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There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

Tape

There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

35th anniversary release of Liege Lord's seminal metal album "Master Control". Liege Lord are a staple of the United States power metal scene for a reason – all three of their albums; Freedom’s Rise, Burn to my Touch, and Master Control, are undoubtedly classics of the genre. It exemplifies the best features of the genre; aggression, speed, catchy vocals, varied riffs, pounding drum and bass, blistering solos, and a strong production to tie it all together. Interesting tidbit, "Master Control" was engineered by Terry Date (Overkill, Pantera, White Zombie, Slipknot, Deftones and more)

The Florence, SC-based multi-instrumentalist Alex Melton, known for his renditions of Punk Songs as country influenced songs on YouTube, has announced his new album 'Southern Charm'. The record, which is out 23rd January 2023, is Alex's debut album on label Pure Noise Records. Southern Charm is made up of two halves, amped-up versions of country classics and Alex's trademark alternative spin on punk and metal tracks. The album synthesizes all of Melton’s influences, from the country staples played on a loop in his childhood home through scene icons like blink-182, The Starting Line, A Day to Remember and Four Year Strong. In the first half of Southern Charm it includes covers of Tim McGraw’s nostalgic “Something Like That” (ft. Ryan Scott Graham) and Garth Brooks’ “Friends In Low Places'' the second half offerings come from The Story So Far, The Amity Affliction and Stick To Your Guns. Proficient on drums, guitar, bass, keyboards, and trumpet, Melton typically produces all of his YouTube covers at his home studio, a testament to his insatiable desire for knowledge and self-improvement – and a snapshot of how far he’s come as an artist and recording engineer throughout the years. “All of the technology has changed so much since I first started,” he says, noting his first video was a pop-punk cover of Taylor Swift’s “We Are Never Ever Getting Back Together.” “I started with a Home Recording for Dummies book and an original GoPro, which at the time was the cheapest way to get HD footage on YouTube.” Now armed with vastly more knowledge and resources, Southern Charm finds him working with outside producers for the first time, bringing in Tom Denney (A Day to Remember, who helmed the rock-based country covers) and Alan Day (Four Year Strong, who produced the country-based rock songs) to offer new perspective and add a level of vision and cohesion to the project.

Expanded with 2 original single-version tracks. Digitally mastered from original BYG tapes by Nick Robbins. 16-pages booklet with photos & exclusive liner notes by author and journalist Kevin Le Gendre. CD: Original 1969 BYG album. Expanded with 2 original single-version tracks. Digitally mastered from original BYG tapes by Nick Robbins. 16-pages booklet with photos & exclusive liner notes by author and journalist Kevin Le Gendre. *** Having been part of the fabled ‘Canterbury scene’ along with luminaries such as Robert Wyatt and Pip Pyle the irrepressible Australian guitarist-vocalist-songwriter Daevid Allen formed Gong with Welsh vocalist Gilli Smyth in Paris at the end of the ‘60s as France was in state of ferment. Magick Brother introduced Gong as one of the great oddities of the psychedelic and space rock age. The nucleus of Allen, Smyth and Malherbe was able to create a musical vocabulary very much of its own all the while searching for essential metaphysical truths. “The band made strong political statements that comes through loud and clear on this re-mastered version of Gong’s debut album...” Kevin Le Gendre, 2022

Space Dimension Controller’s first release in 2023 is also his first outing to Running Back. Needless to say that it pushes all the right buttons. Warm and playful, but forcing and with fresh jive, Neuclidea and its siblings revolve around classic SDC values. Nevertheless, the Irish melodist is also moving on to new pastures. Hardware sequencing, vintage digital synthesizers via analogue processing spawn a sound that pirouettes as much around the lost cyber-hippie poetry of Border Community as it’s the effigy of fast balearic euphoria – if Ibiza would have been a party scene in Gattaca. Completing this treasure chest is a remix by Hodge for the pragmatic minded out there. Using some heavy drums of the west, his version of Neuclidea extracts the trance-like elements of the original and turns it into a floor-polishing brush. To sum up: music for heartbroken and lovesick victims alike.

2 LPs-set (3 sides)
Recorded in Paris, November 22 and December 17, 1958.
Original issues: LP Fontana 680.202 ML & EP Fontana 460.642 MR.


”I’ve never played for such an audience” declared Art Blakey in tears. lt was November 22nd, 1958, and he’d just come offstage after one of the “Jazz Wednesdays” concerts at the Paris Olympia. For a first appearance by the “Jazz Messengers”, they’d made quite an impression. Not content with pulling a huge crowd off the Boulevard des Capucines (the demand was so great that a second concert had to be staged on December 17th), they’d converted everybody to the “Hard Bop” religion in two sets where, united in a kind of exultant communion, jazzmen, jazzophiles and curious bystanders alike had been crushed together in high spirits, paying no attention to the presence of Brigitte Bardot escorted by Sacha Distel. That night Blues March had almost replaced the Marseillaise anthem (and Moanin’ the Oignons). Yet none of the Messengers had ever been to Paris. They’d get to that later, and then some, but for the moment they were perfect strangers. Not only strangers to the public, but unknown even to a sizeable group of jazz fans : the next issue of “Jazz Hot” magazine (most of it devoted to them) arrived like an invasion by the carabimeri… the blaze lit at the Olympia had gone out, of course, and Blakey had moved into the “Club St. Germain” to light others; there, each of his gigs could have been a remake of the famous cabin scene in the Marx Brothers’ “A Night At The Opera”…

Among the Messengers’ “greatest hits”, only Moanin’ came close to Blues March. Constructed in the manner of a gospel, with the piano in the role of the preacher, and the orchestra that of the congregation, punctuating the sermon with shouts of approval, the theme was by pianist Bobby Timmons, whose fiery spirit can be explained by his educayion: “… the fact I played rhythm ‘n’ blues had a great influence on my style, and for me, it’s the foundation of jazz.” Moanin’ had sent the Olympia fans Into transports of delight, and even excited the curiosity of Hugues Panassié, who chanced to be passing by (“Bop”, in any form, being hardly his cup of tea) : he was prompted to go backstage and ask what it was he’d heard… Decidedly, in 1958, the Jazz Messengers were miracle-workers!

2023 Black Vinyl Repress
We are extremely happy to welcome another talented artist in the Moonshine Recordings family. EchoBoy previously known as Riddim Tuffa is a Czech based producer that is about to mashup the todays reggae dubstep scene in the upcoming months. His first moonshine release will drop on May the 6th on beautiful marbled hazy red vinyl.

 Crime & the City Solution’s fifth studio album,
‘Paradise Discotheque’, is reissued on transparent
orange vinyl. This is set to be released alongside
‘Shine’ and ‘The Bride Ship’.
 A band out of time, Crime and the City Solution
were perennial outsiders who could not rest in their
native Australia, and instead found inspiration in
the colder climes of London and Berlin. Their
mesmeric, expressive music evolved through
many incarnations and a great deal of adversity.
 The first incarnation of the band appeared in
1977/78, in the midst of Australia’s nascent punk
scene and re-grouped in London in 1984. The later
line-up of singer Simon Bonney, Einstürzende
Neubauten’s guitarist Alexander Hacke, DAF’s
synth player Chrislo Haas, jazz bassist Thomas
Stern, violinist Bronwyn Adams and Bad Seed’s
Mick Harvey on drums recorded three studio
albums in quick succession.
 Crime and the City Solution’s freedom of
expression and adventurousness reached an apex
on 1990’s ‘Paradise Discotheque’ and its epic ‘Last
Dictator’ saga, which spanned four songs laid out
like chapters at the album’s conclusion. The album
and the variety of styles used on it, from the
metallic sounds of ‘I Have The Gun’ to the magic
realism of ‘The Last Dictator’ quartet, were
influenced by Bonney and Adams’ move to Vienna.
 Unavailable on vinyl since 1994.

UK jazz dance hero Paul Murphy teams up with BBE Music to deliver his first compilation on the label: a blazing selection of up-tempo jazz titled ‘The Jazz Room’.
Lauded by none other than Gilles Peterson as “the original messenger of jazz who found almost every dancefloor classic”, Paul began DJing in 1970s London. His passion and unique playing style placed him at the epicentre of an emerging jazz-dance scene in the city, popping off in spots like The Horseshoe (aka Jaffas), The Wag, The 100 Club, The Blue Note and The Electric Ballroom, where he founded the now famous ‘Jazz Room’, after which this album is named.

The Zephyrs release their brand new album “For Sapphire Needle” on January 27th 2023 alongside Spanish comrades Acuarela, their first since 2010. With only 2018’s double A-side single “The Witches” and “The Crown Prince of Lies” in between, this represents their first collection of new songs in 13 years: from short and tightly constructed country-folk introspections to sprawling, spaced-out psychedelia, including a couple of extremely sharp pop glimmers and a killer Morricone-like instrumental. Originally conceived of as a series of 4 track EPs based on the seasons in which they were created, the recordings spanned into a patchwork of sessions with long-time collaborator and producer Michael Brennan at his Substation studio, neighboring a naval port in Rosyth. The ongoing recording sessions were made possible with the kind support of Robert Dillam, drummer for The Zephyrs and ex-guitarist for Creation band Adorable. With songs ranging from short and tightly constructed country-folk introspections to sprawling, spaced-out psychedelia, what resulted was an album near to double length. The collection presented as “For Sapphire Needle” is a cut-down selection of these songs. The record opens with “Leatherback”, a Crazy Horse inspired wall of distorted guitars drawing on lyrics from The Zephyr’s first album and pre-history, followed by the four songs earmarked for the first of the seasonal EPs – Winter – whose artwork was photographed in the alley behind Traceyann Campbell’s (Camera Obscura) house in Glasgow. Elsewhere on the album, “I tell you what” had much of its writing and recording initiated in a wooden shack near Aviemore and “Bolder” tells the story of overheard bar-side conversations and delayed flights in Denver airport, where lizard people live underground and some say the new world order lays dormant. The domestic depression of “How have you been today” precedes closing opus “Aliens”, inspired in equal measures by the maturation as social control science fiction of The Tripods and the schlock b-movie imagery of Rocky Erickson’s The Evil One. The album is the work of older and more consistent The Zephyrs. Stuart, David and Robert joined by collaborators: guitarist John Brennan and keyboardist Will Bates. The songs and sounds are sculpted out of slabs of time with friends at the Substation, a de facto weekly youth club for musicians who refuse to grow old. The triple bridges of Queensferry, the shipbuilding cranes of Rosyth docks and Babcock's shop - one of the few places in Scotland you can buy a real periscope over the counter - are just some of the backdrops as the Zephyrs rehearse for nobody but themselves. Yet, ever since Jean-Luc Picard himself told us that "this is not a holiday", it has become a unique and unbeatable way of peering up above the waterline, reinventing themselves and returning to the scene. Indeed with 10 songs in 46 minutes which wade across Gram Parsons and Big Star, Slowdive and spaghetti Western: folk, rock and shoegaze… as if they were trying to shorten the path to the California sky passing through Scotland and then Almería in Spain.

Though severely cut, Red Circle doesn't exactly sweep along. It has a deliberate pace as Kallabris sets up the score of thirteen chance acquaintances who plan and carry out the sacking of our acoustic consciousness... Understatement is the method of these compositions for a small modular synthesizer. If there ever was something like heist music, this here surely is. (Vincent Canby, with a few minor changes and adaptions).

Kallabris is a musical project that was begun in the mid 1980ies out of the scene around Coitra's Clan. Since ist inception Kallabris has persistently neglected any usage of advanced recording technology. Ever since not technical or compositonal innovation is at the core of the group’s work but, the active engagement with the limitations and the objects of every day life. This sound positivism can result in stylistically varied outputs ranging from chanson or country blues to musique concrète – while all musics live by their surfaces. Save the surface and you save all.

Originally released on cassette in the spring of 1984 together with the 5th issue of Tribal Cabaret fanzine - included here in its original format - this is an invaluable document focusing on the obscure side of the 80’s Italian post-punk scene. A composite picture drawn by a bunch of different and often under recorded groups from various Italian regions and cities. All together they contribute to defining a prominently dark yet vivid soundscape based on different approaches and styles. All these aspects are perfectly translated through the b&w art and graphics of the beautiful Tribal Cabaret fanzine. If you want to dive deep into the fringes of the 80’s this is one of the places to start.

Time for some rare late 70s soul royalty out of Memphis, Tennessee, a top rung rarity on the collector scene, Coco & Ben - Good Feelin'. Ben Robinson was recently tracked down by friends of the label Daniel Mathis and Robert Garcia, lucky for the world he was still sitting on the tapes for this slightly longer take (as well as some unreleased tracks) allowing us to cut this disco floater as a nice loud 12" for the first time, now sounding better than it ever has, don't sleep on the flip either. Utterly essential record.

Back in stock!

Following in the footsteps of the landmark 1966 double-quartet recording by Joe Harriott and John Mayer, Indian born musician Amancio D'Silva produced some of the most adventurous and sophisticated recordings within the canon of 'indo-jazz', a term used to define a pioneering east meets west synthesis that reflected the shifting musical and cultural landscape of post-war Britain. An experiment which reached a pinnacle in 1972 with D'Silva's seminal recording Dream Sequence by Cosmic Eye (The Roundtable TRZY001), an adventurous fusion of modal jazz and Indian classical music viewed through the psychedelic lens of swinging London. Exotic third-stream jazz conceived by a visionary composer whose virtuosic technique and deeply emotive guitar playing defined his two earlier and now legendary 1969 UK jazz albums Integration and Hum Dono with Joe Harriott, both recorded for the much celebrated Lansdowne label.

Also recorded in 1972 although not released at the time was Konkan Dance, an unofficial sequel to Dream Sequence that further explored the unchartered possibilities of an Indian music-jazz fusion. Featuring many of the same personnel, this session also included support from Don Rendell and Alan Branscombe, two giants of the UK jazz scene who add serious credentials to D'Silva's singular and intimate compositions. For reasons unknown the album was cancelled by Lansdowne at the time and never saw the light of day until being resurrected again in the 2000s. The Roundtable are pleased to once again showcase this important artist and present a new addition of this incredible and almost forgotten piece of the Amancio D'Silva story. Pressed on 180g vinyl and packaged in a custom 1960s-style flip-back sleeve.

Unreleased British Jazz from 1972.
Sequel to Cosmic Eye - Dream Sequence
Includes liner notes and rare photos.
Custom Flipback sleeve.
180g Vinyl

BLUE MOON PHASE VINYL

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.

Orange Vinyl

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.

Iowa’s blackened punk 4-piece outfit, DRYAD, are the latest band to join Prosthetic Records roster. Featuring crusty dual vocals and relentless buzzsaw riffs, DRYAD is an anomalous combination that eludes easy classification, using elements of d-beat punk, old school death and atmospheric black metal, along with their own touch of bizarre, blackened forest filth. Since the debut of The Black Pullet EP in early 2017, DRYAD has emerged from the basements of Iowa’s DIY scene to perform regularly with a wide variety of acts like Dawn Ray’d, Street Sects, and Drugcharge. Their second offering, The Silurian Age, was released to cassette in June of 2018, and has since been quietly gaining momentum in the underground metal scene across the globe. Inspired by the earth’s ancient glacial lakes that once covered Iowa and fossil-covered cliffs that now remain, the album deals mostly with themes of ecological and political disaster and is a timely reminder of the earth’s inevitable revolt against its most destructive creatures. Since being named one of Astral Noize’s Artists To Watch in 2019, DRYAD has released a crushing split with Acid Leather on cassette, and recently completes a three-week stint across the country with THEORIES and Neckbeard Deathcamp, as part of the Free Speech In America tour.

The debut album from post-folk travellers Immaterial Possession, a quartet, half of whom came from an artist commune and half who were card-carrying Elephant6 alumni. ‘Immaterial Possession’ is a rich tapestry of a record, a gorgeous, melodious return to a time when influences co-habited freely and whatever was close at hand made the music of the day. All set to Syd Barrett-era Floyd and Nico with haunting lines, it’s perfectly tinged with gamelan harmonies, evocative Spanish guitars and xylophone. Exuding mystical symbolism; they wear luscious threads, they’re part of something/anything; perhaps a neo-modern-folk commune of artists in search of a canvas to stretch out over their juxtaposed influences. Immaterial Possession was conceived by Atlanta natives, Cooper Holmes and Madeline Polites, who met while living together at an Atlanta artist commune that was integrated into the DIY music, theatre, and arts scene. Some years later the duo moved to the neighbouring musical town of Athens, GA. They were soon joined by seasoned drummer, John Spiegel, and eventually fulfilled with multi-instrumentalist Kiran Fernandes (keyboards, clarinets, flutes) - descendant of the Elephant 6 Collective scene. It’s eastern, it’s eerie dream pop, it’s spacious and ethereal… A perfectly wild trip, and where it ends is immaterial.

THE FRIIMEN MUZIK COMPANY (also known as FRIIMEN) was formed after the Biafran war in 1973-1974 in the town of ABA in the eastern part of Nigeria. Aba was the Number 1 Music Hub in the entire Eastern Region of Nigeria. While bands and artists like ‘Ofege’ and ‘Fela Kuti’ ruled the LAGOS scene, bands like ‘Friimen’ and ‘The Apostles’ were ruling the ABA scene. Before forming the band, most of its members were already working together as freelance session musicians backing up solo artists on several recordings and concerts (or were playing in military bands that gradually became civilian bands because the war had just ended). FRIIMEN members’ credits were numerous and they played, wrote or performed on recordings from well-known acts like The Funkees, The Jets, The Apostles…and countless others. When they started concentrating on writing their own songs, the group instantly took off and became an overnight hit that resulted in them doing multiple successful nationwide tours. FRIIMEN would go on to record three albums: Free Man (1976), We Can Get It On (1978) and Merry Man (1979). All three albums were released on the Aba based label Anodisc Records (THE key label to be on if you wanted your music heard and out there), Anodisc also released hit records by ‘Sweet Unit’ and ‘Voice Of The Cross’ but The Friimen Muzik Company was the label’s signature band. The album we are presenting you today (Free Man from 1976) was recorded at the famous Decca Studios in Lagos and comes swinging right out of the gate with a set of no less than EIGHT monster tunes. Expect nothing less than crazy afrobeat and over the top melodic funk influenced by a wide array of artists (both local and international). Mesmerizing solos, captivating grooves, impeccable sequences that turned many heads…everything you need to get a dancehall into a complete uproar. The musicians’ skills are just plain incredible! FREE MAN is a quintessential record that every serious collector or fan needs to have in his/her collection.

Clear Splatter Vinyl

We are proud to present this long player in our catalog. Zolex is one of the most influential and groundbreaking artists of the European Techno scene. He produced many classic anthems like 'Time Modulator' -one of the first underground techno tracks played on MTV (back in the days MTV still played music)-, Beautiful Inside, Yes & No,... But also under various aliases and groups like Carat Trax,
Asphyx, Dirty Jackers.

Zolex is still an active DJ and he has played on major techno events all over the world. For this release we selected 8 brand new tracks. All of these tracks are in his typical style. This package is like "the finest wine". We are not going to explaining all tracks separately, that would downgrade this promo-text. All tracks are unique, groundbreaking, massive, vicious, top notch and true gems. What we dare to say: buy it and you will play them all! And off course : Play it LOUD!

Electro, EBM and experimental wave are brought together on the upcoming STRD release. Coming from the thriving Zurich music scene, XINDL manifests an analogue yet very familiar sound and delivers a nostalgic 90s feeling on its debut album “11”.

WRWTFWW Records is deeply honored to announce the release of Chu Ishikawa & Der Eisenrost’s soundtrack for experimental action drama Tokyo Fist, released in 1995 and directed by legendary director/producer/writer Shin’ya Tsukamoto (Tetsuo: The Iron Man and its sequels, Bullet Ballet, Hiroki The Goblin, Nightmare Detective). Previously only published on CD in Japan, the cult movie soundtrack is available on vinyl for the first time ever and housed in a heavy 350gsm sleeve.
The Tokyo Fist soundtrack gorgeously blends explosive industrial music, heavy percussion, martial rhythms and noise experimentations with contemplative ambient and emotion-filled synth soundscapes, perfectly encapsulating the nihilistic pain felt by the characters of the movie and the brutally visceral rebirth they go through. Ishikawa and Der Eisenrost’s compositions hit hard, sometimes truly terrorizing, sometimes heart-gripping in gloomy and bewitching ways. This is no holds barred music, a venture into the darkest yet most strangely beautiful corners of the human mind (and heart).
The late great Chu Ishikawa was one of the innovators of the industrial and experimental scene in Japan and has collaborated with Shin’ya Tsukamoto on numerous movies. He also worked extensively with Takashi Miike, another visionary filmmaker from his home country. Ishikawa was the leader of groundbreaking Industrial-Metal-Percussion unit Der Eisenrost whose live performances around Japan left an indelible mark on the genre’s history.
This new project by WRWTFWW Records follows previous Japanese soundtracks from the catalogue: Ghost in the Shell, Patlabor 2, Evil Dead Trap…and more to come.

One of our all-time favourite artists and extended Circus Company member The Mole returns to the label for a proper presentation of his album The River Widens. Originally a limited, cassette-only release via fellow Canadian Eddie C’s Red Motorbike, we are proud to offer this album in its full glory for the first time on all formats.
Never one to shy away from synth deep dives, or raw sample flip collaging, this collection of 21 works checks all the boxes. Ambient trippers to straight up neck-snapping instrumental beats. Not forgetting tastes of the more uptempo, highly-assured and hypnotic dance floor feels the world has come to love The Mole for. Moments of casual chillin are interspersed with effortless, emotive angles, some evoking the charm of his Little Sunshine release for us in 2017.

X-pert Profat opens the set with sly statements that give way to relaxed and subtle keys over gentle, midtempo rhythms. Things switch up nicely into easy, Northwest Coast boogie-meets-beatdown feels inBreak For Ma, followed by a solid array of almost Jaylib-schooled boom bap twists, like the aptly-titled Drums 2002 and Jo Barker. Ambient cuts like AR Dayand New Family offer a refreshing tap of the brakes, setting the scene for the gorgeous, Jarre-esque Weak Stranger. We also get treated to Repepepater’s nod to Detroit house, urban-mode Balearic feels on They Work For Mr. O, and sneak
attack lo-fi future funk in the form of UFOs Over Egypt, with Montreal co-pilot Cristobal on a wild shisha-lit vox narrative, earlier versions of which have blessed many of our label comrades’ DJ sets, from Dave Aju to Vincent Lemieux.
The River Widens expands beautifully on the breadth of unique musical directions The Mole is capable of taking us in, now spread across fresh 2x12” vinyl and available digitally for the first time, along with another limited edition cassette run - we hope you enjoy the ride as much as we do!

80g, schwarzes Vinyl. Re-Release des ursprünglich 1974 erschienen Albums von Gille Lettmann aka Sternenmädchen. Live im Quadro-Studio: Gille und Klaus Schulze. Musikeinblendungen von den LPs "Seven Up" (Ash Ra Temple & Timothy Leary), "Lord Krishna von Goloka" (Sergius Golowin), "Tarot" (Walter Wegmüller). Statements von Sergius Golowin, Timothy Leary, Brian Barritt, Walter Wegmüller, Liz Elliot, Rolf-Ulrich Kaiser. Aufgenommen im Zeitschiff Studio Dierks. Sorgfältig transferiert und remastert von den originalen, analogen Masterbändern durch HaGü Schmitz in den Dierks Studios in Pulheim-Stommeln im Jahr 2022. ENG 180g, black vinyl. Comes in a standard sleeve. Re-release of the original 1974 album by Gille Lettmann aka Sternenmädchen / Star Maiden. Live in the Quadro Studio: Gille and Klaus Schulze. Music inserts from the LPs "Seven Up" (Ash Ra Temple & Timothy Leary), "Lord Krishna von Goloka" (Sergius Golowin), "Tarot" (Walter Wegmüller). Statements by Sergius Golowin, Timothy Leary, Brian Barritt, Walter Wegmüller, Liz Elliot, Rolf-Ulrich Kaiser. Recorded at the Zeitschiff Studio Dierks. Carefully transferred and remastered from the original analogue master tapes by HaGü Schmitz at Dierks Studios in Pulheim-Stommeln in 2022.

Red Vinyl

It has been exactly ten years since Finders Keepers first intrepidly entered Andrzej Korzyński’s cavernous musical vault, but it is only today that we are able to proudly announce the safe retrieval on what we consider the true heavy psych holy grail of the Polish composer’s mind-bending oeuvre. By cruel coincidence this welcome event has sadly come during the same year as the composer’s tragic passing. However, in true Korzyński style, alongside his previous Finders Keepers releases, the legacy he has left behind in this one final lost soundtrack project alone has come with musical riches beyond anyone’s wildest expectations.

The comprehensive elusive archive of the deeply psychedelic soundtrack to Andrzej Żuławski’s forbidden film Diabeł (The Devil) is perhaps the most detailed dossier one could wish to find – including audio sketches, rejected proposals and pre-butchered variations that play out like an intense and veritable creative conversation between the director and the maestro, both of whom are widely recognised as true mavericks of socialist-era Poland’s fertile artistic landscape. Never intended for anything as conventional as a straightforward movie tie-in promotional disc (state owned Eastern European record labels rarely did this), the music in this archive has required special forensic inspection. Let’s say the devil is in the detail. The 7” record you are now holding is more than just a companion piece, and it is far from a selection of the (non-existent) poppy title themes to promote a full feature-length album. This standalone release is wholly unique in its own right, giving Finders Keepers listeners a final access all areas snoop into the mind of one of the pillars of our alternative musical community.

As those familiar with Żuławski and Korzyński’s long-running relationship will understand (a methodology best exemplified in the schizoid soundtrack to the film Possession), their exchanges were deeply nuanced and often complicated, with lots of artistic “tennis” thrown into the mix. The key plot in this behind-the-scene fable is that after delivering his original off-kilter psychedelic score to the director, maestro Korzyński was asked to make the music “totally unique, like something from another planet”, to which Korzyński took his tapes, pulled down the vari-speed to a guttural grind and continued to recompose over the top using avant-garde electro-acoustic techniques while deploying psychedelic skills of guitarist Winicjusz Chróst. This limited record release proudly boasts Korzyński’s original uptempo awkward psychedelic pop music prior to the doom laden growls that make the official films soundtrack a true Goliath of Eastern European soundtrack composition. Which, when recontextualised, will stand as a veritable face-melter for stoner rock fans. As one of Finders Keepers deepest conquests, we are delighted to share The Devil Tapes… What is a grail without the wine.

After their stellar and acclaimed live performance at
Wacken Open Air 2022, which generated a lot of
resonance within the scene, Leipzig-based heavy
psychedelic and instrumental trance rock band
Godzilla In The Kitchen are ready with their new
album, ‘Exodus’.
 Heavily infected by great alternative bands such as
Tool, Faith No More, Helmet and Kyuss, these three
youngsters debuted in 2016 with their impressive selftitled album.
 The three-piece band finally return now with their
second album, which contains a vibrant mixture of
melodic recognizability and rhythmic complexity;
instrumental psych post-rock in a very genuine way.
 For fans of My Sleeping Karma, Tool, Mastodon,
Russian Circles, Aiming For Enrike, The Ocean,
35007, Karma To Burn and Monkey3.
 LP pressed on clear vinyl

Barely heard in his lifetime (1961-2002) but hailed as an outsider hero of ur-punk since 2009’s ‘Cosmic Lightning’ compilation, J.T. IV strikes back!

15 unheard-of tracks found on an obscure cassette tape make the schizo split in his music - rabid rock & roll fantasy and cold-eyed acoustic introspection - an epic. ‘The Future’ is J.T. IV’s mad magnum opus.

The 2009 comp LP, ‘Cosmic Lightning’, cast his tragic silhouette up on the big screen
for all to see: the lost boy, alone in the world, standing before the mic and releasing
his inner star with glee and vengeance, his antisocial visions flying high atop a raging
funnel of distorted guitars and blunt rhythms. Or couched, childlike, within a heart
breaking billow of acoustic guitars - a schizophrenic split that only magnifies the
display of his deep emotions.
‘The Future’ goes even further, excavating fifteen recordings from a previously
unheard-of cassette entitled ‘The Best Of Johnny Zhivago Retrospective 1979–1993’,
and adding four more uncollected tracks from his slim (and impossible to find
anyway) discography.
Of these nineteen tracks, eight are covers - and J.T. IV’s picks, from Velvets to Mott
the Hoople, Roxy Music, Lee Hazlewood, The Kinks, Eno and Stephen Sondheim,
sharpen our image of the misfit adrift; on the outside looking in, but maybe just a few
steps away from his goal.
‘The Future’ unfolds like an epic, as both sides of J.T.’s persona - the street-smart,
damaged rocker and the heart struck poet of the scene - live on together in the best
performances of his short career.
A punk of the old order, John Henry Timmis IV was born in 1961 into a dysfunctional,
abusive and eventually broken family. By the mid-70s, he was desperate to get out,
running away from his mother’s home several times while still a teenager living in the
greater Chicagoland area. At wit’s end, she had him committed to the Menninger
Clinic for a year or so. Released on his own reconnaissance, he began his meteoric
ascent to the mythic level of self-aggrandizement in which he appears here. Inspired
by the underground, proto-punk sounds in the air (the likes of which any sharp-eyed
young thing might chance upon in the back pages of Creem, Crawdaddy, Trouser
Press, etc.) and desperate to be heard himself, J.T. presented like the scabby
younger brother of Bangs and Laughner: born only to rock, his musical conception a
rabid personality crisis of proselyte elitism and nihilist excess.
Now, 20 years on from his passing, ‘The Future’ is ever farther away from the world
in which he struggled so mightily - but his stinging iconoclasm, whether screamed
from Marshall amps or mic-ed up close, feels ever more powerfully infused with his
unique breadth of illness and essence.
These songs represent the two sides of J.T. - and while they emanate from the 80s,
they find themselves potently renewed in the polarized world of today, making ‘The
Future’ a worthwhile destination for everyone who ever had a heart touched by the
transgression and freedom promised by rock & roll.

Cutting their teeth as teens in a West Bromwich bedroom, The Sea Urchins were nothing like the heavy metal that seemed to fill every bar in the UK Black Country. Fringe haircuts, perfect trousers, suede jackets and infectious tambourines gave plenty of hints as to their youthful ambition, but nothing could fully prepare you for just how utterly spellbinding these songs would be. Compiling their fanzine-only flexi material with the full complement of singles for Sarah Records, Stardust runs chronologically from late 1986 to the middle of 1989, beginning with the singles split for Clare Wadd’s Kvatch and Matt Haynes’ Sha La La, before hitting the first of what would be an even hundred releases from the new label Wadd and Haynes would form - Sarah.

The song that launched a legendary label and defined a sound, a scene, a place and time; “Pristine Christine” still rings out as immediate and magical today as it did on first listen. What a glorious jangly rush racing around the corners of pop’s history! The band would reach such heights time and again over the course of this three year burst. The melancholy swinging folk of “Everglade” and it’s wonderfully yearning vocal; the organ-fueled british invasion garage rock sing-a-long of “Solace”; the playful psych pop of “A Morning Odyssey”; the acoustic sweep of “Wild Grass Pictures”; the perfectly named “Summershine” leaving you with a ramshackle smile out on the dancefloor. All of it is just so filled with delicate humanity, yet somehow absolutely perfect.

As Bob Stanley said about the shimmering ballad “Please Rain Fall” while bestowing it with NME Single Of The Week (an honor also bestowed upon “Pristine Christine”), “think of some variations on the word marvelous and you’re most of the way there.”

In their time, they might have seemed wildly out of step, but it’s not crazy to say that things could have been very different for the likes of Radiohead, The La’s, and Oasis without The Sea Urchins. Liner notes by Television Personalities legend Dan Treacy.

Orange Vinyl

Cutting their teeth as teens in a West Bromwich bedroom, The Sea Urchins were nothing like the heavy metal that seemed to fill every bar in the UK Black Country. Fringe haircuts, perfect trousers, suede jackets and infectious tambourines gave plenty of hints as to their youthful ambition, but nothing could fully prepare you for just how utterly spellbinding these songs would be. Compiling their fanzine-only flexi material with the full complement of singles for Sarah Records, Stardust runs chronologically from late 1986 to the middle of 1989, beginning with the singles split for Clare Wadd’s Kvatch and Matt Haynes’ Sha La La, before hitting the first of what would be an even hundred releases from the new label Wadd and Haynes would form - Sarah.

The song that launched a legendary label and defined a sound, a scene, a place and time; “Pristine Christine” still rings out as immediate and magical today as it did on first listen. What a glorious jangly rush racing around the corners of pop’s history! The band would reach such heights time and again over the course of this three year burst. The melancholy swinging folk of “Everglade” and it’s wonderfully yearning vocal; the organ-fueled british invasion garage rock sing-a-long of “Solace”; the playful psych pop of “A Morning Odyssey”; the acoustic sweep of “Wild Grass Pictures”; the perfectly named “Summershine” leaving you with a ramshackle smile out on the dancefloor. All of it is just so filled with delicate humanity, yet somehow absolutely perfect.

As Bob Stanley said about the shimmering ballad “Please Rain Fall” while bestowing it with NME Single Of The Week (an honor also bestowed upon “Pristine Christine”), “think of some variations on the word marvelous and you’re most of the way there.”

In their time, they might have seemed wildly out of step, but it’s not crazy to say that things could have been very different for the likes of Radiohead, The La’s, and Oasis without The Sea Urchins. Liner notes by Television Personalities legend Dan Treacy.

CHRISTIAN DEATH was formed by Rozz Williams in Los Angeles, California in 1979. Williams was eventually joined by guitarist/songwriter Rikk Agnew of ADOLESCENTS, James McGearty on bass and George Belanger on drums. This CHRISTIAN DEATH line-up was responsible for recording the band's iconic 1982 debut, ONLY THEATRE OF PAIN, widely regarded as the #1 American goth album of all-time. This exclusive double-LP version of OTOP commemorates its 40th anniversary- the first disc is the digitally remastered, original version of the album while the second disc is comprised of "Dogs" from HELL COMES TO YOUR HOUSE, four pre-Frontier demos, two studio demos made for a second Frontier Records' LP that never happened and two alternate studio mixes from OTOP. The gatefold LP jacket is printed in its original its black and metallic gold, includes a Colver collage poster and a hardcover copy of the photo book, ONLY THEATRE OF PAIN and all come in a hard slipcase. The oversized 12" x 12" book features rare and never-before-seen photos of CHRISTIAN DEATH as well as new interviews with photographer Edward C. Colver, the surviving band members, Frontier's Lisa Fancher and others. Colver befriended the band and followed them around in late 1981 and early 1982 at more than a dozen concerts as well as photo shoots in Rozz Williams' family home (used on the back cover and insert of ONLY THEATRE OF PAIN) and a session of now famous images at a Pomona CA cemetery. Info: Just as the theatrically-minded LA punk scene was beginning to give rise to such morbidly themed outfits as 45 Grave and the Flesh Eaters, an androgynous teenaged street performer named Rozz Williams (né Roger Painter) founded CHRISTIAN DEATH, one of the most prolific, enduring, and beloved gothic acts of all time. Williams' otherworldly groan can make "Only Theatre of Pain" difficult going for those that aren't the gothic faithful, but the loud/not-too-fast music (courtesy of ex-ADOLESCENTS guitarist Rikk Agnew and the walking-dead rhythm section of bassist James McGearty and drummer George Belanger) is appropriately doom 'n' gloomy, with inventive arrangements and clear sound - thanks to Frontier Records' go-to punk production legend, Thom Wilson- capturing the mood in full B-movie fidelity. The lyrics sacriligiously address horror topics and religion: they're overwrought (the backwards masking of 'Mysterium Iniquitatis' being one clever exception) but easy to overlook in the wash of inspired rock noise. The original lineup's recorded debut is a gem. Artists inspired by CHRISTIAN DEATH include Danzig, Craddle of Filth, Paradise Lost, Korn, Type O Negative, Nine Inch Nails, Marilyn Manson and Jane's Addiction. Press: "A depraved masterpiece, this was punk rock made poetic, subversive, and gracefully savage."- AV Club "The Gothic album to out-gothic all others" - Melody Maker "Only Theatre of Pain's influence should not be underestimated" - Record Collector Limited availability!

Triple coloured vinyl version (Each disc is a different colour) of the double CD that came out on Cherry Red in 2021 Presented in Tri-fold gatefold sleeve with 16 page 12x12 colour booklet, poster & photograph.
ONLY 350 COPIES WORLDWIDE
Among the first crop of Creation Records bands in the mid-1980s, THE LOFT seemed the most likely to break through. Following the success of The Smiths, guitar-based independent pop was in vogue, Alan McGee’s Creation label was turning heads – its bands blending 60s psychedelia, the melodic end of punk and a new sound which would soon be immortalised on NME’s C86 cassette. And in this London quartet, Creation had their answer to bands like Television, The Only Ones or early Modern Lovers, offering taut, off-kilter songs with an irresistibly deadpan cool.
Sadly, after just two singles, 1984’s downbeat debut ‘Why Does The Rain’ and the punchier sequel, ‘Up The Hill And Down The Slope’ – an indie hit which the band performed live on TV show The Oxford Road Show, The Loft dissolved, with various members founding new bands The Weather Prophets, The Caretaker Race and The Wishing Stones. They left behind seven studio tracks, a BBC Radio 1 session for Janice Long and one track from a Creation LP documenting the scene’s roots in small club The Living Room.
However, The Loft’s legend endured, eventually prompting a reunion in the early 2000s with all four original members – singer/songwriter/guitarist Pete Astor, guitarist Andy Strickland, bassist Bill Prince and drummer Dave Morgan. Alongside various well-received live shows, that led to a new single, ‘Model Village’ (2006) and more recently a session for Gideon Coe on BBC 6 Music (2015). The Loft’s reputation as founding fathers of a new breed of mid-80s indie pop continues to grow to this day, with the band often cited as an influence.
Compiled and coordinated by the band, Ghost Trains & Country Lanes expands on previous retrospectives of The Loft, adding those reunion recordings (including three previously unissued tracks), the Gideon Coe session and several live recordings from that historic performance at The Living Room back in 1984. (including many exclusive songs which were never recorded in the studio).
With new sleeve-notes by Danny Kelly, this is the definite tribute to The Loft

North Carolina-based hip-hop producer L'Orange and rapper Solemn
Brigham are Marlowe
Quick-fire vocals and dusty breakbeats. With dazzling cinematic mise en scene,
L'Orange crafts a world that sounds like an old-time medicine show dropped into
90s Brooklyn. Pressed on Red Melting Wax color vinyl.

North Carolina-based hip-hop producer L'Orange and rapper Solemn
Brigham are Marlowe
Quick-fire vocals and dusty breakbeats. With dazzling cinematic mise en scene,
L'Orange crafts a world that sounds like an old-time medicine show dropped into
90s Brooklyn. Pressed on Red Melting Wax color vinyl.

Following the success of his 2022 mod-club, soul-jazz adventure with Mick Talbot, on 27 January Acid Jazz Records will release Chris Bangs' compendium of dance-floor fillers and Latin dynamite. Chris, who coined the term 'acid jazz', has created a new solo album of 10 tracks that takes his unique spin on jazz DJ-ing and turned it to producing an album that is totally reminiscent of the classic '80s era on the UK dance scene.

Recent single 'Firebird' (Jazz FM's Breakfast show 'track of the week') encompasses a lifetime of Chris's musical influences to present a jazz-tastic smorgasbord of bossa, fusion, bop jazz funk, salsa and a myriad selection of other jazz stylings all delivered with his trademark ear for the grooves and melodies to go with it. Paying tribute to his roots, 'East Coast' is the distinctive sound of jazz-funk fusion which spread through UK clubs in the early '80s, whereas 'Dinamita's heavy duty percussion-led Montuno Salsa groove tips its hat to the sound of '70s NYC via Puerto Rico.



Elsewhere the album features a tough Batucada rework of Dom Um Romao's 'Kitchen (Cosina)', the bossa of Cal Tjader's 'Samba Do Sueno', Brazilian disco funk-jazz 'Sambara' via the epic samba fusion 'Lifetimes'. Firebird features an array of in-demand and exceptional musicians, including jazz guitarist Nigel Price (Van Morrison, David Axelrod, JTQ), supreme jazz piano stylist Janette Mason (Seal, KD Lang, Robert Wyatt), trumpeter Dave Priseman (Jeff Beck, Imelda May), bassist Ernie Mckone (Boogie Back), saxophonist Simon Bates (Elvis Costello, Chaka Khan, Carleen Anderson), and fresh from his remix work with Paul Weller, vibesman Roger Beaujolais. This brilliant team of collaborators have helped a remarkable musical maverick create a truly unique and incredibly exciting album. Independently self-produced and composed, Firebird is a set of tunes better than any Chris Bangs had ever done.

Marking his second for Northern Electronics, Rune Bagge's new album, Grab a Star, narrates a melancholic thread through a brilliantly luminous astral-electro scene. Carving an achingly delicate relief through six tracks, there's a neon hinge to the emotive mechanisms at work, offsetting the meditative armature with sheer torque and a blustered spirit.

Another Terra Magica release is coming! The new ‚Axisdance‘ - Various Artists (TERRAM003) double-vinyl 12″ compilation coming out this summer August/September on Terra Magica Rec.

With artists from all over the world such as Poly Chain, Mogwaa, Jacques Satre, Jai, DJ Normal 4, Imogen Soundsystem – Ilija Rudman and Antonio Zuza, Gee Dee, Rambal Cochet, Listensport, Johnmon and Hektisch Sprengen DJs.

Every track has its own spirit, in a kind of a 90s journey way. The compilation is a fascinating mixture of weird cosmic and slow goa vibes to more emotional places with powerful bassdriven downtempo techno and slightly trance influenced anthems as well as distinctive tribal acid easiness with epic melodies. Furthermore it involves faster loaded minimal hypnotic synth sounds and dark UK-House with a big-beat touch to it. Raw liquid floating old skool breaks melts into rave stompers which are inhabited by sensitive living microbes vibrating jungle atmospheres.

Can you hear the hoofs? For their first Various Artist Compilation, Espace Noir is proud to bring to its stables some of the most daring riders in the scene. All the way from Canada come Unknown Mobile and Maara. They join Melbourne (Naarm) favourites Mabel and Reflex Blue. The result? Stomping 303 lines, spaced out vocals and punching breaks that might just knock you off your saddle. Giddy up cowboy, these equine beauties are gonna take you for a real gallop.



c B1 | Reflex Blue - Floating Down Stream Virtual Mix

Finnish producer Aki Latvamäki also known as Artificial Latvamäki is not a newcomer to Goldmin as he already appeared on two compilations of the label. Notably with the sensational and distinctive track called "Symphony of a Metropolis" which was one of the true highlights of the Goldmin 5 Years Compilation. Yet we were desperately hoping for a proper album of him one day, checking the very few demos he was sending to us with a lot of curiosity and interest. Suunta is the result of years of creativity and of Aki's very own mastery at seeking cultivate the uncommon, and the rare sounds, might it be through an hyperactive electro-track or an organic deep techno ballad like "Baumwolle" is, he is always transposing difficulties and trumping the constraints, making techno not only a functional music for clubs but a full member medium of expression, capable of sarcasm, irony and rebellion and so all throughout a fragile and precarious melody. Has Aki escaped from this scene? That's all for the best, as he as also escaped from all these easy, prefabricated structures and schemas and is still doing his own thing as he always did.

Draconian Times is probably the main album for Paradise Lost, so much so that they still tour the album today, which remains one of the milestones in the Metal scene of all time. Recorded at The Forum in London, this live set includes a few fan favorite tracks from their extensive back catalogue which rounded out a truly spectacular performance. Are there any highlights? Oh yes. Opening track ‘Enchantment’ still ranks as one of the best songs this band has penned and the moment when the haunting piano intro gives way to the rest of the band kicking in is a real shiver-down-the-spine moment. ‘Hallowed Land’ and ‘Forever Failure’ (complete with Charles Manson intro) sound as powerful and relevant as when they first came out, and the performance of ‘Shadow Kings’ stands head and shoulders above the original. After being released on DVD and CD, the album was also released on double vinyl, here you will find two new unreleased colors and a truly exceptional packaging: this album comes out in deluxe Triple Gatefold edition, in two colors (Gold / Silver) 500 limited edition each.

One of These Nights occupies an important, unique place in the Eagles' discography given it represents the final album the group made before releasing the bajillion-selling Their Greatest Hits (1971-1975) compilation. The timing is telling. A coming-out party for Glenn Frey and Don Henley's songwriting skills, the studio record – the band's fourth, and its first to hit #1 on the charts – signifies the group's ascent to superstar status. Home to three massive singles (the title track, "Lyin' Eyes," and "Take It to the Limit") and nominated for four Grammy Awards, the quadruple-platinum 1975 effort solidified the Eagles' Southern California-reared sound and made the band a household name.

Mastered from the original analog tapes, pressed on MoFi SuperVinyl, and limited to 10,000 copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set takes One of These Nights to the limit. And then some. Playing with reference sonics and a practically indiscernible noise floor thanks to MoFi SuperVinyl's special formula, it provides a rich, dynamic, transparent, and three-dimensional view into a release that moved country-rock ahead by leaps and bounds – and paved the way for the Eagles' ascendancy to global superstardom. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and presentation of the UD1S One of These Nights pressing befit its esteemed status. Housed in a deluxe box, it features beautiful foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the renowned cover art to the meticulous finishes. As much as any Eagles LP, the connection between the imagery and the music and the band on One of These Nights runs deep. No wonder it led to a Grammy Nomination for Best Album Package.

Devised by West Texas artist Boyd Elder, the striking skull-and-feathers themed piece gracing the front of One of These Nights represents where the Eagles have been and where they were headed. Album art director Gary Burden explained: "The cow skull is pure cowboy, folk, the decorations are American Indian-inspired, and the future is represented by the more polished reflective glass beaded surfaces covering the skull." Moreover, Elder had met the group years earlier when Henley and company performed at one of his gallery openings in California. MoFi's UD1S box set allows Elder's vision (and Burden's debossed treatment of the image) to pop and appear as if it was a stand-alone object.

Of course, what's inside the sleeves, and in the grooves, proves equally compelling. Though One of These Nights marks the final appearance of band co-founder Bernie Leadon on an Eagles LP and contains three of his tunes, the record's tremendous success owes to Frey and Henley's timeless contributions. Taking the next step in their maturation and evolution, the pair crafted several songs while living together as roommates in a rented house in which they converted a music room into a recording studio.

The duo's bond and chemistry pulse throughout the record – particularly in the tight arrangements, tasteful instrumental flourishes, and seamless blending of the folk, country, and rock elements. The musical combinations and partnership not only produced the Eagles' first million-selling single (the slow-dancing "Take It to the Limit," co-written with bassist-vocalist Randy Meisner) and the Frey-led cheating classic "Lyin' Eyes," but the famed title track, which nods to the era's nascent disco scene as well as Kenneth Gamble and Leon Huff's Philly soul platters.

Frey named "One of These Nights" as his favorite Eagles composition of all-time; Meisner's high harmonies alone send the track into a galaxy of its own. Speaking of the latter, Leadon's instrumental "Journey of the Sorcerer" ventures into another universe and was soon used by Douglas Adams as the theme to his "The Hitch-hiker's Guide to the Galaxy" radio series. Inspiration and creative experimentation also dragged the Eagles into the blues. Another Frey-Henley gem, the self-probing "After the Thrill Is Gone" serves as a response song to B.B. King's signature track and more evidence the band was turning the lens inward for lyrical narratives. Like everything on One of These Nights, the song confirms the Eagles were breathing rare musical air.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl

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

-Limited to just 500 copies worldwide, February is part two of a 12-part vinyl series celebrating Papoose’s decorated career as he stages his exit from the rap game.

Papoose first jumped on the scene in ’98 as a guest feature on “Home Sweet Home,” taken from the legendary Kool G Rap’s sophomore solo effort, Roots of Evil. But it was his work with DJ Kay Slay that made Pap a staple in the New York rap scene. Now after 20 plus years in the game, Papoose is calling it quits. But not before releasing his "one a month" album series.

Each album is aptly titled with the month of the year and features some of the most adept emcees and producers in the game. On the inaugural effort, January, we’re met with guest appearances by Wiz Khalifa, with production supplied by Brady, Statik Selektah, Cool & Dre and more.

-Limited to just 500 copies worldwide, February is part two of a 12-part vinyl series celebrating Papoose’s decorated career as he stages his exit from the rap game.

Papoose first jumped on the scene in ’98 as a guest feature on “Home Sweet Home,” taken from the legendary Kool G Rap’s sophomore solo effort, Roots of Evil. But it was his work with DJ Kay Slay that made Pap a staple in the New York rap scene. Now after 20 plus years in the game, Papoose is calling it quits. But not before releasing his "one a month" album series. Each album is aptly titled with the month of the year and features some of the most adept emcees and producers in the game.

For the sophomore release, February, Pap brings along E-40, Fred The Godson (R.I.P.), Mysonne and Kent Jones. Production is handled by JR Swiftz, Ron Browz, Brady Watt, and JaySwiftDaProducer, among others.

-Limited to just 500 copies worldwide, February is part two of a 12-part vinyl series celebrating Papoose’s decorated career as he stages his exit from the rap game.

Papoose first jumped on the scene in ’98 as a guest feature on “Home Sweet Home,” taken from the legendary Kool G Rap’s sophomore solo effort, Roots of Evil. But it was his work with DJ Kay Slay that made Pap a staple in the New York rap scene. Now after 20 plus years in the game, Papoose is calling it quits. But not before releasing his "one a month" album series. Each album is aptly titled with the month of the year and features some of the most adept emcees and producers in the game.

For the sophomore release, February, Pap brings along E-40, Fred The Godson (R.I.P.), Mysonne and Kent Jones. Production is handled by JR Swiftz, Ron Browz, Brady Watt, and JaySwiftDaProducer, among others.

Wunderblock Records and La Notte Di Architetto label are proud to present a debut release of a new project, Urstadt, ruled by Michael Teplov of Wunderblock and Nikita Melnikov, also known as Relic Radiation. Been released on the Planet Rhythm label before, and now the duo appears in a pure new form with fresh techno material.

The EP is called "Ritornels Of Decay" and presents the Urstadt duo's view on the state of the electronic music scene during the post-Covid times, through the prism of classic Detroit and Birmingham techno grooves. As a special VIP guest featured Andreas Sandoval, also known as Developer, with a hyperkinetic, ultra-minimalistic rework of the first track.

Overall, all the tracks of the EP are like polyrhythmic, slowly developing mechanospheres with a touch of cold-euphoric and dreamcore harmonies, fused altogether in a modern superhybridic way. For true techno believers.

If you decide to look up the strict definition of outsider in any dictionary, you'll find that the term is understood as "a person who is not involved with a particular group of people or organization or who does not live in a particular place".

Perhaps this is the most accurate description of Santiago Merino. For a long decade and from his native Medellín, this DJ and producer has always tried to keep his sonic spectrum open. An interdisciplinary artist capable of freely navigating through a myriad of genres is rarely encountered, and that may be the reason why Santiago enjoys a non-negotiable respect in the different scenes that make up the music circuit of his city. On this occasion, Back Door Records is pleased to serve as host to receive one of the most anticipated facets within the range of music produced by this Colombian artist.

The Outsider marks the debut of a new project signed by Merino, a new hunch in which house takes the helm of an EP entitled 4 Club Use. Composed of five tracks, 4 Club Use seems to show us the true essence behind a genre that has almost been trivialized over the years. In this case, El Outsider decided to take the basic ingredients of tech house to produce a recipe much richer in flavors, textures and melodies. "Fire People", for example, leaves the window open for the airs of Detroit techno to come in and cool off any sunny afternoon. "Outsider" and "The Heat", on the other hand, are seasoned by the purest amen breaks, as if it were a blessing intended solely for the dance floor.

But the real deal across 4 Club Use is definitely El Outsider's own edit of Merino's track "Those Days". Raw and forceful kicks, meticulously sampled vocals and pads that seem to wrap them magically, make this bomb one of the candidate tracks to take the absolute podium of 2023.

1974 entstanden die Zusammenstellungen Planeten Sit-In und Sci-Fi Party mit der Musik aus den Jam Sessions der Cosmic Jokers. Unter einem konzeptionellen Mantel wurden die legendären Aufnahmen einem jungen Publikum nähergebracht. Unter den Musiker die Elite der damaligen Krautrocker, wie Manuel Göttsching, Klaus Schulze, Jürgen Dollase, Harald Grosskopf und Dieter Dierks der für die Aufnahmen, Arrangement und den Mix zuständig war, aber auch als Musiker mitwirkte. Neu transferiert von den originalen analogen Bändern und sorgfältig und erstmalig remastert. ENG The compilations Planeten Sit-In and Sci Fi Party, both originally released in 1974, are a contemporary document of the legendary jam sessions of the Cosmic Jokers. Under a conceptual mantle, the recordings were brought to a young audience. Among the musicians the elite of the Krautrockers of that time, like Manuel Göttsching, Klaus Schulze, Jürgen Dollase, Harald Grosskopf and Dieter Dierks who was responsible for the recordings, arrangement and mixing, but also participated as a musician. Newly transferred from the original analog tapes and carefully remastered for the first time.

When Dead Horses burst on the scene with ‘Ballad For Losers’ in 2017 directly from the acid-induced foggy lands of weird Ferrara they fooled everyone from the get-go and now they are back with the aptly titled ‘Sunny Days’. These characters were here to stay, unique, oblique and oblivious. Watching them live reminds you of the highs and lows of life, a train ready to derail at any curve, literally duct taped together, that suddenly arrives on the plateau, shining in the horizon. This is when it’s important to not blink, because mark my words, you might miss the rapture, even just a minute of pure forceful magic, where everything comes together, the peak and the ecstasy hand in hand.
Their new record is once again an incredible mix of primitive-punk, Gun Club marshlands, country sadness and acid-folk that sways from the rays of light of the Vaselines to the dawn comedown of the Meat Puppets.

In ’s words:
A music journalist on the new Dead Horses record would write: a concentrate of early swampy grunge, mixed with the Californian folk psychedelia of the 60s and the folk-blues of the Appalachians, with a tune that even Piero Ciampi may have written.
I am not a music journalist so these are my words: sweet and sad songs and soundscapes that embrace you and transmit human warmth to you. This is what music should be for, to warm you up, to excite you.

Everest Magma’s career over the past 10 years has been slowly building one of the most ecstatic and singular paths of the Italian underground scene. His dense and beautiful three albums were not afraid to cross boundaries with a mix of hypnotic tape beats, digital wonk, psych folk tropicalia and kinetic dub. This new offering ‘Alto//Piano‘ once again sees him in uncharted territories, where nature is sublimated into a personal alien vision mixing acid-folk fingerpicking, tonal ambience, psychedelic eccentricity and Italian 70s minimalism.

Everest Magma rediscovers the folk roots of his dreamy alter ego Woodcutter. Once again he appears as a minstrel crossing moonstruck woods inhabited by gnomes, butterflies and crawling creatures. Nature is sublimated into a personal alien vision in which a lysergic approach triumphs in the arrangement of sound material and immersive musique concrète. Pure acid-folk fingerpicking communicates directly with the forest’s humus, steeped in wild and ethereal moods. Between schizoid or more lyrical moments, a persistent taste for subtle subterranean noises, electric flashes, radio and ufological interferences, deviant scents.

Stay What You Are is the breakout third studio album by the American alternative rock band Saves The Day. Produced by Rob Schnapf (Elliot Smith, Beck, The Vines) in early 2001 it's a record that remains incredibly influential within the emo and rock scene to

this day, showcasing the band's signature blend of upbeat catchy melodies, with dark lyrical undertones. Features the standout singles 'At Your Funeral' and 'Freakish'.

Originally released on July 10th 2001, the album saw Saves The Day crack the Billboard 200 at the same time other that emo acts like Jimmy Eat World and Dashboard Confessional were enjoying mainstream success.

This new pressing comes on double 10" splatter vinyl, packaged in a hand-numbered gatefold sleeve with lyrics and accompanying insert; released via Hassle Records for the UK/EU in conjunction with Vagrant Records to celebrate their 25th Anniversary.

The Fire is the fourth studio album by the American post-hardcore band Senses Fail. Widely looked on by fans and critics alike as one of the band's finest studio album, the record features singles including title track 'The Fire, 'New Years Eve' and 'Lifeboats'.

Originally released on October 26th 2010, this new pressing is the first since it's original release, packaged in a hand-numbered sleeve with accompanying lyric insert, and comes complete with bonus track 'Ghost Town'. Released via Hassle Records for the UK/EU in conjunction with Vagrant Records to celebrate their 25th Anniversary.

"The Fire showcases an immense growth in both the band's songwriting and arrangements, proving that these scenes stalwarts are not about to rest on their laurels." Revolver

The Fire is the fourth studio album by the American post-hardcore band Senses Fail. Widely looked on by fans and critics alike as one of the band's finest studio album, the record features singles including title track 'The Fire, 'New Years Eve' and 'Lifeboats'.

Originally released on October 26th 2010, this new pressing is the first since it's original release, packaged in a hand-numbered sleeve with accompanying lyric insert, and comes complete with bonus track 'Ghost Town'. Released via Hassle Records for the UK/EU in conjunction with Vagrant Records to celebrate their 25th Anniversary.

"The Fire showcases an immense growth in both the band's songwriting and arrangements, proving that these scenes stalwarts are not about to rest on their laurels." Revolver

It almost seems churlish to regard Celtic Frost as one of the great extreme metal bands, because they were so much more than that. It’s better to hail them as among the finest extreme and experimental bands of the 1980s. Refusing ever to do what was expected or demanded, the band constantly changed musical direction, always brought in surprising influences, and kept people guessing as to where they might venture next. Their catalogue of albums is formidable and unmatched. Each is not only unique, but part of an entire tapestry that only now can be appreciated for being a remarkable part of music history. Despite, or maybe because of, constant turmoil on so many fronts, Celtic Frost achieved an artistic level few others would even have dared to dream of aspiring towards. They climbed high because they were never afraid to fall. Which is why the band are now rightly regarded as icons, and iconoclasts.

The debut album from the band was released in 1984, and was quickly recognised as the work of agitated and agitating talents. This album was a huge influence on the burgeoning death and thrash scenes at the time. A masterclass of riff tirades and unholy sentiments. This reissue includes rehearsals from 1984 and the concept and art direction of the release was done by the man behind Celtic Frost, Tom G. Warrior.

Denmark’s breakthrough producer, DJ and label manager S.A.M. brought their signature sound to dancefloors this year with ‘Spotlight’, featuring striking vocals from Sarah Ikumu. This fresh take on Jennifer Hudson’s original receives an anticipated vinyl release, following the track’s widespread support from tastemakers across the globe, including Danny Howard on BBC Radio 1, and esteemed club DJs like Chris Stussy and Simon Dunmore. After its initial success, ‘Spotlight’ went on to receive remixes from two major players of the dance music scene. One of Defected’s nearest and dearest, Sam Divine brings in a driving beat and catchy melodic bass to work alongside the vivacious vocal. Lastly, the Grammy nominated remixer Mousse T. has no qualms delivering trademark Shizzle and Discoid mixes, showcasing their innovative production style.

Released on cultish London based label Mushroom in 1972, this album brought together the anarchic genius of saxophone player Lol Coxhill, with the pure magic of a dutch rhythm section: Pierre Curbois on the drums and keyboard player Jasper Van’t Hof. A clash of the titans as a matter of fact, with the more classical and impro sounding lines of Coxhill and the straight – almost jazz-rock – harmonies of the other two players. A fascinating record comparable to Keith Tippett small groups and the rise of the most peculiar impro-jazz scene.

San Francisco's first and only rock 'n' roll band, CRIME loomed over the entire Mabuhay Gardens scene with their blistering 1976 single Hot Wire My Heart. The group's loose, damaged rock 'n' roll was as immediate as it was controversial. They were punk by any definition, yet shunned the label with a guttersnipe sneer. Their meticulously cultivated aesthetic of S&M graphics and police uniforms produced some of the era's most indelible imagery. One of their finest moves was playing in the San Quentin prison yard.

Formed by guitarists/vocalists Johnny Strike and Frankie Fix, CRIME enlisted bassist Ron the Ripper and drummers Ricky "Tractor" Williams (later of THE SLEEPERS), Brittley Black, and Hank Rank. Joey D'Kaye later joined on keyboards and bass duties.

For the first time, this LP release collects the sick energy of CRIME's three singles along with nine previously unreleased studio recordings from 1976 to 1980. The visceral churn and unwieldy leads on tracks like "Frustration" and "Piss On Your Dog" make Murder By Guitar the definitive statement from this prescient American underground band.

UK based, Giallo Point is a producer who has made a name on the underground scene over the last few years with an intricate style of Jazz & Latin through to library vibes & sounds.
Making beats since the late 90’s he has now found a niche in the market with a strong presence for a sound many know as the "giallo point sound and vision". He has helmed and been known for providing that sound to numerous HipHop luminaries. His prolific output has covered a wide gamut.
This time around he brings us a vintage jazz and library edge to solidify the full impact of what this latest release “Blue Keys” will bring to the table. While we take a trip down the jazz sound he keeps the sinister edge from start to finish. Prepare for a journey of instrumentals that will be the start of a series of musical moments for the instrumental heads.

One of the original bands out of Athens, GA indie rock scene, Squalls
played their first show at the world-famous 40 Watt Club on Dec 3, 1981
and reached a wider audience thanks to the 1986 movie Athens, GA:
Inside/Out
The band's self- titled debut has been out of print for over 36 years. Newly
remastered and expanded with unreleased demos, this set features their most
well-known songs Elephant Radio, Na Nanana and Crickets.

One of the original bands out of Athens, GA indie rock scene, Squalls
played their first show at the world-famous 40 Watt Club on Dec 3, 1981
and reached a wider audience thanks to the 1986 movie Athens, GA:
Inside/Out
The band's self- titled debut has been out of print for over 36 years. Newly
remastered and expanded with unreleased demos, this set features their most
well-known songs Elephant Radio, Na Nanana and Crickets.

OZRIC TENTACLES' BECOME THE OTHER' IS BACK IN STOCK ON LP VIA
KSCOPE
One of the most influential bands to emerge from the UK's festival scene, the
Ozrics layer ambient & ethereal landscapes with freeform dub trips, incredible
rave grooves & psychedelic progressive rock. It's an open exploration of music &
the soul. The band's first release after Merv Pepler & Joie Hinton left to form Eat
Static, Become The Other' still possesses the cool, psychedelic spare rock of its
predecessors. With hints of techno, psybient & world music, the album kicks off
with some fine guitar & bass on 'Cat DNA', followed by the atmospherics of 'Ahu
Belahu' & 'Ghedengi'. 'Wob Glass' is all synthy techno whilst 'Neurochasm' is a
cool trippy rock track & so very Ozrics. The title track visits reggae with lengthy
finishers 'Vibuthi' & 'Plurnstyle' both smorgasbords of classic Ozrics sounds. And
that's Become The Other' in a nutshell: everything you'd expect of an Ozrics
album, but not sounding exactly like any other Ozrics album. BECOME THE
OTHER' IS NOW AVAILABLE AS A SINGLE LP EDITION

Since 2013 Jail Job Eve has become an indispensable part of the German
rockstages - Whether festival stage, live club or rustic rockmusic venue -
for more than eight years now the five musicians from Osnabrueck,
Germany, have been playing their way across the country
After their first release "Bird of Passage" in 2015, the band signed a contract with
MiG - music in 2018, the label that, among other things, distributes the legendary
"Rockpalast" recordings of the German TV- and radio-station WDR and with bands
such as Siena Root, Br selmaschine and Wucan, the label has signed in the field
of retro rock under contract.Jail Job Eve's album "The Misson" received
recommended reviews in the music press throughout Europe, and the band thus
earned the reputation: "the hope of the national blues rock scene" (eclipsed
Magazine, Germany).With their upcoming release "Wildfire", Jail Job Eve is once
again setting new standards. The album, recorded entirely live, confirms the band
as a finely balanced rock machinery. The music is much harder, more
experimental and coarser, while the lyrics deal offensively and aggressively with
the most important ideological issues of our time, such as climate change,
sexism, LGBTQ + rights or the responsibility of art and culture as a mirror of
society and an instrument of peaceful protest. For example, the first single "Lost"
is a song about female empowerment and therefore an energetic, feminist
statement to sing along to.The band's audible role models include Rival Sons,
Blues Pills, Greta Van Fleet, but also the classic rockers of Deep Purple or the
omnipresent ubiquitous instance Led Zeppelin. The clearest fist in the face of the
listeners still is Victoria Semel, who virtuously puts her heart and soul into her
singing. Benedikt Schlereth, who plays his way through the album with his
distinctive guitar sound coined by the grand repertoire of rock history, Jens
Niemann, who lets his Hammond wobble sonorously and suffer shriekingly, as
well as Tim Beckers on bass and Josef R hner on drums, who create fulminant,
cast-iron floors under their bandmates

From northern Sweden comes this album filled with the sound of deep
woods and high mountains
Nine tracks of hypnotic yet energetic instrumental rock with influences from the
post rock and psych rock scenes. With electrifying dynamic interaction the band
creates their cinematic signature sound. Hilmais the third album from Pershagen
SALE SPOTS; - Third album from Pershagen - The band have toured in Sweden,
Europe, China and Russia in the past - Post Rock / Psych Rock / Instrumental
Rock - Everything you like about Scandinavian music. Super strong songs, the
sound of nature and great melodies - Green Transparent Vinyl limited to 500
Copies - Clear Transparent Vinyl limited to 500 Copies

From northern Sweden comes this album filled with the sound of deep
woods and high mountains
Nine tracks of hypnotic yet energetic instrumental rock with influences from the
post rock and psych rock scenes. With electrifying dynamic interaction the band
creates their cinematic signature sound. Hilmais the third album from Pershagen
SALE SPOTS; - Third album from Pershagen - The band have toured in Sweden,
Europe, China and Russia in the past - Post Rock / Psych Rock / Instrumental
Rock - Everything you like about Scandinavian music. Super strong songs, the
sound of nature and great melodies - Green Transparent Vinyl limited to 500
Copies - Clear Transparent Vinyl limited to 500 Copies

25 years on the scene! New Tide Orquesta (xNew Tango Orquesta) with
compuser Per St Jut bring leading release their 8th album
Music from the play Monster Outside that the group did together with the
Brooklyn- based danceunit Sidra Bell Dance New York. New Tide Orquesta have
toured the world over and over, made music to a large number of movies and
plays. And made themselves stars. All the way from home in Gothenburg, to
Germany , Kiev, Beijing, Rio to the tango clubs in Buenos Aires.

Originally released in 2001, Nigeria 70 was the first compilation of its kind to explore in depth the fertile music scene in Lagos as domestic artists mixed highlife and traditional rhythms with soul, funk, rock and jazz. While Western audiences were already familiar with Fela Kuti and his life story, the album placed the spotlight on some of the other great musicians and bandleaders in Nigeria during the "70s period: Joni Haastrup, Peter King, Segun Bucknor, Bala Miller, Blo, King Sunny Ade, Tunji Oyelana and many more.Three further volumes followed, exploring the far corners of original Afrobeat, juju, funk and soul.

With Stvarno Nestvarno, Ena Cosovic delivers a deeply personal and intoxicating take on dub techno. Soaked in a deep knowledge of its roots and painted with the colors of her own past. As a veteran in the scene and a resident DJ at Copenhagens most prolific club Culture Box she has an intuitive feeling for the dance floor.
Stvarno Nestvarno is ”emotional body music - pulsating rhythms, hypnotic beats laced with catchy hooks.

Originally released in 1971, Tales Of The Algonquin, is one of the finest artifacts of the British modal and free jazz scene of the 1960s/1970s. Johns Surman and Warren, like their contemporary Mike Westbrook, take the big band form and flip it on its head by incorporating elements of modal, free, and progressive jazz. The results are powerful and this album is perhaps the greatest example of that quintessentially British jazz style. Long sought after by jazz collectors across the globe, this classic title is finally back in print on LP.

SIDE ONE:
1. With Terry's Help 2. We'll Make It 3. The Dandelion 4. Picture-Tree

SIDE TWO:
TALES OF THE ALGONQUIN I. The Purple Swan II. Shingebis and the North Wind III. The Adventures of Manabush IV. The White Water Lily V. Wihio the Wanderer

Check point Catherine

“In the afternoon we performed in a rather austere theatre in East Berlin. Then I remember we crossed Checkpoint Charlie that evening to play in a club in West Berlin. The atmosphere was completely different. I felt as though we were living in a black and white spy movie.” Nicolas Fiszman recalls that chaotic day of 13 June 1982. Two outstanding guitarists, Philip Catherine and Nicolas Fiszman, who at the time was only seventeen years old, were taken from one side of Berlin to the other in pouring rain to perform to unlikely audiences. At both concerts, they played the same programme of seven pieces written by Philip, with the exception of “Crystal Bells”, composed by Charlie Mariano. The pair were not master and student. Rather, Philip remembers Nicolas like a young brother he might have taken to the beach. After the 1960s, Philip became a major figure on the jazz scene, working with the greatest: Charles Mingus, Chet Baker, Stéphane Grapelli, Dexter Gordon, to name only a few. Nicolas has played with Charles Aznavour, Vanessa Paradis, Francis Cabrel and Eric Serra, and travels the world with Sting.

On that gloomy afternoon, the two guitarists, alone on stage, decided to brighten up the morosity that reigned. The pieces they played bore titles such as “Janet”, “Babel” and “Petit Nicolas”. It is hard to believe that this varied, well-constructed, polyphonic music was not entirely written down on paper. Philip says, “Nothing is written from beginning to end. I compose the themes and some harmonic bridges. Then we have a chord chart … and that’s it.” The foundations are written; inspiration, taste, fantasy and friendship do the rest. We feel as though we are taking a nonchalant walk through Rio or Miami. The concert is punctuated by thunderous applause.

For these brief minutes in that year 1982, the East Berliners were able to fly over their tightly closed borders.

We are privileged to have unearthed this unique concert where two outstanding artists bring together two cultures to create an intense blaze of happiness.

Philip Catherine, Guitar
Nicolas Fiszman, Guitar & Bass
With the kind authorization of the Artists

For us at 1985 Music, our Various Artists series are extremely important. It not only provides a great platform to celebrate music from a wide range of artists, but it also enables us to promote both veterans and newcomers in the scene and to introduce them as part of our extended family. We are very excited to share the second part of our Atlas series which includes both new and familiar faces.

R3volution H3roes Vol.3 concludes the second AA.VV. trilogy which includes special tracks created by some of the best artists on the techno scene.

The lineup of this release consists of 6 artists:

In Logo Side, the EP opens with a masterpiece by Dutch Boss Dimi Angelis, making his debut on

On the other side (Info Side), we find the Australian Vohkinne. Follow another debut on

XUNTANZA is a Galician word that means: The action of gathering a group of people to discuss an issue or have fun. And this is what it is the second volume of this VVAA series. A meeting point for great artists discussing and having fun around ELECTRO music. For this is the second chapter, we have brought four great artists from the Spanish electro scene to the table. Annie Hall, Boris Divider, Dark Vektor and Lefrenk are the artists in charge of this new release.

VINYL COLOUR IS SNOW WHITE! As a founding member of Bauhaus, David J helped spearhead the post-punk scene of the early ‘80’s with a string of innovative work, including Bauhaus’ defining moment, a bona fide classic and feasibly the pinnacle of the entire goth scene: the nine minute plus epic slab of industrial dub “Bela Lugosi’s Dead,” featuring David’s lyrics and bass guitar work. Bauhaus propelled to the upper echelons of the UK charts before reaching their zenith in the summer of ’83 and imploding – shattering into fragments of individual talent. This implosion gave rise to David's wide-ranging solo career. The first of Bauhaus’ members to actively release music outside of the band, David went on to put out solo work and collaborations with various authors, poets and infamous indies such as 4AD. In 1985, David regrouped with two former Bauhaus members to form the hugely successful Love and Rockets. Since then, David has continued to produce his trademark brand of deeply heartfelt and darkly sophisticated music. Highlights of What The Patrons Heard include a timely rendition of Neil Young’s “Vampire Blues” delivered with penetrating intensity; “Gimme Some Truth,” which brings new urgency and potency to the John Lennon classic; and “Lay Over And Lay,” which delivers folk-punk that only musicians from the British Isles can get right.

In 2021, nyMusikk's annual festival of sound, "Only Connect", commissioned an interpretation from I LIKE TO SLEEP of the first movement of Olivier Messiaen’s Turangalila symphony. A project which initially led to a 15-minute piece performed at the festival, with the trio re-writing the music of Messiaen, but also rewriting the music of their own. Messiaen as a reference and compositional tool may be heard in the album for those really listening for references. With “Sleeping Beauty” the trio also explore even heavier riffs than before, seasick grooves and tempi, and deeper ambient soundscapes. Through extensive improvisation, the effects and processing of the sounds are way more extreme than before, almost awakening the sleeping beauty. During the pandemic, the band also had to find new ways to write music without the presence of every member, introducing the vibe-samples from the old Mellotron sound gallery to the band. Quarantillity, one of the themes which appears several times throughout the album - almost used in a similar way as the flower theme in the Turangalila symphony - is a direct result of sitting alone in quarantine, playing the Mellotron while listening to vibraphone extraordinaire Bobby Hutcherson. This theme could also be seen as a continuation of the previous album tracks named Pause I & Pause II from “Bedmonster” (2017) and “Daymare” (2020). Like “Daymare”, “Sleeping Beauty” was recorded in Duper Studio in Bergen, co-produced with the band’s all-time favourite sound wizard Jørgen Træen. It is also mixed and mastered by Træen, making the music sound as brutal, intense and intimate as experiencing I LIKE TO SLEEP in a live setting. “Infernal, scrotum-shrivelling energy sorely missing in today's music” said Jazzwise about their previous album, mentioning King Crimson, Magma, Tony Williams Lifetime, electric Miles and 60s free energy jazz as possible references. But that’s only one side of the story, there are plenty of quieter moments at work here, and the dynamic range is wide. Nicolas and Øyvind first met in high school in Trondheim before they joined up with Amund in a youth big band. It soon became apparent that they shared the same musical background centered around 70s progressive rock, classical music, jazz and improvisation. Taking their name from a Thelonious Monk quote, I LIKE TO SLEEP was formed, first for fun, but soon with higher ambitions, winning the prestigious "Young Jazz Musicians of the Year" award in 2018. Still only in their early 20s and still studying jazz at NTNU in Trondheim, they are also active as composers, freelancers and in other projects and are among the most promising on Norwegian scene. Amund Storløkken Åse – vibraphone and Mellotron Nicolas Leirtrø - baritone guitar, bass-VI and Mellotron Øyvind Leite – drums Tracks

Producer and multi-instrumentalist Ben Marc, who's emerged as a key figure of London's cutting edge jazz scene, has just announced his debut full length, a follow up to last September's widely acclaimed Breathe Suite EP (heralded by NPR, Pitchfork, The Wire, The Guardian, and more)

Glass Effect is an assured and accomplished 13-track realization of a singular vision that unifies a multitudinous profusion of influences (free-jazz, broken beat, hip-hop, electronica and beyond) into a sublime whole, underscoring the evolution of his quest for a distinctive sound: lambent, low-key, and yet dizzyingly intricate.


It's a rare talent that can link Radiohead's Jonny Greenwood, Ethio-jazz pioneer Mulatu Astatke, Afrofuturists Sun Ra Arkestra, and grime legend Dizzee Rascal, but Marc has long blurred musical worlds and criss-crossed boundaries. One of the reasons that he started writing Glass Effect, says Marc, was going to nightclubs in Ibiza and experiencing the heady sun- dappled euphoria of a summery dancefloor, as well as the beat-driven production of artists like Four Tet, Bonobo, Machinedrum, DJ Shadow, and Madlib.

Patti Smith, “the first published poet to move her poetry completely into rock 'n' roll and to entice experimental rock fans into the forbidden cinema of her hallucinatory fantasy” (New York Times), began her musical career unconventionally. It took off at a poetry reading where she was backed by Lenny Kaye on guitar; later star photographer Robert Mapplethorpe financed her punk-rock cult single "Hey Joe". In 1975, encouraged by her success, Patti Smith released "Horses", an album in which she fused rock riffs and spoken rhythms to create a punk-trash sound. The rock scene was electrified, raging about ”the best garage sound of the 70s” (Creem Magazine) and conjectured that Smith had “drawn up material from Rimbaud, Burroughs, Dylan and Velvet Underground into a hot needle and injected it under the skin” (Sounds Magazine). Later productions were dismissed as sentimental and self-loving outpourings, since the rock-poet didn’t continue in the same vein as "Horses", with its metallic harshness and raw language. That’s why this recording remains an impressive unique production by a visionary rock ’n’ roll singer.

With its name indicative of the music's boundary-testing diversity and Southwestern inspiration, On the Border finds the Eagles leaving everything on the table and embracing a harder edge that takes the band out of more relaxed territory and establishes it as a group that knows how – and wants – to rock. Glenn Frey, Don Henley, new member Don Felder, and company immediately announce their intent on the defiant album-opening hit "Already Gone" and never look back, crafting a gem of a record that from start to finish is arguably their most consistent and balanced effort.

Limited to 10,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analogue master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's significance and enhances the experience for generations to come. Playing with reference sonics that elevate an effort revered by audiophiles, it provides a lively, dynamic, transparent, and intimate view of a release whose contemporary importance continues to grow. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and gorgeous presentation of the UD1S On the Border pressing befit its select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic Navajo cover painting to the meticulous finishes.

And with On the Border, there's plenty to take in and soak up. Declared by famed critic Robert Christgau as "the Eagles' best album," the 1974 set claims a rich backstory. Initially recorded amid tumultuous sessions with producer Glyn Johns in London shortly after the release of the group's sophomore Desperado set, On the Border took a new turn after the band elected to scrap most of the prior work, return to its native California, and team with producer Bill Szymczyk to give the material less of a smooth, polished sheen and more toughness. Szymczyk also afforded the Eagles more input and freedom in the arrangements, and suggested adding another guitarist to play on "Good Day in Hell." Felder got the call, and so won over the Eagles with his skills, he quickly became the fifth member of the band.

While the late-arriving Felder only plays on one other album cut, "Already Gone," his mates more than prove their muster on the remainder of a double-platinum affair that established the Eagles as a force whose range transcended the calmer country-leaning style it perfected on their first two LPs. Primarily written by Jackson Browne and shelved during the Desperado sessions due to its higher-energy nature, the throttle-twisting "James Dean" ricochets with barbed riffs and rebellious swagger. Listen without limits to how Szymczyk's raw production stamps the song with a leather-and-jeans cool befitting its protagonist. Similarly rugged, the slide-guitar-fueled "Good Day in Hell" boasts its own mean streak. And the funk-laced, boot-stomping title track cautions "don't you tell me 'bout your law and order." Throughout On the Border, the Eagles are in no mood to mess around.

Not that the band skirts sentimental territory. On one of the era's finest covers, the Eagles nail the bittersweet feelings and bring high-definition detail to the vivid scenery of Tom Waits' "Ol' '55," a song the group makes its own. The rustic ballad "My Man" serves as a tribute to the recently deceased Gram Parsons, with singer-guitarist Bernie Leadon taking the lead on the microphone as he pours his heart out to his former Flying Burrito Brothers mate. And when it comes to romance, is it possible to top "Best of My Love"? Graced with Henley's honey-dipped vocals, refined wordless group harmonies, brushed drums, and the gentle strum of acoustic guitars, the Johns-produced cut soared to Number One and set the stage for what would soon be the Eagles' reality: global dominance.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master recording. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

If it's really a post-genre world, why does everything sound the same? The two halves of Tampa rap duo They Hate Change_Dre (he/him) and Vonne (they/them)_first came together in front of the apartment complex where they both lived as teens. Dre had just moved down from Rochester, NY; Vonne was trying to sell him bad weed. It was clear from the start that the two listen to music differently from most people_they're sonic omnivores, obsessive deep-divers, lovers of rare and radical sounds. Starting as kids trawling the internet for tracks, they've been collecting music from around the world and across the decades, amassing a shared sonic knowledge so deep that "encyclopedic" barely begins to cover it _ not just the East Coast hip-hop that Dre grew up on, or the hyperlocal bass-music variants like jook (the Gulf Coast's twerkably raunchy answer to house) and crank (think "Miami bass meets NOLA bounce"), but also drum `n' bass, Chicago footwork, post-punk, prog (they're, like, seriously into prog), grime, krautrock, emo, and basically any genre on the map. Once they graduated to DJs on the Tampa DIY scene _ which includes everything from punk rock house parties to the black "teen nights" that pop up in rec centers and ballrooms _ they figured out how to pull all these disparate sounds together into a cohesive style. More importantly, they figured out how to make it something people will actually move to. When they made the transition to rapping and making beats, they brought that pleasure-seeking approach to sonic experimentation with them. "With this album, Vonne says, "it's really like, okay, you know how you talk about the internet breaking down borders? Here's what that actually sounds like. It's not just a hip-hop record with a couple more weird sounds. You want homegrown DIY? This is a record that was written, produced, and recorded in a 150-squarefoot bedroom from the least cool city you could think of." Finally, New is what a truly post-genre musical landscape is supposed to be: building deep connections that transcend outdated distinctions between them, spilling over with the joy of exploration and possibility, and daring other artists to think broader, go deeper, take bigger risks. Let the rest of them keep playing by the old rules_They Hate Change will keep changing the game.

Today, Toronto-based producer Sven Lochenhoer releases his quirky two-track ‘It Knows’ EP, out now via Dirtybird.

Since 2017, Sven Lochenhoer has been a consistent character among the flock, popping up on various Dirtybird compilations and sub labels over the years. Diving into the depths of house music, Sven Lochenhoer’s ‘It Knows’ EP is reminiscent of Dirtybird’s 2005 origins. Thoughtfully produced, the EP consists of its edgy, club-centered title track and experimental downtempo companion ‘Rain Check’. Each layered with gentle piano melodies, warm basslines, and wonky vocal effects, Lochenhoer has crafted an intricate duality through this two-track project.

The rising Canadian producer first appeared on the scene six years ago. Since then, Lochenhoer has gone on to release records with such labels as Dirtybird, Trippy Ass Technologies, and Dumb Fat. Through his original productions and Splice sample packs, Sven Lochenhoer continues to earn the favorable regard of artists and aural aficionados alike.

Repress !


One of the first true moments of genius from saxophonist Nathan Davis - a mid 60s European session cut for the tiny SFP label - and a record that's even rarer than his early classics for MPS! The sound here is similar to the MPS sides - a mixture of soul jazz and modal jazz - served up with a bit more freedoms than Davis might have gotten on the US scene, and featuring a lineup that includes Woody Shaw on trumpet, Jean-Louis Chautemps on baritone sax, Rene Urtreger on piano, Jimmy Woode on bass, and Kenny Clarke on drums. The tight rhythm of Woode and Clarke is a nice counterpoint to the modernism of Davis and Shaw - Davis works a bit on soprano, which sounds especially great!

Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines. Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno. Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Jalea is the affectionate term used by seafood-craving Peruvians for one of the country's signature dishes. In this jalea the menu consists of four original tracks highlighting the artist's career on one side, and four selected remixes by iconic producers from Mexico, Argentina, and Peru. Tribi arrived on the scene as digital cumbia was busy spreading its wings from Buenos Aires, soon to take over Latin America (and later the world), with Lima the next city to catch the bug. Ernesto had been DJ'ing in clubs since the mid-90s, and experimenting with Peruvian cumbia since the mid-00s, but the birth of his alias Tribilin Sound allowed him to go wholesale into his beloved chicha, reinterpreting grooves by classic Peruvian groups like La Pintura Roja, Los Titanes and Chacalón y la Nueva Crema, as well as proving to be a dab hand at a mash-up. Soon, he found himself at the heart of a like-minded community, releasing a debut self-titled album with Peruvian label, Terror Negro, and following it up with Aquí Siempre Bailamos (2014) for pan-Latin collective Sello Regional. Coming from a club background, rhythm has always been central to Ernesto's approach, his adopting of Peruvian styles never deviating from the necessity to get bodies moving, and the remixers here seem to take delight in stretching out his rhythms. Mexico's Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines; another Mexican, Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian thunder-duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno..

This compilation brings together 22 sound poems, including both pioneering and current pieces, and constitutes itself as the first great overview of sound poetry from Peru. It continues a cycle that began in 2009 with the appearance of a CD called Inventar la voz: Nuevas tradiciones orales To Invent the Voice: New Oral Traditions and was followed up in 2011 with another one called Irse de lengua [To Let It Slip], both of which contributed to articulate diverse manifestations of poetry that used technological means, also in the context of intense activity in the local scenes of experimental music and sound art that opened spaces for interdisciplinary dialogues. What we know as sound poetry is the product of a technological revolution associated with the appearance of various means of recording, transmission and amplification of the voice. A long process that took shape in the 20th century, until it became a discipline, articulated as an international movement which, based on phonetic research, expanded into a universe of oral/vocal artistic practices as part of a new technological context. The recordings gathered here comprise a time frame that goes from 1972 to 2021. We find poems that work with montage techniques, either because they explore simultaneity or juxtaposition, such as those by Mario Montalbetti, Frido Martín, Florentino Díaz, Carlos Estela, Luisa Fernanda Lindo, Macri Cáceres, Rodrigo Vera Cubas, Tilsa Otta, Giancarlo Huapaya/Omar Córdova, Virginia Benavides, Lisa Carrasco and Luis Alvarado. Others emphasize vocal/oral performance: we find the phonetic poems of Carlos Germán Belli and Eduardo Chirinos, as well as the concrete conceptual poems of Michael Prado, Sandra Suazo, Peru Saizprez, and the oral/guttural poem of Omar Aramayo. Finally, we find another group of pieces where the poem starts with the creation of a computational parameter or algorithm, as is the case with the pieces by Jorge Eduardo Eielson and Enrique Verástegui, eventually reaching the use of Artificial Intelligence as in the poems by Francisco Mariotti and Paola Torres Núñez del Prado. The Verbal Matter: An Anthology of Peruvian Sound Poetry is part of a series produced by Buh Records for Centro del Sonido, a website set up as a digital archive of Peruvian experimental music and sound art. The compilation has been made by Luis Alvarado and is published in a limited edition of 300 copies in vinyl format. It includes extensive notes and visual documentation. Mastered by Alberto Cendra. Art by René Sánchez.

CoOp Presents is incredibly proud to present an all-new compilation album put together by Allysha Joy. This 14-track LP gives us a solid glimpse into the current wave of Antipodean bruk / broken beat artists.

Allysha explains "the connection began with a guest mix for CoOp Presents Worldwide FM radio show. I was asked to guest on the show, so pulled together some heavy unreleased and unmastered "Australian" broken sounds. I immediately called Horatio, Close Counters and Setwun, some of my nearest and dearest inspirations and collaborators to get them in the mix! Within 24 hours I had a brand new beat from Setwun called 'H.B.Y', I ran up some vocals on a Close Counters track and landed a wild jazz-bruk collaboration called 'Fly' from Horatio Luna and Nikodimos! We all felt really blessed to be linking in with some of the innovators of the sound we love!

Also in the mix, I played a track by Lanu a.k.a Lance Ferguson, one of "Australia's" funkiest songwriters and producers. Mike Gurrieri and Chris Gill over at Northside Records had already been scheming to set Lance and I up on a music date for weeks, which turned into writing 'Rewind' . Lanu, along with Ennio Styles, have been integral in the broken beat sound down here from the early 2000s and they connected Jonny Faith in to bring 'Southern Stepper'.

After linking in over the music and working on some collaborations, Alex Phountzi and IG Culture asked me to put together this compilation. The first person that came to mind was Sampology. A wild ride of shifting harmony and incredible vocals, Sam delivered 'Sunny', featuring Maia. Also of Middle Name Dance Band acclaim and a beaming light of creative energy, Kuzko created 'Immunity' for the comp — their debut solo release!

Also up in Meanjin, Special Feelings and Squidgenini were making their own style of jazzy house music and we absolutely knew that they would kill it on the broken beat tip. They sent through 'On Heat' and 'Prophecy' respectively, and inspired me to write and produce 'Listen'. A track about the struggle to be heard as female and non-binary artists. A hard-hitter mixed by co-collaborator Yelderbert of our new duo project, Totek.

As my brother and the one that first introduced me to Agent K, I knew we had to get Ziggy Zeitgeist up in the mix! He immediately sent over a bunch of tunes, and from alongside all of the 30/70 Collective demo drum loops and fresh Z.F.E.X sounds, we selected 'Bruk Samba' featuring Cody Curry, the CC Dance Orchestra.

I had managed to pull together a bunch of tunes for the compilation and after a studio session one afternoon I was walking down Sydney Road and bumped into Silent Jay, Alien and A.KID a.k.a. ACID SLOP at their new spot, the Mandarin Dreams HQ. We were just chatting and above Jay's head I spotted the New Sector Movements record, 'Download This'! To see that they'd just been spinning this record felt so serendipitous, so I had to ask them to be on it! Acid Slop sent me through a tune literally the next day, called 'Everything Falls Apart' and within the week we got 'Walk Away', from Lori and Silent Jay. It felt complete.

The way that this music just effortlessly and lyrically fell together, is a testament to the broken beat undercurrent that runs within the jazz and dance music scene down-under. 'They're Energised' connects a scene of deeply talented and inspired musicians, collectively shaping the new wave of uniquely "Australian" bruk and broken beat music!"

'They're Energised' is released mid-November 2022 on double vinyl and digital worldwide via CoOp Presents.

Mennie heads to LOCUS for his label debut, delivering four slick productions across his ‘Jack & Jane’ EP.

Florence-based DJ and producer Mennie has been a fixture within the European house scene for years now, yet he’s still on the rise with plenty more on the horizon. A smooth operator when it comes to weaving rolling percussion with alluring basslines, the Italian’s outings via Deeperfect, Moscow Records, and Infuse have showcased his ability to deliver cuts that pack a punch yet are filled with subtle nuances. Heading into the peak summer months in style, early June brings a LOCUS debut as he drops his four-track ‘Jack & Jane’ EP.

‘Jack & Jane’ opens things with the title track bringing loopy, swinging drums alongside cosmic melodies, while ‘Space Rocket’ sees regimented drums shoulder emotive pads and zipping synths. On the flip, ‘What Happened’ buzzes into action armed with zigzagging leads and smooth rolling grooves, before ‘Just Like That’ turns up the heat with squelchy basslines, wonky, off-kilter effects and resonant vocals throughout.

Needwant Records arrive with the latest in their ever-evolving roster showcasing the sounds of underground city life, proudly presenting label newcomer NATE08's kaleidoscopic debut LP, 'Furaha'.

London-based label Needwant Records have been tirelessly advancing dance music's esoteric fringes for well over a decade, with their immaculately curated catalogue routinely moving dancers and garnering respect and plays from the industry's most revered tastemakers. Here, the newest recruit to the label's glittering line-up, Mumbai-based musician, producer, and DJ, NATE08 brings forth his breathtaking inaugural album.

Equally adept as a producer, session bass player, and genre-spanning selector, Nathan Thomas has become an irrepressible force in India’s blossoming underground music scene. The Mumbai-based musician’s solo project, NATE08, treads the groove-oriented territories of funk, r&b, and house – with his elegantly spun productions firmly rooted in dance music's glorious heritage while imbued with a future-facing production gloss.

Title track 'Furaha' blissfully sets the tone for what's to follow, with dextrous Latin guitar gliding over intricate percussive waves as heavenly chords fill the sun-kissed panorama. Upping the energy just a touch, Azamaan Hoyvoy's honeyed vocal enlivens the summer haze of 'Trigger Fool', arriving over evocative chords and laser tight four/four rhythms to create a stunning slice of low-slung future house deepness.

The funk-flecked bump of 'Bunker' sees Nathan's bass mastery arrive in full force, with spirited slaps propelling misty chords and sublime guitar licks across a loose-limbed beat. Continuing the horizontal sensations, the captivating chord progressions of 'Hold Up' soar over thick, rolling bass notes and shimmering synth swells.

Lead single 'Sunrise Sundown' is a stunning example of NATE08's organically spun deep house prowess, with Jitwam's soul-drenched vocals cascading over succulent chords and dancing synth melodies as smokey beats and pulsating bass cement the heads-down groove. Next, hypnotic fusion guitar refrains soar over lively percussion and gentle pads for a life-affirming Balearic voyage, maintaining the carefree spirit while enlivening the senses as the arrangement heads for the horizon.

The 'Let's Go To Ibar' interlude makes way for the mesmerising deep house flex of 'Want You', where Megan Murray's yearning vocal provides the seductive hook as acidic bass notes bounce over glistening chords and propulsive beats. A prime example of NATE08's futurist intentions arrives in the form of r&b-meets-house hybrid 'Feel It', with Lojal's striking performance flitting between searing soul and street-ready swagger powers over an intoxicating, organ-infused bed.

The forward-thinking two-step rhythm of 'Cold Muse' sees broken drums drive emotion-heavy chords and bewitching guitar licks over sensual bass, before closing track 'Primrose' sees the album home with a fitting flourish. Here, Naisha's heartfelt vocals sail across an ocean of glassy chords and staccato synths, with kinetically charged congas enlivening the groove as the magnetic bass adds body to the celestial instrumentation.