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The medium is the message! Vinyl has always been our preferred medium for releasing music and without this tactile form of presentation, Samurai Music would not continue in its current form. Vinyl is the ultimate personification of what the label wishes to represent. Music always comes first, but the vinyl artefact is king for us. Hyaku is the 100th Vinyl release on the Samurai Music label. Through the many twists and turns of the industry in our almost 17 years of existence, the Samurai Music vinyl releases have maintained their aspiration for quality, unique design that stands the test of time. Praise and thanks always to our long time designer Ryan Quinlivan and the many pressing plants we have worked with over the course of our labels lifespan.
To celebrate this milestone we have assembled a gang of producers that best represent the Samurai Music sound of now to contribute tracks that they feel best encapsulates their take on our sound.
Hyaku is a mutable mix of vibrations that navigates from the searing ambient drift of Ancestral Voices all the way through to the heads down assault of Dom and Roland. Singular takes that capture the artistry of this impressive crew of creators at their glistening best.
Finally we'd like to thank everyone who has ever and continues to support our vinyl releases. We are forever grateful!

The medium is the message! Vinyl has always been our preferred medium for releasing music and without this tactile form of presentation, Samurai Music would not continue in its current form. Vinyl is the ultimate personification of what the label wishes to represent. Music always comes first, but the vinyl artefact is king for us. Hyaku is the 100th Vinyl release on the Samurai Music label. Through the many twists and turns of the industry in our almost 17 years of existence, the Samurai Music vinyl releases have maintained their aspiration for quality, unique design that stands the test of time. Praise and thanks always to our long time designer Ryan Quinlivan and the many pressing plants we have worked with over the course of our labels lifespan.
To celebrate this milestone we have assembled a gang of producers that best represent the Samurai Music sound of now to contribute tracks that they feel best encapsulates their take on our sound.
Hyaku is a mutable mix of vibrations that navigates from the searing ambient drift of Ancestral Voices all the way through to the heads down assault of Dom and Roland. Singular takes that capture the artistry of this impressive crew of creators at their glistening best.
Finally we'd like to thank everyone who has ever and continues to support our vinyl releases. We are forever grateful!

The medium is the message! Vinyl has always been our preferred medium for releasing music and without this tactile form of presentation, Samurai Music would not continue in its current form. Vinyl is the ultimate personification of what the label wishes to represent. Music always comes first, but the vinyl artefact is king for us. Hyaku is the 100th Vinyl release on the Samurai Music label. Through the many twists and turns of the industry in our almost 17 years of existence, the Samurai Music vinyl releases have maintained their aspiration for quality, unique design that stands the test of time. Praise and thanks always to our long time designer Ryan Quinlivan and the many pressing plants we have worked with over the course of our labels lifespan.
To celebrate this milestone we have assembled a gang of producers that best represent the Samurai Music sound of now to contribute tracks that they feel best encapsulates their take on our sound.
Hyaku is a mutable mix of vibrations that navigates from the searing ambient drift of Ancestral Voices all the way through to the heads down assault of Dom and Roland. Singular takes that capture the artistry of this impressive crew of creators at their glistening best.
Finally we'd like to thank everyone who has ever and continues to support our vinyl releases. We are forever grateful!

"From the remote reaches of Haparanda, Sweden, Häxkapell presents a black metal masterpiece that resonates with the eternal rhythms of nature and the cyclical dance of life and death.

“Om jordens blod och urgravens grepp” (‘Of earth’s blood and the grave’s grasp’) is a powerful blend of black metal, folk, and atmospheric darkness, interwoven with classical and progressive influences. Traditional instruments such as the violin, viola, willow flute, and hand drum infuse the music with ancient, primal energy. The lyrics, crafted through subconscious writing, serve as a conduit to the mystical and otherworldly.

The album was engineered, produced, and mixed by Oraklet. Drums were recorded at Nordvis Ljudstudio, with the remaining tracks laid down at Studio HMH. Mastering was handled by Tore Stjerna at Necromorbus Studio.

Founded in 2015 in the northernmost part of Scandinavia, Häxkapell is the creation of Oraklet, who embarked on an inward journey to explore the philosophical, spiritual, and mystical aspects of existence. Following the 2016 demo “Om sanningen,” Häxkapell released their debut album, “Eldhymner”, in 2021.

On “Om jordens blod och urgravens grepp”, Häxkapell’s music evolves much like the earth itself: slowly, imperceptibly, yet ever-changing. It reflects the cycle of birth and bereavement, with death and life beginning anew as earthen folk melodies murmur ancient slumbers into dawn. Oraklet channels these profound truths into lyrics and music."

Celebrating 55 years in the music business! Swami John Reis is back with his second LP in eight months. Time To Let You Down is a savage blast of junk shoppe punk that kicks you in the ding ding. This eleven track LP is chock full of fist pumpers, head bumpers, stinky dumpers, meaty thumpers and toe stumpers. The tempos are often breakneck and the dense arrangements tumble like bricks into hot cheese. The undeniable sonic girth barges at will into lathered ear tubes allowing these barbaric anthems to echo in hollow domes. Feel the whip crack break skin on the acne scarred backs of our cultural oppressors. The sound is tough. The songs are a bitch. Incite your expectations with the single “Fed To The Dogs” or the title track. Salty leather and wobbly chain link fences can’t contain its rebel intent. These recordings took place Oct. 2024 and features Swami John Reis on guitar and vocals with contributions from Jason Sinclair (Hot Snakes), Joey Guevara (Swami and the Bed Of Nails), Jacob Turnbloom (Mrs. Magician) and Glen Galloway (Truman’s Water). The record was produced by John Reis, engineered and mixed by Ben Moore and mastered by Dave Gardner. Time To Let You Down is pressed on virgin, Egyptian pellets and available in limited, colorful vinyl that have been hand-swirled. You’ll not only clearly hear the difference, you will see it as well.

Tír na nÓg are an Irish folk duo formed in Dublin, Ireland, in 1969 by Leo O'Kelly and Sonny Condell. They became labelled one of the first progressive folk bands of the early 70’s. Tír na nÓg would go on to sign with Chrysalis and support the likes of Jethro Tull, Fairport Convention, Roxy Music & The Who as well as headlining their own tours. In The Morning is a pre-record deal recording from Dublin 1970. * Fully remastered * A mixture of covers (Donovan / Joni Mitchell / Leonard Cohen / Bob Dylan), and self-composed songs * Printed iInner bag * Full liner notes and unseen photographs

Maybe this warning is not really relevant. It doesn’t scare anyone anymore. We all know that what is actually hiding behind this green fence is a sweet doggy only waiting to happily greet you.

First there's Gabriel, who you probably already saw playing crazy drums (with Terrenoire, Cola Boyy…). And then there's Facundo, the magician on the synth and on his choice of shirts.

Together they are Chien Méchant: a duo made of two friends who met at the hairdresser (and in high school), and that makes you wonder if groove, rock, funk and synths could maybe coexist one more time.

The release of their first self titled EP Chien Méchant gave prominence to their first inspirations - as first releases usually do - and showed off their influences. They were at the same time trying to prove themselves but also preparing us for what is to come: the real journey.

A journey that will start next January with Métamorphose. A first album that will display a cast smelling like leather, like a John Carpenter movie with GrandMarnier (Yelle) directing, Ouai Stéphane on the mix and of course Gabriel & Facundo taking a twisted pleasure in deconstructing our common preconception on pop music.

Métamorphose has many shapes - don’t forget a dog can have 3 heads. The track “Nuit Blanche” reminds us of our dancefloor trances. “Sens Contraire” is a drum/synth ballad that takes us by the hand and slowly whispers in our ear that it is ok to be anxious. “Point Final” is pretty self explanatory and makes us feel like we are back on the dancefloor saying “ok this is the last one”. There are ten tracks on this album that will be released alongside their label - Nowadays Records.

You will quickly understand that Chien Méchant is a live band. You will dream about these drums, these blinking synths, these psychedelic carpets, and about dancing without thinking about what’s next. But beware, Métamorphose also reminds us that they are way more than that.

Der GRAMMY®-, BRIT-, Golden Globe- und Oscar-Preisträger Sam Smith feiert das 10-Jährige Jubiläum des Multi-Platin-Debütalbums „In the Lonely Hour“. Das 2014 veröffentlichte Album „In the Lonely Hour“ war der erste von vielen unglaublichen Meilensteinen und Erfolgen, die Sam Smith im Laufe einer herausragenden Karriere erreichen sollte. Das mit einem GRAMMY Award ausgezeichnete und mittlerweile 6-fach mit RIAA Platin zertifizierte Album wurde zum meistverkauften Debütalbum des Jahrzehnts. Das 10-Track-Projekt enthält die britischen Nummer-1-Hits „Money On My Mind“ und „Stay With Me“, sowie auch „I’m Not The Only One“, „Like I Can“ und „Lay Me Down“. Die Jubiläumsedition ist ab dem 02.08
überall erhältlich.

Named after a metro station located in East Paris, Pointe du Lac originated in 2014 as the brainchild of analogue gear enthusiast Julien Lheuillier, joined shortly after by multi-instrumentalist Richard Francés, followed by Quentin Rollet on Saxophone a few years down the line. Les siphonophores des eaux froides et profondes de l'Arctique (“Siphonophores of the cold, deep Arctic waters”) is the project’s third studio album, the first one written as a three-piece as well as their first release on Hands in the Dark.

Like the organisms the album title refers to, Pointe du Lac’s music is highly polymorphic and complex, using a subtle and distinctive blend of Electronica, Krautrock, Jazz and Kosmische as vessels for the band’s fantastic instrumental imaginary voyages. Compared to previous albums and EPs -which tended to suggest cosmic odysseys- this new cinematic outing is diving deep and intends to shed light on fascinating, mysterious and diverse creatures and their habitats. Supported by (paradoxically) warm and impeccable sonic forms, the exploration turns out to be an unsurprisingly expansive one, yet accessible and oddly familiar sounding. There is a sense of assurance and serenity in the French trio’s latest offering, the musicians mastery and open-ended approach to free ambient music lets their ideas flow and never stagnate. The narrative of this expedition is one that will be remembered long after the listening finishes.

Theresa Stroetges returns to Karaoke Kalk with her second album for the Berlin-based label, her fifth solo full-length with her Golden Diskó Ship project in total. Having released records with the Indian-German band project Hotel Kali as well as Painting, a group dedicated to audio-visual concepts, »Oval Sun Patch« sees her embrace influences from club culture, advanced electronic music, and pop more firmly than ever before. Over the past 15 years, Golden Diskó Ship has served a vessel with which the Berlin-based multi-instrumentalist has traversed a variety of genres and circumnavigated all conventions in the process. With »Oval Sun Patch,« Stroetges again sets sail into unknown waters with what is perhaps her catchiest album so far—beat-driven, playful, atmospheric, and at times thoroughly anthemic. This is the sound of Golden Diskó Ship moving forward.

A life lived in transit, the vastness of bodies of water and the isolation of islands as well as more generally notions of processes and progress have been recurring motives throughout Stroetges’ previous records and also mark »Oval Sun Patch.« In fact, the foundation for the six pieces was laid when she was working abroad and at times close to the sea. The massive three-part album closer »Earth Before The Space Race« was conceived as a multi-channel audio-visual performance piece during a 2021 residency at Zaratan Arte Contemporânea in Lisbon. The others were written in the following year during two other residencies when Stroetges first spent time in Austria at the sound art festival Klangmanifeste in Lindabrunn and then visited Portugal once more for a stay at Goethe-Institut in Lisbon. With the help of Shelley Barradas, who lent her a guitar, and Julia Klein, who helped her setting up a temporary studio in the Goethe-Institut Portugal’s auditorium, she made the preliminary recordings of what would later become this album.

»Oval Sun Patch«, later refined in Berlin and mixed in close collaboration with London-based engineer Hannes Plattmeier, is a direct result of Stroetges having to work with what was available to her at the time of writing and recording. While her distinct guitar playing—evocative yet funky, complex but catchy—once more features heavily and she uses her voice in manifold ways to sometimes harmonise with herself or creating complex canons as counterpoints to her her own lead vocals, the electronic gear she worked with dominates the album both compositionally and sonically. Stroetges’ music has always displayed a passion for club culture and advanced electronic music, but on »Oval Sun Patch« she proves once and for all how well these influences can be integrated into her unconventional approach to songwriting.

However, the punchy beat and Moroder-like bassline that form the backbone of »Dolphins With Soft Helmets,« the throbbing house and techno grooves underneath »Ephemeral Carnivores« and »Well-Oiled Machine« as well as the jittery IDM rhythms of »Google Your New Name« and her nods to trip-hop with »Tiny Island« do not so much follow established formulas as they use them as a starting point for wild experimentation instead. Stroetges juxtaposes complex rhythms with interlocking melodies and rich harmonies in ways that continue to surprise throughout and still leave enough space for the occasional wistful guitar or vocal passage. Nowhere does this approach feel more epic than on the 12 ½ minutes long »Earth Before The Space Race,« which takes its time to unfold, changing its pace and mood throughout.

»Oval Sun Patch« is an album about change. The lyrics describe constant transformations of sceneries, relationships, physical and emotional states as well as the climate throughout its running time. Stroetges in the meanwhile leads the way as a singer, songwriter and producer who lets her music evolve constantly. This is sound, moving forward.

MANOWAR is an American heavy metal band from Auburn, New York. Formed in 1980, the band is known for lyrics based on fantasy and mythology . The band is also known for a Loud and Bombastic sound. In 1984 the band was included in the Guinness Book of World Records for delivering the loudest performance, a record which they have since broken on two occasions. They also hold the world record for the longest heavy metal concert after playing for five hours and 1 minute in Bulgaria (at Kavarna Rock Fest) in 2008. MANOWAR have also been known for their slogan "Death to false metal » and have maintained a very strong following with dedicated fans worldwide as referred to by the band as "Metal Warriors", "Manowarriors", "Immortals" or "Brothers of Metal". The band signed with Atlantic Records in 1987. Via Atlantic, they released 'Fighting the World', which enjoyed more extensive distribution and increased the band's prominence in the international heavy metal scene. Album art was designed by Ken Kelly. In 1988, MANOWAR released the album 'Kings of Metal', which is the band's best known work. Songs like "Heart of Steel", "Kings of Metal" and "Hail and Kill" are performed regularly in concerts. 'Kings of Metal' is MANOWAR's highest-selling album worldwide. A new musical unit after the recent changes, MANOWAR released The Triumph of Steel in 1992. It gained some great success and was particularly famous for the presence of a suite lasting no less than 28 minutes entitled "Achilles, Agony and Ecstasy in Eight Parts", inspired by the events of the Iliad and the hero Achilles. After this release, the band went on a world tour for two years. Those MANOWAR’s album have become legendary and are still must have in any metal fan record collection . Vinyls formats Having been very rare and reaching high prices online, those three albums are now being made available again in quality coloured vinyls; Grab them now while you can !!

The legendary UK acid-jazz innovators Brand New Heavies dropped many a classic sounds and none more so than their iconic album 'Heavy Rhyme Experience Vol. 1. More than three decades after first release it remains an influential work that blends UK club jazz with US hip-hop. Featuring collaborations with artists like Main Source, The Pharcyde, Gang Starr, and Black Sheep, the album marked a groundbreaking fusion of genres back in its heyday and now two standout tracks from the album, 'Soul Flower' featuring The Pharcyde and 'It's Gettin' Hectic' featuring Gang Starr make their way to 7" for the first time and sounds as good as ever.

15 Years Anniversary Edition of the debut full length from French producer/DJ Rone. Printed on Neon Pink Transparent bio-vinyl.

In 2009, Rone released Spanish Breakfast, an album that marked the first step of an extraordinary musical journey. Today, as we celebrate its 15th anniversary, we’re thrilled to announce a special edition reissue — sustainably crafted on vibrant neon pink vinyl, created as a tribute to the album that started it all. This limited release isn’t just a record; it’s a piece of history and a celebration of where it all began.

A record of simmering techno bubbles and gentle wells and releases swimming elegantly over its duration. A playful and woozy effort, Rone fills up the stereo field with widescreen synthscapes and dreamy bleeps popping from every audio crevice. In Spanish Breakfast the young Frenchman has crafted a player that is primed for hazy Spring afternoons bathed in sunshine. bleep like this alot...

Allumynd emerges from the shadows with a project that feels as though it has been excavated from the farthest reaches of electro history.

Fresh from a summer spent deeply immersed in analog gear, Allumynd's debut album delivers 8 raw and electrifying tracks that capture the essence of an era yet speak boldly to the future. Each track, recorded live, surges with an intense energy and is crafted with both mechanical precision and an emotional undercurrent.

Steeped in the legacy of pioneers like Drexciya and Cybotron, the album pushes forward with an unmistakably modern edge. The result is a sonic journey that captivates, paying homage to the past while redefining what electro can become.

Neue Ausgabe des Napoleon Dynamite-Soundtracks zum 20-jährigen Jubiläum. Inklusive neuer Vinylfarbe und Einleger.

Red Vinyl. Brothers Dana and Alden McWayne, along with a troupe of multi-instrumental artists, come together to create jazzy melodies with indie sounds inspired by their unconventional upbringing in Eugene, Oregon. Dana (saxophone) is an organic farm inspector while Alden (drums) is a recent grad of Berklee College of Music. Their debut full-length album, Quiet Music for Young People, is a lush album that melds vintage sounds with the aesthetic and experience of existing in Gen Z and the digital age. Quiet Music For Young People also reminisces of the brother's childhood, summer days spent working at an apple orchard and jamming at jazz clubs on rainy Oregon nights. The experimental smooth jazz-infused album closer "Dragonfly" has been gaining traction on streaming due to trends across Instagram and TikTok. The band has recently toured across the US supporting Benny Sings and will be making their headline debut at NYC's Baby's All Right this winter.

Get on track with Fidelio and Luca Piermattei.

Fidelio’s triple-vision A-side gives a taste of the unorthodox, blending 90s acid rawness with the timeless elegance. This is where baroque drama meets warehouse ecstasy.

Fidelio unleashes an avant-garde fusion of classical organ melodies and razor-sharp acid basslines, echoing through your spleens. Each track oozes groove, driven by punchy kicks and hi-hats that sizzle like sparks on steel.

Fidelio’s mix pulses with a sense of urgency, like a techno odyssey through a neon-drenched dystopia.

Luca Piermattei will catch you on the flippity-flip. ‘Gas’ feels like a transmission from a synthetic consciousness trying to breach the uncanny valley. The track opens with a pulsating bassline that wobbles like liquid mercury, creating a sense of disorientation. A warped robotic voice enters, glitching and stuttering, its eerie attempt at human inflection both captivating and unsettling.

The groove is undeniable—polyrhythms weave through intricate layers of percussive clicks, offbeat hats, and swelling synth stabs. Just as you think you’ve found the rhythm, the track bends your mind with unpredictable shifts, like machinery spiraling into controlled chaos.

Enter Luca’s wormhole with ‘Third Rec. With Tascam 122’: Meet the captivating 4×4 electro groover that pulls listeners into an otherworldly soundscape. Anchored by pulse-driven basslines, the track delivers a surprising and dynamic arrangement that keeps you guessing.

The sections are seamlessly divided with intricate, pinball-like percussion, creating a playful yet precise rhythm. Perfect for late-night explorations, this track balances hypnotic grooves with unexpected twists, making it a standout on the dancefloor.

On the Mixbone EP, two tracks from Eric Copeland’s 2017 record Goofballs get reworked by five of leftfield electronic music’s heaviest hitters. The Goofballs LP finds the Black Dice founding member conducting hectic, dancefloor-oriented experiments; The Vinyl Factory called it a “mangled, spangled journey into the fringes of industrial disco and hallucinatory club tackle.” Mixbone capitalizes on this direction with remixes that recontextualize and reshape the propulsive energy of the original songs into wholly different forms.

New York techno powerhouse and Allergy Season boss Physical Therapy contributes two aptly named takes on “Mixer Shredder” – the “Tegel Mix” churns with industrial EBM low-end, and the breakbeat and wubby bassline make the “Gatwick Mix” unmistakably English. NHK yx Koyxen remixes Eric for the second time, with a jittery and woozy electro interpretation of “Neckbone.” Cooper Saver, best known for his Far Away parties in Los Angeles, turns in one of the most unexpected remixes, keeping it 4/4 and creating what sounds like Shep Pettibone making acid house.

Coming off of her 2017 EP on Technicolour/Ninja Tune, Machine Woman decided to remix both tracks. With “Neckbone,” she adds a barely-discernible robotic narrative vocal, allegedly about Ryan Gosling. “Mixer Shredder,” on the other hand, travels from hissy lo-fi techno into something quite tranquil and beautiful. And with previous releases on 1080p, Freakout Cult, and Wania, Vancouver’s LNS channels the melodic electro tones of classic Bleep-era Warp, like a lost track from LFO or Drexciya.

“Danceable” might not be the first word one thinks of when describing Eric Copeland’s solo releases. But in a manner not dissimilar to the way Black Dice shaped the parameters of experimental music, the remixes here expand the limits of what the club can and should look like.

LP limited to 500 LP copies. Nina Garcia ’s first solo record widely available via international distribution. Nina has collaborated with artists like Stephen O’Malley, Sophie Agnel, Fred Frith, Antoine Chessex, Louis Schild, Leila Bordreuil, and supported for bands like Sonic Youth, SUNN O))). After a decade of performing concerts under the Mariachi guise, Nina Garcia has finally unveiled her unique approach in Bye Bye Bird, her first album under her name. Bye Bye Bird is her second solo album. With no pretence or demonstration, the album is a captivating blend of chiaroscuro, melodies, and raw emotion. Nina Garcia’s album takes on an almost documentary-like quality by adopting a simple approach to gesture and sound recording. It offers a candid portrayal of a moment, a lack, a state, and a breathtaking energy. With ostinato as her only credo, Nina Garcia’s music is an experiment in freedom, where the peaks answer the abysses, and the power of movement and the emotion of sound serves as her compass. From very short (01:28) to never very long (07:34), the eight tracks that make up this set explore a moment, a space, a mechanism, an intention or a way of doing things. As a common feature of almost all these pieces (all but one, the last), Nina Garcia explores a new technique. She adds to her instrumentation, reduced to the essentials (a guitar, a pedal and an amp), an electromagnetic microphone which, when held in hand, makes it possible to listen in on the exact zones where the vibration of the string creates a sound amid vast spaces of silence. The guitar is unplugged, and the body/instrument relationship changes in dimension. In this series of variations, you can get caught up in masses of noise seen from very, very close up, evocations of melodies in the making, feedback on ridgelines, pulsations that hold their own, modulations weakened by exhaustion and harmonic bursts that hint at better days to come. Neither hopelessly chthonic nor beatifically ethereal, Bye Bye Bird is a sum of musical pieces that make a whole and give voice to echoes of what has been, the presence of what is and the hope of what will be, a record movement in the form of flight and salvation. Since 2015, Nina Garcia has been researching and creating around the electric guitar, halfway between improvised music and noise. On numerous stages in Europe and North America, she has played occasionally with Stephen O’Malley, Sophie Agnel, Fred Frith, Antoine Chessex, Louis Schild or with Luke Stewart and Leila Bordreuil’s Feedback Ensemble, in addition to more regular formations in which she participates, such as the ensemble Le Un, mamiedaragon, Autoreverse (with Arnaud Rivière), duets with trombonist Maria Bertel and percussionist Camille Émaille, and the installation piece De Haut En Bas, De Bas En Haut Et Latéralement (with Christophe Cardoen, Jennifer Caubet, Etienne Foyer, Anna Gaïotti and Romain Simon). “Nina Garcia has been actively moving the art of noise guitar into surprising and intriguing new spaces. She has been at it for some time now, a bit of a secret weapon all the while hiding in plain sight. As I listen to her music and ruminate upon seeing her perform it brings me to a realization which I have with very few musicians: the ego inherent in making art can be transcended through a purity of direct action. At least that’s the feeling I have when experiencing Nina’s music which comes across as serious and radical and wholly engaged in the moment of its creative impulse.

Though 潘PAN is an entirely new artist - new outlook, new message, new material and name - you may have met the woman herself before. Back in the mid-‘10s, the Taipei-born rapper went by the moniker Aristophanes. After performing a career-changing feature on ‘SCREAM’, taken from Grimes’ celebrated NME Album of 2015 ‘Art Angels’, Aristophanes went on to build a cult fanbase, releasing her debut mixtape ‘Humans Become Machines’ two years later and then her distributor went bust during covid. Signed to Transgressive she re-released her mixtape followed by Reborn and Ghosts EPs earlier this year.

Across a constantly morphing sound palette that moves from metallic, apocalyptic beats to delicate nods to the traditional music of her Asian heritage, via heavy, industrial moments, spacious soundscapes and much more, the thread is Pan’s utterly mesmeric vocal. Performing in a mix of Mandarin and English, she explains that having the two languages to play with is “like featuring another artist who has a different way of describing things”.

Across the releases, confident sexual expression mixes with tenderness, empathy and a particularly feminine sort of strength to create a world that Pan hopes will transcend language and connect her audience via something more innate. “The music is a place to feel safe,” she says. “The message that I want to carry through these two EPs and the album is to demonstrate the strength of accepting your own situations. When you can’t make things right but you’ve done your best, sometimes it’s really hard to admit that to yourself. It takes strength to do that. I use lots of sexual metaphors, but I feel like it’s more about the female need to be seen and heard. I want to build something more delicate and layered and connected to our life experience - to the trauma and the pleasure and the growth.”

In the time since she last stepped into the spotlight, the musician has experienced her fair share of all these things. Now, it’s as an entirely evolved artist that she returns with a new collection of music that revels in it all: the trauma, the pleasure, the growth and the long-awaited rebirth of 潘PAN

Christened ‘High Tide’ after the sudden rising of the LA River basin during a particularly epic and rare rainfall, this cosmic slop funk jam was born from the minds of Devin Flynn (Pixeltan) and Eddie Ruscha (Secret Circuit), two individuals with a deep connection to Los Angeles’ tap water sources. While traipsing through the aisles of an Atwater Village bodega, the two mustered up a plan to create a rhythmic piece so delectable as to turn peoples’ heads inside out and pummel the senses with a wobbly Jah Wobble bass sound and a toy drum machine ‘no toy’ style back beat. They figured if they laced it up with enough electronic scuzz, the masses would be sure to want to sip from its nectar.

When DFA got wind it was all systems go and, from then on, all relevant parties knew that they should sit on the track for at least five years before it was released, otherwise the world at large would not be ready for it. The remixes are by Eddie himself - as Secret Circuit - and Dr. Dunks, aka Eric Duncan, a fellow Angeleno (at least at heart). Eric and Devin rolled through the streets as small children, shredding curbs and tagging local ice cream trucks, so it was inevitable they would reconnect and jam on ‘High Tide’.

Devin Flynn is an animator, musician and teacher who has worked on projects like Gary Panter’s web series Pink Donkey & The Fly and MTV2’s Wonder Showzen. He has previously released on DFA with Pixeltan, a trio - Flynn, Hisham Bharoocha of Black Dice and singer Mika Yoneta - that recorded with The DFA at the label’s inception, creating two seminal singles.

Eddie Ruscha is another DFA veteran, having remixed artists including Wolfram and Museum of Love. He has been making music for decades, as Secret Circuit and with myriad other aliases and collaborators, in addition to recording under his own name. He has released on labels like Beats in Space and Emotional Response, among others.

For fans of Young Marco, Suzanne Kraft, Prins Thomas, Khotin, Gaussian Curve.

10th Anniversary Edition features: Transparent Green vinyl. Gatefold vinyl including lyrics. 18"x24" Strange Pleasures poster. Download code, including bonus track "We Have the Future on Tape". Digipak CD with lyric booklet. In celebration of STRANGE PLEASURES turning 10, Still Corners are releasing a very special remastered 10-year anniversary edition on transparent green vinyl. The album has been remastered by John Davis at Metropolis London, described by Jimmy Page (Led Zeppelin) as ‘a master of his craft’. The anniversary edition includes all the album’s lyrics (for the first time) on a gatefold album sleeve, Strange Pleasures poster, digital download, including a bonus download ‘We Have the Future on Tape’. Originally released on Sub Pop, STRANGE PLEASURES has developed cult status since its release in 2013. Opening song, ‘The Trip’, captured people’s hearts with one YouTube video acting as a virtual community for like-minded fans around the world. ‘Fireflies’ (Pitchfork, Best New Track), ‘Strange Pleasures’, ‘Beginning to Blue’ and ‘The Trip’ have been used across film and television since the album’s release.

Sir James and King Johnny are the leading figures of the mysterious crew: L'ENTOURLOOP. These elders, fed on the sound of sound systems, vinyl culture and lulled by the epic dialogues of classic cinema, concoct a fine fusion of Reggae and Hip Hop. These beatmakers like to use scratches and samples, all blended with a vintage French touch that takes us from France to Kingston, London and New York! Originally released in 2019, "Golden Nuggets" is an EP in collaboration with the Jamaican Skarra Mucci aka the "Dancehall President". Here we find all the ingredients that make the magic of the sound of L’Entourloop and Skarra Mucci.

Ye (Kanye West) and Ty Dolla $ign‘s 2024 album VULTURES 1 (as the supergroup, ¥$) is Ye‘s first collaborative album since his 2018 album with Kid Cudi, KIDS SEE GHOSTS, and as such, delivers celebratory, reunion-like energy. Bridging R&B, classic soul-sample rap, and the lo-fifi electro stylings of late-era Ye, VULTURES 1 manages to fuse Ye‘s go-to productions methods with Ty Dolla‘s efortlessly smooth vocals. This results in an unpredictable and dynamic listening experience.

Ryan Adams’ infamous cult classic album “Blackhole” will be released on classic black vinyl for the very first time.

The album’s contents and final tracklisting have been widely speculated since its conception in the early 00’s. After nearly two decades of anticipation, Adams is now ready to unveil the official release of Blackhole.

Featuring “Catherine”, heard only in live performances, alongside previously unheard material, Blackhole captures the raw, unfiltered emotion that defines Adam’s songwriting. The shelved album, first demoed in 2006, became heavily bootlegged, with fans circulating low-quality recordings and snippets from live performances, fuelling a demand for the album’s official release. This long-awaited, full-length album not only satisfies years of fan speculation, but also reclaims a crucial moment in Ryan Adam’s history.

To celebrate the debut release on his own label, Hindwood extols the power of intuition, which has served as his guiding force since his childhood.

Fueled by love and a deep connection to the cosmos, he blossomed as an artist, attracting a circle of talented artists into his orbit, such as Brique and Local DJ. This EP is a sonic journey through his inner awareness and the web of cause and effect: an exploration of the invisible threads that bind us all together.

#1 “Guts’ feeling”, is resonating with the heartbeat of the universe and the pulse of ancestral memory, use of tribal sounds and deep bass. Through this track, he conjures a world of duality, where the darkness and the light coexist in perfect equilibrium, revealing the beauty of both.

#2 On “Third eye awakening”, he draws on the primal energy of deep, trance-like, and energetic soundscapes, and weaves a sonic tapestry that transports the listener to a realm of heightened awareness and connection.. The whispers of his soul and the song of the earth, intertwined in a harmonious dialogue that speaks to the deepest part of his being.

#3 Captivated by the mystical powers of Third Eye Awakening, Brique delivers a hypnotic remix. Appropriating the distinctive vocals and pads of the original track, he has fashioned an ode to never-ending nights animated by his own hazy memories of losing oneself on the dance floor. The deep and organic bass combined with the looping and trance-inducing acid will shake listeners to their core.”

#4 The local dj remix finishes the EP with a more atmospheric allure of dub. With a deep, throbbing bassline that anchors the groove local dj sets the pace, inviting movement and dancefloor immersion where elements evolve all along the track and keep the listener engaged from start to finish.

Back in stock due to popular demand, the 18th release in our signature Brazil 45’s series saw Elys Camargo’s ‘Taieiras’ and ‘Não Aguento Você’ by Trio Esperança issued for the first time on 7”.

First up, ‘Taieiras’ from Elys Camargo’s 1972 album Cantos Da Minha Gente on RCA. An infectious, folk-leaning, call and response number that transports you instantly to Brazil. Although Elys recorded 12 albums between 1960 and 1983, little is known about her. DJ Yoda sampled ‘Taieiras’ in his 2012 track ‘U No Likey Like That’ featuring Roots Manuva and Kid Creole & The Coconuts.

On the B side, ‘Não Aguento Você’ by Trio Esperança. A Rio vocal trio formed by siblings Mário, Regina and Evinha Correia José Maria (the latter of which recorded the stunning classic, ‘Esperar Pra Ver’), whose three older brothers we’re The Golden Boys.

‘Não Aguento Você’ is a sun-kissed, psychedelic stunner, taken from their self-titled 1971 album. The original line up recorded seven albums for Odeon Brazil between 1963 and 1975.

A Side - Smoove - Curse
This 45 celebrates Smoove’s love for all things Boogie & Funk as he takes on one of the greatest posse rap cuts of all time. Featuring an all-star cast from Hip Hop's golden era, this track is laced with synth bass, strings, and boom bap beats!

B Side - Smoove - Rich & Famous
On the flip side, we are treated to one of the koolest MC’s of all time, who brags and boasts about how frivolously he likes to spend his cash. The beats are banging, and the Boogie is strong!

George Clinton’s imagination knew no bounds and, defying normal music industry convention, by 1978 had five bands signed to three different record labels. One of these comprised of three Parliament / Funkadelic female backing singers working under the name of Parlet, whose debut single, ‘Pleasure Principle’ was released on Casablanca Records in March 1978.

It was Clinton’s idea that two other backing singers, Lynn Mabry and Dawn Silva, become the Brides Of Funkenstein, a character he invented for the 1976 Parliament LP, “The Clones Of Dr Funkenstein”. “I have to be honest – at first, I hated the name and I thought George was kidding,” Mabry told Blues & Soul, “But I have gotten to like it – especially just the Brides.”

Clinton got the Brides signed to Atlantic Records and their first single was ‘Disco To Go’ / ‘ When You’re Gone’. The A-side was written and produced by Clinton and Bootsy Collins and had originally featured in live shows by Collins’ live band. Clinton was asked by Black Echoes why the song was recorded by the Brides rather than Bootsy. “He could, and it would have been a smash too,” he replied. “But we thought it sounded too much like James Brown, so we gave it to the girls. Now it don’t sound like James Brown.” It certainly did not and this electronic bass and horn-powered banger – complete with an Old MacDonald nursery rhyme refrain – debuted on the Billboard Hot Soul Singles chart at #80 on 30th September 1978. By the time the P-Funk crew were flying across the Atlantic in early November it had peaked at #7. Sadly for UK fans, ‘Disco To Go’ was only available on import although a Black Echoes review stated it was a “Slow chunky handclapper. It sounds not unlike Funkadelic’s own ‘Coming Round The Mountain’”.

‘Disco To Go’, went gold in America selling over 500,000 copies. It was the perfect springboard for the Brides debut LP, “Funk Or Walk” which quickly climbed into the upper reaches of the R&B chart and even saw the duo embark upon a signing tour of record stores. All of the songs on “Funk Or Walk” were written by legends of P-Funk, such as Bootsy Collins, Rodney Curtis, Bernie Worrell, Gary Shider and Clinton. “George has got thousands of tracks,” Mabry told Black Echoes. “When we go into the studio he says, ‘Like this one?

Alkisah Versi Hitam is a radical deconstruction and reimagination of Indonesian duo Senyawa's most recent album Alkisah by Hamburg's Marc Richter aka Black To Comm. The original album was released to critical acclaim in February of this year as a decentralized release on a multitude of labels from all corners of the world, Germany’s Dekorder being one of them. Richter is now completely reinventing the original album from scratch by doing an almost Teo Macero-level production job here, cutting up the originals and (re)constructing new material from scratch.

Arcane chants and vocal cut-ups, fierce freeform percussion, grimy No Wave collage, monochrome drones exploding into multicolour streams, unearthly psychedelic Noise and sheer sonic mayhem, warped discordant rhythms between moments of calming beauty - it's never easy to digest but the outcome is both ecstatic and transcendental - never sounding anything less than a fully formed singular album.

A special cassette version of the album will be released by Jordanian label Drowned By Locals.

BLACK TO COMM is the moniker of Hamburg composer/musician Marc Richter who is creating intricate multi-layered collage based works for labels like Thrill Jockey, Type and Dekorder. His 2019 album "Seven Horses For Seven Kings" revealed an increasingly angry, transcendental and fearless approach, attaining new levels of urgency through noise, volume, rhythm, repetition, atonality and beauty.

Jogjakarta’s SENYAWA embody the aural elements of traditional Indonesian music whilst exploring the framework of experimental music practice, pushing the boundaries of both traditions. Their music strikes a perfect balance between their avant-garde influences and cultural heritage to create truly contemporary Indonesian new music. Their sound is comprised of Rully Shabara’s deft extended vocal techniques punctuating the frenetic sounds of instrument builder, Wukir Suryadi’s modern-primitive instrumentation. Inventions like his handcrafted ‘Bamboo Spear’; a thick stem of bamboo strung up with percussive strips of the animal skin along side steel strings. Amplified it fuses elements of traditional Indonesian instrumentation with garage guitar distortion. Sonically dynamic, the instrument can be rhythmically percussive on one side whilst being melodically bowed and plucked on the other.

They have collaborated and performed with many notable musicians such as Stephen O'Malley of Sunn o))), Otomo Yoshide, KK Null, Keiji Haino, Rabih Beiani, Trevor Dunn, Greg Fox, Arrington De Dionysus, Melt Banana, Damo Suzuki and Oren Ambarchi.

Wonder what happens when 4 friends occasionally link up and make a few cheeky house tunes in between talking about pizza, footy, and kick drums? Cheek Inc!
Wonder what music 4 people (Nic/Rafael from !!! and Preslav/Adam from PTA) who’ve released music on Warp, Good Looking Records, Freerange, Pittsburgh Tracks, and Dischord would write? Cheek Inc!
Wonder why? Cheek Inc! “Jacqueline” is the debut EP by Cheek Inc: a vocal house 12” with 3 mixes to make you feel like you’ve always known why you have to just keep going. The A side brings flavors of classic piano house, adding a huge sub bassline, soaring synth pads and leads. The B1 “303” mix strips things down with a hypnotic bass groove, rhodes chords that keeps the pace, and an insistent 303 line that runs in and out like you know who. The B2 “Still Life” mix takes it deep by cutting up the vocal, with a sliding, playful lead line, bouncy chords, and a drum groove that shuffles and swings while THAT string line never quite goes away. Cheek Inc!

Sunfear is a project from Turkish multidisciplinary artist Eylul Deniz who now returns to Dark Entries with her sophomore album. Deniz has been making waves in sound since 2017 when she debuted her blend of ambient and experimental music using piano, guitar, voice and synths as tools for storytelling and self-expression. Inspired by Dante's Love That Moves the Sun and Other Stars, Pessoa's poems and Turkish poet Lale Muldur, this darker follow-up to Octopus channels some of her own personal loss and grief. Tracks like 'Above' pair sparse guitar riffs with swirling electronics, 'Bright and Wild' contrasts lush drones with jagged feedback and there are also hints of hope in the likes of 'Form Changed.' A great return.

Gracie Abrams veröffentlicht am 21.06.24 ihr mit Spannung erwartetes zweites Album „The Secret Of Us“. Nach zwei gefeierten EPs war das letzte Album ”Good Riddance” (2023) das erste musikalische Statement in voller Länge – Gracies Definition von vertonter Poesie und intimem Pop - mit lebensnahen Texten und ganz viel Tiefgang. Wie auch schon der Vorgänger ist „The Secret Of Us“ wieder von Aaron Dessner (The National) produziert. Schon als Achtjährige zu ersten eigenen Songideen inspiriert, gab Gracie Abrams ihr erstes musikalisches Lebenszeichen Ende 2019 von sich. Für ihre ersten beiden EPs „Minor“ und „This Is What It Feels Like“ als Rising Star gefeiert, verzeichnen viele ihrer bisherigen Songs (u.a. „I miss you, I’m sorry“, „21“ und „Feels Like“) Streamingzahlen in zwei- bis dreistelliger Millionenhöhe. Für ihr letztes Album „Good Riddance“ wurde Gracie Abrams für einen Grammy in der Kategorie „Best New Artist“ nominiert. Zuletzt war Gracie Abrams als gefeierter Support Act auf einigen Taylor Swift Konzerten zu sehen.

A long-lost vinyl album is back in stock: for the last 20 years, Kosmischer Pitch by Jan Jelinek, originally released in 2005 on ~scape, existed only as a digital download. Right on time for the 20th anniversary the remastered album is available again on vinyl. The digital version includes two previously unreleased pieces from that period.

What the press said about Kosmischer Pitch back in 2005:

“For Kosmischer Pitch, Jelinek draws from the obsessed-over rock produced by his German countrymen in the 1970s. (…) Trance-inducing repetition is constantly modulated by variations that hover on the threshold of audibility. (…) one of the more remarkable bodies of work in electronic music.” - Pitchfork

„Like the cosmic compositions it delicately references, Kosmischer Pitch is proof that the higher and lower pleasures can triumphantly combine.” - The Wire Magazine

“ The old Jelinek approach can also be heard on the new album - not least the “Pitch” in the title, which, as Martin Büsser explains in the info sheet, refers specifically to Wild Pitch House, generally to manipulation/exploitation of the sense of time - but there are striking differences: clear vintage synth, guitar and drum sounds, very subtle club references.” - Groove

“t's impossible to know how many layers of sound Jelinek has stacked up on any of these eight tracks, but each one seems to take on a shadowy, ghost-like life of its own as it morphs across time and space. Minimalist, yes, in a way, but thick as a wool rug.” - AllAboutJazz

The Sound System has become part of today’s musical/cultural heritage, playing the people’s favourite hits or just as important, breaking some new tunes.
But perhaps less known are the roots of the Sound System, which began way back when…in Kingston….

Around the late 1940’s the Sound System began to overtake the big bands that usually played at the dances in Kingston.

The American Rhythm and Blues records that were so popular at the time would find their way to Jamaica via the merchant sailors and migrant workers returning from their stints in America. For economical reasons alone it would pay to have a DJ on hand to play these hits rather than a 10 piece band that could eat and drink the promotor out of the house and on curried goat!!

The early Sound Systems were basic affairs built around a single record deck, a valve amp and a speaker.

But by the 1950’s they had grown to purpose built speakers the size of wardrobes that could be heard blocks away.

Record producer Bunny ‘Striker’ Lee would remember the time ‘Sound Systems was like our radio station…not many people on the island would own a wireless, so it was the way for the people to hear their music.

So this selection of Lovers, Ballads, Root’s classic’s made the Sound Sytems of Jamaica the place to be.

So sit back and enjoy the ride….SOUND SYSTEM ROCKERS …one and all

The more you recall a particular memory, the more it distorts and plays on your sense of narrative continuity. In this way, the vividly textured layers of Secret Recess – the debut Dauw LP from Luke Entelis aka Viul – comprise a sacred experience that leaves a unique emotional residue with each listen. Some pieces feature delicate melodies curling over themselves, while others offer gradually evolving loops underpinned by subtle guitar plucking, distant found sounds and obscured voices at half-speed. All are crafted meticulously with analogue sources and sifted through soft-edged tape processes that reward a dedicated headphone session, conjuring the solitary space promised in the album’s title.

From a home studio replete with analog synthesizers, guitars, effects and tape machines, Secret Recess emerged slowly across an era when most of us turned inward by necessity, drawing upon a library’s worth of sketches, recombinations and lightning strikes. Entelis also cites in particular a road trip to the national parks of the southwestern US that significantly informed the hazy, spacious atmospheres of the work that followed; by his account, “the desert wind was too intense for field recording,” but you can still feel it drifting across compositions like “Taurum” and “Eighties”. Such a union of urban huddle and open-sky expanse allows the album to take on new colours anywhere it’s heard.

Whether fully formed in one brief spell or developed over months of revisitation and refinement, each facet of the Viul catalogue conveys a rare, sweet melancholy pulled from thoughtful circuitry and the core artistic impulse to simply document the ephemeral – those moments in existence that you have to accept losing, but which replay endlessly once the day unravels.

“In the depths of the recording process I often feel simultaneously in touch with past and future versions of myself, which is strange, but good, I think.” (Viul)

Viul has been the primary project of Brooklyn’s Luke Entelis for nearly twenty years, but only in the last half-dozen has it come to fruition beyond the ears of friends and family. The albums Bright Decline (Disques d’Honoré, 2019) and Outside the Dream World (Past Inside the Present, 2019) beautifully justified this patient arc, and the collaboration Konec with Benoît Pioulard (A Strangely Isolated Place, 2022) entwined the two artists’ sensibilities into one of the most notable ambient/experimental collections of the year.

While 1995's Washing Machine LP moniker was a thinly-veiled jab at the corporate aesthetic ("no, you cannot turn Sonic Youth into a household appliance brand", the band even considered changing its name to Washing Machine but settled on the album title instead), their major label relationship was indeed a curious buzzpoint of talk on the street after their intake to DGC in 1990. It wouldn't be fair to say that this state of existence propelled the band to reinforce its independent mindset by releasing a series of opaque-looking, French-language-dipping, highbrow-looking releases on their own that focused on the more abstract improv/compositional side of the band; in all truths they had been heavily steeped in self-releasing spillover material prior to that. But after a pressure pot of the early 90's indoctrination into a new operational mode for the band and its visibility, and the forces around it attempting to shape their direction, it seemed like a good time to create a strong show of radical concept.

The Anagrama EP became the first in a series of the SYR label's Perspective Musicales releases seemingly cementing Sonic Youth's connectivity to an increasing public awareness in experimental composers of the 20th century (French or otherwise). The irony was that many of those original avant composers being rediscovered by the indie audience (Partch, Neuhaus, Reich, Messaien) often found themselves on major labels anyway! So, perhaps this reverse approach was a necessary concept/comment given the music biz climate of the 90's. Regardless of how apples and oranges fell in Xenakian probability/theory, it was clear that both Sonic Youth's stature in progressive music, aided by now unlimited taperoll time thanks to a home base studio downtown established after their Lollapalooza stint, gave the band plenty of trailblazing time for their self examination of untraveled avenues.

"Anagrama" unfolds into nine minutes of delicate textures, starting with thick drone segueing into moments reminiscent of the post-crescendo flutter/comedown of "Marquee Moon's" trail-out; Thurston, Lee and Kim's guitars all circling round each other taking delicate pokes and stabs before drifting into some post-rock rhythmic moves tapered with delicate percussive guidance from Steve Shelley. "Improvisation Ajoutée" reaches further out into dissolve with whirring oscillations, guitars hissing and clanking radiator-style in a short blast format that continues into "Tremens" and a spooked-out landscape of gelatinous notes snaking up slowly. The sparseness of attack is colorful, textures emit and linger, silent spots shine, all flanked by tasteful drumming that provides the thread to all the abstraction. Shelley's approach here is interestingly sideways to any kind of usual rock action, it's tempered, mutant and metronomic simultaneously. The finale track "Mieux: De Corrosion" is a real pedal-palatte showcase. Here, Plutonian guitar wash flanges upwards to buoy a myriad of colorful eruptions of amp-spuzz, chopped up tone blasts and general confusion. Out of the blue, some metallic one-note choogle kicks in and threatens to explode into some Judas Priestly motion, before it all sputters into aural glass showers, clang, and finally a ferocious wave of more flange hiss that crashes down on a dime.

This initial foray into SY's Perspectives Musicales series continued onward with releases featuring other co-conspirators, peaking with the ambitious 2CD Goodbye 20th Century that finally connects the band into full-on interpretations of other composers' pieces (as well as displaying their own new ones). The whole series is not so much an outlet for another "side" of the band, but a run that went hand in hand building new approaches of songcraft onto their own, more overground direction which included Jim O'Rourke (who hopped on during SYR3), adding additional density to A Thousand Leaves and other LPs of his era. Fans of the '86 Spinhead Sessions as well as the recently-exhumed later jams of In/Out/In will take in the sounds of SYR1 with glee.

"Forastero translates to “outsider” or “foreigner”. It is a common reference in Argentina folk music that describes the experience of immigrants and troubadours - bringing up feelings of isolation and solitude, but also the freedom of roaming in nature without borders. It reflects Selasco’s experience as an immigrant - feeling like an outsider both in the United States or Argentina, yet at the same feeling that there is a deeper sense of belonging to the world that is beyond borders.

In Forastero, Terror/Cactus explores themes of identity, memory, perception, and mysticism. Featuring collaborations with artists such as Pahua, Rumbo Tumba, Barrio Lindo, and Corina Lawrence, Forastero encompasses a musical landscape filled with electronic folk, dark cumbia, and psychedelic beats."