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Limited repress!

What is it about New York City, that concrete jungle that continually inspires the creative spirit? From Warhol’s Factory to Larry Levan’s Paradise Garage to David Mancuso’s Loft, collectives that celebrate and nurture unfettered, organic artistry have been absolutely intrinsic to the story of this sprawling metropolis. Its latest chapter is being written at the hands of ‘The Maestro’, Grammy Award winner Louie Vega and his Expansions NYC parties, the sound documented in his latest album Expansions In The NYC (Nervous Records).

Starting in February 2019 in Manhattan and Brooklyn venues, Vega’s Expansions NYC parties have their origin not in his revered prowess as a DJ but rather his whole-hearted appreciation of the different elements of the dance floor surrounding him: the dancers, the musicians who bring their instruments to join him ad-hoc on the night, the small, dedicated crowd of clubbers whose ears to the ground keep them informed on the underground party information. The events included 6-hour DJ Sets with Louie under his select curation, and would usually end with 3 AM jam sessions involving keyboardists, guitar players and poets all performing in front of a jam packed crowd. In just a few short years the Expansions NYC events have evolved into an NYC-clubland institution, an intimate celebration of house, funk, disco, afro, R&B and more.

As with his parties, so goes his album. The collective vibe that forms the beating heart of Expansions NYC parties is absolutely front and centre in Expansions In The NYC, Vega drawing in one of the most comprehensive lists of collaborators in recent memory. House heavyweights Honey Dijon, Joe Claussell, Moodymann, Kerri Chandler and Anané rub up against legendary vocalists Bernard Fowler, Cindy Mizelle, Lisa Fischer, Audrey Wheeler and Tony Momrelle. Gospel royalty BeBe Winans and Debbie Winans, pop icon Robyn and rising star Karen Harding sit alongside disco-era champions Unlimited Touch, Cuban jazz pianist Axel Tosca, Nico Vega, Two Soul Fusion with Josh Milan and Vega and underground legend DJ Spinna. At the centre of it all, fingerprint on every beat, touch on every groove, sits a master at work, weaving the individual threads into a rich dance music tapestry.

"In the past few years I’ve found new inspiration both from the musicians I’m working with and the audiences coming to see me at my DJ shows,” Vega says. “So for me this album represents new beginnings, bringing together a beautiful mosaic of artistic perspectives to express musically what we call Expansions In The NYC."

At its heart, Expansions In The NYC is a love letter to New York, as much as melting pot as the city it represents, the scope of its line-up possible only because of the influence and reverence of Vega the artist, the DJ, the producer, the curator. In creating this album, Louie Vega has once again utterly enriched the lives and libraries of music lovers the world over, far beyond the hustling streets of NYC that have so indelibly left their mark on his work.

From the dark, reverberating echoes of Kadinjaca Hill to the relentless march of Odjek Koraka, each track reverberates with an intense energy that speaks of defiance and unity in the face of adversity. Pad Okova is driven by a haunting chord that cuts through the pounding beat like a sharpened blade, while Tebi, Moja Dolores brings a haunting melancholy to the battlefield, encapsulating the unyielding spirit of the resistance movement.

Every beat in this EP is infused with the underground force of techno, laced with the struggle for freedom, equality, and justice. The artwork - stark, militant, and gritty - reflects the uncompromising ethos of the partisan fighters, drawing a direct line between the sounds of today and the ideals ofthose who fought for a better tomorrow.

The 6th instalment in the Clergy 10 years series; featuring tracks from ANNE, Kabay, Truncate, Hyden, Klint and Cleric.






f B3 Albert Zhrinov - Old Malt Cleric 6/10 Remix

R.A.N.D. Muzik Recordings welcomes Manchester’s Kalani to the label for an EP of techno, house and electro

Im Januar 1977 veröffentlichten Pink Floyd ihr zehntes Studioalbum „Animals“. Das Werk eroberte Platz 1 der deutschen Charts, gilt als eines ihrer besten – und es wird nun, 45 Jahre später, als Deluxe Gatefold, CD, LP und Blu-ray wiederveröffentlicht. Zum ersten Mal überhaupt wird das Album in 5.1 Surround-Sound zu hören sein. Die einzelnen Versionen werden ab dem 16. September 2022 erhältlich sein, die Deluxe-Version folgt am 7. Oktober.

Pink Floyd – David Gilmour, Nick Mason, Roger Waters und Richard Wright – nahmen „Animals“ 1976 und Anfang 1977 in den bandeigenen Britannia Row Studios in London auf und produzierten auch selbst.

„Animals 2018 Remix“ wird als CD, LP (mit Klapphüllen-Artwork), Blu-Ray und als Deluxe-Gatefold-Format veröffentlicht. Die Deluxe-Gatefold-Version beinhaltet eine LP, CD, Audio-Blu-Ray, Audio-DVD und ein 32-seitiges Booklet. Die Audio-Blu-Ray und -DVD enthalten den Remix von 2018 in Stereo, in 5.1 Surround (beide von James Guthrie) und den ursprünglichen Stereo-Mix von 1977. Das 32-seitige Booklet gewährt mit selten gezeigten Fotos einen Blick hinter die Kulissen des Shootings für die Plattenhülle sowie Live-Bilder und Memorabilia. Das Album-Artwork wurde für diese Veröffentlichung mit einem zeitgemäßen Motiv neu interpretiert.

„Animals“ ist ein Konzeptalbum, das sich kritisch mit den sozialpolitischen Verhältnissen im Großbritannien der mittleren 1970er-Jahre auseinandersetzt und damit eine Abkehr vom Stil der früheren Arbeiten der Band markierte. Aus einer Ansammlung ursprünglich nicht miteinander zusammenhängender Songs entwickelten Pink Floyd ein Konzept, das den offenkundigen sozialen und moralischen Verfall der Gesellschaft beschreibt. Inspiriert von George Orwells „Farm der Tiere“, verbildlichen sie die menschliche Natur mit einer Analogie zum Tierreich und teilen die Menschen in drei Klassen von Tieren ein: Die Schweine stehen an der Spitze der sozialen Kette, die Schafe tun als hirnlose Herde, was man ihnen sagt, und die Hunde sind die Geschäftsbosse, die sich am Profit und ihrer Macht über andere schamlos bereichern. Seit 1977 ist viel Zeit vergangen – und dann wieder gar nicht, denn die Erzählung des Albums hat als Kommentar auf unsere gesellschaftliche und wirtschaftliche Situation nichts von ihrer Aktualität verloren.

Das berühmte Cover von „Animals“ zeigt ein aufblasbares Schwein (heute bekannt als Algie), das in luftigen Höhen zwischen zwei Schornsteinen der Battersea Power Station in London schwebt. Die Idee für das Cover kam von Roger Waters, die Umsetzung übernahm der langjährigen Kreativpartner der Band, Storm Thorgerson von Hipgnosis Studios. Für die jetzige Neuveröffentlichung wurde das Artwork von Storms Hipgnosis-Partner Aubrey „Po“ Powell für die heutige Zeit neu gestaltet. Basierend auf neuen Aufnahmen des Gebäudes während der jüngsten Umgestaltungsarbeiten (das ehemalige Kraftwerk wird für die kulturelle und gewerbliche Nutzung umgebaut, gestaltet von Frank Gehry und Norman Foster), experimentierte Po mit neuen Blickwinkeln und erschuf einige beeindruckende neue Varianten des berühmten Originals. Po dazu: „Das Original-Albumcover von 1977 ist ikonisch und steht so sehr für sich, dass ich eine Menge Respekt davor hatte, ihm ein Update zu verpassen. Doch Hipgnosis nahm die Gelegenheit zum Anlass, das Motiv neu zu fotografieren und damit eine sich verändernde Welt widerzuspiegeln. Durch den Einsatz moderner digitaler Färbetechniken konnte ich Pink Floyds düstere Botschaft des moralischen Verfalls beibehalten, und auch die Orwellsche Tier-Analogie in Form des Schweins Algie lebt in dem neuen Artwork fort.“

Pink Floyds „Animals 2018 Remix” kann ab jetzt hier vorbestellt werden.

DJ Support: Mau P, Jamie Jones, BLOND:ISH, Noizu, Bob Sinclar, Martin Garrix, ACRAZE, Steve Angello, Kaskade, CID, Bob Sinclar, Afrojack, Oliver Heldens, Nicky Romero, MK and more.

Toolroom’s latest vinyl offering sees 3 big releases from label favourite, Tony Romera. For what is arguably his biggest single to date and brimming with feel-good 80s flavour, Time To Move has been on repeat for Tony at every show. LFO kicks of the b-side and showcases Tony’s trademark tough drums and low-slung bass line, resulting in another dancefloor weapon. The quirky Dance Naked rounds off the EP with an unmistakable rolling, tech groove, hooky synth stabs and hooky vocals on top.

Bruce Dickinson, More Balls To Picasso. Sein klassisches Album von 1994 neu interpretiert und neu
aufgelegt!
Bruce sagt dazu: „Während ich meinen gesamten Katalog in Dolby Atmos abmischte, verspürte ich den
brennenden Wunsch, die Platte neu zu interpretieren und neu zu erfinden. ‚More Balls To Picasso‘ war
eine Herzensangelegenheit. Natürlich haben wir die Gitarren verstärkt und sogar neue hinzugefügt. Der
brasilianische Komponist Antonio Teoli steuerte atemberaubende Orchesterarrangements bei und fügte – als
einzigartigen Beitrag – am Anfang von ‚Gods Of War‘ einheimische Instrumente aus dem Amazonasgebiet
hinzu (die er selbst aufgenommen hatte, als er dort lebte!).
‚Shoot All The Clowns‘ profitiert von einer Bläsersektion unter der Leitung von Professoren des Berkeley
College of Music, und die gesamte Platte profitiert vom Mix von Brendan Duffey (The Mandrake Project),
ergänzt durch Anmerkungen von Shay Baby, dem ursprünglichen Vater des Albums.
Enthält zwei bisher unveröffentlichte Live-Studio-Tracks: ‚Gods of War‘ und ‚Shoot All The Clowns‘.“

Als Beck 1994 mit seinem offziellen Debütalbum „Mellow Gold“ auf den Markt kam, gerade als Alternative
Rock zum Mainstream wurde, übertraf er schnell alle Erwartungen, als „Loser“ sich von einer abgelehnten
Demo zu einem allgegenwärtigen Hit entwickelte. „Loser“ zeigte Becks unkonventionellen Ansatz beim
Songwriting und festigte seinen Status und seine innovative Stimme in der alternativen Musik. Der Song
enthält ein Sample aus „I Walk on Guilded Splinters“ von Dr. John.
Mellow Gold wurde von Beck, Tom Rothrock, Rob Schnapf und Karl Stephenson produziert und von Tom
Rothrock und Rob Schnapf gemischt.
Nun erhältlich auf einer 180g schwarzen Vinyl.

Berlin-based musician and media artist Michael Vorfeld celebrates the 20th anniversary of his unique sonic explorations with a new volume of his Glühlampenmusic (Light Bulb Music). Mastered by Rashad Becker.

Michael Vorfeld is a musician and media artist, plays percussion and self-designed string instruments, and realizes electroacoustic sound pieces. He works in the field of experimental, improvised music and sound art, realizing installations and performances with light and sound, and working with photography and film. In addition to his solo activities, he is a member of various ensembles and collaborates with artists who work in many different art forms, e.g. Burkhard Beins, Mazen Kerbaj, Ute Wassermann, Reinhold Friedl, to name a few. Based in Berlin, his list of activities includes numerous concerts, performances and exhibitions in Europe, America, Asia and Australia. Michael Vorfeld participated in the documenta 8, Kassel with the sound performance group "Heinrich Mucken".

Since the mid-1980s, Vorfeld has been realizing a multiplicity of partly site-specific light works (most of which also included sound) and where the incandescent lamp played an essential role. He conducted many tests to research the interplay of light and sound, experimented with all kinds of incandescent lamps in relation to various light-controlling devices and used many different types of microphones and pickups to "eavesdrop" into the acoustic potential of the various light events. The result of this research is Glühlampenmusik (Light Bulb Music), an electro-acoustic and audio-visual performance where sounds are generated through the use of different light bulbs and actuating electric devices. The incorporation of different analog light controllers such as switches, dimmers, relays, flashers and various others leads to diverse variations within the light event, made audible with the help of various microphones and pickups. The changes in the light intensity, the incandescence of the filaments and the rhythmic variety of the flickering and pulsing lights is directly transformed into a comprehensive and microcosmic electro-acoustic world of sound. First performed publicly under the titleGlühlampenmusikin the Labor Sonor series at Kule, Berlin in January 2005, and released in 2010, this new volume of Glühlampenmusik celebrates its 20th of these sonic adventures that can range from sparse abstractionism to almost "clubby" pulsations.

Released in 1979, "Tutti Fluti" is undoubtedly one of Teddy Lasry’s most unique and poetic albums.
Entirely centered on flutes, of which he is an undisputed master, this record offers a dreamlike dive into
ethereal jazz, naturalistic ambient, and subtle electronic experimentation.
Teddy Lasry, an original member of Magma, is known for his distinctive approach to wind instruments
and synthesizers. As a composer, performer, and texture inventor, he builds here a delicate,
contemplative, and timeless sound world.
On Tutti Fluti, flutes become voices, breath, wind, and a call to the imagination. Accompanied by
luminous keyboards and subtle rhythms, they shape an organic, soft, and introspective music—perfect
for active meditation or immersive listening.
A rare and atypical album, Tutti Fluti now finds its place among the great classics of auteur library
music, between spiritual jazz and the imagined soundtrack of a film never made.
Limited edition – A precious reissue for collectors, dreamer flutists, and sonic explorers.

It was the 90s. Paris had the blues, French rap was beginning its slow rise, and a new musical genre was emerging: Acid Jazz. Imported from England by DJ Gilles Peterson, this groovy style blended 70s funk with a certain idea of jazz tailored for the dancefloor. Its heroes were Galliano, Brand New Heavies, Incognito, and the James Taylor Quartet. Jamiroquai topped the charts, MC Solaar recorded with Urban Species, and suddenly, France was swept up in the swing whirlwind. Starting in 1993, Parisian clubs embraced this union of jazz and groove, and in 1994, a compilation was released: Paris Groove Up. Around ten groups delivered the French version of this British style: Mellowman, Mad In Paris, Vercoquin, Ready Made... and Dis Bonjour À La Dame. The band wasn’t new—their roots went back to the late 80s, when bassist Marc Israël brought together a brass section and some seasoned musicians. But the real beginning of DBALD came in 1992 with the arrival of singer Sital. "Christophe Denis joined on guitar and songwriting. In 1993, we opened for Jamiroquai and Maceo Parker, and that’s when the major labels interested in the acid jazz market started noticing us," recalls Marc. Their track Chris’tal, the centerpiece of the compilation, was released as a single, and Dis Bonjour À La Dame's album began production in late 1994 in London, at Roundhouse Studio. “We must’ve been among the last sessions there—it was demolished shortly after. It was a very 70s studio, with old gear, a Fender Rhodes, everything was vintage! We recorded for a month, all playing together live, then added the brass and finally Sital’s vocals. We were lucky to have two exceptional backing singers, Sarah Brown and Mark Anthoni, who worked with Incognito and Urban Species.” The self-titled album came out in early 1995, and it had all the ingredients of a hidden funky gem from the 90s: Hey Mama with its ironclad groove, the irresistible instrumental Sheherazade Groove opening the record, Soul Body with its R\&B sensuality... The hip-hop touch came courtesy of Lee Rick’s, the MC from Mellowman, who laid down rhymes on Hall Blues. The brass section was on fire, the bass went wild, and Sital added a sensual spark to the whole thing. In short, a solid album produced by Fred Versailles (producer of NTM’s first album) and mixed by Paul Borg (Urban Species, UFO, -M-, Mory Kanté), a testament to a time when big funky bands made Paris groove—with Dis Bonjour À La Dame leading the charge. Nearly thirty years later, it’s time to (re)discover DBALD.

Cass McCombs kehrt zu Domino zurück mit einem neuen Album "Interior Live Oak"!

Am 15. August erscheint Cass McCombs' neues Album Interior Live Oak bei Domino. Es ist sein persönlichstes Werk - und gleichzeitig eine Rückbesinnung: reduziert, konzentriert, aber mit dem ganzen Gewicht von über zwanzig Jahren musikalischer Entwicklung. Der Impuls kam durch die Rückkehr zu Domino und die Auseinandersetzung mit frühen Arbeiten im Rahmen der Reissue-Kampagne und des Archivalbums Seed Cake on Leap Year. McCombs arbeitete dafür erneut mit langjährigen Weggefährten wie Jason Quever (Papercuts) und Chris Cohen in der Bay Area, später kamen in New York Beiträge von u.a. Matt Sweeney und Mike Bones dazu. Interior Live Oak verbindet neue Klarheit mit vertrauter Tiefe. Trotz dunkler Themen bleibt der Grundton hoffnungsvoll - als würde McCombs nicht nur von Extremen singen, sondern als jemand, der sie durchlebt hat.

M.A.D RECORDS team up with Esa Williams’s Aweh Records to bring you a truly international collaboration. Caravan laid down the beats in Australia then passed the baton to Kwaito legend Kamazu over in Cape Town who with the help of Esa Williams recorded the vocals you hear on this bumping Kwaito record.


b A2: Ungiphatha Kahle (You Treat Me Right) Instrumental Mix


b A2 | Ungiphatha Kahle (You Treat Me Right) [Instrumental Mix]

Ready for take off?

With his new album 'Cruise Control', Satin Jackets presents a perfect musical soundtrack for relaxed moments that take us away from the stresses of everyday life. The title of the album is meaningful: 'Cruise Control' stands for the feeling of switching on the autopilot, leaning back and enjoying the journey to the fullest - an atmosphere that the album unfolds.

The album is a collection of singles that have been released over the last few years and are all interwoven at their core. Because no matter where you listen to the songs, they work, images arise in your head and your feet rarely stay still. Satin Jackets remains true to himself with his album sound, as he repeatedly receives feedback from listeners who appreciate the positive mood in his songs and which always puts them in a good mood.

The songs are first created in the producer's head and then develop together with the features, who add their own touch. For Satin Jackets, 'the most important thing is this immediate feeling that it fits musically and atmospherically'. This can also come out of nowhere, as was the case with David Bay and Small Black, who got in touch with the producer and it was an instant fit.

'There are always those magical moments when a song comes out of nowhere. Once I had an idea for a chord sequence that I couldn't get out of my head, but somehow that certain something was still missing. I then spontaneously asked a bassist friend of mine if he would like to play something to it - ten minutes later we had a hook that carried the whole piece. It's these unexpected, spontaneous inspirations that make the process so exciting.'

'Cruise Control' is more than just another album from Satin Jackets. It is an invitation to enjoy the moment and surrender to the music - a soundtrack that creates a good mood and takes us on a relaxing journey. So just switch on the autopilot again, put on your headphones and let yourself go.

Ready for take off?

Satin Jackets präsentiert mit seinem neuen Album "Cruise Control" einen perfekten musikalischen Begleiter für entspannte Momente, die uns vom Alltagsstress befreien. Der Titel des Albums ist vielsagend: "Cruise Control" steht für das Gefühl, den Autopiloten einzuschalten, sich zurückzulehnen und die Reise in vollen Zügen zu genießen - eine Atmosphäre, die das Album entfaltet.

Das Album ist eine Sammlung der Singles, die über die letzten Jahre erschienen und im Kern alle miteinander verwoben sind. Denn egal, wo man die Songs hört, sie funktionieren, es entstehen Bilder im Kopf und die Füße bleiben selten still. Mit dem Albumsound bleibt Satin Jackets sich treu, denn immer wieder bekommt er die Rückmeldung von Hörer:innen, die die positive Stimmung in seinen Songs schätzen und die immer wieder für gute Laune sorgt.

So entstehen die Songs zuerst im Kopf des Produzenten und entwickeln sich im Anschluss gemeinsam mit den Features, die ihre eigene Note mit einbringen. Für Satin Jackets ist es "das Wichtigste dieses unmittelbare Gefühl, dass es musikalisch und atmosphärisch passt". Das kann auch aus dem Nichts kommen, so wie bei David Bay und Small Black, die sich bei dem Produzenten meldeten und es sofort passte.

"Es gibt immer wieder diese magischen Momente, in denen ein Song quasi aus dem Nichts entsteht. Einmal hatte ich eine Idee für eine Akkordfolge, die mir nicht aus dem Kopf ging, aber irgendwie fehlte noch das gewisse Etwas. Ich habe dann spontan einen befreundeten Bassisten gefragt, ob er etwas dazu spielen möchte - zehn Minuten später hatten wir einen Hook, der das ganze Stück getragen hat. Es sind diese unerwarteten, spontanen Eingebungen, die den Prozess so spannend machen."

"Cruise Control" ist mehr als nur ein weiteres Album von Satin Jackets. Es ist eine Einladung, den Moment zu genießen und sich der Musik hinzugeben - ein Soundtrack, der für gute Stimmung sorgt und uns auf eine entspannte Reise mitnimmt. Von daher einfach mal wieder den Autopiloten einschalten, , Kopfhörer aufsetzen und fallen lassen.

Club Squisito is an electronic band formed in 2005 by Valerio Semplici, who dominated the scene for a decade as a member of Black Box. Here he joins up with Marina Santelli for a blissful new house groove, 'Come Into My Life,' which has a striking falsetto vocal and mournful horns unfurling over soulful drums. The From P60 pairs it back to late night depths for intimate clubs and an Infradisco remixes it into a downtempo and dubbed out delight. The Rudi'Kasti remix is awash with sultry synth work and jazz romance to close out a wonderful, heartfelt EP.

Tom Jarmey returns with Daybreak, a widescreen second album weaving ambient textures, dusty drum breaks and hazy melodies into a deeply emotive listening experience. Known for his genre-blurring releases on Holding Hands and X-Kalay, the London-based producer continues to push his sound into bold new territory. Having clocked 20M+ streams and earned praise from DJ Mag, Mixmag, and Four Tet, Jarmey's second LP cements his place in the UK's new vanguard of genre-fluid electronic artists.

Ten years, a compilation. It"s not a conclusion, nor a greatest hits. More like a pause, a moment to reflect - a look back to better move forward. Since 2015, Les Disques Bongo Joe have been navigating instinctively, yet with a compass all their own: a love for free-spirited sound, a curiosity for the undefined, and a clear idea of what a label can be - a space for listening, care, and invention. The compilation offers a journey - subjective, fluid, and unapologetic - through ten years of sonic activism. A selection of tracks drawn from the label"s corners and crevices: from early releases to recent ones, from essentials to rarities, from cult reissues to contemporary works that carry the label"s energy forward. The record flows between raw intensity and sonic finesse, between remastered archives and flashes of electronics, between fragile voices and hammered percussion.

Autechre setzen ihre chronologische Reihe von LP-Neuauflagen mit den Alben Untilted (2005) und Quaristice (2008) fort. Keines der beiden wurde seit seiner Erstveröffentlichung neu aufgelegt, beide sind über 15 Jahren kaum erhältlich. Die Nachfrage hat in der Zwischenzeit für begehrte Wiederverkäufe unter Fans gesorgt, die diese Musik auf Vinyl hören möchten. Die Neuauflagen erscheinen zu einem besonders aktiven Zeitpunkt für Autechre, die sich auf eine ihrer bisher umfangreichsten Live-Tourneen vorbereiten, darunter eine komplett ausverkaufte Serie mit 25 Konzerten in 29 Tagen durch die USA, Kanada und Mexiko im Oktober sowie Tourneen in der EU (August) und Großbritannien (November). Autechre veröffentlichten zuletzt im November 2024 neue Musik im Rahmen des laufenden digitalen Projekts AE_2022–. Weitere erhältliche LP-Neuauflagen: Incunabula (1993), Amber (1994), Tri Repetae (1995), Chiastic Slide (1997), LP5 (1998), Confield (2001), Draft 7.30 (2003).

Die FETENHITS-Folge NDW Neue Deutsche Welle wurde neu aufgelegt - mit verändertem Tracklisting.
Einige Titel, die auf der früheren Folge fehlten, sind nun endlich mit dabei, wie z.B. ”Der Mussolini” und
”Als wär’s das letzte Mal” von DAF sowie ”Der Kommissar” von Falco. Des weiteren finden sich einige
tolle Raritäten von Michael Cretu, Alphaville und Thomas Anders wieder. Man darf gespannt bleiben...
Als 3CD & Download und im September dann auch als 4-fach Vinyl!

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch


Billy Idol - "Catch My Fall" (From The 1987 Movie 'Some Kind Of Wonderful')
The Association - "Cherish" (From The 1986 Movie 'Pretty In Pink')
Penguin Cafe Orchestra - "Music For A Found Harmonium" (From The 1988 Movie 'She's Having A Baby')
Zapp - "Radio People" (From The 1986 Movie 'Ferris Bueller's Day Off')
Blue Room - "Cry Like This" (From The 1987 Movie 'Some Kind Of Wonderful')
Ray Charles - "Mess Around" (From The 1987 Movie 'Planes, Trains & Automobiles')
Joe Turner - "Lipstick, Powder & Paint" (From The 1989 Movie 'Uncle Buck')
Darlene Love - " (Today I Met) The Boy I'm Gonna Marry" (From The 1984 Movie 'Sixteen Candles')
Marvin Gaye - "How Sweet It Is (To Be Loved By You)" (From The 1988 Movie 'She's Having A Baby')
Perry Como/Mitchell Ayres & His Orchestra/The Ray Charles Singers - "Juke Box Baby" (From The 1989 Movie 'Uncle Buck')
The Chordettes - "Mr Sandman" (From The 1989 Movie 'Uncle Buck')
Ray Anthony & His Orchestra - "The Peter Gunn Theme" (From The 1984 Movie 'Sixteen Candles')
Lindsey Buckingham - "Holiday Road" (From The 1983 Movie 'National Lampoon's Vacation')
Emmylou Harris - "Back In Baby's Arms" (From The 1987 Movie 'Planes, Trains & Automobiles')
Hugh Harris - "Rhythm Of Life" (From The 1989 Movie 'Uncle Buck')
Spandau Ballet - "True" (From The 1984 Movie 'Sixteen Candles')
Propaganda - "Abuse" (From The 1987 Movie 'Some Kind Of Wonderful')
The Dream Academy - "The Edge Of Forever" (From The 1986 Movie 'Ferris Bueller's Day Off')
Yello - "Lost Again" (From The 1987 Movie 'Planes, Trains & Automobiles')
Bryan Ferry - "Crazy Love" (From The 1988 Movie 'She's Having A Baby')
The Rave-Ups - "Positively Lost Me" (From The 1986 Movie 'Pretty In Pink')
Los Lobos - "Don't Worry Baby" (From The 1985 Movie 'Weird Science')
Steve Earle - "Continental Trailways Blues" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Revillos - "Rev Up" (From The 1984 Movie 'Sixteen Candles')
Boston - "More Than A Feeling" (From The 1988 Movie 'She's Having A Baby')
Balaam & The Angel - "I'll Show You Something Special" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Rave-Ups - "Rave Up/Shut Up" (From The 1986 Movie 'Pretty In Pink')
Pop Will Eat Itself - "Beaver Patrol" (From The 1988 Movie 'The Great Outdoors')
The Vapors - "Turning Japanese" (From The 1984 Movie 'Sixteen Candles')
Silicon Teens - "Red River Rock" (From The 1987 Movie 'Planes, Trains & Automobiles')
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Electronic were Bernard Sumner (New Order) and Johnny Marr (The Smiths), who together produced critically-acclaimed alternative dance, and gave both Bernard and Johnny the creative freedom to fully express themselves.

Raise The Pressure will be out on vinyl for the first time since its original release in 1996, as a 2LP for superior sound quality. Its original release was on 1LP.

This album had the added touch of Karl Bartos from Kraftwerk.

DJ Support: Groove Armada, Gorgon City, Claptone, Nicole Moudaber, Dennis Cruz, Carl Cox, Steve Aoki, Tiesto, Steve Angello, Oliver Heldens, Bob Sinclar, Diplo, Sofi Tukker, Dombresky, Carlita, A-trak, ALOK, Danny Howard, Kaskade, Hot Since 82.

Toolroom’s next Sampler sees 4 big releases from Tony Romera, Crusy, Low Steppa, James Hurr, CASSIMM, Darius Syrossian and Kathy Brown.

Ruby is the first full-length studio album from artist, entrepreneur, and global superstar JENNIE, released in collaboration with ODDATELIER & Columbia Records. The carefully curated 15-song offering explores a variety of genres & showcases JENNIE truly stepping into her own. Including features from Childish Gambino, Doechii, Dominic Fike, Dua Lipa, FKJ, and Kali Uchis. Includes Opaque Red Vinyl, x 1 12x12” mini-poster, x 1 Exclusive Postcard.

DJ Support: Midland, Craig Richards, Vladimir Ivkovic, Benji B, Emerald, Cici, Darwin, Jossy Mitsu, I JORDAN, Daria Kolosova, Alienata, Carl Craig, Paula Tape, OK Williams, Hammer, Kassian

Kilig Unveils New Era with Air In The Dark / Back To Sofa Surfing

Elusive leftfield electronica producer Kilig emerges from the shadows to unveil a new era on Cross Country with Air In The Dark and Back To Sofa Surfing—two tracks that signal a matured, exploratory sound, balancing introspective ambience with subtle rhythmic propulsion.

In a celebration of London’s enduring spirit of community, experimentation, and unity - fabric resident Bobby. and FOLD’s own Voicedrone join forces to rework Air In The Dark. Bobby. crafts an epic, psilocybin-inspired reinterpretation; Voicedrone - a hard-hitting high BPM electro reinterpretation; and cult favourite RAMZi offering a warm, deep ambient cut.

Back To Sofa Surfing receives its own forward-facing treatment from Manami and Dufraine — two voices at the cutting edge of London’s bass and electro underground. Hailing from a shared studio space , the remixes are infused with raw dub, bass, acid, and electro infused energy.

DJ Support: SSSLIP, Voigtmann, Moxie, Domenic Cappello, Subb-an, Reiss, Roza Terenzi, Mr. Redley / Rinse FM, Hutch / Ambers / Fabric, Joe Koshin, ODF, Georgia, Marc Satseg, Make A Dance, Raresh, Secretsundaze, ADMNTi, Francesco Mami, B From E, Tifra, Kassian and many more

Handy Record's 'Natural Frequencies' Imprint returns for its 5th Release with Jinjé.

The four track EP 'Days like This' graces the label fusing sounds in the realms of Breaks , Bass , Progressive and techno.

Days like this opens up a new sonic realm for Natural Frequencies with flickering synth's, soaring analogue embellishments warping around a driving subsonic bass and crunchy drums. Delving deeper into the wormhole with vocal snaps and hypnotic layering, keeping your head down and energy up on the dancefloor.

“We All Jack” marks the first vinyl release from the Heattraxx label — a true celebration of the Chicago house scene. The original track features a powerful Klassik Mix by K'Alexi Shelby, his second release on the label, a living legend of Chicago house who earned critical acclaim with The Ron Hardy Memo and is now back on the label stronger than ever. The record also includes three heavyweight remixes: Sirus Hood, a longtime friend of the label, talented artist and producer, founder of Mood Child, and deeply connected to the Chicago scene — having produced a documentary featuring interviews with some of the most iconic names in house music; The Checkup, label head of Heattraxx, delivers his deep and driving grooves as seen on labels like Kaoz Theory, Snatch! and House Puff; and Joe Smooth, another legendary Chicago pioneer, known for classic acid house sounds and immortalized by the anthem “Promised Land.” A tribute to house heritage, infused with the spirit of the Windy City in every beat.

FIRST-EVER VINYL RELEASE OF CULT 1980 CASSETTE-ONLY ALBUM BY EGYPTIAN SINGER NAGAT EL SAGHIRA, CURATED AND ANNOTATED BY DISCO ARABESQUO. INCLUDES PRODUCTION BY EGYPTIAN FUNK LEGEND HANY SHENOUDA

Following the highly-acclaimed "Sharayet El Disco" compilation, Wewantsounds is delighted to team up with Disco Arabesquo for the reissue of Nagat El Seghira's cult 1980 album "Eyoun El Alb"

Originally released only on cassette on the Egyptian label Soutelphan, the album has since become a sought-after classic on the Arabic groove scene and this is the first time it is released on vinyl. Consisting of four tracks, the album features two tracks produced by Hany Shenouda whose group Al Massrieen is a reference on the Arabic disco funk scene.

Remastered for vinyl by Colorsound Studio in Paris, the album features the original cassette artwork plus a two page colour insert featuring liner notes by Disco Arabesquo.

When it comes to Arabic Divas, Oum Kalthoum, Fairuz and Warda usually take the lead in the poll list. But in her native Egypt, singer Nagat Al Saghira comes very close to this triumvirate. Born in Cairo in 1938, Nagat began singing when she was still a child gaining her stage name "El-Saghira" ("the young one") at this occasion as she started giving concerts at the age of seven, pushed by her father, the famed calligrapher Muhamad Hosny (Nagat's half-sister is the renowned actress Soad Hosny).

Nagat quickly rose to fame in the late forties and became an essential part of classic period of Arabic music, interpreting songs by such titans as Mohamed Abdel Wahab, Baligh Hamdy and Kamal Al Taweel. She also sang the works of Syrian poet Nizar Qabbani whom she introduced to a mainstream audience. Nagat started singing shorter songs but then upgraded to longer ones, often performing/recording them live as it was the trend in the 60s and 70s.

One such song is "Eyoun El Alb" ("Eyes of the Heart") which makes up the whole of Side 1 of the original cassette. Written by Mohamed El Mougy and Abd al-Rahman al-Abdouni, Eyoun El Alb is a love song made up of several distinct sections enhancing Nagat's hypnotic singing, accompanied by a percussion-heavy, traditional Egyptian orchestra.

Side 2 is the "diggers" groovier side featuring two floaters,"Bahlam Ma'ak" ("I Dream with You") and "Ana Basha El Bahr" ("I Adore The Sea") produced by cult Egyptian musician and producer Hany Shenouda, whose albums with his group Al Massrieen are highly sought after on the Arabic funk and Disco scene. One Al Massrieen track features on the "Sharayet el Disco" set compiled by Disco Arabesquo who notes that "Hany Shenouda had made waves with his new musical style that weaved in western funk and disco sounds into Egyptian music"

Both tracks feature an infectious slow-burning groove and incorporate funk influences with fat bass and lines of synth and clavinet that adds a funky tone to Nagat's soft singing. The third track "Fakra" ("Do You Remember") brings the best of both world with a syncopated rhythm and arrangements that are slightly more traditional than the Shenouda-produced tracks.

Originally released in Egypt on Cassette in 1980 on the venerable Soutlephan label, the album is now making its vinyl debut on Wewantsounds annotated by Disco Arabesquo and remastered for vinyl by Colorsound Studio in Paris for the joy of Arabic funk and Global beats worldwide.

Das Debütalbum des enigmatischen Kollektivs Danzón El Gato stellt einen faszinierenden Dialog zwischen Jazz, Funk und Roots-Musik her. Gegründet im Untergrund der Madrider Experimentalszene, gehen die Mitglieder vom Groove aus, um Traditionen zu erkunden. "El Sonido Bastardo" ist ein Kaleidoskop aus Rhythmen, Landschaften und Echos aus Nordafrika, den Tropen und Lateinamerika, verflochten mit einer rockigen Rhythmussektion, die gleichermaßen von 1970er Library Music wie dem Hip-Hop inspiriert ist. "El Sonido Bastardo" fängt die Essenz eines kulturellen Schmeltiegels im ständigen Wandel ein, dessen Musik in der Tradition verankert ist, aber gleichzeitig einen kosmopolitischen und überschwänglichen Look aufweist. Die beiden Kernmitglieder Javier Adán und Santiago Rapallo schrieben in der Vergangenheit experimentelle Stücke fürs Kino und das Prado-Museum.

The 10th release on Frenzy marks a milestone, and we're celebrating it with a true legend at the helm.

We're thrilled to welcome Marco Bailey to the label, a name deeply woven into the fabric of techno for decades. His latest work, the "Hollow Cry EP," is a six-track statement reflecting both his legacy and continued evolution as an artist.

Across four original tracks, Marco channels the tension, urgency, and emotional gravity that have defined his sound over the years. From gritty low-end power to cinematic builds and hypnotic repetition, these tracks are built with intent - to move bodies, challenge minds, and hold the floor in their grip.

The journey doesn't end there. We've brought in two key remixers to reinterpret Bailey's vision through their own lenses: The Advent, an undisputed cornerstone of the genre, delivers a groove-laced rework that's equal parts punch and finesse - a masterclass from a true pioneer; and Kaiser, one of the most distinctive voices in today's generation of techno artists, strips things down and dials up the pressure with a deep, percussive take that hits with precision.

We're proud to host Marco Bailey for this special chapter in the Frenzy story, and we invite you to dive deep into this powerful body of work.

"Hollow Cry EP" is built for the late nights, the flashing strobes, for those who know.

This 15-track album features the original score composed by Nicolas Godin (of AIR) for Fire of Love, the Oscar-nominated documentary directed by Sara Dosa in 2022 (available for streaming on Disney+), as well as original music inspired by the film.



Fire of Love tells the extraordinary love story of fearless French volcanologists Katia and Maurice Krafft, who died as spectacularly as they lived, capturing some of the most breathtaking footage ever recorded of their greatest passion: volcanoes.

The writer Max Sebald often pondered over the nature of human memory, specifically, how our thoughts and desires - and their results - overlap and mutate over time. In A Place in the Country, he writes of the significance of what see as “similarities, overlaps and coincidences”. Are they the “delusions” of the self and senses, or manifestations of “an order underlying the chaos of human relationships, ... which lies beyond our comprehension”?

Song of the Night Mists, the new album by post-classical composer Stefan Wesołowski, often feels it draws on Sebald’s premise.

On a simpler plane, the one where the market dictates the neatly ordered information we consume, Song of the Night Mists can be described thus: recorded in the main by Stefan Wesołowski in Gdańsk, both in his studio and in Saint Nicholas' Basilica, the album incorporates acoustic instruments - piano, violin, double bass - and classic synthesizers such as the Roland Jupiter-8, the Soviet Polivoks. A Roland Space Echo RE-150 tape delay was also pressed into service as an instrument. We also hear the basillica’s organ and field recordings from the Tatra Mountains. Other musicians were Maja Miro, who played the flute parts on ‘Glacial Troughs’ and brother Piotr Wesołowski, who played the organ on ‘Wilhelm Tombeau’. Sound engineer was Marcin Nenko, who was also on hand to record the basilica organ parts. The album was mixed in New York by Al Carlson (Oneohtrix Point Never, Jessica Pratt, Zola Jesus, Lady Gaga, and Liturgy) and Rafael Anton Irisarri handled the mastering.

Ostensibly, Song of the Night Mists is the last in a trilogy, following on from albums Liebestod (2013) and Rite of the End (2017). All three deal with existential matters such as love, death, decay and “an ultimate end”; apocalyptic and Promethean in spirit, and betraying very human conceits. The Sebaldian nature of the new record starts to make itself felt when Wesołowski talks of how he used sampling. One element is unexpected, that of sampling himself: “I go back to dozens of my own unused sketches and recordings, treating them as raw material to cut, slow down, reverse, and transform in every possible way.” Memory as sound, to be reemployed by the listener through their own imaginings.

Another set of samples made by Wesołowski plays another role. These are field recordings, originally created for an audio illustration of the formation of the Tatra Mountains, and used in a film by sound designer Michał Fojcik. Wesołowski: “You can hear cracking ice, streams, footsteps in the snow and the wind, and a real avalanche, recorded from the inside.” The “Tatra connection” on the album is also found in samples referencing composer Karol Szymanowski. The album’s title alludes to a poem about the mountains by Polish poet, Kazimierz Przerwa-Tetmajer.

Wesołowski’s Tatra recordings are “about a world without humans - about the fact that the world existed, was beautiful, and had meaning long before people arrived, and for the vast majority of its history, it was a place without us.” Wesołowski, using one iteration of the natural world, plays out in sound Sebald’s idea of another order, underlying the chaos of human relationships lying beyond human comprehension.

These feelings play themselves out on the five album tracks. Sonorous and rich, they illustrate tectonic shifts we have no control over. Wesołowski hints that the overall sound is a “meditation on the metaphysics of the non-human set against the spirituality that human presence has brought into it.” In that light, the opening number, ‘Core’, with its slow build, and crackling and straining sound effects, create an effect of the earth groaning into life in a creation myth. Once the piano part raps out a simple melody and modulated tonguing trumpet samples add to the overall atmosphere, the listener can certainly find a cue in the “spiritual”, or “human” side of the story. Human versus nature: from the strains and harmonic muscle stretches of the second number, ‘Glacial Troughs’, through to the powerful and filmic ‘Stalagmite’ and heart-on-sleeve romance expressed in closer, ‘Wilhelm Tombeau’, we listeners are cast as Friedrich’s wanderer, looking out over a landscape that will appear only if we engage with it.

Formations of melody appear incrementally, almost appearing by chance - like hidden footings in the rock shelves to give us something to grasp onto. Rhythms are used sparsely: the prolonged percussive taps on ‘Glacial Troughs’ are an anomaly and maybe there to give pace to the album to come; essentially to keep the listener strapped in. Elsewhere, percussion is used as an aid to mood, the two thudding, timpani-style passages on ‘Peak’ there to offset the short, beautiful, kosmische passage that splits them.

Elements of the borderline religious spirit that drove German electronic music in the late 1960s and 1970s also find a place on Song of the Night Mists. The swells and recessions of the organ find their emotional climax on ‘Wilhelm Tombeau’, a track which summons up echoes of the “mountain magic” vistas created by Popol Vuh or Tangerine Dream, especially with the slightly atonal wobble of the Mellotron that counters it.

This is a dramatic album, but it does feel a strangely short, or curtailed listen on ending, evoking the feeling one gets when waking from a dream, and, for all its incipient grandeur, a track like ‘Stalagmite’, for instance, ends on a minor note. Wesołowski admits that Song of the Night Mists is born of the all too human process of temptation, doubt and recalibration - Sebaldian overlaps and coincidences forming something that must live another life, away from its creator. In Wesołowski’s words, the album is “a newborn foal must stand up and walk right after birth.” Now it is yours to ponder.

MOVE TRAX, label forged from Tokyo's event series MOVE ムーブ that since 2022 has consistently showcased in Asia pivotal figures in electronic music scene such as Alex Neri, Fantastic Man, Massimiliano Pagliara, Liquid Earth, Chloé Caillet, Bradley Zero, Secretsundaze, Giammarco Orsini, Gonno, Known Artist, proudly unveils its inaugural release: TOKYO LIPSTICK. This sonic odyssey is crafted by the label's Italian-born, Tokyo-resident founder, Al Jones, who masterfully synthesizes the sun-drenched euphoria of '90s Mediterranean sounds with the kaleidoscopic dynamism of his Japanese sojourn. From the futuristic synthscapes reminiscent of classic video games to the pulsating vocal tapestry of Shibuya Scramble Crossing, the world's most vibrant intersection, Al Jones distills disparate influences into a cohesive and compelling narrative. Supporting this seminal debut are remixes from Berlin-based UK artist Running Hot, renowned for his distinctive contributions to esteemed labels such as Love On The Rocks (LOTR), Certain Music Records, and Permanent Vacation. Complementing this, rising Japanese talent Paperkraft, hailing from Osaka, brings a fresh perspective, building significant momentum from the Land of the Rising Sun with releases on Physical Education and HOMAGE Records with his tracks remixed by Aldonna and Aiden Francis.

"EASY EVIL" was recently comped on the tenth volume in the famous PRAISE POEMS series. As you may know it is a LP-only cut so we have decided to release this beautiful version on a good old 45 RPM single. On the B-side is the wonderful "IN THE NAME OF LOVE" which can easily keep up with Kenny Rankin's version.

With two critically acclaimed compilations already under his belt, DJ / collector miche returns to Mr Bongo with the third instalment of his With Love series. Testament to his ever-expanding taste, Volume 3 isn’t just a subs bench call-up from the past compilations, it’s an evolution and progression casting the net deeper and wider than before.

Keeping true to the series, but with some fresh surprises along the way, this carefully curated compilation is a celebration of soulful, independently released music from across the globe, and the amazing (often unsung) musicians and vocalists that made these sublime records.

Across the third volume, miche explores a jazzier side of his tastes. “The deeper I went, the more I found myself gravitating towards jazzier music - not leaving soul behind, but following that same feeling into new territory”, he explains. Tracks like the gliding jazz funk found on Late Nite Music Band’s ‘Sundance’, or the glorious jazz-soul number ‘In Flight’ by Spectrym are shining examples of this.

That defining soulful thread of previous volumes is still in full effect throughout this latest edition. “There’s a healthy dose of impossible-to-find soul gems that have that unmistakable, heartwarming feel. Tracks like John Simmons' 'Ain't Nothing Like The Love', which I've adored ever since Zaf Love Vinyl played it, sit perfectly alongside records like Le Cop and New Way”, states miche.

The addition of some top-tier Turkish music showcases another side to his ever-broadening taste. Nükhet Ruacan's 'Gölge' is something unique, a floaty Brazilian-inspired gem recorded in Turkey and not what you’d typically expect from Turkish records of this era. 

It also wouldn’t feel right to leave out a stop in Brazil, with miche looking to the work of Carlos Bivar whose track 'Amargo Amar' carries that undeniable groove of samba-funk from Rio.

Spreading the With Love message far and wide the series has led to miche DJing across the globe, “from batucada sessions in Timisoara, to all-night sets in a club in Beijing, and even an eight-hour Root Down With Love stage takeover at We Out Here festival, joined by Danilo Plessow, Jeremy Underground, and of course, my mentor and buddy Rainer Trüby.”

Volume 3 then, carries that message even further. It’s an eclectic but intentional collection, built for the music lover who wants to discover something new. Working just as well as a soundtrack to cook dinner to, as it does keeping a packed dancefloor moving into the small hours.

Back in 1999, nestled in a cramped box room in his parents’ house in Cambridge, George Aretakis, one half of the newly-formed “I Like It” label (ili records) was on a sonic mission. Fresh from releasing their debut 12" All Alone by Hal, he dove headfirst into the world of self-engineering — no acoustic treatment, a sketchy Yamaha sound card, and a PC with a mind of its own.

What came out of that chaos is a collection of raw, imaginative tracks that blend hardware glitches with human quirks. Computer Rage was born from a technical meltdown — literal computer voices, warped vocals, coughing, and all. Its sibling, the Silicon Circus Mix, takes that same glitchy DNA and pushes it even further into bizarro territory.

Then there's Space You Know — a groovy slow-burner driven by a sticky bassline and the haunting vocal of Katie Jeans (courtesy of friends at Tummy Touch), chopped and recontextualized into something beautifully strange.

Rounding it out is Environ Mental, a moment of playful spontaneity made in a single night. Early morning birdsong, passing cars, and absurd vocalizations collide in a whimsical microcosm of lo-fi joy.

This release is a love letter to the unfiltered creativity of early bedroom production — messy, noisy, and bursting with heart. A must-have artifact for fans of DIY electronica and late '90s experimental house.

Repress!

Sophomore release from the acclaimed trio of Inspectah Deck (Wu-Tang Clan) And 7L & Esoteric. Features MF Doom, GZA, Method Man, Large Professor, Juju Of The Beatnuts, Ra The Rugged Man, & Meyhem Lauren. Packaged in a 70+ Page Hardcover CD Casebook / 2LP on Clear vinyl with Lyrics & Cover Art From L'amour Supreme (Mishka NYC). Includes a comic, written by Esoteric with artwork by Gilberto Aguirre Mata (El Ultimo Codice) & L'Amour Supreme. CZARFACE - Wu-Tang founding MC Inspectah Deck and veteran Boston duo 7L & Esoteric - isn't concerned with the glitz and the B.S. that modern consumer culture is pushing. And neither are the group's fans. In 2013, the trio appeared relatively unassumingly with their self-titled debut, which was chiefly produced by DJ 7L and included guests ranging from Ghostface Killah and Cappadonna to Vinnie Paz, Action Bronson and Roc Marciano. The soon-to-be acclaimed group found out quickly that there was a groundswell of hip-hop fanatics thirsting for the lunchpail, lyrics-above-all-else rap they fell in love with in the '90s. Several pressings of the album on CD, 2-LP and even cassette later, they are back and ready to up the ante. This time around the group is the same, but it's fair to say that all three men have stepped up their game. We knew how we felt about the last album, but weren't sure how it would be received by listeners,' explains MC Esoteric. But people really responded to it, even more than we had hoped. That gave us the confidence to really spread our wings and let loose on this one. The chemistry is even tighter this time around. We know exactly what lanes we are cruising in and what weight class we are fighting in for Round 2.' Inspectah Deck adds, Czarface is like the Danger Room for the X-Men, I can use all my weapons on there. When I'm in Wu-Tang, I have to come a certain way because we have a certain style of fan, when I'm here doing the Czarface projects, it allows me to actually be an MC, it allows me to actually just spit...I love that. I love when i can just spit freely and just be an MC.' The fighting analogy - whether drawn from pugilism or '80s wrestling, both which figure into Every Hero Needs A Villain - is an apt one, considering the unrelenting lyrical attacks that Deck and Esoteric unleash on track after track, each trying to one-up the previous verse. Best of all, it is friendly camaraderie, based around a loose theme of renegade mutant MC talents running wild. DJ 7L explains, All three of us are influenced by comics, sci-fi movies, TV, wrestling. Czarface encompasses all of that, and it helps with the visuals as well.' On the production side, 7L shows yet again - as he did with the group's debut - that he remains a formidable yet underappreciated musical force, constantly providing hard, funky and alternatingly ominous backdrops for the assembled MCs to use as lyrical luge paths. If that wasn't enough, it's all iced with a ridiculously intricate and beefy 70-plus page, hardcover CD casebook with lyrics and extensive artwork by Gilberto Aguirre Mata (El Ultimo Codice) and L'amour Supreme, and with Death & Abduction,' a comic written by Esoteric, and an explosive, comic-book-inspired cover by L'amour Supreme (Mishka NYC).

01. Don The Armor
02. Czartacus
03. Lumberjack Match
04. Nightcrawler (Feat. Method Man)
05. World Premier (Feat. Large Professor)
06. The Great (Czar Guitar)
07. Red Alert
08. Junkyard Dogs (Feat. Juju Of The Beatnuts)
09. Sgt. Slaughter
10. When Gods Go Mad (Feat. Gza)
11. Ka-Bang! (Feat. Mf Doom)
12. Deadly Class (Feat. Meyhem Lauren)
13. Escape From Czarkham Asylum
14. Sinister
15. Good Villains Go Last (Feat. Ra The Rugged Man)

it “Seeadler” stechen Käpt'n Rummelsnuff und sein treuer Maat Asbach erneut kraftvoll in See und liefern ein Album, das keine Genres und Grenzen kennt. Zwischen rauer Elektronik, schweißtreibendem Schunkelpogo und hymnischer Strommusik entfaltet sich ein einzigartiges Klangbild, das gleichermaßen wuchtig wie gedankenreich ist. Rummelsnuff, bekannt für seine markante Mischung aus maritimem Charme und industrieller Power, bleibt sich auch auf diesem Werk treu: Mit Texten, die zwischen Seemannsgarn und tiefgründiger Symbolik oszillieren, und Sounds, die von stampfendem Maschinenbeat bis zu anrührenden Akkordeonklängen reichen.

“Seeadler” zeigt die gesamte Bandbreite des künstlerischen Schaffens dieses außergewöhnlichen Duos. Besonders auf Vinyl kommt die vom Käpt'n selbst betonte Aufteilung in Schunkelpogo und Tanzmusik zur

Geltung. Ein Album, das sowohl eingefleischte Rummelsnuff-Fans als auch interessierte Neulinge abholen wird.

5 DnB slammers with classic old school elements. Very exciting project - as this is just the start.