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Dropping into chapters four and five of his Midnight Themes series, Marlon Hoffstadt responds to this summer's double set of 'Human Interpretations' - where Gramrcy, Eric Maltz, Johannes Albert, Bawrut and others remixed his previous work - with a two part EP of original material titled 'Law Of Attraction'. Marlon has steadily chiseled his way back into the scene with a series of acclaimed releases and is now in full swing with his Midnight Themes label and his Savour The Moment parties. For 'Part One', the Berlin native delivers four bold tracks, building bridges between classic sounds and a distinct knack for melodies. It's uplifting techno for a hopeful future and these killer cuts are ready and waiting to hit the dancefloors. Speaking of dancefloors, join Marlon to celebrate the release of both EPs on December 8th at Renate alongside DMX Krew, Kowton, Meggy, Gigsta and many more.

Purple Vinyl Repress is coming

One of Smiths favourite pieces of music, At Les, has been a remix target of his for a long time but earlier this year inspiration and motivation combined and resulted in two brilliant interpretations which were immediately sent to Carl Craig, purely out of respect. Craig loved them, granted his permission and approval for a special remix package release on Tronic and now, here we are with one of the biggest releases of 2010.

Delivered in both Tronic Treatment and Hypnotica Remix forms, Smith has taken the originals warmth, musicality and emotion and given them the sort of energy and power which has made him one of the most bankable producers of recent years.

The Tronic Treatment remix starts slow but with careful and patient layering of melodies builds to an epic, peak time track which takes on an almost orchestral feel while the aptly titled Hypnotica Remix takes a slightly more aggressive, loopier and hypnotic take.

Repressed on Clear Vinyl for 2022


Dave Clarke Very good, congratulations!

Slam awesome mixes. played last night - a classic just got better really love both mixes

Laurent Garnier what a classy remix of this stunning classic—Will play everywhere and will playlist on the radio BRAVO

John Digweed "Massive!" Both Remixes!

Dubfire "Christian has managed to do a great remix of a timeless classic which is both reverent and of the moment. Well done! I closed with it at Awakenings festival and it sounded wicked!"

Adam Beyer Love the "Hypnotica" remix that Christian made. Been playing it over and over and it was one of the biggest trax during WMC for me!

James Zabiela Oh My God!!!!!! Going on my essential mix that was meant to be handed in this morning. Re-working to fit this in. ANTHEM!!!!!

Ltd. Yellow+Red Splatter Vinyl

Die unbestrittene britische Musikikone Dizzee Rascal meldet sich mit dem elektrisierenden neuen Album 'Don't Take It Personal' auf seinem neuen Label Big Dirte3 Records Ltd. zurück. Die LP stellt seine besten Arbeiten in den Schatten und ist eine eindrucksvolle Erinnerung daran, wie Dizzee zu seinem legendären Status kam. Es fängt ihn in aufrührerischer Form ein, während er mühelos und mit unvergleichlicher Leichtigkeit durch eine ganze Sammlung an eindeutig britischen Genres fliesst. Dizzees neuestes Werk, das sich auf prahlerische Flows und beeindruckendes Wortspiel konzentriert, ist eine weitere Siegesrunde eine der prägendsten Legenden der Rap-Musik, und während es weiterhin Reime regnet, denkt daran: Es ist nichts Persönliches.

We Release JAZZ is so happy to announce the fourth Bruno Spoerri release in the WRWTFWW discography, this time focusing on the Swiss legend’s unheard jazz catalogue. The pristine 6-track album Musiques Légères (1976-1982) is available as a limited edition half speed mastered biovinyl LP housed in a heavy 350gsm sleeve with superb design by Nicolas Eigenheer and the classic WRJ obi.

Swiss jazz and electronic music pioneer Bruno Spoerri unveils a treasure trove of never-before-released songs in this rare archival collection recorded between 1976 and 1982 that includes collaborations with the fabled Radio Suisse Romande-backed music ensemble GIR (Groupe Instrumental Romand) which featured the crème de la crème of Helvetic forward thinking musicians with an international reputation. The super team of instrumentalists / composers represented Swiss national radio in endeavors that spanned a vast array of music genres such a jazz, pop, experimental music, or what they referred to as “musiques légères” (light music), their very own brand of jazz and funk infused easy listening. One notable member of GIR was drummer extraordinaire Stuff Combe that We Release JAZZ collectors will know from his Stuff Combe 5 + Percussion LP.

Musique Légères (1976-1982) offers a marvelous blend of easy listening jazz, joyful synth improvisations, and soulful funk ballads, a testament to Bruno Spoerri’s multifaceted talents and ability to approach various genres while keeping his very personal and very magical touch. Among the hidden gems on the carefully curated collection is the immensely catchy "Prince Karl", an undeniable hit that truly deserves to be heard.

This is the fourth Bruno Spoerri release from WRWTFWW, following the synth heavy and galactic Voice of Taurus and The Sound of the UFOs, and the compilation of unreleased experimental tracks Rare & Unreleased 1971-1998.
Musiques Légères (1976-1982) is pressed on biovinyl, a sustainable alternative to traditional vinyl. Biovinyl replaces petroleum in S-PVC by recycling used cooking oil or industrial waste gases, resulting in 100% CO2 savings in bio-based S-PVC production. Furthermore, it is 100% recyclable and reusable, embracing the circular economy ideology.

Clear Vinyl

Blue Lake is the musical moniker of American born, Copenhagen based multidisciplinary artist and musician Jason Dungan, who signs to the Tonal Union imprint for the release of his new longform album ‘Sun Arcs’. It follows 2022’s release ‘Stikling’, earning a nomination for ‘Album of the Year’ at the Danish Music Awards plus warm praise from The Hum blog and musicians and DJs alike including Jack Rollo (Time is Away/NTS) and Carla dal Forno. A self taught player, Dungan began freely experimenting with self-built multi-string instruments, preferring to build his own hybrid 48-string zither and working in the realms of left-field ambient music, off kilter folk and improvised acoustic minimalism.

The starting point of ‘Sun Arcs’ saw Jason travel for a week alone to Andersabo, a cabin set in the idyllic Swedish woods just outside of Unnaryd, known also as the music project, festival and residency space which has been run by Dungan since 2016, hosting artists like Sofie Birch, Johan Carøe and Ellen Arkbro. Whilst writing 1-2 pieces per day, a conscious decision was made to leave behind everyday distractions and shut out the outside world to instead focus on the natural passage of time as Dungan recalls: “My only sense of time came from these daily walks out in the woods with my dog, and an awareness of the sun’s path as it moved across the sky each day.”

The album’s immersive world unfolds with the opener ‘Dallas’, an ode to his home state and a musical synthesis of these two disparate spaces (Texas and Denmark), the touchstones of Dungan’s life. A folk-esque single acoustic builds to a flowing arrangement of clarinets, organ and cello drones coupled with percussion. ‘Green-Yellow Field’ chimes in as the first of two solo oriented zither recordings twinned with the dreamlike title track ‘Sun Arcs’, both densely rich as cascading and overlapping harmonic tones resound. ‘Bloom’ emerges with a krautrock psyche before an eruption of cello drones, slide guitar and free-ranging zither playing, ushering in the anticipation of spring. With half of the recordings conceived in Andersabo, Jason returned to Copenhagen to form the album's centre piece ‘Rain Cycle’ which features a tempered Roland drum machine alongside shifting zither improvisations. ‘Writing’ explores the shimmering harp-like qualities of sweeping playing figurations with Dungan mapping out adjusted tuning “zones” on the zither for unconventional but creatively liberating effects. ‘Fur’ captures the feeling of openness and the momentum of time, seeing Dungan perform waves of solo clarinet, often in one takes and embellished with textural drones, a zither solo, and layers of guitar. ‘Wavelength’ the album's closer is fondly inspired by the film works of Michael Snow and Don Cherry’s seminal live album ‘Blue Lake’ (1974), as it builds out from a drone-generated zither chord and features an alto recorder solo. Dungan found a deep connection to Cherry’s stripped back performance ethos, focusing on the core beauty of minimal instrumentation creating a genre-less meeting between folk and jazz. A dialogue is formed between the solo and the bandlike performances, interlinked in a geographical duality with all finding a sense of commonplace as musical sketches of visited landscapes. The bountiful instrumentation ebbs and flows as further layers emerge with Dungan constructing his material much like an artist would, recording and reviewing, adding and subtracting.

Musically it portrays a form of double life led by an American-identifying person living in Scandinavia, and a new found presence in Denmark, seeking out underdeveloped marshlands and barren stretches of beach adrift from other rhythms and distractions. Highlighting their individual and potent importance Dungan concludes: “Both places feel like “me”, I think on some level the music is always some kind of self-portrait.” ‘Sun Arcs’ depicts the intricate balance of nature’s cycles and the paths outlined by the seasons, from a winter dormancy to a warm sun drenched scene. The album scales new glorying heights and further defines Dungan’s musical narrative, inhabiting a unique space in left-field, improvised and experimental music, borning his most accomplished compositions to date. A singular and visionary expression, drawing on an array of instruments and sound worlds with a renewed sense of joy and discovery.

The album's rich tapestry was mixed by Jeff Zeigler (Laraaji, Mary Lattimore, Kurt Vile /Steve Gunn) and mastered by Stephan Mathieu (Kali Malone, KMRU, Félicia Atkinson).

Red Vinyl

EVOLV is a visionary window into the mind of Dubfire, the journey of the ‘hybrid’ being and its evolution. Last year in October, an 11-track debut album was released on his long-standing SCI+TEC imprint. And now, just over a year later, Grammy award winning producer Dubfire returns to that sonic discourse, drafting in an impressive array of names to re-interpret the material, and accompanied by Dubfire's new audio-visual EVOLV show which picked up where the critically acclaimed electronic performance experience HYBRID had left off.

For their first album, Seth Troxler and Phil Moffa joined forces and became multidimensional creative dissidents Lost Souls Of Saturn. This time, even further into the vortex, they’ve metamorphosed into sci-fi AR comic characters John and Frank who’ve explored the galaxy and returned with this perception-melting new LP.

Although ‘Reality’ still possesses the wigged-out conceptual brilliance which garnered installations and performances at Saatchi Gallery (London), Fondation Beyeler (Basel), The Metropolitan Museum of Art (NYC), and Museum of Contemporary Art Detroit, plus live sets at Field Day, Glastonbury and Kappa Futur, as its title might suggest, there’s vividness amidst the mind-bending. Where its predecessor was a murky exploration of weird and dark cerebral passageways, this album – though still fathoms deep – has a dazzling clarity of sound, as if listeners are beginning to crack the arcane codes, and reach for enlightenment.

A prime example of these newfound beams of light guiding participants through the maze is their recent single; the chugging cosmic techno synth pop of ‘Mirage’, featuring the voice of Adam Ohr. Also guesting on the album is Lvv Gvn, whose honeyed Billie-Holiday-meets-Rickie-Lee-Jones tones adorn the tranquil pixelated broken beat of ‘Click’, Greg Paulus’s trumpet sessions on ‘Zorg Arrival’ and ‘Scram City’, and Protomartyr’s vocalist Joe Casey and guitarist Greg Ahee, who grace the liminal drifting celestial plane of ‘Lilac Chasers’. Sitarist Rishab Sharma, the last disciple of guru Ravi Shankar, also shreds on ‘Scram City’.

Elsewhere, across the LP’s immensely inventive instrumental passages techno, dub, house, jazz, psych and ambient are vapourised into an expansive yet pleasingly concise series of morphing dream states. Fans of Air Liquide, Ravi Shankar, Ray Manzarek, Carl Craig, Pole, The Orb and ‘Son Of A Lung’ era FSOL should find much to like.

White vinyl, limited to 500 copies. Liam Cromby, known for his work as the lead singer and songwriter of We Are The Ocean until 2017, has today announced his forthcoming debut solo album What Can I Trust, If I Can't Trust True Love, due for release on December 1st 2023, also sharing the title track, available to stream/download worldwide now. "Drawing from my own experiences, this song is a testament to those early, fragile moments of a relationship_where every misstep feels like a fall and every kind gesture feels like flying," he explains. "Choosing to name the album after this song was instinctive, given that it was among the final tracks to be crafted. Even though it came later in the creative journey, it perfectly embodies the central theme of the album." Since revealing the first taste of new music in March, with the release of `Here I Am' - accompanied only by a contemplative, artful film featuring an elaborate dance between two performers - followed by `Breakdown', and last month, `At This Table', this new phase of his career is already off to an impressive start. With early airplay from BBC Introducing and Absolute Radio Country among others, an appearance at The Great Escape festival and sold-out headline shows across the country, Cromby was invited to play at the prestigious Black Deer Festival of Americana, and along with a full-band set, joined Brandy Clark, Drake White, Elles Bailey and Bella White for a Songwriter Session. Although recorded in a matter of days, the project was at least five years in the making.

Agrio is a duo from Madrid, Spain and using a "what if..." methodology they write instrumental songs that they send later to a revolving cast of their talented and generous friends so they can add their magic. With this in mind they sent music to MARK LANEGAN, Enablers frontman PETE SIMONELLI & to SCOTT MCCLOUD from Girls Against Boys, Soulside and so much more. 'El Amigo Americano' is the result of these collaborations, 10 tracks of some of the most beautifully striking music around. The work with Mark Lanegan and Pete Simonelli were originally released as two vinyl EPs and Scott McCloud as a digital EP. EP 1 - EP one 'La Murga Ep' with Mark Lanegan was their debut on feb. 2020. EP2 - followed it that same autumn with The Thin Man EP featuring Pete Simonelli (Enablers). Both were originally released on vinyl via the San Francisco based label Broken Clover Records. These records sold out fast. EP 3 - "Repeat to Infinity EP" (digital only), with Scott McCloud's (Girls Against Boys, New Wet Kojak, Paramount Styles) on voice and guitar. The three EPs are compiled together on one LP as "El Amigo Americano". La Murga Ep* + The Thin Man Ep** + Repeat To Infinity EP*** = EL AMIGO AMERICANO AA I. Nike Italy France *** II. Dj's In Heaven*** III. People Used To Dream*** IV. A Mayores * V. Nomeolvides ** B I. A Drink Of Poison Water * II. Cisnes * III. The Scales Of Embrace ** IV. Waking ∦ ∆** The album is mastered by John McBain (Monster Magnet, Wellwater Conspiracy) Agrio is David Flores and Jorge Fuertes with Mark Lanegan, Pete Simonelli and Scott McCloud.

Zum ersten Mal auf Vinyl erhältlich, wird Brainfeeder am 9. Februar 2024 eine wunderbare Deluxe-Edition von Austin Peraltas Album aus dem Jahr 2011 veröffentlichen. „Endless Planets“ war und bleibt ein Meilenstein im Brainfeeder-Katalog und markierte den ersten Vorstoß des Labels in den Jazz. Es erschien ein paar Monate vor dem Debütalbum, „The Golden Age Of Apocalypse“, seines Freundes Thundercat, und vier Jahre vor Kamasi Washingtons „The Epic“. Austin Peralta, ein wahrhaftiges Ausnahmetalent am Klavier, verband mühelos neugierigen Futurismus mit unglaublicher Musikalität und einem gesunden Respekt vor dem Erbe des Jazz, und auf diese Weise ist es eine beispielhafte Brainfeeder-Platte.

Die Neuauflage enthält vier bisher unveröffentlichte Tracks, darunter eine Live-Version von „DMT Song“ aus Flying Lotus’ 2012er Album „Until The Quiet Comes“, die Austin Peralta mitgeschrieben hat. Aufgenommen in den legendären BBC Maida Vale Studios in London im Juli 2011, leitete Austin Peralta eine britische All-Star-Band bestehend aus Richard Spaven (Schlagzeug), Tom Mason (Bass), Jason Yarde (Altsaxophon), Heidi Vogel (Gesang) und Jason Swinscoe von The Cinematic Orchestra (Elektronik). Austin Peralta stammte aus L.A. und war der Sohn von JC Caldwell und Stacy Peralta. Er war ein Jazzmusiker. Nicht in dem Sinne, dass er oder ihm nahestehende Personen das Wort „Jazz“ in Bezug auf seine Musik in den Mund nehmen würden. Eher im Sinne von jahrelanger Übung und Hingabe an eine bestimmte Kunstform. Oder in dem Sinne, dass er unter anderem mit Chick Corea, Hank Jones und Ron Carter gespielt hat. In dem Sinne, dass er wirklich etwas drauf hatte. Dass er Klavier spielte und komponierte wie ein echter Veteran. Und das alles im Alter von nur 20 Jahren. Und das, bevor man sich mit seiner Arbeit als Session-Spieler für jeden und jede, von Erykah Badu bis Shafiq Husayn, oder die Zeit, als er in der legendären Big Band aus Los Angeles, Horace Tapscotts Pan Afrikan Peoples Arkestra, mitspielte.

To celebrate the launch of their sold-out US tour, NYC indie pop upstart Jordana and LA-based TV Girl surprise-release a collaborative EP entitled Summer’s Over today. Across its seven songs, the pair mesh TV Girl’s hypnotic, sample-heavy production aesthetic with Jordana’s plaintive-yet-playful vocal to form the perfect ode to the turning of the seasons, and the perfect celebration of their epic trek across America.

Get ready to unleash your inner seventies funk and soul enthusiast with the reissued edition of Miami's self-titled album! This record, which sadly became their last before disbanding in the early 1980s following the collapse of T.K. Records, for which they were the in-house band, will take you on a captivating musical journey.

The energy radiating from this album is almost palpable, filling the air with an electrifying atmosphere. From start to finish, Miami's self-titled album bursts with infectious energy that will transport you back to the soulful sounds of the era.

As the needle hits the vinyl, you'll be captivated by the undeniable groove and irresistible beats. It's a sonic experience that will make you want to move your feet and let loose to the soulful rhythms. This reissued masterpiece brings new life to a record that has long deserved celebration and recognition.

So, let's give Miami's self-titled album the overdue acclaim it deserves. Dust off this musical gem, crank up the volume, and let the funky and soulful melodies guide you on a nostalgic journey. Get ready to groove like never before and experience the magic of Miami's
unforgettable sound in this special reissue

"Live In Tokyo is the first live album by jazz fusion pioneers Weather Report, which was recorded and released in 1972. The recordings took place on January 13 at Shibuya Philharmonic Hall in Tokyo, Japan. It was one of five sold-out shows that they played in Japan during that month. The line-up during that time consisted of Joe Zawinul, Wayne Shorter, Miroslav Vitous, Eric Gravatt, and Dom Um Romão. All the music is encapsulated in five lengthy ""medleys"" of WR's repertoire, three of which contain elongated versions of themes from the group's eponymously titled debut album from 1971. Live In Tokyo is the first live album by jazz fusion pioneers Weather Report, which was recorded and released in 1972. The recordings took place on January 13 at Shibuya Philharmonic Hall in Tokyo, Japan. It was one of five sold-out shows that they played in Japan during that month. The line-up during that time consisted of Joe Zawinul, Wayne Shorter, Miroslav Vitous, Eric Gravatt, and Dom Um Romão. All the music is encapsulated in five lengthy ""medleys"" of WR's repertoire, three of which contain elongated versions of themes from the group's eponymously titled debut album from 1971. Live in Tokyo is available as a limited edition of 1000 individually numbered copies on purple coloured vinyl."

Mandalaband began life in the early 1970's, gaining cult status as one of the most forward-thinking prog outfits of the time. The brainchild of David Rohl, who formed a lineup featuring future Sad Cafe members Vic Emerson (keyboards), Ashley Mulford (guitars), John Stimpson (bass guitar and backing vocals), Tony Cresswell (drums) and vocalist Dave Durant.

Mandalaband received critical acclaim with legendary BBC radio presenter John Peel playing the entire album on his show before promptly re-broadcasting the whole thing immediately after. Unfortunately, at the time, this didn't translate to sales and Mandalaband fell into obscurity. However, with the advent of the internet, their legend grew, exciting a new generation of prog fans.

We are now pleased to make these recordings available again and offer a chance to dig into some of the most interesting progressive music of the '70s. As well as presenting the original album remastered, David gained access to the original 24-track analogue master tapes, having them restored and digitised at Abbey Road Studios before reinforcing the sound and instrumentation before remixing the entire album.

Nearly fifty years on, a veil of sonic mist has been lifted from these unique recordings.

Format: 2LP 180g gatefold edition featuring the original album and David Rohl 2024 remix of entire album, both remastered at AIR Mastering, with rare bonus track. Includes newly written liner notes.

Oliver Bradford presents Pacific Objectives, his first solo EP under his own name. Bradford has been producing electronic experimental and dance music since the early 90s when he held his first DJ residency at Brückenkopf, Mainz (in 1992-93). To create his deep house grooves Oliver utilizes a hands-on approach, working with tape loops and analogue recording tools. The tracks featured on Pacific Objectives were recorded between 1996 and 2021, after nd_baumecker signed them to be released on his FREUNDINNEN label, the tracks were mixed and mastered with Jörn E. Wuttke, at the final stage Loop-O created the vinyl master and cut in 2023.

Oliver Bradford thanks go to: Jörn E. Wuttke, D Man, Ralf Köster, Loop-O and Andreas & Jenus Baumecker for your great support to make this happen!

Formed in Fullerton, CA in 1978, Social Distortion were one of the original LA punk groups and their first single was released on legendary LA punk label Posh Boy. But far more rare than that first single ("Mainliner" b/w "Playpen") is the unreleased EP Posh Boy's Little Monsters. This EP only made it to the test pressing stage back in 1981, and featured those two tracks from the first single along with "All The Answers" and "Justice For All." This is the absolute holy grail for Social Distortion fans and it's finally available in commercial form on two limited edition pressings for RSD 2019, black vinyl available worldwide and a Europe only red vinyl limited edition. Includes 2 bonus tracks.
“Of the 3 teenagers who recorded for me, one has died, another was believed to be dead and one became immensely wealthy from playing music. The one who did hard time in prison was not Mike Ness. It was the drummer Carrot, better known as John Stevenson, now living a very ordinary life in rural Florida.
I now count John as a dear friend. Apparently, he was only l6 years old when he rolled into the studio that day in April l98l, armed with a taped up pair of drumsticks. He played great as did both Mike and Dennis (RIP). This time there was no fighting in the studio over production values. I had promised Ness that we would not fight so once there was a minor disagreement over the artwork for the proposed l2", I dropped the project in favor of the Playpen/Mainliner 7" which sported iconic artwork from the band.”

In den letzten 20 Jahren hat der in Berlin lebende irische Künstler David Hedderman eine beeindruckende Karriere als bildender Künstler hingelegt. Sein markanter, eigenwilliger Stil überträgt sich nahtlos auf sein Songwriting, wie sein Debütalbum belegt. 'Pulling At The Briars' fängt die Übergangszeit ein, in der er von Dublin nach Berlin zog. Die erste Zeit war geprägt von intensiven Schaffensperioden und dem Aufbau einer kreativen Community, samt regelmäßigen Sessions in seinem Kreuzberger Studio. Aufgenommen wurden die zehn Songs live in 5 Tagen mit Brendan Jenkinson (Aoife Nessa Frances, John Francis Flynn, Villagers) in den Dubliner Sonic Studios. Als Produzent diente Heddermans Jugendfreund Conor O'Brien von den Villagers, mit dem er früher die Band The Immediate gründete. Die üppigen Arrangements sind von einer anrührenden Verletzlichkeit getragen, die sich in Heddermans Texten widerspiegelt. In kraftvollen Bildern singt der Ire von seinen Erfahrungen über Trauer, das Scheitern von Beziehungen und das Zurechtfinden in einem neuen Land.

Seasons come and go, so does the moods and modal alternations on Klofink's debut album that we humbly present to the world through this dear label of ours.

Pastoral soundscapes pierce through post-industrial dub riddims on this highly distinctive artefact recorded by Jämtland born and Malmö based producer and musician Linus Jönsson.

The profound and, albeit paradoxically, decorative sounds on this album consists of a minimal-maximal approach; few, well-leveled elements produces an almost ancient sounding sonic signature of sorts, perfect to immerse ourselves in over the many years to come.

Die unbestrittene britische Musikikone Dizzee Rascal meldet sich mit dem elektrisierenden neuen Album 'Don't Take It Personal' auf seinem neuen Label Big Dirte3 Records Ltd. zurück. Die LP stellt seine besten Arbeiten in den Schatten und ist eine eindrucksvolle Erinnerung daran, wie Dizzee zu seinem legendären Status kam. Es fängt ihn in aufrührerischer Form ein, während er mühelos und mit unvergleichlicher Leichtigkeit durch eine ganze Sammlung an eindeutig britischen Genres fliesst. Dizzees neuestes Werk, das sich auf prahlerische Flows und beeindruckendes Wortspiel konzentriert, ist eine weitere Siegesrunde eine der prägendsten Legenden der Rap-Musik, und während es weiterhin Reime regnet, denkt daran: Es ist nichts Persönliches.

The Dead South grow more adventurous and assured with each new album. For their fourth full-length record, they brought producer Jimmy Nutt to Mexico City, where they recorded 13 songs full of plot twists, family trees, grudges, insurance scams, bacon, burials, banjo riffs and more. The Dead South flawlessly execute banjo rolls and lightning fast mandolin tremolos, 3-part harmonies and songs of classic themes -murder ballads, disloyalty, ghosts and the like, with a wink and a smile. Where Bluegrass meets Bach meets Billy Talent, for fans of Frank Sinatra and Tool alike, you"ll find The Dead South"s "Chains & Stakes". "Chains & Stakes" is truly a "Dead South" collection in the balance of darkness and levity that has come to define their unmistakable style.

The Dead South grow more adventurous and assured with each new album. For their fourth full-length record, they brought producer Jimmy Nutt to Mexico City, where they recorded 13 songs full of plot twists, family trees, grudges, insurance scams, bacon, burials, banjo riffs and more. The Dead South flawlessly execute banjo rolls and lightning fast mandolin tremolos, 3-part harmonies and songs of classic themes -murder ballads, disloyalty, ghosts and the like, with a wink and a smile. Where Bluegrass meets Bach meets Billy Talent, for fans of Frank Sinatra and Tool alike, you"ll find The Dead South"s "Chains & Stakes". "Chains & Stakes" is truly a "Dead South" collection in the balance of darkness and levity that has come to define their unmistakable style.

Tony Boninsegna: Notes From The Underground 1986-1994 (Volumes 1 and 2) Cold Blow / Musique Pour La Danse

The story of dance music is littered with hidden heroes and underground activists whose immense contributions have been overlooked, ignored and under-documented. Tony Boninsegna, a producer who made and released countless classic cuts and forgotten gems during the acid house and rave era, is one such example.

Melding elements of all that was popular in underground clubs at the time to create his own dancefloor-friendly sound worlds, Boninsegna amassed a huge catalogue between 1986 and '94, while hiding his involvement via an array of oddball aliases and opaque pseudonyms. Boninsegna's story first came to light four years ago when he appeared in Join The Future: Bleep Techno and the Birth of British Bass Music, Matt Anniss's critically acclaimed alternative history of UK dance music in the rave era. Now Cold Blow has joined forces with Musique Pour La Danse to deliver a much-needed anthology of his greatest productions and
co-productions - many rare or hard-to-find - for the first time.
Featuring 24 restored and remastered tracks stretched across two volumes on vinyl and digital, including a handful of previously unreleased tracks and mixes, and accompanied by detailed sleeve notes by Anniss, Notes From The Underground 1986-1994 is a joyful celebration of one of British dance music's most under-appreciated artists. The full breadth and depth of Boninsegna's rave-ready catalogue, as well as an indication of
the sheer volume of aliases he utilised during the period, is explored in detail across the two-part compilation.

Fittingly, volume one features two previously unreleased recordings that mark his earliest explorations of the emerging house sound (both as The Rhythm Squad, with Richard Compton), alongside touchstone releases such as Zeco's 'The Witch Trials' (a 1989 production that marked his first outing on vinyl), celebrated workouts recorded with regular collaborator Mykey Tee (Lab Technicians' bleep-inspired 'We Gave U Life', Big Showdown's epic 'They're Here' and AEK's mind-mangling, bleep & breaks number 'Lick It'), and genuinely overlooked gems (the proto-tribal house of Pierrepoint's acid-smothered 'Tonnerre' and saucer-eyed rush of Estudiantes' 'Let The Music Into Your Mind').

It all adds up to the definitive musical retrospective of a genuine underground, rave-era hero whose time in the spotlight may finally have arrived.

White Vinyl

Soon after the release in 2022 of a triple album dedicated to electronic language, Principles of Geometry continues their orbiting journey that began exactly 20 years ago with "Penta," a Maxi composed of five electro-geometric vignettes that confirm what we already knew: the discreet French duo pilots one of the most underestimated projects in European IDM.

By returning just one year after a massive fifth album (26 tracks), Principles of Geometry makes a clear artistic move: shifting from electronic language unfolded on ABCDEFGHIJKLMNOPQRSTUVWXYZ to gesture, as one would associate intellect with manual, actions with words. On "Penta," to be visualized as the five fingers of a hand sketching the immediate and spontaneous pleasure of a hand pressing a chord, Guillaume Grosso and Jeremy Duval thus combine two essential concepts of their electronic music: the need to make the listener dance with their brains, and to touch with their mental images.

With nods to the godfathers of the genre (Autechre and Boards of Canada) or crossing paths with Aphex Twin in a Michael Mann film, "Penta" is therefore a beauty of gesture first conceived with the fingers, and without the need for words to evoke either the romance or the violence of a chord on a Roland Juno 60.

Mastered by the legend Noel Summerville (Boards of Canada, Kraftwerk, My Bloody Valentine) and designed by Ian Anderson of The Designers Republic (responsible for the graphics of the cult WipEout and many collaborations with the Warp label), this Maxi is therefore listened to as much as a recreational return to the future of the 90s as it is a concise summary of the equilateral career of Principles of Geometry; equally distant between pure emotion and the need to ponder the notes played in this very special ship.

Harm’s Way is Duck Ltd.’s most intuitive and organic album yet, the result of keen observation, self-possessed songwriting, and a collaborative spirit. Building on the successes of their previous releases, the deeply relatable album displays a band operating at a nuanced, lyrical and musical best.

Ducks Ltd. make inviting and frenetic guitar pop for when life feels overwhelming. While the band’s songs are ostensibly breezy, a palpable anxiety boils underneath that communicates something deeper about everyday existence. On their latest album Harm’s Way, the Toronto duo of Tom McGreevy and Evan Lewis hones in on interpersonal and societal collapses, urban decay, and the near-impossibility of keeping a level head when everything around you seems to be falling apart.

“They’re songs about struggling,” says singer and lyricist McGreevy (who also plays bass and rhythm guitar). “About watching people I care for suffer, and trying to figure out how to be there for them. And about the strain of living in the world when it feels like it's ready to collapse.” 

Even with its often dark subject matter, Harm’s Way is Ducks Ltd.’s most vividly rendered and collaborative collection yet. It’s an undeniable evolution for the band, not just in how these songs soar, but in their entire writing and recording processes. Composed on tour while supporting acts like Nation of Language, Illuminati Hotties, and Archers of Loaf, the album displays the band’s finely tuned songcraft and well-earned, road-tested confidence. “When we got signed, we had played maybe five or six shows ever. After last year, it’s in the hundreds. That experience can change your perception of your own music and songwriting,” says McGreevy. “In the past when we got stuck on a song we had a tendency to look at our favourite records to see how they tackled it. But now, instead of asking ‘what would Orange Juice do?’, we’d ask, ‘what would we do?’.” Lewis adds, “We have this really great thing where every decision with the band is filtered through both of us. Here especially, we really figured out how to make something that truly sounds like us.”

The band, fortified by this strong sense of sonic identity and a self-assurance in their new material—and in contrast to their critically acclaimed 2021 debut Modern Fiction and 2019 EP Get Bleak, both self-recorded and self-produced in a Toronto basement—wanted to bring Harm’s Way to life in a new city, with an outside producer, and with some of their favourite musicians. “We realised that so many of our favourite bands who are making guitar music right now are from Chicago,” says McGreevy. Working with producer Dave Vettraino (Dehd, Deeper, Lala Lala), they enlisted a marquee cast of Windy City collaborators to round out the tracks on Harm’s Way, including: Finom’s Macie Stewart (violin, string arrangements); Ratboys’ Marcus Nuccio (drums on most tracks); Dehd’s Jason Balla (who helped arrange the backing vocals, to which he also contributed); and backing vocals from Julia Steiner (Ratboys), Nathan O’Dell (Dummy), Margaret McCarthy (Moontype), Rui De Magalhaes (Lawn), and Lindsey-Paige McCloy (Patio). The band’s touring drummer, Jonathan Pappo, and bassist Julia Wittman also appear on the LP.

Ducks Ltd. are a band that already thrives on skirting the edges of buoyant jangle pop and driving power pop, and the duo credits these collaborators with helping to push their sound even further. “Historically our process has been really tightly controlled and insular. On this record, we worked with people who we trusted with a pretty wide range of musical backgrounds and they had approaches and ideas that helped open up the record's sonic palette,” explains McGreevy. “Jason thinks about backing vocals in a totally different way than I do and is super intuitive with melodic ideas. Julia and Margaret have a really deeo understanding of harmony. Macie and Dave were comfortable with the idea of improvising string parts which took some of those layers in some surprising directions. Dave also has an amazing ability to create atmosphere on a recording, and encouraged us to use a bunch of different techniques, tones, and processes to achieve that.”

Harm’s Way’s lush, melodic swagger is clear from the first notes of opener “Hollowed Out.” A song about living with decline (inspired by a Toronto sinkhole), its bright, indelible catchiness serves in contrast to its lyrical unease. Anchored by Lewis’ shimmering electric guitar, “The Main Thing” laments growing apart from a person whose views you once shared while managing to toss in references to both the unglamorous lives of middle relief baseball pitchers and the occult. Other songs split the difference between country and krautrock, like the rollicking “Train Full of Gasoline,” which uses the 2013 Lac-Mégantic rail disaster in Quebec as a metaphor for self-destructive patterns. Meanwhile, “Deleted Scenes” mourns the absence of someone no longer in your life (even if for very good reasons) and recalls The Cure at their most direct, and closer “Heavy Bag” employs enveloping, mournful strings to evoke a sense of how misery frequently loves company.

Lo-fi, low budget, and low key, The American Analog Set's suite of hypnotic, neo-psychedelic, Texas sloth-kraut LPs appeared briefly on Austin's Emperor Jones label and slunk quietly into the sprawling indie underground as the old millennium crested. Gathered here are "The Fun Of Watching Fireworks", "From Our Living Room To Yours", and "The Golden Band" albums, garnished with period b-sides, outtakes, and demos. Remastered from the original analog tapes,this early-career spanning 5xLP box includes lyrics, photos, and ephemera from the before times.

Lo-fi, low budget, and low key, The American Analog Set's suite of hypnotic, neo-psychedelic, Texas sloth-kraut LPs appeared briefly on Austin's Emperor Jones label and slunk quietly into the sprawling indie underground as the old millennium crested. Gathered here are "The Fun Of Watching Fireworks", "From Our Living Room To Yours", and "The Golden Band" albums, garnished with period b-sides, outtakes, and demos. Remastered from the original analog tapes,this early-career spanning 5xLP box includes lyrics, photos, and ephemera from the before times.

`La Camita’ is an incredible Latin funk nugget –recorded in Peru by Traffic Sound and later on by funk pioneers Black Sugar, comprising all the right ingredients to shake dance floors worldwide. Both takes on the song were released on records that today are extremely difficult to find in any condition. Latin party music in all its glory! Peru enjoyed a thriving and exciting music scene since the mid-1960s. Bands such as Los Saicos, Los Shain’s and Los York’s, to name just a few, released a number of brilliant records that drove young fans crazy and set an example for many to follow. The end of the decade brought about an evolution in sound and new music genres, as Peruvian bands kept an eye on the groundbreaking British and US artists. One of them was Traffic Sound, founded in Lima in 1967. Over a very short period of time the band managed to successfully develop their career. In 1971 Traffic Sound recorded ‘La Camita’ where their Latin influences overpowered the psychedelic prog vibe of their previous records. The song became a local hit and several versions were recorded by different Peruvian artists. On the other side of this single we find Black Sugar, a Peruvian band considered to be a pioneer group in Latin America in mixing funk influences with rock and Latin rhythms. In 1976, following their gig at Coliseo Amauta in Lima, opening the night for the legendary Spanish band Barrabás, they started to show a growing interest in disco music, resulting in some line up changes with members leaving the project due to their lack of interest in the new sound and new ones joining in. Their own take on ‘La Camita’ was released in 1978 and adds a modern twist to the original song, becoming decades later a winner spin at the most discerning dance floors worldwide. Latin party music in all its glory!

Usher hat die Musik, die Kultur und unzählige Leben verändert. Der mehrfach mit dem GRAMMY Award ausgezeichnete internationale Megastar, Schauspieler, Tänzer, Unternehmer und Philanthrop wird auch im Jahr 2023 und darüber hinaus für Veränderungen sorgen. Er hat weltweit mehr als 80 Millionen Platten verkauft und Dutzende von Auszeichnungen erhalten. Gleichzeitig hat er auf dem kleinen Bildschirm in NBCs The Voice und auf der großen Leinwand in Blockbustern wie Hustlers brilliert. Darüber hinaus hat er sich unermüdlich als engagierter Menschenfreund hervorgetan, indem er zig Millionen Dollar für verschiedene Zwecke sammelte und mit seiner New Look Foundation die Jugend förderte. Seit 1999 bietet er jungen Menschen in unterversorgten Gemeinden Chancen und ermöglicht ihnen, sich zu entfalten und scheinbar unmögliche Träume zu verwirklichen. Als echter Ausreißer ist er auf der Bühne seiner ausverkauften My Way Las Vegas Residency ebenso zu Hause wie auf einer Kulturmission der Regierung 2016 nach Kuba als Teil des Presidential Committee for Arts and Humanities von Präsident Barack Obama. Dieses Album stellt die kreative Wiedervereinigung von Usher und L.A. Reid dar, die seit dem 2004 erschienenen Album Confessions mit Diamant-Zertifikat nicht mehr zusammen gearbeitet haben. Das Album wurde hauptsächlich in Atlanta, GA mit vielen der angesagtesten Produzenten Atlantas aufgenommen, darunter Sean Garrett, Lil John, The Avila Brothers, Mel & Mus, Tricky Stewart, Rico Love, The-Dream, Jermaine Dupri, D Mile und viele andere. Es gibt Features von Summer Walker, 21 Savage und Latto.

There is a parallel, submerged dimension in which musicians meet when they improvise. Sound microcosms emerge in those moments, and this is precisely the magic that BOTTAZZ! wanted to photograph in their first album: BOTTAZZ! VOL.1.

A "live" album, capable of transmitting spontaneity, sonic truths, empathy, feelings; ingredients that are difficult to transmit by recording the instruments individually or with other techniques.
Recorded in the historic "Auditorium 900" studios, a true time achine, as well as an institution for music in Naples.

Auditorium 900 took up the challenge in the figure of sound engineer Fabrizio Piccolo and from here the sound of BOTTAZZ was born!

A sound made up of lysergic Funk trips, 70's influences in all possible nuances: from progressive funk to Santana's Hispanic rock, up to touching its darkest and most hidden latitudes; audio waves
nfluenced by the soundtracks of the cinematography linked to those times, organs, synths, percussion and wah wah guitars, which generate a melting pot in which nothing is taken for granted.

BOTTAZZ! VOL.1 is a ship's diary, a journey into which each sailor has inserted its own emotions accumulated over the years, thus giving us a sincere and genuine record. Happy navigation.

Black Screen Records, Lost In Cult Records and Chuhai Labs are proud to tee up, for the first time, this terrific Cursed to Golf vinyl featuring the complete and unabridged soundtrack from the inimitable Mark Sparling! Captured in its grooves are the energetic chiptunes that goaded you on from course to course, as you ascended from Purgatory to become a Golfing Legend. Relive your finest drives or be introduced to this world of caddie-ridden fantasy in this beautiful collection of fearsome hooks and catchy choruses. Mark Sparling shares with us some insight into his aims for the Cursed to Golf soundtrack: "Cursed to Golf was simultaneously some of the funnest and most challenging music I have had to write in a long time. The original pitch for the music was 'Castlevania meets Mario Golf,' and it took me some time to find a good balance that we were happy with. But I'm really proud of the end result!" Enjoy all your favourite tunes across this 2xLP set, presented in a thematic duo of 180g heavy duty records, one golf course green and the other ghostly transparent magenta. Brought to life with art from Crisppyboat, this playful gatefold reinterprets Cursed to Golf's iconography through a joyous new lens.

Tinsley Ellis unplugs and channels his masterful guitar skills and soul-baring vocals into a bracing collection of solo acoustic tracks steeped in the traditions of Muddy Waters, Skip James, Son House, Robert Johnson and even Leo Kottke. Nine newly-written originals sit alongside reverent, yet spirited, versions of House's "Death Letter Blues," Willie Dixon's "Don't Go No Further" and Kottke's "Sailor's Grave On The Prairie."

he second Mandalaband album - The Eye of Wendor: Prophecies - took two full years to create. Recorded at Strawberry Studios with the help of Barclay James Harvest plus a plethora of musician friends and colleagues with whom David had worked with over the years including Eric Stewart (10cc), Maddy Prior (Steeleye Span), Justin Hayward (Moody Blues), Graham Gouldman, Lol Creme & Kevin Godley (10cc) and Paul Young (Sad Cafe / Mike and the Mechanics).

The narrative is based on a Tolkienesque fantasy of a magical gemstone, set in prehistory, the music and lyrics telling the tale through different vocalists playing the roles of the leading characters in the story. The Mandalaband founder carefully created this classic symphonic rock album on a budget of just GBP 8,000.

As well as presenting the original album remastered, David gained access to the original 24-track analogue master tapes, having them restored and digitised at Abbey Road Studios before reinforcing the sound and instrumentation before remixing the entire album.

Listening to David's newly remixed version is a stunning sonic journey, with elements of prog, electronica, soft rock and instrumental soundscapes, the influence of these recordings on prog-music that followed is clear.

Format: 2LP 180g gatefold edition featuring the original album and David Rohl 2024 remix of entire album, newly remastered at AIR Mastering. Comes with the original 6-panel booklet telling the full Eye of Wendor story with beautiful illustration and newly written liner notes.

Dutch synth-wizard Nadia Struiwigh brings her eclectic live approach to Blueprint Records.á On the "Voxis Ohlun EP", Struiwigh reflects her profound command over synthesis and sequencing, crafting upfront techno with a vigorous, nostalgic feel.

Nadia Struiwigh, the Dutch artist rooted in Rotterdam and currently based in Berlin, has carved a unique niche in the electronic music scene.á Her genre-defying compositions, blending ambient, techno and electro, exhibit her signature ethereal and melodious production style, with a discography gracing acclaimed labels like Central Processing Unit, Nous'klaer, Dekmantel, Clone and InFinÒ.á Inspired by the Warp school of electronica, her live performances (ranging from immersive ambient to kinetic techno) are a testament to her technical prowess and emotional connection with her audience.á A versatile DJ and live act, she graces both concert halls and strobe-lit club sessions, curating sets that span from driving techno to deeper, emotive realms, earning her residencies at venues like Tresor.á Her versatile expertise extends beyond music; she collaborates with pioneering music brands such as Roland, Korg, Teenage Engineering, Arturia and others, embodying her reputation as a leading tech enthusiast within the industry.á Her contributions to esteemed platforms like Resident Advisor, Phantasy, Bleep, Slam Radio and Red Light Radio underscore her adaptability and prowess across a wide spectrum of electronic music, further solidifying her multifaceted presence in the field.

"Voxis Ohlun" invites you into a mesmerizing journey through the enchanting landscapes of the '90s, blending diverse musical influences seamlessly.á The focus here is on 4x4 dancefloor music, adorned with a tantalizing hint of breaks and pulsating rhythms, and a sprinkle of fairyland allure.á Crafted using only hardware, predominantly the beloved Korg Electribe MX, the sounds resonate with the essence of that era.á Each track unfolds like a chapter in a wondrous tale, interweaving nostalgia with a contemporary energy, ensuring an immersive experience.

Creeping through an imaginary border, sidesteppin’ through the night like cyber phantoms eavesdropping on early morning machinery shifts, an industrial solstice for pagan mystics. After five years Torino’s mysterious SabaSaba are back with ‘Unknown City’ an imaginary soundtrack for a dystopian city: digital raga, horror Exotica, half-speed techno, metallic dub and organic electronics.

The duo of Andrea Marini (synth, guitar, electronics, tapes) and Gabriele Maggiorotto (drums, percussion, effects, programming) return with their most political manifesto yet, an intricate musical essay inspired by China Miéville’s novel ‘The City And The City’, examining border control, repression, an unknown city where people move like ghosts without personality and without communicating, monitored on sight by the authorities. SabaSaba’s personal OST is a whirlwind of analog and digital instruments colliding, textured samples, syncopated drums and spiritual synth sweeps often heightened by Ambra Chiara Michelangeli’s eerie viola playing, an ancestral force resisting under a cement tower, modulars gasping for air, endlessly reverberating into noir-soul and gray landscapes.

Like Miéville’s two imaginary cities Ul Qoma e Besźel, SabaSaba’s journey is cavernous, claustrophobic at times, but a clear sense of evasion and resistance breaks through, small flickers of light, like a cyborg calibrating himself - the hypnotic dub ambient of ‘False Speech’ - for an ecstatic liberation - the trance inducing ‘Wrists Free’ featuring UK industrial techno duo Jerome. ‘Ul Qoma’ unites

The long lost 1968 debut album by singer-songwriter, Scott Fagan, once tipped to be bigger than Elvis, is set for release on 9th February 2024 via Earth Recordings. 'South Atlantic Blues' will be reissued for the first time in its original artwork, with an iconic portrait of Fagan by famed rock photographer, Joel Brodsky, following a widely celebrated 2015 release. Revisiting his mystical, mythical, and deeply soulful masterpiece, this psych-folk gem doffs a Tropicalia hat direct from downtown New York. "His songs embrace a broad sonic fantasia, swirling in '60s New York R&B and '40s jazz, as well as the Caribbean rhythms of calypso, meringue and Pachanga." New York Times Scott Fagan's story is worthy of a movie in itself. A swinging hipster who landed in 60s Greenwich folk scene, escaping the abject poverty of his U.S. Virgin Islands upbringing, Fagan found himself mentored by the Brill Building's Doc Pomus and Mort Shuman, and feted as the next big thing. "Forget Rodriguez, forget Searching for Sugar Man," says Sharyn Felder, daughter of the late Doc Pomus, the legendary songwriter who signed Fagan to management in 1964. "Scott was so much more. He was cut from a different cloth." 'South Atlantic Blues' is the perfect soundtrack to this tale, an epic song cycle wrapped around an impassioned love story, driven by Fagan's dense, allusive lyrics, and production by Elmer Jared Gordon (Pearls Before Swine) and rich arrangements by Horace Ott (Nina Simone, Sam Cooke, The Shirelles). The Earth Recordings reissue coincides with a resurgence in activity for Fagan, with a new album in the works - the never-recorded soundtrack to 'Soon', the 1971 Broadway rock musical he co-wrote and starred in - and a documentary 'Soon: the Story of Scott Fagan' currently filming through Scissor Kick Films, from director Marah Strauch, writer Chris Campion (who rediscovered the singer-songwriter in 2015), and producer Eric Bruggeman. Classic Black Vinyl + DLC

Following-on from her publicly and critically-acclaimed album "Bloom" in 2021, Rosie Frater-Taylor is back with her third album "Featherweight". It shows a much grittier side of the young musician, both musically and visually. The album relates her personal journey since her previous album "Bloom", from love to relationships, to navigating life as a young woman and affirming her strength through vulnerability. Written off the back of extensive international touring with her trio in 2022, "Featherweight" can be categorised as "modern indie jazz pop". Rosie"s creative, and highly musical guitar accompaniment, combined with heart-stoppingly fresh lyrics, echoes an important legacy of artists from PJ Harvey, through Joni Mitchell and Kate Bush, to the rockier roster - where John Mayor, Meshell Ndegeocello, St Vincent, and Madison Cunningham hold court... The album relates her personal journey since "Bloom", from love to relationships, to navigating life as a young woman and affirming her strength through vulnerability.

FOR FANS OF: BOB DYLAN, JOHN FOGERTY
Bruce Springsteen ist weltweit seit Jahrzehnten äußerst populär und gilt als einer der grössten Rockstars. Allein in den USA hat er mehr als 70 Millionen Alben verkauft. Seine Songs haben meist das amerikanische Alltagsleben zum Thema. Seine zahlreichen Fans nennen ihn gerne anerkennend The
Boss. Diese limitierte Vinyl-LP beinhaltet eine umfangreiche Auswahl an Hits und Klassikern; mitgeschnitten von diversen US-Radiostationen im Jahr
1992.

Jonny From Space is the moniker of Miami-based producer, DJ, and co-founder of Impacto, Jonathan Trujillo.

After two EP’s on Omnidisc and a few more self-released, Incienso is excited to announce his debut solo LP, ‘back then I didn’t but now I do’.

Loping drum loops, warbling synth lines, sun-streaked pads and voice amble into the depths of the humid world Jonny’s music inhabits, where tempos shift and often float off into the ether altogether.

In the words of JFS himself- this album is “built 2 chill”