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The year is 1989. Techno’s second generation has begun to permeate the globe leading a young Carl Craig to a tiny village in the countryside of Belgium. It is here, undistracted and determined to break out, that Craig encounters one of the country’s only drum machines, an Alesis controlled midi-808. In a single session he composes and mixes a handful of records that are still to this day regarded as some of his most raw and explosive contributions to the fabric of electronic music history.

Carl revisits this fateful chapter through the lens of a famed cut from his Psyche alias ‘From Beyond’, with a ‘C2 2023 Mix’ and remixes from Seth Troxler, Ataxia and Admn, out July 14 on Planet E Communications.

The Psyche alias, known for early Transmat releases like ‘Crackdown’ and ‘Elements’, embodied a stripped back, less sample based yin attitude to the yang of Carl’s more aggressive 69 and sample-forward BFC and Paperclip People identities. ‘From Beyond’, first released in 1990 via the ‘Crackdown’ 12” on Transmat, offers an eerie glimpse into the simplistic production that came through Carl’s mastery of the 808 and the sonic value of restricting himself to this movement defining tool.

This new ‘From Beyond’ package sees Carl lift and bend the original in his ‘C2 2023 Mix’ alongside a package of remixes from artists near to the hearts of Detroit and the Planet E fold. Seth Troxler brings a subdued acid tinge to the package, while label regular Ataxia pays homage to the source material with a renewed percussive energy, followed by a soulful rework by Admn.

Whether it be through the 30 year repertoire of his seminal Planet E, his Party / After-Party sound and light installation now on display at Los Angeles’ MOCA, or his continuous work as a champion of Black-led creativity, the Carl Craig mission remains the same: to always rep Detroit and be the realest mutha f***a alive.

“All in the Golden Afternoon We Glide” (Realia006) is the forthcoming record from LATHE 00, the new moniker under which Umbria-based artist Leonardo Carloni has recently started to operate.

Preceded by several collaborative undertakings, LATHE 00’s debut solo album is akin to an experiment in autotheory, where art-making practice and theoretical inquiry are entwined to the point of being virtually inseparable. Through the combined use of autobiographical and philosophical elements, “All in the Golden Afternoon We Glide” meditates on individuality, technology, and new forms of (post-)human existence.

The record has been conceived as a three-act project, with each act comprising four compositions that correspond to as many recurring themes: birth, love, death, and emptiness. Produced over the course of two years, the album has a total of twelve tracks, the majority of which run for less than two and a half minutes. Upon closer inspection, these tracks feel less like standalone pieces of music and more like outtakes of a single but continuously mutating continuum.

LATHE 00’s first feature is a work of rare beauty. As a one-person debut project, its stylistic variety, compositional maturity, and technical rigor are outstanding. By combining a forward-looking production style with references as varied as ambient, hyper-pop, instrumental post-rock, world-beat, and modern classical and folk music, LATHE 00 develops a mode of expression that transgresses genres and is distinctively his own.

The result is a signature sound that feels equally primordial and hyper-contemporary, fleshly visceral and detached. The inclusion of the artist's own vocals in the music is a notable aspect of this style. Alongside sampled materials, his non-lexical vocalisations appear as both an affirmative and negative act, simultaneously gesturing towards bodiless dissolution and a desire to reclaim one’s all-too-embodied presence in this world.

Despite being a concept album grounded in a profound theoretical substrate, “All in the Golden Afternoon We Glide” surprisingly relies on wordless communication only. As such, in it, song titles become key vectors of information. Appealing primarily to the listener’s sense of sight, they are used in a way that seamlessly blends the aesthetics of the digital (“Loading of Image Aborted!”), nature (the title track), and ritual (Pouring Blood into the Lake).

The album will be released in digital format alongside a limited-edition printed publication conceptualised and designed by Lidia Ginga Cozzupoli and Bernardo Berga.

The Waterboys’ eighth studio album is made available on vinyl for the first time, in ‘Seville’ orange. Originally released in 2003, ‘Universal Hall’ was recorded in the basement studio of the titular hall, a theatre and concert venue in Findhorn, Scotland. It is the most nakedly spiritual of the band's records, all the more so for having been mostly written and entirely made in the spiritual community at Findhorn. At the time of release, band leader Mike Scott described ‘Universal Hall’ as "a record containing eleven spiritual songs that articulate - to the best of my ability - the vision that drives, challenges, sustains and transforms me.” This vision is explored in now-classic Waterboys numbers such as Peace Of Iona, The Christ In You and Universal Hall itself, One track, the celtic-flavoured I've Lived Here Before, was written with Liam O'Maonlai of Hothouse Flowers. The album also saw the return of the band's fiddler Steve Wickham, his first appearance on a Waterboys’ record since ‘Room To Roam’ in 1990. The vinyl format is 180g Orange vinyl. The CD format is packaged in a jewelcase with 16 page booklet.

'The Devil, The Heart & The Fight' is Skinny Lister's third studio album and is repressed here on yellow vinyl. The band are currently supporting Flogging Molly across the US, have summer festivals confirmed and will be touring across UK and Europe by the end of the year. 'The Devil, The Heart & The Fight' was recorded over five weeks in Newcastle Under Lyme’s Silk Mill Studio in May 2016 with producer Tristan Ivemy (Frank Turner, The Holloways), it is Skinny Lister’s most far-reaching, exciting and accomplished album yet. It’s a full-on rock record that splashes even more punk vigour and eighties pop elements across their fervent folk canvas, taking in hints of Adam Ant and The Clash. It also brings the folk storytelling tradition bang up to date with its brutally honest and close to the knuckle lyrics of real-life stories (‘Geordie Lad’, ‘Charlie’) and on-the-road mayhem, the Pogue-ish ‘Hamburg Drunk’. A mature, vibrant and varied record, it mingles classic Skinny folk romances (‘Grace’, ‘Reunion’) with epic rock takes on rafter-rattling shanties (‘Beat It From The Chest’) and hearty Dexys-style tributes to the fans they meet on the road (‘Fair Winds & Following Seas’), plus a hitherto unseen darker side. Take the deceptively upbeat ‘Injuries’, Dan’s ode on the bruising nature of life, or ‘Devil In Me’, in which Lorna comes on like a particularly melodic Glenn Close in Fatal Attraction. • The Devil, The Heart & The Fight hit the UK Top 40 in the two independent album charts (#38 ‘Breakers’ chart, and #11 Independent Album Chart). • Has received over 2.5million streams on Spotify and the videos have reached over 400K views on YouTube. • Global radio support from 6Music, Radio X in UK Radio Eins, Flux FM, Star FM in Germany and WBSD, WRFL, WYCE, KSJS, WAWL, KPNT, WRIF, KXRN, Indie.FM, WVMO, and WCSF in USA. PRESS QUOTES: “…considerably upped their game.” 4/5 Q Magazine album review “…a deafening and visceral experience.” 5/5 Independent live review from London Garage. "This album has a wholesome kind of dirtiness woven deep into the tapestry of each of the songs." Subba Cultcha "The Devil, The Heart & The Fight’ sees them break their own mould, in places amplifying the popular influences on their sound yet retaining their fundamental roots." Punktastic “(a) kaleidoscope of high octane folk punk via Dexy’s and The Pogues” Louder Than War

Mike Cooper wrote his final songwriter record, a suite of gloaming glam-rock anthems performed with a spiritual jazz trio, while living on the Costa Tropical of Granada, Spain, an era when he was considering retiring from music altogether. A chance encounter and a last-ditch record deal convinced him to make one last album, which he recorded in 1974 at Pathway Studios in London, with “The Greatest Rock and Roll Band in the World,” featuring the inventive South African jazz rhythm section of Louis Moholo and Harry Miller with UK saxophonist Mike Osborne. This first-ever reissue includes a bonus CD of Milan Live Acoustic 2018, a previously unreleased solo set that represents Cooper’s return, after forty-four years pursuing free improvisation and electronics, to a new, deconstructed approach to singing, steel guitar, and songcraft. The deluxe LP+CD edition also features a six-panel insert with additional artwork and an essay by the artist about both records. The deluxe 2xCD gatefold edition features an eight-panel version of the same insert. In the wake of his magisterial triptych of early 1970s avant-folk-rock records Trout Steel (1970), Places I Know (1971), and The Machine Gun Co. (1972) the British songwriter, guitarist, and fledgling improviser Mike Cooper retreated to the Costa Tropical of Granada, Spain. With no prospects for touring or recording again, his fiery band the Machine Gun Co. had disintegrated. Cooper sets the scene in his liner notes of the first-ever reissue of his unjustly forgotten next album Life and Death in Paradise (1974): No one came running with offers of fame and riches, and we fell apart, and I left the country and headed for the beach, disillusioned and a bit disorientated musically. I went to Almuñécar in Andalusia, a place I had been going since 1969, because a painter friend from Reading, Rowland Fade who made the collage in the gatefold of my earlier album Trout Steel had moved there in 1968. It was in this synthetic coastal “paradise,” unmoored and adrift, considering retiring from music altogether, that he began tentatively writing new songs. A chance encounter with producer Tony Hall, who offered Cooper a last-ditch record deal on Hall’s nascent Fresh Air label, convinced him to make one last album with the stipulation that he could assemble what he called “The Greatest Rock and Roll Band in the World.” I told Tony that I would do it if I could hire some of my South African jazz musician friends that I had used on my Pye/Dawn albums and some friends from Reading that I still knew and admired. I called up Harry Miller, Louis Moholo, and Mike Osborne, who were in fact a trio at the time … and several local Reading heroes, including the singer-songwriter Terry Clarke. The result, recorded live with minimal overdubbing at Pathway Studios in London, was Life and Death in Paradise, an utterly singular suite of gloaming glam-rock anthems performed with a spiritual jazz trio comprising the inventive South African jazz rhythm section of Moholo and Miller with UK saxophonist Osborne. Unlike anything else in Cooper’s extensive catalog. Fresh Air fizzled, and Life and Death became Cooper’s final record as a songwriter, having pushed the form as far as he could. Drifting north from Spain back to the UK, he fell into the scene of the London Musicians Collective (LMC) including Paul Burwell, David Toop, and saxophonist Lol Coxhill, Cooper’s bandmate in the Recedents and fully embraced free improvisation. He was still, however, interested in singing and lyrics, so, influenced by Tom Phillips, William Burroughs, and Brion Gysin, he began experimenting with text collage and cut-up techniques, arriving at his own hybrid compositional strategy for improvisatory songs. The previously unreleased solo set Milan Live Acoustic 2018 represents Cooper’s return, after more than four decades pursuing free improvisation and electronics, to a new, deconstructed approach to singing, lap steel guitar, and songcraft. Presented here together with Life and Death in Paradise, the two records provide fascinating bookends to Mike Cooper’s long, mercurial, and pioneering practice as a songmaker.

Available for the first time on vinyl - a 20th anniversary release of The Mystic Chords Of Memory's seminal, unique DIY psych-folk debut. By Beachwood Sparks singer/songwriter Chris Gunst & Aislers Set's Jen Cohen. Mastered at Abbey Road. The seeds of this exquisite album are scattered among the tracks of Make The Cowboy Robots Cry - the LP Beachwood Sparks hung their hats on before a ten year break. A further step forward from west coast country psych towards something with folkier roots but new, mysterious and above all free. Chris and Jen's conjuring of magical, unforced, domestic spirituality. Recorded in a little wood cabin amongst the redwoods overlooking a running creek with a range of collected musical toys. Just give it 5 minutes once you’ve dropped the needle & you’ll be right there. Here’s Amanda Petrussich’s brilliant write up in Pitchfork - “With its soft melodies, sweet vocals, and scratchy DIY production, Mystic Chords of Memory is also an overwhelmingly intimate record, focused and domestic - much closer to Elliott Smith than former-benchmarks the Byrds and Buffalo Springfield…. The duo's wordy moniker was lifted from Abraham Lincoln's first inaugural address, a lecture delivered in the spring of 1861 and boldly eternalised at the base of Mount Rushmore... Appropriately, the band's sound is just as archaic as a truly striking political speech: Gunst and Cohen blend tinkling bells, melodica, harp, keyboards, bits of samples, tinny drums, and strummy guitars, presenting a vaguely contemporary update on the British folk phenomenon of the late 1960s with more blips. Mystic Chords of Memory is a surprisingly coherent re-introduction to Gunst, and his professional coupling with Jen Cohen has proven both a freeing and inspired move.” Two decades later it’s obvious how seminal a record they conjured up. They forged a path that came to define the wave of US indie that followed for a while. In our opinion, the original has a natural, guileless, effortless beauty that trumps them all. Without a whiff of Starbucks. "Mystic chords of memory speech I interpreted the meaning as the underlying psyche fabric we are all creating on this land together. Jen and I thought it would be a great name to inspire our music together. This was really close to post 9/11 times and we were thinking about all of this and also wanting to improve our own contribution to the psychological fabric of the world.” Chis Gunst.

Available for the first time on vinyl - a 20th anniversary release of The Mystic Chords Of Memory's seminal, unique DIY psych-folk debut. By Beachwood Sparks singer/songwriter Chris Gunst & Aislers Set's Jen Cohen. Mastered at Abbey Road. The seeds of this exquisite album are scattered among the tracks of Make The Cowboy Robots Cry - the LP Beachwood Sparks hung their hats on before a ten year break. A further step forward from west coast country psych towards something with folkier roots but new, mysterious and above all free. Chris and Jen's conjuring of magical, unforced, domestic spirituality. Recorded in a little wood cabin amongst the redwoods overlooking a running creek with a range of collected musical toys. Just give it 5 minutes once you’ve dropped the needle & you’ll be right there. Here’s Amanda Petrussich’s brilliant write up in Pitchfork - “With its soft melodies, sweet vocals, and scratchy DIY production, Mystic Chords of Memory is also an overwhelmingly intimate record, focused and domestic - much closer to Elliott Smith than former-benchmarks the Byrds and Buffalo Springfield…. The duo's wordy moniker was lifted from Abraham Lincoln's first inaugural address, a lecture delivered in the spring of 1861 and boldly eternalised at the base of Mount Rushmore... Appropriately, the band's sound is just as archaic as a truly striking political speech: Gunst and Cohen blend tinkling bells, melodica, harp, keyboards, bits of samples, tinny drums, and strummy guitars, presenting a vaguely contemporary update on the British folk phenomenon of the late 1960s with more blips. Mystic Chords of Memory is a surprisingly coherent re-introduction to Gunst, and his professional coupling with Jen Cohen has proven both a freeing and inspired move.” Two decades later it’s obvious how seminal a record they conjured up. They forged a path that came to define the wave of US indie that followed for a while. In our opinion, the original has a natural, guileless, effortless beauty that trumps them all. Without a whiff of Starbucks. "Mystic chords of memory speech I interpreted the meaning as the underlying psyche fabric we are all creating on this land together. Jen and I thought it would be a great name to inspire our music together. This was really close to post 9/11 times and we were thinking about all of this and also wanting to improve our own contribution to the psychological fabric of the world.” Chis Gunst.

Texas born guitarist Melvin Sparks is one of the godfathers of Acid Jazz. He first came to prominence in the bands of Jack McDuff and Lou Donaldson, providing an essential element in their funky groove-based classics of the late 60s. He then became part of the Prestige Records funk team, under the tutelage of producer Bob Porter. He made his debut LP “Sparks”, for the label in 1970, alongside Idris Muhammad, Leon Spencer and Houston Person. Two further exciting albums appeared on the label with “Spark Plug” and “Akilah” and over a dozen side-man appearances.

When Porter left to set up Eastbound Records in Detroit - as part of Westbound Records - Sparks followed, recording his label debut "Texas Twister” in 1973. The following year, after Porter left, he recorded the album that became “’75” with some of the label’s top session players, including members of Funkadelic and vocalist Jimmy D Scott, who sang on ‘I Got To Have You’ and ‘If You Want My Love’. The nine tracks featured a slicker sound, that mirrored the contemporary soul jazz of the time and included club classics like 'Get Ya Some' and 'Get Down With The Get Down’.

Sparks began recording one more album for the label which languished in the vaults for decades and then mostly concentrated on session work before he was rediscovered by the acid jazz scene in the late 80s, and was brought over to Europe to tour as part of the BGP All-Stars and this late revival saw him record five further albums.

This is the first vinyl reissue of this album since 1975.

A masterful funky jazz album by one of the godfathers of acid jazz. Produced by Bob Porter, “Texas Twister” was a continuation of Sparks’ sought-after work at Prestige. The Texas-born guitarist had joined Bob Weinstock’s label at Porter’s request in 1970 after several years working with the likes of Jack McDuff, Lou Donaldson and Reuben Wilson. At Prestige, he recorded three albums as a leader and over a dozen as a session player, showing himself to be a wizard at playing funky licks and energised solos.

When Porter left to set up Eastbound Records in Detroit - as a branch of Westbound Records - Sparks followed, recording "Texas Twister” in 1973 as his label debut. The incredible rhythm section of Idris Muhammad (drums), Sonny Phillips (electric piano), Caesar Frazier (organ) and Wilbur Bascombe (bass) make this album a sure-fire funk bomb. On the front-line, a hard hitting horn section that includes Cecil Bridgewater (tenor sax) and John Faddis (trumpet) are a perfect foil for Sparks. The album includes the monster acid jazz club cut 'Whip! Whop!' and the frenetic 'Texas Twister', as well as a beautiful rendition of the Four Tops’ 'Ain't No Woman (Like The One I Got)’.

After Porter left Eastbound, Sparks recorded the more soul-based “’75” and began to record another album that languished in the vaults for decades. He then mostly concentrated on session work before he was rediscovered by the acid jazz scene in the late 80s, when he was brought over to Europe to tour as part of the BGP All-Stars. This late revival saw him record five further albums of funky blues-drenched jazz funk.

Ace Records now offer you the first-ever UK reissue of this album, that should take pride of place in anyone’s collection of 70s jazz funk.

Brazilia Maravilha... A real wonder of selected Brazilian tunes.
You will feel the mood and breeze like you were over there!

28 songs including some great classics as "Lamento" by Nelson Riddle, "Mas Que Nada" by Elza Soares, "Groovy Samba" by Cannonball Adderley and "So Nice (Samba De Verao) by Sérgio Mendes as well as more unique ones.

Kindly remastered tracks from master tapes to keep the dusty roots of the original sound. Double vinyl in a balanced mix of vocals, instrumentals, bossa nova and some jazzy beats tunes.

She may be making her first appearance on NuNorthern Soul, but Zeynep Erbay is no newcomer. A classically trained pianist who took a turn towards the dancefloor while at university, the Turkish DJ/producer earned her first release on Compost Records way back in 2007 after taking part in 2006’s Red Bull Music Academy programme. Since then, her career has been on an upwards trajectory, with releases on Fools Gold and Soul Clap Records confirming Erbay as a genuine rising star of underground electronic music.

On the Healer EP, the Istanbul-based producer showcases the more atmospheric, sun-kissed end of her productions, taking a turn away from synth-powered, disco-leaning club tracks towards something more suitable for al-fresco events, sun-down sets, and sofa-bound listening sessions.

Inspired by a poem inscribed on the back cover of the EP, Erbay’s two original instrumental tracks simply ooze with emotion. The poem tells the story of a whale searching for her family while helping others along the way, which acts as a metaphor for our wider search for belonging and acceptance.

This aural narrative unfolds firstly across ‘Heart of a Healer’, a slowly unfurling stunner in which emotion-rich chords, gentle electronic melodies and Erbay’s poignant and picturesque piano motifs, gently rise above a chunky dub disco bassline and mid-tempo, triple-time drums.

Delving further, the effortlessly emotional, life-affirming composition ‘Healer Whale’, where Erbay’s impeccable piano playing ushers in languid, jazz-flecked drums, dubby bass, sumptuous synth-strings and colourful, slow-moving chords.

On remix dutires, NYC-based Italian Danilo Braca, who also mastered the release, provides a fine club-focused fix of ‘Heart of a Healer’, laced with crunchy machine drums and undulating TB-303 acid lines. NuNorthern Soul regular Marshall Watson handles ‘Healer Whale’, first delivering a fine ‘Remix’ version that effortlessly blurs the boundary between dub disco and Balearic nu-disco, before serving up a shorter, ambient ‘Reprise’ version.

Written and produced by landyhill.

More lost recordings of landyhill (Timex Social Club) Bay area funk featuring Jamie Vallo on vocals, previously unreleased. PPU is slowly making its way through the depths of demos, more coming soon.

Revered house mainstay Junior Sanchez makes his debut on Carl Craig’s renowned Planet E Communications imprint today with the digital release of his latest EP ‘‘Art O Fact’ out now with a 12” to come this July. Hailing from New Jersey, Sanchez remains a pioneering force in house music for over three decades and a close ally of Craig’s.

‘Art O Fact’ is an exemplar of the energized rhythm and infectious groove that has become synonymous with Sanchez’s work and genre defining productions. The package seamlessly connects scenes and eras, paying homage to the soulful sonic atmosphere of Detroit, Junior Sanchez’s says:

“Art O Fact -- was created purely and simply out of creative inspiration. I walked into the studio one morning not really knowing what to do, so I let my inspiration guide me and my inspiration really was Detroit. I thought about that city, what it meant to me and what techno really meant to my heart. I have loved so many records by Carl Craig, DJ ROLANDO, Derrick May, Kevin Saunderson and Juan Atkins, so the result is something really beautiful and organic, and the fact that it's coming out on Carl Craig's planet E imprint is such an honor.”

In addition to the original mix, the ‘Art O Fact’ EP features a bouncy ‘Luv4Detroit’ Dub, energized edit, and melodic reprise.

Sanchez’s eclectic palette can be credited in part to his time spent in the sonic melting pot of New York City in the 1990s. A pillar of the underground club scene, Junior Sanchez began DJing at iconic New York City institutions such as Limelight and Club USA at the mere age of 13 and released his first track on iconic house imprint Strictly Rhythm at age 15. Sanchez went on to co-found Da Mongaloids collective, composed of the likes of Daft Punk, Armand van Helden, LaidbackLuke, and more which laid the foundation for him to form multi-generational turntablism trio S-Men alongside Roger Sanchez and DJ Sneak.

Sanchez's extensive repertoire of collaborators includes Madonna, Ariana Grande, Good Charlotte, Azealia Banks and more while his own imprints Cube Recordings and Brobot Records have seen releases from the likes of Felix Da Housecat, Sébastien Léger, and Steve Mac.

Led by legendary Detroit techno pioneer Carl Craig, Planet E Communications has been an integral force in shaping electronic music for the past thirty years. Standing testament to the timeless spirit of techno, over the past two years alone Carl has released the leftfield ‘Attenuator’ jazz fusion project from himself and Moritz Von Oswald, DJ Holographic’s multi-genre Detroit Love Vol. 5, and the first electronic music album from Mexican-American percussionist Francisco Mora-Catlett. Planet E continues to transcend the dance floor, as it perpetuates the unifying spirit and unwavering creativity of Detroit.

The latest by Canadian composer Tim Hecker serves as a beacon of unease against the deluge of false positive corporate ambient currently in vogue.

Whether taken as warning or promise, No Highs delivers – this is music of austerity and ambiguity, purgatorial and seasick. A jagged anti-relaxant for our medicated age, rough-hewn and undefined.

Morse code pulse programming flickers like distress signals while a gathering storm of strings, noise, and low-end looms in the distance. Processed electronics shiver and shudder against pitch-shifting assemblages of crackling voltage, mantric horns (including exquisite modal sax by Colin Stetson), and cathedral keys.
Throughout, the pieces both accrue and avoid drama, more attuned to undertow than crescendo. Hecker mentions “negation” as a muse of sorts – the sense of tumult without bombast, tethered ecstasies, an escape from escapism. His is an antagonism both brusque and beguiling, devoid of resolution, beckoning the listener ever deeper into its greyscale alchemies of magisterial disquiet.

RAWAX re-issues the former Unleash009 by Robert Drewek & Tomie Nevada - Minimize The Maximum EP from 2006.
This release became a big push after being played by Francesco Del Garda & Raresh to name a few.
The re-mastered version will be out 1st of June.
Don't feed the Discogs Sharks!

After the release of "3.3 magnitude" and the remixes of the single "1.3 HDG" unveiled last February, H3 Records continues its musical exploration between rap and electronic music with a new release, "Music 4 Tesla".

This time, rapper Kaba joins forces with producer Hyas and unveils a slender and festive 6-track track, true to the label's identity.

Hyas started producing music in 2017 and released his first projects completely independently. Today, he has more than twenty releases on labels such as 99CTS and Casa Voyager. The Lyon native, resident of Le Sucre and Rinse FM, has a string of dates and festivals in France and abroad and founded his own label Bardouin Music in 2020.

For his part, Kaba has released three singles this year, including two featuring Karmen (formerly Tortoz) and Samy Ceezy, and a 10-track "Long Story Short", a joint project with the young beatmaker Keno.

The connection between the two artists was very natural: the rapper's ambitions and Hyas' influences complemented each other and led to a first draft of tracks, convincing enough to form the basis of a joint project. With influences from UK Garage, Acid House, Ghetto House and 2step, "Music 4 Tesla" is a high-flying, catchy, danceable, warm and sunny project. Throughout the tracks, Kaba borrows incisive old school flows (like on "4daMob") but also "DMV" (overlap flows where the phrases overlap like on "Original G") and enriches the musical universe of the project, which carries in it this fever of H3 Records' sounds.

Between pervasive house influences and bouncy bass, borrowed from funk sounds, "Music 4 Tesla" depicts throughout its 20 minutes a captivating gradation of festive ambiences, and proves again that the marriage of rap and house is definitely made to last.

Get ready, get set because here comes the latest Try Unity breakbeat hardcore explosion. After 2 years since their last solo album, Try Unity are back with the Galactica EP. Fuelled with powerful breaks and stompy kick drums, this EP fills all the boxes for the true ‘92/93 hardcore rave fanatics. Try Unity have this unique way of creating tracks that sound raw and genuine whilst using modern day production qaulity techniques.

‘Cosmic Warrior’ on the A Side sends a message of breakbeat heaven, mad stabs and hoover noises a plenty with incredible build ups and drops to make you go nuts !

‘Galactica’ on the B side lends it’s self to more of the 4/4 jungle techno inspired breakbeat rave, with sinister drops and bass that gets everyone’s 909 kick drum love pumping proper hardcore.

Buy this EP, you’ll want to mix it again and again and again in your sets that’s for sure. Plus don’t you just LOVE a LOUD 45RPM pressing !

More from the vaults of Alpha and Omega in the shape of `Shashamane’, previously an LP-only track appearing on the `Voice in the Wilderness’ LP in 1996, with the dub cut on vinyl for first time.

As always from A&O, they reliably unleash a heavy-weight, mystical shimmering slice of 90’s style dub.

After flexing his more functional dj-tool approach on the previous Rod20 releases, ROD goes full on Detroit Techno on the Hood Spirit EP with four 1 take hardware jams filled with colour and light.

Irish DJ and producer, Ben Prophet, has caught the attention of some of the electronic scene’s most influential names in recent years. Currently residing in the underground music hub of Newcastle, his dark and exhilarating tracks have proven to captivate dancefloors. Now the artist is set to embark on his most monumental release to date, with the four track EP ‘From Dusk’. Staying distinctly true to himself, the EP channels Prophet’s love for bassline, electronica, and techno, whilst placing a key focus on mechanical vocals that add a mind-bending element that listeners can get lost in. ‘From Dusk’ will be released to the world via HAAi and Alice Pelly’s Radical New Theory label, a proven base for projecting emerging talent.

‘From Dusk’ is an EP that serves as a bold declaration. Prophet was determined to take listeners on a journey across the four tracks. Never resting on his laurels, the artist ventured into many corners of the dance world, whilst maintaining a core signature sound. Opener ‘Telepathy’ Sees Prophet build an emphatic, heavy hitting techno track, centring around a manipulated spoken-word vocal. It’s a sound that holds nothing back and is showcased again on ‘Down The Rabbit Hole’. Equally dark in its design, Prophet once more places distorted vocals at the forefront, this time displaying an industrial take on breakbeat. On the flip side, we see ‘Ocarina’ and title track ‘From Dusk’ turn the dark energy on its head with a distinctly melodic approach which adds a touch of psychedelia and high emotion to the EP. What’s clear is there’s something on ‘From Dusk’ for anyone that loves club music.

Speaking on the release, Prophet states:“HAAi has been one of the biggest inspirations for my sound, so to have become friends and to release my music on her label Radical New Theory is a massive moment for me. I’ve taken a different approach on each track, but each has my signature sound and is ready for the dance floor.”

HAAi also offers an insight into why she wanted to release ‘From Dusk’ on Radical New Theory: “Ben Prophet’s tracks have such a driving force and a dark energy to them, which is so powerful in the club. I’m extremely excited to get this record out in the world.”

Prophet’s previous releases ‘Hyper Funk EP’ and ‘King Of Rock’ on Chapeau music and Happy Wax Records respectively reached dancefloors across the world with regular plays from the likes of Mall Grab, Skream and VTSS. His gritty and energetic productions are born for the peak-time dance floor where its power creates intoxicating effects. No longer a hidden gem of the North East, the artist's music has gathered serious momentum and ‘From Dusk’ might well be the record that makes Ben Prophet a household name.

‘From Dusk’ is the third release on Radical New Theory, a label created in 2020 by HAAi and Alice Pelly which aims to shine a light on unique emerging talent, and the inevitable stars of tomorrow. Last year the label released LUXE’s debut ‘Belonging EP’ which was championed by MaryAnn Hobbs on BBC 6Music, and the artist has since gone on to tour across Europe. Whilst Ozzy, who released the labels first record ‘Een’, has since released on Barnt’s Schalen imprint. Radical New Theory was born out of a love for the craft of dance music and the careful consideration of what they release ensures the highest standards. A safe space for emerging talent, be sure to keep your eyes out for what comes next from the label

Sister Rosetta Tharpe is often referred to as "the godmother of rock and roll" for her pioneering guitar technique, use of distortion/reverb, and a 1963 UK tour with Muddy Waters that has been cited as a huge influence by Eric Clapton, Keith Richards, and Jeff Beck. Though she reached more widespread notoriety across the world in the '50s and '60s thanks to the folk/blues revival and her beloved status among UK blues and rock musicians, it's her early recordings from the late '30s and early-mid '40s that are the most brilliant, visceral, and emotional of her career. This excellent collection compiles 18 of those amazing gospel and R&B sides into one place. Essential.

2023 Repress

The Hague based producer ''Deniro'' is responsible for the 3rd installment in the ''Oblique Music'' series. This time around the 12'' consists of 4 club cuts that all showcase a different ambiance throughout. Label owner Ben Buitendijk is carefully curating the sound for his recently established imprint and Deniro's (extinct) Penguin inspired package definitely matches with the label's previous escapades. ''Kairaku 1'' is a dubbed out whirlwind which uses emotive drum patterns and hazy reverbs that blend together in the most perfect way and cause for a inspiring atmosphere to occur instantly. ''Kairaku 2'' is a more classic sounding cut which maintains originality through ''Deniro's'' signature drum patterns and the constantly changing chords that make this effort one of the more special ones. The B side opens up with ''Kairaku 3''. This is again a dubbed out cut that is drenched with percussive sounds that would suit perfect in the more adventurous settings. ''Kairaku 4'' is filled with interesting textures and progresses in a minor but riveting way.

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

“U Wasn’t There” the long-fabled collaborative project between superstar DJ/producer/Fool’s Gold founder A-Trak and New York trendsetter/lyricist/cultural icon Cam’ron—drops via Empire. Arriving nearly a decade after the elite duo dropped their first singles “Humphrey” and “Dipshits”, the album features masterful production by A-Trak, Just Blaze, DJ Khalil, !llmind, Thelonious Martin and more, as well as uniquely introspective verses from one of the most elusive rappers in hip-hop. “U Wasn’t There” recalls 2000’s-era Dipset sounds and sets the stage for Killa Cam to deliver his hard-hitting, sharply-penned wordplay exemplified on standout "What You Do" featuring Damon Dash. “All I Really Wanted”—a soulful Harlem anthem in which Cam effortlessly recounts his teenage years as a basketball player, growing up with fallen heroes Big L and Bloodshed, and hustling his way to legendary status—perked ears at Pitchfork, Rolling Stone, Complex, Vibe, Stereogum, and more. The cold-hearted “Ghetto Prophets” featuring Conway The Machine followed suit, earning nods from XXL, HipHopDX, Revolt, and Brooklyn Vegan. 1xLP + 24”x24” poster.

Timeless is regularly cited as one of the greatest dance music albums ever made., a Dark Side of the Moon for the rave generation. As Tony Marcus, writing in Mixmag back in 1995, concluded: "Timeless is a record that couldn't have been made if it wasn't for the party, the MDMA, the noise and the rage. Timeless tells you that you can't ignore or erase this history because to Goldie, and to so many others, it holds their lives, dreams and feelings."

Timeless went on to become a landmark release not just for Drum 'n' Bass but for electronic music as a whole. Within a year of its release (1995), it had racked up more than 100,000 sales. Now sees the release of TIMELESS THE REMIXES, featuring hand-picked remixes by Goldie from the likes of Break, Doc Scott, Teebee, 4 Hero, Trevino and many more.

As the void stares back at me, I am consumed by the waves of this new sonic transmission. ESP's Goblin Synth reigns supreme, guiding me into the darkest corners of my mind, as the Galaxian remix shatters my being into a thousand pieces. This release is a frenzied piece of IDM, braindance, and DnB, fueled by a chemical fury that leaves my mind in a state of pure ecstasy. The relentless pace and shifting soundscapes of the A-side are the perfect conduit for the raw power of the Galaxian remix, taking me beyond the limits of what I thought was possible.

On the B-side, I am treated to a liquid dnb homage that is no less relentless in its pursuit of sonic intensity. Here, the rhythms are more organic, more fluid, but no less potent in their ability. This is music that demands a total surrender of the self.

The insidious rhythms of ESP's Goblin Synth seize my consciousness like a viral agent, rendering my being porous and open to the twitching, glitching transmissions emanating from the depths of the machine. With each stuttering break and howling, modulated synth line, I am hurled headlong into a world of ravenous, cybernetic abandon - a blackened, dystopian horizon of shattered glass and flickering neon.

As my mind is hijacked by the rushing currents of amphetamine psychosis, I realize that this is no mere exercise in genre or form, but an all-out assault on the very fabric of reality itself. The sonic textures here are hyper-real, beyond the grasp of normal human perception - this is the sound of the post-human, the sound of the inhuman, the sound of a future that is rapidly bearing down upon me, whether I am ready or not.

And yet, amidst the chaos and decay, there is a kind of perverse beauty at work - a beauty that can only be glimpsed through the shattered glass of my own shattered subjectivity. With each burst of static and each crunching bassline, I am hurled deeper into a vortex of metallic, crystalline wonder, a realm of pure, unadulterated sound that is as terrifying as it is sublime.

Second album from Elias Mazian.

While his debut album Vrij Van Dromen hinted at the work of a bedroom producer, Elias Mazian never was the person to hide. After becoming a resident DJ at the now gone club Trouw ten years ago, he spent many nights playing records at clubs, and today he is as visible during the day as selector and host on FM radio. With this follow-up record he does one more step out of obscurity: moving from low to high fidelity, into more sincerity.

The songs on Alleen Bij Mij comfortably sit next to the songs he shares with friends on Private Hearts, Mazian's radio show dedicated to pop melodies. Like classic sixties records, the LP clocks just above thirty minutes, while also sharing their harmonic approach. Additional influences can be traced back to seventies krautrock, Dutch disco dub from the eighties and the storytelling of mid-2000's Dutch rap. Channeling these sounds into his own after hour tales, Elias Mazian created the perfect album for late bike rides and night trains alike.

Seconded by his good friend and multi-instrumentalist Anton Pieete and the all-knowing engineer Eelco Bakker, the album is produced and mixed for Mazian's melodies to shine. Combining observations from daily life with the big themes of pop music, this mixture results in eight songs ready for radio play.

Somniac One returns to Perc Trax after her breakout Perc Trax hit 'Junkyard Shift' was featured on the Perc Trax Forever 3 VA release at the end of 2022.

Originally hailing from Lithuania, but currently residing in the Netherlands Somniac One perfectly bridges the gap between modern high intensity techno and the production intricacies of the European hardcore scene. Across the three tracks that make up 'I Hope This EP Finds You Well' Somniac One demonstrates her razor sharp production skills and firm grasp of dance floor dynamics, with each track growing more and more powerful as the EP progresses.

Opener 'Instigator' breaks down to a unforgettable buzz saw breakdown before the beats come hurtling back, 'Infiltrator' adds a touch of drama to the EP with soft pad chords gliding across the middle of the track and closer ' Buzz Pollinator' takes the BPM's higher with its driving arpeggios pushing the track forward rounding off the EP breathlessly.

Numero Group tauchen mit "Seafaring Strangers: Private Yacht" erneut in die Welt der amerikanischen Privatpressungen ein. Nach ihren musikalischen Exkursionen zu den Hexen und Zauberern von Darkscorch, den Geächteten des Cosmic Americana, neben 'Ladies From the Canyon' und ihren 'Lonesome Heroes', ist es an der Zeit, es einfacher anzugehen. Diesmal ist der Sound weicher und glatter, die Mitspieler allesamt kamen aus den Welten von Jazz, Folk, Rock und Soul, und hier spielen sie mit enormen Popappeal. Manchmal klassifiziert als West Coast Sound oder AOR - und später Yacht Rock - sind die Kompasspunkte unserer Private Yacht Expedition die blauäugigen Harmonien von Hall und Oates, der Kokain-bestäubten Fender Rhodes von Michael McDonald und die Combover-Streicher von James Taylor.

Western Massachusetts band Landowner play abrasively clean minimalist-punk. Singer Dan Shaw began Landowner in 2016, writing and recording Impressive Almanac with a practice amp and a laptop drum machine. Those available tools would inform the band’s unapologetic sound—clean, confrontational, and absurdly stark. With a stated goal to sound like “Antelope playing Discharge”, Landowner’s diamond hard structures, repetitious instrumentals and caricatured hardcore make space for lyrics that reflect on the global systems our lives are tangled in and the dark absurdities we take for granted.

Landowner’s fourth Born Yesterday full length Escape the Compound focuses on the powerful grips manipulators and reality-deniers have on their victims, examining the social, political and interpersonal damage of cult-like influence and control. “A lot of the lyrics focus on cult manipulators and narcissists: falling victim to their toxic dynamics, and the difficulty of escaping their grip” says Shaw. From climate change deniers and conspiracy theorists to deceptive narcissists and actual cult leaders, Landowner explores the ubiquity of modern unreality through evocative imagery and a keen sense of awareness. The band’s plain instrumentation sheds and subverts hardcore punk’s noisy veil in favor of a direct, unswerving examination of these themes.

Written and recorded following the release of 2020’s Consultant, Escape the Compound finds Landowner leaning into the studio through deeper experimentation with a wider palette of sounds. The group’s lineup of Josh Owsley (bass), Elliot Hughes (guitar), Jeff Gilmartin (guitar), Josh Daniel (drums) and Dan Shaw played often since coming together in 2017. But with pandemic restrictions in place, the making of Escape the Compound became a much more insular pursuit, one where the mixing and mastering process helped turn the band’s most varied batch of material into a cohesive, thematic collection of songs.

Album opener “Witch Museum” is a collage of dark Massachusetts historical imagery. The song evokes a kind of cult dynamic travelling like a shadow through time, where dark absurdities are taken for granted, toxic behaviours are excused, and normalcy begins to shift. The line “Gail's behaviour has changed” casts fictional “Gail” as the dark manipulator, whose whim we’re at the mercy of. She sheds her toxic behaviour and the crisis finally ends - “and peace returns to the Commonwealth”- an absurdity, given that cult leaders and narcissists rarely seem to change.

By considering the past, Landowner sheds light on the present. The band challenges egomaniacs reluctant to accept an uncomfortable reality with both cynicism and concern. The literal landowner described in “Heat Stroke” collapses in exhaustion, cooked by a suffocating bass line and sizzling hi-hats. “You'd rather die of heat stroke than to let anybody see you change your mind,” Shaw gasps, later pleading with the character in “Floodwatch” to “please reconsider” their brazen stubbornness as they plunge through the rising waters of a flooded road.

The character in “Swimmer of Note” refuses to admit their miscalculations, instead doubling down on an ever-growing and increasingly-unsteady tower of lies. The sneering “Damning Evidence” sets a scene all too familiar: a smoking gun scenario with zero consequences. Shaw’s exaggerated vocal refrains and sarcastic inflections mock false hope: “how will they be expected to keep their minds intact, at the shock of simply hearing such damning evidence?”

“Beyond the Darkened Library” creaks open a secret passageway into a dimly lit, endless labyrinth of conspiracy theories, in which the character becomes hopelessly lost. “Aftermath” sounds the alarms: “stare so long that you start getting used to it; one glance says you should never get used to it.” The pair of “Tactics” tracks express what Shaw calls “an interpersonal microcosm of the album’s themes.”

Perhaps the most ambitious arc on Escape the Compound loosely begins with the title track. The subject in “Escape the Compound” gradually recognizes their own victimhood and plans a calculated flight from the “captivating shepherd” – hop the fence, flee, and regain autonomy. As the narrator escapes their stifling and abusive cult microcosm, a much grander existential timeline begins to appear. “Thousands of Years in Fast Forward” narrates a psychedelic surrender to the shared human experience through space and time, an ego-death adjacent to our ancestry, our own existence, and the before and after. “At the site of the crater, molecular hands unclasp molecular hands as you lose conditioning,” Shaw sings on the title track, “Your grandmother's garden. Your grandmother's kitchen. Your grandmother's primordial ocean.” It’s a profound actualizing glimpse into a true, forgotten reality and a startling reconnection with the self.

Voyager Gold Vinyl

On Jupiter, Brooklyn trio Upper Wilds voyage deeper into the cosmos, mapping out the overwhelming enormity of the universe in soaring hooks and blistering noise. The third installment in the trio"s exploration of our solar system looks to its largest planet for a daring exploration of scale and perspective. New York underground mainstay Dan Friel"s melodic gifts and wry lyricism are magnified and propelled ever outwards by the thundering rhythm section of bassist Jason Binnick and drummer Jeff Ottenbacher, all immersed in rippling fuzz. Just like its namesake, Jupiter stands as Upper Wilds most colossal offering in their catalog. The raw power of their music is amplified to titanic proportions, sky-clawing riffs invoking the sheer awe that the heavens inspire. More than any Upper Wilds album before it, Jupiter makes humanity"s endeavors in space exploration an inseparable part of its sonic DNA . Recorded with Travis Harrison at his studio Serious Business in Brooklyn (Guided By Voices, Dope Body, The Men), the trio"s live recordings are inspired by the Voyager Golden Record - a double LP launched with the 1977 Voyager probe spanning field recordings to compositions by J.S. Bach and Laurie Spiegel. While the Voyager Golden Record"s intended audience may have originally been the extra-terrestrial beings that might encounter the probe, Upper Wilds bring cosmos-seeking sounds back to earth with a record made for and about humanity. Jupiter finds comfort in space"s unending expanse. Far from feeling defeated by the smallness of our existence in the face of an uncaring universe and ever-expanding infinite, Upper Wilds capture the power of creativity to extend our lifespans far beyond our limited time on earth

Pelican and Thrill Jockey are proud to present a deluxe edition of the band"s acclaimed 2005 album The Fire In Our Throats Will Beckon The Thaw, newly remixed, remastered and featuring special bonus rarities including an early version of "Red Ran Amber," (previously only available on a split with MONO) and demos of "Autumn Into Summer," "Last Day of Winter" and "Sirius". The Fire In Our Throats established Pelican as indisputable masters of their craft. Pelican"s ability to alchemize their influences into a sound so wholly original and then expand on that sound into a work of captivating beauty remains a marvel. The album indelibly shifted the paradigm of heavy music and the ripples of that shift can be heard in the countless bands who have risen to prominence since its release. The genre-busting nature of the album"s melodicism and refined dynamics was a harbinger of things to come in a genre whose strict boundaries were rapidly being shattered; a fact recognized and cemented by the album"s critical reception, which engendered everything from an Album of the Year nod from Decibel, to pontifications about Pelican representing a rising wave of intellectualism in metal from the New York Times. Nearly two decades since the album"s release on Hydra Head Records, The Fire In Our Throats has stood as not just one of the band"s most celebrated releases, but as a watershed work of avant-metal. The album arrives with a fresh mix by its original engineer Greg Norman and mastering by Josh Bonati, imbibing the songs with a new ferocity while also granting increased clarity, highlighting the developing interplay between each member. The refreshed mix brings an additional punch to the rhythm section of bassist Bryan Herweg and drummer Larry Herweg, bolstering the brightened melodicism and interlocking riffing between guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec. The more articulate presentation of the album showcases the power of each individual player while buttressing Pelican"s distinct sound as a unified force.

Pelican and Thrill Jockey are proud to present a deluxe edition of the band"s acclaimed 2005 album The Fire In Our Throats Will Beckon The Thaw, newly remixed, remastered and featuring special bonus rarities including an early version of "Red Ran Amber," (previously only available on a split with MONO) and demos of "Autumn Into Summer," "Last Day of Winter" and "Sirius". The Fire In Our Throats established Pelican as indisputable masters of their craft. Pelican"s ability to alchemize their influences into a sound so wholly original and then expand on that sound into a work of captivating beauty remains a marvel. The album indelibly shifted the paradigm of heavy music and the ripples of that shift can be heard in the countless bands who have risen to prominence since its release. The genre-busting nature of the album"s melodicism and refined dynamics was a harbinger of things to come in a genre whose strict boundaries were rapidly being shattered; a fact recognized and cemented by the album"s critical reception, which engendered everything from an Album of the Year nod from Decibel, to pontifications about Pelican representing a rising wave of intellectualism in metal from the New York Times. Nearly two decades since the album"s release on Hydra Head Records, The Fire In Our Throats has stood as not just one of the band"s most celebrated releases, but as a watershed work of avant-metal. The album arrives with a fresh mix by its original engineer Greg Norman and mastering by Josh Bonati, imbibing the songs with a new ferocity while also granting increased clarity, highlighting the developing interplay between each member. The refreshed mix brings an additional punch to the rhythm section of bassist Bryan Herweg and drummer Larry Herweg, bolstering the brightened melodicism and interlocking riffing between guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec. The more articulate presentation of the album showcases the power of each individual player while buttressing Pelican"s distinct sound as a unified force.

Ike Quebec’s aptly titled 1961 album Heavy Soul was a soul jazz masterclass with the tenor saxophonist joined by Freddie Roach on organ, Milt Hinton on bass, and Al Harewood on drums. Ike’s robust horn conjures a variety of moods from up-tempo swingers to sultry slow-tempo stunners closing with a spellbinding duo rendition of “Nature Boy” with Hinton.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

1985 war das Jahr, in dem der Grundstein für die Karriere einer Band gelegt wurde, die auch fast 35 Jahre danach noch genau so aktiv ist, wie am ersten Tag. Die Rede ist natürlich von RAGE, die zunächst 1984 als AVENGER gestartet sind, bevor es dann zur Umbenennung kam.

Nun werden die legendären Alben der Herner Metal-Legende mit etlichen bisher unveröffentlichten Titeln auf Doppel-LPs neu veröffentlicht.

„Reflections Of A Shadow“ (1990) gilt bis heute als eines der am meisten unterschätzten Alben der Band. Die Neuauflage enthält neben dem regulären Album, die Titel der damaligen EP "Extended Power" und etliche unveröffentlichte Bonus-Titel, die aus der Aufnahme-Session des Albums stammen. Ein absolutes Muss für alle RAGE-Heads!

Western Massachusetts band Landowner play abrasively clean minimalist-punk. Singer Dan Shaw began Landowner in 2016, writing and recording Impressive Almanac with a practice amp and a laptop drum machine. Those available tools would inform the band’s unapologetic sound—clean, confrontational, and absurdly stark. With a stated goal to sound like “Antelope playing Discharge”, Landowner’s diamond hard structures, repetitious instrumentals and caricatured hardcore make space for lyrics that reflect on the global systems our lives are tangled in and the dark absurdities we take for granted.

Landowner’s fourth Born Yesterday full length Escape the Compound focuses on the powerful grips manipulators and reality-deniers have on their victims, examining the social, political and interpersonal damage of cult-like influence and control. “A lot of the lyrics focus on cult manipulators and narcissists: falling victim to their toxic dynamics, and the difficulty of escaping their grip” says Shaw. From climate change deniers and conspiracy theorists to deceptive narcissists and actual cult leaders, Landowner explores the ubiquity of modern unreality through evocative imagery and a keen sense of awareness. The band’s plain instrumentation sheds and subverts hardcore punk’s noisy veil in favor of a direct, unswerving examination of these themes.

Written and recorded following the release of 2020’s Consultant, Escape the Compound finds Landowner leaning into the studio through deeper experimentation with a wider palette of sounds. The group’s lineup of Josh Owsley (bass), Elliot Hughes (guitar), Jeff Gilmartin (guitar), Josh Daniel (drums) and Dan Shaw played often since coming together in 2017. But with pandemic restrictions in place, the making of Escape the Compound became a much more insular pursuit, one where the mixing and mastering process helped turn the band’s most varied batch of material into a cohesive, thematic collection of songs.

Album opener “Witch Museum” is a collage of dark Massachusetts historical imagery. The song evokes a kind of cult dynamic traveling like a shadow through time, where dark absurdities are taken for granted, toxic behaviors are excused, and normalcy begins to shift. The line “Gail's behavior has changed” casts fictional “Gail” as the dark manipulator, whose whim we’re at the mercy of. She sheds her toxic behavior and the crisis finally ends - “and peace returns to the Commonwealth”- an absurdity, given that cult leaders and narcissists rarely seem to change.

By considering the past, Landowner sheds light on the present. The band challenges egomaniacs reluctant to accept an uncomfortable reality with both cynicism and concern. The literal landowner described in “Heat Stroke” collapses in exhaustion, cooked by a suffocating bass line and sizzling hi-hats. “You'd rather die of heat stroke than to let anybody see you change your mind,” Shaw gasps, later pleading with the character in “Floodwatch” to “please reconsider” their brazen stubbornness as they plunge through the rising waters of a flooded road.

The character in “Swimmer of Note” refuses to admit their miscalculations, instead doubling down on an ever-growing and increasingly-unsteady tower of lies. The sneering “Damning Evidence” sets a scene all too familiar: a smoking gun scenario with zero consequences. Shaw’s exaggerated vocal refrains and sarcastic inflections mock false hope: “how will they be expected to keep their minds intact, at the shock of simply hearing such damning evidence?”

“Beyond the Darkened Library” creaks open a secret passageway into a dimly lit, endless labyrinth of conspiracy theories, in which the character becomes hopelessly lost. “Aftermath” sounds the alarms: “stare so long that you start getting used to it; one glance says you should never get used to it.” The pair of “Tactics” tracks express what Shaw calls “an interpersonal microcosm of the album’s themes.”

Perhaps the most ambitious arc on Escape the Compound loosely begins with the title track. The subject in “Escape the Compound” gradually recognizes their own victimhood and plans a calculated flight from the “captivating shepherd” – hop the fence, flee, and regain autonomy. As the narrator escapes their stifling and abusive cult microcosm, a much grander existential timeline begins to appear. “Thousands of Years in Fast Forward” narrates a psychedelic surrender to the shared human experience through space and time, an ego-death adjacent to our ancestry, our own existence, and the before and after. “At the site of the crater, molecular hands unclasp molecular hands as you lose conditioning,” Shaw sings on the title track, “Your grandmother's garden. Your grandmother's kitchen. Your grandmother's primordial ocean.” It’s a profound actualizing glimpse into a true, forgotten reality and a startling reconnection with the self.

Renowned agent and jazz pioneer Wim Wigt founded Timeless Records in 1975. This Dutch record label has specialized in bebop, although it also did a sub-series of releases of Dixieland, Swing and Classical recordings. As of today, Timeless Records has, together with its three sub-labels, released over 900 albums. Notable releases include Dizzy Gillespie Meets Phil Woods Quintet, McCoy Tyner's Bon Voyage, Lou Donaldson's Forgotten Man, Eastern Rebellion and albums by the George Adams-Don Pullen Quartet, Chet Baker, Bill Evans, Art Blakey's Jazz Messengers and many more.

To celebrate the legacy of Wim Wigt's Timeless Records, Music On Vinyl is releasing a 45th anniversary jazz series. The series features albums that are part of the Timeless Records legacy and will be released throughout 2021/2022. To kick off this series, Pharoah Sanders' Africa is released on the 19th of November 2021.

Pharoah Sanders possesses one of the most distinctive tenor saxophone sounds in jazz, which has earned him royal status amongst free jazz players, critics and collectors. Harmonically rich and heavy with overtones, his sound can be as raw and abrasive as it is possible for a saxophonist to produce. His 1987 album Africa is soulful but also searching for a strong groove at the same time. The album is recorded with John Hicks, Curtis Lundy and Idris Muhammad and was an explicit tribute to his late mentor John Coltrane, another giant of jazz.

Africa by Pharoah Sanders is available on black vinyl. The album includes an insert with upcoming Timeless Records titles from the Timeless Records 45th Anniversary Jazz series. The sleeve contains liner notes by Kevin Whitehead.

The English-Irish electronic/dance duo Moloko released their first album Do You Like My Tight Sweater? in 1995.

It’s one of their most experimental records, before moving on to a more mainstream approach. Roisin Murphy is carrying the album with her versatile vocals, both in range and style, while Mark Brydon created the breakbeats, sound effects and groovy disco lines.
This is electronica at its best, danceable and funky.

The album includes their hits ““Fun for Me” and “Dominoid”, besides fan favourites like “Day for Night” and “Where Is the What If the What Is in Why?”. They never slow down in their exiting music and absurd lyrics, but that’s exactly what makes this record unforgettable.

Pure joy to be danced on all night.

Do You Like My Tight Sweater? is available as a limited edition of 3000 numbered copies on turquoise vinyl.

Kalita are excited to announce the first ever re-release of "Adzagli (Jungle Funk)" and "A Song For You (Ayawa)", two phenomenal pieces of West African disco from Amsterdam"s Kofi Ayivor. Selected from his sought-after Nigerian 1981 self-titled debut album "Kofi", at last these two recordings see the light of day once more via a loud-cut remastered 12" single. In addition, Kalita enlists fellow Amsterdam resident, DJ and producer Mendel to create his own remix of each recording, using the original multitrack session tapes to rework both for the modern-day dancefloor.