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Double BLACK Vinyl, Gatefold sleeve, DL card. René Laloux’s celebrated 1973 sci-fi animation ‘La Planète Sauvage (Fantastic Planet)’, is overhauled with a re-imagined soundtrack by electronic modernists Stealing Sheep and legendary sound innovators The Radiophonic Workshop. This exclusive release is part of Fire Records’ re-imagined score series. “No institution has had a greater impact on the development of electronic music than the BBC Radiophonic Workshop.” The Vinyl Factory. It’s a real pre-Avatar conundrum that Stealing Sheep, with the help of Bob Earland, Dick Mills and Roger Limb from the Radiophonic Workshop, unravel. Creating an ethereal excursion that’s narrated by Roger Limb; like a futuristic Martin Denny, or Dr Who gone ambient techno, with a hint of Forbidden Planet 50 years on. It’s an analogue swirl set in an off-world paradise; a field recording from the future. This is a creative, generation-spanning, union brought together to score this unique cult film. A must for fans of psyche electronica and Stealing Sheep’s formidable ‘Big Wows’ album. “Stealing Sheep devour a broad range of styles, incorporating everything from the dark dance-pop of Grace Jones to the experimentations of Radiophonic Workshop pioneer Delia Derbyshire and John Carpenter soundtracks.” The Guardian // ‘La Planète Sauvage’ is a thing of ambient beauty punctuated with electronic earworms that switches from intensely ominous to otherworldly dream like moments.

24 Songs. A new project from The Wedding Present. A new 7” single every month throughout 2022. 24 Songs sees David Gedge writing with legendary Sleeper guitarist Jon Stewart for the first time, and a more perfect union could not have been predicted. The first release includes a gorgeous duet featuring David and Louise Wener also from Sleeper on ‘We Should Be Together’, and it’s coupled with a rousing new track called ‘Don’t Give Up Without A Fight’ which combines classic Wedding Present feistiness with a Krautrock finale. The notion of a monthly 7” single is not new to The Wedding Present, but 24 Songs shows us that even classic concepts can be reinvented. The series also continues the band’s association with photographer Jessica McMillan, who has created stunning images and films as a visual accompaniment to the recordings.‘We Should Be Together’ will be available to listen to at The Wedding Present’s official YouTube channel from Tuesday 19 October at 12 noon. Subscription details with an early bird incentive can be found at 24songs.scopitones Individual singles and a collector’s box can be ordered from the same site or via all participating record shops. Explaining 24 Songs, David Gedge said: “In 1991, The Wedding Present were rehearsing in a studio in Yorkshire when we hit upon an idea that immediately thrilled us all. Our bass player Keith Gregory had been a member of the ‘Sub Pop Singles Club’ - a service that allowed subscribers to receive 7”s released by that Seattle label on a monthly basis. Keith wondered if we, as a band, could attempt a similar thing. In that instant, The Wedding Present’s Hit Parade series was born and, during 1992, we managed to release a brand new 7” single each and every month. “The Hit Parade went on to become something of a significant milestone in the history of the band and it’s a project about which I’m often asked. As its thirtieth anniversary approached, I began to wonder if we should celebrate it in some way. A ‘Hit Parade Part 2’ didn’t feel quite right, though. Then, someone said to me: “Other bands have released music in similar ways but there has been nothing like the Hit Parade.” And they were right! A 7” single a month seems, somehow, very ‘Wedding Present’. So, inspired by that little idea from three decades ago, we’ve embarked on this new project, 24 Songs. “Even though The Wedding Present have never been known for taking the easy route, the idea of recording 24 tracks and releasing them in this way could seem daunting to any band. However, I’ve been inspired by the music that has been written since Jon and Melanie joined the group. The thought of celebrating this exciting new line-up with an exciting new series has motivated us all… and I suppose we also didn’t want any of these songs to be hidden away in the middle of an album!”

Pressing Info: 180g black vinyl, standard sleeve, printed inner sleeve. Arriving right off the back of their second album 'El Refugio' which was released in November 2021 via Fuzz Club Records, Mexican post-punk/krautrock group Sei Still are back with a 'Fuzz Club Session' LP that's due out January 21st 2022. Having upped sticks from Mexico City to Berlin, Sei Still's Fuzz Club Session was recorded live at Berlin's Monoton Studio back in October 2020 and is comprised of five tracks from the newly-released 'El Refugio' LP: 'Esperando' (later titled 'Saldados Caidos' on 'El Refugio'), 'Hombre Animal', 'Las Puertas De La Noche', 'Me Persigue' and 'Se Asoma el Sol' (later 'Solsticio'). 'El Refugio' and the session LP set to be released in support capture a new era for Sei Still. The expansive Krautrock jams heard on their 2020 self-titled debut have evolved into a dark, motorik post-punk sound that owes far more to 70s punk, goth-rock and Spanish New Wave than any kosmische travellers. The session is released on 180g black or white vinyl with a printed inner sleeve and is accompanied by a series of videos recorded during the session.

On August 27th 2021 The Third Sound released their fifth album ‘First Light’ on Fuzz Club Records and it is now being given a second pressing after selling out upon release the first time aorund. Dealing in a hypnotic blend of neo-psychedelia, post-punk and new wave, The Third Sound is a Berlin-based band led by the Icelandic musician Hákon Aðalsteinsson, who is the guitarist in Brian Jonestown Massacre and formerly played in the cult rock’n’roll outfit Singapore Sling. A mainstay of the European psych underground in his own right, not just through his collaborations with the likes of Anton Newcombe and Tess Parks, The Third Sound has been Hakon’s primary solo endeavor since the release of his self-titled debut on Newcombe’s A Recordings a decade ago. Arriving following 2018’s ‘All Tomorrow’s Shadows’ LP, ‘First Light’ marks an evolution into a brighter and at times uplifting sound. Marrying moments of light and dark, the result is The Third Sound’s most dynamic full-length to date. Talking about the album, Hakon said: “This album is definitely less gloomy than the previous one, although some ghosts from the past are lurking in the background. We always try to make something new on each album and never make the same album over again, but this feels like an even bigger change than usual, especially regarding the mood. Something new is beginning although the past is not forgotten. I think the title, First Light, describes the overall feel of the record pretty well.” ‘First Light’ is the fifth full-length from The Third Sound and arrives off the back of 2018’s ‘All Tomorrow’s Shadows’, 2016’s ‘Gospels of Degeneration’, 2013’s ‘The Third Sound of Destruction and Creation’ and their 2011 self-titled debut. With Hakon Aðalsteinsson leading the group on vocals and guitar, the rest of the band is currently comprised of Robin Hughes (Guitar / Organ), Fred Sunesen (Drums) and Andreas Miranda (Bass). With a number of European tours in tow, the band have previously shared the stage with the likes of the Brian Jonestown Massacre, The Warlocks, Singapore Sling, Crocodiles, Clinic, Tess Parks and more.

Young LA star, Justin Jay, has already caught the ears of DJs and fans worldwide and released on the likes of dirtybird and Culprit. Last year, Jay shared an EP of deep house gold on Shall Not Fade sister label Lost Palms. Now he returns on their bass-oriented sublabel Time Is Now.

Hypnotized EP is a fun, breaks heavy romp featuring rave powerhouse trio Denham Audio and a remix by jungle mainstay Tim Reaper. From the off the energy is high, the title track rolling out pitched vocals and dramatic drops. "I Know" is ever more frenetic, breaks cascading over one another to a fever pitch, while Denham Audio collab "Swarm" brings out 303s and dramatic sub bass wobbles for a tour-de-force of hardcore dance vibes. Rising lofi house producer Angelo Jsn gives a euphoric, breathless edge to "Burgundy", an emotive space age trance number. Tim Reaper's untameable refix of "Swarm" keeps the heart racing to the end.

Take the freaked-out punked up soul of The Stooges and MC5 mix that with 60s garage trash, blend in Sabbath, AC/DC and heavy rock n roll and then hot wire that sound to a handful of freaks located in Fredericton, New Brunswick. Here it is that The Angered Wrecks were located - in an old Victorian style house in downtown Fredericton. It was here they set up a permanent rehearsal space on the main floor taking up the dining room and living room area with a full P.A. system and the long parties would begin as the Angered Wrecks cranked out an unholy primal serving of mind-numbing, eyeball-popping guttural pure rock and roll.

Lucky for us the Angered Wrecks had a primitive DIY recording set up as they recorded live off the floor with one cardioid mic taped to the ceiling to capture the entire room sound and straight into a cheap Alpine cassette deck. The results of these previously unheard recordings capture the essence of trashy rock’n roll at it’s finest, delivered with pure dereliction, and always a side of extra sleaze.
Keeping warm in the winter at another old salt box style house they would later rehearse and play gigs in, a large circle was cut in the floor so that the rising heat from the pottery kiln downstairs would (along with the right mixture of beer and ‘Purple Jesus’, weed and often speed and hot dogs) keep these boys fuelled long enough in sub zero temperatures to keep pumping out the rock’n roll savagery.
The last show they played was in the fall of ’81 at the Bug Shack after the household was served an eviction noticed with the house to be entirely demolished (just like Stooge Manor aka The Fun House).

They got a gig together the weekend before demolition, packed the bottom floor and played a blazing set. At the very end, walls were kicked apart, old cans of paint strewn about, general wanton destruction to furniture, doors, windows etc…insane. The bug shack had come to an end and shortly thereafter, The Angered Wrecks.
That these tapes have survived to this day is all thanks to John Westhaver’s archival hoarding (even though the loss of a 90 minute session of the Angered Wrecks still haunts John to this day).
So CRANK these tracks as loud as you can – these audio tapes are not for the faint of heart

Cardinal Fuzz are pleased to bring your way The Band Whose Name Is A Symbol – Ensemble 2016. Eight players made up the iteration of the always mutating ensemble cast, who were as follows for this recording - John Westhaver, Nathaniel Hurlow, Bill Guerrero, Jason Vaughan, Dave Reford, Scott Thompson, Mark McIntyre and Eric Larock.

The session for Ensemble went down at their spiritual home of Birdman Sound in Ottawa in August 2016 where what you hear on record was recorded direct from the floor (and mastered/tweaked by Chris Hardman).The whole session (and note this is an edit to fit the constraints of vinyl) - flies by with a reckless, organic abandon, as at times 8 players fly off in different dynamic directions of abstract playing and improvisation with trumpet player Scott Thompson much to the fore and blowing wild.

At times the feel of this recording is like a collision between a 70s album on the German Sky transported to a San Franciscan Ballroom is ’68 as the audience are peaking on ‘Orange Sunshine’ as Ensemble finishes up like a beautiful trip, well taken.

Big Crown Records is proud to present Piece of Me, the sophomore full length offering from Lady Wray. This is something of a homecoming for Nicole. Where her 2016 solo debut Queen Alone leaned more towards Soul and R&B with tinges of hip-hop, this record changes the mixture. It's still R&B with the textures of analog Soul, but there is a heavy Hip Hop influence that brings the sum of Nicole's career together in a new sound that will de ne her future. Boom-bap drums and chunky bass lines are front-and-center creating a perfect head-nodding backdrop for Lady Wray to take on the good, the bad, the difficult, and the joyful on her most personal collection of songs to date. The title track, "Piece of Me," which has already become a classic since it's 2019 release is about the people in your life who need more than you are willing to give. This tune and the B side of the 7" "Come On In" were the first songs put to tape for this album and they were recorded with Nicole sitting in a chair 8 months pregnant with her daughter. Her voice is so powerful, so raw, so thorough on these initial songs - it's wild to think that they were recorded this way. And even wilder to know that she knocked them all out in one take. Longtime collaborator and producer Leon Michels keeps the musical backing restrained and expertly executed, setting up Lady Wray for the full spotlight and setting the tone for the rest of the album. While the upbeat energies of "Under The Sun" and "Through It All" are sure to become hits that reconnect Lady Wray with her 90s R&B fanbase, "Where Were You" offers a behind the scenes look at what those days of stardom in her youth were really like. Nicole takes on the racial tension in America with her poetic and powerful "Beauty In The Fire" and leans heavy into her faith and church upbringing on the showstopper, "Thank You". She gushes about the profound love she's come to know for her daughter on "Melody" and celebrates life's ups and downs on "Joy & Pain". In 2021 it is rare to hear a varied yet cohesive album with no "skippers", but that is what you have here in spades. The tried and true chemistry between Lady Wray and Leon Michels has undeniably found a higher level and this album stands as a testament to conviction and dedication for all of us to enjoy and be inspired by.

Netherlands based Jungle don Tommy The Cat debuts on UTTU fresh from dropping bombs alongside Coco Bryce on his long standing Cat In The Bag records. Here he kicks off the first in a series of “Cosmic Connections” focusing on ambient and alien sounding jungle and drum n’ bass.

When Fred sent me the demos for his first release I remember being compelled to shut off all the lights and listen to them in complete darkness at full volume. I’m not sure why his music makes me want to do that but when he sent me this next batch I found myself needing to repeat the same process.

El Michels Affair follows up the massive success of their full length Yeti Season with The Abominable EP. A collection of unreleased tracks, alternate takes, and instrumentals from the Yeti Season recording sessions. EMA's blending their signature cinematic soul sound with influences from Turkis Funk and the grittiest of Bollywood soundtracks yielded an instant classic The Fader calls "a carnival of dusty funk and soul". The EP starts off with the unreleased gem "Messy Grass" whose synth intro, peppered with distant yeti cries, gives way to a tremendous backing track that Tamer Pinarbasi's Qanun dances over. On "Cham Cham" EMA invites Piya Malik to the microphone again to share her styled storytelling vocals over the instrumental track from Yeti Season's "Perfect Harmony". Where some of the tunes on the EP have vocals added, some of them have them removed letting the band take center stage; "Poison Song", "Uncut Gem", "Smoked", and "Progress" are all instrumental here giving them a wholly different energy than the vocal versions. The EP is being released with two different covers, each one has two paintings from different Ghanaian mobile cinema artists commissioned through Chicago's Deadly Prey Gallery and are interpretations of the original album artwork. One version is paintings by Stoger and Heavy J, who also contributed cover paintings to the Return To The 37th Chamber album. The other version of the cover is two paintings by Teshie and Farkira.

German multi-instrumentalist and producer, The Micronaut has made a name for himself through his richly textured and enthusiastic compositions. His 2016 album, "Forms" has been described as a true melting pot of sounds and it caught the attention of the electronic music scene with its very playful and original amalgamation of rhythms and samples. Last year, The Micronaut released Olympia (Summer Games) - an album that continued to draw on his elaborate production style as well as on the values of camaraderie and solidarity of the Olympic Games. Continuing on this Olympic journey, the German producer now releases the second part to the project, Winter Games, containing a fresh twelve tracks that capture the essence of winter sports. Winter Games is an eclectic ride, but far from chaotic; transitions are fluid, the momentum uninterrupted and the direction cohesive. Behind the music's energetic flow are sophisticated arrangements and quasi-scientific constructions which crush stylistic boundaries and give birth to a new collage-based genre of music. The music is all the more impressive considering that every sound contained therein is crafted by The Micronaut himself, who has been called a one-man-orchestra for exactly that reason. In the EDM-influenced track Bobsleigh, which contains samples from a DJ describing the state of his own profession, The Micronaut seems to be drawing a line between what he's doing, a true Olympic feat in some regards, to a lot of the lazy productions around today. 'He thinks it's cool to just play with an iPod or a USB stick,' we hear a voice say over a hyper-synthetic beat. It's The Micronaut's critical statement on the superficialness that much of dance music has come down to, "Of course there are exceptions, but unfortunately there are only a few," he notes. At times, Summer Games veers towards techno and at others it seems to be inspired by electro-pop. Towards the end of the album, 'Curling' is a refreshing vocal piece filled with warm chord progressions. "Bernhardt's vocals are really touching, they give warmth to the minimalistic structure of the song," says the Micronaut. The track offers a comforting counterpoint to the high-energy feelings of competitiveness present in the rest of the album with lush pulsating synths and a laid-back groove. "Every time, when I wanted to continue working on "Curling" I was afraid of destroying its very fragile initial structure, but in the end, I think it worked," adds the producer.

"Emotional Rescue presents the first ever reissue of Sugar Minott’s rare 12” of I Remember Mama. Recorded in Soho in mid-80s London, the Boogie meets Reggae song comes in vocal and instrumental mixes, as well as a wonderfully teasing long Discomix by NAD aka Dan Tyler (Idjut Boys).

Having grown up and become a star out of Kingston, JA, with over 50 albums and hundreds of singles for the likes of Studio One and Black Roots labels, the legendary vocalist was a pioneer of the Dancehall and then later Lovers Rock sounds.

Based in London for much of the 1980s, a chance meeting in the Wackies offices he met producer Steve Parr, who had recently opened the Sound Design Studio next door.

Hatching the idea to create a label to showcase their capabilities, Parr played all the instruments except the distinctive sax by friend Andy MacDonald, while Minott’s delivery is at his prime, storytelling in the Jamaica tradition of hardship and praise.

Released on 7” and 12”, they have striking differences. The “Sound Design” instrumental / version sees the studio team craft a disco meets reggae in a cod-style to wonderful, almost Balearic effect.

The collaboration with Dan Tyler continues, as he again works his desk dubbing magic. Extending and editing between the two mixes, teasing the instrumental before finally bringing the sax and vocals together for a ‘discodub’ finale. "

Hailing from Sydney, Australia, prolific producer Cabu (860K Monthly Listeners and more than 90M cumulative streams on Spotify alone) has come a long way; from his successful remix work – from Joe Hurtz's "Stay Lost" edit (37M Spotify-streams) to Big Wild's "Empty Room" flip (20M Spotify-streams) – to his consistently catchy original productions, Cabu's only getting started. He keeps this momentum alive with the EP "So Far To Go", his first to be released by Ta-ku & Jakarta Records' sublabel 823 Records.

823 is a perfect place for Cabu's bouncy, hypnotic grooves and is a return to form for what "Cabu" represents: a driving force in the pursuit of happiness through sound. It's a well-timed collaboration, as Cabu's fanbase has continuously grown over the past few years through features on Australia's Triple J, DJ Complexion's Future Beats Radio, Soundistyle, The South East Grind, Mutual Friends, ThisSongIsSick, Majestic Casual, Soulection Radio, BBC 1xtra, Pilerats, Maison Kitsune and more. To that end, "So Far To Go" features some of the most talented artists to come out of the Pacific continent, such as Milan Ring (95K monthly Spotify listeners) – coined "Australia's R&B Princess" by Apple Music – Brisbane native hit-maker Young Franco (1M+ monthly Spotify listeners), Kamaliza (123K monthly Spotify listeners), NOÉ, Gabby Nacua, Pastel and of course label-head Ta-ku himself.

1st single, "Process" featuring Ta-ku & Milan Ring was released on November 3rd. Hypnotically bouncy, with heavenly synth pads, crisp percussive elements combined with the ethereal voices of Ta-ku and Milan harmonically push the sonic envelope to make this track an infallible groovy knockout. As Cabu says, "Process" is "the dream-like state in which you take gratitude in your current situation whilst being hopeful in the future." The track provides a perfect taste of these artistic and creative powerhouses. The stunningly beautiful music video – directed by Sydney based Redscope Films and premiered on The Sound You Need – is the perfect accompaniment.

2nd single, "Sun & Moon" featuring Young Franco & NOÉ is set to be released on December 10th along with an announcement of the EP and pre-order. The song is a contagiously bouncy bop, with the different vocal harmonies and synth chords giving the track an almost prime 00's throwback, it's the perfect year-end anthem to keep dancing and growing through the good and bad.

The album's focus track, "About U" featuring Kamaliza will be released along with the EP release on January 28th, 2022. The song perfectly blends electronic elements within an R&B / Soul aesthetic, and is all about moving forward with intention, from the lyrics to the groove, making you feel tipsy on life.

All singles off the EP will be accompanied with custom visualizers by Perth-based design / creative firm Gesture Systems. The album's single-releases and videos will be promoted in-house via the artist's and the label's social media channels in Germany and Australia.

The 823 label represents the appreciation for the people, ideas and places that inspire and push their protagonists forward. "823 celebrates the simple beauty of everyday life and the people in it that inspire us." (Regan Matthews aka Ta-ku)

From his early days in 90s collective KMD to his reinvention as a masked supervillain leading the indie hip-hop revolution, MF DOOM has consistently pushed the boundaries of hip-hop in new and unexpected directions. While DOOM's lyrical genius is well documented, he has quietly become an important figure behind the boards as well. DOOM has always produced his own music, and in the early 2000s he released the acclaimed ten-part Special Herbs instrumental series, introducing the world to the dusty, lo-fi loops that define his production aesthetic. In the years since, DOOM has supplied soundscapes for Ghostface Killah's classic Fishscale album, produced an entire album for Masta Ace, and witnessed a new generation of emcees (including Joey Bada$$, Capital STEEZ, and Bishop Nehru) using Special Herbs beats on their breakthrough mixtapes. Now, the villain is putting the spotlight back on his production with the official vinyl release of Special Blends, Vol. 1 & 2. Originally self-released in extremely limited quantities back in 2004, Special Blends Vol. 1 & 2 pairs vintage DOOM-produced Special Herbs instrumentals with classic hip-hop and R&B vocals. Mixed by DOOM himself, this collection incorporates vocals from a wide range of iconic records. Special Blends Vol. 1 & 2 is available in standard 2XLP vinyl format, as well as a deluxe version inside a custom-printed burlap bag.

2022 re-press, 180g vinyl

A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the 70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs that Be With Records is honoured to present today.His debut, Soul Portrait (1969), is an incredible slice of gritty, Southern-fried soul. Think Stax with a touch of Detroit sparkle. As a whole, the album demonstrates the self-contained act Hutch was, he wrote every tune on the album while also arranging and conducting for it. It features 11 timeless grooves, with a blend of beat ballads and undeniable dancers.
The album's centrepiece is undoubtedly the iconic, brooding minor-key masterpiece "A Love That's Worth Having". The album's most recognisable track, it's a towering ballad drenched in stylish, sliding horns and elevated by its stunning backing vocalists. It was famously sampled by Madlib to augment his soundtrack for Stones Throw's Our Vinyl Weighs A Ton as well as 9th Wonder for the Murs classic "Dreamchaser". Whilst one can understand these iconic beatmakers for leaning on the work of a master, you really need to own the track in its full, unedited glory.
Horn-heavy opener "Ain't Gonna Stop" is a funk-fuelled monster, Hutch's fatback vocal aided by a vicious drum 'n' conga rhythm whilst the bumping uptown soul of "You Can't Miss Something That You Never Had" anticipates the Motown-vibe that Hutch went on to create. Supple guitar licks propel the loping, head-nod breaks of "Good To The Last Drop" whilst "That's What I Call Lovin' You" features gospel piano and plaintive, tender vocal turn. Rounding out Side A, the blazing horns of "You Gotta Try" hints at the Blaxploitation that was to come.Ushering in the flipside, the thundering proto-70s-Motown rhythm of "Let Me Give You The Love You Need" segues neatly into the bouncing Northern Soul favourite "Lucky To Be Loved By You" whilst Hutch's gutbucket guitar stylings are all over the smouldering "Keep On Doin' What You Do". "Your Love Keeps Liftin' Me Higher" is not a rendition of the Jackie Wilson classic, rather, it's a powerhouse original that indicates where Hutch would take his sound on The Mack. Closing the album, the anthemic "Do What You Wanna Do" name-checks contemporary dance fads before instructing the listener to just get up and dance.Brilliantly supported by a heavy roster of studio cats who combined to create a winning combination of horns, strings, and gorgeous female background vocalists, Soul Portrait is as complete a soul album as the decade's very best. Tricky to find for a number of years, this lovingly produced reissue is certainly welcome. Paired with the soaring follow-up, Season For Love, these recordings shine a new light on the early work of a soul legend. Officially licensed and remastered for vinyl by Simon Francis, it has been pressed on audiophile 180g vinyl for the first time and features the original artwork and liner notes.

"""Riding SCORCHING hot on the heels of their recent self-titled debut, fans could be forgiven for expecting more of the same from Champyun Clouds’ second long player of
2021. A hodgepodge of cutting-room-floor-fodder and experiments that would’ve been b-sides or Japan-exclusive CD bonus tracks in those halcyon days of physical formats’ golden ages is not what we’re getting. Let’s save those for a deluxe anniversary reissue
one day. Nah - sheer, unabashed creativity fuels this album; and weirdly enough, they’ve managed to branch out in interesting ways while also creating an album that is more immediate and banger-centric. Although Nail’s eclectic psych-lounge tendencies and
Asa’s irreverent poetry and broad Nottingham lilt remain the key touchstones of CC’s sound, opener “Check For Silt”s rough drum’n’bass beats offer an immediate and clear sonic progression for the Nottingham duo. The LP ultimately plays a bit like a haunted
jukebox in outer space - with elements of dub, britpop, early house, trippy, blissed-out sunshine pop (reminiscent of mid-90s His Name Is Alive at their most Beach Boys-aping), William Orbit-esque 90s psych-pop electronica, distorted glam rock shuffles and
garage-y funk. There’s a particularly great moment of sequencing at the end of the first half where I got lulled into a state of near-euphoria with the Air-like “The Flowered Crown” before getting slapped ‘round the face by “I’m Not Right For You”, which sounds
like Nile Rogers producing a demo for Sheila & B. Devotion, except he recorded it at the bottom of a well. Sophomore slump? Never heard of him, mate."""

Includes A3 poster print by Frank West . . .

Welcome denizens of disaster, one and all - please make yourselves uncomfortable.

Did anyone ever tap you on the shoulder as you were walking through an unfamiliar land, just to tell you to watch where you’re going? In this interlinked age of protocol-onies and networked nations, the only territory you can’t rely on is your own state of mind.

Mapped-out by a series of second guesses and double takes, Catastropheland is the one place you’re welcome to try and expand your diminished reality. In Catastropheland, the road signs are all traps, the charts are the wrong way round, the jokes fall flat, and it always rains upwards.

Meanwhile, nine tracks of virtual shapes are bounced off the dishes of an orbiting Syncom 7 and beamed straight into your personal space. The quest for the augmented self might not lead to the results you expect, but as a citizen of Catastropheland, your residency permit is never up for review, and you’re only a shipwreck away from being washed-up on a melting shoreline.

The music was performed by Montel Palmer in Cologne during summer 2018

Mastered by The Bastard

ACCIDENT IN HEAVEN was originally released in 1987 as a hand-made micro-edition of about 40 cassette tapes. It was only the third ever release on the short-lived now near legendary SDV label which had been established that same year by Konrad Kraft, Bernd Sevens and Dino Oon in Düsseldorf.

Finally finding a more substantial and appreciative audience on vinyl over 30 years after its original limited release, ACCIDENT IN HEAVEN is a strong testament to the explorative experiments of Detlef Funder a.k.a. Konrad Kraft, whose homebuilt studio sound attempted to bridge the clinical roughness of Severed Heads and the psychedelia of Coil with the density and force of industrial, post-punk and prototechno. Concurrent with his ever-expanding production skills, KONRAD KRAFT's sound work in the second half of the 80s stayed firmly rooted within a highly stylised underground spirit. Both his music and also the freshly launched SDV label first and foremost served as a medium for communication. The vital urgency of ACCIDENT IN HEAVEN underlines the record's core narrative which arguably sounds even more futuristic today than it did 30 years ago.

Hallmarks of ACCIDENT IN HEAVEN are an 8-track tape recorder, a Yamaha DX7 synth and a Roland 707 drum computer and the late 80s’ internationally ubiquitous shift from analogue to digital music production. Whilst its predecessor ARCTICA (another cassette-only release from 1986/87, previously reissued on TAL in 2018) was significantly more experimental and almost an in-between-states affair, ACCIDENT IN HEAVEN was the point at which Konrad Kraft really began to experiment with beat structures, sequenced synth pads and the framework of 'dance' music. However, the rhythmic elements are submerged so far beneath his expertly crafted drones it's almost impossible to label these sounds as “dancefloor oriented” work at all, as the tracks on the album joyfully disrespect the rules and boundaries of that or indeed any other genre.

ACCIDENT IN HEAVEN also epitomizes the decade's ending energy and sharp momentum with its successful merging of highly individual production and irresistible rhythm tracks.

The rich wealth of references is mirrored within the silhouettes and the graphics of the album’s unique artwork, which was created by Dino Oon. The new mastering has all sounds on ACCIDENT IN HEAVEN emerge in fresh shades and three dimensional plasticity, inviting the listener not to merely revisit the full palette of KONRAD KRAFT’s creation but offering an entirely new sound experience.

A 150/160 BPM mental prog' acid tribe/tekno. Tripy at the trance frontier... or at least very musical : for instance the ambiance of "Biolumiescence" definitely fits perfectly with the Jellyfish design.... And the flip keeps on offering the same dark sweetness pleasure.
Spacial !

PS : fits perfectly with CC ATOM 04 Pain-Beurre tune and the Acid Night 07 Sevenum Six A side ... The Truth :)

Translucent red LP housed in a beautiful gold mirror-board sleeve with large Thundercat logo hologram sticker and gold holofoil detail. Includes two bonus tracks: ‘$200 TB’ and ‘Daylight (Reprise)

Vinyl only (no digital) 2021 Black Friday release

If indeed "you blows who you is," as Louis Armstrong once famously said, then Stephen Bruner's bass is a mainline to the soul of a man whose DNA was transcribed from the stars onto staff paper. His Flying Lotus-produced debut, The Golden Age of Apocalypse, offers both stone-cold skill and uncanny astrality, picking up where the pair left off on 2010's Cosmogramma and further distilling the jazz current running through that landmark Lotus release. A longtime contributor to others' albums, Bruner, aka Thundercat, is accompanied by an impressive cast ranging from Erykah Badu to members of Sa-Ra and J*DaVeY, to pianist Austin Peralta and his own Grammy-winning brother, drummer Ronald Bruner, Jr. Still, the end result is unmistakably a Thundercat record -- a lush and magical document combining classic jazz fusion, futurist electronic strains and timeless musical seeking.

Spanning a cosmic stew of players, locations and times, The Golden Age of Apocalypse was years in the making. . There's the ebullient "Daylight," a soft whirl of bluesy piano, New Age synth, snapping beats and warm bass. There's "Walkin'," an upbeat soul strutter powered by Bruner's digitally distorted plucks. There are raw, improvised numbers like "Jamboree" and virtuosic bass pileups like "Fleer Ultra." One of the album's most stunning moments arrives with a spacious cover of George Duke's "For Love I Come," a taut beauty spangled with crystalline harp and keys. Bringing this string of divinely unexpected moments to a moody and cinematic close is "Return to the Journey." There, Bruner sings, "Time will pass us by," but listeners needn't worry. Inside of this space, time really isn't a thing.

Feel-good funk and hip-hop duo, The Allergies, offer up one last ray of audio sunshine from their smash hit album, Promised Land.

Featuring the unmistakable voice of Bay Area luminary, Lyrics Born, 'Going to The Party' is the ultimate celebration of good times, good friends, and good music. Throwback raps weave wickedly with infectious grooves and a sing-a-long chorus, making this the perfect soundtrack for all your get-togethers and funky affairs. And now, the limited edition vinyl release offers up an extended version, with extra house-party warming verses from L.B!

And, that's not all. As, taking B-Side Banger status on the 45 is 'Utility Man', featuring the dynamite mic prowess of L.A rap hero, Andy Cooper. Riding a super slick double bass groove and neck snapping drums, the L.A. hip-hop legend flips fearsome rap styles, pitching his case as the ultimate go-to gun-for-hire M.C.

And who are we to argue? It's two serious sides of funky rap goodness. Or, as Andy puts it, "The beats bang and the music's timeless". Indeed.

a a1: Going to the Party (Extended Mix) feat. Lyrics Born

The 18th offering from Instinct features four different acts, each with their own take on moving the dancefloor. Pinder P has a funky house/UK garage flavour to it but laced with wonderfully deep bass heavy and shaky enough to dislodge fillings. Papa Nugs' 'Super Beagle' delves even further into the raw aesthetics of early hardcore and especially the reggae-tinted futurism of Shut Up & Dance, Ragga Twins and Hype. DJ Crisps has arguably the least retro sound, relying on very steady and sturdy, more US garage-slanted beat foundations, before the EP is rounded off with the bubbling, skippy 'Only You' from Yosh, re-connected with a subtle reggae flavour to its UKG swagger.

From a fascinating yet relatively undiscovered era of experimental music in Peru's capital city Lima, this never before released split single features two of the foremost musical minds of modern day tropical, electronic and ambient roots music. One song each was plucked from the archives of mutual friends Los Palteados (Tomas Tello) & La Sonora Roza (Efraín Rozas / La Mecánica Popular), offering a rare glimpse into the musicians' respective productions and group projects at the onset of the 21st century. The pair of selected recordings each have their own hypnotic sensibility, yet both remain blissfully approachable experimentations in the beloved styles of cumbia & descarga.

Freestyle Records run off a gem of 45 with two tracks from their recent Bunny Scott reissue project, showcasing the early-Black Ark debut LP of Scott (aka Bunny Rugs, later of Third World).

The Blaxploitation-influenced funk track 'Kinky Fly' features members of The Chi-Lites' backing band (passing through the infamous studio whilst in Jamaica for a series of shows) - their horn section and Chinna Smith's wah-wah guitar shine through with synth overdubs adding to the mood, underpinned by the ghostly click tracks of the Conn Rhythm Unit (constituting one of Scratch's earliest experiments with drum machines). On the flip, the upbeat 'Sweet Loving Love' boasts a jaunty synthline high up in the mix and a stellar rhythm section augmenting Bunny's soulful tenor.

We Are FTR welcomes Haf to the label as the collective returns with the talented artist's Foreign Dreams EP. There's much to enjoy here starting with the powerful driving opener "Paranoia", a dark and heady affair perfectly suited to keeping things moving into the small hours. "Shamooli" follows up with intricate shuffling hats, groovy bassline and plenty of atmospheres to get lost in. The immersive and meditative cut "Urgull" stretches out over the full B-side rounding off the EP in fine style with a more laid back feel.

First ever vinyl release of the soundtrack for this Wes Craven classic from 1991.

Limited Electric Blue and Oxblood "AsideBside" with Brown Splatter.

Composer Don Peake created an incredibly atmospheric and spooky score for this film. Peake's career is insane –as a guitarist and member of the Wrecking Crew, he’s played on albums by Marvin Gaye, Phil Spector, Everly Brothers, Mahalia Jackson, John Lennon, Jackson Five and more.

It's an incredible career and his musical diversity shines on this score. Fun fact: People Under the Stairs opened at #1 on the box office chart and stayed in the Top 10 for a month.

You might know Barnt as one of the people behind the idiosyncratic imprints Magazine and Schalen, through which he released his most of his EPs and the incomparable 2014 debut album, Magazine 13.; or maybe you know the thread of beautiful, unpredictable club hits he’s woven with labels like Cómeme and Hinge Finger.

Despite living in Cologne, and being friends with the label, Barnt has not put out anything on Kompakt yet, apart from an one-off appearance on Pop Ambient 11 over a decade ago. An EP had been in the air for several years, but it took Barnt a bit of time to get into the right state of mind, because he wanted to make sure the music paid tribute to “the ceremonial, emotional, grand sprit” that he connects with Kompakt.

Typical to the producer’s modus operandi, ProMetal Fan Decor Only Product spins out a surprising narrative, catching the listener unawares, while remaining fundamentally Barnt. After the elegiac opener “Fan”, stately in its melancholic, epic flourish, “You Know What’s Gone” stomps into earshot, the pounding thud of the drums pinning clanging patterns to the dancefloor, a Sturm Und Drang symphony, the tones all clashing metals and silvers.

After that, there’s release – the hypnotic psychedelic reels of “This Is For Decor Only” are Barnt gone trance, a sensual glide of a track that pirouettes out an eternity of sizzling hi-hats and strip light melodies. While you might want to be alone when listening to “Fan”, you might have the time of your life dancing to “This Is For Decor Only”, played by your favourite DJ at your favourite festival this Summer.

With ProMetal Fan Decor Only Product, wrapped in a sleeve by artist Lukas Heerich, Barnt and Kompakt finally come together, equal parts refined elegance and sweaty fervour.

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


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

First ever box set from one of the most thrilling bands of the Twentieth
Century.
 Deluxe 7” singles box set featuring the phenomenal original run of singles
with two bonus singles exclusive to this set. Seven 7” singles housed inside
a lift-off lid box with a booklet featuring an essay by Clinton Heylin,
reminisces from Thurston Moore, Henry Rollins, Mark Lanegan X and Dan
Stuart, rare photographs and flyers, new exclusive issue of the ‘Fire of Love’
fanzine, Ruby Records postcard and a ‘Gun’ button badge.
 If ever there was a band seemingly determined to come from nowhere and
go straight back there, it was The Gun Club. Jeffrey Lee Pierce’s search and
destroy combo was spawned by the LA punk scene in 1979. Two years later
their first LP, the incendiary ‘Fire Of Love’, was spewed out by Slash
Records, a matter of months after the punk zine Pierce wrote for, and the
label named itself after, breathed its last. ‘Fire Of Love’ was one of the 80’s
genuinely shape-shifting US debuts, igniting post-punk depth and minting
genres including blues, psychobilly and Americana.
 Jeffrey Lee Pierce was an extraordinary character. Learning to play guitar at
the age of 10, he quickly immersed himself firstly in reggae and later the
Delta Blues, particularly works by Tommy Johnson and Robert Johnson. By
1976, he had become obsessed with Blondie, going on to become President
of the West Coast Blondie Fan Club. It was Jeffrey Lee Pierce who
suggested to the band they cover ‘Hanging On The Telephone’. The Blondie
connection would later resurface in 1982 when Chris Stein signed and
produced The Gun Club for his Animal Records label. In 1996 after releasing
seven studio albums, 37-year-old Jeffrey Lee Pierce sadly passed away
following a stroke. What he left behind is a legacy of work that has had a
prolific effect on some of the most distinguished rock acts of the past 20+
years, these include Nick Cave & The Bad Seeds, Sonic Youth, The White
Stripes, Mark Lanegan, Primal Scream and The Black Keys.
 “Jeffrey was a human tornado. Yet during the most turbulent points in his life,
he was able to tap what seemed to be a limitless supply of astonishingly
beautiful music. Even now, songs like ‘Flowing’ and ‘Desire’ catch me up.
The immense power that passed through Jeffrey, like an electrical current,
informed his amazing body of work. That level of unrelenting heat and
incandescence is simply not survivable. I wouldn’t wish it on anyone.” -
Henry Rollins (April 2021)
 Six 7” singles reprinted with original artwork. Additional ‘Miami Demos’ 7”
exclusive to this box set. All singles remastered especially for these vinyl
editions.

HIFILOFI SCIFIWIFI is the debut solo album from Gale P, best known as the co -founder, guitarist and occasional singer of acoustic-indie stalwarts Turin Brakes.

Born in Tehran, based in Brixton, Gale Paridjanian was raised in the multicultural melting pot of South London in a family home full of musical instruments. He picked up a guitar at a young age and launched himself onto his musical arc.
A lockdown break from touring provided the space to explore fresh creative directions, inspirations and collaborations. Gale brought all these into his home studio to stitch together into a compelling set of personal songs; “I’d go around London looking for inspiration, bring it back to my garden shed and create freely, attempting to turn into sound what I’d seen that day - a painting, a fight, a story overheard. But sometimes I’m just trying to make music I want to hear, like a home-made Shazam playlist.”
Everything is tied together by Gales’ authentically lo-fi production, intimate vocals and sultry acoustic guitar, floating across dreamily trashy beats and subtle offbeat electronics.

As the 21st century was born, so Kreator underwent what was nothing less than a seismic creative rebirth. By this time, the iconic German band had released nine studio albums in the 1980s and '90s, which had established them as one of the most important metal names of these decades.In the first period, they had helped to shape and pioneer the thrash scene through such releases as 'Pleasure To Kill' (1986), 'Terrible Certainty' ('87) and 'Extreme Aggression' ('89). During the following decade, the band had opened up exciting horizons of experimentation on albums like 'Coma Of Souls' (1990), 'Renewal' ('92) and 'Endorama' ('99).
Now, though, it was time to move into a fresh era, as vocalist/guitarist Mille Petrozza explains.
“During the 1990s, we were definitely experimenting with what the band were doing. But (drummer) Ventor and I decided that for this album – our first of the new millennium – we wanted to go back to the sort of sound that we had at the start of Kreator. In other words, to get back to the reason why we began the band in the first place.”

There was also new guitarist introduced, as Sami Yli-Sirniö (who had made his reputation with Finnish band Waltari) took over from Tommy Vetterli. The latter (also known as Tommy T. Baron) had joined in 1996 and played on the 'Oucast' (1997) and 'Endorama' albums.

The producer for this album was Andy Sneap, who was now making a name for himself as one of the pre-eminent masters of this art in the modern metal world.“I had known and liked Andy since the days he had been the guitarist in Sabbat, as they were signed to Noise Records as Kreator were on that label. He was our first choice to work on this new project. I liked what he'd done for Testament on their album 'The Gathering' (released in 1999). He had given them a sound they'd never had before, and that really was what we were after. It was natural and organic, and also very modern. I remember phoning him at his Backstage Studios in England (Ripley in Derbyshire). And Warrel Dane, the vocalist in Nevermore, answered. Andy was producing their new album at the time ('Dead Heart In A Dead World', 2000). And when I heard this, again I was very impressed. So, I was delighted when he agreed to produce the new Kreator album.”

The album title came from something Petrozza had read. “In a book I came across a comment that John F. Kennedy said (in 1962). This was: "Those who make peaceful revolution impossible will make violent revolution inevitable”. I thought 'Violent Revolution' would make a good title for an album. So, I kept it in my mind for this record. I think 'Violent Revolution' is a title that makes a real impact.”

One interesting aspect of the track listing was that the 52 second instrumental 'The Patriarch' actually came after the opening song 'Reconquering The Throne'. Fans might have been expected that it would have opened the album. But for Petrozza, there was a logical reason for this not to happen. “We really wanted to lead off with a thrashing track, to show everyone what we were now doing musically. After 'Endorama', it was important that everyone should recognise this was a new era for Kreator.”

'Violent Revolution' is without question an excellent album. While in some ways it does hark back to the glories of the band's earlier days, nonetheless it does not sound at all nostalgic. The performances and production values are very much part of the contemporary era, and the strength of the compositions themselves are of the highest values. Rising to the challenge offered by a new generation of ambitious metal bands, Kreator proved they were far from being a spent force. Unlike so many of their peers, here was a band who still had so much creativity to offer, and were also clearly excited themselves by what they were doing. And when you hear the band themselves enjoying the entire process, then you know this is a bona fide revitalisation.

In 2022, the Vienna Philharmonic's New Year's Concert could once again take place in front of an audience. However, 2G-plus rules and an FFP2 mask requirement applied throughout the Gesellschaft der Musikfreunde building in Vienna. Standing room was not offered this year and the number of seats in the Golden Hall was limited to 1,000.

Daniel Barenboim performed with the Vienna Philharmonic as a young pianist as early as 1965, and he has also conducted them since 1989. He already took the podium at the tradition-steeped New Year's Concert in 2009 and 2014. Barenboim's engagements as head of the Berlin State Opera Unter den Linden and the Staatskapelle Berlin, as founder and director of the West-Eastern Divan Orchestra, and as a pianist show him to be a true musical citizen of the world. As such, he is also an exceptionally good fit for Vienna's world-class orchestra and the message of the New Year's Concert: hope, friendship and peace for the whole world.

At the start of the new year, the Vienna Philharmonic once again presented a cheerful, upbeat and contemplative program of symphonic waltzes, polkas and marches by the Strauss dynasty and its contemporaries. The 2022 program showed a clear reference to the fantastic and fairytale-like. In addition to the phoenix, a siren and an indeterminate number of brownies and nymphs, there was also Johann Strauss' waltz "One Thousand and One Nights".

Six pieces had their premiere at a New Year's concert in 2022. The "Phoenix March", the Polka mazur "The Siren" and the Polka française "Nymph Polka" were performed by Josef Strauss. Eduard Strauss was represented with the quick polka "Kleine Chronik", Carl Michael Ziehrer with the waltz "Nachtschwärmer" and Joseph Hellmesberger with the character piece "Heinzelmännchen" among the repertoire novelties.

There is the 50th anniversary of the UNESCO World Heritage Convention to celebrate in 2022, which Austria also joined 30 years ago. In the intermission film of the concert, the twelve Austrian World Heritage sites showed themselves from their best side. Schönbrunn Palace in Vienna, on the World Heritage List since 1996, was also the setting for the ballet interlude with ten dancers from the Vienna State Ballet to the waltz "One Thousand and One Nights." The second performance was created at the Spanish Riding School, which has been designated as a UNESCO Intangible World Heritage Site since 2015. Eight magnificent Lipizzaner stallions and their riders demonstrated the high school of classical horsemanship to Josef Strauss's "Nymph Polka".

The phoenix, a very special bird from ancient Greek mythology, burns at the end of its life cycle, only to rise again from its ashes. The Vienna Philharmonic Orchestra paid tribute to it twice. The concert began with the "Phoenix March", followed by the waltz "Phoenix Swing". Such a concert opening - with a march and a waltz - should be a sign. It is to be hoped that a rebirth and renewal in the new year can really take place.

Recorded by the band direct to 8-track tape in a basement behind a cemetery, these nine timeless teenage anthems and jukebox rippers tackle love (“Got Me High”), lust (“Tell Your Boyfriend”), and drugs (“Here He Come”) with a counterculture sneer and trickster’s wink. Fueled by Savage Sam's fiery guitar and Farfisa leads, vocal snarl, and arsenal of self-built custom analog effects pedals, the trio offers fresh and lucid hallucinations of various Seeds-y, Fugs’ed up strains of American underground rock and freakbeat rave-ups at the farthest edge of the British Invasion.

Crucially, the group laces each composition with more than enough personality to ensure that this joyful noise couldn't be coming from anybody else's garage. An upbeat singles band to the core, they save their lone improvised psychedelic jam for the end of midtempo closer "Watching" - a glimpse at the wild abandon of the trio's facemelting live shows. Savage Sam: guitar, organ, lead vocals, production
Michelle: drums, backing vocal Herb (Matt Lajoie) : bass guitar, backing vocals

Ludovico wollte schon seit mehreren Jahren ein Solo-Klavieralbum schreiben, brauchte aber das richtige Umfeld, um sich voll und ganz darauf einzulassen.

Lockdown gab ihm diese Gelegenheit. Er nahm die Isolation von seinem normalen, geschäftigen und komplexen Zeitplan an, um einen Ort der Einfachheit zu finden. Dies ist also eine positive Sicht auf Lockdown und Isolation; er nutzt diese seltene Gelegenheit, um die einfache Schönheit des Songschreibens in seiner reinsten Form zu erleben. Keine Technik, keine äußeren Einflüsse, nur Ludovico und sein Klavier.

Infolgedessen ist das Thema des Albums die Freiheit von den typischen Grenzen unseres täglichen Lebens. Dies wird in der Metapher ”Underwater” ausgedrückt. Ein freier und offener Raum, in dem man sich bewegen und erforschen, schweben, innehalten, sich in 3 Dimensionen bewegen kann usw. Ich persönlich denke, dass ein Vogel, der durch die Lüfte fliegt, auch als Metapher für dieses Gefühl der Freiheit funktioniert.

Ich nenne es Songwriting und nicht Komposition, es war ein neuer Ansatz für mich: Beim Komponieren denkt man nach und erforscht, vergleicht und ist ehrgeizig. Wenn man ein Lied schreibt, ist es wie Atmen, die Form ist kurz. Ein Lied ist wie die Schönheit eines einzelnen Atemzugs - eine Welle, die kommt und geht. Es ist schön, wie es ist - es braucht nichts anderes.“

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

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

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

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

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

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

Grey Vinyl

Polymorphism Records continue their intercultural and cross-genre work with their third release E Source. Female vocals return to the label with four original tracks by Russian artist Sestrica, who brings in her characteristic emotional narrative. A remix by Konx Om Pax and
a rework by Antwood make up the crew boarding on a galactic grey/silver vinyl.

PM003 takes off with electro-to-techno beats fuelled by a mild, wrapping acid melody in Today We Meet, where the uplifting countdown to launch can be felt. Sentimental Value gets
us deeper into the spatial trip. Darker samples and a heavier bassline give extra gravity to the anthem of the journey across sonic galaxies. Floating to slow, surrounding sounds and loops we land on a calmer planet called Intention. Its tidal sensation is created by an
orchestral combination of meditative vocals and other layers of composition. New Era enters an orbit of elegant syncopation within a rotating reverb stardust. Ancestral beeps subtly acknowledge legacy to be taken forward to the next odyssey.

Musician and graphical artist Konx Om Pax from Glasgow beautifully introduces nostalgia to New Era with playful breaks and scratches, getting us back to our roots in this excursion visiting alien territoires. Sestrica’s vocals from her original track are drawn into the remix as
echoing words rendering a mysterious aura, travelling through a deep trance of diverse yet harmonic rhythms and effects. A journey within a journey.

Canadian producer Antwood’s rework of side A jumps into an epic vortex of more experimental, unexpected sounds. The album-closer builds up towards absolute chaos, to then create a vacuum to emptiness. A supermassive (tribute to black holes intended) drop
leads to the last minutes of the EP: up tempo cyber-influenced sounds that bring us to a bright futuristic landscape ironically far from a dystopian prophecy.

Purely coincidental fact: the last track of PM002’s originals being Crisis Apparition and its homologue in PM003 New Era, hope seems to be peeking through current times to send an accidental message with this first series of the label.

Mind the overuse of Space metaphors; in this year 2021 where humans are going farther and further in exploring new places out there, it is a tribute and celebration to discover new musical journeys like this out here, on Earth.

Environmental sustainability and social justice are core values of Polymorphism Records. Following their strong interest in contributing to a good cause, shown from the early days, all Bandcamp digital sales are donated to projects such as Team Trees or The Ocean Cleanup.meet f B3 E Source side A (Antwood rework)

Mathieu Harlaut has always had the audacity to push his curiosity to its logical conclusion, conjuring up unique sonic spectres. Verging on strange, these apparitions aggregate a myriad of influences and approaches combining DIY, scholarly appropriation and pop arrangements. Chamberlain, his alias, embodies the project, where classical, jazz, electro and soundtracks merge to form innovative musical compositions. Chamberlain’s vision emerges as he takes these diverse territories to create completely new landscapes. Evocative postcards of journeys to come. A present where influences and inspirations offer up the ideal framework for creating new horizons.

With his characteristic attention to detail, Chamberlain is a skilled craftsman and an alchemist in turns. With him there is no apparent "timeline". No welded joints. No stiches. The overall impression of Chamberlain's music is enveloping, finding just the right points of balance and energy to evoke a particular atmosphere. But it doesn’t diffuse atmosphere, it’s more like an ambient perfume. Chamberlain's tracks are like the many notes of a fine fragrance, infusions that elicit subtle and contrasting emotions. Be it the music lover's indulgent solitude or the sensory exultation of a shared club experience.

Ambassador's Reception head-honcho Stevie Kotey has started sorting out his archives. Relaunching the label and assuming the pseudonym Steamy Windows he's been dusting off and souping up crowd-pleasing cuts by the score. The first fruits of this labour to be made public will be One Of Those Nights – a collaboration with cool Californian dude, Woolfy – King Of The Sun-Baked Balearic Boogie. The two of them turning in a breathless bedroom berserka of balmy, heat-stroked, blue-eyed electro street soul – suitable for fans of Apiento, Harriett Brown and Lexx' Cosmic Shift long-player. Its bass bumping bionically, keys and guitar blown in like a breeze.

Percussion-like seashells gently washed and made to shine by the tide. While Woolfy's whispers are the male equivalent of Brenda Ray's intimate coo. I've been privy to six mixes that range from a beatless ambient calm – showing off the electric axe work and celestial synthetic flute – to bottom-end bolstered dub. L.U.C.A's Quirky Version puts the beat right up front – big snares behind treated vocal fragments. Gating everything for a trippy, serenely stoned glide. Taken altogether this sextet forms a kind of suite, finally refocusing on the love song at its root.

Dr.Rob (Ban Ban Ton Ton)


b 02: One of Those Nights (Beach Hotdog) feat. Woolfy
c 03: One of Those Nights (No Vox) feat. Woolfy
d 04: One of Those Nights (L.u.c.a Quirky Version) [feat. Woolfy & L.u.c.a]
[e] 05: One of Those Nights (Green Mix) [feat. Woolfy]
[feat. Woolfy]