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Kojaque follows his critically acclaimed cult concept record, ‘Deli Daydreams’, with an
expansive, urgent debut album. In this landmark debut, Kojaque mines both his
emotional interior as an artist, and the external forces of a love triangle barrelling
towards chaos. ‘Town’s Dead’ is a mind-bending, explosive and expansive trip,
documenting a tumultuous love triangle that unfolds across New Year’s Eve in a
place where gentrification poses as much a threat as the violence of street dealers.
Sonically, the record smashes any previous expectations, stretching an aural palate
that leaps from rage to solace, from clattering musical combustions to tender
ruminations. The tremendous scope and scale of ‘Town’s Dead’ demonstrates an
artist utterly untethered to assumptions about what a particular voice or genre should
be, and instead explores radical musical territory. Dark corners of parks, bedrooms,
clubs, streets and psyches are excavated and pouring over the rubble is an artist
who refuses to conform, unafraid of the vulnerabilities that are exposed when the
voice rings true, because there’s just no point in being anything else.
Kojaque is part of a new wave of Irish artists flooding the world with blistering and
sophisticated literature, film and music - ideas and work that emerged from a social
revolution stonewalled by late-stage capitalism. Welcome to that state of mind, where
the path less travelled is the only one worth taking.
On the announcement of his debut album Kojaque has said: “‘Town’s Dead’ comes
from the potential that I see in Dublin and in the people I’m surrounded by day in and
day out. There’s nothing but talent and ambition among young people, I’m constantly
reminded of that through the art and music that I see being made but I think so often
the city grinds you down, it takes your hope and your ambition. I know that it can
change because so many of my friends express the exact same wants, desires and
frustrations with living in Ireland. If so many of us are on the same page then I know
that things can change, there just needs to be some sort of catalyst to kick start that
change and for me that’s always been art and music. Time and time again, amazing
art continues to be made in spite of the struggles and setbacks that are presented
when living here. The title track and the album is a fight against what can sometimes
feel inevitable, it’s a rejection of what people tell you is your destiny as a young
person in the city, Town’s NOT dead it’s just Dormant.”
CD housed in digisleeve containing 12-page lyric and photo booklet.
Black double vinyl housed in 5mm wide spine single sleeve with 12-page lyric and
photo booklet.
“Hints of Odd Future and its offspring... Kojaque is not your average rapper” - i-D
“Dublin’s hip-hop community are making waves right now... an intimate introduction
to the world this bold artist inhabits” - Clash
“Social realist rhymes set to silky hip-hop” - NME
“Likeable and funny” - Trench
“The Dublin MC forcing us to face real life; both the gory and the glory” - Wonderland
“Ireland’s freshest hip-hop hope, Kojaque, serves ‘soft hip hop’ with a side order of
poetry and performance art” - Notion

‘It Still Moves’’ 2021 repressing features remixed and
remastered audio pressed on two ‘golden smoke’ coloured LPs
and housed in a premium gatefold jacket. My Morning Jacket’s
reverb-drenched, landmark third studio album ‘It Still Moves’
boasts some of the great American rock music of our time.
Remastered by Bob Ludwig at Gateway Mastering in 2016,
each track has an increased strength and clarity while retaining
the album’s classic shimmering grandeur. Everything would shift
for My Morning Jacket after ‘It Still Moves’ - as the conclusion to
their initial trilogy of albums, it remains one of their most pivotal
and enduring releases.

Rose City Band is the solo project of Ripley Johnson (Wooden Shjips, Moon
Duo).
Stepping out from behind the psychedelic haze that envelops his other
output, Rose City Band’s lean yet richly textured arrangements lay bare the
beauty of his songcraft. On ‘Earth Trip’, Johnson reveals more of himself
than ever before, colouring the project’s country-rock twang with a
melancholic, wistful undertone. It charts a journey of personal growth and
introspection with surprising honesty, from pining for summers spent with
friends to meditations on space, stillness and the splendour of the natural
world.
It continues Rose City Band’s celebration of summer warmth and the great
outdoors, seen from a new vantage point and with newfound appreciation for
the freedom and joy that nature provides.
Through its daring honesty and masteful arrangements, ‘Earth Trip’ cements
Johnson’s place as a singular songwriter of inimitable skill. Its message of
mindfulness and our interconnectedness to the environment expands on a
long country and blues music tradition that draws a symbiotic relationship
between storyteller and the land, capturing the beauty of the natural world
while also emphasising our responsibility in preserving it for future
generations.
‘Earth Trip’ features an incredible line up of guests including drummer John
Jeffrey (Moon Duo), Sanae Yamada (Moon Duo) on piano, Ryan Jewell and
Barry Walker on pedal steel guitar.
Mixed by Cooper Crain (Bitchin’ Bajas, Cave) at Electrical Audio and
mastering by Amy Dragon at Telegraph Mastering.
Deluxe mini gatefold CD package.
Forest green coloured vinyl and black vinyl are available in deluxe LP
packaging, die-cut jacket with 4-colour printing on both the outside and inside
of the jacket. Also with fully artworked heavy-weight cardstock printed inner
sleeve and digital download card.
“Ripley Johnson has been responsible for some of the past decade’s most
mesmeric and beguiling albums.” - The Guardian
“Johnson’s Rose City Band incarnation may be his most dazzling and
uplifting so far... transforms the fuzz-drenched thrust of Johnson’s usual
music into a beatific choogle, a modest but potent means of escape from the
realities of 2020” - MOJO

Rose City Band is the solo project of Ripley Johnson (Wooden Shjips, Moon
Duo).
Stepping out from behind the psychedelic haze that envelops his other
output, Rose City Band’s lean yet richly textured arrangements lay bare the
beauty of his songcraft. On ‘Earth Trip’, Johnson reveals more of himself
than ever before, colouring the project’s country-rock twang with a
melancholic, wistful undertone. It charts a journey of personal growth and
introspection with surprising honesty, from pining for summers spent with
friends to meditations on space, stillness and the splendour of the natural
world.
It continues Rose City Band’s celebration of summer warmth and the great
outdoors, seen from a new vantage point and with newfound appreciation for
the freedom and joy that nature provides.
Through its daring honesty and masteful arrangements, ‘Earth Trip’ cements
Johnson’s place as a singular songwriter of inimitable skill. Its message of
mindfulness and our interconnectedness to the environment expands on a
long country and blues music tradition that draws a symbiotic relationship
between storyteller and the land, capturing the beauty of the natural world
while also emphasising our responsibility in preserving it for future
generations.
‘Earth Trip’ features an incredible line up of guests including drummer John
Jeffrey (Moon Duo), Sanae Yamada (Moon Duo) on piano, Ryan Jewell and
Barry Walker on pedal steel guitar.
Mixed by Cooper Crain (Bitchin’ Bajas, Cave) at Electrical Audio and
mastering by Amy Dragon at Telegraph Mastering.
Deluxe mini gatefold CD package.
Forest green coloured vinyl and black vinyl are available in deluxe LP
packaging, die-cut jacket with 4-colour printing on both the outside and inside
of the jacket. Also with fully artworked heavy-weight cardstock printed inner
sleeve and digital download card.
“Ripley Johnson has been responsible for some of the past decade’s most
mesmeric and beguiling albums.” - The Guardian
“Johnson’s Rose City Band incarnation may be his most dazzling and
uplifting so far... transforms the fuzz-drenched thrust of Johnson’s usual
music into a beatific choogle, a modest but potent means of escape from the
realities of 2020” - MOJO

Operation: Mindcrime is regarded as one of the greatest concept metal albums of all time. The band’s third album, originally released May 3rd 1988, is based around Nikki, a recovering drug addict, who becomes disillusioned with a corrupt society and joins a revolutionary group to assassinate political leaders. Operation: Mindcrime was produced by Peter Collins (Bon Jovi, Rush, Alice Cooper) and was recorded, mixed and mastered digitally on a Sony 24-track digital tape machine. It was certified platinum in 1991 in the US and was ranked in the Top 100 Metal Albums Of All Time by both Kerrang! and Billboard magazines. Available on multi-formats, this new version was remastered at Abbey Road Studios and brings together all the available recordings to tell the story of this remarkable album. The deluxe version, housed in a 10″ x 10″ box, is the final word on this exceptional album. It also contains a DVD which features the accompanying promotional videos and a live performance of the album. The expanded booklet features new sleeve notes by noted journalist Alex Milas who spoke with Geoff Tate about the making of the album and the concept behind it.

Killing Joke have long been one of rock's most iconic and influential names, with a string of revered recordings to their name. As with all KJ releases, ‘Pylon’ isn’t designed to accompany a quiet night at home; these 10 remastered original tracks plus 8 extra bonus tracks (produced by the band and Tom Dalgety, whose credits include the hugely successful Royal Blood album) are very much music as ritual – raw, uncompromising and precisely-targeted lyrically. While other bands of a certain vintage may struggle to maintain their edge, Killing Joke are delivering the best and most relevant material of their career. Available on CD and 3LP green vinyl.

Jimmy Smith was a self-taught pianist who abandoned the instrument in 1954 in favour of the Hammond B3 organ, renting a Philadelphia warehouse and woodshedding for a year until he emerged with a revolutionary style that immediately caught the ear of Alfred Lion. The Blue Note boss dubbed him The Incredible Jimmy Smith and recorded the B3 innovator as frequently as he could between 1956 and 1963. It’s a testament to Smith’s volcanic creativity that he recorded not one but two soul jazz classics — Midnight Special and Back at the Chicken Shack — when he entered Rudy Van Gelder’s studio on April 25, 1960 with Stanley Turrentine on tenor saxophone, Kenny Burrell on guitar, and Donald Bailey on drums. This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Gaspard Augé hat schon immer brillant reißerische, musikalische Welten geschaffen, in denen man sich
verlieren kann. Am bekanntesten ist er als eine Hälfte von Justice, dem Duo, das Mitte der 2000er Jahre
Rock und Rave vereinte und dessen Dancefloor-Smashes eine ganze Generation definierten. Sein diesjähriges
Solo-Debütalbum „Escapades“ besiegelt seinen Ruf als Meister des Maximalismus, ein elektronischer Autor,
dessen imaginäre Soundtracks ein erfrischender Ruck aus der Realität sind. Seine köstlich massiven Traumlandschaften beschwört Bilder von progressiven, heidnischen Ritualen im Orbit oder Spaghetti-Western auf
einer Raumstation herauf. Seien wir ehrlich, der Zappa-artige Produzent hatte nie vor, eine introspektive
Platte zu schreiben: „Ich war schon immer davon besessen, überlebensgroße Musik zu machen“, sagt er.
„Vor allem, weil es mehr Spaß macht“.
Das letzte Mal hörten wir von Augé, als er und Xavier De Rosnay von Justice einen Grammy 2019 für ihr
Album ”Woman Worldwide” gewannen, ein Überarbeitungspaket ihres Katalogs aus dem letzten Jahrzehnt.
”Das Tolle an den Grammys ist, dass man im Voraus nicht weiß, ob man gewonnen hat oder nicht, also kam
es völlig überraschend”, sagt Augé. Es war eine verdiente Anerkennung für ihre gemeinsame, bahnbrechende
Arbeit. ”Wir haben uns einfach gefreut und dachten: ’Wir müssen etwas richtig gemacht haben’”, sagt
Augé. ”Und wir dachten: ’Okay, jetzt können wir dieses Kapitel abschließen’.”

Soul Jazz Records’ new Studio One collection ‘Fire Over Babylon: Dread, Peace and Conscious Sounds at Studio One’ features a stellar selection of 70s roots music – classic and rare tracks recorded at
Clement Dodd’s musical empire at 13 Brentford Road in the 1970s.
Rastafarian-inspired Roots music was an ever-important aspect of Studio One’s output from the start of the 1970s onwards and this album features many of the ground-breaking groups and artists that
established the sound of Jamaica during this decade and beyond.
Featured here are seminal artists such as Freddie McGregor, The Wailing Souls, The Gladiators, Horace Andy, Devon Russell, Cedric Brooks, Count Ossie, Judah Eskender Tafari alongside a host of lesserknown rare cuts made at Studio One from artists such as The Prospectors, Viceroys and Pablove Black. Studio One and founder Clement Dodd’s connection with Rastafarianism dates back to the early 1960s, with Dodd accompanying members of the Skatalites up to the hills of Kingston to listen to the music of the Rastafarian Count Ossie and his drummers. The album sleevenotes discuss how Clement Dodd’s musical links, as well as his role in heading the most important record label in Reggae, are in many ways linked to the beliefs of Rastafarianism. This album is released as a heavyweight black vinyl double-album with gatefold sleeve, full notes and
download code, deluxe CD with full booklet and slipcase and digital album.

Reissued double album, 10 years out of print. 30 years since the original release of Daniel Johnston’s most revered recordings.
Songs include ‘True Love Will Find You In The End’, ‘Devil Town’, ‘Some Things Last A Long Time’ and ‘Honey I Sure Miss You’.

Papiro’s approach to music is never technical, but always personal. Since the mid-Nineties, he has released a handful of noteworthy albums, each carefully put together and seemingly self- contained, yet all sharing an unmistakable musical language and a certain escapist aura.

La finestra dentata (The Toothed Window), is no exception. It includes both studio and concert recordings from 2016–2020. The sounds on this album appear infinite and full of marvels, ingenious in portraying imaginary creatures and environments.

The title track and Anelli take up most of the first side and include live outtakes. Papiro likes to describe his performances as therapeutic. These swirly symphonies are specifically intended as immersive deep-listening experiences for concert venues, and have been edited for this album to meet the physical demands of vinyl and domestic use. Imagine the younger cousins of Laurie Spiegel’s Concerto Generator performance, or Terry Riley’s Shri Camel.

However, those who know Papiro only from the stage might be unaware of a different side to his oeuvre; starry-eyed miniatures that may appear frivolous in comparison to the more heady stuff, but are nonetheless well worth discovering. Each piece adds a chapter to a phantasmagoric world populated by such characters as "Giant Duckling", "King Hard-Beard", or the "Bodulator". Tracks like the opener Odilon or Il triciclo nascosto, meanwhile, emanate a candor rarely found in the domain of serious music, and revisit Papiro’s early days of instrumental storytelling.

About Papiro:

Marco Papiro is a Swiss-Italian musician, composer and graphic designer. He teaches at the Schule für Gestaltung in Basel and is known for the posters and album covers that he's created for a number of prolific artists (Sun Araw, Sonic Boom, Panda Bear, Oren Ambarchi)

Released in 2000, this debut and only album from Lucy Pearl an R&B super-group put together by former Tony! Toni! Tone! member Raphael Saadiq, boasting Dawn Robinson from En Vogue and Hip Hop innovator Ali Shaheed Muhammed from A tribe called Quest as additional members, set the tone for neo-soul’s evolution in the new decade. With additional collaborators Snoop Dogg and Q tip also featuring on the album, it is no surprise that Lucy Pearl went on to sell over 1 million copies worldwide and is still revered today, 21 years later as one of the greatest R&B albums from the early 00’s.

Released for the first time on pearl white vinyl, this edition allows a new generation to discover this classic album from RnB’s golden age.

2024 Repress

Mystical Disco returns to vinyl after six years. Jackson Lee brings a moody atmosphere to the A side with a Motown revisitation swirled in hazy pads while A2 follows the vibe with some deeper shades of acid. The B side is all about devotion to city and feline. Empire State is a peak-time club slammer and love song to New York City. B2 brings out the analog hardware for a colorful, bubbling synthesizer ode to the best studio companion ever. Mystical Disco 8.5 is dedicated to Jedi the House Cat.

Reissued for the first time.
Double vinyl that includes their critically acclaimed and highly sought after debut album ‘Glasshouse’ from 1985 and the 1986 follow up ‘Simplicity’. Presented in a gatefold sleeve adorned with the artwork from the Glasshouse EP, which features in the Prints & Drawings collection at the Victoria & Albert Museum.
With printed inner sleeves and a download code for all 31 tracks on the double CD. Including all tracks from the singles and EP’s plus unreleased recordings
Pressed on colour vinyl. Disc 1 is Purple. Disc 2 is Gold.

Formed in Barnsley in 1981. Party Day, with their bass led rhythms and sharp powerful drums gigged extensively and released their debut single ‘Row The Boat Ashore’ in 1983.
Their brand of Post-Punk Indie Rock with Gothic overtones soon got the attention of DJ John Peel and sold out almost immediately.
The follow up single ‘Spider’ from 1984 again received extensive airplay from John Peel and received rave reviews from the national music press. “Mouthy pellets of malevolence” NME “Excellent punk junk howl” Sounds.
Their self released debut album ‘Glasshouse’ was released in 1985 to glowing reviews and has gained popularity over the years. Now very collectable, it exchanges hands for big money on the second hand market.
The Glasshouse EP followed later in 85 heralding a more commercial approach and widening appeal.
Their second album ‘Simplicity’ was released in 1986
“Proving that they’ve grasped more than an inspirational nettle, the recurrent throb finds their trousers igniting during the quite punctilious rawk of the title track, the urgent prodding of ‘Career’, which reminded me uncomfortably of early Killing Joke and the attractive, though slightly over-wrought black sheep, ‘Glorious Days’, which could have brought a lump to Mario Lanza’s trousers.”
Party Day Split in 1987.

It's about time to uncover the most unknown Brazilian music style. Unlike other Brazilian musical traditions as samba and bossa-nova, never ever anything of caipira music has been released outside Brazil. Repairing this huge gap, Vampisoul presents Helena Meirelles - A Rainha da Viola Caipira, a stunning 25-track compilation of the revered Queen Of The Viola Caipira, Mrs Meirelles

A stunning compilation of the revered Queen of The Viola Caipira, Helena Meirelles, once included in the Top 100 World's guitar players by Guitar Player Magazine.

On this double-LP anthology you will face some of the most expressive Helena's creations. 'Guaxo', for example
contains an ultra-melodic guitar riff that will stick in your ears for ages while 'Mercedita' has an evolving rifferama. 'Saudades Do Meu Velho Pai', on the other hand, is a typical baião, a very peculiar Northeastern
rhythm in Brazil, de-constructed by her very own style. 'Flor Da Guavira' is a delicious caipira-ballad. These are only a few great ones, amongst so many other exquisite, and unusual delights.

A fascinating journey into one of the lesser covered Brazilian genres, caipira, rich in folk and country music elements. Reissued on vinyl for the first time.

Dead Moon’s beloved third album, released in 1990, when some fellow Pacific Northwest underground rockers were getting ready to be flung head first into the mainstream. But DM remained defiantly underground!
Raw, primordial and true to their own style and fiercely DIY ethic. With classics “Dagger Moon” “Walking On My Grave” and “Johnny’s Got A Gun.” Remastered from the original tapes.

On Air is the second solo release by Alan Parsons following the split of The Alan Parsons Project. One of the creative forces was APP long-time guitarist Ian Bairnson. The concept of the album revolves around the history of airborne exploration.

The theme of “Too Close to the Sun” is escaping the labyrinth of the Minotaur. “Brother Up In Heaven” is an emotionally driven song, about the unfortunate death of Ian Bairnson’s cousin. “One Day To Fly” is a song about Leonardo da Vinci’s search to design a flying machine.

A who’s-who of lead vocalists are featured on this album; Christopher Cross, Eric Stewart, Neil Lockwood, Steve Overland and Graham Dye. The amazing looking artwork was recreated for this vinyl edition by none other than Peter Curzon of Storm Studios.

Although On Air might be the most underrated Alan Parsons albums, many consider this as one of his best albums. On Air turns 25 in 2021. This is a limited 25th anniversary edition on transparent vinyl. The package includes an insert with lyrics and pictures.

One of the most significant collections in Trojan’s immense catalogue, the ‘The Trojan Story’ album dramatically changed the perception of Jamaican music among the general British public outside of the country’s Afro-Caribbean population.

Prior to its release in 1971 there had never been an attempt to present a comprehensive anthology of the island’s musical development, with vintage ska, rock steady and reggae widely regarded as obsolete and of precious little merit.

The treble disc set, which became an instant best-seller, had been the brainchild of Trojan’s label manager and Black Music fan, Rob Bell, who, assisted by Trojan stalwarts, Dandy, Webster Shrowder and Joe Sinclair, produced arguably the most significant Jamaican music retrospectives of all time.

Now, 50 years following its original release, this hugely influential album has been revisited by Bell, along with reggae musician, Rusty Zinn, who have succeeded in improving what was already an almost perfect collection.

Presented in the original eye-catching artwork, the set is further enhanced by a highly illustrated 50-page booklet in which Bell relates the stories behind the release and the 50 tracks featured on the compilation.

Question everything. Consider your sources. Be wary of ulterior motives, insidious media narratives and even your own unconscious bias. Trust sparingly and try to make smart, informed choices. As the world slides further into ruin, it’s more important than ever to be vigilant and fight back. Luckily, Hacktivist are back to help cut through the noise and bullshit, tooled-up and ready to attack with renewed vigour and reinforced ranks. With Jot Maxi and J. Hurley now sharing the vocal and lyrical load, drummer Rich Hawking and bassist Josh Gurner bringing the beats and rhythms, and guitarist and production don James Hewitt fleshing out the group’s genre-fluid muscle, new album Hyperdialect arrives less like a mission statement and more as a flaming musical Molotov, declaring all-out war. “Hyperdialect isn’t an album for people to just casually listen to,” J insists, “we’ve taken things to the next level, which I didn’t even think was possible. We spit the truth. *We are the truth.*” In 2016, when Hacktivist initially set sights on their enemies with debut album Outside The Box, the world wasn’t fully equipped to heed their warnings and pay attention to its timely rallying cries. They return into a very different one, however – a world that’s sadly now all-too-finely-attuned to the horrors they first forecasted four years ago. “It’s becoming clear that we are on the brink of some type of revolution,” says Jot, with no small dose of conviction or optimism. “Hacktivist are here to bring truth and positivity – the silver lining of a society clouded in poisonous fear. Hacktivist also represents a voice that isn’t afraid of saying what needs to be said. We’re already living in the future. We have the choice to either be shaped by it or to stand up and shape it ourselves. Which path will you take?” It was with those battle lines clearly drawn and ambitions duly set that Hacktivist entered into the creation of Hyperdialect. Starting almost two years ago and developing on the acerbic sonic filth introduced by 2019 singles Reprogram and Dogs Of War, the five-piece felt fired up by their new working dynamic and the collective process involved, with each member actively encouraged to contribute ideas until the best outcome was reached. Unusually, for such a group of bloody-minded insurrectionists, this democratic approach worked wonders – a testament to how much they were all on the same page on these 12 tracks.

Svart Records reissue of Morbus Chron’s game-changing atmospheric Death Metal album “Sweven”, together with the remastered ltd ed. EP “Saunter Through The Shroud”. Gatefold sleeve with original Sweven booklet included. Pressed on black vinyl and limited dark green vinyl (400 copies). On “Sweven”, Morbus Chron carved out their very own territory of unorthodox death metal, far beyond their raw and simple initial style, adding many uncanny acoustic parts to create a nightmare world of utter horror. Together with producer Fred Estby (ex- Dismember), the band found a warm, yet haunting sound to go with their vision. The resulting soundscapes spread out like a wasteland of death and terror, sending chills down the hardest of spines. Guitar and drum patterns flow in various directions, building cathedrals of darkness in which tormented vocals echo in agony. The EP ‘A Saunter through the Shroud’, was a revelation upon its release in July 2012, displaying tremendous progression from previous efforts. Instead of playing it safe, sticking to traditional death metal patterns, Morbus Chron had started to transcend the genre to incorporate elements of progressive rock as well as black metal. With patterns oozing of Voivod, Atheist and Darkthrone, as well as Death and Autopsy, Morbus Chron was on their way to something majestic. Possessing unrelenting integrity, the band shunned all trends to go further into the unknown with “Sweven”. Smell the coffin with these two pioneering recordings, available in one lush package for the first time! Morbus Chron’s idiosyncratic legacy has never sounded or looked finer.

Svart Records reissue of Morbus Chron’s game-changing atmospheric Death Metal album “Sweven”, together with the remastered ltd ed. EP “Saunter Through The Shroud”. Gatefold sleeve with original Sweven booklet included. Pressed on black vinyl and limited dark green vinyl (400 copies). On “Sweven”, Morbus Chron carved out their very own territory of unorthodox death metal, far beyond their raw and simple initial style, adding many uncanny acoustic parts to create a nightmare world of utter horror. Together with producer Fred Estby (ex- Dismember), the band found a warm, yet haunting sound to go with their vision. The resulting soundscapes spread out like a wasteland of death and terror, sending chills down the hardest of spines. Guitar and drum patterns flow in various directions, building cathedrals of darkness in which tormented vocals echo in agony. The EP ‘A Saunter through the Shroud’, was a revelation upon its release in July 2012, displaying tremendous progression from previous efforts. Instead of playing it safe, sticking to traditional death metal patterns, Morbus Chron had started to transcend the genre to incorporate elements of progressive rock as well as black metal. With patterns oozing of Voivod, Atheist and Darkthrone, as well as Death and Autopsy, Morbus Chron was on their way to something majestic. Possessing unrelenting integrity, the band shunned all trends to go further into the unknown with “Sweven”. Smell the coffin with these two pioneering recordings, available in one lush package for the first time! Morbus Chron’s idiosyncratic legacy has never sounded or looked finer.

Here’s a monster of its own. Not to be confused with Trevor Jackson early 2000 project (even if the british producer has obviously been informed by post-punk, dub, post-industrial and the likes) Playgroup was more than anything a collective, based somewhere around Bristol and London. Drummer Bruce Smith was the key figure behind the project. Neneh Cherry husband and fabulous motorik force for The Pop Group, The Slits, New Age Steppers, African Head Charge and – more recently - Public Image Limited, Bruce brought the post-punk aura into the realm of controlled chaos with several partners in crime.

Playgroup is the so-called English version of Jamaican dub, informed by the industrial revolution and the studio wizardy of On U Sound acolytes. Crucial Tony (Creation Rebel, Dub Syndicate, Singers & Players) on bass and guitars, Sean Oliver (New Age Steppers, Rip Rig & Panic) on guitar, the almighty Style Scott (Creation Rebel, Dub Syndicate, New Age Steppers) on drums and percussionists Eskimo (African Head Charge, Creation Rebel, Mark Stewart And The Maffia) and Bonjo I (African Head Charge) are among the main conspirators here. Produced by none else tham Adrian Sherwwod Epic Sound Battles Chaper One still resonates with its original dark humor and guerrilla warfare tactics.

Color Vinyl
Musica Elettronica Viva, or MEV for short, was formed in 1966 in Rome by Allan Bryant, Alvin Curran, Jon Phetteplace, Carol Plantamura, Frederic Rzweski, Richard Teitelbaum and Ivan Vandor. From the very beginning the group was based on musical freedom and the shunning of convention. Using contact microphones to record and manipulate sound wherever it could be found – from box springs to vibrators – and improvisationally combining those recordings with tenor sax, homemade synths and the very first Moog to trek cross the Atlantic, MEV made some of the most imaginative and abrasive sounds of the time.

Recorded in live performance at the Academy of Arts (Akademie der Künste) in Berlin on October 5, 1967, Spacecraft is made up of a single piece of the same name – a slow building, jarring and disquieting work that reveals the entire MEV ethos in its lone half hour. As group member Alvin Curran put it “The music could go anywhere, gliding into self-regenerating unity or lurching into irrevocable chaos - both were valuable goals. In the general euphoria of the times, MEV thought it had re-invented music; in any case it had certainly rediscovered it.” Our Swimmer is pleased to present this first ever vinyl issue of MEV’s Spacecraft, an early piece from the most free-spirited group of the 20th century avant-garde.

Music for animation cyber-noir film “Battlefield” (based on same-titled book by Stephen King)

Animated films soundtrack is one of the most substantial aspects of Bystryakov's career. He masterfully balances between being a composer and a sound designer. A cartoon thriller for Stephen King's original story was created at the Kyivnaukfilm studio in 1986. The work itself reached the Soviet reader in 1981 for the first time and was King's first publication in the USSR, as well as "Battleground" was the first and only film adaptation.
"Battlefield" is a work that belongs entirely to its time. This soundtrack is a semi-conscious journey through the night TV network: from Italian horror movies and detectives to the movie Blade Runner on the last working channel well past midnight.
Actually, in such a sequence, the fabric of the work is revealed. The atmosphere in the style of Goblin (Untitled I), thus echoing the work of Enno Morricone (Title theme, Theme of the boss). In addition to melodic fragments, he boldly creates minimalist pieces that undoubtedly sound like an early acid house (Untitled II), because the sounds of Roland TB-303 and TR-606 are instantly recognisable.
Bystryakov's approach did not involve the use of many tools or effects. He worked with one Roland Juno-106 synthesiser, using the full palette of its sound. His new tool is a counterpoint. This is how the final theme (End Theme) is constructed, where a piercing solo on a saxophone changes the atmosphere to nostalgia.

African, funky, sarcastic, bewitching, green, ecstatic: these words collide to describe Vaudou Game and all of them are true.

Noussin is the fourth album of the french Afro Funk band. Forced into lockdown, like much of the planet, Peter Solo and his Vaudou Game had no choice but to retreat into the studio. A reunion to once again invoke the spiritual forces of the Voodoo Deities. A reunion that was Initially imagined for an EP…yet these spiritual forces behind that imagination yearned for something more, and as we all know, these forces are impossible to push away once they have decided to stay.

Under the strain enforced by the current socioeconomic climate, as much as by the environmental peril that faces us all today - they diverted the course of the groove towards daring new vibrations. Without extinguishing or diminishing its highly communicative power, they released Vaudou Game from its origins of pure Afro-Funk to gradually engage into compositions which crystallized themselves into tones resembling more rock than funk.

On this fourth album, with an entirely revisited line-up, Peter Solo separates for the first time in his career from his brassy guard, leaving saxophone, trumpet and trombone outside to invite an arsenal of keyboards to define, with him, this new voodoo sound. A sound, as usual, built on vintage and precise analogical material - grime even on the white side of the tape, a blunt instrument used to blanket anything that strived to shine too much in the mix.

Graced with tapered guitars stringing out rhythmic bumps or withdrawing a few beats to indulge in infectious solos, this album is boisterously alive with vintage 70's Funk, infused with a few digressions into other ethers of the funk timeline, nicking different sounds and frequencies to render the black and white keys of an inspired keyboard to reach new euphoric levels of melodic acidity.

Tearing off the enigmatic mask to reveal his true face: on a few titles, Peter Solo ventures outside of his sacred voodoo range to reconnect with his London years, these titles feature small nods to the time he spent in “The Smoke” where the incantations of British music culture were written within him.

Noussin which means “Stay strong” in Mina, a dialect spoken in the south-west of Togo. Noussin, a message of hope as much as a call to come together to weather the turmoil and to come out better on the other side. Don’t let them grind you down…Noussin!

FUSE revisit Rich NxT’s debut album as they welcome Skream, Seb Zito, Guti and Rossi to remix Natural and Other Side from the highly acclaimed album.

FUSE look set to build on Rich NxT’s much-lauded album in notable fashion as they welcome electronic heavyweight Skream as he steps out on FUSE for the very first time,whilst welcoming the long-awaited return of long-standing FUSE family member Seb Zito who returns to the imprint for the first time since late-2019. A wonky, off-kilter, and warping affair, Skream’s take journeys down a twisting trail of elastic analogue rhythms, sweeping electronics and tripped out cuts of Shyam P’s vibrant vocal to take things firmly into after-hours territories, before Seb Zito’s slick interpretation harnesses an abundance of rich UK flavours as skipping garage-tinged drums meet hazy pads, resonant top lines and skittering melodies to close the show in style.

On the flipside the London imprint welcomes two close friends in Argentinian favourite Guti and rising-UK talent Rossi. to offer up fresh interpretations of NxT track ‘Other Side’ featuring Shyam P. Up first, the always excellent Guti offers up his slick and classy remix, welcoming a signature blend of rolling organic percussion beneath snaking top lines, groove-fuelled bass licks and Shyam P’s infectious and hazy vocals, whilst Rossi.’s no-nonsense remix sees the UK hotshot draw for rumbling sub-bass, icy hats and sharp drum licks throughout his driving take on the production.

Bertrand Burgalat's new album, RÊVE CAPITAL, will be released on Friday June 11, 2021 by Tricatel.

How many of Burgalat's songs have accompanied difficult afternoons, happy evenings and lonely mornings? The list is long. And it gets longer with this album, each track of which widens the rift between the plates of space and time.
Jean-Pierre Montal

Burgalat makes crackle what we like most in his universe: the reality of things and their discrepancy, the intimate and the universal.
Stéphane Lerouge

Disco Reggae Funk & Punk sensibilities are effortlessly fused in these classic recordings from the undisputed masters of rhythm - Sly & Robbie.

These Compass Point recordings became the bed for some iconic songs, however the backing tracks themselves were missing in action.

Washed up on a distant shore, the original tapes have revealed these previously unheard Instrumentals, showcasing the talents of Shakespeare, Dunbar, Badarou & crew.

Catch these legendary heavyweight grooves on 180g 12" Vinyl Limited Edition EP.

MADVILLA steps out on FUSE’s LOCUS imprint for the first time as he reveals his four-track ‘Old Flame’ EP.

London-based, American-born DJ and producer MADVILLA is a name making serious waves within house music at present, with his driving and slick take on the genre via the likes of ANOTR’s No Art, Seb Zito’s Seven Dials and his own Hot Wings imprint welcoming supporters in Jamie Jones, Stacey Pullen and FUSE head-honcho Enzo Siragusa to name just a few. Up next, the surging talent steps out on FUSE sister imprint LOCUS for the very first time, following his recent appearance at their London home of 93 Feet East, as he delivers his four-track ‘Old Flame’ EP this May.

Lead cut ‘So Bad’ kicks things off as crisp drums meet resonant stabs, sweeping melodies and infectious vocal coos, before introducing the spacey soundscapes and hypnotic pads of title track ‘Old Flame’, accented by Shyam P’s tripped-out vocals throughout. Next, ‘Orbit’ takes things up a gear as skipping percussion arrangements go to work beneath spiralling lasers and jacking hats, whilst closing track ‘Takeout’ dives into the afters as rubbery bass licks, hazy synths and rumbling low-ends take listeners on a warping UK-tinged journey through entrancing sounds.

Suburban Bases favourite duo Krome & Time rare DAT studio masters saved!
Krome & Time provided the very first Suburban Base release that launched the now legendary label, under the alias Kromozone catalogue number SUBBASE 001 set the tone for the label that became and integral part of the development of Rave and Breakbeat Hardcore into Jungle and Drum & Bass!

So who better to kick off the relaunch of such a revered brand than the legendary duo that started it all KROME & TIME! With brand new sleeve design from original SubBase illustrator Dave Nodz!

Having accessed a long forgotten storge facility and discovered a treasure trove of Suburban Base master tapes, we struck gold when we found box after box of unreleased and exclusive master recordings from some of the biggest artists within the SubBase family.

The two exclusive tracks that make up this release were huge dubplate only specials and have never been released as vinyl singles or digitally. Finding the master copy of the once thought lost 'Original Juggling' was incredible, the song is much asked after and as an album exclusive on the 1995 Telepathy Dub Plate Special was never given a full release only appearing on that project.

‘Non-Stop Rocking’ was a 1995 dubplate recorded specifically as an album exclusive for the legendary Drum & Bass selection album project and stayed exclusively on dubplate receiving extensive club and radio play whilst remaining only available within D&B selection.

These sought-after tracks remained stuff of legend never having had a digital release or full vinyl release… until now! From the original master tapes of Suburban Base we present this slamming 12inch from Krome & Time

Clear Vinyl

WRWTFWW Records is happy to announce the release of Para One’s new album SPECTRE: Machines of Loving Grace, available in half speed mastered 180g double lp housed in a heavy sleeve with UV spot varnish. Machines of Loving Grace, the new album by Para One, whose real name is Jean-Baptiste de Laubier could be called fiction. It is an object freed from constraints, formats, genres, territories: the gospel of a new world. Six years after Club, eight years after Passion, his previous LP, this lover of electronic music, who has also been putting his sensitivity to the service of movies (soundtracks for Céline Sciamma in particular) opens with this record a new dimension in his artistic career. “I needed to break away from patterns and systematisms of formats, and take unexpected turns. To do so, I had first to allow myself to do so”. Allow oneself and maybe above all confront oneself – with one’s childhood, with one’s childhood’s ghosts, and what fantasies, ideals, memories, and grey areas they harbor. He had to go back – without giving up on his position as an adult, as a full-fledged artist – to the sources of his imagination, to the moment when music was holding almost mystical power. And then revisit it to make something new out of it. Just like Sanity, Madness & the Family (the feature film directed by Para One that he just finished and of which it is a consubstantial part), Machines of Loving Grace has an investigation around a family secret and the father figure as its starting point. “When you go down the path – of a work, of a person, of the past – you never really find out what was. You find yourself

As a New Era beckons globally, Manchester’s primo Manctalo merchants – Red Laser Records – quietly unveil their latest clutch of specialist space-age kinetics. A fifth-kind encounter enabling users to bridge the continuum of dance & interaction between our Earth-dwelling selves and the inter-dimensional overlords.

Containing three brand new movements in machine music from our treasured production stable of Kid Machine, Bob SwanS and Il Bosco; it also houses an honorary appearance from revered Danish spearhead Flemming Dalum, who serves up a particle-splitting redux of a lesser-known proto-techno nugget from Belgium. Dalum’s been traversing the star-clusters on his own intrepid missions for a while, so we’re mega buzzed to have him back on the RL mothership.

Stretford based synthesizer technician, Bob SwanS has been drafted in specifically by RL head Il Bosco for his advanced skills on the patch bays. “Aphelion Run Theme”, the point of which an object’s orbit is furthest from the Sun, vividly detailing in sound the journey our collective consciousness must undergo in order to reach the Highest Elders. We highly recommend utilising this track alongside Dr. Greer’s outstanding work with extra terrestrials.

KID Machine’s celebratory, vocoder-led Manctalo message: “It’s The K.I.D” is a sonic motif to our interplanetary relatives; this cybernetic b-boy’s way of spray painting the Red Laser logo over Proxima Centauri B’s subway network in neon-blue, pyroxene paint.

Bosco lets loose with one of his most impassioned creations to date too. “We Almost Lost Oddbins” previously titled: “Save Our Scene”, a universe-wide cry for help recorded when worldwide limitations on dancing and human co-exchange were at their most aggressive; its nonetheless positive outlook inviting us all to look both inward and outward for solutions in the New Normal.

Encased within a striking monolith art print, depicting the mystic energies of ancient galaxies it heralds the now widely-accepted belief that we are in no way alone in this universe and that channels of communication between more advanced civilisations than ours have already begun…

To reveal to the world all the musical riches of Mali, and more particularly the music of the Mandé region, cradle of the great griot families, is the highly laudable purpose of this LP The Lost Maestros Collection. To perpetuate and transmit this ancestral musical history, The Lost Maestros Collection brings together 8 wonders of Mali who have each in their own way managed to develop this tradition towards more modern and electrified countries and associates pioneers of Mandingo music and actors of the young post generation.

The Lost Maestros Collection is the result of the collaboration between Deviation Records, newly created by Phil Margueron and the independent Malian label Mieruba, which has been working since 2010 to ensure that this golden age of Mande music does not fall into oblivion. Aware that these nuggets are not eternal, Mieruba, based in Ségou on the banks of the Niger river and capital of the former Bambara kingdom, undertook for eight years the preservation of this musical heritage by putting these 16 pieces on tapes at the Kôré studio de Ségou as well as at the famous Bogolan studio in Bamako.

Lee 'Scratch' Perry's Black Ark Studio opened its doors in 1974. Situated in his backyard at 5 Washington Gardens, Kingston, Jamaica. Using only basic
equipment, a Teac Four-Track Recorder, a Sound craft mixing desk, an Echoplex delay unit and later adding a Phaser effects unit that he used in conjunction with his Roland RE201 Space Echo. He managed mixing down the tracks from Four track to Two track to make his distinctive whirling sound that sets apart the Black Ark Sound from the other Jamaican Studios.

Born Rainford Hugh Perry, 28 March 1936, Hanover, Jamaica. He began his career at the grand age of 16, working for Clement ‘Coxsone’ Dodd’s sound
system, rising quickly to the position of record scout and organising recording sessions during his 3-year period 1963-1966. Restlessness and unsatisfied with credit he felt due to him he moved on to work with Producers J.J. Johnson and Clancy Eccles, the latter of which would help him set up his ‘Upsetter’ label in 1968, which would see his first of many recordings telling the injustices done to him by previous employers. ‘The Upsetter’ track itself pointed at Mr Dodd but reflected to Perry when he inherited it as a nick name alongside many others during the course of his career, including ‘Scratch’, again taken from one of his recordings ‘Chicken Scratch’ recorded in 1965/1966. Perrys work in 1968 with producer Joe Gibbs was fruitful and resulted in many successful releases, but again feeling a lack of credit and itchy feet, it was time to move on. Still not having a studio of his own, Perry recorded at the various Kingston establishments at the time, Randy’s Studio 17 on North Parade, Dynamics on Bell Road and Harry J’s on Roosevelt Avenue where the bulk of the aforementioned recordings with The Wailers were carried out. His dream was always to build his own studio and not to have to work to the constraints of the other studios and producers.

On opening the Black Ark studios, the hits seemed to come immediately. Firstly with Junior Byles' 'Curly Locks' and in 1975 the massive crossover hit Susan Cadogans' 'Hurt So Good' that reached No 4 in the UK charts.1976 saw Island Records releasing Perrys vast output, timeless material like the Heptones 'Party Time', Max Romeo's 'War Inna Babylon' Bob Marley and the Wailers 'Jah Live', 'Punky Reggae Party' and Junior Murvins 'Police and Thieves' to name but a few.But sometimes missing out on a few classics like Perrys own 'Roast Fish, Collie Weed & Corn Bread' and possibly one of the best reggae albums of all time The Congos 'Heart of the Congos'. Dub releases like 'Revolution Dub' (1975) showed a way forward for his production skills in this formidable arena. Having his own studio allowed him to build up a vast catalogue of tracks to work on. We have culled together some lost productions that Lee Perry carried out with singer Mike Brookes, a fine singer, arranger from that special time in the Black Arks history. Sounding like Junior Marvin in parts and Max Romeo in others but still carrying a distinctive Falsetto voice. Some classic tracks as you can see recorded with the cream of musicians at Lee Perrys disposal. Mr Perry works his magic that gives these songs that distinctive feel that his output.
carried around the mid 1970's.

So we hope you enjoy some more lost treasures from the Black Ark that we feel should be added to that mighty cannon of material that still sound so fresh and strong today.

Simoncino is back on the iconic label that launched his career: SKYLAX RECORDS. In the meantime, he has become a benchmark artist in particular for his passion, his extreme mastery of analog material and his ability to craft dream like soundscapes and mystical house atmospheres; who has seen him collaborate in recent years with the biggest names in house: Larry Heard, Boyd Jarvis, Tevo Howard and Robert Owens on excellent labels such as Lies, Vibraphone, Crème organization, Hotmix or Mathematics. For this new release, the fruit of a maturation of several months in his studio, the made in Perugia prodigy has once again surrounded himself with the master of chicago house, the legendary Merwyn Sanders of Virgo Four (who already appeared as a remixer on the Warrior Dance part 4 in 2012 on SKYLAX) on vocals. Its inimitable style is a clever mix of chicago house tinged with the most classy techno touches, “on the dance floor” will delight both fans of the purest house but also those who are also followers of the original techno made in detroit. A mix brilliantly revealed by the golden voice of Merwyn Sanders. On the B-side, the pair reward us with a high-end remix signed by the brilliant and bulimic producer from La Hague, the furious madman Danny Wolfers aka Legowelt. To conclude, the title In Viaggio reminds us how much Simoncino is also able of creating real house bombs that send us straight into the stratosphere. ON THE DANCEFLOOR we tell you.

Spoken word version of Steve Von Till's first poetry book. Limited, one-sided + etched.
Intimate voice recordings with hallucinatory textures and treatments.
Harvestman: 23 Poems Poems & Collected lyrics received wide acclaim establishing Von Till as a poet in his own right.
Side B LP etching artwork by Matzatl
Features stunning linocut artwork by Matzatl on the cover.
In 2020 Steve Von Till published his first book of poetry, Harvestman: 23 Untitled Poems and Collected Lyrics. Published by the University of South Dakota’s Astrophil Press, the book established Von Till as a formidable and thoughtful author of verse—a fact that Neurosis fans knew all along, but the wider world was only just becoming aware of.
“There is a depth of hope, acceptance and loss that permeates these poems,” Joseph Haeger said in his review for The Inlander. “Like any great piece of art, Harvestman contains multitudes, and that’s exactly what I was hoping for when I cracked it open. Von Till has already established himself as a great musician, and he’s about to put his stake into the ground proving himself to be a damn good writer.”
For 2021, Von Till has reimagined Harvestman in a new format, delivering an intimate and captivating reading of the collection with sound enhancements. “Being a constant sound-seeker, I thought it would be more interesting to have some textures and treatments to break up the intimate voice recordings,” Von Till says of his decision to add some atmosphere to the spoken-word version of Harvestman. “The background sounds used on some of the tracks were pieces related to No Wilderness Deep Enough that were either not used or repurposed to interweave further connections between my artistic output at this time of my life.”

Ambient instrumental version of Steve Von Till’s previous release No Wilderness Deep Enough.
Limited Violet Colour Vinyl.
For fans of Neurosis, Jóhann Jóhannsson, Ólafur Arnalds, Nick Cave & Warren Ellis, Brian Eno.

“Von Till has delved into prolonged and hypnotic expressions of darkness and decay...achingly slow post-classical hues (glissandro strings, mournful horns, reverb piano) fusing intimacy to grandeur. But the most stentorian, weariest voice imaginable - graver even than Mark Lanegan - and the existential dread of his words equally chills to the bones.” 4/5 MOJO (No Wilderness Deep Enough)
Steve Von Till has made a life’s work out of seeking the elemental. With a solo discography that stretches back more than two decades, he has toiled in a shadow realm, peeling back layers of reality in a never-ending search for true meaning and raw emotion. A Deep Voiceless Wilderness strips back the veil even further. An achingly beautiful ambient work with neo-classical leanings, the album is a hallucinatory and elegant rumination on our disconnect from the natural world, each other, and ultimately ourselves.
For some listeners, the album may recall the work of modern composers like Jóhann Jóhannsson, Brian Eno or Gavin Bryars. For Von Till, it’s about surrendering to the spirit of place—and to the original intent behind his 2020 solo album, No Wilderness Deep Enough. That album marked a significant first for Von Till: It was his first solo record without a guitar in hand. Instead, Von Till intoned powerful and thought-provoking lyrics over piano, cello, mellotron and analog synthesizers. A Deep Voiceless Wilderness is that same album without Von Till’s words.
“This is how I originally heard this piece of music,” he says. “Without the voice as an anchor or earthbound narrative, these pieces have a broader wingspan. They become something else entirely and unfold in a more expansive way. The depth of the synths, juxtaposed with the strings and French horn, have space to develop and allow the listener to imagine their own story.”

Neon Finger once again pays tribute to the figure of the great Roger Troutman with the second part of the compilation entitled “We Love You Roger”. Some of the most respected names in the modern funk scene show his love for a key figure, who still remains a huge influence today.

Over 1.5m albums sold in the UK and 3 consecutive no 1 albums for Noel Gallagher’s High
Flying Birds – plus a record breaking 10 consecutive chart-topping studio albums in the UK
for Noel.
- Debut eponymous album released 17th Oct 2011, debuted at no 1 with 122.5k sales and
achieved double Platinum status less than 6 months post release
- International Magic DVD release of the 02 Arena gig Feb 2012 certified Gold on shipment
-2011-2012 live schedule saw NG HFB visit 32 countries across 6 continents, playing 150
shows over a 15 month period. 406k headline tickets and 1.2m festival tickets sold
- Chasing Yesterday, released 2nd March 2015, no 1 album on release with 89.1k sales and
certified Platinum
- 2015-2016 18 month world tour covering 122 shows in 28 countries. Almost 400k headline
tickets and 1.25m festival tickets
- Who Built The Moon?’ released on 24th Nov 2017 - no 1 with 77,853 sales (almost 35k sales
ahead of no 2), Silver album after only 4 days and certified Gold 2 weeks post release
- Tour covering 59 shows in 17 countries with 245k headline tickets and 550k festival tickets
- Noel Gallagher’s High Flying Birds released a series of 3 multi-genre EP’s over the course
of 2019 and 2020
- 2019 saw a host of headline festival dates covering 150k tickets sold across the summer
plus tours of the USA and Australia with Smashing Pumpkins and U2 respectively

Carefully navigating her way along the shifting horizon line of our present condition, Istanbul-based composer Ekin Fil never fails to find new pathways with the seemingly eternal nature of her reverb-saturated guitar sceneries. Aquarius/Pisces, her latest creation on Possible Motive, uncovers two tracks of carefully alluring and ambient sonics. The release is available globally on selected digital outlets and as a strictly limited hand engraved 7" lathe-cut vinyl disc.