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Home Stories is Hainbach’s fourth release on Seil Records. It displays an uncompromising approach to sonic world building and explorative ambient music.

The majority of Home Stories was recorded in the Black Forest, the artist’s old home, but the album is far from a reflection on the past. It is about the changes this area has seen and more importantly, about transformation in general. As humans have always been changing the landscapes - for better or worse - Hainbach takes a tentative listen to what can be found in taking the well-known and changing it to the uncanny.

Thus the piano, that often serves as a compositional root sound and familiar element changes over the course of the tracks, is abstracted, re-synthesized, shaped into abstract forms and relocated to physically impossible places. The premise of this album is that transformation is possible. It frees the known to dare into the unknown.

Based out of Berlin, Germany, electro-acoustic music composer and performer Hainbach creates shifting audio landscapes, using esoteric synthesizers, nuclear test equipment, magnetic tape and a collection of idiophones. Hainbach has become known for his immersive live shows and an unique sound that is both abstract yet very much a corporal experience. Otherworldly and intimate, raw and heartfelt. On his wildly popular YouTube channel, Hainbach shares his love for experimental music techniques and his passion for forgotten machines with a wide audience. Inspiring over one hundred thousand each week to explore synthesis, electronics - and to leave beaten paths.

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Home Stories is Hainbach’s fourth release on Seil Records. It displays an uncompromising approach to sonic world building and explorative ambient music.

The majority of Home Stories was recorded in the Black Forest, the artist’s old home, but the album is far from a reflection on the past. It is about the changes this area has seen and more importantly, about transformation in general. As humans have always been changing the landscapes - for better or worse - Hainbach takes a tentative listen to what can be found in taking the well-known and changing it to the uncanny.

Thus the piano, that often serves as a compositional root sound and familiar element changes over the course of the tracks, is abstracted, re-synthesized, shaped into abstract forms and relocated to physically impossible places. The premise of this album is that transformation is possible. It frees the known to dare into the unknown.

Based out of Berlin, Germany, electro-acoustic music composer and performer Hainbach creates shifting audio landscapes, using esoteric synthesizers, nuclear test equipment, magnetic tape and a collection of idiophones. Hainbach has become known for his immersive live shows and an unique sound that is both abstract yet very much a corporal experience. Otherworldly and intimate, raw and heartfelt. On his wildly popular YouTube channel, Hainbach shares his love for experimental music techniques and his passion for forgotten machines with a wide audience. Inspiring over one hundred thousand each week to explore synthesis, electronics - and to leave beaten paths.

Travelling Without Moving; long considered one of Jamiroquai’s most
popular albums and the best-selling funk album of all time celebrates it’s 25th year in 2021 with this special heavy weight coloured vinyl release.

Originally released in September 1996, the album features seminal hits ‘Virtual Insanity’ & Cosmic Girl’ which helped catapult it to #2 in the UK charts and Jamiroquai into the limelight globally.
This edition includes an updated sleeve for 2021, new liner notes by
Jamiroquai frontman JayKay and the Dimitri From Paris Remix Radio Edit of Cosmic Girl, previously only available physically in limited numbers on Dimitri From Paris’ own label.

Having produced the Emskee – Wall To Wall 12” released early 2021, AE boss Mr Fantastic is back with another slab of essential Hip Hop made without pretence or adhering to modern trends – in others words, how it used to be. Featuring Teekay of Dragon Fli Empire, hailing from Calgary, Canada, ‘Breakdown’ is a stand-alone single with no plans as being part of any album release right now and comes with the Instrumental version on the flip. Pressed on black vinyl and supplied in full colour card sleeve, as is the standard high-quality packaging from AE Productions.

Although only being acquainted via the internet, Mr Fantastic and Teekay have mutual admiration for each other’s work which lead to this collaboration. This funky 45 features crisp drums and disco funk samples that have been chopped into that good old Hip Hop. The beat has a reasonably sparse stabbing feel with subtle wah-wah guitar between the stabs which bounces along not just at a perfect tempo for DJ’s but also sonically perfect for a big sound system, hence this track being picked for a single release and packs that punch that sounds best played loud. No moody introspective thing here, this is crowd rocking Hip Hop.

Teekay’s rhymes flow over the beat like it is 2nd nature to him because, well, it is 2nd nature to him, and is further evidence of why his group Dragon Fli Empire alongside DJ Cosm, have been able to maintain a steady string of superb releases going all the way back to 2002 and have toured Canada, USA and Europe. The chorus features Mr Fantastic’s turntable skills backing up Teekay’s vocal giving a nicely conceived and executed song structure with a little help from 2 of Soul and Funk’s legends.

The artwork for this one was hand painted by Bristol graffiti heavyweight Turroe who favoured a nod to comic book covers for the theme which was then scanned and arranged into the sleeve format with courtesy of AE artwork regular Nick Pointon of Fine Print.

Brion Starr lives and works in New York City, joined by a group of foreign and domestic collaborators. Their latest album 'A Night To Remember' is a meditation on night itself, a spinning sci-fantasy through this future darkness we all contemplate, a journey to the end of the night told as a story of one evening in an internationalist future city with no up and no down, no beginning and no end. Passing through the seedy clubs, with all their trappings, when the night is just turning into morning. Have you lost your mind? Blackout and wake on a train. Is this a dream? We are nocturnal. There’s fire in the streets. The first tier looks down on you. So find the ones you love and hold them tight.
Recorded at the Chateau d’Herouville and produced by Tony Visconti (David Bowie, T. Rex, Sparks).
Starr’s current collaborators include Jaie Gonzalez (Splashh), Hayden Tobin (Hanni El Khatib), Pete Sustarsic (Public Access TV), James Hurst (Beach Party), Ben McConnel (Beach House), Grace Kennedy, Charlie Sands, and composer Nigel Wilson.
“We had a listening party when we finished, Tony was so happy that day, he told me he hadn't had a listening party in "probably 30 years" (and we were in the middle of the pandemic!) I smile when I think of him suggesting we do it. It was a true celebration, I still have the cork from the champagne!”

This recording is dedicated to nomads, space travelers, free spirits that visits earth for a brief time to make a mark here on their way to other worlds. They leave traces on tram wagons, walls and in our minds in our cities before moving on into the unknown. Especially one.

A slow build up to a jungle crescendo is how “Iris” develops. This is a fine example of how Fontän effortlessly makes crossover music – no compromises needed in neither end of the spectrum, this music flows naturally. The dreamy music box-sounding intro of “Mast” falls into a deep half beat where warm E-bow guitars and sweeping synthesizers carries the music higher and higher away from the ground.

These two tracks are a peaceful homage to all the cosmic kings and queens that have spent time here on earth. Safe travels!

IDLES return with their new album, ‘CRAWLER’, an album of reflection and healing
amid a worldwide pandemic that stretched the planet’s collective mental and physical
health to the breaking point.
 Frontman Joe Talbot says: “We want people who’ve gone through trauma,
heartbreak, and loss to feel like they’re not alone, and also how it is possible to
reclaim joy from those experiences.” IDLES albums have always been anchored by
these overarching themes, but the ability of the band to juxtapose beauty and rage
with humour and drama has never felt more satisfying than on ‘CRAWLER’.
 These stories are vividly brought to life through IDLES’ most soul-stirring music to
date, recorded with co-producers Kenny Beats (Vince Staples, Freddie Gibbs) and
IDLES guitarist Mark Bowen.
 Previous album ‘Ultra Mono’ was Number 1 album in the UK, with over 35k sales
week one.
 Huge 2022 January UK tour including five Brixton Academy dates, three at Glasgow
Barrowlands, two at Manchester Warehouse and more. Over 20k UK tickets sold in
the first hour of release.
 Three high budget music videos, written and directed by LOOSE (Lucy Hickling,
Stink Films).
 CD in digipak packaging.
 Deluxe LP mastered at half-speed (45rpm), pressed on deluxe heavyweight 180g
black double vinyl and housed in a gatefold jacket with printed inner sleeves.
 Eco-Mix coloured vinyl LP housed in a single-sleeve jacket and printed inner sleeve.
Eco-Mix vinyl production uses leftover wax that’s already in the factory, meaning
each record is different and the colour is completely random and unique.
 Standard black vinyl LP housed in a single-sleeve jacket and printed inner sleeve.

Die 2007 gegründete deutsche Heavy-Metal-Formation KISSIN DYNAMITE hat sich mehr als nur einen
Namen in der Szene gemacht: Mit sechs Studioalben und diversen Chart Erfolgen (#7 in den GERAlbumcharts mit dem 2018er Full-Length Ecstasy) etablierte die Band ihren Trademark-Stil - geprägt
von modernen Sounds, wuchtigen Hymnen und eingängigen Hooks, gepaart mit 80er-Jahre-StadionrockAttitüde und einem außergewöhnlichen Look. Nun steht die Kombo in den Startlöchern bereit, ihr Napalm
Records-Debüt Not The End Of The Road zu veröffentlichen und mit 12 kraftvollen Tracks den Weg des
Metal im Jahr 2022 zu ebnen.
Produziert, aufgenommen und gemischt wurde das neue Studioalbum von Sänger Hannes Braun selbst, der
auch schon mit Bands wie SANTIANO, THE KELLY FAMILY oder BEYOND THE BLACK gearbeitet hat.
Das Mastering übernahm Jacob Hansen in den Hansen Studios, der Grammy Award nominierte Produzent
ist bekannt für seine Arbeit mit Bands wie VOLBEAT und vielen mehr.

Greek electronic composer Vangelis created his piece Albedo 0.39 while influenced by blues and jazz music. The concept album is themed around space physics. The title is based on a planet’s albedo; the proportion of the light it receives that is reflected back into space.

Albedo 0.39 features tracks “Pulstar” and “Alpha” and became his first album that reached #18 of the UK Album Charts. Vangelis played every instrument on the record, which resulted in effective and versatile synthesizer passages. Critics describe the tracks as mesmerizing trips of assorted rhythms that include elements of jazz and mild rock.

The multiple-award winning composer of electronic, progressive, orchestral and jazz music Vangelis started his career working on numerous successful projects, such as Aphrodite’s Child, a collaboration with Yes lead singer Jon Anderson and award winning soundtracks for Missing (1982), Chariots of Fire (1981), Blade Runner (1982) and 1492: Conquest of Paradise (1992). He composed over 50 albums and is still creative in developing new concepts.

King Gizzard & The Lizard Wizard announce an album of remixes of tracks from ‘Butterfly 3000’, their second studio LP of 2021 alone. ‘Butterfly 3001’ features reworks courtesy of (among others) DJ Shadow, Donato Dozzy, The Scientist, DāM-FunK and The Flaming Lips!


"We’ve put off doing a remix album for a long time. Maybe it was conscious, maybe it wasn’t. But it’s happening now. That’s not to say that Butterfly 3000 makes the most sense to remix. It might seem like the obvious one, but it’s not. Yes it’s electronic. But so is a fridge. Have you tried to dance to Butterfly? It’s hard. It ties your shoelaces together. It’s duplicitous in it’s simplicity. But Butterfly 3001 expands on this. It also deviates and obliterates. We’re honoured to have such esteemed people go to work on these songs. We hope you love this album as much as we do. See you in Da Club!!!" - Joey Walke

We Are Proud To Announce A New Artist From Italy. Simone Have Released One Single On Superconscious Records Which Is Running By Fantastic Man. Our Friend Marco From Milano Has Sent This Demo And We Are Facinated. All Tracks Are First Class Tropival, Obscure Deep House! ENJOY!

The ninth album in BBE Music's J Jazz Masterclass Series presents ‘At the Room 427’ by Koichi Matsukaze Trio Featuring Ryojiro Furusawa, a rarely heard exemplar of post-modal power bop and free jazz. Delivered by a trio playing with an intensity and energy that draws on classic Eric Dolphy and mid-era Coltrane but definitely with its own particular vibe, At the Room 427 is an exemplar of febrile improvised jazz that could only come from Japan. This deluxe reissue sees a welcome return to the J Jazz Masterclass series for saxophonist Koichi Matsukaze. Originally issued in 1976 on the cult ALM label, At the Room 427 is the debut album from one of the most exciting and forward-thinking instrumentalists to emerge in the mid 1970s. Matsukaze's distinctively angular, deconstructive style adds an unpredictable quality to the session that is balanced by the muscular bass of Koichi Yamazaki and the kinetic drumming of Ryojiro Furusawa, who provides a sound footing for Matuskaze’s fiery solos and free-form chemistry. The album opens with the epic Acoustic Chicken, a 20-minute tour de force of dynamic and explosive interplay. Featured on J Jazz: Deep Modern Jazz From Japan volume 3 and written by Furusawa, Acoustic Chicken's strong melody lines and scorching sax finely mesh with the driving rhythm section. Furusawa’s Elvin Jones-like rolls and batteries of percussion are underpinned by Yamazaki’s driving and rounded bass. At the Room 427 also includes a radical deconstruction of the Billie Holiday classic Lover Man and three more original compositions by Matsukaze. The album was recorded live in November 1975 before a small audience in – as the title states – Room 427, a classroom in Chuo University, the alma mater of both Matsukaze and Furusawa. However, despite the rudimentary surroundings, the recording by Yukio Kojima, founder of ALM, manages to give the listener the feeling of being in the room itself, up close to the band, bristling with an intense energy. This reissue of a long-lost rarity of post-bop/free playing maintains the exceptionally high standard set by the previous releases in the BBE Music J Jazz Masterclass Series. As with all releases in the series, At the Room 427 comes with full reproduction artwork and extra sleeve notes, with artist interviews and biographies. The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.

Six months on from the release of their critically-acclaimed fourth album, ENTERTAINMENT, DEATH, Philadelphia trio SPIRIT OF THE BEEHIVE closeout 2021 with brand new 7” THE DOOR, comprising two previously-heard but never physically released songs in “THE DOOR IS OPEN” and “THE DOOR IS CLOSING”.

A special and limited release, 500 copies of the single have been pressed on cloudy teal vinyl. The 7” is led by “THE DOOR IS OPEN”, a 2020 single that marked a new chapter for the band ahead of the release of ENTERTAINMENT, DEATH. The song “continues to defy definition”, Stereogum said upon its initial release, before adding: “It’s amazing that they made such a short track feel like such a dreamy journey.”

It’s backed by “THE DOOR IS CLOSING”, a bright and skewed gem of a track that was originally released earlier this year via Through The Soil, a charity compilation that benefited the NAMI COVID-19 Mental Health Support Fund.

Whether opened or closed, THE DOOR is a bold reminder of SPIRIT OF THE BEEHIVE’S many layered and colourful ideas. It also ribbon-ties a brilliant 2021 for the band, one which saw ENTERTAINMENT, DEATH labelled as “an intensely beautiful, intensely difficult record” by Pitchfork, a “sprawling odyssey of haunting dissonance and blissful euphoria” by Flood Magazine, and a "storm of sound with a deep humanity coming through” by Fader.

SPIRIT OF THE BEEHIVE is Zack Schwartz, Rivka Ravede and Corey Wichlin.

Since the inception of Anxious in 2016, the band has always acted with purpose. This may seem like a simple premise, but for five kids still in high school at the time, it’s quite an accomplishment. Early songs were packaged in limited run demo tapes with accompanying zines and hand-dyed t-shirts. Weekends were filled with regional runs of shows outside of their Fairfield, Connecticut homebase. With this amount of effort it’s no wonder that within a few years of graduation, Anxious has built a solid foundation for their debut album to flourish upon.

For more than 20 years, Brad Barr has been counting the number 216. It’s a mysterious number that seems to show up everywhere—from clocks and license plates to Ouija boards and receipts—and now it’s also sewn the fabric of his new album, like the 216 stitches on a baseball. The Barr Brothers frontman has set aside his band, his microphone and even his lyric-sheet—picking up his instrument for a solo guitar album that ripples with immediacy, vulnerability, and the spell of six-cubed.

Barr spent decades developing his visceral approach to the guitar, first with The Slip and then across three LPs with the Barr Brothers. The Winter Mission—the follow-up to The Fall Apartment, Barr’s 2009 solo debut—had its origins in an instrumental commission for New York City’s All For One Theater. It “felt like a gift,” Barr recalls—to have a sound he could explore all by himself, away from the road, during COVID’s strange intermission.

Cardinal Fuzz are pleased to announce the new LP from Mienakunaru – ‘Blood Sun’. After Mienakunaru's debut brain crusher 'Lost Bones Of The Holy Butterfly' that came via esteemed label Drone Rock Records (and reissued in the USA via Echodelick) - Cardinal Fuzz and Feeding Tube Records bring you 'Blood Sun' - A ferocious throb of of 3 people losing themselves in the beauty of fuzz, sizzle and noise.
Mienakunaru are a throbbing face melting power trio made up of Mike Vest, Junzo Suzuki and Dave Sneddon and if we were to write up the list of bands these artists have been involved with there would be no room to write more – Just believe me when I say that the list reads like a who’s who of cult underground hardcore and psychedelic bands. For those that may not have been listening to anything associated with these leviathans of heady, psychedelic noise – What we have here is fuzz drenched, waster infused and pounding like jack hammer freak-outs. Over four tracks of which the title track takes up the whole of one side you are treated to forty minutes of heavy cosmic amplifier worship, where the hypnotic nature of the music created within, unfolds and time and space begins to distort. Prepare to have your body shaken as Mienakunaru lay waste.

English jazz-funk band Level 42 released their tenth studio album Forever Now in 1994. While Forever Now marked the return of original drummer Phil Gould, it was the last album before the band’s breakup. Featuring the popular singles “Forever Now”, “All Over You”, and “Love In a Peaceful World”, the album was a commercial success. It reached #8 on the UK album charts. Music critics were also generally favourable, calling it the band’s “best album since the mid-80s heyday of World Machine and Running in the Family”.

Promised Land is the twenty-first studio album by world famous American singer and musician Elvis Presley, originally released on January 8, 1975, Elvis’ 40th birthday. It reached number 47 on the Billboard Top 200 and number one on the Billboard Top Country Chart. The album spawned two hit singles: “If You Talk in Your Sleep” and title track “Promised Land”, the latter of which was also used for the 1997 sci-fi comedy film Men in Black. Promised Land remains a timeless classic by the King of Rock and Roll.

Angel Olsen covers “Something On Your Mind,” while Karen Dalton’s version is found on the flip.
The latest release in Light in the Attic’s 7" Covers Series.
Artwork by Los Angeles-based fine artist Robbie Simon.
Pressed at Third Man Pressing. Non-Returnable.
Didn’t you see, you can’t make it without ever even trying? — Dino Valenti, lyrics from “Something On Your Mind”
Light in the Attic is honored to be releasing Angel Olsen’s gorgeous cover of Karen Dalton’s moving interpretation of ‘Something On Your Mind,’ a song that enduringly underscores the unspoken thoughts, painful truths and buried emotions between people and within oneself. Thematically, the song is universal and resonates as much with listeners today emerging from a post-pandemic world as it did for Karen Dalton when she first recorded it in 1971 for her second and final studio album, In My Own Time. “‘Something On Your Mind’ for me is about letting yourself face something that keeps setting you back,” says Angel Olsen, who has come to the forefront of Karen Dalton appreciators around the world, both in her contribution of this new interpretation and as the voice of Dalton’s personal journals in the recent documentary, Karen Dalton: In My Own Time. As part of the latest installment of LITA’s long-running cover series, Angel’s cover is found on the a-side, while the flip includes Karen’s 1971 version.
Previous singles in Light in the Attic’s Covers Series includes musician, poet, and author Leslie Winer collaborating with Manchester-born composer Maxwell Sterling on a truly gorgeous cover of Tim Buckley’s 1967 forlorn love song “Once I Was,” Bill Callahan & Bonnie ‘Prince’ Billy covering Johnnie Frierson’s beautiful and inspiring tune “Miracles,” BADBADNOTGOOD with Jonah Yano covering “Key To Love (Is Understanding)” by Milwaukee’s funk/soul pioneers Majestics, Charles Bradley & the Menahan Street Band covering Sixto Rodriguez, Mac DeMarco covering Haruomi Hosono’s “Honey Moon,” and Iggy Pop with the Zig Zags transforming Betty Davis’ dirty funk into a heavy Sabbath grind, amongst many others.

One of the promoters and DJs behind South London party Big Dyke Energy, Elliott is part of a new wave bringing contemporary queer energy and attitude to clubland. Following an EP on Kouncil Cuts as one half of Faff, working alongside Ornography, ‘Transcendence’ marks their debut solo EP.

If you’ve ever wanted to hear more acid in garage, the epic bubbling 303 breakdown of two-step opener ‘Tender’ answers your prayers, its ghostly lead out-emoting even Four Tet. ‘Loose Tooth’ then lands in clubbier territory, dubby rave synths again deployed with a canny melodic ear.

On the flip, ‘Metamorphic’ is noir electro, UV bleeps and infrared bass cutting through its heavy, murky atmosphere. Working her trademark magic on the remix, Naive boss Violet bumps up the tempo, turning in a cut of booming, bottom-heavy machine-funk, a dub siren and half-time section nodding to the influence of UK rave culture.

2020, a year that will be forever engraved in our memories as Year One of the Covid debacle.

So much has already been said about it that we feel there is no need for more.

However, 2020 was also the year when we’ve released Tapan’s remix to Decha’s song Niebla from her sold-out debut album Hielo Boca as part of MT0028 Decha - Hielo Boca Remixes. This remix led to a fresh collaboration between the Serbian duo and the German vocalist, which in time bred a brand new track, titled simply TWENTY.

On Twenty, Tapan’s massive bass lines, heavy kicks and their sense for drama and epicness, meets Viktoria Wehrmeister aka Decha’s soft poetic lyrics and tribal style. The result is a massive slow yet heavy tribal industrial track for the alternative dance floors and late night situations in dark dark basements.

The record is comprised of 4 tracks, an original version and a beatless version as well as a deep and trippy dancehall interpretation by our favourite remixers Full Circle (aka Joakim & Alexis Le-Tan) and a punky mid-tempo banger by Mexican maestro and total inspiration Rebolledo who gives his signature sonic attitude to his interpretation of the original track.

King Gizzard & The Lizard Wizard announce an album of remixes of tracks from ‘Butterfly 3000’, their second studio LP of 2021 alone. ‘Butterfly 3001’ features reworks courtesy of (among others) DJ Shadow, Donato Dozzy, The Scientist, DāM-FunK and The Flaming Lips!

"We’ve put off doing a remix album for a long time. Maybe it was conscious, maybe it wasn’t. But it’s happening now. That’s not to say that Butterfly 3000 makes the most sense to remix. It might seem like the obvious one, but it’s not. Yes it’s electronic. But so is a fridge. Have you tried to dance to Butterfly? It’s hard. It ties your shoelaces together. It’s duplicitous in it’s simplicity. But Butterfly 3001 expands on this. It also deviates and obliterates. We’re honoured to have such esteemed people go to work on these songs. We hope you love this album as much as we do. See you in Da Club!!!" - Joey Walke

Flee Lord brings you his Lord Talk Trilogy album on limited edition vinyl. Originally released in 2020, this album is the third installment of his Loyalty or Death / Lord Talk series. The 10-track project is fully produced by godBLESSbeatz and also features guest appearances from Ransom, Eto and T.F. In 2020, Flee Lord pledged to release a full length album for every month of the year. Not one to let his fans down, Flee kept his promise and released 12 high quality projects in 2020, culminating with the release of the acclaimed In The Name of Prodigy album. An ode to the legacy of the late Prodigy, Flee Lord tapped in with Havoc (of Mobb Deep) to handle all of the production. Looking to keep up his momentum, Flee has since teamed up with Roc Marciano to drop their collaborative Delgado album to rave reviews in 2021. In 2022, Flee followed up with the release of Pray for the Evil 3 and his latest effort, Ladies & Gentlemen. Lord Lord!

A little info about the guys. All three of them as you'll hear are music fiends/collectors/diggers and lovers. They met whilst attending a pagan mushroom festival on the Wrekin hills and have been firm friends ever since they decided that night/morning to go on a quest to find some musical magic in the far-off lands (ye old music shoppes). They only made it as far as the cave around the corner (which happened to have a stack of records and a computer) and thus have remained there ever since much to the joy of their respective wives, cooking up some late-night cosmic melters for the enlightened to enjoy whilst at the dance.

Thus the label was born and this is their first offering to the world. With this release the Wrekin Havoc lads have pulled out all the stops with some tasteful and respectful edits of some little-known Balearic bombs, extending and editing them just enough to allow the originals to shine a little longer – the occasional flourish has been added but that's about it. No multiple plug-ins on this one.

Three Bonafide euro chuggers on A1/A2/B1 for early doors / early morning, actually anytime is a good time to play them!! The fourth and last track B2 is aimed squarely for the end of the night/sunrise/morning music if you will. The only criteria for this release, would we buy this 12” - it was a resounding yes. We hope you enjoy it also.

If anything is made from the first or future releases all proceeds will be donated to charity via Prime Direct Distribution. Stay Gold WH.

A year after his debut on Atomnation, Milio unveils his exceptional first album Nachtzon. Due for release on October 8th, the 12-track album showcases the Dutchman's flair for escapist melodic sounds.

Email van den Dungen started this solo alias in 2020 after previous success as part of the Tunnelvisions duo. But he has ways been a skilled pianist from a musical family, which explains why his well-crafted, emotive melodies always make such an indelible mark. He has a love of beautiful voicings, coloring, melody and harmonies. Personal relationships and close friendships also instill his music with a sense of fun and honest connection and he is someone who spends hours honing his craft, practicing theory and growing ever more conformable with his array of both vintage and modern synths, pianos, guitars and drums. All of this translates to this debut album, which is an expansive affair stuffed with gorgeous grooves and real musicality.

Nachtzon is a widescreen record that proudly wears its heart on its sleeve.

REPRESS!

Marcos Valle - Mentira

Valle is a Brazilian singer, instrumentalist, songwriter and record producer of the highest order. His roots lie in Bossa Nova and he was one of the youngest talents in the scene, extensively touring the USA and residing there for many years. Valle's music crosses touches many styles including samba, rock, soul, jazz, boogie and disco.

Signed by Odeon in 1963, he recorded ten studio albums for them between 1964 and 1974. He also recorded for Verve, Warner and Som Livre among others.

Mentira is a re-record of his own song 'Mentira Carioca' - released four years earlier by Odeon - and appears on his 1973 LP 'Previsão Do Tempo' on Odeon.


Toni Tornado - Me Libertei

This is the second track that we have re-issued by the one and only Toni Tornado, master of Brazilian Funk.

His career began as 'Tony Checker', lip syncing to rock 'n' roll hits and touring extensively outside of Brazil. Whilst in New York he met Tim Maia and became involved in the 'Black Rio' movement. Toni also worked with Ed Lincoln and Antonio Adolfo amongst many others. He had a successful acting career and starred in many soap opera's.

It appears alongside 'O Jornaleiro' on his sought after BR-3 LP from 1971 on Odeon. 'Me Libertei' has never been released on a 7.

In remembrance of Pete Birch, AKA Woosh, AKA The Peaceful Ones and founder of Spirit Wrestlers. Four ambient pieces, three of which were released as part of Pete's 52 Card Trick series on the Spirit Wrestlers Bandcamp site, plus another piece which was a favourite of Pete's but was never finished in time.

Collected together on vinyl for the first time, all profits from the sale of this record will be donated to the Spirit Wrestlers Foundation. Set up after Pete's passing, the Foundation promotes the belief that ""Music is the Healing Force of the Universe"", that ""Love Is the Most Important Thing"" and helps causes that were close to his heart. Nx

Tape

The Forbidden Dance label is marking their first year of existence and with already top-notch names (Vick Lavender, Alton Miller, The Mechanical Man) with the first three releases, they are celebrating the one year mark with another global gem, disco and house finest - Ilija Rudman!
Where Wild Horses Go is conveying an unquestionable sense of 80's electro and synth boogie filled with smooth and heavily reverberated rhythmics drenched in strong snares. Aligned with catchy and spaced-out disco pads, the album is riddled with ever strong analogue elements processed in a light, quirky and summerish way but with enough groove in some tracks easily applicable on the dancefloors in the late hours.
Dead Horse Gang is a brainchild music band/brand by Ilija Rudman dedicated to cinematic dance concept laying on the Los Angeles funk attitude, Art Of Noise perception of sound and raw 12-bit grooves making a statement of mid 80's culture with surf vibe of California summer.
"Dead Horse Gang Music is more than music, it's a way of life, a way of thinking, a path to a maximum freedom of the one, who can accept it."
-Ilija Rudman

Gwendoline, is a duo-antihero of the Rennes indie scene. Sensitive loosers and jaded start-up nation greats, Micka and Pierre shape their own style, a dark shlag wave in a percussive and poetic spoken-word style, with counter discussions as their primary source of inspiration, looking at those around them. Between fatalistic lyrics, self-deprecation, sarcasm and bitterness of the world's mediocrity, their sincere cold-wave is the symbol of a disenchanted youth and the perfect soundtrack to protest.

In 2017, they recorded their first album by locking themselves up for a fortnight to compose everything in one go, feeding off their daily environment in Rennes, numerous evenings spent at the bar and the anxieties of our time. At first self-produced on Bandcamp, this album "Après c'est Gobelet!" is pressed in confidence on vinyl in June 2020 on the Spanish indie label Dead Wax Records, whose stocks run out before the end of the year and which is now unavailable in France.

At the end of 2020, Gwendoline has also seen the doors of the Trans Musicales open to her, a favourite of Jean-Louis Brossard, for a live show at the Ubu, captured by FIP & Culturebox and accompanied by Maëlan and Romain, their stage accomplices.

Written without pretension and ambition, the duo is surprised by the interest shown in the project, between their programming at the Transmusicales, and the feedback from the press including major international media (KEXP, France TV, Les Inrocks, Post Punk Magazine...).

A video clip was released in April 2021 to illustrate one of their flagship tracks, the heady and heady "Chevalier Ricard", which was also a favourite of Franck Vergeade, music editor of Les Inrockuptibles (January 2021).

Gwendoline is the project from Micka (a.k.a. Mikoune) and Pierre (a.k.a. Daniel).

Based in Rennes, musically influenced by the classic cold wave which originated in their country, precarious and aimless, they shape Gwendoline to their own image.

Pure DIY ethics, quick recordings at their home studio.

Dark lyrics, self-mockery, criticism, sarcasm derived from the world’s mediocrity.

Hypernatural, comprises of Dan Whitford, better known as one of the pillars of Melbourne heavyweights Cut Copy, Mirko Vogel, the engineer extraordinaire who has recorded for Modular and Room40, and Mike Gamwell, also known as Knightlife, who’s racked up several releases on Cut Copy’s own Cutters Records. You could say their roots are in Melbourne, Australia, but it seems unfair to pinpoint the trio to any specific location.

That’s because their sound lies somewhere deep in misty forests, or half-remembered dreams and subconscious wells of ancestral emotion. The transformative power of these 7 tracks was no accident however. The music was pieced together during two trips - one to the remote Swedish coast and another to the Scottish highlands. The three producers used a set of guidelines that allowed each of them to compose and arrange tracks separately yet collectively, like a connected Oblique Strategy. They took inspiration from the stark beauty of their natural surroundings, which had a huge effect on the music they were making.

The resulting tracks inhabit a world of their own, full of shimmering arpeggios and drifting pads, taut drums and sound effects. The opening track Longboat cruises into view with white noise washes and galley master rhythms, conjuring Old Norse battleships and a sense of sailing the open sea, destination unknown. The single Stormfront is a depth-charged deep house burner, bristling with atmospheric energy and rolling like thunder. With its cascading synth arpeggios and weighty drops, it swells like moody clouds on the horizon and releases tension like the first rain of a summer storm.

Hypernatural particularly succeeds in its world-building, and there’s a cohesion to the tracks despite their many differences in tempo and style. Spirit Walk joins marimbas with modular pulses, as well as slide guitar and snappy shakers, to bring out some Ry Cooder swagger. Unknown Caller taps into the phone line at the speed of 5G, sending breakbeats down the wire on a cold calling mission to recruit ravers for the next after hours. But there are also tracks nodding to blissed-out comedowns and daydreams. Both Changing Tides and New Dawn slow down time to an introspective moment, a catch of the breath, the witness to a beautiful moment. Album closer Valley harks back to classic rave-era ambient, an avalanche of optimism down a majestic mountainside.

Hypernatural evokes panoramic vistas and serene countryside, and you could certainly imagine it soundtracking a hike along coastal hills, or a field at a festival. But it also resides beyond the pastoral, finding a home in airport departure lounges and autobahn service stations, until it eventually settles down inside us - even without the headphones on.

Stormfront
Hypernatural’s single Stormfront is a depth-charged house-tempo burner, bristling with atmospheric energy and rolling like thunder. With its cascading synth arpeggios, raindance incantation and weighty drops, it swells like moody clouds on the horizon, and releases tension like the first rain of a summer storm.

Special mirrored silver foil gatefold cover with banderole.

Pressed on crystal clear vinyl.

One time pressing.

Apparel Tronic is proud to present you the new album by Artizhan called Breaks From The V.
The DJ and producer from Naples, who’s been a pivotal figure of the Italian Electronic music scene since a very young age, is not new to the Tronic catalogues with his newest moniker but this one is surely his most complete, heartfelt and anticipated work to date. Having been in the scene for more than 25 years allowed Franky B to experiment, improving his creative techniques with ninja-like dedication and always testing himself along the rapids of music production, DJing and scratching. Now he’s ready to emerge once again from the shadows with his new LP: a groundbreaking, powerful, cutting-edge work we’re all extremely proud to finally release and, most importantly, his most profound sonic confession so far. With ‘Breaks From The V’ (the title of which is a tribute to his homeland, where ‘V’ stands for Vesuvius), Artizhan narrates his life through his music and embodies the best version of himself displaying, through ten stunning tracks, great versatility as a producer, ranging from D&B and Jungle to abrasive beats and some masterly composed and very personal paraphrase of IDM. The LP is a massive showdown by the artist himself and his label, both united towards a single objective: telling Artizhan’s incredible story as effectively and efficiently as possible.

Aussie producer Captn K is dishing up another great slice. This time Marvin Gaye's Get It On goes from slow sex chant to upbeat sex bomb. It still maintains its smoothness with joyess synth stabs and a grooving electro 808 breakbeat. I Need Some Loving with a repative sample and hook has no kick and just begs to be slipped under some minimal beats. Side B sports Captn k's signature style in the form of an 8min dream wrapped in vinyl. It Will Take An Eternity To Break Us is littered with uplifting vox samples and the most gorgeous pads, you will lose time listening to this one.

What is techno if not a powerful conduit for energy? The movement of a sequence, the surge of an effects rush, the respondent reaction in every individual dancer and the moving mass of the crowd as a whole. Whether the frequencies transmit directly into the brain through the intimacy of a headphone reverie, reverberate through the architecture of a space or fill the formless void of the open air, techno’s potency to initiate and stimulate energetic events is profound. This is something Pfirter understands intimately, having spent more than 15 years exploring ways of manipulating the energy on a dancefloor.

Of course, energy is not just about volume and aggression. Tonality, spatial processing and composition can have just as profound an effect as the thump of the kick drum. On his new album Altered States, Pfirter proves that point by zeroing in on the cerebral, psychedelic elements of his craft across 10 incisive tracks. The Argentine producer consciously approached his second album (following 2019’s The Empty Space) with a minimal mindset, using a very focused set of drum machines and synths to achieve a consistency across the record. Captured over a short burst of creativity, it’s the sound of an artist pushing a limited array of tools as far as possible. Despite this concise palette, it’s not an album that repeats itself, but rather an extended trip that flows from one detailed, textured immersion to the next.

The dense, febrile waves of hard-oscillating ripples in ‘A Future In Chaos’ and the sparkling, off-key chimes adorning ‘Yearn’ all speak to Pfirter’s gift for extravagant, surrealist expression within his tracks. ‘Altered States’, by way of contrast, succeeds in its absolute immediacy – a piledriving statement of bleep-driven intent. ‘Boiler’ and ‘Convergence’ land somewhere in between, coiling around kinked rhythmic incantations which still push forwards with precision while offering a different angle from which to approach the dancefloor. Cementing the idea of the whole album as a listening experience, Altered States is bookended by ‘Venus’ and ‘Dissolution’, two minimal exercises in drone-oriented mood setting.

Pfirter understands the role of his music, and his own instincts as a performing artist. It’s crafted to be captivating for DJs as much as the attentive listener. Spanning linear rhythms and broken beats, moments of calm and writhing intensity, Altered States offers a multitude of energetic possibilities in the mix or as a standalone piece of music. Ultimately, it’s a masterful return from a leading light of the contemporary techno scene.

This is MindTrip!

C.Z. debuts on LA's Evar Records with the uncompromising Heat Index EP.

The Los Angeles-based producer, beatmaker and DJ sets a course through IDM, techno, jungle and trance to deliver five frenetic, emotionally-charged dancefloor cuts.

Over the course of an intensely productive career, Colby Zinser (aka C.Z.) has made music spanning genres like pop, rap, hardcore and jungle. As well as releasing music as C.Z., he's operated multiple aliases, including the prolific Ice Underlord. Drawing from a longstanding fascination with breaks, trance and the IDM of artists like Warp Records' Clark, he's developed his own rich and eclectic style of club music - a sound that crystalized on his 2020 debut album Hyperfocus.

C.Z. emerged from 2020 armed with a mass of new dancefloor tracks, freshly inspired to make club music a central focus, after years of smuggling techno, trance and breaks elements into the rap beats he was making for others. As he explains: 'It's great to come back to music and just make what I love, I don't want to be someone else's secret weapon, I want to be my own.' Heat Index refuses to toe a line, steering skillfully through genres and setting a tone that oscillates between club-fuelled euphoria, heartbreak and the looming threat of planetary crisis.

Opener 'Midnight' rattles along at a breathless 160 BPM, transporting you to a breakdown in the middle of a pounding hard trance set. Within a minute the rushing neon trance synths collide with huge, sub destroying kicks. The title track 'Heat Index' follows, with brooding pads bolted onto a tight breakbeat, leaving space open for the razor sharp, searching synth line.

Moving rapidly through the gears, 'Hurricane' is an aptly titled exercise in precision programmed classic jungle breaks, carried forward by bubbling earworm melodies. 'Retrograde' shifts the focus again - a pitch-black, dark, fast and seething techno track ripe for warehouses and dungeons, before 'Radial Lens', a melodic, anthemic set-closer built on a muscular, downtempo break.

C.Z.'s first appearance on Evar Records, the LA label founded in 2020 by Trickfinger and Aura T-09, follows a series of hard-hitting releases from Speed Dealer Moms, Limewax and Kilbourne, all artists who like C.Z., are able to traverse twisted electronica, club music and pure abstraction with ease. 'I want to help encourage a more open electronic music space, less pretentious, and encompassing all genres.' C.Z. says. 'It's an important goal of mine, and one the label shares.' Heat Index is a wide-ranging EP from a versatile producer, and a celebration of unfettered expression, for minds and dancefloors free from inhibition or genre restriction.

„Sybilline“, „unique“ and „peerless“. These are some of the adjectives that were used to describe Everyone Is A Door – Panoram’s first full-length on Edinburgh’s Firecracker Recordings. Since then, the elusive producer, founded his own label Wandering Eye, produced automated piano music in Los Angeles (Thom Yorke Sonos playlist approved), composed synth lines underwater for Amen Dunes Freedom and toured two years with the band as well being involved in their collaboration with Sleaford Mods Feel Nothing and their upcoming album on SubPop. But Panoram can also hold its own very well. His debut on Running Back’s Incantations series lets you hear and experience that after the first few bars already. Acrobatic Thoughts is surreal, abstract, puzzling and urgent, yet filled with beautiful, slow-moving melodies and emotional passages. Eccentric humor meets serious soundscapes, acrobatic thoughts evolve around abstract key notes, while an out-of-time and out-place atmosphere surrounds a microcosmos that seems to be otherworldly and very natural at the same time. Panoram manages to build a house that can be as much of a home for ambient record collectors as for futuristic pop fans and all the ones in-between those poles. Or to describe it one sentence while quoting two titles of this enigmatic record: Seabrains controlled by beautiful engines.

Endlessly sampled, covered, quoted and requoted, this may well be one of the most influential hip-hop singles ever released. But, in many ways, its importance goes beyond its sheer classic status as a single in its own right.

In retrospect, it shows the duo of Erick Sermon and Parrish Smith as pioneers in production, creating a funk-based sound that helped to provide a blueprint for artists on the other side of the country. In 1987/88, most West Coast rap still adhered to an East Coast audio blueprint. By 1989, they were leaning as heavily on Zapp and Roger Troutman samples as EPMD were on this single.

The foundations of the track are interesting, with a snatch of Juice’s much-plundered ‘Catch a Groove’ (which has popped up everywhere from The Beastie Boys to Kings of Pressure) overlaid with big chunks of Kool & The Gang’s ‘Jungle Boogie’ and Zapp’s irrepressible ‘More Bounce to the Ounce’. Vocodered funk was a rarity in New York hip-hop until this song, but it’s the West Coast G-Funk artists who really ran with it.

Its popularity spanned the country (and the globe, to be fair), with EPMD performing numerous shows in California on the basis of the sound, moving away from their James Brown-obsessed peers to display their own musical tastes. That said, the flipside – here presented on 7” and, indeed, on any single, for the first time – takes it back to that JB-era. ‘(It’s Not the Express), It’s the JB’s Monaurail by The JB’s is woven with Otis Redding and Beastie Boys to create a mid-tempo headnodder par excellence. It was always too good not to be a single.

Few groups arrive as fully formed as EPMD did. This dropped as the third single from the album of the same name, and further cemented their distinctive aesthetic: Slow rhyming, trading lines rather than the rappers being confined to their own verses, and backings that were ruthlessly funky and simple at the same time.

They’d go on to be labelmates with Public Enemy when Def Jam picked up their contract in 1990, and to compare and contrast the two is illuminating. While PE at that time were making waves with the Bomb Squad’s breathless, kitchen sink approach to production, EPMD were equally adored for taking the opposite approach.

Here, there’s a sprinkle of drums from Kool & The Gang’s oft-sampled ‘Jungle Boogie’, paired with a very recognisable portion of Eric Clapton’s ‘I Shot the Sheriff’. And that’s pretty much it – the two samples are linked, looped and left to their own devices. Such was Erick and Parrish’s confidence in their own rhyming ability and strong voices, no further embellishment was needed.

That confidence extends to the subject matter. While their debut album and later projects were heavy with concepts – the ‘Jane’ series – and notable guest verses, this was the third straight single of pure brag rap. Two MC’s, one beat, a whole heap of lyrics about how good they were. It’s something you can’t do unless you truly are special, and this duo most certainly were.

Paired with the classic instrumental version, which didn’t make it to the US 7” releases – it’s only on a hard-to-track-down French 7” pressing from 1989 – this this is a timely reminder of how breathtakingly perfect hip-hop can be.

This release is a special one; a moment where the two halves of the Mr Bongo record label unite, our heritage re-issues and our contemporary artists roster.

Minoru Muraoka’s 'The Positive and the Negative’ is a firm favourite at Mr Bongo. It sees a master of the shakuhachi, a traditional bamboo Japanese flute, flex his prodigious skill resulting in a unique mix of breakbeat jazz and Japanese folkloric music. 'The Positive and the Negative’ featured on the 1970 'Bamboo’ album, which Mr Bongo reissued in 2019. Heralded by DJ Shadow, Cut Chemist, Egon, and many others. The record’s cult status had us thinking how could we pay further homage to a sublime track such as this. The opportunity came to us in an email from Melbourne’s Surprise Chef with a link to the fabulous reinterpretation of the track which they had just recorded.

"Minoru Muraoka’s ‘Bamboo’ LP has long been a fixture in our record bags, mostly for the killer shakuhachi funk cut The Positive and The Negative. The record is possibly our favourite from Mr Bongo’s extensive catalogue of reissues, and certainly the most influential to Surprise Chef; The Positive and the Negative’s cinematic atmosphere paired with the wonky drum feels and dramatic performance makes it a near-perfect amalgamation of what we try to capture on Surprise Chef records. We’ve borrowed an element or two from the tune over the last few albums (such as the percussion on ‘The Limp’), so it felt right to go head first into reinterpreting the entire track for ourselves. We recorded the tune in Karate Boogaloo’s attic studio with our man Henry Jenkins at the controls and Hudson Whitlock on percussion. We spent an entire day trying to get the take; we felt such a deep responsibility to capture the intensity of the original, we must have done 20 or 30 takes before we were finally happy. We stuck a fork in it late into the night, satisfied that we’d had our best crack at paying homage to a masterpiece by the great Minoru Muraoka.” - Surprise Chef

Forged in their signature sound, "The Chef" have made 'The Positive and the Negative' their own whilst simultaneously treating the original with utmost respect. The shakuhachi and koto have been replaced by synths and guitars, but the breakbeat psychedelic vein flows richly through both instruments

The 7" vinyl format was the right fit for this release, so the original Minoru Muraoka recording which clocks in over nine minutes has been edited into a 7” version to accompany Surprise Chef’s new take.