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Yaourt's compositions flow like water, picking us right up where we are, no preparation, no prior knowledge required. And once tuned in, they connect us to a deep sense of longing, reminiscent of 90s coming-of-age movies, to the randomness of love, to new beginnings. Chrome's music leaves us with a glimmer of hope that all we do and work so hard for indeed has meaning. For once, this release is not about its creator, it's centering your story. Yaourt will make Joghurt your official drink of 2021.

After two stellar Split EPs with Das Komplex, Brazilian sound wizard ROTCIV delivers his first Solo EP on Luv Shack Records. With 4 intricate original cuts and a Massimiliano Pagliara remix, the Elev8tion EP is a bold testament to modern EBM.

The titular track sets the stage with a firework of dramatic synths, brash elektro beats and a fluttering acid line, finding a perfect balance between dancefloor appeal and leftfield quirkiness.

Italian maestro Massimiliano Pagliara remixes "Elev8tion" in a straightforward fashion, opting for a percussion heavy drummachine pattern, a driving bassline and additional synth melodies, yet incorporating the original 303 to great effect.

On "Unbelievable", ROTCIV lays out a complex carpet of alternating arpeggios, heavily automated synth melodies and an array of weird vocal snippets, atop a minimalistic electronic drum track. "Muquifo", which literally translates to flophouse or dump (or shack?), is a slow burning breakbeat track with eerie strings and tripped out acid melodics, making it a hot contender for future afterhours.

"The Morning After" is a similarly low slung track, with a broken beat and a distinct industrial flair, yet the synth melodies strike a more hopeful chord and have an almost

The Staples do it again with another Ska classic that is guaranteed to get you singing along. This song is something of a good time anthem with happy vibes contrasting with some of the negatives that are around right now. With this song Neville and Sugary Staple really know how to put a smile on people’s faces. I can see this becoming a live favourite.

Dr Pete Chambers BEM, Coventry Observer

My goodness, the best of two huge talents. Husband and wife team Sugary & Neville Staple haven’t disappointed again! Feel good ska-based melody, toe-tapping and butt-shakingly good!TRISH ADUDU, BBC RADIO CWR

Well known for changing the face of music not once, but three times, 2Tone music legend Neville Staple (From the Specials), also known as the ‘Original Rude Boy’ and his super sidekick wife, Sugary Staple, release their brand new song, ‘Be Free Baby’, on the highly respected, Pickout Records.

A super ska track which mixes the original influences of Jamaican sounds, along with the 2Tone style that this dynamic ska duo, take on tour with them globally, alongside their top band of musicians.

Written by Neville Staple, who has scores of music awards from 40 years of 2Tone & Ska hits and albums, and his super talented sidekick, Sugary Staple and acclaimed record producer Lloyd ‘Pickout’ Dennis this song is a truly happy song, to take our minds away from the difficult days of Covid lockdowns, into a party mood of freedom and dancing. Fans will love the irresistible skanking beat, along with super feel-good lyrics to sing along to.

“After recently writing a song about the Lockdown, which related to the tough days of staying home and following rules and so on, I decided we needed some uplifting music too.” Explained Sugary, Frizzle TV Award Winner and Skamouth Festival Founder. “There is so much doom and gloom about in the news and we know how music can really be so good for the human soul. This tune has a lot of love and feeling behind it, as it encompasses all the fun, freedom and thrills that we have on stage, when we perform live. A whole year of global touring has been postponed, so we put the vibrance of a live show into this song.

Neville agrees, “I love writing with Sugary, as we are both on the same wavelength. We feed off each other. We were both in need of getting out there and performing for the masses but have had all our 2020 shows moved to next year, so we decided to bring the party to everyone through this song. We love the traditional sound and the bluebeat vibes too, with a twist of 2Tone magic. It makes me think about our holidays back home in Jamaica and beach parties, street carnivals, gigs and festivals. This is a happy tune for dancing away the blues!”

Der Begriff "Klassiker" mag überstrapaziert sein, aber er ist völlig angebracht bei den Reissues der beiden House-Alben aus Matthew Herberts umfangreichem Katalog, die auf Accidental erstmals als Triple-LP erscheinen. Das gefeierte "Bodily Functions" (2001) taucht in vielen "Album Of The Decade" Listen auf, während "Around The House" (1998) den Massstab für einen neuen, durchdachteren Ansatz in der Dance Music-Produktion setzte, der heute noch genauso knackig klingt wie damals. Beide Klassiker zeichnet eine unverwechselbare, zeitlose Qualität in Klängen und Worten aus, aus denen die Songs entstanden sind, wie die unverwechselbare Stimme von Dani Siciliano oder die langjährige Zusammenarbeit mit dem verstorbenen Pianisten Phil Parnell, menschlicher Blutfluss, Küchenutensilien, Knochen, Haushaltsgeräte, Zähne und Laser-Augenoperationen. Tatsächlich galt Herberts mittlerweile legendärer Personal Contract for the Composition of Music (PCCOM), für den er heute berühmt ist, zu seiner Zeit als radikal.

- "Both albums are loaded with music of exceptionally high quality." - Pitchfork, 2002

Wewantsounds is delighted to reissue Sylvia Robinson's super rare soul LP released in 1975 on her Vibration label, part of her All-Platinum/Stang/Turbo empire. A few years later, she would bring hip hop to the international stage producing "Rapper's Delight" in 1979 and "The Message" in 1982. "Sweet Stuff" features several Sylvia cult classics including "Private Performance," "Soul Je T'aime", a cover of Serge Gainsbourg's "Je T'aime Moi Non Plus" and the mellow favourite "Sho Nuff Boogie" recorded with The Moments. As bonus tracks, the release features "Sho Nuff Boogie, Part 2" which only came out as the single's b-side at the time and the long version of "Soul Je T'aime", all packaged in the album's original artwork.

Born and raised in New York, Sylvia Robinson began recording at a young age under the name "Little Sylvia" in the early 1950s. She gained exposure when she teamed up with Mickey Baker scoring a hit in 1956 with "Love Is Strange" as Mickey & Sylvia. She went on to record many singles during the late 50s and 60s before setting up her own label, All Platinum Records in 1966 followed by Stang Records and Vibration. Through these labels, she had several hit records in the 70s as a producer including The Moments' "Love On A Two Way Street" and Shirley & Co's "Shame Shame Shame". ​

Sylvia Robinson continued to record as a solo artist shortening her name as 'Sylvia'. She got a massive hit of her own with "Pillow Talk" in 1973, a song she'd originally penned with Al Green in mind. The song went to nr 3 in the charts and started a string of other hits over the next few years. In 1973 she covered Serge Gainsbourg's 1969 megahit "Je T'aime Moi Non Plus" renaming it here "Soul Je T'aime" and duetting with Fania Records' Latin soul singer Ralfi Pagan. ​

The following year was also busy for the singer and producer with three singles that went to the R&B chart: the Soul Ballad "Alfredo", the Funky "Private Performance" and "Sho Nuff Boogie," sung with The Moments. They are all featured on the album "Sweet Stuff" which was released in 1975. Interestingly the song "Sweet Stuff" notoriously sampled by J Dilla for "Crushin'" doesn't appear on this album even if "Sho Nuff Boogie" sounds very much like a forerunner of the song with its similar languorous pace and almost identical melody. "Sweet Stuff" is packed with other tasty soul songs including "I Can't Help It", "The Notion" and "Love Is The Only Thing."

Four years later in 1979, Sylvia Robinson would make another genius move with the launch of Sugarhill Records and the Sugarhill Gang's single "Rapper's Delight" but that's another chapter of Sylvia Robinson's life. Wewantsounds is delighted to reissue one of her rarest albums from her best 70s period for the first time in decades and make it available on vinyl.

Clear Vinyl

Hitting us with a double LP of sublime dance music lingering on the border of ambience, Interstate is the alter ego of DJ Swagger. Earlier this year, he graced Shall Not Fade's Time Is Now sub label in collaboration with DJ Aedidias for four feelgood UKG cuts - now returning for the second album in the Seasons Series, expect something a little different. Dominion Swing is his first LP under the Interstate moniker.

The four sides of vinyl hold their fair share of punchy kick drums and funky melodies, though across them is a blissed out ambient softness that comes to the forefront by the end. "Doublet Doureet" is a low end groover driven by skippy percs, the speedy bass melody chilled out with some lingering natural chords. "Second Mass" is futuristic and clean cut, tickling the ear with panning synth stabs and a powerful electro bassline that cuts through the track sharply, giving memories of the dancefloor while perfectly leading into "Habitat" - the sustained ambient shimmer that closes the A side.

Onto the reverse side, "This Rather Than That" and "Misty" are glitchy, playful evening music, "Misty" leaning into a fun organ ditty. The almost imperceptible bassline of "Two To Get Ready" hangs in the air giving it a dub atmosphere.

More genre exploration is to be found on the C side, from the pulsing but delicate house of "Appliance" to the tranquil guitar-lead journey of "Condone The Drama", ending with a return to blissful, oceanic ambience in "Bubblebath".

The closing side of Dominion Swing stays in this vein - blissed out haze is soaked into summer sundowner "Ascension" and its romantic melodies. "Stigma" is built on misty ambient pads but carries a persistent heartbeat rhythm, fading slowly into album closer "Yosemites" tropical field recordings and scattered drum hits.

Blue Vinyl

Acid banger from Poland, in association with Stay up Forever.
Cut by Lawry !! LOUD !!

Crazy hardfloor tribe, oldschool hardtek streetwize style...
With a real cool political message... oups... massage.

Certain Sound Records are pleased to announce the release of the brand-new album from Montener The Menace – Anyone Home?

Anyone Home is the hotly anticipated follow-up to “I Have a Hidden Hobby” and is comprised of 14 superb tracks featuring an ensemble of legendary figures from both the US and UK Hip Hop scenes with appearances by Masta Ace, Rah Digga, Craig G, Keith Murray, Edo.G, Micall Parknsun, Cracker John, AG & Guilty Simpson to name just a few.

Production is handled by such heavyweights as Domingo, Roccwell, Keynotez and all cuts are provided by the legendary JabbaThaKut.

The album campaign was launched with the release of 3 excellent singles – High Noon, The Struggle and Take it Back all of which were met with extremely positive reviews from blogs and magazines alike, in addition to this acclaim the tracks have received airplay on a global scale via stations such as Shade45 and Itch FM.

Montener showcases his massive progression as an artist since his previous release with great confidence while still maintaining his trademark sense of humour that fans have come to love and adore. He demonstrates great diversity throughout by being able to touch on some difficult subjects such as suicide and mental health and parenthood as well as his more traditional upbeat content.

“Its gonna make a great impact on the scene, just what we need, when we need it most.” – Skinnyman

Land of the Free? with revered classic songs like the incendiary “F*ck
Authority,” was a wake -up call from Pennywise, aimed at the slumbering
masses of America, an attempt to shake people out of their lethargy and
prod them into thinking about the world.
Originally released in June 2001, the band’s six studio album tackled the political and social issues of the day, from police corruption and mass shootings to
elections, topics that 20 years later are just as relevant.
Pennywise have made a name for themselves over the past 33 years as a politically minded, melodic hardcore /punk band that has sold millions of albums
and become one of the most successful independent acts of all time.
Formed in 1988, the band played backyard parties in their hometown of Hermosa Beach, California, without having any aspirations other than playing as
many songs as they could before the police showed up. Hermosa Beach and
the surrounding neighborhoods are a prominent place in popular culture, with
groups like Black Flag, The Circle Jerks and Descendents merging a fast rebellious sound with the surrounding aggressive surf and skate culture.
Inspired by their predecessors, Pennywise were at the forefront of a second
wave of American punk rock that would catapult the movement from a tightknit subculture into a worldwide movement.

"His desperate need for a torrent, a precipice, a railroad track - no matter what, but instantly - made him appeal for the very last time to the topography of his past. And when, in front of him, a grinding whine came from behind the hump of the side street, swelling to full growth when it had overcome the grade, distending the night, already illuminating the descent with two ovals of yellowish light, about to hurtle downward - then, as if it were a dance, as if the ripple of that dance had carried him to stage centre, under this growing, grinning, megathundering mass, his partner in a crashing cracovienne, this thundering iron thing, this instantaneous cinema of dismemberment - that's it, drag me under, tear at my frailty - I'm travelling flattened, on my smacked-down face - hey, you're spinning me, don't rip me to pieces - you're shredding me, I've had enough...Zigzag gymnastics of lightning, spectogram of a thunderbolt's split seconds - and the film of life had burst." One-time vinyl pressing (no digital). Recommended for fans of Werkbund, Main, General Elektro, Heith, Experimental Audio Research.

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Freddy Fresh is a legend. Period. From a plethora of 12“es on labels like Nu Groove, Drop Bass Network, Forced Nostalgia, Spaziotempo, Lone Romantic or Toolbox Killers to albums on 90s scene mainstays like Harthouse, Anodyne or Eye Q to countless releases on his own imprints like Howlin Records, Analog Records USA and Electric Music Foundation. From remixes for the likes of GusGus, Heaven 17, Kitachi, Steve Stoll, Frankie Bones and many more to hitting the UK Top 40 with the massive BigBeat smasher „Badder Badder Schwing“
produced alongside Fatboy Slim. The man has done it all. Nearly.
And therefore Intrauterin Recordings is proud to present the first ever Drum'n'Bass release in the more than 30 year spanning career of the one and only Freddy Fresh!
With „333“ Freddy Fresh is going down a twisted, hard stepping and yet positive alley of what the man himself refers to as Modular Drum'n'Bass that is unmistakably cooked up live and direct in his Minneapolis-based studio. Expect a whirlwind of swirls, swooshes, bleeps and FX alongside raw junglistic beats and the most positive Synth bass motif you've heard in a long while.
Yet the singles' main dancefloor smash is to be found on the flip side. „Watch It Go Roun Roun“ is a raw classic, a heavy original JumpUp banger driven by a killer vocal performance by Mike Gates a.k.a. Mikey Dredd. Likely better known to many for his Techno productions on labels like Kanzleramt, Creation Rebel or Howlin Records rather than for his MC skills this is the very first time Mikey Dredd's secret love for taking up the microphone as a proper Jungle / Drum'n'Bass MC is officially recognized and revealed on wax as a late tribute to and
honoration of a large scale talent which passed away way too soon in 2019. Lighter crew!
Initial pressing will be limited to 225 copies on 7“ whitelabel vinyl. Hand-stamped with stickered cover.


b B1: Watch It Go Roun Roun featuring Mikey Dredd

The incredible production. opus - complete with a stunning diva lead vocal, incredible scurrying strings,and an irresistibly catchy song that sounded like it was the equivalent of Ashford & Simpson on steroids -became me a massive disco anthem when released on the United Artists label. It was loved so much on both sides of the Atlantic that Ian uses the same backing track some time later to record a male vocalversion for AVI by LJ Johnson. Compared to the all conquering Barbara Pennington gem it went under the radar of everyone except the disco cognoscenti, despite being rather good in its own right.Now after tracking down the original 24 track studio masters, the two versions have been remixed by Paul Mooney to create a unique boy-girl duet.It sounds like it should have been done in the first place, and dare we say even better than the original “solo” versions.

A collection of rare tracks for the very first time on vinyl. A series of 70s and early 80s musical sketches used for advertisement, tv series and movies. A who’s who of the italian golden age of soundtrack and libraries era, featuring outstanding numbers by Maestro Morricone, Alessandroni, Brugnolini and the likes.

Muse celebrate the twentieth anniversary of ‘Origin Of Symmetry’ by releasing ‘Origin Of Symmetry: XX Anniversary RemiXX’ on Warner Records. The new edition features remixed and remastered audio plus re-imagined artwork and will be released on digital formats on June 18th before two vinyl packages follow on July 9th.



As the album’s anniversary approached, Muse asked the Grammy-winning producer Rich Costey, who has produced or mixed material on almost every subsequent record, to revisit the original recordings. Whereas most remix albums aim to radically rework the material, or to switch to an entirely different genre, the band and Costey wanted to provide a renewed clarity with a more open, dynamic and less crushed sound. This highlights parts and ideas previously buried or muted on the original mixes, like a harpsichord on ‘Micro Cuts’ and Abbey Road recorded strings on ‘Citizen Erased’, ‘Megalomania’ and ’Space Dementia’.



And that’s precisely what has been achieved. From the visceral opening riff of ‘New Born’ to the cinematic melancholy of the closing ‘Megalomania’ via the staggering scope of fan favourite ‘Citizen Erased’, the remix unveils every facet of the album’s intricate production alongside a new-found warmth. It further benefits from mastering courtesy of Alex Wharton at Abbey Road Studios.



Matt Bellamy said:



"In revisiting the album what we found was the original mixes on the singles, like ‘Plug In Baby’ and ‘Bliss’, were pretty good so they were the hardest ones to improve. It was the deeper album tracks like ‘Micro Cuts’ where we were able to make massive breakthroughs."



The ‘XX Anniversary RemiXX’ also adds ‘Futurism’ to the tracklist. Originally a bonus track on the album’s Japanese edition and subsequently tagged to the end of the album on streaming services, ‘Futurism’ now adds a burst of energy to bridge the gap between ‘Feeling Good’ and ‘Megalomania’. This reflects its placing on the 2019 box set ‘Origin of Muse’.



‘Origin of Symmetry: XX Anniversary RemiXX’ is completed with a modernised reimagination of the album’s cover art courtesy of Sujin Kim. The visual artist has created a hyper-realistic 3D rendering of William Eager’s original cover image.



‘Origin of Symmetry: XX Anniversary RemiXX’ is now available to pre-order, with ‘Citizen Erased’ provided as an instant download. A limited edition exclusive 140 gram coloured double-vinyl set is available from the band’s official store. A striking package and a must-have item for collectors, it features LP1 on translucent sun yellow vinyl and LP2 on translucent orange vinyl. It will also be released on double black vinyl and digital formats. Both versions of the vinyl feature an unorthodox detail: the sides are marked M, U, S and E rather than the standard format

When Rey Sapienz was eight years old, the Democratic Republic of Congo was plunged into the Second Congo War. The conflict last five years and was the bloodiest since World War II, leaving an indelible mark on East Africa and creating mass displacement and loss of life. But Sapienz endured, cutting his teeth as a young rapper at twelve, first performing to celebrate Congo's independence day. When he finished school, he headed to nearby Kampala to hone his craft and collaborate with local producers. But civil war broke out back home and he was forced to extend his stay in Uganda. Since then, Sapienz has established himself as a force to be reckoned with, co-founding the Hakuna Kulala label, teaching his Ableton Live skills to Kampala's young producers and releasing two acclaimed EPs. For his debut album, Sapienz embarks on an ambitious project that travels beyond the avant beatscapes of his early material. Alongside traditional percussionist, vocalist and dancer Papalas Palata and rapper Fresh Doggis, he has formed The Congo Techno Ensemble, utilizing their skills and experience to offer a statement that speaks to the past, present and future of the DRC. On "Eza Makambo", the trio channel rich musical traditions and historic tension, evolving electronic and traditional forms into boundless sci-fi mutations. The track breaks open the stories all three artists accumulated in the DRC, augmenting radioactive techno-dancehall beats with radical, open-hearted words and rhymes. "Eza Makambo" is a heady cocktail of stylistic futurism and harsh reality that could be compared with Zizou Bikaye's seminal "Noir et Blanc or Danis Mpunga & Paul K.'s genre-breaking electronic experiments. But marked by the DRC's recent scars, it's a critical work that stands painfully alone.

Pleasure is a Sydney based music project that utilizes distorted synths, irregular drum beats and fluid song structures to create energetic and hypnotic pieces that straddle the line of bright and abrasive.The trio is comprised of Adam Connelly (synthesizers + vocals) Jonathan Boulet (bass guitar + fx pedals) and Hugh Deacon (drums). When playing live and on record, their music is improvised and unrehearsed with no laptops or backing tracks. “One of us will introduce an idea and the rest will follow.”

Their debut LP Saint Albans, was conceived and recorded in a small farm house in the town of Saint Albans, New South Wales, over 3 days from the 12th to the 14th of October 2019. The building has since burned down in the 2019 Australian Bushfires. “We came away from this session with close to 20 hours of material that we edited down into consumable pieces.” This is the case for all tracks except BRAIN WASTE 191013 which was left intact and unedited.

They launched the Australian release of the album by playing a 6 hour endurance set in a warehouse in Sydney’s Inner West. “Our sonic influences seem very obvious but we haven't been called out yet. Mainly Boards of Canada, Black Moth Super Rainbow, Aphex Twin, Fuck Buttons, Blanck Mass and Lightning Bolt.”

When Rey Sapienz was eight years old, the Democratic Republic of Congo was plunged into the Second Congo War. The conflict last five years and was the bloodiest since World War II, leaving an indelible mark on East Africa and creating mass displacement and loss of life. But Sapienz endured, cutting his teeth as a young rapper at twelve, first performing to celebrate Congo's independence day. When he finished school, he headed to nearby Kampala to hone his craft and collaborate with local producers. But civil war broke out back home and he was forced to extend his stay in Uganda. Since then, Sapienz has established himself as a force to be reckoned with, co-founding the Hakuna Kulala label, teaching his Ableton Live skills to Kampala's young producers and releasing two acclaimed EPs. For his debut album, Sapienz embarks on an ambitious project that travels beyond the avant beatscapes of his early material. Alongside traditional percussionist, vocalist and dancer Papalas Palata and rapper Fresh Doggis, he has formed The Congo Techno Ensemble, utilizing their skills and experience to offer a statement that speaks to the past, present and future of the DRC. On "Eza Makambo", the trio channel rich musical traditions and historic tension, evolving electronic and traditional forms into boundless sci-fi mutations. The track breaks open the stories all three artists accumulated in the DRC, augmenting radioactive techno-dancehall beats with radical, open-hearted words and rhymes. "Eza Makambo" is a heady cocktail of stylistic futurism and harsh reality that could be compared with Zizou Bikaye's seminal "Noir et Blanc or Danis Mpunga & Paul K.'s genre-breaking electronic experiments. But marked by the DRC's recent scars, it's a critical work that stands painfully alone.

Das Phänomen POWERWOLF: Innerhalb der deutschen Heavy-Metal-Szene findet sich wohl kaum eine
andere zeitgenössische Band, deren Erfolgskurve seit vergleichbar langer Zeit derart steil nach oben zeigt,
was mithilfe der im vergangenen Jahr veröffentlichten opulenten Werkschau „Best Of The Blessed“ zum
15-jährigen Bestehen deutlich sicht- und hörbar unter Beweis gestellt wurde. Nun, nur rund 12 Monate
später, steht das achte Studio-Album unter dem Titel „Call Of The Wild“ in den Startlöchern, von dem
mit Fug und Recht behauptet werden darf, dass es neue Maßstäbe setzt!
Zeitsprung ins Jahr 2005. Bereits auf seinem Debüt „Return In Bloodred“ etabliert das Quintett um den
Lead-Gitarristen und Haupt-Songwriter Matthew Greywolf einen in dieser Form nie dagewesenen Stil, der
klassischen Metal melodischer Spielart mit erhabenen Orgelklängen und orchestralem Bombast vereint.
Alles an POWERWOLF, von den elaborierten Texten - die mal augenzwinkernd humorvoll, mal bitterböszynisch von Phantastischem und Historischem handeln - bis zur omnipräsenten sakralen Symbolik, nährt
die mystische Aura des Fünfergespanns, die über die folgenden Jahre mit jedem weiteren Werk an
Bedeutung gewinnen und auf unzähligen Touren in eine einmalige, nicht von ungefähr als
„Metal-Messe“ bezeichnete Liveshow übersetzt werden soll. Die süßen Früchte der eisernen Treue zu den
traditionellen musikalischen Wurzeln, bei gleichzeitiger konsequenter Weiterentwicklung ihres ureigenen Sounds, ernten POWERWOLF aber nicht nur von den Bühnen ausverkaufter Konzertsäle aus, sondern
auch an der hart umkämpften Chart-Front. Dreimal gelang in den letzten Jahren der Sprung aufs
Treppchen der offiziellen deutschen Albencharts - zweimal davon auf die Pole-Position - und im
europäischen Ausland wurden die jüngeren Veröffentlichungen „Blessed & Possessed“ und „The
Sacrament Of Sin“ mit Gold, die Hit-Single „Demons Are A Girl' Best Friend“ gar mit Platin
ausgezeichnet.
Warum außer Frage steht, dass das am 16. Juli 2021 erscheinende Opus „Call of The Wild“ in Sachen
Popularität einen weiteren Quantensprung bedeuten wird, erklärt sich sowohl langjährigen als auch frisch
gewonnenen Fans schon im ersten Hördurchlauf wie von selbst: Gerahmt vom Eröffnungs-Titel ”Faster
Than The Flame”, der sich pointiert als „POWERWOLF in Reinkultur“ beschreiben lässt, und dem
großen Finale ”Reverent Of Rats” verströmen die elf enthaltenen Songs zwar stets Vertrautes, wagen aber
auf jedem Schritt des Wegs Weiterentwicklung in vielerlei Hinsicht. So mutet etwa das
unverschämt-eingängige ”Dancing With The Dead” regelrecht tanzbar an, während ”Alive Or Undead”
als Power-Ballade allererster Güte den Ruf des Frontmanns Attila Dorn als absolutem Ausnahme-Sänger
endgültig zementiert. „Call Of The Wild“, das sich einmal mehr als heißer Anwärter auf den
Chartstürmer-Titel ins Rennen stürzt, ragt anno 2021 als turmhohes Ausrufezeichen aus der
Musiklandschaft hervor und vermittelt wie kein anderes Werk das leidenschaftliche Credo
POWERWOLFs: Metal is religion!

Previously only available as an ultra-rare USB drive release, Demon Records presents the first reissue of ‘Live At
The Hotel Utah Saloon’.
Recorded in 2007, the album captures an intimate solo performance by Black Francis at San Francisco’s historic Hotel Utah Saloon venue. Featuring renditions of songs from across the Black Francis / Frank Black catalogue including ‘Headache’, ‘I Heard Ramona Sing’, ‘All My Ghosts’ and ‘Wave Of Mutilation.
This reissue features a brand new remix of the complete show by Jason Carter and is pressed on two 140g red vinyl.

His sixth EP on the Figure label catalogue, Brain Mechanix, finds the Stockholm producer UBX127 once again in top form.
Enhancing the proven formula, UBX127 combines outer-space atmospherics with heavy slabs of techno that will shake up any soundsystem. Revolving around a dusky vocal, opener Freek sets a hazy mood with chugging rhythms and some massive bass. Bastun then builds its eerie character on steady drums and squelching tones, before a hypnotic synth finally takes over.
A perfect example of finely trimmed minimalism, soothing B1 Likstroem carries itself by the presence of its rising and falling dub chords alone. Marking the culmination of the vinyl release, Teleport Into Space combines all of UBX127’ core qualities into a lengthy, albeit deeply rewarding ride throughout the stratosphere.

2021 Repress

Erstmals auf Vinyl erhältlich: das hochgelobte Debütalbum "Spanish Breakfast" aus 2009 des französischen Produzenten Rone, u.a. auf #17 in den "Top 25 Records of 2009" bei Electronic Beats. Eine fantastische Melange aus Electronica, Ambient und Techno, gemastered von Rashad Becker, Dubplates & Mastering (Berlin), die massiven Support von Laurent Garnier, Optimo, Jean-Michel Jarre und Sasha erfuhr.

Back in print ! Spittle Records present an expanded reissue of Massacre's Killing Time, originally released in 1981. Following the breakup of Cambridge's avant-rock legends, Henry Cow, guitarist Fred Frith moved to NYC in 1979, and soon found himself deep in the heart of the city's robust post-punk and free-jazz scenes. He performed with Bill Laswell and Fred Maher, from the group Material, as a power trio of sorts under the moniker of Massacre. The group quickly garnered a reputation around town, and around the world for that matter, as a heavy and heady band that experimented greatly with rhythm, time signatures, and tone. As Frith himself put it, "the group was a direct response to New York. It was a very aggressive group, kind of my reaction to the whole New York rock club scene." Massacre released one album, Killing Time, before disbanding for nearly 20 years. Their first wave as a group crashed fast and furiously and this one album, recorded in part live in Paris, and in part at Brooklyn's OAO Studio, is a perfect encapsulation of early '80s NYC. In addition to the original album, first released on Celluloid in 1981, this deluxe three-sided double LP includes eight bonus tracks recorded live between '80 and '81 at The Stone in San Francisco, and Inroads and CBGB in NYC. Avant-jazz-post-punk-noise of the highest order from several legends and one of the most important projects Frith and Laswell were ever involved in.

“Montreal’s genre-defying post-rock combo BIG|BRAVE could very well be the most noteworthy recent heavy curiosity to come out of the city in recent years.” - NOISEY

“…combines elements of Björk, Neurosis and Sunn O))) into a cohesive whole; but this whole is an ever evolving and challenging sonic mass.
- THE QUIETUS

Minimalism and instinct, structure/freedom and meticulous timing form the cornerstones of their precise, rhythmical sound.
Lyrically, the album explores the weight of race and gender, endurance and navigating other people’s behaviours, observation and protest. The band further comment “this album involves what it means navigating the outside world in a racialized body and what it does to the psyche as a whole while finding individual worth within this reality.”
This time featuring the core trio Robin Wattie, Mathieu Ball and Tasy Hudson, for their most collaborative record they’ve made so far. The band elaborate “having cut our teeth in very different musical backgrounds respectively, our intuitions vary, which has an interesting effect on our individual approaches and ears.”
For this record, BIG | BRAVE once again made the trek down to Rhode Island to record with Seth Manchester at Machines with Magnets. They remark “we fully trust his instinct as an engineer and his creative output, getting to experiment with textures, concepts, layers, and with pretty much every single recorded sound, the process of making records with Seth is an absolute journey and pleasure.”
With the initial seeds planted in 2012, with no other goal than simply experimenting with the instruments in their possession, Robin Wattie and Mathieu Ball started writing subtle ambient/minimalistic folk songs together. When long time friend Louis Alexandre Beauregard joined on drums, the goal still remained to play as tranquil as possible. After an incident where Wattie’s acoustic guitar broke, and having borrowed a friend’s electric as a replacement, larger amps that Ball had in storage from previous bands started to get incorporated to the outfit. Now with amplitude as a compositional tool, BB never lost interest in the power of minimalism and fragility. It became clear that loud volume would become just as effective as the lowest possible ones and the juxtaposition of both would become something BB still uses as their main MO to this day.
After self-releasing Feral Verdure in 2014, the band had the opportunity to open for Thee Silver Mt Zion in Montreal QC. After which, Efrim Manuel Menuck found something meaningful in the members and the band and invited them to open on future shows with Mt Zion and with Godspeed! You Black Emperor.
In 2015, the band entered the studio with Menuck and recorded “Au De La”. With no home for the record, they decided to take a chance in writing to Southern Lord. As luck would have it, Greg Anderson happened upon their email among hundreds and responded. Since then, the band has had a home with Southern Lord Records. (Along with Au De La, Southern Lord has released Ardor in 2017, A Gaze Among Them in 2019 and VITAL in 2021).
After Beauregard’s departure in 2018, the band traveled down to Rhode Island with Loel Campbell on drums to make a first record with Seth Manchester at Machines with Magnets. After the album’s release, with Campbell unable to tour, Tasy Hudson joined the ranks and the band spent most of the year touring their 2019 album “A Gaze Among Them”.
In 2020, the core trio of Ball, Wattie and Hudson once again made the trek down to Machines with Magnets to record their 5th LP “VITAL”.
Since their inception, the band has had many honours and privileges of touring a number of times in North America and Europe with bands such as Sunn O))), MY DISCO, The Body, Thou, Primitive Man and Thee Silver Mt Zion.

Second release of the year already from the party music people of Abstrack. This time, it’s Brussels based artist Strapontin whose original production is on the menu, with re interpretation from several gifted companions. The multitude here is no excuse for genericity or easy recipes, rather a fertile playground for toying around with a wide range of vibes and moods.

Matches is a poetic, sensual spoken-word piece. The song feels like a flower about to blossom, though with plenty of hybrid DNA in it. In the end it leaves the way wide open for further emotions to get through. And they do.

Sasnal Park is the emotion of wander : looking for something forever, but for what? The drums make you believe that you found it but they turn out to be a mirage, and so does every tangible element of the track. A beautiful journey in the end even if you don’t know where you’ve been.

Family Diner … no ambiguity this time : a mystical roller as dark as it is trippy. Or maybe more trippy. Either way, not sure you can resist dancing to this one played out loud. Lose yourself to screaming halfway through, but only to fall back well rooted in those dancing feet afterwards.

On the flip, remixers put it where they’re expected to : A Strange Wedding takes the wandering “Sasnal Park” on the Edge of trancy club music, closer to the roots of Abstrack parties.

Feon turns the belter “Family Diner” into a road roller : sirens and massive subs engage into a memorable fist fight.

And home man Vidock choses the very dreamlike “Matches”, adding quite a touch of dancefloor but not removing one inch of dream.

Muck Spreader found a home in the London circuit, performing alongside the likes of Fat White Family, Wolf Alice, Warmduscher and Black Midi; though this is not an indication of their sound, which continues to be forever morphing, unique and uncategorizable. The band’s latest EP Abysmal is their first vinyl release and signals a louder and further departure into sonic experimentation.

The EP follows Rodeo Mistakes, released last year to acclaim from the likes of So Young Magazine, DIY, Dork, Huw Stephens at BBC 6music and Jack Saunders at BBC Radio 1. With Abysmal we find deranged screams and a music rich with filthy bass, sludgy guitar, shrieking saxophone, and glitchy effects. The drums anchor the chaos.
On EP openerTake Flight Muck Spreader offer the following: "Fasten your seatbelts, find your nearest exit, and in the event of an emergency please assume the brace position. It’s going to be a bumpy ride. You are now in the safe hands of Captain Frosty Theodore, and the crew will do everything in their power to Keep it Mucky Take Flight"

DEATH, the heavy metal institution founded, realized, and helmed by legendary guitarist Chuck Schuldiner, released its final studio album The Sound of Perseverance (’98) to massive worldwide critical acclaim. The Sound of Perseverance is the masterstroke of one of metal’s true pioneers and innovators, and indeed worthy of the worship, adoration, and accolades that announced its original release (’98). The swansong of the metal legends, finally available once again in a gatefold double LP.

Mit "I May Never See You Again" veröffentlicht der iranische Komponist, Musiker und Virtuose der Kamanche-Geige, Saba Alizadeh am 08. Juli 2021 sein erstes Album auf dem neu gegründeten Hamburger Label 30M. Wie schon auf seinem Debütalbum "Scattered Memories" aus dem Jahr 2019 vermischt der 37-jährige Saba Alizadeh seine instrumentale Virtuosität mit sphärischer Elektronik, Samples persischer Musikinstrumente und Feldaufnahmen aus seiner Heimatstadt Teheran. Geboren 1983 in Teheran als Sohn des weltberühmten Tar- und Setar-Virtuosen Hossein Alizadeh, studierte Saba die iranische Kamanche-Geige mit Saeed Farajpoury und Keyhan Kalhor sowie Fotografie und später experimentelle Klangkunst mit Mark Trayle am California Institute of the Arts, Los Angeles. Geprägt von den konzeptuellen Herangehensweisen, wie sie dort gelehrt wurden, basiert Saba Alizadeh seine Musik auf iranischen Traditionen und Skalen, um sie im nächsten Schritt zu dekonstruieren und zu abstrahieren. Im Ergebnis begeistern die neun meist instrumentalen Tracks auf "I May Never See You Again" als klanglich ausdifferenzierte Meditationen über das Thema Erinnerung - einerseits wird die Glaubwürdigkeit und Belastbarkeit der eigenen Erinnerung musikalisch seziert, andererseits geht Saba Alizadeh z.B. in dem Track "Silences Inbetween" durchaus auch konzeptuell vor, wenn er die Atempausen der Stille in Reden von Diktatoren aus vergangenen Zeiten in akustischen Hallräumen so sehr verstärkt, dass diese Stille als Distortion hörbar wird. "Wie", fragt Saba Alizadeh, "hätte sich die Weltgeschichte verändert, wenn das Publikum in diesen Atempausen nicht andächtig geschwiegen, sondern aufbegehrt hätte?" Das Schweigen der Massen, davon berichtet "Silences Inbetween", ist also keineswegs bloß neutraler Klang oder Geräusch, sondern es besteht aus hochgradig aufgeladenen Schwingungen, die, an historischen Orten bis zur Unkenntlichkeit amplifiziert, von einer (nicht eingetretenen) Utopie berichten, einem anderen Verlauf der Weltgeschichte. Es ist in diesem Sinne vermutlich eine Fügung des Schicksals, dass sich Saba Alizadeh 2016 in Berlin mit Andreas Spechtl, dem Sänger der Band Ja, Panik anfreundete, kurz bevor Spechtl im Rahmen einer Artist Residency für ein einige Monate nach Teheran zog. Andreas Spechtl wurde im deutschsprachigen Raum vor allem dank seiner Songtexte berühmt, in denen er die Wörter ähnlich abstrakt dekonstruiert wie Saba Alizadeh die Musik. Auf "I May Never See You Again" kollaborieren Spechtl und Alizadeh auf den beiden Tracks "Phasing Shadows" und "Touch". Saba Alizadeh kollaborierte zudem noch mit der elektroakustischen Soundkünstlerin Rojin Sharafi, einer gebürtigen Iranerin, die mittlerweile in Wien lebt. Mit ihr komponierte Saba den Track "Hybrid". Nicht zuletzt wegen der anhaltenden Pandemie arbeiteten die beiden virtuell zusammen, indem sie sich Tonspuren über das Internet austauschten - auch daher der Titel "Hybrid". Mit seinen handverlesenen Kollaborationen und vor allem dank seines ausdifferenzierten Klangraums ist "If I Ever See You Again" bereits jetzt eines der herausragenden elektroakustischen Alben des Jahres. Beeinflusst von iranischer Harmonik, Musique concrète und ausgefeilter, zukunftsweisender Beat Science stehen die insgesamt neun Songs von Saba Alizadeh für einen unfassbar spannenden Akt gegenseitiger Inspiration - wenn sich iranische Skalen und westliches elektroakustisches Verständnis kraftvoll vereinigen.

‘ACR:EPC’ is the second of a trilogy of EPs by A
Certain Ratio.
‘ACR:EPC’ is dedicated to Andrew Weatherall.
All four tracks on ‘ACR:EPC’ are collaborations.
‘Emperor Machine’ is a collaboration with Andy
Meecham, also known as Emperor Machine.
‘YOYOGRIP’ is a collaboration with Maria Uzor
from Sink Ya Teeth and Jacknife Lee and ‘Music
Control’ is a collaboration with Chris Massey who
remixed ‘Dirty Boy’ in 2019. The track ‘The
Guv’nor’ is inspired by longtime ACR friend
Andrew Weatherall and is a collaboration in spirit.
The EP follows the band’s highly acclaimed album
‘ACR Loco’ and ahead of a nationwide tour.
12” pressed on cornflour blue vinyl with digital
download code.

Continuing our ambitious People Like Us vinyl reissue program with Welcome Aboard – a strangely relevant 10-year-old album (originally released in May 2011) when People Like Us aka Vicki Bennett became stranded in the US after the Icelandic Eyjafjallajökull volcano eruption closed much of northern Europe’s airspace.

Volcanically marooned in Baltimore and NYC, Bennett utilized some of her “free” time to work on the album and even gained audio contributions from fellow experimental musicians Jason Willett (of Half Japanese) and M.C. Schmidt (of Matmos) via her extended stay

Bennett derived thematic material of displacement, travel, and a longing for elsewhere from the natural disaster that caused her own predicament. Now strangely echoed by the Covid-19 outbreak and the various grounding of planes and stay at home policies worldwide.

While the general mashup culture often centres on the instant gratification of seamlessly juxtaposing hooks, People Like Us tracks transform the source material into collages that are equal parts dissonance and pleasure, making artful commentaries on our culture and Bennett’s own existential amusement within such a wondrous world. No one could have predicted how relevant this album would have been 10 years later.

Volcanoes or Viruses, Welcome Abroad is what happens when you’re stranded due to a freak natural occurrence trapping people all over the world and causing mass plane cancellations.

The first release from Toronto’s newest and most exciting Record Label, EastSide Edits! Limited run pressing of hand-stamped white labels, exclusive to release 001. Blessed by some of the top DJ’s in the world, this is sure to sell out fast! Donuts for the 45 slingers, and donuts for the House DJ’s, EastSide Edits brings a unique twist to the 45’s world by catering to both markets on each release. Carefully selected familiar Edits that work well in both environments is the name of their game! This first release has gained a lot of attention, with the test pressings being championed by some of the top turntable legends in the game. DJ Koco’s recent doubles routine and feature play of the B-side to this record has his massive following asking where to find it.

Side A is brought to you by the young wonder from New York, Pinto NYC. Pinto has been making quite the name for himself, signing music to some stellar House labels across the world, including the legendary Nervous Records, Glasgow Underground, and Simma Black. His upbeat and funky edit of “Rock with you” brings familiarity and energy sure to light the dance floor on fire! Creative sampling and pumping drums are his signature sound. This one hooks the listener early and smashes it home!

Side B is brought to you by the incredibly talented Toronto Disco duo, LeBaron James. LeBaron James are at the top of their game, pumping out high quality Disco Edits to a whole host of successful labels. Home base for them has been the incredibly successful Spacedisco label, run by Juno award winning Toronto artist, Hatiras. Their super catchy Disco edit of “Never gonna give my love again” will have you singing at the top of your lungs, feeling like you’re front and center at Studio 54! The vibe gets pushed even further into overdrive with the onset of a smooth and sexy sax solo that carries through the tail end of the record. This one has already proven to catch the ears of some major players across the globe! Don’t sleep on this white label. House DJ’s have responded overwhelmingly, and after watching DJ Koco’s Instagram routine we are confident that every 45 slinger in the UK will be digging for doubles on this one!

Clear Vinyl

DDS catch enduringly absorbing sonic alchemist Jim O’Rourke at his knottiest and most ingenious in a wormholing suite of amorphous rhythm and psychedelic electronics - a massive RIYL Autechre, Roland Kayn, Bernard Parmegiani, NYZ, Keith Fullerton Whitman.
Playing up to and into DDS’ freeform aesthetics, O’Rourke renders 40 minutes shearing hyaline synth tones and ruptured rhythm generated at his Steamroom facilities in Tokyo, a modular outzone trawling that harks back to his iconic Mego releases and some of the more recent Steamroom experiments. It’s an ideal addition to the ever expanding DDS cosmos, following Demdike’s recent ‘Drum Machine’ expo with a slice of purist and screwed modular magick that transcends early
electronics and modern styles in pursuit of musical sensations that defy stylistic brackets.
‘Too Compliment’ was assembled using a bespoke Hordijk modular system, a rare West Coast-style setup hand made by Dutch engineer Rob Hordijk. O’Rourke focuses on the frequency shifter here, using it to coax out fluxing tone thickets, haphazard frequencies and elongated drone corridors.
It’s transportive stuff, harking back to the early days of private press academic synth music but also sitting on edge alongside Autechre’s recent long-form work, as well as O’Rourke’s classic “I’m Happy, And I’m Singing, And A 1, 2, 3, 4” In O’Rourke’s hands, the mass of electronics takes on throbbing, organic dimensions, congealing
grey matter and purplish veins of fluid in viscous transitions that glisten and spark with invention as they form new tissue. What comes out is as unearthly as the earliest electronic music, but also
blessed with a psychedelc spirit in a way that’s long kept O’Rourke right out on his own, teetering between paradigms yet never settling into any single style. If you’ve always been keen on finding a way into that sprawling soundworld, ‘Too Compliment’ is a perfect entry point into a highly rewarding creative macrocosm.

Die Brüder Scott und Bryan Devendorf (The National), Ben Lanz (The National, Beirut) und Multi-Instrumentalist Aaron Arntz (Beirut, Grizzly Bear) sind mit Stirnlampen und Höhlenausrüstung ausgestattet und tauchen in einen somnambulen Raum ein. LNZNDRF's II wirkt wie eine trance-induzierende Massenhypnose. Aufgenommen in ausgedehnten, schamanistischen Jam-Sessions im Public Hi-Fi Studio in Austin, Texas im September 2019 und später bearbeitet, um dem Ganzen eine Form zu geben. Der Titelsong "Ringwoodite" mit seinen flinken, geschmeidigen und präzisen Drums ist ein sommerlicher Wunderkerzen-Song, der so schnell vorbeirauscht, dass einem schwindlig wird, wenn man seinen Spuren folgt. Es folgen das computerverliebte "Gaskiers" und die langsame Motorik-Hymne "Stowaway", die zwar klanglich nicht miteinander verbunden sind, aber LNZNDRF voll in den Kanon des seltsamen und unauslöschlichen Krautrocks einreihen. "II" scheint die Dystopie der Gegenwart ebenso zu beschwören wie das große Mysterium, das uns erwartet, wenn wir endlich die Barriere durchbrechen. Es wird keine Utopie sein, aber es wird zumindest etwas anderes sein. So heißt es im lysergischen Post-Punk-Stück "You Still Rip": "We'll live like fruitless trees towards endless breeze linked as we please, the burning bridges smolder in our wake."

Born in rural Mississippi and associated with Memphis, versatile entertainer Rufus Thomas is a legendary figure, having been a tap-dancer, comedian, and DJ before recording for Satellite in 1961—the label that soon became Stax. Thomas’ improvised hit, ‘The Dog,’ led to immortal follow-up, ‘Walking The Dog,’ so massively popular that it became the centrepiece of his debut LP, an irresistible blend of funk and soul with lashings of Thomas’ trademark humour. Whether with originals or standards like ‘Ya Ya’ and ‘Land Of 1,000 Dances,’ Thomas keeps the action tight and in addition to both ‘Dog’ hits, there is further instalment, ‘Can Your Monkey Do The Dog,’ co-penned with Stax’s Steve Cropper. A killer set!

Something wicked this way comes. Following singles 'Know The Future' b/w 'Digital Warfare' in 2019 and 'Hypersocial' b/w 'Safety Test' in 2020, ESP’s own Patrick Conway has now teamed up with the illustrious Appleblim (of Skull Disco and Apple Pips fame) for a meaty self-titled debut 2xLP under the new collaborative moniker, Trinity Carbon. There is something to be said for art created in the face of global unraveling, while mass transgression and the friction of culture shifting produce poignant commentary, but more often than not, it’s the personal coping mechanisms within our work that have the power to speak directly to the receiver. After a number of sessions resulting in wild imaginative beginnings, it was the untimely passing of Andrew Weatherall and a coming to terms with that loss that moved the two Brits-via-Berlin to herd their roaming sketches into a more narrative statement. In the uphill struggle to retain some sense of individualism, it’s always outsiders like Weatherall whose risks illuminate the roads of creativity less traveled, and when those beacons go dark there is a disorientation felt far and wide. Conway and Blim concede to the internal inquiry, “What would Weatherall do?” bringing to mind the man’s pervading morale, always soldiering onward through mediocrity, as it was undoubtedly an impetus for the duo growing steadfast and chiseling 'Trinity Carbon' into completion. While employing trusted machines in the bass department, they established a warm euphonic home base from which they could stray in a variety of tonal and rhythmic directions without straining a tether to the album’s core. However, as soon as any hint of familiarity may arise, or listeners begin to mentally assign stylistic epithets, the duo boldly change course to remind us that while the banal stay safely defined, it’s the iconoclasts, the outsiders who make us feel.

Parisian label Chuwanaga proudly presents Latitude, Saint-James label co-founder new studio project. Keeping it close to the deep jazz-funk ethos of the label, Latitude brings to the light two luminous songs of joy and hope for a better day, highly danceable yet rich and complex grooves with a human feel to feed your soul and make you move. Their new EP Leo / Attitude presents these first effort with a Dub Remix by Mato: plenty of diverse tastes for every music enthusiasts. Available as Vinyl 12" and Digital.

Latitude is french. Not a random collection of chansons sung in french. Latitude is so french in its sheer elegance, in its simple yet so sophisticated seemingly effortless attempt to groove in a pop context, trying to create moments of grace in the process. Latitude is here with the right vibe as the chorus of "Attitude" says it in french: "It’s the bad attitude, always the good latitude". Latitude is sprung out of the wicked musicianship of Parisian jazz-funk and fusion mavericks and Saint-James tight and adventurous compositions and production. All that jazz combined with David Cukier (Greita) retro-futurist engineering skills in these intense sessions captured in his cutting edge vintage Delta studio.

On A Side, "Leo (Extended Mix)" is an uptempo disco track for the dancers but also a beautiful song for the summer. A seductive number with a pregnant classic French jazz-funk feeling with the help of Parisian singer Club Celest’s energy and beautiful voice. It comes on digital as a short edit for radio but as a serious extended 12inch mix on the vinyl with 8 minutes and 10 seconds of pure pleasure, ending in a real climax after an irresistible percussion break.

On B1, "Attitude" enchanting quality shines with a banging rhythm section and goes for the win as an anthem chorus while sweeping synths keep on growing till the very last drop. On B2, Reggae/Dub don Mato (Stix Records) delivers a sweet dub wise riddim for the Lovers Rock massive.

For Bajram Bili, every new record is the kick off for reinventing himself in a series of explorations and experimentations.
After venturing through techno, Adrien Gachet opens a new page bursting with artistic possibilities and sonic freedom. His new research is founded on two cornerstones : his reassuming of the piano, the historic medium he’s left aside those past years, and the deconstruction of contemporary electronic music. The result is a flush yet tight affair condensing the broad spectrum of its ambitions in just six tracks.
A true mine for textures and melodies, Detuning Euphoria feels like a blinding mirage. The music conjugates cinematic composition and borrowings of the 2020’s club music, where laser synths and skeletal beats melt one another in bare and frontal feelings. It’s a total work, an exhilarating and untamed piece opening a new chapter in a maniac and turbulent discography. We’re very proud to be associated to this new stage of Bajram Bili’s fascinating research for new horizons.

It’s been ten years since Adrian Gachet first ventured into electronic soundscapes under his Bajram Bili moniker. On wax, the project started with the romantic label Another Record with the Sequenced Fog EP and his dance-kraut manifest of a debut album Saturdays With No Memory.
The affair became more muscular with the acquaintance of the Neo Punks from Le Turc Mecanique. After a first warning with the break-heavy Distant Drone (with the banger ‘Roger and Stan’) and the blasting Need Meditation, the Remembered Waves LP is released, oscillating between ecstatic urgency and foggy electric landscapes.
The following Spin / Consequence was dedicated to the drills of seminal techno giving way to the quieter Reshaped Distortion EP on Chloe’s label Lumière Noire.
Those years of intense creation, massive live sets and federating DJ sets come together in today’s new research, mixing the experience of his epic machinery with the deviation of the acoustic piano, following the aesthetic of his new record Detuning Euphoria.

If Black Sabbath had been born and bred in an Ohio mobile home and raised on a steady diet of smoke and acid - the result would sound exactly like Mistreater
In 1981 the group independently recorded and released the “Hell’s Fire” album. Today the album is considered a US metal classic and is considered one of the strongest metal albums ever made by metal aficionados - original copies are hard to find and there’s a hefty price tag if you’re lucky enough to find a copy for sale. Mistreater are from Creston (population 2000) and were far outside everything and everybody associated with the “hip” music scene in Ohio. Mistreater either didn’t know or care about the scene in nearby Cleveland where bands like proto-punk rockers Electric Eels, Rocket From The Tombs and Styrenes made waves. Pere Ubu and Dead Boys sprang from these roots. The Pagans ruled the Cleveland area during the punk days. Earlier, The Choir, Raspberries and The James Gang were pivotal Cleveland bands. As local audiences were receptive, the city was a major stop-off for touring bands. Similarly, radio station WMMS also had open ears. Nowadays, The Rock & Roll Hall Of Fame is located in Cleveland. It goes on – Cleveland and its surroundings were happening. Mistreater was into none of this… Their music was by outsiders for outsiders. More brutal, raw and louder than everyone else. Rough-edged and without gloss, the Mistreater of Hell’s Fire was not aiming for the mainstream. The riffs are stoner hard knock-outs and the guitar leads are psyched out punches rooted in heavy psychedelia. Sweden’s On The Dole Records are proud to present the first ever reissue of “Hell’s Fire”. And in true OTD fashion no expenses were saved. The band was interviewed for the extensive liner notes, rare photos were found, the sound is remastered and carefully restored, and the non album single b-side “Baby Blue” is added as a bonus. This is a US metal / D.I.Y masterpiece that should be heard by everyone into hard, loud music and massive guitar riffs. It’s like Greg Sage of The Wipers had gone metal. It would have been the ultimate soundtrack to Tim Hunter’s “River’s Edge” movie with Dennis Hopper. Mistreater were young and had no contacts or knew ways to reach out with their music back then… Now the time has come for the resurrection of Mistreater. Mistreater is not in the nearby Rock’n’roll Hall Of Fame in Cleveland. But they should be. This OTD reissue goes to prove it.

Classic black LPs housed in gatefold w/ special canvas cardboard stock and silver hot foil! Nordic pop diva KARIN PARK of ÅRABROT adds her ethereal, mournful voice and keys to the primordial sound of legendary electronic pioneer LUSTMORD for this sublime and poignant collaboration. ALTER is a ritual of our times. On the pair's frst collaborative work, the nine tracks that make up ALTER are every bit as heart-wrenching as they are terrifying, mining new sonic territory, it is a fascinating study of light and shade that delves deep into vast uncharted darkness. Their ability to create atmosphere on the album opener "Hiraeth" is second to none, perfectly assembling a harrowing backdrop for Park's lilting sound of longing. From there, Park's vocals add all of the emotional depth and power found in names like Kate Bush, Maynard J Keenan and Elizabeth Frasier, perfectly playing against Lustmord's waves of dark drama and creating a wholly unique record that recalls Dead Can Dance, Massive Attack and Portishead at their greatest. Considering Park's credentials, it might be surprising that a collaboration with Lustmord would ft so seamlessly. Utilizing a sound comprised of elements of industrial, synth pop and more, the celebrated Swedish solo artist and member of Norwegian rock band Årabrot utilizes experimentation in her work, blazing trails and bringing to mind the work of her peers The Knife, Scott Walker, Robyn, Depeche Mode and Burial with her darkly-rich compositions. Multiple winner of Norway's Spellemann award, Park co-wrote the Norwegian entry for the 2013 Eurovision, fnishing fourth overall. But it is the sensibility of the sacred music of her youth that Park adds to ALTER, contributing a powerful vocal that guides the listener through the cavernous, mystical depth of their collaborative work. "Lustmord is the Gustave Doré of music", Karin Park ofers pensively. "Painting magical pictures with a sound that is so vast, it gives space for your own imagination." Brian Williams grew up in North Wales, beginning his musical career as Lustmord in 1980 and becoming a pivotal fgure and pioneer in the early industrial music scene in the UK. A former member of SPK during arguably their most crucial era, Williams went on to work with Throbbing Gristle members Chris & Cosey and appeared on early albums by Current 93 and Nurse With Wound amongst others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed, as well as on several video game, television scores and solo albums. Williams has also contributed to and collaborated with artists as varied as the Melvins, Clock DVA, Jarboe, John Balance of Coil, Clock DVA, Paul Haslinger (Tangerine Dream), Wes Borland (Limp Bizkit), Puscifer and more, including Grammy Award-winners Tool from their much acclaimed eforts 10,000 Days and Fear Inoculum. FOR FANS OF Lustmord, Årabrot, Dead Can Dance, Hans Zimmer, Sunn O))), Fever Ray, Chelsea Wolfe, Boards of Canada, Heilung, Zola Jesus, Swans.

Limited coloured LPs housed in gatefold w/ special canvas cardboard stock and silver hot foil! Nordic pop diva KARIN PARK of ÅRABROT adds her ethereal, mournful voice and keys to the primordial sound of legendary electronic pioneer LUSTMORD for this sublime and poignant collaboration. ALTER is a ritual of our times. On the pair's frst collaborative work, the nine tracks that make up ALTER are every bit as heart-wrenching as they are terrifying, mining new sonic territory, it is a fascinating study of light and shade that delves deep into vast uncharted darkness. Their ability to create atmosphere on the album opener "Hiraeth" is second to none, perfectly assembling a harrowing backdrop for Park's lilting sound of longing. From there, Park's vocals add all of the emotional depth and power found in names like Kate Bush, Maynard J Keenan and Elizabeth Frasier, perfectly playing against Lustmord's waves of dark drama and creating a wholly unique record that recalls Dead Can Dance, Massive Attack and Portishead at their greatest. Considering Park's credentials, it might be surprising that a collaboration with Lustmord would ft so seamlessly. Utilizing a sound comprised of elements of industrial, synth pop and more, the celebrated Swedish solo artist and member of Norwegian rock band Årabrot utilizes experimentation in her work, blazing trails and bringing to mind the work of her peers The Knife, Scott Walker, Robyn, Depeche Mode and Burial with her darkly-rich compositions. Multiple winner of Norway's Spellemann award, Park co-wrote the Norwegian entry for the 2013 Eurovision, fnishing fourth overall. But it is the sensibility of the sacred music of her youth that Park adds to ALTER, contributing a powerful vocal that guides the listener through the cavernous, mystical depth of their collaborative work. "Lustmord is the Gustave Doré of music", Karin Park ofers pensively. "Painting magical pictures with a sound that is so vast, it gives space for your own imagination." Brian Williams grew up in North Wales, beginning his musical career as Lustmord in 1980 and becoming a pivotal fgure and pioneer in the early industrial music scene in the UK. A former member of SPK during arguably their most crucial era, Williams went on to work with Throbbing Gristle members Chris & Cosey and appeared on early albums by Current 93 and Nurse With Wound amongst others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed, as well as on several video game, television scores and solo albums. Williams has also contributed to and collaborated with artists as varied as the Melvins, Clock DVA, Jarboe, John Balance of Coil, Clock DVA, Paul Haslinger (Tangerine Dream), Wes Borland (Limp Bizkit), Puscifer and more, including Grammy Award-winners Tool from their much acclaimed eforts 10,000 Days and Fear Inoculum.