House News

(Disclaimer: release notes refer to the combined CD double-album release "Hot Flash: Best of The Voltags" on which all tracks appear together. "Electric Nightmare" and "Danger High Voltag" are released separately on vinyl format)

It does not happen that often any more that unreleased music from 40 years ago surfaces. Even more unlikely it is that the songs put on tape are such treasures. The Voltags were right at the forefront of the local Washington DC New Wave/Punk scene of the late 1970s. Influenced by Kraftwerk, Gary Numan, The Clash, and The B-52's, they have released only one 45rpm single during their existence. But during the time span of not even 18 months, they had recorded enough material for an entire album - but the songs remained in the can.

This is the story of The Voltags, a short-lived band which could have become famous and mentioned in the same breath as the aforementioned music legends of that era - if their songs had been released back in the day. Dive in and enjoy the sound of The Voltags, it is truly special. We here at Perfect Toy are thrilled to be label to finally release their work and we sincerely hope that they are finally getting the appreciation they so richly deserve.

Detailed information:
Dave Bennett and Hangnail Phillips grew up in Brookside Park, Newark, Delaware, USA, a small suburban college town nestled midway between Philadelphia and Baltimore. Their first band project evolved into Pump Productions (Pump) under which they released their only 45rpm single in 1970 (one of the two songs, "Pappy's Rug", can be heard on "Down & Wired 3", Perfect Toy Rec.). Soon after the recording of the single the two graduated from High School and disbanded Pump. Both moved on to form two new Newark bands. Dave was a founding member of "Snake Grinder & The Shredded Fieldmice" and Hangnail co-founded "Rudy Baker & The Vegetables".

In early 1979, two friends of Dave's, Nick Norris and Mike Fisher, became partners in a music production company, White Clay Productions. One of White Clay's first artists was Dave Bennett who had just written two excellent songs: "Electric Jungle" and "Son Of Sam". White Clay set up a recording session and Dave assembled a group of friends to record the songs. Before the recordings were even mixed, Dave asked Hangnail if he would join in a band to support the single and other songs he had written. When James Keesey (drums) and Rick Reid (bass) were added the line-up was complete. For a while they didn't have a name and then one day Nick Norris was looking at a photo of Dave standing next to a "Danger High Voltage" sign. Dave's head was in front of the E in Voltage and Nick laughed "Danger High Voltag" and so it was soon suggested that the band should be called "The Voltags" (pronounced Vol'-togs). After months of preparing a repertoire they were ready to play out. Their first gig was (October 20, 1979) at a gay disco in nearby Wilmington called The Backstage. On December 30, 1979, White Clay decided to put on a big show at the State Theater to celebrate the end of the Seventies ("The End Of The Decade Bash").

For the next year, with the help of White Clay, they recorded 19 songs, both studio and live recordings with White Clay's mobile unit. If not for these "off the board" recordings, many of their songs would have never been recorded. There was always talk of a second Voltags single but the strains of working so closely together were taking their toll on them and Dave decided to leave the group in December of 1980. The Voltags couldn't be The Voltags without Dave, and by the end of 1981, Hangnail, James and Rick, too, were ready to disband.


- all songs previously unreleased
- mastered from the original reel-to-reel tapes
- limited vinyl release

ltd edition double 7" pack..

STACIAN is Person L is Oakland resident, solo artist and academic Dania Luck. Beginning in the American Mid West, Stacian has been an ongoing Bay Area concern since 2008, deeply involved in the minimal wave and underground electronic music scene. A dystopian vision of alienated humanity, broken communications and technoid mal-forms, Person L is her most fully developed full length and a leap forward from 2012's Songs For Cadets. Moving away from the primitive Cold Wave of previous work, Person L manages to create a bleak dystopia without relying on Ballardian cliche, though still invoking concrete prisons and urban disassociation. Person L is a throbbing, murky underworld that revels in imperfections, a submersive, digital swamp bleeding through the club.

Themes of humanoid alienation and identity confusion abound. Person L is the nominal (and sole) band member of STACIAN, a manifestation of Luck's that re-creates a near-human face in the mirror. Album opener Volx is a massive stomper, 909 kicks bringing an almost electro-glam thump into the stereo field. Luck's skill as Person L and as STACIAN is in maximilising minimalism. Volx is a simple composition, an arpeggiated analog synth and simple kick-snare but it creates the drama Luck's vocal thrives on. Headstand is similarly huge sounding, though here the track unfolds gradually with synth strings eeking out a simple melody before the catastrophising kick ramps up the pressure. It's a wonderful exercise in abstraction vs. body moving dynamics. Album single Telephonix is the closest thing to a conventional pop song on Person L, with murky electronics belying a thrilling Cold Wave dancer. We're lost in the throes of miscommunication: in placing our trust in electronic communications we've divorced ourselves from human interaction.

On Side 2, Dirgent heralds a darker portion of the album. A slow burner with a blown-out low end anchoring the doom, it marks a dark wave of distortion that swells up and consumes the listener. The narrative turns in on itself Remote Cntl, ironically marking the most human of the tracks here. Though the album is devoid of any overt feminist sentiments, here Stacian covertly samples a male voice man-splaining electronic music before burying him in electronic sludge. It's absurdly thrilling. Spooky Action At A Glance takes John Carpenter-esque atmospherics into Stacian's Maximalist approach, the horror blow up to kitch, day-glo proportions. Album closer gNoMoN takes a dub rhythm and blasts it into the Cold Wave outerverse, a menacing doom to close Person L.

Love like tutti quanti! Limited edition re-issue of this incredible italo ballad. Comes with a first aid kit including a Bordello A Parigi condom for all the unfaithful casanova's. The a-side has the original Tutti Quanti club version while the b-side contains an unreleased radio version.

"Repetition is a form of change," reads one of Brian Eno's Oblique Strategies. Seth Haley knows the concept well, and his style of technicolour synth-wave takes the mantra as a challenge. Six years after Galactic Melt introduced the cosmic story of Com Truise, Iteration now concludes his sprawling saga. True to its name, the album is built on Com Truise hallmarks: neon-streaked melodies, big drums, robotic grooves, bleary nostalgia. But Iteration is also the most elegant and streamlined that Haley's singular music has ever sounded.

At the album's heart is an elaborate narrative, one full of longing, hope, anxiety, and triumph. Iteration illustrates the last moments Com Truise spends on the perilous planet Wave 1, before he and his alien love escape its clutches to live in peace. "...Of Your Fake Dimension" launches the interstellar drama with its anthemic swells and widescreen sound design, before lovesick songs like "Dryswch" and "Propagation" outline scenes wrought with cybernetic pathos. Later, the frantic rhythms of "Syrthio" conjure images of panicked flight as Haley's gorgeous synth melodies gild the action in quiet heartbreak. Then comes the resounding "When Will You Find The Limit...", when Iteration's pain and sadness finds liberation in the vast unknown. The closing title track ends it all in a gush of majestic revelry.

So goes the winding story that Iteration tells, and yet there's more behind its telling. "I try hard not to write from my personal life, but it's inevitably going to seep into the music," Haley explains. "It's basically like I'm scoring this film in my head, but that film I'm scoring is also somehow my life." There are glimpses of the difficult time the East Coast native spent adjusting to a new life in Los Angeles, fighting homesickness and burnout while also touring the world. It was a time full of uncertainty, transition, and self-realization. After a year and a half of living in California, Hayley finally recaptured his creativity by finding new excitement in his work. "I put more air, more breathing room in the music—that was the big change," he says. And once that clicked, the album just poured out of him. "It was like an information dump. I feel like I finished the record in two weeks."

Such a clear refinement of the Com Truise sound took time to develop, but Iteration is well worth the patience and perseverance it cost. Some of Haley's smartest, catchiest work is here, from the weightless pop of "Isostasy" to "Ternary"'s lush synth-funk. A song like "Vacuume" somehow balances massive bass drops and smashing drums with angelic gasps, and
"Usurper" gracefully pairs subtle poignancy and uplifting dance beats. "For me, it feels like change," Hayley says of his second album, and yes, this is Com Truise like never before. By embracing the music's inherent nature and peerless qualities, Iteration finds new avenues of expression in its vivid, familiar surroundings.

Die Form is a French post-industrial and electronic band formed in 1977-1978. The name 'Die Form' means '(the) form/shape' in German and is a play on the English homonym 'deformed' and on the French homonym 'difforme' (deformed). Die Form is the primary project of electronic musician and multimedia artist Philippe Fichot. He began by recording a number of experimental cassette releases in the late 1970s and formed the Bain Total label to release these early cassettes, as well as various side projects such as Krylon Hertz, Camera Obscura, Eva-Johanna Reichstag, Hurt and Fine Automatic.

In 1982 Die Form released their debut vinyl album, Die Puppe' in a limited edition of 1,000 copies. Zoo' is a compilation of 10 tracks recorded during the Die Puppe' sessions from 1980-82. These were the first esoteric electronic experiments, often improvised. Underlying themes of eroticism, death, and other 'taboo' subjects become apparent in both the music and the album artwork, which Philippe also produced. The album was recorded with entirely analog equipment, including a Roland MC4 Micro-Composer, TR-808 Rhythm Composer, ARP 2600, and Kawai 60F recorded to a Revox B77 reel to reel tape machine. Songs range from hypnotic, minimalistic proto-IDM to daring experimental sound manipulation. 4 of these songs were featured as a bonus 7' to accompany the 1989 vinyl reissue of Die Puppe' but remixed for the project. The remaining 6 songs were also remixed and released on CD in 2001. For this reissue we asked the band to transfer the analog Revox tapes to release never before heard original versions of all 10 tracks.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover was designed by Eloise Leigh and features a black and white photograph by Philipe. Each album includes a double sided post card with liner notes and a rare photo of the band.

Samantha Urbani may be best known as the front-woman for conceptual punk pop chart crashers Friends but, now with her long awaited solo project, she is about to cut her own unique swathe through the music landscape all over again, cementing her position as unparalleled pop contrarian bar none.

4x140g vinyl LP set with 3' mini CD - Limited edition vinyl colours.

Includes 6 never before heard bonus tracks from the archives and several additional audio clips.

Contains huge double sided poster and liner notes by Jerry Casale of DEVO.

Petri Dish = Clear vinyl with blue and white splats.

For decades DEVO have been working non-stop at Recombo DNA Laboratories on a new kind of research to keep up with the mutating world around us! That extensive research is now ready for public consumption.

For the first time ever on vinyl FUTURISMO present unhindered access into DEVO's labs, documenting the scientific analysis and demonstrations as conducted by the band between the years 1977-2008! This tireless research has manifested itself in Recombo DNA...an unmissable collection of studio demos and unreleased rare tracks that span DEVO's entire recording career, from their original basement days to their famed 'Freedom Of Choice' era, right the way through to unused demos from their last studio album, included as part of the six bonus tracks taken from the archives that have never been released, or even heard before.

This incredible limited edition 4xLP set is a sonic fusion of demos, alternate versions and outtakes, demonstrating the true breadth and talent of one of America's most important bands. Yet, this set doesn't stop at four beautiful slabs of mutated vinyl, oh no! also included is 'The Somewhere Suite' served up on the format it was originally intended to be back in the May of '89, although it was never actually released at the time, it's contained here in all it's glory on 3' Mini CD!

This summer FUTURISMO give every DEVO fan the release they've been waiting for, a one time pressing of DEVO's Recombo DNA! Each set includes 4x140g limited edition coloured vinyl in the choice of 'Petri Dish', 'Emergency Codes' or 'Molecular Mutation' and a 3' Mini CD. Contained within the wide spined sleeve alongside this fanatastic devolved collection of recordings and bonus tracks, is a huge A1 poster, colour inner sleeves, download code and brand new liner notes by Gerald V Casale of Devo.

DEVO's Recombo DNA is an essential addition to the collection of any science fearing spud, so grab you're lab coat and witness audio mutation in action! Only while stocks last.

Es gibt wenige Gruppen, die ein Genre so nachhaltig geprägt haben, wie das Duo Erk Aicrag und Racso Agroyam, besser bekannt als Hocico. Die beiden haben nicht nur quasi im Alleingang dafür gesorgt, dass plötzlich eine ganze Szene Mexiko auch abseits von Tequila und Sombrero auf dem Schirm hatte, sondern darüber hinaus die dunkle Spielart der elektronischen Musik mit einer einzigartigen Mischung aus harten Beats, unbändiger Wut, aggressiven Shouts und wilden Soundexperimenten komplett umgekrempelt. Wie ein Faustschlag in die Magengrube traf uns dieser frische, neue Sound damals, fand in der ganzen Welt schnell viele Nachahmer und eroberte in kürzester Zeit weltweit Clubs und Bühnen. - The Spell Of The Spider versammelt nun Highlights, Hits, Favoriten und Raritäten aus mehr als 20 Jahren, von der Band selbst zusammengestellt und liebevoll neu gemastert. Für das Front-Artwork zeichnet sich der amerikanische Fotokünstler Thomas G. Anderson (u.a. Asking Alexandria) verantwortlich. Wer sich mit der härteren Seite der Elektronik beschäftigt, kommt an Hocico nicht vorbei. - The Spell Of The Spider feiert diese Ausnahme-Band und ist ein idealer Einstiegspunkt für Neulinge, eine spannende Entdeckungsreise für Fans und Sammler und ein Muss für jeden Electro-Head. Die ultimative Hocico-Best-Of erscheint auch als limitiertes, rotes Doppel-Vinyl im edlen Klappcover, als Deluxe-Doppel-CD im Digipak mit der Bonus Disc - The Dark Side Of The Spider , welche rare und vergriffene Songs, sowie Compilation-Beiträge enthält, sowie als limitiertes 3CD-Fan-Set in einer edlen Digipak-Longbox, welche zusätzlich die exklusive EP - Spider Bites , mit neuen und unveröffentlichten Stücken, beinhaltet.

First single taken from OMD's forthcoming thirteenth studio album "The Punishment of Luxury". Limited edition 12" with exclusive non-album B-side "Skin".

With their 13th studio album 'The Punishment Of Luxury' out September 1st via 100% Records, synth-pop pioneers Orchestral Manoeuvres in the Dark release new single 'Isotype' impacting July 14th.

Written, recorded, produced and mixed by OMD - Andy McCluskey and Paul Humphreys - 'Isotype' is taken from the duo's brilliant new album 'The Punishment Of Luxury', a daring collection of stylish synth pop and masterful song writing that will rank alongside their very best.

Boasting an infectious synth line and soaring melody 'Isotype' sees the band address the issues of communication and technology within the 21st century. Speaking of the track Andy said '"It's about the modern world where our communication value systems are so reduced that you wonder if we're actually getting any clear point across'.

Having played a triumphant sold out show at the Royal Albert Hall in May last year, OMD head back out on the road again this autumn for a string of must-see shows, including a show at The Roundhouse November 13th.

Festival Records and Warner Music Australia are excited to release another exciting and unique new collection of Australian music, 'Closed Circuits: Australian Alternative Electronic Music Of The '70s & '80s, Volume 1.'

Compiled by noted Australian music writer and historian David Nichols, 'Closed Circuits' looks at what happened in Australia when the machines started taking over in the wake of punk in the late 70s. Synthesisers and other new technology accompanied a new DIY mentality and very quickly made their presence felt right across the pop spectrum. The collection looks at some of the underground innovators - the likes of Whirlywirld, Essendon Airport, Voigt/465 and Scattered Order - and also some of those who wedded the new sounds with more commercial instincts and created new styles of pop music, like the Dugites, Models, the Reels and the Machinations. It is a range of music that is sometimes fun, sometimes intensely serious, and always innovative.

Nichols puts it like this in his liner notes: "This collection brings together a wide range of recordings really only united by one thing: people using technology to produce something fresh. These were not necessarily artists wedded to the idea of the 'new wave' or even hoping to wipe out old rock music, but what these tracks do represent is forward-thinking, inventive, progress... Most (not all) of the people on this collection were in their early-to-mid 20s, their reference points growing up in the 70s might have been Bowie's Berlin period albums, or Roxy Music - particularly the Eno years - or Brian Eno's own solo material, perhaps groups like Suicide. Many tracks sound like their creators spent their formative years immersed in the fun experimental side of progressive rock (though few seem to remember that experience). Others were more into the shock element of the new wave/ post punk world - or the DIY nature of synthesisers and other new technology. It didn't hurt that between the late 70s and early 80s the hardware got cheaper, fast - though five or six hundred dollars for a synthesizer was still a major investment."

'Closed Circuits' features detailed liner notes and track-by-track commentary by Nichols as well as an original design by Michael Trudgeon, the graphic designer for the seminal Melbourne '80s cassette fanzine 'Fast Forward' (which was a vital outlet for this music back in the day), as well as numerous images.

'Closed Circuits' provides a unique and invaluable look at the specifically Australian beginnings of key elements of the music of the 80s: music that is more popular and examined more closely now than at any time since it was originally made.

2x LP + CD

Originally released only on cassette in 1986, "Embrace" is mixture of experimental tracks of the duo Martin Kornberger & Volker Kuhn. 600 copies LTD. Recommended!

1x each customer!

Limited edition 12' EP featuring 5 remixes by UNKLE, Ewan Pearson, Tom Furse, Roman Flügel, Lindstrøm & Prins Thomas, presented by Electronic Beats, German Telekom's music platform which has been at the forefront of electronic music for more than 15 years

Submitted to the IntergalacticFM Demo Contest in 2010, Space Cat, was a hit for all that tuned in and a personal favourite of I-F who jammed it plenty on his Bottomless Pit show.

A vinyl release looked promising but never came to fruition for unknown reasons.
Several rumours swirled and cryptic messages posted to the internet before Yellow Beach Balls all but disappeared.

Almost 7 years to the date of the demo contest and we still don't know the story behind YBB, but we do get the release of the Space Cat EP including 3 lo-fi synth-pop tracks to join the aforementioned title-track.

3 Teens Kill 4 was born in the summer of 1980 in the East Village of New York City. They took their name from a New York Post headline. The group consisted of Doug Bressler, Brian Butterick, Julie Hair, Jesse Hultberg, David Wojnarowicz. There was a conscious decision not to have a front person or lead singer. David made cassette tapes with voices and sounds that he held up close to a microphone, fast-forwarding and rewinding. Julie tried different rhythms on a Korg rhythm machine. Brian played a Casio drum machine and Jesse was on bass. Doug joined the group in time to make the debut album. He was a music lover who understood how to avoid covering over the band's non-musicality.

Their debut 7-song mini-album No Motive' was recorded in Fall 1982 and self-released in 1983. Utilizing rhythm boxes, tapes of news reports, odd percussion tools, snatches of song, they chanted political narrative ideas about the modern mess at the time. The album is an amalgam of urban life, a twisted, anti-rhetorical approach to social issues. Songs weave together to create an intelligent, jarring sound. Razor sharp guitar licks and hauntingly ominous bass lines create a tense, oblique abstraction of pain and chaos. For this reissue we've added 3 previously unreleased bonus tracks. Doug says, These songs are very deliberately an experiment in Postmodernism. Sound bytes were stolen from the airwaves and recorded onto bargain cassette tapes. We were stripping the structure of the popular song to the bone. A sort of sonic Duchamp. And throughout it all, runs a childlike sense of play: the judicious use of toys, the schoolyard chants. All of this was happening during the dark and soul-numbing Age of Reagan, with the AIDS crisis looming on the horizon.'

All songs have been remastered for vinyl by George Horn at Fantasy Studios. The jacket features a replica of the original front cover with a black and white photo by Seiji Kakizaki and updated back cover featuring a never before seen collage by David Wojnarowicz. Each copy includes a 12-page booklet with liner notes from each band member, photos, lyrics and press clippings. We've also printed a special 12'x24' fold out diptych painting by David Wojnarowicz whom this reissue is dedicated to.

We were representative of our time and place. East village, New York City, 1980s. All-night, after-hour busboy jobs in trendy nightclubs, early morning breakfast at Veselka's diner. Drugs and no-drugs. Gay and not-gay. New York.' - Jesse Hultberg

Medical Records proudly presents a special limited edition of all 3 "Forgotten Tracks, Sketches and Unfinished Work 2002-2004" by Martial Canterel as a triple gatefold set. Volume I was released previously in 2013, and Volume II and III are simultaneously being released by Medical Records as standalones. Sean McBride has been producing work under the Martial Canterel moniker dating back to 2002 as well as working as half of Xeno And Oaklander. These tracks capture the allure and depth of Sean's early work exploring rhythms and perfectly crafted pop songs using a very early incarnation of limited instrumentation. Fans of Martial Canterel's early work (think "Austerton" and "Sister Age") will be instantly elated. This is the first time these tracks have been released on vinyl and have been remastered for this release by Martin Bowes at the Cage, UK. Contains special bonus insert with lyrics. Fans of early Martial Canterel as well as other cold wave icons such as A Blaze Color, Snowy Red, and the like will need this collection. Presented on high-quality 180gram classic vinyl in a triple gatefold pack.

Mannequin Records is proud to present a LP compilation of Michael Antener (Swamp Terrorist) early 80's minimal synth/industrial projects Nacht'raum (with Michael Stämpfli) and, as solo, Bande Berne Crematoire.
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Heavily influenced by the works of SPK and Nocturnal Emissions, Michael Antener made his first recordings in the basement of his parents house in a small village nearby Bern, Utzensdorf. He started BBC in 1980, a hybrid of Neue Deutsch Welle and noise/experimental, making a household name in the international home recording scene of the time and participating to many tape compilations.

Teaming up with Michael Stämpfli as Nacht'raum, he self-released the untitled mini-lp in 1983. Coming out from the same town of Grauzone, the duo moved into the darkest minimal electronic sounds, choosing German as main language for the lyrics and a Roland Tr-808 as main drum machine, bringing the sound to a proto-electro dimension. Nacth'raum will be historically a real gem in the 80's Swiss underground electronic music, together with Mittageisen, Grauzone, Liliput, The Vyllies.

Michael, by the way, later teamed up with Ane Hebeisen and they went by the name of Swamp Terrorists, releasing seven albums and touring throughout the world until the end of the nineties. At the end of the nineties he sold all his instruments and became independent as a graphic artist.

Nice 12 made available through Dark entries again - originally out on Durium / Il Discotto Productions n 1983 !

Executive Slacks began in the hot, humid summer of 1980 Philadelphia by Matt Marello, John Young and Albert Ganss, three bored, broke, anxious art students. Starting out with performance art in subways, they soon took their angst-ridden act to galleries and night clubs. The band found their moniker in a run-down bookstore after seeing an ad for men

Dark Entries is proud to present Household Shocks', a 16-track compilation of UK DIY/Synth/New Wave/Post-Punk originally released in 1980. The album showcases 9 bands from the thriving post-punk scene in Scunthorpe and the North of England. Operating on a shoestring budget, co-producers Chris Leaning and Paul Singleton (both of One Gang Logic), released "Household Shocks" on Stark Products, a label they founded in 1979. At almost 50 minutes of music, the album took four weeks to produce at the Studio Playground in Lincoln. It was supported heavily by the late Radio 1 DJ John Peel. In July 1980 Paul Singleton and Chris Leaning opened a record shop in Lincolnshire, England. It opened under the name All Tomorrow's Parties', but later moved to the city center and was renamed Parade.' Through their growing local music scene and the separation of economic classes, their shop became the hangout for the local punk movement. It was there that the idea for Household Shocks', a compilation of their friend's bands, was born. THUNDERBOYS offer three punky pop blazers and feature Carmel McCourt who who subsequently achieved chart success with her band Carmel. PRODUCT OF REASON contribute three haunting synthesizer heavy numbers. SINKING SHIPS supply two tracks of off-kilter dubbed out angst ('Weight Loss' is the best Gang of Four song not by the Gang of Four). JUVENILES provide two power pop jams. MYSTERY GIRLS supply one track of quirky post-punk that recalls The Prats. DEFECTORS, a female fronted quartet featuring COUM Transmissions affiliate Tony Menzies, grant us one superb track of somber gothic new wave. FAULT 151 serve a slice of wistful Flying Nun-esque indie pop featuring a 14-year old bassist. URBANTECH, a short-lived synth-punk outfit, deliver one delirious track. ONE GANG LOGIC contribute two metallic synthesizer drenched pieces and close the album with a somber atmosphere.

Early pioneers of the German New Wave music scene, Din A Testbild were formed in 1978 by Mark Eins and Gudrun Gut (former member of Einstürzende Neubauten, Mania D. and Malaria!). Din A Testbild played a significant role in defining the avant-garde music of Berlin. Legendary is their partecipation at the 'Festival Genialer Dilletanten" in 1981.
Mixed and produced by Klaus Schulze on his own record label Innovative Communication in 1980, 'Programm 1' was a favourite in the playlists of the Italian cosmic dj heroes Daniele Baldelli and Dj Mozart.

REPRESSED !!
Lovely release from Chee Shimizu's 17853 Records. Reworkings of Dip in the Pool singer and lyricist , Miyako Koda's from her first (and quite unknown) solo album "Jupiter". Deaturing Jordan Gcz and Wolf Muller... TIP!
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The original album was released in 1989, and featured productions from well known Japanese artists such as: Haruomi Hosono, Yasuaki Shimizu, Towa Tei, Gonzalez Mikami from Gontiti. Earlier this year, the bands producer Tatsuji Kimura planned this new project with Japanese DJ Chee Shimizu. Together they produced this five tracks mini-album featuring the Amsterdam based Jordan GCZ and Dusseldorf's Wolf Muller.

The label say ' The first track on side A, "Io" was created by Yasuaki Shimizu originally. Chee Shimizu made a floating long edit with minimal sequence of synthesizer, sounds of birds and insects. Jordan Czamanski a.k.a. Jordan GCZ re-edited for second track on side B "Ndembu". He created atmospheric soundscape used previously unreleased version performed by percussions unit Ochi Brothers. The third track on side A "Butter" was included original version by Towa Tei who well-known as Dee-Lite. The first track on side B "Sleep In Peace" was included remix by unbelievable group session. Original song was created by Haruomi Hosono and Tatsuji Kimura. Jordan Czmanski added some new melodies by his synthesizer, Tasuji Kimura also played additional synthesizer and new line for bass, and Wolf Müller played his metal bowl percussions. the last track on side B "A Sea Of Love" is remix by Chee Shimizu. He created layered sound wih Miyako Koda's poetry reading and relaxing sea wave.

Seigen Ono who is one of top recording engineer in Japan as well as known, he operated mastering for all traces, and sublimated superb sound.'

Cult Organ Horror 7" From West Flanders, Belgium. 12" Picture Sleeve + Linernotes on the back. Restored & Remastered

The first release by Parisian iconoclast Joakim for his friends and European colleagues at DJ Tennis' Life And Death records is a miniature nocturne for dance floor meditation, a cascade of unfurling fizzy moods and introspection, finally tuned and expertly rendered by the electronic music maestro.
"I met Manfredi (Tennis) through Luke Jenner (ex The Rapture) in NYC. When Manfredi has a few days off his busy touring schedule, he comes to my studio to work with Luke on their collaboration project. We usually talk about synths, food, DJ gossip and complain about espressos in NYC. About 6 months ago we were eating Korean fried chicken and Manfredi asked me if I'd like to do something for his label Life & Death. At the time I had a bunch of club tunes I started working on and somehow had a feeling some of them could be a fit for Life & Death so I played those and Manfredi very quickly picked one, 'Daemon'. I thought putting out something on Life & Death was at the same time kind of odd (and if you didn't notice yet, I like when things are unexpected) and totally appropriate.

Why do firework designers put the big burst at the end
Why is the fourth movement of a symphony the most powerful one
Why does the climax come at the end of the movie instead of the beginning
Why do we eat dessert last
Because we all love to save the best for last.

The third and final single from BOOKA SHADE´s recently released GALVANY STREET album with CRAIG WALKER is rather special and contains undoubtedly the most obvious pop hit of the album. It has also quickly become a live favourite on the ongoing album tour across Europe.

LONELIEST BOY is often described as Pet Shop Boys meets Booka Shade. The previously unreleased single & extended versions are quite different from the album version. One highlights the pop qualities and get´s straight to the point, the other with the dancefloor in mind.

But that´s not it... yet.

The previously unreleased JUST LIKE TONIGHT could compete with the best moments of NEW ORDER. Next to LONELIEST BOY it is easily one of the most catchy tunes ever recorded by BOOKA SHADE. Arno and Walter didn´t want to overemphasise the pop context of the album, so one of the 2 songs was dropped even with it´s strong melodies - now it´s time to release it from the vault.

In context with LONELIEST BOY the song works perfectly well. Not as a traditional b-side track, but rather a double a-side single. Same as with LONELIEST BOY in single & extended version.

NEP was a loose multimedia collective formed in 1982 Zagreb, ex-Yugoslavia. The founder Dejan Krsic collaborated with various artists in a quest of re-thinking the stale concepts of art history, position of the author and the barriers between pop and elitist high culture. Heavily influenced by Walter Benjamin and Andy Warhol in theory and Brian Eno and Kraftwerk in music, Krsic created NEP as an umbrella term (meaning Nova Evropa) of diverse rule-breaking activities, covering graphic design, music, photography, video, news-media and theoretical work. Musically NEP focused on experiments in ambient and tape-music, mostly self-released or hard to find compilations like "The Cassette Played Poptones" (1988). Deeply immersed in pop-culture, politics and art theory Krsic's search for perfect pop music with cutting critical edge peaked in 1989, the year Decadance track was conceived in studio, but has never been published. Pumping Roland 808 beats, with sampled vocals from Linda Cooper asking herself "How do I dance to this music" were chosen by Fox & His Friends label owners Leri Ahel and Zeljko Luketic for a 12" opener of the unknown NEP's pop history. This single is a sneak-peak into the world of POP NOT POP, the album and a graphic book merged into one multimedia entity, to be released later this year. All material is restored and mastered from original reel-to-reel tapes and presented on wax for the first time and for this occasion, deconstructed and reinvented in a remix B-side by Snuffo, masked hero of the Snuff Crew fame. Snuffo splitted the title vocal into a new cut-up, now telling "Dance to this music" to its audiences. And indeed, NEP's Decadance is meant to be danced to, either side you choose to play. NEP on this 1989 track was led by Dejan Krsic, now famous graphic designer and art historian in Croatia, but other collaborators include Laibach and Borghesia photographer Jane Stravs, artist and TV director Gordana Brzovic, Jovan Culibrk, now Bishop at The Serbian Orthodox Church and Anja Rupel, singer of cult Yugoslavian synth-pop group Videosex.

Following celebrated compilations from Motor City Drum Ensemble and Young Marco - and with the second edition of its limited-capacity festival in Croatia right around the corner - Dekmantel's Selectors series now continues with an edition curated by Marcel Dettmann
.
Although he's now known as one of the world's most celebrated techno artists, even Marcel Dettmann had to start somewhere. Long before he ever held court at Berghain (or its predecessor, Ostgut), he was just another young boy in Eastern Germany, one whose earliest encounters with capitalism involved spending every penny he could scrape together down at the local record shop. In those days, it wasn't techno that got him excited, but new wave, post-punk, industrial and EBM acts like Front 242 and Depeche Mode

It's music from my childhood,' says Dettmann. It's still relevant and still inspires me.' That inspiration can be heard across this edition of the Selectors series, as Dettmann has put together what he describes as a pre-techno compilation.' Much like the previous Selectors editions, the compilation is not a mix CD, but a collection of tracks hand picked by Dettmann from his own vinyl archives. Freshly remastered - and occasionally reworked or re-edited by Dettmann himself - the songs here are undoubtedly vintage gems, but they also represent a very personal journey into Dettmann's past.

It was a great opportunity to dig deeper into my own musical outlook,' he explains. The tracks come from a time before Marcel Dettmann became a DJ.' Simply put, the songs here are some of the building blocks upon which he's built an incredibly storied career, and now he'd like to entrust them to future generations.

In 1977 Ian Dury & The Blockheads recorded their seminal album New Boots & Panties'. A quarter of a century later, east central one re-recorded the album with all manner of incredible guest artists, backed by The Blockheads, in celebration of and as a tribute to a classic piece of work.

The album, featuring performances by Paul McCartney, Robbie Williams, Sinead O'Connor and others, is now available again through Active Media.

REPRESSED !!
One of the holy grail of the minimal synth and one of the most obscure musical projects ever produced in Italy is finally reissued on Mannequin Records.
Originally released in 1981 by Broadbean Records, a sub-label of LM Records, Flo & Andrew only release 'Take Suicide' was home-recorded and home-mixed by the duo in Bologna, using early drum machines like the Boss Dr-55 and the Korg Kr-55, analog synthesizers, guitar, saxophone, tape loops. Flo & Andrew music is truly unique and exemplifies the fact that limitation can be the perfect source for creativity. The title-track and 'To Committ Suicide' travel through contort and nervous synth sounds and loops, taking somehow inspiration from the No Wave heroes, while 'Japanese Girls' is nothing less than a beautiful minimal electronics track in the mythology of the futuristic rise of Japanese country. Recently (re)discovered, 'Take Suicide' is a milestone of the European minimal synth singles and is not really a coincidence that a young generations of producers take it as inspiration (you can see 'Take Suicide' floating in the tracklist of artists as Helena Hauff and NGLY). Another must have in your collection / record bag!

REPRESSED !!

TX Connect's Gavin Guthrie is a horror soundtrack enthusiast and regularly DJs gigs with that premise. So it's no surprise that he'd produce an EP that implements these themes.
The T.R.U. Halloween EP is a special edition EP that collects and compiles 5 tracks from Gavin's inner circle that range
from 80's era horror soundtrack chase scene music to dark techno. With the recent surgence of Survive and Stranger Things, this EP fits right in the pocket and is slated for a
Halloween 2016 release.

"Amarcord" the debut vinyl from OOBE Italian New-New wave producer Yari Malaspina. OOBE stands for Out Of Body Experience. And that is the exact feeling you get when listening to these productions.

Electric guitar, house music and nostalgic experimentation come together in an unforgettable cocktail of Italian emotion. It all translates into an international language of love and violence.

Like a lost artifact from a time when motorcycles roamed the streets in a dystopian dance of demons, delight and decay.

Immerse yourself in the thick anticipation of VIRTUAL-E before the beat drops with yearning vocals. Crush Mind spins your head in circles like a mantra about the circle of Life. 1989 Summer hits you in the chest with barely audible vocals sat in the mix like a dusty record in a forgotten second hand shop. Finally closing track Amarcord and title name, send you into a deep spiral only saved by hitting the repeat button.

Electro House songs in a New Wave state of mind ^^

Ant6-en back to the Synth-wave roots , with a full album of electr-indus featuring The Horrorist remix... a banging insane tune !! Its good to hear a label coming from these dark ages of this electronik music producing this style again... no nostalgy ! Just history !!

Montréal synth pop Police des moeurs are one of the finest and rawest bands in the minimal synth/wave and cold wave scene. 'Dédales', their third full lenght, is keeping the pure energy of their previous efforts while leaving greater room for atmospheric and textural considerations. The album will lead you into the passage zone between civilisation and wilderness, a mysterious place where truth, lies, light and darkness collide. Limited edition of 500 copies.

First release by a female ensemble from Rotterdam.

Their 5th album titled, "The Fifth State Of Consciousness", is a double LP produced in Peaking Lights Dreamfuzz studio over the last two years. It's both a departure from the new and a return to the old with a whole new twist on the psychedelic dub-pop they've become know for. Self released...from the heart! Gatefold Sleeve. BIG TIP! Sonically the double album shifts through many states from beginning to end, resonating deep, like a drive thru foreign landscapes where you're glued to the window as everything slowly changes around you. The flow and pacing of songs has a sense of wonderment and each time you play it there's a whole new batch of lovely sounds and eccentricities within each of the players. While bringing together their love of Psychedelic music, House, Electronic and Reggae each song manages to live it's own life and yet still there is some magical thread that binds them together. Produced by Aaron Coyes, the whole creative process was filled with nerdy gadgetry, playful experimentation and deep alchemical soul searching for a musical medicine. Aaron describes Dreamfuzz as 'a small junkyard with many happy mistakes'. Using tape machines, writing melodies backwards then playing them in reverse, layering sound upon sound to create 'pads', literally breaking electronics to get sounds, and a strict motto of 'anything goes, pure creativity'. Most sounds were run thru Peaking Lights' 1976 16/8 soundcraft Series Two mixing console (the same type of board used by Lee 'Scratch' Perry at Black Ark, and at the infamous Cargo Studios where many of the early Factory Records bands were recorded) to add some 'mojo'. It's an album that is sure to be a creeper even if you don't fall in love on the first date.

Transparent vinyl LP, download card included. Whether their muse lies in 60s sci-fi soundtracks, The Radiophonic Workshop, the prototype electronic sounds of The United States Of America, the retro-futuristic edge of Broadcast, the dream pop ambience of Angelo Badalamenti/Julie Cruise, or the shimmering shroud of Mazzy Star, will doubtless be raised in countless interviews. But what matters more is that Death And Vanilla have woven a stunning tapestry that envelops all that preceded them, into a literally head-turning album, of kaleidoscopic proportions... Formed in Malmö, Sweden by Marleen Nilsson and Anders Hansson, Death and Vanilla utilise vintage musical equipment such as vibraphone, organ, mellotron, tremolo guitar and moog, to emulate the sounds of 60s/70s soundtracks, library music, German Krautrock, French Ye-ye pop and 60s psych. They revel in the warmth of older analogue instruments to create a more organic sound, each loose wire and off-kilter noise adding to the rich atmosphere. After a handful of successful releases including a debut EP in 2010, their self-titled LP in 2012 - which sold out on pre-order - and a beautifully designed 7' single, the experimental pop duo were invited to compose a live soundtrack for the classic horror film, Vampyr (1932), for the Lund Fantastisk Film festival in Lund. Now, newly signed to Fire, the band return with 'To Where The Wild Things Are.' Named after the Maurice Sendak children's book, the album is comprised of pop music with a wild, dreamy and experimental edge, celebrating imagination and the ability to travel to stranger recesses of the mind. 'Where the Wild Things Are' starts off with some of the most pop' songs they've ever recorded, typified in the sweet and melodramatic Arcana', and the classic pop inspired Time Travel'. Like Sendak's book of the same name, the album then proceeds into stranger and stranger territory, resulting in some of the most experimental material Death and Vanilla have produced, such as the six minute Something Unknown You Need to Know' and the machine-like, surf-guitar track The Hidden Reverse'. The band recorded the new album themselves in their rehearsal space, using just one microphone - a 70's Sennheiser - which they bought at a flea market for a tenner. It is this unconventional recording process that gives Death and Vanilla their unique personality, using a trial and error approach to recording has rewarded the album with a strangeness that would not have otherwise been achievable. Creating deliciously enticing soundscapes, full of moody moogs, swirling melodies and breathless vocals, their influences on 'To Where the Wild Things Are' are apparent and diverse, ranging from Ennio Morricone to Scott Walker, Tom Dissevelt to Norman Whitfield, The Zombies to Sun Ra, and Bo Hansson to The BBC Radiophonic workshop. Death and Vanilla's sound is like an elaborate dreamscape composed of foggy visions and mind-altering notions.' Redefine Magazine // Death And Vanilla are a Swedish haunted-pop duo who have found themselves caught in the vortex of retro-futurism circa 1969... they've got a good grip on the baroque psychedelia of the United States Of America and Free Design,' Aquarius Records

A somnambulant journey through psychedelic bedroom fantasy-scapes, Glare is Roe Enney's first proper LP after only a few under-the-radar cassette releases on Phaserprone, Discriminate and Piero since 2011. Recorded over the last couple years, Glare unfolds like a manifesto on the devolution of communication. An experiment of thresholds: electronic, political, poetical, Roe Enney touches on the likes of Tara Cross or Anne Clark but only briefly before hurtling into a subterranean world of closed-off obsessions.

"The electronic artist is always enmeshed in a battle of thresholds. What does one do This is because she, the electronic spirit, is always in the process of change. This spirit is never stable, it is tenuous. It is a moving hierarchy, a royal island with a v. real topography, with its own guard, observation deck, casino. The music on this record firmly pledges allegiance to this island, and yet it is out somewhere on the shore, perhaps 'dreaming of elsewhere.' Yet one cannot help what one is. Perhaps the record is cast-off."

Mastered by Sean McCann and cut at Dubplates & Mastering, Berlin.

Since the inception of Gregory Vand and Susan Subtract's electro-punk outfit High-Functioning Flesh in 2012, the band has proven to be one of the most singular acts in years, defying the genre tag of 'classic' EBM, as the creativity and fresh perspective they bring to the stage and studio has been instrumental in carving out a modern audience for the genre - elevating HFF into a category all their own.

Following their striking debut on DKA Records in 2014, High-Functioning Flesh delivered an exceptional step forward in their sound on their sophomore effort for Dais Records, the 'Definite Structures' LP in 2015. Since then, High-Functioning Flesh has toured extensively with label mates Body of Light and previewed their caustic shift to a more refined, hardened signature with their 'Human Remains' single in 2016. We now find High-Functioning Flesh at their sharpest and most poised position to date within their newest album: 'Culture Cut'.

Produced and mixed solely by the band in their personal studio during the Fall of 2016, Vand and Subtract felt the need to start the recording process on fresh footing, and composed 'Culture Cut' using a variety of newly acquired vintage Roland and Oberheim equipment, creating entirely new percussion and synth samples to break out of familiar writing habits.

The result was an album written in the face of a world unraveling - with several tracks addressing the dynamics of life in our current political climate. Songs such as 'Drawn Out' discuss the observation of projected failure in our daily lives while 'Provoke the Wound' projects a vision of dystopian collapse. 'Invoking Phantoms' and 'Hands at Play' reveal the band's more melodic sound, previously debuted on 'Heightened State', the b-side to last year's 'Human Remains' single. Regardless of this pliant approach, lyrically the band holds firm to its abstract doubt and disinclined sense of compromise. The final chorus, 'Suffered Collapse', was written as a dedicatory ritual in remembrance of friends lost to the Ghostship Fire in Oakland, CA during the Winter of 2016.

From the initial concept to the final production, 'Culture Cut' is a complete reboot from top to bottom with their process, style and sound.

Since the inception of Gregory Vand and Susan Subtract's electro-punk outfit High-Functioning Flesh in 2012, the band has proven to be one of the most singular acts in years, defying the genre tag of classic' EBM, as the creativity and fresh perspective they bring to the stage and studio has been instrumental in carving out a modern audience for the genre - elevating HFF into a category all their own.

Following their striking debut on DKA Records in 2014, High-Functioning Flesh delivered an exceptional step forward in their sound on their sophomore effort for Dais Records, the Definite Structures' LP in 2015. Since then, High-Functioning Flesh has toured extensively with label mates Body of Light and previewed their caustic shift to a more refined, hardened signature with their Human Remains' single in 2016. We now find High-Functioning Flesh at their sharpest and most poised position to date within their newest album: Culture Cut'.

Produced and mixed solely by the band in their personal studio during the Fall of 2016, Vand and Subtract felt the need to start the recording process on fresh footing, and composed Culture Cut' using a variety of newly acquired vintage Roland and Oberheim equipment, creating entirely new percussion and synth samples to break out of familiar writing habits.

The result was an album written in the face of a world unraveling - with several tracks addressing the dynamics of life in our current political climate. Songs such as Drawn Out' discuss the observation of projected failure in our daily lives while Provoke the Wound' projects a vision of dystopian collapse. Invoking Phantoms' and Hands at Play' reveal the band's more melodic sound, previously debuted on Heightened State', the b-side to last year's Human Remains' single. Regardless of this pliant approach, lyrically the band holds firm to its abstract doubt and disinclined sense of compromise. The final chorus, Suffered Collapse', was written as a dedicatory ritual in remembrance of friends lost to the Ghostship Fire in Oakland, CA during the Winter of 2016.

From the initial concept to the final production, Culture Cut' is a complete reboot from top to bottom with their process, style and sound.

Medical Records proudly presents Volume III of a collection of "Forgotten Tracks, Sketches and Unfinished Work 2002-2004" by Martial Canterel. This release coincides as a standalone with Medical's other releases of Volume II as well as a special 3LP compiling Volumes I-III. Sean McBride has been producing work under the Martial Canterel moniker dating back to 2002 as well as working as half of Xeno And Oaklander. These tracks capture the allure and depth of Sean's early work exploring rhythms and perfectly crafted pop songs using a very early incarnation of limited instrumentation. Fans of Martial Canterel's early work (think "Austerton" and "Sister Age") will be instantly elated. This is the first time these tracks have been released on vinyl and have been remastered for this release by Martin Bowes at the Cage, UK. Contains special bonus insert with lyrics. Fans of early Martial Canterel as well as other cold wave icons such as A Blaze Color, Snowy Red, and the like will need this collection. Presented on high-quality 180gram classic vinyl.

Zwischenfall formed in Belgium in 1982 with Michael Sass (synths), Martin Urban (bass/vocals) and Stephan Kraemer (guitar/drums). They were united by their interest in combining electronic and traditional instruments, which developed the basis for 1982 demo recordings. By chance Patrick Codenys of the Belgian electro pioneers Front 242, heard two songs and decided to record a 4-song EP. The Heute' EP was released in 1983 after a week of recording in Front 242's private studio under the direction of sound-whiz Daniel B. In 1984 Martin Urban left the band and was replaced by vocalist Iben Larssen and bassist Thomas Kürsten. They recorded their second 12' single, Sandy Eyes', which contained a remake of their song Fluct', sung in the English this time. Some fairly revolutionary techniques were used, including the introduction of sampling (with an Emulator I and Ensoniq Mirage), and 'gated reverb', in which the sound of a large reverb room was processed through a Yamaha CS15's envelope follower. This record was originally released in 1984 on both Les Disques du Crépuscule and Fuzz Dance, packaged in three different covers. Our reissue EP features two bonus tracks from the 1984 recording sessions previously unreleased on vinyl: the saxophone drenched instrumental Polar Magazine' and street beat dance track Sacred Time'.

HELIC.AL, the new label from Todd Sines + Charles Noel / Archetyp, functions as an constrained exercise to break from restrictions. Instead of the obvious new electronic dance music label that would be expected of these seasoned producers, HELIC.AL turns history on its ear, resulting in collaborations new and old. The debut album from Interval, featuring bassist Andries Boekelman, Sines on vocals, guitar, synths & engineering, Noel on drums and percussion, steps outside the comfort zone of endless tracks and overdubs from a digital workflow, tracked to 8-track tape, and mastered direct to lacquer by Josh Bonati, with no computers in between.

Future releases include Crash Course in Science's Michael Zodorozny and Todd Sines as I/TMSZ, Soviet's Amanda Berkowitz and Alyssa Barrera as Artefactos de Dolor, Möthersky, Excepter's SSPS & Gramma, and is in discussion for releases from Robert Görl of Deutsch Amerikanische Freundschaft, Graham Lewis of Wire, Dome and He Said, and Stephen Mallinder of Cabaret Voltaire / Wrangler, for a follow up to his seminal 1982 release, Pow Wow.

Killer electro/wave tracks by Black Pond. Black Pond is a collaboration of underground star Beta Evers and Jeff Galea from the legendary Eleven Pond. Known for her solo work as well as various collaborative projects, Beta Evers can be considered the godmother of German electro wave. Her beats are strict while her voice is cool and deep. Jeff Galea, who founded Eleven Pond in the mid-80s, is the master of energizing bass lines and emotional synth melodies. Deepest Chasms reflects their shared darkness in four melodic and atmospheric synthwave tracks that won't let go of you.

After the Lost Tapes, the Found Tapes and the Hidden Tapes, Electronic Emergencies releases the Closet Tapes - a compilation of queer electronic music on pink vinyl. Spacemaker and Leather E have rounded up an unorthodox and fierce combination of queer legends, contemporary queer heroes and future queer stars. These include Andy Butler from Hercules & Love Affair, Eddy De Clercq, Bezier from the Honey Soundsystem and Hard Ton together with our own Popsimonova. We are proud to be queer and this is what we love.

Lucifer & Lust is a 10-inch mini album by Dmitry Distant, showcasing the diversity of his talent. The 6 tracks by the Russian-born artist who currently resides in Latvia reflect the atmosphere of the Baltic and the mystic sides of electronic music. Showing where his devotion lies, Dmitry experiments on the verge of techno, wave and industrial. On this mini album, he grasps our attention with minimalistic trance-like rhythms covered in fluctuating painful melodies, using wonderful analogue sounds and exotic instruments such as the electric violin.

7"

Remastered version of 80's classic

Following the massive success of The Cars' multi-platinum debut in 1978, the band kept its platinum - album streak rolling with Candy-O and Panorama, releases that include memorable hits like Let's Go,' It's All I Can Do' and Touch and Go.'

For the first time ever, the band has expanded those classics to create versions that include rare and unreleased recordings taken from the sessions for each album. Band member Ric Ocasek recently supervised the remastering of these albums for last year's boxed set The Cars: The Elektra Years, ensuring superior sound quality on these new versions.

Candy-O (Expanded Edition) goes beyond the original album's 11 tracks with seven bonus tracks. Among the highlights are unreleased alternate mixes of Let's Go' and Lust For Kicks,' as well as the previously unissued song They Won't See You (The Northern Studios Version).' The album's liner notes were written by David Wild and include a new interview with guitarist Elliot Easton.

Following the massive success of The Cars' multi-platinum debut in 1978, the band kept its platinum - album streak rolling with Candy-O and Panorama, releases that include memorable hits like Let's Go,' It's All I Can Do' and Touch and Go.'

For the first time ever, the band has expanded those classics to create versions that include rare and unreleased recordings taken from the sessions for each album. Band member Ric Ocasek recently supervised the remastering of these albums for last year's boxed set The Cars: The Elektra Years, ensuring superior sound quality on these new versions.

Panorama (Expanded Edition) builds on the original album's 10 songs with four bonus tracks. They include the B-side Don't Go To Pieces,' as well as unreleased songs like Shooting For You,' and Be My Baby.' For this release, Wild once again pens the liner notes, along with reminisces from keyboardist Greg Hawkes.'

Peripheral Minimal is proud to present the new 12" by the French electronic pioneer, Philippe Laurent, entitled, 'Phoenix'. This will be Philippe's second release on Peripheral Minimal after the infectious synthetic classic 12", 'Mithra'. Phoenix is a three track E.P. featuring two brand new tracks on the A-Side, 'Phoenix' (featuring Philippe's trademark robotic vocals), and, 'Agapao'. Meanwhile over on the B-Side, we have the 13-minute electronic opus and highly representative of his early work, 'Exposition 4', a never before released track from Philippe's extensive archive, and recorded in 1982.

The E.P. Is representative of Philippe's latest forays into contemporary synth music, but still with a retro futurist edge and influenced partly by German pioneers Kraftwerk / late 70s Kosmische and au courant electro / synthwave acts, fitting into the current enthusiasm for early 80s synth pop and minimal wave.

The E.P. is presented on white vinyl and limited to 300 copies. Mastering by Martin Bowes @ The Cage. Pre-orders are now available!

Instrumental industrial electro and techno with a massive experimental IDM ambiance... This dark and clean, total in a plastician ambiance. Enjoy !

Dark Entries is honored to release 'Dualism', the sophomore E.P. from contemporary Montreal-based duo, Solitary Dancer. They released an eponymously titled debut E.P. on Midland's label Graded in late 2016 after their track

Brilliant comet of the Italian New Wave scene. Real deal. TIP!
.
Atelier du Mal were formed in Florence in 1983 by Lapo Pistelli (synths, electronic drums), Iacopo Ficai Veltroni (bass, synth) and Ignazio Matteini
(drum programming, percussions). Recorded in 1984, 'Noblesse Oblige' was the first and subsequently the only demo tape by the group, self-released using classic gear like Korg Ms-20, Roland Tr-606, Roland Tr-808, Roland Juno 60, Roland TB-303.

Following celebrated compilations from Motor City Drum Ensemble and Young Marco - and with the second edition of its limited-capacity festival in Croatia right around the corner - Dekmantel's Selectors series now continues with an edition curated by Marcel Dettmann
.
Although he's now known as one of the world's most celebrated techno artists, even Marcel Dettmann had to start somewhere. Long before he ever held court at Berghain (or its predecessor, Ostgut), he was just another young boy in Eastern Germany, one whose earliest encounters with capitalism involved spending every penny he could scrape together down at the local record shop. In those days, it wasn't techno that got him excited, but new wave, post-punk, industrial and EBM acts like Front 242 and Depeche Mode

It's music from my childhood,' says Dettmann. It's still relevant and still inspires me.' That inspiration can be heard across this edition of the Selectors series, as Dettmann has put together what he describes as a pre-techno compilation.' Much like the previous Selectors editions, the compilation is not a mix CD, but a collection of tracks hand picked by Dettmann from his own vinyl archives. Freshly remastered - and occasionally reworked or re-edited by Dettmann himself - the songs here are undoubtedly vintage gems, but they also represent a very personal journey into Dettmann's past.

It was a great opportunity to dig deeper into my own musical outlook,' he explains. The tracks come from a time before Marcel Dettmann became a DJ.' Simply put, the songs here are some of the building blocks upon which he's built an incredibly storied career, and now he'd like to entrust them to future generations.

Limited 200 copies - 1st copies on colored yellow vinyl !Highly demanded release with a legendary rework from Allan Goldberg and the Italo Master Tony Carrasco

Official Remastered Reissue of the 1982 Original Recording Licensed from Expanded Music srl Italy of the legendary Italian group founded in 1977 with a Punk rock / New Wave attitude that in the early 80's turned into a more electronic / dance mood and delivered some of the greatest tracks of the golden 80s age !

Garage noisy pop punxing around !

Lena Platonos is a Greek musician, pianist and music composer. One of the pioneers of Greek electronic music, she remains active today. Lena was born in Heraklion, Crete, and grew up in Athens. She began learning how to play the piano at the age of two and became a professional pianist before turning eighteen. Soon afterwards, she received a scholarship to study in the the Berlin and Vienna Academies , where she was exposed to jazz, rock and Middle Eastern music. She returned to Greece in the late 70's and began working with the Hellenic Broadcasting Corporation. Released in 1984, 'se ' ('Sun Masks') was Lena Platonos' first record to feature her own words and vocals. All instruments were performed by Lena herself.. 'Sun Masks' was inspired by Argentine writer, Julio Cortázar as well as the film 'The Wall' by Pink Floyd. "I began to reverse my thought process, to let melodies fade out, to turn to minimalism, to experiment on my Yamaha C60 synthesizer and a variety of boxes' which I used to change the sound of my voice as well as the sound of the synthesizer' says Lena. The album featured experiments with different sounds and a new batch of electronic equipment, such as the legendary Roland TR 808 drum machine. Lena narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry. Her lyrics deal with the futility of love, the gap of human relationships, consumerist alienation in the bourgeois lifestyle of the 1980s. All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1984 edition, featuring a photograph of Lena wearing sunglasses or sun masks'. Each copy includes a two-sided 11'x11' insert with lyrics in both Greek with English, and liner notes by Lena.

Re-edits inspired by the legendary all-ages Chicago night club MEDUSAS done by JAMAL (HIEROGLYPIC BEING) MOSS. This EP includes BLANCMANGE'S minor hit "BLIND VISION", "FLYING TURNS" by CRASH COURSE IN SCIENCE, and "FIRST STEPS 2 HEAVEN" by DAF. In stickered paper sleeves.

Their 5th album titled, "The Fifth State Of Consciousness", is a double LP produced in Peaking Lights Dreamfuzz studio over the last two years. It's both a departure from the new and a return to the old with a whole new twist on the psychedelic dub-pop they've become know for. Self released...from the heart! Gatefold Sleeve. BIG TIP!
Sonically the double album shifts through many states from beginning to end, resonating deep, like a drive thru foreign landscapes where you're glued to the window as everything slowly changes around you. The flow and pacing of songs has a sense of
wonderment and each time you play it there's a whole new batch of lovely sounds and eccentricities within each of the players. While bringing together their love of Psychedelic music, House, Electronic and Reggae each song manages to live it's own life and yet still there is some magical thread that binds them together.

Produced by Aaron Coyes, the whole creative process was filled with nerdy gadgetry, playful experimentation and deep alchemical soul searching for a musical medicine. Aaron describes Dreamfuzz as 'a small junkyard with many happy mistakes'. Using tape
machines, writing melodies backwards then playing them in reverse, layering sound upon sound to create 'pads', literally breaking electronics to get sounds, and a strict motto of 'anything goes, pure creativity'. Most sounds were run thru Peaking Lights' 1976 16/8
Soundcraft Series Two mixing console (the same type of board used by Lee 'Scratch' Perry at Black Ark, and at the infamous Cargo Studios where many of the early Factory Records bands were recorded) to add some 'mojo'. It's an album that is sure to be a
creeper even if you don't fall in love on the first date.

Dive does need no introduction. Frontman of Belgian EBM prime-movers The Klinik and the seminal minimal-synth act Absolute Body Control, Dirk Ivens started to work under this moniker in 1990 and has released a long list of albums and EP's on a wide number of labels including Minus Habens (Italy), Daft Records (Belgium), Discordia (Germany) and recently Out of Line (Germany). Dive is a sharp mix of industrial, EBM, noise and experimental sounds with abused drum machines, pulsating distortion and an unmistakable voice.

This live show recorded on the famous Razzmatazz in Barcelona on April 2003 shows Dirk at the best of his fruitful career including some of Dive best tracks: Final Report', Sufferhead', Power of Passion' and others.

Released in 1981 and seamlessly blending passion, sleaze and synths, this was the stunning debut album by the influential duo Soft Cell. The album's critical and commercial success was helped by the worldwide success of its lead single single 'Tainted Love', a cover version of a soul song by Gloria Jones, which topped charts worldwide. The album produced two more wonderful top five singles in the UK in the shape of 'Bedsitter' and 'Say Hello, Wave Goodbye'. Meanwhile the infamous 'Sex Dwarf' caused something of a national furore. Bravo, Soft Cell! 180g, Back To Black vinyl with an MP3 Download voucher.

incl. 8 vinyl-only bonus tracks on side D, gatefold sleeve, incl. mp3

Are you for real Does anyone out there really think that artists could be involved in a project that bestows total freedom in 2017 Isn't today's reality that society and what is left of creativity are being forced to bow to the pressures of neoliberalism and are being undermined by politicians with their largely awful agendas Hasn't creativity been reduced to wages and money versus time and art

However, it's too easy to just peek out of our caverns at a world overshadowed by dark clouds and leave it at that. Because at the same time, don't we still believe that, against all odds, anything is still possible if you're surrounded by an exemplary group of like-minded people

Gudrun Gut, the artistic powerhouse behind labels Monika Enterprises and Moabit Musik is a musician with an extraordinary legacy - be it as a member of Berlin's legendary act Malaria, OceanClub, her acclaimed solo projects or recently a collaboration with Faust's Hans Joachim Irmler. Gudrun Gut has a proven track record of successfully connecting with like-minded artists on unusual paths of creativity. She´s an outstanding example of someone who refuses to compromise their artistic vision.

And now she is ready to present one of her most ambitious projects ever: Monika Werkstatt - a loose collective of female artists set up to enable each of them to achieve new goals through collaboration. Monika Werkstatt will ensure that their artistic output gains visibility in an art context still too dominated by men.

Monika Werkstatt has its origins in collective workshops and in shared interactions. By sharing their own challenges and achievements later on with an audience, this opened a gateway to a further feedback and creative dialogue. Every moment, every gesture, every communication has been about empowerment, both individually and as a group.

History has a weakness for coincidences, and the release of Monika Werkstatt' happily falls on the 20th anniversary of Monika Enterprises. A fantastic landmark and a means of celebrating such a tremendously talented collective that Gudrun Gut has orchestrated.

So what is this release really about Gudrun's fellow Monika members - AGF, Beate Bartel, Lucrecia Dalt, Danielle De Picciotto, Islaja, Barbara Morgenstern, Sonae, Pilocka Krach - travelled from Berlin and assembled in the creative oasis of Uckermark. The goal was to create and record without any of the usual pressures and distractions that you'd anticipate in a group context. To keep the focus, Mo Loscheider cooked, Manon Pepita assisted with the day to day and Lupe was filming.

Uckermark became a kind of utopia for them. Between recording and jamming, their days were filled with music, eating, short walks in the fields and forests resounding with inspiring talks and discussions. Without any restraint or rules, they opened up new forms of interaction and creative dialogue which found themselves falling into a process without any clear beginnings or ends. The result Hours and hours of new from this uplifting gathering.

Once the recordings were completed, representatives of the group were delegated roles for a finished production - some sequenced and mixed the recordings into their own tracks, while others built their own from the material recorded. The results succeed in showcasing the community as a group, as well as portraying singular pieces of art derived from a collective process.

Berlin-based Barbara Morgenstern opens up the album with Grow' - a hypnotic jam that recalls the beauty of Kate Bush and lyrically captures the Monika Werkstatt' atmosphere perfectly. And the light will fall onto us / And the wind will blow for us / And we will grow with us / And the landscape will form us / And the night will wait for us / And the rain will sing with us / And we will grow for us / And we will grow with us

From a melange of ambience, improvisation and song we are treated to a double album that features 25 shining stars. Keeping to their motto of total freedom, the range of styles and sounds are very diverse. Some of the contributors prefer to reflect room and space such as like Nathalie Beridze (who was invited as a producer) with Doodle and Hit Bottom or Feuerland by Beate Bartel, others walk on industrial ground like Lucrecia Dalt with - Blindholes .
Beate Bartels other contribution M.B.T.' is prime for the club whereas AGF continues to prove herself as one of electronic music's coolest musicians with Ninjaness'. Gudrun Gut takes listeners on a magnificent journey into dub with Repetition', whereas Danielle De Picciotto delivers mighty sound collages with Ikarus' and Desert Fruit' - taking a powerful lyrical approach that almost feels that you are listening to the gospel of nature.
And then there is Between Two Worlds' by Sonae - its hard to believe that its only 4 minutes long as the story one hears appears to be so much longer and bigger. The piece recalls Blow Up' by Michelangelo Antonioni - an amplified excursion that multiplies the sounds of a meadow. Listeners can pick up on all the noises and scratches that emit from under her feet. A natural drone symphony.
Changing pace for the second half of Monika Werkstatt', Pilocka Krach asks a crucial question with Who's Afraid Of Justin Bieber', right before Islaja starts making mystical gestures with Sappho's Gifts'.

Try as you might, you'll not be able to second guess a moment of - Monika Werkstatt . By giving everyone, both group and individual, freedom of creativity these musicians have really charted new territory. I would be lying if I said I wasn't jealous to have not been on Sternhagen Gut while the magic happened.

There is so much more that could be said about the feelings, ideas and stimulations within this inspiring collection but its time for you to take a listen for yourself. These are only my thoughts and they count no more than your own. Working together, we get a bigger understanding of this picture called life. And remember, we all have the right to live according to our dream of total freedom. Life is too short to be told what we should or should not do when it comes to art. Or indeed, anything else.

So, meet the creative collective, and feel the empowerment that goes by the name of Monika Werkstatt!

Next up on Polytechnic Youth (following the killer, sold-out-in-a-day ATL Music For Air-Cooled Motoring' LP) is a fabulous 45. Arguably the label's highest profile release thus far, the mighty Pye Corner Audio joining forces with PY label mate Faten Kanaan for an ace split 45.
In PCA's Martin Jenkins' own words: Faten Kanaan first came to my attention with her wonderful cassette release 'EP'. We started corresponding shortly after that and I always had it in mind that we should collaborate on something. So when PY asked if I would contribute to the label, and then released Faten's 'The Botanist & The Archaeologist' LP things seemed perfectly aligned'.
A side The Darkest Wave' features pulsing icy synth drones over which Faten's cool NY narrative owes nods to some 70's Carpenter-eque VHS chillwave soundtrack, (not unlike some of Umberto's work of the last decade or so.) A beautifully evolving, slow burner piece which over continuous plays reveals one of the year's great A sides so far.
The B side is a stripped down piece more in keeping with the seminal minimal synth singles of the late 70s beloved by both artist and label here. Indeed, Martin Jenkins' sleeve art also doffs it's cap to the artwork feel of some of those legendary post punk 45s.
A magical 45 released as a one time pressing of 500 45s on vinyl only with Polytechnic Youth discography card. Incidentally, look out for a new Faten Kanaan LP currently being recorded, on Polytechnic youth later in the year.

HELIC.AL, the new label from Todd Sines + Charles Noel / Archetyp, functions as an constrained exercise to break from restrictions. Instead of the obvious new electronic dance music label that would be expected of these seasoned producers, HELIC.AL turns history on its ear, resulting in collaborations new and old. The debut album from Interval, featuring bassist Andries Boekelman, Sines on vocals, guitar, synths & engineering, Noel on drums and percussion, steps outside the comfort zone of endless tracks and overdubs from a digital workflow, tracked to 8-track tape, and mastered direct to lacquer by Josh Bonati, with no computers in between.

Future releases include Crash Course in Science's Michael Zodorozny and Todd Sines as I/TMSZ, Soviet's Amanda Berkowitz and Alyssa Barrera as Artefactos de Dolor, Möthersky, Excepter's SSPS & Gramma, and is in discussion for releases from Robert Görl of Deutsch Amerikanische Freundschaft, Graham Lewis of Wire, Dome and He Said, and Stephen Mallinder of Cabaret Voltaire / Wrangler, for a follow up to his seminal 1982 release, Pow Wow.

As for the second release, the versatile newbeat can be, the versatile this release is.
It kicks off with kFactor. A Brazilian EBM-artist, bringing a strong sounding NewBeat track.
On the edge of military rhythms and cheezy acidlines, and an unmistakely ongoing beat.
VV303, also an EBM artist, give us more then just pure acid. 303's snorring and humping the dancefloor on fire.
Ascended Man is the pseudonim for Olivier Abbeloos, know from T99, Quadraphonia,... joins us on this release with a masterpeace. The track connects modern underground Electro with the strong and dark NewBeat. Another floorfiller.
"Washing the Machince" is the closing track, and a reference to the classic house sound of the Warehouse and other early Traxx, and still fresh and very NewBeat.
As the first release was a huge fresh improvement of todays dancemusic, this release makes the statement clear. FenixFireRecords is here to stay. NewBeat is here to stay.

Das Ding, the dutch wave savant, arrives on Pinkman with four works of full bodied synth sorrow. Freezing rain pelts rusting machinery, a barren land of decay stretches out onto dancefloors. Rasping rhythms and lumbering bass buttress bitter chords and grinding notes that compel bodies to move. And within the dereliction, behind the dilapidation and rot, burns a purity of expression that is emblematic of Danny Bosten's consistent quality.

Here at Optimo Music we have been fans of Dennis Bovell for longer than we care to remember. We rate him as one of thee very best producers the UK has ever produced. From first hearing his work on the magnificent 'Silly Games" by Janet Kay through his incredible solo albums, his production on albums by The Slits, The Pop Group, Linton Kwesi Johnson, Orange Juice, Saâda Bonaire and many more to his astonishing mixes on piles of highly sought after dub 7"s. He has been active in music for 40 years and is still going strong. In 2014 he worked with artists ranging from Rihanna to Golden Teacher! When we heard he was going to be performing in Glasgow late last year we tracked him down and asked if he would be up for going into Green Door studios for a day and doing something with Golden Teacher's music. He was, and these are the results. Mr. Bovell did lots of overdubs, adding organ and other instrumentation, pitching down vocals and basslines and created these delirious dubbed out gems.

On the AA side is the previously unreleased "Instigator" while on the A side he reworked Golden Teacher's second single "Like A Hawk". Housed in another classic sleeve designed by Oli from Golden Teacher this two track 12" is a dream come true for us to release.

Debut release by Shredder on own label Tropical Goth. Limited to 200 copies.

The 05 Poly 800 Loop EP was born in the name of the Dutch-Hungarian friendship when DJ Overdose collaborated with the Budapest based record label Dalmata Daniel, and Hungarian acts, S Olbricht & 12z. A wide range of styles release from dark and mid-tempo to hard-hitting electro. Just how we like it from mister Model Man. The EP also features two remixes both of which are complete reworks of the originals. S Olbricht (Farbwechsel, Opal Tapes, Lobster Theremin) transformed 'Path To Wrath' into a dark abstract techno wave that manages to end up light and romantic. Meanwhile 12z, the newest mascot of Nicolas Jaar's 'Other People' label have made an experimental symphony from 'Be(h)anger' and this pathos covers the whole essence of this EP. A promising start for the Dalmata Daniel label!

The 5th instalment of the Riviera Disco series! Peet Need from The Netherlands, Two Thousand from Germany, October Dance and Flemming Dalum from Denmark and Synthia from Belgium.

Lena Willikens is a secret encyclopaedia on everything Düsseldorf (see her involvement in Salon des Amateurs), everything Brussels, andeverything New Wave... that is barely the whole truth- it is actually justthe tip of the iceberg.
It is evident that she was raised on certain 20th-century avant-garde subjects and fantasies. (For example, like how to become a phantom) Since this education she has been travelling the world, continuing to distinctively converting those fantasies into the contemporary realness,fuelling twisted and contorted dance floor needs. It is striking- playing one of her inimitable sets - here was some white-Reebok-ed, Taeuber-Arp version of an oddball-Techno DJ who delicately refuses the obvious musical pattern of dance communication. Anyone can attest that has listened to "Sentimental Flashback" Lena's resident broadcast on Radio Cómeme. Cómeme has a notorious appetite for stars, shining in their own right. Lena Willikens is going to be a star. She already is.' says Cómeme artwork, costumes designer (and part-time clairvoyant) Sarah Szczesny. She already is.

Limited 200 copies - 1st copies on colored yellow vinyl ! Official Remastered Reissue of the 1982 Original Recording Licensed from Expanded Music srl Italy of the legendary Italian group founded in 1977 with a Punk rock / New Wave attitude that in the early 80's turned into a more electronic / dance mood and delivered some of the greatest tracks of the golden 80s age !

Kobosil, Norman Nodge and Marcel Dettmann offer new versions of Terence Fixmer's 2003 'Aktion Mekanik Theme' on Ostgut Ton. It's safe to say that Terence Fixmer's track 'Aktion Mekanik Theme' (Music Man Records, 2003) was as much a landmark release for Techno as the whole Aktion Mekanik compilation was for EBM as a genre. 'As an artist who's been pushing EBM sounds into the modernity of Techno it was a logical step to do the compilation back then,' Terence says. 'I wanted to show my influences as a Techno artist, as Detroit sounds weren't my roots at all, but classics by Front 242, Fad Gadget, Nitzer Ebb, Crash Course In Science or Snowy Red.

Dark Entries present all four mixes of 'Transdance' by Night Moves as a tribute dedicated to the lives lost in the Oakland Ghost Ship fire on December 2, 2016. Night Moves was the brainchild of Michael Guihen, from Pimlico, south London. Inspired by seeing Tubeway Army perform on Top of the Pops in 1979 he placed an ad to form a synth-based band in the NME.

Into the Light brings out a splendid assemblage of 17 tracks of mostly previously unheard material by Athens based composer Akis Daoutis (Akis) most of them recorded in his hometown and in USA where he was studying in the mid-eighties.
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This time the release spans even wider both in period of time and style. 'Christmas' being the earliest recording (1986) and the closing track 'My Haunting Sins' the most recent (2016). Apart from including again two pieces from his elusive 'Into the Light' album - originally released in 91 - the 'Space, Time and Beyond' includes some really special features. That would be three tracks from his ultra rare 'Akis Love' cassette tape that was released privately and only in 100 limited copies. Moreover you can find two extracts from his long take called 'New Age Rising' that the original recording lasts almost 40
minutes in one take!

This collection is making an effort to capture the works of Akis in a period of almost three decades. The variation of the compositions' style is even more impressive. From hypnotic ambience to more dark and unwordly exploration using Xenakis' UPIC musical tool and from his late 90s/early 00s contributions
on soundtracks back to more new age lift music.

finally repressed

Betonkust and Palmbomen II are back with their second collaborative effort. This time on the Dutch Pinkman label. Six brand new tracks that seem a lot darker than their previous work. Somewhere between Belgian new beat from 1988 and the West Coast Sound Of Holland. A lo-fi nightmare that turns out to be reality. Pounding drums, paranoid acid patterns and angsty out of control synth choirs.

Stunning gothic atmospheres originally released on a private press tape, now available on vinyl for the first time via Hospital Productions. Huge recommendation if you're into Coil, Bathory, Clay Rendering, Mare, Contrepoison...

Dominick Fernow's Hospital Productions hail the obscure, transfixing poetry and exquisite gothic pall of Vilains Bonshommes; a Rimbaud-inspired duo including members of Canada's Contrepoison and Norwegian group, Mare.

Éternité Retrouvée was first released as a cassette edition on Norway's Fossbrenna Creations and remains the duo's only available output. Apparently a further album was promised, yet never manifested, which only serves to heighten the mystery of this one; their lone, exceptional iteration. Stripped to the bare essentials of drum machine, analog synth and vocals rendered in acres of sepulchral space, the 3-track EP draws listeners into a flawlessly realised sphere of dark influence where minimalist, desiccated harmonies and bony rhythms are embedded against unfathomably bombed out, maximalist backdrops - what most would define as unmistakably gothic.

Poised, arch and evoking a sense of clutching power from the jaws of despair, the EP speaks to life's loneliest but formative experiences both literally, through the use of Rimbaud's tortured poetry in the sagging heave of L'Éternité, and metaphorically, through economically authentic sound design in the dirges of Death Shines On Triumphant Days and The Ages Anew which both suspend the listener by icy hooks at the core of it all.

Tracks for L'éternité Retrouvée:

DETOBEAT. are Linus Booth, Gene Kouzouka, Chris Macintyre and Todd Nickolas. Music written and produced by Linus Booth, Chris Macintyre and Todd Nickolas. Lyrics written and performed by Gene Kouzouka.

The name DETOBEAT. derives from the home cities of all parties involved in this project: DE/nver (Todd Nickolas), TO/ronto (Linus Booth and Chris Macintyre), BE/rlin (Gene Kouzouka) and AT/hens (Lurid Music).

Booth and Macintyre have enjoyed international success as Jokers Of The Scene and are currently focused on several new projects. Nickolas has been friends of the duo since their formative years and a music producer in his own right under the name ADSR, which will soon see an archival release on Rising High Records. Gene Kouzouka is an animated and live-action film designer, and an experimental vocalist who was introduced to the project by Lurid Music label head Alexander Hobson.

Their debut release features a reworked female vocal version of Ciffs by Marie Davidson, an assaulting techno rework from her Essaie Pas partner Pierre Guerineau, a psychedelic guitar excursion from Khidja, as well as the first ever remix commissioned from legendary greek electronic composer Lena Platonos.

Remix and additional production by Pierre Guerineau (A3). Vocals and effects by Marie Davidson (B1). Remix, additional vocals and production by Lena Platonos and Stergios T. (B2). Remix and additional production by Andrei Rusu and Florentin Tudor, guitars by Rob Tuner (B3). Mastering by Simon at the Exchange. Artwork and lettering by Panayiotis Terzis.

Early pioneers of the German New Wave music scene, Din A Testbild were formed in 1978 by Mark Eins and Gudrun Gut (former member of Einstürzende Neubauten, Mania D. and Malaria!). Din A Testbild played a significant role in defining the avant-garde music of Berlin. Legendary is their partecipation at the Festival Genialer Dilletanten" in 1981.
'Programm 4' is their fourth album. Mixed and auto-produced by Mark Eins near the Wall in West/Berlin in 1983, the album was rejected at the time by Innovative Communication, considered too much synth/punk/techno', while the new label managers were looking more into new age stuff. In fact Schulze eventually sold the label in 1983, which started to release a plethora of acts loosely grouped around the NAM genre.

Early pioneers of the German New Wave music scene, Din A Testbild were formed in 1978 by Mark Eins and Gudrun Gut (former member of Einstürzende Neubauten, Mania D. and Malaria!). Din A Testbild played a significant role in defining the avant-garde music of Berlin. Legendary is their partecipation at the Festival Genialer Dilletanten" in 1981.
'Programm 3' is their third album. Mixed and auto-produced by Mark Eins with help of Ziggy Schöning, it was released on Klaus Schulze's record label Innovative Communication in 1983.

Charlois present Where is the Champion, Timothy J. Fairplay's first full length solo album. Twelve shifting, shuffling and shimmering tracks make up this debut. Cruising the highways and byways between proto-techno, horror disco and forlorn wave, Fairplay conjures up his creations from metal and smoke. Saturated snares, clipped claps and warbling chords are dusted with distortion. And this idea of distortion, manipulation and the blurred line is omnipresent. Innocent and sinister, cruel and playful, accepted boundaries are brazenly ignored as engines growl and synthlines soar.

The Arms of Someone New was formed in 1983 in Champaign-Urbana, Illinois by Mel Eberle and Steve Jones. Steve managed and helped record Mel's band The First Things, while in the studio to demo some of Mel's songs, they started collaborating. Both grew up around their families' pianos and got into psychedelic rock drawing inspiration from Jimi Hendrix and The Beatles, taking their name The Arms of Someone New' from a line on a Beatle's X-Mas Fan Club Single. They modeled their sound after the melancholic side of Factory Records, The Cure's Faith' period and The Teardrop Explodes. Between 1983 and 1985 they released four cassettes, one 7', and one 12' EP.

In September 1985, the duo self-released their debut full length 'Susan Sleepwalking' on Office Records. To They drafted locals for the album's recordings, including Lynn Canfield, Henry Frayne, Brenden Gamble and Joe Strell (all of the group Ack-Ack!) as well as Nick Rudd. Equipped with Casio keyboards, drum machines, and jangly guitars, The Arms Of Someone New provided an American take on English folk, ambient, and industrial music. Over the album's ten tracks they paint pictures of stillness with sparse instrumentation and simple chord change. Psychedelic vocals add a dream-like veneer. The Arms of Someone New fearlessly mix genres without sacrificing the unity of their vision. 'Susan Sleepwalking' could as well be retitled 'Music for Interiors' - both architectural and of the mind' - The Michigan Daily 1985.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a blood red-tinted photograph with ghostly textures. Each copy includes a 2-sided 11' square insert with lyrics and press clippings from the band's archive.

Espen Beranek Holm is a Norwegian musician and comedian, born 1960 and began his music career as a clarinetist. Inspired by early synthesizer bands Kraftwerk and The Residents, he began making experimental pop music. His debut single Dra te' hælvete' was released in 1981 and was immediately banned by national TV/radio channel NRK due to explicit lyrics. This gave the young artist tons of publicity, helping the single spend almost 6 months on the national charts.

Beranek returned to the Starholm Studios in Oslo from June - September 1981 to record nine new compositions. His debut album, Sound of Danger', was released on Mind Expanding Records in November 1981. Nowhere near as accessible as the previous single, the album fared poorly commercially. Withdrawing from the single's fun, kitsch pop, the album is cool and static, driven by thin rhythm boxes, cold synths, and glacial guitars. Taking heavy cues from David Bowie, all of the songs are sung in a nasally English accent, a rare occurrence in Norway at the time. The lyrics are melancholic, but tinged with paranoia. There are also upbeat tracks that evoke a prog or glam sensibility a la King Crimson, Alan Parsons, or Roxy Music.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring red, black, and white lines that evoke a visualized Richter Scale designed by Monica Moltzau. Each copy includes a 2-sided 8x11' insert with lyrics and an autographed press photo of Beranek.

SPACEROCKS is the solo project of Steve Webster (Fort Lauderdale, The Black Neon, Memphis Industries, Higamos Hogamos, DC Recordings). On this exclusive release for Invisible, Inc. SPACEROCKS ditches the live drums and bass that we've become familiar with through his recent Higamos Hogamos incarnation and strips things right down to basics bringing his vintage, modular and custom-built synth set-up to the fore. Add to that a collection of rare drum machines and effects units and the results are six kosmik jams harking back to the sounds of Cluster, Conrad Schnitzler and Liaisons Dangereuses on one hand and contemporaries like Secret Circuit, Solyst and Barnt on the other.

REPRESSED !!
Formed in 1983 as an experiment to break the mold of the classic disco dance sound, Charlie was the vehicle for musician and producer Maurizio Cavalieri who had found fame with Italian disco group Firefly. Cavalieri had been listening to the new crop of UK Synthpop and New Wave like Depeche Mode and Heaven 17 and wanted to create a more electronic, futuristic sound. He recruited his friend Giorgio Stefani to help write the song and compose lyrics. Spacer Woman' was recorded in Vicenza, Italy and released by Cavalieri's own Mr. Disc Organization in 1983. The track features the signature Italo Linn Drum machine as well as the Roland TR-808 and a Yamaha DX7 for the arpeggiated synthesizer melody. "Spacer Woman" spans over seven-minutes and features the spaced-out vocals of Stefani's wife, who sings through a vocoder. The single has become a cult revival track since its appearance on the legendary I-f mix CD ''Mixed Up In The Hague'' in 2001. This reissue also features the sought after instrumental mix where the sharp synthesized bassline really comes to the forefront. For the first time ever, the 12' is housed in a silver, metallic picture sleeve with an android female model drawing, taken from the original 7' jacket. Each copy includes a 2-sided post card insert with lyrics. Eerie and unforgettable more than 30 years later, Spacer Woman' is the ideal robotic space-age love song.

Product comes with Deluxe hot foil stamping print in a Gatefold Cover! Electrica Salsa - Revisited 30 years later - remixes by Roman Flügel and Henrik Schwarz France, Italy, Austria, Germany - quite precisely thirty years ago, one electronic track turned the European music charts upside down: Electrica Salsa' by the Frankfurt project OFF - a collective producing their tracks at Master Music Studio. The founders of Organisation For Fun' were no underdogs: Michael Münzing and Luca Anzilotti would go on as duo SNAP! And write global hits like The Power' or Rhythm Is A Dancer", writing pop history. And the third member of OFF was then 21-year-old Sven Väth, today one the most notorious international DJs. Michael and Luca were the masters of equipment, responsible for the mixing desk and the recording tape we used to make the master tapes. I was the one providing song ideas, grooves and bringing a good mood to the studio.

Repress from 12"by Dario Dell'aere, founder and member of the Legendary Synth band Fokewulf 190 - originally out on Market in 1985!

Recorded in 1982 / 84. Mastering by Kurt Dahlke (Pyrolator/Ata Tak), Cover by Moritz R. (Der Plan)

Canadian Lunatic Taylor Hoodlum Stevenson makes his Giallo debut with these freaked out dancefloor bombs. Think Foetus during his EBM phase raising a lovechild with Italo weirdo Mike Mareen with babysitting duties by Fad Gadget, you're getting close. Three vocal tracks (one vinyl exclusive) and two future horror disco instrumentals on the b-side, perfect nightdrive city slime time bangers for Rome 2025. Art by Eric Lee.

The Rattler Proxy, a sonic duo from Athens, Greece, release their second single featuring two original songs - "Company of Wolves" and "Death Machine" - along with two remixes of the latter by Antoni Maiovvi and Jokers Of The Scene.

Drawing influences from the likes of Suicide and the dark and synth-heavy soundtrack work of John Carpenter, The Rattler Proxy explore the realm of urban alienation through intense and claustrophobic soundscapes. Often swapping their pulsating electronic crawl, for digital rockabilly-esque freak-outs, theirs is a world of back alleys and gang laden imagery, a rhythmic decent into a hellish, concrete landscape.

"Death Machine" is a lush electronic bossa ode to serial killer Richard "The Night Stalker" Ramirez, while "Company of Wolves" is a hyperactive stomper that runs with the pack. Antoni Maiovvi's teutonic reinterpretation of "Death Machine" is a brooding hair raiser that will make you look over your shoulder more than once, while the Jokers Of The Scene deliver a dark balearic epic that stretches out to 9 minutes and 53 seconds

"Death Machine" is issued by Lurid Music. The 12" is hand-stenciled, hand-stamped and hand-numbered in a limited edition of 300 white & silver spray-painted record sleeves. Mastering by Marcoantonio Spaventi, pressing by MPO France. Please find one-minute samples and photos attached.

1x each customer!!

Jago was the studio project of Michele Violante created in Milan, Italy in 1983. The line-up also included Luciana Cirrillo aka Kynsha, who wrote lyrics and sang back up vocals. The name Jago comes from Iago, the main antagonist in Shakespeare's 'Othello'. In those years, Michele produced a lot of songs and published material for Full Time Records. I'm Going To Go' was recorded at Forum Studio in Rome in 1983 and released on Full Time the same year. He made an electro-funk demo with a Gibson Les Paul, but during practice the song became soulful funk but arranged with new wave electronics. The song revolves around a slick atmospheric bassline, driving electronic percussion, and tight rhythm guitar and synths. The setup for the recording was a Casiotone MT-40 keyboard, Boss DR-55 and Sequential Circuits Drumtraks drum machines, an Akai cassette recorder, and a Revox A77 for multi-tracking. Lead vocals were done by session musician Bruno Kassar, delivering Kynsha's playful lyrics along to the lead melody. Also on the A-side is the Instrumental Version which became a hit in New York after Larry Levan played it repeatedly at the Paradise Garage. Full Time asked Levan's long time friend Frankie Knuckles to make a remix. It was released in 1985 as the Plant Mix', and is included here on the B-side. This was Frankie's first released remix, although the record label misspelled his name as 'Frankye'. The remix clocks in at over 8 minutes, and is a dub edit made using the stereo master of the instrumental track.

Polish born Film and TV composer Wojciech Golczewski (400 Days, We Are Still Here) delivers his debut solo LP for Death Waltz Originals. Using his knowledge of film scoring and his love of melodic modern electronica he has managed two create an absolutely flawless, beautiful synth record that soars above all others creating this style of music at the moment . 14 tracks of dystopian decayed synth workouts that are both incredibly intricate yet moving and melodic. A truly immersive listening experience.

180G VINYL LTD TO 500 WORLDWIDE

Cloudland Canyon's third LP, An Arabesque, was spearheaded by founding member Kip Uhlhorn but fleshed out with contributions from Memphis rock royalty such as Ross Johnson (Panther Burns, Alex Chilton), Lesa Alridge (Big Star) and Jody Stephens (Big Star), alongside collaborative accents by Ezra Buchla, M. Geddes Gengras, Kliph Scurlock (ex-Flaming Lips), David Scott Stone (ex-LCD Soundsystem), and Pete Kember aka Sonic Boom (Spacemen 3, Spectrum), who also co-produced the album. While past recordings on Holy Mountain and Kranky flirted with drone and krautrock modes, An Arabesque skews in a more rhythmic direction, with shades of naive disco and new age. This particular set of songs benefits from having been heavily road-tested over the last two years, resulting in greater distillation and focus.

Lee Hazlewood's LHI label only put out interesting albums. Yet despite the psychedelic cowboy's success with Nancy Sinatra and more, being on Lee Hazlewood Industries was no fast-track to success. Gorgeous and talented Detroit, Michigan girl group Honey Ltd had all the makings of a hit band, yet they disappeared after releasing just one album in 1968, a vinyl rarity that now regularly fetches upwards of $2,000. Check!
Light In The Attic Records is now looking to set the record straight. Having previously explored both the back catalog of Lee Hazlewood and his LHI label via the You Turned My Head Around 45s Box Set, Honey Ltd's The Complete LHI Recordings presents everything the group ever recorded. Fans of The Ronettes, The Shangri-Las and Pentangle are in for a treat - Honey Ltd's music blended social commentary with harmony-drenched, psych-soul pop. Even opening track, 'Warrior', describes the mood of the times, as America sunk into the Vietnam war: 'We must kill more people; strong men are what we need!"

Laura Polkinghome, Marsha Jo Temmer and sisters Joan and Alexandra Sliwin are the girls with the angelic voices. Hailing from Detroit, the four members of Honey Ltd grew up in a culture of soul music and dance shows, yet forming a band was never part of the plan. It simply happened after they sung together in a Wayne State University cafeteria and found they'd silenced the room. By 1967 they had formed a group known as the Mama Cats and were playing shows with local singer Bob Seger. By 1968, against a backdrop of rioting in Detroit, they'd hauled over to Los Angeles to give music a go, and it's there that they hitch-hiked to an audition with Lee Hazlewood on Sunset Boulevard. At the time, Lee Hazlewood Industries was in its prime: the money flowed and the roster swelled. 'I think Lee just sat there for a while and listened, looking at us,' Temmer recalls. 'He said, 'Yeah, I think we can do something.' You know - immediately!' Before long, LHI had the band in the studio with crack session music unit The Wrecking Crew.