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01. GO DEH
02. WISE MAN FROM THE EAST
03. IT MUST COME
04. GUNS DON'T ARGUE
05. STEVE AUSTIN
06. NO PLACE LIKE HOME
07. BLESSED ARE THE MEEK
08. ETERNAL LIFE
09. GATHER MY PEOPLE
10. IF JAH IS FOR US
11. TABLE GONNA TURN
12. ROCK IT IN THE GHETTO
13. LIFE IS GREAT
14 TOGETHERNESS

LIMITED EDITION : first 1000 will be numbered & limited transparent blue vinyl !
Home to E.L.O.'s world hit 'Mr. Blue Sky', Out Of The Blue is a multi-Platinum selling double album by the iconic pop rock band from Birmingham. Renowned for Jeff Lynn's elaborate productions and arrangements, Electric Light Orchestra proved they were able to expand on their success formula of Beatlesque classic rock songs. The album yielded classic E.L.O. songs such as 'Turn To Stone', 'Sweet Talkin' Woman' and 'Wild West Hero', all becoming hits in the UK. A nine-month tour followed its release in 1977 that set new visual standards for stadium rock acts, incorporating a giant space ship, fog machines and laser displays. Music On Vinyl celebrates the European rerelease of Out Of The Blue with a limited run of 1.000 on transparent blue vinyl.

Special tracks have a special story behind them. And this one certainly does. After Mario & Vidis recorded a couple of tracks with Ernesto for their debut album Changed they invited him to perform in their home country. During his short stay in Lithuania Ernesto performed two times and both times closed his set with a track called Care. It was kind of a mash-up - Swedish singer & songwriter was using lyrics of his old song to sing over Metro Area's classic Caught Up to a big effect - leaving the packed dance floors to a sing along to lyrical hook of 'sisters and brothers, smokers and lovers, care for me' every time. Big fan of Metro Area's sound Vidis offered him to do a reversion of this mash-up using Caught Up as a reference and inspiration. The vocals were re-recorded, new arrangement was done, and the song was tested in the clubs as well as live on stage. So here it is - another big tune from the three to sing and dance along

*Repress*

PPU's first long-play LP highlights some of the early beginnings of one of the label's favorite producers, UKku Kuut. Written and recorded at Uku's home studio in Los Angeles and Stockholm between 1982 & 1989.
Some tracks co-written with Maryn E. Coote, famous jazz vocalist who had her beginnings in 1960s Soviet Union. "That's my MOM" recalls UKU, "I remember when I was little, sitting under the mixing board at her sessions". Growing up in studios, Uku's love of music production began early, and over the years he has amassed a vast collection of domestic and soviet electronic gear. In true PPU style this LP is a mix of Uku Kuut's raw cassette demos, forgotten masters and unreleased magic.

Hailing from Dubstep's home town of Croydon, Wheel & Deal Records introduce Surge. With a signature deep and base driven sound you'll come to recognise instantly, trust us when we say, you'll be hearing a lot more from this guy.'Leech' starts us off with a hauntingly atmospheric vocal track featuring vocalist Phxis. Sub heavy with marching beats and harmonic tones, this is a perfect mix of angelic vocals, and hard metallic beats. With exclusive support from N-type & Walsh.'Swaying Mantis' sounds exactly as you'd imagine. Intelligent beats, heavyweight and dramatic, you may have heard N-type starting many of his sets over the summer with this one. Unapologetically bass driven with relentless sway this one will get in your head and stay, in a good way!

Nico Purman, our Argentinean (soon to be Berlin based) drumline captain and all around groove slinger is back for his third instalment on the marching band in the sky that we call our Vakant home. played by andre galluzi, anthony collins, mathias kaden, ellen allien, d'julz, dario zenker, ivan smagghe, karotte, livio, mark henning and many more...

Rico the wizard Aka Eric Chedeville,artist from the french touch period famous for his duet with Guy-manuel de Homen Christo part of DAFT PUNK and co founder of the mythical label "CRYDAMOURE"

Kenny Gino and Big Mike a.k.a. the Solid Gold Playaz both started playing records in the late 70's/early 80's. Having family from Chicago, who were DJ's and down with some of the big guys at the time, "heavily influenced our music and production styles" both say. "Living so close to the city, we could go down to all the legendary night spots. The Rainbow and the Warehouse, the Box, the Shelter... places where you could just feel the vibe. And you could hear guys like Farley Funkin' Keith, Ron Hardy, and Jammin' Gerald (the Chicago DJ/producer who is Kenny's cousin) play these incredible records". They both were hooked on the house sound, and would bring it back to their home, a small city named Racine, Wisconsin, located about an hour and half north of Chicago. They continued to develop their DJ and production skills into the 90's, but musically, weren't taking things very seriously until they met Chicago producer Louis Bell. He introduced them to many of the people who were building the mid-90's Chicago sound. "Louis gave us access... access to places we hadn't been before. He took us into the offices of Cajual/Relief Records and Underground Construction, and suddenly we were face to face with guys who were doing what we wanted to do... Cajmere, Paul Johnson, Glenn Underground... showing us that we could do this too. We did a few releases just to get our name out, and soon we had some pretty big named DJ's playing our music. We had DJ's actually looking for our records, and telling us how much they liked our sounds... that just blew us away, especially with very little promotion and in the limited numbers we were pressing... our music just started to build a name for itself."

Those who expect dreamy home-listening from Family Lounge, could fall victim to conceptual conflicts of association. Family Lounge is analog Minimal-Techno, defined by Germany's electro-figurehead Anthony Rother.

Pale Desert is the first release of the Australian born, Berlin based producer Ryen March. The name resonates not only the dry outback of his hometown, but it also mirrors the soundscape of the tracks - being completely raw and sweaty at the same time. The five track strong EP has it's core in the techno swamp but with the aesthetics of punk and EBM.

We're happy to have found a new friend from down under and beyond excited to be releasing March's first EP!

DJ Slip's amazing Discography counts more than 30 releases on well-known lables like Missile, Music Man, Kanzleramt and his own Creation Rebel imprint. His productions are always this little bit different and sets them apart from the rest. Again DJ Slip surprises even those who know. Born and raised in Midwest America he started his music productions with Woody Mc Bride and DBN from Milwaukee. Slip's Homebase is nowadays Brooklyn NY where his Creation Rebel label and the studio are placed too. His brand new album "The Machines Will Know Who You Are" is his first real album and another groundbreaking step that shows his dissimilar sound creations based on electro, techno and instrumental hip hop tunes. The LP contains 12 stories told by the tracks and the guide Slip leads us through the world of strange percussion grooves, post-acid-times, electro bass soundsystems, bangin' techno club memories, chillin' nightflights, Brooklyn and the rough street-life sounds from New York.

"In 2021, we started the Mdou Moctar mixtape series. These releases compiled field recordings, cell phone voice memos, interview clips, conversations captured in the tour van, and blown-out board recordings from shows all over the world. As a continuation of those mixtapes, we present the Niger EPs, which examine the roots of the Mdou Moctar band. Early Mdou recordings were contained on cassettes, though the humble tape was soon replaced by the quick and easy facilityof cell phone technology. Long bus rides are common in West Africa. On one of these rides, you might be seated next to a stranger and ask "what are you listening to?", then a song exchange would begin over Bluetooth. This is a very real way artists found their music distributed far from home. In that vein, the Niger EP series features solely recordings taped in Mdou Moctar"s home country of Niger. Volume 1 begins the series with a mix of recordings from 2017- 2020, documenting the band at weddings, picnics, rehearsals, and even impromptu house concerts. A must have for any Mdou Moctar fan!" - Mdou Moctar bassist Mikey Coltun

"In 2021, we started the Mdou Moctar mixtape series. These releases compiled field recordings, cell phone voice memos, interview clips, conversations captured in the tour van, and blown-out board recordings from shows all over the world. As a continuation of those mixtapes, we present the Niger EPs, which examine the roots of the Mdou Moctar band. Early Mdou recordings were contained on cassettes, though the humble tape was soon replaced by the quick and easy facilityof cell phone technology. Long bus rides are common in West Africa. On one of these rides, you might be seated next to a stranger and ask "what are you listening to?", then a song exchange would begin over Bluetooth. This is a very real way artists found their music distributed far from home. In that vein, the Niger EP series features solely recordings taped in Mdou Moctar"s home country of Niger. Volume 1 begins the series with a mix of recordings from 2017- 2020, documenting the band at weddings, picnics, rehearsals, and even impromptu house concerts. A must have for any Mdou Moctar fan!" - Mdou Moctar bassist Mikey Coltun

Kaspi & Stride is a new project from Justin Tripp, best known as one half of the Georgia equation. Leanings has its origins in rigorous yet laid back studio sessions, dual personal practice sensibilities that seem to get at Tripp’s creative ethos as well as any descriptors might. The material here was born out of collaborative studio sessions with multi-instrumentalist Jimy Seitang (Conga Square/Stygian Stride) - the “Stride” of K&S. The music from these sessions has been reworked and recontextualized by Tripp to form the eight tracks found on the record. These compositions are heady and diverse, anchored by infectious drum patterns and intricate electronics, capably occupying a somewhat hard to define space between “club ready” and “home listening.”

“Vishing” throbs with a wide-eyed intensity, infused with the type of deceptively rudimentary synth stabs and bass swells that wouldn’t be out of place on an early Hype Williams record. With contributions from Mary Lattimore and Jon Leland, “Kaptoxa” charts a more ethereal, if no less dizzying, course. Indeed, this is an album that navigates dense, tactile passages and airy, celestial planes with aplomb, making a case for Tripp’s prowess as both composer and arranger with equal priority. The most important thing is to keep moving.

Motoko & Myers is the collaborative project of Bay Area-based duo Wonja Fairbrother and Daniel Letson. “Colocate” follows their 2018 debut release on the Open Hands Real Flames imprint (Bass Clef), further developing their distinctive style which combines melodic, pop song structures with live improvisation and odd or no-meter approaches to rhythm and timing. It is a collection of bright, addictive listening, full of tracks that manage to feel at once hooky and aleatory, naive and rigorously arranged.

Recorded and assembled sporadically over a period of several years, the album’s idiosyncratic palette was achieved through much technical and methodological eccentricity: “4-handed” collaborative keyboard playing; 12-bit sampling and archaic presets; field recordings of cicadas in Louisville, Kentucky and church bells in Freiburg im Breisgau. The album’s nine tracks exude a homespun quality that is rare to find in contemporary electronic music – hazy, warm, and disarmingly organic.

Australia-based musician Mark Gomes presents the debut full length under his own name for Soda Gong. “Alphane Moods” finds Gomes employing strategies that will be familiar to listeners of his work as Blue Chemise – elegiac, loop-based modes of composition and a predilection for concise etude forms – that manifest here with a strikingly different scope and intent, shifting from expressive abstraction into more conceptual terrain. Over the course of fourteen widescreen tracks, he navigates the gap between nostalgic and futurist sensibilities, concocting elusive, romantic, and sanguine settings that feel both plucked from the past and beamed in from a time still to come. Gomes describes his approach on the record as a “practice of ‘constructed ambience’, deploying sounds and track titles with pop-psychological associations of escape.” The result is a vivid, cinematic album that splits the difference between the worldbuilding retrofuturism of the best vaporwave music and the shadowy, homespun tape vignettes for which Gomes has become well known.

Written and produced by Mark Gomes
Master + cut by Kassian Troyer at D&M
Artwork by Alex McCullough

“Trash Can Lamb” is a new solo album from Akron, OH-based multi instrumentalist Keith Freund. For the better part of twenty years, Freund has been producing intimate, shape-shifting music on his own and as part of collaborative projects such as Trouble Books, Lemon Quartet, and Aqueduct Ensemble. Here, he concocts a heady, homespun broth of analog synthesis, bit-reduced sampling, piano, standup bass, saxophone, and location recordings, arriving at a loose and evocative set of songs. Throughout the album, we hear 8-bit experimental delays mangling airy acoustic materials, denaturalizing them into primitive loop structures while retaining their golden-hued, melodic cores. The sputters, hisses, and croaks of handmade electronics nuzzle up to wistful piano and saxophone ruminations; the pure pandemonium of chaotic triangle wave patching and filtered noise settles into the serenity of a backyard dusk full of spring peepers (or maybe they’re crickets…). It’s in the space between the ragtag and rough-hewn and the romantic and yearning that Freund situates these compositions; it’s a peek inside a workshop that sits atop the trees, branches scraping on the windows, bluejays who just won’t knock it off, a table fan spinning slower and slower, its cheap blades covered in dust.

All music by Keith Freund, with contributions by Linda Lejsovka, G.S. Schray, Steve Clements, and Corey Farrow.
Mastered by Kassian Troyer at D&M.
Art/design by Alex McCullough and Felix Luke.