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ULTRA LIMITED EDITION - WHITE VINYL - 4 DIFFERENT ARTWORKS (BUY, OBEY, WATCH TV, SLEEP) - NO REPRESS!

FULL soundtrack of John Carpenter's cult sci-fi/action/horror cult film They Live (1988) in never released on vinyl before expanded edition from legendary composer Alan Howarth.

Blues riffs surf on ambient synth, saxophone and harmonica mingle with sparse alien electronics and abstract soundscapes - Alan Howarth's score perfectly matches the eerie paranoid urban Western meets corporate sci fi vibe of John Carpenter's iconic movie.

This version, officially licensed from Alan Howarth, includes all 29 tracks from the soundtrack - the true complete music scores of They Live!

Points of interests

- For fans of soundtracks, horror, cult, sci fi, synth, Western, VHS, John Carpenter, bubble gum, conspiracies, cowboy boots, sunglasses, very rare editions of vinyl records.

- Full EXPANDED version of the They Live soundtrack on vinyl for the first time!

Australia's left-field club renaissance keeps flowering, and Horatio Luna's cult 2020 debut Yes Doctor remains an essential root document. The LP welds dub-soaked bass pressure, broken-beat jack and smoky nu-jazz improv onto a house chassis—picture Moodymann deep cuts drifting through Dadawah's spiritual haze. Championed by Gilles Peterson after Luna appeared on Brownswood's Sunny Side Up compilation—where drummer Phil Stroud and synth maestro Dufresne also featured—the record was pieced together across 2019 during a run of late-night sessions while Hicks was living in the La Sape house. La Sape's brand-new 2025 pressing (cat. SAPE00825) uses freshly cut plates and presents the full ten-track programme on 140 g black vinyl. The package features subtle touch-ups to the jacket artwork and refreshed centre-label stickers while preserving the original aesthetic. "Yes Doctor is my coming-of-age—mixing every style I could think of into house, pushing aesthetic boundaries, making 'un-boxable' music," Luna says. File next to Theo Parrish and Yesterday's New Quintet: DJs will lock onto the title track's seven-minute bruk workout, while deeplistening customers will cherish the front-to-back journey in groove alchemy.

Causa Sui return with the perfect companion to last year's tour de force, "From The Source". Whereas that record was a tightly structured piece of work, that condensed many aspects of the band's sound into a concise 45 minute LP, "In Flux" presents the more loose and impulsive side of Causa Sui. After an introductory suite in classic Causa Sui territory, with deep fuzz riffs and syncopated grooves, things gradually become more outlandish. The following three vinyl sides see the band channeling Hot Rats-style jazz fusion, the oceanic post-rock of late-period Talk Talk, and the impulsive, anarchic experimentalism of Can's "Tago Mago" into their own beatific brew. On "Spree", the band abandons guitar entirely, relying on a dual synthesizer on top of drums and bass instead, yet maintains that uniquely Sui-an vibe.The centerpiece in this set, "Astral Shores", unfolds over 16 minutes - from gently hypnotic, ritualistic folk, through motoric psychedelia and back again. It's been many years since Causa Sui have sounded this unmoored on a studio record. "In Flux" is an essential chapter in the band's ever-changing oeuvre. The double 10" format might seem like an odd choice, but splitting the album into four short, distinctive parts makes perfect sense stylistically. Each side has a character all off its own, taking the listener somewhere different. Still a continious CD version is available as well.

Regina Spektor’s 2016 album is available on limited edition Black Clouds double vinyl LP. Remember Us To Life is Spektor’s first collaboration with producer Leo Abrahams. Recorded in Los Angeles at The Village Studios, it lives in a world ranging from expansive orchestral and string arrangements to electronic and moody tracks. Includes “Bleeding Heart”, “Older and Taller”, “Grand Hotel”, “Small Bill$” and more.

Jello Biafra and the Guantanamo School of Medicine are at it again! Hot on the heels of their debut full-length The Audacity of Hype, the group—featuring Ralph Spight (Victims Family, Freak Accident, Hellworms), Jon Weiss (Sharkbait, Horsey), Billy Gould (Faith No More) and Kimo Ball (Freak Accident, Carneyball Johnson, Mol Triffid, Griddle)—roars back with five unreleased rippers. CD and download versions include “Metamorphosis Exploration on Deviation Street,” a transmogrified 18-minute cover of the Deviants’ classic. The band’s twin guitar attack retains some of the space punk overtones and spy-music-on-meth chaos of Dead Kennedys, while adding a healthy dose of Detroit-style proto-punk, flavoured with Weiss’s industrial excursions into metal percussion. This is Biafra’s first full-time band since Dead Kennedys broke up in 1986, and the depth and breadth of his musical chops and lyrical triumphs are on full display on these ferocious tracks

Jello Biafra and the Guantanamo School of Medicine are at it again! Hot on the heels of their debut full-length The Audacity of Hype, the group—featuring Ralph Spight (Victims Family, Freak Accident, Hellworms), Jon Weiss (Sharkbait, Horsey), Billy Gould (Faith No More) and Kimo Ball (Freak Accident, Carneyball Johnson, Mol Triffid, Griddle)—roars back with five unreleased rippers. CD and download versions include “Metamorphosis Exploration on Deviation Street,” a transmogrified 18-minute cover of the Deviants’ classic. The band’s twin guitar attack retains some of the space punk overtones and spy-music-on-meth chaos of Dead Kennedys, while adding a healthy dose of Detroit-style proto-punk, flavoured with Weiss’s industrial excursions into metal percussion. This is Biafra’s first full-time band since Dead Kennedys broke up in 1986, and the depth and breadth of his musical chops and lyrical triumphs are on full display on these ferocious tracks

"Kindred spirits and loyal soldiers on the frontlines of the dub war Detroit's 2Lanes and Los Angeles' Cromie link up to present to the world, Destiny Cloud. With a project name inspired by a mystical vacant storefront in Cromie's neighborhood of Altadena (still standing after the fires, bless), the guys formed like a storm after being intro'd by a notorious LA promoter and hotboy producer matchmaker. Funnily enough, the first session was foiled by a missing cable, so it wasn't until the sexy summer of 2023 that the cloud seeds that went on to become Sun Phase/Moon Phase were planted. From the jump, their vision was lucid and their objective collective: lock in at the stu(s) to make the most jiggy, psychedelic, tripped out club shit they could muster. Fast forward to today, Destiny Cloud is proud to bring you the latest missive on 2Lanes' Auto Shop imprint.

On the A side, Sun Phase sets it off with searing stabs from the hands of session killer Ji Hoon on a heavenly Jupiter-8 (sorry not sorry, the real thing does sound better) before a bassline straight off the Adriatic's Argonaughty comes in to funk up the flow over a bed swung hi-hats and drum circle conga lines the Wickedest west coast house heads can appreciate (no hippy shit, but we ARE on Hipp-E's dick). A keep-it-simple-stupid *muah' organ line plays nice with a gang of embellishments to take this one through its duration (Joey pressed record and said "ooh-wah" into the vocoder; no lie, I was there). With his Toxic Love remix, NYC upstart DJ John Brooklyn injects the tune with the highest grade octane to up the revs. The aforementioned organ becomes a timeless trance lead, and new pipes are inserted reminding us all that house music is forever.

Day turns to night on the B Side with Moon Phase, where booming kicks let you know off the rip that this is some real deal late night trunk funk. We're talking dualities here y'all; Cromie's deep-as-the-Pacific bassline meets Joey's frozen-lake-cold Detroit stabs as the drums speak in tongues with those on the other side of the slab. Reverb ghosts and rhythmic acid have this one veering more psychedelic without losing the jiggy factor, while diving proggy synths will have the Global Underground saying, "yea this is our shit, for real." With a run time that allows for maximum fun time, the ambient outro gives you a kiss on the forehead to put that ass to sleep. The iconic DJ Miss Parker takes the wheel on the remix, taking this one straight down the Tunnel with new-school/true-school Tenaglia-isms that wouldn't sound out of place in 2000, 2005 or 2025.

Like all the work we do, this one's a team effort. Salar Ansari put's his deft touch on the mixdowns and Jack Anderson blesses the center of both sides of the disc. Out mid-May, just in time for when things start heating up

The first release of 2025 on Big Saldo’s Chunkers comes in hot with an all-killer, no-filler four-tracker from London’s Papa Nugs. All four tunes on Move it or Lose it are playful, upbeat house jams, with carefully arranged elements firmly aimed at the dancefloor. The seventh release on the label is a fully realized vision of Papa Nugs’ take on the classic chunkers style: big, boshy, hip-catching basslines, infectious vocal chops, party-starting percussion, and a generous helping of rave-ready samples and FX. Nugs’ masterful production chops shine through especially bright here. The canon of 90s club music is referenced with expert poise: subtle nods to early trance, progressive and hard house, turn-of-the-century Ibiza tribal, and insouciantly sleazy tech house are delicately woven into the tracks, along with the contemporary hip house vibe the label has gained notoriety for. As the lead vocal in Turn it Down repeats: “We’re here to have a good time, ” and the EP is exactly that. With festival season just around the corner, this one is sure to be a staple on main stages worldwide. Needless to say, now is not the time to sleep on the latest offering from BSC.

TELEFAX PRODUCTIONS present a special, four-track wax release of one of 2024’s hottest club cuts - revivalist hip-house jam ‘Break This House Down’. Formed by two vastly experienced producers whose working partnership began way back in the late 1980s, TELEFAX PRODUCTIONS was born to provide a platform for established and unknown artists. One of 2024’s hottest club cuts supported by Honey Dijon, Luke Solomon and London’s Faith crew, ‘Break This House Down’ stars previously unheard mic man DeeVoeNay – a young rapper hailing from Buffalo, NY. Joining the original on this vinyl package is a live version with DeeVoeNay’s band HR Nightmare, alongside a bruk remix from London broken beat torchbearer EVM128, plus TELEFAX PRODUCTIONS’ vinyl-only Acid House Remix. ‘Break This House Down’ spotlights DeeVoeNay’s distinctive flow and party-starting lyrics front and centre, with the well-established, multi-faceted artist Jimmy Cauty responsible for the bold and highly stylised artwork - with Cauty also designing a special physical print included in this unmissable vinyl package.

This latest Unxpozd release has taken a hot minute to arrive but it's been worth the wait, because once again DJ Aakmael shows off his deep house class. '6minutes' kicks off with the sort of whimsical late-night chords that soon get you dreaming as the loveably lazy grooves slouch on. 'Just A Track pt. 8' shows Aakmael's sample skills as he chops up the sounds with some nice jazzy keys. You won't find a groove more lush and smooth than the gently cosmic 'Track 123' while 'Autumn' is perfectly stripped back to chunky kicks, slowly ascending chords and a hint of Kerri Chandler soul with a gospel vocal hook.

5 Borough Breaks return with another classic 90s banger - this one lit up the airwaves of Hot 97 when it dropped back in 95. On the flip as always is the original sample source, this time from a recently departed soul icon

Full throttle from Vancouver, BC to wherever the open road takes them The Vicious Cycles are BACK with their new LP Get Wrecked on Pirates Press Records! Before you even get the shrink wrap off the gatefold jacket, you can guess what kind of party you're in for. "Our pal Shakey Deal is the cover model," says Cycles head honcho Billy Bones. "A tuff looking scrub on a minibike says a lot about who we are." And who is that exactly? "We play garage/punk rock and roll songs about motorcycles. We like to have a good time." The promise of debauchery carries over into song titles like "Naked On a Beach," and "On Fire in the Hot Tub." As rip-roaring, danceable party music goes, it's second to none, and rest assured there's plenty of bike enthusiast inside baseball, but the lyrics often go deeper than a superficial glance might indicate. For example, the lead single, "Hold On Tight," is about, as Billy puts it, "the physical feeling of riding with your favorite person on the back of your motorcycle - easily one of the best feelings a human can have." So, a classic biker anthem? "But also," he's quick to add, "a metaphor for life and relationships. We're gonna make it." Waxing philosophical with motorcycles as allegory over chrome-plated punk rock 'n roll? That's The Vicious Cycles' songwriting in a nutshell. Another album highlight, "Daddy Was a Gambler" references Billy's father - an ex-preacher who regularly hauled his kids to Circus Circus in his '57 Chevy - and his mother, a nurse and, as Billy puts it, "as close to an actual saint as anyone in the world. The song is an appreciation for the two of them, and how their differences made me who I am." "Naked On A Beach" sounds like a party, but Billy explains it's "a critique of capitalism and the tiny lives we're expected - and sometimes content - to live." Even the title track, "Get Wrecked," is more than just a statement of defiance; it's a message to Billy's son about dealing with the conformist naysayers of the world. Longtime fans & newcomers alike will be stoked for the straightaways, but stick around for the twists and turns, just like any good ride. The band brings in pals on strings & saxophone for a 60s Wall of Sound-inspired production on "Black Boots, Black Leather Jacket," and try their hands at their first murder ballad on "Pretty Hands." There's an instrumental tune ("Blowing Smoke") and hell, there's even a deep cut cover of "Trouble Again" - originally performed by Stewart Copeland of The Police - which only the biggest nerds of a certain age will recall as the theme song to the 80s Star Wars animated series Droids! In the end, no matter the detours, the band - along with Jesse Gander (Territories, Comeback Kid), & Mariessa McLeod at Rain City Recorders - kept their eyes on the prize: sing-along choruses, handclaps, and short songs that get the job done and don't overstay their welcome. "I didn't want us to write a record that you could dance to." quips Billy. "I wanted us to write a record that you couldn't not dance to."

Das Debütalbum des britischen DJs, Produzenten und Multiinstrumentalisten Lawrence Hart.

Harts Stil verbindet seine technisch versierten Fähigkeiten mit emotionalen Vibes und Dancefloor-Treibstoff und schafft so einen Sound, der sowohl für den Club als auch für das Eintauchen in die eigenen vier Wände geeignet ist. Das 12-Track-Album ist emotional ein Garagenalbum, euphorisch und therapeutisch. Es ist eine Reise durch cineastische Melancholie, schwebende Synthies und Momente der Zerbrechlichkeit, gespickt mit Sprachsamples. Tech-Wizard Lawrence Hart, der allein schon durch seinen Großvater, den berühmten Computerpionier Geoff Tootill, eine wissenschaftliche DNA hat, wurde schon als Kind zum klassischen Musiker ausgebildet. Bereits mit 15 Jahren sprach er an einigen der renommiertesten Musikschulen New Yorks vor und studierte dann Jazztrompete am SUNY Purchase College bei berühmten VertreterInnen des Fachs. Er spielte an der Seite von Größen wie Bob Mover (einem ehemaligen Kollegen von Charlie Mingus und Chet Baker) auf den Bühnen der Jazzclubs New Yorks. Bald entdeckte Hart die elektronische Musik und das Clubbing für sich.Seine Fähigkeiten als Produzent entwickelte er während der Zusammenarbeit mit dem Double Six/Domino-Künstler George FitzGerald, mit dem ihn eine langjährige musikalische Beziehung verbindet. Bis heute hat Hart Solo-Singles, EPs und Remixe auf Hotflush, Attack Decay Sweet Release, LG105 und seinem eigenen Label SSEM veröffentlicht.

Extending the melodious and mad, three-decade story of Super Furry Animals projects by adding another bombastic and beautiful chapter, Huw Bunford, Cian Ciarán, Daf Ieuan and Guto Pryce reconvene to announce the release of their second album, Pando.

Meeting every pummelling motorway mile with the beat of their psychedelic-soul-house blend since the release of their debut, Official UK Breakers Album Chart No.1 album, DK.01, in late 2023, Das Koolies’ energetic return to festival fields, intimate venues and service station shopping has affected no distraction from their mission. Committing to more time on the road at the same time as sharing rich spoils from the studio, Das Koolies include Newport, Nottingham, London and Manchester in their live plans. Determinedly exploring capability and ambition, the band’s continued, restorative return to wired and wonderful, man-and-machine-based music, following years of psych-folk-rock experimentation as four Furries, hasn’t meant forgetting the past. Som Bom Magnífico’s tour story, combining wistful and weary memory, rests the band’s case.

Taking on the lead lyrical and vocal role, Daf Ieuan, says: “Hindsight and rose-tinted glasses. It’s a song about a time when it was normal to order a veggie breakfast in hotels as a concession to a healthier life style, then following up by requesting to see the ‘Breakfast Wine Menu’. As Lou Reed sang: "Wine in the morning!".
Everyone should live like that for a while. Could be for a couple of days or a couple of decades. We’ve never laughed so much, but never again.”

Extending the melodious and mad, three-decade story of Super Furry Animals projects by adding another bombastic and beautiful chapter, Huw Bunford, Cian Ciarán, Daf Ieuan and Guto Pryce reconvene to announce the release of their second album, Pando.

Meeting every pummelling motorway mile with the beat of their psychedelic-soul-house blend since the release of their debut, Official UK Breakers Album Chart No.1 album, DK.01, in late 2023, Das Koolies’ energetic return to festival fields, intimate venues and service station shopping has affected no distraction from their mission. Committing to more time on the road at the same time as sharing rich spoils from the studio, Das Koolies include Newport, Nottingham, London and Manchester in their live plans. Determinedly exploring capability and ambition, the band’s continued, restorative return to wired and wonderful, man-and-machine-based music, following years of psych-folk-rock experimentation as four Furries, hasn’t meant forgetting the past. Som Bom Magnífico’s tour story, combining wistful and weary memory, rests the band’s case.

Taking on the lead lyrical and vocal role, Daf Ieuan, says: “Hindsight and rose-tinted glasses. It’s a song about a time when it was normal to order a veggie breakfast in hotels as a concession to a healthier life style, then following up by requesting to see the ‘Breakfast Wine Menu’. As Lou Reed sang: "Wine in the morning!".
Everyone should live like that for a while. Could be for a couple of days or a couple of decades. We’ve never laughed so much, but never again.”

Bob Moog’s invention of the analog Moog synthesizer ignited an explosion of creativity across the music spectrum. On the classical side, there was Isao Tomita and Wendy Carlos; on the more avant-garde side, such artists as Mort Garson and Craig Leon used the new technology to explore the limits of sound production while rockers like Keith Emerson incorporated the technology into their music. And, of course, there was also a silly pop side to the synth mania, or “moogsploitation” as some wags put it; albums by The Moog Machine, The Happy Moog, and other similarly-entitled acts provide good examples of that. But the one man straddling all these camps was Gershon Kingsley. Kingsley studied with John Cage before making a pair of groundbreaking albums with fellow electronic music pioneer Jean-Jacques Perry (their “Baroque Hoedown” was the theme for the Main Street Electrical Parade attractions in Walt Disney theme parks). Kingsley then embarked on a solo career and scored an instant hit with this album, 1968’s Music to Moog By, and its signature track, “Pop Corn.” “Popcorn” (one word) became an international smash for Hot Butter four years later, but Music to Moog By also caught consumer ears with its blend of originals, classical, and especially versions of Beatles tunes (though you will have to excuse the egregious misspelling of “Paperback Writer” as “Paperback Rider”)! Ever in pursuit of pop music’s most eccentric manifestations, we at Real Gone are proud to reissue Music to Moog By for the first time in the U.S., complete with the 8-page “The Book of Moog” that was inside some original copies. Strawberry with black swirl pressing limited to 900 copies!

Die beliebte New Yorker Rockband Sunflower Bean meldet sich neu belebt mit ihrem vierten Album zurück. In Eigenregie produziert, von Caesar Edmunds (The Killers, Wet Leg) gemischt und von Sarah Tudzin (Illuminati Hotties, Boygenius) engineert, liess sich die Band von Alternative Rock, verträumter Psychedelia und Arena-Ehrgeiz inspirieren, um mit "Mortal Primetime" das härteste und verletzlichste Album ihrer Karriere zu liefern. Die Songs sind ungeschminkt und offen, Dissonanz und Unsicherheit werden akzeptiert. Sunflower Beans breite Palette von Einflüssen würden die meisten Bands nicht wagen, in einem Satz zusammenzufassen, und diese Kühnheit hat sie undefinierbar gemacht. Der Power-Pop-Opener "Champagne Taste" kanalisiert Iggy Pops "The Idiot"-Phase, "Look What You've Done To Me" beschwört den beunruhigenden Wahnsinn und die Launenhaftigkeit von Kate Bush, und die hochfliegenden Powercords auf "Nothing Romantic" erinnern an Arena-taugliche 70/80er Hits von Heart, Pat Benatar und Joan Jett. "Manchmal denke ich, diese Platte ist wie eine Mischung aus Belle And Sebastian und Alice In Chains", sagt Frontfrau Julia Cumming.

Charlie Megira's self-reflexive final album found him far from his Beth She'an Valley home and surrounded by a new cast of Hillbillies. After spending 15 years toying with goth, sound collage, grunge, and dark wave, Boom Chaka Boom Boom is a sprawling mix of plunking country blues, Black Lodge terror, ambient montages, 17th century Lutheran hymns, and noodling spaghetti western kitsch. Deck his soul with gladness.

Philadelphia's THE WONDER YEARS are set to release Burst & Decay Vol. III on May 9 via Hopeless Records. This third installment of their stripped-back series introduces a new track, "Junebug," written by vocalist Dan Campbell about his younger son and produced by Steve Evetts (SAVES THE DAY, LIFETIME). On the record, Campbell's personal narrative continues with "Wyatt's Song (Your Name)," a piece crafted for his older son that employs the actual recording of Wyatt's in-utero heartbeat as its metronome. Closing the album, "Doors I Painted Shut" delivers cinematic intensity through vibrant vocals and production led by guitarist Nick Steinborn, signaling a confident exploration into new sonic territory. Burst & Decay Vol. III also features collaborative reinterpretations of signature tracks. On "Came Out Swinging," Joe Taylor of KNUCKLE PUCK lends dynamic vocals, while Zayna Youssef of SWEET PILL amplifies the raw vulnerability on "Oldest Daughter." Ryland Heagy of ORIGAMI ANGEL offers a tender performance on "I Don't Like Who I Was Then." Over a career spanning more than a decade, THE WONDER YEARS have toured extensively_sharing stages with MY CHEMICAL ROMANCE, PARAMORE, DESCENDANTS, THURSDAY, BLEACHERS, and others_and built a community through their own label and the annual Loneliest Place On Earth festival, which has showcased acts such as HOT MULLIGAN, ORIGAMI ANGEL, and LAURA STEVENSON. Their previous album, The Hum Goes On Forever, debuted at #3 on the US Alternative Album Chart and earned recognition from Paste Magazine as one of the best records of the 2020s, while the track "Year of The Vulture" was chosen as the theme for WWE NXT's Stand and Deliver event.

Barbara Moore was a British singer, composer and arranger, best known for her work in the 1960s and 1970s, especially in jazz, pop and easy-listening music. She gained recognition as a session vocalist and arranger, working with artists and bands such as Jimi Hendrix and Dudley Moore. Barbara was a prominent figure in the UK’s music industry during the height of the "library music" era, where composers created music for television, film and radio.
One of her most notable works was her arrangement and vocal work for the *Vocal Shades and Tones* album, which became iconic in the world of library music. Her compositions, like "Hot Heels" and "Steam Heat," are renowned for their catchy, funky, and soulful elements, often featuring groovy bass lines, smooth vocals, and jazzy arrangements.

Barbara Moore’s work continues to be appreciated by fans of vintage and retro music, and her compositions have appeared in various films, television shows, and commercials, adding to her legacy as a significant contributor to the UK's music scene.