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After opening the dimension door via a hypnagogic contribution to recent Ruf Kutz comp 'Expansion Pack 2: Textures' and offering a sonic submersion into his 'Deep Waters Mixtape', Inner Glow takes the controls for RK18, treating the DJs and dancers to a high grade house triptych.

For the uninitiated, the man behind the music is a lifelong friend from Ruf Dug's Sydney sojourn, when the two would host mushroom squat parties with the rest of the "Bodega Clan", and who helped mastermind the seminal Paradise Lost warehouse parties. Virtuously patient, the Australian spent the years since perfecting his craft, maxing out the XP and emerging as his evolved form, Inner Glow.

On the A-side, Inner Glow comes through with the two clubbiest cuts from the 'Deep Waters' cassette, unmixed, mastered loud and exclusive to vinyl. Already a firm favourite with Bradley Zero 'Party People' pulses on the A1, its one note bassline and taut pads keeping tension at a maximum. At the top of the frequency band sparse stabs and nuanced percussion dance in tandem, while the deft use of E-Smoove and First Choice acapellas provide an underground intertext Sprinkles would be proud of.

'Call Me' coaxes us into the shadow realm with the lure of Lynchian dialogue, slowly taking shape as a dub techno phantom. It's a heads down affair as urgent subs push against the mist of static, until a rising, wriggling keyboard riff unwinds waists with a hint of UKG exuberance.
Inner Glow brings the beatific on the B-side's 'Love Has No Age', combining rippling keys and MK vocal chops over waves of hiss and haze.
The percussion combines classic house swing with the tinny hats of electro, keeping perfect time as the soulful vocals swell into the sublime.

Over the last twelve months Ruffy's rocked the spot from Pikes to Houghton with these heaters, and now he's sharing them with you.

* Comes with an 8 page booklet **

The Dead Mauriacs is the project of French artist Olivier Prieur, "Paravents et miroirs, une cérémonie" is a live soundtrack.

The Dead Mauriacs describe their music as "Exotica Concrete" - their music is composed of field recordings made on a daily basis, as well as a diverse collection of sounds, including piano, Indian harmonium, violin, ukulele, didgeridoo, pieces of wood, glass, paper, and metal plates. The album is a spectacular 40-minute sound collage, assembled by sampling Exotica music represented by musicians and arrangers such as Les Baxter and Arthur Lyman, who were active in the 1950s.

"Exotica is a musical genre or sub-genre that emerged in the 1950s in the United States with musicians and arrangers like Les Baxter or Arthur Lyman. It is an extraordinary music because it is false: bird calls imitate bird songs, you can hear the sound of the waves, it is a Western fantasy, particularly North American, of a world and an imagery that never existed. It is a music associated with mass tourism, mass entertainment, consumerism. Arthur Lyman recorded about 30 records in 10 years in Waikiki. With his band, they played and recorded under a geodesic aluminum dome. The dome belonged to the owner of the hotel he played for every night. They did this at night to avoid noise. It's music that is both profoundly naive and totally flawed. In this, it is seductive and intellectually interesting. It is music that could easily be criticized today, but it is an imaginary in itself, like the Italian film music of the 1960s and 1970s." (Excerpt from the calax's interview)

The Dead Mauriacs are not only involved in music, but also in a wide range of other creative endeavors, including video and painting. He also repsonsible for the artwork of this LP. The inside of the product is also accompanied by an 8-page interview with Mauriacs and compiled his amazing artworks.

The Dead Mauriacs
Paravents et miroirs : une cérémonie / Screens and mirrors: a ceremony

Side A
Courte dérive, une ouverture / Short drift, an opening
Le retour des insectes électriques / The return of the electric insects Les oiseaux étranges / The strange birds Tension, terreur factice / Tension, false terror
Dénouement malais / Malaysian ending
Rituels et vanités 1 / Rituals and vanities 1
Rituels et vanités 2 / Rituals and vanities 2
Italiens dʼHambourg / Italians in Hamburg

Side B
Secrets pour piano / Secrets for piano
La suite Monory, Padoue-Le Caire-Nassau / The Monory Suite, Padua-Cairo-Nassau Hommes à découper / Men to cut out Lassitude moite / Clammy weariness
Le soleil artificiel du pont croisière / The artificial sun on the cruise deck
Pirogues et palmiers, vus de la scène / Pirogues and palm trees, seen from the stage La traversée / The crossing Rideau / Rideau
Fields recordings : Semproniano and Siena, Italy, Figueira, Portugal, Charentes, France. An electrical wire with a frequency shifter gave birth to the insects. Real and fake piano. Everything made with a computer and a midi keyboard.
Music premiered at Hörbar, Hamburg, 28th of December 2017. Music (and video) Olivier Prieur.
Thanks to Thorsten Soltau and all people at Hörbar.
Hello to Felix Kubin & Marie-Pierre Bonniol, Julia & Jan Warnke. Kisses to Hélène.

Yellow Vinyl
Over their six albums The Go! Team have taken sonic day trips to other lands - musically dipping into other cultures. But now on this, their seventh - they"ve bought a round-the-world ticket.... Benin, Japan, France, India, Texas and Detroit - all stops along the way. Wildly different voices from wildly different cultures side by side but all still sounding unmistakably Go! Team. Setting the course for a kaleidoscopic, cable access, channel hop. On the vocal roll call there"s Star Feminine Band, an all-girl group from West Africa, the Indian Bollywood playback singer Neha Hatwar, Kokubo Chisato from J-Pop indie band Lucie Too, 19 year-old Detroit rapper IndigoYaj, Hilarie Bratset (ex-Apples in Stereo), Brooklyn rapper Nitty Scott, and a whole host of others, alongside Go! Team staple Ninja. Picking up from 2021"s "Get Up Sequences Part One", Part Two continues the feeling of Technicolour overload. It"s a journey spanning Cyclone Tracey wig-outs, chroma key sitar psychedelia, Casiotone anthems, spoken word melodrama and kalimba callouts. Brill building melodies lead into musical handbrake turns, four track into panoramic. Eighteen years after their debut LP The Go! Team are still unlike anyone else and on "Get Up Sequences Part Two" they sound as fresh as a club soda....

Over their six albums The Go! Team have taken sonic day trips to other lands - musically dipping into other cultures. But now on this, their seventh - they"ve bought a round-the-world ticket.... Benin, Japan, France, India, Texas and Detroit - all stops along the way. Wildly different voices from wildly different cultures side by side but all still sounding unmistakably Go! Team. Setting the course for a kaleidoscopic, cable access, channel hop. On the vocal roll call there"s Star Feminine Band, an all-girl group from West Africa, the Indian Bollywood playback singer Neha Hatwar, Kokubo Chisato from J-Pop indie band Lucie Too, 19 year-old Detroit rapper IndigoYaj, Hilarie Bratset (ex-Apples in Stereo), Brooklyn rapper Nitty Scott, and a whole host of others, alongside Go! Team staple Ninja. Picking up from 2021"s "Get Up Sequences Part One", Part Two continues the feeling of Technicolour overload. It"s a journey spanning Cyclone Tracey wig-outs, chroma key sitar psychedelia, Casiotone anthems, spoken word melodrama and kalimba callouts. Brill building melodies lead into musical handbrake turns, four track into panoramic. Eighteen years after their debut LP The Go! Team are still unlike anyone else and on "Get Up Sequences Part Two" they sound as fresh as a club soda....

Yellow Vinyl


Over their six albums The Go! Team have taken sonic day trips to other lands - musically dipping into other cultures. But now on this, their seventh - they"ve bought a round-the-world ticket.... Benin, Japan, France, India, Texas and Detroit - all stops along the way. Wildly different voices from wildly different cultures side by side but all still sounding unmistakably Go! Team. Setting the course for a kaleidoscopic, cable access, channel hop. On the vocal roll call there"s Star Feminine Band, an all-girl group from West Africa, the Indian Bollywood playback singer Neha Hatwar, Kokubo Chisato from J-Pop indie band Lucie Too, 19 year-old Detroit rapper IndigoYaj, Hilarie Bratset (ex-Apples in Stereo), Brooklyn rapper Nitty Scott, and a whole host of others, alongside Go! Team staple Ninja. Picking up from 2021"s "Get Up Sequences Part One", Part Two continues the feeling of Technicolour overload. It"s a journey spanning Cyclone Tracey wig-outs, chroma key sitar psychedelia, Casiotone anthems, spoken word melodrama and kalimba callouts. Brill building melodies lead into musical handbrake turns, four track into panoramic. Eighteen years after their debut LP The Go! Team are still unlike anyone else and on "Get Up Sequences Part Two" they sound as fresh as a club soda....

Arkada records is excited to announce our 4th release - forthcoming split vinyl EP featuring the sounds of ADJ & Adrien d’Elzius.

We are very happy to present the first part of the EP with the unique sounds of one of the pioneering artists in the UK underground Electro scene, the label owner of Pyramid Transmissions - ADJ

ADJ originates from and is based in London. He has been playing Underground Electronic Music for over 35 years as a DJ, starting in the days of Early Electro and Hip Hop. He has also been producing and releasing music for 25 years, releasing over 200 tracks in this time on a plethora of labels including Touchin Bass,For Those That Knoe, Another Perspective, Ai, Outside, Cultivated Electronics,Yellow Machines, Crobot Muzik, Diffuse Reality, Netlabel ,Digital Distortions and more...has done remixes for Flint Kids, Scanone, LASynthesis, Carl Finlow, Fleck Esc, Arsonist Recorder , Paul Hierophant to name a few.

He has run the Pyramid Transmissions Record label with label partner Pathic for 20 years and also ran the Analogique record label for 5 years from 1995-2000 releasing Techno, Electro and Electronica as 3 Elements.
ADJ also performed his first LIVE set in a few years in March 2020 MUTABOR in Moscow.

As a DJ, he has played at many festivals including a BLOC residency, Glastonbury For BLOC, Bestival, Shambala, Infiltrate at WMC Miami. 2019 saw another tour of the US with Silicon Scally,Ben Milstein, EVAC, Ion Driver and 214. He also runs the Dodo Club and Frequency Resonate(with Errorbeauty) nights in London and Berlin aswell as playing in Lille, Kiev, Moscow, St Petersburg Berlin,Zagreb,Athens, Napoli, Brussels, Budapest, Vienna, Valencia, Sofia, Paris and many more..

Second part of our EP presents the futuristic glitched-out sounds of the one of a kind Belgium producer Adrien d’Elzius also known under his allies HosmOz.

Adrien d’Elzius was born in the gloomy south of Belgium spending his youth hanging around in a camping and listening to Hip Hop, he started his life in a mess of paradox. At 10, he learned to play drums under his punk’s brother regard, and experimented different kind of rock until 18. That’s where someone showed him a track of Aphex Twin, who blew his mind and made him believe he had finally found the music that suited him. From there, he compulsively spend hours playing around with his computer and slowly made himself a place in the very small community of underground music lover of Brussels under the nickname hosmOz after winning a contest. From his melodic and acidic drill’n’bass beginning, his sound slowed down and got darker, challenging himself to try to create something he couldn’t before. He recently re-released his Lp on Diffuse Reality that make it available on physical form and also his debut album on Burial Soil with remixes by Umwelt and Lloyd Stellar.

The masters of the release are kindly made by Thomas Dunstan. Artwork made by our amazing designer Lawrence Cli

Lady in Satin was released in 1958 on Columbia Records, catalogue CL 1157 in mono and CS 8048 in stereo. It is legendary singer Billie Holiday's penultimate album completed by the singer and released in her lifetime (her final album, Billie Holiday, being recorded in March 1959 and released just after her death).

AllMusic says: "The feeling and tension she manages to put into almost every track set this album as one of her finest achievements. 'You've Changed' and 'I Get Along Without You Very Well' are high art performances from the singer who saw life from the bottom up."

The song material for Lady in Satin derived from the usual sources for Holiday in her three-decade career, that of the Great American Songbook of classic pop. Unlike the bulk of Holiday's recordings, rather than in the setting of a jazz combo Holiday returns to the backdrop of full orchestral arrangements as done during her Decca years, this time in the contemporary vein of Frank Sinatra or Ella Fitzgerald on her Song Books series. The album consists of songs Holiday had never recorded before.

Bandleader Ray Ellis used a 40-piece orchestra, complete with horns, strings, reeds and even a three-piece choir. It would turn out to be Holiday's most expensive music production. Soloists on the album included Mel Davis, Urbie Green, and bebop trombone pioneer J. J. Johnson.

Now with our 45 RPM release, mastered from the original analogue tape by Bernie Grundman, and pressed by our own Quality Record Pressings, the best-sounding version of this historic album gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Original album produced by Irving Townsend, and engineered by Fred Plaut.

Just as Duster's landmark debut album Stratosphere was making its first orbit, Clay Parton, Dove Amber, and Jason Albertini tracked a largely improvised companion capsule under their Valium Aggelein alter ego. An ode to '70s Kosmische, Hier Kommt Der Schwartze Mond is a skeletal space nap for the prozac generation. Remixed and remastered from the original 16 track analog tapes, the 1998 album has been adjoined by 15 period-appropriate bonus tracks. A fuzzy masterpiece, hidden in plain sight, by the most important slowcore band of all time.

LIXTP, the collaboration between Love International Recordings and the Test Pressing website, yields its second release following 2021’s label debut from Fantastic Man.

This time it falls to Test Pressing founder Paul Byrne AKA Apiento to open 2023’s account with the simmering ‘Escape Reality’ EP.

Having carved out a prestigious career over the years, as A&R for Junior Boys Own, International Feel and Test Pressing labels, and releasing his own Apiento productions on Music For Dreams, World Unknown and World Building, Apiento goes in deep across six tracks of esoteric electronica and transcendental dance.

The influence of Detroit techno can be found in the complex drum work and dreamy synths of tracks like ‘Those Busy Circuits’ and ‘Axis’, whilst hedonistic dance vibes are served up on ‘Everything Move’. Presenting a broad palette of moods and tones, Apiento delivers an allencompassing release for lovers of the real electronic groove.

‘Escape Reality” by Apiento is released on Love International Recordings/Test Pressing from 10th February 2023.

The 1980s will forever be remembered for electropop sensations, yet few, if any, are quite as sensational as Yaz's Upstairs at Eric's. A standard-setting mélange of smoky blues singing, jazzy arrangements, disco-tinged beats, and dancefloor vibes, the smash debut fits equally as well at a late-night club as it does in a living room, where the record's complexity and exoticism takes listeners hostage. No wonder the 1982 landmark remains one of the decade's most essential albums.

This numbered edition Silver Label LP breathes with a decongested openness, textural richness, and expansive tonal palette. Alison Moyet's inimitable vocals, such a huge part of the record's appeal, are dramatically enhanced, her sensual timbre, bittersweet crooning, and knockout range now encompassing the full frequency spectrum and projecting outward in a way that traverses the flatness of the original pressings.

Indeed, her bluesy deliveries are at once elegant and exuberant, and give collaborative partner Vince Clarke free range to construct beat architectures that encompass freewheeling disco, house music, uptempo dance, and chilled-out pop. The former Depeche Mode member also layers on elegant keyboard melodies, establishing contagious hooks and electronic-laced landscapes that preceded the techno explosion and do so with a cooler elegance. Tape loops, random field-noise dialogues, and synth-stroked bass notes add to what's nothing less than a perfect collusion of moody paranoia and soulful warmth.

While a cousin to synth-pop LPs by the likes of the Eurythmics, Soft Cell, OMD, and Depeche Mode, Yaz's Upstairs at Eric's is singular for its chemistry between Moyet and Clarke – and an insouciant batch of songs high on emotion, style, and substance.

Each realm moves its own time in the now. Our space in this realm moves in time with the greater mechanism, at our own pace. We focus less on the gears of the mechanism and more on the energy that turns motion. Our music is a reaction to falling; an instinctual jerk that breaks momentum. Our sounds are taken from the background of our environment. Conversations that blend, the rattling hydraulics of a bus, the ringing of your ears, the random bangs of a floundering stumble corralled into a rhythm and submerged in synth. Docile is a style that is gritty to smooth on an honest simple funk. It is a stripped down 4\4 minimalism with a backbone. We transmit the frequency of our time and space through the noise of the technosphere; determined to advance our movements into unknown areas.

Docile Recordings is owned and managed by Andy Garcia. Docile 31 was produced by Garcia in his laboratory located in downtown Detroit. Every Docile product is pressed by Garcia at Archer Records on an American made Lened press.

"Now comes Analogue Productions' 180-gram double 45 RPM reissue sourced from the original Island master tapes sent over from the U.K., cut by Kevin Gray at Cohearent Audio, pressed at RTI and housed in a laminated gatefold "Tip on" jacket complete with "pop up" band. The packaging is exquisite! Only word for it. AP couldn't get permission to use the pink label so it uses the green Chrysalis one. ... if the goal was to duplicate the original pink label Island sound, this reissue misses that, which is good because this new double 45 reissue is far superior to the original in every possible way. The tape was in great shape, that's for sure. Clarity, transparency, high frequency extension and especially transient precision are all far superior to the original. Bass is honest, not hyped up and the mastering delivers full dynamics that are somewhat (but only slightly), compressed on the original. Ian Anderson's vocals are naturally present as if you are on the other side of the microphone. Most importantly, the overall timbral balance sounds honest and correct. But especially great is the transient clarity on top and bottom. ... Best of all, as the title suggests this album "stands up" to time. It hasn't lost a thing musically, lyrically or sonically. Highly recommended!" — Music = 9/11; Sound = 9/11 — Michael Fremer.

Jethro Tull's second album, Stand Up, marked an early turning point for the band with the addition of guitarist Martin Barre along with Ian Anderson's introduction of folk-rock influences to the group's blues-based sound.

Released in the summer of 1969, Stand Up rose quickly to the top of the U.K. Albums Chart, and eventually earned gold certification in the U.S.

Stand Up was the first album where Anderson controlled the music and lyrics, resulting in a group of diverse songs that ranged from the swirling blues of "A New Day Yesterday" and the mandolin-fueled rave-up of "Fat Man," to the group's spirited re-working of Johann Sebastian Bach's "Bouree in E Minor." In a recent interview, Anderson picked Stand Up as his favorite Jethro Tull album, "because that was my first album of first really original music. It has a special place in my heart."

Now with our 45 RPM release, plated at QRP and pressed at RTI, the best-sounding version of this historic album gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Clean, balanced, richly detailed. Just the way an Analogue Productions reissue should sound. You'll experience Jethro Tull classics such as "Bouree," "A New Day Yesterday," "Look Into The Sun," "We Used To Know," "Fat Man" and the rest with a new appreciation for the Grammy-winning progressive act's musical skill and innovation.

Labi Siffre’s third album was the first to be produced by Labi himself, who declares it to be “the one where it all
came together… singing some of my best songs”.
• Issued in 1972, it features the beautiful original version of “It Must Be Love”, a # 14 hit for Labi nine years
before Madness took it to the top. Also featured is “My Song”, as sampled by Kanye West for “I Wonder”, and
the # 11 hit title song, also covered by Rod Stewart and Olivia Newton-John.
• This new edition has been expertly cut by Barry Grint at AIR Mastering from the original stereo tapes using
precision half-speed mastering.
• Half-speed mastering is a vinyl cutting technique that improves groove accuracy and transient information
creating an incredibly detailed stereo image with a natural high frequency response.
• Presented in its original gatefold sleeve, pressed on180 gram heavyweight vinyl, featuring an obi strip and
housed in a poly-lined inner sleeve, with all the lyrics on the 4 page insert.

»Follower« is Abrahams’ 6th album for Room 40 and showcases his continuing interest in the ambiguous spaces between music and noise; tonality and atonality; rhythm and texture. All four tracks have piano as a key factor: in one instance, high-pitched and atonal; in another, emotive yet distant as if projected on to a screen. Follower presents the listener with a sound world of colourful juxtapositions, rich orchestration and organically open forms.

On the opening track, bass piano meanders through a wilderness of de-tuned bells and organ swells; a strange sort of festival. Low frequency sighs evenly punctuate, like a pump or a heartbeat. It’s a procession that takes it time as it wanders the terrain, brought to a close with transcendent distortion. On track 2, muscular modal piano surfs among waves of percussion and analogue synthesisers. A buffeting travel.

6 face-melting gurners for the 21st Century’s, wilted and jilted generation.

Glasgow’s Lady Neptune follows her New Gorbals Gabber cassette E.P. with her debut vinyl release NOZ. Over the course of 23 bloody fisted minutes, Lady Neptune’s – aka Moema Meade - hyper destructed take on Gabber and Happy Hardcore breaks down the genre tropes before rebuilding them as a new pop music. If 2020’s New Gorbals Gabber showed an artist building their own language from fragments of different genres, 2022’s NOZ goes harder into the cyberpunk-ass future and takes no prisoners. Recorded and mixed at Glasgow’s legendary Green Door Studios and mastered by Rashad Becker, here Lady Neptune evolves into a monster.

With the classic weapons of Dutch Gabber – distorted 909 kick drums, bursts of noise and world-eating Rave-O- Matic hoovering synth riffs, Lady Neptune’s 6 tracks constantly threaten to careen off the speaker into the sweatiest, most gibbering, messy corners of the club. The two years since her debut has seen Meade destroying festival dancefloors, training for the full assault that is NOZ. Live performances have seen foam guns, tequila-pistols, neon stage dancers and a full, maxed-out orgy of fast-as-hell BPM, rave music burning up the cones. The experience reaps rewards from the outset on recorded form here. APOCOLYPS begins with monstrous vocals and the all-consuming kick, pulled back and taut for launch. The arsenal builds; warbling synths and high-pitched synth-strings before dropping into Bald Terror-sized hoovers and stuttering 4/4s. It quickly bleeds into MASTERER, with a looped, pitched up vocal intersecting with the synth riff. The aesthetics might be Happy Hardcore but the dynamic feels like a synthetic, evil Nu Metal-influenced Industrial music. Constantly evolving and twisting with its own natural drama, the drop at 2:15 is pure ecstatic release. fusing Meade’s inclination for pop hooks with the first out-and-out 180BPM (ish, who’s counting?) anthemic melter of the E.P., TELL ME has THE big catchy chorus, used sparingly and sung by Meade with angelic devilishness, coming at you in waves of XTC. It’s a repeater.

It’s then massive fists in the air for the ruthless Side B opener WIT. In the Welsh-Brazilian artist’s adopted home of Glasgow it translates directly as WHAT!? Itt makes sense. g. Sharp, weaponised, rhythmic punishment abounds before OH responds. Pitched up vocals and another mid-frequency synth hook wipes the slate clean. Like the best Gabber, the tension and release dynamic is used to full effect by Meade, with the thunderous low end kick -expertly tweaked in the mastering by Rashad Becker – slipping into the ghostly cavern. Industrialized 4/4 and noise-snares propel onwards to be utterly squashed by that bloody synth, stinging and horribly brilliant. Proving her genius for a ridiculous A-N-T-H-E-M, TIME 2 MAKE U FEEL GOOD closes the 23 minutes of ragged, drugged glory with a festival-slamming chorus built from the wreckage. It’s a song that does that thing we all know and love but can’t put our finger on. Sad, happy, tragedy, ecstasy, joy, horror...There’s big, minor chord changes (yes there’s some CHORDS on this slammer), the kick is submerged in layers of pads and Meade’s actual secret weapon: her vocal and knack for writing a chorus line. In the listener’s mind it’s over before it’s begun, a track destined for the big rewind.

NOZ is a breathless, E-number riddled eternal ecstasy.

A Breath of Fresh Air is the triumphant, inspiring new album from Bread of Kaliwild, a longtime staple of the underground rap scene who continues to grow and shine as an emcee. And while he certainly made waves with the release of his solo debut, Daily Bread in 2019, Bread is on another level with the ten tracks on this project. It’s all part of his plan to capture the sound he loves and holds so dearly, all while pushing himself as a lyricist.

Specifically, the L.A. rap staple calls out “What Love Is” as one of his favorite lyrical moments, and it’s easy to see why when you hear it. During the third verse, he shows love to his children in a creative and heartfelt way like only he can. “What Love Is” is also one of several collaborations between Bread and living producer legend Nottz, one of the emcee’s go-to producers. The two linked for Daily Bread and kept creating magic for their tracks together on this record. Whether it’s on the politically charged “Eye 4 Eye” or on the moving Guru tribute “Nice Like That” (feat. Big Shug), Bread and Nottz are a force.

The Kaliwild rapper’s ear for production doesn’t stop there, either. His two other collaborators—beatsmiths Noah Ayala and Therealasethic—provide a wealth of warm, head-nodding instrumentals for Bread and his guests. Just listen to “Godz Return,” a funky West Coast banger produced by Ayala that also features Planet Asia. Or head to the Bay Area on “Feels So Good,” which boasts Therealasethic’s shimmering production and guest vocals from Keak da Sneak, URG7, and Gemini.

There’s so much to love about A Breath of Fresh Air, though the most remarkable aspect may just be Bread’s passion.

a 1 Let Us Begin (Intro) feat. DJ Romes

GoaTekk is a mind blowing blend of sharp breakbeat rhythms and flying Goa Trance feeling with a huge blow of Acid influence. On this 5 dancefloor killer tracks plate you will find the diverse palette of mutating genres. The opener ‘deleting_your_data313’ is a tribute to Techstep domination times: gated Reese bass with evolving trance pads goes together on the basement of classic break. Next comes the ‘digital_trance’ stomper - rolling 101 baseline, huge 4x4 kick served with 303 acidline and vocal stabs in breaks. The second side starter - minimalistic ‘primal_code’ utilizes fast 808 drum pattern alongside with ripping roaring acid lead which conquer all frequency spectrum. B2 ‘hyperplane’ is a heavy mid tempo Electro tune with long tailed pitfall and flangy 101 bass. The closing one, ‘poison_bit’ creates a dreamy soundscape where fast 160pbm Juke drum pattern interflow with gated Goa pads and melancholic 101 arpeggios. The ultimate seduction....

Die lang erwartete erste Wiederveröffentlichung eines Klassikers, dessen (einzige) Originalpressung innerhalb weniger Wochen nach der Veröffentlichung am 15. Oktober 2001 ausverkauft und seitdem nicht mehr erhältlich war.

Vielleicht das dynamischste und abenteuerlichste Album, das die Montrealer Szene der frühen Nullerjahre um Godspeed you black emperor! hervorgebracht hat.

Aufgenommen über einen Zeitraum von fünf Tagen, handelt es sich bei dem beeindruckenden Debütalbum des 13-köpfigen Kollektivs aus Montreal, dem auch Mitglieder von Godspeed you black emperor!, A Silver Mt Zion und Fly Pan Am angehören, laut TimeOut um 'eines der grüblerischsten, dramatischsten, emotionalsten und eindringlichsten Alben, die jemals an deiner Seele gekratzt haben.' Auch Pitchfork zeigte sich beeindruckt und attestierte: 'ein wunderbar einfallsreiches und kraftvolles Album.'

Remastered bei Dubplates & Mastering.

Stephan Mathieu's FrequencyLib was originally released in 2001 on Mille Plateaux's Ritornell sublabel. A quintessential document of the late 1990s/early 2000s Pismo PowerBook era of digitally manipulated audio, FrequencyLib is an adept meditation on the entropic possibilities inherent in popular music. Included with this reissue is the complementary Sad Mac Studies EP - first issued in a run of 100 on Robert Meijer's boutique En/Of label. Exploring similar themes/processes as FrequencyLib, Sad Mac Studies reimagines and deconstructs the sonic world of Sesame Street.