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Motel d'amour - A Lost Electro-Funk Gem from the NDW Era Resurfaces

When we first collaborated with Collage member Markus Kammann on the EP project "Mit den Puppen tanzen" at the end of last year, we never imagined what would follow: Kammann approached us with a completely unreleased full-length album by his former band. Upon receiving the first three preview tracks, we were floored. One of them was "Nachtcafé" - a track that kicks off with a funky bassline layered over the punchy rhythm of a Roland TR-808. Add shimmering synths and Katrin A. Kunze's sharp, distinctive vocals, and we instantly knew we were hearing something special.

For a label dedicated to rediscovering lost treasures, this was exactly what we'd been searching for. The next two tracks - "Rendezvous" and "Casanova" - were just as compelling. When Kammann sent us the full album, we realized we were holding an electro-funk grail from the late golden days of the German Neue Deutsche Welle (NDW). We were listening to "Motel d'amour".

"Motel d'amour" is a concept album, offering a sharp, vibrant perspective from a confident, intelligent, and radiant young woman eager to experience nightlife, love, and music. Kunze's lyrics paint vivid scenes of flirtation ("Nachtcafé", "Rendezvous"), encounters with men ("Casanova"), the pulse of nightlife ("Die Nacht ist noch jung"), love ("Rotes Licht für rote Liebe"), one-night stands ("Motel d'amour"), and more. Rarely has a German album from that era captured emotional nuance and social dynamics so insightfully. Without veering into the overly personal, Kunze's direct, daring lyrical style was groundbreaking at the time - and remains refreshingly bold today.

While German listeners will fully appreciate the lyrical depth, the music speaks volumes on its own. Kunze's words are masterfully complemented by the production of Markus Kammann and Jürgen Grah. As heard on the in-demand "Mit den Puppen tanzen", their creativity seemed boundless. Each track is tightly composed, catchy, and full of character. While many German bands at the time leaned into rock, Kammann drew from the deep grooves of Earth, Wind & Fire, The Isley Brothers, Brothers Johnson, The Commodores, and the electro-futurism of Afrika Bambaataa's "Planet Rock" and "Looking for the Perfect Beat". The result: tracks with unmistakable electro-funk flair, powered by the classic 808 drum sound.

Though primarily rooted in funk and electro, the album retains flashes of NDW aesthetics - "Wir haben getanzt heut' Nacht" being a prime example. The instrumentation is a dream list for vintage gear lovers: Yamaha keyboards, Roland Juno-60, vocoder, Micromoog, Hohner D6 Clavinet, Fender bass, and a Telecaster guitar all feature prominently.
Recorded in 1985 at the high-profile Delta Studio by Richard Rossbach, the album attracted interest from Polydor. However, the label proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, "Motel d'amour" was shelved, and Kammann, Grah, and Kunze moved on to form Cold End.
The album cover features a rare archival photo of Katrin A. Kunze - rediscovered by Kammann and now finally seeing the light of day, 40 years later.

We believe Motel d'amour deserves recognition alongside cult German classics like P!OFF?, 1. Futurologischer Congress' "Wer spricht?", Ami Marie's "Verrückt nach Glück", the funkier cuts of Cosa Rosa, or Piet Klocke's groove classic "Heute ist nicht sonst". It's a record that fits into adventurous DJ sets but also rewards a full, start-to-finish listen.

A note on audio quality: Sadly, the original master tapes were lost. The tracks were restored from a vintage TDK cassette. Thanks to modern digital tools, we were able to remaster them to a high standard - but in some songs light distortions remain. We appreciate your understanding and hope you enjoy this lost and undiscovered gem.

DJ I.V.’s debut vinyl EP, “Primus,” delivers a raw vision of modern Detroit techno, but it’s SCAN 7’s remix of “Machine” that grounds the release in lineage. Their rework is a commanding blend of militant rhythm and emotional depth, reinforcing techno’s roots while pushing it forward. With SCAN 7’s presence, "Primus" transforms from a debut into a dialogue with Detroit’s legacy.

2025 Repress

It's rare that a certain sound is entirely an artist's own. Although undeniably a stew of impeccable influences - from blues to folk to Latin to dusty funk, soul and hip-hop - one cannot hear a Tommy Guerrero song without immediately recognising it as his - and his only.The cult skater from San Francisco is globally renowned as one of the original members of the legendary "Bones Brigade" team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who've basked in its blissful glow.There's something elemental about this music that really stirs the soul. Strikingly beautiful and instantly addictive, it's a kind of funk-fuelled, melody-driven, groove-based magic. There's a serenity and heart in the playing that radiates warmth and splendour, as if crafted for endless sunsets. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it's two of his most vital LPs that we're honoured to reintroduce.The originals were quietly pressed on to a single piece of vinyl so we've worked closely with Tommy this year to bring you these fresh, limited editions. They have been lovingly remastered, cut nice and loud on to heavyweight double vinyl and presented in deluxe gatefold jackets.A Little Bit Of Somethin' is a quietly majestic gem. Brimming with Guerrero's horizontal "loose grooves", these brief but innovative instrumentals demonstrate a rich variety and, as such, comprise an LP that is aptly titled. An enchanting start-to-finish listen, it was instantly regarded as essential upon release via Mo Wax in 2000. It has aged remarkably well.Throughout this inspired collection, simplicity is key. In deploying it, Guerrero presents a beautifully crafted melodic soundscape. The distinctive, mellifluous approach of his guitar style, blending Brazilian, Cuban, Mexican, soul and jazz motifs, is at once startlingly new and tantalisingly familiar. Set against unrushed percussion, the music releases a crystal clear stream of healing frequencies to create a fragile, hypnotic atmosphere.Each track clocks in at around three minutes and, with a lack of studio polish or commitment to traditional song structure, it's a wonder how this enigmatic record demands your attention. However, through its gentle dynamism and impressive playing, it does just that. Whilst resolutely low-key, this lo-fi aesthetic feels genuinely organic and remarkably personal, its powerful intimacy truly connects. It's what makes this album so beloved of those lucky enough to be already familiar with it. From Margaret Kilgallen's truly iconic cover artwork to the music contained within, it's all brilliantly effortless.Guerrero's musical ideas are consistently compelling throughout, making it impossible to select highlights. The album's laconic drift touches upon jazz-fusion workouts and slow-mo hip-hop drums, Tortoise-style experimental post-rock and cinematic sound textures. It's at once hazy, light and bouncy yet sombre and bluesy. The Latin soul of El Chicano blends with the breezy jazz of Grant Green. By employing guitars and drum machines to create a stripped down rhythmic tapestry of spellbinding, addictive songs, there are even traces of The Durutti Column. A little bit of country, a little bit of rock & roll. A Little Bit Of Somethin', indeed.

Accomplished Polish beat-maker Emapea has made memorable appearances on many Cold Busted label compilations – such as in the IWYMI and Bust Free series – and has been selected for inclusion in Mark Farina’s next Mushroom Jazz installment. All this activity has mouths watering for the debut full length album from Emapea, and the appearance of Seeds, Roots & Fruits doesn’t disappoint one bit. Featuring sixteen exceptional tracks ranging from hip hop to acid jazz to psychedelic trip hop in the style of Mo’Wax, Emapea’s long player is indeed, as a wise man once said, “a journey into sound.” Seeds, Roots & Fruits rises above the average beats album to reveal the enduring depth of this young producer

From the depths of personal reckoning to the forefront of the UK"s alternative scene, SPLIT CHAIN have spent the past two years transmuting raw emotion into sound. Their debut album, motionblur, out soon on Epitaph Records, is a thunderous statement of intent-an electrifying fusion of shoegaze, grunge, and nu-metal that surges with both nostalgia and forward momentum. Sonically, motionblur captures a distinctive aesthetic, steeped in the melancholic haze of early 2000s alt-rock yet sharpened by the intensity of modern hardcore. Guitars drenched in chorus and distortion crash into ethereal, hook-laden vocals, forging a sound that"s at once crushingly heavy and deeply immersive. Following a string of self-released singles that organically amassed millions of streams, SPLIT CHAIN"s signing with Epitaph catapulted them further into the spotlight. Their first label-backed single pushed their streaming numbers past the 15-million mark, earning them accolades as AltPress" Breakout Artist of the Month and Revolver"s "Badass Rising Band to Know." With nods from Stereogum, The Needle Drop, BrooklynVegan, and Metal Injection, the buzz around Split Chain is undeniable. With motionblur, SPLIT CHAIN aren"t just making an album-they"re making a moment. And if their trajectory so far is any indication, this is only the beginning.

From the depths of personal reckoning to the forefront of the UK"s alternative scene, SPLIT CHAIN have spent the past two years transmuting raw emotion into sound. Their debut album, motionblur, out soon on Epitaph Records, is a thunderous statement of intent-an electrifying fusion of shoegaze, grunge, and nu-metal that surges with both nostalgia and forward momentum. Sonically, motionblur captures a distinctive aesthetic, steeped in the melancholic haze of early 2000s alt-rock yet sharpened by the intensity of modern hardcore. Guitars drenched in chorus and distortion crash into ethereal, hook-laden vocals, forging a sound that"s at once crushingly heavy and deeply immersive. Following a string of self-released singles that organically amassed millions of streams, SPLIT CHAIN"s signing with Epitaph catapulted them further into the spotlight. Their first label-backed single pushed their streaming numbers past the 15-million mark, earning them accolades as AltPress" Breakout Artist of the Month and Revolver"s "Badass Rising Band to Know." With nods from Stereogum, The Needle Drop, BrooklynVegan, and Metal Injection, the buzz around Split Chain is undeniable. With motionblur, SPLIT CHAIN aren"t just making an album-they"re making a moment. And if their trajectory so far is any indication, this is only the beginning.

From his early-’60s days as hip shaker Twistin’ Harvey to his late-’70s nights on the light up dance floor in search of a “Disco Lady,” Harvey Scales survived scrapes with the pop charts, bankrupt record companies, walk outs, sit ins, strikes, price hikes, lay offs, and under table payoffs over a 40 year career. Compiled here for the first time are Scales’ Cuca and Magic Touch recordings, 27 slabs of cracker jack R&B, stomping northern soul, divorce-ridden deep soul, feverish funk, and hustling disco spread across 2 LPs and housed in a deluxe gatefold jacket.. Bill Dahl’s in depth notes document the entire sordid affair, with dozens of period photos and ephemeral bits illustrating the accompanying 20 page book. So necessary.

From his early-’60s days as hip shaker Twistin’ Harvey to his late-’70s nights on the light up dance floor in search of a “Disco Lady,” Harvey Scales survived scrapes with the pop charts, bankrupt record companies, walk outs, sit ins, strikes, price hikes, lay offs, and under table payoffs over a 40 year career. Compiled here for the first time are Scales’ Cuca and Magic Touch recordings, 27 slabs of cracker jack R&B, stomping northern soul, divorce-ridden deep soul, feverish funk, and hustling disco spread across 2 LPs and housed in a deluxe gatefold jacket.. Bill Dahl’s in depth notes document the entire sordid affair, with dozens of period photos and ephemeral bits illustrating the accompanying 20 page book. So necessary.

"I Became Birds feels like emo once again flipping the switch on its eternal energy source." - PITCHFORK // "One of the most arresting and interesting rock albums in recent memory." - SPIN // "Composed of self-deprecating wails, crashing guitar riffs, and a flicker of lyrical hope that almost feels naive _ in other words, the perfect foundation for classic emo catharsis." - STEREOGUM //// With I Became Birds, Florida's Home Is Where push their unique blend of whirlwind hardcore aggression and warm, open-hearted folksy melancholy to even further heights. Frontperson Brandon MacDonald's Dylan-esque eccentricities are on full display here, from the occasional blast of harmonica (like on early standout "Long Distance Conjoined Twins" or the disaffected, despondency-soaked closer "The Old Country") to their knack for abstractly evocative neurosis-as-poetry. But far from being a copycat act, Home Is Where's wearily raw-throated aesthetic and dynamically vivid compositions feel idiosyncratic and vital. The bittersweet folk melodies seep deeply into the band's DNA, adding an element of accessibility and immediate nostalgia to otherwise churning and angular song structures and sonic assaults. Vocals range from an intimate, gentle, and disarming croon to a full-bodied expectoration of the soul, oftentimes in the same song (like "Sewn Together from the Membrane of the Great Sea Cucumber," which splits the difference between mournful, gothic post-punk and staccato-heeled screamo with aplomb). A devastating rhythm section and nimble, versatile, yet powerful guitar work assist with the record's genre-bending, which ranges from maniacal chemical mixtures to gymnastic flips, twists, and turns. And yet, even amid the din, Home Is Where find ample time for hooks-- the oddball effervescence of lead single "Scientific Classification of Stingrays" and the shimmering, propulsive, delightfully off-kilter late-album stunner "Assisted Harakiri" are more than proof of that. Ultimately, I Became Birds shows Home Is Where hitting an early high-water mark. A brisk record-- six songs in roughly 17 minutes-- it never takes a dip in enthusiasm and inventiveness. Home Is Where's inexhaustible creativity and restless energy is bound to serve them well, and I Became Birds is all the proof anyone needs.

Underground flower punks deliver to the world an infectious grouping on 7 Inches. "Musical Attack: Anarchist + Communist Friendship" was recorded by Joe Nelson at D4MT Labs, and has art by DIY maven of the midwest Diyana Shipp, depicting a possible near-future community center that already exists.

Sublime private-press piano improvisations channeled from another world by Willem Nyland. Remastered from the original tapes and reissued for the first time, with in-depth liner notes by Matt Marble of the American Museum of Paramusicology. A Columbia-educated chemist by profession and a self-taught pianist by affinity, Willem Nyland (1890-1975) is known as a spiritual teacher in the tradition of Greek-Armenian mystic George Gurdjieff. In the mid/late 1960s, a split with Gurdjieff led Nyland to start his own group in upstate New York. There, after a Friday night lecture on 'The Work' and a shot of brandy, Nyland would launch into remarkable piano improvisations on a specially tuned baby grand, sometimes playing for over an hour. Each improvisation was meticulously recorded and cataloged, a major part of Nyland's teachings. 16 of these recordings were released as standalone LPs on Nyland's own Gauge Hill Press, with artwork by Hungarian American decorative artist Ilonka Karasz, Nyland's wife of over 50 years. These records, with their cascading, deeply emotional playing and beautiful cover art, have become highly coveted by collectors and "paramusicologists." Each contains depths of spiritual information and lyrical, almost visual instrumental storytelling. Nyland deftly and subtly shifts moods and tones throughout these truly inspired extended improvisations.

A1 - Tried So Hard
Intensely atmospheric from the outset, Tried So Hard sees ASC explore a more minimal approach to breakbeats with sparse drums and kicks tentatively held at arm's length by imposing hi hats. Dripping with depth and a dense layer of synthwork enveloping the landscape, this unique track develops continually with a suite of interlocking effects while the vocal yearns "I've tried so hard" - both haunting and thought provoking.

A2 - Parallel Seas
Cheery synths and lively bongos introduce us to Parallel Seas, which quickly becomes a glorious, powerful amen workout providing that perfect blend of atmospheric bliss alongside crunchy, analogue amens programmed with ASC's exquisite attention to detail - crashing triumphantly to an upbeat rhythm, littered with rousing vocal hits, elegant synthwork and nods to yesteryear galore.

AA1 - Alacrity
An energetic, surging breakbeat powers Alacrity as ASC utilises breaks reminiscent of classic driving atmospheric tracks of the past from scene legends including Intense and Artemis. Uniquely constructed with a pulsating, fluid energy, the break pattern utilises relentless kicks, cymbals and a wonderful long snare primed to move the dancefloor as synths wash and a lush vocal whooshes along in ecstasy.

AA2 - Glimmer Of Hope
Jumping straight in with a DJ-friendly beat intro, ASC selects a crisp, definitive selection of old school cuts for Glimmer of Hope, chopped and served with a barrage of sci-fi effects, micro melodies, a bellowing, rumbling bassline and a serene intensity driven by dreamy pads resulting in a perfect patchwork of elements, offering endless layers of detail for your ears to pick through with each listen.

Words by Chris Hayes (Spatial / Red Mist)

A1 - Sequence Array
Exquisitely filtered breaks open Sequence Array as Aural Imbalance opens the EP with a glorious intro capped off with a tight 808 bassline solo before the dependable, rapturous crunch of amens thrash their way into the mix. Programmed with dextrous skill allowing the crisp subtleties of the breaks to breathe among the layers upon layers of floral ambience, this one is an amen journey to remember.

A2 - In Formation
A more understated affair takes the stage as In Formation is introduced by airy pads and light DJ-friendly filtered breaks in the backdrop before a punchy yet delicate break pattern - high on the juddering snares and low on the kicks - ushers us along through plinky melodies and mood-elevating synthwork, completing a journey of reflective solitude from the master of ambient atmospherics.

AA1 - Voices From Neptune
Light keys and excitable, shimmering waves of ambience kick off the elegantly composed Voices from Neptune, setting a sumptuous tone before the uniquely constructed breakbeats commence. Kicks and energetic hi hats & snares are soon joined with a light Hot Pants break, crisp and complimentary in the mix as low pass melodies bask in the soothing swathes of exquisite synthwork.

AA2 - Decoded Message
Closing out the EP, Aural Imbalance sets free his Decoded Message, opening with a quietly suspense-fuelled intro flecked with light hi hats before a yearning, mournful melody intersects with a tapestry of ambient pads and effects. Swirling with an array of subtle jangling melodies to form a kaleidoscope of spine-tingling mood music, the compositions capped-off with old-school breakbeats riddled with analogue charm and earthy bass.

Words by Chris Hayes (Spatial / Red Mist)

The latest EP from Drab Majesty marks the start of a stirring new chapter in the band's majestic legacy. Written during a 2021 retreat to the remote coastal Oregon town of Yachats, Deb Demure leaned into the neo-psychedelic resonance of a uniquely bowl-shaped 12-string Ovation acoustic/electric guitar. After early morning hikes in the rain, Deb would record ambient guitar experiments the rest of the day, tapping into "flow states," letting the sound lead the way. These sessions were then refined or recreated, and later elevated further with key collaborations by Rachel Goswell (Slowdive), Justin Meldal-Johnson (Beck, M83, Air), and Ben Greenberg (Uniform, Circular Ruin Studio). An Object In Motion is true to its title, capturing the chrysalis moment of an artist evolving, reborn and untethered, silhouetted against an open horizon."Cape Perpetua" kicks off the collection's divergent palette: sparkling acoustic finger-picking refracted through delay, equal parts raga and reverie. Melodies and moods congeal and dissipate, at the threshold of rustic American primitivism, brooding neo-folk, and pastoral melancholia. "The Skin And The Glove" deploys jangle to different effect - baggy, soaring, grey-skied kaleidoscopic pop in the spirit of Stone Roses, Primal Scream, and The Glove. Rachel Goswell lends her iconic freefall voice to The Cure-esque ballad, "Vanity," infusing poetic gravity to the doomed refrain: "If the valve breaks / then the earth quakes / and history finds a way / to put you in your place.""Yield To Force", the closing track of the EP, may be the most anomalous offering of the set. A 15-minute instrumental odyssey of cyclical strings, ominous slide guitar, and simmering synthesizer, the piece sways and spirals like a long zoom into distant storm clouds. Demure finesses the guitar with a restless but regal grandeur, unfolding a panorama of peaks, shadows, and plateaus. It's music both intuitive and prophetic, tracing the slow swing of pendulums across an endless plain. Taken as a whole, An Object In Motion presents a showcase of potential futures from Drab's evolving domain, their sound poised to bloom at the precipice of transformation.

Pelican has always been a band that's not just from Chicago, but distinctly of Chicago. Formed in 2000 by guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec alongside brothers Bryan and Larry Herweg on bass and drums respectively, Pelican's foundation was built upon the rule-free, genre-agnostic scene synonymous with the Fireside Bowl. "The `90s in Chicago was a free-for-all. Everyone was just coming from a place of pure creativity," says Shelley de Brauw. With Schroeder-Lebec returning to the band following Dallas Thomas' departure in 2022, this reunified version of Pelican allowed the band to tap back into the spirit of their formative era and build something distinctly new with Flickering Resonance. While longtime Pelican fans will recognize the album as an update to the band's ethos_one that's been constantly evolving since their very first EP_their new partnership with Run For Cover Records emphasizes something that's always been implicit to the Pelican formula. These songs take as much inspiration from titanic `90s post-hardcore, space-rock, and emo as they do traditional metal, showing that though Godflesh and Goatsnake records occupied the shelves of Pelican's songwriters, so too did Quicksand, Christie Front Drive, and Hum. "A lot of people didn't hear it at first," says Schroeder-Lebec. "I was like, well, I guess the metal world is where we fit. But now, we're more willing to acknowledge all the suits we're wearing."On Flickering Resonance, Pelican doesn't attempt to reinvent itself as much as emphasize the elements that were so often overlooked. Though Pelican's thick sonic backbone remains intact, the songs on Flickering Resonance show a more humanistic side of the band. Tracks like "Evergreen" and "Indelible" tease Pelican's doom-metal roots, but these songs feel equally, ebullient and truthful, playing like Texas Is The Reason songs transmuted into a post-rock landscape. Recorded with longtime musical compatriot Sanford Parker, who recorded their first EP, Pelican begins this new chapter of their career with an album that's neither full reinvention nor back-to-roots revivalism. After so much time apart, and with so much life having been lived between the original Pelican lineup's last recording sessions together, the band approached it with renewed vigor and a more communal spirit."There was more room for openness and critique with the understanding that we're all trying to craft the best song possible and that every suggestion is valid until it's proven invalid," says Shelley de Brauw. That process allowed everyone to embrace the material with a shared vision. "We didn't move forward unless we all wanted to move forward, and that felt like real community building," says Schroeder-Lebec of this unified approach. "I went from seeing it as my art and my craft to our craft that we were shaping together."In doing so, Pelican allowed themselves to look at their music less as a means of hard-earned catharsis and more as an appreciation for the glimmers of joy that occur even in the bleakest landscapes. Songs like "Cascading Crescent" and "Indelible" don't languish in what's been lost, these tracks see the band embracing what remains in their hands instead of lamenting what's slipped through their fingers. It's a concept that's mirrored in the artwork of Christian Degn that graces the cover of Flickering Resonance. It's a piece built off the concept of flame meditation, and how the smallest flames can often bring about the biggest transformations. A song like "Flickering Stillness" exemplifies this feeling through its sonic expanse, putting the band's sonic density and hyper-focused clarity on display, but with an emphasis on the profound human connections that have kept Pelican going all these years. "When Laurent left and we were able to carry it through, there became a real sense of gratitude for the fact we still have this artistic outlet and a community of people who want to be a part of it" That feeling of deep, grounded appreciation isn't just one that's within the band members, it's expressed in every track on Flickering Resonance. Because at the very core of Pelican, are four individuals who have grown both separately and together, and always will.Like a distant light faintly glowing in the darkest night, Flickering Resonance is a reminder of all that has passed us by, but also all that is still to come.

Juan Ramos is up to bat for the next Körperspannung release with the four-track stunner EP ‘Hard Bois’. Deeply connected to the ongoing pursuit of gay excellence and endeavors, Juan honors those who have come before us and touches us deeply in our soft spots at all the right moments. Across ‘Hard Bois EP’, the Berlin resident and behind the scenes operator (IYKYK) shows precisely why he’s one of dance music’s most exciting and dependable prospects. Opening the release, ‘Hard Bois’ combines snaking drums in a melange of samples with bff Kris Baha vocalizing sizzling and snaking lyrics winding around this propulsive club cut that could easily be a snapshot right out of a scene from Chicago’s iconic Medusa Club. ‘Saviour Sound’ is music that makes iron pipes sweat with hedonistic abandon. Exposed steel vibrates to a hardcore beat. Gears interlock to move the whole building into autonomous productivity. Conduits of electricity pulsate to the drama unfolding in a dim lit factory with dank corridors leading us on a path to a flowerbed growing and thriving in a subterranean hydroponic garden.
On the flip, the alarm strikes and it’s (shout it out): ‘Werk Day’! This is your call to get buttoned up and ready to make dreams reality. Head to the gym, pump those guns and then house your body. Technological funk winding through a sturdy and rock hard kick that helps you ride through the chasms of pleasure and pain. Rounding out the release is your ‘Acid BB’ rocking and roaring through the airspace of atomized acid matter, a perfect closer to a thoroughly exciting direction Juan Ramos takes with his newfound sound. Play it loud. Play it proud. Juan is one of our own and we do all we can to take care of each other.

In 1995, when Cobweb-day was released, Fabrice Laureau was 24, Nicolas Laureau 21, Ludovic Morillon 22, and Quentin Rollet, who had just joined them on this new album, was 21. Prohibition, founded in 1989, had already released two albums: Turtle in 1993 and Nobodinside in 1994, on the Distorsion label. Cobweb-day, literally "Spider-web Day," is poetic, satirical, and libertarian. A title conceived by Nicolas to express all the feelings and themes explored on the album, this neologism also echoes the artwork on the cover. The lyrics describe, in vitriolic poetry and with a touch of self-deprecation, a world based on the powers of commodification and order, on submission to modern Molochs. Thirty years ago, it addressed themes such as the trade in minds and bodies, Kafkaesque justice, state violence, and Western blindness. Is this a coincidence that might raise a smile? Fabrice and Nicolas were both conscientious objectors at the time the album was written. The deceptively childish drawing that adorns the cover was created by Fabrice in 1989. It evokes African art and the skyscraper where the brothers grew up. Its title? "Glances on the Horizon." Yet, in these naive eyes, locked in a rhizomic matrix, there is the disturbing sensation of being observed, scrutinized, or perhaps imprisoned. This is Cobweb-day. During this period, the band spent its entire life touring with the British post-punk trio Headcleaner and the furious Lyon-based Condense. Their correspondence, followed by a meeting in 1994 with Guy Picciotto, singer-guitarist in Fugazi, led to a series of concerts with the Washington, DC quartet, around the time of the album's release in the spring of 1995. Quentin Rollet gradually joined the band, first on stage and then on the records. The concerts of this era often ended with long improvisations featuring saxophone, sitar, bass, and drums. Prohibition had emerged from the shadows, but chose to continue evolving underground, with the Laureau brothers creating their label Prohibited Records. Cobweb-day serves as the first reference. Thirty years ago, then. The album was recorded at Ark Studios near Paris in January 1995, along with eight other previously unreleased tracks. This new mix was created at Black Box Studios by Peter Deimel and Nicolas from 24-track analog tapes in August 1998, shortly before the release of 14 Ups & Downs, Prohibition's fifth and final album, and their US tour. All tracks were remastered by Fabrice and Nicolas Laureau in March/April 2025.

The Funeral Pudding originally came out as a CD-only release on the Dutch label Brinkman to promote Thinking Fellers Union Local 282’s 1994 European tour. For the domestic release, the band chose Chicago’s Ajax Records—which had already released two TFUL282 singles in 1990—to press a 12-inch mini-LP. Comprising a selection of songs masterfully recorded and produced by Greg Freeman right after the sessions that yielded 1993’s Admonishing The Bishops EP, The Funeral Pudding could be thought of as a sister release to that EP; indeed, the band originally considered combining tracks from both sessions into a single album. Had it been released, that record would’ve followed the pattern of the previous album in which the band’s pop and avant-garde leanings are yoked together cheek by jowl. Instead, Admonishing showcases the band at its most accessible while The Funeral Pudding flaunts their more expansive, abrasive and absurdist side without forfeiting the earlier EP’s miraculously high standards for songwriting and sonic clarity. What makes The Funeral Pudding a unique feather in the Fellers’ cap is that most of the tracks are sung by bassist Anne Eickelberg and guitarist Hugh Swarts—a notable departure from the Davies / Hageman vocal dominance on most of the other albums. With Eickelberg’s soaring vocals leading the proceedings, tracks like “Waited Too Long” and “Heavy Head” are some of the most beloved in the band’s discography. And “23 Kings Crossing” is a whiplashinducing psych / prog stunner that adds another metric ton to the burden of proof demonstrating that TFUL282 was creating some of the most thrilling, enduring and sonically autonomous music of its era.

Heat Death Vinyl is Clear w/ Black Splatter. The drowsiest and earliest inklings of the slowcore movement can be traced to Codeine's 1991 debut. Combining the Louisville scene's relaxed tempo with doom metal's distorted slurry, the album is a depressing masterpiece of hushed vocals, noisy guitar, and punishing drums. Remastered from the original analog tapes and recreated in painstaking detail, Frigid Stars LP is the NYC trio's fuzziest and most affecting work. "A deft musical approximation of the sound of water turning to ice, the guitars are so weighed down with distortion that they struggle to march from one chord to the next." _ Pitchfork

This 14-song full length was originally released by Bloodshot Records in 2018, but because it contains the potent “I Hate Chicago” diss track, it’s sacred writ that the album needs to be on a Windy City record label. So basically, we drew the short straw and now it’s our cross to bear. Laura Jane Grace is best known for fronting indie-punk titans, Against Me!, but on “Bought To Rot” her debut solo album you will hear lullabies and angular rock with influences ranging from The Pixies to Crass. You’ll come to learn about how Laura hates tra‑c and emails, but if you really listen, you’ll hear an album full of love songs. And we hope you really listen and hear that too.

"World of Pooh immensely brightened the dark corners of San Francisco, California during the years 1983-1990, with their most recognized guise being the MMF trio that existed & thrived during the years 1986-1990. This is the lineup you’ll hear documented on this exceptional collection of 45s, compilation tracks and assorted ephemera. The band has ranged from being a footnote for some (“is that the band Barbara Manning was once in?”) to a fondly-regarded memory for others (“the Land of Thirst album is a forgotten classic”) to a turnstile, door-opening band for still others — like me. They arrived in my life as they were slowly exiting theirs, and I eagerly attended a half-dozen shows of theirs circa 1989-90 around San Francisco moments after I moved there. They were instantly my favorite local band, one I was instantly duty-bound to see whenever & wherever they played. Their jagged and discombobulated take on underground pop music was exceptionally fertile, feral and fetching, and it served as a personal gateway drug that flowered my own appreciation for many different kinds of subtle musical tension.
I also spent at least five glorious years watching Jay Paget, who drummed for World of Pooh and later the Thinking Fellers Union Local 282, ply his rhythmic trade with much aplomb. He was always a steady hand behind the musical wheel of innovative bands who often threatened to careen off course. And I’ll admit to an untoward admiration of (and fascination with) World of Pooh founder, guitarist and singer Brandan Kearney from the moment I met the guy. Not only was he exceptionally friendly and welcoming to a carpetbagging interloper quickly trying to horn in on his scene (me), he was at once one of the most quick-witted, self-deprecating, highly intelligent & musically conversant people I’d ever met. Everything he and his band were doing, along with the mind-boggling DIY gunk he was pushing through his record label, Nuf Sed, and via his multiple other bands (among them: Caroliner & Archipelago Brewing Company, with several more to follow), made me extremely curious and not a tiny bit jealous about these wiser, weirder and musically more daring freaks who were making art, love & war in the relatively grittier & non-gentrified San Francisco of the day.
What I’ve learned in the 35 years since the band broke up is just how highly regarded they were (and remain) by not only those who saw them, but by a now-considerably larger group of humans who’ve subsequently heard & loved their records. I know that their place in the late 1980s was a small but special one, and I’ve seen plenty of online clamoring for more, more, more about this ephemeral and poorly-documented band. And rightly, here it is, lovingly assembled: their two hard-to-come-by 45s, a handful of comp tracks, and a quartet of phenomenal songs just coming to light for the first time, including that Half Japanese cover that dimly existed in my memory as a live song they naturally pulled off with sangfroid, from a time and space when we were all a little younger. - Jay Hinman"

The drowsiest and earliest inklings ofthe slowcore movement can be traced to Codeine's 1991 debut. Combining theLouisville scene's relaxed tempo withdoom metal's distorted slurry, the albumis a depressing masterpiece of hushedvocals, noisy guitar, and punishing drums.Remastered from the original analog tapesand recreated in painstaking detail,FrigidStars LPis the NYC trio's fuzziest andmost affecting work."A deft musical approximation of thesound of water turning to ice, the guitarsare so weighed down with distortion thatthey struggle to march from one chord tothe next."-Pitchfork

"Change of the Century" is the second album recorded by Ornette Coleman's quartet featuring Don Cherry on trumpet, Charlie Haden on bass, and Billy Higgins on drums and is considered one of the essential recordings of the avant-garde jazz movement. Ornette Coleman was a revolutionary figure in jazz, known for his innovative approach to improvisation and composition. He pioneered the "free jazz" movement, which broke away from traditional jazz structures and harmonic conventions.

His music often emphasized collective improvisation and thematic development over chord changes. The album's title reflects the spirit of innovation and change that Coleman brought to the jazz world with a significant departure from the bebop and hard bop styles dominant at the time, paving the way for new directions in jazz expression. "Change of the Century" remains a timeless and influential recording that continues to inspire musicians across genres and stands as a testament to Ornette Coleman's Visionary approach to jazz: an essential listening for anyone interested in exploring the outer reaches of improvisation and creativity in jazz.

This album is notable for being Wilson Pickett's debut album and includes his early work before he became widely known for his later hits and marks Pickett's early steps in the music industry, showcasing his raw talent and emotional depth

The album features a mix of R&B and soul, with Pickett's powerful vocals being a standout element: the production of the album is relatively simple and straightforward, focusing on Pickett's vocal performance and the instrumental backing. Pickett went on to become one of the most infuential fgures in soul music, and "It's Too Late" stands as a testament to his early talent and potential. The album is often appreciated by fans and collectors of early R&B and soul music. The album's success helped Pickett paved the way for his future success in the music industry: "It's Too Late" is often cited as an infuential album in the development of soul music, showcasing Pickett's distinctive vocal style and the fusion of R&B and gospel infuences. Also for this reason Pickett's emotive performances and soulful performances on tracks like "If You Need Me" and "It's Too Late" infuenced countless artists in the soul and R&B genres.

The Temple Ov Ghosts is not down in any map, true places never are. Tyler Ov Gaia explores the depths of club, ambient, leftfield, new beat and progressive mutations with complete freedom, generating a musical realm that’s entirely his. Limited copies.


>> limited to 150 copies <<

On the latest instalment of his VALA series, Finnish techno explorer Kaspiann tunnels into heads-down, mind-warping rhythm tracks of the highest order. Alongside his appearance on respected platforms such as Delsin Mantis and Optic Portal (alongside Spekki Webu), VALA affords Kaspiann the space to explore the depth and breadth of his sound with steely focus. The four tracks on VALA 4 are teeming with tactile textures and intricate detail that feel familiar and abstract all at once, perhaps best described by the titles that indulge in a little Finnish word play. ‘Sammalkämmen’, literally translated as ‘moss palm’, feels like a fitting reflection of the spongy mid-range matter on the opening track, while the humid, dense atmosphere of B1 cut ‘Suohunaja’ could indeed conjure a sense of ‘swamp honey’. From ‘Sienikieli’s tunnelling rhythmic intrigue to the intricately arranged, expressive percussion of ‘Niin Vain’, Kaspiann continues to broaden his vocabulary within the language of deep techno, triggering ineffable sensations from carefully sculpted sonic forms and strapping them to incisive rhythms.

Venerated clubland legend Robert Dietz graces Kalahari territory with a clutch of sinister techno-trance variants.

The evolution of the Dietz sound continues unabated as he pivots from minimal scene mainstay to purveyor of big techno dramatixxx. Still just as finely-tuned and potent as he’s always been though, and this is no means a drastic departure from more recent work.

Running tempestuous heaters from the eye of a storm, there’s a tough, menacing edge coursing throughout. Four decidedly Euro spins offering visions of dystopia and ominous portent, but we forge ahead unperturbed, headfirst into the shadowy void.

Gone is the playfulness of releases past, set aside in favour of heat-seeking ballistics. Strapping accelerators big on drama while allowing space for a bit of dancefloor introspection. More of that all thrills, no frills kinda flex as the Frankfurt native goes about his business like it’s effortless.

Two decades after its original release, the trance classic “The Morgan’s Wave” returns in a fresh and contemporary form. Born in 2003 from the creative meeting between vocalist Caroline Eloy and producers Patrick Ketels and Xavier Romain, the track first gained attention through David Altrix (Galaxie Radio), and was signed by Diki Records in 2004 on its sub-label Green Valley.
In 2025, the idea to revive the track came from Caroline Eloy—now performing as Ce’Loy—who teamed up once again with David Altrix to envision a remix with a modern twist, keeping the original lyrics and piano melody while exploring a new musical direction.

They entrusted the remix to Narik (Freegrant Music, Bonzai Progressive, EinMusika), whose timeless production style brings a unique reinterpretation of the track. His version features deep, emotional textures and a subtle deconstruction of the vocal part, blending nostalgia with innovation.

Now released on Clair Obscur, this 2025 remix also serves as a heartfelt tribute to Patrick Ketels, who sadly passed away a few years ago.
“The Morgan’s Wave (Narik 2025 Remix)” bridges eras with elegance — a moving reinvention of a beloved track, available soon on both vinyl and digital formats.

Français

Deux décennies après sa sortie originale, le classique trance “The Morgan’s Wave” revient dans une version fraîche et contemporaine. Né en 2003 de la rencontre créative entre la chanteuse Caroline Eloy et les producteurs Patrick Ketels et Xavier Romain, le morceau s’est d’abord fait remarquer grâce à David Altrix (Galaxie Radio), avant d’être signé en 2004 par Diki Records sur son sous-label Green Valley.

En 2025, l’idée de raviver le morceau germe dans l’esprit de Caroline Eloy — désormais connue sous le nom de Ce’Loy — qui s’associe de nouveau à David Altrix pour imaginer un remix à la fois fidèle et modernisé, conservant les paroles originales et la mélodie au piano tout en explorant une nouvelle direction musicale.

Ils confient cette mission au producteur Narik (Freegrant Music, Bonzai Progressive, EinMusika), dont le style intemporel offre une relecture unique du titre. Sa version déploie des textures profondes et émotionnelles, et déconstruit avec subtilité la partie vocale, mêlant habilement nostalgie et innovation.

Désormais publié sur le label Clair Obscur, ce remix 2025 constitue aussi un hommage sincère à Patrick Ketels, disparu il y a quelques années.

“The Morgan’s Wave (Narik 2025 Remix)” fait le lien entre les époques avec élégance — une réinvention touchante d’un morceau culte, à paraître prochainement en vinyle et en digital.

DJ FEEDBACK
Early support from Jam El Mar, Fedele, Township Rebellion, Themba, Roger Sanchez, Dan Marciano, DJ Fire, Tocadisco, Yalla Techno, Tom Leclercq, ….

Format Details: 12” matte jacket, orange & blue side A/B effect colour vinyl, dust sleeve & marketing sticker.

Originally released in 2002, Daylight EP was the follow-up to Aesop Rock’s critically-acclaimed Labor Days album, a cult classic released only six months prior. The EP was built around its titular opening song, “Daylight,” one of the standout tracks from Labor Days, and continued expanding upon the range and depth of Aesop’s multi-talented gifts for writing and producing. In addition to the title track, Daylight EP also included its counterpoint, “Night Light,” an alternate version in concept whose paraphrased lyrics simultaneously refer back to– and stand in stark opposition to– the original's, over darker, more menacing production. The tracklist for Daylight EP boasted seven songs plus a hidden track for a total of eight, and collectively featured production by Blockhead, El-P, Blueprint and Aesop Rock himself, as well as guest appearances from Vast Aire (Cannibal Ox) and Blueprint.
At the time of its initial release, Daylight EP was only offered in CD and digital formats, while the vinyl was stripped back, available only as a three-song 12” single. Now, Rhymesayers Entertainment is pleased to present the complete EP on vinyl for the first time ever, pressed on two-color side A/B effect orange & blue vinyl to complement the original artwork. Finally, fans and vinyl collectors everywhere can own this integral piece of Aesop Rock’s legacy and enjoy the genius behind this project.

NJ/NY legend JUNIOR SANCHEZ opens his edits archive to bless the masses with four fresh reworks from the likes of SOLANGE, SAULT, and DEPECHE MODE. "ENJOY THE SILENCE" & "LOOSING YOU" are perfect peak hour hands in the air material, while "WHY WHY WHY" builds on a deeper sound. Paper sleeve.

Black Hole Superette, the latest album from Aesop Rock, delves into the invisible forces that shape our lives and psyches. It's about the small, often overlooked moments_the everyday experiences that blur the lines between the real and the unreal, waking and sleeping. Aesop's signature gift for transforming the mundane into something dreamlike gives the album a surreal quality, leaving listeners questioning what's truly real as they navigate its vivid, half-remembered imagery. Entirely self-produced, Black Hole Superette is one of Aesop Rock's most technically accomplished works to date. The album's intricate beats and complex structures provide the perfect backdrop for his expansive lyricism, balancing cerebral exploration with emotional depth. From the reflective 'Movie Night' and the eccentric 'Send Help' to the wistful 'Black Plums,' Aesop channels the spirit of a mad scientist, experimenting with sound and concept in ways that defy the ordinary. With a stellar lineup of collaborators that includes Lupe Fiasco, Armand Hammer, Hanni El Khatib, Open Mike Eagle and Homeboy Sandman, Black Hole Superette is dense and kinetic, an album that deftly navigates between complexity and instinct. It's clear this project stands as one of Aesop Rock's most multifaceted and ambitious works yet.

Gilles Peterson presents International Anthem is a compilation chronicling the legendary London-based radio host, DJ, label head, curator and cultural impresario"s long-standing affinity for and interaction with artists and music from the Chicago-born record label International Anthem. The tracks on this compilation were chosen by Peterson via an extensive review of track lists from his broadcasts on BBC Radio 6 Music, Worldwide FM, and various syndicated radio programs. The compilation also includes a previously unreleased track recorded live on the Peterson-founded online radio station Worldwide FM. This album is released via International Anthem as part of their "IA11" series of releases and events - where the label celebrates their eleventh year of existence by looking back on their first ten years while establishing new standards for the next ten years.

Returning to the Bordello, and the seven-inch, is Real Velour. This secretive figure reappears with two tracks of indie dance that bend and re-shape elements of italo disco, minimal pop and synth wave to create an utterly unique experience. Sleazy basslines and tropical percussion give way to heavily vocodered words in “Lover”, machine amor breaking to spoken human voice as melodies twirl. The romance described is one of passion, of friendship and of fidelity; but, with a hint of control. Clever and addictive, the composition cherry-picks bittersweet sounds to depict this relationship. The flip, “Look What You’ve Done”, maintains the candystore keys of the A-Side; the tone shifting as lyrics adopt a brazen and fortified vigour. It appears maybe that the promises of “Lover” have been shattered. While the love story turns to hurt feelings and regret, Real Velour keep the energy high to revel in the final break-up.

6 months after the release of Ed Rain’s (one of Andrei Rusu, half of duo Khidja, solo projects) debut solo album ‘Met him on a Wednesday’, Malka Tuti records is presenting two Huge remixes for the title track’s collaboration with Fantastic Twins.On the A Side we have Pilooski on the banger duties. Heavy sub bass frequencies and edgy rhythms reminiscing of late 90s UK energies (but with a somewhat modern twist) push forward a dance track with a unique structure and unexpected sonic surprises. Big room IDM. Big Big Tip. On the flip side we finally managed to collaborate with one of our favourites Superpitcher. The Kompakt x Pachanga Boys x Hippie Dance xxx alumni is one of our all time favourite people and producers, and we are oh-so-happy that he joined us on this special ride.His interpretation of the track takes it into more “poppy” realms. The entire track is laid over a beautiful sub bass droney kind of bassline and the result is one of those “this has been on repeat the entire day” kind of songs. A melancholic hue paints the song with a ‘Happy-Sad’ kind of energy and gives it more emotional depth yet always keeps it playful.

First 2x12" record with UPR by Le Talium.
The tunes were too good not to press them all !!
LIMITED QUANTITIES.

A familly story... sound is as noise as clear, and ritch as minimal...
Industrial Hardcore (end speedcore) is the thema, Even if industrial could be the domain.

Hypnofreak : un bon speedcore mental, très fin, qui embarque dans des vagues acides longues en bouches, soutenues par un kick de moins en moins discret :)

Go HardCore : si je ne me trompe pas on dirait du vieux Epiteth, avec une petite pointe d'indus à la Test-Dep dans les sons.. (mais là faut chercher longtemps avant de tomber sur "Brith Gof Goddodin" ^^).

Last Chance : Le kick sec, sans reverbe, dur dur ! Hardcore encore :)

Digital Error : Allez, on y va dans le noiseux speed, marque de fabrique du Talium :) Et son gros kick qui vient vous récupérer après des drops glissants...

No Planet : Dédoublons les kicks et voyons ou ça nous mène :)

Non Conforme : Prenez un kick et mettez le dans shaker. enregistrez les bruits du moteur. Et vous obtiendrez un truc dans le genre.

Quad Grinder : Une fois encore, le dédoublement de kick est au centre de l'affaire, ce morceau me semble dans l'esprit du
01100010 de No Name sur Fischkopf 16).. Mais c'est un feeling de Deejay ^^

XB09-Part One : toujours dans l'esprit du shaker, avec de grosses nappes ambient qui posent grave... Un contraste qui peut faire penser à du Flashcore... mais ou est la part 2 ? ^^

En gros ce skeud est une balle, ça pourrait bien être un des meilleurs skeuds de speedcore indus depuis un sacré bail !

BIG UP UPR !

After what seems like an aeon of anticipation, Yugen Blakrok returns bolder than ever with The Illusion of Being, a raw, fearless exploration of emotion and resilience. This album is a call to triumph. Through poetic lyricism and experimental soundscapes, this project offers the listener a journey into the heart of uncertainty and the power of perseverance. Created and recorded in a world in flux, The Illusion of Being reflects the artist's evolution as a storyteller and resonates directly with the era that shaped her. Driven by incisive lyrics andsoundscapes blending grunge, trip-hop, and 90s spirit, this project tests the boundaries of alternative hip-hop. Here, rhythm speaks louder than reason, and the acceptance of "Being" becomes the thread that ties each track together. This album captures a bold new chapter in Yugen Blakrok's discography. While rooted in the lyrical mastery and poetic precision that fans cherish, it marks a departure from the familiar, embracing a more unfiltered and experimental approach. The collaborations seem purposeful, and match this intensity: Sa-Roc delivers combative and sisterly energy,Cambatta brings his visceral urgency, while Hannah Allen offers a touch both delicate and impactful. Instrumentally, the arrangements dare to break new ground: wailing electric guitars,enchanting flutes, and hypnotic beats create a striking sonic alchemy. As described by Yugen in three words: Free. Involved. Anti.Free from convention. Involved in the fight. Anti-establishment. In many ways this album is a sonic manifesto. Each track resonates as a call to rebellion, an anthem for those who refuse to bow down. The Illusion of Being is not just a work of art; it’s a statement: for freedom, for community, against oppression. A mirror of our collectivestruggles and a light for those who keep moving forward. It promises its listeners a deeply personal connection, offering a glimmer of hope amidst despair and a soundtrack for their fight.

On his first release for another label in seven years, Batu presents *Question Mark*, a bold statement on his hypermodern approach to UK-influenced club music. Marking the debut of Lethal Press, Oath's boutique sister-label, this EP showcases Batu's signature fusion of sound design and club energy.

Known for pushing bass-driven dance music forward through his Timedance and A Long Strange Dream labels, Batu has crafted four striking tracks that embody his evolving sound. From the warped arpeggios of *Question Mark* to the heavy-hitting swagger of *Seize*, the dembow-infused groove of *Clump*, and the meditative depth of *Meridian*, the EP navigates futuristic rhythms with precision and intensity.

This release sees Batu channel his experimental instincts into fresh, club-ready forms-staying true to his roots while embracing new sonic possibilities.

Dimple Discs is pleased to announce its first release from the legend that is Jah Wobble. It is a completely solo work with Wobble writing playing and arranging. Lee Perry and King Tubby are deep influences with astounding top layer sonics. Jah Wobble, is an English bass guitarist and singer. He became known to a wider audience as the original bass player in Public Image Ltd (PiL) in the late 1970s and early 1980s; he left the band after two albums. Following his departure from PiL, he developed a solo career. In 2012, he reunited with fellow PiL guitarist Keith Levene for Metal Box in Dub and the album Yin & Yang. He continues to tour with a two hour show often presenting "Metal Box In Dub" with former Siouxsie and the Banshees guitar player Jon Klein who Wobble calls the greatest post punk guitarist.

It’s been a mere two months since Gaz released his first EP after coming back from a debilitating addiction to Greggs sausage rolls. Despite this long road of recovery, he has kept himself out of trouble and returned to furnish us with four more slabs of Steak Baked Garage Bakes!
Gary Loves Garage is a track of such pure Garage that if you knew how to take a m7/9 chord and pitch it about a bit you would be in the same ballpark. A lot of the Deep Garage Dads from his area Whatsapp Gary and on occasion, sit outside his house desperate for the library of m7/9 pad samples which Gaz has lovingly built up over many years on multiple Zip Disks. Of course, Gary would never share these m7/9’s as they form the backbone of his productions and if they got into the wrong hands there would be implications.

Gary gets a rare trip to NYC on Gary Visits NYC (BA Premium Economy). As the name suggests, Gaz splashed out on a British Airways Premium Economy ticket from Heathrow Terminal 5C but unfortunately Gaz got hammered in the Wetherspoons and didn’t realise that a 5C departure meant you had to get on the underground rail connection. He missed his flight.

Gary’s SP1200 - still a bone of contention for Gary with the lack of funds in his current life meaning an SP1200 is way out of reach. He has multiple ex-wives and various children which prove a drain on the monthly finances.

Finally -Gary’s Pad Patterns could be a paean to the aforementioned Zip disc, one of Gaz’s favourites! Zip disc 4 of 8. This has his best m7/9 chord samples on it and actually has not left the Zip reader since 1999 - apart from that one time when Gaz had to change the SCSI cable.