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Blind Prophet & Ishan Sound come together for their first pan-atlantic collaboration here in what is a fine return to the ZamZam label. The pair first met in Portland in 2019 and so it's good to finally have some sounds to get stuck into from their meeting of minds. 'The Labyrinth' kicks off with hefty and stepping drum rhythms that are overlaid by bright synth lines and mystic flutes. The interloping melodies and a menacing bassline finish it in style. On the flip, things get much more dark with 'Minotaur Dub' which is a shadowy world of refracting drums and oodles of reverb and echo. There is a predatory sense to the rhythm that never lets up as fizzing bass pries every deep into the dead of night.

Waking at Dawn was released in 2016 as a follow-up to Roy's debut EP, Exis. The projectfeatures the hit single, "Gwan Big Up Urself", inspired by his Caribbean roots & brought to lifeby Jamaican producer KRS. Another critically acclaimed single off the project, "How I Feel",shines light on Roy's ability to bend genres and vocal styles effortlessly.


The release brings to life the diverse talents of Roy Woods and his ability to write and singsongs that range in sound. Now his fans can finally listen to it on limited edition red vinyl

Reissue!

At their chilliest, most magnificent and dreadful.
Brilliantly remastered, one-sided.

Sound Metaphors gives they keys of the label's catalogue vaults to Aggelos Baltas aka Anatolian Weapons and this is the result. 5 tracks previously released on our labels now submitted to the studio prowess of the Greek machine. Dubbed out, tripped out, slowed down, sped up, mind blown. Aggelos brings his distinctive flavor to the table and re-constructs some of our dacefloor oriented favorites from the early 90's. From California's Exist Dance label to Italian underground tracks and even a Disciples' number, Aggelos cherry picks his weapons for the most spaced out of dance floors, sounding big and effective, can't go wrong.

Let It Loose is the tenth studio album by Gloria Estefan and Miami Sound Machine, released in 1987.

Initially gaining little attention in Europe, the success of the single "Anything for You" led to the album being re-released under that name, and with different cover art. It became Miami Sound Machine's most commercially successful album, certified triple-platinum by the RIAA, and peaked at number six on the Billboard 200.

Other hit singles include "Can't Stay Away From You", "Rhythm Is Gonna Get You", "1-2-3", and "Betcha Say That".

Let It Loose is available as a limited edition of 2000 individually numbered copies on translucent red coloured vinyl and contains an insert with lyrics

Erstmalig erscheint die späte Compilation mit 10 ausgesuchten Tracks (Lost Demos) aus der Ära beim Label Statik als LP. Inkl. 'Counting The Days', 'Whirlpool' und 'Love Is Not A Ghost' erscheint die LP mit brandneuem Artwork, das von Fotograf und Filmemacher Nigel Grierson etworfen wurde. Die zehn Songs erschienen bislang lediglich als CD in einem Boxset aus dem Jahr 2015, und wurden für diese LP von Phil Kinrade in den AIR Studios neu gemastert.

Indonesian City Sound: Panbers’ Psychedelic Rock and Funk 1971-1974

The Pandjaitan Brothers or Panbers came from the North Sumatra minority Christian group, the Bataks, whose ancestry traces back to an island at the center of Lake Toba. As a minority group within Indonesia's Muslim-dominated society, this ethnic minority has produced top military generals, celebrity lawyers, and a legion of pop and rock superstars.

Suffice to say, some of the biggest names in the country's pop history were Bataks. Panbers fit the bill perfectly.

The band's strong Christianity belief looms heavily in the music they produce. The prominent use of the Hammond organ in their early materials is evocative of church music the band members have been around in their whole life. Bandleader Benny Pandjaitan's fills his characteristic wail with existential dread, with many utterances of the word "mengapa" (why).

Guilt is another central theme Pandjaitan repeatedly comes back to in his lyrics. But they balance it with joy, on songs such as "Come on You Dance" "Let's Dance Together" or "Haai" (a play on the word high), where references to recreational substances are plentiful.

Although they modeled themselves after the era's rock bands Beatles and fellow countrymen Koes Plus, Panbers had a unique aversion to the electric guitar. In "Jakarta City Sound," a fiery three-note guitar solo is laid so far down in the mix that they are barely audible. In "Haai" they modify the guitar to sound like a jungle instrument playing traditional North Sumatran music. In "Rock and the Sea," arguably their most well-known song globally, they decided to ditch electric guitar altogether and replace it with a sitar.

In the absence of an electric guitar, Panbers had to rely on Doan's inventive bass playing and Asido's drum works to do the heavy lifting - and boy, do they deliver (Their 1971 debut "Volume 1" saw plenty of drum breaks). In this compilation, listeners will hear recordings from Panbers' fertile four-year period - a time that produced in some of the grooviest and hardest-sounding psychedelic music in Indonesia's rock history.

For those uninitiated on the glory Panbers, consider this compilation an introduction to some of earliest and heaviest rock sound to come out of Indonesia.

The Intergalactic Research Institute for Sounds is proud to present Requiem for Robots. For this latest transmission, Florina Speth aka Schloss Mirabell joined forces with a group of robots that were built by Kay Sievers (versioduo.c..). The musical question this record states is: “Who animates what?”

The physical body of these robots consists of a wooden cuboid, a single string around which a round, internally strung bow revolves, and a motorized finger which can press down the string. They produce sounds that are very similar to the cello. They display unusual characteristics such as motor noises, infinite sounds or sometimes scratchy and gruff qualities. In addition, there is the extraordinary level of kinetic expression created by the bow circling around the string. Taken together, precisely these peculiarities form a unique instrument profile, a character which is emphasized in the presented project.

Florina Speth, born 1983 in the mountains near Salzburg, started playing the cello and piano at the age of 6 and began studying music at the “University Mozarteum Salzburg'' at Clemens Hagen when she was 11. She won several prizes and was part of orchestras such as the Bayerisches Landesjugend Orchester and Salzburger Junge Philharmonie. Always keenly interested in contemporary music, she loves bridging experimental arts with science. She composes and works with cello and cello robots. She regularly collaborates with Dasha Rush, Hüma Utuku, Nicholas Bussmann, Lucile Desamory and Larissa Lackner.

KG Beat - The Breathing Engine © 1995 Quake Records
Cosmic Soup Sound System - Eddie De Boing De Boing © 1994 Filterless Records

2 tracks.
45 RPM.

Compiled by Rey Colino.
Mastered and Cut by Marco Pellegrino.
Design by AJAM.

Repress!

No More Sound, Sad Park’s third full-length, begins with an ending. More specifically, with its own ending. Because the short, just-over-a-minute-long “No More Songs” is kind of a stripped-down reprise of the title track that closes this record. In one way, it means this album—the band’s first for Pure Noise—travels back in time over its 38 or so minutes, but in another it’s also traveling forwards. Because while “No More Sound” is a more fleshed-out version of “No More Songs”, it also contains melodic and lyrical throwbacks to the eleven songs that sit between them. Perhaps more importantly, as everything comes full circle on the record, it offers something that the opener doesn’t. Recorded across ten days at Balboa Studios in Los Angeles, No More Sound is, in fact, the sound of a band really coming into their own.

No More Sound, Sad Park’s third full-length, begins with an ending. More specifically, with its own ending. Because the short, just-over-a-minute-long “No More Songs” is kind of a stripped-down reprise of the title track that closes this record. In one way, it means this album—the band’s first for Pure Noise—travels back in time over its 38 or so minutes, but in another it’s also traveling forwards. Because while “No More Sound” is a more fleshed-out version of “No More Songs”, it also contains melodic and lyrical throwbacks to the eleven songs that sit between them. Perhaps more importantly, as everything comes full circle on the record, it offers something that the opener doesn’t. Recorded across ten days at Balboa Studios in Los Angeles, No More Sound is, in fact, the sound of a band really coming into their own.

Spezielle limitierte Tour-Edition auf Pink Vinyl: Die legendäre Zusammenarbeit zwischen Meisterpercussionist Bonjo Iyabinghi Noah und Kultproduzent Adrian Sherwood mit ihrem ersten neuen Studioalbum seit zwölf Jahren.

- "A Trip To Bolgatanga is easily AHC's most accessible, vivid approximation yet of Brian Eno's fabled 'vision of a psychedelic Africa'." - MOJO****

- "An act of cultish proportions, African Head Charge have been compared to Sun Ra for their same ability to head into the unknown." - Echoes

- "Charged with positivity, the album’s a tonic for troubled times." - DJ Mag

The first release from GREED singles club: Grove - Sound of the Underground.

“I whipped up this evil Bristol-soaked, bashment-heavy edition cover while touring, and have been playing it out at festivals throughout Europe, inspiring big queer mosh pits and walls of death.”

Grove have released a cover of the pop classic, “Sound of The Underground” by Girls Aloud. This is the first release under The state51 Conspiracy singles club and is available digitally and on limited edition 7” vinyl.

Doubling down on the D’n’B stylings of the original and adding a bashment twist, Grove moves the song into a propulsive new territory. The bass hits that extra bit harder, the lyrics given an extra sense of bite and bounce.

Super limited edition 300 vinyl