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The demons of night are out again: Seoul's one-stop shop creative collective Byul.org returns this fall with its third international album, entitled Nobody's Gold, out via Alien Transistor (worldwide) and the group's own Club Bidanbaem imprint (South Korea). Comprising 14 new songs, it's a dizzying, haunting affair that channels the group's manifold influences and references points (from post-punk to Stockhausen and back via club culture) and yet sounds intriguingly coherent.

Moving in and out of the shadows, Nobody's Gold breaks forth as pure sonic landscape - a universe of its own, folding and unfolding into both more experimental patterns, yet also with occasional hooks and dark catchy structures, gracious build-ups flickering among the hazy roar and thunder. After the screak and squeal of 'Lamb with a Wolf Mask,' the foreboding sounds of 'The Museum of The Two of Us' segue into a synthesized party tune about a missing friend being chased by police ('Nari Yuko Yin'), one of several vocal tracks with a sinister edge. Taking things up another notch, 'Friendly Enemies' is probably the closest this group will ever get to creating a stadium-ready anthem. On the other end of the spectrum, 'The Place Where Designers Go To Die' is a magnificent void with an immense and irresistible undertow...

Never too jolly (not even while 'Day Drinking at a Seaside Town' or during takeoff via epic pop tune 'Bats We Are'), Nobody's Gold compiles soundscapes with a very tangible, corporeal presence - iridescent sonic sculptures placed in unlikely settings (e.g. outer space, see: 'Dirty Dirtiness'), born at the fringes where night blends into day and vice versa.

Inspired by everyday life, half-remembered drug/club experiences, Pascal Quignard's disturbing La haine de la musique, Stockhausen and Bill Evans, the new LP sees the collective remain true to its DIY foundations while repeatedly questioning our listening habits and 'the exaggerated love for the concept of love,' as they put it.

Founded around the dawn of the millennium as a group of poetry-loving friends who'd occasionally meet for drinks, Byul.org has long become an extremely prolific and versatile collective within Seoul's scene: Main song-writer TaeSang Cho and his mates Yu Hur, Jowall, YunYi Yi, SuhnJoo YI, HyunJung Suh, and SoYoon Hwang went from publishing to recording, from releasing tunes to design, art direction and more. Although their list of clients includes Atelier Herme`s and the Venice Biennale (they did the Korean Pavilion twice), the group still remains a drinking circle of close friends at its core: Pals who simply like to create and carouse and dream and live and perform and play tunes together.

Mark Leckey Ist Ein Mit Dem Turner Prize Ausgezeichneter Visueller Künstler, Inspiriert Durch Die Britische Post-punk- Und Rave-szene. "exorcism Of The Bridge@eastham Rake" Ist Der Soundtrack Seiner Ausstellung "affect Bridge Age Regression" (2017), Entstanden Aus Der Bruchhaften Erinnerung Und Mythologisierung Einer Autobahnbrücke An Der M53 In Der Nähe Von Birkenhead, Wo Er Seine Kindheit Verbrachte. Das Stück Klingt Für Ihn Wie Ein Moderner Ritueller Chant, Der Zusätzlich Von Evian Christ Für Den Dancefloor Präpariert Wird Und In Einer Streng Limitierten 10" Auflage Im Chicen Gatefold Mit Bedruckter Innentasche, Poster Und Download-code Bei Warp Erscheint.

As Longitude is the Berlin based duo Eva Geist and Ondula, which started to make its place on the new electronic scene after brillant release last year on Knekelhuis and apparence on Ein Welt...
On this EP we fall in their psychedelic madness, mixing hypnotic sounds, voices and Saxo, in a very punkish way, to come back to our bestial primitive instincts, when we were still close from animals.

Earlier in the year, Red Light Radio co-founder Hugo van Hejiningen and Identified Patient joined forces to debut their new musical project, Stallion's Stud. Artificial Dance is ready to release the first fruits of the duo's studio collaboration.
The four-track EP digs deep into their shared love of electronics, post-punk era experimentation, DIY music culture and dubbed-out drum machine rhythms. The results are undeniably dark and intoxicating, with former punk singer Hugo fronting proceedings via mind-altering vocals and twisted lyrical flows.

Opener 'Promising Promises' sets the tone for what follows, with Hugo's spoken vocals wrapping themselves around ricocheting industrial dub rhythms and raw, delay-laden electronics. The delay trails to oblivion remain a force to be reckoned with on the creepy, fuzz-fuelled cold-wave doom of 'Instrumental Aria', while the throbbing and clanking 'Unpredictable' and 'Voice of No' ratchet up the intensity by several notches via end-of-days guitars, heavyweight bass and face-melting percussion.

vailable on 7-inch red vinyl single (includes free digital copy on MP3). Vinyl is limited to 500 copies.

Les Disques du Crepuscule presents All Through the Night, the first of two of newly recorded 7-inch coloured vinyl singles by The Passengers, the late 1970s new wave group from Brussels who subsequently became cult Factory/Crepuscule band The Names.

In 1978, with the Brussels scene still in the grip of raw punk, The Passengers offered a fresh, pop-oriented sensibility, mingled with the darker accents of later post-punk. This was young music in every sense, with none of The Passengers older than 22, shaped more by American than British influences, notably the Velvet Underground, whose radical style was in turn echoed by late Seventies bands like Richard Hell and the Voidoids, Talking Heads and Television. The presence of Isabelle Hanrez on vocals also made comparisons with Blondie inescapable. 

With their first gigs in the five-piece quickly became a local sensation, and in March 1978 won a battle of the bands known as the 'First Belgian Punk Contest' - only to reject the prize (a one-off single deal) as a cynical commercial ploy. Instead, the band chose to tape All Through the Night for Brussels punk imprint Romantik Records, only for the label to fold before this came to pass. 

The Passengers parted company soon after, with Michel Sordinia, Marc Deprez and Christophe Den Tandt becoming The Names on Factory Records, while Hanrez formed own pop-punk outfit, Isabelle et les Nic-Nacs. Four decades on, the original Passengers quintet decided to record and issue the singles denied a release at the time, recorded and played as if it were still 1978!

Cover portrait by Eric de Merkline. Design by Atomluft.

Available on 7-inch clear vinyl single (includes free digital copy on MP3). Limited to 500 copies.

Les Disques du Crepuscule presents All Through the Night, the first of two of newly recorded 7-inch coloured vinyl singles by The Passengers, the late 1970s new wave group from Brussels who subsequently became cult Factory/Crepuscule band The Names.

In 1978, with the Brussels scene still in the grip of raw punk, The Passengers offered a fresh, pop-oriented sensibility, mingled with the darker accents of later post-punk. This was young music in every sense, with none of The Passengers older than 22, shaped more by American than British influences, notably the Velvet Underground, whose radical style was in turn echoed by late Seventies bands like Richard Hell and the Voidoids, Talking Heads and Television. The presence of Isabelle Hanrez on vocals also made comparisons with Blondie inescapable. 

With their first gigs in the five-piece quickly became a local sensation, and in March 1978 won a battle of the bands known as the 'First Belgian Punk Contest' - only to reject the prize (a one-off single deal) as a cynical commercial ploy. Instead, the band chose to tape All Through the Night for Brussels punk imprint Romantik Records, only for the label to fold before this came to pass. 

The Passengers parted company soon after, with Michel Sordinia, Marc Deprez and Christophe Den Tandt becoming The Names on Factory Records, while Hanrez formed own pop-punk outfit, Isabelle et les Nic-Nacs. Four decades on, the original Passengers quintet decided to record and issue the singles denied a release at the time, recorded and played as if it were still 1978!

Cover portrait by Eric de Merkline. Design by Atomluft. e

Kami Is The Fourth Opus Of Foudre! - A Telluric Drone Quartet Composed Of Frédéric D. Oberland (oiseaux-tempête, Le Réveil Des Tropiques, The Rustle Of The Stars, Farewell Poetry), Romain Barbot (saåad), Grégory Buffier (saåad, Autrenoir) And Paul Régimbeau (mondkopf, Autrenoir, Extreme Precautions) Who Meet Punctually For Sessions Of Ritual Improvisation Where They Invoke Noise And Drone And The Deities Of Chaos. Improvised And Recorded Live At Le Rex De Toulouse Supporting The 10th Anniversary Of French Doom Metal Band Monarch!, Kami Extends The Cosmogony And The Sound Of The Band By Taking Excursions Into The Invisible And Ambiguous Side Of Nature. In This Orgiastic And Surprising Mix Of Sonic Textures And Rhythms, You May Hear Strange Phenomena, Summoning Of Animistic Spirits, Shamanic Calls, Siren Yellings And Growls. The Original Chemigram Artwork Was Created By French Artist Fanny Béguély By Painting With Chemicals On Light-sensitive Paper. Following The Sold-out Earth Soundtrack (gzh71, 2015), Kami Delivers An Immersive Soundscape For Abstract Clubbers, Where Kosmiche Electronic, Power Ambient And Industrial Punk Music Are Freely Invited To Commune. This Pagan Ceremonial Is An Ode To The Ever-changing Vortex Of Life - A Sonic Dream Machine For The Occurring Now.

300 Beer-coloured Vinyl With Black Inner, Poly-lined Paper Sleeve.

The latest release on Arma comes from Dutch legend and devoutly deviant underground operator Ruud Lekx, aka Rude 66. With a legacy that reaches back to the early 90s and the rough and ready Dutch electro sound of Bunker Records and The Hague, he's maintained a distinctly non-conformist approach that touches on acid, Italo, techno and more besides, all finished with the punky attitude that sets him and peers like Unit Moebius and I-F apart.

The tracks gathered together on The Witch Trials EP come from throughout Lekx's career. As the artist himself says, 'tracks from wildly different eras and sessions suddenly can combine to form one coherent EP. It's almost like the A-side tracks were waiting for 20 years to be combined with the B-side tracks.'

The overriding theme that binds together these timeless machine excursions is that of medieval witch trials - a global phenomenon that peaked in the 15-1600's. Considering the suspicion, propaganda and mass moral panic involved in this strange curio of distant history, Lekx points to the parallels with the current age, 'of political polarization and fake news accusations flying all over.' The EP title is also a tribute to two records close to his heart: The Fall's Live At The Witch Trials, and the one-off Witch Trials project by members of the Dead Kennedys, Adrian Borland and Christian Lunch.

'Werewolves & Poisoners' and 'The Crusade Against Idolatry' are both archive tracks from the 1994-5 period when Lekx made his first albums for Bunker Records. The first track's charging arps, rugged kicks, nagging acid lines and discordant paranoia all speak to that trailblazing period, while 'The Crusade...' revels in canny programming of interwoven synth lines feeding into an unhinged, psychedelic rampage that reflects the righteous fervour and spiritual confusion of the EP concept.

'The Absence Of Diabolism' opens up the B-side with a different tone, having been produced in 2016 and demonstrating the deeper acid undulations Lekx has become known for in more recent years. Still delivered via the same trusted tools he was using in the 90s, the sound feels like an extension of the Rude 66 vision rather than a separate entity. 'Envious Are All The People, Witches Watch At Every Gate,' a cut from the late 90s, closes the EP out in a spacious, snarling exploration of broken acid electro laden with cinematic sweeps of synthesizer and a constant sense of unresolved tension.



Across these four tracks, Lekx displays the scope of his craft as Rude 66 while also proving that timeless music can make sense in any context, and that the threads of inspiration in an artist's journey can be followed, explored and even resolved 20 years later, when you least expect it

Freedom To Spend's first catalog wide deep dive into an artist's career focuses on four albums from Rimarimba, beginning with 1983's Below The Horizon, followed by 1984's On Dry Land, 1985's In The Woods, and finally, the once-imagined, now-realized assembly of 1988's Light Metabolism Number Prague.

Somewhere out there around the turn of the 1980s, to the left of the post-punk crew, to the right of the minimalists, and surfacing with a friendlier face than the dour industrialists of the time - there existed, seemingly unbidden, an entire, networked, tape-trading community; a community that crossed continents and oceans, that relied on the postal service to do its bidding; a community full of humble visionaries and lost, misunderstood, or just plain ignored home steeped genius.

Exploring that thicket of weirdness in the UK wild, you'd likely stumble across labels like Cordelia, Hamster, and Unlikely; compilations like the should-be-legendary Obscure Independent Classics series, or the Real Time cassettes; and inexplicable one-offs like The Deep Freeze Mice, Jody & The Creams, R. Stevie Moore, Leven Signs, Jung Analysts, and Rimarimba.

Rimarimba was the project of Robert Cox, based in Felixstowe, on the seaside in Suffolk, UK. Rimarimba was not Cox's first entry into the world of recorded music, but was the first time he explored, most perceptively, the parameters of a particular musical mode: one where minimalism is removed from its 'high-art' mantle, Cox inveigling its practices in amongst the doit-yourself creativity of a burgeoning and beguiling underground, letting the music breathe - and most importantly, letting it play, gifting it with imagination.

The first in the Rimarimba series, 1983's Below The Horizon, feature Cox in exploratory mode, figuring out exactly how to make his music. There's a pleasure in hearing how he feels out the parameters of his aesthetic, here - there's a boxy minimalism, slightly clunky and charming with it, that reflects the home-spun, improvisatory tenor of the compositions. It's ambitious music, though, wanting to do the most and the best it can with its limited resources. Cox himself admits to not being 'pre-wired' to making this music, but that only makes it more compelling: 'Were I to be properly musical, it wouldn't actually work as well in some ways; it'd be just another album of contemporary clattery music.'

On October 5, Freedom To Spend will offer Below the Horizon in a one-time edition of 750 copies, followed On Dry Land and In The Woods on January 8, 2019 and February 22, respectively. Each album features artwork reinterpreted from its original edition by Will Work For Good, and accompanying abstracts by Jon Dale.

FANTASTIC TWINS, the solo artist formerly known as The Twins, has always carried an air of transmutability - not only in a name creating its own hall of mirrors, but also in a constantly fluctuating sound, from the first spoken word interludes recorded as The Truly Fantastic Dessagne Twins From Saint-Etienne (for the Pachanga Boys' infamous 'We Are Really Sorry' album) to myth-building solo releases on Hippie Dance and Optimo Music, as well as style-bending remixes for La Mverte Vs Capablanca, Moscoman and - most recently - fellow Hippie Dancer Rebolledo.

Following the echo-drenched 'Holiday' on 'A Very Nice Combinado Volume Dos', the project from Julienne Dessagne has embarked on yet another transforming journey, leading to the latest outing with the well-suited title THE NEW YOU. Its four tracks prove Dessagne's ongoing commitment to an open sound aesthetic that works the techno blueprint from the inside out, mutating from foreboding, post-industrial landscape to dazed interzone opera in a heartbeat.

Uncanny rave polaroids from last night's ill-memorized peak floor flash up on opener SHAKE IT's mental screen, while follow-up HEY tries to herd its nervously rushing percussion to no - albeit banging - avail. The title track slowly implodes in reverse, pitting Dessagne's obsessing, molting vocals against a stubbornly no-wave-ish synth bassline and octave-hopping freeform keyboards blown to gaseous smithereens. Post-punk closer TIME SCIENCE kicks into motion with a confused diary entry turned subconscious commentary - while the psych guitar gently weeps all over the neatly arranged furniture. Welcome back, newcomers!

DELUXE VINYL EDITION!!!
This release does exactly what it says on the tin! "Twenty two tunes live from Tokyo" was recorded by punk legends TOY DOLLS at Club Quattro in Tokyo on the 27th of December 1989.

The artwork recreates the cover of the band's 1977 debut album with modern fashion icons Duckie Thot and Jazzelle Zanaughtti

'I've had the great privilege of producing some of the greatest artists in the world so when it came time to collaborating for my own record the barometer was shall we say pretty high' explains Nile. 'Nao, Mura Masa and Cosha were important to me and to be able to debut the songs we wrote live with them on Later . . . With Jools before we've even put out recorded versions makes it even more special.'

Nao shares: 'We all grew up on CHIC! No matter who you are or where you're from, they're one of those bands that have sound tracked at least one part of your life. So to now be part of that story and playing in the band - albeit temporarily - is just wild. We've had such great fun making records and playing together, it's been a joy. I'm so glad they're back, the world - especially right now - needs more CHIC!'

'BOOGIE ALL NIGHT' ft Nao is lifted from the long anticipated 10th studio album 'It's About Time'.
Coming this September though Virgin EMI, it's the group's first album in 25 years!!

Inspired by talent, multiple Grammy-winning composer, producer, arranger and guitarist Nile Rodgers is always collaborating, working with musical superstars and breaking artists alike. He amplifies his legacy by constantly traversing new musical terrain and successfully expanding the boundaries of popular music. The new record sees the UK's Nao, Mura Masa, Stefflon Don, Cosha and Craig David share in the journey alongside the likes of California's Anderson .Paak and Chicagoan Vic Mensa, with many more exciting collaborations to be announced.

The album's cover revisits a strong sense of conceptual aesthetics that have run through the bands career since the very start. The artwork of their debut self-titled album (inspired partly by Roxy Music album covers such as 'Stranded' and 'Country Life') featured Valentine Monnier and Alva Chinn, and personified the band's unique style and intent. The 'It's About Time' cover features models Duckie Thot and Jazzelle Zanaughtti. Shot by Britt Lloyd and directed by Greg Foley, co-founder of V Magazine, Duckie and Jazzelle are not only modern fashion icons, but also activists making huge strides for women of colour in fashion.

'When I first came up with the concept for the first CHIC album cover more than 40 years ago it was a deliberate statement that we could all be abundant, we could all be with the beautiful people, we could all be included, we could all have good times. Looking at the world today for the release of 'It's About Time' I felt that it was important to make those statements again for a new generation' Nile explains.

As the co-founder of CHIC, Rodgers pioneered a new musical language with chart-topping hits like 'Le Freak,' (the biggest selling single in the history of Atlantic Records!) and 'Everybody Dance', even sparking the advent of hip-hop with 'Good Times'.

His work in CHIC and his production work for artists like David Bowie, Diana Ross, and Madonna have sold over 500 million albums and 75 million singles worldwide while his innovative, trendsetting collaborations with Daft Punk, Avicii, Sigala, Disclosure, and Sam Smith have kept him in the vanguard of contemporary music.

Nile Rodgers & CHIC have already confirmed several festival performances across the UK this summer, including Isle of Wight and Wilderness, full list of dates below.

Rodgers transcends all styles of music with a catalogue of work that's garnered him plaudits from the Rock & Roll Hall of Fame (2017) and the Songwriters Hall of Fame (2016). More recently, he was appointed as the first ever Chief Creative Advisor for Abbey Road Studios to cap off a year that included 'festival best' performances at both Glastonbury and Coachella and a BBC Music Awards nomination as 'Best Live Performance Of 2017'.

Next on the DDQ series, Sébastien Michel, best known as UVB, presents his Elements of Joy alias where the French producer explores post punk, industrial and wave influences across 4 rugged tracks. First released as a cassette on his own Body Theory label and now remastered for vinyl on a limited edition of 300 copies.

Was sich zum Jahresbeginn 2018 schon abzeichnete, wurde im Sommer gewiss: Muff Potter zieht es zurück ins Rampenlicht. Für 2019 ist eine Deutschland-Tour anberaumt, und im Zuge dessen bringt das eng mit Band befreundete Hamburger Label Grand Hotel van Cleef nicht nur vier zwischen 2000 und 2007 veröffentlichten Alben als Vinyl-Repress noch einmal neu heraus, sondern ergänzend eine Sammlung mit Raritäten und noch nie gehörten Songs aus der gesamten Schaffensphase der wegweisenden Indie- und Punkrockband. Insgesamt schufen die Münsteraner zwischen 1993 und 2009 sieben gemeinsame Alben. Sänger Nagel hat seitdem drei Romane und einen Bild- und Textband veröffentlicht, Gitarrist Dennis Scheider wurde Produzent, Bassist Dominic "Shredder" Laurenz betreibt einen Innenausbaubetrieb und Schlagzeuger Thorsten "Brami" Brameier spielte in verschiedenen Gruppen und Projekten mit. Nun schlägt das Quartett ein neues Kapitel in der ruhmreichen und wechselvollen Bandgeschichte auf.

Strut Present An Exclusive New Compilation Curated By Optimo's Jd Twitch, 'kreaturen Der Nacht', Bringing Together Classics, Rarities And Oddities From Germany's Original Post-punk And Diy Scene. 1979 To 1984 Was An Era Of Particular Artistic Upheaval In Germany As Strong Subculture Scenes Formed In Many German Cities. Emphasis Was Placed On Expression Rather Than Technical Perfection, Artistic Impact Rather Than Skill. Diy Self-organisation Prevailed With The Establishment Of Small Record Labels And Independently Produced Records And Cassettes. Bands Experimented Across Genres And Consciously Abandoned The English-speaking Mainstream With German Band Names And Lyrics. 'although We Had A Small Underground
Scene, It Was Very Vibrant,' Explains Gudrun Gut Of Malaria! 'bands Like Die Haut, My Frst Band Mania D., Malaria!... We Organised Gigs Ourselves Or Friends Would Open A Gallery And
Have Bands Playing. We Hung Around Together In A Handful Of Clubs Like Risiko Or Dschungel And Went To Gigs At So36. West Germany Had Other Regional Scenes Too: Düsseldorf And
Köln Around Der Plan And The Ata Tak Label And There Was The Hamburg Side With Abwärts. Germany Didn't Have A Real Music Industry Like The Us Or England Back Then.'
This New Collection Is A Personal Selection From Jd Twitch, Built Over Years Of Playing The Tracks In Club Sets. 'it Is Not Designed To Tell A Defnitive Story Of What Was Going On In
Germany In This Era,' He Explains. 'rather, It Is Simply An Arbitrary Collection Of Records I Adore From A Specifc Era With A Specifc Attitude That Hopefully Together Sum Up Some
Of The Musical Undercurrents In Germany At That Time.'
The Package Features A Host Of Rare And Unseen Photos From The Period Along With Extensive Interviews With Artists Including Beate Bartel (mania D.), Christoph Dreher (die Haut),
Michael Hirsch (p1/e) And Thomas Voburka (weltklang). All Tracks Are Remastered By The Carvery With Artwork By Optimo's In-house Design Man Andrew Beltran.

Nachdem die Münsteraner Indie- und Punkrockband im Februar 2018 eine Live-Reunion gefeiert und wenige Monate später eine - mittlerweile schon ausverkaufte! - Tour für 2019 angekündigt hat, muss man festhalten: Muff Potter sind zurück. Das Quartett veröffentlichte zwischen 1993 und 2009 sieben gemeinsame Alben, vier davon bringt das Label Grand Hotel van Cleef auf Vinyl noch einmal heraus. "Bordsteinkantengeschichten" erschien ursprünglich im Jahr 2000 als drittes Album der Band. Zu dieser Zeit mauserten sich Muff Potter gerade neben Gleichgesinnten wie den Boxhamsters oder Dackelblut vom Geheimtipp zur ernst zu nehmenden Szenegröße. "Bordsteinkantengeschichten" präsentierten Muff Potter einem wachsenden Publikum durch extensives Touren im Verbund mit den befreundeten Formationen Hot Water Music und Leatherface. Der Langspieler stand noch ganz im Zeichen des mitreißenden Hardcore Punk der Anfangstage, gleichzeitig ließ die Gruppe aber auch schon das Interesse an anderen Stilelementen durchklingen. Das führte später sogar soweit, dass die Jungs Streich- und Tasteninstrumente in ihr Soundbild einflochten.

Danach haben sich die Fans gesehnt: Nach langer Abstinenz kehren Muff Potter 2019 für eine Deutschland-Tour auf die Konzertbühnen zurück. Im Zuge dessen legt das Label Grand Hotel van Cleef vier Alben der Jahre 2000 bis 2007 auf Vinyl noch einmal auf. "Heute wird gewonnen, bitte" kam 2003 auf den Markt und katapultierte die Band mit raffinierten lyrischen Geschichten, Melodien zum Verlieben und einem kraftvollen, elaborierten und durchdachten Punkrocksound in die erste deutsche Indie-Liga. Während der Albumaufnahmen und der anschließenden Tour wurde Muff Potter von Jule März als Backgroundsängerin unterstützt. Sie verlieh den Songs, in die auch mal ein Glockenspiel oder Mellotron eingebunden wurde, eine völlig neue Note. Anders ausgedrückt: Die Tage der rotzigen jugendlichen Punkkapelle waren eindeutig gezählt. Passend dazu veröffentlichten die Münsteraner mit "Placebo Domingo" ihre allererste CD-Single. Gleichzeitig gab es mit dem ersten Videoclip eine weitere Premiere für die Gruppe zu feiern.

- Beautiful 1 LP Edition 140g Vinyl, Heavy 350gsm Sleeve, Sticker WRWTFWW Records is extremely excited to present the official reissue of cult album Lingua Franca-1 (originally released in 1983) by groundbreaking Kyoto band EP-4, available on vinyl housed in heavy 350gsm sleeve and digipack CD. Straight from the delirious minds of unconventional geniuses Kaoru Sato (who had previously released an album as R.N.A. Organism on legendary Osaka label Vanity Records) and Yuji 'Banana' Kawashima, Lingua Franca-1 is a seamless voyage of spellbinding mutant funk grooves, joyful post-punk explorations, synth fantasies, sexy distortions, and fluid cool-no-sweat vocals. Constantly mutating in an almost biological way (similarly to Colored Music's self-titled album), always mysterious and seductive, sometimes reminiscing of a freaky cross between PiL, Liquid Liquid, Bowie and Yello, EP-4's debut is hard to label, although 'Debonair Wave' could be a legitimate way to describe this Japan's best-kept-secret of an album. Defying the rules wasn't limited to sonic experimentations for band leader Kaoru Sato. To promote Lingua Franca-1, he and his crew plastered gigantic (illegal) billboards all over Shibuya and Harajuku, announcing performances in four different cities on odd hours of the same day (May 5th 1983). Other of his notable antics included originally sub-titling the album Death to the Emperor Showa causing a controversy (which led to censorship and a title-change), trying to release two albums on the same day without the concerned labels being aware of the plan or, in the R.N.A. Organism days, fooling Vanity Records into believing the demo he sent them came from a foreign band (it worked). Unique personality, unique music!

One of the top drummers in the Israeli scene, Tel-Aviv based songwriter and producer BEÃTFÓØT launches his solo project with the powerful new EP De Vibez, a fanciful gutter-glam cross between stoner-acid-pop and 90's-garage-punk. Side A contains some stunning originals alongside a surprising cover of a melancholic oldie by the legendary german singer Nico. Side B be the remixes: the first, a colorful club-driven remix by Garzen Records head honchos & electronic duo Red Axes, followed by a groovy down tempo drone version by the mesmerizing Smagghe & Cross.

Optimo Music presents a 5 track EP & also a debut release from Nashville's Stranded, including a remix of title track 'Celine's Dilemma' by RSD, aka Rob Smith of Smith & Mighty fame.

Despite hailing from Nashville, Stranded has a longing appreciation for the dance centric cities throughout the world whether it be Detroit, Manchester or Berlin, hence the moniker. Alienation, romantic rendezvous, 9 to 5 unease, and an apprehension of the future are just a few of the topics that surface on the debut EP, Celine's Dilemma, on Optimo Music. Sweeping and droning synths, jagged guitars, rolling bass, yearning and weary vocals, and disco beats propel the music and ideas showcased in the project. While using the backdrop of post punk, disco, and synth pop the music is a sonar call to places where people are gathering, working, and dancing.

'they've quietly found themselves elevated into the psych scenes premier league.' Drowned In Sound 
 
'when they go pedal-to-metal it rarely fails.' Mojo Magazine
 
'The Lucid Dream are rapidly becoming major players in an ever-increasingly crowded psych scene..utterly seductive.' The Quietus
  
'one of the most enthralling bands in the UK.' Far Out Magazine
 
 
The Lucid Dream return in October with the release of their 4th album, 'Actualisation'.
Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream.
 
'Actualisation' is soaked in the influence of acid house, amalgamated with dub and kosmische. It will again see them acknowledged for venturing into pastures new, setting themselves apart from 'genres', 'scenes' or what any other act are currently doing. 
 
The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove.
Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor.
 
 
Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz).
 
The confrontational techno-punk of 'Alone In Fear' opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is.
Recent single 'SX1000' (the first work from the album, unveiled via 12' vinyl in April this year) is the band's first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by 'Ardency', a track already praised by live critics when aired live for the first time earlier this year as 'even on first hearing, would've raised the roof of The Hacienda'.
 
The 2-part opus of 'Zenith' follows, commencing with a space-dub/house instrumental groove before building into a track that will go for your head as much as your hips. Only 'Breakdown' harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. 'No Sunlight Dub' closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum 'n' bass/jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.
 
 
The Lucid Dream formed in Carlisle, Cumbria, in 2008. A string of sold-out 7s was followed by the debut longer player, 'Songs Of Lies and Deceit', in August 2013. The initial vinyl pressing of the debut album (500 copies) sold out within 2 days, and was backed by a main stage slot at Kendal Calling, and supports to Death In Vegas and A Place To Bury Strangers (full UK tour).
 
The bands 2nd album ('The Lucid Dream') was released in March 2015 to further acclaim. This included 2 BBC 6 Music sessions and plays across most shows on the station, as well as plays from BBC Radio 1 (Huw Stephens) and BBC Radio 2. Further press followed from Uncut, The Skinny, Louder Than War, and Drowned In Sound, who named the album #7 UK album of 2015. Supports to Clinic and A Place To Bury Strangers also coincided.
 
 
3rd album, 'Compulsion Songs' was released in September 2016, on Holy Are You Recordings. The vinyl pressing of the album sold-out within a day, prompting an immediate 2nd press, with pre-sales of the album topping 1,000 before release. The album was backed by a headline UK tour, and a main slot at Liverpool International Festival of Psychedelia (for which they were singled out for major plaudits from The Quietus, The Skinny and Drowned In Sound). The album again received acclaim from the likes of Mojo, Uncut, Classic Rock Magazine, BBC Radio 2 (Huey Morgan) and across the board on BBC 6 Music (Lauren Laverne, Marc Riley, Tom Ravenscroft, Gideon Coe, Stuart Maconie).
 
 
 
'Actualisation' is released on 19th October 2018 (CD/download/ltd red vinyl/standard black vinyl), via Holy Are You Recordings.

'they've quietly found themselves elevated into the psych scenes premier league.' Drowned In Sound 
 
'when they go pedal-to-metal it rarely fails.' Mojo Magazine
 
'The Lucid Dream are rapidly becoming major players in an ever-increasingly crowded psych scene..utterly seductive.' The Quietus
  
'one of the most enthralling bands in the UK.' Far Out Magazine
 
 
The Lucid Dream return in October with the release of their 4th album, 'Actualisation'.
Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream.
 
'Actualisation' is soaked in the influence of acid house, amalgamated with dub and kosmische. It will again see them acknowledged for venturing into pastures new, setting themselves apart from 'genres', 'scenes' or what any other act are currently doing. 
 
The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove.
Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor.
 
 
Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz).
 
The confrontational techno-punk of 'Alone In Fear' opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is.
Recent single 'SX1000' (the first work from the album, unveiled via 12' vinyl in April this year) is the band's first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by 'Ardency', a track already praised by live critics when aired live for the first time earlier this year as 'even on first hearing, would've raised the roof of The Hacienda'.
 
The 2-part opus of 'Zenith' follows, commencing with a space-dub/house instrumental groove before building into a track that will go for your head as much as your hips. Only 'Breakdown' harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. 'No Sunlight Dub' closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum 'n' bass/jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.
 
 
The Lucid Dream formed in Carlisle, Cumbria, in 2008. A string of sold-out 7s was followed by the debut longer player, 'Songs Of Lies and Deceit', in August 2013. The initial vinyl pressing of the debut album (500 copies) sold out within 2 days, and was backed by a main stage slot at Kendal Calling, and supports to Death In Vegas and A Place To Bury Strangers (full UK tour).
 
The bands 2nd album ('The Lucid Dream') was released in March 2015 to further acclaim. This included 2 BBC 6 Music sessions and plays across most shows on the station, as well as plays from BBC Radio 1 (Huw Stephens) and BBC Radio 2. Further press followed from Uncut, The Skinny, Louder Than War, and Drowned In Sound, who named the album #7 UK album of 2015. Supports to Clinic and A Place To Bury Strangers also coincided.
 
 
3rd album, 'Compulsion Songs' was released in September 2016, on Holy Are You Recordings. The vinyl pressing of the album sold-out within a day, prompting an immediate 2nd press, with pre-sales of the album topping 1,000 before release. The album was backed by a headline UK tour, and a main slot at Liverpool International Festival of Psychedelia (for which they were singled out for major plaudits from The Quietus, The Skinny and Drowned In Sound). The album again received acclaim from the likes of Mojo, Uncut, Classic Rock Magazine, BBC Radio 2 (Huey Morgan) and across the board on BBC 6 Music (Lauren Laverne, Marc Riley, Tom Ravenscroft, Gideon Coe, Stuart Maconie).
 
 
 
'Actualisation' is released on 19th October 2018 (CD/download/ltd red vinyl/standard black vinyl), via Holy Are You Recordings.

Hinter Tvam Steht Produzent Joe Oxley Aus Manchester, Dessen Debütalbum "psychic Data" Von Dean Honer (moonlandingz, I Monster, Add N To (x)) Produziert Wurde. Laut Clash Magazine Kombiniert Tvam Den Aggressiven Punk Von Big Black Mit Den Treibenden Atmosphären Von Boards Of Canada. Das Ergebnis Ist Laut The Quietus Ein Epischer Rave-shoegaze-soundtrack Allerbester Güte.

Hinter Tvam Steht Produzent Joe Oxley Aus Manchester, Dessen Debütalbum "psychic Data" Von Dean Honer (moonlandingz, I Monster, Add N To (x)) Produziert Wurde. Laut Clash Magazine Kombiniert Tvam Den Aggressiven Punk Von Big Black Mit Den Treibenden Atmosphären Von Boards Of Canada. Das Ergebnis Ist Laut The Quietus Ein Epischer Rave-shoegaze-soundtrack Allerbester Güte.

ADULT. '20 years ODD.'
Over the course of the last two decades, Detroit-based duo ADULT. (Nicola Kuperus and Adam Lee Miller) have released six albums and nineteen EPs and singles across some of our favorite labels: Mute, Ghostly International, Thrill Jockey, Clone Records, Third Man Records, and their own label, the revered Ersatz Audio. November 1998 marked their first release: the five-song 12" 'Dispassionate Furniture'. This September, twenty years later, Dais Records is proud to announce ADULT.'s seventh full length album: THIS BEHAVIOR.
The album began as 23 demos written and recorded in a remote cabin in the woods of Northern Michigan during the dead of winter. In total isolation, and with a reduced amount of gear (a modified version of their live setup) on the cabin's kitchen table, the duo were completely immersed in an incessant inescapable studio of their own making - looping, repetitive analogue sequences grinding away day and night. At the end of the intense demo session, a handful of peers were enlisted by the band for the difficult task of paring down the demos into the final album.

The result is 10 tracks of uncompromising dark electronics, showcasing ADULT.'s return to aggressive and energetic dancefloor mastery. Album opener 'This Behavior' alongside the follow-up 'Violent Shakes' (which ascends into synths wailing like warning sirens over Kuperus's commanding vocals) set the stage for an on-edge listen, while the heartbreaking 'Silent Exchange' unfolds as a beautiful sad synth dirge.  'Perversions of Humankind' breaks the mood - driving the listener into a slow and low groove before the frantic album midpoint of 'Irregular Pleasure'. 'Does The Body Know' is the album's post-punk anthem, with irresistible singalong 'we're out of order - we're undefined!' The latter half of the album drives forward with 'On The Edge (You Put Me...)' and 'Lick Out The Content', refusing rest and demanding movement and response. 'Everything & Nothing' emerges slowly from sparkling synth textures, snowballing with nervous energy into an acid techno stomper before the album comes to a close on the icy landscape of 'In All The Debris', a goose-bump inducing slow electronic mantra that closes the curtain on a massive album.

Artist statement on the album's writing process:
'It's confounding how often we negate the importance of disconnecting, getting weird, getting lost. Discomfort and joy intertwined. Day to day, theatrical self-presentation set to rest in our frantic social world. Public becomes private, almost too private. Looking out into frozen woods as you deliver your vocals. For who For what Taking walks along icy shorelines as you try to overcome writer's block, as you try to overcome yourself. Not seeing anyone for days and weeks on end. Overwhelming thoughts and feelings come rushing in; anxiety, fear, purpose, banality, futility of task, power structures, power struggles, pointlessness, collapse.You're faced to face yourself. Your awareness is heightened. You are neither here nor there. You are in a liminal state As you work in this isolated cabin your windows become mirrors.'

"Are we distortions. Are we distortions, perversions of humankind.Are we distortions. Are we distortions, twisted somewhere in time."

ADULT. '20 years ODD.'
Over the course of the last two decades, Detroit-based duo ADULT. (Nicola Kuperus and Adam Lee Miller) have released six albums and nineteen EPs and singles across some of our favorite labels: Mute, Ghostly International, Thrill Jockey, Clone Records, Third Man Records, and their own label, the revered Ersatz Audio. November 1998 marked their first release: the five-song 12" 'Dispassionate Furniture'. This September, twenty years later, Dais Records is proud to announce ADULT.'s seventh full length album: THIS BEHAVIOR.
The album began as 23 demos written and recorded in a remote cabin in the woods of Northern Michigan during the dead of winter. In total isolation, and with a reduced amount of gear (a modified version of their live setup) on the cabin's kitchen table, the duo were completely immersed in an incessant inescapable studio of their own making - looping, repetitive analogue sequences grinding away day and night. At the end of the intense demo session, a handful of peers were enlisted by the band for the difficult task of paring down the demos into the final album.

The result is 10 tracks of uncompromising dark electronics, showcasing ADULT.'s return to aggressive and energetic dancefloor mastery. Album opener 'This Behavior' alongside the follow-up 'Violent Shakes' (which ascends into synths wailing like warning sirens over Kuperus's commanding vocals) set the stage for an on-edge listen, while the heartbreaking 'Silent Exchange' unfolds as a beautiful sad synth dirge.  'Perversions of Humankind' breaks the mood - driving the listener into a slow and low groove before the frantic album midpoint of 'Irregular Pleasure'. 'Does The Body Know' is the album's post-punk anthem, with irresistible singalong 'we're out of order - we're undefined!' The latter half of the album drives forward with 'On The Edge (You Put Me...)' and 'Lick Out The Content', refusing rest and demanding movement and response. 'Everything & Nothing' emerges slowly from sparkling synth textures, snowballing with nervous energy into an acid techno stomper before the album comes to a close on the icy landscape of 'In All The Debris', a goose-bump inducing slow electronic mantra that closes the curtain on a massive album.

Artist statement on the album's writing process:
'It's confounding how often we negate the importance of disconnecting, getting weird, getting lost. Discomfort and joy intertwined. Day to day, theatrical self-presentation set to rest in our frantic social world. Public becomes private, almost too private. Looking out into frozen woods as you deliver your vocals. For who For what Taking walks along icy shorelines as you try to overcome writer's block, as you try to overcome yourself. Not seeing anyone for days and weeks on end. Overwhelming thoughts and feelings come rushing in; anxiety, fear, purpose, banality, futility of task, power structures, power struggles, pointlessness, collapse.You're faced to face yourself. Your awareness is heightened. You are neither here nor there. You are in a liminal state As you work in this isolated cabin your windows become mirrors.'

"Are we distortions. Are we distortions, perversions of humankind.Are we distortions. Are we distortions, twisted somewhere in time."

2018 Vinyl Remaster. Von Jan Jelinek kompilierte Werkschau der legendären musizierenden Pharmazeutin.
Die Geschichte der Entdeckung dieser Aufnahmen klingt abenteuerlich. Es soll Ursula Bogners Sohn
Sebastian gewesen sein, der auf einem Flug seinem Sitznachbarn, dem Elektronikmusiker Jan Jelinek, vom
ungewöhnlichen Hobby seiner Mutter berichtete. Ursula Bogner, 1946 in Dortmund geboren, dann in Berlin
als Pharmazeutin bei einem großen Pharmaunternehmen beschäftigt, hatte ein Faible für elektronische Musik
und die Musique concrète. Ab Ende der 60er-Jahre nahm sie eigene Stücke auf, die sie jedoch nie
veröffentlichte. Bogner war stark von den pseudowissenschaftlichen Energietheorien Wilhelm Reichs
("Orgon") beeinflusst und bastelte sich einen eigenen Orgon-Akkumulator. 1994 verstarb Ursula Bogner.
2008 veröffentlichte Jan Jelinek unter dem Titel "Recordings 1969-1988" eine erste Werkschau Bogners, die
jetzt als remasterte Vinyl Version wieder veröffentlicht wird.

'Shlom Hatzibur' - 'Yanshuf al Anaf Gavoha' a repress of a long lost new wave single along with edits by 'The Models' and 'Mule Driver'.

'Shlom Hatzibur', a band formed by Yuval Banay and Oren Elazary, was active between 1984-1985. This was the year in which the band 'Mashina' paused their activity. ('Mashina' was established in 1983 - and is considered by many ones of the most influential rock bands in Israel). In 1984, they independently published two singles, one of which was 'Yanshuf al Anaf Gavoha'.'Yanshuf al Anaf Gavoha' (Owl on a High Branch) represents a rare moment in Israeli musical history and culture: a moment of disillusionment and expression of personal voice, contemporary sound, and rhythm which stood out during a turbulent political period.

During the First Lebanon War, in the 80s, a generation of young people traveled on the weekends from the battlefields of southern Lebanon and flocked to the rising nightclubs in Tel Aviv. From army discipline to individual freedom, from the threat of death to the city's vibrancy. It is a song of adolescence in a divided and alienated society, and its reissue is more relevant than ever.

The song mixes industrial rhythm with Post-Punk, Rock and Ska. The unusual musical production and the use of a drum machine were influenced prominently by the musical soundtrack played in Tel Aviv's record shops and alternative nightclubs (eg, 'Fuzz', 'Penguin').

Terence Fixmer's path through the changing techno landscape of the past 20 years has been anything but direct. Indeed, the French born producer, musician and Planete Rouge label founder has long been influenced by the periphery of continental European dance music subgenres from electronic body music, new beat and acid, before combining them into his own pioneering hybrid of futuristic, EBM-inflected techno with classic releases such as 2001's Muscle Machine or the collaborative Between The Devil LP with Nitzer Ebb's Douglas McCarthy as Fixmer/McCarthy. While the sound in recent years has been rediscovered and recast in diverse contexts by a new generation of producers, Through The Cortex sees Fixmer gravitating toward a different kind of industrial-tinged electronics, led as much (or more) by analogue sequencers, melodies and ultra-saturated sounds of synthesizers than drums and percussion. Across eight tracks at a compact but varied 40 minutes, the LP touches on an aesthetic hinted at in recent Ostgut Ton releases (2016's Beneath The Skin EP and 2017's Force EP), revealing a sonic narrative through noisy, screaming synth/vocal riffs with a jagged, guitar- like post-punk sensibility. Through The Cortex is techno with a voice - or rather multiple voices - guiding listeners through hypnotic, space- and social-themed terrain as a kind of dark soundtrack to darker days. The result ranges from the slow John Carpenter-inspired Escape From Precinct 13 funk of 'Expedition' and the patient yet muscular stomp of 'Fury' to the mesmerizing Suicide-like pop of single 'Accelerate', where Fixmer, using his voice as an instrument, chants the track's ambiguous title in an invocation of systemic change/collapse. Elsewhere, the story is told with more abstract and wailing vocals like on 'Shout in A Black Hole', or in the warm, entrancing chords floating across the stereo image in ostensibly changing time-signatures on 'A Halo Somewhere' - the LP's uncharacteristically kosmische musik come-down. The track, and Through The Cortex as a whole, reflect what can be described as Fixmer's idiosyncratic take on both techno subgenres as well as the larger pool of electronic music in general. This broad approach translates into a sound that is not only difficult to pin down, but also one that lends itself to multiple listens.

Former member of Dublin punk band The Threat, Stano released his debut LP on Scoff Records in 1983. Recorded in Alto Studios, the Irish artist eschewed live performances in favour of fusing collaborative, improvised, experimental music with spoken word-poetry. The LP featured contributions from fellow Irish musicians and artists such as Michael O'Shea, Roger Doyle, Donald Teskey, Vinnie Murphy, Detroit born Jerome Rimson and is a seminal document of Irish postpunk

It was like a bird of rarest-spun heaven metal or like silvery wine flowing in a spaceship, gravity all nonsense now - Anthony Burgess, A Clockwork Orange

After their LPs 'Ike Yard' (also known as 'A Fact A Second' Factory America, 1982) and Nord (Phisteria and Desire, 2010) Ike Yard delivers their last album 'Rejoy' on Noiztank, 2018 as the culmination of their recent years reinvented sound. As the perpetual flag bearers of the cutting-edge post-punk spirit, the NYC- based band shows muscle in a LP fully loaded with abrasive synth pads, scrap metal percussions, and whispered vocals. Following the previous criteria of 'Sacred Machine' 2017, it is worth to remark the inclusion of external vocals in the pieces 'Sister M' and 'Beyondersay', which feature Yuki Osaki and MAYa. The nine tracks move through different atmospheres, tensions and moods that would perfectly represent a new contemporary soundtrack of the S. Kubrick film 'A Clockwork Orange', a major influence and source of inspiration for the group this time around.

DESCRIPTION

FALK Records will be releasing 'Spaces' from Icelandic experimental producer AAIIEENN this August.

AAIIEENN is the solo project of electronic musician Hallmar Gauti Halldórsson. Halldórsson first came to
music though being a mover and shaker in Iceland's punk and hardcore scene where he was the 'harsh
noise guy' with local band Distill the World. With AAIIEENN however, Halldórsson moved away from the
guitars and screaming to a fully electronic world of experimental synth music and gorging on the
mathematical possibilities and expanses of arpeggio/sequencer driven ambient music.

'Calab-Yau' and 'Continuous Property 1' drip shards of pure crystalline sound into deep crevasses as
harmonic droplets ping of gleaming surfaces coated with spongiform bass. The light and effervescent
'Euclidean' evokes classic Ambient Works Aphex Twin, while 'Manifold' is more direct with a muscular and
sturdy bassline. Spaces closes with the fluttering and lush ambient sounds of 'Zariksi' that are carried into
the skies by a pulsing and gliding techno beat.

Desperate music for desperate times, Collin Strange returns to the label with a hard hitting ep of 90s style warehouse acid. TIP!
This is remorseless, zero compromise, full fledged acid mayhem start to finish in the truest sense of the word, coming direct from the source. Strange does what he does best pushing his 303, 101 and 909 to their limits with extreme intensity and abandon. If Siege made electronic music this is what it would sound like. Punk electronics for those who thrive on everyday chaos of the new world disorder. No trance to be found here.

Producer, multi-instrumentalist, composer, songwriter and vocalist Devonté Hynes returns with his fourth album as Blood Orange, Negro Swan, released on Domino on August 24, 2018.

Raised in England, Hynes started out as a teenage punk in the UK band Test Icicles before releasing two orchestral acoustic pop records as Lightspeed Champion. In 2011, he released Coastal Grooves, the first of three solo albums under the moniker Blood Orange. His last album, Freetown Sound, was released to critical acclaim in 2016, and saw Hynes defined as one of the foremost musical voices of his time, receiving comparisons to the likes of Kendrick Lamar and D'Angelo for his own searing and soothing personal document of life as a black man in America. He has collaborated with Solange Knowles, Skepta, fka twigs, Carly Rae Jepsen, A$AP Rocky, Charlotte Gainsbourg, Blondie, and many other artists, and was recently one of four artists invited to the Kennedy Center to perform alongside Philip Glass. In addition to his production work, he scored the film Palo Alto, directed by Gia Coppola.

Negro Swan was written and produced by Hynes. Says Hynes:

'My newest album is an exploration into my own and many types of black depression, an honest look at the corners of black existence, and the ongoing anxieties of queer/people of color. A reach back into childhood and modern traumas, and the things we do to get through it all. The underlying thread through each piece on the album is the idea of HOPE, and the lights we can try to turn on within ourselves with a hopefully positive outcome of helping others out of their darkness.'

Known for his strong live performances, swedish producer Celldˆd creates music for the body as well as the soul : his influences range from punk, industrial and dub music over to acid house, techno and EBM. That new five track banger EP is dealing with subjects such as sadism, masochism, unhealthy relationships, and the fact that the good never prevails. But if the world is going to hell, we can at least dance on the way down. Let us move, together. In darkness.

Mit brachialen Tempowechseln und sägenden Gitarrenriffs sowie klebrig-süßen Arrangements und ungestümen Ausbrüchen zwischen Hardcore, Punk und Alternative stiegen die Pixies gegen Ende der Achtziger zu Independent-Superstars auf. 1987 nahmen Frank Black & Co. bei einer dreitägigen Session 17 Songs für das Demo "The Purple Tape" auf. Eines dieser lila Bänder fiel Ivo Watts-Russel in die Hände, der die Pixies schließlich bei 4AD unter Vertrag nahm. Acht der Demo-Stücke landeten auf der EP "Come On Pilgrim", der ersten Veröffentlichung der Band. Im Jahr 1988 entstand das Debütalbum der Pixies, "Surfer Rosa", produziert von Steve Albini. Wieder hielt sich das Quartett nicht lange im Studio auf, in vierzehn Tagen war alles im Kasten. "Surfer Rosa" enthält "Where Is My Mind?" und damit den sicherlich berühmtesten Song der Band. Das Debüt begeisterte die Kritiker, "Melody Maker" und "Sounds" zeichneten es als "Album des Jahres" aus. Auch rückblickend gilt die Platte als eines der wichtigsten Rockalben jener Zeit. Zum 30-jährigen Veröffentlichungsjubiläum bringt 4AD die beiden Meilensteine zusammen mit dem 1986 mitgeschnittenen Radiokonzert "Live From The Fallout Shelter" noch einmal als Triple-Album heraus.

Sweden's Kess Kill And Italy's Veleno Viola Join Forces Resulting In A (nowadays) Rare Vinyl Split Release, Ie One Side Per Label.
Violet Poison Needs Little Introduction, Being One Of The First And Most Productive In The New New Wave Movement Of Industrial Music. He Helms The Side Veleno Viola, Coincidentally Being His Own Label, With Three Songs Of Purist Industrial With Its Feet In Both Body And Rhythmic Noise.
On Kess Killís Side B, The Very Same Signore Baudazzi Shows Another Side With His Anarcho Alias Bakunin Commando. Two Tracks Leaning Heavily Towards Post-punk And Proto-techno, Raising The Pulse Far Above The Wholesome, In True Kess Kill Manner.

Qu'est-ce Qu'il Fait Chaud!

"Dueños de Nada" announces itself as a strong and tough proposal. It comes with the intention to get away from what we are used to hearing from the Chilean producer. As a first album, and by incorporating broad influences into a range of genres, industrial sounds and punk, the debut by Tomás Urquieta feels huge and accurate.


The "Dueños de Nada" sample, which belongs to Martin Sorrondeguy, is used by Urquieta to assemble a classic techno piece mixed with a new sound proposal, and by uniting these elements, a catharsis and collective osmosis movement is generated on the dance floor that does not need further explanation.


The proficiency that Tomás has developed when creating percussion doesn't go unnoticed either. It is the sensation of a new breath in his music, a replacement, a much more mature sound is demonstrated by the high instrumentation mixed in with a full on Techno base. The rhythms are wild, futuristic and with a completely personal vision. There are tracks that lock you up and there's others that leave the need for a club ajar. It is a heavy album, political, metallic but very organized. There are voices in Spanish of direct protest towards the system, voices where he invites us to be part of a march to despair, a liberation march for the dance floor . If we could summarize "Dueños de Nada" we would say it's a cry for freedom, a cry which asks us to enjoy the feeling of complete freedom across 11 tracks that embrace this anarchy in which Tomás Urquieta invites us to join.

Beautiful 1 Lp Edition With 140g Vinyl, Stoughton Tip-on Sleeve, Liner Notes (english & Japanese) By Chee Shimizu, Sticker Official Reissue Of Diggers' Favorite Colored Music Available On Vinyl And Cd Or The First Time Since 1981. Genre: Electronic, New Wave, Pop, Synth, Experimental Wrwtfww Records Is Deliriously Happy To Announce The Reissue Of The 1981 Self-titled Album From Cult Japanese Duo Colored Music, Available On Vinyl (housed In A Stoughton Tip-on Sleeve) And Digipack Cd, With Liner Notes By Digger, Curator, Connoisseur, Writer And Legend Chee Shimizu. An Incredible Mix Of Cosmic New Wave, Unconventional Disco, Avant-garde Synth Pop, And Hybrid Electronic Funk, Colored Music Is Enchantingly Unique, A Sort Of Experimental And Magnetizing Take On David Bowie's Berlin Trilogy With A Psychedelic Haruomi Hosono Touch. From The Groovy Post-punk Glam Title Track To The Proto-house Dance Floor Killer heartbeat", Ichiko Hashimoto And Atsuo Fujimoto Hit All The Right (and Sometimes Not-exactly-right-but-truly-genius) Notes To Create The Odd And Beautiful, An Unparalleled Audio Escape To The Best Elsewhere You Can Think Of. Also Playing On The Album Are Celebrated Musicians Mansaku Kimura, Shuichi ponta' Murakami (pacific, Ki-motion By Mkwaju Ensemble, Collaborations With Jun Fukamachi, Yasuaki Shimizu, Haruomi Hosono...) Kiyohiko Semba, Tamio doyo' Kawabata, And Tatsuhiko Hizawa.