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Available for the first time ever, Tennis System's first LP 'The Future of Our History'. Limited to 300 and are numbered.

Tennis System are a power trio with an emphasis on power, capable of conjuring a storm of noise and melody that would make Kevin Shields proud.

Every once in a while, a band emerges ready to take on the world. Sweden's own Knights Of The Realm bring the thunder and deliver the goods (pun intended). From the first note of the intro, to the last on the outro, they deliver their own lovingly crafted blend of classic 80's metal. Knights Of The Real is many years of heavy metal experience combined into a pure vicious heavy metal machine. Larry "The Hammer" Shield (Lars Sköld) has toured the globe and recorded with legendary band Tiamat for as long as he can remember, and is without a shadow of a doubt the band's backbone. Megalomagnus (Magnus Henriksson) has been making history with his band Eclipse since the end of the 90's and is a bonafide guitar hero, who's both capable of some heavy duty riffage as well as delivering gorgeous melodies. Mean Machine (Marcus Von Boisman) has been working in the shadows of metal for many years, and played with Swedish bands Windupdeads and Stormen. And as far as the Mean Machine goes, well, the name says it all! He delivers the soaring rock vocals we all love, with attitude and feeling. The love for classic heavy metal is the driving force behind this band. The aim from the beginning was to write heavy metal hits that should, or could, have been on the albums they grew up listening to. When the songwriting process began, it was like opening Pandora's box. The overall feeling was that those songs were calling out to be written and to be played, and the band's collective ideas, dreams and experiences merged into something new, something that can hopefully lure a new generation of rockers into that metal club we all love. Knights of the Realm is a Swedish heavy metal band, and their aim is to spread their music to as many metal heads as possible, all the while having a blast doing it. They are getting ready to go on a crusade, and to take their true place on the metal throne as Knights Of The Realm.

Domino are immensely proud to announce the signing of my bloody
valentine, with new physical editions of the band’s seminal catalogue
being made available. ‘Isn’t Anything’ and ‘loveless’ have been
mastered fully analogue for deluxe LPs and also mastered from new
hi-res uncompressed digital sources for standard LPs, with each
being made available widely for the first time ever. Fully analogue
cuts of ‘m b v’ will also be available on deluxe and standard LPs
globally for the first time.
my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields,
Deb Googe and Colm Ó Cíosóig, are widely revered as one of the
most ground-breaking and influential groups of the past forty years.
During an era in which guitar bands denoted, at best, a retroclassicism, not only did my bloody valentine sound unlike any of their
contemporaries, the band achieved the rare feat of sounding like the
future.
The second my bloody valentine album, ‘loveless’, was released in
1991. Musically, it took an unexpected leap forwards, standing ahead
of anything released at the time. Shields and the band moved further
towards a music of pure sensation, creating textures and tones that
could be felt as much as heard; with ‘loveless’ the band created an
album that overwhelmed the senses. ‘loveless’ is widely considered a
flawless whole and rightly regarded as a masterpiece; a 1990s
equivalent to ‘Pet Sounds’, ‘In A Silent Way’ or ‘Innervisions’, a record
constructed by exploring the edges of what a recording studio is
capable of. It is a record best experienced as a whole, in one sitting -
a listening experience like no other and unmatchable in its sonic
brevity.

It can be done, but only Shielding can do it. Continuing here with a third record for Kimochi Sound, the Scandinavian continues a trek into deep kaleidoscopic grooves with intoxicating rhythms that unfold over the course of each track. The atmospheres transport listeners to fresh, new environments, while the dancefloor is warped and twisted almost beyond recognition under the weight of the slow and bulbous basslines.

Constructed from the brains and limbs of Wayne Adams and Henri Grimes, Big Lad is difficult to frame in words and perhaps much better served by their actions. Their live show having been continually captured, cropped and chopped over the years since their formation in 2015.

The project was rather appropriately founded off the back of a chance email, when Drummer Grimes (formerly Shield Your Eyes) suggested that the duo collaborate on a crossover project, having heard Adams’ vast Breakcore back catalogue. Adams had, somewhat serendipitously, been busy writing a Drum Trigger programme shortly before the email had hit his inbox and he jumped at


the chance to test the creation in a practice room. With Grimes strapped into this new system, songs started to appear thick and fast, and Big Lad was swiftly born.

2015’s recorded debut announced their collaboration, consciously marrying the collective excitement of both underground Punk and Electronic subcultures. 2018’s Pro Rock saw Big Lad extend the euphoria of their live show, using primal energy as an antidote against the jargonistic culture of our present.

After a year away from the heat of the stage lights, 2021 sees the triumphant return of the duo, announcing a brand new LP titled Power Tools. It’s a collection that sits as an unashamed monument, chiselled and stripped back to present the raw strength of what Big Lad has become. The results range from more familiar high octane tracks that nod to history of the rave community, to more brooding moments that appear (and vanish) like the ghosts of warehouses long since vacated.

The latest release in the series exploring the musical worlds of Gerry Anderson is the most extensive yet. Space: 1999 ran for two series from 1976 to 1977 and depicted the occupants of Moonbase Alpha and their struggle for survival when, after the explosion of a nuclear waste dump, the Moon is hurtled into space.
The series was the most expensive produced for British television at that time and the most musically diverse of all the shows made by Anderson for ITC. Gerry Anderson’s long-time musical partner in all the previous adventures was Barry Gray and Space: 1999 proved to be the last of their collaborations.
Uncut Magazine referred to Series 1 music as “Pink Floyd without the mythology”. The first recording session for Space: 1999 took place on December 11th 1973 with a 52-piece orchestra performing the opening and closing title music. For the series’ incidental music between 32 and 38 instruments were utilised at any one session, all conducted by Barry Gray. The selections from Year 1 show Gray’s skills in creating a memorable opening theme as well as dramatically evocative cues highlighting the plight of the Alphans as they became known. The Year 1 album also showcases a selection of library cues which featured throughout the series.
Barry Gray was a classically trained composer and a versatile musician and was amongst the first composers to use electronic instruments in music for television. Best known for creating the music for most of the Gerry & Sylvia Anderson television series in the 1960's and 70's (Fireball XL5, Thunderbirds, UFO, Space:1999), Barry Gray’s complete musical opus is still not commercially available in its entirety. Fanderson, dedicated to the productions of Gerry Anderson, has gained access to all Barry Gray's original studio tapes and have undertaken a major re-issue project. Together with Fanderson, Silva Screen Records is championing Barry Gray’s incredible musical opus and is releasing the material in a series of physical and digital albums and vinyl records.

Porcupine is Echo & The Bunnymen’s most profound and personal album from their early period. Weathering band turmoil, rejections from their record company and spans of songwriting drought, the group emerged with a passionate and compelling set of songs described by vocalist Ian McCulloch as “coming to terms with the opposites in me.” Following their fourth Peel session in early 1982, the band chose Ian Broudie, leader of The Lightning Seeds and co-producer of Echo’s 1980 album Crocodiles, to produce Porcupine. While the album includes both “The Back of Love” and “The Cutter” (two of their most upbeat and successful singles), most of the material was fairly introverted and autobiographical.

Unfortunately suffering negative reviews upon release (including a misguided hate-piece in the NME), Porcupine has since become a gold standard for both the band and British underground rock from the ’80s. It’s also simultaneously their most retro album and their most forward-looking. The production is full of guitar effects that must have set the mind of Kevin Shields onto the path to My Bloody Valentine’s own masterpiece, Loveless.

In addition to the “The Cutter” and “The Back of Love”, Porcupine includes songs such as “My White Devil,” “Heads Will Roll,” and “Porcupine” that transcend and enlighten to this day. It’s an essential album from one of the most influential bands of the post-punk movement.

At the end of a crooked, narrow alley, tucked away behind a cluster of spindly palm trees that protect it from the intense, direct Southern California sun and shield it from the persistent dusty haze is the lair of Zen 2000, a new project from a Los Angeles native who's been intimately involved in the city's latest wave of electronic music and Nik Mercer, creative lead behind Let's Play House.

The imprint has set out to, through a tight and concise series of 7-inches, explore spacey textures and ambient colors from an amorphous cast of friends and family members, all either also from L.A. or with a deep spiritual connection to the city.

House of Ho, the name behind this debut single, is a little bit of both, stuck somewhere between the island of Hong Kong and the City of Angels; the pair of tracks included here were written, recorded, and produced between the two cities. Perhaps as a result of claiming both Western and Eastern Hemispheres as their place of origin, the songs sound fundamentally “in between”: in between sprawled-out, wandering ambient and sharply scored instrumental exercises; in between late-night trumpet figurations that twinkle around the Canyons and neon-lit karaoke-bar backing tracks that hit with a particular, sugary snap.

black vinyl repress

"A shield against death,
Blood, fire and power.
The purity of feelings,
For an eternal youth."

After more than 5 years in the techno scene as an organizer, label, and agency, RAW is launching their first vinyl compilation including 16 original tracks from a well-curated list of top producers. The release features several early label contributors as I Hate Models, Under Black Helmet or Hadone with respected and inspirational artists as Perc, Somniac One, Thomas P. Heckmann, or Clouds to name a few.

Entitled Gemstones, this V/A is divided into 4 colored vinyls representing precious stones, promoting a hard and harsh sound from industrial to emotional techno stompers.

Black vinyl repress

"A shield against death,
Blood, fire and power.
The purity of feelings,
For an eternal youth."

After more than 5 years in the techno scene as an organizer, label, and agency, RAW is launching their first vinyl compilation including 16 original tracks from a well-curated list of top producers. The release features several early label contributors as I Hate Models, Under Black Helmet or Hadone with respected and inspirational artists as Perc, Somniac One, Thomas P. Heckmann, or Clouds to name a few.

Entitled Gemstones, this V/A is divided into 4 colored vinyls representing precious stones, promoting a hard and harsh sound from industrial to emotional techno stompers.

- Available for the First Time on Vinyl - Deluxe Old Style Tip-On Gatefold Packaging with 180 Gram - "Yellow Raincoat with Blood Red Splatter" Colored Vinyl - Insert with Liner Notes and Original 1976 Recording Session photography // Waxwork Records is thrilled to present the debut release of ALICE, SWEET ALICE Original Motion Picture Soundtrack by Stephen Lawrence. Alice, Sweet Alice is a 1976 American Slasher-Horror film directed by Alfred Sole and starring Brooke Shields in her film debut. Set in 1961 New Jersey, the film focuses on a troubled adolescent girl who becomes the suspect in the brutal murder of her younger sister at her first communion, as well as in a series of unsolved stabbings that follow. In the years since its release, Alice, Sweet Alice has gained a cult following and is considered a contemporary classic of the slasher sub-genre in critical circles. It has also been the focus of scholarship in the areas of horror film studies, particularly regarding its depictions of Roman Catholicism, child emotional neglect, and the disintegration of the American nuclear family. The film's chilling score was composed by Stephen Lawrence. Lawrence is an American composer that has scored more than 300 songs and musical cues for Sesame Street, resulting in three Emmy Awards for Outstanding Achievement in Music Direction and Composition. The music of Alice, Sweet Alice features heavy usage of dissonant strings, repetitive keys, church organ, and motifs that segue from eerily mischievous and playful to dread-inducing and utterly haunting. Available for the very first time in any format, the complete soundtrack to Alice, Sweet Alice comes available on 180 gram "Yellow Rain Coat with Blood Red Splatter", deluxe packaging with new artwork by Steven Reeves, old-style tip-on gatefold jackets, a heavyweight insert, exclusive composer liner notes, and original recording session photography.

It’s a given that timing is everything in music – most obviously in terms of composition and production but often just as much in regard to conception and release – the latter two doubly poignantly so in the case of this massive DOOM vs The Sugarcubes mash-up LP from turntablist and producer Krash Slaughta.

Which is why the tale of this project’s gestation is perhaps what should be told about it before anything else.

Begun last August and finished on 25 October, the album started life as an idea born from a casual listen to final Sugarcubes album Stick Around For Joy that Krash had bought a copy of years before in a charity shop. Contemplating the cover art while listening to the LP and the track Hit in particular, it came to him that here might be the musical basis for a concept LP in the grand tradition of the hip-hop mash-up album. Thus the project was born, becoming something of an obsession as lockdown restrictions recommenced through a sanity-testing autumn. As it developed, the provisional title of Stick Around For DOOM morphed into Sugar Coated DOOM and Brighton artists Leigh Pearce and Rob Crespo were roped in to create the artwork. So pleased was Krash with the results that he decided to self-finance the pressing of the LP to vinyl which in turn would allow him to send a copy to DOOM in the most fitting format. On that basis, along with his dad’s advice that if you want something done properly; do it yourself’, he initiated the process for a limited press run as soon as the project wrapped and telephoned his dad (who’d been shielding and who he hadn’t seen for months) to say he’d done precisely that. In a tragic twist, this turned out to be their last ever conversation, for Krash’s dad died suddenly the next day. Two months later of course, while waiting for the Covid-slowed vinyl pressing process to complete, came a further tragic twist as the world received the delayed news that DOOM himself had also passed away back in October – in the event, only five days after Krash’s father. So it’s no understatement to say that Sugar Coated DOOM carries significant emotional resonance for its maker, forever linked as it will be to the deaths of two of his personal heroes.

Which brings us to the content. The album contains seven vocal tracks, with an alternate version of one and instrumental versions of five of the seven across two sides of an album with the music, track names, LP title and cover art mashing up musical, lyrical/ textual and visual elements of The Sugar Cubes’ Stick Around For Joy with DOOM acapellas, track names and references. Listeners won’t need long to appreciate that Krash Slaughta was right to be proud of his creation, almost certainly correct in thinking DOOM would dig it and no doubt The Sugarcubes too. Also, who would have thought The Sugarcubes had so much potential for beat-mining? But then seeing potential in the unexpected was always a vital skill from the golden era of sampling in hip-hop and those who follow in the tradition. The first track proper, for example, swipes Madlib’s lo-fi beat from underneath the vocals for Figaro and replaces it with the looped and beefed-up opening bars of the Cubes’ I’m Hungry. The result is a natural fit. But then the blending of elements in every track on this release provides evidence of the effort and love put into its creation, reinvigorating DOOM’s classic vocals while re-purposing The Sugarcubes in a manner that will delight. Indeed, if you’d didn’t know the work of Bjork’s former band, you’d be unlikely to pin an early 90s alt-rock LP as the sample source. I imagine listeners will have a hard time picking a favourite too. Perhaps Hit It (based on the track which triggered the project idea in the first) which splices the Bond-theme-ish Hit with My Favourite Ladies might prove the most popular, or the monkey’s favourite, Nurse Chong, which blends Happy Nurse with Raedawn (named for Tommy Chong’s daughter) from Viktor Vaughn LP Vaudeville Villain. Whichever one punters pick though, anyone who hears anything off this will know it’s one to rank alongside your other favourite hip-hop mash-up albums. And who knows – perhaps even Mr Daniel Dumile himself might have considered it a not unfitting epitaph.

Domino are immensely proud to announce the signing of my bloody
valentine, with new physical editions of the band’s seminal catalogue
being made available. ‘Isn’t Anything’ and ‘loveless’ have been
mastered fully analogue for deluxe LPs and also mastered from new
hi-res uncompressed digital sources for standard LPs, with each
being made available widely for the first time ever. Fully analogue
cuts of ‘m b v’ will also be available on deluxe and standard LPs
globally for the first time.
my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields,
Deb Googe and Colm Ó Cíosóig, are widely revered as one of the
most ground-breaking and influential groups of the past forty years.
During an era in which guitar bands denoted, at best, a retroclassicism, not only did my bloody valentine sound unlike any of their
contemporaries, the band achieved the rare feat of sounding like the
future.
With their debut album, ‘Isn’t Anything’ (originally released in 1988),
my bloody valentine revolutionised alternative music and heralded a
new approach to guitar music for generations to come. The album
birthed a sound which became a template for thousands of new
subgenres, heralding a new approach to guitar music and studio
production. Not only was it a new type of music, it paved the way for a
new type of journalism; inciting comparisons to elemental
phenomenon, tapping into how the music affected the psyche.
Shields and Butcher frequently sang in a similar vocal range that
allowed their voices to blend together. This had the effect of making
their gender indistinguishable, to the point where their voices could
be used as another melodic layer to complement the vertigo-inducing
sounds made by Shields’ guitars. It is a record characterised by the
ominous sense of space that inhabits many of its songs, which
veered between the harried and propulsive, to the subdued and eerie.

Domino are immensely proud to announce the signing of my bloody
valentine, with new physical editions of the band’s seminal catalogue
being made available. ‘Isn’t Anything’ and ‘loveless’ have been
mastered fully analogue for deluxe LPs and also mastered from new
hi-res uncompressed digital sources for standard LPs, with each
being made available widely for the first time ever. Fully analogue
cuts of ‘m b v’ will also be available on deluxe and standard LPs
globally for the first time.
my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields,
Deb Googe and Colm Ó Cíosóig, are widely revered as one of the
most ground-breaking and influential groups of the past forty years.
During an era in which guitar bands denoted, at best, a retroclassicism, not only did my bloody valentine sound unlike any of their
contemporaries, the band achieved the rare feat of sounding like the
future.
The second my bloody valentine album, ‘loveless’, was released in
1991. Musically, it took an unexpected leap forwards, standing ahead
of anything released at the time. Shields and the band moved further
towards a music of pure sensation, creating textures and tones that
could be felt as much as heard; with ‘loveless’ the band created an
album that overwhelmed the senses. ‘loveless’ is widely considered a
flawless whole and rightly regarded as a masterpiece; a 1990s
equivalent to ‘Pet Sounds’, ‘In A Silent Way’ or ‘Innervisions’, a record
constructed by exploring the edges of what a recording studio is
capable of. It is a record best experienced as a whole, in one sitting -
a listening experience like no other and unmatchable in its sonic
brevity.

Domino are immensely proud to announce the signing of my bloody
valentine, with new physical editions of the band’s seminal catalogue
being made available. ‘Isn’t Anything’ and ‘loveless’ have been
mastered fully analogue for deluxe LPs and also mastered from new
hi-res uncompressed digital sources for standard LPs, with each
being made available widely for the first time ever. Fully analogue
cuts of ‘m b v’ will also be available on deluxe and standard LPs
globally for the first time.
my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields,
Deb Googe and Colm Ó Cíosóig, are widely revered as one of the
most ground-breaking and influential groups of the past forty years.
During an era in which guitar bands denoted, at best, a retroclassicism, not only did my bloody valentine sound unlike any of their
contemporaries, the band achieved the rare feat of sounding like the
future.
Re-emerging in 2013, after two full decades in relative hiding, my
bloody valentine’s third album, ‘m b v’, is by turns their most
experimental record but also their most melodic and immediate; proof
real of their unerring desire for re-invention. Continuing to push
boundaries of both music and genre, ‘m b v’ is an album of
astonishing music, some of which could lay claim to being of a type
never been made before. Otherworldly, intimate and a visceral listen,
‘m b v’ is a startling and beautiful metamorphosis of what was known
of the my bloody valentine sound, pushing the boundaries of genre
unlike any other band. The album’s closer, ‘wonder 2’, is an example
of this, seeing Shields meld hypnotic guitar with drum & bass to
astonishing result.

Radiant melodies interwoven with slippery polyrhythms are the order for the day on the first Kimochi Sound release for 2021. Shielding shows a mastery beyond genre borders, incorporating shades of highlife, bass, drone, djembe, and triphop. It's a challenging & rewarding 32 minute journey. Essential.

Northgard is a strategy game based on Norse mythology in which you control a clan of Vikings vying for the control of a mysterious newfound continent.

This is a limited and hand-numbered edition of the game's soundtrack (music by Camille Schoell).

In ancient Rome, Consuls held two strategic roles: exercising authority over all the public affairs of the city and accompanying the legions in their military campaigns.

Lykos Records gave this role to Artist Laertes, born Gianluca Meloni. Ambassador of the sound of Rome, Laertes has been one of the pioneers of the deep-techno genre. After establishing in Italy as producer, live performer and mastering engineer, he exported his aesthetics all around the world.

"Titanomachia" is the title of Laertes' new work inspired by Hesiod's Theogony. The artist tells through aggressive and groovy sounds one of the bloodiest wars in Greek mythology, Zeus leading the Olympian gods versus Chronos and the Titans.

"Chaos" throws us into the swirl of battle. The repetitive sound of the synth bass sequence alludes to the sound of spears broken on shields, while pads and strings charge the entire track with tension. The narration continues in a daring succession of loops and hypnotic rhythms, with the second track "The Immortal". Strident bleeps and incessant percussions and rhythmic patterns characterize the progressive crescendo.

The description of the battle changes with Worg, who proposes his version of "Chaos". The story of the battle is entrusted to the evolution of lashing metallic effects that recall the lightning of the father of all Gods.

Psyk closes the chronicle of the epic battle with an adaptation of "The Immortal". The kick recalls war drums that galvanize the troops on battlefields. The artist evokes the heroic spirit with powerful and thunderous sounds.

All Music Written & Recorded by David Drucker at The Skinny Apartment in Ridgewood, Queens, 2017
Featuring Mike Green (Mezzanine Swimmers) on guitars on "I Took Too Much Acid in 7th Grade," Cop Funeral on
electronics on "Seafood Special," Chris “Mr Transylvania” Shields on background vocals on "Massachusetts Is a Magical
Place," Eva “Nighttime” Goodman on violin & backing vocals on "The Ridgewood Ripper"
Painted Faces is the long (strange/trip) running voyage of weirdo David Drucker, began in Florida in 2009 and decamped
to NYC in 2011. It has sometimes been a loose band in the past with a revolving lineup of outsiders and interlopers
(known as The Freak Band), but is usually a solo endeavor, and the bulk of the recordings have been done as such. PF
has always been a home recording solo project, one-man-band style heavy on psychOdelic/outsider
folk/noise/experimental vibes. He started self releasing CD-Rs in the early days and quickly jumped to tapes on a variety
of labels including Already Dead, Lava Church, J&C, Null Zone, Tall Tapes. A "legendary" CD compilation on Gulcher
Records and an LP from Already Dead and Almost Halloween Time in Italy brings us to the here and now. Tales from the
Skinny Apartment is somewhere around the 20th or so Painted Faces release...he has long lost count.
Drucker runs/curates gigs (and records at) the Skinny Apartment, his dwelling place in Ridgewood Queens,
which some folks have called the "realest DIY zone in NYC." He also rips in Dead River Company, Big Hiatus, Shecky,
Canyon River Blues and countless other unknown subterranean improv zoner outfits. "Ripping" involves keeping it
freaky and weird and ripping sets wherever/whenever, i.e. always being down to perform whether in a kitchen or a
packed ballroom....no diva bullshit, just plugging in (or going sans electricity) and playing...always giving it your
all...Ridgewood Rippers are the crew of artists that populate Ridgewood and the loose "scene" around the Skinny
Apartment...much of it is in jest, a self-inflated mythology of nonsense which is pervasive in all rock and roll "scene"
histories. As a student of rock/pop history, Drucker is fascinated by the loose associations that connect folks from
various zones together...i.e. Miles Davis and The Grateful Dead...it's all the same though, the labels and genre
distinctions are completely arbitrary. We're all in this together, now more than ever...to be a "ripper" is simply to
"rip"...no nonsense!
Painted Faces has toured all over the USA and Canada numerous times, spreading the ripper gospels, and is
gearing up for their second European tour. He is known for falling apart on "stage," with performances heavy on humor,
horror, stoned digressions, and cathartic bouts of therapy, part performance art/part standup comedy, eradicating the
lines between performer, performance, and audience one show at a time

Earthen Sea adds to the Kimochi Sound with a soulful examination of indistinct margins, suffused with dusky haze. It's a heady atmosphere and has a palpable heaviness throughout. Starting the record are the concrete reverberations of You Don't Never Know, followed by the murky ebb and flow of Fly. 13 Beat(less) is diffused ambience.
Shielding fittingly closes the record, and weaves Earthen Sea's many textures with intricate syncopation.

Fusing hard bop and soul jazz and to create a seriously funky concoction, alto saxist Lou Donaldson’s classic 1967 soul-jazz album gets a vinyl reissue, his 16th and funkiest Blue Note record. Recorded at The Van Gelder Studio, Englewood Cliffs, New Jersey, on 7 April 1967. Featuring the young George Benson on guitar, plus Lonnie Smith on organ, Melvin Lasite on cornet and Leo Morris (AKA Idris Muhammad) on drums. Features the classic title track plus two other superb Donaldson originals (‘The Thang’, ‘Rev Moses’), plus Lonnie Smith’s effervescent ‘Aw Shucks’. A breezy, uplifting funk-fest from start to finish, with good grooves and great solos. The beginning of a long and fruitful partnership between Lou Donaldson and Lonnie Smith. Featuring a classic cover design by Reid Miles and liner notes by Del Shields.

The 2 songs are remixed by south London-based artist Klein (Hyperdub), and Tokyo-based
experimental hiphop musician Killer Bong (Black Smoker Records)
Mastered by Bunsho Nishikawa, who is known for his works with goat and Tenniscoats,
among others.

The ominous clockwork nursery song “Kazega Fuitara Sayonara” (Goodbye When The
Wind Blows) was originally written by Koichi Yamanoha and released under the name of
Grimm Grimm via Kevin Shields (My Bloody Valentine) and Charlotte Marionneau (Le
Volume Courbe)’s Pickpocket Records / Honest Jons in 2014.
London-based Tokyo-born singer-songwriter experimentalist Koichi Yamanoha has been
operating under the guise of Grimm Grimm since 2013. The project is an outlet for his
fragile, haunted, otherworldly forays into baroque folk, futurist lyricism and electroacoustic
oddities. His debut album, “Hazy Eyes Maybe”, was released by ATP Recordings in 2015. A
track “Last Word Is Mine” from the album was used over the end credits for the Aaron
Brookner / Jim Jarmusch directed documentary film “Uncle Howard” (2016), featuring
William Burroughs. His sophomore album, “Cliffhanger” was released in June 2018.
And currently the 3rd album has been mixed and co-produced by Marta Salogni.

The virtual 3D music video for Klein remix has been directed and edited by London based
film maker Kenichi Iwasa. He filmed the footage in Tottenham using Super 8, 3rd
generation iPhone and 4K Camera, and created the zero zone virtual world with glitchy SFX
work by William Cunningham. Iwasa is also known for his legendary Krautrock Karaoke
night as well as being a sought after collaborator throughout Europe.

Shielding's Innerlig is viscous, densely detailed, trippy music.
Dripping with texture, these are supple tunes that generously expand to fill whatever space they're in, loops stretching towards the lilac virtual horizon. Constantly mutating rhythms, heavily atmospheric grooves. RIYL Harmonious Thelonious, Jan Jelinek, Theo Parrish.

It is said that every generation casts its mind back to a previous era in times of crisis; the resources that will allow us to decode the questions of our moment may lie in the myths of another era.

Le Renard Bleu, the new musical and cinematic collaboration between Lafawndah and composer Midori Takada, and filmmakers Partel Oliva, takes a cross- generational echo as ground zero for recovering a crucial myth for uncertain times: the blue fox.

As transmitted by Takada, the fox appears in both ancient Senegalese and Japanese folktales as the trickster archetype; belonging both to the heavens and to the earth, the fox is the agent of chaotic good, shaking the world up when its energy has become stagnant. Above all else, the fox is famous for its cunning nature.

Renard Bleu marks the first new music released by Takada in nearly twenty years; it would be difficult to overstate the importance of her return to the public eye. Her first solo record, 1983's Through the Looking Glass, has been rediscovered and heralded as a lost classic; the influence of her percussion trio, the Mkwaju Ensemble, continues to permeate and inspire a new generation entranced by its lucid beauty, playfulness, and sensual patience. Takada has performed in numerous film score orchestras, including the ensemble for Akira Kurasawa's Dreams, coincidentally a key influence on Renard Bleu.

In the ensuing years, Takada has worked closely with theater group the Suzuki Company of Toga on productions of Electra and King Lear, an experience, she says, that allowed her to pursue 'a unity of music, body and space.' Recent live solo performances have evinced the depths of her exploration of all three.

Equally, it is Lafawndah's freedom of tone, decentralized maps of ancient and modern music cultures, and alloying of devotional intensity with modern songcraft casts her as a distinct relative of Midori Takada's.

Over the course of two EPs, self- directed music videos, and countless live performances, Lafawndah has drawn out an uncompromising exploration of how theater, situational intervention, and choreography can amplify the affective palate of forward pop music. One can trace the influence of artists such as Meredith Monk, Carlos Sara, and Andy Kaufman as much as musical antecedents AR Rahmann, Missy Elliott, or Geinoh Yamashirogumi.

It is in a mutual commitment to this unity that Lafawndah, Takada and Partel Oliva find fertile aesthetic common ground.

The music of Renard Bleu originated in Takada's preoccupation with the legend of the fox; after constructing a vivid instrumental composition dramatizing the spirit animal's journeys through waterphone, bells, marimba and various forms of drums, Lafawndah responded - in her inimitable mix of fairytale and undertow-- with melodies and lyrics capturing a dialogue between her and the fox himself. Eventually, the duo met in Tokyo for a week of communing with the material at Avaco Creative Studios, where new elements were composed on site.

Created in partnership with KENZO and premiered today via their channels, it was Partel Oliva who imagined a contemporary cinematic frame for the myth of the fox to re- appear, creating a hybrid of choreography and narrative around Takada and Lafawndah's performance of their joint composition (also titled Le Renard Bleu.) Returning to film in Japan for the third time, Partel Oliva's moving image work (Club Ark Eternal, The Pike and the Shield) has set the standard for and revolutionized the fashion art film. Their deployment of original music, dance, and a highly stylized mis en scene coalesces here in the casting of Los Angeles krump artist Qwenga as the eponymous fox, stalking the halls of the ancient Noh theater in which Takada and Lafawnda's performance takes place.

Why call up the myth of the fox now In Le Renard Bleu, Lafawndah and Takada's collapsing of distance between generations, styles, and milieus intimates that the relationship to time must be shaken. The future lies in fragments in the past; to remember is to recover it; the fox rises to thicken the plot.

Cute Heels is the project of Victor Lenis, a contemporary electronic artist living in Berlin, Germany. He grew up in Bogotá, Columbia during the 1990s, surrounded by the radial punk scene. Over the years, Victor's passion and fascination for synthesizers and drum machines to produce and compose resulted in his debut album 'Spiritual" for Dark Entries in 2014 as well as the Third Skin' EP in 2016. Inspired by equal parts Liaisons Dangereuses, Drexciya and Black Devil Disco Club, Cute Heels connects the dots between Detroit techno, early Chicago house and Belgium electronic body music.State of Mind' is a 4-track EP featuring the vocal talents of Berlin artist Aga Wilk, of electro-punk projects Walkman Music and 77TM, on the the title track. On the A-side are two fresh compositions recorded in New York and Bogota between 2016 and 2017. Victor says, 'State of Mind refers to the subconscious as dominated by real facts, natural, unnatural ,metaphysical or virtual and dynamism of the body as physical shield.' The track is a slow building foray into techno, elegantly suited for intangible moments. 'Golden Tears' kicks off with Cute Heels' signature metallic EBM funk played with punchy, percussive analog synths. On the flip we present two banging club remixes. The first is from LA-4A, techno DJ and producer Kevin McHugh aka Ambivalent, who adds a strong kick drum and lacerating hi-hats that build up to a mind melting breakdown with a full on acid squelch attack. The second remix comes from Noncompliant, Midwest US-based producer Lisa Smith aka DJ Shiva, who creates a raw, thumping exercise though off-kilter mechanics and punishing percussion. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes in a custom-made die-cut jacket designed by Eloise Leigh featuring suggestive rope bondage graphic printed spot black matte on black hi-gloss finish. Each copy includes a postcard.

The superb 'Forbidden Planet' is a shiny early electro cut with a great funk bass line, a real instrumental groove and fantastic melodies that shimmer like a hot sun. It's filled with joy and sounds as fresh today as ever, the way it ducks and dives and offers real warmth.The Francisco Remix keeps the funk vibe but changes the groove to be a more Chicago house style cut. As such it has a rasping bassline, big drums and coarse percussion that make you want to jack.The masterful Ali Renault—a go-to disco and synth specialist who runs Cyber Dance Records, Human Shield Record Company and most recently his own Vivod imprint—then turns out a hypnotic version that is more driven and direct for the dance floor, with robotic bass and epic reflective synth lines. It's a cinematic track with great analogue textures that goes back to the future.The last original is the excellent 'Stay With Me', a cosmic love song with breezy trumpets and dreamy disco vibes as well as soulful vocals. Italo melodies and infectious percussion finish it off and make it an instant crowd pleaser.

"On Suicide's First Rehearsal Tapes, recorded in 1975, Alan Vega and Martin Rev create minimalist aural structures, traces of which would surface on their eponymous debut album, released on the Red Star label in late 1977.

These songs are not a sketchpad of semi-formed ideas. The First Rehearsal Tapes comprise an audio diary of two men out in the ether, measuring themselves as evolving individual artists and as a unit who would rely on inseparability to realize their unique and often confrontational mass in the decades to come. What the tapes also reveal is that Vega and Rev were compositionally ambitious, capable of melody and form, while resisting definition as they headed further into uncharted territory.

The First Rehearsal Tapes afford the listener a glimpse into the creative process of two groundbreaking, true art warriors with their swords and shields leaning against the practice room wall. To understand the absolute brilliance of Suicide's first album as well as their sonic adventures that followed, you have to start here with their earliest recordings."

- Henry Rollins (excerpt from the liner notes)

About the label:
under the cold stars we dwell
nothing but emptyness in our hearts
divided and alone
while drifting towards an inevitable void
we are dancing
we are dancing as if this void does not exist
and our nakedness is just another protecting shield

About Meer:
Meer is the experimental and ambient project of the techno rave producer Ambre. In between industrial sonorities, occult rhythms, arabic references and electric guitar improvisations, Meer aims to combine the occidental and oriental cultures. Through dark atmospheres inspired by his North African roots,
he composes his first EP on Voidance Recordings, 'Yawm Alhissab, Rabbok Sayakouno Aadowok ».

About the EP:
A1: Rouhk Hia Sada Al Aadam is starting the EP in a frenzy. Drones and blasts of noise are echoing the nothingness buried deep within our souls while constantly pushing hard against battering percussion as if trying to a way out of this agony.

A2: Al Nasr Wa Al Hazima in contrast is an ambient tune, with field recordings and arabic references resembling some kind of solace at first, before turning into a more discomforting mood with a slow and steady beat kicking in after the first third of the track.

B1 Aindama Yahino Al Nar, Kolo Chayin Sawfa Yahtark is raising the tension again, machinegun-like percussion is pushing the track forward, while deep drones are opposing a contemplative mood, thus evoking the feeling of a disaster lurking just around the corner.

B2 The Nastika Remix of Aindama Yahino Al Nar, Kolo Chayin Sawfa Yahtark is turning the original track inside out. The mysterious producer(s) emphasize the more occult parts while piling up layers of layers of sound and in doing so create an even darker mood.

Seasoned memory athletes will no doubt recall the Turbo's past affiliation with the former Soviet Union (Proxy, Tiga Tigayevich Khristorozhdestvensky), and recent geopolitical developments have prompted the label to once again hedge its bets. Our A&R team spent countless hours sifting through layer after layer of Russian underground music, a shocking amount of which turned out to be fake SoundCloud accounts from producers based in Florida. In fact, our best intelligence suggests that Dimitri Veimar may be the only person making music in Russia today. For the 30 minutes a day he is not trading in politically moderate Twitter-bot futures, Veimar produces dark, raw-dog electro. He has already released music with Omnidisc and Renate, so it makes little sense to us why we have to communicate with him via a mole in the Canadian embassy in Moscow, which is further complicated by the fact that the mole is also an aspiring DJ/producer whom we have to keep happy at all costs. You have no idea how much has been sacrificed in order to shield you from the realpolitik of international dance music.

For the fourth release Shaw Cuts lines up five shaolin commanders who created their own interpretations of Farron's Death Duel EP: Marco Zenker, Russian duo Poima, Roger 23 and Simo Cell. These heavies form the Shelter Clan whose mission is to cover Ah Chi's back wherever he goes.
Marco Zenker gives 'We Don't Make No Sense' his signature machine funk that decimates challengers in one swing. Ah Chi can always count on Marco's sword.
Poima from Moscow rival with sabers, severing those who dare to cross their path. Their version of 'Tangency' is lead by a dirty break-beat drum combo blazoned by cosmic synth melodies and warm machine derangement.
'Centro' on the B-Side gets heavily grimed by veteran Roger 23 whose axe is as heavy as his remix style in general. Beware of Roger!
Armed with tonfas, Simo Cell layers 'Par 2' with a complex and fresh-sounding groove, causing lethal devastation to enemy combatants.
Ah Chi is well-shielded by his companions and still unbeaten to this day. Trust in the Shelter Clan!

Welcome to Berlin's best kept secret: 'Hot Pony: The Nightclub At The End Of The Universe'. It's from this fertile womb that 'Royal Athlete' was born. Created as a platform for the 'cosmic-italo-afro-electrofunk-boogie' sound that 'Hot Pony' blends so well, these release's will be various artists only and guaranteed party weapons for cybernetic lovers and space-jockeys. Always limited, always slamming. For this release we present the 'polyrhythmic renegade' turned electrofunk wizard Vexkiddy, his first new music since 2012's Pedantic Romantic on Human Shield, more cosmic nightdrive action from Giallo Disco's Antoni Maiovvi, a beast of a dancefloor heartbreaker from Bill Ambrose and Marika Gauci - the voice of UK Italo, better known together as 'The Dreamers' and finally the first release from Berlin's Dimitri SoEmotional a smooth modern-boogie-workout. Not to be missed!