Pop & Rock Vinyl New Releases - News

Winter Family is a duo made up of Ruth Rosenthal and Xavier Klaine, who met in Jaffa in 2004. Their dark, saturated and dense music is described as "Death Swing", "Weird Wave" or "Funeral Pop".

They recorded new parts of this new album in St Martin church of Maxéville, France. Xavier: "I recorded the pipe organ there, inspired by the Alsatian philanthropist organist Albert Schweitzer whose slow, bombastic performances, limited by faulty technique have always touched me deeply. In 2006, my aunt Loulou agrees to lend me the keys to the church. Ten years later, Loulou passes away, I play on this same pipe organ during her funeral. During the fall of 2018, in her room with old floral wallpapers, so cold, that I empty, surrounded by her missals and huge crucifixes I remix this pipe organs and the voice of Ruth. Through this late remixing, we wanted to deliver this woman from her agony, her eyes turned to the milkish Lotharingia sky and beyond, trying to illustrate this Catholic France of yesterday, as vain and terrifying as a month of November in this cold and humid garden, within reach of the incessant song of the A31 highway."

Cora Emens is a sex educator and performer based in the Netherlands. This re-issued work of experimental music was compiled in the 80s by Cora's ex-partner, Willem de Ridder (one of the founders of Fluxus) in the Netherlands from the home studio recordings of Cora.

Now available in double LP form (originally released on a Radio Art Foundation cassette) with an additional bonus track 'Earplay'. This is the first time it's been re-released in any format.

The original tape was mixed by Willem de Ridder and is remastered by Cora Emens herself.

The archive cassette now resides in the sound archives of the Allard Pierson Museum in Amsterdam.

Red Vinyl

Naïve Art is the debut album by San Diego (by way of Liverpool) synth-pop duo Red Flag, consisting of brothers Chris and Mark Reynolds. This is the 30th Anniversary reissue of the vinyl which has not been available since 1989. It contains all original versions from the initial release along with four additional bonus tracks. The original pressing was a single vinyl release with all the tracks severely edited down, so that it could fit on a single record. This has been remedied for this new re-release. And unlike the original '89 vinyl release, this deluxe reissue features a gatefold cover and printed lyrics. Red Flag, like other late-'80s/early-'90s bands such as Camouflage and Cause & Effect, offer a similar mix of gloomy, synthesizer-driven dance-pop made popular by synth rock kings Depeche Mode. Naïve Art is a strong debut and has often been deemed the perfect synth-pop album. The combination of cold synth beats and the atmospheric vocal approach (similar to Depeche's Martin Gore) makes perfect dance-floor fodder for the disaffected goth-pop club crowd.

Poole Music is thrilled to announce its inaugural commission, the Habu, the latest full-length from Belgium’s Lieven Martens. For the better part of two decades, Martens has been expanding his Aloha-bedecked musical vision, transitioning from the basement tape environments of his Dolphins into the Future project to the rich compositional tapestries of more recent post-exotica modernist works.

The Habu represents a true culmination of these identities in one of his most ambitious works to date. The album’s three pieces cast an omniverous net that explores those fragile tendriles between imagined and real, natural and fabricated, unity and chaos; concrete sounds enabling abstract inner landscapes. With the ecstatic revelry of Marco Polo returning to his queen, Lieven brings us gems from all corners of the navigable world: tales of an impossibly guilded Portugese palace, a fertility tonic conjured from a poisionous serpent, a simulacrum of Honolulu. At a moment when the world is more geographically isolated than it has been in generations, Martens’ the Habu is a welcome odyssey, a Charybdian travelogue of the psyche. About face.

Berlin studio nut CV Vision washes ashore, surfing on sine waves with his second offering of 2021 and the fifth Patience release, Elemente. Following on from his recently released debut LP Tropical (South Of North), CV Vision takes his library chops, psych rock skills and analogue artillery and spreads them over two quarter hour sides, to brain melting effect.

Elemente soars from cosmic to kosmiche. A dizzying homage to the natural world, the two pieces pay tribute to those animals that glide (Gleiten) and those that float (Treiben). The A side Gleiten tears off on a gnarly, loping odyssey, embarking from the sand to faraway lands, stopping in at Beppe Loda’s Typhoon, Conny Plank’s studio, Bob Chance’s garage via the Transfer Station Blue. The B side Treiben is a more sublime animal, steadily cruising at 20,000 leagues, traversing a mostly calm sea of bubbling arpeggiated synthesis before beaching somewhere on the Med in the late 70s.

Elemente was written, played and recorded by Dennis Schulze, with drums by Uno Bruniusson and Rhodes by Boyd Alves. It was mastered by Wouter Brandenburg at Brandenburg Mastering. Artwork is by Luca Schenardi.

CV Vision is Dennis Schulze, a DIY boffin originally from Bayreuth who enjoys tinkering with electronics and cold water plunges. He has several more projects on the way in 2021.

Patience is an outlet for exploring further beyond the break than usual. Inspired by the music perpetually on rotation at HQ – with E2-E4 representing the format’s high tide mark – each release will be one artist’s deep dive down one inspirational wormhole spread across two sides of vinyl, or two side-long sojourns making full use of a round 12” piece of plastic. Set and forget, zone out to tune in.

' Far away and yet so close: the first release of „dispari“, a freshly launched venture
by Hamburg based artist Phuong-Dan, is transitionally sublime. The vinyl record
composes inherently different, distinct elements into one bewildering story arc.
There is no A or B side; endlessly endless, both sides transmit transcendence. One
side brings An Afterthought – an almost eight minute long infinite, ambient musing
by Greek producer Anatolian Weapons. The short-termed opposition features
French composer Hector Zazou with US-American artist Laurie Anderson, diving for
a brief 53 seconds Into Your Dreams. Two disparate sides, which manifest
„dispari’s“ desire to follow the extensive path of music and not the narrow road of
style. It hopes to open doors for a variety of outlooks on the language of sound and
beyond. For „dispari“, any format appears interesting, and with the potential for
collaboration. Interdisciplinary projects in disparate media natures like text and
film, or simply unfathomable phenomena, are all possible future propositions.
Maybe the next signals will come as an auditory publication, an art space
performance, or just as a night in a bar, where dissimilar atoms dance for similar
desires. For now, length eats briefness and brevity defeats the epic in a dream of
strange disparity, walking on weightless soles, aglow in starry zones. '
Michael Leuffen

ww.dispari.de

On Further Up Island , André Ethier completes the trilogy of solo albums that began with 2017’s Under Grape Leaves and 2019’s Croak In The Weeds. While not narratively linked in the traditional sense, these records document the musician’s ongoing collaboration with producer Sandro Perri. Like Robert Altman’s run of brilliant films with Shelley Duvall in the 1970s, the duo have developed a singular creative kinship over the course of three LPs.

Since his days as the frontman of the Deadly Snakes, Ethier has cultivated an entirely different artistic practice as an acclaimed contemporary painter. At the same time, he has quietly slipped out a spellbinding body of work as a solo musician, with this album trifecta showcasing his skills as one of Canada’s most vastly underrated songwriters and storytellers. Ethier’s songs are casually played but carefully orchestrated, allowing each element to appear in sharp focus.

“These albums are a series using the same palette,” explains Ethier, whose softly coloured paintings also grace the covers of the trilogy. “The tools Sandro and I used on all three of them are similar so that the songs can almost be interchangeable. It’s a way of giving time to a creative relationship so it can blossom, like developing a shorthand with a co-worker. Nurturing that process allows it to grow.”

First time available on vinyl LP (with limited edition color variants - black and clear) and on digital formats.- Artwork packaging by artist J.S. Aurelius (Ascetic House) with reflective linear notes by Ragnar Grippe. - LP comes with download

Recorded between the release of Sand (1977) and Lost Secrets(1981), Symphonic Songs is a formerly unreleased work that chronicles the dynamic shift and development in experimental Swedish composer Ragnar Grippe's canon.

Following his seminal release Sandin 1977, Swedish experimental composer Ragnar Grippe worked on various art and performance commissions, often returning to Stockholm during the summer months to focus his efforts on his compositional practice. It was there at the famed EMS Studioswhere he began employing the Buchla synthesizer and the facilities multi-tracking capabilities as new instruments to map his mining of sound and movement.

During the late 1970's, Grippe formed a creative collaboration with choreographer Susan Buirge, specifically writing compositions for her works Restes and Tamis, thus pushing Grippe to start working in a more intricate studio environment. These passages inspired Grippe into a more complex layering process that focused more on placement and structure, rather than the aural floods and flourishes of his previous Sand album, eventually germinating in his first full 24-track composition entitled Orchestra.

After debuting Orchestra in 1980 at the Electronic Music Festival in Stockholm, Grippe holed up at EMS Studios with those lessons and the fussy Buchla synthesizer, in which Grippe affectionately recalls needed to be tuned and calibrated every 20-30 minutes. He emerged with a new commission for Susan Buirge later formally titled Symphonic Songs and used in her avant-garde theater piece Ci-Déla which debuted in Paris in 1981.Symphonic Songsshowcased Grippe's sound au courant, pushing dense against sparse, calm into cacophonous, using each track as its own intersecting plane. Using the machinations of studio and structure to drive Symphonic Songs' voice, Grippe culled a haunting, often cinematic electronic work that dots and darts into unexpected corners with curious aplomb.

Listen to the words, both terms have their root in classical music, but not in its form but because now I had so many more stems or voices that could be played simultaneously compared to my earlier pieces. Coming from a classical background, but with big nostrils for pop and jazz music, I can now see a thread in which classical got a new costume, dressed up in Buchla synthesizer and real bass sounds Grippe says. Since its live theater debut over 37 years ago, Dais Records releases for the first time Symphonic Songs, one of Grippe's most ambitious compositions, as a deluxe double vinyl LP (with limited edition color variants) and on digital formats. Artwork packaging by artist J.S. Aurelius (Ascetic House) with reflective linear notes by Ragnar Grippe. e

It’s a great joy to host our long time friend and collaborator, Theo Delaunay aka Panoptique aka Constance Chlore, to release his first solo album on Macadam Mambo. Head of the Simple Music Experience label (dedicated to release punk experiment on tape), member of Violent Quand On Aime, Succhiamo, Simplists, Ono Omen and United Assholes, he had previously been part of the “Danzas Electricas” volumes 1 and 3, released a little single in 2019 and curated the “Simple Music Experience Vol.2” compilation in the house. Panoptique stick to what he knows to do the best, to present his stories, singing spoken words, gogolitos deliriums, whispers and rough voices on Minimal Synth Wave ballads or Drexciyan’s Electro bangers, it’s brut, mental, sometimes brutal and so so groovy in the meanwhile. Special mention to his guest Fiesta En El Vacio for her ‘caliente’ featuring on “Menta Y Regaliz”.
Now you know how you find him

After the celebrated LP-releases on STROOM (Jan Van den Broeke '11000 Dreams' / 2017) and MINIMAL WAVE (The Misz 'The Lonely Crowd' / 2019) EE Tapes proudly present a new beguiling retrospective of Belgian art-house and ambient music artist Jan Van den Broeke.

‘Lost And Latest’ is - again - a cherry-picked set of the many projects of Jan, including ABSENT MUSIC, THE MISZ, JUNE11, and even his recent occasional project CANTO DE MUDO.

Dope japanese reissue. Much needed.. Aragon is a group made up of Tatsuo Hayashi, Tsuyoshi Kon, Tadashi Namba, Kazuhiro Nishimatsu and Keishi Urata. (Hayashi is the drummer of Tin Pan Alley, while Tsuyoshi Kon is a well-known session guitarist.) The band's self-titled LP of experimental electronic music from 1985, originally released through Invitation, has become a sought-after title in digging circles.

Swedish producer and electronic enthusiast Rivet (Mika Hallbäck Vuorenpää, Malmö) joins the Editions Mego fold with a dynamic and diverse album that pivots between the punctuated pop of Ivan Pavlov's COH project, the chromatic slink of Chris and Cosey whilst also bearing a degree of fruit birthed from Hallbäck's home country Sweden in skewered pop such as The Knife.

This is electronic music born from the worship of machines and the spirit of punk, mood music brooding with sophistication and subversive twists all underscored with a deep industrial pulse. Are these songs? Are these lyrics? Words melt as beat perpetually takes us deeper into flight.

Interpretation is flung open as the audience are invited to gauge what on earth is going on here. Are Sooty Wing Flecks a minuscule species of half keyboard half vocoder chatter? Is Gleitende Liebe to be trusted or simply laying out a guide for disorientation? Pearling Woes is a queasy ballad sung by a robot on a very special comedown. Keloid knows exactly where the party can be now whereas Sodden Healer is an uber ride sans mask to destinations dark and unknown. Throughout this trip sharp snares punctuate ghost melodies as vocals rise and vaporise. Shadows hover the walls leaving holographic traces of the duality between fun and fear, the unexpected drifts diagonally across the audio plane teasing and taunting the listener in a unique blend of industrial, techno, pop and experimental forms.

On Feather and Wire album is a deep absorbing trip through multiple moods, genres and guises, as mysterious as it is engaging and one to ingest in a single sitting, lying back, sitting up, standing up and yes, even dancing. Let the angels and angles, the voices and distorted faces take shape before your mind. Who is Ordine Kadmia? What are they saying to me, here we go, on and on...

With it's haunted vocals, coded linguistics and dark sensual propulsive atmosphere On Feather and Wire is a sublime contemporary techno pop trip both psychedelic and subversive.

Written and produced by Mika Hallbäck Vuorenpää

Post-production by Mika Hallbäck Vuorenpää and Benny Liberg at Inkonst Studio Malmö
Mixed by Oscar Mulero at Dead Souls Studio Gijón
Mastered by Stephan Mathieu
Images by Dimitrios Bizios
Artwork by Nik Void

‘Creak Whoosh’ is a collection of choral ballads originating in the Finno-Ugric regions of Estonia and Ingria, electronically adapted predominantly by Olev Muska and Mihkel Tartu, based around the contemporary arrangements of Veljo Tormis. Originally established as ‘Kiri-uu’, the project was undertaken by the children of Estonian refugees, most of whom grew up over 8,000 miles away in the metropolis of Sydney, Australia. With the majority having never visited the land of their ancestors prior to the tour of 1989, the first generations reshaping of these ancient folk tales conveys Seeger’s process amidst displacement and its subsequent fringe-culture. Estonian bards are carried forth this time into the 21st century, a revised selection of the original 1988 recordings accompanied by ‘Tšimmairuudiralla’ allowing for new perspectives and, perhaps crucially, a truly global audience.

“…In The City Of Lights Where Nothing Is Grey…" In the City Of Angels by way of Prague, Pink Gloves channels classic Italo Disco on their Italians Do It Better debut. Petr Pliska weaves a tale of introspection on the neon soaked streets of Los Angeles.

Act 1 – Downtown. The title track is a hypnotic journey to the city center over a symphony of synthesis. He laments that he “Never Wanted To Come… Never Wanted To Stay… In The City Of Lights Where Nothing Is Grey”. It’s a place where nothing ever changes
& fantasy greets us in every direction. Beneath the sedated vocals, the synthesizers strike deep & dissolve quickly into a haze blanketing the strut of the heavy backbeat. The stage is set.

Act 2 – The Dancefloor. “Dancing on My Own” infuses Robyn’s four on the floor classic with it’s own cocktail of ethereal melodies & a rhythm section ala Ultravox. In the face of the Narrator’s lament, a mirror ball shimmers reflections of resilience.

Act 3 – The Highway. The downtempo “Wilderness” haunts us, bursting with silken synthesizers & spectral electronics reverberating like the ghosts of last night’s party. The tempered cinematic landscape blends with a mesmerizing sorcery as we drive into the unknown.

Act 4 – End Credits. Suddenly, the film is over. We hear the sunrise straight out of an ‘80s John Hughes film & the beautiful grit of Power, Corruption & Lies.

Produced By Johnny Jewel. Mixed By Lukáš Turza & Johnny Jewel. Mastered By Mike Bozzi At Bernie Grundman Mastering. Vinyl Cut By Bernie Grundman, Hollywood.

Drab Majesty's first ever release was the 2012 self-released cassette tape "Unarian Dances". Originally limited to 100 copies, tracks from this tape would eventually make their way onto the Completely Careless CD collection as bonus cuts. Now, along with the "Unknown to the I" 12" also released on March 26, these songs are finally made available on vinyl in 45 RPM 12" format, bringing all early Drab Majesty material from the Careless era (2012-2015) to vinyl. Mastered by Josh Bonati with beautiful new packaging by Nathaniel Young.



Drab Majesty is the project of Deb DeMure, the androgynous alter-ego of L.A.- based musician Andrew Clinco and partner Mona D. With its combination of reverb-drenched guitars, synth bass lines, commanding vocals, and rhythmic drum machine beats, this project is a stark departure from Clinco’s previous stints as drummer in Marriages and Black Mare. Dubbed “Tragic Wave” and “Mid-Fi” by DeMure, Drab Majesty eloquently blends classic 80s New Wave and hints of early 4AD with a futuristic originality.



Atalented multi-instrumentalist, DeMure composes all of the elements of DrabMajesty. However, rather than taking personal credit for the music, DeMure insists that the inspiration for the songs is received from an other-worldly source and that Deb is merely a vessel through which outside ideas flow inward. But Drab Majesty is more than just a musical project — it’s a methodical experiment in the identity of creativity. The character Deb DeMure is an enigma that eludes all expectations of gender and ego. When DeMure’s imposing 6’ 4” figure assumes the stage, Deb’s playful, harlequin-esque appearance, tempered by an ominous body language, and clashing with the dreamy, ethereal melodies comes across as a web of contrasts. The result is a perfect balance between seemingly conflicting messages, between the high and the low, the drab and the divine.

Drab Majesty's first release for Dais Records was the "Unknown to the I" cassette in 2015, which featured the title track that would later appear on his debut album "Careless" that summer. The additional early cuts "Saturn Inc." and "Ultra Violet" have previously only been available on digital or as CD bonus tracks. Now, along with the "Unarian Dances" 12" also released on March 26, these songs are finally made available on vinyl in 45 RPM 12" format, bringing all early Drab Majesty material from the Careless era (2012-2015) to vinyl. Mastered by Josh Bonati with beautiful new packaging by Nathaniel Young.



Drab Majesty is the project of Deb DeMure, the androgynous alter-ego of L.A.-based musician Andrew Clinco and partner Mona D. With its combination of reverb-drenched guitars, synth bass lines, commanding vocals, and rhythmic drum machine beats, this project is a stark departure from Clinco’s previous stints as drummer in Marriages and Black Mare. Dubbed “Tragic Wave” and “Mid-Fi” by DeMure, Drab Majesty eloquently blends classic 80s New Wave and hints of early 4AD with a futuristic originality.



Atalented multi-instrumentalist, DeMure composes all of the elements of DrabMajesty. However, rather than taking personal credit for the music, DeMure insists that the inspiration for the songs is received from an other-worldly source and that Deb is merely a vessel through which outside ideas flow inward. But Drab Majesty is more than just a musical project — it’s a methodical experiment in the identity of creativity. The character Deb DeMure is an enigma that eludes all expectations of gender and ego. When DeMure’s imposing 6’ 4” figure assumes the stage, Deb’s playful, harlequin-esque appearance, tempered by an ominous body language, and clashing with the dreamy, ethereal melodies comes across as a web of contrasts. The result is a perfect balance between seemingly conflicting messages, between the high and the low, the drab and the divine.

After a seven year hiatus since the release of their debut LP on ESP Institute, Kyle Martin and Jonny Nash’s Land Of Light return with their sophomore album for Melody As Truth. Written and composed over the course of two years, “The World Lies Breathing” reflects the pair’s shared development towards spacious, abstract composition crafted from a wide range of contrasting sound sources. Utilising a combination of acoustic instruments, contact microphones and Martin’s self-built modular synthesiser “The World Lies Breathing” focuses on the space between sounds, conjuring up an organic yet alien landscape that exists on the edge of an unknowable void.

*limited copies!*
Single sided LP. Delightful mini album of hook laden songs . Big Tip!
Don't sleep on World Music.

Gloosy and sexy 80’s synthwave designed by Joone and Miss Zagato in UK. Their past / future italo-disco will be a fundamental masterpiece for any passionate vinyl collection. DE SCHOOL Ltd. Edition EP comes presented in a ONE-OFF truly limited edition of 200 copies lacquered pressed on 180 gr. high quality SOLID WHITE vinyl. All tracks have been specially remastered for LONG CUT vinyl by Daniel Hallhuber at Young and Cold Studios.

Reymour packed their bags in the pre-Alps of Switzerland and left to start a new life in Bruxelles. This debut album finds originates in this transition, again in a bilingual environment, by now a Knekelhuis theme. Leviosa documents the emergence of a kind of dance built from chansons, synthpop and cute minimal wave. Luc Bersier’s wide musical spectrum reaches great heights while staying small. He creates the musical bedrock on which Reymour’s cabinet of musical curiosities rests, allowing us to drift away on the unctuous fumes of Lou’s vocals. On these tracks she covers a wide array of feelings, of doubt, sexual orientation, play and melancholia. And it all comes together in the reflection of life. Close friend and family guy Low Bat contributes vocals and gameplay on 2 of the album’s tracks.

Geins't Naït returns to Offen, this time he enlists Scanner (living experimental electronics legend , Robin Rimbaud) to join him in his land of loop. These two veterans have clocked up many combined decades of experimentation between them, and this their first jointly composed material, has the feel of wisdom at work. It's a huge pleasure for Offen Music to release this special record.

Old, but still functioning computers are simply scrapped, made redundant and without remorse left to corrosion and an existence without a task and no perspective. That this doesn’t need to be so, and that even computers with limited storage capacity can still take on a function in society, is illustrated by Alexei Shulgin’s outdated 386, now serving as a musician. Performing Classic Rock's Biggest Smash Hits! The Clash! The Doors! The Sex Pistols! Hendrix! and more... gone digital, gone to 8-bit computerized chip-music with a singing computer, with all the charme available to a text-to- speech- programm.

Created by Russian artist Alexei Shulgin, 386 DX was “the world’s first cyberpunk band.” Known for its live performances on city streets and in nightclubs, the performer is a dingy, singing PC that runs Windows 3.1, equipped with a vintage sound card and loaded with MIDI files of drums, guitar, and synth and accompanying lyrics.

The ironic comment delivered by Shulgin and his singing computer is well within the context of the performances by the 386 DX rockband, with which he “toured” Europe in 1998 and performed on nearly 60 occasions. This one- man-one-computer-show was based on a similar idea as his current installation: Shulgin presented himself as a performer carrying a keyboard, and by simply hitting a key elicited the text-to-speech singing, accompanied by very simple music and a few Seventies-style visual effects.Alexei Shulgin simply is the King of Cyberpop.

Raw Culture returns to play in the abyss of sound experimentation together with Anna Funk Damage, prolific producer from Livorno, already known by the police for his very personal sound.

A 10-track album that will try to leave behind the listener this 2020 to ferry him to a 2021 even worse , made of HARD-CORE and SOFT PORN.

30 Limited tape series including Digital Download Code.

Medical return to Italy to present the newest full-length album by Filippo Diana (alter ego of Joe Drive). Where as Joe Drive's outpt is in the vein of techno, electro and house, Filippo Diana veers more in the direction of mutated library/soundtrack nu-disco. After just delivering a burner on Slow Motion, Joe is at it again. Consisting of eight tracks expertly mastered by Marco Spaventi, join us on a journey as equally suited for progressive dance floors or the soundtrack to the deep recesses of the mind. Presented on high-quality 180gm black vinyl.

Calypso Drip FM is a journey of styles & influences that formed the varied musical landscape of its creator. Only known by the moniker of Gryff, the author wanted a project that reminded listeners of radio stations of decades past. Particularly the type you would have on GTA: Vice City.

Gryff is a 90s kid, but the track list of his debut album plays like a greatest hits of a much mature songwriter and producer.
Almost exclusively written by himself, requesting the help from Andrew Threlfo in production for 'Do You Feel Like This?', and with NY songstress Primo The Alien as guest and co-writer for Reverse, his undeniable talent is showing in spades.

This incredible debut album is going to make waves in the scene and turn the young musician into a big player.

New York Grief is a nocturnal new wave incantation for the sleepless metropolis by Montréal singer, filmmaker, painter, and poet, Princess Demeny. In the early 80’s Princess started creating music for her poetry and in 1986, she partnered with Jean Mineau, her then boyfriend, who did the arrangements on what was to be her first EP, Distant Voices. Not long after the start of their collaboration, Jean was diagnosed with terminal cancer and was immediately hospitalized.
Against the doctor's wishes, Jean left to record demos of five songs including New York Grief. He sadly passed shortly after returning to hospice and the recordings were never released.

“New York Grief was inspired by several trips to New York City in the mid eighties. I was in love with the city's nightlife. At times, I would stay awake and watch the city that never sleeps as its night creatures came out to play, and I would watch as they would vanish, replaced by the suited nine-to-fives, waking up and starting the machine of the metropolis madness again and again. It felt to me as though, in New York, there was more darkness by day than at night. I felt the city's intense rhythms and the chaotic pulse of the urban grind. It made me question if, sometimes, I was awake or still sleeping. I would have vivid dreams; horrific nightmares of burning buildings and people running and even though it was exhilarating, it also scared me.”

In 1989, Princess recorded a new version of New York Grief with arrangements by the Montréal new wave group Vini Vidi Vici. She also produced and directed a music video for it, which evokes both Maya Deren’s Meshes of the Afternoon and Slava Tsukerman's Liquid Sky, but set in ultracool nouvelle vague Montréal in the late 80s. Both the demo and 1989 version are featured on this 7” release with a bonus digital track of her cover of Listen, The Snow Is Falling by Yoko Ono. This single is a glimpse.

The Italian Fuzz Dance! Just said almost everything about the global dance music scene. One of the most prominent labels to connect the old Continent to the new Continent. For many top players it is considered the blueprint of Italo-disco, for many others the beginning of the House sound. Some of the records on its catalogue are merely timeless and in the history forever. And "Plastic Love" is definitely one of those.

Back in 2016, five years ago, London based darkwave duo The Agnes Circle released their first and so far only full-length album on Avant!.

Some Vague Desire became some kind of an instant classic amongst the dark hearts passionate about this sound and both editions on CD and LP sold out real quick. After all, their recipe made of equal shares of English post-punk and French coldwave was just perfect.

While the band seemed to go on some sort of hiatus a few months later, the demand for their debut album stayed constant all these years, proving how good the record still is today.
Therefore we’re very pleased to announce that Some Vague Desire will be back in stock starting April 9. New edition on Grey Vinyl LP limited to 300 worldwide.

If you missed this the first time round, this is your chance. No sleep.

'What I Mean' transports you to the dance Qloors in your hazy memories of so many late nights. Spacey analog synths and an energetic chanting hook make this upbeat track impossible not to dance to.Sleepless presents a cosmic clash between smooth, melodic synthesizers and sharp angular guitars.Poly-rhythmic drum samples and hypnoticvocalslead you through the genre bending song like an entranced sleepwalker.

The story of danceable post-punk group Baby’s Berserk is one based on the alchemy and harmony between different worlds. Based between Amsterdam andToronto, existing between the cultures of music and fashion, and seeking a balance between live band and club music. Formed in 2019 when Mano Hollestelle (Mauskovic Dance Band), Lieselot Elzinga (designer of Elzinga), and Puggy Beales(Regular Nature) wanted to create a new, fresh take on the underground rave and 90’s house music they love. By injecting the party anthem vibe of this era with the unpredictable energy of no-wave, the Baby’s Berserk sound was born.

New album from the Parisian producer.

Label say:
Because, at La Creme Garcia Club, a private circle of discerning smokers in Barcelona, Blundetto was in heavy rotation in the playlists. So heavy that these people of good taste for legal activity on this side of the Pyrenees yet prohibited from profits, had the idea of becoming the privileged partners of a new album. Without scrutiny, without intervention in the artistic, but with a single watchword: let Blundetto return to his first love of world sound.

The result is a stereo trip illustrated by Mossy Giant's artwork. A trip around the world without leaving your couch.
An offer that cannot be refused.

Ten years had passed since Bad Bad Things; it was the occasion to celebrate this decade by reviving its state of mind. The one who mixes collaborations, atmospheres, and styles. Exiled to the green, in musical autarky from several albums, Blundetto has therefore returned to the rhythm of city life and studios. He has changed his way of operating, opened his repertoire, and invited friends to new titles that he had written for them.

The circle of intimates already present on Bad Bad Things (Hindi Zahra, General Electric, Chico Mann) has widened to include regular accomplices (Biga Ranx) and to extend to artists with whom Blundetto felt an obvious connection (Crime Apple, Leonardo Marques). Guided by this roadmap written by Blundetto, all succeeded in painting with their colors and spreading their musical soul in the project, either taking the rhythmic direction of Brazil, Africa, or Latin America, getting dizzy in Jamaican fumes or chopping at the salient angles of hip hop.

Dive into the new openings of Clément Petit’s arrangements, now more sophisticated than those on which Blundetto evolved, and now capable of bringing an orchestral dimension made of strings and brass, creating a direct opening on the emotions, an automatic generator of images to accompany the soundtrack by the producer Blackjoy.

Whatever the orientation, each guest becomes a unique and essential part while Blundetto remains the common thread, the cement and the final varnish of a musical mosaic called Good Good Things.

Cassette Version!

Dog Person is the deserved culmination of a whirlwind few years for Kean Kavanagh. His debut project, the ten-track collection prominently features his aforementioned semi-fictional, cigarette-bumming, binge-drinking, lovestruck alter-ego; a persona with just an echo of his real personality reverberating throughout the record.

Kicking off this year with the delectable “Roll Over!”, Kean returned earlier this month with his new single “EMMA”.
A developed sound, the single delved deeper into Kean’s incredible versatility as an artist - drawing a grittier sound
and formulating a high-octane single that wouldn’t sound out of place in a festival headline set. This all served to
prove that Kean Kavanagh had firmly stepped into the limelight; garnering support from the likes of i-D, DIY
Magazine, Clash, Notion and more.
Cofounder, producer and A&R of Irish Label Soft Boy Records, Kean had previously pulled the strings behind the
scenes; but is now becoming one of the most exciting names on the emerging music scene. A story-teller, word-smith
and dexterous musician with a strong imagination, Kean’s career is set to project far beyond his Irish roots. .

Founded in 2015, Soft Boy Records morphed into a cultural behemoth that gripped the Irish music scene and has
refused to let go - alongside his co-founder Kojaque, Kean found himself sharing stages with big names such as
Slow Thai and Lana Del Ray, as well as his consequential solo-slots opening for Maverick Sabre and Vampire
Weekend.
Earlier this year, Kean appeared on the Everything is Recorded project ‘FRIDAY FOREVER’, (curated by Richard
Russell of XL Recordings) alongside Aitch, Flohio, Maria Somerville, Ghostface Killah and others, and aligning
himself with a tastemaker and hot tipped selection of musical peers.
A sensational debut offering showing dexterous musicianship and lyrical magic, Dog Person places Kean as one of
the most exciting emerging talents coming through.

"is liquid and libidinous, winding through six minutes of ebbing, flowing jazz-funk... It’s one of the most enjoyable smash-ups of sound and vision that’s arrived this year, setting the stage for the grand rollout of”. - Aquarium Drunkard

“Spirals from jazzy sax-laden tropicalia into an easy listening guitar jam worthy of Wilco’s Sky Blue Sky without losing its eclectic undercurrent.” — Stereogum

“a wonderful, mid-tempo odyssey of jazz-funk—breezy yet sophisticated, animated, but never too busy.” — Paste

Barely a season passed in 2019 between the release of Badge Époque Ensemble’s self titled debut album, and its follow up, the disco-sleeved 12” Nature, Man & Woman. Now, 3 months on from the release of the group’s acclaimed sophomore album Self Help, we find them repeating the trick with a surprise fourth title on Telephone Explosion Records, the fittingly titled Future, Past & Present.

A compilation of sorts, the album collects instrumental, alternate mix versions of all BÉE songs which originally featured guest vocalists. In practice this results in a pseudo-greatest-hits survey of the Ensemble’s catalogue to-date, touching on highlights from all three releases while emphasizing the group’s strength as versatile mood-conjurors. Where these songs once featured vocal heavyweights like Meg Remy, Jennifer Castle, James Baley and Dorothea Paas, they are now strung together instrumentally in a sequence which represents the purest distillation of BÉE’s collective musical chemistry to date.

Crowning this delectably listenable platter is an exclusive, nearly eight-minute composition; title track ‘Future, Past & Present’. A spiritual sequel to ‘Nature, Man & Woman’, both tracks cook at a decidedly ‘luded tempo as pressurized atmospheres swing from pleasantly meditative to sinisterly growling. On ‘Future, Past & Present’ bandleader Maximilian ‘Twig’ Turnbull returns to the approach of the earlier track, chopping drum and percussion stems from previously released BÉE works, refashioning structures for bold new compositions. This approach is an interesting contrast from the reputation BÉE has cultivated for their LP compositions which are cut live off the floor, unadorned with little to no intervention. It suggests the possibility of an expanding sonic universe for the collective, as these collaged compositions shade closer to a more explicitly hip-hop oriented pallet mostly hinted at elsewhere in the catalogue.

Fittingly, the rest of the runtime plays like a set from a well appointed hip hop producer’s crate; flattening the distances between proto-prog slap, sensuous soul flute and Brazilian AOR influenced pockets into a cohesive whole. While the band’s burgeoning reputation for dusted fidelity grooves is well observed, it is formed on the basis of a contemporary chemistry and approach. Future, Past & Present is a summation of that approach to date, and well worth crating.

NNHMN is one of the most prolific synthwave acts of the moment, in this occasion, they close the “Deception Island” project, forming an amazing long play album. Again we will find Lee’s sultry vocals over synthwave classical bass and rhythm structures, from dark Italo Disco with touches of light ebm to classic post punk in a brilliant closing track. NNHMN "Deception Island Part 2 " Ltd. Edition 12" EP including INNER WITH LYRICS (vinyl edition) comes presented in a ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid MAGENTA vinyl. All tracks have been specially remastered for LONG CUT vinyl by Conor Dalton at Glowcast.

ELYSIUM (a.k.a. BURNING SKIES OF ELYSIUM since 1985) formed in Horley, Surrey (UK) in the autumn of 1981. Their first release was the 4-track AMONGST THOSE CLOUDS cassette-only EP from 1983. It contained their first two songs recorded at Rendezvous, John Ratcliff’s south London studio in March 1982, together with another two songs recorded at Ambiance Recording Studios, Burgess Hill, in January or February 1983. Later joined by saxophonist Ron Howe, their first vinyl release came in September 1984, the ‘Summer House’ b/w ‘Through Flak & Flak’ 7”, recorded at Ambiance Recording Studios again. One song from these sessions entitled ‘Emporium’ remained absolutely unheard and forgotten. Until now.

We have gathered these seven early songs to create our extended vinyl rendition of AMONGST THOSE CLOUDS, presented as a limited, hand numbered edition of 120 copies, housed in a matt finish sleeve with a double sided insert and download code.

Mystery man MW Parsons takes care of the A side with Altvornorge, a melodic somewhat melancholy journey. Followed by Kusanagi, a mean and quirky slow burner.

On the B side Gluten Vrij and Sushi Delight by party crew Marck bring a more straight forward, percussive and groove orientated approach to the table.

Very Ltd Edition 12"EP on this highly intriguing label.. TIP!

Hailing from the Ruhrgebiet and now based in Cologne, sound enthusiast and percussionist Tulips is cofounder of the free-wheeling improv kraut group NASSSAU, plays together with TRJJ (of Belgium’s Stroom crew) in the duo P.VEE, and is part of Cologne’s dub-minded jam hounds MONTEL PALMER.

Produced in his bedroom, the sonic palette for this EP derives from primitive key improvisations to talking percussion worlds as part of extended cosmic excursions to unknown paramós. All tracks on ​Matas Flores y Algo Más ​ were jammed and recorded between late 2018 and early 2019, using an array of digital and analog synthesis, such as the Juno 106 and Yamaha DX7, and the Korg Wavedrum and Pearl SC40.

The opening track ​Self Similar Melodies ​ carries itself with a certain weightlessness, as drifting keys and oscillating bleeps grasp for an unreachable climax somewhere on the horizon. As the synth layers gradually build throughout ​A Bird Feeder, ​ electronic tones chirrup like chaffinches, while the distinct feeling of sunrise breaks through the music.

On the B side, ​Retrograde II ​ winds on a syrupy slow garage lean with bright riffs and interlocking percussive signatures. The marimba tones and loping bass of ​Same Scene conjure up tropical twilights from a Ballardian dimension, and the EP closes with Matsutake ​ , a twisting rhythm in conversation with itself amid a mirage of lurching synths and pitch-shifting modulations.

Traditional Heart“ is the second album by Gianni Brezzo - the band or the studio project – of the Cologne-based musician Marvin Horsch.

The title is by no means to be understood in the sense of an authenticity pathos à la love in times of Tinder, but addresses the process of musical production itself.

Says Brezzo: “This time the process of making music was more important than the product. Not to allow even a thought regarding the effectiveness of the music; pick up the instrument on impulse and put it away again; record again. Finding a rhythm during the process. At home.”

12" + 7"

Montreal’s based KINDEST CUTS is without any kind of doubt one of the actual world's leading synthwave/synthpop acts. Perfect pop structures and outstandingly captive musical progressions in perefct combination with classical genre male deep lead voice, following the trace of early Depeche Mode or Camouflage. KINDEST CUTS "Keeping Distance" Ltd. Edition 12" EP + bonus 7" (vinyl edition) comes presented in a ONE-OFF truly limited edition of 200 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered for LONG CUT vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).