Pop & Rock Vinyl New Releases - News

Sung in the language of the in-between-worlds, diasporic human snacks are vibrating their sonic manipulations in tribute to the lonely & oblivious Mr. Naster.

Pulses interpreted and expressed by Nushin Naini on fried farsi-like vocals & bass. Nicolini on drums, sax and miscellaneous objects.

RED/YELLOW MARBLED Vinyl

Internationally revered, multi-faceted artist Arnaud Rebotini arrives on Veyl with the new EP, 'New Territory'. While venturing into a wide array of musical genres and sonic realms, the release is still unmistakably Rebotini, fueled by infectious electro-body grooves and hypnotizing vocals.
From the utterly addictive, pulse pounding allure of “Special A” to the more industrial techno strains of 'A Noise Rose', Rebotini delivers a myriad of interconnected tracks which traverse fresh auditory landscapes but maintain a common circuitry. The poignant, anthemic lyrics of 'No More Love (No More Hate)' resonates loud and clear while the throbbing, Giallo flaire of 'Italian Sex Drive' sends shivers down the spine.
'The Pale Eastern Christ' injects a haunting atmospheric mood while the title track is irresistible ebmwave that falls perfectly in between the lines for an indelible sound that only the French producer can conjure. Rebotini’s work continues to shatter boundaries and fuse genres while essentially pioneering a category all of his own. 'New Territory' furthers the legend and keeps us begging for more.

Randstad is the production and DJ moniker of dutch multimedia artist Thomas van Linge, co-founder of the record labels BAKK and Rubber and freshly relocated to Berlin. After first hearing his rhythmic drum
workout on ‘Metalloid’, his contribution for this year’s ‘Still Life’ compilation, we’re glad to have tapped his second EP ‘These Serpents’ for Veyl. Randstad is pushing his idea across the spectrum of industrialized beat music for this outright roaring 6-tracker ideal to tear down clubs when they finally re-open in 2036.

This is Lost Soul Enterprises big 15th release on wax, a tidy compilation of off-kilter dance floor cuts and misfit synthpunk anthems.

Side A commences with the gothic, neon-soaked Miami bass of ALONZO's "Cruising with Pap," featuring sinister verses delivered by a shadowy syrupsipping secret guest vocalist. Up next is bucking bronco NICK KLEIN's slow-mo industrial headbanger "Posture Test. The sonic equivalent of a sweat-soaked concrete floor, it lurches along at its own mechanical pace amid the metallic hiss and howl. Lastly, wild synth lines and ethereal dubbed-out samples dart in and out over a tough, punchy rhythmic foundation in NAEEM's "TLX," an android's sci-fi electro vision gone haywire.

On the B side, HEIDI SABERTOOTH's "Was It You" launches us deep into chugging acidic territory, combining enigmatic spoken vocals and a psychedelic, slowly evolving SH-101 line over a persuasive groove. Like a slap in the face after that comes raucous synth-punk powerhouse SSPS with "Paradise Lozt," raw as fuck, chanting a litany of dystopian tales atop pumping drums and a wash of demented organ-like synth stabs. Finally we close with the short but powerful "New Vape City" by the nomadic DOUCE ANGOISSE - an absolute earworm, a doleful coldwave ballad whose lush production plays perfect counterpoint to the icy, deadpan sentiments within.

“Humblekids” is the first studio album by Fiasko Leitmotiv. This work is a journey in multiple dimensions of music and narrative, and even if its deep roots are certainly electronic, the listener will land in different atmospheres, different genres mixed together in new keys, with new meanings, all in a post punk environment. from a narrative point of view, “Humblekids” presents two main styles, one metaphisical and one surrealistic, and somehow the second seems to carry the first one in a mix of tragedy and irony. “Hanako” and “Balls” , the two singles from the album, underline the presence of theese two different but coexisting approaches,tied together in a necessarily sense, like darkness and light , day and night.

Mesmerizing electronic music with a bit of EBM echoes, including a stunning remix by Broken English Club.

Grey Marbled Vinyl

The year is 1981. The Kiel-based PostPunk / Wave underground outfit NO MORE releases their second ever single „Suicide Commando“ and their world changes forever. Well, not only their world – THE world.
What began as an independently published 7“ single became a cult classic, a genre defining – and defying – song, an all-time dancefloor favorite of many, a timeless signature piece that escaped its original realm of PostPunk x Wave x Indie x Alternative to also become engrainedin the DNA of modern electronic dancefloor culture most prominently in the beloved late 90s permutation presented by DJ Hell which became a classic in its own right. Now the year is 2021. Four decades have passed and NO MORE's „Suicide Commando“ is
back once again - well... the song actually never left! -, this time harking back to the very beginning, the original vibe and the original format.Remastered and re-released with the original tracklisting and paying homage to the original artwork „Suicide Commando“ will be available in 7“ format for the first time since 1981. And staying true to the underground blueprint this 40th anniversary re-release edition once again is put out on the circuit through a small independent label: the Intrauterin Recordings offspring El Caballo Semental which also released NO MORE's „123456789 *baze.djunkiii & Herr Brandt Dream A NuDream Remix“ as a limited to 200 copies one-sided, colored whitelabel 7“ edition in 2019.

The music by Yan Kruau & Michele Ottini was first released in 2017 on 60 tapes only. Subject To Restrictions Discs makes them available on vinyl for the first time. Very raw, somewhere between darkwave and electro with soundtrack elements, the 6 tracks on “L’ultimo Di Noi” explore a yet not so common musical world. This release is limited to 200 copies.

Pink Vinyl
Minimal Wave presents West View, a double LP of rare demos and newly remastered classics by UK duo Vicious Pink. Vicious Pink was an electrifying synth-pop duo formed by Josephine Warden and Brian Moss, who met in a smokey Leeds nightclub in 1981. The pair formed their band Vicious Pink Phenomena and soon after went on to provide gloriously off-kilter backing vocals for their friends, Soft Cell, completely unrehearsed. Later, they dropped Phenomena to simplify their name. Between 1982 and 1986, they released seven singles that all reached the UK dance charts, despite the fact that their ambitions never lay in commercial success. To this day, their music remains artful, catchy, and provocative.

West View compiles material from their early days together, featuring previously unreleased demos as well as newly remastered classics like Cccan’t You See and My Private Tokyo. The double LP is housed in a glossy heavyweight sleeve, accompanied by a 12-page LP-sized booklet featuring the duo’s entire ‘how it happened’ story, unpublished lyrics, and unpublished photos from those early years. The double LP is limited to 999 copies, half the pressing is on neon pink 160-gram vinyl the other half on 160-gram black vinyl.

Minimal Wave presents West View, a double LP of rare demos and newly remastered classics by UK duo Vicious Pink. Vicious Pink was an electrifying synth-pop duo formed by Josephine Warden and Brian Moss, who met in a smokey Leeds nightclub in 1981. The pair formed their band Vicious Pink Phenomena and soon after went on to provide gloriously off-kilter backing vocals for their friends, Soft Cell, completely unrehearsed. Later, they dropped Phenomena to simplify their name. Between 1982 and 1986, they released seven singles that all reached the UK dance charts, despite the fact that their ambitions never lay in commercial success. To this day, their music remains artful, catchy, and provocative.

West View compiles material from their early days together, featuring previously unreleased demos as well as newly remastered classics like Cccan’t You See and My Private Tokyo. The double LP is housed in a glossy heavyweight sleeve, accompanied by a 12-page LP-sized booklet featuring the duo’s entire ‘how it happened’ story, unpublished lyrics, and unpublished photos from those early years. The double LP is limited to 999 copies, half the pressing is on neon pink 160-gram vinyl the other half on 160-gram black vinyl.

From the same continental cosmic egg that hatched Marc Moulin, Marc Hollander and Belgian synth-fusion combo Placebo comes your favourite new Franco-Flemmish pop discovery!

Placing the microscope over the central motif of the bands onomatopoeic 1978 triptych known as Mein Maschine Ist Schön (My Machine Is Beautiful) this very rare proposed single edit from the group’s third album - backed here with another deeply conceptual sliced of deep orchestral symphonic psych from Schell’s short-lived FF Boom project from the previous year.

This limited edition 7” (500 only) precedes the release of a double LP compilation COS Mix in the summer.

Compact in name but wide-eyed in nature, it’s understandable how the 70’s band known simply as COS has remained trapped in the tight cracks between pop stardom and prog indulgence where other like minded names like CAN, Zao, Neu! And Egg have managed to squeeze into gaps of your record collection. In presenting one of the band’s most infectious and potentially crossover legible tracks on this exclusive user-friendly 45, COS mastermind Daniel Schell not only breaks an unlikely new format for this lesser-known femme-fronted, electro/jazz fusion/prog pop opera/would-be disco cinematic six-piece but also sends a sonic telegram to a new generation of futurist pop aficionados ready to explore the deep realms of his band’s dense, expansive and consistently rewarding catalogue.

Placing the microscope over the central motif of the band’s onomatopoeic 1978 triptych known as Mein Maschine Ist Schön (My Machine Is Beautiful) this very rare proposed single edit from the group’s third album combines the type of warm, brooding, discoid funk and nymphish Morse code vocals that unite fans of Stereolab, Curved Air, Jan Hammer, Emerald Web and Ursula Dudziak not to mention Schell’s own close friends, the aforementioned, Hollander, Moulin and Placebo.

A prog rock 45 might sound like a contradiction in terms but with a band like COS you can only expect them to defy convention. Backed here with another deeply conceptual sliced of deep orchestral symphonic psych from Schell’s short-lived FF Boom project from the previous year this suitably compact introduction to your new favourite COSmonauts provide digestible versions of some of Schell’s finest moments and clears the decks for future explorations of a wider musical universe waiting to be explored. Turn on this beautiful machine and let yourself melt into the COSmix.

What Plus instruments? The title implies the secondary nature of the tools used to produce the sounds, maybe even of the sounds themselves. The means of making sound are not important, but the sounds themselves are, but even beyond them there is a force, a grumbling. Maybe best represented by the first sound heard on Plus Instruments “Februauri- April 81”, a sound that is more felt than heard. The grumbling persists throughout the album, not in the same sonic way but things gyrate and repeat until they are mineral and not purely auditory. Using toys, drum machines, and other homemade electronics designed by front person Truus de Groot, the band manages to obscure every song into a hard to maintain mix of No Wave drive, New Wave sheen, and dance music groove. Consisting of Truus, Lee Ranaldo and David Linton, the trio smashes the sound of early 80s New York with the equally as progressive European experimentation of the time. Completely without total contemporaries, Plus instruments make music free of bounds from time, labels, and place. Originally released by Kremlin records, run by Sonic Youth’s future manager Carlos Van Hitfje, Domani Sounds proudly presents Febrauri-April 81' featuring brand new liner notes by Hitfje himself.

Left Ear re-surface with a compilation of music from Italy’s original “homewave” band the ‘Influenza Prods.’. TIP!!!!

Bruno De Angelis and Giovanna Gulinello unwittingly met in London in the late 70’s, after being introduced by a mutual friend. Both Bruno and Giovanna arrived with varying ambitions. Giovanna wanted to learn English or be a painter, while Bruno found work at the Royal Post Office, which he found testing.

It wasn’t until Bruno rescued Giovanna from an awkward date that the pair became a couple. At the time, music was just something they did for fun. Bruno already had an acoustic guitar and G bought a bass. Those were the days when you could start a new band, whether you could play or not, and new independent labels were springing up. Rough Trade Records was literally around the corner.

In 1981 the pair moved back to Italy and found an apartment in Rome. It’s here that they began to focus on their music and where they started ‘recording’ their tracks. First, they would record the rhythm, maybe add the Gigster (the name of their “cheap drum machine”), the bass, and then, as they made a copy of the first cassette onto a second cassette they would add guitar, more synth, or both at the same time. After that, it was not unusual to copy from the second cassette back into the first cassette adding even more “stuff”.

As with many artists during the early 80’s, the Influenza Prods’ sound was the direct result of the accessibility of emerging electronic instruments and the recording equipment available to them. The duo was resourceful and inventive, acquiring new equipment as resources allowed. They recorded dialogue from British Soap Operas on their TV set, which were later added to their tracks, while further making use of their family’s cutlery sets, which were used to fill in certain percussion sections

The duo’s homespun recordings found a web of admirers in the unofficial distribution of tape trading and mail-art scenes. Despite the DIY ethos and the fact that most tapes were handmade, the Influenza Prods managed to ‘release’ three tapes which comprised of the Greatest Tits (1983), Cheek-A-Bomba (1984) and Quasi Solo (1985).
Bruno and Giovanna were sadly subjected to serious family problems, including the loss of loved ones in their lives and eventually parted ways, concluding the Influenza Prods. However, to this day they remain close friends who keep in touch regularly.

limited press, be fast... order, to secure your copy!!

Repress

Art Teachers goes deep into modern sounds with its delightfull ambiance accompagnied by
freaky "glurps" vocals. Fuzzy connection between (US) Motor City & Stuttgart (EU) amplified by dark
synth lines and the mechanics of new wave in full effect! Ltd - 250 copies.

Russian producers Namesis and Sunko, show us their origins with this album. Where we can find a very marked roots between synthwave, Ebm and coldwave.
Voices that make you shudder from the depths of your being.
It also has three remixes that perfectly capture the matrix to take it to the next level, each remixer in the field that feels more comfortable.
On the Knees is an album full of power, strength and grit.

Detlef Weinrich (Tolouse Low Trax) and pals as cult Dusseldorf electronic group, Kreidler return with another spellbinding full-length. Industrial, krautrock, post-punk, continental pop instrumentals and experimental club touches.

But would you bat an eye, waiting for war machines to pass you by? But aren’t we going out tonight? Aren’t we going out?""

Special Interest have returned with their sophomore LP. A dual release from Night School (UK) and Thrilling Living (US), The Passion Of... combines elements of glam rock and no wave pushed through a mangled filter of contemporary electronic forms. Special Interest present a precise and deranged vision of punk, an apocalyptic celebration, a step forward into a perverse and uncertain landscape.

Recorded throughout 2019 with engineer James Whitten, The Passion Of finds the band with a fuller realization of their sound. While their debut, Quintron-produced, album Spiraling documented a band discovering their purpose, The Passion Of... is both more chaotic and melodic, daring to finally live up to their notorious wall-of-sound live performances. Massive, juddering beats from an old Electribe sampler and distorted bass provide much of the rhythmic backbone. The effect is purely physical, circumnavigating the brain and heading straight to the body’s core, sounding at times like an Industrial take on the most brutal Gabber 12”s from the Groningen hardcore underground. Crass, decolonized guitar work and haunting synth lines cut through the low end noise to serve the album’s layers of drama. It’s a cloying, intense dynamic that builds to almost unbearable fever pitch at points, threatening to overwhelm and overpower. Aided by mastering work by Rashad Becker, The Passion Of... is a true document of Special Interest as the intense and radical unit they are.

Alli Logout’s razor sharp lyrics drip with the collective lust for life in the midst of painful truths. Offering moments of clarity and hope in their signature bratty maladjusted manner, switching from high camp satire to insightful political imperatives often within the course of one song.

The Passion Of... takes you on an odyssey, from celebrating the highs and lows of hedonism (Disco III), to dystopian anthems (All Tomorrow’s Carry) and disillusioned love songs (Street Pulse Beat). Ending in a powerful final decree (With Love) offering visions and desires for futures to come.

The Passion Of... is a culmination of Special Interest’s long standing obsessions. Not just bearing witness but living and moving towards our innate desire for rapture in an urgent and raw testimony of the here and now.

"Beyond blood we fight towards liberation"

New York-based Synthwave/Italo disco duo, Bunny X, will release their highly anticipated first full-length album, ‘Young & In Love’, on October 5, 2021 through Aztec Records.

Taking inspiration directly from 1980s John Hughes classics such as The Breakfast Club and Sixteen Candles, Bunny X (Abigail Gordon and Mary Hanley) created ‘Young & In Love’ as a concept record oozing with nostalgic and youthful themes such as young love, first crushes, teen angst and anxiety.

“We wanted to take our listeners back to a time when music connected with us in a passionate and relatable way,” says Abigail. “These tracks pay tribute to what made 80s music so special — the fact that it was delivered in an earnest and unironic way.”

The Retrowave 10-track list of “Young & In Love” brings Bunny X together with Synthwave stalwarts Sellorekt/LA Dreams and Don Dellpiero, NYC-based producer Gosteffects and GRAMMY Award-winning engineer, Tony Lake.

Bunny X has been electrifying stages with their live performances in NYC and beyond for nearly a decade. The duo have released Italo disco and 80s-inspired music throughout their career, including two EPs and numerous singles. This is their first LP-length collection.

2020 has been one rough ride for everyone, forcing us all to review what we thought was normal and maybe, one would argue, even our priorities.

Two years have passed since their previous Inflict LP and we don’t really know how what recently happened impacted on the band’s mastermind Michael but what’s sure is that Veil Of Light are now a fully grown-up band.

Landslide is their fifth full-length (and their third on Avant!) and it’s definitely their most elaborated album.

Ten new songs, rather than the usual eight, with a perfect balance of Coldwave-inspired intimate atmosphere and synthpop catchy melodies. Musically speaking it’s still clear where the Swiss duo draws their influences from, right in between New Order’s moodiness and The Klinik trying one softer, less brutal approach to their Electro. But a new sense of privacy is reflected all through these new tracks, enhanced by lyrics now more personal than ever.

The Prayer Wheel is a page torn out of a private diary, Love And Money is a mechanical mantra for a no-way-out situation; Suburban War is a confession of defeat whispered at night, No Return is the last dance before reaching the point of.

This is the kind of record that takes its time, and takes its toll, we just need to sit down and listen because there’s much to discover.

RIYL: Depeche Mode, New Order, Naked Eyes, Lust for Youth, Black Marble

Adana Twins melden sich mit der 4-Track-EP '1983' auf Diynamic zurück - eine Hommage an den Sound des ersten Jahres, das Benjamin und Friso auf der Erde verbrachten. Der Opener 'Clocks' ist ein unheimlicher Dark Wave-, fast Post-Punk-mäßiger Track mit Vocals der Hamburger Band Kraków Loves Adana, der einen direkt in die 80er katapultiert. Der Titeltrack knüpft an den EBM-Sound der Ära an, mit energiegeladenen Sequenzer-Basslines und Retro-Synthies, die ein authentisches Gefühl dieser Zeit vermitteln. 'Neonlicht', das zweite Kraków Loves Adana-Feature, baut auf einem langsam-hypnotischen Groove auf, komplett mit 808-Drums und Orchesterschlägen. Das abschliessende 'Mauro Picasso' feat. Phunkadelica läutet die Italo-Disco-Ära ein, wenn uns Robotergesang und verträumte Synthies direkt in die Strandclubs von Rimini versetzen. Alles in allem eine unglaublich vielseitige Platte, die die Talente der Adana Twins von ihrer besten Seite zeigt.

Exploring a beautiful grey area somewhere between P.I.L., Arthur Russell, and downtown New York grit of old, the storied Tom of England (Thomas Bullock) comes forth with his epic debut long player "Sex Monk Blues".

Mr. Bullock has been in the trenches for a long time now as a member of Tonka Hi-fi in England, Wicked Sound System in San Francsico, and lastly the back room viking disco duo Rub n Tug in New York City. Somewhere during this all he made a record for Rough Trade, produced records for Map of Africa (with DJ Harvey) and The Laughing Light of Plenty and wrote a definitive book about Mezcal all whilst touring the world.

As touring grew tiresome priorites refocused and Thomas slowly pieced together the parts of what he wanted to become his debut solo album. In partnership with singer Bobbie Marie and studio engineer Chebon Littlefield we now see this come to fruition with these six tracks, futuristic, classic, danceable, and yes, unclassifiable Sex Monk Blues is what's going on.

Sex Monk Blues Recorded in NYC by Thomas Bullock and Chebon Littlefield. All lyrics and vocals by Rene Love. All music and instruments by Thomas Bullock and Chebon Littlefield except electric bass by Ed Ruscha, saxophone by Gabe Druzzi, and kick drum on Be Me by Harvey Bassett. Mixed by Thomas Bullock and Chebon Littlefield at All Bright Electric NYC. Mastered by Josh Bonati

In 2012 Claus Fovea self released a cassette containing 10 tracks, he was at his Swedish beginnings. 9 years later Lux Rec re-discovered his tape and it still sounded so true and relevant to them that they decided to release it on vinyl. Claus then reworked some tracks, scrap some, and made few new. Florin Buchel mixed them down and Andrea Merlini mastered them. The result is a picture frozen in time, in between now and then, the struggle, and sadness, that fragile construction of hope shattered as time goes by, like nothing ever change. It is indeed, as he sings, just the same song playing all the time. Over and over.

The first official reissue of BeNe GeSSeRit's, Fashion Is A Dirty Word composed by Belgian legends Alain Neffe and Nadine Bal and originally released on Dave Henderson's Dead Man's Curve label in 1987. Now re-issued with fresh new artwork on Brooklyn's Domani Sounds.

Somewhere somebody is dancing in black and white silence, crying to a thumping beat. The sound that is creeping up behind them is BeNe GeSSeRiT. The project of Belgian innovators and couple, Alain Neffe (who has been running cult label Insane Music for decades) and Nadine Bal, BeNe GeSSeRiT land equally between dance music, sound collage and digital séance. Beyond the countless alias' of the Neffe empire, Alain is credited to putting out bands such as Algebra Suicide, Merzbow, and others like those in his compilations, "Insane Music for Insane People" on his Insane Music imprint.

Featuring some songs fueled by an 80s dance floor sensibility and others so far away and isolating they dare you to try to dance. Many of the tracks are so unrecognizable they don't register as songs, just flashes of sound accompanied by titles ripped right from the pages of a southern novel, and vocal performances just as haunting. The sounds on Fashion is a Dirty Word are still as foreign and captivating as they were when they were originally released in '87. Like a strange land slide into an indistinguishable future past, gathered here as one.

Historical and archive recordings of BeNe GeSSeRiT have been previously released on Minimal Wave, EE Tapes, Walhalla, Cherry Red, and Stroom. Now Domani Sounds proudly presents the classic Fashion is a Dirty Word as their debut release.

DIE NEUE ZEIT

Old time? New time!

And of course an exciting time - and thus time for DIE NEUE ZEIT and their eponymous high-speed statement "WIR SIND DIE NEUE ZEIT"!

But who is behind DIE NEUE ZEIT? We simply don't know! And we don't want to know. What we know is that these two daredevils race through their theme tune with sheer intensity - there simply is no stopping them - and you better don't - because when that cow bell gets loose … heaven forbid!

For extra extensive play of "WIR SIND DIE NEUE ZEIT" we strongly advise to make good use of the vocal AND the instrumental version playing both back and forth until all dancers surrender to the rhythms of DIE NEUE ZEIT.

Now tanz' die neue Zeit und geh' in die Knie und klatsch in die Hände, beweg' Deine Hüfte! The new time has come!

If ever talking about a „ghost“ of an Austrian record, both in terms of getting info about and getting your hands on, the only output of short-lived band „Mad Voice“ would be a prime example of such. It took a couple of years to track original band members and the master tape down, which in the end made for Wiener Brut being able to carry out an exclusive re-release of this 7 inch. Get ready for a perfect blend of minimalistic Pop, Synthwave and NDW!

Enzo Elia – one who knows how to conceive Italo driven audible passion with the machines that surround him. His releases on cult labels Compost, Free Range and Black Pearls Records have long spoken to us here at KOMPAKT.

We welcome this summer heater which is “Gilli 88 EP”. A tribute to the 80s phenomenon…THE PANINARO. Without any ideological basis or connection to a particular lifestyle THE PANINARO was based around fashion imagery and luxurious clothing. Enzo found this translatable to today’s social network dynamics and is prime for the retrofuturistic dancefloors of today that are inspired by the golden days of Italo-Disco.

“Low Red” is a Italo-Pop gem conceived with Quique Aldebaran and Quique on vocals that takes inspiration from the legends that were – the mighty Suicide. An instrumental version dives deeper into the groove for DJ play persuasion. “Aj Squinza” takes a classic 80’s disco approach with sound-scaping synths that endlessly jam with an everchanging rhythm. “Volpinata” succumbs to a classic EBM groove that finds its way out of focus due to fat synth melodies that engorge this elevating track.

Emerging from Lower Franconia's hidden reverse, Johannes schebler, known as ambient-poltergeist "Baldruin" and surreal folklorists Christian Schoppik & Katie Rich of "Brannten Schnüre"-fame have puzzled and amazed outernational audiences from the stranger end of the avant/lo-fi spectrum in recent years. The trio is now collectively dreaming as "Freundliche Kreisel",reaching for terra incognita rather than common ground on their most bewildering and accessible outing to date. Arch-pontifices of the electro-acoustic and outsider-art realm, they fill in gaps and invent missing links on the go with somnambulistic ease, confusing the hypersensitive and hyaline timbres of contempo-electronic aesthetics with the naïve charm of Germany's obscure Kassettentäter and mutant-NDW.

Think Daniele Mana and Lorenzo Senni digitally rewiring the 4-track recordings of Gareth Williams' Flaming Tunes or sometimes, much scarier, it feels as if it's the other way round. There certainly is an air of whimsical yet post-ironic romanticism to the songs contained here, a madcap, tongue-in-cheek ghost story as filtered through the transcendental senses of a childhood perspective. This attitude is best personified in the disarming innocence of Katie's vocals whose intonation touches on nursery rhymes as much as on dirges and bizarre 'schlager' kitsch.

Heirs to the tradition of magic realism, examining fragments of an arcane sacred mundanity like a crack in the concrete of everyday life, Freundliche Kreisel dwell on this often neglected microcosmic topography, yielding an adventurous and visionary piece of a decidedly Franconian next-level post-modern folklore.

Limited re-press of sold out ”Tomorrow’s Heroine” on trans magenta vinyl. Deluxe edition with UV shiny print on the front cover art. Five dark electronic songs of desire and sheer electronic magic crafted by Berlin-based duo NNHMN. Expect an electro-synth wave with a hint of techno, sharp but poetic lyrics that will carry you into a parallel reality. If you like dark, dance electronic music with sultry female vocals, this position is for you.

The year is 1981. The Kiel-based PostPunk / Wave underground outfit NO MORE releases their second ever single „Suicide Commando“ and their world changes forever. Well, not only their world – THE world.
What began as an independently published 7“ single became a cult classic, a genre defining – and defying – song, an all-time dancefloor favorite of many, a timeless signature piece that escaped its original realm of PostPunk x Wave x Indie x Alternative to also become engrainedin the DNA of modern electronic dancefloor culture most prominently in the beloved late 90s permutation presented by DJ Hell which became a classic in its own right. Now the year is 2021. Four decades have passed and NO MORE's „Suicide Commando“ is
back once again - well... the song actually never left! -, this time harking back to the very beginning, the original vibe and the original format.Remastered and re-released with the original tracklisting and paying homage to the original artwork „Suicide Commando“ will be available in 7“ format for the first time since 1981. And staying true to the underground blueprint this 40th anniversary re-release edition once again is put out on the circuit through a small independent label: the Intrauterin Recordings offspring El Caballo Semental which also released NO MORE's „123456789 *baze.djunkiii & Herr Brandt Dream A NuDream Remix“ as a limited to 200 copies one-sided, colored whitelabel 7“ edition in 2019.

For its 10th release and 7th vinyl edition, Subject To Restrictions Discs presents another musical journey from Angelo Repetto. He has dived deep and resurfaced with these four heavy, emotional compositions. Together with wonder drummer Nicolas Stocker, Repetto turned his story into music. On the A-side, ‘Panther’ and ‘CP Verletzung’ let us drive through the night, perhaps with the last drop of the enthusiastic feeling of the last dance. Right on the other side, we experience the ‘Sundown Explosion’, hard-hitting all the emotions we have left. ‘No Access’ points the way to our next, as yet unknown, journey.

Repress

Following up on his contribution to the first Five Years Of Tears compilation, Randstad steps up to the bill and delivers his first solo release for Pinkman Records. 6 tracks ranging from twisted industrialized beat trax to brain melting weirdo dance. A great cross-over record for adventurous DJs and fans of the cold, minimal DIY sound of the 80s alike.

The title of guitarist Barry Cleveland’s 1986 album - Stones of Precious Water - conjures images of incandescent gems, harvested from hallowed streams and held aloft to glimmer and catch the light in their many facets. And perhaps this is the truest analogue for the music contained therein. Recorded between 1981 and 1983, in mostly improvised recording sessions, the disparate nature of Stones’ creation is alluded to only by the breadth and variety of sounds it encompasses. Stones of Precious Water is a revelatory collection that maps its way through textural fourthworld ambience, shimmering New Age, gently propulsive kosmiche, and jazzinflected prog. These sounds are sewn together with a deftness of performance and sonic character which reveals them as branches of the same tree, or perhaps more appropriately, a handful of glittering stones.

Six of the ten tracks contain contributions from Kat Epple and her late husband Bob Stohl (a.k.a the epoch-defining New Age duo, Emerald Web), adding flute, synthesizers, and bells. Between the years of 1981 and 1983, Cleveland worked with this duo and alone, allowing serendipity to play a significant creative role in their music. Many of the pieces began as improvisations, or simple structures that served as springboards for deeper exploration. Making his first forays into multi-track recording, Cleveland used a basic Teac 4-track cassette recorder, and this rudimentary piece of equipment proved to be a useful tool for compositional exploration. By flipping and reversing the tape, slowing the pitch, and altering and layering different performances, Cleveland stretched the sound of his guitar across the expanse of the tonal canvas.

Stones of Precious Water stands as a remarkable document of experimental selfrecording, improvisational collaboration, and restless creative expression. Morning Trip is exceedingly happy to release it on Vinyl LP for the first time.

"Feels like I'm made of glass," Carlyn Bezic sings over a tumbling, harmonic guitar riff on "Pummelled Into Sand," the closing song of Faster Than I Can Take. "Like I could cut you, or you could break me in half." It's a double-edged statement about the power that comes from inhabiting your vulnerability, a complicated truth expressed so beautifully it seems almost simple.

Making the impossible look easy has always been Bezic's musical M.O. Faster Than I Can Take is her sophomore album as Jane Inc., a solo project forged after years of building her bona fides in the Toronto music scene with groups like U.S. Girls, Darlene Shrugg and acclaimed dance-pop duo Ice Cream. Pitchfork called Jane Inc's first album, 2020's Number One, "dazzling... Bezic proves herself a musical Swiss Army knife, capable of anything and revelling in her multiplicity." On Faster Than I Can Take, she uses all the tools at her disposal - a Prince-like ability to shred harmonic guitar riffs over deep, danceable grooves, an eagerness to experiment with form, and lyricism that seamlessly links the personal and the political - to focus the multifaceted energy of Number One into something completely singular. A disco-inflected, danceable meditation on the permeable boundaries between our interior and exterior worlds, Faster Than I Can Take is an album that you can listen to at a party or alone in your apartment - but no matter where you listen, it will make you dance.

On lead single "Contortionists," Bezic's voice floats over a landscape of spare, warping synths and ethereal backing vocals from Dorothea Paas (U.S. Girls, Badge Epoque Ensemble), seeming at first to sketch out a familiar pandemic scene: "The laws of time have changed / months pass in minutes, hours feel like days." But as the melody begins to swirl and bend back over itself, a deeper theme creeps in. “At first I thought I was making a record about time," Bezic explains, "but I was actually making a record about how, in moments of intense anxiety, you're living in the past, present and future at the same time. A million moments existing at once, real and imagined." By the time the song drops into a ticking groove, you know exactly what she means.

Many of the songs on Faster Than I Can Take work this way - taking concepts that feel intimately interior and expanding them into something universal. Songs like the moody, bass-heavy title track, or the bright, searing "Pummelled Into Sand," where a Hendrix-like guitar solo runs under Bezic's voice like a third rail, deal with what Bezic calls "the pain of change and growth." "Human Being" and "Dancing With You" (whose bridge features the catchiest meditation break you've ever heard in a dance-pop song), explore the psychedelic melding of individual and collective worlds that can come from fantasizing about performance while alone in your house, or connecting to a group of strangers through your computer screen.

In "An Ordinary Thing," Bezic contemplates the complexities of wanting to create anything - art, or even a family - against the backdrop of the Anthropocene. "Someone please take this from me / this feeling, this need," she sings, the tension audible in her voice. But in the next track, the irresistibly danceable "2120," that anxiety turns into powerful resolve: "I'll pour my grief into this plastic crucible / Forge a new infinite fuel made of anger, and hope, and refusal," she sings against a driving, determined beat.

That determination is what makes Faster Than I Can Take unlike anything else you've heard this year - a work of art that refuses to either wallow in the difficulties of contemporary life or ignore them in favour of escapist fantasy. As Jane Inc., Bezic takes on the complexities of living in the world - alone, and with others - with playfulness, honesty, openness and love, and turns all that complication into something that will move you.

*CASSETTE RELEASE**
TRJJ, TRJJ & TRJJ again - we can't get enough of this artist's stuff here. TIP!

300 ONLY... new band sounding like they could be from 200 yrs ago! way beyond shoe gaze .. this goes into areas that fans of OM / Sunn O))) are going to love...TIP!

"Naive overlooked New Beat / New Age project from 1989"

Sometimes in life, a certain incentive is needed to convert talent into productivity. As for the case of MKS, the enigmatic and musical disguise of Nicolas Aubard, it was a merely coincidental encounter at the end of the 80s that set the stone rolling. For Nico, it all began in his hometown of Saint-Quentin in Northern France. At a young age, he got obsessed with Japanese and American cartoon culture. Being a devoted collector of cartoon-related toys and widgets, he spent hours watching anime series on TV and creating scale models of science fiction and horror-related sceneries. Growing up in a musical household, young Nico took on stringent training in classical and jazz piano. But, frustrated with the fact of not being the technical virtuoso he wanted to be, he turned away from his training at the age of 16. “I had no choice, as I felt as if my creativity got limited by my piano. That’s when I got drawn into the world of synthesizers.” Not long after, Nico put together a home studio and started to experiment with ambience and sound-inserts. Despite years of experimentation and music making, all Nico’s productions stayed between the 4 walls of his modest home studio. Something that would change in 1988, when Nico bumped into Emmanuel “Manu” Prevost.

“We met on a night out in Lille”, Nico recalls. “I usually just stood by the dj booth, as I wasn’t a good dancer. So instead of throwing shapes at the dancefloor, I started a conversation with the dj, who happened to be Manu. By the end of the night, I handed him a demo tape of the album I was wanting to do.” Propelled by good fate, a fruitful collab happened between Nico and this dj. For Manu, everything also fell in place: “At the time, I was looking for a composer to work on producing a new beat record. As a dj, I often crossed the Belgian border for gigs and this new style was in full explosion over there. I heard Nico’s songs and naively told him: “Let’s make an album”, without knowing how.” Despite the high hopes for the new alliance, the project turned out to be a shot in the dark. “I assumed Manu already had some experience, as he proposed to do the mastering himself. But funnily he only told me after the release of the record that it was his first time too. But you know, we managed.” Not willing to release under his own name, Nico came up with Musical Keyboard System, abbreviated as MKS. The alias was born and the journey ready to take off.

The album finally released in September 1989. After the release, Nico went on a low-key promo tour together with Manu in Northern France. “We aired a video clip on FR3 for two songs, together with a short interview. In their studio, we created a scrimpy décor with some green plants to resemble the Vietnam jungle (as for the track Nam Revelation) and we shot the clip. Manu even lay down behind a screen operating the fog machine.” As a live act, MKS’ career was rather short-lived, with a first and final gig in the Theatre of Saint-Quentin a few months after the release. “In France, we would remain illustrious strangers. Yet in the meantime, our music got played on new age radios in the USA.” After the end of MKS, Nico moved to Paris and Manu took on his military duty. In the army, Manu met movie animator Jacques Rouxel (the man behind French cult series Les Shadoks) and got him in touch with Nico. The duo collaborated with Rouxel on some compositions, before they went their separate ways at last. Nico went on to pursue his childhood dream, as a pioneer in France for integrating 3D animations into classical cartoons. Manu in turn became a producer for feature films.

Interest in Music was made by TRii Group, which stems from TRjj, which stems from TRIIMusic

After releasing the singles ‘Vraag je af’ and ‘Runner van de zaak’, Ricky Cherim and Victor De Roo teamed up again to create their first collaborative EP. A six tracker produced by VDR, with text and voice by Meetsysteem, telling stories about paranoia, societal anxiety, depression, regret and love. A vast amount of lyrical themes, carried by an equal amount of musical variance. The only thread through the EP is the 909: a drum machine usually used for techno music, demoted to a rhythm box used in a shady backroom in Brussels. If only it weren’t such a party.

One of the bright talent emerging from the current Netherlands‘ electronic underground scene is the German and Amsterdam-based, ‘fetish-inclined’, vocalist and performer Sophie du Palais ((Pinkman, Dekmantel Recordings)) also known as “Vrouwe Fataal”. She presents debut solo LP ‘Endurance of Pain is the Power of Being’

Sinister industrial wave music exploring themes of lust, hedonism, technological obsession & millennial alienation

Across six tracks, Du Palais unravels a potent signature, driven by fierce, imperious Anglo-Germanic vocals and eclectic, dissonant sounds. Connecting techno, EBM, acid and electro with vestiges of dub and experimental electronics, on ‘Endurance of Pain…’ Du Palais conjures an abrasive, intoxicating depiction of lust, hedonism, technological obsession and millennial alienation.

With the cruising techno pop menace of ‘Slow Steady Cum’, Du Palais introduces a nocturnal underworld. The descent is intensified by the mania and murk of ‘Glazed Disco Ball’ – a suspenseful dose of guttural low end, scowling spoken words, and crude drum machine clatter; if Gudrun Gut fronted Suicide. Then ‘Boys Tears’ elaborates on the dread and the sleaze with a horror show of gurgling synthesis, drubbing percussion and dissolute enunciations, halfway between John Carpenter and Unit Moebius.

From there ‘Up To No Good’ brings proceedings into a severe form of heat and frenzy, outlaying an exchange of raw jackhammer rhythms and vociferous punk chants that recalls Liaisons Dangereuses’ timeless underground classic ‘Los Niños del Parque’ if remade for 2021. ‘Smash The Mirror’ then finds room for scintillating dub recurrence and freakish machine funk before Sophie concludes the set with the sardonic electro-clash anthemics of ‘2001’, a provocative exploration of self, communication, and compulsion in the digital era. Miss Kitten meets Dopplereffekt for a technoid bonfire of the vanities.

‘Endurance of Pain…’ finds Sophie Du Palais seizing an uncompromising sense of style and intensity, an emergent new artist navigating a merciless, pleasure-seeking existence, from club to bedroom to screen, facing it all down with a cold glare, ready to light the fuse.

RIYL Miss Kitten, Toresch, Liaisons Dangereuses. Mastered by Rude 66. Artwork by Sander Molenaar.