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It starts of with jacking proto ACID house song called Delayed Attraction. A song that would have made the kids crazy at the Music Box in the mid 80's. And are still as uplifting for all us house heds. The second song Tear Gas takes us back to Europe, with a slow Belgian beat that moves like a train and hits you straight in the chest, and on top of this a monotom synth pad on top of that it gives the song a some what a scary dream feeling. The third song Nasjiga is taking us further in to the complex dream but packaged in a Detroit electro vibe with sounds that makes me think of a hospital hart beat monitor but then mixed up with bit-crushd lo-fi dragon covers in a dubby inferno that keeps on building up without coming to a climax (in a good way). The forth song Verfolgung is a 8 minute stomping song that's starts of in a Burzum sounding flute but the quickly goes over to a freaky baseline that's sounds like its made out of a congas patch and a detuned bass on top of that. On top of that they put a march bands drum pattern that gives this song a freaky tivoli vibe and would be such a banger a the right time of a DJ set. /Jens W Limited numbered to 200x * Delayed Attraction - With a bumpy baseline that grooves, hard hits on the drum machine, this is are both funky and hypnotic. * Tear-Gas - A mid-tempo acid journey that blends funky drum patterns with psychedelic trance strings. Typical FRAK's acid-outed sound, with a hypnotic and thumping beat and bassline. * Nasjiga - The B-side kicks off with a deeply dubby and tribal vibe, with splashing hi-hats and echoed percussions. like the heartbeat of an underground train going of the rails. * Verfolgung - This track kicks hard with a marching beat that builds into a funky disco. It's playful yet progressive energy leaves you with a smile on your face and your feet moving on the dance floor. Honk Honk! // Dj Jespha Galore

Protokick brings here his own label full EP from him.
A side brings a banging Hardtek no-prisonners style, with a crazy drop right in the middle that you can ear on the snippets ^^

The flip gives 2 bangers, round hot kicking Freetekno tunes.

The sleeve is from ENKI.

For the first time on vinyl, a great Australian High Energy classic from Brother Brick, led by Stew Cunningham, one of the best guitarists to emerge from the antipodes. On the same level as other classics such as Bored!, Asteroid B612, New Christs... A gem of OZ rock. Attention all rock enthusiasts and vinyl collectors! The wait is finally over. For the first time ever, Brother Brick's legendary 1997 album A Portable Altamont is being released on vinyl, fully remastered to capture the raw power and energy that defined their high-octane sound. This release showcases the band's gritty fusion of blistering guitar riffs, pounding rhythms, and unforgettable melodies--reminiscent of Detroit's finest like The Stooges and MC5, but with that unmistakable Aussie edge. Led by the iconic Stewart Cunningham, known for his work with other influential projects like Proton Energy Pills, Leadfinger, Asteroid B612, and The Yes-Men, Brother Brick carved out their own space in the '90s Australian rock scene. A Portable Altamont is a testament to their uncompromising spirit, packed with all the attitude and authenticity that made them a standout in the Sydney underground. Originally only available on CD, A Portable Altamont is a high-energy masterpiece of Australian rock, packed with blistering guitars and melodies that have been screaming to be heard on the rich, warm tones of vinyl. This remastered edition brings new life to tracks that defined a generation of raw, unapologetic rock. If you're a fan of loud guitars, powerful melodies, and pure rock 'n' roll attitude, this is the vinyl you've been waiting for. Don't miss your chance to own a piece of rock history--A Portable Altamont is now available in a limited edition vinyl pressing! TRACKLIST SIDE A A1 The Same A2 Chip On My Shoulder A3 Beyond My Hands A4 Chokito Bar A5 Derelict Eyes A6 No Turning Back SIDE B B1 Rock'n'Roll Marie B2 Feel Strung Out B3 Drives Me wild B4 Help Yourself B5 We're Not Like You B6 Rock Action

Limited, Coloured x1 LP Vinyl. This is a re-pressing of their incendiary live protest performance outside the D.N.C. Staples Center, in Summer 2000. (Was first released for 2018 RSD).

SML is bassist Anna Butterss (Jeff Parker, Daniel Villarreal, Makaya McCraven), synthesist Jeremiah Chiu (Ariel Kalma, Marta Sofia-Honer), saxophonist Josh Johnson (Jeff Parker, Makaya McCraven, Nate Mercereau, Marquis Hill), percussionist Booker Stardrum (Amirtha Kidambi, Carl Stone, Lee Ranaldo, Patrick Shiroishi), and guitarist Gregory Uhlmann (Sam Wilkes, Meg Duffy, Perfume Genius). Their debut album Small Medium Large began as a collection of long-form improvisations recorded during two

separate two-night stands at beloved Highland Park venue ETA, a major development site for the burgeoning new LA jazz & improvised music sound, which unfortunately closed its doors permanently at the end of 2023.

The venue, perhaps best known outside of LA for Jeff Parker’s 2022 album Mondays at the Enfield Tennis Academy, was the perfect location for the start of SML, especially given that both bassist Anna Buterss and saxophonist Josh Johnson are in the quartet featured on that record. Small Medium Large was engineered and recorded in stereo direct to Nagra by Bryce Gonzales and compiled, arranged, and edited with additional production, recording, and
studio composition by SML.

While editing, chopping, and rearranging stereo mixed improvisations is hardly a new concept (for a modern and relevant example we can look to Makaya McCraven’s output on IARC) these results are a stunning expansion of the Teo Macero / Miles Davis editing concept explored on classics like Bitches Brew, On The Corner, and Get Up With It. Stylistically though, these recordings have more in common with the proto trance repetitions of Harmonia, and with Holgar Czukay’s re-assemblage technique used in his work with Can. Throw in a supremely intuitive utilization of Susumu Yokota’s floating patterns polyrhythm concept and we have a truly entrancing take on time-clocked electronic rhythms augmenting with live percussion, yet maintaining that elusive human sway.

WRWTFWW Records is honored to announce the first ever vinyl release for esteemed Japanese producer, composer, and environmental music luminary Yoshio Ojima’s rare forgotten album Club, previously only released as a limited edition of 50 cassettes back in 1983. The electronica/proto-techno/experimental gem is available as an LP reissue supervised by the artist, sourced from the original masters and housed in a heavy 350gsm sleeve. Only 500 copies were made.

A precious and sought-after item among collectors and enthusiasts of early Japanese electronic music, Club is a stunning and timeless collection of avant-garde electronica, proto-techno, mecha-ambient, and ear-pleasing experimentations from Yoshio Ojima, the ambient/environmental master behind the pivotal Music for Spiral albums released in 1988 (aka Une Collection Des Chaînons I and II reissued on WRWTFWW), and producer of Hiroshi Yoshimura’s Pier & Loft, Motohiko Hamase’s #Notes of Forestry, and Satsuki Shibano's iconic Rendez-Vous.

Filled with quirky minimalist acid-synth-and-drum-machine-handiwork, bouncy collages of beautifully childlike techno and pre-IDM, and the irresistible DIY charm of humble beginnings, the 8-track album is a fun, adventurous and risqué-but-catchy-in-the-most-peculiar-way piece of Japanese electronic music history neatly capturing the incredible creative energy boiling through the country’s scene in the 1980s.


Experience the roots of Japanese electronica!

PRESSED ON BLUE INK-IN-CLEAR COLORED VINYL IN A GATEFOLD JACKET WITH OBI, A FOLD-OUT LYRIC INSERT AND TWO BONUS REMIXES

Among hip-hop fans, Boogie Down Productions first two albums – Criminal Minded (1987) and By All Means Necessary (1988) – loom very large. And for good reason: they both captured one of the late 1980s most important and influential crews at their highest powers of lyricism and musical invention. That said, too many people sleep on BDPs third LP, Ghetto Music. Released in 1989, when the hip-hop world was truly beginning to explode and reach new heights of sales and exposure around the world, the album is arguably as powerful as the group's first two. As on By All Means Necessary, in the wake of the tragic death of the founder, producer, and DJ Scott LaRock, KRS-One pushed along mightily on the production side, with help from his extended crew. Musically the sound created on albums 2 & 3 was funky, catchy, and continually innovative, giving him the perfect backdrop to build his Edutainment syllabus. Lyrically there was never a question about KRS-One's power, and on Ghetto Music he continues to impress, teach, and ask important questions. Clear cases in point are two of the album's singles, "You Must Learn" and "Why Is That?" but he gets even deeper on tracks like the anti-police thought-piece "Who Protects Us From You" (still sadly relevant in 2024), "Ghetto Music" and "World Peace." Out of print on vinyl since 2017, Get On Down in partnership with Sony's CERTIFIED is proud to present this '89 classic fresh for 2024 you suckas! Pressed for the first time on double-colored vinyl and packaged in a gatefold jacket with a fold-out lyric sheet and two bonus remixes.

Following the debut Eyeball release of Crystal Shards, comes Protector, an ethereally nuanced collection of tracks wholly engineered and produced by blackwinterwells, and featuring a guest
collaboration with 8485 on the track "paber plane " While the album infuses the electronic elements found in previous blackwinterwells releases, these compositions are built with a unique wall-of-sound
noise. formed with symphonic song-writing in mind. In a world filled with artists making individual songs to capture the most plays, Protector offers a refreshingly patient body of work that sounds best
when absorbed as a full album.

Prepare for Another Groundbreaking Release From the Proteges of Skylax Records, the Maestros Behind the Acclaimed "Sting the Floor" and "Love Is Growing" EPs. Already Making Waves Among International DJs, Their Third Installment, "Madness Operator," Takes a Bold Detour While Maintaining the Signature Style That Has Captivated Audiences Worldwide. the Ep Kicks Off With the Monumental "Under Track," a Minimalist Masterpiece That Harkens Back to the Glory Days of Early '90s Chicago. Its Simplicity Is a Stroke of Genius, Resonating With the Raw Energy That Defined the Chicago Sound. "The Wanderer" on A2 Delves Deeper Into the Same Chicagoan Style but With Added Intricacies, Showcasing the Versatility and Maturity of Madness Operator's Sonic Palette. Flipping to the B-Side, "Café Barge at 7 Am" Emerges as a Masterpiece of Silky Deep House, Effortlessly Weaving a Sonic Tapestry That Immerses the Listener in a Serene, Early-Morning Atmosphere. Closing the Ep With a Flourish, "Baby Baby" Effortlessly Melds Disco and Jackin' House, Delivering a Hybrid Sound That Is Both Nostalgic and Forward-thinking."Madness Operator" Ep Is a Monumental Offering That Solidifies the Status of These Proteges as Pioneers in the Electronic Music Realm. From the Sheer Genius of "Undertrack" to the Captivating Diversity of the B-Side, This Ep Is a Testament to the Evolving Brilliance of Skylax Records' Rising Stars. Dive Into the Madness &Ndash; It's an Experience You Won't Forget. Available Now, Exclusively on Skylax Records....

‘American Band’ is the 11th studio album by DriveBy Truckers and was released during the tumultuous year of 2016, its politically charged lyrics reflecting those troubled times.

The Chicago Tribune called it “one of the band’s strongest front-to-back albums.” Rolling Stone and NPR deemed it one of the best albums of that year.

It is reissued here, in another election year, with a bonus LP of live recordings and updated liners from Patterson Hood and repackaged with archival

artwork from Wes Freed

The Other Sound of Music is Edition Hawara’s first compilation of forgotten Austrian treasures from the 1980s. Plucked from dusty basements, flea markets and bespoke stores across the small Alpine country, it features eight quirky and charming pieces that afford a glimpse into largely unknown but surprisingly rich musical subcultures. The lovingly curated selection brings to light early soul, boogie and proto-house productions, as well as some of the most balearic tracks that have ever been made in a landlocked country. Finally giving this music the stage it deserves, The Other Sound of Music is the definitive guide to the outer limits of the Austrian underground.

Im vergangenen Herbst hat Kat Frankie das Publikum mit ihrem Projekt B O D I E S überrascht, erstaunt, zu Tränen gerührt und begeistert. Auf ihrer Tournee hat sie unter anderem die Elbphilharmonie und die Berliner Philharmonie ausverkauft. Die Show hat mit ihrem A-capella Ensemble die Zuschauer*innen zu Standing Ovations hingerissen. Der Klang von B O D I E S ist in der Tat ein ganz Besonderer: Ohne Instrumente auf der Bühne liefert das achtköpfige Ensemble eine erstaunliche Bandbreite menschlicher Emotionen ab. Manchmal unglaublich kraftvoll, manchmal zärtlich und nachdenklich, reichen Frankies Kompositionen hierbei von leidenschaftlich bis verspielt. Und dann ist da natürlich noch die schiere körperliche Kraft von acht Frauenstimmen in Harmonie.

Auf dem Album B O D I E S erkundet Frankie die Möglichkeiten des mehrstimmigen Gesangs noch weiter. Während einige Lieder dem Publikum bereits bekannt sein werden, sind neue Werke wie „Wonder“ und „Petrichor“ reine A-Capella Kompositionen. Frankie hat dabei auf eine Hauptstimme verzichtet, um sich stattdessen auf satte Harmonien und die Erzeugung einer wohlige Wärme zu konzentrieren. Kat Frankies Gesang auf „All of It“ ist ebenfalls minimalistisch, doch er sprüht nur so vor Sehnsucht und erhebt sich über den mantraartigen Hintergrund des Ensembles. In „Joan Didion“ geht es – das gilt es zu beachten – nicht um die Autorin, sondern um die Entfremdung und den Kummer ihrer Protagonistin. Das Epos „Versailles“ ist inspiriert von der Geschichte des Frauenmarsches in Versailles im Jahr 1789, einem Protest von Pariser Marktfrauen, die über den Brotmangel verärgert waren. Schließlich schlossen sich den Frauen Tausende von Menschen an und daraus entstand eines der bedeutendsten Ereignisse der Französischen Revolution.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

After an extensive tour of the UK at the end of 2022, the band decided to head into the studio to record their first long form offering. Following a passion for storytelling, they pulled together influences from Pulp Fiction to Fleabag, from Zadie Smith to Edward Hopper. They wrote relentlessly during 2022, diligently crafting what was to become this debut album. Released independently on their own Life and Times Recordings, Exit Strategy is a 13-track labour of love, recorded at Abbey Road Studios and Love Electric, enlisting the production smarts of Bernard Butler. The album is in two halves (divided literally by the two sides of the vinyl edition) entitled Galway and London and presents a multifaceted band, pushing themselves and exploring the limits of their philosophy.

Exit Strategy centres around a protagonist who moves from Galway to London in search of meaning, certain that, as the main character in the film of his own life, the solution lies in changing his surroundings and acting as someone he’s not. Both a mirror and a portal, the album promises encounters with manipulative bosses, evil ad agencies, a broken pact to flee to Australia, run-ins with the law, cheating boyfriends, drug fuelled youths, heartache, paranoia, social media anxiety and a drunk singer dressed as Jesus. Thematically the album races between emotions, between irony and sincerity, between soul searching and tongue-in-cheek finger pointing and ends where it all started, both musically and in terms of single rollout, with the nostalgic/euphoric first single Westway.

Explaining the album’s genesis and cinematic influence, James McGregor says: “We were always sure we wanted the album to be greater than the sum of its parts, so decided to create the world of a film, entitled Exit Strategy. We envisaged the record as a series of snapshots, telling the story of a group of characters trying to navigate through life.”

Hallmarked more by a philosophy than a sound, The Clockworks weave pop sensibilities with noisy, post-punk, rock-influenced stylings. The songs seem swaggering and dark yet often have an epic, nostalgic quality. They sit poetic introspection beside witty, kitchen sink drama to create something intense but playful.

With the release of Exit Strategy, The Clockworks have created a world to be explored, to be analysed and to be deciphered, but most importantly to be felt.

Out of My Province is Nadia Reids third album, following 2017s critically acclaimed Preservation. This album is Reids first with Spacebomb Records, produced by Matthew E. White and the Spacebomb House Band. Out of My Province is the sound of a young artist growing in profile and dexterity before international audiences and whose world has changed before her eyes. // "Each of the album's 10 songs manage to elegantly teeter without toppling into the overly referential or experimental sides of the sonic canyon. They recall the greats while also plotting a map of the future. The New Zealand songwriter makes her best album yet" UNCUT.

Kinda Busy 04 Fourth release for Kinda Busy featuring Blumet with Sin23 and Protokick in a super Tekno Tribe mission.
Side A starts with Pain is Gain a fresh new banger from Blumet at 167bpm smashing samples from an old Dead Prez tune and another Hip Hop classic!! Spot the samples! Banging pumping tribe with chopped samples properly mashed up and a solid synth reef on the second part of the track, to make you trip along with the rythm ! Funny surprise on the outro, Fuck Meloni !
A2 features The Amulet, a massive track from the infamous Protokick at 163bpm. Classic smashing kick in his style with very hypnotic synths and effects with a crispy and trancy voice to the end, can't miss this papa !!
The flip belongs to the new scene talent by now resident on the label since Kinda Busy 03, Sin23.
B1 with Engine Overload is a trippy and stompy pumping Tribe at 165bpm, brillant to mix with Aku Sound from Kinda Busy 03 ! Crunchy and clean sounds delivered here with a pro sound design that will exceed expectations !
B2 is the place for Tek in Trance at 163bpm. This is a more dated track from Sin23, yet well acclaimed and validated by his fans ! He likes to blend different styles and sounds, bringing that trance feeling on the percussions of the pumping Tribe. Top tune !!
Do not miss this release !!

Trettmanns Your Love Is King Trilogie erscheint in voller Länge als Vinyl-Edition.

Die exklusive Your Love Is King 3 Vinyl-Edition vereint alle 12 Tracks der EP-Trilogie und dokumentiert Trettmanns musikalische
Entwicklung, die er gemeinsam mit dem Produzenten-Team aus Ahzumjot, Dexter, Florida Juicy, Greedo,
Levin und vekst beschritten hat. Die Vinyl erscheint als streng limitiertes Gatefold mit einer transparenten
140g-Vinyl.

Francesco Farfa's first contribution to the early 90's italian electronic music scene, ranging from proto house sample based sounds to early progressive and techno nuances this EP is not easy to label in terms of genre, characteristic of most of the material on the legendary Interactive Test label. Undoubtedly a pioneering sound for its time, void of any major label artistic limitations, purely focused on underground dancefloor stimulation. Essential piece in any electronic music record collection.

DJ Support: Kevin Reynolds, James Baron, Hot Toddy, Pablo Valentino, Colin Dale

Suite For Chick is a heartfelt Homage to the late Jazz Maestro Chick Corea.

This collection features reinterpretations of City Gate, Rumble, Time Track, and Hymn of the Heart from the Chick Corea Elektric Band, as well as Return to Forever’s classic Romantic Warrior. These vibrant renditions celebrate Corea's enduring legacy in the jazz world.

Chick Corea played a crucial role in shaping Miles Davis's electric fusion era and was a key member of his Lost Quintet. He was also a founding force behind Return to Forever and many other influential groups.

Bangkok-based Maarten Goetheer collaborates with top Thai drummer Pong Nakornchai, blending Wurlitzer chords, Moog basslines, ARP leads, and signature Rhodes phasings. Nakornchai, a Master’s graduate in Jazz Studies from Mahidol University, leads his own quartet and embodies the progressive spirit of modern jazz in Thailand.

Maarten's inspiration stems from his musical upbringing; his father, Gerard Goetheer, was a jazz pianist. This environment fostered his deep appreciation for music. A pivotal moment came when he heard Masters at Work remixing Tania Maria, igniting his vision to merge genres and create something new.

With Suite for Chick Maarten wanted to incorporate a wider range of Modern influences that he became infatuated with throughout his Musical career such as Techno, Italo, Cosmic Disco, Dub, Acid, Boogie, Proto-House & Ambient Music.

To Maarten bringing these genres together is his current and unique interpretation of the JAZZ FUSION moniker.

Radio Support: Kev Beadle Radio support, Colin Curtis Radio support, RINSE FM mini album mix & interview on Tim Garcia show, BBC6 RADIO New Music Fix 16th Oct 2024

DJ Feedback:

DJ Harvey - Very cool collection of reworks

Terry Farley - so fucking good - house heads will be lovin’ this

Laurent Garnier / FG Radio France: Whaouuuu. That’s brilliant. Great album!

Lars Behrenroth / Deeper Shades Of House: This is so cool. Love the dub of City Gate, too. Great music

Jimpster / Freerange: Great idea to work up some contemporary interpretations of Chick classics! Was always a fan of Time Track so nice to hear this one included. These tracks strike a really nice balance of electronic/sequenced elements and live recording. I’m into it!

Tim Garcia / Rinse FM: I think this whole release is excellent and inspired, nice to see a tribute to one of my favourites work so well.

a A1: City Gate Rumble Original
[b] A2: City Gate Rumble [Reprise Dub]
[c] A3: Romantic Warrior [Original]
[d] B1: Time Track [Original]
[e] B2: Time Track [Reprise]
[Original]

Repress! It's safe to say that hip-hop has never seen an album like Ol’ Dirty Bastard's 1995 solo debut Return to the 36 Chambers. The brief glimpses of ODB's unhinged genius provided by Wu-Tang Clan's landmark Enter the Wu-Tang album two years earlier were begging to be expanded on to a larger canvas, and, with RZA guiding production, the album promised to give Dirty the creative license to make one of the most bizarre, entertaining and original LPs in hip-hop history. With his raspy, drunken flow and dark sense of humor, Dirty fearlessly attacks from all angles, throwing himself fearlessly into punchy rhyme attacks (“Damage,” with GZA), drugged-out party jams (the monster singles “Brooklyn Zoo” and “Shimmy Shimmy Ya”) and bizarre, grimly hilarious fantasies of sex and violence (“Don't U Know” and the R&B-tinged “Sweet Sugar Pie”). Backed by RZA's appropriately gritty, dissonant beats and appearances from the Clan, Return became an instant hit, selling over 1 million copies and earning a Grammy Award nomination for Best Rap Album in 1996. The album stands as a high water mark in the Wu-Tang Clan's collective creative output and was selected as one of the Best 100 Rap Albums by The Source magazine in 1998. In honoring the legacy of one of hip-hop's most innovative releases, Get On Down is proud to present this incredible and unique special edition of Ol’ Dirty Bastard's Return to the 36 Chambers as a double LP which contains the complete original album, remastered for optimal sound quality.

After a two-year silence, the Russian imprint Goodbye Royalty returns with a 12-inch Line Conductors EP. The release is only for vinyl media and embodies the eclecticism of dance, creative minimalism, and the conceptual idea of the album is in a positive experience and purity of spirit. "Line Conductors" and "Topass" have a different set of sound solutions, but the psychedelic shades characteristic of Acusmouse are quite intelligent. Ab Show takes another step forward without departing from its usual sound, offering absolutely two different scenarios. With the frivolous, atmospheric "Antithese" and the deeper and hypnotic "Subminimal Message", where the protracted development of the composition allows you to immerse yourself in the associative images of the new time.

Versatile, floor-focused house bangers.

Research Records teams up with organist and synthesist E. Bobby G. to release his sophomore album, Bobby Business. Once again, the album is primarily centered around the 1982 Kawai DX900, but it masterfully explores more genres than his debut, Giving You M.O.R.E.

Bobby Business was recorded in 2022 after E. Bobby G. received an eviction notice from his beloved sharehouse of 12 years. After moving out, he stored the organ at his workplace, Bakehouse Studios, where his boss let him use the space overnight to record until the early hours. The remainder of the album was recorded in his old studio space, NGBE.

The first track, "Ha-Ha," is as meditative as it is glittery, with floating sustained chords. "Big Boy" and "Disco Shift" bring back a slightly more polished E. Bobby G. sound—lo-fi library music with bright tones that will appeal to fans of proto-electronic icons like Brian Bennett. Tracks like "Lucky Strike" and "Tropical Dino Ride" are video game music dreams, featuring West Coast lead lines and strutting percussion. The second half of the album explores spaced-out '90s downtempo and dub elements, with a distinctive refinement that hides the fact it was created primarily using the Kawai DX900.

Bobby Business closes with "Lillian," a sonic dedication to the artist's Grandmother, with a more traditional song structure that hints at what Bobby has planned next.

Francoise Hardy's Vogue years have marked the history of French and international music. Even today, the five years between 1962-67 remain an exceptional moment in her career, the one when she exploded in the eyes of a generation that was born during or just after the Second World War, the generation that would be part of the May 1968 Paris protests. Hardy exploded not only in France alongside her fellow 'Yeyes', but also internationally where she became the symbol of French elegance, talent and charm: the United States, Japan, the United Kingdom, Germany, Italy, Spain... no one could resist Francoise, and she recorded most of her hits in English, Italian and German. 'Tous les garcons et les filles', 'Mon amie la rose', 'L'amitie', 'Le temps de l'amour', etc. are songs that have crossed generations and can be heard in recent movies (Wes Anderson loves Francoise Hardy and has included her songs several times in his films), international television series ('The Walking Dead', 'Industry', 'Week-end family') and advertising spots (Dior 2022 campaign). Available on x24 trk, double Black LP Vinyl & single CD formats. Marketing activity.

Over three years in the making, Needle Mythology Records is delighted to announce a super deluxe, expanded remastered reissue of The Lilac Time’s 1991 masterpiece, Astronauts. Released as a triple vinyl, triple CD or single vinyl, only 1000 copies of each format will be produced, there will be no further pressings. Both the 3LP and 3CD editions will come with an extensive 11,000 word oral history of Astronauts and liner notes by Needle Mythology co-founder and longtime Stephen Duffy fan, Pete Paphides.

All three albums including a 2024 remaster, a collection of works in progress entitled‘Softened By Rain The Making Of Astronauts’ and a live compilation ‘Any Road Up The Lilac Time Live 1990/91’ have been mastered for vinyl by Miles Showell at Abbey Roadand will be housed in a triple gatefold sleeve with a colour inner sleeve and new artwork for each disc, which has been especially created by designer Mike Storey. The main sleeve for Astronauts itself will replicate the original artwork but with the four distinctive “blobs” rendered in a red “foil” texture. In addition to these three disc sets, 1000 single vinyl remastered copies of Astronauts will also be made available, in a cherry red vinyl edition to match the outer sleeve.

With the shoegaze and baggy movements at their zenith, The Lilac Time’s fourth album was released at a moment when the left-field music zeitgeist was shaped by the nascent shoegaze, baggy and grunge movements. Whilst Astronauts conformed to none of those trends, neither was it the record Stephen had in his head when he finally finished working on it. We’ll never know how that record would have sounded, but it’s hard to imagine a better version of the album he did end up making. The songwriter who brought ‘A Taste of Honey’ and ‘Hats Off, Here Comes The Girl’ into the world envisaged the sort of choruses that would jump from the single speaker of your favourite transistor and lodge themselves into the collective memory bank.

But while he really was writing some of his most beautiful melodies, Astronauts is a family of songs that demands to be kept together in the sundazed cloud of inspiration that created it. It constitutes a partial retreat from the outwardfacing utopianism of its predecessors, choosing instead to dwell on the journey taken to get to this point. That this is an audibly different band to the pastoral expeditionaries of the group’s previous releases is almost entirely down to the departure of Nick Duffy and the arrival of Sagat Guirey. Suddenly, accordions, banjos and mandolins are out; jazz guitar is in. Sagat’s filigree work on the outro of ‘A Taste for Honey’ acts as a sublime parting shot to a lyric which acts as a wiser, wistful companion piece to Stephen’s 1985 solo hit ‘Kiss Me’, something tantamount to the camera retreating to reveal the years elapsed between the time depicted and the present day. The distance between the carefree youth of pop stardom and the first intimations of mortality can be measured between the first and second verses of the quietly devastating ‘Madresfield’; from the depiction of the deserted cricket pavilion obscured by fresh snowfall to the sudden shift in perspective from subject to protagonist: ‘No one ever told me/That killing time is harmful/For time cannot recover/What soon the ground will offer.’ For all of that, however, the resulting album didn’t correspond to the vision its creator had for it. At a loss as to what to do with it, Stephen surrendered Astronauts to Creation with no plans to promote or draw attention to it. The consciousness shift of which Stephen had hoped The Lilac Time might be a precursor hadn’t happened. Or, rather, it had – but it had happened elsewhere, in the Haçienda and Shoom and in Ibiza. Not on the hills of Herefordshire. In a nod to that sea change, Stephen handed over one song, ‘Dreaming’ to Hypnotone, who

Originally released in 1977, this was the first album Iggy Pop made after the dissolution of the Stooges, several jailings and a self-imposed stay in a mental institution. Produced by David Bowie, and including music written almost entirely by him, this is Iggy's most introspective and heavy work. Much more mechanical than the sleazy proto-punk of the Stooges, The Idiot was a huge influence on the post-punk sound of folks like Joy Division and Magazine. An absolute classic on red and yellow vinyl. Limited edition of 1,000.

Before we pack away the poppers for another year, let Red Laser take you for one last spin on the waltzers.
Tried and tested at our recent road block parties in Manchester, these edits shine a light on four primo-grade Italo face melters. Fervently excavated by Bosco over countless visits to Bel Paese and streamlined for the hydrofoil, with some extra added calories for the club.

Opener 'Destiny' tweaks and shudders under analogue arpeggios, dazzling Strat chops and cosmic bass interplay before dropping into a simply glorious female vocal that, thankfully, gets plenty of airtime before Bosco calls close. A track so close to perfection we had to make it longer.
'Flavio', up next - and half sung in Italian so we only know a bit of what she's on about - is another supreme slice of Italo disco from the upper echelons that Bosco snaffled between glugs of Barolo and a face full of worm cheese. Sure to instigate group hugs, 4AM declarations of love, tears of happiness and huge pelvic thrusts dependant on environment and inebriation.

The tingles continue on side B with another supernova burning bright across the stars. 'Newsin' introduces itself with a joyous marriage of marimba and synth before yet another vocal proves Italians really do, do it better when it comes to writing some of the catchiest hooks and choruses in the universe.
'Lace', featuring the record's only male vocal appearance, has a romantic, proto-goth-new-wave vibe; like if Robert Smith and Richard Butler had a chem-sex love child after a wild night in Baia Degli Angeli.

Not sure who the woman in lace is, but we'd defo like to see her down The White Hotel one night...

Ghostbusters: Afterlife is available as a limited edition of 2500 copies on “Muncher” coloured vinyl (crystal clear & transparent green). The heavyweight gatefold sleeve has a special UV Spot varnish + embossing finish. The package contains a printed innersleeve and 4-page booklet (featuring several of your favorite mini-pufts!) and a special litho of the gatefold artwork.
Ghostbusters: Afterlife is co-written and directed by Jason Reitman and stars Carrie Coon, Finn Wolfhar, Mckenna Grace, Annie Potts, and Paul Rudd. The film follows a single mom and her two kids who arrive in a small town, where they begin to discover their connection to the original ghostbusters and the secret legacy their grandfather left behind.

Rob Simonsen rejoins director Jason Reitman with his score for Ghostbusters: Afterlife, having scored The Front Runner & Tully for the director. Other recent film scores include The Friend, The Way Back, and Love, Simon. Based in Los Angeles and ever with his finger on the pulse of contemporary music, he co-founded the influential collective The Echo Society with the mission ‘to inspire, challenge, enrich and connect the community through the creation and performance of new sonic and visual art’. Simonsen’s debut artist album Rêveries was released in 2019 on Sony Masterworks.

Founded during 2015 in New York’s Hudson Valley, Shadow Witch is an enigmatic beast of a band, harnessing decades of varied influences with a decidedly ‘vintage rock’ sensibility. Beginning with their first release “Sun Killer” in 2016 and “Disciples Of The Crow” in 2017, the band has garnered excellent reviews from the international heavy music community. The band returned in 2020 with their brooding occult-rock ode to obsession with their third album “Under The Shadow Of A Witch”. Now with their new full length, ”Eschaton (The End Of All Things)”, Shadow Witch explore new boundaries, digging into folk, prog and hard rock best traditions; a monumental heavy metal album made of retro, classic and proto rock/metal sonorities, occult doom vibes and enigmatic psychedelic twists.

Renowned producer Sweatson Klank and the critically acclaimed Kondi Band join forces on a compelling new single, "Money Face". This deep mid-tempo afro house track features the legendary Sorie Kondi from Kondi Band, delivering a poignant narrative about how the Sierra Leonean government used the image of his face on their newly printed currency without his consent, leaving him uncompensated and left to face the daily struggles of life in Freetown. It's a modern protest anthem rooted in Afro Beat and World Music influences driven by the pulse of a dance floor friendly Disco track.

Since yeyeh brought them together in 2019 to record their first collaborative album, Swallow a Party, Oceanic and Greetje Bijma have become firm friends.

When they gathered in Studio Het Rode in Roderwolde for three days of improvised recordings based on existing ideas, Oceanic and Bijma set out to create music, through a mixture of voice and electronics, inspired by the mental sounds and images that appeared when they thought about the Wadden Sea’s celebrated landscapes. Extended improvisations were recorded, before Oceanic edited them down and they collaborated shaped the finished versions with added texture and structure.

Sykheljende Lûden (Frisian for “breathing sounds”), wears its central inspiration lightly, with many of Bijma’s startling and expressive vocalisations and Oceanic musical motifs subtly hinting at tidal flows, bird calls, and the comforting feeling of home that the environment stirs in both artists.

Heinrich Dressel presents Reflected Skies: a tribute to Dressel's distinctive style of cinematic ambience. The scenery in Reflected Skies is not the protagonist but rather the details, that hint at a larger picture, like the sky as it appears in everyday reflections. Dark, expectant and mysterious where the listener is left to awe at the subtle questioning of an untold story. Mastered by Ruud Lekx at Rude66 Mastering Artwork by Tycho Posthumus

Bernadine oder Berna-Dean Washington nahm Anfang der 60er Jahre sieben Singles für den Produzenten Dave Bartholomew in New Orleans auf. Als Protegé von Earl King wurde ihre letzte Single 1964 auf dem Label GNP Crescendo in Los Angeles veröffentlicht und ähnelt stilistisch ihren früheren Imperial- und Post-45ern. 'Don't Try To Tell Me' und 'Laughing On The Outside' wurden für GNP aufgenommen. Beide Tracks sind in einem gefühlvolleren Stil und erregen viel Aufmerksamkeit in der aktuellen Retro-R&B-Szene.

Hard-Fi make their welcome return with brand new single ‘Don’t Go Making Plans’ on Ignition Records. Their first new material in ten years, the track marks the first taste of an EP of brand new songs, as well as a big UK headline tour this November. Rolling around a sun-scorched groove and boisterous beats, ‘Don’t Go Making Plans’ is an immediate, soul-infused summer anthem, recorded at the band’s own Staines studio, produced by frontman Richard Archer and long-term contributor Wolsey White. It’s the end result of the first session together since 2011 album Killer Sounds and follows a series of sold-out tours and live shows over the last 18 months - listen here. As with many of the band’s songs, there is a thought-provoking depth behind Hard-Fi’s pop sensibility. The song’s defiant themes were initially inspired by the UK Government’s attempts to criminalise many aspects of popular protest through the 2022 Public Order Act, while the issue has been thrown into even sharper focus over the last year as police and people have repeatedly clashed on streets around the globe. SGB50LPXX