Suche:no iron

‘Archive Series Volume no. 5: Tallahassee Recordings’ is the lost-in-time debut
album from Iron & Wine. A collection of songs recorded three years prior to his
official Sub Pop debut, ‘The Creek Drank the Cradle’ (2002). A period before the
concept of Iron & Wine existed and principal songwriter Sam Beam was studying
at Florida State University with the intent of pursuing a career in film.
‘Archive Series Volume no. 5’ documents the very first steps on a journey that
would lead to a career as one of America’s most original and distinctive singersongwriters. ‘The Creek Drank the Cradle’ arrived like a thief in the night with its
lo-fi, hushed vocals and intimate nature, while almost inversely Tallahassee
comes with a strange sense of confidence. Perhaps an almost youthful discretion
that likely comes from being too young to know better and too naïve to give a
shit.
The recordings themselves are more polished than ‘The Creek Drank the Cradle’
and give a peak into what a studio version of that record might have offered up.
‘Archive Series Volume no. 5’ was recorded over the course of 1998-1999 when
Beam and future bandmate EJ Holowicki moved into a house together. Beam
had not been performing publicly however, he was known for playing an original
song or two in the early morning glow of a long night. Holowicki - also in the film
program and who would go onto a career as a sound designer at Skywalker
Sound - had a mobile recording device and after some prodding convinced his
friend to record these late-night meditations.
Together they would record close to twenty-four songs, ideas and sketches, with
EJ on bass and Sam on vocals, guitar, harmonica and drums. The recordings -
all captured in the house where they lived - have a ‘live in the room’ feel akin to
say Neil Young’s ‘Harvest’ or Nick Drake’s ‘Five Leaves Left’, rather than the
homespun lo-fi 4-track home recording experiment taking place at the time.
These recordings, minus one track, have never been made available and were
instead left preserved on a hard drive for the last twenty years. The one track
that floated out there, called ‘In Your Own Time’ was shared without a title to
childhood friend Ben Bridwell (Band of Horses) at some point. The song became
known as the ‘Fuck Like A Dog’ song and Ben shared it with more than a few
folks during the golden era of mix CDs. Two of those folks were Jonathan
Poneman from Sub Pop and journalist Mike McGonigal, who included it on his
best songs of 2001 mix CD, passed out to friends and acquaintances. And for
many that is where the Iron & Wine story begins, until now.
‘Archive Series Volume no. 5’ is the foreword to your favourite book that you’ve
somehow skipped over time and time again. It’s an alternative history mixed with
some revisionist history told over the course of eleven songs. It’s also the debut
record by Iron & Wine some twenty years after the fact.

"Eux sont de ceux qui trament en accordant desseins sur dessins." MinimalRome is back with the second volume of Trame compilation. A full lenght 2xLP release gathering Legowelt (as Phalangius), Heinrich Dressel, Alessandro Adriani, Ian Martin, Teslasonic, Polysick, C-34, Iron Blue and David Kristian among others. Traveling through these eighteen ambient cosmic tracks from true heirs of library music, you'll expand the surrounding space. Limited to 300 copies

Shovel Knight began as a modest, yet highly promising Kickstarter project in March 2013. Billed as 'a groundbreaking love letter to 8 bits!' by Indie developer Yacht Club Games, this 2D side-scrolling platform game released in June 2014 to universal praise and accolades. Fans and industry professionals praised Shovel Knight for its charming retro-2D visuals, humorous story, fun characters and strong gameplay design, which all came together to offer a game that is nostalgic yet very modern. The efforts of Yacht Club Games paid off when Shovel Knight was won the prestigious 'Best Independent Game' award at The Game Awards 2014. The game's chiptune soundtrack, composed by Jake Kaufman and Manami Matsumae, is integral to the game's modern-retro identity and has been similarly praised for its outstanding arrangements, memorable melodies and strong technical composition. This definitive soundtrack contains all music from the original Shovel Knight game released in June 2014, with a vinyl tracklist crafted by Jake Kaufman himself. The package cover and inner-gatefold have been designed exclusively for the soundtrack by Hitoshi Ariga; an interview with co-composer Manami Matsumae; and character artwork from the game.

Neuauflage der Vinyl-Edition von "No Sleep Till Hammersmith". Das ultimative Motörhead Live-Album! "No Sleep Till Hammersmith" (1981) ist Motörheads erstes Live-Album und baut auf dem erfolgreichen Vorgängeralbum "Ace Of Spades" auf. Das Album gibt gut die Intensität wieder, die Mötorheads Konzerte zu entfachen vermögen. Von Fans wird stets die gute Soundqualität dieser Aufnahme gelobt.

'Double Seven, released by Trojan in late 1973, was the last album Lee 'Scratch' Perry would release on the label for some considerable time, and it was essentially the final album project he put together before establishing his own Black Ark studio. Opening track 'Kentucky Skank' sets the tone with a slow creeper whose frying sounds underscore its role as a praise song to the Colonel's KFC recipes; the cosmic Moog blips come courtesy of Ken Elliott at Camden's Chalk Farm studio, also prominently featured on U-Roy's double-tracked, stereo-panned gambling ode 'Double Six.' David Isaacs' 'Just Enough' was cut a few years prior, which makes it slightly out of phase with the rest of the set, though the enigmatic 'In The Iaah' sounds mightily fresh, with its uncredited chorus said to come courtesy of the Wailers. Perry's own 'Jungle Lion' has hilarious roars from the maestro at the start, strangely grafted atop a reggae re-make of Al Green's 'Love and Happiness.'

'Overall, Double Seven melds the soul, funk, reggae and dub elements that were constant in Perry's work during this phase. His enhanced audio spectrum and endless reference points would keep his music continually apart from that made by his peers.'
—David Katz (excerpt from the liner notes)

The third and final full-length, double album from the Elephant 6 Recording Co. co-founders. Their first record in 27 years from the Athens, GA band. A legend is a heavy thing to carry. It has been 27 years since the last album by The Olivia Tremor Control. In that time, they have influenced countless bands, been the subject of documentaries and biographies, and now, finally, improbably, there is a third Olivia Tremor Control album. In the 1990s, The Olivia Tremor Control released two albums of experimental and psychedelic pop genius, Music from the Unrealized Script: Dusk at Cubist Castle (1996), and Black Foliage: Animation Music Vol. 1 (1999). As founding members of the Elephant 6 collective, they redefined the US underground scene, injecting bright paisley colors and sonic adventure into a scene weighed down by grim irony and a fear of pretension. Work began on the album as far back as 2005 but progress was slowed by other projects, other responsibilities, but in 2010, the band of Hart, Doss, John Fernandes, Pete Erchick, Eric Harris, and Derek Almstead began to record. By 2011 The Olivia Tremor Control had reemerged as a fully active band and added AJ Griffin to the lineup as well as touring members Scott Spillane and Robbie Cucchario. The band was now recording constantly and were fast on their way to completing the album. Then in the summer of 2012, Bill Doss suddenly, tragically passed away. With everyone still in shock and grieving, work on The Same Place came to a halt. Every attempt to resume the project stalled until 2023, when, after watching the Elephant 6 Documentary, Athens producer/musician Jason NeSmith came on board to help. In 2024, with the album nearly finished, Will Hart unexpectedly passed away. Drawing on Will's extensive collections of notes, The Same Place was finally completed by the surviving band members, the broader Elephant 6 community, and producers Derek Almstead, Jason NeSmith, and Ron Kwasman. The Same Place does everything The Olivia Tremor Control ever did well. It also does it better, and goes further, than anyone could have imagined was possible.

Wewantsounds is delighted to continue its Ziad Rahbani reissue program with Ana Moush Kafer, a classic album by the Lebanese legend Ziad Rahbani, recorded at his By-Pass Studio in Beirut during the height of the Lebanese Civil War in 1985. Showcasing Rahbani’s signature blend of Arabic music infused with touches of jazz-funk and bossa nova, the album has attained cult status over the years. Originally released on cassette, it has never before been available on vinyl. Newly remastered, this edition features the original Relax-In cassette artwork from 1985 and includes new liner notes by Mario Choueiry of the Institut du Monde Arabe in Paris.

Ziad Rahbani, who passed away in 2025, remains one of the most influential figures in modern Arabic music and a cultural icon in Lebanon. A musician, composer, pianist, producer and playwright, he helped modernize Arabic music over five decades. The son of composer Assi Rahbani and singer Fairuz, he shaped her late 70s–80s recordings producing Wahdon and Maarifti Feek, while building a major solo career with classics such as Abu Ali and Houdou Nisbi, which have become cult favourites for a new generation of DJs and music lovers.
Released in 1985 in Lebanon, Ana Moush Kafer stands as one of Rahbani’s key achievements. Recorded at his By-Pass Studio during the Lebanese Civil War, it blends Arabic melodic traditions with jazz-funk, bossa nova and Western arrangements. Originally cassette-only, it became one of his most revered releases. Throughout the album, Rahbani’s writing reflects the turbulence of wartime Beirut with a blend of sharp social observation, political satire and melancholy. It captures a moment in Lebanese cultural history where experimentation, satire and popular song intersected, giving the album its enduring influence among music lovers.

Sung by Rahbani and Sami Hawat, alongside Beirut-based musicians, the album features both Western and traditional Arabic instruments. It balances refined arrangements with lyrical irony, social commentary and political reflection, which remain deeply resonant in today’s context in Lebanon.
One of the highlights of the album is the song “Shou A’ada Ma Bada,” with lyrics by Joseph Harb, which reveals a clear bossa nova influence, while the closing track, “Al Mokawama Al Watania Al Lobnani,” offers a deeply human view of war, avoiding patriotic cliché in favour of a nuanced perspective rooted in lived experience.
As Mario Choueiry observes in his liner notes, “Ana Moush Kafer stands as one of the high points of modern Arab political songwriting, yet transcends its historical and geographical context through the universal relevance of its themes and the timeless quality of its music.”
Forty years on, Ana Moush Kafer remains a landmark of Arab music. Wewantsounds presents it on vinyl for the first time, newly remastered and featuring original artwork. This long-awaited reissue restores one of Ziad Rahbani’s most important works to circulation, reaffirming its place as a defining statement in modern Arabic music.

a 1. Ana Moush Kafer 5:03
b 2. Shou Hal Ayyam 5:46
c 3. A'anitham 4:37
d 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]

[a] 1. Ana Moush Kafer [5:03]
[b] 2. Shou Hal Ayyam [5:46]
[c] 3. A'anitham [4:37]
[d] 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]

[a] 1. Ana Moush Kafer [5:03]
[b] 2. Shou Hal Ayyam [5:46]
[c] 3. A'anitham [4:37]
[d] 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]

[a] 1. Ana Moush Kafer [5:03]
[b] 2. Shou Hal Ayyam [5:46]
[c] 3. A'anitham [4:37]
[d] 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]

[a] a1. Ana Moush Kafer [5:03]
[b] a2. Shou Hal Ayyam [5:46]
[c] a3. A'anitham [4:37]
[d] a4. Shou A'ada Ma Bada [3:45]
[e] b1. Yessa'ed we Yea'en [5:05]
[f] b2. Bi Halyawmayn [3:46]
[g] b3. Bharf Esheen [1:12]
[h] b4. Bhaneek [5:34]
[i] b5 Al Mokawama Al Watania Al Lobnani [3:06]

[a] a1 | Ana Moush Kafer [5 03]
[b] a2 | Shou Hal Ayyam [5 46]
[c] a3 | A'anitham [4 37]
[d] a4 | Shou A'ada Ma Bada [3 45]
[e] b1 | Yessa'ed we Yea'en [5 05]
[f] b2 | Bi Halyawmayn [3 46]
[g] b3 | Bharf Esheen [1 12]
[h] b4 | Bhaneek [5 34]
[i] b5 | Al Mokawama Al Watania Al Lobnani [3 06]

[a] a1 | Ana Moush Kafer [5 03]
[b] a2 | Shou Hal Ayyam [5 46]
[c] a3 | A'anitham [4 37]
[d] a4 | Shou A'ada Ma Bada [3 45]
[e] b1 | Yessa'ed we Yea'en [5 05]
[f] b2 | Bi Halyawmayn [3 46]
[g] b3 | Bharf Esheen [1 12]
[h] b4 | Bhaneek [5 34]
[i] b5 | Al Mokawama Al Watania Al Lobnani [3 06]

[a] a1 | Ana Moush Kafer [5 03]
[b] a2 | Shou Hal Ayyam [5 46]
[c] a3 | A'anitham [4 37]
[d] a4 | Shou A'ada Ma Bada [3 45]
[e] b1 | Yessa'ed we Yea'en [5 05]
[f] b2 | Bi Halyawmayn [3 46]
[g] b3 | Bharf Esheen [1 12]
[h] b4 | Bhaneek [5 34]
[i] b5 | Al Mokawama Al Watania Al Lobnani [3 06]

To celebrate another year around the sun, we’re proud to present our second vinyl release: Formulation — a 4-track EP that perfectly captures the label’s output over the past year while continuing our commitment to physical formats and attention to detail.

Like its predecessor "Foundation" is a various artists release featuring some of the key names from our latest catalog. The formula goes like this:

A Side: Iron T.C. and Hor-G take control of the slower side of the record with aggressive drums, distortion and the raw energy that defines their sound. Epic atmospheres and humanoid vocals introduce a heavy breakbeat assault from two of the strongest names in the Iberian underground. A perfect blend of dirty electro and industrial breakbeat built to turn the dancefloor upside down.

B Side: Heathen, The Egg & No Rules push the BPMs higher in the other side. Dark landscapes and metallic drums twist into a spiral of tension and halftime rhythms. Three experienced explorers of the niche taking techstep sound beyond its usual limits — for those into density, introspection and long blends

Another solid step into the physical format — and a glimpse of what’s still to come...

Once again, huge thanks to everyone involved in the project and to all our supporters who make this possible.

To celebrate another year around the sun, we’re proud to present our second vinyl release: Formulation — a 4-track EP that perfectly captures the label’s output over the past year while continuing our commitment to physical formats and attention to detail.

Like its predecessor "Foundation" is a various artists release featuring some of the key names from our latest catalog. The formula goes like this:

A Side: Iron T.C. and Hor-G take control of the slower side of the record with aggressive drums, distortion and the raw energy that defines their sound. Epic atmospheres and humanoid vocals introduce a heavy breakbeat assault from two of the strongest names in the Iberian underground. A perfect blend of dirty electro and industrial breakbeat built to turn the dancefloor upside down.

B Side: Heathen, The Egg & No Rules push the BPMs higher in the other side. Dark landscapes and metallic drums twist into a spiral of tension and halftime rhythms. Three experienced explorers of the niche taking techstep sound beyond its usual limits — for those into density, introspection and long blends

Another solid step into the physical format — and a glimpse of what’s still to come...

Once again, huge thanks to everyone involved in the project and to all our supporters who make this possible.

To celebrate the 20th Anniversary the album is to be released as a 1LP Zoetrope, featuring the original album newly remastered at Half Speed at the legendary Abbey Road Studios. Plus, different artwork designs on side A+B which bring to life original designer Sanna Annukka Smith’s illustrations in mesmerising motions created by expert Zoetrope graphic designer Drew Tetz. Strictly Limited Edition pressing.

Nach der Veröffentlichung der Lead-Single ,Glowin'" im Jahr 2025 kehrt Mike James Kirkland mit seinem lang erwarteten Album ,The Business" zurück. Begleitet von den Monophonics präsentiert Kirkland eine facettenreiche, von Bläsern geprägte Sammlung, die beschwingten Soul nahtlos mit gefühlvollen Balladen verbindet und damit seinen Platz als eine der beständigen Stimmen des Genres bekräftigt. Das Album beginnt mit dem energiegeladenen ,Ready Or Not", in dem Kirkland selbstbewusst verkündet: ,Baby, I am ready", und damit den Ton für ein triumphales Comeback angibt. Produzent Kelly Finnigan lässt in ,Where Did We Go Wrong" die üppige Raffinesse des Philly-Soul einfließen und unterlegt Kirklands Reflexion über eine Liebe in Aufruhr mit Bläsern, Flöte, Waldhorn und Sitar. Finnigan arrangiert zudem das romantische ,Leading Lady" und begleitet Kirkland beim zarten ,Remembering Our Love" im Hintergrundgesang. Der Midtempo-Titelsong ,The Business" widmet sich sozialen Themen und verbindet fließende Streicherklänge mit Texten, die systemische Ungerechtigkeit und polizeiliche Unterdrückung thematisieren. Im Gegensatz dazu fängt ,Joyriding" die Unbeschwertheit des Sommers mit einem mitreißenden Groove ein, der zu den Höhepunkten des Albums zählt. Die vielbeachtete Single ,Glowin'" bildet den Abschluss des Albums. Inspiriert von der Version der Rationals aus dem Jahr 1969 des von Dr. John komponierten Stücks spiegelt der Song Kirklands beständige Botschaft wider, spirituelles Gleichgewicht und Glück dem materiellen Erfolg vorzuziehen. ,The Business" wurde zwischen Ende 2021 und Mitte 2022 geschrieben und aufgenommen, unter Mitwirkung von Jimmy James (Parlor Greens) und Lou King (Ironsides). Das Album verbindet Kirklands zeitlosen Gesang mit der üppigen Musikalität der Monophonics und markiert damit eine willkommene Rückkehr des legendären Soulsängers.

Repress of since last 2025 sold out box set. Ltd edition Gold vinyl, 4 X 140g LP Box set, 24pp booklet, DL card. or Ltd edition 4xCD Bookback. Trees classic albums, beautifully packaged as a four-disc anniversary edition includes 12" book with liner notes from founder member David Costa and comedian Stewart Lee - Features two new discs of alternate mixes, early demos, BBC session tracks and 2018 live recordings in London - Includes lost demos of 'Polly On The Shore' and 'Streets Of Derry' It's now over fifty years since Trees' formation and, although 'Acid Folk' has now become a sub-category in the lexicon of record dealers and music critics, and although founder member David Costa feels the original noughties reissue helped consolidate a gathering wave of curiosity, they themselves remain in the shadows. Earth's new Trees collection brings together both albums adding shiny alternate mixes of key tracks along with a selection of radio sessions and demos, all sounding brighter and cleaner than ever before. Trees first album, 'The Garden of Jane Delawney' (1970) snuggles nicely into contemporary nu-folkies' idea of the genre, and shares some of the pastoral-whimsy that characterised The Incredible String Band or Donovan, offset by some stunning interpretations of traditional material and Bias' own songs, which were somehow part of the tradition Trees had adopted. Readings of 'Lady Margaret', 'Glasgerion' and the old standard 'She Moved Thro' The Fair', and the extended fade of the group's own 'Road', presage the explosive instrumental duelling that would come to characterise the follow up album, 'On The Shore'. There's a definite shift between the records, the second being darker and more ambivalent. Here Trees don't tell you what to think. You're left to formulate your own response to this odd, opaque music. The 'Streets of Derry' session version leans into the brain vibrating drone-groove they somehow found at the traditional tune's centre. 'Polly On The Shore', another traditional tune, is one of the definitive moments of English folk rock. This special expansive collector's edition celebrates the bands 50th anniversary. "A beautiful hybrid, Trees found a unique space between intimate folk and freewheeling psychedelia. Musically ambitious yet brilliantly balanced, they have left an enduring legacy for those lucky enough to be in on the secret" - Edd Gibson, Friendly Fires

,The Long Ear" ist das Debütalbum von Noh Age _ Charmaine Lee (Parabolmikrofon, Feedback, Gesang), John McCowen (Kontrabassklarinette, Bb- Klarinette, Blockflöte) und Li-Chin Li (Sheng) bei Kou Records - live aufgenommen über drei Tage bei Brooklyn Recording im März 2026 live aufgenommen und von Randall Dunn (Sunn O))), Oneohtrix Point Never) produziert. Das Parabolmikrofon hat seine eigene Geschichte: ein Überwachungsinstrument aus dem Kalten Krieg , das dafür konzipiert war, aus der Ferne zu lauschen, um das zu orten und zu verstärken, was sonst unhörbar bleiben würde. Hier ist es nach innen gerichtet - nicht auf einen Feind, sondern auf den Klang selbst, der durch vier Vintage-Röhrenverstärker geleitet wird. Die Parabolantenne spürt Resonanzen auf, die durch den Raum übertragen werden, und stellt sich auf Frequenzen ein, die von Kontrabassklarinette, Sheng und Gesang erzeugt werden, bis sich eine Rückkopplung entlädt - ein vierter Interpreter mit eigener, unvorhersehbarer Wirkmacht. Das Ergebnis ist spektrale Musik in ihrer viszeralsten Form - verwurzelt in der Tradition von Gérard Grisey, Kaija Saariaho und Iancu Dumitrescu, doch herkommend von der Überwachungsstelle, dem Abhörposten, der Abhörleitung. In sechs Stücken, die auf kompositorischen Rahmenwerken aus zellulären Automaten und grafischen Partituren basieren, bewegt sich das Trio zwischen extremen Registerbereichen - CBC-Grundtöne gegen dichte Sheng-Cluster-Klänge , die kristallklaren Obertöne von Blockflöte und Mini-Sheng - während das Feedback durch all das wandert, sich verdichtet, auslöscht, wiederkehrt. Cover- und Rückseitengestaltung von Shintaro Kago - einem in Tokio ansässigen Manga-Künstler und Pionier der ,Ero-Guro"-Tradition, der international für seine Arbeit an Flying Lotus' ,You're Dead!" (Warp, 2014) bekannt ist. Aufgenommen, gemischt und produziert von Randall Dunn. Zusätzliche Synthesizer und Sounddesign von Randall Dunn. Gemastert von Ben Greenberg. Dolby-Atmos-Mischungen von Ben Greenberg. Schablonenschnitt von Paul Gold bei Salt Mastering.

Mike Ladd. Diejenigen, die ihn kennen, sprechen diesen Namen mit einer gewissen Ehrfurcht aus. Wenn du mir eine unvollkommene Analogie gestattest: Ladd ist der Terrence Malick des Underground-Hip-Hop - ein kompromissloser Autor, dessen frühe Werke sowohl unkonventionell als auch von der Kritik gefeiert waren, bevor er sich abrupt aus der Szene zurückzog, die er mit aufgebaut hatte, und nach Paris abhob, um nie wieder von sich hören zu lassen. Natürlich ist die Realität komplexer als die Legende. Mike Ladd hat nie aufgehört, Musik zu machen; im Laufe der Jahre ist er bei allerlei unerwarteten Kollaborationen aufgetaucht - wer könnte seinen mitreißenden Auftritt auf billy woods' ,Aethiopes" vergessen -, hat den Soundtrack zu einer Netflix-Serie beigesteuert und mit bildenden Künstlern an Orten wie dem Pantheon in Paris zusammengearbeitet. Dabei sind all die Bühnen, auf denen er als Teil verschiedener Tournee-Bands und Live-Acts für Furore sorgte, noch gar nicht mitgezählt. Dennoch liegt Ladds letztes Soloalbum mehr als zehn Jahre zurück, und sein Meisterwerk ,Welcome to the Afterfuture" erschien Anfang 2000. Wenn wir der Analogie folgen wollen, ist ,Nonechosen" Mike Ladds ,The Thin Red Line. Ein unerschütterlicher Beweis dafür, dass sich der Künstler weiterentwickelt und gewachsen ist, dabei aber dieselbe Gravitas bewahrt hat, die seinen Namen zu dem gemacht hat, was er ist. Hier sind wir nun, tief in der ,Afterfuture", und es ist, als hätte Ladd schon immer auf diese Zeit gewartet und auf diesen Moment hingearbeitet. ,Jetzt weißt du, warum ich auf meinem Posten geblieben bin", rappt er auf ,Nonechosen", überzeugt davon, dass sich seine Geduld ausgezahlt hat. ,Nonechosen" ist ein Soloalbum, aber Ladd wird dir als Erster sagen, dass er es nicht allein geschafft hat; er hat schon immer mit alten Freunden zusammengearbeitet. No Surrender und Tom Degeeter haben an jeweiligen Tracks mitgewirkt. Sobald Mike das Album mit seiner eigenen Produktion zu 95 % fertiggestellt hatte, gab er es an Preservation weiter, der das Projekt mit ein paar gut platzierten Feinschliff-Maßnahmen auf ein neues Niveau hob. Backwoodz Studioz fühlt sich geehrt, Teil von Ladds kometenhaftem Comeback zu sein, und freut sich darauf, diesen wegweisenden Künstler einer neuen Generation von Hip-Hop-Fans gebührend vorzustellen, wenn wir schon dabei sind.

Mike Ladd. Diejenigen, die ihn kennen, sprechen diesen Namen mit einer gewissen Ehrfurcht aus. Wenn du mir eine unvollkommene Analogie gestattest: Ladd ist der Terrence Malick des Underground-Hip-Hop - ein kompromissloser Autor, dessen frühe Werke sowohl unkonventionell als auch von der Kritik gefeiert waren, bevor er sich abrupt aus der Szene zurückzog, die er mit aufgebaut hatte, und nach Paris abhob, um nie wieder von sich hören zu lassen. Natürlich ist die Realität komplexer als die Legende. Mike Ladd hat nie aufgehört, Musik zu machen; im Laufe der Jahre ist er bei allerlei unerwarteten Kollaborationen aufgetaucht - wer könnte seinen mitreißenden Auftritt auf billy woods' ,Aethiopes" vergessen -, hat den Soundtrack zu einer Netflix-Serie beigesteuert und mit bildenden Künstlern an Orten wie dem Pantheon in Paris zusammengearbeitet. Dabei sind all die Bühnen, auf denen er als Teil verschiedener Tournee-Bands und Live-Acts für Furore sorgte, noch gar nicht mitgezählt. Dennoch liegt Ladds letztes Soloalbum mehr als zehn Jahre zurück, und sein Meisterwerk ,Welcome to the Afterfuture" erschien Anfang 2000. Wenn wir der Analogie folgen wollen, ist ,Nonechosen" Mike Ladds ,The Thin Red Line. Ein unerschütterlicher Beweis dafür, dass sich der Künstler weiterentwickelt und gewachsen ist, dabei aber dieselbe Gravitas bewahrt hat, die seinen Namen zu dem gemacht hat, was er ist. Hier sind wir nun, tief in der ,Afterfuture", und es ist, als hätte Ladd schon immer auf diese Zeit gewartet und auf diesen Moment hingearbeitet. ,Jetzt weißt du, warum ich auf meinem Posten geblieben bin", rappt er auf ,Nonechosen", überzeugt davon, dass sich seine Geduld ausgezahlt hat. ,Nonechosen" ist ein Soloalbum, aber Ladd wird dir als Erster sagen, dass er es nicht allein geschafft hat; er hat schon immer mit alten Freunden zusammengearbeitet. No Surrender und Tom Degeeter haben an jeweiligen Tracks mitgewirkt. Sobald Mike das Album mit seiner eigenen Produktion zu 95 % fertiggestellt hatte, gab er es an Preservation weiter, der das Projekt mit ein paar gut platzierten Feinschliff-Maßnahmen auf ein neues Niveau hob. Backwoodz Studioz fühlt sich geehrt, Teil von Ladds kometenhaftem Comeback zu sein, und freut sich darauf, diesen wegweisenden Künstler einer neuen Generation von Hip-Hop-Fans gebührend vorzustellen, wenn wir schon dabei sind.

Forty years of cassette releases, pressed for the first time on vinyl

First of two instalments exploring the previously unreleased sonic archives of one of Poland’s most enigmatic
living artists - with its first volume focused on his deep listening practice and spiritual reverie (recorded 1990–2013)

The last time Andrzej Dudek-Dürer took a banknote bearing the face of the Polish anarchist Jarosław Dąbrowski from his pocket to trade it for a pair of shoes was in 1969. He bought them for 120zł - the equivalent of 100€ today - and never replaced them since then. Only rebuilt them, year after year, drawing a needle and thread through the leather each time it split, closing one wound before the next one opened. It became a ritual of precision, stitching a record of another year into their soles.

That same year, in Wrocław, he arrived at a conclusion that would recalibrate everything that followed. Convinced he was the reincarnation of Albrecht Dürer, he adopted the surname Dudek-Dürer, stopped cutting his hair and began wearing the same garments every day. It was the first ritual of many, though he wouldn't have called it that yet. Look closely enough, over the decades, and it is always the same gesture, returning in different material: hair growing in a single unbroken strand, a needle drawing thread through leather, sitar strings pulled taut across a neck he built with his own hands and magnetic tape spooling forward inside the cassette boxes stacked against his walls.

None of this began in a vacuum. Dudek-Dürer emerged from the Wrocław neo-avant-garde, in a Polish art world where an exhibition could be cancelled overnight by the stroke of a censor's pen. In 1973, his exhibition Auto-crucifixion was shut down by the state, and for a time he found himself blocked from exhibiting his own art at all - the one force in his life that ever came close to cutting the thread.

He seemed to experience it differently. In 1974, after long, patient research into sitar craftsmanship, he built his first prototype with his brother, a knowledgeable luthier. In 1978, in a smoked-out jazz club, he took his first steps into sound recording with the unreleased album Jazz From Underground with his first band. By 1979, recognition started to travel further than he could.

Turning toward Far-Eastern philosophy, meditation and the idea of reincarnation was another language of freedom for him. It was a way of claiming an inner territory the state could not reach, a border it could not close. Mail Art served a parallel function, reaching further out: in a country that restricted travel and expression, sending and receiving art through the postal system became an act of quiet rebellion.

The body, in his understanding, is only an envelope readied for constant transformation. From this came Metaphysical Telepathy: during the years he could not leave Poland, he treated that confinement as a rehearsal room, sending his mind out ahead on the same thread his body would later follow. Living Sculpture grew from the same root with performances of stillness beside static art objects, until the boundary between the object and the man beside it simply dissolved. Camera Meditation extended the same instinct into photography: a shutter click flattening three dimensions into two so that a single instant could be held forever. Inspired by the pioneers of self-portrait photography like Robert Cornelius, he used it to document time itself, and kept explaining to me: "You know. This is not about vanity. This is about observing time passing.”

The isolation did not end suddenly. It ended the way his own philosophy had already predicted it would, from the inside first. Mail Art quietly solved the problem politics couldn't. Correspondence built during years of confinement slowly worked its way through doors the state itself had kept locked. Contacts made through folded paper and stamps became invitations. Ultimately, invitations became passports.

In 1983 he made his first trip outside Poland, to Germany, in search of the audio technology he couldn’t get his hands on before. In 1985, he was invited by the Indian embassy in Poland to give a sitar concert on an instrument he had spent a decade patiently stringing together - half sitar, half tanpura, built from patience and determination. After the collapse of the People's Republic of Poland, the travels kept unspooling: South Korea, then Mexico, then Australia, Canada, New Zealand, Singapore, Japan and the United States - each stop leaving behind its own small knot of tape, tied off and carried home.

In the decades since, recognition arrived at the same unhurried pace: he conducted workshops at UC Berkeley, served as vice-president for artistic affairs of the Union of Polish Art Photographers and the Union of Polish Visual Artists between 2010 and 2014 and received the Bronze Medal for Merit to Culture - Gloria Artis. His visual work gradually entered collections including the National Museums of Warsaw, the Stedelijk Museum, Tate Modern, MoMA and the Venice Biennale. His musical practice, by contrast, never found that kind of room - left to circulate quietly, sharing his cassette tapes directly, waiting for someone willing to follow it further.

It took months before I could find a way to reach Andrzej Dudek-Dürer - his presence online is very close to nonexistent. Surprisingly, LinkedIn turned out to be the only door still open, a faintly absurd irony given everything else about him. I packed the strict minimum for a three-day trip and an empty notebook and made my way to Wrocław. His headquarters sits in the neighbourhood of Grabyszyn: a two-storey pre-war house that has belonged to his family for generations. The man who opened the door was long-haired, long-bearded, in his trademark leather shoes and patched jeans. We sat in his living room, in front of a computer where decades of recordings sat organised in cryptically named files, surrounded by books and objects that had arrived one layer at a time, leaving room for only two chairs in the middle. His shoes sat by the door, rebuilt so many times they had become their own quiet sculpture. Cassette tapes filled boxes against the walls, almost unlabelled, each one a spool of thread holding decades of sound that had never once been asked for, until now.

I listened for hours: meditating in front of strangers on the porch of a Seoul temple until the tourists stopped taking photos and simply waited with him; a stand-off with border guards at the US–Mexico crossing over an instrument they couldn't identify and didn't trust; a session with the Stockhausen family that he still, decades later, describes like it happened last week. All of it interrupted, occasionally, by the smell of soup boiling and fresh bread warming on the ceramic stove. After two days, it felt like being handed the end of a very long thread and asked, gently, to keep following it. I left with a USB drive holding his full discography, signed with his unmistakable signature.

Astral Meditations From A Living Statue is a length of that thread, drawn out from the boxes stacked against his walls - recordings gathered from different rooms, different countries, different decades. This first record breathes slowly: incense-thick, meditative, built for stillness. A cutting-edge séance in outer space where machines learn how to dream.

It begins with the neo-classical improvisations of Andrzej, space-delayed, recorded at Klub Muzyki i Literatury in Wrocław in 2002. 'When..So' opens the curtains with a deep-rooted meditation accompanied by slow-decaying piano figures illuminated by a candle-lit spirit gathering.

Los Angeles, 1990: a dormant villa, a grand piano, the voice of Bonnie Barnett. 'Exception' is captured in a single room, in a single afternoon - voice and keys circling each other, neither one leading, until the silence between the notes starts to feel like the instrument.

'The Meta...' and 'Tired Of...', recorded at Studio Morandi in Ponte Nossa, Italy, in 1992, settle into a sitar drone built entirely from patience - overtones stacking and beating against each other, strung by a man who never once set foot in India. 'Mastery Of...' follows, recorded the same year at Studio Suski in Łomianki, pushing that same hum further still, until pitch dissolves into a spectral reverie. 'Transcendental Sound', from 2000, closes the first record in a slow bath of celestial frequency - better heard beside the shores of the Odra river.

More than fifty years after deciding that a life could become an artwork, Andrzej Dudek-Dürer continues to inhabit that decision. His shoes keep wearing thin against the earth's crust. His hair keeps growing, one strand at a time. His cassette tapes keep spooling in the dark of their boxes.

Now the thread finds its last shape: a single unbroken groove, spiralling inward from the outer edge to the label at the centre. Never cut - the way nothing else in his life ever was. Drop the needle and it will find that groove and follow it, the same way a needle once followed leather, once followed a border it couldn't cross, once followed string into an instrument that didn't exist until he built it. This record is the other end of a thread that has been travelling for fifty years. For the length of both sides, it rests here, in your hands. This is a timeless proof that the Lord of the New Age was never lost."

Produced by Andrzej Dudek-Dürer

Mastered by Ruud Lekx

Liner Notes written by Mathias Chaboteaux

Pictures by Andrzej Dudek-Dürer

Artwork by Wojciech Gawronski

Executive Producer: Mathias Chaboteaux

℗© 2026 Huveshta Rituals Records. All rights reserved. HR006

Dutton Ranch is a Paramount+ series set in the world of the Dutton family, expanding the story and legacy of the family-owned ranch first introduced in Yellowstone. The series takes viewers back to Montana, where the Duttons face new challenges as they fight to protect their land and their way of life. The first season introduces a new chapter in the Dutton story, bringing together a new generation of characters and further exploring the world of the Yellowstone universe.

The original score is composed by Brian Tyler and Breton Vivian. Tyler is a well-renowned Hollywood composer, known for blockbuster scores including Iron Man 3, Avengers: Age of Ultron, The Mummy and several films in the Fast & Furious franchise. Together with Vivian, he also created the music for Yellowstone, 1883 and 1923. Vivian has become closely associated with the Yellowstone universe, having co-composed the scores for the series.

The soundtrack of Dutton Ranch is available as a limited edition on brown vinyl and includes an insert with liner notes by the composers.

repress 2026

not many artists are able to develop a distinct sonic identity releasing just 5 solo records. through his selective output in the course of 5 years on nina kraviz's Trip, vladimir dubyshkin gained not only an army of loyal fans analysing his live sets for new music, he also inspired many who followed and continued to develop his unique sound.

his tracks, many of which became underground hits like "lady of the night", "ticket to childhood" or "russian porn magazine", always stand out and are immediately recognisable. be it weird syncopated euro dance reminiscent bangers with crazy vocal snaps or haunting hypnotic beauties on a techno side. his music always has that genius dubyshkin groove, a pinch of irony and the ability to make just anyone dance, from a small underground club to a huge festival dancefloor. this universal appeal ensures his tracks resonate across sound systems of all sizes, embedding themselves in the listener's consciousness long after the music stops.

on "ivanovo night luxe", his first double ep on Trip, vladimir sounds as amazingly unhinged as ever embarking on a surreal journey, from the eerie echoes of a haunted funfair ride to the core of a peak-time set.

"ivanovo night luxe" continues to captivate and intrigue, solidifying dubyshkin's standing as an artist of unwavering integrity and reminding us that sometimes 'less is more'.

Where other bands seem to be hellbent on pushing an energy of exhilaration, London’s premiere grief peddler’s SECRECY seem to be more interested in reminding us all what deep shit we are in. Their debut recorded outing captures the morbid and grandiose power of their successful string of London shows, refining the message to a promising and bewildering first release. Taking compositional cues from THE EXECUTE, SOUTHERN DEATH CULT, and THE CHAMELEONS, the room filling instrumentals carry a bleak and punishing prophecy of moral turmoil and hysteria, opting to drive the notion of post punk off a cliff through force of will alone. The sound is crisp and wide without giving up the austerity necessary to carry the prophetic sense of dire urgency in the vocals, driving and marching drums and bass lines carrying almost danceable guitar parts to climax. Soaring guitars over driving drums push the corpus to blistering movement, restrained by lyrics about fucking and dying, an Eros/Thanatos act delivered with a refreshing lack of irony or sarcasm. Lyrical influences from RIMBAUD and BAUDELAIRE abound, veering from the brink of poetry back down to primitive taunts and cries.

We are so excited to welcome back Tigerskin with a brand-new Album. This 12” is the vinyl version
showcasing six deep, euphoric and banging tracks taken from the full album.

The digital album features twelve brand new tunes by Alex Krüger and delivers his 3rd studio album as Tigerskin.
“Image” not only continues his search for the ultimate dance floor deepness, and contrary to just imitating his own “best selling” club grooves, it rather displays his ongoing artistic progress as a producer and composer of electronic music.

Opposed to his 2013 album “All Those Goodbyes”, which musically rooted in the early 90s and included a ton of collaborations with friends and long time partners, “Image” focuses more on Alex’s general musical roots and shows his compositional preferences. Apart from a few samples, this time around it doesn’t feature any co-productions at all nor did Alex use crazy or special gear to create the tunes. Many sounds are coming from natural and acoustic sources. Expect 80s New Wave references or spooky Wagner-esque bits to pop up next to dusty downbeat interludes. Euphoria next to relaxation. Tigerskin’s journey leads him from ironic comments on the present times via deep, occasionally melancholic or dark and hypnotic material up to the final tune, a homage to the infamous German brothers, Thomas and Klaus.

Tigerskin’s love for experimentation and cross-genre diversity on “Images” is more tangible than ever before.

Dive into this great deep journey, Enjoy!

The wait is over, Return To The 37th Chamber is El Michels Affair's highly anticipated follow up to 2009's underground cult classic Enter the 37th Chamber. Churning out classic records since then for the likes of Lee Fields, The Arcs, The Shacks, and tons more, it is clear that EMA's signature sound is stronger & sharper than ever. This time, in addition to re-interpreting the Wu compositions for a live band, EMA pays homage to the production and sonic fog that makes a RZA beat so recognizable. Producer and bandleader Leon Michels recorded the album completely analog, sometimes hitting 6 generations of tape before it was ready for mixing, giving the Return to The 37th Chamber it's own hazy sound. Adding to the unique fidelity, the record is laced with psychedelic flourishes, John Carpenter' synths, heavy metal guitars, triumpha0nt horns, and traditional Chinese instruments that make up for the lack of the Wu's superlative vocals. From start to finish it's a dark trip that walks the line between RZA's timeless hip-hop aesthetic and the cinematic soul EMA has become known for. El Michels Affair tackles some classics like 4th Chamber and Wu Tang Aint Nuthin to Fuck Wit, as well as some deeper cuts like Ol Dirty Bastard's Snakes, Raekwon's Verbal Intercourse, and Shaolin Brew, Wu-Tang's contribution to the St. Ide's Hip Hop endorsement campaign from 1994. This time El Michels brings some of the Big Crown family along for the ride. Lee Fields handles vocal duties on Snakes and is joined by Shannon Wise of The Shacks for their version of Tearz, which pays as much homage to the Wendy Rene sample as it does to the Wu-Tang Clan. Lady Wray makes an appearance on the cover of Method Man's hit, All I Need, lending her vocal prowess to what gave the Wu one of their biggest hits of all time. Interspersed throughout the record are some original interludes that are like the rug that ties the room together,' giving Return To The 37th Chamber a cinematic narrative that makes it a proper El Michels Affair record and not just a collection of covers. From the music to the presentation, this album is a perfect example of what can only be achieved through diversity. The end result is as much a kaleidoscope of influences and multiculturalism as the city it was recorded in. El Michels Affair is once again, sounding out the city' that raised them, pulling elements of art and culture from across the country and around the globe to create an album truly unique in it's own right.

Sister King Kong - das sechste Studioalbum von Udo Lindenberg und dem Panik-Orchester - wurde am 15. Oktober 1976 veröffentlicht und feiert in diesem Jahr sein 50. Jubiläum. Es erreichte Platz 8 der deutschen Album-Charts und hat Goldstatus mit über 250.000 verkauften Einheiten allein in Deutschland. Das Album gilt als ambitioniertes Konzeptwerk und verarbeitet auf ironische, melancholische und oft selbstironische Weise die Erlebnisse, Absurditäten und den emotionalen Blues eines alternden Rockstars und des Tourlebens.
Udo Lindenberg zeigt sich erneut als Chronist des damaligen Zeitgeists. Musikalisch balanciert Sister King Kong perfekt zwischen druckvollem Hardrock, orchestralem Pomp und zarten, tiefgründigen Balladen. Für die Aufnahmen wurden Udo Lindenberg und das Panik-Orchester (Gottfried Böttger: Piano, Jean-Jacques Kravetz: Keyboards / Synthesizer, Bertram Engel: Schlagzeug, Thomas Kretschmer & Paul Vincent: Gitarren & Steffi Stephan: Bass) u.a. von profilierten Gastmusikern der damaligen deutschen Krautrock-, Jazz- und Pop-Szene unterstützt: Curt Cress: Schlagzeug, Dave King: Bass, Olaf „Kicher“ Kübler: Saxophon, Ulla Meinecke & Jutta Weinhold: Gesang.
Das Album ist ein kühner Spagat zwischen Pomp und Panik, zwischen Tiefgang und purem Klamauk - ein Meilenstein des „Deutschrock". Schon der Opener Die Bühne ist angerichtet bricht mit allen Erwartungen. Was als schwermütige, fast intime Ballade beginnt, explodiert durch das monumentale Arrangement des Panik-Orchesters in ein furioses Pomp-Rock-Spektakel. Songs wie der Titelsong Sister King Kong (eine humorvolle Nummer über eine gigantische Catcherin) oder Satellit City Fighter experimentieren mit Funk-Elementen, während das jazzige Saxophon von Olaf Kübler immer wieder für schummrige Club-Atmosphäre sorgt. Weitere herausragende Titel sind die humorvolle Hymne Rätselhaftes Bielefeld (Udo erschafft ganz nebenbei einen zeitlosen Running-Gag) sowie die gesellschaftskritischen Stücke Emanuel Flippmann und die Randale-Söhne (Udo knöpft sich die bürgerliche Doppelmoral vor) und Rock ’n’ Roll Arena in Jena.
Der emotionale Höhepunkt der Platte ist zweifelsohne Meine erste Liebe. Das über sechs Minuten lange Duett mit einer damals noch am Anfang ihrer Karriere stehenden Ulla Meinecke fängt den bittersüßen Schmerz verflossener Jugendtage so authentisch ein wie kaum ein anderes deutschsprachiges Lied dieser Dekade.
Sister King Kong transportiert perfekt das Lebensgefühl der späten 1970er Jahre in Deutschland. Es ist kein glattgebügeltes Pop-Album, sondern eine raue, ehrliche und mutige Rock-Revue. Die Platte verbindet orchestrale Größe nahtlos mit rotzigem Garagen-Rock. Dank einer bis in die Fingerspitzen motivierten Studiobesetzung und Lindenbergs unfehlbarem Gespür für Melodie und Sprache bleibt das Album ein zeitloser Klassiker.

On the occasion of the 40th anniversary of the release of Remek Depo, the very first electronic record from the former Yugoslavia, the group Beograd has decided to unveil eight previously unreleased tracks in the context originally intended. The band initially planned to title their first album as Mrak ( eng. Dark). Recorded with Du Du A and other collaborators, this album serves as a manifesto of resistance—not only in Belgrade and Yugoslavia but everywhere else.

The A-side opens with the track 1984, named after George Orwell’s seminal novel. This piece was recorded in a single night in the same year, featuring Zoran Zagorcic (Du Du A) and one of the first Yamaha DX7 synthesizers. It encapsulates the dark and tense atmosphere of Belgrade during a period marked by economic crisis, characterized by shortages of essential products like coffee and oil, as well as electricity restrictions. This oppressive environment also impacted personal relationships, leading to unconventional expressions of passion and desire, as exemplified by the subsequent track from 1985, Mracni Predjet Zelja (eng: That Obscure Object of Desire). However, the primary source of frustration was political, stemming from the abuse of nationalism and the incitement of inter-ethnic conflicts within the complex Yugoslav society. This sentiment is vividly illustrated in the songs Hare Krishna and Belgrade Beat, recorded just before the country’s collapse in 1991. Remarkably, despite their protest, these songs convey messages of strong optimism and hope. In “Belgrade Beat Dejan Kostic (Du Du A) raps and Dejan Stanisavljevic sings. ”Od Studija B do Amerike, Beograd širi svoje talase, mi nismo sami u nama je svet, dolazi veliki preokret” (eng. “From Studio B to the USA, Belgrade spreads its waves, we are not alone, the whole world is with us, a great change comes!”). It is no surprise that this song was frequently broadcast on student Radio Index during the student and anti-war protests in 1992.

The B-side features contemporary songs produced by Beograd, which reflect protests against the current societal conditions in post-war Belgrade. Crafted with musical clarity and irony, these tracks satirize figures of repression, hitting their mark with an almost childlike purity, reminiscent of Hans Christian Andersen’s fairy tale, “The Emperor’s New Clothes.” The collaboration between Dejan Stanisavljevic, the leader of the Beograd and the Du Du A group not only influenced his musical expression but also laid the groundwork for the group’s socially engaged music in their later career.

As we remember the two late leaders of the Du Du A group, Dejan Kostic and Zoran Zagorcic, alongside the recently departed member of the Beograd, Milan Bubalo, this gramophone record stands as an important testament to the contributions of previous generations of artists in the fight for a fairer society. We hope it will inspire the younger generation in their current struggles, especially at a time when such inspiration is needed more than ever.

2026 Repress

***
He strode towards a long drink.
Running in the gutter,
scanning patterns.
Skin staring, stirring unbelief.
Scarred metal faces
on the iron streets,
spitting blood.
***

Early support by: Luke Slater, Tommy Four Seven, Dave Clarke, Marcel Dettmann, Chris Liebing, Ben Klock, Oscar Mulero, Speedy J, Len Faki, Shifted, Psyk, Pfirter, Objekt, James Ruskin, Sigha, Myler, Stanislav Tolkachev, Rebekah, Par Grindvik, Max M, Gary Beck, Dave Tarrida, Kike Pravda, Samuli Kemppi, Happa, DVS1, Joseph Capriati, Juho Kusti, Cassegrain, Kwartz, Clouds, Pacou, Octave, Stranger, Ansome, Black Asteroid, Hector Oaks, DJ Hyperactive, Christian Wunsch, Endlec, Kriz, Paula Temple, Exium, AnD, Joe Farr, Martyn Hare, Eomac, Dimi Angelis, Norman Nodge, Xhin, Dax J, Wire, Drvg Cvltvre, Sawf, Jamie Bissmire, Paul Mac, Inigo Kennedy, D. Carbone, J. Tijn, CTRLS, The Noisemaker, Jeroen Search, Dustin Zahn, Svreca, Unbalance, Truncate, Jeff Derringer, Jonas Kopp, Developer, 3.14..

Move in Stereo: The Cars’ Eponymous Debut Album Functions as a Greatest-Hits Set with Classics Such as "You're All I've Got Tonight," "Good Times Roll," and "Just What I Needed"
Experience the Six-Times-Platinum Record in Definitive Sound on
Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP Box Set:
Strictly Limited to 4,000 Numbered Copies,
It Plays with Reference Definition and Presence
1/4” / 15 IPS analogue master to DSD 256 to analogue console to lathe.

Among the most critically and commercially successful debuts in history, the Cars' eponymous album doubles as a greatest-hits collection. Not one song on it is widely unrecognized or unknown. Consider the list: "You're All I've Got Tonight." "Good Times Roll." "Just What I Needed." "Moving in Stereo." "My Best Friend's Girl." "Don't Cha Stop." “Bye Bye Love.” Just call The Cars the best new-wave rock album ever made. And a natural candidate for preservation on a Mobile Fidelity UltraDisc One-Step pressing.

Sourced from the original analog tapes, pressed at Fidelity Record Pressing in California, mastered by engineer Krieg Wunderlich, and strictly limited to 4,000 numbered copies, MoFi’s UD1S 180g 45RPM 2LP box set presents the six-time platinum record in the most vivid, wide-spanning, three-dimensional sound it has enjoyed on vinyl. Compared to the label’s outstanding and out-of-print 180g 33RPM version, this collectible edition features richer textures, broader openness, greater presence, and bigger dynamics.

Benefitting from the extra groove space on 45RPM by playing with enhanced definition, deep-black backgrounds, and ultra-quiet surfaces, this reissue portrays the band’s oscillating rhythms, futuristic keyboard passages, and panned images with stunning realism. Songs take on an absolutely surreal quality. The Cars and producer Roy Thomas Baker manipulate arrangements at will to mesmerize listeners' senses. The concept of "moving in stereo” has likely never been truer.

The industry-leading packaging of the UD1S set gives fans another reason to gravitate towards the 1978 album. A deluxe slipcase, two foil-stamped jackets, faithful-to-the-original graphics, and MoFi inner sleeves make for a premium tactile experience. It invites you to immerse yourself in everything about the record, including the now-familiar cover art depicting Nataliya Medvedeva behind the wheel. Enhanced by her glistening ruby-red lips, her face flashes an expression caught between surprise, ecstasy, and disbelief — an apropos way of responding to The Cars whether you’re hearing it for the first or 1,115th time.

Introduced in 2024 into the National Recording Registry for its significance, and ranked the 353rd Greatest Album of All Time by Rolling Stone, The Cars explodes with emotion, energy, and hooks. Its songs unite then-disparate styles: bubblegum melodies, art-rock angularity, progressive structuralism, terse minimalism, and power-pop sheen. The stylish arrangements also benefit from a laidback cool and understated irony that remain uncommon in the world of contemporary mainstream music.

Equally rare is the deep chemistry the members shared before they entered London’s AIR Studios and knocked out the record in less than a month. Benjamin Orr and Ric Ocasek began their first band together in the early ‘70s. A subsequent group with future Cars keyboardist Greg Hawke preceded Orr and Ocasek bonding further by temporarily performing as a duo. One final pre-Cars ensemble, Cap’n Swing, brought guitarist Elliot Easton into the fold. A decision by Ocasek to take the band in a rock direction, a crucial lineup shuffle, and a name change begat the Cars so many listeners know and love.

Already a going concern in Boston, the quintet cut its teeth and woodshopped songs for nearly a year and a half before signing with Elektra and partnering with Baker. The Cars enjoyed success right out of the gate, hitting No. 18 on the Billboard Top 200 chart and netting a pair of Top 40 singles in the form of “Just What I Needed” and deceptively happy “My Best Friend’s Girl.” The sarcastic “Good Times Roll” climbed to No. 41, but soon enough, almost every track on The Cars became a radio staple — an honor far more meaningful than chart positions.

Obsessed with incorporating the latest technologies and sounds into its palette, the band spiced tunes with delightful and quirky accents — country-tinged guitar fills, echoing Syndrums, reggae splashes, hard-rock tones, robotic pulses. Orr's low, nuanced deliveries and Ocasek's cool, detached vocals lend shades of doubt and double meaning to the lyrics, which are further counterbalanced by synthesizer flourishes and electronic beats.

Accessible and eccentric, edgy and catchy: The results comprise a landmark whose characters come to vivid life with nuclear boots, dry-drip gloves, ribbon-festooned coiffures, suede-blue eyes, and rock ‘n’ roll hair. It's practically impossible to avoid humming along to every song, all enhanced by Baker's stellar production. Best known for his work with Queen, he ensured the record packed a punchy midrange, opened up with instrumental and vocal separation, and breathed with airy harmonies.

Indeed, from the timeless music to the sleek production and sonic restoration, The Cars on UD1S is just what you needed.

A hard to find sci-fi Detroit techno classic - it's featured everywhere from Marcel Dettmann to Zip's SW sets.- gets a timely reissue complete with a new, super solid Delano Smith remix. It's hard not to love the original in all its futuristic glory, led by a sturdy four-to-the-floor pummelling but boasting a throbbing neo-disco bassline - imagine a lost Gorgio Moroder classic being remade by Jeff Mills in PurposeMaker mode. But the Delano Smith remix updates it for modern palates, ironically by delving back even further, to the early 70s model Kraftwerk from whom he borrows some very austere but classy synth sounds and a touch of electro syncopation. Take your pick according to mood, they both do the job admirably.

Key To World Peace is the third release by Prophetic Justice Ministry - aka Australian musician Sam Perry. An atmospheric, cinematic album that belies a striking pop songwriting nous at its core, its conductor Prophetic Justice Ministry is at the centre of a new wave of creative, rule-bending Melbourne artists. Romantic, smudged and hazy, Perry emerges from behind a wall of
half-light with a clutch of earworms and affecting emotions.

Recorded in home studios in Belgrade (Serbia), Christchurch (New Zealand) and Melbourne (Australia) over the course of three years, Key To World Peace offers a dichotomy in approach. Shifting on a dime between ambient, filmic washes of sound and more traditional song structures, the approach feels natural, casually acid-tipped and emotionally revealing. While Perry’s
distinctive keys and production melding with melody is evidenced in Melbourne group Who Cares?, as Prophetic Justice Ministry there’s a heightened sense of mystery and space being used.

Swirling in a psychedelic fog with dry iced chords falling down like melting stars, the album pulses with an ominous, distorted intro that sculpts air into blocks of sound before Psyop offers a glimpse through the gloom at the artist navigating through crushed, shoe-gazing chords, singing a consolation into an abandoned building. Side A’s more abstract tone veers from industrial tracks (T-A) to pastoral, impressionistic pieces (Trance) before album highlight Life’s A Party showcases the effortless, classic songwriting lurking in Prophetic Justice Ministry. Built on the tension between the upbeat lyrics and suppressed, rich delivery, the song lopes on an alluring loop with acoustic guitars and Perry’s voice walking a tightrope between irony and sincerity. The song blooms into a bright burst of light, almost inducing synesthesia in the listener and reminding a little of The Beta Band’s most outre and catchy moments.

Opening Side B, Naked Shine’s scintillating guitar is punctuated by a sub bass swell that offsets the yearning vocal performance. With palpable sensitivity the song is shepherded into short, atmospheric passages before Love Drum’s direct delivery: Perry’s vocal and guitar, dancing over a hint of distortion feels like Syd Barrett at his most casually brilliant. Carrying on the tradition of a single cover on every Prophetic Justice Ministry release, here Lana Del Rey’s Mariner’s Apartment Complex is given a stripped back but faithful treatment. With a sound that feels like a hushed, Chris Isaak classic it’s testament to Perry’s own compositions that the cover doesn’t outshine the rest of the album. Album closer and single Spirit House Party combines a classic chord progression with Perry’s double-tracked vocal into a murky but brilliantly catchy chorus. While nowhere near as lush in its production, there’s something in the atmosphere of Prophetic Justice Ministry’s vocal sitting in the mix just so that reminds us of The Electric Prunes’ Holy Are You-era work with David Axelrod.
Key To World Peace flits between displaying a spectrum of blurred emotional resonance in its instrumental passages and vulnerability in the shape of raw, melodic songwriting. With his first release outside of Australia and vinyl debut, Sam Perry’s Prophetic Justice Ministry is a beguiling dance in and out shadows.

First Word Records proudly present ‘One 4 Detroit’; the third single from Above The Clouds (aka kidkanevil & Magic Manfred), complete with a remix by 14KT.

This 7" vinyl release follows on from last Summer's MF DOOM cover 'Arrow Root', which received strong support from the likes of Japan's DJ Koco and Philadelphia's DJ Jazzy Jeff, and their recent cover of ‘Change’ which was originally by Shadez of Brooklyn, most notably appearing on DJ Premier's 1997 mix album 'New York Reality Check 101.

One of the original First Word roster, UK Producer/DJ and all-round laptop music geek kidkanevil has developed a distinctive and progressive sound over the years, gleefully exploring the beats and bleeps of the electronic music universe to international recognition. Leeds born, sound system bred and raised on a (un)healthy diet of video games and anime, his solo work inhabits the curious space between bass frequencies and otaku culture. But as a devoted teenage backpack rap nerd, somewhere in the back of kid's mind was a lingering desire to reconnect with his first love, hip hop.

Not long after moving to Berlin he joined a studio space in graffiti plastered Kreuzberg, where he met multi instrumentalist wizard Magic Manfred; a disciple of all things boogie, disco, funk and soul. Born and raised in Berlin, and currently a touring musician for many an act, Manfred's musical map joins the dots from piano lessons at four, to starting a band with his teenage friends, leading him to his true calling - the bass - via the club vibrations of his hometown, which introduced him to the world of DJing and production, and a stint studying in the explosive London jazz scene to finalise his Jedi training.

Bonding over their mutual love of '90s hip hop, a friendship and musical kinship developed, coupled with a desire to honour past eras but push things forward, Above The Clouds was born; named after their joint favourite Primo beat, with a touch of irony regarding their basement based studio of a windowless variety.

kidkanevil explains that “after we made a bunch of piano joints it felt like time for a switch up, I had these raw drums looped and Manfred started playing this simple synth line on the Prophet - it kind of happened in an instant. This one was really a case of capture a moment and let it be. It had this cold, industrial bounce to it that really felt ‘Detroit’ somehow, so it became something of a tribute to that sound. Obviously there’s a rich musical history there that’s beyond anything we could encapsulate, but I hope the respect comes across. From Berlin to the D with love!


We felt pretty strongly that if we’re gonna nod to Detroit, we needed a remix from someone who reps there directly. I’ve been a fan of 14KT since the early 2000s beat scene, and as he’d previously released music on First Word, it made perfect sense to approach him. We asked and did he oblige!! I’m very comfortable saying we got schooled! He really blessed us with an amazing remix that brought a life and soul to what was originally a pretty stark beat, we’re super honoured to have this as our first ever remix.


‘U3P1’ (named after a synth preset so we didn’t forget!) is on the flip - this also came about pretty fast. I was thinking Ummah-era Tribe with the drums, and Manfred once again put down this super nice riff and it grew from there. It kinda felt like it needed some trumpet and it's always nice to highlight some of the amazing musicianship lurking beyond the club systems here in Berlin, so we called up Berlin based trumpeter and composer Paolo de Jesus, who blessed us with a beautiful performance and arrangement. And that was that; we hope you enjoy!”

‘One 4 Detroit / U3P1’ is released on limited 7" vinyl & digital platforms, June 12th 2026.


b 02: One For Detroit (14KT Remix) feat. 14KT


b 02: One For Detroit (14KT Remix) feat. 14KT


[b] 02: One For Detroit (14KT Remix) [feat. 14KT]


[b] 02: One For Detroit (14KT Remix) [feat. 14KT]


[b] A2 | One For Detroit (14KT Remix) [feat 14KT]

2026 repress
Special Characters, the acclaimed deep house project hailing from New York, comes to uswith "Subsurface Incantations"-a sonic journey that pays heartfelt tribute to the classicgrooves and textures that defined house music's golden eras. This latest record is astatement piece for the Based Faith imprint, and features a captivating remix from Berlin'sIron Curtis, a favorite among DJs and collectors for his deep, analog-driven interpretations.Blending evocative pads, intricate drum programming, and his signature in transforming abassline, Iron Curtis's take on the B-side seamlessly bridges the timeless with the modern,making this EP an essential addition to any discerning selector's crate.
Committed to the art of vinyl culture, "Subsurface Incantations" will be pressed strictly as avinyl-only release, with no represses planned.

The British duo Andrew Eggleton and Daniel Hird, better known as Definite Grooves, return to Groove Culture with a new vinyl release that is pure energy for the dancefloor. Titled "Alive", this EP perfectly captures the essence of the label: delivering high-quality dance music curated with exceptional detail.

The record opens with the title track "Alive", a vibrant anthem that immediately sets the duo's intentions: solid grooves and infectious atmospheres. It follows with "Everyday (Move My Soul)", a track that, as the name suggests, hits all the right notes thanks to an impeccable rhythmic section and irresistible soul-infused warmth.

Side B keeps the momentum high with "Feel It", a track designed to keep the club moving during peak moments, while the closing is entrusted to "Don’t Do Disco". Despite the ironic title, the track plays with sophisticated house sounds, reaffirming the technical mastery of Eggleton and Hird.

In short, "Alive" is a must-have for vinyl collectors and DJs looking for that distinctive, elegant, and powerful sound that only Definite Grooves can deliver under the Groove Culture umbrella.

A founding member of the legendary Wu-Tang Clan, Ghostface Killah is Hip Hop’s masked poet — known for his cinematic storytelling, gritty slang, and razor-sharp delivery. With classic albums like Supreme Clientele and Fishscale, Ghostface carved his name into rap history as one of the most original and consistent voices in the game. The Wait is Over. Supreme Clientele 2 is FINALLY here. The highly anticipated album is a vivid- late-night noir where every bar brought Ghost’s inner thoughts to life. From Staten Island to sold out stages worldwide.

Esfand ist der letzte Monat des persischen Kalenders, der mit dem Nouruz-Frühlingsfest endet. Seit 2020 ist ESFAND auch eine Band - bestehend aus dem Iraner Rouzbeh Esfand und dem Neuseeländer Patrick Stewart. Ein Duo, das traditionelle iranische Folk-Elemente mit westlichen Beats und Vocal-Features bekannter exil-iranischer Künstler*innen zu etwas völlig Neuem verschmilzt. Ihr Debütalbum "Piltan" ist ein fulminant tanzbares Statement ohne Anflüge von Ethno-Kitsch. Pure Instinktmusik. "Wir haben die Samples ausschließlich aus musikalischen Gesichtspunkten ausgewählt. Das Folk-Element in unserer Musik ist groß, aber es ist nicht unsere Aufgabe, die Reinheit dieser Kultur zu wahren. Wir werfen iranische Traditionen nicht weg, wir behalten einfach die, die am besten passen. Am Ende des Tages sind alles nur Sounds." "Piltan" ist eine akustische Reise quer durch ein riesiges Land voller kultureller Eigenheiten: von den Zar-Ritualen aus dem Persischen Golf im Süden zum Reiter-Volk der Bachtiaren im Südwesten, bis hin zu den Qaschqai im Westen und zu den Kurden im nordwestlichen Iran mit ihren Derwisch-Ritualen. Die ersten beiden Songs haben ihren Ursprung in den repetitiven Rhythmen der Zar-Rituale, bei denen der Dämon Zar Personen in Form eines Windes befällt. Der Begleiter der zu behandelnden Person wiederholt bestimmte Phrasen immer wieder, um den Patienten in Ekstase zu versetzen. Auf die von Handtrommeln befeuerten Techno-Beats in "Bibi Saghi" folgen die düster-hektischen Synthie-Grooves von "O"seda". Ob der dunkle Dub von "Shawl" oder die maschinell stampfenden "Zar Bits" und "Without Foot, Without Head" - alle acht Songs sind raffinierte Produktionen auf höchstem technischem Niveau. Auf zwei Songs ist der Sänger und Perkussionist Habib Meftah vertreten (Rouzbeh: "Ich liebe seinen Instinkt für Songs!"). Auf "Shawl" gastiert Mohsen Namjoo, der sich ähnlich viel mit Folklore befasst hat und hier Texte der bekannten iranischen Dichter Daqiqi und Farrukhi Sistani singt. Aus einer jüngeren Generation stammt die Londoner Sängerin Misagh Moradi. Ihr "Without Foot, Without Head" basiert auf Texten des weltbekannten Dichters Rumi. Sich im Moment verlieren, sich dem Rhythmus hingeben, ganz unabhängig vom eigenen Hintergrund - das geht mit der jahrhundert- und grenzüberschreitenden Musik von ESFAND. Loslassen, abschalten, ohne Kopf und Füße zu kontrollieren. Darum geht es ESFAND. Übersetzt heißt es im Text von "Without Foot Without Head": "Oh du mit der anmutigen Taille, wirbele herum! Tanze weiter!"

With Mr. Coconut, Cosmo Dance delivers a four-track EP that strengthens a distinctive sonic identity, blending retro aesthetics, club culture and cinematic sensibility into a cohesive body of work.

The title track unfolds through refined dynamic control. Warm multilayered percussion, textured guitars and a deep yet restrained bassline create an organic groove that evolves gradually rather than relying on obvious drops. The production favors subtle progression and hypnotic growth, resulting in elegant, mature dance music.

Goodbye expands the project’s narrative dimension. Inspired by the atmosphere of Italian ’70s library music, the track represents the protagonist’s theatrical exit from the club — not a melancholic farewell, but a charismatic closing scene. A playful detail emerges when Dandolo (Cosmo Dance’s alter ego) delivers an ironic “cough solo” precisely as an off-voice introduces Mr. Coconut, adding a self-aware cinematic twist.

Dub nuts explores deeper dub-informed territory. Built through layering and subtraction, the track showcases careful spatial control and restrained low-end management.

The EP closes with the Coccappella Version, a stripped-down reinterpretation of the title track focused solely on percussion and voice, revealing the rhythmic backbone of the project.

Mr. Coconut is a refined balance between club functionality and cinematic storytelling — controlled, elegant and unmistakably personal. It’s not about peak-time fireworks — it’s about atmosphere, detail and identity.

Destination Unknown is an EP by Unpronounceable born from an archive of sounds collected between 2019 and 2024—sonic fragments that took shape without a predetermined direction guided only by an open idea in constant transformation. The original track conceived as a “destination unknown” composition developed its own independent identity. However precisely because of its fluid and cross-genre nature Unpronounceable chose not to place it within a traditional EP context instead opening it up to a multiplicity of perspectives by inviting five artists to reinterpret it freely without genre constraints.

The result is an EP that unfolds like an alternative map of the same sonic territory where each remix explores a distinct direction transforming Destination Unknown into a multifaceted and ever-evolving experience.

In Carl Finlow’s remix Destination Unknown takes on a strong cinematic and narrative dimension. Inspired by the title Finlow imagines a mysterious journey toward a futuristic dystopian city turning the track into a kind of electro soundtrack—dark yet ironic rich in character and capable of evoking vivid images and motion.

MANASYt pushes the track toward more physical and ritualistic territories focusing on the dark pads and the more oneiric vocal elements of the original. The result is a hypnotic pulsating tribal-industrial reinterpretation where rhythm and sonic material become central intensifying the track’s most visceral qualities.

With Gay Horror the focus shifts to an emotional and narrative dimension. The vocals are deliberately made elusive and undefined while the structure develops through a slow controlled crescendo that recalls the atmospheres of ’90s trip-hop. This version also reflects a long-standing human and artistic relationship conceived as a story that travels through time and reaches the present day.

Kevin Follet adopts a more conceptual approach overturning the perspective of the original track. Rather than working with its main elements he brings the underlying structures to the foreground transforming what usually remains hidden into the core of his reinterpretation. His remix is elegant and deep balancing sound exploration with a strong attention to songwriting.

Closing the EP is GP The Synth Roller with a radical and highly experimental reinterpretation. The track behaves like an unstable system: parameters shift without warning surfaces lose coherence sudden accelerations collide with moments of arrest. There is no resolution only a sonic condition in constant tension eventually condensing into a dark compact mass.

Taken as a whole Destination Unknown is far more than a simple remix collection: it is a collective exploration of the potential of a single composition. Unpronounceable’s original track and the reinterpretations by Carl Finlow MANASYt Gay Horror Kevin Follet and GP The Synth Roller move across electro techno industrial and experimental territories offering six different perspectives from the same starting point. An open journey with no fixed destination where every detour becomes an integral part of the path.

Transversales Disques proudly presents PANORAMA Vol. 2, another deep dive into rare French soundtracks, Library music, and instrumental oddities that have largely remained untouched by reissues or compilations.

This curated selection features 11 forgotten gems recorded between 1968 and 1980. It showcases the brilliance of celebrated maestros like Francis Lai, Karl-Heinz Schäfer, Eric Demarsan and Jean-Claude Petit, standing shoulder-to-shoulder with unsung composers such as Oswald d'Andréa, and Jean-Louis Bucchi.

Embark on a cinematic journey brimming with moody string arrangements, funky flanged drums, signature French basslines, and deeply dramatic atmospheres.

Deluxe Tip-On jacket LP with printed innersleeves
Including exclusive and extensive liner notes.
Vinyl Only / No Digital

Straight from the backseat of a tinted SUV and into the headphones of every die-hard fan from the West Side to the coast, LUCKI returns with Dr*gs R Bad—a title that’s half-ironic, half-exhausted, and 100% Tune. This isn't a PSA; it’s a high-speed, low-pass filtered look at a life where the designer denim is heavy and the heart is even heavier. Drowning in those signature ethereal, space-trap melodies that sound like a 4:00 AM fever dream, LUCKI trades his usual nonchalance for a raw, "out of luck" transparency that reminds his cult following why he’s the undisputed king of the heartbreak flex. It’s the soundtrack for the late-night drives and the "everything’s a movie" lifestyle where the credits are starting to blur, proving once again that nobody captures the beautiful, nihilistic chaos of the climb quite like Neptune.

Gap Mangione's monumentally influential Diana In The Autumn Wind. AKA BEWITH200LP. And, without question, Be With's White Whale.

They said it could never be done. And with good reason.

We've spent the past 12 years trying to license this legendary 1968 recording from Gap and, after much work, it's finally here. Remarkably, this is the first ever vinyl reissue of Gap Mangione's Diana In The Autumn Wind, produced with the full and extensive participation of Gap. An exceedingly rare album, it's been coveted by funk, soul, jazz and hip-hop sample fiends for decades.

It's unarguably *the* most sought after album for J Dilla / Madlib sample collectors. It has also been brilliantly sampled by A Tribe Called Quest, Large Professor, Ghostface Killah, Kendrick Lamar and Talib Kweli.

But this record is so much more than a sample-spotters curio. It's solid gold throughout. Bursting with killer funky-jazz grooves and tracks adorned with warm electric piano, the release is notable for featuring some extremely significant players at the very outset of their careers; Tony Levin, at 21, whose superb playing on both acoustic and electric bass was the harmonic mainstay of the trio and Steve Gadd, at 23, one of the greatest drummers of his generation.

With acceptable copies of this holy grail changing hands for $400, to call this reissue "much-needed" underplays just how vital it is. Gap's story is told in his words alongside rare photos across a sumptuously designed 2-page insert and, to augment this deluxe edition further, its all wrapped up in a beautiful, no-expense-spared luxury tip-on sleeve, as per the original hens-teeth release. And, while we're talking packaging, just take a look at that cover - a work of art in and of itself.

The tracks are short but complex, with that extraordinary rhythm section backing the beautiful piano, organ and electric piano work of Gap. It's like the best ever library funk breaks record you never heard - but all your favourite golden age rap producers were all over it, long ago. It's a stunning blend of the vibrant, driving music of the Gap Mangione Trio coupled with the sensitive composition and superb orchestration of Gap's legendary brother, Chuck Mangione, who helmed an amalgam of seemingly disparate elements – rock, big band jazz, solo improvisation and "classical" music - into a spectacularly cohesive whole that has aged wonderfully well. As Gap himself notes in the liners, "with this group I was able to explore and add new and exciting elements from rock, Brazilian and then-current pop music."

Opener "Boy With Toys" triumphantly swaggers out the gate, all big band horns, flutes and dextrous organ work. The synthesis of everything going on is nothing short of stunning. When one wise YouTube commentator called this tune "old school superhero music", Gap agreed. Rap luminaries did, too, amongst them Talib Kweli, who rapped over DJ Scratch's chopped up intro for "Shock Body" on his Quality album back in 2002.

You've barely recovered from that incredibly affecting opener when you get hit over the head with the exquisite title-track. And now you see how two of the greatest beats of all time emerged from one single track produced nearly 50 years earlier. Unforgettably utilised by Dilla for Slum Village's heartbreakingly good "Fall In Love" and then Madlib for his "Official" beat for Dilla to rap over, on the Jaylib record. Regardless of the records it went on to spawn, this is just a staggering tune in its own right. Be beguiled by the flutes and the flutter tonguing, the counter-melody from the trombones, the soprano sax solo. All of it. Simply beautiful.

The questing organ and horn workout "Long Hair Soulful" deserves a lot more attention, overshadowed somewhat by the opening two monsters but no less fantastic. It swings, it grooves and Gadd and Levin truly cook. Up next, Gap's wonderfully percussive, mellifluously piano-heavy cover of "Yesterday" by some fellas called The Beatles. It's a subtly arresting gem. "The XIth Commandment" is damn fine, with thick, gorgeous electric piano and snappy drum work underpinning chaotic soundtracky horns. To close out the side, "St. Thomas" showcases the "fourth" member of the Gap Mangione Trio, conga drummer Dhui Mandingo. Having performed with the Trio since 1965, Dhui‘s African-based and jazz-latin-influenced style amazed listeners and its way to hear why.

Opening the B-Side, standard "You're Nobody Till Somebody Loves You" breezes along in the late-night jazz club fashion before things get super deep with the outstanding and - up to now - un-sampled "Pond With Swans". It's simply heavenly, and how its moody, melancholic intro has yet to be pilfered is anybody's guess. It oscillates between gentle, sombre movements and bombastic grooves, equally hypnotic and joyous. The rendition of "You Are My Sunshine" is yet another showcase for Gap's virtuoso playing and Gadd's mastery of the pocket. Indeed Gadd's drumming on "Free Again" is nothing short of neck-SNAPPING! Ghostface took it for not one but two "Iron's Theme" tracks across his seminal Supreme Clientele. It's got that Galt MacDermot "Coffee Cold" feel. Suuuuuper cool. The frantic "Dream On Little Dreamer" hurtles along and must've surely had the whole room absolutely swinging from the chandeliers back in Rochester in the late 60s. The album closes with the magnificent Graduate Medley, featuring memorable renditions of "Scarborough Fair", "The Sounds of Silence" and "Mrs. Robinson". The warm electric piano lines of the former were sampled by The Ummah (Dilla again!) for Tribe's "Pad & Pen" from their reappraised final album, The Love Movement, as well as by Large Professor on his much-loved "The LP (For My People)".

Under the watchful eye - and extremely attentive ears - of Gap Mangione himself, the audio for Diana In The Autumn Wind has been carefully remastered by Be With regular Simon Francis, with a few much needed tweaks here and there, according to the artist's wishes. At the prestigious Abbey Road Studios, Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland. The artwork restoration has taken place here at Be With HQ and has that drop-dead gorgeous cover artwork popping like new. Buy on sight!

2026 Repress Favorite Recordings proudly presents Voiciii, the 3rd and new album by Voilaaa, an immersive dip into its Afro-Disco universe spread across 14 tracks. Needless to say you’ll find in this new LP all the ingredients that made him famous: strong dancefloor-friendly festive bangers, irresistible funky arrangements and an undeniable sense of humor and irony.

Bruno “Patchworks” Hovart, behind Voilaaa, is as often surrounded by amazing vocal featurings from previous LP’s regulars (Pat Kalla, Lass) but also new voices you may already have heard on its recent EPs (David Walters, Rama Traore, Ayuune Suule), as well as the saxophonist Boris Pokora. The LP is also an occasion to pay tributes to major artists of the African sound, such as Fela Kuti (on “Water No Get Enemy”), or Manu Dibango (“Manu Écoute Ça” and “Tenor Jam For Manu”).

Since the release of Voilaaa’s previous LP’s Des Promesses and On Te L’Avait Dit and their massive international support, the Voilaaa Soundsystem did travel through the world to deliver its message of infectious joy and groove, from Equator to Thailand, from Kazakhstan to the infamous French “Fête de l’Huma”. Now you know: Voilaaa is everywhere and Voiciii (“here it is”) their new album.

2025 Reissue.



Münchenbuchsee, a suburb of Bern, Switzerland. Stephan Eicher is the youngest of three children. His father, a radio and TV repairman, is also a jazz violinist and a sound tinkerer in his spare time. In the family home's converted fallout shelter turned studio, Mr. Eicher experiments with homemade sequencers, tortures handcrafted drum machines, and abuses reel-to-reel tape recorders—all under the fascinated gaze of young Stephan.

The boy quickly develops a musical curiosity, exploring sound through various experiments and wanderings. Alongside his younger brother Martin, Stephan crafts audio plays on a homemade multi-track recorder (essentially several cassette decks hooked together!), which they write, record, add sound effects to, and perform for family and friends. Just a couple of nice kids, really...

Then comes 1972, and Lou Reed's Transformer album changes everything for the Eicher kids. For 13-year-old Stephan, it's a revelation—especially "Vicious", the opening track, which he plays on repeat for months. He convinces his father to buy him an electric guitar. Not stopping there, his father also builds him a tube amp using an old radio.

Then comes adolescence. A rough one. Stephan leaves home at 16 and moves to Zurich. With obvious artistic talent, he persuades his art teacher to help him get into F+F, a radical, alternative art school—despite his young age. Accepted, he starts learning video techniques, determined to become a filmmaker.

At F+F, Stephan organizes Dada-style happenings and concerts with a group of friends known as the Noise Boys. Among them: one of his teachers on bass, Veit Stauffer on drums (who would later found ReR/Recommended Records), his girlfriend Sacha on vocals, and Stephan on guitar. In one of their early performances, they release a remote-controlled mouse covered in dull razor blades into the audience to create panic and chaos. Keeping with this aggressive, confrontational spirit, they once played a concert while wearing headphones blasting Tristan and Isolde, trying to perform their own songs simultaneously—to maximize the cacophony. The goal was always the same: clear the room.

Their “songs,” if you can call them that, followed suit. Take "Hungeriges Afrika", for instance—performed entirely with power drills and some drum feedback.

To make ends meet, Stephan returns to Bern on weekends to work as a waiter at the Spex Club, the city’s main punk venue. On September 16, 1980, during a show by proto-electro group Starter, the police raid the club and arrest everyone. Stephan, who manages to avoid arrest, seizes the opportunity to “borrow” Starter’s gear left behind. He suddenly finds himself in possession of a Roland Promars synth, a Korg MS20, and a gorgeous CR78 drum machine, which he runs through a Big Muff distortion pedal to get that perfect gritty sound.

He then sets out to reinterpret some Noise Boys tracks, reworking them during impromptu sessions recorded on a dictaphone (yes, a dictaphone—now the lo-fi sound makes more sense, doesn’t it?). He ironically titles the resulting cassette "Stephan Eicher spielt Noise Boys" ("Stephan Eicher plays Noise Boys"). This gem features seven tracks, which are the ones reissued here.

Back in Zurich, he visits his friends Andrew Moore and Robert Vogel, who have a DIY cassette duplication setup. They make 25 copies of Stephan Eicher spielt Noise Boys for Stephan and his friends. Robert encourages him to visit Urs Steiger of Off Course Records and play him the tape.

Without much hope, Stephan shows up at Urs’s office. But Urs is instantly hooked and suggests releasing a 7” single. Due to space constraints, they reluctantly drop two of the seven tracks ("Hungeriges Afrika" and "One Second"). As for the musical score featured on the cover—it was randomly chosen and remains a mystery to this day. Calling all music theory nerds!

The 7-inch is pressed in 750 copies and released in the first week of December 1980—a date Stephan remembers well, as it’s the same week John Lennon was killed. Smartly, Urs sends a promo copy to François Murner, Switzerland’s answer to John Peel, who hosts a show on alternative station Sounds. Murner falls in love with the record and starts giving it airtime. To Stephan’s surprise, sales follow—and people actually seem interested in his music.

Even this modest underground success scares Stephan a bit. He stops making music for a year and moves to Bologna, where he works as a programmer at Radio Città, a feminist radio station.

Meanwhile, Stephan’s younger brother Martin, who’s also involved in the punk scene, joins the band Glueams as a singer and guitarist. Glueams, named after the fanzine run by two of its members (drummer Marco Repetto and bassist GT), eventually rebrands as Grauzone. Stephan is invited to their shows to project hacked Super 8 visuals live on stage.

Urs Steiger, now working on a compilation titled Swiss Wave – The Album, asks Grauzone to contribute alongside bands like Liliput, Jack and the Rippers, The Sick, and Ladyshave (Fall 1980).

For the album, Martin tasks Stephan with producing their recording sessions. Under Stephan's artistic direction, two tracks emerge: "Raum" and "Eisbär". During "Eisbär", Martin plays a minimalist bass line borrowed from post-punk band The Feelies (just an open string). Drummer Marco Repetto struggles to keep time. Later that evening, unhappy with the takes, Stephan builds a four-bar drum loop from a ¼-inch tape and uses it instead of the flawed original. He then adds bleepy synths and wind sounds to complete the track’s icy vibe before handing it over to Urs.

The Swiss Wave – The Album compilation is released quietly at first, but things snowball thanks to "Eisbär", which eventually becomes a smash hit—selling over 600,000 singles.

Meanwhile, Stephan plays in a rockabilly band called SMUV (named after Switzerland’s social security agency) and begins producing artists, including the debut album of Starter (1981), which includes a more pop-oriented version of "Minijupe".

By early 1982, Stephan starts spending time with the post-punk girl band Liliput (formerly Kleenex). They’re older than him, and he happily drives them around in his Renault Major, acting as their roadie.

By 1983, Grauzone—signed to the major label EMI, which turned out to be a misstep—is falling apart. Stephan begins to pivot toward a more mainstream pop sound with his debut solo album Les Chansons Bleues.

But that... is already another story.

We are excited to continue our work with Art P / Art Programming by finally offering the first full-length work from this Bremen-based electronic group. Originally released only on cassette in 1983, the self-titled album has now been fully restored and remastered, complete with bonus tracks and unreleased mixes unearthed from a rare demo.

The LP opens with "Wesen vom anderen Stern" ("Beings from Another Planet"), a downtempo, 808-driven electro synth wave track with German lyrics telling a story of aliens capturing earth, becoming the new "Herren" (lords), while humans are reduced to mere "objects." Art Programming founding member Jens-Markus Wegener notes that this track has always been a favorite during live performances, and it's easy to imagine how the futuristic sounds would have blown people away at the time.

Next is the electro/proto-techno title track "Art Programming," which we previously issued on a limited 12" in its full-length form. With its straightforward Roland 808 rhythms, catchy synth lines, and vocoder vocals, it's a classic example of German electro, and one of the earliest proto-techno tracks - long before Cybotron claimed the techno mantle. Its extensive break and electronic twist make it an early precursor to the genre. Wegener recalls that this track was created exclusively by him and Grotelüschen, with Grotelüschen contributing most of the melodic elements, while Wegener focused on drum machine programming and vocoder vocals.

On "That's Me," the album welcomes back singer Claudia Roebke. Although it's an electronic composition, Roebke adds a rock-infused, almost psychedelic vibe to the song. The lyrics, written by Wegener, depict a person obsessed with their appearance, using irony to critique societal beauty norms, questioning the obsession with perfection and attraction.

The album continues with a series of uptempo electro tracks: "Videoscreen," "La Gare," and "Genscher Pull 'N' Push." The first two feature slightly different mixes from an earlier demo that we personally prefered over the versions that were available on the final cassette release. "Videoscreen" expands on the theme of social isolation, with lyrics reflecting on a world obsessed with watching video all day - a topic that resonates strongly with today's culture of doom scrolling and social media addiction.

Next up, "Genscher Pull 'N' Push" is an incredible electro/wave/proto-techno track recorded in October 1982 with a political edge. Originally omitted from the album, it was only available on the demo cassette we mentioned earlier. The song takes aim at German politics, with lyrics that shout "bitte geh nach links / bitte geh nach rechts" ("please go to the left" and "please go to the right"), referencing the shifting political allegiances during the 1982 coalition change, when Genscher's party, the FDP, left the Helmut Schmidt cabinet to join the CDU/CSU opposition. The track was never released as the political topic had become outdated just a few months later.

The album closes with "Light and Fire," which originally served as the album's opening track. Its quirky, upbeat vibe now makes for a fitting outro.

The gear used on this album reads like a dream list for early 80s electronic music production: Roland Jupiter 4, TR 808, TB 303, System 100, SVC 350, Korg Mono/Poly, Moog Prodigy, FRICKE-Sequenzer, Roland CSQ-100 Sequenzer, Coron DS-8, MM 12/2, Sony TC 399, TEAC-244 Portastudio, Ibanez DM 1000, EH-Electric Mistress, EV-Micro. This unique lineup of equipment sets the album apart from NDW releases of the era, lending it a distinct sound with heavy proto-techno leanings and that straightforward electro vibe we all love.

The album is being released as a very limited edition of 300 copies on transparent red vinyl, complete with a full picture sleeve and lyrics inlay. This is yet another rediscovered and restored 80s gem on our label that you definitely don't want to miss!

AE Productions in association with Sure Shot Recordings and In Effect Recordings are pleased to announce a 10 Year Anniversary Edition of the critically acclaimed Phill Most Chill and Paul Nice album as the Fabreeze Brothers.

The hugely successful first edition which was pressed on colour vinyl and supplied in double fold out sleeve sold out in only 2 weeks from release date and then the 2nd pressing black vinyl edition sold out a little while later but has for years been out of print but is increasingly requested by shops, via email, social media, AE Productions website back in stock requests, etc…

As it has been 10 years since original release back in 2015 at the time of proceeding with manufacturing, it was the perfect opportunity to do a 3rd pressing to mark the anniversary but we had to pull out all the stops for a 3rd run of this incredible album and also make it subtly different again in packaging design from the 1st and 2nd pressings so that each has it’s own particular feel and quality.

With help from the original designer and all-round vinyl artwork supremo Mr Krum we have found some nice adjustments for the gatefold sleeve where the detail from the insert sheet found in the original issues is incorporated into the inside panels of the sleeve. We have also tweaked the hype sticker to mark the 10th Anniversary Edition and updated the vinyl labels so as to work better with the new Splatter vinyl which follows the original red and yellow vinyl but each splattered with the opposite colour.

For something a little extra we have compiled a Limited Expanded Edition Double Cassette Box Set that includes the original album and also a ‘Bonus Tape’ which features all of the remixes, alternate versions, Original Versions of album cuts and bonus tracks found on B-sides of the array of singles and we included for good measure 2 tracks that only appeared on the promotional only LP sampler that ended up being different on the final release. This is limited to cassette just for the non-vinyl heads as all of these tracks already appear on vinyl. The outer box is A5 card in black with gold foil Fabreeze Brothers logo and comes with discography booklet.

‘The Bonus Tape’ from the box set is also available as a standalone cassette release with alternate j-card art work so that it has it’s own flavour and so that anyone that purchased one of the original run of cassettes that sold out before we could even ship any copies, did not need to purchase the main album again unnecessarily and to make it noticeable from the Expanded Edition Box Set version.

This version also has an alternate shell design in keeping with the clear shell with dark liner that was commonplace back in the 90’s and the cassette geeks may note the red text on the spine as was also a common design back then – giving this a pseudonym of ‘the 90’s tape’ during the design process.

We couldn’t stop there so we also have an extremely low quantity Limited Edition Mini Disc version which is the main album plus 8 of the bonus tracks from The Bonus Tape – only missing the 2 least significant alternate versions but clocking in at just a few seconds under 80 minutes – the absolute maximum for the format! Mini Disc???!!! You’re probably asking – yes!

While looking into the cassette duplication options we realised that the duplicator also offers Mini Disc production so we thought that it may be worth doing a very small run just because not only are professionally manufactured Mini Disc’s rare in Hip Hop, they are rare within the entire music industry as they never really took off as a medium to purchase music but ended up as the choice for home recorded Walkman and car use. Indeed, AE boss Mr Fantastic still has his main machine, portable and old discs. Amazingly also, the sleeve artwork transferred brilliantly to the Mini Disc template. They are manufactured using high quality Sony discs using ATRAC 4.5 codec.

All releases are supplied with unique free download codes on cards that are included inside the packaging but also with the Expanded Edition cassette and Mini Disc having 2 cards – 1 for the main album and a 2nd card for ‘The Bonus Tape’. The free downloads are supplied direct from Phill Most Chill’s Bandcamp page keeping it independent.

Incl. Remixes by Red Axes, Roman Flügel & Abe Duque

What does it mean to exist in sound?

It does not begin with a beat, but with a choice. With the moment when someone decides not merely to inhabit the space, but to shape it – and in doing so, makes themselves visible.

Roman Flügel stands as a constant in the background. Not as an authority, but as a collective consciousness. Since the 1990s, he has moved through club music like a seeker, never content with the first answer. House, techno, experimentation – these are not genres, but states of being. His remix thinks, hesitates, opens, strikes like a surging acid wave, warping reality and demanding true presence.

New York taught him that club music is never neutral. It is body, friction, attitude. Abe Duque’s remix carries a strangely enchanting relentlessness, a resistance to smoothness – as if the dancefloor were a place where freedom is not claimed, but fought for.

Red Axes do not enter this space; they conjure it. Their sound is raw, repetitive, circular, as if deliberately refusing linearity. House, dub, and acid elements become material for a movement that is more trance than structure. Their remix does not ask where it is going; it asks why one should ever stand still.

And then there is Tim Paris. Not at the center, but as a narrator. As someone who knows that the voice is an attitude. “That Boy” is not a pose, but a mirror, ironic, direct, vulnerable. Paris moves between new wave house and club, always aware that identity is never fixed, but formed in the moment.

This remix record is not a gathering of names. It is a situation, four perspectives on the same question:

What does it mean to exist in sound?

Yet sound alone does not tell the full story: like music, the visual is a space to be shaped, felt, and deciphered. The cover of Tim Paris feat. Foremost Poets – That Boy, created by Konstantin Fürchtegott Kipfmüller, a visual artist at the Hochschule für Gestaltung in Offenbach under Heiner Blum, embodies this principle. Drawing inspiration from the urban environment, Kipfmüller transforms traces of decay, weather, and time into abstract narratives that, like the music of Tim Paris, Roman Flügel, Abe Duque and Red Axes, unfold meaning layer by layer. The result is no mere adornment, but a mirror of the sonic landscape: every line, every surface an echo of the question of what it means to exist – fully, in the moment, in sound.

INDUSTRIAS MEKANIKAS is back with the third instalment of the ANTIKHRIST VISIONS saga. This release is particularly symbolic: it’s the ninth in the catalogue, marked by the infernal numerology that runs right through the whole series. It’s a descent into a sonic underworld, where noise becomes ritual and pleasure is just pure agony.

The artist tasked with opening this new chapter of the saga is the mighty Óscar Mulero, an essential figure on the national electronic scene and one of our biggest international ambassadors, whose career has left a deep mark on contemporary music. Here, with Faceless, he delves into dark, precise, and devastating electro territory; a spiritual machine that dictates the pulse of chaos.

Next up, we’ve got Pressurized Modulator with Reddrum: hard, crunchy, industrial electro, absolutely buzzing with electrical tension and twisted sonic matter.
Closing out the A-side is Jacko Volvone (aka Hoax Believers) with Quieren Cerrar Las Fábricas: a track that expertly blends electro, techno, and post-punk echoes, resulting in a tense, distorted, and combative sound, like a working-class echo shouting from the abyss.

Flipping over, the B-side opens with Hanging Nuts (made up of Waje Martín, Fake Robotik, and Ruben Montesco). They unleash a murky descent of filthy, distorted, primal electro, slashed through with guitars and raw, guttural vocals: a genuine chant from beyond the grave. The second cut marks the debut of Techselektah & Phil Fork with Champagne No Potable: a raging street anthem packed with fury, energy, and social criticism, where Spanish vocals emerge amidst EBM structures that have that ‘80s spirit, reinterpreted with today’s raw edge. And the big finish is down to HBK1 alongside Rigor Mortis, with Instinto Caníbal: a full-on explosion of electro-industrial and EBM that awakens the body’s most primitive urges.

Antikhrist Visions Vol. III is a sonic summoning from the lands of Hades: ritualistic matter, organic sound, and primal force. A testament to pleasure and torment—Tormento do Gostar—etched into the vinyl as if it were molten iron.

Memento Mori.

At the core of the creative process behind “HPC” and “Bor3d” lies meta-irony, a quality that permeates much of today’s digital content landscape.

Both tracks are a deliberate attempt to push the sound toward a barely perceptible absurdity and ironic unseriousness in their interpretation of well-familiar styles of dance club music. It is a play with form, expectation, and recognizability — balancing sincerity with sarcastic exaggeration.

Okay
Okay is built around interruption. Voices, fragments of dialogue, yawns, irritation — people seem to step inside the track uninvited. Someone is bored, someone is annoyed, someone tries to stop the flow entirely. Just like in real life, the process is constantly disrupted. The track reflects the experience of being surrounded by opinions, noise, and skepticism — especially the kind that will never be convinced, no matter what you do. “Okay” becomes a quiet, ironic response to this pressure: not agreement, not approval, but endurance. The track continues anyway.

Tripatura
Tripatura is a fictional creature — a warped echo of cryptid mythology. In this narrative, Tripatura doesn’t simply exist, it hunts. Once it finds you, it drags you into an endless trip with no exit point. Time stretches, perception blurs, and the track itself becomes the trap. Its prolonged, unresolved ending mirrors the experience of being stuck inside a loop that refuses closure. Tripatura doesn’t rush. It lingers, slowly pulling you deeper, until the trip no longer feels temporary.

Born Bad Records knew exactly what it was doing when it signed this Nantes-based trio, whose sharply defined sound and raw authenticity stand out. With Rage Blossom, Île de Garde unveils an EP charged with palpable tension, somewhere between dark pop and psycho-wave. A catalogue of modern misdeeds, a David Lynch-like backdrop where Sylvia Plath’s poetry might cross paths with the controlled excesses of Fever Ray.



The EP opens with “Fear The Sun,” its Mike Oldfield-esque soundscapes plunging us into an apocalyptic and unsettling world. “Homicide Volontaire” follows with meticulous narration, a technical exercise evoking the anger and defiant lucidity of a Virginie Despentes. The hallucinatory hit “To Death” snaps like an anthem to collective dancing in the face of the inevitable. Since we’re going to die, let’s dance! On the B-side, “Ageless Woman” weaves together a half-mythological, half-mysterious text, carried by haunting backing vocals. “Birthday Girl,” featuring Kuntessa, radiates an ironic and joyful riot-grrrl energy, an uninhibited celebration of women’s liberation. Finally, “Boy,” a small post-punk jewel, closes the EP with an ending as surprising as it is delicate.

The group’s genius also lies in the complementarity of its musicians. Morgane Poulain anchors the drums with a dynamic that is both subtle and narrative, airy yet jagged. Cécile Aurégan, the architect behind a multitude of synths, builds powerful sonic landscapes, layer upon layer. Klara Coudrais, the band’s poetic figurehead, elevates her texts with a rich and plural vocal palette, giving life to several characters who vibrate with intensity. The band’s writing, hovering between darkness and light, echoes a kind of visceral poetry, exploring the seasons of the soul with authenticity and force.



With this EP, Île de Garde establishes itself as a band to watch closely, capable of translating on stage both the raw energy and the fine craftsmanship that define their music. An immersive journey, full of tension, urgency, beauty, and electric flashes.



Île de Garde, a Nantes-based trio with sharply drawn sonic contours and raw authenticity, unleashes its full arsenal on Rage Blossom, an EP radiating palpable tension between dark pop and psycho-wave. A catalogue of modern misdeeds, a David Lynch-like setting where Sylvia Plath’s poetry would meet the controlled excesses of Fever Ray. An immersive journey of tension, urgency, beauty, and electric sparks.

Opening track “Fear The Sun” plunges us into an apocalyptic and unsettling landscape. “Homicide Volontaire” continues with meticulous storytelling, a crime vignette evoking anger and the fierce lucidity summoned by a situation with no way out. The hallucinatory trance of “To Death” snaps like an anthem to collective dance in the face of the inevitable. Since we are going to die, let’s dance! “Ageless Woman” blends a half-mythological, half-mysterious text, carried by hypnotic backing vocals. “Birthday Girl,” featuring Kuntessa, releases an ironic and joyful riot-grrrl spirit, an uninhibited celebration of feminine liberation. Finally, “Boy,” a small post-punk case study, closes the EP with a simple, sensitive truth.



The three musicians propel and relay one another in this breathless race. Morgane Poulain drives the drums with a dynamic that is both subtle and narrative, airy yet staccato. Cécile Aurégan, architect of multiple synths, builds powerful sonic landscapes, layer after layer. Klara Coudrais, the storyteller, elevates her texts with a rich and multifaceted vocal palette, giving life to all their characters, both mythical and ordinary. The band’s writing, between darkness and light, proclaims a visceral poetry, exploring the seasons of the soul with authenticity and strength.

There is a breaking point where the mind yields and the body takes command. This is precisely the territory of Frenetic Habits EP.

Asymetric80 lands at INDUSTRIAS MEKANIKAS with an unapologetic statement: a direct immersion into the aesthetics of collapse and extreme habits. The work places you in the center of a post-apocalyptic scenario, where survival no longer relies on calm, but on your ability to endure mechanical tension.

The sound is built upon solidity and saturation. You won’t find fragility here, but rather an architecture of EBM, New Beat, and Industrial Techno designed to dominate any sound system that dares to play it.

Side A establishes the hierarchy with Frenetic Habits. Far from linear, the track unfolds a broken, demolishing rhythm, generating a devastating sonic pressure that completely envelops you. It is a piece of constant drive, an armored machine advancing over the very ground you stand on. It is followed by Exile and Unmasked, which shifts the strategy towards depth: a hypnotic immersion where industrial textures densify, creating a dark atmosphere that traps you with no escape.

On Side B, Bleak materializes the heaviness of the environment. A slow-burning, corrosive track with deep bass, which you can feel advancing with the force of concrete. To close, Dementia releases the accumulated tension with overflowing kinetic energy; a final outburst of controlled aggression that closes the cycle with maximum intensity.

Frenetic Habits EP is a record of ironclad textures and terminal atmosphere. A work that documents not defeat, but the brute force needed to remain standing when everything around has come crashing down.

Club Splendore was born in 2022 in Modena, Italy, as an itinerant party and club format.

In just a few years, it has established itself as one of the most recognizable disco-oriented projects within the new Italian nightlife scene, exporting its sonic and visual identity to iconic clubs and international settings.

With over 20 dates in a single year, recurring sold-outs and a diverse crowd, Club Splendore has evolved into an experience that goes beyond the dancefloor: an inclusive, label-free space where music, style and attitude coexist under red lights and immersive atmospheres. The format has appeared in some of the most relevant venues across Europe, including Villa Delle Rose (Riccione), Palazzina Grassi (Venice), Matis Club (Bologna), Hierbas Club (Cortina), while also expanding internationally with dates at Do Not Disturb – W Hotel Amsterdam, COYA Mykonos, and House Party London, confirming the project’s ability to connect with an international audience. From the club to the record.

Club Splendore Vol.1 is the project’s first official vinyl release and marks a natural step forward: capturing on physical format the sound that has been defining its dancefloors over the past years. The record explores a contemporary take on Italo Disco, infused with classic disco, funk and modern house elements, delivered with an ironic, sensual and direct approach. A sound that reinterprets the aesthetics of the ’80s without nostalgia, translating them into a current, club-focused language. Behind the production and on the decks: Sparkling Attitude, Nicola Zucchi and Matteo Mussoni, resident DJs of the format and the core musical force behind Club Splendore.

Side A features “Drink Campari”, an italo disco track built around warm, enveloping textures, elastic basslines, bright synths and a late-night groove. A story of summer desire and endless nights, playing with the iconography of Italian Red Passion in a light, effortless way.

Side B hosts “Madame”, a bonus track and electronic ballad with a more intimate, suspended mood. A track designed for the final hours of the night, when the club slows down and the dancefloor gives way to something more personal.

Club Splendore Vol.1 is not a compilation, but a statement of intent. A first chapter that brings the club experience beyond the club itself, staying true to the promise that has defined the project from the very beginning: “We will bring the light into the darkness of the night.

Celebrate the epic conclusion of Netflix’s Stranger Things with the official Season 5 soundtrack, a nostalgic journey back to 1987. Featuring iconic tracks that underscore the final battle in Hawkins.

Between 2023 and 2025, L.F.T. split his time between Hamburg and Berlin, slowly piecing together what would become his most ambitious work to date. The result is Hell Was Boring - a double album that plays like a fever dream, unfolding as a dark, mythical tale about life, death, and the strange spaces in between.


L.F.T. - the alias of German producer and multi-instrumentalist Johannes Haas - has always thrived on tension: between punk urgency and electronic precision, between raw emotion and mechanical repetition. On Hell Was Boring, those tensions are amplified. Drawing on the spectral drama of Bauhaus, the melancholic minimalism of Linear Movement, the futuristic romanticism of Gary Numan, and even the sly swagger of Falco, the album feels at once deeply personal and part of a much older musical lineage.


The sound is stripped down to its bones: drums snap and rattle from a Roland TR-808, TR-707 and Korg KR-55; basslines growl from a Roland SH-101 and Korg MS-20; shards of guitar cut through clouds of tape hiss. Everything was tracked to a Teac Tascam 80-8 reel-to-reel, giving each track a lived-in, imperfect warmth. Nothing is overpolished - L.F.T. wanted the listener to hear the edges, the grit, the moments when the music almost comes apart.


Along the way, he invited friends and long-time collaborators into the fold - Das Kinn, Rosaceae, Felix Kubin, Children Of Leir, and Konstantin Unwohl - each leaving their own fingerprints on the record’s world of shadows and static.


Hell Was Boring isn’t a mere collection of songs; it’s a narrative that drags you into its orbit and doesn’t quite let go. It’s music for the late hours when reality feels porous, and for those moments when you’re not sure if you’re waking up or still dreaming.