quête:repeat

Most audiophiles know Alan Parsons Project's I Robot by heart. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist and his creative partner, Eric Woolfson. Not surprisingly, it's been issued myriad times. Can it be improved? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180g 33RPM box set and the question becomes moot.


Mastered from the original master tapes and pressed at RTI on MoFi SuperVinyl, I Robot comes to life with reference-setting realism on this numbered, limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems while offering listeners the convenience of having all the music on one LP.

Featuring a nearly inaudible noise floor, this transcendent UD1S edition functions as a repeat invitation to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, it is a demonstration record for the ages – the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.

The special characteristics of this UD1S version extend to the premium packaging. Housed in an elegant slipcase, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. The Alan Parsons Project's most famous record deserves nothing less.

Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons and Woolfson's pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior – and their relationship to increasing robotic supremacy – in everyday life. Parsons and Woolfson reflect the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.

The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons and Woolfson utilize a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show." The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron," devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32."

Does man or machine win in the end? Decide as you get lost in Mobile Fidelity's UltraDisc 180g 33RPM LP pressing. Secure your numbered copy today!

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Classic Black Vinyl, DL card. Jane Weavers experimental ensemble in collaboration with Peter Philipson and Raz Ullah, Fenella returns with a hallucinogenic excursion into ambient textures and hypnagogic drones on new album 'The Metallic Index'. Taking further steps into their combined compositional universe with this follow-up to 2019's acclaimed Fehérlófia album. Loosely based on a genuine story accounting the short-lived abilities of a young psychic nurse in 1920's London, Fenella's niche muse justifies this celebratory return to vinyl but not once does it fall into the supposed tropes of staid hauntological-plunderphonics which repeatedly come to muddy our thirsty streams. Fenella make spirited melodic progressive pop music that pulsates with the same magnetism that fans of Jane Weaver's own The Silver Globe and Modern Kosmology have come to expect and hold closely. Handcrafted using a generous archive of some of the best vintage equipment in the country (partly recorded at Soundgas studios in Darkest Derbyshire) the sound structures you hear at the heart of this album form the basis for Fenella's best work yet, while the individual spectral vocalisations and ethereal electronics that circle the room capture this trio's return, as peripheral visions, in full-phantasmic bloom. "A sonic exaltation and refinement of craft, going further into the realms of atmospheric abstract cosmology blissfully morphed with the mythopoetic" The Quietus

2022 Repress

14 years since it was originally released on Rephlex Records, Dopplereffekt's Calabi Yau Space (2007) finally gets a reissue on vinyl thanks to WeMe Records (following on their amazing reissue of Linear Accelerator). This album sees Dopplereffekt move even further out into their very own exploratory realm, where music and quantum physics meet. Eight tracks that when first released seemed challenging but with repeated exposure a strange almost supernatural event occurred as these new sounds and patterns gradually revealed a beauty and even simplicity about them. This is a brave album, epic in vision. An essential record for all fans of Techno in the sense that the term was originally intended.

MASK unveil the final entry in its untitled release series.
Berlin-based label MASK records has become known for releasing a string of vinyl-only EP’s by unnamed producers which have seen the support of respected artists such as Jimpster, DJ Bone, Ben Sims,
Santiago Salazar, Laurent Garnier, Ryan Elliot, Marcel Dettmann, and the Blessed Madonna amongst others. Now, the tenth and final instalment of the series consists of an eclectic collection of techno and house cuts, all recorded on tape during an analog live session in the artist’s studio.
The A1 eases you into the record through glitchy textures, swelling synths and broken beats before the A2 gets you into a rapturous tracky groove offset by lo-fi vocals and dreamy pads. The A3 takes a darker turn through hypnotic drums and a droning bass, readying the listener for the B-Side which continues this raw energy.
The B1 picks up the pace with energetic drums and clean ride cymbals while the B2 incorporates floaty arps and a tantalising repeating vocal. ‘B3’ closes out the release with a retro 80s synth feel, putting a wrap on yet another incredible vinyl EP by this exciting underground label.

With his third album, The Big Swim, due out in December 2022 on Bongo Joe records, Augenwasser ventures once again into the paths of synth wave exploration with a pop feel. Still laced with the folk textures of his early days, he nevertheless develops a dance approach that can at times be akin to melancholic drone. His music takes you to an imaginary, dark club, lulled by a haunting rhythm, surrounded by the fumes of the night, where it is possible to indulge in that quiet voice that has already confessed that it is too late but will never stop repeating its soft, cold poetry:

Florence Cats is a poet, visual artist, sound composer, performer and acupuncturist. Born in Vilvoorde (Belgium) in 1985, she is currently living and working where Brussels merges with the Sonian forest.

Florence Cats’ working process involves things about to appear or disappear, and echo one another : air, light, wind, tone, print, voice, water, color, dust, junk, rumor… She creates eclectic pieces related to travel, porosity, natural energies and celestial events. Each proposal is in tune to a context, a space, an environment.

Ys is a generous debut. Raw, courageous.

Sunken Cathedral is Florence interpreting Claude Debussy’s La Cathédrale Engloutie (trans. the Sunken Cathedral). The track reminds me of one of those fabled Charles Ives home recordings. Where he records himself on Speak-O-Phone - an old brand of recordable aluminium phonograph discs - while practicing and composing his music. But unlike Charles Ives treating these home recordings as personal sketches, Florence Cats shares her captured moments as compositions for the public.

Similar to the Speak-O-Phone recordings, we now meet the piano as a physical expression - not as an archetype. We are together with Florence in a room. The pedal. The keys. The hiss of the room. Learn, repeat.

Trough Florence’s hands and feet, La Cathédrale Engloutie is brought out of its pupa stage to become a presence. Instead of being grounded in luxurious concert halls or on high end recordings, the piece is now natural. Sunken Cathedral is a template, an affirmation for amateurs.

The piece was originally created for the group exhibition "Here Comes the Wave” at Project(ion) room, Brussels, February 2020.

In Fall Call, we find ourselves at QO2, a sound art initiative in Brussels. This piece was captured during a residency Florence took over the summer of 2022. We listen to the moment when a summer storm just washed the city.

Fall Call is a testament to Florence’s magical - humanistic way of playing her custom-made theremin. By pushing the controls of the instruments so high, her whole body starts to control the instrument - instead of just her hands. So when she walks around in the room, the instrument answers in full color.

And then, a phone-call. Giving it a bit of a Poulenc vibe.

For the last piece, Drop Out, we find ourselves in Florence’s apartment. When Florence opens the windows, the ambience of the surrounding Sonian Forest seeps in. This is an adorable moment. It predicts new beginnings. The smell of wet dirt and dripping leaves in the air. The poetry of rain.

Following their iconic remix of ‘Space Date’ in 2019, the classic collaborative work of Adam Beyer, Layton Giordani and Green Velvet, we are thrilled to have Pleasurekraft back on Drumcode for their debut solo release on the label.

Not keen to colour within the lines, the production duo caught Adam Beyer’s ear as they carved out their self-dubbed ‘cosmic techno’ niche within the techno genre. Conceived as a musical vision that attempts to go beyond mere hands-in-the-air moments, Pleasurekraft incorporate a cinematic soundscape as a canvas for philosophical themes regarding humanity's place within the cosmos. Their 2020 album, ‘Love in the Age of Machines’ explored the myriad and often dystopian relationships we have with the ubiquitous technologies that pervade our every interaction.

The new two-tracker ‘Sex and the Machine’, continues this thematic trajectory in considering the role machines will increasingly play in satisfying the more carnal desires of our species. The title track considers questions such as, will machines of the future have the capacity for thoughts and feelings? Will our answers to such questions be forever tainted by our singular perspective, unable and unwilling to grant future silicon entities such capabilities? The EP’s second track, ‘Body Horror’, with its repeating refrain, “You are changing”, considers the manner in which future technologies will continue to merge with biological entities giving rise to all manner of unimagined consequences. Both tracks showcase the tough, yet still melody-driven cosmic techno sound Pleasurekraft has become synonymous with. However, despite the cerebral content that inspired the music – the form is still pure dance floor muscle.

Lucky', the title of Nada Surf's fifth album, is at once literal and ironic. Like the songs that singer / guitarist Matthew Caws, bassist Daniel Lorca and drummer Ira Elliot crafted for their previous two albums, Let Go' (2003) and The Weight Is A Gift' (2005), Lucky is filled with images of restlessness, longing and the elusiveness of love. Yet the band counterbalances the lyrical bitter sweetness with musical buoyancy. Intimate songs become in-it-together anthems, thanks to the chiming guitars, propulsive rhythms, and the emotional candour in Caws' vocals. A song like Beautiful Beat' segues from a sparsely arranged, confessional first verse into a harmony-laden chorus and reaches multi-layered, canon-like proportions before the track fades out. If Caws is often suggesting that romance and resolution may still be an inch or two out of reach, he's also proffering immediate musical solace. Turn up the volume, hit the repeat button, and your troubles, for a blissful three minutes or so, will disappear.

The three members of Nada Surf have played together now for a dozen years. They've survived overnight major-label success and the inevitable morning-after bleariness, persevering past obstacles that would have sunk a less resilient combo, to become one of America's most truly independent and respected bands. Experience has only made their work richer, bringing gravity to the subject matter and lightness to its presentation. Keeping things honest has become a modus operandi.

On their third album, »Rideau«, Swedish trio Tape made their great leap forward. Released in 2005 on Häpna, following two albums of pastoral folk meets electronica, »Rideau« saw the trio of Andreas and Johan Berthling, and Tomas Hallonsten, working with an outside producer, Marcus Schmickler (best known for his post-rock outfit Pluramon). On »Rideau«, Tape’s music opened out considerably, embracing traditional minimalism, and luscious melodicism. Now, seventeen years later, »Rideau« has a new home with Morr Music, who are reissuing the album on vinyl, marking its first appearance on the format, including an extra track.

It’s only logical that »Rideau« should reappear via Morr Music. Like Tape themselves, Morr Music was a significant part of the worldwide gang busy reconciling electronica, pop, and acoustic, group- oriented sound across the 2000s, and »Rideau« sits neatly alongside other releases of similar heritage. And yet, »Rideau« feels contemporary, suggesting the creative discoveries made by the trio have ongoing resonance; their elliptical poetry echoes through recent music from the likes of Tara Clerkin Trio, and Tape’s sometime collaborators, Tenniscoats.

Asked about the album, Johan Berthling recalls, “»Rideau« was a special album for us to make”. While they had previously recorded their albums in rural Sweden, for »Rideau«, the trio decamped to Schmickler’s Piethopraxis Studio in Cologne. The creative space that Schmickler carved out for the group allowed them to explore this new material to its fullest. For his part, Schmickler found himself drawn to Tape’s music –“Their focus was a combination of seemingly timeless folk influences with noisy electronics and field recordings,” he explains. You can hear Schmickler’s influence at an almost molecular level – Tape had never sounded quite so graceful and assured with their compositions. “Marcus really shaped the music, working architecturally to build the form of the pieces,” Berthling recalls.

»Rideau« represents a collective exhalation for Tape, with the trio exploring more involved, longer pieces, which situates them in yet broader musical contexts. There are clear connections with the history of minimalism, for example, via the repeating organ phrase of »Sunrefrain«, and the insistent piano arpeggio of »A Spire«, which builds into a Reich-ian dream song, with sensuous electronics and glinting vibraphone dappling abstract shapes across the song’s stretched canvas.

Reflecting on Tape’s essence, Schmickler isolates their “uncompromised ethos, caring about small details.” This echoes most radically through the twilight environment of »Long Lost Engine«, which sets the listener adrift on impossibly radiant drones, while a gentle, almost Feldman-esque melody plays out over the song’s surface. It’s followed by the reissue’s extra track, Japanese electronica quartet Minamo’s remix of »Roulette«, a connection that would lead to a Minamo/Tape collaborative album, »Birds Of A Feather« (2007).

For now, though, here is the gorgeous, penumbral abstraction of »Rideau«, an album of whispers and clues, quiet moments and grand gestures, reintroduced to a welcoming world.

Volker Bertelmann and Hildur Guðnadóttir hardly need an introduction - their distinct styles have graced the speakers of pretty much anyone enamored with experimental music in the last decade, and between them the two have chalked up an enviable canon of successes. Bertelmann, under the Hauschka moniker has explored the extremities of prepared piano improvisation, and Guðnadóttir has taken cinematic, explorative cello music into a new era of depth and passion, so to hear them both together is a rare and unexpected treat. Rare is putting it lightly even - „Pan Tone“ is a recording of a single concert which the duo performed on the 26th of February 2010 as part of Arctic Circle - Bubbly Blue and Green festival at Kings Place in London, and documents an event that would truly never be repeated. Sure, they could attempt to re-create the event, but the spontaneity and glorious serendipity in this particular recording is a pleasure to behold.

Bertelmann and Guðnadóttir decided to create a set of compositions which based on the idea of the ocean, and took a book of Pantones to extract exact references to the specific colors of the sea. These watery tones form the backbone of the performance and inform the direction of the collaboration, guiding us through rich blues, glassy greens and frothy whites. In listening to the music it seems incredibly appropriate that the artists should choose blue as the middle ground in their work; the ineffable lightness that Bertelmann brings to the table is a stark contrast to Guðnadóttir's sinking darkness, and as the two styles collide we witness a plethora of tones, shades and hues. It sounds as if the two artists have been playing together for decades, and their sound is so perfectly matched you might wonder why it's taken them this long to collaborate. All that's left for us to do is to soak in the tidal beauty of this very exclusive body of music, to listen to it sing, bubble and crash through its duration before settling in total silence. When the record reaches its conclusion there is an unsettling calm, a sense that you have witnessed something very special indeed, and that is a feeling to prize amongst all else.

For their sixth instalment, Lowlife Cartel follow up to their last two compilations (“Pimps Improvisations” in 2018 and “Omnia Vanitas” in 2020) with a new six-track VA named “Kodoku”; a vortical release, both bold and forward-looking, while fully geared for the club environment. Taking its title from a poisonous magic from the medieval Japanese era obtained by placing several venomous insects in a jar and letting them kill one another until only one survives, “Kodoku” - which interestingly also translates as “solitude” - features a cast of producers old and new to the fold including Saverio Celestri, the faceless △, Prince de Takicardie, Tundramane & Ko$te, Solar Alliance and Shampoo.

A staple element of the Lowlife Cartel bunch, Saverio Celestri paves the way and dishes out one of his signature jagged, EBM-informed weapons in “Sundays”. Through this hotchpotch of acid-steeped bass entangled with a frantic newbeat-ish swing and razor-sharp synthwaves, the Italian producer shows off the raw and playful facets of his craft to optimal effect. Unknown contributor △ clocks in with “Crachats de Lune”, a proper ominous banger going straight for the jugular with its clever mix of dusty, drum-laden churn, processed vox stabs and sci-fi-indebted laser bursts flashing by unrelentingly. Tailored for hi-octane action at the defunct Boccaccio or Hacienda, Prince de Takicardie “Jam’on’Acid (House Mix)” blows the winds of euphoria across the club like it was done in 1995. Vibing to a pulsating mix of rabid snares, 303-vehicled charges and mangled vocal samples on a classic free rave tip, throwback material that packs a punch.

Flip it over and here is North-American duo Tundramane & Ko$te shifting the scope to Memphis chopped-and-screwed in true hardcore fashion. Straight-out aggression, “Brick To The Face” lives up to its title, so expect leaving the place with a few teeth out your mouth and a good concussion, though more side effects could appear over repeated listens. A radical U-turn from the previous, Ute.- related triplet Solar Alliance - alias Ekkel, Oprofessionell and Mikkel Rev - bring their dashing trance touch to the comp with “Quest for Kiba”, an uptemp maelstrom for the senses, swirling and whirling up until space and time make no damn sense any more. Topping off that versatile tour de force, Japanese producer Shampoo adds his delectably sensuous spin on the record with the lush, sample-heavy lo-fi appeal of “四季ノ歌”. Unpolished feelgood vibes, sun- streaked soulfulness and deft-handed MPC wizardry are on the menu for this ultimate ride and jolly finale.

(180 gr vinyl) Musique Pour La Danse presents another collaboration with SF-based Jonah Sharp following the first ever vinyl release of his Reagenz LP with Move D in 2021. This time, the iconic Flurescence EP by his Spacetime Continuum solo project gets the reissue treatment, after being released on the Scotsman's own Reflective Records back in 1993 with an unforgettable holographic center label.

Musique Pour La Danse presents another collaboration with SF-based Jonah Sharp following the first ever vinyl release of his Reagenz LP with Move D in 2021.

This time, the iconic Flurescence EP by his Spacetime Continuum solo project gets the reissue treatment, after being released on the Scotsman's own Reflective Records back in 1993 with an unforgettable holographic center label.

There is a good reason why this EP, actually Sharp's debut release, was so hard to find at reasonable prices and why it has appeared in countless compilations and top lists in the last 3 decades with no sign of slowing down.

Truly timeless, this masterclass in forward thinking electronic music focuses on deeply textured, masterfully arranged, and skillfully morphing tracks with a cosmic tinge that feels warm instead of cold, and rewards repeat listens.

Prepare to bend the very fabric of spacetime during the 28 minutes of heavenly chill out and celestial techno/trance contained in this 12" black hole, remastered and repackaged for the 21st century. Title track Flurescence is one of the very few that actually captures the ambience of those magical floating years and a trip to the edges of outer space that never ceases to amaze, while Transmitter is a deep dive to the bottom of an ethereal ocean of fur suspended in time, with mysterious samples from the producer's answering machine to boot. Drift is a bona fide gem of rhythmic psychedelic electronic music, breaking down and projecting early trance, IDM and electronica ideas like a prism turning revealing a colorful spectrum of colours after being hit by light. Finally, the fast-paced dancefloor weapon Drug#6 is up there with Choice's Acid Eiffel, Resistance D's Cosmic Love, and Red Planet's Cosmic Movement in the intergalactic pantheon of narcotic, acid techno cuts.

Needless to say, zero gravity listening is strongly encouraged.

Talented multi-instrumentalist Flevans returns with his most musically expressive and personal long player, 'A Short Distance To Fall'.

A largely instrumental album, though peppered with lush vocal samples throughout, 'A Short Distance To Fall' is a listening experience and one meant to be savoured from start to finish - drawing you in and guiding you through an ever changing musical world, taking in snippets of electronica, disco, funk, beats, soul and downtempo - delivering them all with a warm, musical, lo-fi aesthetic.

With nods to luminaries such as The Avalanches, early Ninja Tune and Nightmares on Wax through to contemporaries such as Folamour and Art of Tones, the challenge was to create something cohesive that could traverse the different genres he loved whilst remaining true to the Flevans sound.

Diverse and eclectic, yet warm and cohesive throughout - from the atmospheric beats of 'In Shadows' the uplifting radio-ready warmth of first single 'It Take The Whole Day', the lurching groove of 'We Walk Alone' through to the driving disco of 'Digits' and 'I Got Soul', the album rewards repeated listens, never sitting still on one style or sound.

Tall Black Guy chases his extraordinary 2021-released collab LP, Of Process and Progression alongside emcee Ozay Moore, with the long awaited instrumental version. The record is a celebration of hip-hop and its many influences, especially jazz, funk, soul, and R&B. And now that it’s available in instrumental form, listeners can fully dive into and unpack the layers, samples, and sounds comprising the release.

In speaking about his approach to the album’s production, TBG explains the process as follows: "When myself and Ozay decided to come together to make OP&P, we really wanted to make it to where there were no skips. And the production had to be top notch.” He goes on to say that he didn’t want to just sample, but instead add live instrumentation and collaborations with other musicians to craft the sound they wanted.

“I wanted to make sure Ozay had a lot of space to get his point across in the songs he was coming up with,” TBG says. And while you can certainly hear that space in these instrumentals, they stand on their own as stunning odes to hip-hop and the genres that birthed it. This album is also brimming with musical Easter eggs on each song, particularly on repeated listens as the layers begin to unravel themselves to your ears.

There is so much to love and discover within the instrumentals of OP&P, and for fans of TBG’s past work, it exists as another triumph in what’s becoming one of hip-hop’s most thrilling discographies.

The story about the lost recordings of Ghia continues: Following the recently released "At The Hilton" single, our label is extremely proud to present "Curaçao Blue", the band's first full-length album. And it is simply mind-blowing, to say the least! The LP features 10 unreleased tracks in a similar Balearic vein as featured on the single.

Incredibly, it was only just a few months ago that these tracks were rediscovered on some old tapes by band members Lutz Boberg and Frank Simon. Could anyone imagine that two physics students from a small German town could create such beautiful, thrilling music in their home studio? Although the technical aspects in the creation of the band's earliest tracks may have been straightforward, the outcome is high-quality, creative, modern jazz-funk, with one step in the electro-funk genre due to the use of a drum machine and synthesizer basslines. The album features mostly 4-track recordings, based mainly on the musicians' weapons of choice: a DX21 keyboard (later updated to the legendary DX7) and a guitar. Many things had to be done live in just one take, though the artists were unafraid of using overdubbing techniques to weave their instrumental journeys. The DIY aesthetics just add more beauty and uniqueness to the songs and compositions, and the result is an extremely harmonic work of undeniable musicality. Ghia delivers Balearic jazz-funk at its finest.

Though the music was recorded in Germany, Ghia had a true relationship with the Balearic region and effortlessly applied the vibes to their compositions. As a side note, one track on their earliest demo tapes was called "3 AM at Moëf Gaga" and we did not know what it meant. The band explained that Moëf Gaga is a nightclub on the Spanish coast that is actually still active today. Boberg and Simon, the two original band members of Ghia, visited the club in the early 80s and spent their holiday close to the sea. With their music, they intended to create a summery vibe, capturing a relaxed and soulful view of the seashore, likely with a drink in hand... Perhaps a Blue Curaçao?

The album starts with a revised version of the title track. The drums in this take are much punchier, and we thought that it would fit just perfectly as an introduction. We continue with the already classic "Down At The Hilton" that was featured on the single, but like us, we are sure you could happily listen to this track on repeat. Next up, "Jump In The Water" opens with a catchy delayed melody, which develops into another perfect jazz-funk piece with an extended guitar solo. Another remarkable song might be "In The Fast Lane". As the name suggests, an uptempo number, now with an electro-funk beat combined with speedy keyboard solos that almost sounds like a marimba. On side B, the album keeps the relaxed seaside vibes flowing. To round out the album, we are treated to two pieces that originated after the return home, with memories of the Spanish coast fading but still lingering, likely recorded between 1986 and 1988. Both are instrumental versions of songs to be used later for studio sessions with their new band member, singer Lisa Ohm (who you will hear on Ghia's next album!). On "Crystal Silence In Dub" we get a perfect downtempo groove, positively reminding us of the sound of the 1980s UK funk scene. The album ends with "Keep Your House In Disorder", here as an earlier, rougher, and funkier take than on the final vocal version, which could be found on the B-side of the "What's Your Voodoo" single.

We hope you love this album as much as we do! Nothing like this has yet been released out of Germany. We hardly can recall any privately produced, home recorded jazz-funk/fusion from the 1980s as free, creative, and uninhibited as Ghia's Curaçao Blue. The playful and creative approach, coupled with those nostalgic tones should make this LP an essential pick for any record collection, whether you are a DJ, a home listener, a music lover, or a modern jazz-funk/synth-funk aficionado.

The album is out now on The Outer Edge, the new label by record collector DJ Scientist, aka John Raincoatman. We also want to thank Frederic Stader for his awesome work mastering and sound restoration of the material on this LP.

Exclusive to INDIE STORES: Hiss and Shake Records to release ‘Logically Yours’ – a limited edition, 5 x LP boxset of 50 essential recordings from seminal post-punk icon Lora Logic including 2 classic Essential Logic albums, early single releases, EPs, B-sides, rarities, vinyl exclusives + first new Essential Logic studio album in 43 years! Includes the classic Rough Trade Records releases ‘Beat Rhythm News (Waddle Ya Play?) + ‘Pedigree Charm’ + 2 retrospective compilations of early single releases, EPs, B-sides, rarities + vinyl exclusives ‘Aerosol Burns & Other Misdemeanours’ + ‘No More Fiction’ + new studio album ‘Land of Kali’ (first in 43 years) + 20 page booklet with introduction from Celeste Bell + Lora Logic Q+A. Susan Whitby, aka Lora Logic was one of the most distinctive talents from the post-punk era known for her intoxicating, rough-around-the-edges, yet exhilarating sax playing and haywire vocal style. Her offbeat, occasionally arresting lyrics tackled alienation, sexism, poverty and urban isolation, and with a complete disregard for convention, she carved her own path not only in her short-lived music career but also personal life. She was still in her teens when she answered an ad in Melody Maker “Looking for young punks,” and in 1976, with her friend Marion Elliot (aka Poly Styrene), she formed the punk band X-Ray Spex and acquired the pseudonym, Lora Logic. The duo soon achieved notoriety with the irresistible feminist protest single, ‘Oh Bondage Up Yours’ (1977) – Logic arguably stealing the show with her thrilling punk sax. “X-Ray Spex was my first band, I happened to be accepted, It happened to work, I happened to get famous overnight. I’d been playing sax in a cupboard in my room; I thought I better do something.” However, just prior to recording 'Germ Free Adolescents' (1978), X-Ray Spex's debut album, she found herself unexpectedly ousted from the band. With abundant enthusiasm and encouragement from Geoff Travis, founding director of Rough Trade Records, she went on to form Essential Logic, creating some of the most liberating and exciting music of the early post-punk era, not only as Essential Logic, but also as a solo artist. Hiss and Shake Records are pleased to present a limited edition boxset of 50 essential recordings from the irresistibly engaging Lora Logic archive, allowing for a new generation to become aware of her incredible creative output. Across 5 LPs, ‘Logically Yours’ includes in their entirety, the classic Rough Trade Records releases ‘Beat Rhythm News (Waddle Ya Play?) (1979) – Essential Logic’s sole studio album, and Lora’s solo album, ‘Pedigree Charm’ (1982) – her last studio album before turning her back on the music business, sad and disillusioned and fighting drug addiction, which saw her turn to a Hare Krishna lifestyle, alongside Poly Styrene, embracing a fresh new chapter. This totally absorbing and definitive collection also includes two retrospective compilations; ‘Essential Logic – ‘Aerosol Burns & Other Misdemeanours’, which comprises early single releases, B-sides and oddities including the gloriously chaotic ‘Aerosol Burns’, the essential punk/disco ‘Music Is A Better Noise’, and ‘Fanfare In the Garden’, showcasing Lora at her most pop. In addition, ‘Essential Logic – ‘No More Fiction’; contains 10 vinyl exclusives, including ‘Do You Believe in Christmas?’, recorded with the Krishna Kids Choir in 1985, alongside tracks recorded circa 1997, with Martin Muscatt, Dave Farren (Bad Manners) and Gary Valentine (Blondie), forming the basis of what would have been Essential Logic’s third studio album, ‘No More Fiction’. Having recently returned to the studio refreshed and rejuvenated, ‘Logically Yours’ also includes ‘The Land of Kali’ (co-produced by Youth), the first new Essential Logic studio album in 43 years, and features the forthcoming new single ‘Prayer for Peace’, a re-imagining of the X-Ray Spex track from the tragically overlooked album, ‘Conscious Consumer’ (1995) on which Lora also played sax. “Poly Styrene and I were living in a Krishna community in Worcestershire in the early 80s. We came together for the first time musically after X-Ray Spex to record the original version of this song. In 2019, I decided to record my own take as a tribute to the special times we shared. I hope Poly likes this new version too.” Further tracks penned for release from the album include the dystopian, lockdown-inspired ‘Alien Boys’ and ‘Sky Rocket’, written with daughter Malini, about the fairground of life. Despite her short-lived career in the music business, Lora still managed to perform and appear on releases with many artists including US experimental rock band Red Crayola between 1978 and 1981, and also appeared on recordings by The Stranglers, The Raincoats, Kollaa Kestää, Dennis Bovell, Swell Maps and later, Boy George. Undoubtedly an iconic figure of the UK post-punk scene, Lora Logic’s boldness, adventurousness and sense of fun can be seen as an influence on numerous female artists today including Karen O from Yeah Yeah Yeahs, Peaches and St. Vincent among others. Tracklisting: Essential Logic ‘Beat Rhythm News (Waddle Ya Play?)’ (1979). A1 ‘Quality Crayon Wax OK’ A2 ‘The Order Form’ A3 ‘Shabby Abbott’ A4 ‘World Friction’ B1 ‘Wake Up’ B2 ‘Albert’ B3 ‘Alkaline Loaf in the Area’ B4 ‘Collecting Dust’ B5 ‘Pop Corn Boy (Waddle Ya Do?)’…… Lora Logic – ‘Pedigree Charm’ (1982). A1 ‘Brute Fury’ A2 ‘Horrible Party’ A3 ‘Stop Halt’ A4 ‘Wonderful Offer’ A5 ‘Martian Man’ B1 ‘Hiss and Shake’ B2 ‘Pedigree Charm’B3 ‘Rat Allé’ B4 ‘Crystal Gazing’…..Essential Logic – ‘Aerosol Burns & Other Misdemeanours’. A1 ‘Aerosol Burns’ (1978) – Debut single A2 ‘World Friction’ (1978) – ‘Aerosol Burns’ B-side A3 ‘Eugene’ (1981) – Single A4 ‘Tame the Neighbours’ (1981) – ‘Eugene’ B-side A5 ‘Music Is A Better Noise’ (1981) – Single A6 ‘Moontown’ (1981) – ‘Music Is A Better Noise’ B-side B1 ‘Fanfare In the Garden’ (1981) – Single B2 ‘Stereo’ (1982) – ‘Wonderful Offer’ single B-side B3 ‘Rather Than Repeat’ (1981) – ‘Wonderful Offer’ single B-side B4 ‘The Captain’ (1979) – ‘Fanfare In The Garden’ B-side B5 ‘Soul’ (1983) – Previously unreleased on vinyl B6 ‘Stay High’ – Previously unreleased on vinyl….. Essential Logic – ‘No More Fiction’. A1 ‘Essential Logic’ (1991) – Vinyl exclusive A2 ‘On The Internet’ (1998) – Vinyl exclusive A3 ‘Under The Great City’ (1997) – Vinyl exclusive A4 ‘No More Fiction’ (1998) – Vinyl exclusive A5 ‘Love Eternal’ (1997) – Vinyl exclusive B1 ‘Barbie Be Happy’ (1998) – Vinyl exclusive B2 ‘Not Me’ (1998) – Vinyl exclusive B3 ‘The Beautiful and the Damned’ (1997) – Vinyl exclusive B4 ‘Marika’ (1997) – Vinyl exclusive B5 ‘Do You Believe in Christmas?’ (1985) with the Krishna Kids Choir – Vinyl exclusive……Essential Logic – ‘Land of Kali’ (2022). A1 ‘Prayer For Peace’ A2 ‘Alien Boys’ A3 ‘Mother Earth’ A4 ‘Never Know’ A5 ‘Charming Every Cupid’ B1 ‘Sky Rocket’ B2 ‘Serious’ B3 ‘Fallible Soldiers’ B4 ‘Land of Kali’ B5 ‘Beyond’

“Arguably his generation’s best lyricist” – Mojo // “The year’s stand-out album for me” – Stewart Lee // “A sort of modern-day pastoral” – Simon Armitage, Poet Laureate // The follow-up to last year’s first volume, English Primitive II continues the themes introduced previously in a harder, more electric and psychedelic style. The songs were mostly recorded during the same sessions but, if EPII showcased the ‘songs of innocence’, this new set comprises ‘songs of experience’. Callahan's lyrical themes here are frequently the sleaze and corruption of our ‘betters’, the intentional and unintentional brutality meted out on those weaker and the sometimes perverse ways in which this happens. There are moments of reflection among the broken mirrors, but they allow scant solace or reassurance. Dressed in another of Scottish artist Pinkie McClure’s witty and detailed stained glass creations and recorded at home and under a railway arch, EPII rises above its origins and invades the wider world, in all its colour, gritand glory. Each song serves as a monument to its internal tale – in fact, the whole LP is as much a collection of musical short stories as it is an album of songs. Opening with Invisible Man, the impression of a regular person with hidden grievances, biding his time and waiting to lash out is given. Waves of distant samples ebb and fall as the warped guitars swell and crash behind the main themes. We don’t know when this explosion will happen – we only know it will. A sleazy celebration of Britain’s position as the laundering capital of the world follows in the form of Beautiful Launderette. It’s good that we keep everything nice and clean for the whole planet, isn’t it? Business as usual, keeping the globe turning – that’s our role and we love it. The Parrot rocks like only a prolonged evisceration of governmental mouthpieces and their court stenographers can. It’s a thankless task making sure that the powers that be retain their authority in all things and patrolling the borders of what is allowed to be said and believed, but somebody’s got to do it. If you’re providing a service, you’ll need to present a united front against the grievances of the public, so you’ll need The Scapegoat. Mistakes and accidents can’t be the company’s fault, so you’ll need to pay someone to be publicly and repeatedly sacked to make it appear as if you’re solving problems and getting better. Lessons will be learned, going forward. The disturbing tale of Bear Factory begins side two and is the real-life story of the murder of one of the singer’s primary-school classmates in the 1970s, and true in every detail. The victim’s body was never found but the killer justifiably imprisoned for life. A more ancient scent of death pervades The Burnet Rose. This ground-hugging plant covers the graves of the victims in a seventeenth-century plague village on the Yorkshire coast to this day, commemorating their sacrifices when all around have forgotten. It’s this particular songwriter’s favourite flower. Orgy of the Ancients describes the intimate intricacies of ageing politicians and the press as they decide whether to go to war. In grotesque scenarios worthy of Caligula, they decide the fates of our children. And it’s not even half the truth. To finish, the songwriter looks back to an admired predecessor, when he sets William Blake’s famous poem London in a groovier setting than we’re used to – in the form of London by Blakelight. If London swings, it’s from the Tyburn tree. Tracks: Invisible Man / Beautiful Launderette / The Parrot / The Scapegoat / Bear Factory / The Burnet Rose / Orgy Of The Ancients / London By Blakelight

Limited Metallic Silver Vinyl is exclusive to INDIE STORES. "Money Mouse Records moves effortlessly into the neon-hued vibes of 80's boogie culture with their latest 7" offering from Nashville's CA$H BONU$. Made up of some familiar faces from Music City's funk and soul movement, Andrew Muller and Nick DeVan are joined by Amber Woodhouse who lends her powerfully silken vocals to the mix. With the addition of Pittsburgh's synthesist maestro, BusCrates, along with Muller's deftly executed production flourishes; this record goes straight to the sweet spot of post-disco lushness. "Got Me Thinkin Tonight" is designed for the late-nite dancefloor aficionados, taking cues from some of the era's greats and shaking things up into something new and heaving. The synth work and beats weave together with Woodhouse's amorous lyrics to create a dancefloor jam that sounds just as at home in 1982 as it does in 2022. That magic is repeated on the B-side with "Joy & Pain" a straight up hustler of a track, with a driving drums and heady arrangements that, again, are meant to get the dancefloor churning. Woodhouse's vocals deliver a sweet soulful emotion that jives perfectly with a groove that would make Rod Temperton proud. And don't forget the heavy drum break at the end. CA$H BONU$ is bringing the boogie heat to your feet for real!"

Limited Metallic Silver Vinyl is exclusive to INDIE STORES. "Money Mouse Records moves effortlessly into the neon-hued vibes of 80's boogie culture with their latest 7" offering from Nashville's CA$H BONU$. Made up of some familiar faces from Music City's funk and soul movement, Andrew Muller and Nick DeVan are joined by Amber Woodhouse who lends her powerfully silken vocals to the mix. With the addition of Pittsburgh's synthesist maestro, BusCrates, along with Muller's deftly executed production flourishes; this record goes straight to the sweet spot of post-disco lushness. "Got Me Thinkin Tonight" is designed for the late-nite dancefloor aficionados, taking cues from some of the era's greats and shaking things up into something new and heaving. The synth work and beats weave together with Woodhouse's amorous lyrics to create a dancefloor jam that sounds just as at home in 1982 as it does in 2022. That magic is repeated on the B-side with "Joy & Pain" a straight up hustler of a track, with a driving drums and heady arrangements that, again, are meant to get the dancefloor churning. Woodhouse's vocals deliver a sweet soulful emotion that jives perfectly with a groove that would make Rod Temperton proud. And don't forget the heavy drum break at the end. CA$H BONU$ is bringing the boogie heat to your feet for real!"

The last flight – we have arrived! Fasten your seatbelt and buckle up – Denn die erfolgreichste Dance- & Trance-Compilation unseres Planeten setzt einmalig zu ihrem letzten Landeanflug an.

Anlässlich des 100. Jubiläums erscheint die beliebte Produktreihe als galaktische Sonderausgabe und Fans dürfen sich neben der 3CD und dem eAlbum auf eine streng limitierte Fan-Box mit 3CD, galaktischem Comic-Poster, Fan-Socken und Schlüsselanhänger freuen. Damit aber noch nicht genug: Diese letzte Ausgabe unserer FUTURE TRANCE erscheint am 25.11.2022 zudem exklusiv als 4LP inkl. Comic-Poster!
Echte Fans werden zudem bei der besonderen Optik ein Flashback erleben – das erste Mal seit der Landung der FUTURE TRANCE Vol. 60 erlebt die Reihe wieder ein Alien-Revival und erscheint in außerirdischem Design.

Die FUTURE TRANCE 100 besticht durch ein randvolles Aufgebot mit den größten Stars der Szene und ihren aktuellen Bangern. Ein letztes Mal zünden wir die Trance-Booster - mit dabei sind z.B. Scooter,
Pulsedriver, Armin van Buuren, Rocco und und und. Abgerundet wird dieser Senkrechtstarter mit einem exklusiven FUTURE TRANCE UNITED Mix „The last flight – we have arrived!“ Hier ist Gänsehaut vorprogrammiert!