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* Following on from the success of our 'Liftin Spirit Reloaded' vinyl series, we are pleased to announce our next project in collaboration with Ram Records. 'Ram Reloaded' will be a series of limited 12" vinyl from Ram's early years, re-mastered from the original DATs and presented onto our usual, high quality, heavy weight vinyl.

* 1995 was a huge year for Ant Miles & Andy C with new tunes exploding from their studio in Hornchurch, Essex. Once again exploiting the Amen break to the fullest with bass pounding 909’s matching the transients to the rhythm exactly with the profound vocal ‘What goes around comes around’. This track once again featured the Ram style hard impact drop and roll out. For the flipside ‘Here and Now’, Ant Miles invited his regular session singer Maxine Barden over to perform original vocals over a more melodic ‘liquid’ style Drum and Bass track that was awash with haunting pads and strings.

If it wasn't for the global lockdown, we might never have had the chance to hear one of this year's most intriguing and inventive albums. Lonely Guest was conceived and put together over the last 18 months by one of British music's true innovators: Tricky. Bu tas he's keen to make clear: this ain't noTricky album. Rather it's a thrilling meeting of musical mavericks, with the likes Idles' JoeTalbot pitting his unique approaches to songwriting against Tricky's otherworldly production. From an unsettling tale of isolation courtesy of Maxïmo Park's Paul Smith ('Christmas Trees') to the grunge stylings of Marta's 'Move Me', via the tense storytelling of London rapper Kway's 'On A Move', these diverse statements come together as a bold artistic statement of their own. The late artistic visionary and legend Lee "Scratch" Perry features vocals on 'Atmosphere' with Tricky and Marta. It is with great sadness that Tricky and the False Idols team acknowledge and honour Lee "Scratch"Perry's passing.

Record Kicks presents "Gurami" the first single from the forthcoming "Origin of Forms" album, the vibrant debut album by Moscow funk band The Diasonics with a mix of cinematic funk, instrumental hip-hop and soviet psychedelia.

Record Kicks is proud to present the mesmerizing psychedelic universe of The Diasonics. "Gurami" is the first single taken from "Origin of Forms" the startling debut full-length by the Muscovite band, coming out on January 28 2022 on ltd edition LP, CD and Digital. "Gurami" is an instrumental funk cut with heavy abstract hip hop influences and it will be available on limited edition 45 vinyl and digital.On the flipside the instrumental soul bonus track "Gradients". The 45 is limited to 500 copies wordwide.

Welcome to "hussar funk", that's how The Diasonics call their music: a style that blends infectious deep funk instrumentals, East European flavours, hip-hop rhythms and psychedelia. Firmly rooted in the late 60s and early 70s, their debut album "Origin of Forms" was recorded on an 8-channel Japanese tape recorder Otari MX-5050 MK III at The Diasonics HQ's Magnetone Studio in Moscow and was mixed by Henry Jenkins (The Cactus Channel / Karate Boogaloo) in Melbourne.

The Diasonics are one of the latest additions to the Russian instrumental funk scene. The band was only formed in 2019 and it's made of five young and seriously talented Muscovite musicians: Anton Moskvin (drums), Maxim Brusov (bass guitar), Anton Katyrin (percussions), Daniil Lutsenko (electric guitar) and Kamil Gzizov (keyboards). In just a couple of years the band has amassed a cult following, releasing a shower of ten celebrated singles and various in-demand 45 vinyl records on funk labels such as Funk Night Records and Mocambo Records.

Fans of Khruangbin, Dj Shadow and of instrumental soul, take note!

Steering his dance label, Frank Music, all the way through the last decade, Johannes Albert would like to welcome a bunch of new and old friends for its 10 years anniversary. Berlin’s Amount steers the ship into contemporary disco waters with his „Dphrase". All hands on deck please! The Captain Of Your Heart is more than a good friend. He is the boss from Zürichsee actually. We „L.ove“ his Synth Pop all the way. Darmstadt’s finest Levitation Venue are back with the calm yet groovy „Everything’s Good“. Now we set sail for the flipside. High waves and a storm comes up on the floor when Johannes drops his „Dynamo“. A very 90s informed rave affair! Sir Iron Curtis takes over the realm and shows a little respect for classic Electro. We travel to „Münster West“. The sea calms again with the bittersweet symphony of Max Lessig’s „Make me cry“. We reach safe havens. To the next 10!

Salute to the Sun: Live at Halleì St Peter's documents a very special concert recorded at the iconic Manchester venue during lockdown.

Released in November 2020, Matthew's Halsall's Salute to the Sun was the trumpeter's first album since 2015's Into Forever, and marked the debut of his new band. A hand-picked ensemble featuring some of Manchester's finest young musicians. The album drew it's energy from the band's weekly sessions and was inspired by Halsall's love of nature. Lush and spiritual it received universal praise, but Halsall and his band were frustrated that they were unable to share their beautiful new sound live with an audience.



On November 25th 2020, Halsall took his band into the iconic Manchester venue, Hallé St Peter's, for a concert recording in aid of the charity Mind, that was streamed on January 21st 2021 to a global audience in the thousands. The concert was also recorded for posterity.



"When we recorded Salute to the Sun, I wanted to create something playful but also quite earthy and organic that connected to the sounds in nature. It seemed to strike a chord with people and I was blown away by the response to the album. Our concert film, recorded at the height of last winter's lockdown was a special moment for us all and I feel that the concert recording captured something beautiful that we wanted to share".



Salute to the Sun: Live at Halleì St Peter's features Matthew Halsall– trumpet, Matt Cliffe- flute & saxophone, Maddie Herbert– harp, Gavin Barras– bass, Liviu Gheorghe– piano, Alan Taylor– drums and Jack McCarthy- percussion



The recording has been mixed by Matthew Halsall and George Atkins at 80 Hertz and is mastered by Peter Beckmann at Technology Works. The vinyl was cut at Calyx in Berlin and the album is pressed at Optimal in Germany. It is presented in the form of a limited edition 2LP set with artwork by legendary designer Ian Anderson of The Designers Republic.



Spread over three sides of the vinyl LP for maximum fidelity the fourth side of the LP (side D) features an etching of Daniel Halsall's now iconic artwork for the album Salute to the Sun and copies are strictly limited with just 3000 available in total. The album will also be available for download and on streaming platforms.

Dave Lee dons his Sunburst Band trousers and calls in the vocal talents of Wayne Hernandez with this slice of Brazilian flavoured Jazz Funk ‘Listen Love’ - yes the Jon Lucien jazz dance favourite. The sizzling drums & percussion blend perfectly with the pulsating bassline that allows Wayne to scat and weave his way into the blissed out yet uptempo jazzy keys. For those thinking this would be an even better track if it had a flute solo, we’ve got you covered! with Dave Lee’s ‘Flute Reboot’ for that maximum Latin edged jazz-funk feel.

On the flip two people who need not introducing, Louie Vega & Josh Milan get frenzied on the drums and piano, as they up the ante and deliver a jazz dance fusion clocking in at 9 minutes. Their mix really works up a sweat in the second half as the groove and scatting lock together for an intense rhythmic workout. All in all a very impressive outing.

Precious gems mined from a wall of vinyl. Cut, polished and mounted for maximum love.

“We go round and round in the night and are consumed by fire” *

After their highly acclaimed 'Come La Notte' (2019) WOW are back with 'Falene' a special limited release, a flickering light in the dusk where the comedown is ecstatic, intense and staggering.
In between lockdown the Roma Est quartet played the liberating Meletao festival in the Simbruini Mountains in the middle of a forest. One night a moth (falena) started dancing above the fire attracted by the light and after a few twirls dived into the flames.
Somehow ‘Come La Notte’ anticipated many of the atmospheres and emotions we’d encounter during confinement and isolation; ‘Falene’ instead was born directly from those ashes, ghostly homes, clandestine get-togethers, an old farfisa saved from dust that sparked the initial motif of the album’s title-track, a somber march, a mini-opera that sways gently, sprinkled by the beautiful sax played by Gianlorenzo Nardi and by one of the most intense China performances layed down on tape, foreshadowed by Julie Normal’s Ondes Martenot that graciously elevates the ‘Anticoda’ intro.
Tropicantesimo’s remix of ‘Occhi Di Serpente’ breathes new life into ‘Come La Notte’s classic, elevating the hypnotic and extending the pure tribal force with one of the signature trademarks of the Pescheria crew. ‘Partirai’ sung by Leo Non again is WOW at its purest, escapism to the max encapsulated in a nugget of primitive rock’n’roll and 60s night clubbing. Folks, it’s time to start living again.

Jeff Parker's Forfolks - a new album of solo guitar works - was recorded by Graeme Gibson at Sholo Studio in Altadena, California (aka Jeff's house) over two days in June 2021. It includes interpretations of Thelonious Monk's "Ugly Beauty" and the standard "My Ideal," plus six original compositions including "Four Folks," "La Jetée" (a tune he recorded with Tortoise in 1998), and four totally new loop-driven, stratiform works that marry melodic improvisation with electronic textures. "It's a particular thing to hear Jeff play solo," writes veteran Chicago musician and longtime Parker collaborator Matthew Lux in his liner notes for Forfolks. "He is an unusually selfless improviser, oftentimes laying out and highlighting the contributions of his band mates... On this recording, however, he is by himself, joined only by his own ideas, looped or frozen, to flesh out the music he's creating in his mind. Hearing him craft entire sound worlds on these eight selections gives us an opportunity to really see how Parker orders sound." Forfolks follows Parker's critically acclaimed 2020 record Suite for Max Brown, which Pitchfork called an "effortlessly detailed album, full of tradition and experimentation that spans generations ... It lives at the vanguard of new jazz music." The album went on to debut at No. 1 on Billboard's Current Contemporary Jazz Chart.

Here is the second volume of Serge Gainsbourg's complete vinyl collection which traces the artist's career from 1971 to 1987. In order to provide the best sound quality, the original mixed tapes were entrusted to the sound engineer Miles Showell ( responsible for the reissues of the Rolling Stones, Queen, etc.) who did the mastering at Abbey Road studio with Half Speed ​​Master technology. 180 gram vinyl box.Reviews and Ads –, London Macadam, Mojo, Sunday Times, R2

Limited edition 12" dedicated to the Neve A Maggio song flavoured with four remixes. Three from Mushrooms Project and one with a 90's house style by Deep88.
Wrapped in elegant electronics and an international flavour, Sara's voice recounts the unusual in these days characterized by strong anomalies and cold solitude. Like when it snows in May, like when you want to pick a rose and instead find yourself blinded by a white reflection, completely out of place. Yet there is life, under that white; breath, pulsation, a rhythm that presses and makes you dance: a song that drags you away from a daily life troubled by extraordinary events, which become intimate and confidential, but still unique, like every single snowflake.
Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of mostly Italian music but also all over the world of the 70s, 80s and 90s.
All releases are licensed audio tracks re-mastered in their original form with sleeves recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.

Fieldwave, Vol. 2 is the second release in our compilation series created by broadcaster, sound collector and Nonclassical A&R consultant, Nick Luscombe, bringing together artists with field recording at the heart of their work. This second volume focuses on the sounds of Japan, with tracks from Japanese musicians and from British artists who have gathered recordings via trips to Japan.

"I created the Fieldwave compilation series in 2020 as a window to the world of field recordings and wider acoustic ecology, via the work of recordists, sound artists and musicians from around the world", says Nick Luscombe, who compiles the series of releases. "For this, the second volume of Fieldwave, I decided to look to Japan as inspiration – surely one of the most sonically rich places on earth."

Keep training!
The Berlin Jazz duo Max Andrzejewski and Johannes Schleiermacher a.k.a. TRAINING and John Dieterich (of Deerhoof) in virtual vastness...
The Corona crisis has presented musicians with difficult tasks over the past year and a half. From album recordings to tour planning. From emergency aid programmes to improvised streaming concerts. There were few musicians who dealt with the difficult situation as playfully as the two jazz musicians Max Andrzejewski and Johannes Schleiermacher from Berlin.
Both have known each other very well for a long time and play together in different outfits. Max as a drummer and Johannes as a saxophonist. Both also like to play synthesizers or samplers. Preferably all at the same time. That's why in the Corona spring of 2020

The 20th milestone release in the Generation Series lineup, this 5-LP abridged set features 82 tracks that play in the first half of Shenmue III, which takes place in Bailu Village. Comes in a top lid box (similar to recent Generation Series releases from Brave Wave) with liner notes, archival artwork and a digital download code for all 196 tracks.

Debut album (2014) from Metal supergroup featuring members of Soulfly (Max Cavalera), Mastodon (Troy Sanders) and Dillinger Escape Plan (Greg Puciato).

Giving form to a broad personal project of continuous inquiry and existential expression, A World Of Servicemarks the Ostgut Ton debut of Spanish producer, DJ and artist JASSS aka Silvia Jiménez Alvarez.

The evolution of A World Of Servicehas curved around genre collapsing and unexpected metamorphoses. Formerly the name of the monthly radio show JASSS hosted in Berlin, and soon to be the title of her expansive multi-sensory touring concept in collaboration with Ben Kreukniet, here A World Of Serviceis powerfully concentrated in sonic form. Throughout the album JASSS muses on the especially current human and technological barriers to interconnectivity; both lyrically and musically she deconstructs the self, unmasks anxieties and interrogates the insufficiencies of language as applied to gender, identity and interpersonal relationships. Forming her own fluid, nuanced lexicon in response, JASSS seeks a deeper understanding of her multiple selves, emerging through unbridled adolescent rage and the wisdom of maturation, traversing liminality with abstract electronics and baroque industrial pop. Visually this is underscored by Matt Lambert’s uncanny floral cover portraiture, as well as the record’s distinct scent of wet earth, flower and woods developed for the album by Meri Bonastre and applied to the vinyl innersleeve.

Following the imaginative nostalgia of Weightless, her 2017 debut album for iDEAL Recordings, as well as her series of blistering dancefloor 12”s for Whities/AD 93, A World Of Servicefolds personal and societal concepts in on themselves, not seeking answers but rather luxuriating in the unique friction that questions create. JASSS is intensely focused yet musically unbridled; this is reflected in tonal shifts of A World Of Service. Through the computerised yearning and bruising of a heartbreak on “Luis”, to the jagged and wordless tundra of “Vapor Dentro”; the intriguing juxtaposition of warm, alluring Spanish vocals against rigid pillars of industrial heft and bass grind (“Camelo”), and the soaring maximalist industrial popof the album’s closer, “Wish.”

As intensity rises through the pandemic-era trip hop of the album’s title track “A World Of Service”, JASSS sings: “Pleasure / Is nowhere to be found inside this world of service / I call to be my life.” Pleasure may remain elusive to her, but in the determination to make peace with her various identities in this technological age, JASSS offers a compelling glimpse into an essential type of artistic voice.

Mondo and WaterTower Music are proud to present Tom Holkenborg's epic complete soundtrack to the fan-fueled phenomenon Zack Snyder's Justice League.

As pure as any film music expression has ever existed, Holkenborg's nearly-four hour opus is as bombastic and singular as the film it compliments, and we are honored to present the premiere physical release of this staggering work of expression.

The filmmaking story behind Zack Snyder's return to his DC Comics juggernaut is well known at this point, but not enough time has been spent on the journey of the film's once-shelved score. The incredible composer behind one of last decade's biggest filmmaking triumphs (MAD MAX FURY ROAD) Tom Holkenborg joined the sadly far too large club of composers, across filmmaking history, to have their blockbuster scores replaced.

But the big-budget redemption arc of Zack Snyder's original vision for Justice League presented Holkenborg with the opportunity to build upon what he had started many years ago, with new skills and tools - this time with no other cook in the kitchen but his director and friend.

Composed by Tom Holkenborg
Artwork by Mo Shafeek
Manufactured in the Czech Republic

GENRE: Modern Classical, Experimental, Ambient Metal. RIYL: György Ligeti, Sarah Davachi, Stars Of The Lid. 180g LP pressed at Optimal, 350gsm jacket, inner & DL card. Jessica Moss Also Known For Her Tenure In Thee Silver Mt. Zion (2002-2015), Black Ox Orkestar (2002-2007), Recordings By Vic Chesnutt, Carla Bozulich, Arcade Fire, Basia Bulat, Roy Montgomery, Sarah Davachi, Big Brave & More. A phosphene is “the phenomenon of seeing light without light entering the eye.” The title of the heart-rending and resolute new album by composer/violinist Jessica Moss could not be better chosen. Moss is by now a seasoned practitioner of immersive isolation music; across three previously acclaimed solo records of minimal and maximal post-classicism, her acoustic, amplified, and electronically-shifted violin is the raw material for deeply expressive, palpably haunted, wholly committed compositions. But Phosphenes inscribes fleeting halos of refracted ghostly light out of a prevailing darkness with especially plangent determination and intensity. This is the most overtly searching, mournful and inexorable music Moss has made to date. The pieces on Phosphenes exquisitely navigate consonance and dissonance, building patiently from single notes to multiple voicings, harmonic stacks and clusters. These compositions channel themselves like slow-moving water in a dark cave, finding small eddies and catching glints of luminescence from within. Signal processing is kept to a minimum in the three-movement “Contemplation” suite on Side One, where Moss deploys amplification chiefly in the service of activating overtones and pitch-shifts, thickening and widening the sonics, carving out her unique timbral space. Based on a four-note sequence that sets whole tones against one another, “Contemplation” is a bona fide requiem that finds Moss at her most instrumentally naturalistic, measured, and modern. Side Two unfolds in a more foreboding vein: “Let Down” is marked by cavernous octave-dropped arco and pizzicato, providing a gothically-inflected substratum upon which hauntingly wordless vocal invocations and cumulative gyres of violin melody unfurl. “Distortion Harbour” grinds with noisier grit and a more harrowing complexion, highlighting Moss’s ambient-metal sensibility and her distinctive palette of industrial-inflected power electronics a reminder of why she’s also been a go-to player on albums by the likes of Big Brave, Oiseaux-Tempête and Zu in recent years. These two songs also feature upright bass from old friend and former bandmate Thierry Amar (Godspeed You! Black Emperor, Thee Silver Mt. Zion, Black Ox Orkestar). Album closer “Memorizing & Forgetting” is inarguably the most tender and beautiful song in Jessica’s oeuvre: a keening lullabye of sorts, on which she plays piano, violin and guitar, joined by her partner Julius Levy in a lustrous ambient vocal duet. Everyone has been trying to find a way through and out of pandemic, lockdown, social isolation and often darkened hope and for many musicians, the absence of touring, of live performance, live sound, live audiences, and a living. For Moss, it’s also been “like when you press your fists hard against your eyes and eventually there is fireworks.” The light gets in where it can, even or maybe especially as imaginative sensory simulacra (if/when we shut down our screens and are left to our own devices). Phosphenes is a stoic, acutely sensitive, superlative musical statement from Moss

30 is the first new music from Adele since the release of her third studio album 25 in November 2015. The album is produced with former collaborators Greg Kurstin, Max Martin and Shellback and Tobias Jesso Jr., as well as new collaborators Inflo and Ludwig Goransson.

This product is currently on pre-order. All orders containing this product will be dispatched in line with the release date. Available from November 19th, 2021.

No other pairing in the history of Darkwave ever matched the unfettered creativity, resolve, and DIY attitude from the collaboration between the two creative minds that compromise Lebanon Hanover.

The meeting of the Swiss musician Larissa Georgiou, aka Larissa Iceglass and British artist William Maybelline a decade ago in the latter’s hometown of Sunderland in the UK, was a monumental occasion, reverberating throughout the European music scene and even across the Atlantic.

Lebanon Hanover would emerge from the peak of the world-wide minimal wave revival, with their 2011 split 7-inch record with La Fete Triste issued as the catalog debut of Europe’s most ubiquitous Techno-Industrial EBM labels, Aufnahme + Wiedergabe

With Berlin as their new physical home, William and Larissa would soon, however, join the Fabrika Records family. From here, they would go on to release two full-length albums through the Athens based label, starting in early 2012 with their winter debut LP The World Is Getting Colder, and it’s All Hallows Eve follow up Why Not Just Be Solo.

It was Lebanon Hanover’s 2013 third studio outing Tomb for Two that would go on to cement the duo’s legacy, with the album’s single “Gallow Dance” becoming a post-punk anthem for the times, with artwork became the band’s defacto logo. Not only that, the song “Sadness is Rebellion”, also featured on the album, became the band’s official Mantra.

Two years would pass before the release of 2015’s critically acclaimed fourth record, “Besides the Abyss”. In the intervening years, William and Larissa, initially a couple, would find other partners, and relocate to Athens.

Meanwhile, Lebanon Hanover as a live act would expand rapidly in popularity, exceeding capacity during their performances at Wave Gotik Treffen in Leipzig, and performing sold-out shows across Europe and the UK.

With the playful Babes of the 80s maxi-single released in the interim, three years would pass before the next record from Lebanon Hanover, with 2018’s Let Them Be Alien, the band’s fifth studio album.

At the dawn of the global pandemic, where dystopian nightmares that were only ever seen before within the pages of books and flashes of silver screen celluloid, has become a daily reality, a new kind of darkness envelops the world. It was at this Lebanon Hanover returned, sharing a glimmer of hope with the single “The Last Thing,” the duo’s first song from their forthcoming sixth studio album Sci-Fi Sky.

Spanning an epic journey across ten tracks that wander through industrial landscapes, and ascend beyond the atmospheric aether, Sci Fi Sky is Lebanon Hanover’s most cohesive artistic statement to date. With their icy hearts on their sleeves, this is the culmination of a decade’s worth of musical creativity radiating from the minds of both Iceglass and Maybelline, and altogether an otherworldly beacon of hope in a time of sheer darkness.

You know the drill, strictly multis remixes from the original tapes, combining creativity and functionality for maximum dance floor impact.

2021 REPRESS, first released in only 50 copies in the legendary Bunker Mantra Box, but now for a short time available to the general public. Dark and manic house from the Acid Coloniae of Cologne, by Andreas Gehm (aka The Minister), whos profile has been raised recently with a ton of hyped releases and remixes for o.a. Snuff Traxx & Robert Ownes. Second part of a two parter.

West Coast mainstay maverick Dave Aju launches his anticipated new label Elbow Grease with this timelessly sublime dance floor trip, dripping with outer space soul and deep ocean floor sonics. "X17", a reference to the hypothetical particle and Fifth Force discovery, is equal parts warm and cold, ruff and smooth, as a raw Detroit Electro-schooled rhythm base plows through various known musical barriers, adorned with worldly percussion hits, moving synth pads, and subtle jazz motifs. The generously unfolding "Main Mix" is accompanied by both a potent "Rhythm Dub" stripped back for maximum impact, and a beatless high "Viiibe" version offering a more immersive listen and alternative options for adventurous DJs to mix as they feel - a fine intro to the Elbow Grease credo.

Shkema's debut EP 'Kronikos' is a double release with four originals and four remixes. The author describes it as 'world news show, where each song represents a different story'. Some of them he has experienced himself, some are hearsay from TV news programs, and some are actually imaginary. Stories are not really related - just like in the news. 'Ispanija' was created during a friend's band rehearsal. Psychedelic vocals sounded interesting in Shkema's headphones while he was watching soundless singers and the muted musicians. The true reason why this track is called 'Ispanija' is still unknown to this day. According to Shkema, 'Ola' is an allegory of Plato's cave. It's a story about prisoners, chained in the cave and the only moving thing they could see was a passing shadow - quite deep, uh? Justin Strauss and Max Pask recently have joined up to form new project Each Other. True dance floor legends delivered bass-busy remix of 'Ispanija'. It could probably be best described as 'juicy distorted badboy from New York you don't want to mess with'. Moscow's finest - Simple Symmetry - joined the pack and went back to the roots. Their remix for 'Ola' is future clubbing classic, four to the floor banger with a drop perfect for pogo.

This is the 26th release on RIOT Radio Records, a fiercely independent techno label based in Scotland.

Moscow based Trust True is a producer and DJ who’s quite literally off his rocker. Displaying agonizing and often deranged broken beats which seize the very beat of your heart, his music rushes, grinds and pulsates with so much ferocity, even your living breath will be succumb to its lethal effect.

Continuing with our ‘Limited As Fuck’ series of releases, this additional hard hitting ‘OUTBURST’ will further provocatively attack your gnarly senses in an additional unrealised beguilement stemming from this mental Russian’s 1st ever vinyl release on RIOT Radio Records, ‘Outburst – The Red Mixes’, in April 2021.

Four tracks from that menacing beast have been given the full-on remix treatment and oh boy, what a bunch of hard as nails remixers are on this obliterating follow up release. The Scottish contingent kicks proceedings off with Duellist at the helm followed by Argentinian duo 909distortion & AxggaA literally melting the wax it’s printed on their remix is that fierce. It continues at a relentless pace with Canada’s Patrick DSP mangling the howls of ‘AAIRAA’ to ravenous levels and the mechanical mind of Italian Max Durante finishes the release off with borderline hardcore vengeance.

WARNING: FROM AFAR THE DEMENTED BRINGS FORTH IT’S DERANGED LUNACY ONCE MORE

Proximity is a 12-track album of richly textured and 100% analog electronic music that will appeal to fans of Daniel Avery, Andy Stott, Jon Hopkins and Max Cooper. Whilst the debut release from DEFSET - the producer has spent many years experimenting with electronic music & equipment and the album demonstrates a mastery in using modular synthesizers and outboard gear to create a pallet of evolving melodies over syncopated, glitched out rhythms - resulting in a deeply accomplished sonic blend of immersive techno and atmospheric electronic music.

The album features singles including 'Deadlines' - a dark & brooding pitched down slice of menacing techno; the airy and light 'Shira2', a piece of dreamy electronica that dances over a shuffling backbeat; 'Bathtime' - a unique piece of slo-mo dub-techno featuring live bass and instrumentation inter-woven with trance-like vocals and the tough & atmospheric 'HoneySwede'.

Ltd White vinyl LP w/ printed inner sleeve lyric insert (1000 copies ww)! Emma Ruth Rundle's forthcoming Engine of Hell is stark, intimate, and unflinching. For anyone that's endured trauma and grief, there's a beautiful solace in hearing Rundle articulate and humanize that particular type of pain not only with her words, but with her particular mysterious language of melody and timbre. The album captures a moment where a masterful songwriter strips away all flourishes and embellishments in order to make every note and word hit with maximum impact, leaving little to hide behind. "I really wanted to capture imperfection and the vulnerability of my humanity," Rundle says of the album's sonic approach. "Here are some very personal songs; here are my memories; here is me teetering on the very edge of sanity dipping my toe into the outer reaches of space and I'm taking you with me and it's very fucked up and imperfect.'" Emma Ruth Rundle has always been a multifaceted musician, equally capable of dreamy abstraction (as heard on her album Electric Guitar: One), maximalist textural explorations (see her work in Marriages, Red Sparowes, Nocturnes or collaborations with Chelsea Wolfe and Thou), and the classic singer-songwriter tradition (exemplified by Some Heavy Ocean). But on Engine of Hell, Rundle has opted to forego the full-band arrangements of her previous albums in favor of the austerity of a lone piano or guitar and her voice, which creates a kind of intimacy, as if we're sitting beside Rundle on a bench, or perhaps even playing the songs ourselves. It's an extremely up-close and personal confessional with a focus on the rich subtleties and timbre of Rundle's graceful performances. "For me this album is the end of an era to the end of a decade of making records. Things DO have to change and have changed for me since I finished recording it." In essence, Engine of Hell signifies a major turning point for Rundle as both an artist and as a person. The catharsis of this type of songwriting has effectively served its purpose, and to continue ruminating on the past going forward is less of a healing process and more like picking at a scab and refusing to let it heal. This may help explain why Rundle is less than enthusiastic about divulging the details about her muses, but it doesn't alter the fact that these songs served a purpose in their creation, and that they may continue to bring comfort to others.

IMPORTANT NOTE: UNFORTUNATELY THE SIDES ARE REVERSED ON THE VINYL, I.E. THE A-SIDE IS THE B-SIDE AND VICE VERSA. WITH THE PURCHASE OF THE VINYL OR THE CD YOU WILL GET THE SINGLE MP3 FILES AS WELL AS A CONTINOUS MIX VIA E-MAIL.

With the cover artwork for Pop Ambient 2022, longtime KOMPAKT graphic artist Veronika Unland has once again outdone herself. Following the almost baroque, blood-red and jet-black, extremely physical sculptures of Pop Ambient 2021, which emerged from a dark, floral sea like bodies erect for dancing, the front of 2022 is adorned with a pastel-white form, intertwined, folded many times and crisscrossed with delicate shading, which seems to float on a pale pink background; soft, gentle waves woven from Venetian colors that leave the viewer puzzled: Is it a flower, a coral, a mollusk?

Again, the current edition of the tradition-steeped compilation series curated by Wolfgang Voigt is about the persistent and ever-necessary definition of beauty, of reduction, of electronic music of heavy lightness and light heaviness, of ambient's eternal promise of a state of physical and acoustic weightlessness and Pop's of redemption. And about the question why a never arbitrary combination of soundscape, drones, samples and loops, put together in a certain way, can create this feeling of warmth, depth and space, - something three-dimensional, where the imagination feels at home as a fish in the water or a bird in the sky. A key aesthetic stimulus that sends all the senses into a slow glide and drift, after which your synapses feel like they've been bathed in essential oil. Next to Soul, Ambient is probably the most effective musical healing plant of mankind.

Behind the aural test tubes, the who's who of Pop Ambient is once again at work, led for the first time by the highly trafficked Californian duo Blank Gloss, whose debut album "Melt" this year was certified by The Guardian as nothing less than "heartaching beauty". Yui Onodera's "Chrome" as well as "Kari", a cooperation of Markus Guentner and Joachim Spieth, could also be imagined in the score of Denis Villeneuve's new film version of DUNE - however, colleague Hans Zimmer managed that quite well without the three. After such wonderful and stylish contributions by Reich & Würden, Triola and Thomas Fehlmann, the ear then lingers a bit longer on the ghostly "Weiht" by Morgen Wurde feat. Maria Estrella, a track like a temple of sound, a deep electronic immersion in a Japanese onsen. In this sea of unnameable time you could sink forever, but with the tracks of Andrew Thomas, Thore Pfeiffer and Max Würden & Pepo Galán the journey slowly comes to an end.

Mit dem Cover-Artwork für Pop Ambient 2022 hat sich die langjährige KOMPAKT-Grafikerin Veronika Unland einmal mehr selbst übertroffen. Nach den geradezu barocken, in blutrot und tiefschwarz gehaltenen, äußerst physischen Formationen von Pop Ambient 2021, die wie zum Tanz aufgerichtete Körper aus einem dunklen, floralen Meer auftauchten, ziert die Vorderseite von 2022 eine pastell-weiße Skulptur, in sich verschlungen, vielfach gefaltet und von zarten Schattierungen durchzogen, die auf einem blass-rosa Hintergrund zu schweben scheint; weiche, sanfte Wellen aus venezianischen Farben gewebt, die dem Betrachter Rätsel aufgeben: Ist es eine Blüte, eine Koralle, eine Molluske?

Natürlich geht es auch in der aktuellen Ausgabe der traditionsreichen, von Wolfgang Voigt kuratierten Compilation-Reihe um die beharrliche und immer wieder notwendige Definition von Schönheit, von Reduktion, um elektronische Musik von schwerer Leichtigkeit und leichter Schwere, vom ewigen Versprechen des Ambient auf einen Zustand körperlicher und akustischer Schwerelosigkeit und dem von Pop auf Erlösung. Und um die Frage, warum eine nie beliebige Kombination aus Klangfläche, Drones, Samples und Loops, auf eine bestimmte Art zusammengefügt, dieses Gefühl von Wärme, Tiefe und Raum entstehen lassen kann, - etwas dreidimensionales, in dem die Fantasie sich so zuhause fühlt wie ein Fisch im Wasser oder ein Vogel in der Luft. Ein ästhetischer Schlüsselreiz, der alle Sinne in ein langsames Gleiten und Driften versetzt, wonach sich deine Synapsen wieder anfühlen, als habe man sie in ätherischem Öl gebadet. Neben Soul ist Ambient die wahrscheinlich wirksamste musikalische Heilpflanze der Menschheit.

Hinter den auralen Reagenzgläsern hantiert einmal mehr das Who-is-Who der kompaktschen Pop Ambient-Riege, erstmals angeführt vom hoch gehandelten kalifornischen Duo Blank Gloss, deren diesjähriges Debüt-Album “Melt” der englische Guardian nichts weniger als “herzergreifende Schönheit” bescheinigte. Yui Onodera’s “Chrome” sowie “Kari”, eine Kooperation von Markus Guentner und Joachim Spieth, könnte man sich auch gut im Score von Denis Villeneuve’s Neuverfilmung von DUNE vorstellen, - das hat der Kollege Hans Zimmer allerdings auch ohne die drei ganz gut hinbekommen. Nach so wundervollen wie stilsicheren Beiträgen von Reich & Würden, Triola und Thomas Fehlmann verharrt das Ohr dann etwas länger beim geisterhaften “Weiht” von Morgen Wurde feat. Maria Estrella-Weiht, ein Track wie ein Tempel aus Klang, ein tiefes elektronisches Eintauchen in einen japanischen Onsen. In diesem Meer aus unnennbarer Zeit könnte man ewig versinken, doch mit den Tracks von Andrew Thomas, Thore Pfeiffer und Max Würden & Pepo Galán geht die Reise langsam zu Ende.

Robert Sotelo is a mercurial melodist building a resplendent world of pristine DIY pop from the ground up. The Glasgow-based artist’s songs are meticulously crafted, patchworked together with eclectic arrangements and ardent vocal performances. Each of his albums to date has been accompanied by a growth-spurt, 2017’s debut ‘Cusp’ was packed with miniature psych overtures, whilst 2018’s 'Botanical' was more keyboard-minded and playful with a near-absurdist palette of sound. ‘Infinite Sprawling’ came out towards the end of 2019 and surprised with songs pulled together like a wakeful stretch, brisk with a lightness of touch. This was neatly followed by ‘Leap & Bounce’ melding a sparse synth-pop minimalism to an emotional undertow.
This November Upset The Rhythm will release Robert Sotelo’s vivid new album ‘Celebrant’. ‘Celebrant’ was intended to be and still is to some extent a joyous wedding album (Sotelo is recently married), but in his own words “the pandemic and the death of my aunt Carmen intersected with the original concept so the album is darker than intended in places.” More cinematic and measured than prior albums, Sotelo expounds that “it is purposefully a bigger sounding attempt at my keyboard songs and I felt more ambitious about it in general.” That’s certainly reflected in these twelve sophisticated loops of song, all curiously affecting and catchy, sprinkled with Sotelo’s offbeat musings and keenly accurate observations. Guitars are rarely employed on this record with Sotelo recruiting Iain Mccall, Ross Blake, Celia Morgan and David Maxwell to contribute brass, woodwind, spoken word and acoustic drums respectively. All of these additions blend well with the album’s synthetic core, softening and subtly shaping its pop-first nature into something more nuanced, vulnerable and human.
‘Celebrant’ is a plucky synth-centric collection of unbridled songs at times surefooted at others threatened by disconnect, skilfully steered by Sotelo with typical classy touch. ‘Dear Resident’ is divinely metronomic, ‘Behaviour’ luxuriates in pitching a silken saxophone into a frenzied drum-off. ‘The Currency Is Love’ swaggers with 80s vibes aplenty: “all the globe is listening as a system of concern” sings Sotelo in clipped manner, enjoying the placement of each word in each song precisely, however seemingly stumbled upon and surreal their selection might seem. Other highlights include title track ‘The Celebrant’ with its lush environ of droning keys, swooning woodwind and baroque reverie, and ‘This Is My House’ a woozy, maze-like triumph of melody. ‘Influencer’ is similarly masterful with melancholic strains of synth, sax and voice: “extract the data from the fruit straight off the tree, conducive testing proves it’s not reality, create a substitute to simulate the tide, with rich efficiency the differences can hide.” The song itself a cipher for an ill-imagined future we might be living in already.
With ‘Celebrant’ Robert Sotelo has made an album that sounds as big as its heart and imagination, true depth of feeling, true depth of connection. It’s an ornate album, complex and thoughtful, a fitting tribute to a wedding in unsettled times. What a treat that we’ve all been invited to the reception.

Clear Vinyl

Perc returns to Perc Trax with an EP designed to capture the energy and chaos of rave without relying on the same classic sounds that have been in constant use since the early 90's. 'Greed Dance' is Perc's first full EP in 14 months, following 'Fire In Negative' on Perc Trax back in September 2020. Since then Perc has pushed through lockdown with an intense production regime resulting in tracks being signed to Lebendig, Possession, RAW and Rote Sonne, as well as this EP for Perc Trax.

Originally started at Christmas last year, lead track 'Greed Dance' started life as an anger fueled full vocal track aimed squarely at the hypocrisy of certain sections of the dance music industry, but over time has been stripped down to a tight rhythm track with sparse vocal elements reflecting a change of mood as the UK's clubs and events were finally allowed to open again this summer.

B1 ' Resistor' takes a similar approach as previous Perc release 'Toxic NRG', looking to squeeze maximum dance floor drama out of a small group of continually tweaked sounds. Finally B2 track '240 Volts' layers rapid fire organ arpeggios over a rock solid kick & bass foundation to create something fresh for both Perc and techno in general.

'Greed Dance' will be released on limited edition cola bottle green 12" vinyl, packaged in a full colour double-sided sleeve designed by regular Perc Trax design crew Adult Art Club. The EP was written & produced by Perc at his home studio and mixed down by Perc at MAP Studios in London. The EP was
mastered by Matt Colton at Metropolis, London

Siv Disa, the Chinese-American New York singer currently residing in Iceland has announced her debut album, Dreamhouse on UK based label Trapped Animal. Dreamhouse is available on Sky Blue 180GSM vinyl with a printed inner sleeve including song lyrics. The outer sleeve is printed uncoated high-quality card. Also available on Digipak CD and via Digital streaming and DL. The artwork was conceived and built by Siv Disa. It features a dreamy hand-painted dollhouse—the front image is a photograph of a tangerine sherbet living-room-in-miniature, complete with a teacup table and a glowing salt shaker lamp. The artist herself is hanging on the wall ensconced in a gilded frame overlooking the tableau. The back cover explores the same dollhouse, from a distance: there’s a garden in the basement, a maze of threads in the gallery, and a small ocean in the bathroom. A callback to the intricate maximalism of 70’s psychedelia and Neo-art nouveau, there are layers of details embedded into each room for the viewer to discover. Dreamhouse is a wild journey through its creator's psyches. It moves from gentle break-up songs to dark nights out in the fluorescent haze of nighttime New York and Reykjavik city filled with deep hallucinogenic beats... before it finally closes on a song infused with the isolation of 2020. The first part of Dreamhouse was recorded in upstate New York with collaborator and producer Sam and the sea, they both chose to relocate when the pandemic hit the US – and regrouped at a studio cabin in the wilderness to complete Dreamhouse and take time to escape the ensuing storm we all faced. It’s important to understand, whilst a product finalised during lockdown – this album was largely conceived way before the lockdown or pandemic, this is Siv Disa’s debut album and it was always going to be luminous and otherworldly, as with its creators. Quotes : “psychedelic pop that converges the encompassing textures of Broadcasts with Joanna Newsom’s pleasantly off-kilter melodies” - Line Of Best Fit // “...a haunting feel, while her warm, soft voice invites the listener into even the darkest of stories…Fear is an embodiment of this distinct sound she’s mastered.” Audiofemme // “profound lyrics flow from an ethereal plane, it’s an utterly captivating offering” Get In Her Ears

4 Reworked & Reimagined tracks from Motherhood and a cover of Deftone’s “Teenager”. Clear w/ Blue Glitter Colored Cassette Shell, with full pull-out J-Card artwork. Recommended If You Like : Bjork’s Live Box, The Deftones Cate Le Bon. Montreal’s No Joy—since 2009, a noisy four-piece shoegaze band, from 2015 onward, the sonic experiments of founding member and principal vocalist Jasamine White-Gluz has rejected convention, opting to find cohesion in vast, bold, indiscernible structures. In the beginning, the group excavated melodious riffs from squalling guitars, now, White-Gluz approaches songwriting with abstract meticulousness, no longer tethered to her six-string instrument. In 2018, it was the modular electronica of No Joy / Sonic Boom, an EP collaboration with Spaceman 3’s Pete Kember. In 2020, her first full-length as a soloist and No Joy’s first album in five years, Motherhood, her guitar returned for a genre-agnostic, maximalist treatise on aging. Fertility, family, death, birth, her voice heard loud in the mix, White-Gluz became a commanding force among the many-splendored sounds of trip-hop, trance, nu-metal, dance rock, and, of course, shoegaze, delivered through banjo, vibraphone, scrap metal, slap bass, even kitchen appliances. Who knew chaos could have such lucidity? Now, White-Gluz’s ever-expansive evolution has brought forth Can My Daughter See Me From Heaven, an EP reanimation of five songs from Motherhood, transformed by new orchestral instrumentalists: an opera singer, a cellist, a harpist, French horn musician. These songs, recorded entirely remotely, are not a correction. They are a spring rebirth—an opportunity to grow those tracks, similar to the transformation they would’ve undergone live, on stage. “Songs take on a new life when I’m on tour. These songs didn’t get that chance. I still had more to say with them,” White-Gluz explains. “I probably never would’ve been like ‘let’s get a bunch of classically trained players together,’ if it wasn’t for covid-19 canceling tours. This EP was an opportunity to do something that wasn’t obvious. It’s a bedroom recording, but it doesn’t sound like we recorded this in our bedrooms. I wanted to do something that sounded bigger than Motherhood did, and Motherhood was recorded before covid.” Where many musicians used last year’s disaster to look inward, releasing solitary, insular albums, No Joy did the opposite: “It was more, ‘Let’s try everything!’ Give me something to look at!”

Lucid Express is five young dreamers who create a stunning airy blend of shoegaze and indie pop amongst the skyscrapers, mountains, and packed alleyways of Hong Kong. The name itself a modest mission statement of the band's intent: lucid in the poetic sense of something bright and radiant. The group formed as teens in the winter of 2014 in the turbulent weeks just prior to the Umbrella Movement. Vocalist/synth player Kim says "at that time it felt like we have a need to hold on to something more beautiful than before. Like close friendships, the band, our creation." Listening to their blissful, dreamy compositions, it may come as no surprise that these songs carry the mood of their times of inception. With all members of the band working late-night shifts, this led to a rehearsal and recording schedule that found the band playing between midnight and 4am and then crashing together on the studio floor before returning to work early in the AM. Debut album Lucid Express was given an extra sparkle thanks to the creative mixing of Max Bloom (Yuck), operates as the service to take the listener on a journey through the band's color-soaked sounds.

A jazz tribute to Pink Floyd containing covers of some of their most famous songs.

It's back-to-back hits with the return of the Names You Can Trust split single series featuring two new emerging artists and record debuts.

After years on the local New York scene as DJs, collaborators and permanent fixtures amongst the brightest of musicians and artists, Raspadura has spent a long time brewing behind the curtain, tucked away in the musical minds of real life partners Josue Granados (Sonidero Mixteco, Los Taxis) and Dayan Silva (Dayansiiita). Their coming out party as recording artists is a perfect encapsulation of the duo's raucous but delightful energy. "Pa Que Gocen" is pure punkera, but seasoned with a deep musical appreciation that abounds in the timeless tropical music universe, and surely a precursor to further recording adventures, as this debut should warrant. The appeal is obvious as soon as the needle drops. Silva's enchanting vocals grab you immediately, with tales of sweets upon sweets. Pure visions of dulce, panela and miel are chanted over the rhythm of Granados' low down ska-beat and hypnotizing tres cubano. For Raspadura, dessert is first!

Come fly with Grupo Pernil in this ode to the timeless vibes of gypsy rumba, merengue and guaracha. Featuring an international all-star cast of musicians from travelling adventures and collaborations of recent years, "Danza de la Cabra" was originally conceived at home in the NYCT studio, and later brought to life with additional sessions inside Amsterdam's Heat Too Hot and Barcelona's Nación Funk studios. This one-off instrumental recording turned into a case of severe psicodelica, under the influence and improvisation of the group's talented players and percussion professionals, then amped and electrified for maximum effect with a touch of studio magic and a taste for local iberico. Featuring members of Greenwood Rhythm Coalition, Conjunto Papa Upa, Fundación Tony Manero and Los Fulanos.

Kingston Jamaica's well known and always forward operating Dancehall creators Equiknoxx in special collaboration with eclectic Twin Cities USA newcomers Feel Free Hi Fi. 4 tracks with 4 dub versions of experimental electronic dancehall.

The records come in double sided silkscreen printed DJ jackets, with Obi Strip style stickers and hand stamped white labels created and printed by Digital Sting.

To many, Equiknoxx needs little introduction. The musical collective of Gavsborg, Time Cow, Shanique Marie, Bobby Black Bird and Kemikal has been operating on an international level for many years now. Their debut, 2016’s Bird Sound Power was met with critical acclaim. Since then Equiknoxx has released two more full length albums, many singles, collaborations and have consistently performed around the globe

During the inception of Feel Free Hi Fi as a Sound System in the Twin Cities, Equiknoxx productions were in heavy rotation. Their distinct approach to Dancehall, Dub and Electronic music felt like a sound that Reed and Maxwell had been waiting to hear for a long time. The initial connection with Time Cow via social media soon turned into a regular correspondence, hang outs in NYC and this musical collaboration.

The record is simple in premise but dynamic in resulting sounds. The record features original rhythm offerings from Gavsborg, Time Cow and Feel Free Hi Fi (in collaboration with W. Statler of Free Music). All rhythms were swapped and dubbed, creating eight tracks in total. A release with a basis in international correspondence and similar interests in sonic exploration, we kept it fun, we kept it simple, but we think the rhythms and the dubs stand up quite nice.

The American frontier: where burning skies meet sandblasted mesas. Where lost highways stretch into darkness and undisturbed deserts speak a language as ominous as it is otherworldly. This is the tableau of SPIRITWORLD. SPIRITWORLD is also the aural vision quest of Stu Folsom, a Las Vegas native who has taken the intensity of that blasted desert heat and given it voice, howling through the Slayer-like chug of his band’s Century Media debut, Pagan Rhythms. It was that purity of Folsom’s vision that immediately won SPIRITWORLD international acclaim on the limited 2020 self-release of Pagan Rhythms. Even the likes of Exodus/Slayer guitarist Gary Holt and Former Sepultura/current Soulfly leader Max Cavalera raved about the album on social media. Stu and SPIRITWORLD had staked their claim like firebrands and outlaws coming off the deadlands to shoot, ride and speak their truth. Pagan Rhythms is available as Ltd. 180g black Vinyl + CD and Art Print. This Vinyl-Edition features an alternative cover artwork which will be only available for the 1st pressing. Furthermore, the debut-album of SPIRITWORLD is available as Ltd.

After the huge northern hemisphere summer of 2019, filled with amazing events and awesome music, Avalon releases his long awaited second album 'RISE' to great critical acclaim.
Every track a story, every track a magical moment lifting dancefloors to new realms of psychedelia!
Set almost ten years apart from his classic debut album 'Distant Futures', Avalon has since climbed to dizzying heights to become one of the leading and most in-demand artists of the global Psychedelic Trance scene. Chart topping number ones have lined-up one after another between massive collaborations, two remix albums, three collaboration albums (as Killerwatts with Tristan and Future Frequency with Sonic Species) and a gigging schedule that has placed him at every major festival and music loving country possible.
'RISE' shares with us many solo productions, filled with the classic Avalon trademark elements that first garnered him so much success. Twisting and mixing-up his quintessential sounds with the newest and biggest production techniques, plus four amazing collaborations with friends and Psychedelic alumni; Tristan, Dickster, Ajja and Mad Maxx, ensured this album has become a force to be reckoned with!

'RISE' expresses an artist at full potential, utilising all he has learned from a deep dive into psychedelic music and taking things to the next level.

Get ready to Rise!!

We are very proud to now be able to offer this amazing album as a Special Limited Edition double Vinyl.

Compound X launch new limited edition vinyl label CX BLACK, with four innovative tracks that set an immediately high standard.

Compound X is DAR and DULUM, both progressive and dedicated journeymen, their visions melting psychedelic rock and deconstructed techno to deliver a forward-thinking take on electronica. Their innovative sound first debuted in April 2020 on Distopic Utopia Records, and a live debut is scheduled for Dark Mofo festival in Tasmania, Australia, this June. The act's dynamic range and genuine sound artistry are what set Compound X beyond the status quo, something that’s clearly displayed with this latest release.

The opener 'Sending Me Signals' is dark and thrilling techno. The blistering synths bring fizzing energy to the hammering kicks, while tortured voices add extra layers of eeriness. There is haunting paranoia to the unsettling voices that loop in the background of 'Gone 2 Far.' The drums are again brilliantly brutal, and the whole atmosphere is utterly arresting.

The synths on 'Asexual Orgasm' sound as if fired from a machine gun with caustic textures, scraping hits, and dehumanised vocals add up to a wall of intense techno noise that will disorientate all dance-floors. Finally, 'Ancient Sentient' is a slightly more spacious cut with buzzsaw synths, undulating rhythms, and distorted bass that makes for maximum impact.

Tracks by Max Durante, Teslasonic, Kerg, Kitbuilders, Bolz Bolz and Negocius Man. The Time Capsule project, also known as 808 Box, is a project created by Fundamental Records. The six boxes released in recent years include 56 records with over 300 tracks from artists from every corner of the world. Some warehouse copies have surfaced of the 5th 808 Box, and these will be available individually. These are new copies in perfect condition, with the original sleeves printed with the classic Roland TR-808.

The forthcoming latest edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Thirteenth Trip will be available on Halloween 2021. Check out the first single "Run Run", released in 1970 by Montreal hard rockers Max is available to hear & share via Metal Injection HERE. (And, direct YouTube and Bandcamp)

The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. Read interviews with the series curators via Paste Magazine HERE and LA Weekly HERE.

About The Thirteenth Trip:

Max, from Montreal, QC — originally known as Dawn, before Tony Orlando & Dawn forced a name change — kick things off with “Run Run” from their lone 1970 single. It’s a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. Sadly, the band didn’t last long due to poor management and various other factors, so this is the only surviving document according to guitarist Gerry Markman. And what a document it is, paired with the A-side “The Flying Dutchman.”

You might remember Ralph Williams and the Wright Brothers from their track “Never Again” on Brown Acid: The Tenth Trip. Here they make their return to the series with the A-side of their 1972 Hour Glass Records 45, which sounds like Blue Cheer mangling Roy Orbison’s “Pretty Woman” (that’s right, several years before Van Halen actually did so.) Alas, Ralph and these Wright Brothers soon disappeared from terrestrial airspace.

“Feelin’ Dead” is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI’s Master Danse, which was only released as a promo 45. Think Led Zeppelin’s “Since I’ve Been Loving You” and you’re on the right track. A little dose of Hendrix acid blues and a heartfelt groove, and you’ll wonder why this single never even made it to official release. The unavoidable tell in the lyric, “help me get this damn thing out of my arm” hints at the post-Vietnam heroin epidemic as a potential clue why we never heard more from Master Danse.

Folks, Gary Del Vecchio is “Buzzin’” hard on this one, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin’s “Heartbreaker” and rollicking rhythmic changes certainly keep the buzz a rollin’.The recording is technically credited as Gary Del Vecchio with Max, though not the same band as the one that kicks off this Trip.

John Kitko’s 1973 heavy psychedelic rager “Indecision” is the only recording known to exist by the mysterious artist. The Twin Record Productions release features a different artist, Tom Poff on the B-side, which is truly a shame, considering the smoldering ashes Kitko leaves of the turntable by song’s end. It starts out more like a late 60s Acid Rock jam before leaping into a blazing double-time gallop, whipped into a frenzy by wailing, neck-pickup guitar squeals and Kitko’s barely audible howls.

Tampa, FL’s Bacchus made their Brown Acid debut way back on the very first Trip with “Carry My Load.” This 1972 B-side, “Hope” is a huge sounding swinging rocker replete with roadhouse piano bolstering the chunky riffs and confident vocals. After relocating to Southern California a few years later, the band morphed into Fortress, an 80s melodic metal act whose Hands In The Till album of Pomp Rock on Atlantic Records still draws chatter today.

Orchid’s “Go Big Red” is perhaps the most garage-y sounding offering here, with loose rhythms and straightforward stop-and-start riffing. Nonetheless, the stomping energy and fried-amp guitar tone make this one a charming skull thwack. The band’s 1973 single on American records, backed with a cover of Johnny Russell and Voni Morrison’s “Act Naturally” (popularized by Buck Owens and the Buckaroos) is their only release, so the world never did see this Orchid fully blossom.

By the title alone of Dry Ice’s “Don’t Munkey with the Funky Skunky” you know you’re in for a good time. The 1974 barnstormer seems aimed to the novelty tunes crowd, with its kooky lyrics and silly-voiced spoken catchphrase break, “peeyew, you’ll be sorry if you do.” But, the Ohio band’s maniacal drumming, crunching guitars and, of course, drug euphemistic lyrics make it a shoo-in for the Brown Acid series of erudite rock’n’roll.

Good Humore’s swaggering 1976 rocker “Detroit” is a slick and smooth paen to the Motor City. It most likely doesn’t predate “Detroit Rock City” by Kiss, also released in 1976, and it has more rock’n’roll swing, but it could fit comfortably alongside the era’s arena anthems. Not much else is known about the one-off release on P.V. Records, but songwriter Mike Moats is noted to also have been a recording engineer in later years and this well produced track sounds like a labor of love.

The forthcoming latest edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Thirteenth Trip will be available on Halloween 2021. Check out the first single "Run Run", released in 1970 by Montreal hard rockers Max is available to hear & share via Metal Injection HERE. (And, direct YouTube and Bandcamp)

The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. Read interviews with the series curators via Paste Magazine HERE and LA Weekly HERE.

About The Thirteenth Trip:

Max, from Montreal, QC — originally known as Dawn, before Tony Orlando & Dawn forced a name change — kick things off with “Run Run” from their lone 1970 single. It’s a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. Sadly, the band didn’t last long due to poor management and various other factors, so this is the only surviving document according to guitarist Gerry Markman. And what a document it is, paired with the A-side “The Flying Dutchman.”

You might remember Ralph Williams and the Wright Brothers from their track “Never Again” on Brown Acid: The Tenth Trip. Here they make their return to the series with the A-side of their 1972 Hour Glass Records 45, which sounds like Blue Cheer mangling Roy Orbison’s “Pretty Woman” (that’s right, several years before Van Halen actually did so.) Alas, Ralph and these Wright Brothers soon disappeared from terrestrial airspace.

“Feelin’ Dead” is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI’s Master Danse, which was only released as a promo 45. Think Led Zeppelin’s “Since I’ve Been Loving You” and you’re on the right track. A little dose of Hendrix acid blues and a heartfelt groove, and you’ll wonder why this single never even made it to official release. The unavoidable tell in the lyric, “help me get this damn thing out of my arm” hints at the post-Vietnam heroin epidemic as a potential clue why we never heard more from Master Danse.

Folks, Gary Del Vecchio is “Buzzin’” hard on this one, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin’s “Heartbreaker” and rollicking rhythmic changes certainly keep the buzz a rollin’.The recording is technically credited as Gary Del Vecchio with Max, though not the same band as the one that kicks off this Trip.

John Kitko’s 1973 heavy psychedelic rager “Indecision” is the only recording known to exist by the mysterious artist. The Twin Record Productions release features a different artist, Tom Poff on the B-side, which is truly a shame, considering the smoldering ashes Kitko leaves of the turntable by song’s end. It starts out more like a late 60s Acid Rock jam before leaping into a blazing double-time gallop, whipped into a frenzy by wailing, neck-pickup guitar squeals and Kitko’s barely audible howls.

Tampa, FL’s Bacchus made their Brown Acid debut way back on the very first Trip with “Carry My Load.” This 1972 B-side, “Hope” is a huge sounding swinging rocker replete with roadhouse piano bolstering the chunky riffs and confident vocals. After relocating to Southern California a few years later, the band morphed into Fortress, an 80s melodic metal act whose Hands In The Till album of Pomp Rock on Atlantic Records still draws chatter today.

Orchid’s “Go Big Red” is perhaps the most garage-y sounding offering here, with loose rhythms and straightforward stop-and-start riffing. Nonetheless, the stomping energy and fried-amp guitar tone make this one a charming skull thwack. The band’s 1973 single on American records, backed with a cover of Johnny Russell and Voni Morrison’s “Act Naturally” (popularized by Buck Owens and the Buckaroos) is their only release, so the world never did see this Orchid fully blossom.

By the title alone of Dry Ice’s “Don’t Munkey with the Funky Skunky” you know you’re in for a good time. The 1974 barnstormer seems aimed to the novelty tunes crowd, with its kooky lyrics and silly-voiced spoken catchphrase break, “peeyew, you’ll be sorry if you do.” But, the Ohio band’s maniacal drumming, crunching guitars and, of course, drug euphemistic lyrics make it a shoo-in for the Brown Acid series of erudite rock’n’roll.

Good Humore’s swaggering 1976 rocker “Detroit” is a slick and smooth paen to the Motor City. It most likely doesn’t predate “Detroit Rock City” by Kiss, also released in 1976, and it has more rock’n’roll swing, but it could fit comfortably alongside the era’s arena anthems. Not much else is known about the one-off release on P.V. Records, but songwriter Mike Moats is noted to also have been a recording engineer in later years and this well produced track sounds like a labor of love.

Marvelous Legofunk Records offer up new stuff with 4 track ep on black wax.

Boogie business done right sounds, sauntering and primed for a party. Maximum pleasure for the dancefloor guaranteed!

Formed in 1984, Sepultura are arguably Brazil’s biggest music export having enjoyed huge global success throughout their career to date. This five album box set represent the second phase of the bands career when vocalist Derrick Green joined the band on vocals after the departure of founding member Max Cavalera, although four out of the five of these records still feature his brother Iggor on drums. Spanning the years 1996 to 2009 this contains the albums; Against, Nation, Roorback, Dante XXI and A-Lex, all of which are half speed cut, remastered and back on 180g vinyl for the first time in a decade and also as a collectors LP box.

Jondo's Little Princess EP sees Cologne's finest producer/DJ debut Dekmantel with a 4-track set of expansive atmospheres and reconstructed club tunes, alongside double bassist Maxwell Sterling and Australian producer DJ Plead.
Each track draws elements from the bass music trajectory, but effortlessly reassembles them in song-like arrangements that work just as fine in any headphone or home listening scenario.

The A-side has Jondo and Sterling team up for two dynamic pieces called "Dunkelziffer I" and "Dunkelziffer II". Whereas A1 serves drumless, RPG-like atmospheres reminiscent of Sterling's long-time collaborator James Ferraro, A2 is a full-on club joint packed with icy synths and complex rhythms that slowly eases into comforting ambient. On the B-side's "Whowhuwho", Jondo creates a powerful piece of instrumental-grime-turned-quasi-jungle with DJ Plead. For his remix, Russian techno prodigy Moa Pillar warps the already minimalist lead synth into an even more sparse yet effective dancefloor weapon.

Just as his celebrated DJ sets, the Little Princess EP proudly exhibits all of Jondo's musical roots – but instead of sticking with one style, tempo or formula, he innately trusts the music to let it take us into unexpected territories, time and time again

Doctor’s Cat – Greatest Hits & Remixes jetzt auch auf Vinyl erhältlich
Mit ihren Songs „Watch Out“ und „Feel The Drive” landeten Doctor’s Cat in den Jahren 1983 und 1984 europaweite Charterfolge.
Die Produzenten Aldo Martinelli und Fabrizio Gatto sind die Produzenten und genialen Köpfe hinter dieser Band.
Diese LP enthält die besten Titel als Maxi Versionen.

Brian Owens is a soul singer, a writer and a dedicated community activist from Illinois, USA.
At Visions HQ they fell in love with his album” Love came down” from 2019, and in particular with the 2 tracks “Sparrow “and “Cool water“ ( unreleased before on vinyl ).
They got in touch with him and after nice chats and lovely exchanges, they decided to licence these two soul gems and give them a new life on a proper 2x 12” with a new mastering and some great remixes from the likes of Kaidi and Dego, Soul Supreme and Sohan Wilson.
These new versions are wonderful and kept the essence of Brian’s music but what is amazing too is to have the original versions on one side for maximum quality and loudness play. This is music, pure new soul with the respect of tradition of the 70’s soul music that we love.
The first edition with full sleeve designed by Angelo Benedetto is limited to 300 copies only. Collector’s item here, don’t sleep!

In what seems like some sort of cosmic alignment bound to happen, the ever prolific and somewhat elusive Niagara make their way into the Discrepant catalogue with '1807'. Compiling tracks recorded between 2014 and 2018 that appeared scattered among very limited and long out of print self released CDRs, the record feels as much out of time as deeply resonant with these times with no dancefloors. Stripping away most of the beat based approach of early Príncipe releases and Ascender EPs, these 17 vignettes presented in the classic dance maxi 12" format dabble with escapism in a manner that projects them as potential DJ tools for lockdown.

Deeply idiosyncratic, the trio from Loures shows an internal coherence that while not easy to grasp given their mutating creative impulses, weaves each different path into a sonic fiction all their own. Cobbled together from countless hours of jamming on warm spectral synths, field recordings, otherworldly textures or devious drum machines '1807' paints a vivid and dreamlike escape route that goes from the hypnotic arpeggios and rarefied synths of 'Esc8' through the glowing tones and fragmented melodies of 'Egyptiu' and into the malfunctioning swirl of the stark 'Esc 10' or the polluted 4/4 thump and funky guitar line of 'Mapas'. Equally disruptive and inviting.

All tracks composed by Niagara between 2014 – 2018

LIMITED STAMPED WHITE LABEL

* Dubplate style from The Disciples and Boomshackalaka Sound System from the early 90’s.
* In-demand heavy-weight instrumental in-a Jah Shaka style.
* Featuring 3 mixes for maximum speaker distress.
* Strictly limited to 300 copies only.

Nanocluster Vol 1. is an album with some serious pedigree. It sees Immersion (aka Malka Spigel and Colin Newman of influential groups Minimal Compact and Wire respectively) collaborating with some of the finest left field artists of our era: Tarwater, Laetitia Sadier, Ulrich Schnauss and Scanner. The project was born out of a Brighton based club night, also called Nanocluster, run by Spigel and Newman alongside writer, broadcaster and DJ Graham Duff, and promoter Andy Rossiter. The club features a range of influential and cutting edge music acts. But the unique aspect of the evenings is that each show climaxes with a one off collaboration between Immersion and the headliners. The songs having been written and recorded in the studio in just three days prior to the performance - or one day in the case of Schnauss. "It could have just been a series of performances." Says Newman.? "But the fact that we had built the tracks in the studio for the performances means we had these recordings." Says Spigel. The recordings have since been developed with Immersion heading up pro- duction duties. The result is a beautiful and unique album.? "I think the really interesting thing is how different everybody is," says Spigel. "Both as people and creatively." - Immersion and Tarwater: The German duo of Ronald Lippok and Bernd Jestram have created an impressive body of work. Yet their involvement with Immersion has opened out their sound, creating a more panoramic soundscape. The opening instrumental 'Ripples' is a gentle breathe of optimism, all purring tones and sun dazzled synths. Meanwhile, 'Mrs. Wood' is a dubby psychedelic shuffle, Lippok's vocal cool and assured over a fat bass line and skybound eastern melodics. It feels like a more spacious take on the Tarwater of albums such as 'Suns, Animals and Atoms'. The four musicians' 3rd collaboration is Nanocluster's most pop moment: with a heartfelt yet unsentimental lyric unfurling over feline rhythms, 'All You Cat Lovers' is a feel-good anthem for cat lovers everywhere. - Immersion and Laetitia Sadier: An original and distinctive presence in contemporary music, Sadier made her name with the inimitable Stereolab, but she's also created several impressive solo works. The instrumental 'Unclustered' sees Sadier's spidery guitar weaving through Immersion's lush web of synths drones. The following 'Uncensored' has a subtle melodic tug with a classic Spigel guitar line underpinning Sadier's sweet yet worldly wise vocal. 'Riding the Wave' is another feel good song, swapping between Newman's plaintive vocal, and Spigel's vocal and Sadier's backing vocals. With its uplifting chorus: 'Things have a way of working out' 'Riding The Wave' feels like it might be the sound of the summer we've all been waiting for. - Immersion & Ulrich Schnauss: A highly respected solo artist, as well as being a member of Tangerine Dream, Schnauss' skill with electronics is legendary. The opening 'Remember Those Days On The Road' skips along on a rimshot rhythm with Spigel's honeyed vocal telling a tale of life on tour. Yet it is far removed from such usual fare. This feels vulnerable and flecked with melancholy. 'Skylarks' opens with a lattice of arpeggios before a gently nag- ging guitar enters and everything takes a turn for the sublime. 'So Much Green' is everything you'd hope a collaboration between Newman, Spigel and Schnauss could be. A constantly spiralling urban-kosmisch, with Spigel's plangent bass anchoring the celestial sounds. The addition of her wordless backing vocals and recordings of real birdsong only serve to elevate the mood further. - Immersion & Scanner: Scanner - aka Robin Rimbaud - is one of the most prolific and diverse artists currently working in contemporary music. Spigel and Newman have of course collaborated extensively with Rimbaud before: alongside Max Franken in the art-pop group Githead. But this is something very different. Their opening piece together: 'Cataliz' is the album's moodiest moment. With its serpentine synth drones it sounds like the soundtrack to a mysterious thriller. The rich pulsing 'Metrosphere' recalls Immersion's early work whilst adding another layer of grainy uncertainty. The closing 'The Mundane and the Profound' opens with a "Rimbaud scanned" recording of an irritated flight attendant but this is eventually subsumed by a simple yet emotive piano figure: a gentle and touching end to a unique collection of songs. Nanocluster Vol.1 is a testament to a remarkable synergy between a diverse assembly of strongly individual talents. The fact that it not only succeeds, but excels should be cause for celebration.

Keeping his carbon footprint at a minimum, Santilli sails from Sydney to Hamburg via ten textured vignettes delicately drawn with guitar, bass and organic percussion. Relaxing, reflective and endlessly
beautiful, ‘Tidal’ explores elemental inspiration through a humanistic gaze.
Whether you know Max Santilli through Ken Oath duo Angophora, previous releases ‘Surface’ and ‘In Circles’, or this is your first time making his acquaintance, you’ll agree he’s right at home on the
Growing Bin. The multi-instrumentalist crafts exquisite acoustic music in tune with the finer moments of Windham Hill and ECM; a perfect fusion of talent, balance and the emotion shared by each release on the Hamburg label.

As befits its inspiration ‘Tidal’ is an organic affair, related through bright acoustic guitar, hazy chimes and hand played percussion. Where the Australian draws you in with hypnotic repetition, the subtlety, warmth and tonal variation serve as a welcome reminder we’re living off grid. Though expert fretwork
often takes centre stage, especially on the delicate B1 ‘Warm You Give’, it’s the blend of kalimba, woodblock, hand drums and shaker which truly transport the listener through open waters; a rhythmic
breeze carrying us through the maritime drones and bowed squall. At times the salt air is spiced with cardamom and cloves (‘Sea’) or lemongrass and galangal (‘Valleys’), as we skirt the Indian Ocean or
the Java Sea. ‘Lapse’ provides subtle hints of fourth world jazz as mallets take the lead, leaving the guitar to provide its own shimmering texture.

Clear your mind, clear your schedule and make some time for ‘Tidal’, an opportunity to breathe in time with the planet

Repress

Chris Liberator's Maximum Minimum label returns with "PANIC VIRUS RED" EP featuring 2 slamming trax from Valencia's SEON, one classic track from the U.K.'s underground innovator TASSID, and a collaboration between Belgium's rising star JACIDOREX and French DJ supremo DAVID ASKO. Futuristic Acid Techno WITHOUT the 303 action, or simply smash-and-grab dancefloor underground techno? - you decide. Either way this is going to ignite underground parties, streamed, live or otherwise - with or without this fucking virus. DO NOT PANIC!

‘The record is inspired by the idea of humanity’s ever-increasing entanglement with technology and artificial intelligence, balancing fears and moral concerns with the possibilities of evolution’s next phase’

A new Soccer96 album is a chance for Danalogue (Dan Leavers) and Betamax (Maxwell Hallett) to return to something of a spiritual creative home. Between them, the keyboardist and drummer have become synonymous with the thriving London jazz scene and, in their mind-bending incarnation as the astral synths-and-drums pairing, they’ve traversed stylistic worlds. Over nearly a decade, the duo have metamorphosed from a DIY outfit whose rough-edged recordings hit with a punk spirit, to cosmic dreamers that use sound to travel the reaches of the mind.

First single Dopamine features Nuha Ruby Ra on vocals who sings from the perspective of human and machine throughout the track. This concept overlaps with the music seamlessly, forming a meeting point between technological and human exploration.

Dialogues between the band and Nuha crystallised a shared vision of a future where humans and artificial intelligence are entangled in a codependent relationship based on the giving and receiving of pleasure hormones, the robots only source of dopamine is to receive it from humans, and the humans’ ability to unleash the monsters of the worst of human emotion.

Danalogue and Nuha sing together ‘It’s a Long Way down’ .. the feeling of jumping from the cliff of our current state as humans and ‘free-falling’ into the unknown of robot-human intertwining. By the outro they are pleading with each other over their dopamine co-dependency, in terms of both giving and receiving the hit. "Dependency leads to free-falling integration, a moment of freefall into robotic consciousness. Humans and machines are locked in a dance of addiction." explains Betamax.

Soccer96 has always been a vessel for Danalogue and Betamax to find clear water from their multitude of other collaborations, their most notable being as two-thirds of The Comet Is Coming alongside Shabaka Hutchings. Danalogue’s other recent production credits include Snapped Ankles and Calabashed, whilst Betamax has been making music with Champagne Dub and Coma World.

“Through collaborating with various artists and developing our own sonic language, it feels like we have created a sound of our own,” says Danalogue. “Now we think less literally and take more liberties to not necessarily sound like a duo. It’s more like a production team that can be augmented or stripped back depending on what the music calls for.”

Dopamine, though, sees the pair back together once again, incubating their findings of the past two years and moving Soccer96 into new territories. The record is maybe darker in some senses than what they’ve put out before; it’s inspired by the idea of transhumanism and humanity’s ever-increasing entanglement with technology and artificial intelligence It balances fears and moral concerns with the possibilities of evolution’s next phase. “The LP title Dopamine refers to the type of neurotransmitter associated with pleasure, that enables technology to hack into our minds and control us, creating addiction, dependency,” Betamax explains.

Dopamine began life as a sonic reaction to the graphic novels of ‘Moebius’ Jean Giraud. The duo then started swapping reel-to-reel tape ideas through each other’s letterboxes in lockdown, before eventually convening in the studio and displaying one of the revered French artist’s images in the middle of the studio for inspiration.

“All musical decisions would centre around this image,” Betamax says. “It was a depiction of a cosmic traveller gazing across a desert at a sort of crystal city. If the music was resonating with the image then we knew we were on the right path. We are both glad there is a lot of emotional warmth underpinning the whole thing. We are trying to connect with the human essence at all times.”

Ever since the release of their acclaimed debut EP P'eau (2018) these Mechelen-based musicians have been honing their craft in songwriting and production, building a new home studio to record future material while also expanding from a three-piece to a five-piece ensemble. By adding singer/percussionist Stefan De Graef (Psychonaut) and guitarist/singer Sander Rom (L'Itch) to their ranks, HIPPOTRAKTOR have become a more versatile outfit able to employ a broader palette of sounds, taking the band's earlier instrumental prog metal sound to new heights. Taking notes from the best moments in contemporary progressive and post metal, HIPPOTRAKTOR capture the awe-inspiring power of nature_from the delicacy of the first falling leaf to the massive cosmic energy of the sun. By combining the big, catchy riffs and the rhythmical prowess of Gojira with the relentless but equally groove-loaded complexity of Meshuggah, Meridian delivers an overwhelming experience of sound, presenting the listener with sentiments that are recognisable, but with an intensity that seems larger-than-life. "Meridian finds its origin in everyday moods, taken out of context and morphed into a stylised version that re- flects the dreamer in me," explains main songwriter and guitarist Chiaran Verheyden. "It tells the story of someone who's lost in a world too massive to comprehend, and seeks answers in places where none can be found. Meridian was written as an attempt to distillate what I felt but couldn't put into words." As the main vocalist in the group, finding these words was the job of Stefan De Graef, who carried over his fascination for philosophy and religion from his other band Psychonaut. "Meridian tells the story of a solitary wanderer on the Earth in the absence of other beings," explains Stefan. "Without anyone to share knowledge and history with, the protagonist is forced to create his own truths and stories about the nature of life, consciousness and the universe. The protagonist begins to personify and deify his surroundings, assigning sentience to the trees, the mountains, the wind, the waters etc. for they are his only companions in this desolate world." Essentially, Meridian is an exploration of the evolutionary theory of naturism, which was put forth by German scholar Max Mu"ller in the 19th century, and which argues that religion finds its origin in the deification of the forces of nature by early human beings. By juxtaposing this sociological theory with seven tracks that unfailingly conjure images of the earth, sea and sky, HIPPOTRAKTOR have created an analogy that enlarges the imaginative quality of their music to (literally) epic proportions. Combining the best of prog, groove and post-metal, Meridian comprises an incredible ride for fans of soaring hooks, technical riffing and earth-shattering breakdowns. Limited bluegreen-grey single colour vinyl edition, gatefold! FOR FANS OF Meshuggah, Periphery, Cloudkicker, Intronaut, Animals As Leaders, Gojira, Skyharbor, Psychonaut

Das japanische Quartett CHAI veröffentlicht mit "Wink" ihr drittes Album und ihr erstes für Sub Pop. Es enthält CHAIs sanfteste und minimalistischste Musik, aber auch ihr mit Abstand bewegendstes und aufregendstes Songwriting. "Wink" ist zudem ein extrem passender Titel: eine subtile, aber kühne Geste. Ein Zwinkern ist ein unbefangener Akt der Überzeugung. CHAI besteht aus den eineiigen Zwillingen Mana (Gesang und Keyboard) und Kana (Gitarre), Schlagzeugerin Yuna und Yuuki. Nach der Veröffentlichung von "Punk" im Jahr 2019 führten CHAIs Abenteuer sie rund um die Welt, sie spielten ihre hochenergetischen und beschwingten Shows auf Musikfestivals wie Primavera Sound und Pitchfork Music Festival und tourten mit Indie-Rock-Größen wie Whitney und Mac Demarco. Wie alle Musiker waren CHAI im Jahr 2020 gezwungen, die Struktur ihrer Arbeit und ihres Lebens zu überdenken. CHAI nahmen dies als Gelegenheit, ihren Arbeits-Prozess durchzuschütteln und ihre Musik an einen aufregend neuen Ort zu bringen. Hatten CHAI zuvor ihre maximalistischen Aufnahmen genutzt, um die Ausgelassenheit ihrer Liveshows einzufangen und die Reaktionen des Publikums im Auge zu behalten, konzentrierten sie sich nun darauf, die etwas subtileren und introspektiveren Arten von Songs zu entwickeln, die sie gerne zu Hause hören - wo sie zum ersten Mal die gesamte Musik aufgenommen haben. Inmitten des globalen Shutdowns arbeiteten CHAI quasi als Garage-Band und tauschten ihre Songideen - für die sie mehr Zeit als je zuvor hatten - über Zoom und Telefonanrufe aus, wobei sie ihre Einschränkungen in eine Stärke verwandelten. Während sich die Band an einen persönlicheren Sound anlehnte, ist "Wink" auch das erste CHAI-Album mit Beiträgen von externen Produzenten (Mndsgn, YMCK) sowie einem Feature des Chicagoer Rappers und Sängers Ric Wilson. CHAI ziehen R&B und HipHop in ihre Mischung aus Dance-Punk und Pop-Rock, während sie unbestreitbar CHAI bleiben. Ob in Bezug auf diesen neu entdeckten Sinn für Offenheit oder ihre Art, zu Hause zu komponieren, das Thema von "Wink" ist, sich selbst herauszufordern.

Here’s a definitive compilation of their first period career, Glaxo Babies was one of the most exciting british post-punk band of the era. Raised in Bristol – altogether with such local influential acts like Maximum Joy, The Transmitters and obviously The Pop Group – Glaxo Babies formed in late 1977. The band signed to local label Heartbeat Records (marketed by Cherry Red), with their first release being the This Is Your Life EP in February 1979; in the same year they released the single “Christine Keeler” . This led to them recording their first session for BBC radio’s John Peel the following April, and the track “It’s Irrational”, from this session, opened the seminal 1979 Bristol Compilation album “Avon Calling”. Their aggro mix of in your face lyrics and groovy bassline led to a unique formula, with both their feet in the post-punk scene and the uprising black jazz crossover. The so-called white funk was the plat du jour, even if the band soon achieved a straight and original personality. Fully remastered and licensed, ltd to 500 copies.

The French electro genius returns to New Flesh Records. Author of a remarkable "Moving Corridors" contribution on the mighty "Elektro Diktators Vol.1 - The French Dissidents" compilation (New Flesh 15) back in 2015, dynArec delivers today on Umwelt's imprint four raw and dystopian slaughters calibrated for maximum impact on the dancefloor.

The title track signs a no nonsense aquatic electro/techno tune a la Drexciya, tinted with melancholic strings and heading Speak n' Spell samples. Pure madness! Cyberpunk "Correlation" goes harder, offering a pounding 4/4 song enhanced by appealing vocoder lyrics and deep synth flights while syncopated "Influoncers" coming next focuses on a more robotic, experimental yet unhealthy approach. Final cut "Clean It Up" concludes the EP on a machine funk note characterised by insane female vocals, distorted chords, relentless bassline and futuristic touch throughout.

Magnetic and emotional, forward thinking "Disenchanted EP" alternates in a minute between very melodic moments and epic hard techno sequences. With roots from both Germany and Detroit, this electro masterpiece sees dynArec in full effect, showing his unique sense of the dancefloor thanks to an incredible use of bass, rhythm and pads that makes the tracks effective and advanced at the same!

Maxed out and burning hot nasty, Electric Rag brings together the electric organs, electronics and alto sax of Jean-Luc Guionnet, with the closely amplified drums and percussion of Will Guthrie. After years of playing together in the minimalist pointillist free jazz noise core trio ‘The Ames Room’ (with Clayton Thomas on bass) Electric Rag offers up another point of view on a musical history of nearly 15 years of playing together. The 8 titles of Electric Rag draw on their various experience in electronic music, free improvisation and experimental sound research, however the music is deeply rooted in their love of jazz, in its most potent, aggressive and antisocial form.

Imagine Andrew Weatherall producing Pere Ubu. The 7” Taki Chrome / Strummer Maxxx single by Pink Skull released on Höga Nord Rekords give a hint of how such a collaboration would sound. Mid seventies kraut rock á la “Neu 75” meet leftfield and sophisticated punk. The record has an organic warmth to it yet the excessive use of electronics: most instruments on the tracks are synthesizers and drum machines – all Moog, Korg and whatnot.

In the warmth of the Pink Skull-sound you suddenly get a wash of cold, hard rain from all directions. These elements of surprise create edges in the round soundscape and brings chaos to the mix. This is of course all part of Julian Grefes (founder of Pink Skull) plan.

Pink Skull propels you out of the quarantine like a shiny metal free bird released from its rusty cage.

'More Treats' contains five compositions that didn't make it to the band's latest album 'T(h)reats' but were too fine not to share with the world.All tracks have been fused into two continuous mixes for maximum listening pleasure, one on each side of this limited edition vinyl.

The second volume of music from the hit Fox TV show ‘Bob’s Burgers’. The Emmywinning, top-rated show was named one of the 60 Greatest TV Cartoons of All Time
by TV Guide.
In addition to the show’s cast, the album features high-profile guests including Adam
Driver, Tiffany Haddish, Jenny Slate, Daveed Diggs, Max Greenfield, Toddrick Hall,
Aparna Nancherla and Matt Berninger (of the National).
The ‘Bob’s Burgers’ audience is wide-ranging: strong performance with 15-25 year
olds, median viewing age of 37, 35 share among males 35-54 and a 16 share of
females in the same group.
Campaign will include promotion from the cast and show production team.
‘The Bob’s Burgers Music Album Vol. 2’ includes nearly every single musical morsel
from Seasons 7 through 9.
This 90-song smorgasbord will feature the Belcher family - Bob (H. Jon Benjamin),
Linda (John Roberts), Tina (Dan Mintz), Gene (Eugene Mirman) and Louise (Kristen
Schaal) - as well as the show’s numerous recurring and special guests.
For fans of the show, enjoying the music of Bob’s Burgers on its own is both an
irresistible to-go bag and ultimately a world unto itself. Lose yourself in the strangely
epic disco celebration ‘Hot Pants Rain Dance’, sing along with the musical theatre
gem ‘The Wedding Is My Warzone’, or do whatever you’re gonna do to ‘Sexy Little
Tiger’ but don’t miss ‘The Bob’s Burgers Music Album Vol. 2’.

Precious gems mined from a wall of vinyl. Cut, polished, and mounted for maximum love.

DEATH's legendary 1987 debut Scream Bloody Gore is more than just an untouchable album - upon its release, it was positively genre-creating. Scream Bloody Gore founded the quintessential death metal sound, with more tormented riffs, screams, and leads than the world had ever imagined, and established Chuck Schuldiner's inimitable phrasing and songwriting style as the most singular voice in the burgeoning genre. Today, the album is viewed unanimously as one of the all-time most important cornerstones of death metal. As the final chapter in Relapse's comprehensive DEATH reissue series, Scream Bloody Gore will now receive the deluxe reissue treatment on a wide variety of formats including 2CD, Limited Edition 3CD, LP, Deluxe 2xLP Boxset, and cassette versions. Like the preceding DEATH reissues, the deluxe reissue of Scream Bloody Gore has been meticulously remastered from the original tapes by Alan Douches (Death, Mastodon, Nile) and includes a plethora of bonus content, including previously unreleased recordings and rehearsal demos, super-expanded packaging, and brand-new extensive liner notes from former DEATH drummer / Autopsy founder Chris Reifert, Sepultura's Max Cavalera, and original Scream Bloody Gore producer Randy Burns.

Forty years ago, on July 8th and 9th in 1981, a group formed by the splintering of some of Bristol’s essential post punk bands, entered the hallowed studio at Berry Street in London to record their debut single. What would emerge was not only an exuberant post funk classic on the A-side, but also a wildly influential dub workout on the flipside, whose reverberations can still be heard today. Both songs have proven essential in very different ways.

A focal point for the unique punk-funk that was coming together in Bristol as the bridge from the 70s to the 80s arrived, Maximum Joy was formed by Glaxo Babies multi-instrumentalist Tony Wrafter and 18 year old vocalist and multi-instrumentalist Janine Rainforth. Soon they drafted in additional Glaxo Babies in the form of drummer Charlie Llewellin and bassist Dan Catsis, along with guitarist John Waddington, fresh from The Pop Group. The group set about making a one-of-a-kind mix of funk, punk, pop, jazz, dub, soul, afrobeat and reggae; creating a brilliant charge of danceable tunes wrapped around elastic basslines and complex percussion, punctuated by melodic horns and stabs of guitar, all of it highlighting Rainforth’s naturally enthusiastic vocal style.

Bursting at the seams, “Stretch” feels like it can barely be contained within the studio walls. Rainforth delivers a vocal performance that can only be found within the freedom of someone recording their first ever single. I’m not lying when I say there isn’t another song that sounds quite like it. The group’s love of funk is evident on “Stretch”, but the heavy influence of dub and reggae from their surroundings shapes the moody skitter of “Silent Street”. Here, the sing song vocals seem to drift across the heavy late night air. The two songs are wildly different, yet both could only have come from this key collection of players. Paired with the likes of The Pop Group, The Slits, The Raincoats and the On-U-Sound collective, Maximum Joy still stands out as a unique voice in the movement.

Y Records head Dick O’Dell would join the sessions and give the release a warm home in the UK while legendary 99 Records in New York took on the US release since Maximum Joy made perfect sense being equal parts ESG and Liquid Liquid. This 12” has been a staple for DJ’s in the know since day one.

Contemporary and historical Porest recordings channelled from behind the somnambulistic event horizon. The now sound... The bleak oblique. The minimal and the maximal. Filmic chamber drones, meditative radio massage and forged spiritual violence bury pop ephemera into the swirling murk of de facto instrumental nihilism and orchestral context-free drama.
Side A: A harmful journey into sickness and despair. You get sick and die.
Side B: You are healed. You stand erect and live forever.
Layered field and radio recordings back electro-acoustic experiments via electric saz, strings, balypso, reeds & synths. Big drones, small ensembles and mood-anthems recorded by Porest and friends between 1995 and 2020 in West Oakland, Germany, Sumatra, Syria, Hanoi and London.

Neon Christ, the Atlanta hardcore luminaries founded by Alice in Chains singer William DuVall have announced the official release of 1984 for 17th September. This collaboration between Southern Lord Recordings/DVL Recordings was originally released on Record Store Day U.S.only, now to be made available more widely.

The package includes a full-colour gatefold sleeve and a 12-page oral history booklet featuring dozens of never-before-seen photographs. Heavyweight vinyl at 45 RPM for maximum fidelity.

Neon Christ formed in the fall of 1983 with William DuVall on guitar, Jimmy Demer on drums, Danny Lankford on bass, and Randy DuTeau on vocals. They made their debut in the early morning hours of New Year’s Day 1984. That March, they recorded their eponymous debut 10-song EP. Released in June ’84, the EP's songs exemplify the band's signature musical diversity, from DRI-style thrashers like "Parental Suppression" to the atmospheric improv of "After." A short east coast tour followed. On Labor Day 1984, the band recorded four tracks in the home studio of Nick Jameson, of Foghat fame. A few months later, "Ashes to Ashes" was included on the International Peace/War compilation released by MDC's R Radical Records, bringing the band worldwide exposure.

Neon Christ shared the stage with the luminaries of 80s hardcore including the Dead Kennedys, Circle Jerks, and Corrosion of Conformity. In 1985, the band added Shawn Devine on second guitar, as their sound and songs became slower, heavier, and more melodic. DuVall wrote an album's worth of songs in 1985, but only "Savior (Drawn In)" was ever recorded in what would be the band’s final studio session on December 26, 1985 (the master tapes were lost). Returning to the four-piece original lineup, the band played a handful of Atlanta shows and then took a break in March of 1986. A few months later, William moved to Santa Cruz, CA, to join BL’AST!, and Jimmy, Danny, and Randy formed Gardens of…William later founded jazz/punk/world improvisers No Walls. In 1999, he would form Comes With The Fall and move the band to Los Angeles, where he struck up a friendship and musical collaboration with Jerry Cantrell. William joined Alice in Chains as vocalist and guitarist in 2006. On February 2, 2008, Neon Christ reunited to headline the Ratlanta Punkfest 2.

To this day, the band members maintain a close friendship, as well as a desire to honour the legacy of the group. So when longtime fan Greg Anderson of Southern Lord contacted them about reissuing a deluxe edition of Neon Christ's 1984 sessions, "1984" quickly came to life. To remaster the original tapes using an all-analog process, William DuVall made multiple trips to Nashville to one of the few remaining studios maintaining the vintage technology to play and process the audio. Side one of "1984" features the original Neon Christ 7" EP, and side two contains the four songs of the Labor Day session

Ryan James Ford is back on Clone Dub Recordings with his promising first full length album! After relocating to Berlin Ryan realized how much influence the soil of his home town have on him. Exshaw, Canada, where the home of Heart Mountains begin. Ryan has tried to capture his youth and musical influences over the years. Growing up in an area were the interaction of man and technology was more than palpable. Stories of haunted areas... swimming in the cold, strong current river with people disappearing... going to raves in the nineties. Exploration, optimism, youth and and living there forever... His memories of Exshaw are all translated in the sound design and programming on this 14 track album ranging from almost cinematic pieces to full on dancefloor belters. Artwork by Delphine Lejeune & Jonathan Castro.

What started as an underground techno label in the early 90's, Juice Records typified the head in the clouds ambition of the techno generation by both sound and action. Anything was possible and similar minds would be reached through the vinyl medium. By the mid 90's, Juice Records established itself as a southern beacon to the techno and house music movement.

… but many people would have little knowledge of where the label sits in todays music sphere. Juice Records, wether by choice or default have remained free from the uber industry of dance music but continue to represent with our Adelaide based music activities.

What started as casual discussions about Antony's studio activities with label owner, Donato, soon progressed to talk of an album. A couple of years and many iterations would follow till the vision was clear. Juice 020 highlights the musical existence that Antony commits too. It goes beyond the drum machine and synthesiser sounds the label would be known for and embraces a wider spectrum with use of a Yamaha baby grand, Fender Rhodes, Washburn bass and Yamaha Electone E-75.

With a definitive genre hard to pin on the album, Juice 020 remains very much a traditional Juice Record. It is a clear example of what Adelaide happenings have been missed by the global industry while it plays with a techno formula that goes beyond our underground imaginings.