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Yazz Ahmed - Finding My Way Home LP

First ever vinyl edition of the acclaimed British
Jazz artist’s debut album.
In January 2020 Downbeat Magazine named Yazz
as one of 25 artists set to shape the future of jazz
over the next decade.
Recipient of the highly prestigious Ivor Novello
Award for Innovation.
Jazz FM ‘Jazz Act of the Year’ 2020
Jazz FM ‘Jazz Album of the Year’ 2020, for her
2019 album, ‘Polyhymnia’.
Has won accolades from The Wire (Jazz Album
Of The Year), Bandcamp (Best albums of 2017,
Best Jazz Album), The Vinyl Factory, Stereogum,
The Guardian, All About Jazz, and many more
publications.
Yazz Ahmed receives regular airplay on Soho
Radio, Deutschlandfunk, Openlab, BBC Radio
2, BBC Radio 3, FBI Radio, FIP, Radio Raheem,
KCRW, Rai Radio 3, Radio 1 (BE), NTS, Worldwide
FM, and many more.
‘The Birth Of The Fool’ amongst Yazz Ahmed’s
most streamed tracks.
‘Conciliation’ features on the soundtrack of Steve
Buscemi’s 2022 film, ‘The Listener

pre-order now11.04.2025

expected to be published on 11.04.2025

25,84
Rai Tateishi - Presence

Rai Tateishi

Presence

12inchNKD10
NAKID
11.04.2025

Japanese bamboo flute maestro and goat (JP) cohort Rai Tateishi makes an impressive debut statement with his holistic attempts to transcend the limits of ancient instruments to reveal gently delirious insights.

‘Presence’ is a triumph of improvised, elemental musicality that distills aspects of myriad folk traditions in pursuit of the artist’s own truth. For 40 minutes of singularly weird, locked-in performance, Rai Tateishi diverges his formative training in the shinobue (a bamboo flute) to applications for its elder sibling, the shakuhachi, and its distant relatives in the khene mouth organ of Northeastern Thailand and Laos, and even the Irish flute, with remarkable results returned from each.

Piece to piece, Tateishi adapts a spectra of unusual and extended instrumental experiments to articulate uniquely animist sound arrangements, with judicious use of a ring modulator and delay effects only subtly altering his sound in real-time, gelling the harmonics and smoothing off its contours. Some 15 years of studies and accreted knowledge of histories, timelines, and spirits are deftly tattered in the air and rebound in precisely complex ribbons that become all the more impressive by virtue of its in-the-moment recording.

Presented with no overdubs, the six works were recorded by label head and KAKUHAN/goat lynchpin Koshiro Hino across three days of adventurous improvisation capturing the breadth of Tateishi’s vision in a mix of succinct flights of fancy and one durational wonder where he really cuts loose. An opening piece of rapid percussive fingering and rasping sets the tone for increasingly intricate explorations of the shinobue, and bluesy cadence of a reedy Thai khene - antecedent of the shō - whipped into headier harmonic overtones, whilst his 5th piece for Irish flute best recalls Ka Baird or Michael O’Shea’s lysergic impishness, and a 13 minute closing piece most boldly fucks with folk and jazz traditions, in-depth and with the genre short-circuiting audacity of Rahsaan Roland Kirk.

Landing in the wake of prism-shaking works by Will Guthrie & Mark Fell, goat (jp) and Kakuhan; Tateishi’s ‘Presence’ more than lives up to NAKID’s impressive levels, unflinchingly operating by its wits with a verve and dare-to-differ moxie that gets at it from the first hit to the last, harnessing the kind of skill and ingenuity that’s distinctive but still strikingly minimal and overwhelmingly physical. It's a remarkable achievement.

pre-order now11.04.2025

expected to be published on 11.04.2025

28,15
DJ Narciso - Diferenciado

Dj Narciso

Diferenciado

12inchP056LP
Príncipe
11.04.2025

Narciso has been running parallel to most of his contemporaries, staying close to the main lane but researching in his own distinctive way. He takes pride in "being free from limitations and conventions. To me, music doesn't follow fixed rules; it is a field for experimentation, where any sound can be transformed into something pleasing to the ear". Depending on what one considers "pleasing", this is a pretty challenging set of tracks. The artist never loses the balance, though, mindful of a certain "dance" context in which this music thrives, but it is also that same context that is being constantly twisted and reshaped into other forms. Some of those provide fresh ground for others to follow; some are of such individuality that no one else dares disturbance; some quickly return to a safer way of communication.

"Diferenciado" does communicate, but like words can be changed to sound different and still mean the same, such are music and sound with Narciso. It's not about alienation of the listener nor alienation of the self from the surrounding areas. "I believe music is present in everything around us." And if anyone can say her/his/their music "reflects vision, experience and perception", you know the end result is not often surprising or even that different from previous examples. Well, we stand by "Diferenciado" in its obvious distinctiveness, and if all the blurb so far may read like a nervous justification it's just because of the excitement in helping put this out into the world.

As a founding element of RS Produções, where Nuno Beats, DJ Lima, DJ Nulo and Farucox are also found, Narciso has been contributing to a spiritual and creative atmosphere that permeates the environs of Lisbon where that golden, inspired air has to fight for space with many kinds of instability. The beauty and drama of opening tracks "Ziu Ziu" and "Cabelinho" (this one with mate Farucox) should be able to touch any sensitive soul that appreciates the quirkiness often attached to pure expression. As in "Pipipi" too, for example, where melody and rhythm gently and moodily lead you into a brief but sudden interruption feeling like a change into another state of being. Do not shy away. Narciso steps up as himself, not as representative of whatever or whoever.

pre-order now11.04.2025

expected to be published on 11.04.2025

25,17
WALTER VERDIN - PING PONG LP 2x12"

Walter Verdin

PING PONG LP 2x12"

2x12inchCORTIZONA030
CORTIZONA
10.04.2025

2LP in printed inner sleeves + 12 page booklet with detailed info, secrets and unpublished pictures written by Walter Verdin himself. This collection dives deep into Verdin's prolific and experimental music from 1980 to the beginning of this millennium, capturing an era of a DIY punk spirit, improvisation, creative freedom and swimming against the tide.



We are thrilled to announce the upcoming release of 'Pingpong', a 2LP compilation showcasing previously unreleased works by Walter Verdin, the founding member behind Pas De Deux, the Belgian band which delivered 80's cult classics 'Rendez-Vous' & 'Cardiocleptomanie'. This collection dives deep into Verdin's prolific and experimental music from 1980 to the beginning of this millennium, capturing an era of a DIY punk spirit, improvisation, creative freedom and swimming against the tide.

This album is not just a compilation-it's a sonic journey into Verdin's unique approach to music-making, which he nurtured in the AV studio at KU Leuven's Audiovisual Department (AVD). Having begun his civil service there in 1980, Verdin was exposed to a rich array of audio and video tools that would shape his work for years to come. From the outset, Verdin's process was defined by an openness to experimentation, where he would explore sound and music organically rather than following pre-existing concepts.

The songs on Pingpong reflect his fascination with creating spontaneous, layered compositions. These recordings were made using limited tools, such as his duophonic Yamaha CS-40M synthesizer, borrowed drum machines, and tape loops, and were further enriched by techniques such as reverb and vintage sound manipulation. The results are raw, tactile, and full of personality-often more vibrant and personal than the polished, commercial recordings that would follow in professional studios.

Throughout the 1980s and 1990s, Verdin developed his craft, regularly drawing from his diverse interests in film history, soundtracks, video art, and avant-garde music. His innovative use of tape recorders, improvisational techniques, and later, MIDI and digital tools, makes for a fascinating and varied listening experience. This compilation includes everything from proto-techno and abstract new wave to avant-pop songs, sample-driven experiments, and the oddball TV-inspired tunes that have long been a staple of his work.

This selection is a true reflection of Verdin's "keen amateur" approach: a method focused on discovery, happy accidents, and unexpected results. These compositions aren't about achieving technical perfection, but about capturing moments of sonic exploration and transformation. The 21 recordings have been meticulously curated, with some tracks freshly arranged while others remain true to their original, unedited forms.

'Pingpong' finally brings these forgotten gems into the light. The album includes not only unreleased music but also fragments from Verdin's video art and multimedia projects, offering a rare glimpse into his creative evolution over two decades. Stretching up the boundaries between medium and message, aligning his own musical univers.

Take a deep breath and dive into the works of an artist whose explorations pushed his boundaries of sound and technology.

A Belgian sonic cut up, ping ponging in between many worlds.

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27,31

Last In: 13 months ago
Damian Lazarus - Magickal LP 3x12"

Audio alchemist Damian Lazarus continues to redefine the boundaries of electronic music with his fifth studio album, ‘Magickal’.

Renowned for his unparalleled ability to craft transformative sonic journeys, Damian Lazarus is a master of rhythm, melody, and vibration—a true pioneer among his generation’s visionary artists. Damian’s broad depth of experience encompasses a variety of disciplines: tastemaker, selector, label owner, A&R and a Grammy-nominated artist in his own right - each informed by his unique ear for sound. He is chief wizard of the hugely influential and culture-defining Crosstown Rebels label, a globally renowned DJ with a penchant for exotic outdoor locations and a highly regarded recording artist with four albums and a plethora of solo cuts, collaborations and remixes in his sprawling discography.

With his fifth album, ‘Magickal’, Damian steps into his next evolutionary phase, combining his newly found sobriety with a more mature outlook while still pushing boundaries and creating unforgettable moments. At the root of it all is the magical power of togetherness and human connection that only music can facilitate. Driven by this core ethos, Damian continues on his mission to share his heartfelt music, taking the dance floor into unexplored realms of experience, facilitating moments of transcendence, bliss and pure, unadulterated magic.

Damian Lazarus, the avant-garde architect of spiritually nourishing sounds, is joined by a stellar lineup of collaborators on his latest excursion. It’s imaginative and mystical, rhythmically captivating and daring in its own way, as is typical of Damian’s approach. Taking consideration of his past, the album references his previous work to create a tapestry of compositions that tap into the energy of key moments from his discography. Drawing on his existing catalogue creates cohesive through lines and thematically serves as a continuation of previous stories. November’s single, ‘Sunrise Generation’, for instance, works as a companion to ‘Vermillion’, which was recorded by Damian with his band The Ancient Moons and vocalist Moses Sumney back in 2015. ‘Sunrise Generation’, featuring the beautiful vocals of Fink, was Damian’s first major release since his Grammy-nominated 2021 collaboration ‘Don’t Be Afraid’ with Diplo and Jungle, and continues to take inspiration from global gatherings at solstice and those moments of collective awe at sunrise.

Indeed, the album’s themes of mental elevation and psychedelic sonic journeys are evident throughout. Damian channels this energy through tracks like the soulful ‘So Low’, featuring the incredible Zoe Kypri, and the luminous ‘Searchin’, with Jem Cooke, whose collaboration with Damian dates back to ‘Flourish’ (2020) and lead single ‘Into The Sun’. Uplifting is the operative word here, as Damian aims straight for our hearts and inner selves, stripping away the layers to take us on a trip inwards, and out into the ether all at once. There’s a clear nod to Damian’s appreciation of amapiano when he teams up with Ghanaian interdisciplinary healer Jojo Abot on ‘Warrior Dance’. Old friend and inspirer Mathew Jonson brings his virtuoso touch to ‘Are You Dreaming?’, while TEED and A-Trak form an awesome alliance for ‘Falling Down’ with its heartrending vocals. ‘Alive’ features the Bloom Twins, and also additional production from acclaimed producer Mark Ralph, who incidentally worked on Damian’s debut album ‘Smoke The Monster Out’ in 2009 and forms another throughline to the past. ‘Alive’ blends pop sensibilities and song structure with Damian’s inimitable sound - and could become one of Damian’s biggest moments to date. ‘La Hija De Juan Simon’ delves into the Latin energy synonymous with vibrancy and self-expression as Damian teams up with acclaimed Spanish flamenco-influenced duo Mëstiza. On a solo tip, he rolls out with the eight-minute-plus soulful funk flex ‘Why Don’t U’.

In a suitably aligned instance of serendipity, the arrival of ‘Magickal’ comes at a pivotal period in Damian’s life, just as it has been with previous album concepts. Albums made and released during big shifts in his life speak to the correlation between growth, personal evolution, creativity, catharsis and sharing that process musically. The last album ‘Flourish’, for instance, was recorded and released in the space of a few months during the first summer of the global pandemic. As a result, there’s a kind of vulnerability in the music, a subtle story that’s being told with emotional touchpoints that will be relevant to anyone listening. The universal human experience and spectrum of emotions are things almost everyone can relate to. With the enhanced clarity of his sobriety, Damian’s compositions embody the uplifting nature of simply being alive, connected and unified in our love for music and one another.

Day Zero, Damian’s iconic annual festival, is intrinsically linked to ‘Magickal’. It’s the setting for his imagination when producing the music, it’s the launchpad for each year’s kaleidoscopic adventures around the world, and this year’s edition will be the backdrop to the release of ‘Magickal’. As the pinnacle of Damian’s annual experiences, Day Zero marks a vital milestone for his artistry, an extension of his inner realm, carefully curated and created for his global family of lovers and dancers to revel in the awe-inspiring beauty of Mother Nature. Central to the ethos of Day Zero is its sustainability practices and deep consideration for the locality within which it is held. Connections with local elders embolden its depth, cultivating a strongly aligned purpose with the ritual, customs and energy of the land and its people.

‘Magickal’ will be released in the same week as Day Zero, tying the two projects together in a neat dovetail. 12 years since it started, Day Zero continues to play a significant role in the music Damian makes, curates and plays. For him, it’s the epitome of his vision: a stunning natural setting, the very best party people from around the world, an unparalleled lineup of friends and family, high production values, eco-centric policies and music from another dimension. With these interdimensional transmissions, Damian channels his inner alchemist, which, in turn, permeates into the vibrational framework of ‘Magickal’.

Never one to adhere to convention, Damian has opted for a disruptive album release. ‘Magickal’ is to be kept under wraps and then announced and released on Crosstown Rebels on 8th January 2025, bypassing the modern trend of prolonged single drops and ‘tombstone’ album releases. ‘Magickal’ is the embodiment of Damian and his intentional, against-the-grain approach and reinforces the album as a complete artistic statement, offering listeners the full cohesive experience from the very beginning. This is a return to the album as the pinnacle moment and not the afterthought. Singles, edits and remixes will follow the ‘Magickal album’ release, and, of course, there will be a world tour to promote the album (including Glastonbury and Coachella) and a chance to present the album in exciting, innovative and unique ways.

Forever dreaming, a sincere student of magic, new and old, social sorcerer, lover of nature and master of musical wizardry, Damian Lazarus is a potent force. With ‘Magickal’, he reaffirms his place as one of electronic music’s most influential figures, taking listeners on a profound journey into sound, spirit, and connection.

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40,76

Last In: 45 days ago
Dennis Brown - Tribulation Times

Dennis Brown has always been cited as Jamaica’s favourite singer. While Bob Marley set out to conquer the world, Dennis’s popularity on the island grew with every year. Overseas success also came Browns way with crossover hits like the massive ‘Money In My Pocket’. He will always be fondly remembered on the sound systems across the caribbean as the Crown Prince of Reggae.

Dennis Brown (b Dennis Emanuel Brown,1957, Kingston, Jamaica) began his illustrious career at the grand age of eleven like many of the other child singers at Coxsonne Dodds Studio One stable. His first hit in 1969 a cover of Van Dykes ‘No Man Is An Island’ still stands the tests of time and also its follow up cut ‘If I Follow My Heart’ as Reggae classics. The 1970’s saw Dennis build on his reputation by working with all the top Jamaican producers and
studio’s perfecting his sound. Lloyd Daley, Impact, Joe Gibbs, Aquarius and Derrick Harriott to name but a few. But it was his work with producer Winston ‘Niney’ Holness that he enjoyed the most success and many say recorded his best work for. Where many of the other producers stayed with the tried and tested Lovers Rock formula that did prove so popular with Dennis’s voice, producer Niney the Observer as he is fondly called, pushed him into a more roots led direction, over stark rhythms created by Niney’s studio band Soul Syndicate.

Two outstanding albums were put together ‘Just Dennis’ (1975) built on a collection of singles they had recorded together, ’Cassandra’, ’Westbound Train’, ’No More Will I Roam’ and ‘Conqueror’. The second 1977 set ‘Wolf and Leopards’ made up again of singles the prolific two had cut including, ‘Here I Come’ (a live favourite that Dennis always liked to start his set with) and ‘Children of Israel’ made these both strong roots era albums.

We have stayed with this period for our Dennis Brown album. Some of the above-mentioned cuts are present alongside the timeless crossover hit ‘Money In My Pocket’ (1979) produced by Niney but often credited as a Joe Gibbs production as it was released (and sweetened by adding Orchestration for the foreign market place) on his label. By the way this is the original Jamaican version (unsweetened) that you will find on this album a more truthful version in our humble opinion. His voice reigns supreme across these Niney produced cuts ‘Smile like An Angel’ ‘Silver Words’, ‘Play Girl’ and the fantastic ‘Poor Side Of Town’ (helped along by the great harmonies of the Heptones group), ‘Tribulation’ and ‘We Will Be Free’. Dennis Brown’s prolific catalogue of tunes that also found an outlet on his own DEB inprint (named after his initials) stands to show what a great artist he was and what a fine team he and Niney made when in the studio creating these magical moments. So sit back and enjoy a killer set of tunes compiled by Niney himself...Tribulation Times indeed and long may the records of the Crown Prince of Reggae Dennis Brown rule the world.....

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13,40

Last In: 13 months ago
Sugar Minott - Sugar Minott At Studio One LP 2x12"

Soul Jazz Records’ special new 20th anniversary one-off limited-edition heavyweight special-edition yellow coloured vinyl pressing (+ download code) exclusively for Record Store Day 2025 of their out-of-print classic ‘Sugar Minott - Sugar Minott at Studio One’.
Legendary singer, record producer and sound system operator who brought 'lovers rock' reggae to worldwide recognition with a string of massive hits in the 1970s and 80s. Minott is renowned as one of the most important and renowned reggae artists of all time.
This is the first retrospective of Sugar Minott at the label and most of these recordings have never been widely available outside Jamaica.
Long-out-of-print re-release of this classic Sugar Minott album on Soul Jazz Records bringing together the best of his groundbreaking material recorded at Studio One in the 1970s.

This definitive collection brings together all of Sugar Minott's hits at Studio One. Tracks such as Vanity, Never Give Up, Roof Over My Head laid down the template for much of Jamaican music that followed and signalled the arrival of dancehall around the world.

Soul Jazz Records’ special new 20th anniversary one-off limited-edition heavyweight special-edition yellow coloured vinyl pressing (+ download code) exclusively for Record Store Day 2025 of their out-of-print classic ‘Sugar Minott - Sugar Minott at Studio One’.
Legendary singer, record producer and sound system operator who brought 'lovers rock' reggae to worldwide recognition with a string of massive hits in the 1970s and 80s. Minott is renowned as one of the most important and renowned reggae artists of all time.
This is the first retrospective of Sugar Minott at the label and most of these recordings have never been widely available outside Jamaica. Long-out-of-print re-release of this classic Sugar Minott album on Soul Jazz Records bringing together the best of his groundbreaking material recorded at Studio One in the 1970s. This definitive collection brings together all of Sugar Minott's hits at Studio One. Tracks such as Vanity, Never Give Up, Roof Over My Head laid down the template for much of Jamaican music that followed and signalled the arrival of dancehall around the world.

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32,35

Last In: 13 months ago
Elektroplasma, Izsoloscope - L'Aube des Chaos

Rare artist is Elektroplasma ! And rare as well is remixer, Izsolocape... Who opens the EP with a hardcore industrial remix... followed by an Elektroplasma breakcore full-out track.... and then a pure beauty of kind stands on the full side Tune on the flip : L'Aube des Chaos. Total beauty !!

Strickly limited to 180 copeis (planned 200 but only 180 pressed finally !

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13,87

Last In: 13 months ago
Saison / Vertigini / Mo'cream - NFRV 013

The No Fuss label has been busy of late and is now dropping the many fruits of their labours with several EPs landing in quick succession. The 13th outing is a various artists affair that features two cuts from Saison on the A-side, though it is a Ross Couch remix of 'The Riff' that opens up. It's feel-good house with nice dancing piano chords and a Balearic feel while 'Feel This' brings more summery chords and dusty drum loops for some open-air dancing fun. Vertigini then offers the 90s-tinged 'Box Of Pandora' and Mo'Cream closes out with the already classic 'I'm Sure.'

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15,76

Last In: 24 days ago
Various - Redline EP

Various

Redline EP

12inchSW006V
Silver Walker
07.04.2025

Four artists with a taste for classic deep house infused with more than a touch of house line on the Silver Walker label's sixth release. Following releases on the likes of Local Talk, Balance, Traxx Underground, Mate, Quintessentials and upcoming projects on Nervous and NDATL, Shaka opens proceedings with a flurry of Hammond and plenty of exotic percussion, lie Alan Hawkshaw riffing with Underground Resistance. Glenn Davis (Wolf, Yore Records, Deeper Groove and Selections Records) delivers a deeper house workout on the A2 house track, the jazzy keyboard chords, fluttering flute and restless synths working real magic. One of the masterminds behind the Silver Walker label, Diego aka DFRA, comes on all perky with the saxes and soloing Rhodes, on the second side's opener, 'Nitewax'. Then we close with Damien aka Keymono (founder of several labels including Monocturne Records and Funkyshirts) laying on the handclaps of classic disco strings, the snippets of funk guitar and vibes the cherry on top.

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13,87

Last In: 11 months ago
SISSY SPACEK - ENTRANCE LP 2x12"
  • Web Of Unfolding Appearance
  • Figure Of Reflected Light
  • Trancher And The Inheritors
  • True Dimension (From The Opaque-Spike)

Entering its 26th year of activity, the morphing, Los Angeles based experimental outfit, Sissy Spacek, joins Shelter Press with Entrance, among the project's most captivating outings to date. Encountering the duo of John Wiese and Charlie Mumma joined in various configurations by an incredible cast of collaborators - Tim Barnes, Marco Fusinato, Aaron Hemphill, Brad Laner, Katsura Mouri, Ralf Wehowsky, and C Spencer Yeh - collectively transformed into a series a deeply intimate and delicate gestures of musique concrète, Entrance radically repositions the possibilities presented by group improvisation outside of time and place. Founded at the end of the last millennium, the Los Angeles based project, Sissy Spacek, initially emerged from the knotted, fiery context 1990s American noise and grindcore, producing sheets of visceral sonority that quickly set the scene on its head. Going through numerous evolutions, before eventually settling as a duo of John Wiese and Charlie Mumma - joined by a rotating and often recurring cast collaborators - over the last 25 years the band has continuously entered states of evolution that have defied the expectations of its own context, seeding the sonic extremes noise with subtle and sophisticated approaches to free improvisation and musique concrète. Fiercely positioning its efforts within the outer reaches of contemporary experimental music, while resisting the constraints of a singular sound or proximity, Wiese regards Sissy Spacek as being primarily centred around the practice of musique concrète and the pursuit of extremes. From its earliest releases - collage treatments of material gathered from the band's full throttle practice sessions - the project's conceptual framework has continuously evolved within a deeply engaged process of experimentation, not only reworking tactical approaches, but also definitions and perception regarding the location and action of their work. In recent years, this has led to an increasingly varied and diverse output. Percolating within, is a thread marked by a striking sense of delicacy and intimacy, driving forward while doubling as an unexpected challenge, in real time, to perceptions connected to the band's past. Entrance is the most recent of these. Embarking upon the four compositions that comprise the finalized four sides of Entrance, Wiese and Mumma enlisted longstanding collaborators, Tim Barnes, Marco Fusinato, Aaron Hemphill, Brad Laner, Katsura Mouri, and C Spencer Yeh, as well as new initiate, Ralf Wehowsky (of the seminal German electronic noise collective P16.D4), requesting a contribution of sounds from each, determined by a general set guidelines that dictated certain qualities the given sonorities, while allowing for the expression of each player's distinct creative voice. The sets of resulting recordings were then chopped, harvested, manipulated, and reassembled as the four tape compositions that make up the album - Web Of Unfolding Appearance, Figure Of Reflected Light, Trancher And The Inheritors, True Dimension (From The Opaque - Spike) - each blurring the lines of authorship and clear creative proximity in remarkable ways. Where historical gestures of musique concrète tend to draw upon non-instrumental sound sources - regarding its sonorous material as raw elements, unburdened by inherent meaning or association, to be transformed and imbued with musicality - Sissy Spacek turns this position on its head. Entrance comprises works of musique concrète that not only draw upon instrumental sound sources, with all their possible meanings or associations, but also individual characters and personalities of their players, crediting each resulting piece to its respective configuration of contributors. As such, Entrance is an effort of sound collage defined by a rare sense of intimacy and humanity: four pieces that often take on the resemblance of group improvisation, but have, in fact, been assembled outside of time and place. Bent under the ever-present hand of Wiese's tape treatments and manipulation, each of the album's four compositions unfurl startling states of sonic abstraction and percolating texture, marked by a striking sense of hard-shifting structure, that culminate as tense, driven manifestations of ambient music: scrapes, squeals, rattles feedback, rolling drums, bouncing tones, whispers, bent electronics, electric artefacts, and seemingly everything else under the sun, configured into immersive, sublime mediations in sound from the most improbable events.

pre-order now04.04.2025

expected to be published on 04.04.2025

27,52
Nicolás Melmann - Música Aperta

Nicolás Melmann (born in Buenos Aires and now based in Barcelona) explores sound's social and poetic dimensions through transdisciplinary projects. Drawing inspiration from Erik Satie's concept of "furniture music," Melmann's compositions transform the listening experience into havens of calm and contemplation.

Música Aperta is a fusion of acoustic and electronic sounds, rich in beautiful harmonies, where carefully soft elements interplay with delicate raspiness. Made up of three parts, the music unfolds slowly, immersing the listener in time. Música Aperta resonates with echoes of Satie, the meditative minimalism of Arvo Pärt, the roughness of Phill Niblock, and the nostalgic reflections of Richard Skelton.

Another way of listening to Música Aperta is through its digital encore – an extension of the album experience that brings the concept of open music to life – "a work that remains unfinished and open to transformation." The website features a reactive audiovisual interface where images dynamically respond to the music's behavior, translating electroacoustic frequencies into real-time cinematic landscapes. The album blends instrumental and electronic textures while allowing listeners to interact with different layers through a virtual mixer, enabling them to create unique sound combinations and personal sonic experiences.

All songs written and performed by Nicolás Melmann in Château Éphémère.
Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY.
Artwork by Daniel Castrejón.

pre-order now04.04.2025

expected to be published on 04.04.2025

23,74
Mark Holub / Johanna Pärli / Sofía Salvo - NERR - Filling Open Spaces

This is a recorded document performed by Mark Holub, Johanna Pärli and Sofía Salvo.

As a trio, they had not met until sound-checking for their gig at Berlin’s Cashmere Radio on September 1, 2023 — a fact that may be concealed by their immediate understanding as a musical entity but is obvious by their artistic freedom and curiosity towards each hoc encounters, flexible and steadfast in its performance, and that culminated in an experience that shook the floor of the radio station’s headquarters.

The day after, Sofía, Johanna and Mark gathered in Adam Asnan’s studio and deepened their quest for a communal language. They ignored any musical fetters or conventions, enjoyed the possibilities of a wider time frame without a live audience — and exceeded all hopes of what three personalities can achieve when they are given the space and time to experiment, detached from any restrictions.

Mark Holub is a drummer of outstanding versatility and responsiveness, full of ideas and quick on his feet. Through his playing as well as his experience as a band-leader and composer he is able to steer this coequal group towards thundering crescendo, but sits equally comfortable in the centre of complex and fine rhythm probing in response to impulses thrown in by his companions.

Johanna Pärli makes use of her double bass’s entire body, extracting an armada of multi- layered sounds with an immensely high sonic spectrum that is also reflected in the diversity of her musical projects. She is both patient and wildly adventurous in her performance, and in this trio her contribution wanders from considerate bow work to brisk fingerpicking, gnarly string strikes and pedal use to startling effects.

Sofía Salvo unleashes the full unbounded potential of her voice by taking advantage of her baritone saxophone’s broad range of possibilities. She is one of Berlin’s most singular musicians and her widely proven capabilities cover gentle additions to support and underline pulsive interplay just as masterfully as rapid licks and roaring bursts of noise, spurring the collective to unpredictable intensity.

If music of this particular kind often gives the impression of a constant search, this international trio certainly managed to find common ground and capture a special moment in time for listeners to (re-)discover. Contrary to what frequent misconception sometimes suggests, it’s also tremendous fun.

NERR — Filling Open Spaces was instantly composed and performed live in studio by Mark Holub on drums, Johanna Pärli on double bass and Sofía Salvo on baritone saxophone, recorded in Berlin on September 2, 2023 and mixed by Adam Asnan. Mastered and cut by Rashad Becker, vinyl pressed at Pallas. Artwork and design by Stefan Lingg, produced by Christoph Berg and Stefan Lingg.

pre-order now04.04.2025

expected to be published on 04.04.2025

25,42
Lawrence English - Even The Horizon Knows Its Bounds

»Even The Horizon Knows Its Bounds« explores sound’s relationship with architecture, inspired by the Naala Badu building at the Art Gallery of NSW. Created from sound prompts responded to by artists like Jim O’Rourke and claire rousay, the work reflects on space, collaboration, and the fluid nature of sonic environments.

I like to think that sound haunts architecture.

It’s one of the truly magical interactions afforded by sound’s immateriality. It’s also something that has captivated us from the earliest times. It’s not difficult to imagine the exhilaration of our early ancestors calling to one another in the dark cathedral like caves which held wonder, and security, for them.

Today the ways in which sound occupies space, the so-called liquid architecture, holds just as much wonder, albeit one that is often dominated by functionality and form. Beyond those constraints however, how sound operates in the material world is something that exists at the fundament of our understanding of music, and moreover within the broad church we know as the canon of sound arts.

Even The Horizon Knows Its Bounds is a record born out of these relations. In a direct sense, the record is the product of an invitation by curator Jonathan Wilson to create a sound environment, reflecting on the Naala Badu building at the Art Gallery Of NSW. The building’s name, which translates from the Gadigal language to ‘seeing water’, was opened in 2022 and this piece was offered as an atmospheric tint to visitors walking through the building throughout the year following its opening.

It’s also a record born out of a recognition for the porousness sound affords, especially as a device for collaborative endeavour. This composition is one born out of generosity and acoustic solidarity. Even The Horizon Knows Its Bounds is comprised not just of my sounds, but also that of an incredible array of artists who have also operated in the orbit of the Art Gallery Of NSW. The players include Amby Downs, Chris Abrahams, Chuck Johnson, Claire Rousay, Dean Hurley, Jim O’Rourke, JW Paton, Madeleine Cocolas, Norman Westberg, Stephen Vitiello and Vanessa Tomlinson.

The piece was constructed around two long form sound prompts that each musician responded and contributed to. These materials there when digested into the final piece you hear. The work could not exist without the substantial offerings these artists made, and I am immensely grateful to each of them.

I’ll finish with a little note that appears on the LP itself.

Place is an evolving, subjective experience of space. Spaces hold the opportunity for place, which we create moment to moment, shaped by our ways of sense-making.

Whilst the architectural and material features of space might remain somewhat constant, the people, objects, atmospheres, and encounters that fill them are forever collapsing into memory.

Lawrence English
Performed by Amby Downs, Chris Abrahams, Chuck Johnson, Claire Rousay, Dean Hurley, Jim O’Rourke, JW Paton, Madeleine Cocolas, Norman Westberg, Stephen Vitiello, Vanessa Tomlinson

pre-order now04.04.2025

expected to be published on 04.04.2025

29,62
Georgios Papamanoglou - Dark Path EP

The Deep Series imprint operated as a sub-label of Diaphan Music, both of which released material between 2009 and 2014, as can often be the way for many artists family life and other responsibilities stepped up on the priority list and the label was put on hiatus.

Now back to reboot things with a fresh perspective and a focus on Georgios’ music and music from artists he admires, Deep Series begins its new chapter for 2022, bringing fresh deep and dynamic cuts and an uncompromising approach with its future direction. Leading the release and following on from his recent debut album on Dial is XDB with his ‘Back To The Roots Mix’, the title tells all as this Greek Techno aficionado delivers a classic groove fuelled by loose, bumpy drums, chugging synth stab sequences and twisted resonant loops.

‘Dark Path’ follows next, edging into dubby house territory with skippy percussion, expansive chords, choppy bass stabs and hypnotic vocal chants. Opening the b-side is ‘Distorted DRMS’, as the name suggest laying focus on raw, crunchy drums throughout while dreamy synth lines and heavy sub bass swells ebb and flow within. Lastly the original mix of ‘GR2’ rounds things out, stripping things back to hazy, ethereal textures, robust, low-slung drums and acid-tinged bass stabs.

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11,72

Last In: 6 months ago
Georgios Papamanoglou - Instant Bliss

Berlin based Greek artist Georgios Papamanoglou returns to his Deep Series imprint with the ‘Instan Bliss’ EP this March, accompanied by two remixes from Iron Curtis.

Georgios Papamanoglou has been been involved in the underground House and Techno scene since the turn of the millennium, making him mark through his multiple imprints Diaphan Music and Deep Series with releases from himself and other artists such as Nekes and Ekkohaus among others. After a few years hiatus 2023 saw Georgios return to relaunch his Deep Series label with the ‘Dark Path’ EP, featuring a remix from fellow Greek Techno stalwart, XDB. Here he returns with his new project ‘Instant Bliss’ made up of two originals and two remixes from the much loved Office Recordings and Hudd Traxx regular, Iron Curtis.

‘Millions Of Sounds’ opens the release and sees Georgios lay down a bubbling arpeggio lead line, shimmering analogue drums and intricately oscillating synth lines all dynamically evolving and unfolding throughout. Iron Curtis’ ‘Drama Mix’ of ‘Instant Bliss’ follows and sees the German artist employ hypnontic atmospherics, cinematics strings and a choppy bass sequence alongside stripped back drums.

Opening the b-side is Iron Curtis’ second remix the ‘Supersorry Mix’ of ‘Instant Bliss’, this time round laying focus on squelchy 303 licks, crisp breakbeats and an underlying textural tension. Papamanaglou’s original of ‘Instant Bliss’ then completes the package, a nine minune cinematic journey through enchanting strings, polyrhythms and robotic glithes.

out of Stock

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14,08

Last In: 3 months ago
Sprints - Manifesto

Sprints

Manifesto

12inchNSWN35
Nice Swan
04.04.2025
  • A1: Drones
  • A2: Swimming
  • B1: Manifesto
  • B2: Ashley

“On course towards future raucous, beer-soaked headline festival
sets.” - NME
“Screw-you power, relentless motorik rhythms and impressively large
choruses.” - The Guardian
“Unrelenting, gritty energy” - Daily Star
Sprints unearth their frenzied new EP, ‘Manifesto’, out via Nice Swan
Records.
Produced by Daniel Fox of Girl Band - Dublin’s answer to Steve Albini
- the four tracks make for a hard-hitting gloom-punk journey you
can’t miss. Like the Irish guitar acts who have paved the way for
them - Fontaines D.C., Silverbacks and Girl Band - Sprints sound
urgent and vital at every turn.
‘Swimming’ is a confluence of rabble-rousing stadium rock, sleazy
garage rock and Sonic Youth experimentation. Lyrically, there’s a lot
to hang on to too, which is unsurprising given how topical the band
are: ‘Drones’ took on imposter syndrome; ‘Manifesto’ tackled
homophobia.
‘Swimming’ scorns on the increasing lack of opportunity after
following prescribed paths to become society’s idea of a ‘success’.
Sprints singer Karla Chubb explains: “While the homeless crisis
worsens, the city is sinking in debt and everyone can barely keep
their heads above water, you see an article stating that a new €25
million white water rafting centre is being developed after approval
by Dublin City Council. Sometimes you’d just rather drown.”
Sprints have hit a nerve. The velocity of this argument comes from
personal anguish but will chime with a generation. And with such
honesty running through their core it’s no wonder The Guardian,
NME and BBC Radio 1 and 6Music have tipped them for big things.
Tourdates - October 7 Roisin Dubh Galway, 8 Kasbah Limerick, 9 The
Grand Social Dublin, 21 The Waiting Room London, 23 Heartbreakers
Southampton, 26 Sneaky Pete’s Edinburgh, 27 The Attic Glasgow, 28 The
Castle Manchester, 30 The Sunflower Lounge Birmingham, 31 Bootleg Social
Blackpool, November 2 Surf Cafe Newcastle, 3 Sidney & Matilda Sheffield, 6
Mutations Festival Brighton, 7 Festival of Voice Cardiff, 9 The Shipping
Forecast Liverpool, 10 Oporto Leeds.

pre-order now04.04.2025

expected to be published on 04.04.2025

26,47
Various - NOW – Millennium 2006-2007 LP 2x12"

NOW is pleased to announce the latest addition in the Millennium series – NOW – Millennium 2006-2007 - out June 14th! Showcasing more unforgettable sounds of the 2000s, from two great years in music. 85 tracks across 4CDs, showcasing more unforgettable sounds of the 2000s from two fantastic years in music! Available as a standard 4CD set and as a special edition 4CD set, housed in ‘hard-back-book’ packaging, including a 28-page booklet featuring a summary of the year, a track-by-track guide, a quiz, and original singles artwork. Also available on a 31 track 2-LP set, pressed on one in stunning opaque orange and white vinyl on the other.

pre-order now04.04.2025

expected to be published on 04.04.2025

30,21
Various - Halo Original Trilogy LP 8x12"
  • A1: Opening Suite
  • A2: Truth And Reconciliation Suite
  • A3: Brothers In Arms
  • A4: Enough Dead Heroes
  • B1: Perilous Journey
  • B2: A Walk In The Woods
  • B3: Ambient Wonder
  • B4: The Gun Pointed At The Head Of The Universe
  • B5: Trace Amounts
  • B6: Under Cover Of Night
  • B7: What Once Was Lost
  • B8: Lament For Pvt. Jenkins
  • C1: Devils… Monsters…
  • C2: Covenant Dance
  • C3: Alien Corridors
  • C4: Rock Anthem For Saving The World
  • C5: The Maw
  • C6: Drumrun
  • C7: On A Pale Horse
  • C8: Perchance To Dream
  • C9: Library Suite
  • D1: The Long Run
  • D2: Suite Autumn
  • D3: Shadows
  • D4: Dust And Echoes
  • D5: Halo
  • E1: Halo Theme Mjolnir Mix
  • E2: Peril
  • E3: Ghosts Of Reach
  • E4: Heretic, Hero
  • E5: Flawed Legacy
  • E6: Impend
  • F1: Ancient Machine
  • F2: In Amber Clad
  • F3: The Last Spartan
  • F4: Orbit Of Glass
  • F5: Heavy Price Paid
  • F6: Earth City
  • F7: High Charity
  • F8: Remembrance
  • G1: Prologue
  • G2: Cairo Suite
  • G3: Mombasa Suite
  • H1: Unyielding
  • H2: Mausoleum Suite
  • H3: Unforgotten
  • I1: Delta Halo Suite
  • I2: Sacred Icon Suite
  • J1: Reclaimer
  • J2: High Charity Suite
  • J3: Finale
  • J4: Epilogue
  • K1: Luck
  • K2: Released
  • K3: Infiltrate
  • K4: Honorable Intentions
  • K5: Last Of The Brave
  • L1: Brutes
  • L2: Out Of Shadow
  • L3: To Kill A Demon
  • L4: This Is Our Land
  • L5: This Is The Hour
  • M1: Dread Intrusion
  • M2: Follow Our Brothers
  • M3: Farthest Outpost
  • M4: Behold A Pale Horse
  • N1: Edge Closer
  • N2: Three Gates
  • N3: Black Tower
  • N4: One Final Effort
  • N5: Keep What You Steal
  • O1: Gravemind
  • O2: No More Dead Heroes
  • O3: Halo Reborn
  • O4: Greatest Journey
  • P1: Tribute
  • P2: Roll Call
  • P3: Wake Me Up When You Need Me
  • P4: Legend
  • P5: Choose Wisely
  • P6: Movement
  • P7: Never Forget
  • P8: Finish The Fight

Halo Studios und Laced Records haben sich zusammengetan, um die ikonische Musik der ursprünglichen Halo-Trilogie zum ersten Mal auf Vinyl zu veröffentlichen.

Diese Box enthält 83 Titel aus den ersten drei Halo-Alben, die speziell für Vinyl neu gemastert und auf acht heavyweight LPs gepresst wurden. Jeder Soundtrack befindet sich in einer breitrandige Außenhülle und einer bedruckten Innenhülle. Diese wiederum befinden sich in einer stabilen Sammlerbox aus Karton mit silbernem Laminatüberzug und geprägtem Halo-Logo.

Das Original-Cover-Artwork stammt von Art Director und Concept Artist Isaac Hannaford (alias Rhizus / Space Ship Guru), dem ehemaligen Lead Concept Artist und Mitwirkenden an Halo 3, Halo 3: ODST und Halo Reach. Das zusätzliche Artwork der Box wurde von der Grafikdesignerin Maren Landsnes erstellt.

Halo: Combat Evolved war der Inbegriff des Konsolen-Ego-Shooters und sein Soundtrack legte den Grundstein für den legendären Sound der Serie. Der Soundtrack ist von verschiedenen Genres inspiriert und kombiniert schwungvolle Orchesterklänge mit marschierenden Militär-Snares, Prog-Rock-Percussion und - wer könnte den gregorianischen Mönchsgesang vergessen?

Für Halo 2 taten sich die Komponisten mit hochkarätigen Musikern zusammen und verpassten dem Halo-Thema mit dem neuen „Mjolnir Mix“ ein Heavy-Metal-Makeover. Es war der erste Videospiel-Soundtrack, der es in die Billboard 200 schaffte.

Halo 3 zeichnete sich durch Tribal-Drums und Prog-Rock-Refrains aus, während Klaviermelodien, begleitet von einem 60-köpfigen Orchester und einem 24-stimmigen Chor, dem Soundtrack emotionale Tiefe verliehen.

- 83 Tracks aus Halo: Combat Evolved, Halo 2 und Halo 3
- Speziell für Vinyl neu gemastert
- Cover-Artwork von Isaac Hannaford (ehemaliger Lead Concept Artist, Bungie)

pre-order now04.04.2025

expected to be published on 04.04.2025

188,03
Martin O'Donnell, Michael Salvatori - Halo: Combat Evolved LP 2x12"
  • A1: Opening Suite
  • A2: Truth And Reconciliation Suite
  • A3: Brothers In Arms
  • A4: Enough Dead Heroes
  • B1: Perilous Journey
  • B2: A Walk In The Woods
  • B3: Ambient Wonder
  • B4: The Gun Pointed At The Head Of The Universe
  • B5: Trace Amounts
  • B6: Under Cover Of Night
  • B7: What Once Was Lost
  • B8: Lament For Pvt. Jenkins
  • C1: Devils… Monsters…
  • C2: Covenant Dance
  • C3: Alien Corridors
  • C4: Rock Anthem For Saving The World
  • C5: The Maw
  • C6: Drumrun
  • C7: On A Pale Horse
  • C8: Perchance To Dream
  • C9: Library Suite
  • D1: The Long Run
  • D2: Suite Autumn
  • D3: Shadows
  • D4: Dust And Echoes
  • D5: Halo

Halo Studios und Laced Records haben sich zusammengetan, um die ikonische Musik der ursprünglichen Halo-Trilogie zum ersten Mal auf Vinyl zu veröffentlichen.

Dieses Doppel-LP-Set enthält die Musik aus dem Spiel, mit dem alles begann, speziell für Vinyl neu gemastert und auf heavyweight LPs gepresst. Die Schallplatten befinden sich in einer breitrandigen Außenhülle und zwei bedruckten Innenhüllen.

Das Original-Cover-Artwork stammt von Art Director und Concept Artist Isaac Hannaford (alias Rhizus / Space Ship Guru), dem ehemaligen Lead Concept Artist und Mitwirkenden an Halo 3, Halo 3: ODST und Halo Reach. Das zusätzliche Artwork des Sets wurde von der Grafikdesignerin Maren Landsnes erstellt.

Halo: Combat Evolved war der Inbegriff des Konsolen-Ego-Shooters und sein Soundtrack legte den Grundstein für den legendären Sound der Serie. Der Soundtrack ist von verschiedenen Genres inspiriert und kombiniert schwungvolle Orchesterklänge mit marschierenden Militär-Snares, Prog-Rock-Percussion und - wer könnte den gregorianischen Mönchsgesang vergessen?

- 26 speziell remasterte Titel aus dem Spiel von 2001
- Cover-Artwork von Isaac Hannaford (ehemaliger Lead Concept Artist bei Bungie)

pre-order now04.04.2025

expected to be published on 04.04.2025

50,63
fleet.dreams - Limbs of a Lion

Fleet.dreams

Limbs of a Lion

12inchVZZ002
Vinezza
04.04.2025

“Limbs of a Lion” arrives in a dazzling array of shimmering psychedelia, the newest offering on fleet.dreams’ own Vinezza records. Following “Echoes of Ego” his acclaimed inaugural 12”, “Limbs of a Lion” sees fleet.dreams’ artistry and form blossoming into realms of kaleidoscopic cadence & textural buoyancy. The production flows through a classically dubwise live analog mixing setup, new spheres of delays & echoes evolving fleet.dreams’ process to embody a unique & fully realized intersection of live instrumentation & dynamic synthesis.

Each track takes on its own entrancing sway, opening the listener towards beguiling spaciousness, experiences in rhythm, and a healthy dose of surrealist dreaming. “Masked in Porcelain” gleams with mystique, tinged with flanger in a firmly driving dancefloor mode, guiding us deeper into mysteries held by skylines and moonlight. “Secret of the Golden Flower” brings forth photosynthetic gated vocals built for eyes closed body movement, evolving from a cosmic conga groove confidently manifesting in ensnaring kinetic activation.

“iLL Enargeia” brings a touch of depth, stepping into tomorrow with a confident saunter, perfect for the blissful delirium of new beginnings or a space of breadth and reflection in the midst of astral metronomes. The closing title track “Limbs of a Lion” sees us out on a hopeful note, awash in bold luminescence & inviting us to go deeper and deeper within ourselves amidst the grounding embrace of bassline pressure.

Embodying a dance of intangibility towards new unknowns, “Limbs of a Lion” aspires to manifest the grace of movement through our beings - magnetizing and enhancing our danceable forms, frolicking beyond words together. Each track boldly stands on it’s own while orbiting a cohesive whole, perfect for all set and settings, a staple for the DJ crates, and a sign of a musicmaker with even more exciting creations on the horizon.

*words by Kiernan Laveaux
Early support from: Kiernan Laveaux, Daniel Rincón (NAP), 2Lanes & Amelia Holt

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15,55

Last In: 12 months ago
Thought Leadership - III Of Pentacles LP

Every so often an album of such deceptive genius, of such aesthetic clarity, comes across our desk and transfixes us. Thought Leadership's III Of Pentacles is one such work of art. It's an instant classic and glides into the pantheon of timeless guitar-soul totems. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

Thought Leadership has already garnered big support from such tastemakers as Ruf Dug, Jason Boardman, Nathan Gregory Wilkins, J Walk, Evan Woodward, Justin Robertson and Heavenly's Jeff Barrett. The first time we heard III Of Pentacles, we nearly wept at the thought that something so beautiful, so bursting with real hope, could even exist in this brutal world. To quote the Quietus, "imagine if Stockport was situated somewhere along the Pacific Coast Highway rather than the M60, and you’ll have some idea of the coordinates to the post-industrial, sunburnt dream space opened up here."

So, who is Thought Leadership? What do we know about them? They reside in Stockport and are obsessed with ethereal guitar records. That’s about it. That and these X ideas shared with you, the listener.

Captured on a multitrack recorder in a terraced house in Stockport, this is as DIY as it gets. Glaringly obvious is a love for classic Factory and early 4AD. Perhaps it is the proximity to the River Mersey where the ideas arrived, and there being but three miles between where this and the Durutti Column’s classic “LC” was recorded, as the two operate across a familiar aural plain. Be it geographic or otherwise, limited by a true economy of means, namely guitar, pedals and drum machine, the fruit borne from these humble tools has been indelibly shaped by the perma-gloom that hangs low over the Manchester and Stockport environs.

Ushered in on 808 kicks, “I” opens the record as a beautiful Sketch for Stockport; a chiming maj7 chord dripping in chorus and delay sets us on our way. The Vini Reilly comparisons are unavoidable. “II” is all John McGeoch, with its trippy goth-psyche arpeggiated pattern cascading across the stereo image. Do those drums swing? But goths don’t swing?! They do here. We’re treated to a bit of crunch on the lead guitar part and some really lush reverb. We even step forth into shoegaze territory, albeit briefly, for the middle eight. “III”, a firm Be With favourite, continues the dreamy psyche leanings of the previous track, with an even bigger melody this time. We’re hearing The Teardrop Explodes on quaaludes here. A proto-dream pop cut soaked in melancholy. But watch out! The coda finds Johnny Marr has gotten into the ‘ludes and gatecrashed the final bars with some incredibly ignorant B minor pentatonic noodling.

“IV” ditches the drum machine for the first in a suite of three beatless electric guitar duets. The first of these semi-improvised rubato ideas is a striking departure from the earlier playful pieces, coming over emo and moody. Greyscale sulking for Stratocaster. Sign us up. “V” contains some really lyrical phrasing; a gorgeous conversation between two guitars. Real Stopfordian Primitive; meditative, crude, rain-soaked. We cycle through the same feels, then end on an alluring chord that breaks the pattern. Sometimes thoughts are like this. “VI” creeps in all plaintive, then a huge reverberating descending guitar line comes tumbling in like something off those classic Dif Juz 12”s. There’s some Maurice Deebank in there too, for sure, and the coda nods to early Meat Puppets.

“VII” rounds out the A Side, and succinctly presents a summary of all ideas explored thus far on our journey. The drum machine is back, this time with some wispy delay, before both guitars enter together playing interlocking lines. As we start, we end, with the delayed 808 guiding us out.

Opening Side B, “VIII” sees us embark on the other side of our journey as we slow down and space out. The drum machine is here, but the guitars are different now. Think Sensations Fix or Göttsching at his most peeled out. Drones, ambient drifts of broken chords and distorted lead lines all swirl round the mix. Side B is one for headphones for sure. “IX” is almost too exquisite for words. A New Age Mixolydian voyage through the cosmos. If you’re unmoved by the end you’ve probably got no pulse. We were left blunted ineffable by this one, such is the smudged elegance radiating from this idea. All hail the Thought Leader.

“X” is a full circle moment, and a fitting end. If you’ve not already elsewhere across the platter, you will be getting heavy Robin Guthrie vibes from this piece. Like the rest of Side B, this improvised jam sticks within a framework of related chords but the celestial energies channelled might invite us to wander “outside”, especially when the Tubescreamer is engaged.

RIYL Durutti Coulmn, Cocteau Twins, Dif Juz, Sensations Fix, Spike and adjacent guitar musicks – but, ultimately, this is just its own thing; such is the strength of ideas presented. "It’s good music to chill out to." (??)

Be With is honoured to present the first ever vinyl release of III Of Pentacles, carefully remastered by Be With's engineer Simon Francisco to ensure it sounds better than ever after its initial tape release. 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 Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With. Its stark presentation befits the music contained within. They inform us that they shuffled their tarot deck to ask what the album should be called and the card you see on the cover popped out. The III Of Pentacles tarot card represents teamwork, shared vision and the ability to achieve goals through collaboration. We like to think Thought Leadership and Be With have nailed this one.

out of Stock

Order now and we will order the item for you at our supplier.

26,85

Last In: 13 months ago
Benediction - Ravage Of Empires LP
  • A1: A Carrion Harvest
  • A2: Beyond The Veil (Of The Grey Mare)
  • A3: Genesis Chamber
  • A4: Deviant Spine
  • A5: Engines Of War
  • A6: The Finality Of Perpetuation
  • B1: Crawling Over Corpses
  • B2: In The Dread Of The Night
  • B3: Drought Of Mercy
  • B4: Psychosister
  • B5: Ravage Of Empires
also available

Petrol Green Vinyl[28,28 €]


Black Vinyl

“Sometimes They Come Back” is not just the title of a horror movie based on a macabre tale by Stephen King, it is also a summary of what happened to UK death etal veterans BENEDICTION, yet you might ke to add a “better than ever before”. While never officially disbanded, 2020’s Scriptures, the group’s eighth studio album achieved what is usually not an easy feat. It connected well with classics like Transcend the Rubicon (1993) and its immediate and memorable songwriting, the heavy-as-a-brick Grind Bastard (1998), and also saw legendary vocalist Dave Ingram return with his merciless roar and knack for morbid, twisted lyrics. After two albums with Dave Hunt on vocals, Scriptures was BENEDICTION’s first record in over a decade impressing with aggressive up-tempo attacks like ‘Iterations of I’ and ‘Rabid Carnality’ or the neck-breaking mid-tempo barrage of ‘Stormcrow’, songs that became live staples alongside ‘evergreens’ such as ‘I Bow to None’, ‘Magnificat’, ‘Subconscious Terror’ or ‘Vision in the Shroud’ in no time. With Scriptures, BENEDICTION even almost cracked Germany’s top ten by entering at a phenomenal #11 of the Official German Charts showing that the death metal veterans founded 1989 in Birmingham, England, offered an extremely well received sonic catharsis when due to the pandemic, people were locked down and pissed off.
When the shroud of Covid-19 lifted, the quintet finally could start to promote the album onstage with numerous festival gigs including Summer Breeze (DE), Copenhell (DK), Mystic Festival (PL), UK Deathfest, Alcatraz (BE), Party.San (DE), Obscene Extreme (CZ), Eindhoven Metal Meeting (NL) and Rock Hard (DE) to name but a few, played triumphant shows in South and Middle America as well as in their home country and all over Europe.
Kicking in the door without further warning, fast paced opener ‘A Carrion Harvest’ that mounts in a vicious Slayer-style break, starts with Ingram growling ‘Brace for impact, go!’ giving an unmistakable hint at what to expect during the following 47 minutes and 11 songs. With tremolo riffs and hammering grooves in spades, tracks like ‘Engines of War’, ‘Genesis Chamber’, ‘Crawling over Corpses’, ‘In the Dread of the Night’, and ‘Psychosister’ show a remarkable consistency and Scott Atkins, who produced the record at Grindstone Studio once again, ensures with a crisp and massive sound that the aforementioned impact leaves no bone unshattered. Garnered with artwork by Wolven Claws Artist, Ravage Of Empires continues BENEDICTION’s flawless discography on Premier League level and promises to become one of 2025’s undisputable old school death metal highlights!
With their brilliant new record in tow, founding members and guitarists Darren Brookes and Peter Rew, longtime vocalist Dave Ingram, drummer Giovanni Durst, and Nik Sampson (bass) will travel far and wide once more. Already confirmed are the Tales of the Triple Death Tour with Jungle Rot and Master kicking off on album release date as well as confirmed appearances at Wacken Open Air and Maryland Deathfest. More to be announced soon!

pre-order now04.04.2025

expected to be published on 04.04.2025

22,48
Benediction - Ravage Of Empires LP

Benediction

Ravage Of Empires LP

12inch4065629721640
Nuclear Blast
04.04.2025
  • A1: A Carrion Harvest
  • A2: Beyond The Veil (Of The Grey Mare)
  • A3: Genesis Chamber
  • A4: Deviant Spine
  • A5: Engines Of War
  • A6: The Finality Of Perpetuation
  • B1: Crawling Over Corpses
  • B2: In The Dread Of The Night
  • B3: Drought Of Mercy
  • B4: Psychosister
  • B5: Ravage Of Empires
also available

Black Vinyl[22,48 €]


Petrol Green Vinyl

“Sometimes They Come Back” is not just the title of a horror movie based on a macabre tale by Stephen King, it is also a summary of what happened to UK death etal veterans BENEDICTION, yet you might ke to add a “better than ever before”. While never officially disbanded, 2020’s Scriptures, the group’s eighth studio album achieved what is usually not an easy feat. It connected well with classics like Transcend the Rubicon (1993) and its immediate and memorable songwriting, the heavy-as-a-brick Grind Bastard (1998), and also saw legendary vocalist Dave Ingram return with his merciless roar and knack for morbid, twisted lyrics. After two albums with Dave Hunt on vocals, Scriptures was BENEDICTION’s first record in over a decade impressing with aggressive up-tempo attacks like ‘Iterations of I’ and ‘Rabid Carnality’ or the neck-breaking mid-tempo barrage of ‘Stormcrow’, songs that became live staples alongside ‘evergreens’ such as ‘I Bow to None’, ‘Magnificat’, ‘Subconscious Terror’ or ‘Vision in the Shroud’ in no time. With Scriptures, BENEDICTION even almost cracked Germany’s top ten by entering at a phenomenal #11 of the Official German Charts showing that the death metal veterans founded 1989 in Birmingham, England, offered an extremely well received sonic catharsis when due to the pandemic, people were locked down and pissed off.
When the shroud of Covid-19 lifted, the quintet finally could start to promote the album onstage with numerous festival gigs including Summer Breeze (DE), Copenhell (DK), Mystic Festival (PL), UK Deathfest, Alcatraz (BE), Party.San (DE), Obscene Extreme (CZ), Eindhoven Metal Meeting (NL) and Rock Hard (DE) to name but a few, played triumphant shows in South and Middle America as well as in their home country and all over Europe.
Kicking in the door without further warning, fast paced opener ‘A Carrion Harvest’ that mounts in a vicious Slayer-style break, starts with Ingram growling ‘Brace for impact, go!’ giving an unmistakable hint at what to expect during the following 47 minutes and 11 songs. With tremolo riffs and hammering grooves in spades, tracks like ‘Engines of War’, ‘Genesis Chamber’, ‘Crawling over Corpses’, ‘In the Dread of the Night’, and ‘Psychosister’ show a remarkable consistency and Scott Atkins, who produced the record at Grindstone Studio once again, ensures with a crisp and massive sound that the aforementioned impact leaves no bone unshattered. Garnered with artwork by Wolven Claws Artist, Ravage Of Empires continues BENEDICTION’s flawless discography on Premier League level and promises to become one of 2025’s undisputable old school death metal highlights!
With their brilliant new record in tow, founding members and guitarists Darren Brookes and Peter Rew, longtime vocalist Dave Ingram, drummer Giovanni Durst, and Nik Sampson (bass) will travel far and wide once more. Already confirmed are the Tales of the Triple Death Tour with Jungle Rot and Master kicking off on album release date as well as confirmed appearances at Wacken Open Air and Maryland Deathfest. More to be announced soon!

pre-order now04.04.2025

expected to be published on 04.04.2025

28,28
CLAYMOREAN - Eternal Curse

Claymorean

Eternal Curse

12inchGCR20239-1
GCR Zyx
04.04.2025

-sechstes Album der traditionellen Heavy- und Epic Metal Band -spezielles Vinylmastering, bedruckter Einleger -handgemaltes Coverartwork, authentische und druckvolle Produktion -Europatour im April 2025 Das neue Album der serbischen Band Claymorean mit dem Titel „Eternal Curse“ wird weltweit am 4. April über Golden Core/ZYX Records als LP erscheinen.

Es wurde zwischen Oktober 2024 und Januar 2025 von Claymorean und Boris urlan (Midnight Studio, Lazarevac) aufgenommen und produziert. Das atemberaubende Artwork wurde meisterhaft von Anton Atanasov (OldSchool Crew) handgemalt. Das neue Album stellt eine Zusammenarbeit der gesamten Band beim Songwriting, bei den Aufnahmen und beim Arrangieren dar - ein Meilenstein, der Vladimir Garčević, Gitarrist und Bandleader, ein Lächeln ins Gesicht zaubert: „Wir haben versucht, die Essenz unserer Live-Auftritte (unter anderem beim Keep It True Rising und Headbangers Open Air) einzufangen, und Boris hat uns wirklich hervorragend dabei geholfen, den Sound zu erreichen, den wir uns für dieses Album vorgestellt haben.“ Jeder Song auf „Eternal Curse“ fühlt sich an wie eine triumphale Kampfhymne für den Metal des 21. Jahrhunderts, geschaffen mit Überzeugung, Ehrlichkeit und Leidenschaft. “Wir feiern den Heavy Metal und die LP ist auch ein Tribut an unsere Helden und Fans dieses unsterblichen Genres.“ Vlad fügt hinzu: Wir haben es geschafft, auf jeder unserer Platten einen einzigartigen und unverwechselbaren Sound zu kreieren, während wir unserer Identität und künstlerischen Integrität treu geblieben sind. Keine Kompromisse!

pre-order now04.04.2025

expected to be published on 04.04.2025

23,49
Various - Q1#1EP

Various

Q1#1EP

12inchQ1E2012
Q1E2 RECORDINGS
04.04.2025

Electronic music at its best offers a tantalising glimpse of the future, capturing the moment of conception where new worlds and genres are brought into being. Amsterdam-via-Berlin label Q1E2 (standing for “quality first, ego second”) embodies this expansive promise on their new various-artists compilation, a thrilling speed-run through the cosmic outer-reaches of contemporary club sounds that highlights the work of essential emerging producers from around the globe.

Milan producer Jack Bags opens the proceedings with “Natural Thing”, an astral deep-dance immersion with zero-gravity synthesizer pads and skeletal dub percussion that echo out through the void, sensuous vocal samples arriving like scattered transmissions from the stereo of some long-lost spacecraft. datSIM’s “Influx” races through kaleidoscopic sci-fi spacescapes, presenting a futuristic reimagining of UK bass sounds with dextrous organ melodics and widescreen atmospherics. Mike Riviera and Marco Ohboy bring us back down for a more earthly kind of ecstatic experience, cranking up the humidity and coaxing out the endorphins with the appropriately-titled “Euphoria” - a rugged, rave-adjacent heater that cleverly rearranges elements of classic house and garage into a decidedly modern club workout.

Elsewhere there’s a distinctive undercurrent of jazz flowing through the compilation, mapping out thrilling new evolutions of the music on and off the dancefloor. Dr Sud’s mesmeric rhythm excursion “Zaffiro” unfurls like the coils of a cosmic serpent, tessellating percussion and slinking subs tracing intricate beat geometries. A Soft Mist Production’s “Upside Down Rainbows” settles in for the afters with smoked-out soulful atmospherics, syrupy vocals curling and turning in the air like smoke vapors from the last vestiges of a still-lit cigarette. The Rabbit Hole’s “Tail Groove” closes out the proceedings with a surprising bait-and-switch - opening on lustrous lounge piano that could have been comped straight from a Bill Evans record, the track quickly gives way to interstellar bass ‘n’ breaks. The producer’s canny use of cello licks adds a grounded, organic feel, jazz futurism that recalls Photek or LTJ Bukem’s sampling experiments.

Taken together, the label’s new compilation provides a snapshot of a scene in constant evolution, taking the temperature of the modern electronic scene and finding it to be in rude health.

Written by Matthew Fidler

out of Stock

Order now and we will order the item for you at our supplier.

12,56

Last In: 13 months ago
Meshuggah - Immutable-The Indelible Edition(Remastered) (LP 2x12")
pre-order now04.04.2025

expected to be published on 04.04.2025

44,33
J.O.Y.S - J.O.Y.S

j.o.y.s. is both the moniker of and the debut self-titled LP by the Los Angeles based artist Ramon Narvaez. j.o.y.s. is an acronym for “jump out of your skin”. While the phrase can conjure moments of shock and surprise, Narvaez, however uses the phrase as a foot lamp illuminating a path towards momentary transcendence through creating beautifully conjured ambient music that recalls work by Daniel Lanois, suss, Dean Hurley and Tim Hecker. While the pedal steel is prominent, j.o.y.s., as a project, is more in conversation with shoegaze and noise than what has recently been deemed ambient country. Heavy brutalist slabs of noise, swirling feedback create the sound bed of these songs. Collaborator Justin Gaynor’s pedal steel on this album operates as important connective tissue as both the road and the traveler between the light and shadow zones. Drones are wrapped in distortion, processed just below the threshold where we’d throw the word “harsh” around. Rather, there is a delicate dance between Gaynor’s top-rope pedal steel lines - always sweet and always just a bit mournful - with Narvaez’s ringing bass notes and noise chatter. j.o.y.s. revels in intransigence. Nothing can last. As Matt Colquhoun puts in the introduction to Mark Fisher’s heartbreaking Ghosts of My Life - our identity and relationship to the past are “portals in perpetual collapse”. Depression, friendship, longing are all briefly satiated while in the peak experience of creating something as a response to them. But even that is impermanent. These sounds - improvised, exploratory, ecstatic - are eventually edited, whittled down and pressed to wax - not tombs but portals to the past.

pre-order now04.04.2025

expected to be published on 04.04.2025

39,29
Ant - Collection of Sounds Vol. 4 LP
  • A1: Hearing In Dark Colors
  • A2: Darker Colors
  • A3: All Right Now, Listen
  • A4: Prelude Revisited
  • A5: Behind The Sound
  • A6: Day After 2010
  • A7: Just Another Three A.m
  • A8: Aaand
  • B1: Side Eight Synesthesia
  • B2: Created With A Heavy Brush
  • B3: Hearing Situations
  • B4: All Sounds In Place
  • B5: A Pinch Brighter
  • B6: Classical Piano Number Seven
  • B7 4: Track Beyond Beat / Supreme Shoutout
  • B8: Coloring, Shading And Endings

Legendary producer Ant, best known for his work with Atmosphere, proves once again how irreplaceable he is with Collection of Sounds: Vol. 4. This latest release showcases the lifetime of dedication behind his craft, blending his unparalleled skills with a fresh, expanded vision. With previous volumes in the Collection of Sounds series, Ant has traced his musical evolution, spanning hip-hop, funk, reggae and more, all influenced and inspired by extensive travel dating back to his youth. Vol. 4 deepens this exploration, introducing rock-inspired elements—guitars that wail, gnaw, and groove—while maintaining his signature sound.

Despite these genre experiments, Vol. 4 is firmly grounded in hip-hop. The opening track, “Hearing In Dark Colors,” sets the tone, evoking long drives up desolate highways in the dead of night. Tracks like “Created With a Heavy Brush” and “Just Another Three A.M.” reveal a mastery of diverse soundscapes, while the triumphant “Day After 2010" takes listeners on an unexpected journey. As the album circles back to hip-hop on tracks like “A Pinch Brighter” and “Prelude Revisited,” it leaves listeners transformed, further solidifying Ant’s status as a visionary artist.

pre-order now04.04.2025

expected to be published on 04.04.2025

37,40
Kotonashiso - Umwelt, room
  • Excerpt 1
  • Excerpt 2
  • Excerpt 3
  • Excerpt 4

With Umwelt, room, An’archives releases the first vinyl LP by Japanese singer, songwriter and guitarist, Kotonashiso. An elegant collection of seven slow-moving, free-ranging song forms, Umwelt, room is reflective, pensive, and yet has a great, expansive sense of movement, each song’s parameters feeling almost infinitely flexible.

Born in Tokyo in 1984, Kotonashiso began playing music in 2000. After taking a long break from making music between the years 2005 to 2016, he returned with renewed focus, and over the past eight years, he’s toured Japan and Europe, performing in venues, street performances and open mic events. Currently, Kotonashiso plays either solo, on in three separate duos, with Sou Mori, 泥, and Hideya Kyooka, respectively. He’s not released much music, as yet – a single, “in the cavern”, with Sou Mori, in 2021, and a soundtrack to Hiroki Nakajima’s solo exhibition, Ray, the following year.

All of this gives Umwelt, Room the feeling of a major statement, a debut shot across the void. The seven songs collected here were recorded in 2024, with a guiding principle, for Kotonashiso, being his desire to “imagine the time when people started recording blues and folk songs on analog records,” creating a ghost-like presence in the listener’s room. When talking about the songs on Umwelt, Room, Kotonashiso focuses on a number of concepts, such as prayer, tragedy, ‘the cycle of life’, and the disappearance of the gulf between fantasy and reality.

They’re songs with deep, rich resonance, performed without guile. You might be able to hear, at times, the fragility of fellow Japanese singer-songwriter Hisato Higuchi, or the bluesy touch of Loren Connors in the guitar. However, Kotonashiso’s aesthetic remit is wide, identifying with artists like Bill Callahan, Scout Niblett, Inukaze, and Tomoko Shimazaki, and sharing sympathies with “the psychedelic rock, avant-garde and ambient communities.” Ultimately, though, the pellucid, dream-like songs of Kotonashiso, somewhere between folk, pop and blues, sit, disarmed and lovely, within their own universe.

pre-order now04.04.2025

expected to be published on 04.04.2025

31,72
Eliza Niemi - Progress Bakery
  • A1: Do U Fm
  • A2: Novelist Sad Face
  • A3: Green Box
  • A4: Dusty
  • A5: The Linda Song
  • A6: Dm Bf
  • B1: I Tried
  • B2: Melodies Like Mark
  • B3: Wildcat
  • B4: How U Remind Me
  • B5: Pocky
  • B6: Bon Tempiii
  • B7: Pt Basement
  • B8: Alberqurque Ii
  • B9: Mary's
also available

Yellow Coloured Vinyl[29,37 €]


Kneading dough is tricky – you should know how it’s supposed to feel. If you try too hard you could make it worse. It’s a beautiful practice – creation with a gentle touch, to work at something so it can be left alone. “If it’s too drawn out it’s awful. It’s easy to give too much.” Dance in the mirror. Contemplate your veiny hands. Who do they remind you of?

You begin by mixing flour and water. “What happens when your people die? Why’d they move the rock to the other side of Ulster Park?” Eliza Niemi asks two seemingly unrelated questions in a rising melody with guitar accompaniment, like fingers playing spider up to the nape of your neck. Gentle pressure. Strands of gluten form to bind the mix. A new question lingers in the binding. When she admits “but I don’t know how to tell if I’m feeling it or not,” that question surfaces through the text. It is reiterated throughout the album. When I’m working with dough I think the same thing to myself.

On Progress Bakery, her second album as a solo artist, Eliza knows to leave some questions alone – to let juxtaposition and tension be the proof. It doesn’t have to be hard. The feelings and revelations they provoke rise in the heat. The smell is sweet. Crispy on the outside and soft all the way through. She playfully slip-slides through words and sounds and images, delighting in surprise, skimming ideas like stones cast across clear water, touching down briefly with uncommon grace.

The question provoked between those opening lines resurfaces in the strands between songs – “Do U FM” is fully formed and beautifully layered, while “Novelist Sad Face” is a short, acapella rendering of gentle curiosity. What is holding these ideas together? Some songs demand more, seem to carry a whole load – eventually the skipping stone will halt to sink and resume its idle duty – while others drift in and out of focus, the way thoughts and dreams become interwoven before the mind is sunk into true sleep.

Music and words don’t always have to interact. Where she decides to keep them apart gives a new contour to where and how she puts them together. The kind of thing you’re supposed to take for granted with songs and their singers comes alive in Eliza’s hands – the little miracle of mixing, kneading, stretching, and stopping.

So often on Progress Bakery, Eliza teases out truth and meaning by asking questions. “Do I wanna be crying?” “Do you want me good or do you want me bad?” “Do I need an eye test?” “I’m writing songs in my head while you’re going over stuff with me — is that cruel??” In “Pocky” Eliza ends with a question that feels to me like the actual biography, succinct and revealing:

I don’t wanna be made to see
I just wanna ask “what’s that?”

Grace that ought to be rare, but in its care and precision is offered humbly, with great generosity, and without announcing itself. Eliza’s simple, miraculous music is given further form and shape by a group of collaborators – invaluable guest musicians Jeremy Ray, Evan Cartwright, Steven McPhail, Kenny Boothby, Ed Squires, Carolina Chauffe, Dorothea Paas, Louie Short, and Avalon Tassonyi. Together with Louie Short, who recorded, mixed, and produced the album along with Jeremy Ray and Lukas Cheung, Eliza has cultivated a richness in sound and texture that prods and provokes the ticklish ear. Barely audible guitar tinkering, a brief lo-fi field recording of trumpets, the harmonic clicking of a looped synthesizer, a flourish of reeds, a child’s conversation, each uncanny sound perfectly placed, rippling out under a soft breeze.

Lay in bed alone at night and ask aloud to the stillness,

“What were you doing at the Albuquerque Airport?
What were you doing there??”

And hear your question answered by a dream of swelling, undulating cellos. Try to grasp at the melody and structure. It’s not an answer (if there could be one), but it moves deeper, closer to the weird layer of fleeting moments and disconnected images, barely perceptible at its core. Wait for the dream reel to click into place.

Eliza took me for a ride in Nicole (her beloved Dodge Grand Caravan) and told me she’d been thinking of the album as an embodiment of transition – and I think every transition, known or unknown, carries the weight of new meaning, skittering off the surface tension of life as you know it, creating ripples, sometimes bouncing off and sometimes breaking through. There is a trick you can use to tell if a dough is glutinous enough. You’re supposed to stretch it out as thin as you can without breaking it and hold it up to the light. If you can see through, even if it renders the world murky and uncertain, you should leave it alone. I love this trick. It’s one that Eliza seems to know intuitively: work gently and ask questions and don’t always expect answers, and when you can, take a glimpse at something new, and then leave.

pre-order now04.04.2025

expected to be published on 04.04.2025

27,10
Eliza Niemi - Progress Bakery

Eliza Niemi

Progress Bakery

12inchTAR118SX
Tin Angel
04.04.2025

Kneading dough is tricky – you should know how it’s supposed to feel. If you try too hard you could make it worse. It’s a beautiful practice – creation with a gentle touch, to work at something so it can be left alone. “If it’s too drawn out it’s awful. It’s easy to give too much.” Dance in the mirror. Contemplate your veiny hands. Who do they remind you of?

You begin by mixing flour and water. “What happens when your people die? Why’d they move the rock to the other side of Ulster Park?” Eliza Niemi asks two seemingly unrelated questions in a rising melody with guitar accompaniment, like fingers playing spider up to the nape of your neck. Gentle pressure. Strands of gluten form to bind the mix. A new question lingers in the binding. When she admits “but I don’t know how to tell if I’m feeling it or not,” that question surfaces through the text. It is reiterated throughout the album. When I’m working with dough I think the same thing to myself.

On Progress Bakery, her second album as a solo artist, Eliza knows to leave some questions alone – to let juxtaposition and tension be the proof. It doesn’t have to be hard. The feelings and revelations they provoke rise in the heat. The smell is sweet. Crispy on the outside and soft all the way through. She playfully slip-slides through words and sounds and images, delighting in surprise, skimming ideas like stones cast across clear water, touching down briefly with uncommon grace.

The question provoked between those opening lines resurfaces in the strands between songs – “Do U FM” is fully formed and beautifully layered, while “Novelist Sad Face” is a short, acapella rendering of gentle curiosity. What is holding these ideas together? Some songs demand more, seem to carry a whole load – eventually the skipping stone will halt to sink and resume its idle duty – while others drift in and out of focus, the way thoughts and dreams become interwoven before the mind is sunk into true sleep.

Music and words don’t always have to interact. Where she decides to keep them apart gives a new contour to where and how she puts them together. The kind of thing you’re supposed to take for granted with songs and their singers comes alive in Eliza’s hands – the little miracle of mixing, kneading, stretching, and stopping.

So often on Progress Bakery, Eliza teases out truth and meaning by asking questions. “Do I wanna be crying?” “Do you want me good or do you want me bad?” “Do I need an eye test?” “I’m writing songs in my head while you’re going over stuff with me — is that cruel??” In “Pocky” Eliza ends with a question that feels to me like the actual biography, succinct and revealing:

I don’t wanna be made to see
I just wanna ask “what’s that?”

Grace that ought to be rare, but in its care and precision is offered humbly, with great generosity, and without announcing itself. Eliza’s simple, miraculous music is given further form and shape by a group of collaborators – invaluable guest musicians Jeremy Ray, Evan Cartwright, Steven McPhail, Kenny Boothby, Ed Squires, Carolina Chauffe, Dorothea Paas, Louie Short, and Avalon Tassonyi. Together with Louie Short, who recorded, mixed, and produced the album along with Jeremy Ray and Lukas Cheung, Eliza has cultivated a richness in sound and texture that prods and provokes the ticklish ear. Barely audible guitar tinkering, a brief lo-fi field recording of trumpets, the harmonic clicking of a looped synthesizer, a flourish of reeds, a child’s conversation, each uncanny sound perfectly placed, rippling out under a soft breeze.

Lay in bed alone at night and ask aloud to the stillness,

“What were you doing at the Albuquerque Airport?
What were you doing there??”

And hear your question answered by a dream of swelling, undulating cellos. Try to grasp at the melody and structure. It’s not an answer (if there could be one), but it moves deeper, closer to the weird layer of fleeting moments and disconnected images, barely perceptible at its core. Wait for the dream reel to click into place.

Eliza took me for a ride in Nicole (her beloved Dodge Grand Caravan) and told me she’d been thinking of the album as an embodiment of transition – and I think every transition, known or unknown, carries the weight of new meaning, skittering off the surface tension of life as you know it, creating ripples, sometimes bouncing off and sometimes breaking through. There is a trick you can use to tell if a dough is glutinous enough. You’re supposed to stretch it out as thin as you can without breaking it and hold it up to the light. If you can see through, even if it renders the world murky and uncertain, you should leave it alone. I love this trick. It’s one that Eliza seems to know intuitively: work gently and ask questions and don’t always expect answers, and when you can, take a glimpse at something new, and then leave.

pre-order now04.04.2025

expected to be published on 04.04.2025

29,37
PIGS PIGS PIGS PIGS PIGS PIGS PIGS - DEATH HILARIOUS

Das fünfte Album der Newcastler Riffzauberer Pigs Pigs Pigs Pigs Pigs Pigs Pigs (aka PIGSx7) ist geprägt von kalkulierter Aggression und selbstzerfrleichenden Texten. Zu den verblüffenden Boni gehören verspielte Synthesizer-Arbeiten und der Auftritt eines Hip-Hop-Masters. Mit seinem Titel, der Absurdität und Ernsthaftigkeit einander gegenüberstellt, ist dies Death Hilarious. Während Land Of Sleeper von 2023 als immersives Kopfhörer-Erlebnis konzipiert war, strebten Pigs dieses Mal nach etwas direkterem, böseren. ,Wir wollten, dass es ein Schlag ins Gesicht ist", grinst Produzent und Gitarrist Sam Grant. Dieses Ziel kam zum Teil dadurch zustande, dass die Band in den letzten Jahren sooooo viele Gigs gespielt hat. Die Band fühlte sich gut geölt und reif dafür, den Zuhörern zu Hause die Art von Prügel zu verpassen, die ihr Publikum von der Bühne aus erhält. Death Hilarious bietet einige Überraschungen, vor allem der Track 'Glib Tongued', bei dem El-P von Run The Jewels als Gastmusiker mitwirkt. Als Bassist John-Michael Hedley unwissentlich das schrieb, was seine Bandkollegen als ihr Äquivalent zu einer Hip-Hop-Nummer betrachteten, setzten die Pigs ihre Ziele hoch an und sicherten sich einen fulminanten Beitrag von einem der größten Rapper der Welt. Das soll nicht heißen, dass Pigs zum Nu-Metal übergegangen sind. Death Hilarious ist eine abwechslungsreiches, straffes Album, das sich zwischen sabbathianischem Doom, grotesk minimalistischem Noise Rock und zyklischen Post-Metal-Fortissimos bewegt. Auch die Pigs treiben sich selbst weiter an. Unpassende Synthesizer-Soli tauchen dort auf, wo normalerweise Gitarren-Histrionik Platz hätte. Klaviertracks lauern im Mix und verleihen dem Klangstrudeln eine fast unterschwellige Tiefe. Stitches" ist wie Motörhead, die versuchen, Glamrock mit einem beschwipsten Keyboarder zu spielen. Und dann ist da noch das 100-Meilen-Tempo des Cosmic-Thrash-Openers ,Blockage". Verzerrte Licks fliegen aus den Verstärkern von Grant und Lead-Gitarrist Adam Ian Sykes, während die Rhythmusgruppe dahinter brutzelt. Mit all dieser Power, die durch die Adern fließt, wird Death Hilarious mit Leichtigkeit eines der besten Rockalben des Jahres 2025 sein... und das ist kein Witz!

pre-order now04.04.2025

expected to be published on 04.04.2025

29,20
Various - Various  LP 5x12" BOX
  • Aretha Franklin - I Say A Little Prayer
  • Dionne Warwick - Walk On By
  • Marvin Gaye - I Heard It Through The Grapevine
  • Stevie Wonder - I Was Made To Love Her
  • The Drifters - Save The Last Dance For Me
  • The Temptations - My Girl
  • Smokey Robinson & The Miracles - The Tracks Of My Tears
  • Otis Redding - (Sittin' On) The Dock Of The Bay
  • Jimmy Ruffin - What Becomes Of The Brokenhearted
  • The Supremes - Stop! In The Name Of Love
  • The Ronettes - Be My Baby
  • The Marvelettes - Please Mr. Postman
  • The Velvelettes - He Was Really Sayin' Somethin
  • Martha Reeves & The Vandellas - (Love Is Like A) Heat Wave
  • Four Tops - Reach Out I'll Be There
  • Sam & Dave - Soul Man
  • Arthur Conley - Sweet Soul Music
  • Eddie Floyd - Knock On Wood
  • Wilson Pickett - In The Midnight Hour
  • Ike & Tina Turner - River Deep - Mountain High
  • Jackson 5 - I Want You Back
  • Stevie Wonder - Uptight (Everything's Alright)
  • Barrett Strong - Money (That's What I Want)
  • Four Tops - I Can't Help Myself (Sugar Pie, Honey Bunch)
  • Otis Redding - Try A Little Tenderness
  • Mary Wells - My Guy
  • Dionne Warwick - Don't Make Me Over
  • Brook Benton - Rainy Night In Georgia
  • Dinah Washington - Mad About The Boy
  • James Brown - It's A Man's Man's Man's World
  • Nina Simone - Feeling Good
  • Aretha Franklin – Respect
  • Fontella Bass - Rescue Me
  • Freda Payne - Band Of Gold
  • Smokey Robinson & The Miracles - The Tears Of A Clown
  • Martha Reeves & The Vandellas - Dancing In The Street
  • The Supremes - Baby Love
  • The Toys - A Lover's Concerto
  • The Drifters - On Broadway
  • Ann Peebles - I Can't Stand The Rain
  • Erma Franklin - Piece Of My Heart
  • The Temptations - Papa Was A Rollin' Stone
  • Sly & The Family Stone - Family Affair
  • Curtis Mayfield - Move On Up
  • Isaac Hayes - Theme From "Shaft
  • Edwin Starr – War
  • Frankie Valli & The Four Seasons - The Night
  • Marlena Shaw - California Soul
  • Gloria Jones - Tainted Love
  • William Devaughn - Be Thankful For What You Got, Part 1
  • Ben E. King - Stand By Me
  • The Spinners - Could It Be I'm Falling In Love
  • Marvin Gaye - What's Going On
  • Al Green - Let's Stay Together
  • Bill Withers - Ain't No Sunshine
  • Billy Paul - Me And Mrs. Jones
  • Harold Melvin & The Blue Notes - If You Don't Know Me By Now
  • The Stylistics - You Make Me Feel Brand New (Let's Put It All Together Version)
  • The Delfonics - Didn't I (Blow Your Mind This Time)
  • Timmy Thomas - Why Can't We Live Together
  • Roberta Flack - Killing Me Softly With His Song
  • Minnie Riperton - Lovin' You
  • Deniece Williams - Free
  • The Three Degrees - When Will I See You Again
  • Gladys Knight & The Pips - Midnight Train To Georgia
  • The Floaters - Float On
  • Jackson 5 - I'll Be There
  • Diana Ross - Ain't No Mountain High Enough
  • Barry White - You're The First, The Last, My Everything
  • Earth, Wind & Fire – Fantasy
  • The Isley Brothers - Summer Breeze, Pt. 1
  • The Tymes - Ms. Grace
  • The O'jays - Love Train
  • George Mccrae - Rock Your Baby
  • Harold Melvin & The Blue Notes - Don't Leave Me This Way
  • Frank Wilson - Do I Love You (Indeed I Do)
  • Booker T. & The M.g.'s - Green Onions
  • Percy Sledge - When A Man Loves A Woman
  • Commodores - Three Times A Lady
  • Rose Royce - Wishing On A Star
  • Peaches & Herb - Reunited
  • Heatwave - Always And Forever
  • Gladys Knight & The Pips - Best Thing That Ever Happened To Me
  • George Benson - The Greatest Love Of All
  • Marvin Gaye - Let's Get It On

NOW Music is pleased to announce NOW Presents…Classic Soul, a stunning 5LP boxset of 85 of the greatest 60s & 70s Soul tracks ever... Out September 22nd!



LP1 opens with ‘I Say A Little Prayer’ from the “Queen of Soul”- Aretha Franklin, the peerless ‘Walk On By’ from Dionne Warwick and followed by massive hits from Marvin Gaye with the #1 ‘I Heard It Through The Grapevine’ and Stevie Wonder’s ‘I Was Made To Love Her’, plus classic tracks from The Temptations and Otis Redding. Flip to the other side for legendary groups – The Supremes, The Ronettes, The Marvelettes, The Velvelettes and Martha Reeves & The Vandellas.



LP2 begins with the powerhouse vocals of Tina Turner (with Ike) on ‘River Deep, Mountain High’. Top tracks from the Jackson 5 & the Four Tops give way to a run of Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, ‘Tainted Love’ from Gloria Jones, Frank Wilson’s legendary ‘Do I Love You’, and ‘Green Onions’ from Booker T. & The M.G.'s. Side 2 begins with the superb vocals of Ben E. King with ‘Stand By Me’ and Percy Sledge with ‘When A Man Loves A Woman’. Another Otis Redding classic alongside the genius of both James Brown and Nina Simone brings this LP to a close.



The A-Side of LP3 kicks off with the signature smash from Aretha Franklin ‘Respect’ before the first UK #1 for the Motown label from The Supremes with ‘Baby Love’, and there’s still room for Smokey Robinson & The Miracles, The Drifters, and another #1 from Freda Payne. Side B begins with one of the most iconic and funky baselines ever on ‘Papa Was A Rollin’ Stone’ from The Temptations and the classic grooves ‘Move On Up’ from Curtis Mayfield, Isaac Hayes’ ‘Theme from “Shaft”’, the emphatic ‘War’ from Edwin Starr and the cool sophistication of ‘California Soul’ from Marlena Shaw lead to the closing track ‘Could It Be I’m Falling In Love’ from The Spinners.



LP4 begins with a run of beloved tracks from iconic artists opening with the politically charged masterpiece ‘What’s Going On’ from Marvin Gaye, followed by Al Green, Bill Withers and Billy Paul, plus The Stylistics and The Delfonics to add to the selection of celebrated groups on this release. The second side begins with the exceptional ‘Killing Me Softly With His Song’ from Roberta Flack, before the stunning vocals of Minnie Riperton’s ‘Lovin’ You’ and Deniece Williams, The Three Degrees and Gladys Knight. The Jackson 5 bring this disc to a close with their timeless ballad ‘I’ll Be There’.



LP5 contains a run of 1970s favourites beginning with ‘Ain’t No Mountain High Enough’ from Diana Ross and ‘You're The First, The Last, My Everything’ from Barry White. ‘Fantasy’ from Earth, Wind & Fire, ‘Summer Breeze, Pt. 1’ from The Isley Brothers and ‘Love Train’ from The O’Jays all feature before the Commodores kick off the final side with ‘Three Times A Lady’. Rose Royce, Peaches & Herb and a second selection from Gladys Knight & The Pips feature along with George Benson, before the “Prince of Soul” Marvin Gaye brings this essential collection home with ‘Let’s Get It On’.



85 tracks across 5 stunning LPs, NOW Presents Classic Soul... Out September 22nd!

pre-order now04.04.2025

expected to be published on 04.04.2025

47,69
Hüma Utku - Dracones

Hüma Utku

Dracones

12inchEMEGO318V
Editions Mego
03.04.2025

Hüma Utku returns to Editions Mego with her new album. The title Dracones makes reference to the mediaeval latin term "Hic sunt dracones" (Here be dragons), marking the unexplored, dangerous places on world maps, expressing the fear of chaos, the unexpected and the unknown.

This new work by the Istanbul sound artist is a sonic journal of an expedition into uncharted territory, one which occupies self and domesticity. Inspired by Utku’s experience of matrescence, Dracones explores the themes of familial demonology, metamorphosis and homecoming as well as human relationship to the experience of love woven layers of euphoria, alienation and consumption.

Musically, Dracones traverses a wide array of sonic tools whereby industrial sounds are imbedded with certain psychological angles, this is an album where, all matter meshes into a sly snapshot of the human experience with a tension and release exposure occurring frequently with dark corners opening up to bright layers of electronic experimentation.

The haunting opening track ‘A World Between Worlds’ tackles pregnancy, of which Utku was experiencing when making this record. The emotional, physical, spiritual and mental experience of this journey is all documented here.. This track features the ‘Lyraei’, an electromagnetic string instrument and modern interpretation of the ancient lyre, that was built and played by Mihalis Shammas. ‘Comfort of The Shadows’ moves from within to without, what was once hidden is now exposed. Utku’s ability to conjure the visual in the sonic is at the forefront as howling electronics give a distinct impression of movement. ‘A Familial Curse’ presents a desire to break the cycle of generational trauma with a creeping sense of dread that rolls into an industrial rhythm prior to landing in a beautiful place represented with shimmering guitar tones. ‘Here be Dragons’ is a rich and dark evocation, a spooked surrender to the themes of the record whereby Utku’s wildly distorted voice beckons all manner of phantasmagoria over cello and recordings of her ultrasound. ‘Care in Consume’ engages in further sonic exploration as a means of conjuring ‘matriphagy’, with its unique psychic energy coursing through electronic veins. ‘A House within a House’ could also be read as a body within a body as the pulse of ultrasound audio rattle amongst a cage of thudding rhythms and swirling electronics, one also ending in optimism as an exquisite melody is born from the prior fire. The striking journey ends with the more soothing ‘Ayaz’a’, a track embracing love and all the hardships that a period of fundamental metamorphosis brings, this is a heartfelt dedication to her son and concludes an album draped in life, experience, joy and pain.

Dracones is a deeply visual journey through inner and outer worlds, a space where symbolic evocation is supreme and passive listening is not an option.

All tracks composed,performed and recorded by Hüma Utku
Buchla 100, vocals, cello, electric guitar performed by Hüma Utku
‘’A World Between Worlds’’ features the ‘Lyraei’ built, played and recorded by Mihalis Shammas
Buchla 100 recorded in EMS Stockholm 2022-2023

Mixed by Enyang Urbiks
Mastered by Heba Kadry, NYC
Cover Artwork by Marco Ciceri
Design by Tina Frank

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24,58

Last In: 13 months ago
Kirk Barley - Lux

Kirk Barley

Lux

12inchODA05M
ODDA Recordings
03.04.2025

Another foggy day in Yorkshire. A steel grey sky. Raindrops tracing one another down the windowpane. Kirk Barley sits in his studio and assembles compositions from scraps of found sound and live instrumentation. Melodies swell, withdraw and repeat like waves. Time slows. Accelerates. Slows again. The light bends, tweaked at the edges. Twisted by rhythms that never quite resolve.

Written, recorded and produced by Barley in Yorkshire in early 2024, Lux picks up where 2023 LP Marionette leaves off, conjuring a mystical, reflective space between formal minimalism and sonic imaginaries of northern landscapes.

And yet, where Marionette relied at times on more recognisable field recordings, Lux leans into Barley’s skill as an instrumentalist and sound designer, working from a palette of short samples and utilising a variety of alternate tuning systems to build, layer and coax his compositions into being. Most evident on tracks ‘Vita’, ‘Sprite’ and ‘Descendent’, these tunings create an otherworldly harmonic language that is easier to perceive than describe.

Alongside more familiar instruments of guitar, bass, drums, organ and clarinet, here Barley draws on plastic saxophones and bells, and recordings of glass, wood and metal sound objects to provide the organic matter. Rather than directly representative of the natural world, Lux enters into a dialogue with it which, like the grasses and flowers of the album’s cover, exists somewhere between reality and artifice.

On album opener ‘Cache’, Barley constructs his own sense of time from a recording of an umbrella crank, a sparse and spectral piece which hints at memories embedded in the track’s title. Introspection blossoms into new life on ‘Vita’, crumpling again into the percussive ambience of ‘Verre’. A track that takes its harmonic lead from the clinks of glass, it features Barley’s long-time collaborator Matt Davies on drums, whose nuanced, tonally sensitive playing gives ‘Verre’ a fizzing, ice-like quality.

There are several moments where Lux picks up on themes Barley explored under electronic moniker Church Andrews on recent works with Davies, stretching and distorting temporalities most explicitly on ‘Descendent’, whose ritualistic air unfurls around a pattern in exponential decline.

Embracing the surrealism Barley absorbed over years watching classic film noir and the works of David Lynch and Federico Fellini, Lux wends its way through the enchanted sound worlds of ‘Sprite’ and ‘Balanced’ before arriving at the album’s title track.

An expression of his recent experiments in live, prepared guitar, ‘Lux’ brings the album back to earth, returning us to the room where the rain has stopped, the clouds have parted, and the soft warmth of the spring sun is pouring in through the open window.

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22,65

Last In: 12 months ago
HxH - STARK PHENOMENA

Hxh

STARK PHENOMENA

12inchOF04LP
OFNOT
03.04.2025

Chris Ryan Williams (trumpet & electronics) and Lester St. Louis (cello & electronics) work together as HxH (H by H). Their skills have seen them move smoothly across various situations, constantly carving out new terrain and working in new configurations of musicians at a rapid pace. While worth reading, their biographies capture only a part of their complex rhizome.

HxH started about three years ago. The project is a direct response to all their activity with others and more importantly all their future leaning sonic desires. Their debut album STARK PHENOMENA is both their first studio recording and their first physical release. The album is appropriately set to be released by KMRU on his growing label OFNOT. It’s an ideal introduction to their sound world and their approach.

HxH describe their music as “electroacoustic,” but until recently the presence of Black musicians in this field has been greatly overlooked and largely ignored, making this phrase only partially appropriate. What HxH do really is to always be unpredictable. Every gig is a new soundscape. Sometimes you might hear echoes of Autechre or Robert Hood but then the sound-field will open up into a new terrain all their own. Chris and Lester bring together techniques from across the sound spectrum of electronic music and also draw on their deep backgrounds in Jazz, Improvisation, Classical and Noise scenes to create a sound that is true to them. After all, these two have worked with the likes of Bennie Maupin and the music of Black Fluxus artist Ben Patterson. Their rhizome is deep.

One of the ways that their unique approach manifests is in their merging of both acoustic instruments and electronic instruments in real time. This is something few have managed to do – but their spontaneous leanings work in both complex and accessible ways because of their deep understanding of landscape crafting. You can hear this clearly on the track “Pyrex Vision.” Their approach makes it tempting to compare their music to Sun Ra jamming with Laurel Halo – a comparison that would be only partly accurate.

Chris and Lester note that the sounds on STARK PHENOMENA are “imbued with such hopeful, gracious care; one that is far flung from obsessive carefulness or fuck the world carelessness, but more a caring embrace without the fuzziness of nostalgia.”

They note that when they began working together, they would “always come back to speaking on our concepts of an architecture of the expanse,” noting that their live sets often take on the joyfully noisy task of “dreaming big.” For HxH it was essential that STARK PHENOMENA have a quality that is “almost sculptural.” They consider the album “an object to be viewed from all sides.” This kind of thinking has resulted in them directly engaging with numerous sculptors and artists including Torkwase Dyson. Shape wise HxH’s sound fields work in a parallel to Dyson’s black architectural works.

They also note that the opening cut “BEACH” (the opening and longest track from the album) was “written weeks after our first gig in a studio session donated to us by our dear friend jaimie branch.” And that Pyrex Vision “was continually being edited months after sending our ‘final mixes’ to KMRU.” Their sound sources and samples come from studio sessions, live gigs, durational installations, 3am improvised downloads and more.

KMRU notes: "I think there is an in-between layer on this record. I was first caught by the Pyrex Vision track which organically flows between monologue, subtle field recording, and instrumentation. It's such a beautiful track, evoking deep emotion through simplicity. STARK PHENOMENA effortlessly glides in between imaginative mosaics of sounds — free yet complex — unlocking memories within its layers."

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22,27

Last In: 2 days ago
DREAMCASTMOE - SOUND IS LIKE WATER LP

dreamcastmoe is the recording project of singer, songwriter, producer, and DJ Davon Bryant, a lifelong resident of Washington, DC. His music moves freely between moods and modes, hypnotic, romantic, traversing electronic, R&B, funk, soul, and hip-hop... Resident Advisor dubs it "soulful, cross-genre dance music." This ability to adapt and finesse, to twist in different directions while staying true and coherent in vision, can be traced to his home city and its complex cultural history. "Most Black kids in DC don't ever get to this point," he says. "This is what I am making this music for, in the DC tradition of soul and empathy and love that is rooted in this city. My music is for real people dealing with shit every day." A versatile, modern artist and collaborator, dreamcastmoe has thrived in the underground since his first uploads to Soundcloud and Bandcamp in 2017 and subsequent releases with labels like People's Potential Unlimited, Trading Places, and In Real Life Music. Bryant's laid-back personality, emotional honesty, and infectious energy shine through his work and how he talks about it, as Crack Magazine notes in their 2021 Rising feature: "a steady combination of confidence, creativity, and calmness." He grew up playing drums in church; he's worked dead-end jobs, had ups and downs, even sold off all his gear one time, but never stopped reinvesting in himself. He is quick to praise his co-producers, rattle off influences _ the visual feel of NBA 2K, the comedic timing of Bernie Mac, the savvy legacy of Duke Ellington, for starters _ and credit resourceful DC breakouts like Ankhlejohn that showed him the roadmap. His voice, a steady instrument, seemingly connects it all, capable of slow falsetto flow, swaggering talk-rap, and outright croon. His storytelling style is choppy yet fluid, like a mixtape, which is how Bryant sees Sound Is Like Water, his debut on Ghostly's International's freeform label, Spectral Sound. The two-part project culminates as a full-length LP release in November 2022. The first side, released as Part I, opens on the blurred beats of "El Dorado," which dreamcastmoe dedicates to his journey. It's a head-nodder, an off-kilter earworm co-produced by Max D (Future Times, RVNG Intl, etc.), with Bryant harmonizing hooks with synth jabs and a pitched-down presence. "Complicated" is the slow jam, delivered smoothly from a Saturday night crossroads. dreamcastmoe is contemplative and committed... gliding and locking ad-libs into skittering rhythms courtesy of co-producer Zackary Dawson _ but also willing to let something go, "acknowledging that everything in life IS NOT easy." "RU Ready" takes off from the jump as a tribute, challenge, and promise to his partner and his city ("The times you sat with me when I needed you the most / Told me the things that I needed to see / Young black man, really trying to be what I can be / And I'm really from DC). In its potent two-plus minutes, the sonics (co-produced by ZDBT) press the message, all cymbal crashes, breakbeats, and serrated synth lines. "Cloudy Weather, Wear Boots" is a blitzing dance-punk track made in collaboration with Jordan GCZ on Bryant's first trip to Amsterdam. The album's flipside opens on "Much More," the first of two synth-and-beat ballads co-produced by ZDBT. Later on "Long Songz," he claims, "I'm not writing love songs no more," prioritizing the vibe with "all my day ones." He calls it "a cry for more normal moments. Everything doesn't have to be a fantasy love story, more time spent getting to the money, growing, and making a way." He saves two of his most propulsive cuts for the finale, co-produced by Sami, co-founder of DC dance label 1432 R. As their titles suggest, "Take A Moment" and "Make Ya Mind" operate as anthems for movement, with Bryant free-flowing commands above wildly-styled percussion. Per Bryant, the latter is both "wake & bake jam" and a "dance floor bomb." His parting line: "Action / You got to show me action / Reaction." The world of dreamcastmoe straddles virtual reality and the realness of DC, images both imagined and lived-in. Bryant has a knack for unexpected melodies but what makes his music so exciting is his capacity to defy the expectations of genre and image. A fluid ingenuity and vulnerability bottled by Sound Is Like Water, and this is just the beginning.

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27,27

Last In: 13 months ago
ALIEN SIGNAL - WHISPERS FROM DISTANT SUNS (2025)

After a 30-year interstellar silence, the enigmatic producer Alien Signal—pioneering alias of Italian electronic composer Alex Silvi—reemerges with Whispers from Distant Suns, a transcendent odyssey that bridges retro-futurism and modern electronica. Hailed as a magnum opus, this album transcends genre boundaries, captivating ambient purists, downtempo aficionados, and even experimental listeners with its hypnotic fusion of analog warmth and digital precision.

Cosmic Tapestry of Sound
Drawing comparisons to Vangelis’ Antarctica and Alpha—but reimagined through a 21stcentury lens—Whispers from Distant Suns marries nostalgic synth textures with cuttingedge production. Silvi’s mastery of melody shines through in tracks like “Stardust
Memories” and “Fragile Eden” where shimmering arpeggios and celestial pads drift over robotic, glitch-infused drum patterns and sparse, meditative percussion. The result is a paradox: a retro-futuristic soundscape that feels simultaneously ancient and alien, familiar yet unexplored.

Listener Testimonials
Fans and critics have flooded forums with praise:

“An auditory revelation! It’s like Vangelis met Jon Hopkins in a nebula—vintage soul with a futuristic heartbeat.”
“The textures are gorgeously cinematic. Closing your eyes, you’re adrift in a Tarkovsky film scored for the Andromeda galaxy.”

The Vinyl Experience
Pressed on heavyweight vinyl, the album’s physical release amplifies its immersive qualities. The gatefold sleeve, adorned with surrealist astrophotography and metallic
foiling, mirrors the music’s cosmic ethos. Side A leans into Balearic serenity, with sundappled grooves and aquatic synth ripples, while Side B delves into darker, more
experimental terrain—think Aphex Twin’s Selected Ambient Works colliding with the organic rhythms of Jon Hopkins.

Maturity in Motion
This album is a testament to Silvi’s evolution. Tracks like “Seeds Of Light” and “Message from Andromeda Galaxy” showcase his refined ear for dynamics, balancing silence and sound with surgical precision. Vintage drum machines spar with glitches, while field recordings of crashing waves and interstellar static blur the line between Earth and cosmos. The closing track, “The Star Charts We Shared” crescendos into a 6-minute ambient requiem, leaving listeners suspended in a state of weightless awe.

Final Transmission
Whispers from Distant Suns is more than an album—it’s a transcendent odyssey. Spanning time, space, and the artist’s own creative evolution, this immersive work invites listeners to lose themselves in its ebb and flow. Designed for moments both intimate and expansive, its balearic-tinged atmospheres resonate equally through dawnlit Mediterranean terraces or the solitary glow of headphones in darkness. These are compositions that pulse, morph, and haunt the air long after the final note fades. A living soundscape meant to accompany life’s quiet revelations and clandestine joys—a soundtrack to your most personal moments, crafted as what the artist calls ‘private dance music.’

Tailored for the Discerning Listener
Whispers from Distant Suns is designed with the true connoisseur in mind. This album is a must-have for:

Vinyl Collectors & Audiophiles: Those who value the warmth and tactile experience of heavyweight, limited edition pressings
Electronic Ambient and Downtempo Fans: Listeners who appreciate immersive soundscapes that merge retro analog charm with modern digital innovation.
Retro-Futurism Enthusiasts: Fans of pioneering artists like Vangelis, Boards of Canada, and early Warp Records who seek music that bridges nostalgic synth textures with futuristic experimentation.
Experimental Music Explorers: Individuals drawn to sonic narratives that invite deep, contemplative listening—perfect for both introspective moments and immersive listening sessions.
This release is not just an album; it’s a curated experience for those who desire music as a multidimensional art form, merging the vintage allure of analog sound with a contemporary, cosmic vision.

For fans of: Vangelis, Biosphere, Jon Hopkins, early Warp Records.

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26,26

Last In: 11 months ago
MADRONAS - EROGENOUS BIOME

Madronas

EROGENOUS BIOME

12inchIMPTNC10
IMPATIENCE
01.04.2025

Madronas’ debut LP Erogenous Biome is an amorphous, murky, cathartic offering. A duet of modular synthesizer and winds that’s equal parts doom and ecstasy, it’s the sound of a majestic butterfly emerging from it’s slimy chrysalis just in time to catch the sun setting on the end of days, a bewitching, heavy ceremony, a power-wash of both mind and spirit.

Tracked in one continuous take at Brooklyn’s Heavy Meadow studio, individual tracks were gleaned from the purge and eschew predictable structures, making for a dense, fluid suite of improvisation, like dancing smoke ribbons in the dark. The duo's chosen sound sources are seemingly opposite - Ry Fyan’s modular’s coming from electronic oscillators, Isaiah Barr’s saxophone and various flutes originating with the breath - but the visceral, imprecise, alive quality to the sound of both lends the record a thrilling combination of rapturous harmony and gritty, intense friction.

Opening the session in ritualistic, foreboding fashion, Voluntary lurches to life with rattles and wandering, bassy arpeggios before a suona’s cry signals the seance has officially begun. Ostraca Loam spits explosive modular rhythms and eerie shrieks for the flute to float above, while Detritus Harp smudges mechanical whirring, pensive horn and wind chimes for an untethered drift. Petrified Microdot swells with menacing sci-fi sequences and breathtaking sax runs until they both run out of breath, and Negative Lingam starts out in a panic of breathy riffing before exhaling into one of the most sublime passages on the record. Rhythmic pounding and undulating flutes punctuate Lenticular Shroud, before The Preparation Of The Novel sets the winds aside for a synthesized dual fit for electric dreams. The title track dominates the B-side, it's shimmering levity slowly unfurling to reveal itself as a kind of post-apocalyptic devotional music, deep space drifting grounded by earthly flutes, and Vale Of Cashmere offers an ascetic, contemplative closure, sparse flute and chiming rhythms organic or electronic - by this time it’s hard to know, it doesn’t matter either way.

Erogenous Biome is a world of it’s own, and one Impatience is honored to offer a window into.

RIYL - Senyawa, witchcraft, Colin Stetson , Civilistjavel, Mars (the planet), Finis Africae, raga, Stephen O’Malley, modular synthesizer, Anthony Braxton, Shabaka.

Madronas is Ry Fyan and Isaiah Barr. Fyan is a painter and tattoo artist, this is his first release. Barr is a prolific instigator of the downtown New York scene, producing and playing saxophone in jazz circles with his group Onyx Collective, as a player and/or producer on records by Nick Hakim, David Byrne and Wiki, performing live with William Parker and as part of his projects Universal Space Jam and Cafe Dewanee.

Erogenous Biome was recorded and mastered by Griffin Jennings at Heavy Meadow, Brooklyn.

Vinyl was cut by Beau Thomas at Ten Eight Seven Mastering, Berlin.

Artwork is by Ry Fyan, typography and layout by Nicolas Turek.

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23,49

Last In: 77 days ago
VARIOUS (Paul Weller) - PAUL WELLER PRESENTS ~ THAT SWEET SWEET MUSIC LP 2x12"
  • A1: God Made Me Funky - The Headhunters
  • A2: Spanish Twist - The I. B. Special
  • A3: Breakaway - The Valentines
  • A4: Top Of The Stairs - Collins & Collins
  • A5: Dont Let The Green Grass Fool You - The Spinners
  • A6: Black Balloons - Syl Johnson
  • B1: Soulshake - Peggy Scott & Jo Jo Benson
  • B2: I Can't Make It Anymore - Richie Havens
  • B3: You Got To Have Money - The Exits
  • B4: Pull My String (Turn Me On) - The Joneses
  • B5: Run For Cover - The Dells
  • B6: On Easy Street - O.c. Smith
  • B7: It Ain't No Big Thing - The Radiants
  • C1: Summertime - Billy Stewart
  • C2: In The Bottle - Brother To Brother
  • C3: Hard Times - Baby Huey
  • C4: Maggie - Johnny Williams
  • C5: When - Joe Simon
  • C6: Pouring Water On A Drowning Man - James Carr
  • C7: That's Enough - Roscoe Robinson
  • D1: Blackrock “Yeah, Yeah” - Blackrock
  • D2: Golden Ring - American Gypsy
  • D3: Search For The Inner Self - Jon Lucien
  • D4: Life Walked Out - The Mist
  • D5: In The Meantime - Betty Davis
  • D6: Beautiful Feeling (Single Mix) - Darrell Banks

Soul music has always been in Paul Weller’s blood from early Jam covers of Martha & the Vandellas 1963 classic ‘Heatwave’. Along with other forms of music, soul found its way into Paul’s record collection, nourishing his ears and informing his own songwriting

We don’t need to recap a questing musical career from the Jam to the Style Council and then blossoming into one of the most productive and revered careers of any UK solo artist. Paul has written anthems, standards and a songbook that have always developed from his own feelings.

Whilst Paul has talked about his love of soul music he has, before now, simply been too busy to sit down and curate a collection of his favourite tracks and get it into the record racks.

Ace Records are honoured and delighted to finally release that Paul Weller curated collection which he has aptly titled, “That Sweet Sweet Music”.

This 2-LP set and CD open the curtains on 26 tracks that are some of Paul’s favourite soul records most of which nestle on vinyl in his own collection. He can still recall paying £70 for his copy of Jon Lucien’s 1971 ‘Search For The Inner Self’ 7” at a record shop in Leicester in the 90s. Some of these tracks are soul classics like James Carr’s 1966 ‘Pouring Water On A Drowning Man’ and Brother to Brother’s brilliant take on Gil Scott Heron and Brian Jackson’s ‘In The Bottle’ from 1974. Others are deliciously obscure wonderous gems like the A-side of Blackrock’s sole 1971 single ‘Blackrock “Yeah, Yeah”’, ‘Life Walked Out’ from the same year by the Mist or Syl Johnson’s ‘Black Balloons’ taken from his 1970 album “Is It Because I’m Black?”.

There are plenty of big vocal hitters such as Darrell Banks, Spinners, Joe Simon, O.C. Smith, the Dells and Betty Davis. Whilst the core is vocal soul the music does branch out with Paul selecting a wicked instrumental from the flipside of the Isley Brothers’ ‘Twist & Shout’ from 1962 and the funky jazz of the Headhunters ‘God Made Me Funky’, the A-side of their first 1975 seven-inch.

pre-order now31.03.2025

expected to be published on 31.03.2025

32,48
K.D. Lang - Ingenue One-Step LP

K.d. Lang

Ingenue One-Step LP

12inchSIRLPO83564
IMPEX Records
31.03.2025
  • Save Me
  • The Mind Of Love
  • Miss Chatelaine
  • Wash Me Clean
  • So It Shall Be
  • Still Thrives This Love
  • Season Of Hollow Soul
  • Outside Myself
  • Tears Of Love's Recall
  • Constant Craving

Because Sound Matters' meticulous One-Step process creates the definitive sounding audiophile version of k.d. lang Ingénue. This all-analog release comes from the original first-generation master tapes for the first time. Vinyl guru and editor Michael Fremer says, "This k.d. One-Step is insane – It's otherworldly great!"

This One-Step version is strictly limited to 3,000 copies. The album is housed inside a top-quality, foil-stamped, uniquely designed numbered slipcase. The enclosed gatefold jacket will feature an "old style" tip-on jacket with the original artwork.

Special care has been taken to faithfully preserve the original sound with exceptional clarity and depth, capturing the recording's nuances and subtleties at every step to create the best sounding record possible.

The One-Step process is highly regarded among audiophiles and collectors for its unparalleled sound fidelity and represents the pinnacle of vinyl manufacturing craftsmanship.

Ingénue was originally released March 17, 1992 and is k.d. lang's second solo album.

Upon release, the album charted at #18 in the US, #13 in Canada, #3 in the UK and Australia and #1 in New Zealand. Nominated for six Grammy® Awards with the breakout single "Constant Craving" winning a Grammy® Award for Best Female Pop Vocal Performance. "Miss Chatelaine" and "The Mind of Love" were follow-up singles.

k.d. received universal critical acclaim for the album from publications like Mojo, Pitchfork, Rolling Stone, Uncut and dozens more! Today, Ingénue is a true classic album and considered one of the great audiophile recordings of the modern era. This One-Step version certainly proves that!

Notes for This Release:

Ingénue was originally recorded and mixed on analogue tape and produced by Greg Penny, Ben Mink and k.d. lang. The original analogue master tapes were directly used as the audio source for this One-Step pressing! This is the first time the analogue tapes have been used as a vinyl source for this brilliant recording. The results are stunning.

Because Sound Matters used the Neotech VR900-D2 180g High-Performance vinyl compound, which is the same as what is known as Super Vinyl – the best in the world.

Chris Bellman at Bernie Grundman Mastering cut the lacquers with meticulous care! He also did the original mastering of the CD release in 1992.

Dorin Sauerbier at Record Technology, Inc (R.T.I.) has been plating records for decades and is considered the best in the world – he also has done more One-Step processing than anybody. This is a vital step in the process to ultimately delivering the absolute best sounding version of Ingénue ever.

Record Technology, Inc did the pressing – using the exact pressing machine used for so many other One-Step releases. The QC team is constantly monitoring each copy as it comes off the press.

Because Sound Matters' slipcases and gatefold "old style" tip on original art jackets were printed by world-renowned Stoughton Printing Company.

This new all-analogue edition will draw you into the music as never before—at least it did me. The sonic picture is rich, well-textured, harmonically saturated, spatially deep and all the rest of the audiophile buzzwords that no doubt the producers (who include lang) intended to give listeners but until now couldn't fully deliver. The musical flow will have you swooning in your seat. Before the opener 'Save Me' concludes you may already feel overwhelmed and in need of lifting the stylus to catch your emotional breath...What a treat!
-Michael Fremer, Tracking Angle, Music 11/10, Sound 11/10

pre-order now31.03.2025

expected to be published on 31.03.2025

162,14
Kapote - Para Mytho Disco  LP 2x12"

Toy Tonics Music Berlin presents "Para Mytho Disco". The 2nd "Kapote" album of label founder and creative director Mathias Modica.
Keyboarder, DJ, producer, music nerd, graphic designer, multi-instrumentalist, sub-culture impressario and artist (formerly known as Munk of Gomma records.)

Kapote & Toy Tonics
In the last years Kapote was in the spotlight mainly for building the Toy Tonics label with his friends. Developing a platform for new positive quality dance music with a human touch. Toy Tonics is the opposite of the dark, druggy Techno and Trance sounds of the last years.
The warm inclusive music of Toy Tonics represents a new vibe that a young generation of diverse, stylish and culturally intersted generation of dancers loves now. Kapote's Toy Tonics became the key label for that vibe. (In 2024 Toy Tonics made 150 Toy Tonics events in 18 countries. With more than 150.000 people dancing. 90 millions streams on their music.)
Toy Tonics is more than a music label: It's a audio - visual universe. A community, almost a movement.
Based on a new positive attitude and aesthetic diversity. Mixing musicianship with DJ culture, analogue music with electronic, ideas from the past with sounds from now. To create something new. Connecting dance music with graphic design, art and underground fashion.
Kapote and his gang release vinyl, posters, shirts, art fanzines and make exhibitions and partys.

Toy Tonics started in Berlin as a underground niche project. But now became the key label of the new house, wild style disco and organic dance music scene.
Probably one of Berlin's biggest electronic music phenomena along with Keinemusik and Live from Earth.

It went fast: 2020 Kapote's crew started to make small parties in Berlin's off spaces. The "Toy Tonics Jams". The parties became "talk of the town", and Berlin clubs like Griesmühle and Panorama Bar invited the crew. Then international clubs and festival called. Toy Tonics were invited to SONAR (playing the mainstage with Kaytranada and DJ Tennis), KALA festival, Montreux Jazz festival.
Now TT has a residency at Panorama Bar Berlin and sold out events in Europe leading clubs like Phonox in London, Rex Club in Paris, Tunnel in Milan.
Toy Tonics now is the reference brand of a new generation of music loving dancers. Similar to Gomma records, Kapote's former label (2003 - 2015) that was one of the key labels of the "indie dance" scene of the Y2K years (along with DFA and Output Records).

Kapote created a multi-cultural movement with graphic designers, photographers, illustrators from the Berlin scene.
They publish the Toy Tonics Pocket Poster magazine, posters and design shirts. They organize the Toy Tonics Pop Up Galleries mixing music and art. In underground venues in Berlin and in new gallery spaces and museums around Europe.
Toy Tonics has been invited by Palais de Tokio museum in Paris, Triennale Museum Berlin, Design week Milano to create events.
The new Kapote album
The 12 tracks have a very own style. Based on dance music, but going much further. "Para Mytho Disco' is a futuristic mix of sounds. It's far away from the dark monotone techno and trance music from Kapote's hometown Berlin. Instead, he creates warm friendly atmospheres full of sonic colours and little musical surprises.
Kapote's knowlege of music history and his backround as a jazz piano student and son of classic music composer is clearly inside this music. Before turning into a DJ and electronic music producer he has been playing in bands since he was 13 years old.
The album is full of emotional chord progressions played by Kapote on various keyboards. Sometimes reminding music from the past, without being retro at all. The basslines and melodies are inspired by jazz fusion from the 1970ies. And he programmed syncopated grooves that come from afro-american dance music. There are influences from Japanese electronic music (Yellow Magic Orchestra), from 1980s Synthwave and from 1990s electronica (like Squarepusher and Luke Vibert).

Kapote plays keys, bass, flutes and percussions, he plays synth solos and sings on a few tracks. The complexity of the arrangements makes this music never boring. Lot of melodies and solos that catch the listener. Colourful soundscapes that make you want to listen or dance to this album more, and discover details also after you heard it several times.

Kapote background

Before starting Toy Tonics, Kapote used to run a label called Gomma. He produced four albums under the name Munk and music for other artists.
He produced music with Peaches, Franz Ferdinand founder Nick McCarthy, with New York street art legend The Rammellzee, Italian actress Asia Argento, the first three albums of WhoMadeWho and worked with LCD Soundsystem (listen to "Kick out the chairs", the Munk song with James Murphy )
In those "Gomma days" Kapote aka Munk was also one of the main DJs for VICE magazine parties and made music for art projects and fashion brands (Margiela, Prada, Colette).
In 2015 he stopped Munk and Gomma and started Toy Tonics. He found young producers and helped to develop their sound (Coeo, Cody Currie, Gee Lane, Barbara Boeing, Sam Ruffillo). Later he founded the sublabel Kryptox to release music by Berlin based bands that make new forms of jazz or neo classical sounds.

Under the name Kapote Mathias didnt release much:
Only his Kapote debut album "What it is" (2019) and an EP called "Electric Slide" (2022) and a collabo EP with Italian producer Sam Ruffillo ("Robot Salsa").

An although his Munk and Kapote music was an underground phenomena his music has always been a favourite of many great people from the scene.
Supported by DJs like Harvey, Chromeo, Moodymann, Jennifer Cardini, Gerd Janson, MYD, Andrew Weatherall to Blessed Madonna, Justice and Laurent Garnier… to name just a few.

out of Stock

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20,59

Last In: 9 months ago
VENTURA - SUPERHELD

Ventura

SUPERHELD

12inchVITELP204
VITESSE RECORDS
28.03.2025
  • Dwell
  • Advertiser
  • Most Arts
  • Bubbles
  • Freeze In Hell
  • Patron Saint
  • Optimistic
  • Obviously
  • In Me, There Are Three
  • From Evil

Ventura (Lausanne, CH), started in 2003, and has released 4 albums so far, with Superheld being the proud fifth. It was recorded with Serge Morattel again, and displays a slightly more aggressive and intense sound than its predecessor, even if it explores a few new paths with songs like the semi-acoustic "Freeze In Hell" or the motorik "Optimistic". The line up still consists of the same three guys, Diego (bass), Grégoire (drums) and Philippe (guitar and vocals) as on the previous album, Ad Matres.

pre-order now28.03.2025

expected to be published on 28.03.2025

23,11
MOBBS & Susu Laroche - ZERO

Mobbs&Susu Laroche

ZERO

12inchLOVE138LP
Modern Love
28.03.2025
  • Throne
  • Roam
  • Axe
  • Dawn
  • Forest

An air of ancient ritualism cloaks Modern Love’s midnight meeting between UK producer MOBBS and French-Egyptian spellcaster Susu Laroche, carving out a channel between hexed trip hop and shoegaze that’s one part DJ Screw, one part MBV, operating within a long shadow of influence cast by Curve, Leila, Cocteau Twins, Nearly God.

Clasping chiral energies on their debut collab, MOBBS brings a history spanning shadowy production work for big name artists to the grimly stylised vein of performance art and musick explored by Susu Laroche, an Egyptian-French with strong binds to chthonic contemporary London.

Their maiden sacrifice heightens the senses to blends of monotonic, sandalwood scented incantations and carpet-burned downbeats swept in slurred dub. Songs are subtly variegated in tone to spell out shifting plays of light evoking bedsit antechambers and warehouse innards lit by iPhone candle or extractor hood and emergency light bulbs on their last lumens.

It's music that's as elaborately serrated and blemished as early MBV, but positioned in a vastly different cultural landscape, drawing from hip-hop, drone, psych and basement noise. The pair’s range of cultural obsessions maintains a precarious balance between shadowy histories and an asphyxiating present; all too often, when the past is projected it's thru a mollifying, nostalgic lens, so their critical, prudent hybrid sound is a vital, chilling corrective.

From the bell-ringing, chain-rattle jag of ‘Throne’ thru the sleepwalker drift of ‘Roam’, and concrete plangency of ‘Forest’, the marriage of MOBBS’ illusive textures with Laroche’s feel for analog image and film (as evinced in her art for the likes of Blackhaine and Mica Levi) imprints their sound in gauzy layers that leave fleeting impressions on the mind’s eye. At their heaviest, Laroche’s arcane declarations descend in impressive enactments, undressing the excesses of over-glossed trip hop to reveal and revel in the sound at its starkest, sexiest, for new waves of washed up souls.

pre-order now28.03.2025

expected to be published on 28.03.2025

27,52
The Primitive Painter - The Primitive Painter 2x12"

Apollo / R&S are delighted to welcome back The Primitive Painter, aka the duo of Roman Flügel and Jörn Elling Wuttke for a timely reissue of their 1994 lost classic self-titled album of sonorous IDM.

Growing up in Frankfurt, in the 80s and 90s the duo met at an indie rock club in their home town of Darmstadt, bonding over their shared obsession with the first wave of acid, Chicago house and early Detroit techno as well as their patronage of now iconic Frankfurt club nights like The Omen or Dorian Gray or the infamous Delirium Record shop run by scene stalwarts Ata (Robert Johnson) and Heiko MSO (Playhouse).

Taking inspiration from the likes of The Black Dog and Transmat as well as seminal compilations such as Planet E’s Intergalactic Beats and Warp’s Artificial intelligence compilation the duo honed their inventive take on the Detroit techno blueprint under the monicker Acid Jesus, debuting on their freshly minted Klang Elektronik label. The label was started in conjunction with Ata and Heiko after Fluegel & Wuttke (regular patrons of the Delirium store) pressed a demo on them, muttering the immortal line; “Please listen to the tape, we are big Mr. Fingers fans.”

Through the mid ’90s the project flourished giving rise to a classic album and a brace of singles that number amongst the best of the era’s techno, winning them a influential fans most notably Sven Väth, David Holmes and Andrew Weatherall who invited them to play live at one of the legendary Sabresonic parties in London.

Alongside the success of the Acid Jesus project, the duo found great inspiration in outside of the club, including an ambient happening when the KLF came to play Frankfurt; “There were live sheep eating grass on stage while they played at Mark Spoon’s club XS”, as well as cinematic influence from the likes of Jim Jarmush and Wim Wenders. It was however the euphonic IDM grandeur of Apollo Recordings self titled compilation of 1993 that really got their creative juices flowing: “It was a ten track compilation with artists like David Morley, Model 500, Aphex Twin which still sounds so good today,” Jörn enthuses. “ It was really the trigger to go away from the Detroit sound and more towards the big melodies of B12 etc.”

Deciding to make their tribute to this style of music the duo turned out 10 tracks of gauzy, melodious electronica in a white hot fever, one after another over the ensuing months. Settling on a name for the new project they picked ‘The Primitive Painters’ taking inspiration from the band Felt. “We are both children of the C86 movement,” explains Jörn. “this attitude of noisy art school influenced rock like Primal Scream, MBV, The Jesus & Mary Chain really inspired us to take a DIY approach to our music.”

They sent the resulting demo cassette to Renaat at R&S / Apollo. “We really had no expectations,” Jörn explains. “So we were shocked and delighted when we received a fax saying that he wanted to release it”.

The resulting release was bungled by an R&S mix up that attributed the album to the duo’s own Klang Elektronik label which confused both fans and distributors alike, denying the release the critical boost and attention that it so richly deserved. Accordingly the release slipped out without much fanfare, with a chastened Fluegel & Wuttke returning to their Acid Jesus activities which would eventually lead to their blockbusting success as Alter Ego.

Over the ensuing years the reputation of The Primitive Painter album has only grown, with second hand copies (only 500 vinyl were pressed) changing hands for exorbitant amounts on Discogs, leading us to this opportune moment of a richly deserved ‘first’ release on the label for which the project was started, Apollo / R&S.

“This really brings us full circle,” says Jörn. “Apollo / R&S meant and means so much to us as artists and so it was bittersweet to not have the official release - to put that right all these years later feels really good.”

This new vinyl release comes in re-created original gatefold artwork and includes all original 10 tracks (Stoned Soul Picnic was previously on the CD only).

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24,33

Last In: 9 months ago
TAPPA ZUKIE - HORNS UP - DUBBING WITH HORNS

Tappa Zukie is not only one of Jamaica’s greatest DJ’s, is also a much respected producer and arranger. Looking back through his master tapes we have found a lost release that due to being a worldwide recording artist and the pressures that this carries, it has stayed on his musical shelf and been passed over... until now.

When rhythm was King way back in the 1970’s, the predominant feature of the final mix down would in most cases be the drums and bass. Bringing drums and bass to the fore, the other instruments that create the tunes mood would take a back seat in the mix. With such fine musicians in the horn sections as Vin Gordon, Deadly ‘Headley’ Bennett and the unstoppable Tommy McCook, it sometimes felt, their services if nothing else were slightly underused.

So one way of rectifying this situation was one that Tappa himself instigated, putting a release together by picking some of his favourite productions that carried classic horn lines alongside those tightly recorded rhythms. Pushing those horn lines up in the mix and so making a feature of some of those touches that although added some colour to the original cut, laid back in the mix to the more Sound System friendly drum and bass cut.

When looking at the music with this approach, some of the other influences that were also in Tappa’s mind can be noticed more. Maybe it’s a Jazzier / Bluesy feel shining through. A strange thing happens that almost takes the song down the avenue of a soundtrack album. An unreleased film score to accompany an unreleased film.

So sit back and enjoy a lost release that time and place did not find time to see the light of day. As the opening track testifies and in the immortal words of Mr Tappa Zukie himself.. “Your Musical Daddy is back... Horns Up !!!!”

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13,87

Last In: 13 months ago
Yuching Huang - The Crystal Hum

The Crystal Hum is the debut vinyl release by Taiwan-based artist Yuching Huang and her first release for Night School.
A beguiling dreamscape of crackles, spluttering, love-struck Casios presided over by the the spectral vocal and guitar work of Huang, Yuching sings love songs at the end of this world and the beginning of the next. Recorded during a hiatus from her group Aemong (a duo with artist Henrique Uba) in Berlin, these songs elevate Huang’s unique vocal style and grasp of atmospherics. The Crystal Hum deconstructs balladry, Garage, guitar music and reforms it into a
unified ghostly otherworld version of these languages.

The Crystal Hum thrums with buried desire, trails of nocturnal reverb seeping out of apartment windows, diaristic vocal performances and deeply emotive, evocative Western-style strings. Formulated by Yuching Huang after periods of frustration and experimentation, the album is an exercise in minimalism and paring back, with some tracks like JohnJohn featuring little else than an elastic bass, spring reverb trails, an interjecting vocal and swelling, dislocated synths. The effect is spellbinding, the soundtrack to getting lost in the labyrinthine, closed streets of Venice, Taipei, Hong Kong, or mirror versions of them in the imagination.

On opener Fly! Little Black Thing, a subterranean funk bassline roots Huang’s singing, a rudimentary, unreliable beat floundering in whimsy underneath. Demure, dream Dance music, Huang references classic lo fi experimenters Suicide and Arthur Russell as well as Night School label mates The Space Lady and Ela Orleans. In fact, after the release of Aemong’s third album Crimson, Huang credits the direction of The Crystal Hum to being enchanted by The Space Lady’s Greatest Hits,
the landmark lo-fi recording made by Susan Dietrich Schneider in 1990. The new, minimalist approach to her sound world reveals and shrouds in equal measure. On the heart-melter Love, a sultry mid-tempo Casio + bass backing drops into the ether with Huang’s vocal swimming in preternatural void before emerging anew, in awe at the world. Every chord change heralds new perspectives, every guitar flurry swells and drips emotion, nothing is wasted and space billows out from between the grooves.
Huang never reveals more than necessary, making this an in-between love album: the right amount of mystery and darkened mirror shines wanely on The Crystal Hum while remaining fragile and vulnerable in the sweet spots. Turning over in pillowing smoke and night in the dark corners, Huang sings in both Mandarin and English. The songs speak of earthly matters seemingly at the edge of dissipating into nothing. Distorted, beguiling Sambas warble like sweating dancehalls in an imagined Lynchian 60s, as on Thoughts. Closer You, An Illusion warps a classic 60s Girlgroup bassline beloved of the likes of Les Rallizes

Denudes into a slight ballad on the edge of the void, held back by the teary-eyed, wistful and enveloping vocal cooed by Huang. Each song feels like a love song dedicated to the bits between worlds, between beats, the negative space between people where desires, feelings and loss hangs in the air, resolute and unresolved.

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21,81

Last In: 2 years ago
Various - ROAMS EP II

Various

ROAMS EP II

12inchMCRTNL002
Microtonal Records
28.03.2025

Introducing the Second Release from Microtonal Records on Vinyl Microtonal Records presents its highly anticipated second release, a celebration of the rich and diverse sounds of Aotearoa / New Zealand.

This exclusive vinyl release features five exceptional artists who are making waves in the electronic music scene. Side A opens with two remarkable collaborations. The first track, "Osiris Call," is a mesmerising creation by Seb Selknam, the mastermind behind Cultrun Cult Records, and Herman Saiz, the force behind Sounds of Sirius. This track has been expertly pre-mastered by the renowned Silat Beksi, ensuring an unparalleled auditory experience. Following this is "Phantasus," a captivating piece by Herman Saiz and HRZNTL, the owner of Microtonal Records. Side B continues the journey with Arokz's "Musical Gees," a track that showcases his unique sonic signature. Concluding the release is Vedana's "Lost in Nostalgia," a beautiful and evocative composition that lingers in the mind long after the needle lifts.

Immerse yourself in the vibrant sounds of Aotearoa / New Zealand with this exceptional vinyl release from Microtonal Records.

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14,50

Last In: 6 months ago
Modus Pitch - Re:Polyism

»Re:Polyism« is a track-by-track reinterpretation of Friedrich »Fritz« Brückner’s 2022 debut solo album as Modus Pitch, »Polyism,« through artists affiliated with Altin Village & Mine and/or former collaborators of the prolific Leipzig-based musician and producer. Each track from »Polyism« has been remixed or reworked by different artists such as Modeselektor, Angel Bat Dawid, Maya Shenfield or Mouse on Mars member and HJirok producer Andi Toma, but the album—mastered by Tim Roth a.k.a. Sin Maldita and released as a strictly limited vinyl LP with reimagined artwork by Carmen Orschinski—follows the original record’s tracklist. This makes »Re:Polyism« a veritable musical prism, refracting the creativity inherent to Brückner’s genre-transcending original works through other people’s artistic lenses to create an even more colourful end result.

First off are the Gebrüder Teichmann with their take on opener »Drive,« carefully adding more depth and uncanny sounds to the jazzy, drum-focused piece. Unsurprisingly, Modeselektor go a lot further with their remix »Rainbow,« turning the two-minute track into a dubstep-adjacent banger with infectious synth work that is twice as long and comes with a mind-melting breakdown. With their take on »Hilltop Jacuzzi,« Peaking Lights turn the blissful original into a piece that calls to mind experiments at the intersection of dub, ambient, and industrial music in the mid-1990s. Cloud Management radically transform the eerie »Compound Eye Dialogue« into a rhythmically charged mid-tempo post-krautrock epic, while the Seekers International’s »Jelly Roll Dub« of »Gelée Royale« uses the original’s lush textures to turn up the intensity even further.

On the flipside, Andi Thoma gives the intricate synth pop/breakcore fusion of »Suspender« a similarly dubwise treatment before venturing into gqom territory, pulling it out of the leftfield and straight onto the dancefloor—peak-time use only. Maya Shenfeld then brings her trademark modular synth work to »Outer Veil,« accentuating the focus on Hendrik Otremba’s uncanny spoken word performance even further. This sets the mood perfectly for vocal experimentalist Agnese Menguzzato working her singular magic. Under her hands and with her voice, the multi-layered ambient soundscapes of »Lava Fans« become even larger-than-life-like than before. When Angel Bat Dawid takes the menacing drones of »Iridescent Path« as a template for a trap-inspired beat over which she lets loose on the clarinet, that serves as both the ultimate counterpoint and perfect coda to »Re:Polyism.«

These nine reinterpretations of the highly diverse source material underline Brückner’s singular approach to music-making while also emphasising their makers’ idiosyncratic talents. This makes »Re:Polyism« more than simply a remix album—it’s a polylogue between visionary minds.

pre-order now28.03.2025

expected to be published on 28.03.2025

21,43
NYX - NYX LP

NYX

NYX LP

12inchNYX008LP
NYX Records
28.03.2025

London-based vocal and electronic collective NYX have announced their long-anticipated eponymous debut album, to be released digitally and on vinyl on 28th March 2025 via their own label, NYX Collective Records.

Alongside today’s news, they’ve also shared the first single, “Daughters”: a hair-raising, untamed cry that surrenders to the intensity of the human experience. With the lead vocal recorded in a beach-side kitchen in New Zealand, cicadas bleed through the soaring chant and heavy, visceral drums. The track opens soft and earnest, expanding in their rage, resilience, and liberation, transforming pain into a re-wilding of the spirit, a celebration of their collective power.

NYX say of the track: "Daughters” is an initiation into the underworld - an invitation to come face to face with our losses. To look towards the shame, rage, and pain embedded in our bodies, and open through the fear that has closed down our throats. These are our wild voices that want to be heard and loved - by ourselves, by our pack."

NYX is the result of years of collaboration and transformation, reflecting the collective’s signature blend of experimental vocal techniques and electronic alchemy. NYX’s debut album pulses with primal energy and delicate introspection, weaving together the ancient and the futuristic. It’s a spellbinding journey through the human experience, crafted not just to be heard, but also deeply felt.

The album brings together the group's full evolution and experimentation, collaborators on the album include sound designer, composer and NYX string player Alicia Jane Turner, harpist Miriam Adefris, as well as additional drums and production by Memory Play and Sebastian Gainsbourgh (Vessel), artwork by NYX member Shireen Qureshi, co-produced by Marta Salogni and mastered by Heba Kadry.

NYX showcases the choir's far-reaching emotional breadth. The introduction, “Mother”, is inspired by the first chapter of the foundational work of Taoism, Lao Tzu’s Tao Te Ching. In this, NYX’s opening prayer, the listener finds themselves in a swelling crescendo of NYX’s all-encompassing vocals and synth drones. The album spirals through swirling loops of haunting voices and layered strings that come together like crashing waves, bursting through in feral upheaval. “Through Fire” and “Daughters” erupt into heart-wrenching post-apocalyptic chorus and pounding bass-heavy drums, then slip into a blissful sound bath, “Awe”, whose choir harmonies layered with lush harps radiate pure wonderment, and the closing track, a cover of Suicide’s 1979 “Dream Baby Dream”, dissolves into reverberating echoes. NYX leaves an indelible mark, reminding us of the radical potential of healing and love.

In Greek mythology, NYX is the primordial goddess of the night, born from chaos giving birth to light and day. Inspired by this duality, NYX’s music harnesses the voice as a limitless medium for profound emotion, capturing the vast spectrum of human experience with power and authenticity.

pre-order now28.03.2025

expected to be published on 28.03.2025

24,33
NYX - NYX MC (TAPE)

NYX

NYX MC (TAPE)

CassetteNYX008T
NYX Records
28.03.2025

London-based vocal and electronic collective NYX have announced their long-anticipated eponymous debut album, to be released digitally and on vinyl on 28th March 2025 via their own label, NYX Collective Records.

Alongside today’s news, they’ve also shared the first single, “Daughters”: a hair-raising, untamed cry that surrenders to the intensity of the human experience. With the lead vocal recorded in a beach-side kitchen in New Zealand, cicadas bleed through the soaring chant and heavy, visceral drums. The track opens soft and earnest, expanding in their rage, resilience, and liberation, transforming pain into a re-wilding of the spirit, a celebration of their collective power.

NYX say of the track: "Daughters” is an initiation into the underworld - an invitation to come face to face with our losses. To look towards the shame, rage, and pain embedded in our bodies, and open through the fear that has closed down our throats. These are our wild voices that want to be heard and loved - by ourselves, by our pack."

NYX is the result of years of collaboration and transformation, reflecting the collective’s signature blend of experimental vocal techniques and electronic alchemy. NYX’s debut album pulses with primal energy and delicate introspection, weaving together the ancient and the futuristic. It’s a spellbinding journey through the human experience, crafted not just to be heard, but also deeply felt.

The album brings together the group's full evolution and experimentation, collaborators on the album include sound designer, composer and NYX string player Alicia Jane Turner, harpist Miriam Adefris, as well as additional drums and production by Memory Play and Sebastian Gainsbourgh (Vessel), artwork by NYX member Shireen Qureshi, co-produced by Marta Salogni and mastered by Heba Kadry.

NYX showcases the choir's far-reaching emotional breadth. The introduction, “Mother”, is inspired by the first chapter of the foundational work of Taoism, Lao Tzu’s Tao Te Ching. In this, NYX’s opening prayer, the listener finds themselves in a swelling crescendo of NYX’s all-encompassing vocals and synth drones. The album spirals through swirling loops of haunting voices and layered strings that come together like crashing waves, bursting through in feral upheaval. “Through Fire” and “Daughters” erupt into heart-wrenching post-apocalyptic chorus and pounding bass-heavy drums, then slip into a blissful sound bath, “Awe”, whose choir harmonies layered with lush harps radiate pure wonderment, and the closing track, a cover of Suicide’s 1979 “Dream Baby Dream”, dissolves into reverberating echoes. NYX leaves an indelible mark, reminding us of the radical potential of healing and love.

In Greek mythology, NYX is the primordial goddess of the night, born from chaos giving birth to light and day. Inspired by this duality, NYX’s music harnesses the voice as a limitless medium for profound emotion, capturing the vast spectrum of human experience with power and authenticity.

pre-order now28.03.2025

expected to be published on 28.03.2025

12,98
SPELLLING - PORTRAIT OF MY HEART LP

On Chrystia Cabral's fourth album as SPELLLING, the Bay Area artist transforms her acclaimed avant-pop project into a mirror. Cabral's lyrics for Portrait of My Heart tackle love, intimacy, anxiety, and alienation, trading the allegorical approach of much of her previous work for something pointed into her human heart. The album's thematic forthrightness is echoed in its arrangements, making it the sharpest, most direct SPELLLING album to date. From the dark minimalism of her earliest music to the lavishly orchestrated prog-pop of 2021's The Turning Wheel to this newly energetic expression of her creative spirit, Cabral has proved again and again that SPELLLING can be whatever she needs it to be. The title track, with its propulsive drum groove and anthemic chorus of "I don't belong here," is the most potent embodiment of the album's turn toward emotional directness. Once the main melody emerged, Cabral used the song as a tool to process her anxiety as a performer and opted for a tighter, more rock-oriented composition. This transformation mirrors the album's broader shift toward energy and immediacy, driven by the core band of Wyatt Overson (guitar), Patrick Shelley (drums), and Giulio Xavier Cetto (bass), whose collaboration uncovers new contours of the SPELLLING sound. Cabral still writes and demos in isolation, but presenting the songs for Portrait of My Heart to her bandmates helped her discover their eventual lively, organic forms. So did working with a trio of producers_The Turning Wheel mixing engineer Drew Vandenberg, SZA collaborator Rob Bisel, and Yves Tumor producer Psymun. Key guest contributions further shape the album. Chaz Bear (Toro y Moi) delivers SPELLLING's first duet on "Mount Analogue," Turnstile guitarist Pat McCrory turns Cabral's original piano demo for "Alibi" into the crunchy, riff-y version that appears on the record, while Zulu's Braxton Marcellous gives "Drain" its sludgy heft. These parts aren't just incorporated seamlessly into the album; they feel like an integral part of its universe. Ultimately, though, Portrait of My Heart is nobody's record but Cabral's. She fearlessly draws the curtain back on parts of herself that she's never included in SPELLLING before_her feelings of being an outsider, her overly guarded nature, the way she can throw herself recklessly into intimate relationships and then cool on them just as quickly. "It's very much an open diary of all those sensations," she says.

pre-order now28.03.2025

expected to be published on 28.03.2025

23,49
DJ MEHDI - Espion EP (LP)

Dj Mehdi

Espion EP (LP)

12inchBEC5615472
Because Music
28.03.2025

KEY POINTS

• Collector Crystal Clear LP deluxe packaged – the very First reissue of the cult 11 track EP – Street Album from year 2000 by DJ Mehdi collecting his Espionnage adventures

• “DJ MEHDI : Made in France” : an Arte 6 episode exclusive serie about DJ Mehdi from September 12th ! DJ Mehdi was the one building bridges between french hip hop and electro, and becoming a key composer,producer and DJ. He was a game changer in himself, helping both french rap & electro scenes to rise in the late 90’s & early 200’s . 13 years after DJ Mehdi’s sudden death, his long-time friend and Director Thibaut de Longeville imagined & directed the serie, with archives materials & exclusive interviews and words from big names from Rap & Electro about their collaborations & relationships with DJ Mehdi.

SHORT BIOG

“Rather than a compilation, this record is a summary of what Espionnage has done in the past two years, from the rap 12”s, the instrumental 12”s to the remixes I was given the opportunity to do. The members of The Espionnage Sound System, Yvan from Double Pact included (even if he only appears here on the interlude betweeen “Camille Groult Starr (rmx)” and “Si Tu Savais (rmx)”), have been essential to the label’s development as a whole. The Chronowax Distribution staff has been equally vital to a structure primarily dedicated to independent vinyl production. By the way, I have to thank Ulysse Genet who, on top of lending his name to a track title, suggested the name “Espionnage” instead of “Le Cirque Disques” (which was my initial idea) and drew the first logo. Many thanks to my team : Olivier Rosset, Charlotte Dutoit, Thibaut de Longeville, Alexander Wise, the 360 Creative & Marketing teams, as well as X2N, Tom Kan, DJ Gilb’R, Roulé, Crydamoure, Benoît Blue Boy and his daughters Ludella and Amadine ; who have all contributed on one level or another to what this record is. Of course I can’t forget my family: the Essadis, Faveris, Gassamas, Majira (and their many relations) as well as my other family, the 113 Clan and the whole African Mafia and most particularly my group, Idéal J, for the respect and freedom with which they’ve let me express the somewhat unusual ideas I had about all of this”.
Peace, DJ Mehdi, NYC, March 29th 2000.

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Who's Who - Who's Who (LP)

Who's Who

Who's Who (LP)

12inchBEWITH186LP
Be With Records
28.03.2025

"Daft Punk brought me here, he brought me Daft Punk"

Just knowing that this slice of hyper-rare disco dynamite was crafted by Thomas Bangalter's dad should be enough for you to buy this on sight, if only to understand a little bit more about Thomas and Daft Punk's background. But this is so much more than a Daft Punk family curio.

Born Bangalter in 1947, Daniel Vangarde is a French songwriter and producer. In 1975, Vangarde founded his label, Zagora Records, who we have worked closely with on this lovingly curated reissue. For years, Vangarde wrote and produced songs that remained underground, under several pseudonyms and for various artists. Dubbed "the secret father of French disco" this here groove-fulled firecracker - using his Who’s Who moniker - is for disco-funk, library music and cosmic beat lovers.

The intense, evocative opener "Palace Palace" positively throbs with raw energy and sounds, honestly, like something off Daft Punk's Discovery. The title refers to the fashionable Parisian club Le Palace, essentially the Parisian Studio 54. "I’d been to a nightclub in New York, a big ring where people were roller skating with a whistle. The atmosphere was great. The music was all disco. I made this song when I came back. A vocoder transformed my voice. Back then, it wasn’t used much." The track rides a killer groove and is deceptively complex, with layers of fantastic percussion and ace synth work going on all over it. Listed to on repeat, it's brilliance is simply undeniable.

The louche, slo-mo heater "Hypno Dance" is, in Be With's opinion, *the* deadly dancefloor track. A svelte slice of ace space disco again geared towards the roller skating dance mania of the day. So deep, so disco, so instrumental. An unreal track and, as the title hints at, totally hypnotic. The side closes with the somewhat throwaway "Popeden" - it's a jaunty number that you're probably best skipping, in all honesty. Have we ever steered you wrong?

The B-Side opens with the frankly enormous "Roll Jacky Roll" is another thrilling, high class roller-rink jam with beautiful melodies that's adored the world over. The wonky, abstract "Ad Libitum 80" is a super dope, swirling, staccato electro-funk bounce which sounds light years ahead of its time. This might be the real lowkey sleeper gem on this record. CHECK! This remarkable LP rounds out with the huge "Dancin' Machine". It's got sleek drums that emit an absolutely ace swagger and elements of Italo synth funk feels. A relaxed, slow rhythm throughout ensures you can't help but get your funk on when this crashes soundsystems. We'll leave the final word on this to Daniel: "It amuses me to think that my son Thomas was influenced by "Dancin’ Machine" for "Around The World", he says. Both songs being based on an hypnotic repetitive refrain. Both songs being, of course, timeless pieces of Euro genius.

Who's Who really is a fantastic late-70s-early 80s roller disco-funk essential. The audio has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. 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 Record Industry in Holland.

When it came to the sleeve for this we were presented with an unusual problem: we usually have to rely on an original sleeve as the starting point for the restoration, but instead we were able to scan the original 35mm transparency of the front cover photo. The problem is that with a modern scanner the results were far sharper than when they made the original sleeve. We’ve played around with the exposure and the colour grading but we’re sorry to say that our version of the front cover still ended up looking too good! Don’t hate us.

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26,85

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Various - Radar Keroxen Vol.5 (LP)

Yearly compilation series RADAR KEROXEN return with its fifth volume of themed based albums showcasing the talents and misfortunes of carefully selected musical projects based or connected with the Canary Islands.
With its first volume released in 2020 aiming to introduce and divulge adventurous Island based music, the Keroxen imprint now presents Vol.5 with a collection of tracks born out of an in-situ collective performance at the Keroxen Festival iconic venue - a massive disused gasoline tank near the harbour of Santa Cruz de Tenerife.
The Radar Drone Ensemble, as it was named for that night only, took advantage of the tank’s natural reverb to perform an improvised piece exploring the cavernous resonance corners inherent to the locale. The four artists then took a few months to compose a 9 track LP inspired by the site’s peculiar sound.
Gonçalo F. Cardoso kicks opens up the proceedings with two broody new tracks, in a style not heard since his 2015 album A Study of 21st Century Drone Acoustics. Doomed and menacing atmospherics brush shoulders with creepy and ethereal chants creating the perfect opening for this drone themed edition of Radar Keroxen. Eduardo Briganty (also from MINIATURa) follows with two equally deranged feedback based compositions letting his guitar riffs and distortions roam free. Afgan aka Mladen Kurajica (from GAF, Lagoss and Tupperwear) takes things further to an Angus MacLise inspired drone collage of mystic percussions, field recordings and electronic modular storms. Resonance aka Javier Perez wraps up the journey with his now trademark soothing synth compositions full of warm tones and blissful melodies.
The album comes, as always, wrapped into a dizzying post-tropical collage artwork by Pura Marquez.

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19,12

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JAMES ELKINGTON - PASTEL DE NADA
  • Morny In The Earling
  • I, Altered
  • An Anechoic Orchestra
  • Sun Rats
  • Pont Du Poivre
  • Draw A Head
  • Ortemega
  • The Equal Spacing
  • Nonpareils In A Bottle
  • Nana Femur
  • The Submersible Community
  • Don't Tell Anyone
  • Golden K
  • Ever In The Latening
  • Window Weapon Speaks
  • The Lyre Concordia
  • Fast Eyes (And Neck)
  • The Unexpected City
  • A Moon Crows
  • Build Your Background
  • No Time Is Passing
  • Very Berk Squad
  • Verybody's Colleyland
  • The Caves At Aurangabad
  • Night Felt
  • All Cats Are Bored
  • Daft Zenith Nought

Im Jahr 2023 veröffentlichte James Elkington "Me Neither", ein Doppelalbum mit Solo-Gitarrenimprovisationen und -Experimenten. Am Ende betrachtete er es als eine wortlose Sammlung von Library Music, eine Fundgrube anonym produzierter Klänge, die für jede Art von Verwendung geplündert werden können, und Elkington, der in Chicago lebende britische Gitarrist, findet in dieser Musik eine Freiheit, die aus dem Nichts zu kommen scheint. Er lässt "Me Neither" mit "Pastel De Nada" ein neues 2xLP-Set folgen, dessen 27 Tracks eher einem Werkzeugkasten als einer Bibliothek gleichen. Helle, optimistische Strums wie 'The Lyre Concordia', vielschichtige Meditationen wie 'Morny in the Earling' und 'The Caves at Aurangabad' und Stücke wie 'The Equal Spacing', die wie kleine Maschinen ticken und surren, um Freude zu erzeugen. Elkington stellt seinen Gitarren Texturen, Atmosphären und flüsternde Perkussionsinstrumente gegenüber.

pre-order now28.03.2025

expected to be published on 28.03.2025

28,53
KAITO WINSE - REELE BUMBOU LP

Get ready to be moved by the powerful return of Kaito Winse, the multi-talented artist from Burkina Faso based in Brussels, with his new album set to release on March 21sth, 2025. Following the critically acclaimed debut ‘Kaladounia’ in 2020, Kaito continues his journey through music and tradition, offering deep, reflective lyrics drawn from the rich well of oral history. The album ‘Reele Bumbou’ will be out on Rebel Up in collaboration with Zephyrus Records.

With a voice as commanding and enchanting as an opera performance, Kaito's masterful scansion and storytelling draw the listener into timeless truths. His connection with French writer and playwright Tartar(e) has only sharpened his ability to captivate through rhythm and word. Armed with a versatile skillset, he plays an array of instruments—calabash, mouth bow, Peul flute, toutlé flute, and the tama, a drum known for mimicking human speech.

Between proverbs and ancient sayings, music and dance, Kaito Winse’s new work is an invitation to find strength in the face of life's trials. His art is a reminder that while one may laugh at the old man, no one can mock his walking stick. Let Kaito guide you through the storms of life with his timeless wisdom and soulful melodies.

pre-order now28.03.2025

expected to be published on 28.03.2025

23,11
One Leg One Eye - ...And Take The Black Worm With Me LP
  • Glistening
  • She Emerges
  • Bold And Undaunted Youth
  • I’d Rather Be Tending My Sheep
  • The Fancy Cannot Cheat So Well
  • Only The Diceys

As a founding member of Dublin experimental folk group Lankum, Ian Lynch explores submerged leylines of music and song. Forging a musical path that is all at once dark, mysterious and foreboding, but ultimately transcendental. His new solo project One Leg One Eye sees him taking a fresh approach to musical arrangement culminating in a sound that is more rooted in the raw aesthetics of second wave black metal than contemporary folk. The project was born across 2021, a period in which Lynch was able to enjoy the freedom of experimenting and exploring different paths of sound design without expectation or pressure. Seeking out interesting settings to record music and gather field recordings, there are several environments, external and interior, whose respective essence have seeped into the spirit of the music and come to represent Lynch’s artistic approach and development with this singular debut album, …And Take The Black Worm With Me. Rediscovered spaces in Dublin and the familiar enclave of his bedroom are intrinsic to the distinct and sometimes harrowing atmosphere conjured throughout the album’s five enveloping compositions. One particular location, an abandoned factory where his father worked when Ian was a child, provided a space of great inspiration and intrigue during this time. Lynch frequently visited the large abandoned warehouse and sang with his shruti box, contented in his solitude. ‘I’d Rather Be Tending My Sheep’, grew into existence from those initial sessions, eventually finding a home as an emotive centrepiece to the album. Reflecting on the overall recording of …And Take The Black Worm With Me, Lynch says, “Everything I was doing with these songs was all kind of new to me; experimenting with different sounds, textures and palettes and seeing what I could come up with by piecing it all together. I spent about a year making the album. I loved the whole process because it was basically just me in my bedroom recording everything. The experience of recording like this and having my own time to do it was amazing. I could focus on recording a specific element and happily spend all day working on that one part, doing it as many times as I wanted. At the end of the day if it didn’t feel right, I could just try it again the next day. When you’re on your own you can spend as much time as you want on particular parts until you feel that it’s absolutely perfect. I found that to be a really liberating experience. It was probably my favourite experience recording music.” The collection of songs (and their chronology) featured on …And Take The Black Worm With Me tell a story unique to Lynch’s experiences with anxiety and recognising his shadow self. Whilst the album became an outlet of personal expression for Lynch, the overarching themes and subsequent journey to confront one’s internal dichotomy of light and dark before accepting this inherent duality is universally shared. The eerie and often unsettling world contained within the album’s texturally dense opener ‘Glistening, She Emerges’, driven by the captivating drone of distorted uilleann pipes, immediately immerses the listener in this transportive work. It descends with a great heaviness, yet woven throughout the arrangement is a fascinating and indescribable entity that draws you further into this otherworldly dimension. This mood continues as the tracklist progresses and transitions into Lynch’s haunting realisation of ‘Bold and Undaunted Youth’ which further demonstrates a cinematic influence to Lynch’s compositional style. Sonically, Lynch effectively builds an impressively vast terrain with brilliantly murky lo-fi recording techniques and an unshakable curiosity to move beyond conventional structures and play with the timbre of the instruments available to him. From recording hurdy-gurdy or concertina to tape and experimenting with loops and effects pedals to stitching field recordings together, there’s an intimacy established between Lynch and his audience established through the simultaneously eerie and beautiful tones courting through …And Take The Black Worm With Me. This culminates in ‘Only the Diceys’, the extraordinary closing track in which we reach a place of resolution mapped into the album’s narrative structure. Mixed by longtime collaborator John ‘Spud’ Murphy in his Dublin-based Guerrilla Sounds Studio and mastered by Harvey Birrell …And Take The Black Worm With Me features contributions from Ruth Clinton (Landless) on church organ and vocals by Laurie Shanaman (Ails, Ludicra). Of Shanaman’s participation, in particular, which further illustrates the lo-fi and DIY ethos to the recording, Lynch says, “Laurie is my favourite black metal vocalist of all time and so I reached out to her hoping to have her involved in some way. She did, and she features on the opening track by providing some incredible screams. She recorded them into her phone and sent them over to me; what appears on the album is literally a phone recording of her screaming in her kitchen!” …And Take The Black Worm With Me continues Ian Lynch’s groundbreaking work with Lankum; recontextualising traditional forms and generating new spheres of music in his wake, confirming his status as one of the most interesting and innovative artists working in Ireland today.

pre-order now28.03.2025

expected to be published on 28.03.2025

29,62
Gustaph - Look At Us Now LP

Gustaph

Look At Us Now LP

12inch5411146
541 Label
27.03.2025

Look At Us Now: the long-awaited debut album from Song Festival sensation Gustaph!

"I wanted to make a record that makes people feel good about themselves."

Good things come to those who wait: after more than 20 years as a musician, Gustaph is releasing his debut album, Look At Us Now. The title is a phrase from the song Because Of You, which won him seventh place at the Eurovision Song Contest in 2023.

"Look At Us Now may be taken literally," Gustaph explains. "Look where we are now after 20 years of hardwork. And look where we are with the queer movement: as a queer artist, I can openly be myself and sing about the things that are important to me."

Gustaph's soulful voice takes us through various themes, from believing in yourself and fickle lovers to chosen family and loss.

Look At Us Now is a pop record infused with nineties house, dance and disco, but we also spot a ballad (Miss You The Most) and two Scandi-pop tracks: Like You, an ode to love and Darker Days, an epic track that will pull you through bleak periods with panache.

"I wanted to make a record that makes people feel good about themselves," Gustaph says. "One that they put on while getting ready to go out or just to start the day. A little pick-me-up that makes them think: Yes, now I can kick ass."

When you play the record for the first time, you'll already be able to sing along to a bunch of tracks: there's Because Of You of course, butalso more recent singles like Already Know, Faith In What You Feel and Calls Your Name.

The record was produced in London with Richard X, known for his work with Róisín Murphy, Alison Goldfrapp and Pet Shop Boys, among others. "That's very close to who I am as an artist, so that collaboration just made sense," Gustaph explains.

Look At Me Now sounds like a party where everyone is welcome. The club tour kicks off at Ancienne Belgique. Come celebrate!

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Coil - Love’s Secret Domain LP 3x12"

In 1991 Coil released the third of their early classic full-length albums “Love’s Secret Domain”, seemingly casting aside the gloom
and funereal beauty of its predecessors in favour of a painstakingly multi-layered hallucinogenic electronic beast, which unlike
some of their fellow ex-industrial contemporaries’ releases of the time wasn’t an attempt at easy accessibility or (the-godsforbid) danceability, but a vibrating psychedelic masterpiece unrivalled in their discography and still a landmark album.
To mark its 30 year anniversary Infinite Fog are beyond proud to present an expanded, fully remastered re-release of this fan
favourite available for the first time ever in its entirety on vinyl with 10 rare and mostly unreleased tracks and alternative
versions from the period added as a bonus to a luxurious 3LP/2CD set.
Love’s Secret Domain contains among its many highlights the Lynchian William Blake tribute of its title track and the
intoxicating single “Windowpane”, original versions of the later Coil live staple “Teenage Lightning” and the majestically warped
classicisms of “Chaostrophy”. Marc Almond guests on the typhonian “Titan Arch” and This Heat’s Charles Hayward provides
some amazing drum stylings.
This album is Coil pushing their sound ideas and probably their sanity to their very limits. Beyond the iconic Steven Stapleton
cover art here reproduced in unseen definition the doors of perception still open wide for both long-term Coil aficionados and
new-comers to this supremely innovative release to explore unknown depths. The long-overdue re-release illustrates how far
ahead of the curve Coil were with the sounds on this album, which still sounds as fresh and mind-blowing as it did back in the
early 90s.

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Peter Brötzmann / John Edwards / Steve Noble / Jason Adasiewicz - The Quartet LP 2x12"

It is a huge honour to announce the publication of Peter Brotzmann’s final concerts on OTOROKU. When we invited Peter to do a residency at Cafe OTO back in February 2023 we had no idea these would be his last ever shows and he played with such power it would have been hard for anyone present to believe he would never play publicly again.

Recorded over two nights this grouping of Jason Adasiewicz on vibraphone, John Edwards on bass and Steve Noble on drums feels especially resonant and personal to Cafe OTO. The first time Peter performed at the venue back in 2010 it was in a trio with John and Steve, (released as The Worse The Better kick starting our in-house record label) so it feels fitting that the last shows he ever played here should also have that trio at its core.

The quartet last played together at OTO back in 2013, (released as Mental Shake on OTOROKU), and Brotzmann humbly opened the return of the group saying, "it's a pleasure to be back” before launching straight into a long blast on the alto sax, swiftly met by the relentless energy and engagement of Adasiewicz, Edwards and Noble.

There are moments of tenderness to Brotzmann’s playing that feels specific to this small group - one that cuts across three generations - and in a space that’s come to feel like home. Of course, there is dizzying, forceful, singleminded playing, but even amongst a relentless chorus of cymbal splashes and busy vibraphone clusters the lyrical, spacious moments are savoured and held onto. As he remarked at the end of the group's first visit to OTO, “the Quartet is, for us, a great adventure.”

Peter clearly wanted to play to the end. Did he know these might be his last shows? We will never know. What is clear is he wanted to go out in style and on his terms. For anyone in the room at the time or listening to these recordings it’s clear he achieved that.

It was Peter’s wish that these recordings should be made public and he was due to finalise the cover design on the week he passed away. We would like to thank Peter’s family for working with us to fulfil Peter’s wishes to release this material but more than anything we would like to thank Peter himself for all the extraordinary memories, his generosity and all he has given the music. On a personal level for us, like so many, he meant a huge amount and we miss him deeply.

The Quartet will be released as a complete recording on 2CD and as a special edit version on 2LP. Both feature artwork by Peter Brotzmann and UNTIET and are complete with photographs by Dawid Laskowski.
OTOROKU will also release a special 4LP boxset edition, limited to 250 copies and only available direct from us. Pre-orders are on the website now and Cafe OTO members will receive a 20% discount.

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JAPANESE BREAKFAST - For Melancholy Brunettes (& sad women) MC (TAPE)

Nach einem Jahrzehnt, in dem die Band das Beste aus improvisierten Aufnahmeräumen in Lagerhäusern, Wohnwagen und Lofts gemacht hat, ist „For Melancholy Brunettes (& sad women)“, das vierte Album von Japanese Breakfast, die erste richtige Studioveröffentlichung der Band. Produziert von Grammy-Preisträger Blake Mills, zieht sich Frontfrau und Songschreiberin Michelle Zauner von der hellen Extrovertiertheit des Vorgängers „Jubilee“ zurück, um die dunkleren Wogen zu erforschen, die in ihrem Inneren aufgewühlt sind, das launische, fruchtbare Feld der Melancholie, das seit langem als der psychische Zustand von Dichtern am Rande der Inspiration gilt. Das Ergebnis ist eine künstlerische Absichtserklärung: ein reifes, komplexes, kontemplatives Werk, das den romantischen Nervenkitzel einer Gothic Novel heraufbeschwört. „For Melancholy Brunettes (& sad women)“ folgt einer transformativen Periode in Zauners Leben, in der ihr zweifach GRAMMY-nominiertes Durchbruchsalbum ‚Jubilee‘ und ihre Bestseller-Memoiren ‚Crying In H Mart‘ sie in den kulturellen Mainstream katapultierten und ihre tiefsten künstlerischen Ambitionen erfüllten. Als sie über diesen Erfolg nachdachte, erkannte Zauner die Ironie der Sehnsucht, die so oft Glückseligkeit und Verderben miteinander verbindet. „Ich fühlte mich verführt, das zu bekommen, was ich immer wollte“, sagt sie. „Ich flog zu nah an die Sonne heran, und mir wurde klar, dass ich sterben würde, wenn ich weiterflöge“. Das Schicksal von Ikarus und anderen Verdammten verleiht „For Melancholy Brunettes (& sad women)“ sein beständigstes Thema: die Gefahren des Begehrens. Wie zerstreutes Licht führen seine spektralen Teile die Charaktere des Albums durch Zyklen von Versuchung, Übertretung und Vergeltung. In „Orlando in Love“ - ein Riff auf John Cheevers Riff auf „Orlando Innamorato“, einem unvollendeten Epos, das aus 68 Cantos des Renaissance-Dichters Matteo Maria Boiardo besteht - ist der Held ein gutmütiger Dichter, der sein Winnebago am Meer parkt und dem Ruf einer Sirene zum Opfer fällt, seinem 69. Canto (selbst im erhabenen Reich des klassischen Mythos hat Zauner ein Faible für Anspielungen). „Honey Water“ lotet die stille Wut einer Frau aus, die mit einem untreuen Mann verheiratet ist und zusieht, wie er immer wieder der Lust nachgibt wie ein niederes Insekt, das seinen eigenen Untergang herbeiführt Traurigkeit ist in der Tat die dominierende emotionale Tonart dieser Platte, aber es ist eine Traurigkeit der besonderen Art: die nachdenkliche, vorausschauende Traurigkeit der Melancholie, in der die Erkenntnis des im Wesentlichen tragischen Charakters des Lebens mit Sensibilität für seine flüchtige Schönheit einhergeht. Zauner findet in ihr genügend Raum für Hoffnungsschimmer. Es sind die Tröstungen der Sterblichen, die Dichter vor ihr gerufen haben und die Dichter nach ihr immer wieder neu entdecken werden: Liebe und Arbeit, und obwohl sie sich wie stärkende Vorsätze durch die vielen Episoden des Albums ziehen, erklingen sie am deutlichsten im letzten Song, „Magic Mountain“, einer Auseinandersetzung mit Thomas Manns berühmtem gleichnamigen Roman. Für sie fühlt sich jede Arbeit wie das Erklimmen eines Berges an, aber von der Spitze von „For Melancholy Brunettes (& sad women)“ aus blickt sie in die Zukunft.

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14,92

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Derya Yıldırım & Grup Şimşek - Yarın Yoksa

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

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26,47

Last In: 10 months ago
Derya Yıldırım & Grup Şimşek - Yarın Yoksa

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

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11,35

Last In: 12 months ago
Max Lessig - Halo EP

Max Lessig

Halo EP

12inchFAUXPAS033
FAUXPAS MUSIK
24.03.2025

2025 Repress

Max Lessig journey started in the north of germany, he travels the country and is gaining followers by the minute. Adapting styles as he pleases never loosing his clear vision, he is offering five new messages on HALO EP. Readymade for wide, open fields - magnetically attracting hands towards the air. Praise the prophet, he brings nothing but pleasure and good vibrations. Vinyl Tastes Better...

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14,71

Last In: 12 months ago
Various - Rainbowarriors Vol.1 LP 2x12"
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30,88

Last In: 13 months ago
United Freedom Collective - Bright Patterns

Founded by Robbie Redway and psychedelic researchers Mathieu Seynaeve and WaiFung Tsang, UK-based 'United Freedom Collective' has grown into a network of artists including Jordan Stephens, Falle Nioke, Eliza Shaddad, Labdi, William Rees and Facesoul. Originally conceived around psychedelic therapy sessions, online yoga and breathwork channels, the musical scope has expanded on each of the four EPs released on Maribou State's 'Dama Dama' label, and here continues with their debut on Multi Culti. This time Robbie takes the lead on production and sole vocal duties on all five tracks, presenting a range of influences and style. Lead single 'Between Memories' blends tropes of ecstatic dance with uplifting vocal piano house, somehow making flutes fit in with Detroit strings to epic, hands-in-the-air effect.' Title track ‘Bright Patterns’ bridges the gap between Jungle, Jai Paul, and Jamiroquai, a fusion of funky filtered disco-house and electroclash with side-chained pop vocal hooks. ’El Yo’ smooths things out, a dope, laid back groove with a measured reflection on psychedelic healing and the perils of spiritual bypassing. ‘Higher Drums’ warms things back up for the dancefloor with trumpet, afro-latin percussion, and flute flourishes. Finally, ‘Moonshine’ is a soaring, Amapiano-inflected post-desert-house ballad. Influenced, in their words, 'by birds, trees, Buddhism, yoga, headless way meditations, Jungian analysis, Zen Taoism, Chinese plant medicines, indigeneity, Amazonian and psychedelic cultures, icaros and world healing traditions,' the music is eclectic, ranging from afro-inspired jazz to Chinese folk, psych-rock to dub and dance music, an ambitious and inclusive range, collabs that extend well beyond the borders of western musical traditions. Their sound was described by Clash Magazine as an 'aural mosaic that glitters with colour and potential,' and while the sheen of the production and precision of the arrangements might seem a departure from Multi Culti's left-field endeavours, the psychedelic idealism and global connectivity make it a natural fit with the open-ended ethos of the label. Having already had radio support from KEXP, BBC6 Music (Laverne, Ravenscroft, Charles, Nemone, Letts), Jazz FM and Worldwide FM (Gilles Peterson), with a live show that sold out Dalston Curve Garde and The Waiting Room as well as supporting Maribou State for their recent comeback show at Islington Assembly Hall in London the collective's future is looking exceptionally bright.

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14,24

Last In: 11 months ago
Sewell And The Gong, Wallace, My Friend Dario, SIRS, Verdo, Pedro Bertho - File Under Balearic Gabba - Volume 2

DJ Support: Erol Alkan, Kenneth Bager, Leo Mas, FFan, Sean Johnston (ALFOS), Max Essa, Coyote, Ban Ban Ton Ton, Chris Coco

Hell Yeah series File Under Balearic Gabba continues its mission to bring some vital, previously digital-only Balearic Gabba weaponry to vinyl for the first time. This second volume has artwork by Planet Luke and features Wallace next to new school stars SIRS and Pedro Bertho.

Tartan Records label head and British talent Wallace opens up with a remix of Sewell And The Gong's 'Better Words' that has been a real summer hit for label head Marco Gallerani.

The original came on Jason Boardman's fine Before I Die label and is one of those jams that transcends genre and wins over techno heads, Adriatic beach groovers and festival main stages alike. It is 'proper Balearic Gabba' says Marco with its tropical percussion, humid pads and watery droplets all adding lush atmosphere to the dubby drums. The chords and reedy leads are beautifully delicate but get floors in a blissed-out, loved-up trance.

SIRS is an artist on fire right now and already impressed on this label with his remix of Aura Safari which is one of the year's standout Balearic house jams. He has a new single on the way for Hell Yeah but first flips label mate My Friend Dario's 'Tellaro' into a wobbly, psyched-out dub disco and breakbeat chugger. The zippy synths and shimmering keys are underpinned with a taught bassline and playful vocals that bring great fun and irresistible party vibes to any set.

Hell Yeah mainstay Verdo then has his 'Boulevardier' remixed by Pedro Bertho, a rising talent from Brazil with a steamy South American style. This one is a modern beach classic that unites both young and old heads with its frayed analogue drums and snappy percussion joining the dots between 80s Chicago house, new age and Balearic with its big piano chords and phased bass all getting hands the air.

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14,24

Last In: 7 months ago
Minuit Machine - Queendom

Minuit Machine

Queendom

12inchSR0026LPMBD
Synth Religion
24.03.2025

QUEENDOM is an album that marks a new era for the project while staying true to the essence of Minuit Machine. Produced under the SYNTH RELIGION label, this opus immerses us in Amandine's introspective realm, oscillating between darkness and light, between doubt and self-conquest. While retaining the emotional DNA of previous productions, QUEENDOM stands out with a more pop-oriented touch, featuring tracks where Amandine sings in French for the first time.

The first single, "HOLD ME," is a powerful pop anthem addressed to the queer community, celebrating the freedom to be oneself and breaking free from societal and patriarchal norms. This track is a true empowerment statement, with striking electro beats supporting a strong message of emancipation and pride.

"Créatures," a collaboration between RAUMM and Minuit Machine, is a modern fairy tale—a timeless love story that could take place in any era. This salvific love, rarely seen today, embodies a poignant depth and beauty.

Continuing the journey, "Cent Fois"—a French-written track—takes us into a techno-pop universe with nostalgic yet hopeful undertones. This song perfectly reflects Minuit Machine's evolution toward a more radiant approach while staying faithful to its dark heritage.

"Party People," on the other hand, is a return to roots with dark wave/italo sounds. This hypnotic and haunting track questions identity in an increasingly robotic society, where individuals are forced to conform to imposed norms. This exploration of the individual versus the collective lies at the core of Minuit Machine's DNA.

"Mes Souvenirs," created in collaboration with Rebeka Warrior, dives intimately into the memories of Amandine and Rebeka. Together, they reveal fragments of their past—precious and vibrant memories that resonate through powerful and melancholic electro sounds.

Finally, the eponymous track "Queendom" invites us to plunge into the depths of Amandine's world—a universe that is both tormented and icy, yet resilient. Supported by a slow and captivating rhythm, this track is designed to grip and haunt the listener, like an incantation.

QUEENDOM is a bold and hybrid work where each track reflects a pursuit of sincerity and artistic reinvention while maintaining the ability to express emotions through rhythms that are both danceable and introspective. The album showcases Minuit Machine's artistic maturity, establishing itself as a must-listen in the darkwave and electronic pop scene.

Amandine entrusted the artistic direction of this album to Manon Dupeyrat, a brilliant young artist who crafted a bespoke universe perfectly aligned with the produced tracks. The album cover, both intimate and anachronistic, invites listeners into Amandine's private world through her bedroom, revealing what she wishes to share.

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24,58

Last In: 13 months ago
LONNIE HOLLEY - TONKY LP 2x12"

Lonnie Holley

TONKY LP 2x12"

2x12inchJAGLPC1468
JAGJAGUWAR
21.03.2025

"Tonky" ist Lonnie Holleys fünftes Studioalbum und enthält Gastauftritte von Isaac Brock, Angel Bat Dawid, Billy Woods, Alabaster de Plume, Mary Lattimore und anderen. Bei der Leadsingle "Protest With Love" ist Jacknife Lee, der auch das gefeierte Vorgängeralbum "Oh Me Oh My" produziert hat, als Bassist, Keyboarder, Synthesizer, Schlagzeuger, Programmierer, Flötist, Percussionist und Sänger zu hören. Weitere Mitwirkende sind The Legendary Ingramettes am Gesang, Kelly Pratt an den Bläsern und Flöten, Jordan Katz an den Bläsern und natürlich Holley am Gesang. Holley fordert die Zuhörer auf, "mit Liebe zu protestieren" und "die Liebe zu deiner Waffe zu machen". Es gibt Dichter wie die große Mary Oliver, die vorschlagen, dass die Hauptfunktion des Menschen, wenn er sich durch die Welt bewegt, solange er Leben und die Fähigkeit hat, sich durch die Welt zu bewegen, darin besteht, dem Aufmerksamkeit zu schenken, was andere törichterweise als klein oder alltäglich bezeichnen mögen. Das Gehirn und das Herz sind beides Gefäße, die so viel Platz haben, wie man ihnen zugestehen möchte, und zu leben bedeutet, Sammlungen von gefundenen Zuneigungen zu schaffen. Die Geräusche der geliebten und vertrauten Häuser, die Bewegungen der Bäume und der Menschen unter ihnen, die Art und Weise, wie jemand, den man verehrt, einen ein paar Sekunden lang umarmt, bevor er sich aus der Umarmung löst und in einer überfüllten Fußgängerzone verschwindet. Wenn wir unser Leben, unser Schaffen und unsere Liebe auf diese Weise betrachten, bedeutet das, dass wir, zumindest für einige von uns, durch die Aussicht auf das, was als Nächstes kommt, vorwärts getrieben werden können. Welchen Moment wir festhalten und in unsere überquellenden Taschen stecken können. Die Arbeit von Lonnie Holley ist ein Werk dieser Art von Anhäufung und genauer Aufmerksamkeit. Das Vergnügen, einen Klang zu finden und ihn gegen einen anderen gefundenen Klang und einen weiteren zu pressen, bis der Hörer, bevor er es merkt, von einer Klangsinfonie überflutet wird, die sich anfühlt, als würde sie sich zusammenfügen, während sie über einen hinwegspült. "Tonky" ist ein Album, das seinen Namen von einem Spitznamen aus der Kindheit hat, der Holley anhaftete, als er einen Teil seiner Kindheit in einem Honky Tonk verbrachte. Lonnie Holleys Leben des Überlebens und der Ausdauer erforderte - und erfordert zweifellos immer noch - eine Art Erfindung. Eine Erfindung, die auch in Holleys Liedern reichhaltig und präsent ist, die auf "Tonky" voll und eindringlich sind, einem Album, das mit seinem längsten Lied beginnt, einem neunminütigen, erschöpfenden Marathon eines Stücks namens "Seeds", das mit einem einzigen spärlichen Klang beginnt und sich dann ausdehnt. Gesänge, schwache Tasten, Streicher und als Krönung Holleys Stimme, die nicht singt, sondern klar und deutlich von der Arbeit auf der Erde erzählt, als er jung war, und von der Gewalt, die er dabei ertragen musste, als er blutig und mit Schmerzen von Schlägen ins Bett ging. Der Song weitet sich zu einer Metapher über den Ort aus, über das Versagen des Zuhauses oder eines Ortes, der einen beschützen soll, der nicht das hält, was er zu sein vorgibt, selbst wenn man unermüdlich daran arbeitet, daran arbeitet, daran arbeitet, etwas Sinnvolles daraus zu machen. "Seeds" gibt nicht nur den Ton für ein Album an, das sich um Wiedergeburt, Erneuerung und die Grenzen von Hoffnung und Glaube dreht, sondern unterstreicht auch, was Holleys größte Stärke als Musiker ist, nämlich sein Engagement für Fülle und Großzügigkeit. Er ist ein unglaublich begabter Geschichtenerzähler, der sich der mündlichen Tradition verschrieben hat, so dass viele Hörer völlig zufrieden wären, wenn sie zu Füßen einer Lonnie-Holley-Platte säßen und seinen robusten, ausladenden Erzählungen lauschen könnten. Aber "Tonky" ist ein Album, das sowohl klanglich als auch in Bezug auf die vielen verschiedenen Künstler, die auf dem Album vertreten sind, einen Platz bietet, an dem sie sich zu Hause fühlen können, ganz gleich, wie sie die Zeit verbringen, die sie für einen Song brauchen.

pre-order now21.03.2025

expected to be published on 21.03.2025

32,35
Donny Benét - MR EXPERIENCE LP

After humble lo-fi beginnings in the Australian Art-Pop Underground, Donny Benet has expanded his cult-like following across the Globe with a resonant Array of danceable Repertoire dealing with Love- and Affection. New album "Mr Experience" marks a new chapter, informed by a wealth of musical- and personal development.

For Mr Experience, Donny envisioned a Soundtrack to a Dinner-Party- Set in the late 1980's. While his earlier Recordings drew Inspiration from DIY Pop Conspirators such as Ariel Pink & John Maus, Donny channelled the Stylings of Bryan Ferry & Hiroshi Yoshimura as the Impetus for new Material, evident on the Intimacy found on ‘Girl Of My Dreams’ and it's lush production- with a soothing whistle-along Chorus for good Measure!

Sincerity has been a key component of Donny Benet’s output since the beginning. His songs deal with genuine Emotion served on a kitsch Platter. An alter-ego manifested in the beginning of the 2010's, Donny has blurred the Lines of Artifice to create a back- Catalogue that can embrace- and challenge, often simultaneously, - the notion of Irony in Art.

"Mr Experience" moves further away from ironic Notions as Donny explores lyrical- and musical themes which embody Observations of Maturation in his audience, his tightknit musical Community- and himself. While ‘mature’ is a term that often rings hollow as an album descriptor, the term couldn’t be more apt for Mr Experience.

Previous album The Don was created with the luxury of time. The phenomenal Response to that Album across Europe- and the United States - fuelled by accompanying Music Videos clocking in Views in the Millions- meant that there were scant Windows of Opportunity to write- and record a follow-up.

With a legacy in Sydney’s music community, working with Sarah Blasko, and tightknik collaborators Jack Ladder & Kirin J Callinan, Donny Benet is accustomed to collaboration on the Stage- and in the Studio, mostnotably on the 2014 full-length release Weekend At Donny’s.



“There is such immense talent evident in every aspect of the Donny Bene experience - the vision of the character, the steadfast adherence his narrative and the musicality of Benet himself all combine to makesomething truly genius.” - Double J, Australin.

“Donny Benet makes feminine music for everybody” - Vice, Netherlands.

“The Don does not sound like amusical copying machine”. - 3voor12 National, Netherlands.

“The set was punctuated with virtuosic solos and exquisite harmonies, and added another layer of genius to the show.
We almost couldn’t handle it... Donny for president!" - Indie Berlin.

“Everyone loves Donny Benet” - Feature in Gonzai, France.

“Phenomenal Australian Showman... Offers Top-Class Dance Music with Virtuose-Bass Guitar- and Keyboard Parts & incredible Sound-Colour feel.” - Podujatie.sk, Slovakia.

Donny has toured Europe five times since the start of 2018 and has played in the UK, Austria, Germany, Slovakia, France, Netherlands, Spain, Portugal, Belgium, Denmark, Switzerland, Czech Republic, Greece and Sweden. The Don will revisit Europe twice in 2020, once for his own headline shows in May then back again in August for festivals!

pre-order now21.03.2025

expected to be published on 21.03.2025

27,19
Abstract Orchestra & Ghostlife - Madvillain Remixes

Abstract Orchestra's composer, leader, arranger and producer Rob Mitchell has now added remixing to his already notable list of credits, in this case turning his hand to Abstract's MADVILLAIN project. Rob has worked with many artists during his busy career; The Haggis Horns, Rag 'n' Bone Man, Sharon Jones and the Dap–Kings, Brand New Heavies, and Slum Village, alongside many others but it was the orchestra's work he wanted to revisit. Seeing the pandemic as an opportunity to spend more time in the studio, Rob spent several months polishing his production skills before embarking on this remix project, he wanted to make sure he did it justice. Working under the moniker Ghostlife, a nod to the fabled anonymity of rapper MF DOOM, Rob has reworked the big band orchestration of Abstract, creating a beat led affair with greater dance floor appeal.

For Abstract Orchestra MADVILLAIN REMIXES, Ghostlife cherry picked ten tracks from Abstract's two-album project and plays with a higher BPM count within the hip hop aesthetic of the original. The tracks include "Raid", "Fancy Clown", "Curls", and "Figaro" and in this case Ghostlife has forgone the big arrangements Abstract is known for, rather he has coaxed out hooks and samples from their tracks and produced something he hope will appeal to a different crowd. There is dancefloor potential in "Eye","Accordian" and bass heavy "Borrowed Time" while the reworks of 'Fancy Clown" and "Curls" would fit well into any radio show.

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23,11

Last In: 2 years ago
Grits and Glamour (ft. Pam Tillis and Lorrie Morgan) - Dos Divas
  • 1: That's So Cool
  • 2: I Am A Woman
  • 3: Old Enough To Be Your Lover
  • 4: I Know What You Did Last Night
  • 5: Next Time It Rains
  • 6: Dos Divas
  • 7: I'm Tired
  • 8: I Envy The Sun
  • 9: Last Night's Make Up
  • 10: Bless Their Hearts
  • 11: What Was I Thinkin
  • 12: Ain't Enough Roses
  • 13: Another Chance To
  • 14: Even The Stars

First time on vinyl! Unique duets album from country music greats Lorrie Morgan and Pam Tillis (under touring moniker 'Grits & Glamour'). The project features solo performances by Morgan and Tillis as well as fun collaborations and poignant duets. Highlights include original material written by Lorrie and Pam as well as songs penned by some of country music's most talented songwriters. With titles such as “That’s So Cool,” “Bless Their Hearts,” “I Am a Woman,” “I Know What You Did Last Night,” and “What Was I Thinkin’” (a Tillis/Morgan co-write), the 14-song collection is as diverse as the many moods of both women. It shows their remarkable range, showcasing everything from traditional country to cutting edge contemporary. Veteran recording artists and performers, they grace the country format with style, flair, and undeniable talent that is captivating and timeless. Their career highlights are numerous and varied. Combined, they have recorded 28 top 10 hits, more than 18 million records sold, and 12 number one songs. There have been Grammys, CMA Awards, movie credits, television appearances, and Broadway performances. They have rocked arenas, helmed world-class symphonies, and toured on almost every continent. “We've been called divas a time or two,” laughs Lorrie. “Now, I'm sure they meant it in the best sense of the word,” Pam responds. “As far as being 'divas', we share the title and the responsibility!” Striking a more serious note, they both recognize the importance of compromise in this unique and special relationship. They respect one another’s artistry, they respect each other as women, and they respect the fact that they’re carrying on the legacies of their fathers, late Opry star George Morgan and living legend Mel Tillis.

pre-order now21.03.2025

expected to be published on 21.03.2025

29,62
JAPANESE BREAKFAST - For Melancholy Brunettes (& sad women)
  • Here Is Someone
  • Orlando In Love
  • Honey Water
  • Mega Circuit
  • Little Girl
  • Leda
  • Picture Window
  • Men In Bars
  • Winter In La
  • Magic Mountain
also available

Coloured Vinyl[26,68 €]

Coloured + Signed[14,92 €]


Nach einem Jahrzehnt, in dem die Band das Beste aus improvisierten Aufnahmeräumen in Lagerhäusern, Wohnwagen und Lofts gemacht hat, ist „For Melancholy Brunettes (& sad women)“, das vierte Album von Japanese Breakfast, die erste richtige Studioveröffentlichung der Band. Produziert von Grammy-Preisträger Blake Mills, zieht sich Frontfrau und Songschreiberin Michelle Zauner von der hellen Extrovertiertheit des Vorgängers „Jubilee“ zurück, um die dunkleren Wogen zu erforschen, die in ihrem Inneren aufgewühlt sind, das launische, fruchtbare Feld der Melancholie, das seit langem als der psychische Zustand von Dichtern am Rande der Inspiration gilt. Das Ergebnis ist eine künstlerische Absichtserklärung: ein reifes, komplexes, kontemplatives Werk, das den romantischen Nervenkitzel einer Gothic Novel heraufbeschwört. „For Melancholy Brunettes (& sad women)“ folgt einer transformativen Periode in Zauners Leben, in der ihr zweifach GRAMMY-nominiertes Durchbruchsalbum ‚Jubilee‘ und ihre Bestseller-Memoiren ‚Crying In H Mart‘ sie in den kulturellen Mainstream katapultierten und ihre tiefsten künstlerischen Ambitionen erfüllten. Als sie über diesen Erfolg nachdachte, erkannte Zauner die Ironie der Sehnsucht, die so oft Glückseligkeit und Verderben miteinander verbindet. „Ich fühlte mich verführt, das zu bekommen, was ich immer wollte“, sagt sie. „Ich flog zu nah an die Sonne heran, und mir wurde klar, dass ich sterben würde, wenn ich weiterflöge“. Das Schicksal von Ikarus und anderen Verdammten verleiht „For Melancholy Brunettes (& sad women)“ sein beständigstes Thema: die Gefahren des Begehrens. Wie zerstreutes Licht führen seine spektralen Teile die Charaktere des Albums durch Zyklen von Versuchung, Übertretung und Vergeltung. In „Orlando in Love“ - ein Riff auf John Cheevers Riff auf „Orlando Innamorato“, einem unvollendeten Epos, das aus 68 Cantos des Renaissance-Dichters Matteo Maria Boiardo besteht - ist der Held ein gutmütiger Dichter, der sein Winnebago am Meer parkt und dem Ruf einer Sirene zum Opfer fällt, seinem 69. Canto (selbst im erhabenen Reich des klassischen Mythos hat Zauner ein Faible für Anspielungen). „Honey Water“ lotet die stille Wut einer Frau aus, die mit einem untreuen Mann verheiratet ist und zusieht, wie er immer wieder der Lust nachgibt wie ein niederes Insekt, das seinen eigenen Untergang herbeiführt Traurigkeit ist in der Tat die dominierende emotionale Tonart dieser Platte, aber es ist eine Traurigkeit der besonderen Art: die nachdenkliche, vorausschauende Traurigkeit der Melancholie, in der die Erkenntnis des im Wesentlichen tragischen Charakters des Lebens mit Sensibilität für seine flüchtige Schönheit einhergeht. Zauner findet in ihr genügend Raum für Hoffnungsschimmer. Es sind die Tröstungen der Sterblichen, die Dichter vor ihr gerufen haben und die Dichter nach ihr immer wieder neu entdecken werden: Liebe und Arbeit, und obwohl sie sich wie stärkende Vorsätze durch die vielen Episoden des Albums ziehen, erklingen sie am deutlichsten im letzten Song, „Magic Mountain“, einer Auseinandersetzung mit Thomas Manns berühmtem gleichnamigen Roman. Für sie fühlt sich jede Arbeit wie das Erklimmen eines Berges an, aber von der Spitze von „For Melancholy Brunettes (& sad women)“ aus blickt sie in die Zukunft.

pre-order now21.03.2025

expected to be published on 21.03.2025

25,17
JAPANESE BREAKFAST - For Melancholy Brunettes (& sad women)

Nach einem Jahrzehnt, in dem die Band das Beste aus improvisierten Aufnahmeräumen in Lagerhäusern, Wohnwagen und Lofts gemacht hat, ist „For Melancholy Brunettes (& sad women)“, das vierte Album von Japanese Breakfast, die erste richtige Studioveröffentlichung der Band. Produziert von Grammy-Preisträger Blake Mills, zieht sich Frontfrau und Songschreiberin Michelle Zauner von der hellen Extrovertiertheit des Vorgängers „Jubilee“ zurück, um die dunkleren Wogen zu erforschen, die in ihrem Inneren aufgewühlt sind, das launische, fruchtbare Feld der Melancholie, das seit langem als der psychische Zustand von Dichtern am Rande der Inspiration gilt. Das Ergebnis ist eine künstlerische Absichtserklärung: ein reifes, komplexes, kontemplatives Werk, das den romantischen Nervenkitzel einer Gothic Novel heraufbeschwört. „For Melancholy Brunettes (& sad women)“ folgt einer transformativen Periode in Zauners Leben, in der ihr zweifach GRAMMY-nominiertes Durchbruchsalbum ‚Jubilee‘ und ihre Bestseller-Memoiren ‚Crying In H Mart‘ sie in den kulturellen Mainstream katapultierten und ihre tiefsten künstlerischen Ambitionen erfüllten. Als sie über diesen Erfolg nachdachte, erkannte Zauner die Ironie der Sehnsucht, die so oft Glückseligkeit und Verderben miteinander verbindet. „Ich fühlte mich verführt, das zu bekommen, was ich immer wollte“, sagt sie. „Ich flog zu nah an die Sonne heran, und mir wurde klar, dass ich sterben würde, wenn ich weiterflöge“. Das Schicksal von Ikarus und anderen Verdammten verleiht „For Melancholy Brunettes (& sad women)“ sein beständigstes Thema: die Gefahren des Begehrens. Wie zerstreutes Licht führen seine spektralen Teile die Charaktere des Albums durch Zyklen von Versuchung, Übertretung und Vergeltung. In „Orlando in Love“ - ein Riff auf John Cheevers Riff auf „Orlando Innamorato“, einem unvollendeten Epos, das aus 68 Cantos des Renaissance-Dichters Matteo Maria Boiardo besteht - ist der Held ein gutmütiger Dichter, der sein Winnebago am Meer parkt und dem Ruf einer Sirene zum Opfer fällt, seinem 69. Canto (selbst im erhabenen Reich des klassischen Mythos hat Zauner ein Faible für Anspielungen). „Honey Water“ lotet die stille Wut einer Frau aus, die mit einem untreuen Mann verheiratet ist und zusieht, wie er immer wieder der Lust nachgibt wie ein niederes Insekt, das seinen eigenen Untergang herbeiführt Traurigkeit ist in der Tat die dominierende emotionale Tonart dieser Platte, aber es ist eine Traurigkeit der besonderen Art: die nachdenkliche, vorausschauende Traurigkeit der Melancholie, in der die Erkenntnis des im Wesentlichen tragischen Charakters des Lebens mit Sensibilität für seine flüchtige Schönheit einhergeht. Zauner findet in ihr genügend Raum für Hoffnungsschimmer. Es sind die Tröstungen der Sterblichen, die Dichter vor ihr gerufen haben und die Dichter nach ihr immer wieder neu entdecken werden: Liebe und Arbeit, und obwohl sie sich wie stärkende Vorsätze durch die vielen Episoden des Albums ziehen, erklingen sie am deutlichsten im letzten Song, „Magic Mountain“, einer Auseinandersetzung mit Thomas Manns berühmtem gleichnamigen Roman. Für sie fühlt sich jede Arbeit wie das Erklimmen eines Berges an, aber von der Spitze von „For Melancholy Brunettes (& sad women)“ aus blickt sie in die Zukunft.

pre-order now21.03.2025

expected to be published on 21.03.2025

26,68
Eliza Niemi - Progress Bakery
  • A1: Do U Fm
  • A2: Novelist Sad Face
  • A3: Green Box
  • A4: Dusty
  • A5: The Linda Song
  • A6: Dm Bf
  • B1: I Tried
  • B2: Melodies Like Mark
  • B3: Wildcat
  • B4: How U Remind Me
  • B5: Pocky
  • B6: Bon Tempiii
  • B7: Pt Basement
  • B8: Alberqurque Ii
  • B9: Mary's

Kneading dough is tricky – you should know how it’s supposed to feel. If you try too hard you could make it worse. It’s a beautiful practice – creation with a gentle touch, to work at something so it can be left alone. “If it’s too drawn out it’s awful. It’s easy to give too much.” Dance in the mirror. Contemplate your veiny hands. Who do they remind you of?

You begin by mixing flour and water. “What happens when your people die? Why’d they move the rock to the other side of Ulster Park?” Eliza Niemi asks two seemingly unrelated questions in a rising melody with guitar accompaniment, like fingers playing spider up to the nape of your neck. Gentle pressure. Strands of gluten form to bind the mix. A new question lingers in the binding. When she admits “but I don’t know how to tell if I’m feeling it or not,” that question surfaces through the text. It is reiterated throughout the album. When I’m working with dough I think the same thing to myself.

On Progress Bakery, her second album as a solo artist, Eliza knows to leave some questions alone – to let juxtaposition and tension be the proof. It doesn’t have to be hard. The feelings and revelations they provoke rise in the heat. The smell is sweet. Crispy on the outside and soft all the way through. She playfully slip-slides through words and sounds and images, delighting in surprise, skimming ideas like stones cast across clear water, touching down briefly with uncommon grace.

The question provoked between those opening lines resurfaces in the strands between songs – “Do U FM” is fully formed and beautifully layered, while “Novelist Sad Face” is a short, acapella rendering of gentle curiosity. What is holding these ideas together? Some songs demand more, seem to carry a whole load – eventually the skipping stone will halt to sink and resume its idle duty – while others drift in and out of focus, the way thoughts and dreams become interwoven before the mind is sunk into true sleep.

Music and words don’t always have to interact. Where she decides to keep them apart gives a new contour to where and how she puts them together. The kind of thing you’re supposed to take for granted with songs and their singers comes alive in Eliza’s hands – the little miracle of mixing, kneading, stretching, and stopping.

So often on Progress Bakery, Eliza teases out truth and meaning by asking questions. “Do I wanna be crying?” “Do you want me good or do you want me bad?” “Do I need an eye test?” “I’m writing songs in my head while you’re going over stuff with me — is that cruel??” In “Pocky” Eliza ends with a question that feels to me like the actual biography, succinct and revealing:

I don’t wanna be made to see
I just wanna ask “what’s that?”

Grace that ought to be rare, but in its care and precision is offered humbly, with great generosity, and without announcing itself. Eliza’s simple, miraculous music is given further form and shape by a group of collaborators – invaluable guest musicians Jeremy Ray, Evan Cartwright, Steven McPhail, Kenny Boothby, Ed Squires, Carolina Chauffe, Dorothea Paas, Louie Short, and Avalon Tassonyi. Together with Louie Short, who recorded, mixed, and produced the album along with Jeremy Ray and Lukas Cheung, Eliza has cultivated a richness in sound and texture that prods and provokes the ticklish ear. Barely audible guitar tinkering, a brief lo-fi field recording of trumpets, the harmonic clicking of a looped synthesizer, a flourish of reeds, a child’s conversation, each uncanny sound perfectly placed, rippling out under a soft breeze.

Lay in bed alone at night and ask aloud to the stillness,

“What were you doing at the Albuquerque Airport?
What were you doing there??”

And hear your question answered by a dream of swelling, undulating cellos. Try to grasp at the melody and structure. It’s not an answer (if there could be one), but it moves deeper, closer to the weird layer of fleeting moments and disconnected images, barely perceptible at its core. Wait for the dream reel to click into place.

Eliza took me for a ride in Nicole (her beloved Dodge Grand Caravan) and told me she’d been thinking of the album as an embodiment of transition – and I think every transition, known or unknown, carries the weight of new meaning, skittering off the surface tension of life as you know it, creating ripples, sometimes bouncing off and sometimes breaking through. There is a trick you can use to tell if a dough is glutinous enough. You’re supposed to stretch it out as thin as you can without breaking it and hold it up to the light. If you can see through, even if it renders the world murky and uncertain, you should leave it alone. I love this trick. It’s one that Eliza seems to know intuitively: work gently and ask questions and don’t always expect answers, and when you can, take a glimpse at something new, and then leave.

pre-order now21.03.2025

expected to be published on 21.03.2025

25,17
Roseaux - Roseaux III

Roseaux

Roseaux III

12inchFAN34656
Fanon
21.03.2025
  • A1: My People Ft.. Ghetto Boy
  • A2: Why Should I Smile Ft. Mélissa Laveaux
  • A3: Solitude Ft. Isabel Sörling
  • A4: Hey I Want You Ft. Olle Nyman
  • A5: You Say (Inst.)
  • A6: With Us Ft. Ben L’oncle Soul
  • B1: California Intro (Inst.)
  • B2: California Ft. Ala.ni
  • B3: Loving You Is All I Want To Do Ft. Aloe Blacc
  • B4: Mandolinho (Inst.)
  • B5: Again Ft. Anna Majidson

"Float like a butterfly and sting like a bee" said the famous boxer Mohammed Ali, in reference to his legendary strike. This punchline also works wonderfully in music, listening to Roseaux's third album. A French success story, created with all modesty and honesty by the Parisian trio: Emile Omar, Alex Finkin and Clément Petit.

The three musketeers of sound cultivate their know-how, now acclaimed by critics and an ever-growing audience since their first project in 2012. It took them time to take a step back and gain perspective in order to offer us a return that is both joyful and resounding.

Roseaux takes root on the banks of soul, folk, jazz, and songs from all eras, a cascade of inexhaustible sounds, where the three composers draw their inspiration and merge their experiences.

The leaves of Roseaux soar to the breath of wonderful voices, chosen with precision by the three friends, like that of the American singer Aloe Blacc, present since the beginning of the adventure, essential enchanter of the three episodes.

Conceived as a dreamlike escapade full of emotions, on the fringes of the massive, instantaneous and often disembodied production, Roseaux is a totally artisanal group, a sort of UFO in the French musical landscape, which operates on instinct and above all on desire.

Thus, Roseaux has become an expert in bringing together, for the duration of a record, the artists who specifically form the DNA of their host: captivating voices, a plot on the piano and cello, but also encounters and reunions, in a poetic and deliberately nebulous universe.

A welcoming nebula, where the listener is invited to listen and immerse themselves without hindrance, in a luxuriant, wild, exciting sound forest. This third album is the work of 3 music lovers, capable of switching roles: writing, arrangements, production, from which emerge this time, eleven tracks with chiseled melodies including three colorful and unusual instrumentals.

A journey between melancholy and euphoria, which led Roseaux to the ends of the planet, from the Caribbean to Europe via Africa to unearth other vibrations and unique performers: the captivating Grenadian-British singer Ala.ni, the little English afropop prince from Ghana, Ghetto Boy, and the disturbing Swedish Isabel Sörling, sign here a first flamboyant collaboration with the group.

While the talented Haitian-Canadian Mélissa Laveaux, the hypnotic Scandinavian singer Olle Nyman, the sparkling French-Canadian Anna Majidson and our remarkable national Ben, already present on the second part, still manage to create a surprise by revealing new aspects of their range.

Roseaux's voices are decidedly impenetrable and its magic is renewed today by making the strength of all these scintillating elements dialogue, to be discovered in a setting of softness and voluptuousness.

Nature is full of reeds, this one is unique.

pre-order now21.03.2025

expected to be published on 21.03.2025

22,90
Proleter - Temperamental Cats

Proleter

Temperamental Cats

12inchBLAB105PROLP
Banzaï Lab
21.03.2025
  • A1: Ever
  • A2: By Your Side
  • A3: Transparency
  • A4: Kermesse
  • A5: A Letter To Anieta
  • B1: You’re The Only One
  • B2: Fallen King
  • B3: First Love ( Feat. Napoleon Da Legend )
  • B4: After The Party
  • B5: Heaven ( Feat. Spark Houston )
  • B6: Fool For A Lifetime ( Feat. Takafa Fu )

ProleteR, French producer and iconic figure in the international electro swing and swing hop scene, makes a strong return with a highly anticipated new album. Announced and available for pre-save on streaming platforms five months before its release on March 14, 2025, Temperamental Cats promises a unique musical journey through genres, blending jazz samples, hip-hop rhythms, and electro-soul melodies, while showcasing the distinctive style that has earned this independent beatmaker over 200 million streams across platforms.

Temperamental Cats affirms ProleteR's desire to mix genres, eras, and cultures. This new album will feature American rapper Napoleon Da Legend, Canadian artist Spark Houston, and Japanese producer Takada Fu.

ProleteR is also preparing for his grand return to the stage with a tour titled Swing Hop Party. This will be an opportunity for his fans to see him live, accompanied by a brass section, for a timeless moment driven by his expert patchwork of samples and the rhythms that have made him famous.

pre-order now21.03.2025

expected to be published on 21.03.2025

22,48
DEAD PIONEERS - DEAD PIONEERS LP

Neon pink vinyl, limited to 500 copies. Who were the first punks? Do The Damned have more of a shout than The Sex Pistols? The Stooges or Ramones? Gregg Deal, the acclaimed visual and performance artist behind his new project Dead Pioneers, is making a claim that Indigenous Americans were the first real punks. Deal suggests that the overarching theme of the album is "an introduction to the band itself". Created with a DIY disposition and the "love of a scene that saves lives", they reel off a roll call of marginalised groups and protected characteristics: "Indigenous rights, Black rights, Brown rights, Asian rights, Gay rights, Trans rights, Workers rights and beyond_". This is central to their identity and focus, saying that "with a North American Indigenous person as the vocalist, being unapologetically upfront on the social, political and cultural side of things doesn't seem necessary, but paramount to the overall tone of the band." This self-titled debut, coming in at a lithe 22 minutes with only one of the twelve tracks exceeding three minutes, is almost over before it begins, but covers a huge amount of ground in that time. Blistering opener 'Tired' sets out their stall; as with the whole album, it is passionate, but never preaching. Capitalised 'Political Music' can be hard to land without coming across as hectoring or earnest, but Deal's literary, humorous lyrics effortlessly cut through complex issues of marginalisation and colonialism.

pre-order now21.03.2025

expected to be published on 21.03.2025

26,01
The Cat Empire - Bird In Paradise LP

Their tenth studio album, Bird in Paradise, is set to be released next March 7, 2025 via BMG Australia and includes recent dance-floor filler ‘La Gracia’. "When we set out to make the album Bird in Paradise, we wanted to make a more musically rich album than we had before, which featured the band instrumentally like never before." - Ollie “Musically speaking, Bird in Paradise is an Australian - Flamenco, Afro-Cuban project. We've drawn from the themes of contemporary flamenco and Cuban music, and combined it with the grit, and toughness of Aussie rock history." – Felix. Available on: 1CDSoft Pack packaging. No Booklet. Standard Disc Artwork or 1LP Standard Sleeve. Inner Sleeve Component. Blue Wren Colour (Opaque). No booklet.

pre-order now21.03.2025

expected to be published on 21.03.2025

32,98
Various - The Original Sound Of Mali

Mr Bongo is proud to present 'The Original Sound of Mali', compiled by Vik Sohonie & David Buttle.
Malian music is arguably deeper, more sophisticated and lyrical than any other form of African music. Those of us deeply entranced by Malian culture, and, in particular, the immense hypnotic beauty of Malian music, have put together a
selection of songs from across the country.
Compiled by Vik Sohonie & Dave 'Mr Bongo' Buttle, the story of this release began in 2015 when Dave happened upon the Soul Bonanza blog. A treasure chest of rare finds from around the world! One mix in particular stood out and totally enthralled Dave - le monde à change: a tribute to mali 1970 - 1991. He
already knew of Malian legends such as the Rail Band, Salif Keita, & Les Ambassadeurs du Motel de Bamako, but this mix was something else! Deep & culled from the collections of some of the heaviest African music collectors in the world, legends like Vik Sohonie, Hidehito Morimoto, Philippe Noel, Gregoire
Villanova, and Rickard Masip. Dave immediately contacted Vik and a journey of discovery tracking down the rights-holders began. He also turned to the font of Malian music knowledge, Florent Mazzoleni. Florent has written the definitive book about Malian music - 'Musiques modernes et traditionnelles du Mali'. He
proposed some incredible tracks to include and provided the back bone of the sleeve notes and photos that are used in the album. No Malian album would be complete without a striking front cover photo, and ours is sourced from the late great Malian photographer Malick Sidibé.
On this album you will find well-known artists sitting next to rarer
discoveries. The Rail Band, who are one of the best known of all the big bands in Mali, gave us the stars Mory Kanté and Salif Keita. Les Amabassedeurs du Motel de Bamako were another big act that had Idrissa Soumaoro, Kanté Manfila, and for a while Salif Keita in their ranks. Sometimes Salif would play in both bands in one night, quite a feat considering the bands were fierce rivals. As an albino Salif has had to face considerable prejudice from society, focussing on his musical career to help overcome this.

A major discovery on the album has been Idrissa Soumaoro et L'Eclipse de L'Ija. L'Eclipse de l'Institut des Jeunes Aveugles was a Blind teenagers institute and their record was produced by the German association that took care of blind Malian teenagers in Bamako. It was never properly released commercially and was the first recordings by the legends of Malian music Idrissa Soumaoro, Amadou Bagayoko and Mariam Doumbia. Amadou & Mariam later got married and became household stars, including making an album with Manu Chao.
This album is a concerted global effort to showcase the most vital cornerstone of Malian culture in an attempt to preserve its reputation in the face of its current, grim reality. We hope our highlights of Mali's rich history of musical innovation will serve as a starting point for reclaiming an image tainted by unnecessary conflict. May peace and music return to Mali soon.
Dedicated to Malick Sidibé.

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24,79

Last In: 13 months ago
Various - Cut-Line VA001

Various

Cut-Line VA001

12inchCUTLINE001
CUT-LINE RECORDS
18.03.2025

Cut-Line Records proudly unveils its inaugural release, featuring a collection of euphoric, minimal, and
breaky tracks that resonate deeply within the realm of house music. Launched by lifelong mates and
production partners Maják and Diego Knows, this label aims to capture the essence of dancefloor
energy while pushing creative boundaries across an endless soundscape of alien vibes.
Setting the stage, Pedro Goya’s “Celeste” opens the EP with a euphoric minimal groove that perfectly
encapsulates the magic of house, taking you on an emotional journey that sweeps you away into
sound. Next, we dive headfirst into "Alien Vision" by Francula & St. Xose—a gritty, breaky banger
loaded with gnarly vocals and a tight groove, punctuated by an uplifting euphoric break that keeps the
energy flowing on the dancefloor.

At the heart of this release lies the highly anticipated "Warning Bells" from Digital Pimps, which opens
the B-side. This classic '90s break track, once long lost and now reborn, roars back to life thanks to a
brilliant remaster that is sure to evoke nostalgia. Collaborating with the original artist, New York local
Fonseca 72, we’ve breathed new life into this beloved classic, ensuring it grooves on vinyl for a whole
new generation of listeners.

To round off this sonic journey, our label heads deliver their own signature flavor on B2. Expect pure
pumping grooves with a dash of funk, wrapped in their iconic psychedelic minimal vibe that will keep
you hooked. With this debut, Cut-Line Records invites you to embark on a journey filled with rich
textures, infectious rhythms, and the vibrant spirit of house music. This EP is an absolute must-have!
Grab it before it's gone!

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14,71

Last In: 5 months ago
JONI VOID - EVERY LIFE IS A LIGHT

Joni Void, the artistic persona of Montréal-based French-British producer Jean Néant (he/them) returns to songcraft on their warmest and most welcoming record yet, where the acclaimed sampledelic sound collagist chills out with an emotionally resonant song cycle tinged by downtempo, lo-fi, avant-pop, and trip-hop. Guests include Haco, Ytamo, Sook-Yin Lee, Pink Navel and N NAO. Every Life Is A Light expands on Void's recent stylistic turn towards more languorous and mellow lo-fi production, foreshadowed by the drifting looseness and ambient bricolage of their preceding experimental sound-art record. This transitional sensibility now shapes more defined song structures and styles, with loops are given time and space to unspool, and rhythms shot through the softer-focus lens of trip-hop and dub. Every Life Is A Light swaps the twitchy insistence of Void's acclaimed early albums for a newfound lightness and suppleness, still imbued with all the restlessness, sonic detailing, and emotional resonance that made their name. The neurotic brokenmachine kinetics of earlier Void, summarized by Sasha Geffen as "drawing despair and wonder from within the vast unfeeling of digital communication" in an 8.0 Pitchfork review, may be chilling out, but Void is becoming an ever better conjurer of hauntological feeling. Every Life Is A Light summons this in a comparatively buoyant, benevolent, head-nodding journey more open to tenderness and modest joys. Perhaps it's the sound of Void at greater peace with themselves and the world, despite the bittersweet cost: even as it channels grief, memorializing comrades and companions recently deceased, this album wants light. Void's raw materials continue to draw heavily from samples (their own Walkman cassette fieldrecordings and songs by others) and from a wide community of musical guests. Vocalists Haco on "Time Zone" and Ytamo on "Cloud Level" help levitate what could be lost tracks from a mid-90s Too Pure Records compilation of skewed-lounge electronica. Canadian musician Sook-Yin Lee sings on lead single "Vertigo," a sinewy 80bpm tape-loop and bassline groove propelled by psychedelically-layered lyrics that eventually turn the song in on itself entirely, like Grace Jones' "Nightclubbing" covered by Animal Collective. One of Void's greatest hip-hop loves is the Ruby Yacht collective; charter member Pink Navel drops some brilliant verses on "Story Board." The album's two minimal tracks, an extended piano loop set to a slow beat and shimmering electronics on "Muffin-A Song For My Cat" and the languid sampled bass riff and breakbeat of "Event Flow," are perhaps most overtly `lofi chill.' Indeed the whole album could be said to sit adjacent to those viral (if not already AI-generated) genre trends, which maybe begs the question on a lot of our minds: can specificity and authenticity of musical materials still be heard, still meaningfully signify substance and difference, still matter? Perhaps a question that fades in comparison to the career break Void could catch by landing on generic streaming playlists. More likely, these tracks remain too off-kilter, too genuinely lo-fi and ineffable, and too disqualified by the status of its peasant rights-holders, to catch the algos. Context remains the poor cousin of content. Meanwhile Void marches on, as a tireless organizer of local music events, bouncing around and often living in DIY venue, depending on the latest apartment eviction. With an ubiquitous polaroid camera in tow, they also document each communal happening with a single shot (and often a blinding flash bulb): a memory and metaphor for lives illuminated preciously, singularly, `imperfectly' in the moment. Dozens of these polaroids adorn the album's back cover and inner sleeve art in grid-like montages, as a fitting analog for the careful construction, grainy intimate materiality, and ephemeral feeling of these songs. Every Life Is A Light is Joni Void's most coherent and congenial record while relinquishing none of their experimentalist acumen as a producer or emotional attunement as a composer. Instead these qualities flourish, on an album that lights a humble flame for the fragile promise of homespun creative collaboration as unalienated labour and therapeutic communion, making an enchantingly idiosyncratic contribution to downtempo sample music along the way. Thanks for listening.

pre-order now14.03.2025

expected to be published on 14.03.2025

21,22
Blasé - Blablabla

Blasé

Blablabla

12inchREC224
Record Makers
14.03.2025

Blasé is a French-American pop artist, composer, arranger, producer, singer and author. Since his childhood and adolescence in New York, he experimented, mixed together 70s rock, electronic music, disco and hiphop, to create a sound that will take him directly to Paris with his first band Haute, with Anna Majidson. A first hit will be born, «Shut Me Down», whose session Colors accumulates more than 30 million views on YouTube.

After this first success, and following numerous collaborations with various artists such as Agoria, DJ Pone, Lala&ce, Niro or Jwles, he found his musical signature and started solo. The UFO Blasé released his first EP «Why Blasé? » in 2023 on Record Makers label, a unique fusion of Chic, The Strokes and Manu Chao.

Blasé releases his first album «BLABLABLA» in 2025, an album that stands as a personal manifesto of his sound obsessions that open almost as many tracks: 15 original titles in search of the groove.

With his educated ears to the radio and charts across the Atlantic, he honors this generous vision of pop that encompasses old-school hip-hop, R&B, jazz, funk, disco and new-wave, and navigates between different styles in the manner of American artists. Some songs are in French while others are in English, featuring singer Anna Majidson, rapper Jwles, and the late American artist Cola Boyy. So we go on «BLABLABLA» from a studio haunted by Quincy Jones to a cellar where he rehearses The Cure of «Boys Don’t Cry».

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22,48

Last In: 13 months ago
Various - NOW That's What I Call Gold - Ultimate Hits 3x12"
 
46

NOW Music proudly presents NOW That’s What I Call Gold – The Ultimate Hits – this essential 3-LP set brings together 46 tracks by legendary artists with timeless anthems, celebrating some of the greatest hits of all time, including chart-topping classics and enduring favourites.



LP1 sets the stage with Queen’s electrifying ‘A Kind Of Magic’, followed by Philip Bailey & Phil Collins’ #1 ‘Easy Lover’. The Police feature with their #1 smash ‘Message In A Bottle’, while The Killers follow with their record-breaking anthem ‘Mr. Brightside’. The massive ‘Stick Season’ from Noah Kahan is up next before the first side finishes with Lana Del Rey’s stunning ‘Video Games’. Flip the LP over for contemporary classics from Coldplay and Duran Duran. Sinéad O’Connor’s ‘Nothing Compares 2 U’ still sounds raw and breath-taking and is followed by classics from the Pretenders, Shirley Bassey, Dusty Springfield, and Soft Cell’s ‘Tainted Love’, one of the best-selling UK singles of the ‘80s, whilst another of those closes out the first LP: Ultravox with their masterpiece, ‘Vienna’.



LP2 delivers a legendary lineup, including Billy Joel with his Grammy-winning ‘Just The Way You Are’ and Céline Dion’s powerful version of ‘All By Myself’. John Denver’s ‘Take Me Home, Country Roads’ and Paul Simon’s groundbreaking ‘Graceland’ are featured along with the pop genius of Electric Light Orchestra with ‘Last Train To London’. While on the other side timeless ballads from Elton John with ‘Tiny Dancer’ and Lewis Capaldi’s ‘Someone You Loved’ come ahead of Wings, Simply Red and ‘60s gems from Stevie Wonder, The Supremes and the peerless ‘Walk On By’ from Dionne Warwick.



LP3 opens with Neil Diamond’s universally beloved singalong anthem, ‘Sweet Caroline’ and Cliff Richard’s mid-70s classic, ‘Devil Woman’. Disco legends Donna Summer (‘MacArthur Park’) and Gloria Gaynor (‘I Will Survive’), lead into Sophie Ellis Bextor’s ‘Murder On The Dancefloor’ which became a smash for the second time recently. Ed Sheeran and Pharrell Williams had enduringly popular hits with ‘Galway Girl’ and ‘Happy’, and the side closes with the harmonic vocals of All-4-One and their beautiful signature song ‘I Swear’. The final side is packed with anthemic and uplifting classics kicking off with Spandau Ballet’s ‘Gold’, Survivor’s ‘Eye Of The Tiger’, and Take That’s soaring ‘Rule The World’. The remainder of the collection celebrates and showcases some of the ‘70s greatest tracks including Bonnie Tyler’s ‘Lost In France’, Marianne Faithfull’s poignant ‘The Ballad Of Lucy Jordan’ and Blondie’s era-defining and genre-defying #1 ‘Heart Of Glass’.



NOW That’s What I Call Gold is a must-have for all music lovers —packed with legendary artists, timeless hits, and unforgettable moments in pop. Don’t miss out on this golden treasure trove of musical brilliance!

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39,71

Last In: 14 months ago
Freivogel / Sinclaire - Untitled

Freivogel / Sinclaire with their debut Untitled consisting of three live recordings made using only a concert flute and an Octatrack M1. The recordings are live taken from improvised sessions and have been left unedited.

Shifting between playful and austere, the simple goal for these sessions was honest improvisation; comfortable in both its limits and potentials. Placing classical instrument performance and extended playing techniques alongside heavy sonic processing and cavernous acoustics, they are in some ways uninfluenced by genre, governed only by a drive to find moments of clarity amidst chaos.

Recorded in single takes using a simplified setup of the flute – played into a microphone and wired through an Octatrack – every sound heard in the recordings comes in one way or another from the flute as a single sound source, manipulated and looped on the fly with additional live improvisation over the top.

The result is a timeless capsule of heady drones, offbeat electronics, and mischievous flutes, captured during a time when the world stood still. Scuzzy at times, glistening at others, and ever-optimistic in the pursuit of something new.

Adam Sinclaire is a flautist who has worked with artists such as Billy Bultheel and Ziúr, recorded for labels including PAN and Purple Tape Pedigree, and performed for institutions including KW Institute for Contemporary Art, Schinkel Pavillon, and Martin-Gropius-Bau. His practice focuses on using extended playing techniques to explore the limits of the C flute.

Marco Freivogel is a producer and composer who has released an extensive discography on labels including Mannequin Records and Veyl, and collaborated with artists including dBridge, Mare Nero and Mathew Jonson, remixing artists as diverse as Hercules & Love Affair, Shackleton and Yappa. His Prequel Tapes project sits between utopian and claustrophobic, tracing harsh industrial atmospheres and levitational ambient from a lifelong obsession with sonic extremes. Marco currently works on compositions for film and television, alongside his own releases and collaborations. The EP will be released on 14 February 2025 as limited vinyl and digital via Midnight Shift. Art direction by Mauro Ventura.

All record profits from this release will go to 3ezwa.de, providing financial and legal support to those facing repression for their commitment to the Palestinian cause.

out of Stock

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12,19

Last In: 14 months ago
Iron Curtis & Johannes Albert - Moon IV (LP)

Iron Curtis and Johannes Albert return to orbit with their highly anticipated Moon IV, the next chapter in their acclaimed lunar album series. Building on over a decade of collaboration and the cosmic groundwork in Moon I, II, and III, this fourth instalment is a testament to their ever-evolving artistry and expansive vision.

Released on their beloved Frank Music imprint, Moon IV sees the duo starring an 11-track journey that once again defies genres, challenges conventions, and charts a vivid course through the electronic cosmos.

From the warm opener "Void Gathering" and wistful melodies of "Silverclub" to the driving rhythms of "Sounds (The Feels)," which echoes the relentless pulse of NYC Post-Disco, Moon IV encapsulates the duo's signature blend of moods and eras.

"Club L'Avenir" & "Daso" serve up euphoric moments with a nod to the French Touch, while the ambient vignette "Into Somethin' (Interlude)" calms you down again. Electro cuts like "Pipeline" are reminiscent of earlier works in the Moon album series, and new paths are forged when the two are exploring Balearic Pop Music (BPM) territory in "Ohne Dich".

Returning from space with the elegant deepness of "Bliss (The Short Finale)", the duo gets you home safe and sound. Their unique studio alchemy shines brighter on this moonlit, flaring long-player than ever. So, buckle up and off we go.

out of Stock

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22,27

Last In: 14 months ago
Barbarelle - Celesta LP

Bárbara Salazar aka Barbarelle is an experimental multidisciplinary artist from Buenos Aires, known for her conceptual work as a DJ, creative director, and curator.

‘Celesta’ marks Barbarelle first foray into composing and producing her own music; a debut that reveals the intimate, heartfelt territories of her creative universe. The culmination of years of composing for herself - ‘behind closed doors’ - ‘Celesta’ is a deeply personal, self-guided masterstroke of beguiling, free-flowing ambient soundscapes and DIY electronics. With ‘Celesta’, Barbarelle artfully transitions from ardent music aficionado to fully-fledged artist, unveiling an enchanting sonic world that has quietly matured over time.

‘Celesta’ is an exquisite odyssey of sound, assembled from fifteen tracks recorded between 2022 and 2024 in Buenos Aires and Los Angeles. Conceived as spontaneous and intuitive explorations, many of these tracks were recorded in one take without technically-minded premeditation. The product of organic experimentation rather than concrete intention, ‘Celesta’ is an authentic, candid record of emotions, memories, and profound interiorities.

Over time, the pieces in this tapestry found a common thread: a conversation with the ethereal, defined by emotional intensities and softly spoken utterances. ‘Celesta’ is an invitation to immerse yourself in soundscapes that merge to the point of dissolution, evoking the transparency of water and the lightness of a dreamlike world that transcends matter. Like the song of a siren, the voice becomes just another instrument, beyond language yet full of significance. A collection of songs that feels like opening a secret diary; a direct pathway to the centre of the heart.

In addition to her work as an artist, Barbarelle is the founder of Atlas, a platform dedicated to active listening through radio, live performances, listening sessions and more. She is also known for her radio show of the same name on Dublab, where she shares her unique approach to sound with eclectic selections and interviews with the likes of Air, BADBADNOTGOOD, Lucrecia Dalt, Juana Molina & more.

pre-order now14.03.2025

expected to be published on 14.03.2025

26,43
Alex Zethson & Nikos Veliotis - Cryo
  • A1: Cryo I 18:39
  • B1: Cryo Ii 21:46

CRYO is the first album by the duo of cellist Nikos Veliotis (GR) and pianist Alex Zethson (SE). Veliotis is best known for the pioneering electronic group In Trance 95, MMMD and his collaboration with Giannis Aggelakas of the rock group Tripes. Zethson is a member of groups such as Goran Kajfes’ Tropiques, Martin Küchen's Angles, Fire! Orchestra, Vathres, and more. The duo met in Athens when Tropiques played at the legendary record store, gallery and concert venue Underflow, where Veliotis was invited for an opening solo set. The day after, the duo entered the Athens studio Artracks and created CRYO, consisting of two long pieces in which the duo explores slow forms and waves of sound, with the piano's bass register creating rumbling clouds and sparkling overtones that the cello blends into and transforms. Together, they’ve crafter an organically undulating, intense, heavy and dark drone music. The album was meticulously mastered by Mell Dettmer, who has collaborated with drone metal bands like Earth and Sun O))).

pre-order now14.03.2025

expected to be published on 14.03.2025

29,62
Various - Midnight In Tokyo Vol.4  (LP2x12")

compiled by tsunaki kadowaki
artwork by yoshirotten
mastering by kuniyuki takahashi

Tsunaki Kadowaki, a staff member at Kyoto’s record store Meditations, the supervisor of "New Age Music Disc Guide", and the founder of Sad Disco, curates the fourth installment of "Midnight in Tokyo" themed around Ambient Kayō.

The Midnight in Tokyo series by Studio Mule focuses on Japanese music, serving as a soundtrack for Tokyo nights—whether for home listening, club play, or as a driving BGM, transcending location and space. After a six-year hiatus, the fourth volume takes "Ambient Kayō" as its new perspective, compiling genre-defying tracks released between 1977 and 1999 to explore the intersection of Japanese ambient and pop music.

For this long-awaited fourth installment, selections were made regardless of record label status (major or independent), era, format (vinyl or CD), original release price, or prior reissues. Instead, the focus was on music that deeply moves the listener, is open-minded and evocative, brims with inspiration and spiritual insight, and embodies the "utagokoro" (singing heart) of Japanese artists.

Opening the compilation is "Umi e Kinasai" by Yōsui Inoue, a legendary Japanese singer-songwriter whose works have recently gained renewed interest as hidden gems of Walearic and ambient pop

Composed and arranged by Katsu Hoshi—who is also known for his arrangements on Inoue’s masterpiece Ice World—the track features renowned players such as Masayoshi Takanaka, Hiroki Inui, and Shigeru Inoue. The song embodies a yearning for Balearic horizons, tinged with youthful vibrancy and sentimentality.

Next, "Oritatamu Umi", compiled from Keiko Nosaka, a 20-string koto player, and George Murasaki, a pioneer of Okinawan rock, is an instrumental track from their album "Niraikanai Requiem 1945". As the title suggests, it carries themes of requiem and remembrance, conveying poetic lyricism even without words. Blending Ryukyuan/Okinawan harmonies and indigenous elements, it unfolds as an intimate and nostalgic piece of progressive rock.

Also featured is "Natsu no Kowareru Koro" by Higurashi, a folk-rock band led by Seiichi Takeda, formerly a guitarist of The Remainders of The Clover, the predecessor of RC Succession. Like the opening track "Umi e Kinasai", this song was also produced by Katsu Hoshi. It stands as a folk/new music piece that takes a step into an "otherworldly" realm, recommended for fans of Twin Cosmos and Masumi Hara.

From the enigmatic Blue, the only work left by the mysterious composer S.R. Kinoshita, comes "Mangrove", a hidden treasure of Japan's ambient/new age scene from the CD era. With an oriental and enigmatic atmosphere, the track evokes a mystical world of deep, uncharted jungles, unfolding as an otherworldly New Age Kayō.

"Yaponesia Sakura", selected from Rehabilual’s sole album New Child, is a masterpiece of Japanese new age music. Produced by Swami Dhyan Akamo, a disciple of Indian meditation teacher Osho and a renowned balafon player, the track features Michio Ogawa (Chakra) and Atsuo Fujimoto (Colored Music). Their collective artistry creates an exquisite spiritual ambient pop sound.

"Asa no Hitoshizuku", the opening folk song from Sachiko Kanenobu’s album Sachiko, is also included. Known for her legendary folk album Misora, produced by Haruomi Hosono, Kanenobu’s fourth album after resuming her career was inspired by her experiences living in San Francisco and revolves around the theme of "love." This track carries the same intimate poetic world as Misora, imbued with a pure, crystalline innocence.

From the synth-pop band E.S. Island, known for the Haruomi Hosono-produced *Teku Teku Mami", comes "Yume Fūrin ", selected from their long-lost new age classic Nanpū from Hachijo. Created while the band’s core duo was living in Hachijō Island, the album aimed to sonically capture "the high and happy vibrations of everyday island life." This track offers a dynamic, tribal-infused New Age Kayō experience.

Dubbed "the world's first Min’yō House Mix" "Esashi Oiwake (Maeuta) " comes from Kanazawa Akiko HOUSE MIX Ⅰ, a collaboration between Japanese house music pioneer Soichi Terada and Akiko Kanazawa, a renowned min’yō singer. Through the prism of club music, Hokkaido's Esashi Oiwake, one of Japan’s most iconic folk songs, is transformed into a futuristic ambient pop piece with intricate sound design.

The compilation also includes "Sweet Ong Choh", a track from Voice From Asia, a group active between 1989 and 1992 featuring vocal artist Shizuru Ohtaka. Taken from their imaginative minimal work Voice From Asia, released under Aoyama Spiral’s music label Newsic, the song presents a tranquil, tribal-minimal soundscape enriched by ethnic instruments.

Hailed by Haruomi Hosono as having “a shaman residing in her voice,” singer-songwriter Nami Hōdatsu also appears in the selection. Known for her collaborations with Henry Kawahara, her debut album featured "Asa-Hikari-Ame-Yume", a track that now stands as a precursor to modern vocaloid/synthesized vocal music—a hidden gem of post-choir aesthetics that deserves rediscovery.

Likewise, "Tennessee Waltz", from Naomi Akimoto’s album One Night Stand, supported by members of Mariah, serves as another early prototype of vocaloid/synthesized vocal music. The track weaves fragmented vocal samples, pastoral yet sweetly minimal synth sounds, and mechanical beats into a strikingly unconventional piece in the history of Japanese music.

Closing the compilation is "Heaven Electric", a track from Nav Katze’s album Gentle & Elegance, which featured remixes by Autechre, Seefeel, and Sun Electric. Merging elements of IDM, ambient techno, and chillout, the song embodies an optimism reminiscent of space music while seamlessly blending a mystical Japanese aesthetic—an ambient pop masterpiece.

---

The album presents 12 exquisite pop tracks infused with an ambient feeling, resonating deeply with the evolving landscape of the mid-2020s—a time of post-hyperpop and Y2K revival.

Tsunaki Kadowaki (Compiler)

Born in 1993 in Yonago, Tottori, Tsunaki Kadowaki is a staff member and buyer at Kyoto’s Meditations record store. He is the editor of New Age Music Disc Guide (DU BOOKS) and a contributor to Music Magazine, Record Collectors' Magazine, ele-king, and more. Kadowaki has written liner notes for multiple Japanese releases (Brian Eno, Masahiro Sugaya etc.) and runs the Sad Disco music label under Disk Union. He also curates Spotify’s official New Age Music playlist and performed as a DJ at YCAM’s Audio Base Camp #3 in 2024.

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25,17

Last In: 9 months ago
Fernie - Celestial

Fernie

Celestial

12inchPRTLL003
Portal Records
14.03.2025

With a much-loved signature sound heavily influenced by many active years in the trance scene, Fernie’s blend of emotive pads and cosmic soundscapes has secured him a discography that spans some of deep techno’s most revered labels. Having releases on the likes of Monument, Khoros, KVLTÖ and Informa Records to name just a few, as well as heading up his own imprint Space Textures, curating the Monument podcast, and co-running the Orbits parties with fellow Glaswegians Deepbass and Repart - Fernie’s passion for the deep techno community resides in the energy he consistently commits to our scene.

The third release in our catalogue comes as a limited edition 140g transparent vinyl with black smoke, pressed in Italy and presented in a matte sleeve with full colour artwork. Celestial is a carefully woven journey that searches and probes, be it the outer reaches of space or the inner depths of oneself. Perfectly blending the themes of space exploration and astrology, the EP opens with a brooding wash of atmospheres and voice samples, before broken rhythms, lush pads and moody ethereal tones carry the voyage through the A Side. The B Side sees the record open up into two tracks perfect for deep immersion on the dance floor, with Unbound offering an atmospheric cruise fit for early morning bliss. And finally, we are humbled to have a remix from deep techno stalwart Ness closing out the EP - a ritualistic stomper that reworks the original atmospheres of Critical Functions into an uptempo dub techno infused gem.

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21,22

Last In: 10 months ago
Sadness - I Want to be There
  • In The Distant Travels
  • I Want To Be With You
  • Moments
  • I Want To Be There
  • You Dance Like The June Sky
  • Somewhere

Its sound veers away from raw black metal intensity, opting for expansive, dreamy
atmospheres. Damian Anton Ojeda's signature approach tempers the harshness of
black metal's usual bleakness with a delicate sense of beauty and melancholy. The
album builds around shimmering guitars and lush soundscapes, creating a sense of
longing rather than the frostbitten aggression typically associated with the genre.
A key characteristic of "I Want to Be There" is how the screamed vocals--reminiscent
of depressive black metal--are mixed to blend seamlessly with the instrumental layers.
This intentional obscuring of vocals, pushed toward the back, transforms the vocals
into another textural element rather than a dominant force. This aesthetic decision
diffuses the emotional weight usually carried by extreme metal vocals, steering the
listener away from despair and toward introspection.
The balance between black metal's darker elements and post-rock's ethereal qualities
gives this record its emotional depth. The opening and closing tracks, "In the Distant
Travels" and the title track, lean more heavily on black metal structures but never fully
embrace the genre's typical harshness. Instead, the fuzzy guitars and crashing
cymbals are imbued with hope and uplifting energy. The post-rock influence becomes
more pronounced in tracks like "I Want to Be With You," which forgoes black metal
vocals entirely in favor of a choral atmosphere, evoking a serene and heavenly quality.
Ojeda also demonstrates his talent for creating immersive soundscapes, drawing
comparisons to *Sigur Ros*. Both artists employ sweeping melodies that evoke
feelings of transcendence. Still, where *Sigur Ros* tends to embrace more overtly
uplifting and sentimental tones, Sadness anchors these grand moments in
melancholy, avoiding overindulgence. The album is a delicate dance between light and
shadow, making the listening experience emotionally rich and layered.
While it may not have the raw emotional punch of *Deafheaven* or the nostalgic
charm of *Alcest*, *I Want to Be There* stands as a polished and thoughtfully
composed entry into the post-blackgaze genre. Ojeda's ability to fuse the weightless
hypnosis of black metal with the airy beauty of post- rock results in a sound that is
both familiar and new. Sadness offers a captivating and often beautiful exploration of
blackgaze, making the album a worthwhile listen for fans of atmospheric and
introspective metal.

pre-order now14.03.2025

expected to be published on 14.03.2025

24,16
Tons / Viscera/// - Tons / Viscera///

Tons/Viscera///

Tons / Viscera///

12inchSSSSPLIT10
Subsounds Records
14.03.2025
also available

Ltd Twister Red / White Vinyl[24,16 €]


The band is considered as a unique combination of the darkest sides of many
underground genres like grindcore, black/death metal, ambient, drone and of course
psychedelic music.

Tons formed in 2009 with members of hardcore bands from the 00's Turin scene (The
Redrum, Lama Tematica and NoInfo). Slow and heavy sounds take the place of
frenetic HC rhythms; the texts speak about weed in an ironic way, but also about a
certain tendency to esotericism that characterizes the city of Turin. In 2010 they
recorded a demo and in 2012 their first full length "Musinee Doom Session, Volume 1",
recorded by Danilo "Dano" Battocchio, was released for the Turin-based Escape From
Today (EFT050) and for the young Roman label, Heavy Psych Sounds (First non Black
Rainbows release, HPS005). In 2013 a split with Lento from Rome came out and Tons
began to plow the European venues, opening the stage for bands like Bongzilla,
Unsane, Church of Misery, Napalm Death, Pentagram etc ...

In 2015 the drummer Marco Dinocco left the band and was replaced by Andrea
Peracchia (Dogs for Breakfast/Slaiver). Paolo Paganelli (Woptime/Linea77) was also
added as lead guitarist. In 2018 the second full length of the band "Filthy Flowers of
Doom" was released for Heavy Psych Sounds Records, which would bring Tons again
around Europe in 2018 and in 2019. In 2021 they released a split record with the
mighty Bongzilla followed by a European tour together in 2022. On 7th October 2022
the band released a brand new album called "Hashension" and a repress for the 10th
anniversary of their debut album "Musinee Doom Session, Volume 1" with remastered
audio and a new cover artwork.

During these years Tons played in many important Festival, such as Desert Fest
London and Antwerp, Sonic Blast, Frantic Fest, Venezia Hardcore and HPS Fest.
QUOTE From the Band :"Three fun tracks for lovers of head banging who don't take
themselves too seriously like our friends Teo Segale (Rumore Mag.) and Ranch Sironi
(Nebula) to whom these songs are dedicated. "

This latest opus marks the band's studio comeback since 2018's "City Of Dope And
Violence", plus the opportunity to work with underground scene juggernauts like Tons
and Subsound Records and the consolidation of Alexander Lizzori as active producer
("Cyclops" / "2" era drummer and long time collaborator).

pre-order now14.03.2025

expected to be published on 14.03.2025

22,27
Tons / Viscera/// - Tons / Viscera///

Tons/Viscera///

Tons / Viscera///

12inchSSSSPLIT10LTD
Subsounds Records
14.03.2025
also available

Black Vinyl[22,27 €]


The band is considered as a unique combination of the darkest sides of many
underground genres like grindcore, black/death metal, ambient, drone and of course
psychedelic music.

Tons formed in 2009 with members of hardcore bands from the 00's Turin scene (The
Redrum, Lama Tematica and NoInfo). Slow and heavy sounds take the place of
frenetic HC rhythms; the texts speak about weed in an ironic way, but also about a
certain tendency to esotericism that characterizes the city of Turin. In 2010 they
recorded a demo and in 2012 their first full length "Musinee Doom Session, Volume 1",
recorded by Danilo "Dano" Battocchio, was released for the Turin-based Escape From
Today (EFT050) and for the young Roman label, Heavy Psych Sounds (First non Black
Rainbows release, HPS005). In 2013 a split with Lento from Rome came out and Tons
began to plow the European venues, opening the stage for bands like Bongzilla,
Unsane, Church of Misery, Napalm Death, Pentagram etc ...

In 2015 the drummer Marco Dinocco left the band and was replaced by Andrea
Peracchia (Dogs for Breakfast/Slaiver). Paolo Paganelli (Woptime/Linea77) was also
added as lead guitarist. In 2018 the second full length of the band "Filthy Flowers of
Doom" was released for Heavy Psych Sounds Records, which would bring Tons again
around Europe in 2018 and in 2019. In 2021 they released a split record with the
mighty Bongzilla followed by a European tour together in 2022. On 7th October 2022
the band released a brand new album called "Hashension" and a repress for the 10th
anniversary of their debut album "Musinee Doom Session, Volume 1" with remastered
audio and a new cover artwork.

During these years Tons played in many important Festival, such as Desert Fest
London and Antwerp, Sonic Blast, Frantic Fest, Venezia Hardcore and HPS Fest.
QUOTE From the Band :"Three fun tracks for lovers of head banging who don't take
themselves too seriously like our friends Teo Segale (Rumore Mag.) and Ranch Sironi
(Nebula) to whom these songs are dedicated. "

This latest opus marks the band's studio comeback since 2018's "City Of Dope And
Violence", plus the opportunity to work with underground scene juggernauts like Tons
and Subsound Records and the consolidation of Alexander Lizzori as active producer
("Cyclops" / "2" era drummer and long time collaborator).

pre-order now14.03.2025

expected to be published on 14.03.2025

24,16
Charlie Cunningham - In Light

Known for his indie-folk-inspired singer-songwriter music that envelops emotions and
moods in intimate, breathtakingly beautiful soundscapes, Cunningham has built a
massive following over the years, amassing more than half a billion streams.
With 'In Light', he wanted to push boundaries. Inspired - and unsettled - by the rapid
development of artificial intelligence, he sought to capture the essence of raw human
creativity. The result is a collection of ten tracks, recorded over five weeks in
Tottenham, North London. These songs-- captured as single takes with minimal
editing-- immerse the listener in a profound stream of consciousness. Cunningham
explores personal truths and reflects on the world's complexities, from the unsettling
grip of big data to the hope that genuine human connection still offers. As he sings in
'This I Know', "The best is yet to be / I believe." The album's title, 'In Light', reflects
Cunningham's optimism, shining through even in darker moments. "We're here right
now / Let's be here again tomorrow," he urges in New Symmetry, concluding with the
poignant affirmation, "I am leaving a light on".

pre-order now14.03.2025

expected to be published on 14.03.2025

25,84
Jakob Bansch - All The Others

Jakob Bansch

All The Others

12inchLP31461
JAZZLINE
14.03.2025

With his second album, 'All The Others', the award-winning German trumpeter
and composer Jakob Bansch cements his status as one of the most
promising musicians of the young jazz generation
Building on the success of his critically acclaimed debut 'Opening', the artist from
Pforzheim, Southern Germany presents himself as even more mature and versatile on
his sophomore release. 'All The Others' blends influences from classical music, jazz,
and film scores into a musical work that tells personal stories and resonates deeply.
Bansch's approach to this album is remarkable: "I wanted to musically portray
characters and themes that have personally inspired me - whether from literature,
films, and series, or from the real world," he explains. Alongside his impressive
trumpet playing, it is above all the narrative depth of his compositions that defines the
album. Highlights include the epic opener "Ouverture", inspired by classical
composers such as Maurice Ravel and Olivier Messiaen, as well as the rhythmically
driving "Mephisto", which showcases Bansch's extraordinary technique and his
penchant for complex structures. The album features nods to Avatar: The Last
Airbender, Ahsoka Tano - the Jedi Knight from Star Wars: The Clone Wars and Maeve
from the series Sex Education. The music reaches a particularly poignant depth in
pieces like "Vasudeva", a homage to Hermann Hesse's Siddhartha, where Bansch
conveys warmth and tranquility through the gentle tones of his flugelhorn.
His working band - pianist Niklas Roever, bassist Jakob Obleser, and drummer Leo
Asal - returns for this album, displaying an almost telepathic musical chemistry. The
ensemble is further enriched by Latvian guitarist Ella Zirina and vocalist Zuza
Jasinska, who add additional sonic nuances to the work. A standout moment is
Roever's composition "Kauai'o'o", which musically processes the tragic story of an
extinct bird, powerfully highlighting the importance of conservation.
With 'All The Others', Jakob Bansch delivers a remarkable second album that
demonstrates his artistic growth. It is not only a continuation of his journey but also a
bold step into new musical dimensions - a work that takes its listeners on an
emotionally moving journey.

pre-order now14.03.2025

expected to be published on 14.03.2025

28,15
Sweetheart - The Unbearable Tightness Of Being

Members went on to Sinkane, and Pompeii, This Morning. Originally recorded in the
summer of 2005 out west, while on tour, by Vince Tennant. The recording had been
shelved and unreleased. In 2023, Expert Work Records reached out to Sweetheart and
got the recording re-mastered. It will be released on limited vinyl and digital.
This is also a companion piece/ record with EW018 (Sweetheart- The Process of
Making Us Well). We highly suggest getting both records.
Sweetheart's "The Unbearable Tightness Of Being" is one of those records you should
put on your radar as soon as possible. A rediscovered artifact from 2005, the album is
a sonic panorama that intricately incorporates post- hardcore, noise rock, punk,
screamo, and indie elements into an innovative and complex sonic landscape. The
guitars, wielded with finesse, serve as the driving force behind Sweetheart's sonic
assault. From the opening chords to the closing refrains, they deliver a relentless
barrage of riffs that defy predictability. The interplay between the two guitarists
manifests as a dynamic dialogue - a musical conversation that seamlessly transitions
from chaotic dissonance to moments of clarity. Catchy, intricate, and hypnotic chord
progressions unfold, evoking the spirit of At The Drive-In and Fugazi while carving a
distinct sonic identity.
However, it's not merely about sonic assault; Sweetheart infuses the album with a
nuanced approach to melody. Amidst the aggressive riffage, this material treats
listeners with moments of harmonic beauty and unexpected melodic twists. Themes,
leads, melodies, and harmonies intermingle, creating a rich auditory experience that
transcends the boundaries of conventional post-hardcore.
The production quality of this long- lost gem further accentuates its brilliance.
Recorded in 2005 but kept in the shadows due to financial constraints and a desire for
perfection, the album has now found its moment in the sun. Expert Work's decision to
release the LP in 2024 has allowed audiences to appreciate the intelligent
craftsmanship that went into its creation.
"The Unbearable Tightness Of Being" is more than a musical journey; it's a sonic
exploration transcending all the possible sonic boundaries. Sweetheart's commitment
to experimentation and honesty, as emphasized by band members reflecting on their
creative process, is palpable. The act of listening, treated as a discipline, is evident in
the careful construction of each track - a result of repetitive practice, internalization,
and an unwavering dedication to their craft. In the grander narrative of the album's
release, the band's reflections on the passage of time and the meaning of their work
imbue the music with a poignant depth.
"The Unbearable Tightness Of Being" is a mandatory addition to any record collection.
It's not just a revival of the early 2000s scene; it's a sheer example of Sweetheart's
enduring brilliance and a celebration of a significant part of their musical legacy.

pre-order now14.03.2025

expected to be published on 14.03.2025

33,19
SPIRAL DELUXE - THE LOVE PRETENDER LP 2x12"

Demonstrating the poignant power of experience + human connection + innate musicality + operating in the present moment, Jeff Mills' Spiral Deluxe collective unveil their second album - The Love Pretender. Driven by the free expression and creativity of improvised performance, Spiral Deluxe is an electronic jazz fusion project comprised electronic music visionary Jeff, along with legendary keyboardist Gerald Mitchell (Underground Resistance/ Los Hermanos), Japanese rocker Yumiko Ohno (Buffalo Daughter/Cornelius) on Moog synthesizer and the Japanese bassist, adopted New Yorker, Kenji "Jino" Hino - son of Terumasa Hino, the world famous jazz trumpeter. Together, the four key players formed a band centred around completely improvised journeys through sound.

During their unrestrained performances, what Jeff describes as sonic "conversations" arose between the musicians, as they each contributed to full-length live shows, and studio sessions. Within the boundless parameters of freeform spontaneity, they developed an unspoken understanding of one another, finding balance and poise within the unplanned performances. The resulting recordings have been used for three releases so far: Two EPs, Kobe Session (2016) and Tathata (2017), and their debut album Voodoo Magic in 2018. With The Love Pretender, we're presented with another stunning collection of "tracks" extracted from one long improv session.

With each musician proficient in their specialism and, of course, an all-out music lover, the communication between the group members became almost telepathic. Very little preparation was needed, and their performances flowed naturally and organically. This can be heard, and felt, throughout The Love Pretender. Tracks like 'The Soloist' evolve effortlessly, each new shift subtly influenced by one of the musicians nudging the conversation into a different phase, and the rest responding accordingly, or vice versa. It's music that embodies the true nature of mindfulness and letting go of fear. In their unstructured, liberated cocoon the artists thrive and create musical moments that have, fortunately, been captured for us all to immerse ourselves in. Jazzy notes fill the air, combined with electronic bass, synthesised beats, sparkling keys and an all-round warm and welcoming atmosphere, with the slight edge you can only get from improvised performance.

Sylvain Luc's posthumous appearance on the album is of significance too. The French guitarist died in March 2024 at the age of 59. His natural flair adds another dimension to the album, bringing a touch of that laid back 1980s American California Coast feeling to tracks such as 'Society's Man'. These contributions to the LP, recorded separately, add character - a final sprinkling of humanity to complement the aliveness and presence of this body of work. Three other musicians also added their creative energy to the project. They were; TOKU, a Japanese jazz musician who specialises in wind instruments, especially the cornet, trumpet and flugel horn. And there's Masa Shimizu, who also has wide-ranging with the guitar, as well as being a producer.

Themes on the album include the optimism one can have by simply trusting the process and trusting that everything will work out in the end. By playing together in the way they do, Spiral Deluxe place their trust in the mystery of what will happen next. Getting comfortable with not knowing is key to a sense of peace with regard to the future and this energy is vital to their collective musical output. By embracing the notion of the unknown, you become an eternal optimist, living in the moment, rather than projecting into the future. This cultivates excitement, an antidote to anxiety.

Meanwhile, the title alludes to the shifts and changes that have occurred in today's society, whereby it's possible to achieve success through pretending. The superficiality, and falsehood, that can often be presented via social media, can lead to questions about what's real and what's not. From AI to the fake personas that populate the dominant platforms, The Love Pretender speaks to a process that is symbolic of the time we're living in. Behaviour that has become acceptable in today's world, which may not have been as welcomed a few decades ago. But this is part of the cycle of life...

Jeff's intention with this music is to present it in high-fidelity, to be listened to over and over and over again. In post-recording he worked for hours to ensure the audio quality was as high as it could be. The goal is to create music that people can live with their entire lives, from his solo work to these masterful improvisations. Music that comes to life, music that has a voice we can replicate with our own vocals. Expressive, unstructured, and alive...

With The Love Pretender Jeff Mills continues his mission to experiment with music outside the bounds of what is typically expected. It's freeing, enlivening, vibrant and uniquely human. As ever, Jeff's visionary outlook and bold approach to musical performance and recording has produced a body of work that epitomises his often revolutionary capabilities. There's no pretending here, just pure unadulterated sonic transmissions from a wonderfully daring, inspiring and optimistic ensemble...

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23,74

Last In: 4 months ago
VARIOUS - MIZIK MALADI: DISQUES DEBS INTERNATIONAL VOL. 3 LP 2x12"

Strut introduces the highly anticipated third volume in the Disques Debs International series, diving deeper into the archives of one of the greatest French Caribbean labels, Disques Debs, based in Guadeloupe. Founded by the visionary Henri Debs in the late ‘50s, the label and studio operated for over 50 years, releasing more than 300 7” singles and 200 LPs, making it a cornerstone of Caribbean music history.

By the dawn of the 1980s, Henri Debs had already established himself as a prolific producer, with a record of releases unmatched in Guadeloupe and Martinique. From its humble beginnings with a 2-track tape machine in the back of a clothes shop, Disques Debs evolved into a powerhouse, boasting a state- of-the-art studio in downtown Pointe-à-Pitre, retail shops for records and musical instruments in Guadeloupe, Martinique, and Paris, a nightclub in Gosier, and international distribution deals reaching Europe, the U.S., and South America.

Disques Debs played a pivotal role in shaping modern Caribbean music. The label bridged traditional genres like biguine and gwoka with contemporary styles like cadence, compas, and zouk, the latter becoming a global phenomenon in the 1980s with contributions from iconic acts like Kassav’ and Zouk Machine. The period also saw Disques Debs champion a new generation of artists while maintaining ties with legendary figures from earlier decades.

Volume 3 in this series spotlights one of the label’s most dynamic and influential periods as it expanded its global reach during the 1980s. Across 2 LPs, the release features a curated selection of tracks from the Disques Debs circle, highlighting both emerging talents and established artists who defined the era.

This collection not only celebrates Henri Debs’ unmatched legacy but also offers a snapshot of Caribbean music’s golden age, cementing Disques Debs as a cultural institution.

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24,79

Last In: 12 months ago
Lola Young - This Wasn’t Meant For You Anyway LP

“Here is my first-born child, a fuck you to all my exes, and basically me just trying to figure out some shit openly and honestly on record. First of many and if you don't like it, then this wasn't meant for you anyway.” - Lola Young.

This Wasn’t Meant For You Anyway marks a remarkable shift in Lola’s sound as an artist. Recorded in LA and produced by friend and collaborator Solomonophic (Remi Wolf, BROCKHAMPTON, Dominic Fike), This Wasn’t Meant For You Anyway
is a multi-faceted, fearless concept. As irresistible as it is unexpected, Lola’s album is crackling with kinetic energy and lyrically fuelled by rage, passion, narrative flair and comedy derision. A contemporary break-up album, This Wasn’t Meant For You Anyway
encapsulates the sound of what it means to be young and in constant romantic chaos. With exciting plans up Lola’s sleeve, her upcoming record will undoubtedly add to her musical trajectory.

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28,53

Last In: 14 months ago
Various - Akasaka Soul Funk 1969-1977

Various

Akasaka Soul Funk 1969-1977

12inch180GWALP07
180g
11.03.2025

At the start of the 60s, a new wave of gospel-influenced jazz started to emerge, with hits such as Art Blakey & The Jazz Messengers' "Moanin'" and Cannonball Adderley's "Work Song" epitomizing this evolution in the genre. The terms "soul jazz" and "funky jazz" were coined as a way to describe this new sound that was making an impact in the US and also on the other sides of the Atlantic and Pacific oceans.

In 1964, Ray Charles made his first visit to Japan. Then, in 1968, Martha & The Vandellas and Stevie Wonder set foot in the country, followed by Sam & Dave in 1969, Ike & Tina Turner in 1970, and B.B. King in 1971. The TV show "Soul Train" also began airing in Japan in the early 1970s. A watershed moment happened in 1973 when Sammy Davis Jr. was cast in a TV commercial for Suntory whisky — and the influence of the US Black entertainment world had really landed, with soul, jazz, and funk artists becoming household names.

Nippon Columbia played a pivotal role during this turning point. The company had contracts with Buddah Records and Blue Thumb Records, releasing notable works by artists such as Gladys Knight & The Pips, Curtis Mayfield, The Crusaders, and The Pointer Sisters. At the same time, the label was also releasing several Japanese soul, jazz, and funk projects under the lead of music director Jiro Inagaki. Inagaki, a saxophonist who began his professional career in the early 1950s, honed his skills at U.S. military camps, where he shared his love of music with the Black servicemen. In the 1960s, he played with drummer Hideo Shiraki's band, which was widely considered to be Japan's representative group of the funky jazz movement. Later, Inagaki went on to pursue more cutting-edge sounds with his Soul Media project, including being a pioneering figure in the "jazz rock" genre. By working closely with Inagaki and his various musical projects, Nippon Columbia really placed the company at the center of an exciting and important period in Japanese music.

In 1965, Nippon Columbia opened a recording studio in Tokyo's Akasaka neighborhood. Akasaka was also home to the first ever discotheque in Japan, the legendary MUGEN, which ran from 1968 to 1987 and where many acts performed, including Con Funk Shun, the Bar-Kays, Ike & Tina Turner, B.B. King, Sam & Dave, Three Degrees, and Edwin Starr, as well as many local Japanese singers and musicians. This melting pot of creativity in the area led to the recording of many singles and albums by Japanese artists that were infused with the sounds of soul and funk. Most of these recordings were not available outside of Japan and remain rare and unknown musical gems. The selection you are holding in your hands is an explosive collection of 10 essential tracks released by the legendary Nippon Columbia label between 1969 and 1977, capturing the raw, unapparelled energy that was flowing through the air of the Akasaka streets at this electrifying time. Enjoy!

---

180GWALP07 - Manufactured and distributed by 180g.

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28,99

Last In: 3 months ago
Breaka - Aeoui LP 2x12"

Breaka

Aeoui LP 2x12"

2x12inchBREAKA008
Breaka Recordings
11.03.2025

Sharpening his modernist, hybridised club sound with the restless energy he’s made his name on, Breaka returns with Aeoui. Nodding to the vowel-only vocal samples he scatters throughout his tracks, this much-anticipated second album reaffirms Charlie Baker’s reputation as a many-sided bass music innovator.

Since 2019, Breaka has been primarily shaping his own destiny by self-releasing most of his music, and it’s afforded him the space to evolve his sound on his own terms. In the wake of his 2022 debut LP We Move, the consistently prolific producer had been looking for a fitting window to channel his work into a second full-length. The opportunity arose when he struck on a fit of jet-lagged inspiration in late 2023 and laid down two of the new album’s key tunes, ‘squashy track’ and ‘yolo bass rewind’. Jutting out at a distinct angle from his other work, Breaka knew he’d found the anchor point around which to build out the next phase of his sonic evolution.

This productive period also aligned with a new studio space to work in, leading to the album’s striking double-dose opening of ‘Aeoui’ and ‘Are We There’. With the flavour of his new album established, Breaka was able to comb back through his reams of existing ideas and find the remaining pieces that fit the emerging puzzle. There are enduring influences which bind together the Breaka sound — footwork, techno and dancehall continue to guide the infectious floor-ready pressure of the record, but he worked free of stylistic concerns to find a vibe that remained true to his independent spirit.

It’s clear the Breaka DNA reaches beyond purist club music — his roots as a jazz drummer from an early age guide the expressive flair in his beat programming, while he took a more direct influence from a mind-blowing Sons Of Kemet gig in 2022 to make psychedelic centre-piece ‘Roundhouse’. Elsewhere ‘Cascara’ pays tribute to the Afro-Cuban rhythm of the same name, which he fused with amapiano’s lithe log drums and shakers, Brazilian percussion and edgy sound design to create a maverick soundsystem wrecker.

The collision of organic and synthetic, crisp forms and chaotic energy are captured perfectly in the cover artwork created with Jordan Core. It’s a savvy sum-up of where Breaka is at right now, continually building out with clear intentions while embracing the unpredictable energy of lived experiences and the ideas that get sparked along the way. That’s why Aeoui sounds like no one else out there but Breaka.

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20,97

Last In: 11 months ago
Spencer Parker ft. Tee Amara - Better Days

Spencer Parkerft.Tee Amara

Better Days

12inchREKIDS259
Rekids
11.03.2025

Spencer Parker returns to Rekids with ‘Better Days’. Tee Amara lends her voice to both English and Spanish versions, while Radio Slave steps up for a remix. Spencer Parker and Tee Amara arrive on Rekids with ‘Better Days’ in March, alongside a remix from label founder Radio Slave.

Originally the closing track ‘Faster Forward’ on 2018’s ‘DANCE MUSIC’ album on Parker’s Work Them Records, the track is reborn as full vocal cut ‘Better Days’ after the long search for a vocalist led the producer to fellow Berlin resident, Tee Amara. Known for work alongside Cromby, Ariel Me Llamo, and Ed Davenport, Amara’s heartfelt, soulful vocals in both English and Spanish versions bring new depth to Parker’s original track. As a longtime friend of Matt Edwards and a staple of the Rekids imprint since the mid-2000s, Parker returns to the label with ‘Better Days’, an occasion that calls for a remix from Radio Slave himself, who adds a jazzy swing vibe via additional melodic elements while he puts in a classic house groove. Spencer Parker, Tee Amara, and Radio Slave

‘Better Days’ is Rekids proper! Radio Slave’s Rekids was founded in 2006 and has since spawned successful offshoots with the Techno-focused Rekids Special Projects in 2017 and its newest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been crucial in developing early artist careers and has become a haven for established acts operating in House and adjacent genres, having recently featured the likes of Hilit Kolet, William Kiss, Bushwacka, Mathias Kaden, Katerina, Sean Johnston, and many more.

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13,40

Last In: 5 months ago
Scratch Massive - Nox Anima

Nox Anima is the new opus of french electronic duo Scratch Massive, 11 strongs and emotional tracks going from electronica, new wave to electronic pop. Included 2 featurings with french artists Yelle and Jeanne Added.

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22,48

Last In: 13 months ago
AYA - IM HOLE

Aya

IM HOLE

12inchHDBLP061
Hyperdub
10.03.2025

Limited vinyl release for aya's 2021 Hyperdub-debut album, a one-time pressing on Ecomix random colour-mix recycled vinyl. Originally released in 2021 as a book and digital album, im hole is now presented on ecomix splatter-effect vinyl. A welcome reminder ahead of new aya music in 2025. On im hole, aya distilled the incisive sonic experimentation of her early run of releases, the tongue-in-cheek giggles of her DJ sets and edits, and the identity-fluxing lyricism of her live shows. The album was immediately championed from all corners, 'Best New Music' in Pitchfork to DJ Mary Anne Hobbs Album of the Year, followed by incredible live shows which drew new listeners further into the net. Contorting language, dialect, gender and sexuality between intermittently controlled bursts of rhythm, noise and aural goop, aya sculpted a set of autobiographical vignettes that challenge established norms, question supposed truths, and affirm a spectrum of interlocking experiences. But while it's wide open and personal, im hole also challenges queer art's tendency to veer towards repetitive solipsism. Even the title itself references the unwieldy mix of self-actualization and sexualization that bogs down cultural perceptions of the trans experience. It's neither one thing nor t'other, just as much a sly nod to dissociative afterparty sloppiness as it is any self-congratulatory pinkwashed grandstanding. The music follows suit, fragmenting familiar sounds, twinned with familiar words, assembled in unfamiliar ways, full of sharp humour, even in the middle of despair. Stories are muddled with phonetics just as dubstep is macrodosed with microtonal drone.










j B4. If [redacted] Thinks He's Having This As A Remix He Can Frankly Do One

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THE TUBS - COTTON CROWN

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

pre-order now07.03.2025

expected to be published on 07.03.2025

20,59
THE TUBS - COTTON CROWN

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

pre-order now07.03.2025

expected to be published on 07.03.2025

21,22
THE TUBS - COTTON CROWN (TAPE)

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

pre-order now07.03.2025

expected to be published on 07.03.2025

14,08
FUMIO ITABASHI - WATARASE: VOICE

Fumio Itabashi is a jazz pianist who has garnered global recognition from jazz enthusiasts around the world. Following the success of Watarase ECHO, which compiled previously unreleased takes of his signature work Watarase through the lens of Minoru Wakasugi, a pioneer of the Japanese jazz scene, the second installment of the series, Watarase VOICE, is now being released by P-VINE. This new album focuses on the "voice" aspect, compiling previously unreleased tracks that feature a diverse array of vocalists who participated in Watarase.

Looking back on a remarkable 40-year career, the series carefully selects and presents the Watarase compositions that are most deserving of being heard today. Through this series, listeners can experience a glimpse into Fumio Itabashi’s life and his ongoing passion for expressing the pinnacle of jazz as an art form, a passion that continues to this day. The Watarase series offers a unique opportunity to savor not just the music, but the essence of Itabashi’s dedication to jazz.

pre-order now07.03.2025

expected to be published on 07.03.2025

38,03
Spinnen - Warmes Licht

No matter how much of their filthy riches Munich’s oh-so shiny and smart glitterati are going to spend on generic pest control, they’ll never manage to exterminate SPINNEN (n.b. German for “spiders” – and also for “being bonkers” ;) Instead, SPINNEN will spread even further, they’ll form new networks, take over new corners, new spots, connect more musical dots with invisible, incendiary cobwebs.

Whereas these two SPINNEN – Sophie Neudecker (drums) and Veronica “Katta” Burnuthian (bass) – have been doing their spidery thing(s) in countless muggy, experimental corners of Munich for years (think bands such as Bombo, Uschi, Apian, The Living Object, Friends of Gas + other art ventures, tats, Schaufel & Besen Records…), the duo’s first full-length offering for Weilheim-based Alien Transistor sees them move on towards a warm kind of light – “Warmes Licht”. Inspired by Lambrini Girls, Peaches, McLusky, Amyl And The Sniffers, and all things loud and gain-heavy around their hometown, the album – obviously two body parts (A + B side), 8 legs (tracks) – is set to arrive in March 2025.

“Zusammen wachsen/Zusammen fallen,” meaning grow together/fall together feels like a fitting motto on opening track “Träume,” an initial onslaught of shouts, spiky basslines, crunchy chords, a whole lot of awesome friction in that lovely lower end. “Visionen folgen/Kämpfen und Erschaffen,” is another apt line while doing just that, fighting, creating, turning visions into soundscapes, into pure sonic fun & resistance. Putting even more pressure on the mosh pit with wordless “Wirken,” that titular warm light eventually breaks through towards the end of hypnotic “Moment”: The lyrics might talk about a calm state of mind – but these two are certainly not slowing down, not aiming for consistency, or for “making it”…

“Warm” has no drums, no message, it’s pure light, all playful organ hypnosis, paving the way for the b-side that opens with first single “Geister” (spirits/ghosts/genies): Arriving with a rough wind that immediately turns things upside down, it’s all screams and riffs, turbines and propellers – one of many moments that make you realize how bad you want to see this hi-octane duo live, how good it must feel to have them scare the shit out of your body (“Verscheuche mich aus meinem Körper”). They’re like two genies coming from the same smashed bottle, offering three wishes to those who’re lucky enough to listen (Fuzzy Noise Pop? Punk Catharsis? Rrriot Krautsound?).

Following a quick melancholy breather (“Lichter”), things once again get restless as they rush towards the punk finale via slow-burning demolisher anthem “Ermüdend”/“Immer wieder,” only to unleash one last battle cry, one last middle finger made of light and noise to the heated room (“Mäuse”) they’ve long taken over.

It’s certainly no coincidence that a certain square/fine/upstanding citizen named Margit O. gave Munich’s Bürgerpark Oberföhring a scathing 1-star review on Google Maps exactly four years ago – at the very moment that Sophie and Katta first met just there, which eventually lead to the formation of SPINNEN. The reason for O.’s negative rating: “Too loud”.

pre-order now07.03.2025

expected to be published on 07.03.2025

26,47
Guiltless - Teeth To Sky LP
  • A1: Into Dust Becoming
  • A2: One Is Two
  • A3: In Starless Reign
  • A4: Our Serpent In Circle
  • B1: Teeth To Sky
  • B2: Lone Blue Vale
  • B3: Landscape Of Thorns
  • B4: Illumine

“We all grew up playing heavy music. For me personally, listening to artists like Swans, Godflesh, Neurosis and Kiss It Goodbye in my 20s was cathartic in a lot of ways. Identifying with people that have a similar world perspective, who are channeling their angst and frustration into the creative outlet of art and music — that was important.”

Josh Graham isn’t just talking about his decades-long career in heavy music, which has included A Storm of Light, Battle of Mice, and many years as the one-man visual department for Neurosis. He’s also talking about the formation of Guiltless, his new band with bassist Sacha Dunable (Intronaut), drummer Billy Graves (Generation of Vipers) and guitarist Dan Hawkins (A Storm of Light).

Guiltless released their debut EP, Thorns, via Neurot Recordings in early 2024. Crushing and cheerless, it seemed to welcome the apocalypse looming on our collective horizon. “The EP had a pretty narrow focus starting from my ideas,” Graham explains. “With this record, my main goal was to really collaborate with Sacha and Dan and Billy because those guys are great songwriters. The new album is meant to open up the sonic palette and explore more territory.”

That new album is Teeth to Sky, the band’s first full-length. Even more pulverizing and focused than its predecessor, the album’s collaborative songwriting approach was paired with an adjustment to the lyrical content.

You can hear it on “One Is Two,” which channels a tightly controlled Meshuggah churn through the more visceral lo-fi approach of Kiss It Goodbye or Swedish noise rock legends Breach. On “In Starless Reign,” Guiltless blend dissonant black metal and thundering doom while Graham invokes humanity’s inability to see the forest through the trees. Then there’s the bruising title track, which combines the gnarled sensibilities of The Jesus Lizard, Cherubs and Barn Owl into a rumination on Mother Nature’s revenge.

Teeth To Sky was recorded remotely by the members of Guiltless—except for the drums, which were recorded by Travis Kammeyer (Generation of Vipers) at Fahrenheit Studios in Johnson City, Tennessee. The album was mixed by Kurt Ballou at God City in Salem, Massachusetts, and mastered by Brad Boatright at Audiosiege in Portland, Oregon.

pre-order now07.03.2025

expected to be published on 07.03.2025

26,01
Julie Driscoll, Brian Auger & The Trinity - Streetnoise LP 2x12"
  • A1: Tropic Of Capricorn
  • A2: Czechoslovakia
  • A3: Take Me To The Water
  • A4: A Word About Colour
  • B1: Light My Fire
  • B2: Indian Rope Man
  • B3: When I Was A Young Girl
  • B4: Flesh Failures (Let The Sunshine In)
  • C1: Ellis Island
  • C2: In Search Of The Sun
  • C3: Finally Found You Out
  • C4: Looking In The Eye Of The World
  • D1: Vauxhall To Lambeth Bridge
  • D2: All Blues
  • D3: I’ve Got Life
  • D4: Save The Country

Brian Auger’s Streetnoise, recorded in 1969 with Julie Driscoll and The Trinity, stands as a landmark of late 1960s eclecticism, where the boundaries of jazz, rock, folk, and soul blur into a cohesive, genre-defying masterpiece.

Auger was moving The Trinity on from their R&B, jazz beginnings and for Streetnoise, together with Driscoll, delivered a record that channelled their mutually progressive vision. Julie's haunting vocal performances were the perfect counterpoint to Auger’s innovative instrumentation, creating a sound that was both avant-garde yet deeply soulful. “We aimed to challenge expectations, ” Auger recalls. “Every track was a canvas to experiment and push the envelope.”

The album’s gatefold sleeve design, created by Ralph Steadman, inspired by William Hogarth's 18th-century satirical etchings, was as groundbreaking as its music. This was not just a cover, it was a bold statement about art and society, perfectly mirroring the music’s blend of historical reverence and forward-thinking innovation.

Musically, Streetnoise is a kaleidoscope of styles including jazz and R&B, fusion, folk, rock and gospel flourishes. "Ellis Island, " and “Finally Found You Out” are both intense instrumentals that embody the intense fusion of jazz and rock the group was known for. "Indian Rope Man" is one of the standout tracks. A cover of Richie Havens' original, that inspired The Charlatans ‘Indian Rope’ and All Blues, a bold reinterpretation of Miles Davis’ iconic Kind of Blue masterpiece, on which Driscoll's vocal performance may be the highlight. "Flesh Failures (Let the Sunshine In)" is a hauntingly beautiful cover of the finale from the musical Hair. Auger's own compositions from the opening instrumental 'Tropic Of Capricorn', to the introspective solo piano and vocal Looking In The Eye Of The World' display Brian's multiple talents.

Celebrated for its fearless creativity across all 16 tracks, the album is testament to Brian Auger and Julie Driscoll’s visionary artistry. It remains a must-listen for anyone exploring the dynamic intersections of jazz, rock, and soul. The album’s reputation has only grown with time, cementing its legacy as a cornerstone of experimental music.

Streetnoise; A wholly unique album from an equally unique group

pre-order now07.03.2025

expected to be published on 07.03.2025

25,42
BALANCE AND COMPOSURE - THE THINGS WE THINK WE'RE MISSING
  • Parachutes
  • Lost Your Name
  • Back Of Your Head
  • Tiny Raindrop
  • Notice Me
  • Ella
  • Cut Me Open
  • Reflection
  • I'm Swimming
  • When I Come Undone
  • Dirty Head
  • Keepsake
  • Enemy

Balance and Composure machen 2013 da weiter, wo sie mit dem Debut Separation zwei jahre zuvor aufgehört hatten. Wieder einmal die Grenzen ihrer Musik auslotend, mit treibenden Riffs und intensivem, leidenschaftlichem Gesang auf dem damals zweiten Studioalbum "The Things We Think We're Missing". Es ist die Art von Album, die den Hörer zum Innehalten und Nachdenken anregt und Momente des Glücks und der Traurigkeit im Laufe von 13 Songs bereithält. Bei Erstveröffentlichung erreichte The Things We Think We're Missing #Platz 51 der Billboard 200 und wurde von mehreren Publikationen als "eines der besten Alben des Jahres" gelobt. Nach Alben auf No Sleep/Hopeless und Vagrant hat sich die Bnad nach einer Pause im Jahr 2023 wieder zusammengetan und veröffentlichte ihr viertes Studioalbum im Oktober 2024 auf Memory Music (Run For Cover). B & C können laut sein, leise und alles dazwischen. Eine ziemlich treffende Beschreibung, wenn auch etwas heruntergebrochen.Ein sound-ästhetischer Angriff, der Einflüsse wie Sunny Day Real Estate, Neutral Milk Hotel und Nirvana offen legt, seit 2011 sind Balance and Composure als einer der vielversprechendsten Underground-Rock-Newcomer im Segment Punk/HC präsent! Für Fans von Citizen, Turnover, Tigers Jaw, Touché Amoré, Sunny Day Real Estate.... - Neue 2025er-Pressung auf hell-rosa Vinyl!

pre-order now07.03.2025

expected to be published on 07.03.2025

24,33
Perc - The Cut Off Remixed EP1

Since its release in March 2024 Perc's album 'The Cut Off' hascontinued to rise in stature with glowing reviews including an 'RA Recommends' award from Resident Advisor , 'Best of 2024' list appearances and tracks such as 'Static' featuring Sissel Wincent and 'Imperial Leather' becoming dance floor hits around the world. The album also spawned a 26 date album tour with shows at festivals and clubs across Europe, USA and South America.
Now 'The Cut Off' returns as two remix EPs containing reworks from a wide range of artists all operating at the cutting edge of forward facing electronic music, with this first EP taking in everything from tough industrial hardcore through deeper sounds all the way to London acid techno.
Opening up the EP is Dutch legend Ophidian, who transforms 'Static' from grinding techno into an epic fusion of hard edged techno and industrial hardcore. Already one of the most requested tracks from Perc's recent sets, this Ophidian remix once heard is never forgotten.
Staying with the Netherlands, Vera Grace shows a relatively new side to her sound moulding Perc's 'Fett23' into a echoing slice of hypnotic techno. Heavy on sound design with a driving synthesised pulse leading the charge Vera's remix constantly builds momentum without ever getting repetitive.
On the B-side Acerbic (aka London acid techno hero Ant) pumps 'Imperial Leather' full of caustic acid with a huge arrangement that never sits still for long. Perc is known as a key supporter of this classic London sound and this remix has been his biggest acid track recently.
Finally Argentina's Zisko becomes the first ever South American artist to appear on Perc Trax. A breakout star of the new wave of groove led percussive techno with multiple recent appearances
at Berghain, Zisko takes deep cut 'Milk Snatcher's Return' and adds swinging hihats and rides and just a touch of dub techno for a perfect example of why his sound is so in demand right now.

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10,88

Last In: 4 months ago
D.D. MIRAGE - EXOTIC ILLUSIONS

180G vinyl pressing

After releasing their well-received 7” and 12” singles ‘Night Time’ and ‘Feel It / So Hot’, Isle of Jura is pleased to present Exotic Illusions, the debut album from D.D. Mirage, the Sydney-based duo of Josh Dives and Disky Dee.

Having first played music together during the mid-2010s in the indie-psyche and punky-shoegaze bands King Colour and SCK CHX, the two Australian musicians/DJs came up in the warehouse party scene that fermented in the wake of the Sydney lockout laws. While organising mixed media events under the Yeah Nah Yeah brand, they discovered the joys of disco, dance-punk and the Balearic beat through Pender St Steppers’ DJ mixes and reissue releases and found themselves changing direction in response.

Written and recorded with a range of vintage keyboards and preamps, instruments and digital studio software, Exotic Illusions is a cosmopolitan love letter to the immaculate blend of Italo disco, Neopolitan funk, Nigerian boogie, cosmic house, synth-pop, UK street soul and lovers rock sounds that have inspired D.D. Mirage since they began this iteration of their ever-evolving musical relationship.

“The name Exotic Illusions refers to our fascination with all of this music made in other parts of the world,” they explain. “During lockdown and thereafter, we indulged in these exotic sounds as an antidote to our lack of travel. This fascination continued as the world opened up again, and we started working on tunes together. It’s also a way of acknowledging that we feel like tourists partaking in these styles and established sounds. They aren’t ours and weren’t born out of the place we’re from, but we hope we’ve been able to add something unique to them.”

In recognition of this, rather than just reinterpreting genre motifs through an antipodean lens, D.D. Mirage opened up lines of communication with some of their favourite musicians from the Neapolitan scene, bassist Daniel Monaco (Rush Hour, Periodica Records) and drummer Andrea De Fazio (Parbleu/ Nu Genea), who recorded the rhythm section for ‘So Hot’. They also wrote to the Manchester-based singer/producer Private Joy, who graced ‘Night Time’ with a smoother-than-silk street soul vocal that helped the single secure crucial plays on NTS and BBC Radio 6.

Opening with the tropical melodies, post-disco machine beats and jilted art-punk singalong chants of the title track, Exotic Illusions unfolds as a series of sturdy, internationally-minded dancefloor excursions. ‘Piranesi’ is boogie with a South American shuffle. ‘So Hot’ is Neapolitan funk with a Leichhardt strut, and ‘Antenna’ (featuring Jofi) is D.D. Mirage’s love letter to ‘80s drum machine bossa nova from Brussels.

On ‘Feel It’, the duo hit a sparking groove that reaches into an eternal sunset of the mind before throwing out a bubbly disco-not disco spoken word bounce on ‘Cat’s Cradle’, featuring psychedelic-pop singer Jermango Dreaming. From there, D.D. Mirage bring it home with a cheeky Aussie drawl on ‘Living Upside Down’ and the nocturnal excellence of ‘Night Time’, making a case for themselves as a significant new force from Australian music to the world.
full sleeve artwork from Bradley Pinkerton.

stock from20.05.2026

20,59

Last In: 10 days ago
ASA HORVITZ - GHOST

After his father and other close relatives died in a short period, singer, composer and multi-instrumentalist Asa Horvitz wanted a musical language to evoke our metaphysical and tangible experiences with loss. Horvitz and a team of friends assembled a dataset of over 150 texts from throughout history that dealt with grief and fed them through a custom Natural Language Processing AI system. Based on the cryptic text that resulted, they created a music-theatre production which toured in Europe and is presented here as a series of standout recordings from the project’s long genesis. GHOST’s compositions started as vocal improvisations led by Horvitz and bassist/singer-songwriter Carmen Quill, accompanied by Ariadne Randall and Bryan West (processing, synths, viola da gamba, etc). Later, Horvitz’s uncle—esteemed pianist and composer Wayne Horvitz—interpolated additional passages. Recalling (at turns) Robert Ashley’s spoken-word operas, Arthur Russell’s vaporous pop song, medieval music, outre hip-hop, and the undulations of Einstein on the Beach, the music remains soulful despite its partially systematized means of production. GHOST derives its strength from its empathetic perspective, tracking the tidal patterns that underpin our grief without attempting to fabricate their logic.

– Winston Cook Wilson

pre-order now05.03.2025

expected to be published on 05.03.2025

21,81
SEBASTIEN LEGER - KOI FISH / GAUFRETTE

Guy J continues to redefine the boundaries with his Early Morning label, a space dedicated to showcasing forward-thinking artists whose creativity defies conventions. Among these is French producer Sébastien Léger, whose latest two-track release exemplifies his penchant for innovation and mastery of sound design.

The opening track, Koi Fish, delves into Leger's inner world, displaying his exceptional sound design skills. Symbolically rooted in qualities like resilience, prosperity, love, and transformation, the track is a collage of tribal didgeridoo textures intertwined with futuristic, dub-inspired effects. These elements converge on a spiritual plane, creating a soundscape that is both immersive and thought-provoking. The second piece, Gaufrette, is a melodic odyssey blending trance-inducing motifs with a touch of nostalgic dream house, reimagined with modern ingenuity. Synthesizer themes weave seamlessly with delicate piano lines, evoking a nineties-inspired euphoria that brims with creativity. The arrangement is meticulously crafted, with intricate percussion and a dynamic structure that continuously unveils fresh layers, technical ingenuity, and inventive ideas. This release highlights Leger's innovative spirit and reinforces Early Morning's status as a vanguard for transformative music that challenges and inspires.

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13,40

Last In: 4 months ago
Oli Freke - Synthesizer Evolution: 4. Modular Greats

Synthesizer Evolution: From Analogue to Digital (and Back) author Oli Freke returns with a new volume in his Synthesizer Evolution A6 zine series. The modular resurgence of the past 25 years has been a wonder to behold. Where musicians were once chained to their DAWs, we are now liberated once again to wire, patch, and modulate in the real world, choosing from a mind-boggling array of options.
Modular Greats celebrates the fusion of art, logic, science, and serendipity in modular synthesis, highlighting some of the best-selling, most creative, and most impactful modules of the 21st century. Featured manufacturers include Make Noise, Mutable Instruments, TipTop Audio, Intellijel, Rossum Electro-Music, Doepfer—and many more!

pre-order now05.03.2025

expected to be published on 05.03.2025

10,50
cv313 & Federsen - Skyspace EP

2025 Repress
Echospace Detroit’s cv313 aka Stephen Hitchell joins forces with Federsen for the second instalment on the latter’s newly minted Alt Dub label with the ‘Skyspace’ EP. Over the past decade and a half San Francisco based artist Federsen has been making his mark on the dub infused techno and house sound, delivering his vintage tape delay and analogue gear driven sound via the likes of Mixcult, Greyscale, Lempuyang and Ohm Series among others. In May this year Federsen inaugurated his own Alt Dub label with a split EP from himself and Hidden Sequence, and here the story continues following the split format with more original material from himself and cv313, accompanied by both artists remixing each other to run alongside their originals across the 12’’. cv313’s original mix of ‘Skycrossing’ opens the release and in typical Hitchellfashion treats us to eight and a half minutes of deep soundscapes, spiralling dub echoes, muted drums and a subtly unfurling feel throughout. Federsen’s ‘Dub’ remix of ‘Skycrossing’ then follows, offering a more refined and reduced feel with subby pulsations and crisp drums intertwined with dubby fragments of the original tracks. On the flip-side Federsen’s original ‘Skyway’ leads, employing a sturdy rhythm section with nuanced dub echoes and rumbling low-end swells. To conclude the release cv313 offers up his ‘Dub’ interpretation of ‘Skyway’, stamping his mark on things with phasing atmospherics, intricate oscillations and fluttering percussion

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18,07

Last In: 6 months ago
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