point of when reality starts and its conclusional apex. In the beginning, there is a great light. And from this light, comes life. Life is lived until it isn't.

This is what The Happening implies. It speaks about a 9-minute frame in reality, used to emphasize something that happened a very long time ago, something that happened in its creation and what will eventually happen far in the future.

The Happening was of an accidental birth. The love child of three musicians (Jeff Mills, Prabhu Edouard and Jean-Phillippe Dary) who was just asked to play "something" so that the camera crew could have extra b-roll for all the previous footages of the band while they were working in the recording studio in the North of Paris for their album Forbidden Planet. There was no discussion of what they'll do, no plan, no direction other than to use music to reach a level of consciousness.

Somehow within these transformative 9 minutes, something was felt by each of them, explored to its furthest point, which lead to this extraordinary creation. The Happening refers to the life and death of everything living thing. Infinity."

Jeff Mills

Scintillating, alchemical kosmische; visionary, deep, and luminous; and beautifully sleeved, with gold foiling and silver ink.

Works In Metal fans out a set of acid treatments and finely sharpened blades — cutting, shaping, suspending form. Sounds are melted down and forged as if liquid metal.
The works are paired. Arc’s Blue Flame previews the smoking volatility at the album’s core. Echoes and resonance soften the dissonant, bright textures; all overlaid with Fofana’s signature, percussive kick drums. Welding drills into the discordant thrills and spills of metamorphosis. Sparks fly and the bittersweet arc of change unfolds.
Fofana discreetly folds in text, poetry, and field recordings, spooring their decomposition and recomposition with a prismatic point of view. The coupling Obscure Light (Decomposition) and Obscure Light (Recomposition) marks something new in his music. The pulse is brightly honed, cascading beyond the dancefloor, exultingly eluding musical genre.
Works in Metal is perhaps Fofana’s most narrative album. At its heart is the killer, extended Lure of the Fragment / So Another Sound Suggests Itself. Melodies circle in call-and-response patterns, balancing proximity and distance, signalling the inward gravity required to work with metal. A nested story-line, with birds flying in; an album within an album. Dredging up memories and associations, Fofana filters in selections from his sound-archives. Layered with synths, field recordings become instruments in their own right. The last three minutes proffer precious clarity — a memory, in miniature, flashed onto molten metal.

In 1943 Suzanne Césaire declared that ‘our surrealism will then supply them the leaven from their very depths. It will be time finally to transcend the sordid contemporary antinomies: Whites-Blacks, Europeans-Africans, civilized-savage: the powerful magic of the mahoulis will be recovered, drawn from the very wellsprings of life. Colonial idiocies will be purified by the welding arc’s blue flame. The mettle of our metal, our cutting edge of steel, our unique communions — all will be recovered’. Works in Metal is a tribute to her prophecy; its enactment, sculpted in sound.

Limited Joe Clausell edit

Repress!

Biosphere is the main recording name of Geir Jenssen (born 30 May 1962), a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.



Cirque - originally released in 2000 - was Biosphere's first album for the UK label Touch. This new re-issue comes with a 6-track bonus album and new artwork.



Mojo (UK): Fourth full album from ambient pioneer. Coming to prominence with 1992's Microgravity - which along with the first couple of Aphex/Polygon Window CDs, defined the genre ambient - Geir Jenssen as Biosphere has made three of the '90s' best albums, culminating with last year's near beatless Substrata. The idea - as it always was thanks to Eno's On Land - is music as environment (reflecting, creating): working from his base in Tromso, Arctic Norway, Jenssen offers a polar, Apollonian exploration of the human psyche. Cirque is a perfectly constructed 47-minute sequence: cold clarity up against real depth of field, synth cycles dissolving into sudden moments of sonic revelation that sound like a waking dream - try the first 20 seconds of Black Lamb and Grey Falcon. (And if you think that's pretentious - your loss). Inspired by the story of a young American, Chris McCandless, who walked alone into the Alaskan wilderness and perished, Cirque balances the tightrope between warmth and unease, resolving into a moon melody that leaves you a peace. What a good record! Jon Savage.

Seit langem fragen Leute, ob sie diese Alben erstehen könnten und bisher lautete die Antwort: Nein. Bisher! Wir sind begeistert, die Re-Issues dieser vier unglaublichen Alben mit verbessertem Artwork bekannt zu geben. Alle Alben wurden remastered und ist zum ersten Mal überhaupt auf Englisch erhältlich (eine englische CD-Version wird später auch noch erscheinen). Als die ursprünglichen Versionen veröffentlicht wurden, wurden die meisten Exemplare in Frankreich verkauft. Aber Yann wurde, nicht zuletzt durch den Soundtrack von ,Die fabelhafte Welt der Amelie auf der ganzen Welt bekannt. Für sein internationales Publikum hat er nun höchstpersönlich seine Titel mit größter Sorgfalt ins Englische übersetzt, um sicher zu stellen, dass die Originalinhalte beibehalten bleiben. Im Januar folgen die nächsten beiden Alben. ++ Auf "Rue Des Cascades" bedient sich YANN TIERSEN einer ganzen Armada an spannenden und mutagen Instrumenten: einiger sehr rare Instrumente, aber auch Klaviere, Kinderklaviere, Cembalo, Geigen, Akkordeon, Mandoline, Glockenspiel, Melodica und Banjo zusammen mit menschlichen Stimmen. Zusammen sorgt das für eine äußerst angenehme, entzückende und wunderschöne Musik mit einer warmen Atmosphäre. Einige der Stücke auf "Rue Des Cascades" tauchen auch auf TIERSENs "Amelie"-Soundtrack auf, so dass jeder, dem die Musik des Soundtrackes gefiel, auch hieran gefallen finden wird.

Hot off their two smashes for Marvel’s blockbuster lm Venom: Let There Be Carnage, CZARFACE is back, triumphantly swinging into your universe with their all new CZARMAGEDDON! Expect many twists and turns as Wu-Tang’s Inspectah Deck and Esoteric go to war with an all-new, all-different soundscape from Czarface producers the Czar Keys. Alt-rap icon Kool Keith shatters the lyrical glass and the enigmatic Frankie Pulitzer, who rst appeared on the Venom soundtrack on Czarface’s Today’s Special, is back with guns blazing. Fans will crash the gates for this all new chapter of the Czarface saga.

Includes:
-Collector's Lunchbox with embossed Czarface art on front and back
-Series 2 Trading Cards only available with the Lunchbox
-Cassette of CZARMAGEDDON! only available in the Lunchbox

ALL DAY I DREAM COMMENCES THE NEW YEAR WITH A BANG, RELEASING A WINTER SAMPLER VI COMPILATION
Lee Burridge’s All Day I Dream imprint is thrilled to kick off 2024 with the latest addition to its semi-annual compilation series, A Winter Sampler VI, releasing January 26.

Serving as a testament to the label’s commitment to fostering emerging talent and highlighting the cutting edge of melodic house music, A Winter Sampler VI is a curated selection of tracks that showcase the diverse and vibrant sounds within the All Day I Dream family.

A Winter Sampler VI brings together an impressive consortium of artists from around the globe to put together a 12 track offering. The compilation kicks off with Simon Vuarambon's remix of St Germain’s 2000 hit ‘So Flute’, the euphoric and driving track setting the tone for a journey through the innovative and cutting-edge sounds of the compilation. From Wassu and Bona Fide’s deep yet playful collaborative track ‘Threshold’ to Nathan Katz’s serene and uplifting ‘For You’ to Seth Schwarz and Solidmind’s beautifully spiritual collaboration ‘Create The Universe’, each contribution adds a unique flavor to the sonic tapestry, resulting in a must-listen body of work from beginning to end.

A Winter Sampler VI serves as a testament to All Day I Dream's dedication to providing cutting edge melodic house from select talent across the globe, providing a platform for both emerging and established artists to shine.

All Day I Dream invites music lovers to dive into the next edition of their compilation series with A Winter Sampler VI

Amonita, the ethereal musician known for her enchanting compositions and captivating live performances, is set to release her latest body of work, the Rainbow EP, under Lee Burridge’s esteemed record label All Day I Dream.

Since her debut in 2017, Amonita has been on a steadfast mission to craft iconic melodies that resonate deeply with listeners, evoking emotions that linger long after the music fades. She seamlessly blends live instrumentation with electronic elements, creating an immersive sonic experience that transports audiences to a world of serenity and wonder. Amonita is no stranger to All Day I Dream; In addition to her Secret of Happiness EP in 2019 and Aura EP in 2021, Amonita has contributed tracks on two A Winter Samplercompilations, and was featured on Gorje Hewek’s 2021 Collages album released on the label.

Drawing inspiration from her time spent in Turkey surrounded by nature, Amonita infuses the Rainbow EP with the essence of the awe-inspiring beauty she experienced: sun-kissed landscapes, tranquil seas, and the vibrant hues of a majestic rainbow. Her music speaks to the hearts of true dreamers – those who believe in love, walk barefoot in the rain, watch sunsets, admire the stars, and are impressed by the mystery and beauty of the moon.

In her own words, Amonita shares, "No matter how difficult your path through storms and thunder is, after that you will see a rainbow!"
This sentiment encapsulates the overarching theme of resilience and hope that resonates throughout the EP, serving as a beacon of light in challenging times. The Rainbow EP is a testament to Amonita's boundless creativity and passion for storytelling through music. From the shimmering melodies of title track ‘Rainbow’ to the hypnotic rhythms of ‘Amulet’ to the dark and mysterious ‘Moon Dust’, each track invites listeners on a transcendent voyage of discovery.

Prepare to be spellbound as Amonita unveils the Rainbow EP on March 29th. Experience the magic for yourself and let the music transport you to a world where you can dream while awake and rainbows reign supreme.

DINTE issues another cassette-only mixtape taking in Soviet punk selections, 1985 to 1992, issued in partnership with Philadelphia's World Gone Mad.

Absolute fire this, a mixtape survey of punk, no wave and all sorts of angular post-punk fantasies from the USSR, 1985-1992.

You can go whistle for a tracklist for this one, but trust that it’s all top grade, shot from the hip, frazzled, growling and assymetric as fuck, from stomping jangle to more light-footed, motorilk post-punk to some lost-in-translation Casio dub bubblers and into more bleak gothic realms - and not a dud in sight.

Issued in partnership with Philadelphia's World Gone Mad.

The "Every DJ" – The Unreleased Kenny Dope Project 7-inch vinyl on the Blazing Record Label is a must-have for fans of hip-hop breaks and classic reggae samples. Featuring Kenny Dope’s signature production style, this track utilizes a vocal sample from "The Stopper" by Cutty Ranks, blending reggae dancehall vibes with hip-hop breaks to create a perfect party track for the turntables.

This release is an essential addition for DJs, collectors, and hip-hop enthusiasts who appreciate the fusion of reggae and hip-hop with infectious breaks and deep basslines. The track's energy makes it perfect for DJ sets and vinyl crates.

At daybreak, as sunlight travels through the atmosphere and begins to reach Earth’s surface, daylight gradually emerges. This marks the transition from night to the beginning of a brand-new day. As the temperature rises—especially after clear, calm nights—relative humidity decreases, and mist, formed of tiny suspended droplets, begins to evaporate. Warm air rises and cool air sinks, creating an interplay of temperature, humidity and sunlight that gives way to a soft, diffuse glow. The sea breeze slowly clears the morning mist, setting life in motion once again as the world wakes up.

‘Daybreak’ is Sven Wunder’s fifth full-length album, seamlessly continuing the progression of his musical oeuvre. It takes the listener on a vivid maritime expedition, beginning the moment the first rays of light break the darkness of the night and embarking on a lush journey through the early hours of the day and far beyond, until the light slowly fades and night falls once again. True to Wunder’s now-distinctive artistry, ‘Daybreak’ is marked by elaborately crafted compositions and elegant pop-jazz arrangements for flute, percussion, brass and strings—supported by a decisive rhythm section, all of which add depth and build on his body of work, continuing to unfold his creative path.

Two sides, two heatwaves pulled from the depths of Afro-diasporic analogue archives and reborn for contemporary dancefloors.

On the A-side, “Chiacchiere di Lavoro” is a razor-sharp re-edit of a Nigerian track, that is just like its new producers: obscure and way ahead of their time. The B-side dives into the Antilles: "Taxi Safari" is a rare tropical gem, reworked with finesse by editing maestros Lance and Disco Strummer.

But what is La Sirenetta?
La Sirenetta – “The Mermaid” in Italian – is a name that evokes memories of a Riviera discotheque, the faded glamour of a beach club, or a fried fish shack glowing in the sunset.

In fact, this La Sirenetta is a sub-label of Maledetta Discoteca Records, dedicated to digging, selecting, and editing analogue World Black Music bangers from the ’80s and giving them a second life.

The formula? High-quality, highly collectible 12” double-siders.
All La Sirenetta records are a limited edition, one-time pressing only. Don't miss them!

Manchester based trio, Sonnenspot have unashamedly taken their favourite records from the Kosmische Musik landscape and fused these to inform their own spontaneous sonic constructions. Motorik drums, pulsating flutes, wah guitar and almost excessive use of space echo make this a dense and dreamy listen, with a hint of the rainy pensiveness of their home town.

Notable inspiration from Neu!, Manuel Gottsching, Sonic Youth and Yo La Tengo is all clearly audible in the various recordings on this album and minimal effort was made to shy away from this. The longest track 'Motorway' is an epic homage to the space rock art form and 'Madrugada' takes both John Martyn's 'Small Hours' and Gottsching's 'Inventions' as a starting point. Others include the tobacco lovers art-rock-ear-worm ('Liquorice Paper'), a dub laden celestial synth jam ('Slow Blinker') and the album opens with the first thing the band ever recorded, as a meaningless improvisation to tune their synths up to ('Figurescene'). Turned out it had a killer bass line and drum part.

Initial sessions were mostly just an excuse for the three long standing friends to get together musically for the first time, and after knowing each other for many full moons, it was long overdue.

They all bring some peripheral musical heritage to the table. Ian Smith was the guitarist in Alfie and the The Beep Seals and played on Badly Drawn Boy's 'The Hour of Bewilderbeast'. Pete Philipson played in Jane Weaver's band for ten years and has made his own ambient guitar albums. Dan Hope plays in the jazz folk band Mother Sky and promotes events around the city under the Rainy Heart banner.
They were joined by another long term musical friend Sam Kynaston who added heavenly flute to much of the album.

This spring, PILLZ continues its ascent by welcoming another fast-rising talent to its roster: Barcelona’s Natural Goofy. Quickly earning a reputation for his sharp interpretations of the genre’s darker edges, the Spanish producer weaves together twisted electro, hypnotic minimalism, and acid-infused rave power. His Misty Secrets EP is a perfect reflection of this vision—a refreshing yet nostalgic exploration of his sonic world. Sitting seamlessly within the esteemed PILLZ catalogue, the release further strengthens the label’s position as a go-to source for forward-thinking, peak-time weaponry and the alluring sounds of the night. Four cuts of hypnotic mischief from Natural Goofy.

Word is the name of the next EP which has been announced on the label as you can see right now. It was written by the prominent artist Orbet that has been making waves in his native country Russia and has played nearly all the hottest events and festivals there are and continuing doing it without any will to stop. It has been 5 years since his last vinyl release which was a sellout hit so this is an important year we marking in the artist’s life and sound output and celebrating his return to releasing the music again. The design of the record comes in the style of graffiti that is very close to the artist as Orbet is no stranger to this art being an artist of graffiti himself. The tracks have a wide range of sound and would be able to work at different times of the party whether it’s prime, warm up or the afters. The four tracks presented on this disc are ready to be worked round the clock strictly for the pleasure of the people of the underground. I think that should conclude my verbal ramblings as it’s best to test this record in action to see it for yourself.

Danny Elfman, film composer, classical composer, singer-songwriter, and recording artist, has garnered international recognition for composing over 100 feature film scores, as well as compositions for television, stage productions, and the concert hall. Elfman has been Tim Burton’s composer for more than 35 years, having scored 17 Burton films such as Batman, Pee-wee’s Big Adventure, Beetlejuice, Edward Scissorhands, Charlie and the Chocolate Factory, Big Fish, Alice in Wonderland, and Beetlejuice Beetlejuice, as well as music, lyrics and songs for  The Nightmare Before Christmas for which he also sang the part of Jack Skellington. Elfman was also the lead singer and songwriter for the LA rock band Oingo Boingo for 17 years.
Waxwork Records is thrilled to release BULLET TIME Original Animated Picture Soundtrack by Danny Elfmanas a deluxe 7" vinyl EP and also on cassette! Features include 90s inspired splatter colored vinyl, an insert, and artwork by Kostas Firinidis and cassette artwork by Tristan Tait and Kostas Firinidis.

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.

Bobby Caldwell is legendary for his blue-eyed soul masterpiece What You Won’t Do For Love but a deeper look into his catalog reveals there’s plenty more where that came from. Danny Krivit heads straight to the source, and uncovers a breezy treat in the form of The House Is Rockin’, Caldwell’s very first single. Kicking his edit off with a highly mixable extended drum break intro, he teases this upbeat mover into the fully extended version it deserves.

From the sunshine of the A-side Krivit pivots to a monster moody groove on the flip, Eddy Grant’s proto-house classic California Style. Leaving just a touch of the soca-fied vocal at the top, Mr. K quickly delves into the depths of the percolating instrumental break, emphasizing all the gloriously quirky synth bloops and relentless bass that made it a favorite of house producers (check Mateo & Matos’s New York Style for proof). We believe this is the first time the extended mix has been available on 7-inch, but we’re absolutely certain it has never sounded so good! Another crate staple in the always excellent Mr. K edit series.

Bangs and Talbot get back to business with a stonking new 45 for 2025, their take on the instrumental classic ‘K Jee’.

Originally by US band the Nite Liters (an instrumental precursor to soul act New Birth), this classic track has been a club favourite for decades. It was later covered by MFSB and included in the Saturday Night Fever soundtrack.

Taken from their forthcoming album on Acid Jazz, this latin disco funk flavoured jam is written by Motown hit producer Harvey Fuqua and Charles Hearndon. It features Mick Talbot on Wurlitzer, organ and piano, ably assisted by German funk guitarist Felix Fraenkel, Italy’s Donato Greco on flute, brass from California’s Dan C, and drums, percussion, and bass from original Acid Jazz DJ/producer Chris Bangs.

On the flip is a Mick Talbot-original ‘Re-Micks’ from the ‘Back to Business’ sessions, which gets a heavy-duty live boom bap rework by hip hop pioneer DJ Premier Inn.

Presented on black vinyl in a new colour version of the current Acid Jazz house-bag, with labels reminiscent of the classic RCA design for an authentic ’70s touch…

The Toxic Funk series keeps the dancefloors moving, and for Volume 17 we welcome back the ever-funky duo Suckasidewith a pair of groove-heavy gems pressed on 7" vinyl. DJ B-Side and Sucka Timmy once again show their mastery of blending classic soul, funk, and RnB flavors with breakbeat punch.

The A-side, Hot Pants I Just Wanna Love You (112 BPM), is pure sunshine soul on wax – bright and upbeat with crisp breakbeats, silky vocal chops, and infectious horn stabs. Its warm groove and steady energy make it the perfect opener for a DJ set or a surefire way to lift any crowd.

On the flip, Dang Lazy (SuckaSide 45 Edit) kicks things up a notch with a faster, more driving funk workout. The bassline struts, the drums snap, and playful vocal snippets dance over the top, all tied together with Suckaside's tight, polished production. It's a party starter with a cheeky edge – perfect for when the floor is already buzzing and you want to take it higher.

pictured cover sealed in shrink wrap (first time ever on Samosa)



Samosa Records comes back with a real summer bang in the form of the ‘Afro-Ritmo EP’ – a four-track journey into afro soaked vibes courtesy of Anura & Sr. Lobezno and featuring label boss De Gama!

First up on side A is the EP’s title track, the mesmerising ‘Afro Ritmo’. Anura & Sr. Lobezno announce their arrival on Samosa Records with this spicy West African rhythm bomb. Kakaki trumpet fanfares meld with intricate synth stabs and ethereal Oja flute, whilst the solid tribal beats and rolling bass dictate the dance moves. And dance you must…

Track 2 is the deliciously glitchy, conga bonanza ‘Sungu Sa’. Make no mistake, ‘Sunga Sa’ is out to get you from the very first beat – tempting you to go behind the curtain as the haunting guitar lures you ever closer to its secret door. Dark, uplifting and ritualistic, the chant of ‘Sunga Sa’ will live in your head rent free well after the sun has gone down. Don’t say you weren’t warned.

Over on Side B De Gama takes the title track ‘Afro-Ritmo’ and applies his unique sonic rubs, balms and enhancers to create a pulsating after hours jam full to the brim with Afrotropic sparkle and magic dust. Like an unstoppable chugging train steaming through a savanna, De Gama is the conductor supreme as the raspy synth, bluesy guitar riff and uplifting brass fanfares entwine around that pounding beat.

Finally, Track 4 gives us the seriously powerful Javier Morrilas remix of ‘Afro-Ritmo’. The original is stripped right down and given the Big Beat treatment for this insanely good take – a peak time switcheroo of a track that keeps you guessing as to where it’s taking you. As the flutey breakdowns and broken beat madness get you, you will fall in love with this one instantly.

The ‘Afro Ritmo’ EP is a powerful, masterful four tracker from Anura & Sr. Lobezno which is well at home in the Samosa Records cooking pot. Spread the word, buy the vinyl. You won’t be disappointed.

• Reviewed with love by The Black Light Disco

Written, Produced, Arranged and Mixed by Anura & Sr. Lobezno.
Keyboards & Percussions: Anura.
Trumpet: Jimmy Garcia
Sax & Flute: Carlos Ligero
Trombone: Prudencio Valdivieso

*Remix and Additional Productions by Stefano Gamma aka De Gama for De Gama Rec - Rome.
Jazz Guitar & Acoustic Bass by Pietro Nicosia.

** Remix and Additional Productions by Javier Morillas.

All tracks mastered by Francesco Pierguidi at L’n’P Studio – Rome.

Artwork and computer graphics by Nerina Fernandez.


SMS038

Perfect Location Records in partnership with the one and only Ear Candy Music is proud to announce 00-04, a compilation of early works by Bevan Smith aka Signer, New Zealand’s most prominent name in ambient electronica and dub techno.

Smith has been producing emotive chords, pop ambience, and thick dub-ospheres since before the turn of the century. His output is prolific, ranging from various solo monikers (Aspen, Introverted Dancefloor) and collaborations (Skallander, Feeling Flying) to unique projects (Touching the Void soundtrack, Isolated Dreams’ 24 EPs and counting). A rare artist with indie crossover appeal thanks to the 2004 Signer album The New Face of Smiling released on Carpark Records (Toro Y Moi, Beach House, Dan Deacon, Montag), Smith has played as a member of bands such as The Ruby Suns (Sub Pop), Over the Atlantic (Involve), and Glass Vaults (JUKBOXR).

Encompassing field recordings and evoking a cloudy coastal sky, 00-04 is a collection of mostly unheard material written in the early 2000s as Smith navigated the chaos and stress of living in London just after 9/11. A portion of this release may be recognisable to those familiar with the Involve catalog––“Drone Early,” for example, is an alternative version to the dub giant “1201A”––and to those acquainted with Signer’s 2002 Low Light Dreams (Carpark/Involve), an iconic album composed of processed guitar, dub-influenced bass, and synth drones; as if that doesn’t sound appealing enough, Low Light Dreams is home to “Building Memories Without You,” an unforgettably engulfing track featured on Fact Magazine’s 25 Best Dub Techno Tracks of All Time.

00-04 is a (re)issue both nostalgic and new, familiar yet unknown, fresh out of the archive. It possesses the Low Light Dreams aural palette while offering a carefully curated array of never before heard icy-cold moods, soothing minimalism, and shyly optimistic melodies, all glazed with recently finalized additions.

In 1982, the elite, core musicians (MFSB / The Salsoul Orchestra) behind the soulful Philly Sound - Earl Young (drums), Ron Baker (bass), Norman Harris (guitar), Lenny Pakula (organ), Larry Washington (percussion), Vince Montana, Jr. (vibes) - and powerhouse vocalists David Simmons, Joe Freeman, Ron Tyson and Bobby Love convened at Philadelphia’s historic Sigma Sound and Virtue Studios to record some of the genre’s biggest hits. This small, but amazing set of lush recordings, which were mixed at Alpha Studios - ensuring that every note and nuance was captured with the highest fidelity, recently caught the attention of the famed producer and remixer Eric Kupper. Kupper got his start working as a keyboardist and guitarist for such producer/remixers as David Morales, Frankie Knuckles, Arthur Baker, Peter Rauhofer, and Richie Jones, just to name a few. Since 1986, he has played on, remixed, and/or produced over 1400 records for artists spanning all contemporary musical genres. Presented here is “Bad Luck” which features Simmons’ incomparable lead vocals and a brilliant remix by Kupper. This release is not just a tribute to the past, but a vibrant continuation of the legacy these legendary musicians helped create.

"One Hit Wonders" ist eine dynamische Doppel-LP-Zusammenstellung, die die unvergesslichen Songs feiert, die den Äther beherrschten und zu zeitlosen Klassikern wurden. Diese Sammlung vereint legendäre Hits aus verschiedenen Jahrzehnten und Genres, von den energiegeladenen Beats von "You Spin Me Round (Like a Record)" von Dead or Alive bis zum sanften Yacht-Rock von "Steal Away" von Robbie Dupree. Mit Tanzhymnen, gefühlvollen Balladen und genredefinierenden Titeln ist dieses Album eine nostalgische Reise durch Songs, die trotz der Tatsache, dass sie die einzigen großen Chartstürmer ihrer Künstler waren, in der Musikgeschichte unverzichtbar geblieben sind.

Diese sorgfältig zusammengestellte Auswahl umspannt die Welten von Pop, Rock, Funk, R&B und Hip-Hop. LP1 enthält Wohlfühl-Hits wie "Walking on Sunshine" von Katrina and the Waves, den Synthie-Pop-Charme von "Wouldn't It Be Good" von Nik Kershaw und die eindringliche Schönheit von "Only the Lonely" von The Motels. LP2 hält die Energie hoch mit funkgetriebenen Grooves wie "Play That Funky Music" von Wild Cherry, der filmischen Magie von "Neverending Story" von Limahl und sanften Balladen wie "Because I Love You" von Stevie B. Jeder Track auf dieser Compilation ist einkultureller Meilenstein, der von der ersten Note an erkennbar ist.

"One Hit Wonders", herausgegeben von MPO, ist ein Muss für Musikliebhaber, Sammler und Fans von klassischen Hits, die Generationen überdauern. Ob Sie diese Hymnen wiederentdecken oder zum ersten Mal erleben, dieses Album fängt die Magie von Songs ein, die Geschichte geschrieben haben, auch wenn ihre Schöpfer nie wieder denselben Erfolg in den Charts hatten. Sichern Sie sich noch heute Ihr Exemplar und lassen Sie sich von der Musik in die Momente zurückversetzen, in denen diese Titel die Charts beherrschten und und die Welt in ihren Bann zogen.
Tracklisting