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Vick Lavender is back with another quality vinyl release on his Sophisticado label. First up is the title track "Afro Go", an Afro jazz influenced piece that's sure to inspire dancers & deep house music lovers world wide. Next up is "Ambrosia", an atmospheric yet deep house cut. The B side features a previously release collaboration with house music icon Robert Owens: "Tonight". Bringing this EP to a close is the slow burner "Acis outpost", with iconic Chicago acid house overtones, but then Vick & company (Justin Dillard) turns the acid concept on it's head and it becomes their vision totally

From Karma Recordings comes their eigth EP. They are continuing their trend of getting their heroes from the 90’s to remix the original sound.

The massive rave icon Ellis Dee, one of the biggest producers on the planet brings his unique blend of piano sounds to the hands in the air anthem Warehouse Crew by DJ KOS, as well as featuring the original. DJ Ande has gone a little different with his hardcore tune Trip Home Pt 1 which is a nod to the classic hardcore tunes Trip to the Moon by Acen. To round things off web ring back DJ Terrace to hammer home a wicked tune in Top Gun which makes this another belter of an EP not to be missed.

Speedcore 220 to 300 BPM banger, a real pityless moments for a pure psychedelic rock'n'fuck dobble pleasure !
Clear sound and monstrous drops !

Superb record.
Techno not too speed really, very thinlaced... With a "no hub" pressing made in Roma Italy !

Limited and LOUD !

Fontaines D.C. kündigen heute ihr mit Spannung erwartetes viertes Album “ROMANCE“ an. “ROMANCE“, das am 23. August über XL Recordings veröffentlicht wird, ist das erste Album der Band mit dem Produzenten James Ford und ohne Zweifel ihr bisher ehrgeizigstes, einfallsreichstes und klanglich abenteuerlichstes Album. Es knüpft an den Erfolg des 2022 erschienenen Albums “Skinty Fia“ an, das in Großbritannien und Irland Platz #1 der Albumcharts erreichte und der Band eine Reihe von Auszeichnungen einbrachte, darunter "International Group of the Year" bei den BRIT Awards 2023. Die explosive Leadsingle "Starburster" läutet die jüngste kreative (R)Evolution von Fontaines D.C. ein. Inspiriert von einer Panikattacke, die Leadsänger Grian Chatten im Londoner Bahnhof St. Pancras erlitt, wird der Song immer wieder durch scharfes und wildes Einatmen unterbrochen. Der treibende Beat und der unerbittliche Text stellen die Selbstzerstörung als Fantasie dar, bevor es einen kurzen Moment ernüchternder Klarheit gibt, wenn das Schlagzeug aussetzt und Chatten vom spuckenden, fast rappenden Gesang beinah in einen Psalm übergeht, dessen Bariton voll und verträumt ist. Begleitet wird der Song von einem filmischen Musikvideo von Regisseur Aube Perrie (Megan Thee Stallion, Harry Styles, The Hives), das die kathartische Intensität des Songs auf brillante Weise einfängt.

You Never End is the third album from Valentina Magaletti, Tom Halstead and Joe Andrews (Moin) out via AD 93 on the 25th October. Its title alone expresses the teetering and shifting nature of both the album and band. This record marks the Moin’s shift into a new phase with vocal collaborations across the album from Olan Monk, james K, Coby Sey and Sophia Al-Maria.

The album’s collaborators all have voices that are alluring in their own right whilst hard to pin down: from james K’s ethereal, reverb drenched vocals, Coby Sey’s words that bounce and echo across London’s concrete streets and Olan Monk’s emotive songwriting, while artist Sophie Al-Maria’s voice and thoughts are known to stretch across her multidisciplinary practice as an artist, filmmaker and writer. The unique mystique of each collaborator is maintained throughout the record while simultaneously opening Moin up to new possibilities, in a gentle shifting alchemy.

Continuing their enigmatic re-configuring of the traditional band, Moin use a mix of conventional and unique production and compositional techniques. Subtly re-framing the current conversation about what band in 2024 needs to be, Moin walk the line between what's reassuringly familiar and what's unsettling and inquisitive. You Never End is a more sensitive record in sentiment, it re-contextualises grunge, shoegaze and indie rock with a weirdly comforting melancholy while still sounding direct and alive.

Showing Moin at their most accessible, the vocal collaborations bring the most articulate moments and lucid emotion while still remaining uniquely within Moin's established world. Alongside this, the record fine tunes the elements of electronic production that have always been a feature of the band's unique sound in a deeply subtle way. Elements are simpler and more direct, offering robust functional support as well as textural and emotional resonance. Together they show the potential for both practices to intertwine.

You Never End is both produced and mixed by Tom and Joe, demonstrating the extended range of control the pair have over the band's sound, and their ability to truly hold together Moin’s intricate world.

When Bob Vylan won the first MOBO award for Best Alternative Music Act in 2022, the punk-grime duo took to the stage and used the platform to speak about how they managed to achieve the impossible as independent artists in a genre-defying space. “We released an album this year that we produced entirely, mixed entirely, recorded entirely, all from my bedroom…so everybody that’s here, bigging up Atlantic and bigging up Warner, fuck that, us man did it ourselves”.

It was an acceptance speech that rattled the room and built anticipation for their next projects.

Humble as the Sun, the forthcoming album from Bob Vylan continues with much of the rage and urgency that they have come to be known and loved for, but this latest project shows that they are now stronger and wiser, bolstered by the wins and learnings that they have fought hard for along the way. The resulting tracklist aims to leave the listener feeling power alongside their anger, and brings a fresh and compelling blend of punk, rock, grime and rap together in an experimental way.

Following on from the last album, Bob Vylan Presents the Price of Life, the message woven throughout Humble as the Sun remains dark in places but is high-energy, defiant and unapologetic in its critique of a broken social and political system that so many have fallen victim to, but feel powerless against.

This album is for the underdogs, the ones who come out swinging and those who refuse to be defeated in the face of injustice, and aims to remind listeners that anger is a fire that can be harnessed and put to use. The album creation started from a conversation with the sun, which is, after all, a big ball of fire that sustains life.

From masculinity to myths about the G Spot, the themes and topics explored on Humble As The Sun make for an often humorously empowering celebration of the peoples ability to endure, overcome and bring about change.

The lyricism on this album is even more layered than their previous projects, still darkly humorous, anti-establishment and unforgiving but at times pauses to deliver much-needed words of afrmation to listeners, “You are loved. You are not alone. You are going through hell but keep going.” Bobby assures the listener, ofering an antidote to the state of the world, aiming to give some power and agency to those who hear it. At a time when so little trust or faith exists between the people and the powers that be, Bob Vylan ofers out a hand in the despondent darkness that has overwhelmed so many in the shadow of a burning planet. They guides the listener to a place where they can see some light and feel empowered to do something, to fight back, to continue pushing forwards despite the challenges faced along the way.

Mixing all of the best quintessentially British - and Jamaican - musical elements from punk to drum and bass, grime and rock, Bob Vylan creates a sound that reflects the state of the nation, at once voicing the frustrations that normal people have, while also highlighting one’s ability to persevere, overcome hardship and to change.

180 Gram, Red Vinyl `Christmas With Ol' Blue Eyes' is an extension of Sinatra's most beloved holiday album `A Jolly Christmas from Frank Sinatra'. It includes the bonus tracks `Christmas Dreaming', `Let It Snow, Let It Snow, Let It Snow' and `Santa Claus Is Coming To Town'. His deep blue eyes earned him the popular nickname "Ol' Blue Eyes" which gave the record its title. Sinatra is regarded as one of the most popular entertainers of the mid-20th century. He is among the world's best-selling music artists, with an estimated 150 million record sales globally. Over the course of his career Sinatra received eleven Grammy Awards, including the Grammy Trustees Award, Grammy Legend Award, and the Grammy Lifetime Achievement Award. He was included in Time magazine's compilation of the 20th century's 100 most influential people. American music critic Robert Christgau called him "the greatest singer of the 20th century" and he continues to be regarded as an iconic figure.

Vintage George Benson vocals on vinyl & CD, float over orchestral reimagining of beloved American Standards & Soul Classics in this incredible collaboration with renowned composer and conductor, Robert Farnon.

The brand new 10-track collection, once thought to be lost to history, was recently discovered in Benson's personal vaults and remastered to their original glory.

With this new release, Benson marks a musical return to the Warner Family --a Homecoming to the place where he had his most profound commercial success.

~~~From Mississippi and Olvido Records~~~~~~ Steel-string guitar and vocals by the great Giorgos Katsaros, a mythic figure of Greek rembetiko. Our obsession with underground Greek music continues with 10 ultra-rare recordings of heartbreak and vice from rembetiko legend Giorgos Katsaros. Katsaros, who by some accounts lived to be over 100 years old, carried the old songs of Greece to the Diaspora in the United States, bridging centuries of music in one storied lifetime. Born in 1901 on the Greek island of Amorgos, Katsaros' was enchanted with the songs he picked up as a kid in the streets of Piraeus and Athens. Encouraged by his grandfather, an amateur singer, Katsaros developed a style that mirrored his upbringing - centuries-old Asia Minor songs, island rhythms of his homeland, well-known Athenian songs of the time, and anonymous `rebetiko' songs. Katsaros' songbook was vast, but he was most drawn to the street life and music of the manges of early 20th-century Greece: outcasts who dealt with the indignities of an unstable economy and an inauspicious future with the old standbys: wine, hash, and dancing. These ten tracks are remastered from Katsaros's 64 surviving early recordings, many rarely heard since their original release. Hypnotic melodies plucked over repeating thumbed basslines back his deep, mournful voice. Katsaros brought this nostalgic late-night music to smoke-filled rooms of Greek exiles in Chicago, Philly, and New York, where he emigrated in 1917. He continued to travel the country and play until his music was supplanted by more modern styles in the 1950s. He retired to the town of Tarpon Springs, FL, famous for its Greek sponge fishers, til a late-in-life revival brought him back to Greece for a few massive concerts and national accolades in the 1990s. Like many great artists, Katsaros carefully curated his own mythic backstory over the decades. He sometimes claimed he was born in 1888, making him 109 on his passing, and conflicting accounts of his birth and travels circulate to this day. Greek researchers Stavros Kourousis and Konstantinos Kopanitsanos, who also compiled these tracks, contribute groundbreaking new historical research on Katsaros' life. Lyrics, poetically translated by Tony Klein, further fill in the picture. Clean and rare 78s were remastered by Stereophonic. Katsaros has never sounded better than on this LP, pressed on heavy black vinyl, with extensive notes and lyrics.

The wait is over! Delgado, the ten-track collaboration album by Flee Lord & Roc Marciano is now available on vinyl with bonus tracks from the delxue digital version! Originally released in August of 2021, Delgado was produced entirely by Roc Marciano, with the veteran artist / producer providing a blend of versatile beats for the Lord Mobb General to spit his patented street raps over. With features from long time collaborators such as Conway the Machine, Ransom, Stove God Cooks and DJ Boogieman, Delgado received both commercial and critical acclaim and now this fan favorite is available on wax! HotNewHipHop had this to say about the album: “On this one, Flee is in absolute beast mode, bodying each instrumental that Marci serves up with fire and fury. At this point, it’s going to be hard to deny Flee a spot at the best current lyricist table, especially after he delivers inspired performances on ‘This What Ya Want?’ and the minimalist ‘First Kill’.”

Many happy returns to Detroit's Rocksteady Disco, an undeniably consistent label that has reached the ripe old age of ten years old. To celebrate, they're releasing a series of anniversary EPs containing fresh jams from the label's roster of artists. Mainstays Sol Power All Stars get things going with off-kilter Afro-house scorcher 'Solsibisa' - all heavy horns, hot-stepping drum machine beats, squelchy synth-bass and heady vocal snippets - before Eddie Logix combines lightly pitched-down First Choice vocal samples with Balearic guitar bursts and plenty of deep house nous on '2nd Choice (It's Still Not Over)'. Over on the reverse, Blair French gets summery on the Latin-tinged deep house joy of 'Whispers of You', while Topher Horn reaches for dense drums (acoustic and electronic), sparse melodic motifs and heavy bass on 'Gratiot Dub'.

Set for release at the height of the season it’s dedicated to, ‘Music For Autumn Lovers’ by Adam Scrimshire is an eight track album of lush, mostly acoustic based, minimal instrumentals eliciting a mixture of feelings for this special time of year.

Four tracks originally released on an EP in 2022 are joined by new compositions ‘Hawthorn’, ‘Hazel’, ‘Willow’ and ‘Blackthorn’. Gently finger-picked acoustic guitars cosy up alongside pianos, synthesisers, strings and horns; filtered through an autumnal hue of susurrous production and effects. In turns comforting, melancholic and evolutionary; it feels like an album that can be kept being made and remade forever, like a season in itself.

Both a relentless creator and inspiring champion of new music; South London based Scrimshire has been recording, producing and DJing since the mid 2000s. Amongst his credits, he was featured by the Guardian as one of three producers behind the new wave of UK soul, alongside Inflo (Michael Kiwanuka, Sault, Lil Simz) and Swindle (Joel Culpepper, Greentea Peng, Kojey Radical). His bold 2023 album ‘Paroxysm’ was a response to the absurdity of the breakdown in the UK government, picking up an Album of the Week award on Huey Morgan’s BBC 6 Music show, and 2021’s beautiful ‘Nothing Feels Like Everything’ received an Album of the Year nomination at the Gilles Peterson Worldwide Awards. Scrimshire also somehow finds the time to support a wealth of talent on his label Albert’s Favourites, formed with Dave Koor and Jonny Drop, where they have recently released albums by And Is Phi, Huw Marc Bennet, Inês Loubet, Irini Arabatzi, Jonny Drop & Andrew Ashong, and Qwalia.

Radio Support: Gilles Peterson (BBC Radio 6 Music), Tom Ravenscroft/Deb Grant – New Music Fix (BBC Radio 6 Music), Huey Morgan (BBC Radio 6 Music) Guy Garvey (BBC Radio 6 Music)

Diamond D is back with his 3rd installment of his Diam Piece series, The Diam Piece 3: Initium. Vol. 3 will be broken down into 3 separate parts with Initium being the 1st of 3.

With Diamond on the tracks, Initium boasts features from KRS-One, RJ Payne, Skyzoo, Torae, Bishop Lamont, Sauce Money, Lord Tariq, Fat Man Scoop, Static The Prodigy, Royal Flush, Agallah, David Bars, Inspectah Deck, Shyheim, 38 Spesh, E-A-Ski & Bonecrusher.

Shock Room it’s a double vinyl release who takes the name from the main room of the discoteque.

ULTIMO IMPERO DI Torino; an historic temple of the techno music from the ‘90s. in this compila)on are all included the most iconic and an)cipated “techno, trance & progressive” grooves that have made dance en)re genera)ons of people, nowadays again on track and well
spinned up by djs all arounf the world.

2024 Repress

Re-mastered from original stereo master tapes.

Limited edition 1000 copies.

180 gr vinyl pressed by Pallas in Germany.

Deluxe high-gloss flipback album jacket.

Facsimile reissue using the original cover art (front photo is lost).

Double insert using an original photo by JP Leloir from 1959.

Each record has been visually checked to prevent defects.

Recorded December 19 and 20, 1958 at the studio Hoche, Paris.

Original LP issue: Barclay 84.063.

Belgian jazz artist Bobby Jaspar died far too young at age 37 in 1963, but fortunately made a handful of memorable dates as a leader. This is the last studio session under his name. Jaspar sticks exclusively to flute on these December 1958 studio recordings. He’s joined by drummer Kenny Clarke, Sadi Lallemand or Michel Hausser (who also doubles on xylophone) on vibes, and either Paul Rovere or Jymie Merritt on bass, as well as percussionist Humberto Canto (on one of the two sessions). Jaspar’s soft arrangements prove very appealing for his originals, standards such as ‘Lullaby of the Leaves’ and ‘There Will Never Be Another You’, and classic jazz tunes (an exotic ‘Misterioso’ and a Latin-flavored ‘Chasin’ the Bird’, the latter featuring Hausser on xylophone). This is easily one of Jaspar’s finest recordings as a leader.

Ken Dryden / All Music

Bobby Jaspar (Flute)
Michel Hausser (Vibes) (tracks 1 to 4, 6,8,9)
Sadi Lallemand (Vibes) (tracks 5,7,10)
Paul Rovère (Bass) (tracks 1 to 4, 6,8,9)
Jymie Merritt (Bass) (tracks 5,7,10)
Humberto Canto (Percussion)
Kenny Clarke (Drums)

Re-mastered from original mono master tapes.

Limited edition 1000 copies.

180 gr vinyl pressed by Pallas in Germany.

Deluxe high-gloss flipback album jacket.

Facsimile reissue using the original cover art.

Double insert using an original photo by JP Leloir from 1955.

Each record has been visually checked to prevent defects.

Recorded December 27 and 29, 1955 at the Pathé Magellan studio, Paris.

Original LP issue: Barclay 84.023.

After hitting Paris in 1950, saxophonist Bobby Jaspar enthralled jazz fans and jazzmen alike with his smooth, elegant playing, with the lyricism of his tranquil phrases heavily influenced by Stan Getz in particular. So when Jaspar began regularly performing with a small ensemble at the Club St-Germain five years later, he adopted the same instrumentation as that of his idol’s illustrious quintet, with Sacha Distel on guitar and René Urtreger on piano in the roles of Jimmy Raney and Al Haig, respectively.

Contrary to what its title might suggest, ‘Modern Jazz au Club St-Germain’ was actually recorded in the studio. It features compositions by Milt Jackson, Dizzy Gillespie and Miles Davis along with a handful of standards, in which the angular aridity of bebop gives way to the generous and yet sensitive idiom of cool jazz.

Jaspar’s premature death in 1963 robbed the jazz world of a promising talent; this record is among his best efforts as a leader. Bobby Jaspar is in top form here !!!

Text – Pierre de Chocqueuse

Bobby Jaspar (Tenor Saxophone & Flute)
Sacha Distel (Guitar)
René Urtreger (Piano)
Benoit Quersin (Bass)
Jean-Louis Viale (Drums)

Red Laser continue their prolific purple patch, unpacking four more slabs of red lit Manctolo from a host of box jammers, old and new.

Frank Butters wastes no time at all, 'The Call Of The Wild' engaging photon tubes with a highly kinetic array of crystalline synth shards, thunderous bass and hyperactive sfx. Without geeking out too much, special mention has to go out to the synthesis on display here - Butters advancing up the levels of sonic shamanism as he conjures up never-before-heard patches of interstellar cosmic NRG...

Bob Swans' 'Bodyform4U' unites the robots with a universal message of togetherness. Its multiple layers of shuddering arpeggios and star-aligned synths working in unison to quell any fears and send us off into a space age utopia. One that'll work as well soundtracking the end of the session as it will as the dancefloor's filling up; its subtle anthemic qualities sure to rouse the spirits of even the most dehumanized cyborgs.

New signing Lone Saxon drops 'Hypersleep' which utilises rich piano chords and a hefty breakbeat, switching up the vibe but keeping things super uplifting. This one reminds us of that innocent period when you could get on the megabus for 50p and score three for a tenner on the dancefloor. An evocative vocal refrain adds a moment of thoughtful introspection in between the e-rushes and arm-raising for another moment of interactive harmony.

Finally, 'Webo' sees Franz Scala (with a little help from Il Bosco) return to source, delivering a bona fide slice of maximum balls out MANCTALO chug. With tension-wrought chord progressions, delicious layers of lead melodies and a soaring vocal, there's few that can resist the charms of this late night electro-disco hyper anthem.

All aboard the starship !

RL x

Celebrating dance music’s roots in Africa, global music superstars Soweto Gospel Choir and renowned Australian DJ Groove Terminator team up with Grammy-winning producer Latroit to present ‘History of House,’ a global reimagination of the iconic dance music classics that defined a generation.

Featuring exquisite multilingual vocal performances and collaborations with some of Southern Africa's most promising emerging artists, "History of House" stands as a vibrant celebration of music and culture. This album transcends boundaries, effortlessly connecting diverse cultures across generations with an authentic fusion of global beats, Afro house, Amapiano, and house music.

Lennon & McCartney. Simon & Garfunkel. Ralf & Florian. Enema & GeJonte. The inventors of modern pop music as we know it. Joining forces in 1988, Orebro duo Kai Parviainen and Jonas Ohlsson put out four cassettes and a split album with Frak under the Enema & GeJonte guise, all teeming with clever and funny electronic pop songs. The sound? Imagine Duet Emmo jamming out with the Residents on a wheat field on Narkeslatten. Or picture early Severed Heads covering lost Philemon Arthur & The Dung tapes. Kai pushes his Sequential Circuits Pro-One synthesizer to its limits while Jonas makes discerning observations on everyday life in a Swedish small town. Mostly sung in Swedish, sometimes in English, but always with a touch of sweet naivety and innocence on par with lo-fi punk/pop geniuses Dan Treacy and Daniel Johnston. Typical song subjects: A friendly game of five-a-side football. The joy of rising at the crack of dawn to get on with the tasks of the day. A bus journey to Odensbacken to savour a semla at a local cafe and some small talk with the gas station manager. All delivered with a playfulness and ecstasy more commonly found on the records with Swedish Christian music Kai so devotedly collects than in contemporary industrial or electronic music. When Jonas moved to Amsterdam in 1996 the boys ceased making music together, leaving behind a treasure trove of unreleased material, some of which appeared on a couple of cassettes in the 00's. But the best stuff has remained buried until now. How dada pop gems like ''Joxa med trasan'' and ''Underground'' could dwell in obscurity for thirty-ish years beggars belief. Other standout tracks on this compilation: ''Plan 714 till NYC'', a wonderful waltz time instrumental performed in the vein of a drunken Bob Hund, and the En Halvkokt I Folie style cut up experiments of ''Gasten Harry''. So get ready for a glorious blast from the past, as the Swedish pioneers of the hypnotic groove cordially invite you to a sonic journey as adventurous and memorable as a trip on the lansbuss to Odensbacken. Get on board, grab a seat and enjoy the ride. Liverpool. New York City. Dusseldorf. Orebro. // Ulf Osterstrom

As with most things, this project started with a conversation in the pub between me and Martin.

As we discussed what J-Walk and BiD could do next we chatted about our mutual love of DIY, Post Punk, Reggae, Digital & Dub, how about using that feel as an initial jump off on the next thing and see how you get on? I suggested.
As is his way Martin considered the suggestion, then promptly disappeared, 6 weeks later something landed in my inbox, it was titled Broken Beauty and the music contained embraced all those symbiotic ideals and culture.
Nailed it!
Recorded entirely in Stockport using a mixed kit bag of cheap forgotten keyboards, guitar, bass and effects pedals, this LP takes the J-Walk aesthetic and applies the wider palette of these influences to create something unique, those past and present influences forged together to bring you something truly DIY - instructions below.
How To Make Such A Thing...

Deactivate social media. Ignore the internet, don't answer text messages, avoid other music, the telly and other people. This is a process where it's only you in the room with whatever's in your mind. You will be there for some time and the loneliness can hurt a little.

Forget any predetermined ideas. Forget everything you've ever done before. This is an opportunity to start from scratch, but with years of accumulated knowledge and craftsmanship. Trust yourself.
Be scared. Be excited about not knowing what will happen and what will result.

Don't use midi sequencing, virtual instruments or samples. Just plug a toy instrument into an amp, press a rhythm and play around to see what happens. If it sounds good and fresh then record it. Plug a bass in to jam around and you'll soon hear and feel what sits in the pocket of the beat. Record it as it is. Dirty is real and good. Cleanliness equals sterility. Loop the bassline. Plug a guitar in and do the same.

Don't think when doing any of this. Just experiment with interest and curiosity and the music will take care of itself. You will now have a groove which is also about half a song minimum. Play some keys from the toys on top of what you have. Put 'em through effects pedals. Again, don't overthink it and don't try to get it clean. Add sound effects in right and random places.

There you go. Something you've never made before. But more importantly, it's something you've never heard before.

You don't have to die to be reincarnated.

BROKEN BEAUTY...You can't be either without also having been the other.

*Includes download code

In the performance of this work, "Plan for Sleep" (1986), created simultaneously with “Every Dog Has His Day” (1985), Yamanaka took on the role of sound operation. The performance begins with a minimal piece where the tones of the electronic organ and striking phrases from the piano and saxophone race forward in syncopation. Following this, various sound fragments drift over a deafening industrial beat reminiscent of machine noises. There are also pieces that transform the typing sounds of a typewriter into rhythm, showcasing a range of experiments inspired by the then-novel sampling technology, beautifully intertwining with the physicality of the performance.

Additionally, influenced significantly by film music, Yamanaka incorporates a rich tapestry of colors through melancholic melodies that evoke various scenes, from secular jazz to other influences. This work constructs a uniquely original and sophisticated worldview that stands out even when surveying the canon of avant-garde performance art from around the globe in the postmodern era.

DUMB TYPE is a multimedia performance art group based in Kyoto that was formed in 1984 and continues to be active at the forefront of the art scene. We are excited to announce the simultaneous release of two cassette book works produced by musician Toru Yamanaka and the late Teiji Furuhashi, a central figure of the group, for works from the early DUMB TYPE Theatre era: "Every Dog Has His Day (recorded in 1985)" and "Plan For Sleep (recorded in 1986)," now available for the first time on vinyl.

Since the founding of DUMB TYPE, Yamanaka has primarily been responsible for music production, while the late Furuhashi played a crucial role in translating Yamanaka’s compositions into stage direction. Their collaboration began with previous groups ORG and R-STILL, and was influenced by the NEW WAVE and progressive rock trends they were pursuing at the time, as well as by artists like Laurie Anderson, Meredith Monk, and Robert Wilson, who fused minimal music and avant-garde performance. Moreover, their bold incorporation of cutting-edge sampling and house music during that era laid the foundation for DUMB TYPE's sound, marking an important intersection in the history of minimalism, ambient music and performance art in Japan.

*Includes download code

The two works which comprise this retrospective release project - "Plan for Sleep” (1984) and "Every Dog Has His Day” (1985) - are collaborations between Yamanaka and Furuhashi which were foundational to the music development of Dumb Type's aural legacy and intermedia innovations at large. Their early stage music possessed a unique charm and innovation, serving as an essential element at the core of their art. Through this project, the legacy of these works is to be re-evaluated, and the essence of the music contributing to the evolution of Dumb Type's sound through this day will be introduced to a new generation.

DUMB TYPE is a multimedia performance art group based in Kyoto that was formed in 1984 and continues to be active at the forefront of the art scene. We are excited to announce the simultaneous release of two cassette book works produced by musician Toru Yamanaka and the late Teiji Furuhashi, a central figure of the group, for works from the early DUMB TYPE Theatre era: "Every Dog Has His Day (recorded in 1985)" and "Plan For Sleep (recorded in 1986)," now available for the first time on vinyl.

Since the founding of DUMB TYPE, Yamanaka has primarily been responsible for music production, while the late Furuhashi played a crucial role in translating Yamanaka’s compositions into stage direction. Their collaboration began with previous groups ORG and R-STILL, and was influenced by the NEW WAVE and progressive rock trends they were pursuing at the time, as well as by artists like Laurie Anderson, Meredith Monk, and Robert Wilson, who fused minimal music and avant-garde performance. Moreover, their bold incorporation of cutting-edge sampling and house music during that era laid the foundation for DUMB TYPE's sound, marking an important intersection in the history of minimalism, ambient music and performance art in Japan.

When the quartet of Luke Martin, Gabriel Salomon, Klaus Janek and Andy Graydon gathered to record an afternoon of sessions in Andy's studio, it was both the result of years of cultivation and an afterthought. Klaus and Andy had been long-time, and now long-distance, collaborators since their shared years in Berlin. That city was also where Andy was introduced to Gabriel at one of his solo performances by their mutual friend, the painter Paul McDevitt. Years passed, and cities. After meeting and working together in Boston, Luke and Andy both found themselves transplanted to Minneapolis. And by happenstance Gabriel arrived a few years later. A new conversation was just starting to emerge when Klaus announced his arrival, stopping by on a North American tour. Suddenly the four got a chance to listen and play together performing on a bill at a local gallery, in one configuration or another, for the first time. Packing up after that show, Klaus leaned over to ask, "isn't there a moment we could meet again, to play?"

Nothing was expected, and so anything was possible. The circumstances lent their gathering an impromptu but grounded feeling, a unique mix of chance encounter and reunion. As befits an opening encounter, the focus was as often on listening to the unfolding sonic conversation as it was on making a recording. Everyone seemed to intuit the direction despite not knowing where they were headed. The four faced each other in a loose circle surrounded by speakers and microphones pointed haphazardly, as likely to catch the dog padding around curiously as the bowing of strings or rattling of a cymbal. The permissive spirit of the day was declared early, just before rolling, when Gabriel asked if we should close the studio windows or leave them open. "You know what my answer is," replied Luke. If it's in the nature of a recording to become fixed, to be bottled up, let us at least leave open the windows to hear what might be coming next.

In the heart of Offenbach, where the city's pulse synchronizes with the beat of the night, stands the illustrious Robert Johnson Club. For a quarter of a century, it has stood as a bastion of sonic exploration, a sanctuary for those who seek solace in the rhythm, and a beacon of inspiration for the global electronic music community. As it proudly raises its glass to toast 25 years of unrivaled musical excellence, the echoes of countless memories reverberate through its storied halls. To honor this landmark anniversary, „Live at Robert Johnson“ presents a kinda like masters blueprint of sound: "Tell Me Something Good - 25 Years of Famous When Dead!" This compilation, aptly named after the club's mantra, serves not only as a celebration of its rich history but also as a testament to the enduring legacy of the artists who have graced its stage. Crafted with meticulous attention to detail, each track on the compilation is a sonic journey unto itself—a symphony of beats and melodies that weave together to tell the story of Robert Johnson's evolution over the past quarter-century. From the pulsating rhythms of underground techno to the ethereal melodies of deep house, the compilation encapsulates the club's eclectic spirit and unwavering commitment to pushing the boundaries of electronic music. But beyond the music lies something deeper—an intangible energy that permeates every aspect of Robert Johnson's existence. It's the sense of camaraderie that binds together the club's patrons and artists alike, the shared experience of losing oneself in the music, and the profound sense of belonging that transcends language and culture. As the compilation reverberates through the speakers, it serves as a rallying cry—a call to arms for all who have ever felt the transformative power of music. It's a reminder that, even in the darkest of times, there is beauty to be found in the simple act of coming together and losing oneself in the rhythm of the night. So let us raise our voices in celebration of Robert Johnson Club and the indelible mark it has left on the world of electronic music. Here's to 25 years of passion, of creativity, and of "something good" that will echo through the ages for generations to come.

Hellbilly Deluxe 2: Noble Jackals, Penny Dreadfuls and the Systematic Dehumanization of Cool is the fourth solo studio album by former White Zombie frontman Rob Zombie. The album is a sequel to his debut album Hellbilly Deluxe and was released on February 2, 2010. This is the first album with bassist Piggy D and the last with drummer Tommy Clufetos.

Hellbilly Deluxe 2 is also the first release where Rob Zombie worked with his full touring band. Previous albums were written and recorded by Rob Zombie himself and a rotating set of musicians. The lead single ""What?"" debuted on radio stations on October 6. Rob Zombie enlisted the help of artists Dan Brereton (creator of Nocturnals), Alex Horley (of Image Comics and DC Comics) and David Hartman (storyboard artist) to create the album artwork. British dark/horror/science fiction/steampunk artist Sam Shearon aka 'Mister Sam Shearon' (artwork for Ministry, Slayer, Clive Barker, and tour merchandise for Iron Maiden) also contributed to the artwork of Hellbilly Deluxe 2.

Hellbilly Deluxe 2 is now available as a limited numbered edition of 1500 copies on Dracula coloured vinyl, housed in a gatefold and it comes with a 4 page booklet.

Rian Treanor keeps knocking new doors of possibility with his new label Electronic Music Club and its initial focus on Rotherham Sight & Sound, participants of a community-based initiative in their shared post-industrial home town Rotherham. Utilising software synths designed by Rian and his dad Mark Fell, the trio twist out vortices of shearing, asymmetric anarchitecture, rudely resembling the sort of hyper-contemporary styles alluded to in Rian’s solo works, but inflected with cranky timing and an intuitive freedom that bears extraordinary results, especially when considering the fact the trio had no prior musical ability, and only encountered electronic music a few years ago.

After a couple of years of practice and performance, ‘Action Potential’ now firms up their quicksilver sound for club and home buzzes with seven actions that warp and morph from the needling jolts and hoof of ‘Pass The Go’, to shuddering detonations in ‘Dial’, each with a properly electrifying force carrying a genuine futureshock. Working within Rian’s systems-based framework, Anne, Kathleen, and Mick deploy a tactile feel for the machines, finely honed over the course of many sessions at the Rotherham Sight & Sound facility, that uses their visual impairments to synaesthetic advantage.

Between the wickedly metallic ragga swivel of ‘Hold’, the diffractive chain reactions of ‘When It Ends’, and more tempered, sloshing sensuality of ‘30 Seconds’, the trio follow their noses down wormholes that manifest an ideal of accessibility and expressionism within electronic music contexts that Rian and Mark have long worked towards, with Anne, Kathleen and Mick’s relative lack of cultural conditioning in this paradigm prompting them to act on pure instinct

There is NO LIGHT at the end of this tunnel! BROWN ACID: The Nineteenth Trip fires ten more savage nails deep into the coffin of ‘60s psychedelic idealism. This series is THE premier top dog journey into the rarest and most wasted early local eruptions of heavy rock, unleashed at a time when harsh reality, human nature and disillusionment drove prevailing underground rock glimpses of a ‘better’ world into ever darker selfabsorbed comedowns. Mind expanding ’60s love energies transform into toxic aggression right before your ears! The great thing is that these moves are totally justified, ‘we are all one’ is cosmically good in theory but ‘get it while you can’ ends up perhaps better advice in the light of human history. Both of those angles of awareness can coexist, some of these bands deliver unrelenting sideways positive energy but they aren’t over-thinking it, they are youthfully driven by hunger for life and satisfying the undeniable urges their DNA thrusts upon them. Sonically, the results in the BROWN ACID series never fail to breathe hot and heavy, the guitars kill it every time, the variety of approaches these tracks take keep the scenery shifting into new places. The key element that makes this stuff so potent is that THEY (the bands) are in control. Captured genuinely with no compromise, right out of the gate. No doubt they had ambition with high hopes for the future when they laid down these primal efforts, the fact that they captured their energy so vividly at a moment in time when the only direction imaginable was UP creates a hard hitting life affirming subtext to the proceedings. That is the core energy of blues and rock and roll, dealing with the struggles of existence by flipping a gigantic ‘what the fuck’ high energy bird right in the face of the moronic defective reality these bands were born into. If you take this stuff too ‘seriously’ you are utterly missing the point, it is beyond analysis, it is life itself! No amount of thinking will get you there quicker! BROWN ACID: The Nineteenth Trip is scary... the bottomless pit of deranged vintage heavy rock the series presents continually expands over time... one deadly dose too many and you might be trapped in the bad trip loop forever... enjoy it or lose your mind!

Mac DeMarco, formerly Makeout Videotape, is the anti-thesis to your stereotypical singer-songwriter. Disregarding the seriously somber moments, he replaces them with whimsical and youthful spontaneity, whilst retaining the endearing and subtle commentaries that exude his familiarity. Promptly after leaving his Edmonton garage for Vancouver he embarked on a North American tour accompanying fellow Canadians Japandroids on a grand voyage of enlightenment and alcoholic debauchery. DeMarco's a weird cat cultivating an affinity for occult imagery, nudity and social satire. But his most impressive trait is his undeniable and instinctual ability to compose magical pop jangles, of which he'll likely refer to as "jizz jazz". His dusted jams have garnished him accolades that are as ever-increasing as his song writing abilities; his sound rendering comparisons, but in a nomadic fashion alluding no distinct origin. DeMarco's debut solo EP entitled "Rock And Roll Night Club" will ramble into the great unknown guided by Captured Tracks, DeMarco's inner Elvis a tow.

The only EP (and more studio recordings!) by one of the first 77 punkrock bands from Liverpool. Released in 1979 and long out of print, The Accelerators S/T EP was the only vinyl output released by this pioneering Liverpool punkrockin' band. A soulful, prime example of from pubrocl originating first wave punk that sounds as fresh and powerful today as the day it was recorded and is presented here in its totality with a B side consisting of juicy demos and alternative mixes. A mandatory gem for fans of garage rock, punk, pub rock and hi-energy rock 'n' roll in general!

Computer Future is the sprawling and ambitious third album by amorphous Brisbane, Australia garage rock outfit Velociraptor! The 14-song opus is the best recorded capture yet of everything that makes the ‘Raptors so beloved, a stream of addictively catchy rockers characterised by stupidly infectious melodies, an overabundance of earworm hooks, guitars aplenty plus of course their trademark gang vocals and harmonies. The shadowy cabal behind Velociraptor have returned from a spell away from the spotlight with renewed vigour and focus, more committed to and appreciative of their combined talents and chemistry than their younger selves, who were perhaps more about concerned about chasing good times rather than long ones. These days there are more cooks in the ‘Raptors kitchen than before but that’s only allowed them to expand the palette of the Computer Future menu without compromising on quality. Their distinctively melodic take on the garage rock form is still entirely evident, only it’s now augmented by quirkily compelling sonic detours into psych and new wave realms, the band all the while sounding wholly like themselves and nobody but themselves (apart from perhaps the Devo-indebted title tracks). In their halcyon days Velociraptor were a force to be reckoned with, an amorphous collective sometimes up to 12 members strong - many of them wielding guitars of some description - who partied hard and played even harder, attacking their live shows with unbridled glee and genuine gusto. They toured Europe/UK, and staged with bands the calibre of Black Lips, New York Dolls, OFF!, Radio Birdman and Violent Soho. The unparalleled camaraderie of their renowned live blitzes - plus sheer size of the band - at times threatened to overshadow the genuine strength of their songwriting and recorded output, but now with Computer Future those concerns are firmly in the past!

Rival Sons play Rock N Roll in its purest form without apology or pretence. Beyond sharing stages with everyone from Black Sabbath, The Rolling Stones, AC/DC to Guns N Roses, they’ve ignited television shows such as The Late Late Show with James Corden & BBC2 Later Live with Jools Holland. Along the way, they’ve architected a critically acclaimed back catalogue that has earned them multiple GRAMMY nominations and 100s of million of streams. 2024 marks the 10th anniversary of the 3rd studio album ‘Great Western Valkyrie’. Originally released in June 2014, this album propelled Rival Sons to Rock N Roll royalty featuring the fan favourites ‘Electric Man, ‘Open My Eyes’ & ‘Good Things’ . I

"A sparkling mixture of American and British stars, featuring 23 of the biggest Christmas songs ever recorded. With Elvis Presley wishes you a “Blue Christmas”, the Drifters wishing you a “White Christmas”, a “Christmas Prayer” by Billy Fury, a “Christmas Present” from Solomon Burke, “Rockin’ Around The Christmas Tree” with Brenda Lee, “Twistin’ Bells” by Santo & Johnny, and the “Jingle Bell Rock” with Chubby Checker & Bobby Rydell. The Cadillacs sings “Rudolph The Red-Nosed Reindeer” and Chuck Berry “Runs With Rudolph”, Frankie Valli & The 4 Seasons “Saw Mommy Kissing Santa Claus”, Johnny Cash with his “Little Drummer Boy” and finally David Seville and the Chipmunks with “The Chipmunk Song”."

"A sparkling mixture of American and British stars, featuring 23 of the biggest Christmas songs ever recorded. With Elvis Presley wishes you a “Blue Christmas”, the Drifters wishing you a “White Christmas”, a “Christmas Prayer” by Billy Fury, a “Christmas Present” from Solomon Burke, “Rockin’ Around The Christmas Tree” with Brenda Lee, “Twistin’ Bells” by Santo & Johnny, and the “Jingle Bell Rock” with Chubby Checker & Bobby Rydell. The Cadillacs sings “Rudolph The Red-Nosed Reindeer” and Chuck Berry “Runs With Rudolph”, Frankie Valli & The 4 Seasons “Saw Mommy Kissing Santa Claus”, Johnny Cash with his “Little Drummer Boy” and finally David Seville and the Chipmunks with “The Chipmunk Song”."

2024 reissue of the initial edition released on Nov 2023 - blue & purple vinyls.

September 2012, the 4 turntablist djs from C2C (20syl, Greem, Atom and Pfel) released their first and only album to date : Tetr4.

This album was about to conquer the world: following heavy radio rotations with the hits "Down The Road" and "Happy", the band then toured in the biggest french venues before hitting the most renowned festival stages around the world (Coachella, Roskilde, Fuji Rock…).

For its 10th anniversary, the album comes on a new setting in its double LP vinyl version. Transparent color discs and silver sleeve to celebrate its first decade!

"SKANLESS SUMMER: 80Z BABYZ (RE-ROCK EDITION)" takes you on a nostalgic yet groundbreaking musical journey, masterfully curated by the LA up-and-coming star T.F. In this innovative album, T.F. seamlessly fuses the raw energy of 80s hip-hop with contemporary beats, re-rocked by Local Astronauts, redefining the very essence of rap music and featuring guest appearances by Larry June, Jay Worthy, Flee Lord, Tiona Deniece and more!

Tiny Mouse Tales was released in 2018. At the time, Evgeny was living in a house surrounded by forest. One night he noticed movement in his kitchen and saw a mouse. The mouse kept coming back but seemed to have different features each time! Eventually Evgeny understood that it was a family of mice, and the title of his new record was evident. On Tiny Mouse Tales Evgeny tells the musical story of the family of mice living in his home, expanding his palate to include the trumpet to great effect on tracks such as “Hunter In Love” and “Prologue.” The blog Spellbinding Music sums it up perfectly: “With short pieces such as “Prologue”, “Epilogue” or “Carousel”, the Tiny Mouse Tales EP sketches wonderful cinematic themes begging to be expanded and heard on the big screen.” Naive Album was released in 2019. Album opener “Where Art Thou” announces the arrival of a masterpiece. More than ever, Evgeny’s compositional voice is fully formed. Each track feels like a journey in itself, and the album has several crescendos that make the listener feel as if there is an entire orchestra backing Evgeny. The album closer, “Unexpected Finale Somewhere in Lisbon,” perfectly encapsulates this masterpiece. Running through three separate, repeating themes, the track is at times mournful, intense, epic and humorous. Witness the picked / improvised violin notes on top of the relaxed accordion theme that makes up the second half of the track. Although the record was recorded in Lisbon, this track has the feeling of a stroll down the Seine in Paris, a silhouette dancing with heels clicking left and right. Now, these treasured recordings and pieces of Evgeny Grinko’s creative world will be available in physical format for the first time.

Darian Donovan Thomas, the composer, multi-instrumentalist, and interdisciplinary artist announces his debut album A Room With Many Doors, a collection of songs that morph between hyper pop, noise, and ambient palettes, via New Amsterdam Records.

Throughout the 1960s, Canadian composer Bruce Haack was as ubiquitous on children’s and variety shows as were exotic animals from the San Diego Zoo. But he wasn’t there to perform so much as demonstrate. In his formative compositions for theatre and ballet, he had experimented with tape loops and musique concrète techniques; by the early ’60s, he wasn’t just playing around with electronic sounds, but also making the very gizmos that generated them. By day, Haack would eke out a living as a composer for commercials and a series of instructive, interactive children’s records made with collaborator Esther Nelson.

But by night, Haack was making music that was decidedly adults-only.

Originally released in 1970, The Electric Lucifer was Haack’s first work pitched to a contemporary rock audience, released by Columbia Records in the dying days of a post-hippie moment when bizarro outsider-psych could still find a home on a major label. If it was not the first rock record to feature electronics, it was certainly among the first to give them a starring role—both musically and conceptually.

Louis De Roo already knows a thing or two about what life can throw at a person, yet this young Belgian songwriter is still very much on the threshold of a promising international musical career. Fall 2024 sees the release of his debut album ‘Troubled Waters’ as Isaac Roux. His debut and breakthrough single White Rose (which is not on the album) became an alternative hit in Belgium and the Netherlands, with follow-up singles Colours and Autumn Love opening doors in Germany (radioeins), France (Radio Néo) and Austria (FM4) and to trendy streaming playlists. Roux’s combination of warm indie folk and alternative rock works even better on stage, never failing to leave a crowd open-mouthed, like during a live session on German national radio (Deutschlandfunk Kultur). Impressing crowds at the Rock Werchter and Pukkelpop festivals in his home country, he did the same in the Netherlands and Germany (playing Reeperbahn three times), and supporting Dotan on his European tour in places like London, Paris and Vienna. Every song, and the album as a whole, gives the listener a glimpse into the life of De Roo, who hasn’t always had it easy, hoping that his music can give people in similar situations something to hold on to. “To win, to lose, to dream and to hope, they’re just some of the things that have shaped me into the person that I am today”, De Roo says. “And through my stories I hope to provide a little bit of a moral compass for people who, like me, haven’t always been treated nicely by life.”