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Frederiksberg Records was founded in New York in 2013 by Danish video journalist and music lover Andreas Vingaard. The name, Frederiksberg, is the part of Copenhagen where Andreas grew up and rst discovered his passion for music. As a collector of vinyl records, he's travelled extensively to acquire fresh sounds - Sudan, Ethiopia, Togo, Benin, Trinidad among other places.
The idea for the label emerged when Andreas befriended renowned Jazz saxophonist, Carsten Meinert. Committed to telling the story of Meinert's music the right way, Andreas resolved to take full ownership of the To You re-release (2015). The result has been a rollercoaster journey of running an independent record label.
Frederiksberg Records, with roots in Scandinavian Jazz, will include a wide spectrum of genres - electronic, disco, ambient and more.

Turman first came onto the industrial scene in the late 70’s as the ominous ‘other half’ of legendary noise outfit NON. Shortly after recording the classic 1977 single Mode of Infection, Turman went on to pursue his own unique vision as a solo artist. Fusing every possible influence at his disposal while laying his ideas down on self-released cassettes like Flux (1981), Spirals of Everlasting Change (1987), Way Down (1987) and the massive Chapter Eleven cassette box set (1988). After a hiatus Turman resurfaced in 2005 to team up with seminal noise musician Aaron Dilloway. Since then, he has been gradually adding new titled to his already impressive discography.

For this archival release Turman selected 7 tracks that were recorded between 1980 and 1984. A welcome supplement to his library of avantgarde music that was released in the 80s. This album fits in nicely between the early industrial noise, the long-form minimalism of Flux and the rhythmic industrial of Way Down. Focusing on slowly shifting hypnotic loop-based layers of sound, it covers a specific side of Turman. It feels like there’s a direct link to his earliest works but it’s also a precursor to some pieces that were recorded much later. A missing link that finally gives us the opportunity of a complete overview of his early audio work.

All 7 tracks on this album have a connection to the written word in the form of a poem. Scans of the original typewriter poems are included together with collages and drawings from this specific time frame to create an essential and singular piece of art.

Still fresh from the release of KELDER EXTASE and their contribution to Sassy J’s excellent A SANCTUARY tape, Left Bank unexpectedly present their new album, SOUL DISCHARGED MAGNETIC TAPE. While the sonic trademarks of their earlier work are still present, SOUL DISCHARGED MAGNETIC TAPE showcases a raw and emotional side of the beatmaking duo:
“Musically, this tape is all about true soul music. The place where love and loss are just two sides to the same single. Distorted by low bit-rate samplers and bass heavy EQ’s, the forever classic lowrider oldies let all their dreams & deep feelings shine through (brightly…). Listen close: underneath all the hiss, pops & crackles, the analog tape also caught the brutally and painfully honest heart of the soul music (…by magnetic force!). Now we bring you the SOUL DISCHARGED MAGNETIC TAPE!”

Black Cassette Tape, handmade printed fabric case, riso printed paper cover, DL code.
Limited to 40 copies.

Tot Onyx is a solo project of Tommi Tokyo, who loves to work with sound and body. As the founder
of the experimental live act group A, Tommi has explored her ideas of breaking the preconceptions
of live performance by incorporating use of the body, live-painting, noise and poetry. Adept at
bending expectations, the band’s formative early work echoes the experiential vocabulary in which
Tommi continues to develop today. A practice in the rejection of tradition and cliché, which in Greil
Marcus's words, "Share the principles of negation, rebellion, destruction and détournement”.
Her rst self-released EP T.O.1 is a collection of fragments of Onyx's live performances from recent
years, recorded in her studio as part of her creative process during the preparations. While her
albums (1st album Senno I released in 2022 on iDEAL Recordings, and the forthcoming album in
2024, info tba) are highly conceptual and revolve around specic subjects, this EP serves more as her
diary, in which she aims to share with the public how her thoughts are shaped by time through the
practice of performing live.

Black Cassette Tape, handmade printed fabric case, riso printed paper cover, DL code.
Limited to 40 copies.

Tot Onyx is a solo project of Tommi Tokyo, who loves to work with sound and body. As the founder
of the experimental live act group A, Tommi has explored her ideas of breaking the preconceptions
of live performance by incorporating use of the body, live-painting, noise and poetry. Adept at
bending expectations, the band’s formative early work echoes the experiential vocabulary in which
Tommi continues to develop today. A practice in the rejection of tradition and cliché, which in Greil
Marcus's words, "Share the principles of negation, rebellion, destruction and détournement”.
Her rst self-released EP T.O.1 is a collection of fragments of Onyx's live performances from recent
years, recorded in her studio as part of her creative process during the preparations. While her
albums (1st album Senno I released in 2022 on iDEAL Recordings, and the forthcoming album in
2024, info tba) are highly conceptual and revolve around specic subjects, this EP serves more as her
diary, in which she aims to share with the public how her thoughts are shaped by time through the
practice of performing live.

"Espontaneamente se Tenta: Aventuras Sonoras de Djalma Corrêa is an album of deeply exploratory pieces by legendary percussionist and composer Djalma Corrêa. This double-LP set features previously unreleased recordings that cover a wide range of sonic experiments, revealing an unknown side of the prolific and groundbreaking Brazilian artist. Most of the tracks on this album were digitized for the first time – directly from the original tapes – and were compiled in collaboration with Corrêa just before he passed.

The result is a wild and unsettling collage that shows us just how original and intense Corrêa could be: from the unorthodox electroacoustic piece Evolução (Para Fita e Filme), which channels ancestral African inspirations to create a sonic cosmogonical narrative, to the proto-mixtape Exemplo de Sintetizadores, in which he transitions from transcendental drones to astral cha-cha-chas.

While the compilation might seem disjointed at first listen, it is in fact the most accurate translation or representation of his central concept: spontaneous music. Djalma's relationship with sound was always guided by his fearless approach to listening, and by his audacious and dynamic interaction with both musicians and equipment, which enabled him to work across a wide array of genres: from jazz to completely abstract music, always through a personal DIY ethic.

Corrêa developed a strong bond with experimentalist and inventor Walter Smetak, with whom he shared a studio during his formative years at Universidade Federal da Bahia. Suite Contagotas, featured in this collection, is no less than a sonic materialization of that bond: an experiment revolving around dripping water and its randomness – a tentative exploration of the ideas and possibilities envisioned by Smetak for his audacious, albeit unrealized, Estúdio OVO.

Djalma, however, is best known for his studio work in historical albums, including many by Caetano Veloso, Gilberto Gil and Jorge Ben, and for his own polyrhythmic opus Baiafro. The last track is an early recording called Bossa 2000 dC, first performed by Djalma at the 1964 Nós, Por Exemplo concert, an event which is often cited as marking the beginning of the Tropicalia movement. At the time, he was the only artist in the lineup using electronic devices to create sounds, e.g. medical oscillators and contact mics to augment his percussive palette.

The artwork is an amalgamation of material found in the Djalma Corrêa Archive (currently managed by his son Caetano Corrêa) and other material created during the period in which the record was being put together. The intention is to guide the listeners through this possibly tempestuous soundscape, giving them additional resources so that they may draw their own meanings and make their own sense of this extremely immersive and original experience – which is like nothing we've ever heard before."

Darning Woman is an intentional, beautiful, sometimes confrontational album that shreds expectations of DIY, bedroom music, and feminine themes. There's a lushness and maternal instinct at play, as Coope connects the dots between physicality, ephemera, and the ultrafeminine. "I don't really like to deal that much with themes of personal hardships, or heartache and love," says Anastasia Coope. "Ultimately, I work most honestly with the language of what is happening in a moment and the passage of time around it. That, coupled with my reaction to entering the artistic landscape, and my thoughts about what does and doesn't get representation, comprises most of this album." Darning Woman explores, among other things, the meditative aspect of sewing, patching and embellishment, care and repair, collection not as modern, craven consumption but as a counterpoint to materialism. This sort of collection - the good kind, the gathering of things to make a home - can be, in Coope's words, "A very baby way to critique capitalism. Birds make nests, right? It can be a new life for a thing that was made. What you surround yourself with matters." To that end, Anastasia Coope is also the founder and leader of the Bonzo collective and show series, an exciting new home for the type of expansive, profoundly creative scene that New York has been missing for some time. And while Bonzo may well be the ascent of a new community, Darning Woman is the story of Anastasia Coope, herself. It is the sound of Coope entering the world as an artist, acknowledging the tangle of what changes - the gaze of the world, Coope's art in reaction and community to art in general - and what does not: her ideas and her own self.

Darning Woman is an intentional, beautiful, sometimes confrontational album that shreds expectations of DIY, bedroom music, and feminine themes. There's a lushness and maternal instinct at play, as Coope connects the dots between physicality, ephemera, and the ultrafeminine. "I don't really like to deal that much with themes of personal hardships, or heartache and love," says Anastasia Coope. "Ultimately, I work most honestly with the language of what is happening in a moment and the passage of time around it. That, coupled with my reaction to entering the artistic landscape, and my thoughts about what does and doesn't get representation, comprises most of this album." Darning Woman explores, among other things, the meditative aspect of sewing, patching and embellishment, care and repair, collection not as modern, craven consumption but as a counterpoint to materialism. This sort of collection - the good kind, the gathering of things to make a home - can be, in Coope's words, "A very baby way to critique capitalism. Birds make nests, right? It can be a new life for a thing that was made. What you surround yourself with matters." To that end, Anastasia Coope is also the founder and leader of the Bonzo collective and show series, an exciting new home for the type of expansive, profoundly creative scene that New York has been missing for some time. And while Bonzo may well be the ascent of a new community, Darning Woman is the story of Anastasia Coope, herself. It is the sound of Coope entering the world as an artist, acknowledging the tangle of what changes - the gaze of the world, Coope's art in reaction and community to art in general - and what does not: her ideas and her own self.

When Richard Thompson began writing songs for his latest album, Ship to Shore, the artist was instinctively drawn to his own musical roots, employing them in the service of fashioning a deep and diverse 12-track collection that pulls from various styles, genres and eras, but remains unmistakably Richard Thompson. There’s the rumbling, Motown-style rhythm that propels “Trust,” and the straightforward riff-rock of “Turnstile Casanova.” The drone-y “The Old Pack Mule,” an “old man’s song” that takes musical cues from 1600s-era European music, and “Life’s a Bloody Show,” an ode to “snake-oil salesmen and hucksters” that floats on a glammy, cabaret-like melody that’s “almost like a parody of a Noël Coward song, or something from Berlin in the 1920s,” Thompson says. “I liked the idea of having a strong base to work from and reaching out from there,” he says. “And I think of my base as being British traditional music, but there’s also Scottish music, there’s Irish music. There’s jazz and country and classical. As far as I’m concerned, once you establish your base you can reach out anywhere. It’ll still be you ringing through, wherever you decide to go musically.”

Ship To Shore by Richard Thompson, released 31 May 2024.

This version of Ship To Shore comes as a 1xLP. This release comes with (a) Sticker(s).

witching seaside ambience for a sound shaped by inner-city living, Atelier’s second full-length studio album, Lights Towards The Exit, channels the mood of a sleepless cityscape.
Lights Towards The Exit is Atelier’s second full-length studio album. After the release of Varsam Court at the end of 2019 on Lossless, run by mentors and friends Mathias Schober and Thomas Herb, the duo experimented with different ideas in the studio, and at the start of 2020 a common thread began to appear between a few of the tracks which laid the foundation for the sound of their second album.
Both Alexander and Jas moved to Berlin in the period before the release of Varsam Court from their hometown of Cape Town, South Africa, where their first album was written and recorded. Moving provided some challenges, particularly with what was the most essential equipment to bring from their previous studio set-up, but those limitations proved to be useful in incorporating new instruments and techniques to the recording process.
Lights Towards The Exit was written and recorded in different spaces in Berlin – from bedrooms in apartment blocks to three different studios across the city. The different locations all had a specific ambience – such as 4th- and 5th-floor bedrooms with busy street views; a studio with no windows in a typical old Berlin backyard complex forever under threat of being sold and gentrified; and a bigger studio with windows on the opposite side of the corridor overlooking the backyard of a mechanic workshop. The final details and edits were completed in Atelier’s current studio, in a contrasting area surrounded by office blocks, plazas, 9-5ers and, most importantly, their friends and colleagues.
Swapping the mountains, sea and seclusion for tall buildings, backyards and a new community, Lights Towards The Exit channels the sensation of being surrounded by people, but still feeling like you're on your own. The album was written through three years of cold winters, sweaty summers and a period where the world stood still during the pandemic. Frustrated with the cease of momentum, but still optimistic, Atelier disappeared from public view, abandoning social media to focus on recording, songwriting and experimentation.
It was a difficult time: the duo longed to perform and continue producing music, and the imposed limitations sometimes felt like an impossible obstacle. Ultimately, though, this would provide inexpected inspiration and influence the sound and direction of the new album.
The sound of Lights Towards The Exit is not a departure from their first album, but a progression: influenced by the new surroundings in the duo’s adoptive city, Atelier’s second album is an ode to first-time experiences, new languages, challenges, club culture and the shift from youth to maturity, as well as a balm to those stuck somewhere in between.
The overall sound is a lift not in tempo, but in energy, matching the openness needed to make a new start in a new place.

Last Summer, Kelly Finnigan made you a mixtape. It was an eclectic mix of ideas. Now, Colemine Records is excited to share two of those tracks on vinyl for the first time. The A-side 'Leave You Alone,' is a stone-cold classic R&B soul cut, and a certified ear worm. It tells a love story from the female perspective, inspired by the soulful sounds of Bettye Swann. This track features the Ramey Brothers (of Monophonics, The Ironsides) and highlights Kelly on all other instruments. TheB-side, 'Thom's Hartbreak' is at hank you letter to Thom Bell & William Hart, two names that are synonymous with the 60s/70s "Philly Sound". This instrumental tune is an homage to a sound thats haped American music and left an indelible mark on the future of soul.

Thou has always been a force of raw energy and unapologetic dissent, defying easy categorization and challenging listeners to confront the complexities of existence. Though often lumped in with New Orleans sludge bands like Eyehategod and Crowbar, Thou transcends genre boundaries, drawing inspiration from a diverse array of influences spanning from `90s proto-grunge icons like Nirvana, Alice in Chains, and Soundgarden (all of whom they've covered extensively) to the raw intensity of obscure `90s DIY hardcore punk found on labels like Ebullition, Vermiform, and Crimethinc. Their latest record Umbilical, Thou's first full-length release of original music since their 2018 Sacred Bones debut Magus, is their firmest nod to the latter - a record filled with mosh-ready riffs, heavy breakdowns and scathing vocals. The band's aesthetic and political impulses have always been punk and like anyone embroiled in the subculture Thou have been exploring what it means to exist within and without a rigid morality. That exploration takes thematic center on Umbilical and their self-assessment is as harsh as that of the world around them.

Thou has always been a force of raw energy and unapologetic dissent, defying easy categorization and challenging listeners to confront the complexities of existence. Though often lumped in with New Orleans sludge bands like Eyehategod and Crowbar, Thou transcends genre boundaries, drawing inspiration from a diverse array of influences spanning from `90s proto-grunge icons like Nirvana, Alice in Chains, and Soundgarden (all of whom they've covered extensively) to the raw intensity of obscure `90s DIY hardcore punk found on labels like Ebullition, Vermiform, and Crimethinc. Their latest record Umbilical, Thou's first full-length release of original music since their 2018 Sacred Bones debut Magus, is their firmest nod to the latter - a record filled with mosh-ready riffs, heavy breakdowns and scathing vocals. The band's aesthetic and political impulses have always been punk and like anyone embroiled in the subculture Thou have been exploring what it means to exist within and without a rigid morality. That exploration takes thematic center on Umbilical and their self-assessment is as harsh as that of the world around them.

It is the contrasts that make the Iiro Rantala HEL Trio so appealing. As a pianist, Rantala often captivates with great lightness and ravishingly supple lines. On the other hand, Anton Eger, with his irresistibly delicate playing, and Conor Chaplin, with his weighty and agile grooves on the bass, bring their very own idea of sound and design to the music.

Galaxy Orange/Black Vinyl. Limited to 500 copies. Data Diamond is the sound of FOUR STROKE BARON at their most confidently unhinged. Originally conceived as two separate EPs (one purely electronic - Data, one heavy - Diamond) that would then meld together on one full length release, the idea morphed into what is now the succinct sucker punch of an album that is heading our way at speed. Heavily inspired by their own work on Data Diamond's predecessor, Classics, Witt and Vallarino got to work in their laboratory creating the most potent, concentrated form of FOUR STROKE BARON possible. Data Diamond - a dizzying sub-40 minute dive into the deranged psyches of its creators. The tracks on Data Diamond are lithe yet still allow enough room for idiosyncratic flourishes that mark this out as a true FOUR STROKE BARON opus. If Classics was a Man vs. Food belly busting plate of indulgence, Data Diamond is an upmarket Gordon Ramsay dish, served with a side of insanity. Finding a co-conspirator in Cynic's Paul Masvidal, the trio get somewhat psychedelic on the album's eponymous closing - and most expansive - track, which also features Vola's Adam Janzi on drums. Thematically, this is their most murderous anthology to date. Those who find themselves embroiled in these bloodthirsty tales include a Radio Shack CEO, an internationally acclaimed cyborg, an accidental trafficker of human body parts, and the leader of a death cult located in a convenience store. FOUR STROKE BARON's anomalous view of the world takes a particularly dark turn across the songs on Data Diamond, yet, as ever the macabre tragedies are dressed up with catchy melodies, pop hooks for days and a big shimmering bow of positivity.

After five long years, Balance and Composure return with Too Quick To Forgive--newly signed to Grammy-nominated producer Will Yip's label, Memory Music, the alt-rock darlings sound more assured and adventurous than ever across two vulnerable tracks. Too Quick To Forgive is a reflection on personal perseverance in the wake of confrontation, told through two distinctly different scenarios. "Savior Mode" finds frontman Jon Simmons baring his soul in a way that is unparalleled in their discography, while "Last To Know" is an emotionally-resonant highlight that leaves a lasting impact well after its final notes play out. Simmons' vulnerability and emotional delivery across both tracks cut through with unflinching precision courtesy of Andy Slaymaker (guitar), Matt Warner (bass), Erik Petersen (guitar), Dennis Wilson (drums), and who the band considers their 6th member--producer Will Yip. In the fall of 2022, the group got together at his Conshohocken, PA studio, Studio 4, with a few ideas that Yip helped turn into these otherworldly tracks. "It was all magic," Jon says. With a renewed sense of purpose, Balance and Composure will return to the stage for a series of Too Quick To Forgive release shows in some of the biggest rooms they've ever played.

"Palm Reader", das zweite Album der Texaner HIGH DESERT QUEEN, strotzt geradezu vor roher Kraft und dem Donnern von gefühlt 666 heißblütigen Dieselpferden. Der Langspieler steckt voll von coolen Vibes, packenden Leads und jeder Menge Desert-Feeling. Dabei liegt der Fokus der Wüstenrocker auf großartigen Songs, statt sich hinter Genre-Zäunen zu verstecken. Diese ungezähmte Attitüde fand den Zündfunken für ihre sprudelnde Energiequelle auf der letzten Tour. Als die Band nach sechs Wochen auf Europas Straßen und Bühnen mit den legendären FATSO JETSON nach Texas zurückkehrte, hatte sie sich von deren allabendlichen Improvisationen und Jamsessions inspirieren lassen und zahlreiche Ideen notiert. Trotz Jetlag konnten es HIGH DESERT QUEEN kaum erwarten, mit neuen Aufnahmen zu beginnen. Dabei konzentrierte sich die Truppe weniger darauf, wer bestimmte Parts wie einspielte, sondern sie erlaubte sich Unvollkommenheit und ließ den Click weg. Frei von künstlichen Schranken begann ihre Musik so frei zu fließen wie nie zuvor. Schon bei der ersten Studiosession nach der Tournee entstanden gleich drei neue Songs. Die Band aus Austin, Texas hat den musikalischen Jackpot geknackt, und "Palm Reader" ist der schlagende Beweis dafür. HIGH DESERT QUEEN waren schon immer etwas anders und viel mehr als nur eine weitere Desert Rock Band. Von Sänger Ryan Garney und Gitarrist Rusty Miller im Jahr 2019 in Houston, Texas gegründet, rekrutierte das Duo bald darauf Schlagzeuger Phil Hook (MONTE LUNA) und zog 2020 nach Austin um. HIGH DESERT QUEEN wurde von Anfang an das Zeug dazu nachgesagt, die dümpelnde Wüstenrockszene wieder in Schwung zu bringen. Ihre vielseitigen musikalischen Einflüsse, die von Grunge bis Funk, sowie von Old School Metal bis Doom und vielen weiteren Musikstilen reichen, boten eine ideale Grundlage für neue Ideen und die nötige Verjüngung des Genres. Ihre donnernden Verzerrer-Hymnen kommen mit einer gesunden Portion Groove und eingängigen Melodien daher, die massiven Anschub durch eine seltene emotionale musikalische Intelligenz erhalten. Der frisch geprägte Sound ist dennoch eng mit dem reichen Erbe des Wüstenrocks verbunden - was in ihrer Stilbezeichnung "Texas Desert Rock" ein Echo findet. Mit "Palm Reader" vollziehen HIGH DESERT QUEEN den nächsten Quantensprung ihrer rasanten Entwicklung. Die Texaner haben die perfekte Balance zwischen den kräftigen Wurzeln ihres Genres und dem pointiert-eigenen Ausdruck gefunden. Angetrieben von Geist und Kraft der live gespielten Musik, rockt dieses Album hart und ehrlich!

10 Year Anniversary Gatefold 2LP 10 year anniversary gatefold 2LP edition of Cult of Luna's take on Fritz Lang's Metropolis film, Vertikal. "Somewhere Along The Highway" and "Eternal Kingdom" were inspired by the landscape of Västerbotten, the county we are from. We realised that there was only one way to go for us: to the city, into the future. Making a droney John Carpenter-esque album would be too easy and we've never been about taking the simple route. I was studying film at the time and had been floored by the aesthetic of German expressionism. This resonated perfectly with Erik Olofsson, who had just got into Italian futurism. This was a real challenge. We put in a lot of effort to realize our vision of the stale, artificial city in all aspects of what an album is. The way we played guitar (only down strokes), the production, artwork and band photos, everything was done with the vision as a guide. "Vertikal" is the album where we had the most precise vision of what we wanted to do and worked hardest to transform it from an idea into reality. A lot of things happened during the years between "Eternal Kingdom" and "Vertikal" and I could continue writing for ages but this will do for now. Ten years have passed since its release and what felt like a rebirth of the band, the band that is still ongoing with new goals and missions. It's a full circle kind of thing. At the time we had no label and now we are releasing it on our very own. Life is strange. Johannes Persson - Umeå December 2022