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New England rock band Four Year Strong have announced a re-recorded version of "Enemy of the World” complete with an updated depiction of the album art. The album originally came out over 10 years ago and was a breakout record for the band. Now it sees new production and 4 extra b-sides. "We decided to re record EOTW first and foremost to be as cool as Taylor Swift, but secondly because we wanted to be able to repress the vinyl and offer it to fans that haven’t been able to get it since the record came out." says Alan Day. He continues "It was really interesting to revisit all of the songs down to every detail, getting to kind of relive it in a way. We recorded the drums with Will Putney (who worked on the original EOTW as a engineer), did the rest by ourselves at Dans house, and then had Will work his magic on it and mix and master it. We had just worked with Will for the first time since 2010 on our new album Brain Pain, and figured it would be perfect to work with Will as he knows FYS old and new more than anyone. So give it a listen, come out to the tour, and party like it’s 2010 again."

The lyrics of the tracks of "IV:LETVM" revolve around death, war, forces of nature and superstition as well as rituals. This consistently heavy lyrical content is matched by the instrumental brutality of the nine tracks. The quartet from Giessen in Hesse presents itself on its new album exclusively martial, destructive, and evil. Song titles like 'War Dreams Of Itself', 'Lessons Of Darkness', 'Certain Death', 'Suffering' or 'Sadness' point the way ¬– no coincidence that the band’s official logo consists of an axe and a mace. DEPRAVATION cultivate a resounding style mix of black and death metal with a crust side to it, which is served fiercely and lingers bitterly. Exactly this is what the group is after since their first release "I:PRAEDICTVM" in 2012 succeeded by "II:MALEDICTVM" one year later. Following 2020's "III:ODOR MORTIS", "IV:LETVM" marks the second album for LIFEFORCE RECORDS. After more than ten active years, in which split records with ANCST and SLOWLY WE ROT were released, DEPRAVATION enter the scene without the pretense of following current trends or living up to any particular genre. "IV:LETVM" is the expression of diverse musical influences and above all one thing: relentlessly extreme. "IV:LETVM" was recorded at Red Tape Company by Simeon Lauber in Gießen. Nikita Kamprad (Der Weg Einer Freiheit/Ghost City Recordings) is responsible for mixing and mastering.

Raw, heavy, aggressive and at times genuinely creepy, Kent metallers Graphic Nature are one of the most energized and exciting new bands to emerge from the British metal scene in years. Taking their name from a track on Deftones’ Koi No Yokan album, in 2019 Graphic Nature announced themselves with the single Grit, and immediately began carving a name for themselves as a ferocious new force in British metal. With their first EP New Skin, mixing moments of snarling nu-metal aggro and the scalding fury of Slipknot’s debut album with instrumental passages that at times recall the genius of Nine Inch Nails’ Trent Reznor, they have found their sonic identity, and are ready to release their first LP, produced by George Lever. As the band continue to rise – having already shared the stage with the likes of Employed To Serve and Palm Reader - there’s even more confidence now in who they are and what they’re doing. Things are only going to get bigger. Graphic Nature are here to stay!

Under the alias The Rodeo, French artist Dorothée has been curating her discography since 2010. An exercise in self-exploration that her fourth album, Arlequine, refines and reveals with the confidence of someone who has cast doubt aside. With these nine baroque, complex and catchy French pop tracks, the singer-songwriter reveals her many faces. Truly multi-faceted, she is as much a performer on stage as she is an artist in real life. She toys with appearances instead of falling victim to them. Backed by a group of loyal virtuoso musicians, Arlequine marries melancholy and melodic clarity, anger and orchestral density, loss and pop idealism, in ambivalent songs with powerful choruses that paint a portrait of "a battle-hardened woman with a smile (...), a woman warrior with makeup" ("Arlequine"): resilient, resolute, reborn. The Rodeo has played all over the world (Europe, USA, Canada, Brazil, South Korea, Taïwan) and shared the stage with many artists (Salif Keita, Stereophonics, Villagers, Nada Surf, The Do, Kazu...). She"s involved in the European program Keychange for increased parity in the music industry.

Das Debüt-Solo-Album von Billy Howerdel (A Perfect
Circle) nun auch auf Vinyl erhältlich.
Der in New Jersey geborene und in Los Angeles
lebende Sänger, Multiinstrumentalist, Produzent und
Komponist Billy Howerdel (A Perfect Circle) hat sich in
aller Stille als Musik-Autor mit einem ausgeprägten
emotionalen Verständnis, klanglicher Schärfe und einem
Händchen für große Hooks durchgesetzt. Nachdem er
Pink Floyd live erlebt hatte, widmete er sein Leben der
Musik und arbeitete als gefragter Tournee-und
Studiotechniker für Bands wie David Bowie, Guns N'
Roses und Nine Inch Nails

In 2018, the legendary Steve Miller Band’s Complete Albums Volume 1 (1968-1976) debuted as an unprecedented and acclaimed 9LP vinyl box set and individual 180-gram black vinyl LPs. Today, Steve Miller and Capitol/UMC are incredibly excited to announce plans for the May 24 global release of the collection’s second volume, presenting nine more Steve Miller Band studio albums in a new 180-gram vinyl box set called Complete Albums Volume 2 (1977-2011). Spanning the band’s multi-platinum 10th studio album, 1977’s Book of Dreams, through 2011’s Let Your Hair Down, the albums have all been remastered and are available now for preorder. Each album is also available for preorder as individual 180-gram black LPs to be released on the same date.

On 25th August 1975, Father Yod took the Source Family to the top of a cliff on the eastern shore of Oahu, Hawaii. Despite having no previous airsports experience, he leapt off a 1300 ft cliff using a hang glider and he crash landed on the beach below.

The Source Family rejected all forms of conventional medicine; Father Yod died from his injuries nine hours later, surrounded by The Source Family.

Following a hugely successful inaugural release, Sangiuliano’s forthcoming “Sound Of Space” EP was quickly circulated across the festival scene, with the title track becoming one of the most hotly-tipped Track IDs of the summer. Continuing the label’s strong undercurrent of evanescence, Sangiuliano’s second chapter explores the effects of space and physical surroundings on our experience of music. Space is a concept we continuously interact with in music, whether we live it subconsciously or not. It’s a vital component in our perception; altering the expression of the music to the listener’s surroundings and functioning as an interactive field. Before the development of recording equipment & technology, music’s environmental characteristics were defined by the space in which it was performed, and as such, Enrico’s latest offering aims to revive this practice in music. To wholly pervade the senses and demonstrating this concept first hand, the 2-tracker will be also available in spatial audio, giving listeners a 360-degree infiltration of sound

Following up last year's orchestral album opus “Overtones For The Omniverse", Mocky has been releasing a number of upbeat and uplifting instrumental tracks and now collects them as "Goosebumps Per Minute, Volume 1" on classic vinyl and digital. Putting his vocals and songwriting to the side for this project, Mocky employs harps, horns, and 70’s analogue synths to provide a funky soundtrack that spreads a little of that California sunshine in the listeners direction. Built around Mocky's signature basslines and ensemble vocal arrangements that include his son Telly and his daughter Lulu, all recorded to his vintage ampex tape machine, Mocky did away with the normal metronomic BPM calculations in modern production and instead measured his music in "GPM" (the tempo at which music transmits Goosebumps) - and on top of a multitude of summery bass, drums & strings perfection, Vicky Farewell drops a blistering Rhodes solo on "Flutter" and Carlos Niño lends a percussive hand on the sublime "Iridescence”. Todd M. Simon handles the horn duties, and Liza Wallace infuses the dance tracks with live harp which recalls the floating approach of Alice Coltrane. Titles like "Refractions", "Wavelengths" or "Conduction" are hinting at a scientific approach to creating the conditions for "Goosebumps Per Minute" - his own calculus for the timing of how and when to hit and strum the things in his studio to make it raw & funky.

The songs were also inspired by his time hanging out at the Goldline bar in LA’s Highland Park. “Throughout the pandemic it was the one place I could go and sit outside and hear incredible music as I listened to my friend DJ Phonecalls playing from the Goldline's vinyl collection. He would be dropping these uplifting funk and disco cuts - and at the end of the night I would go home to my studio and make a track and upload it to my Bandcamp and the streaming services immediately … It reminded me of my time in Tokyo's vinyl bars so "Goosebumps Per Minute" owes a lot to that inspiring culture as well“.

About Mocky:
Performer, producer, songwriter, composer and multi-instrumentalist, Dominic "Mocky" Salole came to prominence in the Berlin electronic scene of the mid 2000s, releasing three acclaimed solo albums and co-writing and producing classics like Jamie Lidell's "Multiply" and Feist's "The Reminder". In 2009, his music took a jazz-inflected turn to the acoustic with the release of "Saskamodie" and in 2011 Mocky relocated to Los Angeles, where he quickly established himself as a co-writer with uncommon credentials collaborating with L.A.’s brightest breakthrough artists like Kelela, Joey Dosik, Vulfpeck or Moses Sumney. Mocky channeled those new creative energies into his fifth full length album "Key Change" and four digital mixtapes/EPs "The Moxtapes" Vol. IIV. After co-producing and co-writing Feist's "Pleasure" and Kelela's "Take Me Apart", in 2018 Mocky released two albums: "Music Save Me (One More Time)" and "A Day At United", an instrumental jazz album, recorded in a single day. In 2019 Mocky delved into soundtrack work by collaborating with legendary Anime director Shinichiro Watanabe on the first two seasons of the breakthrough show “Carole and Tuesday” (Netflix) for which he won Best Score at the Anime Awards. In 2020 he started a new Single series with 2 releases featuring the portugese singer Liliana Andrade and in 2021 he released his orchestral album "Overtones For The Omniverse" and started a series of funky instrumentals under "Goosebumps Per Minute".

The original soundtrack for “Il Casanova di Federico Fellini” (1976) sees Nino Rota putting into music Federico Fellini’s opus on the legendary Venetian icon and “tombeur des femmes” Giacomo Casanova.
Winner of an Oscar for Best Costumes in 1977, the film is one of Fellini's finest, a grotesque and hyperbolic take on the life of Casanova that is matched by Rota’s compositions.
“Il Casanova di Federico Fellini” possibly is one of Rota’s most eerie and enigmatic scores, as if the Maestro had finally poured into a soundtrack all of his love for esotericism.
The music wraps you up like the Venetian mist. The compositions are constantly on the edge of classical music with playful nuances and the use of instruments like viola and cello. Vocals become a cornerstone, echoing the tradition of 18th century Italian opera. However, Rota also leaves room for more experimental and estranging vibes that make the soundtrack a one-of-a-kind voyage into the creativity of the Maestro.

Pianist John Escreet, hailed by Time Out London as a "transatlantic jazz genius," continues his artistic ascent with the bold, exploratory album Seismic Shift. It is Escreet"s ninth album as a leader but his first at the helm of a trio, and also one of the first to see release since his move to the West Coast in early 2020. The UK native, former Brooklynite and now Los Angeles transplant teams up with fellow Angelenos Eric Revis (bass) and Damion Reid (drums) for a set brimming with fire and invention.

Ian Haywood aka Ian Sweetness was born in Kingston, Jamaica. Gifted with talent, this versatile singer of culture Reggae music and Lover’s Rock, started at the age of nine with the church choirs. Bob Marley, Dennis Brown, Beres Hammond, Frankie Paul and the old school Reggae foundation artists are his greatest inspiration. His first recording was at the age of nineteen at the Creative Sounds Studio in Kingston. The tune’s title was “Rude Bwoy” feat. Simpleton. After that, he started to work with sound systems in his area, and from there he began to spend time in studios around Jamaica, such as Arrows Studio, King Tubby’s, King Jammy’s, Penthouse, Bobby Digital, and more.
Ian recorded tunes with different producers and labels, for example, Jah Life, and Bobby Digital, and was based at Arrows Studios, but still working with producers in Jamaica & overseas.

Formed in 2007 in the Dolomite Alps region of Italy with a deep admiration for their native country’s hardcore punk luminaries in La Quiete and Raein, as well as eighties and nineties cult heroes in Negazione, Wretched and Indigesti. STORMO’s steady rise from unassuming beginnings has been one of consistently stirring song writing. Having amassed over 400 shows across Europe and the UK - including support slots to Converge, Full of Hell and La Dispute, as well as appearances at Fluff Fest - STORMO’s next chapter sees the band fully come of age. Lyrically, Endocannibalismo was written entirely in the band’s native tongue; partly as a byproduct of the albums nocturnal and instinctive writing process and partly in honour of their history as a band. Recorded and mixed by Giulio Favero (Zu) for mixing before being placed in the hands of Giovanni Versari at La Maesta for mastering, Endocannibalismo’s 11 tracks possess a crystalline clarity to service STORMO’s surging blastbeats, spiralling rhythms and noise punk cacophony, whilst staying true to the each songs deep seated primal nature. Seeking to tie together the whole process visually, STORMO took to artificial intelligence when creating Endocannibalismo’s art. Utilising specific prompts, the AI render was put through stages of mutation before culminating in its final form. A haunting graphic representation of living beings in a state of constant death and rebirth.

Guiding weary travelers through an enchanting interdimensional odyssey, Work The Peripheral’s debut long player ‘Like Lava’ finds a treasured home on Companion. Building on the foundation of four exceptional self-released EPs, WTP continues his exploration into the world of ambient trance. ‘Like Lava’ unfolds across nine tracks that expand and contract through imagined astral landscapes, showcasing WTP’s deft ability to create deep and absorbing techno trips. Hypnotic in manifold ways, ‘Like Lava’ is a release made for getting lost in. Each track referencing the next, this hour-long journey glides through blissful realms of trance, ambient techno and house - deep basslines, muted breaks and spacious subdued percussion are unified by WTP’s characteristic ubiquitous and sparkling atmospheres.

This is an expert expression of the Companion ethos. By drawing inspiration from the likes of Robert Leiner, Speedy J and Index ID, WTP wields the language of tripped out 90s electronica to allow spellbound listeners the time to contemplate, space to travel and a place to dream.

Tasteful double album with outstanding female singers. When it comes to vocal art alone, the jazz world is firmly in the hands of women. Just think of Billie Holiday, Ella Fitzgerald or Nina Simone. But singers of younger days, such as Sarah Vaughan or Diana Krall, are no less impressive with their enchanting voices. Reason enough for the French label Wagram to unite the most renowned female singers of the last decades on a double album.

Bona Fide makes his triumphant return to Lee Burridge’s All Day I Dream label to release the Entropy double-EP.

For his debut EP release on All Day I Dream, Bona Fide showcases a diverse repertoire of sounds across the eight tracks. The record kicks off with the title track, where Bona Fide eases the listener in with soft percussion before incorporating fluttering melodic textures. Another highlight from the A-side is ‘Kikiri’ - a mesmerizing composition spanning nine and a half minutes which features filtered chanting over an enduring drum pattern, balanced out by mystical synth harmonies. On the B-Side, Bona Fide recruits Zone+ to collaborate on ‘Alter Ego’, a stripped-down groover with an infectious bass-line, and Wassu to collaborate on ‘Love Sparkles,’ a joyous track with maximum danceability.

Entropy may sound familiar to some, as unreleased cuts from the record have been staples of Lee Burridge sets worldwide over the last year and a half. Bona Fide’s main stage performance at the inaugural All Day I Dream Festival in Northern California left fans wondering when he would next be featured on the label. Delivering the eight track Entropy EP to be released in both digital and physical format, Bona Fide makes a massive contribution to All Day I Dream, as the world-renowned label adds another wonderful EP to their catalog.

2022 Repress

David Löhlein debuts on the new Vision Ekstase label with four hypnotic techno tracks entitled

„VISION I – NYSA“.

The club-oriented and rhythm-heavy EP opener „Altai“ features a hypnotic vocal sample fused with stabbing modulations maintaining a constant drive best suited for peak-time purposes before ‘Morava’ continues with vibrant synth walls and stabs, euphoric pads in the distance and resonating frequencies.

On the flip, „Red Code“ starts with clap-heavy and groove-infused percussion above the growling oscillations throughout until „Six Nine“ rounds things off with innovative synth compositions, stirring resonations and clattering drums providing a driving rhythm within.

Young Fathers - Alloysious Massaquoi, Kayus Bankole und G. Hastings - kündigen heute ihr langerwartetes neues Album, „Heavy Heavy“, an. Das vierte Album des Trios erscheint am 3. Februar 2023 via Ninja Tune und ist ihr erstes seit „Cocoa Sugar“ von 2018. Das 10-Track-Projekt signalisiert einen erneuten Back-to-Basics-Ansatz ohne externe Produzenten, nur ein winziges Heimstudio, ein paar Geräte und Mikrofone: alles immer eingesteckt, alles immer in Reichweite. Über das Album schreibt Alloysious: „Jede Platte muss besser sein als die letzte. Das ist die Mentalität. Wenn es nicht besser wäre, würde es nicht herauskommen.“ Für ihn geht es bei diesem Album nicht einmal wirklich um die zehn Songs auf der Tracklist. Es geht darum, was mit dem Trio in den langen, verrückten Jahren seit „Cocoa Sugar“ passiert ist. „Heavy Heavy“ ist der Beweis für das, was von dieser Zeit übrig geblieben ist. Der Erfolg des Überlebens, der Exzess der Existenz. „Ich mag den Titel ‚Heavy Heavy‘, denn es ist alles plus die Küchenspüle", fügt G. hinzu. „Maximalistisch. Keine Art von Schlankheitskur. Es fühlt sich voll an, gewichtig. Und es zweimal zu sagen, macht es spielerisch.“
Für Young Fathers gibt es keinen Dresscode. Tanzen, nicht moshen. Die Hüften zucken, die Füße rutschen, das Gehirn feuert in Catherine Wheel-Sparks aus Freude und Empathie. Unterirdisch, aber nie dunkel. Immer noch jung, nach einigen Jahren, auch wenn die heavy, heavy weight of the world von Tag zu Tag zu wachsen scheint.

Red Vinyl

Young Fathers - Alloysious Massaquoi, Kayus Bankole und G. Hastings - kündigen heute ihr langerwartetes neues Album, „Heavy Heavy“, an. Das vierte Album des Trios erscheint am 3. Februar 2023 via Ninja Tune und ist ihr erstes seit „Cocoa Sugar“ von 2018. Das 10-Track-Projekt signalisiert einen erneuten Back-to-Basics-Ansatz ohne externe Produzenten, nur ein winziges Heimstudio, ein paar Geräte und Mikrofone: alles immer eingesteckt, alles immer in Reichweite. Über das Album schreibt Alloysious: „Jede Platte muss besser sein als die letzte. Das ist die Mentalität. Wenn es nicht besser wäre, würde es nicht herauskommen.“ Für ihn geht es bei diesem Album nicht einmal wirklich um die zehn Songs auf der Tracklist. Es geht darum, was mit dem Trio in den langen, verrückten Jahren seit „Cocoa Sugar“ passiert ist. „Heavy Heavy“ ist der Beweis für das, was von dieser Zeit übrig geblieben ist. Der Erfolg des Überlebens, der Exzess der Existenz. „Ich mag den Titel ‚Heavy Heavy‘, denn es ist alles plus die Küchenspüle", fügt G. hinzu. „Maximalistisch. Keine Art von Schlankheitskur. Es fühlt sich voll an, gewichtig. Und es zweimal zu sagen, macht es spielerisch.“
Für Young Fathers gibt es keinen Dresscode. Tanzen, nicht moshen. Die Hüften zucken, die Füße rutschen, das Gehirn feuert in Catherine Wheel-Sparks aus Freude und Empathie. Unterirdisch, aber nie dunkel. Immer noch jung, nach einigen Jahren, auch wenn die heavy, heavy weight of the world von Tag zu Tag zu wachsen scheint.

Yellow Vinyl
Over their six albums The Go! Team have taken sonic day trips to other lands - musically dipping into other cultures. But now on this, their seventh - they"ve bought a round-the-world ticket.... Benin, Japan, France, India, Texas and Detroit - all stops along the way. Wildly different voices from wildly different cultures side by side but all still sounding unmistakably Go! Team. Setting the course for a kaleidoscopic, cable access, channel hop. On the vocal roll call there"s Star Feminine Band, an all-girl group from West Africa, the Indian Bollywood playback singer Neha Hatwar, Kokubo Chisato from J-Pop indie band Lucie Too, 19 year-old Detroit rapper IndigoYaj, Hilarie Bratset (ex-Apples in Stereo), Brooklyn rapper Nitty Scott, and a whole host of others, alongside Go! Team staple Ninja. Picking up from 2021"s "Get Up Sequences Part One", Part Two continues the feeling of Technicolour overload. It"s a journey spanning Cyclone Tracey wig-outs, chroma key sitar psychedelia, Casiotone anthems, spoken word melodrama and kalimba callouts. Brill building melodies lead into musical handbrake turns, four track into panoramic. Eighteen years after their debut LP The Go! Team are still unlike anyone else and on "Get Up Sequences Part Two" they sound as fresh as a club soda....

Kirk Degiorgio is becoming somewhat of a mainstay on the Belgian De:tuned label. Here he returns with 'The Unveiling'. The title track stands out with a classical synth progression and beautiful harmonies, resulting in an uplifting Detroit fused techno cut. 'Descent Module' takes you on a driving acidic trip and has all the characteristics of a hypnotic floater for the after-hours. On the flip you'll find two exclusive remixes from Kirk's 'Communion' album on De:tuned. Ian o'Brien showcases his vast musical talent and opens up his soul with a warm and lengthy retake of 'The Ladder'. Luke Slater debuts strongly on De:tuned and provides a rare The 7th Plain remix of 'Absorption Spectra'. Luke's take is a sentimental and lush ambient techno interpretation where its unique sound oscillates between a melancholic state of nostalgia and modern escapism.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

blue marbled vinyl

Kirk Degiorgio is becoming somewhat of a mainstay on the Belgian De:tuned label. Here he returns with 'The Unveiling'. The title track stands out with a classical synth progression and beautiful harmonies, resulting in an uplifting Detroit fused techno cut. 'Descent Module' takes you on a driving acidic trip and has all the characteristics of a hypnotic floater for the after-hours. On the flip you'll find two exclusive remixes from Kirk's 'Communion' album on De:tuned. Ian o'Brien showcases his vast musical talent and opens up his soul with a warm and lengthy retake of 'The Ladder'. Luke Slater debuts strongly on De:tuned and provides a rare The 7th Plain remix of 'Absorption Spectra'. Luke's take is a sentimental and lush ambient techno interpretation where its unique sound oscillates between a melancholic state of nostalgia and modern escapism.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

Over their six albums The Go! Team have taken sonic day trips to other lands - musically dipping into other cultures. But now on this, their seventh - they"ve bought a round-the-world ticket.... Benin, Japan, France, India, Texas and Detroit - all stops along the way. Wildly different voices from wildly different cultures side by side but all still sounding unmistakably Go! Team. Setting the course for a kaleidoscopic, cable access, channel hop. On the vocal roll call there"s Star Feminine Band, an all-girl group from West Africa, the Indian Bollywood playback singer Neha Hatwar, Kokubo Chisato from J-Pop indie band Lucie Too, 19 year-old Detroit rapper IndigoYaj, Hilarie Bratset (ex-Apples in Stereo), Brooklyn rapper Nitty Scott, and a whole host of others, alongside Go! Team staple Ninja. Picking up from 2021"s "Get Up Sequences Part One", Part Two continues the feeling of Technicolour overload. It"s a journey spanning Cyclone Tracey wig-outs, chroma key sitar psychedelia, Casiotone anthems, spoken word melodrama and kalimba callouts. Brill building melodies lead into musical handbrake turns, four track into panoramic. Eighteen years after their debut LP The Go! Team are still unlike anyone else and on "Get Up Sequences Part Two" they sound as fresh as a club soda....

Yellow Vinyl


Over their six albums The Go! Team have taken sonic day trips to other lands - musically dipping into other cultures. But now on this, their seventh - they"ve bought a round-the-world ticket.... Benin, Japan, France, India, Texas and Detroit - all stops along the way. Wildly different voices from wildly different cultures side by side but all still sounding unmistakably Go! Team. Setting the course for a kaleidoscopic, cable access, channel hop. On the vocal roll call there"s Star Feminine Band, an all-girl group from West Africa, the Indian Bollywood playback singer Neha Hatwar, Kokubo Chisato from J-Pop indie band Lucie Too, 19 year-old Detroit rapper IndigoYaj, Hilarie Bratset (ex-Apples in Stereo), Brooklyn rapper Nitty Scott, and a whole host of others, alongside Go! Team staple Ninja. Picking up from 2021"s "Get Up Sequences Part One", Part Two continues the feeling of Technicolour overload. It"s a journey spanning Cyclone Tracey wig-outs, chroma key sitar psychedelia, Casiotone anthems, spoken word melodrama and kalimba callouts. Brill building melodies lead into musical handbrake turns, four track into panoramic. Eighteen years after their debut LP The Go! Team are still unlike anyone else and on "Get Up Sequences Part Two" they sound as fresh as a club soda....

Hideous Divinity's-Cobra Verde, based around Werner Herzog’s 1987 film of the same name and crowned, “an uber-brutal, churning platter of tech-y death metal” by Decibel Magazine. Cobra Verde was recorded at 16th Cellar Studios (Hour Of Penance, Fleshgod Apocalypse, Vomit The Soul) and flaunts nine tracks of meticulously executed brutality including a searing rendition of Ripping Corpse’s “The Last And Only Son.” Doused in a near-intoxicating air of hate and discontent, Cobra Verde is a true must-have for devout followers of obscure and intense death metal a la Nile and Immolation with the lysergic influences of Ulcerate.

Speedy J and Steve Rachmad join forces as Speedy & Steve for a four-track techno EP on Luke Slater's Mote-Evolver this February.

Dutch artists Speedy J and Steve Rachmad have long been defining the techno underground with seminal tunes on a range of influential labels. For their new release, the duo jammed in Speedy's studio for their new release, working the live results into four fresh and powerful new tracks, kicking off a new series of live collaborations on Luke Slater's Mote-Evolver.

The intense and textural 'Reddo' kicks off with industrial synth lines designed for maximum warehouse impact before 'Dabler Nine' brings its deep rolling drums and mind-melting synth lines late into the night. 'Right Well and Clean' has fresh, airy kick drums rolling beneath harsh and icy hi-hats before 'Rotor' closes the release in cosmic fashion with spiralling pads and intensely layered synths and drums.

This new series will see artists collaborating in person, with each EP capturing the creative moment as it happens, with results aimed squarely at the dance floor. Each release in the series has artwork in a specific style that combines one item from each artist, which means something to them, into one new image.

Originally released in 1997—Salsoul Jam 2000 was Grandmaster Flash’s first album in nine years. A testament to his power as a DJ, the record was produced & segued together as one continuous mix in front of a live audience.
This is the first re-release of the album in two decades and it’s first repressing on vinyl since the original ‘97 release.
Salsoul Jam 2000 is a perfect introduction to the deep bench of talent on the Salsoul Records roster— featuring hits like “Let No Man Put Asunder”, “Love Sensation” & “Ten Percent”—while continuing to connect dots on the family tree from disco to hip-hop.

Enter The Decagon assembles friends of the label - near and far - for further excursions into the abyss of industrial, folk, jazz and ambient music.

From Copenhagen hails Kristi Brud (Bride of Christ) extending us with a shimmering violin contemplation initially made for the short art film piece "The Abduction of Europa", absorbing a modal ambiance of harmonics rooted in central European renaissance. Recorded in Svalöv in rural Skåne comes a hillbilly folk jazz piece constructed by Joel and Ivar on equal parts violin, flute, upright bass and percussion, recorded somewhere in the misty era of of 2012-2015. Then, an interlude follows, reconstructed from the very early live sets of the label's own Inre Kretsen Grupp, laden with tuned metallic percussions and synthesized bow sounds. Following up, the idiosyncratic local talent Fai Ling offers a piece of Basinski/Hassel-esque horn repetitions in full deterioration. Concluding the A-side of the compilation is the band that never was - the only released material of Prins Emanuel and Golden Ivy's Börringe Kloster project - encapsulating their minimal maximal approach of low quality sound samples turned in to a wall of sound of rhythm of sorts.

The B-side picks up on different musings in the form of ambient cadence and carefully sculpted soundscapes signed Phillipp Otterbach, who gives us an unraveling journey into kalimba-hampered harmonies carried through a bed of industrial, synthesized sounds. Moonilena follows up with an eerie yet beautiful minimal composition of radio disturbances and repetitive, ear catching melodies.
Breaking the barrier of stillness, local producer and Catholic chant music fiend Digge Shim performs a rhytmical, tongue-in-cheek number that pulls widely from both the hymnal traditions of medieval Europe as well as the zonked out ambient trance sounds you'd meet in a mid nineties Goa chill-out room.
Near the tip of the decagon, we find the Cypriot producer, singer and lyricist Spivak presenting us with a feeling of the-familiar-but-never-heard in the form of an ambient pop breakbeat number with carefully crafted choirs oscillating on top - hauntingly beautiful and equally danceable.
Ending in the best of styles, well-mannered umarel and purveyor of drum-smitten metallic sounds shows us what Moisture is really about - the mental image of finding your true self dancing in purgatory in a never-released Kenneth Anger film set, encumbered with red lights and occult paraphernalia.

green vinyl / printed sleeve / 180 grams
Hadone's nine-track LP shares a first glimpse of his immersive 'Things We Never Did' concept.

November 2022 sees the inception of not only Hadone's first ever feature LP but also his artistically driven and expansive label project 'Things We Never Did'. Marking the first release on the imprint, 'What I Was Running From' spans nine individually unique records, including a special collaboration with friend and fellow French producer Askkin. One of the standout breaks tracks on the LP, it was the first track they made together.

A culmination of all things influential in modern underground techno, blending 4x4 raw techno tracks with more spirited melodic pieces, Hadone's debut LP is a telling celebration of several immersive sub-genres combined with his renowned sonic despondency. The result: a careful balance of richly electronic emotional cuts and racy industrialised techno with a gritty minimalist feel. "Not only the music is destined to evolve, but the whole environment that goes with it will be rethought on a recurring basis" adds Jeremy.

Title track 'What I Was Running From' was made after he finally found inspiration after the pandemic and was written in an hour. "I think my best tracks are made fast, as they don't reply in any intention but feelings only, therefore they are natural and reflect my true style" adds Jeremy.

Its fast paced bassline and jittery stabs, give the track a choppy break beat influenced vibe opening the album with true intent. 'What I Was Running from' offers a transcendental eye through the looking glass at a project that incorporates music, a digital interactive universe, a fashion collaboration with precocious
Parisian footwear brand Phileo. A creative collaboration which has resulted in a limited collection of 2 styles, available on both TWND's digital universe and Phileo direct.

For the 1st year designs, graphism by Raphael Clerget "leverages the power of art to underline the importance of saving our relation to time and improve focus." Raphael brings his vision of complexity and darkness through refined aesthetics carried out for the digital universe, label and merchandise.

Clear Vinyl

Clear Vinyl. Limitiert auf 300 Exemplare. Classic Rock, Vintage Rock oder Retro-Rock. Wie auch immer man diese bluesige, gelegentlich psychedelische, von den großen Acts der späten Sixties und Seventies inspirierte Variante des Hardrocks nennen will: Die besten Vertreter des Sujets kommen seit jeher aus dem Norden Europas. Je weiter nördlich ihr Ursprung, desto besser sind sie - so scheint es. Und viel nördlicher als Tromso, die über 300 Kilometer jenseits des Polarkreises gelegene Heimatstadt der Norweger Pristine, geht es kaum _ Pristine sind eine der begeisterndsten und überzeugendsten Live-Bands des Genres. Die Gruppe hat bereits Hunderte von Konzerten absolviert - von intimen Club-Shows bis hin zu Slots im Rahmen der großen Festivals auf unserem Kontinent. Heidi freut sich darauf, nun mit dem neuen Pristine-Album THE LINES WE CROSS endlich wieder auf Tournee gehen zu können. "Wir hatten im letzten Jahr eine Handvoll kleinerer Shows in Norwegen gespielt, als dies für kurze Zeit wieder möglich war. Die Regierung hatte alle Restriktionen aufgehoben, bevor dann die Omikron-Welle kam und alles erneut vorbei war. Diese viel zu wenigen Abende waren wundervoll für uns, aber offenbar ebenso für die Fans. Man merkte förmlich, wie ausgehungert beide Seiten nach Live-Musik waren. Es fühlte sich fast so an wie damals, als wir die Band starteten und unsere ersten Konzerte gaben." Damals war 2006: Heidi besuchte das Musikkonservatorium in Tromso, wo sie Gesang studierte, als sie die erste Inkarnation von Pristine aus der Taufe hob. Nach einigen Jahren der Sound- und Mitglieder-Findung sowie zwei exklusiv in Norwegen veröffentlichten Alben startete die Band 2016 mit REBOOT international durch. Es folgten ausführliche Europa-Konzertreisen mit stilistisch ähnlich gesinnten Acts wie The Brew und Blues Pills. Bereits im Jahr darauf legten Pristine mit NINJA nach und 2019 konnten die Skandinavier dank ROAD BACK TO RUIN erstmals die deutschen Album-Charts knacken. Mit THE LINES WE CROSS kommt Anfang 2023 nun Album Nummer sechs auf uns zu.

Clear Vinyl. Limitiert auf 300 Exemplare. Classic Rock, Vintage Rock oder Retro-Rock. Wie auch immer man diese bluesige, gelegentlich psychedelische, von den großen Acts der späten Sixties und Seventies inspirierte Variante des Hardrocks nennen will: Die besten Vertreter des Sujets kommen seit jeher aus dem Norden Europas. Je weiter nördlich ihr Ursprung, desto besser sind sie - so scheint es. Und viel nördlicher als Tromso, die über 300 Kilometer jenseits des Polarkreises gelegene Heimatstadt der Norweger Pristine, geht es kaum _ Pristine sind eine der begeisterndsten und überzeugendsten Live-Bands des Genres. Die Gruppe hat bereits Hunderte von Konzerten absolviert - von intimen Club-Shows bis hin zu Slots im Rahmen der großen Festivals auf unserem Kontinent. Heidi freut sich darauf, nun mit dem neuen Pristine-Album THE LINES WE CROSS endlich wieder auf Tournee gehen zu können. "Wir hatten im letzten Jahr eine Handvoll kleinerer Shows in Norwegen gespielt, als dies für kurze Zeit wieder möglich war. Die Regierung hatte alle Restriktionen aufgehoben, bevor dann die Omikron-Welle kam und alles erneut vorbei war. Diese viel zu wenigen Abende waren wundervoll für uns, aber offenbar ebenso für die Fans. Man merkte förmlich, wie ausgehungert beide Seiten nach Live-Musik waren. Es fühlte sich fast so an wie damals, als wir die Band starteten und unsere ersten Konzerte gaben." Damals war 2006: Heidi besuchte das Musikkonservatorium in Tromso, wo sie Gesang studierte, als sie die erste Inkarnation von Pristine aus der Taufe hob. Nach einigen Jahren der Sound- und Mitglieder-Findung sowie zwei exklusiv in Norwegen veröffentlichten Alben startete die Band 2016 mit REBOOT international durch. Es folgten ausführliche Europa-Konzertreisen mit stilistisch ähnlich gesinnten Acts wie The Brew und Blues Pills. Bereits im Jahr darauf legten Pristine mit NINJA nach und 2019 konnten die Skandinavier dank ROAD BACK TO RUIN erstmals die deutschen Album-Charts knacken. Mit THE LINES WE CROSS kommt Anfang 2023 nun Album Nummer sechs auf uns zu.

New Stay Up Forever offshoot label SUF ACID CHRONICLES will be dedicated to bringing all kinds of different Acid music to the table with remixes from the London Acid Techno community. First release is by Portugal's rising techno star Ninna V who provides two stomping, classic Acid tracks with thumping remixes from D.A.V.E.The Drummer and Chris Liberator & Sam DFL.

Double vinyl LP pressing. Wagram music present a release chock-filled with jazz tunes that have been appropriated and live on in the sample-heavy world of hip-hop! Includes tracks by Nina Simone, Bob James, Doris Day, Billie Holiday, Dinah Washington, and many others.

To celebrate the 10th anniversary of Cloud Nothings' seminal album, Attack On Memory, the band has announced a very special limited edition vinyl pressing. 3000 copies worldwide.

It’s housed in a foil jacket with all new colorized artwork, is pressed on Sky Blue vinyl, and includes two bonus flexi 7"s with two never-before-released tracks, "You Will Turn" and "Jambalaya" from the original sessions at Steve Albini's Electrical Audio.

In 2009, Cleveland’s Dylan Baldi began writing and recording lo-fi power-pop songs in his parents’ basement, dubbing the project Cloud Nothings. His music quickly started making the Internet rounds, and fans and critics alike took note of his pithy songcraft, infectiously catchy melodies, and youthful enthusiasm. Baldi soon released a string of 7”s, a split cassette, and an EP before putting out Turning On—a compilation spanning about a year’s worth of work—on Carpark in 2010. January 2011 saw the release of Cloud Nothings’ self- titled debut LP, which, put next to Turning On, found Baldi cleaning up his lo-fi aesthetic, pairing his tales of affinitive confusion with a more pristine aural clarity. In the interval since the release of Cloud Nothings, Baldi has toured widely and put a great deal of focus on his live show, a detail that heavily shapes the music of his follow-up album, Attack on Memory.

After playing the same sets nightly for months on end, Baldi saw the rigidity of his early work, and he wanted to create arrangements that would allow for more improvisation and variability when played on the road. To accomplish this desired malleability, the entire band decamped to Chicago—where the album was recorded with Steve Albini—and all lent a hand in the songwriting process. The product of these sessions is a record boasting features that, even at a glance, mark a sea change in the band’s sound: higher fidelity, a track clocking in at almost nine minutes, an instrumental, and an overall more plaintive air. The songs move along fluidly, and Baldi sounds assured as he brings his vocals up in the mix, allowing himself to hold out long notes and put some grain into his voice. Minor key melodies abound, drums emphatically contribute much more than mere timekeeping, and the guitar work is much more adventurous than that of previous releases.

For all of early Cloud Nothings’ fun and fervor, Baldi admits that it never sounded like most of the music he listens to. With Attack on Memory, he wanted to remedy this anomaly, and in setting out to do so, Baldi and co. created an album that showed vast growth for a very young band.

BLK ODYSSY seamless fuse Alternative soul with elements of 70s Rock & Roll into a new fresh sound. Front man, singer-songwriter & producer Sam Houston & Guitarist Alejandro Rios bring two opposite ends of the Music spectrum to one stage to deliver a sanctifying musical experience. Growing up in the urban city of Plainfield New Jersey, Sam was exposed to Neo-Soul, Funk as well as the Life lessons that brought this music about early on.

Barely heard in his lifetime (1961-2002) but hailed as an outsider hero of ur-punk since 2009’s ‘Cosmic Lightning’ compilation, J.T. IV strikes back!

15 unheard-of tracks found on an obscure cassette tape make the schizo split in his music - rabid rock & roll fantasy and cold-eyed acoustic introspection - an epic. ‘The Future’ is J.T. IV’s mad magnum opus.

The 2009 comp LP, ‘Cosmic Lightning’, cast his tragic silhouette up on the big screen
for all to see: the lost boy, alone in the world, standing before the mic and releasing
his inner star with glee and vengeance, his antisocial visions flying high atop a raging
funnel of distorted guitars and blunt rhythms. Or couched, childlike, within a heart
breaking billow of acoustic guitars - a schizophrenic split that only magnifies the
display of his deep emotions.
‘The Future’ goes even further, excavating fifteen recordings from a previously
unheard-of cassette entitled ‘The Best Of Johnny Zhivago Retrospective 1979–1993’,
and adding four more uncollected tracks from his slim (and impossible to find
anyway) discography.
Of these nineteen tracks, eight are covers - and J.T. IV’s picks, from Velvets to Mott
the Hoople, Roxy Music, Lee Hazlewood, The Kinks, Eno and Stephen Sondheim,
sharpen our image of the misfit adrift; on the outside looking in, but maybe just a few
steps away from his goal.
‘The Future’ unfolds like an epic, as both sides of J.T.’s persona - the street-smart,
damaged rocker and the heart struck poet of the scene - live on together in the best
performances of his short career.
A punk of the old order, John Henry Timmis IV was born in 1961 into a dysfunctional,
abusive and eventually broken family. By the mid-70s, he was desperate to get out,
running away from his mother’s home several times while still a teenager living in the
greater Chicagoland area. At wit’s end, she had him committed to the Menninger
Clinic for a year or so. Released on his own reconnaissance, he began his meteoric
ascent to the mythic level of self-aggrandizement in which he appears here. Inspired
by the underground, proto-punk sounds in the air (the likes of which any sharp-eyed
young thing might chance upon in the back pages of Creem, Crawdaddy, Trouser
Press, etc.) and desperate to be heard himself, J.T. presented like the scabby
younger brother of Bangs and Laughner: born only to rock, his musical conception a
rabid personality crisis of proselyte elitism and nihilist excess.
Now, 20 years on from his passing, ‘The Future’ is ever farther away from the world
in which he struggled so mightily - but his stinging iconoclasm, whether screamed
from Marshall amps or mic-ed up close, feels ever more powerfully infused with his
unique breadth of illness and essence.
These songs represent the two sides of J.T. - and while they emanate from the 80s,
they find themselves potently renewed in the polarized world of today, making ‘The
Future’ a worthwhile destination for everyone who ever had a heart touched by the
transgression and freedom promised by rock & roll.

Gilles Peterson re-imagines Lionel Loueke’s incredible and acclaimed album HH, released in 2020, featuring the music of his long-term mentor, the legendary Herbie Hancock, for release in 2022. Gilles Peterson and Lionel Loueke have long term respect for each other's music and when an opportunity to collaborate together came about, both jumped at the chance. The result is a brilliantly chaotic clash of worldwide club rhythms and guitar loops. The connection is the master Herbie Hancock - a massive influence on the London based DJ and the Beninese guitarist. Performing the music of his mentor HH, released on Edition Records in Sept 2020, was a pivotal album in Loueke's already fascinating journey from humble roots to illustrious career. Reimagined, refocused and reinvented by Gilles and co-producer Alex Patchwork (Ninja Tune) with parts re-recorded by Lionel, this is a kaleidoscopic view of HH which realises the full range of colours inherent within it.