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Reissue of Feu! by Rotorelief Records on vinyl LP and CD - April 2024.Industrial Punk, Noise'n'Roll
Featuring Jac Berrocal.


"THIS RECORD WAS INVENTED IN TEN DAYS. WHEN NAGI BAZ OFFERED TO LET US USE HIS STUDIO FOR A WEEK, WE HAD JUST FINISHED RECORDING DOCTOR CHANCE 93.

THE PLAN WAS IMMEDIATELY TO PAY A SORT OF TRIBUTE TO MY WRITER FRIEND JEAN-FRANÇOIS CHARPIN (1957-1987), AN ACCOMPLICE OF THE SEX PISTOLS, WHO HAD INITIATED THE CHALET DU LAC CONCERT IN SEPTEMBER 1976, BEFORE CREATING THE EXCELLENT AND FLEETING AVANT-GARDE MAGAZINE GRABUGE IN 1978 (TWO ISSUES PUBLISHED).

WE SPENT A WHOLE WEEKEND WITH JACK BELSEN LAYING THE FOUNDATIONS OF SIX TRACKS FROM MACHINE MATRICES, LOOPING RHYTHMS, WHILE I WROTE AT FULL SPEED ON THE TYPEWRITER. ON MONDAY I FINISHED FORMATTING THE RAW LYRICS WHILE BELSEN RECORDED THE RHYTHMS. THE NEXT DAY, IT WAS MY TURN TO RECORD THE VOCALS AS ONE - THEN JAC BERROCAL AND LITTLE DRAKE PLAYED THEIR INSTRUMENTAL PARTS.

TWO DAYS OF MIXING LATER, IT WAS FINISHED. THE FOLLOWING MONDAY, NAGI BAZ LEFT HIS RECORD LABEL. AFTER THIRTY YEARS, THE REISSUE OF FEU! (AUGMENTED BY GENOTYPE FROM MESSAGERO KILLER BOY, RECORDED JUST BEFORE I LEFT FOR CHILE IN 1994) TURNS OUT TO BE A DOUBLE EULOGY FOR J.-F. CHARPIN, BUT ALSO FOR JACK BELSEN, WHO WAS ABRUPTLY SNATCHED FROM LIFE FOR ONE AWFUL SEASON, BETWEEN LATE SPRING 2018 AND HIS DEATH ON 7 DECEMBER THE FOLLOWING YEAR. -"

Repress of Child's self-titled debut album. Combine the heavy emotion of the blues, the tone and raw power of hard rock, the finesse of soul and a twist of 60's psychedelia. It will give you a visceral musical experience that plays directly to your being. That is CHILD. Living for their art, the pubs, the booze, the endless highways and the blues is what makes this band who they are. Child are a must see for those who are worshippers at "the electric church". The freedom and power of a live performance is important to CHILD in their approach to music, endeavouring to never perform the same way twice. They look forward to once again bringing this to the world on their continued search for sonic paradise. Since the release of their runaway self-titled debut in 2014, Child have continued to develop their unique brand of heavy blues through constant writing and extensive national/international touring. The band released the follow-up 'Blueside' in December 2016, which builds on this foundation to deliver a disc of pure sonic expression whilst following in the long tradition of the blues. 2018 saw the release of Child's first EP, simply titled 'I'. Recorded live to tape, 'I' is a glimpse into the boundless directions that could be taken on upcoming releases.

Blue vinyl, limited to 350 copies. Repress of Child's self-titled debut album. Combine the heavy emotion of the blues, the tone and raw power of hard rock, the finesse of soul and a twist of 60's psychedelia. It will give you a visceral musical experience that plays directly to your being. That is CHILD. Living for their art, the pubs, the booze, the endless highways and the blues is what makes this band who they are. Child are a must see for those who are worshippers at "the electric church". The freedom and power of a live performance is important to CHILD in their approach to music, endeavouring to never perform the same way twice. They look forward to once again bringing this to the world on their continued search for sonic paradise. Since the release of their runaway self-titled debut in 2014, Child have continued to develop their unique brand of heavy blues through constant writing and extensive national/international touring. The band released the follow-up 'Blueside' in December 2016, which builds on this foundation to deliver a disc of pure sonic expression whilst following in the long tradition of the blues. 2018 saw the release of Child's first EP, simply titled 'I'. Recorded live to tape, 'I' is a glimpse into the boundless directions that could be taken on upcoming releases.

The complete original Erroll Garner album Concert by the Sea (Columbia CL-883), which marked the pianist's best-selling record ever. There was actually no official plan to record the concert, and the release came about because Garner's personal manager, Martha Glaser, spotted that a tape recorder was running backstage and decided to use the tape, originally intended for the Armed Forces Radio Network. A live version of the perennial Garner composition "Misty," performed by the same trio the following year, has been added as a bonus. 180- GRAM COLORED RED VINYL - THE COMPLETE ALBUM + 1 BONUS TRACK - Contains new specially prepared liner notes by Penguin Guide to Jazz's writer BRIAN MORTON and by Paris' prestigious JAZZ MAGAZINE

On Gut Buster, Yosa Peit spawns fleshy sonic escapades, a swarm of vigorously processed vocals and soulful bass, set to a backdrop of visceral percussive structures. Full of roguish curiosity, the record is cast with an air of lo-fi experimentation, but with a platinum glint of pop sensibility. Peit's second album grapples with the destructive force of modern consumption, Gut Buster is an anti-capitalist battle cry that syntheses intimacy and hostility; a surrealist-punk affirmation and a testament to Peit's singular vision and unique approach. The free-ranging sound of Yosa Peit recalls the intense arrangements of a cyber-era Prince with the surrealist tones of Arthur Russell and early Björk. At the album's core, "World Eaters" unleashes scorching guitars in search of humankind's end, "I was born on a planet, I got hungry and I ate it." Even in the face of planetary doom and personal obstacles, Yosa evokes our propensity for mischief, humor and pleasure. "bb moon" processes sound solely from her bass into wicked oblivion. "CALL ME," a song about friendship, chews up it's anthemic melody into a gnarled strut worthy of an A$AP Rocky production, while "HAD3S" urges us to find balance, nodding to the mystical fuzz of Prince. Yosa's work has been called "personal, punk, poignant, deep" yet her genre-defying production, as textured as it is catchy, escapes definition. Gut Buster takes that collective playground for creation to planetary reaches, congregating friends from Berlin, Cologne, and New York's fuzzy musical underbelly: Employee, Funkycan, Gerry Franke, Glenn Astro, Nauker, Paingel, Tbz, and UCC Harlo. The record was mixed by Brainfeeder affiliate Benjamin Vukelic in Portland and Jan Brauer in Berlin. "Glitchy yet supple, the broken beats and warped abstractions are wholly unpredictable yet deliciously odd, like an esoteric mashup of Bjork, Aphex and Laurie Anderson" Electronic Sound Classic Black Vinyl, Gloss Laminated Sleeve, Printed inner "Gut" sleeve plus DL card.

'Welcome to Hotel Heaven' is a fresh start for is George van den Broek, a young man with an old soul and the voice to match. His music as Yellow Days fittingly, feels both of his era and completely other: a woozy mixture of soul, blues, psych, and groove leaking through the walls of a jazz lounge that's come unstuck in time. A self-taught multi-instrumentalist, George has never fit into one style or space. Despite George being an old soul — he hates social media, loves vinyl, and collects old cameras — Yellow Days really is a project about youth and modernity: “Hotel Heaven represents fake comfort in all its forms, this whole bullshit idea of luxury where nothing is real,” explains George. “There are so many young people who are living that kind of life. Because of the cost of living crisis, people are spending all they’ve got on a bag of white powder just to make them feel nice. Their jaws are still swinging at four o’clock in the morning, but they’re not saying anything. I wanted to write about these people and everything that is happening right now. This TikTok age where everyone wants to be famous. It’s also a big 360 of my life and career to date. I wanted to get away from everything I’d done before, wash my face and start afresh.” - Yellow Days

Back On Black Records are set to reissue the D.R.I. "Greatest Hits" album, originally released in 2001. D.R.I.'s music has combined elements of punk rock, thrash metal, speed metal and heavy metal, while their early material has been described as hardcore punk. They are often cited as one of the key bands that helped create the crossover thrash genre, along with S.O.D., Suicidal Tendencies and Corrosion Of Conformity.

. Lodge has been performing and recording with The Moody Blues for more than five decades, selling in excess of 70 million albums, and also enjoys a successful solo career, doing what he loves, performing and playing music. Lodge has been voted one of the “10 most influential bass players on the planet,” and has been the recipient of numerous awards, including ASCAP, and Ivor Novello Awards for Outstanding Contribution to Music. John was inducted into the Hollywood Walk of Fame, and in 2019 was given a star in his hometown ‘Walk of Fame’. In 2018, John and the Moody Blues were inducted into the ‘Rock and Roll Hall of Fame’, and in 2019 John was given the Lifetime Achievement Award in the Prog Awards. John’s latest release is the new studio Album ‘DAYS OF FUTURE PASSED – MY SOJOURN’. The album was recorded over the last year and has grown from John’s current live show as he, and his 10,000 Light Years Band, lovingly recreate this classic album

UK mainstay Subb-An makes a welcome return with this fresh new EP on Aesthetic. It finds him in great form with opener 'Seeing Colours' heading off down a nice liquid minimal route with crisp tech drums and twinkling synths up top to bring the magic. On the flip side is 'Plants', a rather serene and sublime cut with more rolling drums and plenty of deft synth designs that bring a certain celestial charm to the fizzing leads. Snad's remix then shuts things down with a more driving sense of tech house rhythm to complete a tasteful EP of heady sounds.

Amadis and The Ambassadors" are a music group who came together in London, through front man Amadis Ferreira; cooking up a blend of music with flavours of Afro, Funk, Reggae and Soul on the menu. Rich in melody and groove, it will take you on a journey of rhythm and conscious vibration.

I want to express my unconditional gratitude to my mother and my father for all the love they have given me, all the guidance and for showing me how to share the same with all peoples in the most prosperous manner. I would like to thank my musical family, The Ambassadors, for their courage, advice, musicianship and having believed in this vision, without visionaries beside me the journey would be much harder and dimmer to see. Words alone cannot describe the joy in my heart, this is why we play music. You are blessed. My infinite gratitude also spreads to my beautiful sisters and nieces along with family dotted around various parts of the world, Angola, Portugal, India, Switzerland, Spain, Luxemburg, France, England; and to my spiritual family of dear friends, cousins, uncles and aunties spread throughout this planet all under one firmament. You are loved. Last but not least, I would like to praise my brother and friend Jonathan Rogers for opening up his studio and being the binding cord that enabled the possibility of this album to come to fruition along with the love that only true higher spirituality brings.

After putting down the saxophone, the instrument he has become synonymous with, Shabaka returns with his first full length album under his own name. Expanding off the meditative 2022 EP Afrikan Culture, his new album Perceive its beauty, Acknowledge its Grace is a deeply moving suite of primarily instrumental music. The listening experience is reflective and contemplative, with passages flowering from one musical concept to the next, encouraging deep attention that rewards the listener with throughlines and motifs throughout the record. Shabaka is found playing the flute on this album, and has enlisted key artists such as Andre 3000, Lianne La Havas, Moses Sumney, Floating Points, and more to help build this all-encompassing aural landscape.

The legendary Horsepower Productions return to Sneaker for a thematically charged trip into future zones, driven by dexterous breakbeat science and ruffneck soundboy wisdom.

The UK dubplate heavyweights are no stranger to a loaded sample, and they’ve got a message to impart on this double-edged record. They kick off with a rumination on the planet’s fragile ecosystem on ‘Tropic’, which looks to a possible future with an ominous fate for the foliage we hold dear. Production-wise, Horsepower set electric drum loops off against lurid daubs of synth without derailing the motion, but a huge amount of the track’s impact arrives in the sampling from a cult classic slice of sci-fi. The premise is that the last remaining trees and plants from earth are adrift in space in a bio-dome, and have been condemned for demolition - a depressingly feasible scenario with an aggravated soundtrack to boot.

On the flip, ‘Computer Rock’ rides a tough break slow and hard and injects dystopian electro synth licks into the mix for a darkside roller that celebrates the visionary talent of Jeff Brown, aka Kase 2. Brown pioneered graffiti in the 70s with futuristic styles that still hold sway today, leaning into his own sci-fi imaginings about computer worlds inhabited by extra-terrestrial beings, Brown passed away in 2011, and this track and the attendant B2 cut ‘Kase - Reprise’ pay tribute to a forefather of hip-hop culture by channeling the future shock styles of Bambaataa et al without ever sounding throwback.

The concept on this record gets taken out further with the additional digi-only tracks, which take in the low-slung, skunked up funk of ‘Blaque Gras’ and the amped up rave damage of ‘Kase 2-Part 2’. Throughout, on-point samples and a clear-eyed focus bring out the best in the Horsepower approach, offering up next level dance wreckers with something to say.

Somehow Klasse Wrecks has made it to 50 official releases, not bad for a label that wears its ignorance for others and 'the norm' proudly on its dirty sleeve. Over the years the label has released a multitude of various sounds, spanning bleep, rave, deep house, down tempo and the 50th release does well to encapsulate that free spirit and openess. Without much planning and totally by way of coincidence the responsibility lies with label co-owner Luca Lozano and its sonically a typical mixed bag as to be expected. Kicking off with restless acid stomping, the title track barges through the door...knocks over a few drinks before blossoming into a breakdown that propels the 303 deep into space and back again. On the A2, Lozano shows off his love for creaky breakbeats and DX donks on a track called 'Re-Mix'...which as far as we know isnt a remix of anything at all. The flip contains more raving beauties, 'Save Me From The Rave' might be a desperate plea but by the sounds of it he's still enjoying the madness, the producer makes an epic breakdown that might well signify the end of all Trance homages. Then the final track of the EP sounds like it could be played in a field in Glastonbury in 1993, its haunting vocal harmonies signify the sun is coming up soon and likely that we're about to start Chapter 2 of the Wrecks Wrebellion. The special edition sleeve artwork features examples of previous artwork from the last 50 records, overlaid in a typically chaotic manner by the label's designer

The Surface Label based in the south of France offers you a catalog of new references limited to a few copies.
A kind of rebirth is being launched this year.

The versions are specially long and adapted to enthusiasts but also to collectors.

We hope that our selection gives you an emotion such as we have tried to convey to you since the beginning, more than 25 years ago.

The vinyl will be transmitted to the future generation who will be able to attest that the human being was still in the creativity despite the technology.

We want to be human markers unlike machine man. Don’t listen to the machine. Listen to the human emotions.
A new page opens ….. the story continues …

WandalHouz

An obscure late 80s double sided killer brought to light! Originally released as a 12 inch, this was dug out of a white label box by Planets head honcho on a North London digging mission. 1989 fusion of Lovers, Street Soul & Soundsystem music from T-Dynamix & Lisa Ellis. Originally based up North near Manchester!

Music is a form of world building. I love to develop sonic characters and set them into fictional ecosystems with unique textures, acoustics and atmospheres. Each song forms a different landscape, through which a vocal character guides us and tries to tell us its stories." — Ludwig Berger

Ludwig Berger's 'fictional' debut album "Garden Ediacara" unfolds as a musical eco-fiction, guiding listeners through a speculative ecosystem with synthesized vocals. Infused with storytelling techniques from sci-fi and fantasy, the album intertwines melodic songwriting with electroacoustic sound design. Inspired by hydrofeminism and eco-fiction novels, such as "A Door Into Ocean" by Joan Slonczewski, the album delves into the geological period of Ediacara around 600 million years ago — an era so remote it resonates as a glimpse into a possible future. The Ediacaran period was characterised by a peaceful and thriving ecosystem inhabited by soft-bodied creatures without eyes and bones, which were completely wiped out through the appearance of a new species. "Garden of Ediacara" alludes to this period, celebrating both the pleasures of biodiversity as well as mourning its inevitable loss. The narrative unfolds as an exploration of growth and interconnection in the shadow of a coming extinction. The track titles, written by Daisy Lafarge, reveal themselves as a cohesive poem and contribute to the album's narrative.

Informed by his practice of field recording that focusses on intimate encounters with plants, animals and geological phenomena, as well as his studies in electroacoustic composition, Berger expands his palette for his debut in 'fictional' music. The album prominently features a post-human, non-binary death metal voice synthesizer, physical modeling instruments, and microscopic field recordings of plants, insects, as well as aquatic and geological life. With impressionistic strokes, Ludwig Berger crafts vibrant worlds using glassy timbres and more-than-human voices, guiding listeners through emotionally ambiguous terrain, seamlessly oscillating between moments of intimacy and irritation, melancholy and playfulness.

Ludwig Berger is a landscape sound artist, educator and musician. In his compositions, installations and performances, he enables intimate and playful sonic encounters with plants, animals, buildings and geological entities. He is founder and curator of the label Vertical Music, which releases field recordings and experimental music. Berger holds degrees in electroacoustic composition, as well as musicology, art history and literature. As a sound researcher and teacher at the Institute for Landscape Architecture at ETH Zurich from 2015-2022, he studied the sonic dimension of Japanese gardens, alpine glaciers and urban landscapes, which among other things led to the release of the acclaimed album trilogy 'Melting Landscapes', 'Dammed Landscapes' and 'Buried Landscapes'.

You are listening to a Studio Teepdek production

Performed by The Kryng
Mark ten Hoor - guitar
Peter Kroes - bass
Arjan Spies - drums, guitar

Paul Zoontjens plays the Planet and piano on 'Laisse-Moi Faire!'

Recorded, produced, mixed and mastered by Arjan Spies at Studio Teepdek

Lyrics translated by Lou Szymanowski

A limited edition, full-length split album celebrating a 2024 co-tour of Japan by underground cracked-psych purveyors Fuckwolf from San Francisco and legendary prog-benders Green Milk From The Planet Orange from Tokyo. Green Milk stretch a live performance of one of their extended signature jaw-droppers “Concrete City Breakdown” relentlessly across an entire side of LET’S SPLIT (裂けても) while Fuckwolf delve into a 6-part abstract song cycle, ranging from stoned incense burners to blown out fuzz rippers, echoes of Faust Tapes, Les Rallizes and 70’s mid-west outsider proto-punk abound. Green Milk From The Planet Orange formed in Tokyo in 2001 and continue to tour, record and perform some of neo-psychedelia’s most ambitious and masterfully performed rock music. Fuckwolf formed in San Francisco in 2002 and most recently released the criticallylauded underground scuzzy art-rock gem of 2022 ‘Goodbye, Asshole’ on Silver Current Records. LET’S SPLIT (裂けても) releases March 22nd on limited edition vinyl and digital from Silver Current Records. Catch Fuckwolf and Green Milk From The Planet Orange on tour together in Japan in late March and April 2024, including a Tokyo release party.

A limited edition, full-length split album celebrating a 2024 co-tour of Japan by underground cracked-psych purveyors Fuckwolf from San Francisco and legendary prog-benders Green Milk From The Planet Orange from Tokyo. Green Milk stretch a live performance of one of their extended signature jaw-droppers “Concrete City Breakdown” relentlessly across an entire side of LET’S SPLIT (裂けても) while Fuckwolf delve into a 6-part abstract song cycle, ranging from stoned incense burners to blown out fuzz rippers, echoes of Faust Tapes, Les Rallizes and 70’s mid-west outsider proto-punk abound. Green Milk From The Planet Orange formed in Tokyo in 2001 and continue to tour, record and perform some of neo-psychedelia’s most ambitious and masterfully performed rock music. Fuckwolf formed in San Francisco in 2002 and most recently released the criticallylauded underground scuzzy art-rock gem of 2022 ‘Goodbye, Asshole’ on Silver Current Records. LET’S SPLIT (裂けても) releases March 22nd on limited edition vinyl and digital from Silver Current Records. Catch Fuckwolf and Green Milk From The Planet Orange on tour together in Japan in late March and April 2024, including a Tokyo release party.

5 years after his last and 3rd album, Lucas Arruda finally presents his long awaited new LP, Ominira.
Since the release of his first album on Favorite Recordings (Sambadi / 2013), Lucas Arruda has clearly established himself as one of the most talented contemporary artist and composer from Brazil. His music is filled with fusion style, mixing influences and elements from his Latin musical background, with his genuine admiration for Jazz, Soul, Pop and Funk music.
During these 10 years of collaboration with label honcho Pascal Rioux, Lucas Arruda’ music has always received great supports and feedbacks from international media and tastemakers, each album perfecting the level of composition and production. With Onda Nova (2019), Lucas dived willingly into Robson Jorge & Lincoln Olivetti influences, aiming to capture the true essence of Brazilian Funk and AOR tradition. Now a father and family man, he turned more deeply into his native influences when composing this new beautiful album. Fully composed and produced by Lucas, Ominira also features appearances from friends local musicians and artists such as Italo Vinicius (Drums), Thiago Arruda (guitars), Roger Rocha (sax), or Flavia K and Andre Motta on vocals.
"Ominira is about freedom, art and music. It's also about honoring my ancestors and my musical influences. I delved a little deeper into my African roots, in addition to Brazilian music and rhythms, and my longtime passion for Soul/Funk. After a long production process I feel like I made my best album. So, I present to you OMINIRA, a new chapter in my career. Have a nice trip!"