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Sub Pop proudly teams up with long-running Canadian punk icons Fucked Up for a limited-edition 7" single featuring two brand new, exclusive songs. "Disabuse" and "Self Driving Man" are unlikely light-speed cuts of pure hardcore from Fucked Up. These tracks bleed off the record, having been born from the indelible stamp of Poison Idea's 1990 anti-oppression anthem "Discontent" and Japanese punk legends Paintbox's "The Door." Sitting at the chaotic crossroads of punk, hardcore, and grunge, the two songs have found the most fitting home possible: a Sub Pop single. "Disabuse" is a song Damian wrote for his daughter, who experienced bullying and intimidation at school, while "Self Driving Man" wrestles the out of control automation of our world onto the pavement and into the abyss of faceless progress. The 7" comes on translucent emerald vinyl, and includes a lyric sheet.

Joni Void, the artistic persona of Montréal-based French-British producer Jean Néant (he/them) returns to songcraft on their warmest and most welcoming record yet, where the acclaimed sampledelic sound collagist chills out with an emotionally resonant song cycle tinged by downtempo, lo-fi, avant-pop, and trip-hop. Guests include Haco, Ytamo, Sook-Yin Lee, Pink Navel and N NAO. Every Life Is A Light expands on Void's recent stylistic turn towards more languorous and mellow lo-fi production, foreshadowed by the drifting looseness and ambient bricolage of their preceding experimental sound-art record. This transitional sensibility now shapes more defined song structures and styles, with loops are given time and space to unspool, and rhythms shot through the softer-focus lens of trip-hop and dub. Every Life Is A Light swaps the twitchy insistence of Void's acclaimed early albums for a newfound lightness and suppleness, still imbued with all the restlessness, sonic detailing, and emotional resonance that made their name. The neurotic brokenmachine kinetics of earlier Void, summarized by Sasha Geffen as "drawing despair and wonder from within the vast unfeeling of digital communication" in an 8.0 Pitchfork review, may be chilling out, but Void is becoming an ever better conjurer of hauntological feeling. Every Life Is A Light summons this in a comparatively buoyant, benevolent, head-nodding journey more open to tenderness and modest joys. Perhaps it's the sound of Void at greater peace with themselves and the world, despite the bittersweet cost: even as it channels grief, memorializing comrades and companions recently deceased, this album wants light. Void's raw materials continue to draw heavily from samples (their own Walkman cassette fieldrecordings and songs by others) and from a wide community of musical guests. Vocalists Haco on "Time Zone" and Ytamo on "Cloud Level" help levitate what could be lost tracks from a mid-90s Too Pure Records compilation of skewed-lounge electronica. Canadian musician Sook-Yin Lee sings on lead single "Vertigo," a sinewy 80bpm tape-loop and bassline groove propelled by psychedelically-layered lyrics that eventually turn the song in on itself entirely, like Grace Jones' "Nightclubbing" covered by Animal Collective. One of Void's greatest hip-hop loves is the Ruby Yacht collective; charter member Pink Navel drops some brilliant verses on "Story Board." The album's two minimal tracks, an extended piano loop set to a slow beat and shimmering electronics on "Muffin-A Song For My Cat" and the languid sampled bass riff and breakbeat of "Event Flow," are perhaps most overtly `lofi chill.' Indeed the whole album could be said to sit adjacent to those viral (if not already AI-generated) genre trends, which maybe begs the question on a lot of our minds: can specificity and authenticity of musical materials still be heard, still meaningfully signify substance and difference, still matter? Perhaps a question that fades in comparison to the career break Void could catch by landing on generic streaming playlists. More likely, these tracks remain too off-kilter, too genuinely lo-fi and ineffable, and too disqualified by the status of its peasant rights-holders, to catch the algos. Context remains the poor cousin of content. Meanwhile Void marches on, as a tireless organizer of local music events, bouncing around and often living in DIY venue, depending on the latest apartment eviction. With an ubiquitous polaroid camera in tow, they also document each communal happening with a single shot (and often a blinding flash bulb): a memory and metaphor for lives illuminated preciously, singularly, `imperfectly' in the moment. Dozens of these polaroids adorn the album's back cover and inner sleeve art in grid-like montages, as a fitting analog for the careful construction, grainy intimate materiality, and ephemeral feeling of these songs. Every Life Is A Light is Joni Void's most coherent and congenial record while relinquishing none of their experimentalist acumen as a producer or emotional attunement as a composer. Instead these qualities flourish, on an album that lights a humble flame for the fragile promise of homespun creative collaboration as unalienated labour and therapeutic communion, making an enchantingly idiosyncratic contribution to downtempo sample music along the way. Thanks for listening.

Freivogel / Sinclaire with their debut Untitled consisting of three live recordings made using only a concert flute and an Octatrack M1. The recordings are live taken from improvised sessions and have been left unedited.

Shifting between playful and austere, the simple goal for these sessions was honest improvisation; comfortable in both its limits and potentials. Placing classical instrument performance and extended playing techniques alongside heavy sonic processing and cavernous acoustics, they are in some ways uninfluenced by genre, governed only by a drive to find moments of clarity amidst chaos.

Recorded in single takes using a simplified setup of the flute – played into a microphone and wired through an Octatrack – every sound heard in the recordings comes in one way or another from the flute as a single sound source, manipulated and looped on the fly with additional live improvisation over the top.

The result is a timeless capsule of heady drones, offbeat electronics, and mischievous flutes, captured during a time when the world stood still. Scuzzy at times, glistening at others, and ever-optimistic in the pursuit of something new.

Adam Sinclaire is a flautist who has worked with artists such as Billy Bultheel and Ziúr, recorded for labels including PAN and Purple Tape Pedigree, and performed for institutions including KW Institute for Contemporary Art, Schinkel Pavillon, and Martin-Gropius-Bau. His practice focuses on using extended playing techniques to explore the limits of the C flute.

Marco Freivogel is a producer and composer who has released an extensive discography on labels including Mannequin Records and Veyl, and collaborated with artists including dBridge, Mare Nero and Mathew Jonson, remixing artists as diverse as Hercules & Love Affair, Shackleton and Yappa. His Prequel Tapes project sits between utopian and claustrophobic, tracing harsh industrial atmospheres and levitational ambient from a lifelong obsession with sonic extremes. Marco currently works on compositions for film and television, alongside his own releases and collaborations. The EP will be released on 14 February 2025 as limited vinyl and digital via Midnight Shift. Art direction by Mauro Ventura.

All record profits from this release will go to 3ezwa.de, providing financial and legal support to those facing repression for their commitment to the Palestinian cause.

Zur Feier ihrer gemeinsamen ,Two Wrongs"-Europatour gibt es diese großartige Single mit je zwei Tracks von Cyanide Pills und Nasty Rumours! Die Punkband Cyanide Pills aus Leeds bietet mit "Falling For You" einen unveröffentlichten Track, den sie 2010 für ihr Debütalbum aufgenommen hatten. Außerdem ,I Don't Wanna Dance", das zur gleichen Zeit wie ihr letztes Album ,Soundtrack To The New Cold War" aufgenommen wurde. Die beste Punkband der Schweiz, Nasty Rumours, hat eigens für diese Single zwei neue Tracks aufgenommen - "My Final Heartbeat" und "Bury Me In My Leather Jacket". Es sind ,zwei neue Tracks über Leben und Sterben; über Elektroschocks und Lederjacken", sagt die Band. Wer wären wir, wenn wir widersprechen?!

These two vinyl records showcase the legacy left by the boogaloo movement in Peru between 1966 and 1975. They comprise twenty-two songs by seventeen artists who recorded on the remarkable local label MAG more than five decades ago and now invite today’s new generations to dance body and soul to these re-releases. You will find outstanding tracks by the likes of Tito Chicoma, Melcochita, Los Kintos, Otto Rojas, Coco Lagos among many others. MAG was one of the most important and prolific labels in Peru and, though it also was involved in releasing a lot of other types of music, its specialty was the tropical variety, which coincidentally, DJs and collectors seem to crave most. Peru developed a major boogaloo scene in the mid-60s, far from the genre’s place of origin, New York, where iconic songs like 'Bang Bang' and 'El Pito', fused soul and funk with Latin sounds, conquering dance halls and winning extensive radio airplay. The music trend soon spread to Caribbean countries and from there made the geographical leap to the city of Lima. 'El Pito', the collective creation of the Joe Cuba Sextet, was particularly popular. Shorn of overelaborate arrangements, the improvisation and spontaneity of the song resonated with the young generation who were avid for new music after the U.S. placed an embargo on the distribution of Cuban music. In July 1966, Rebeca Llave´s label, Disperú, released the 45 RPM of 'El Pito' (and Joe Cuba's LP), promoting the single in the most prestigious newspaper in the country: El Comercio. The press information stated that the record had sold seventy thousand copies in New York and fifty thousand in Los Angeles. That same year local dance versions by the bands of Alfredo Linares (MAG) and Lucho Macedo (El Virrey) were released, followed by another by the band of the Argentinean musician Enrique Lynch who was based in Peru (Sono Radio). These records were a hit with a new generation that embraced Lucho Macedo's band and the garage rock of Los York's with equal enthusiasm. Although Joe Bataan claimed that boogaloo was killed off at the end of the sixties by the labels and their veteran musicians (who conspired against the new generation of singers), Pete Rodriguez, Richie Ray and the Lebrón Brothers continued to release boogaloo records in Peru, but salsa music soon took over.

Bad news: Not much is known about pdqb, and what we do know is most likely either wrong or made up. The man who is credited for the productions is said to have gone insane due to being possessed by an alien parasite. His whereabouts remain unknown. Good news: Fortunately, Synaptic Cliffs owns about a dozen releases from whoever or whatever is behind the mysterious abbreviation and will publish every single one of them…because they are ultra awesome.

With the original tapes of this Mini-LP, pdqb left a fragmented note in the '90s stating that he decoded eight tracks originally produced with the NCO6.27 for test subjects who were all given some strange form of brain implants, and that a certain wetware could be unveiled in that manner, and that he conducted that research long before he developed a machine capable of hacking into the dreams of everyone who has ever lived.

However, the music could best be described as playful and dark, old-school Techno/Electro/Industrial blended with Chiptunes, IDM/Braindance, and Electronica. It is pressed on a beautiful green splatter vinyl.

The first 150 customers will be rewarded with a free leftover flexi disc from the '80s featuring two exclusive tracks composed by pdqb while he worked for Silvio Berlusconi's Mediaset TV production company. The flexi was originally included in the November 1985 issue of the Italian Playboy Magazine (cover girl: Grace Jones) and is extremely sought after.

LOUISVILLE, KENTUCKY has had more than its share of out-of-nowhere bands following from the second big bang that was punk rock. The Babylon Dance Band, Circle X, Your Food, Squirrel Bait, Bastro...these are but some of the exceptional music acts originating in Louisville after 1977. Now it"s time for the great secret of the Louisville first-wave punk scene to be revealed: The Endtables. The Endtables were the crazed brainchild of guitarist Alex Durig, brooding chess-master of the amplified freak-out, and singer Steve Rigot, a flamboyant transgender giant from the shores of southern Indiana who reinvented himself as a Warhol Factory superstar. Like Scarlett O"Hara wrapped in a green velvet curtain, Rigot crafted his own glamorous reality from what was available in the blasted cultural landscape of 1970"s Kentucky. Gold spray paint, duct tape, Ace bandages ... a spectacularly other trailblazer who caused folks to toss their received ideas of beauty and go with the new thing instead. The band first took the stage in late 1978 and was finished by the summer of 1980. In the fall of 1979 they recorded six tracks at a Louisville studio, four of which came out on a 7" EP on their own Tuesday Records. The two remaining tracks ("White Glove Test" and "Trick or Treat") were issued as a single on Self Destruct records in 1991. Both records are among the rarest of any American punk release - more sought after than seen, passed on disintegrating cassette tapes and shouted over upon impact. The music of The Endtables is another chapter in pure American weirdness, as jaw-locking today as the day it was recorded. The scent of modern can be detected in Steve Rigot"s remote vocalese, set against Alex Durig"s guitar outbursts, while drummer Steven Jan Humphrey and bassist Albert Durig (age fifteen!) supply frenzied rhythm. The band rocks its fevered vision to a ferocious degree while Rigot grimly rhymes the truths that remained locked out of the public"s pop tastes in "79-"80. Thirty years of rap and roll later, The Endtables seem inevitable.

Two days after his 100th birthday, Marshall Allen started recording New Dawn, his debut solo album. A member of Sun Ra’s Arkestra since 1958, Allen assumed leadership of the band in 1995. Throughout his nearly seventy-year career, Allen has never released a solo album under his own name, and yet, instead of capping such a legendary output, New Dawn seems to herald a new beginning. A love letter to spacetime, it channels a century of musical intelligence into seven tracks, showing Allen at his most protean—freely moving from relaxed, transdimensional palettes to bluesy big band and beyond.

The title track “New Dawn” is the centerpiece of this impressive album and the arranger Knoel Scott wrote the lyrics himself. We are thrilled to have the incomparable Neneh Cherry, stepdaughter of legendary jazz musician Don Cherry, lend her unmistakable voice to this song.

“It’s gorgeous! Neneh is a jazz singer now! Sounds like something Nina Simone might have done.” – David Byrne

The 7” single is limited to 300 copies, numbered, and comes in a chic screen-printed cover …

The single release from Jimi Tenor's second thematic album on Timmion Records offers two very different moods. "Summer of Synesthesia" takes us back to those dreamy summer days, a natural overpour of sensations mixing together, sounds becoming colors before turning into flavors. Synthesizers grow into delicate layers over Cold Diamond & Mink's rhythm, and when your heart can hardly bear the beauty of it all, Tenor's soft lyric places the cherry on top. "Tsicroxe" on the flipside couldn't be more different, kicking into gear with a demonic organ arpeggio that sounds like you've just been dropped into a Dario Argento scene. Even though the familiar funk from Cold Diamond & Mink eases the dread a bit, when Tenor busts in with the eerie flute solo, the ritual closes in on its conclusion.

The contents of the backwards vocal bits at the end shall be saved for your turntable so make sure to rewind that track, selector! Also Available From Jimi Tenor & Cold Diamond & Mink: Is There Love In Outer Space? 7", Gaia Sunset 7", Is There Love In Outer Space? LP / CD. The single takes listeners on a sonic journey: “Summer of Synesthesia” flows with warm, dreamlike beauty, while “Tsicroxe” dives into intense, mysterious depths, showcasing Tenor’s dynamic range. Blending synth layers with Cold Diamond & Mink’s classic funk rhythms, both tracks bring elements of 70s soundtrack-style tension and ethereal soul, appealing to fans of both cosmic grooves and suspenseful soundscapes. Tenor’s layered synthesizers, haunting flute, and even backward vocal elements add a captivating texture, making “Summer of Synesthesia” b/w “Tsicroxe” a must-have for fans of genre-blending, atmospheric music.

'A Toda Cuba le Gusta', the classic debut album by the Afro-Cuban All Stars. The frst in a trilogy of extraordinary albums recorded by World Circuit in a single two-week session
at Havana's EGREM studios, 1996. The other albums, which share many of the same personnel, were 'Buena Vista Social Club' and 'Introducing Rubén González'. Remastered by Bernie Grundman from the original analogue tapes and now available
for the frst tme on double 180gm heavyweight vinyl, housed in a gatefold sleeve and presented alongside a 32 page booklet as part of World Circuit's classic album series. Plays at 45rpm.

Texas jazz, funk and soul group PHYREWORK were signed to Mercury Records in 1978 releasing an acclaimed self titled album. They measure up to the bands that inspired them: Sly and the Family Stone, Earth Wind & Fire, Tower of Power - to name a few.

PHYREWORK recorded a plethora of songs that went unreleased - this record documents the legacy of this brilliant band. We are proud to present eleven dazzling songs circa 1977 - 1982, nine of which are originally unreleased and two from the elusive early 80s 7” single.

We are honoured to have the liner notes written by David Ritz, author of the definitive books on Ray Charles, Marvin Gaye, Aretha Franklin, and many more.

Texas jazz, funk and soul group PHYREWORK were signed to Mercury Records in 1978 releasing an acclaimed self titled album. They measure up to the bands that inspired them: Sly and the Family Stone, Earth Wind & Fire, Tower of Power - to name a few.

PHYREWORK recorded a plethora of songs that went unreleased - this record documents the legacy of this brilliant band. We are proud to present eleven dazzling songs circa 1977 - 1982, nine of which are originally unreleased and two from the elusive early 80s 7” single.

We are honoured to have the liner notes written by David Ritz, author of the definitive books on Ray Charles, Marvin Gaye, Aretha Franklin, and many more.

No matter how much of their filthy riches Munich’s oh-so shiny and smart glitterati are going to spend on generic pest control, they’ll never manage to exterminate SPINNEN (n.b. German for “spiders” – and also for “being bonkers” ;) Instead, SPINNEN will spread even further, they’ll form new networks, take over new corners, new spots, connect more musical dots with invisible, incendiary cobwebs.

Whereas these two SPINNEN – Sophie Neudecker (drums) and Veronica “Katta” Burnuthian (bass) – have been doing their spidery thing(s) in countless muggy, experimental corners of Munich for years (think bands such as Bombo, Uschi, Apian, The Living Object, Friends of Gas + other art ventures, tats, Schaufel & Besen Records…), the duo’s first full-length offering for Weilheim-based Alien Transistor sees them move on towards a warm kind of light – “Warmes Licht”. Inspired by Lambrini Girls, Peaches, McLusky, Amyl And The Sniffers, and all things loud and gain-heavy around their hometown, the album – obviously two body parts (A + B side), 8 legs (tracks) – is set to arrive in March 2025.

“Zusammen wachsen/Zusammen fallen,” meaning grow together/fall together feels like a fitting motto on opening track “Träume,” an initial onslaught of shouts, spiky basslines, crunchy chords, a whole lot of awesome friction in that lovely lower end. “Visionen folgen/Kämpfen und Erschaffen,” is another apt line while doing just that, fighting, creating, turning visions into soundscapes, into pure sonic fun & resistance. Putting even more pressure on the mosh pit with wordless “Wirken,” that titular warm light eventually breaks through towards the end of hypnotic “Moment”: The lyrics might talk about a calm state of mind – but these two are certainly not slowing down, not aiming for consistency, or for “making it”…

“Warm” has no drums, no message, it’s pure light, all playful organ hypnosis, paving the way for the b-side that opens with first single “Geister” (spirits/ghosts/genies): Arriving with a rough wind that immediately turns things upside down, it’s all screams and riffs, turbines and propellers – one of many moments that make you realize how bad you want to see this hi-octane duo live, how good it must feel to have them scare the shit out of your body (“Verscheuche mich aus meinem Körper”). They’re like two genies coming from the same smashed bottle, offering three wishes to those who’re lucky enough to listen (Fuzzy Noise Pop? Punk Catharsis? Rrriot Krautsound?).

Following a quick melancholy breather (“Lichter”), things once again get restless as they rush towards the punk finale via slow-burning demolisher anthem “Ermüdend”/“Immer wieder,” only to unleash one last battle cry, one last middle finger made of light and noise to the heated room (“Mäuse”) they’ve long taken over.

It’s certainly no coincidence that a certain square/fine/upstanding citizen named Margit O. gave Munich’s Bürgerpark Oberföhring a scathing 1-star review on Google Maps exactly four years ago – at the very moment that Sophie and Katta first met just there, which eventually lead to the formation of SPINNEN. The reason for O.’s negative rating: “Too loud”.

Recorded in 1964 during two concerts in the venerable Greenwich Village venue, the Café Au Go Go, two months after Astrud Gilberto's "Girl From Ipanema" became a Top Five pop single. However, the focus of these sets moved away from the Brazilian flavoured fare, bringing Gilberto into the realm of a decidedly more North American style. The band features a young Gary Burton (vibraphone), Kenny Burrell (guitar), Gene Cherico (bass), and Joe Hunt (drums). There are a few personnel substitutions, with Helcio Milito (drums) and Chuck Israels (bass), respectively, filling in. Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Tominori Hosoya has been producing music under his name sake and Tomi Chair for a number of years now. Known for his uplifting and inspiring house tracks. Tomi makes his Stasis Recordings label debut with this sweet 7” single. Two luscious, atmospheric, downtempo selections for easy poolside chilling.

London based flypaper, the project of singer-songwriter Rory Sear, is back with his first ever vinyl release. The big nada / another orbit 12" collects flypaper's first two EP:s as well as new single"coming back again" on 12" black vinyl limited to 500 copies via PNKSLM Recordings (7ebra, ShitKid,Chemtrails etc.) As flypaper, Sears retain the melodic sensibilities shown in his work as frontman and chief songwriter of Brighton indie combo Beachtape, coupling them with a gentler soundscape which showcases his rising stock as a songwriter while firmly establishing flypaper as one to watch with a debut album due out in 2025. RIYL: Hovvdy, Sun June, Elliott Smith, Sam Evian, No Windows

Britny Fox is the eponymous debut album by American glam metal band Britny Fox, originally released in 1988. It was met with critical acclaim and near Platinum sales. Their lead single "Long Way To Love" made heavy rotation on MTV and the band won Metal Edge magazine's Best New Band award in 1988. Britny Fox was formed in 1985 in Philadelphia, fronted by lead vocalist and rhythm guitarist "Dizzy" Dean Davidson. Other band members included Billy Childs on bass, and two former members of the band Cinderella; Michael Kelly Smith on lead guitar and Tony Destra on drums. Their debut album remains their most popular work to date. Britny Fox is available as a limited edition of 750 copies on white coloured vinyl and includes an insert.

A reggae cover of Marvin Gaye's '60s soul classic and The Police's '80s hit!

Australia's reggae dub unit, Springtones, has reimagined two massive hits from Marvin Gaye and The Police through the lens of reggae fusion and dubwise, now released on a 7-inch vinyl!

Side A features a dubby and masterful cover of Marvin Gaye's 1967 soul classic, "I Heard It Through The Grapevine," with vocals by Gayl, brought to life by the Springtones. Side B showcases "Walking On The Moon," The Police's 1979 smash hit, covered by drummer Dubbin' Darryl?renowned for his unique reggae sound infused with funky soul?alongside the Springtones and Jamaican vocalist Noya. This track blends dubbed-out horns, deep electro basslines, and Noya's ethereal vocals in perfect harmony. The artwork, which pays homage to the Japanese edition of Marvin Gaye's singles, is also a must-see!

Output/Input release their debut album 'Forward Motion' on double vinyl LP, December 1st. The album is an eclectic mix of 70's-inspired soul and funk delivered in a truly 2023-style of recording, with all tracks being recorded remotely across multiple continents. The band is a truly diverse and international group featuring members from countries including the USA, UK, Germany, Hungary and South Korea. Their previous releases have been praised by DJ's and tastemakers, regularly featuring on Jazz FM, BBC Radio 2, BBC Radio 6 and a host of specialist Soul radio stations across the globe. The CD and digital album have been No.1 on multiple UK Soul Charts.

Lead vocalist Antonio McLendon (pictured) has worked and performed with James Ingram, Tata Vega, Gladys Knight and Donna Summer, and features as vocalist on seven of the ten tracks on the album. He has definitely made an impact as a world-class singer this year, with the singles 'Smilin' Faces' and 'Someone I Used To Love'. both being radio hits. Co-incidentally, Antonio's daughter, Samara Joy won two Grammy awards this year for her album 'Linger Awhile'. Here We Go Again' features the vocals of Audrey Wheeler-Downing, who worked with Unlimited Touch and Chaka Khan, and Brent Carter, the current lead singer of AWB and previous to that, Tower Of Power. 'Doin' Alright' features vocals from O'Bryan, who Davis worked with extensively on his albums for Capitol. This re-recorded version, co-written by Melvin, originally appeared on the album of the same name in 1982, and is widely tipped as a stand-out rare groove revival cut on the album and is already hotly anticipated. 'Really No Chance' features the lead vocals of Katie Holmes-Smith, a globally sought-after singer, who backed Adele on her world tour as well as currently performing with her for the duration of Adele's residency at Caesar's Palace in Las Vegas. The CD release featured a bonus track, 'Every Time You Touch Me', recorded very recently, written by Noval Smith and Mark Love and sung by Antonio McLendon, while the 2LP features another bonus cut, a fantastic cover of the Earth, Wind & Fire classic 'Can't Hide Love', penned by Skip Scarborough, with vocals by Brent Carter

Split Evolution from Chicago and released two singles. The first "Jumpstreet" (vocal/instrumental) on Wasp in 1978 (although copyright on the label states 1974 whilst publishing states 1978) followed by "If Only You Would Say (I Love You)" (vocal/instrumental) on Jumpstreet in 1984 as The Three Phases Of Evolution. Both pretty hard records to find and not even listed on 45Cat but appear to have been reissued by Magnetic Recordings in 2014 (both included below). Interestingly, on the label for the latter it states that it is from the LP "Jumsptreet" so perhaps an album was in the pipeline? They recorded a third single which only made it to a test pressing stage, as the full run was cancelled later on. This unreleased third single "Bedroom Eyes" / "Let Me Do It" is the one out in March on Canonnball Records. The only surviving copy was found by rare soul DJ Dave Thorley on a record hunting trip to the States in the early noughties.

Our 8th Anniversary release is totally, completely, wholeheartedly dedicated to LOVE. Written not to be a ballad neither to be a dancer “Bedroom Eyes” inevitably ended up being both, turning out in what I consider the definitive love song, up there with Sly, Slick and Wicked's Sho' Nuff. It just melts my heart. Warm basslines laying on a catchy drumming which anyone would likely mistake for an Enchantment groove. A man and a woman dueting like if they were actually laying in bed after a consuming day out, and finding relief in each other’s presence. The man, desperate for love, makes questions to which the woman answers in the choruses with a hidden prayer to stay together forever. All with mutual background voices and brass crescendos and strings pizzicatos counterpointing each others to make it a beautiful yet rough arrangement. Just pure Soul love heaven.

Legendary Brazilian jazz-funk trio Azymuth are set to release "Arabutã" (Daniel Maunick Dub), a vinyl-only 7" single, on December 13, 2024. The limited edition release serves as a captivating preview of the band's highly anticipated new album, set for release in 2025.

"Arabutã," which takes its name from the Tupi Guarani word for the endangered Brazilwood tree, underscores Azymuth’s fusion of timeless Brazilian jazz-funk and cosmic futurism. A symbol of both the value and fragility of Brazil’s natural beauty, Arautã reminds us of the salience of indigenous wisdom to ecological preservation.

In the hands of producer and long-time Azymuth collaborator Daniel Maunick, “Arabutã” is tweaked for a special mid-tempo 7”inch, two part, dancefloor dub mix.

The limited edition 7” single is available to pre-order exclusively from the Far Out Recordings website and Bandcamp ahead of its 13th December 2024 release date, and at shows on Azymuth’s upcoming European tour.

China Crisis BBC Sessions have been compiled onto vinyl by Scottish label Last Night From Glasgow, released in early 2025. The release features the band's two John Peel sessions recorded with the BBC in March 1982 and January 1983, now remastered and available on vinyl and CD. The album includes the BBC session recording of hit single Wishful Thinking. The Complete Sessions follows on from recent album China Greatness released in May 2024, a collection of the band's best tracks now newly arranged and mixed. China Crisis remain one of the UK's most beloved pop bands. Formed in Merseyside in 1979, the core duo of Gary Daly and Eddie Lundon remains unchanged 45 years on. They rose to fame in the early 80s with chart success single Christian and single Wishful Thinking, album Difficult Shapes & Passive Rhythms reached No.21 in the UK album charts in 1982. China Crisis continue to tour extensively and boast over 325,000 monthly listeners on Spotify.

"With all songs written by the band over the past year or so, the album was recorded and produced by Michael Giblin (The Split Squad) at Mechanicsburg, Pennsylvania in Sep 24 and mastered at Rare Form Mastering by Greg Reierson, Like all three previous Vapors releases, this album conveys an individual feeling of it's own, both lyrically and musically. The title derives from a line in the song ""Forever & Ever"" but it also describes perfectly the high velocity, guitar and bass, heavy punked up tempo that runs through a number of the songs, whilst conjuing up an image of bottled-up anger that runs through a number of the album's lyrics.
Best known for their major worldwide 1980 hit ""Turning Japanese"", The Vapors originally split in 1981 after two short years producing six singles, two albums, three major US tours and an Australian tour, and countless shows in the UK. After a 35-year hiatus, the band reformed for a series of four shows in Ireland and England in 2016 which were so well recieved that they continue to tour extensively, with over 160 gigs played since, with a comeback album ""Together"", in 2020 and several singles released along the way."

Parade Ground has always been the duo of brothers Jean-Marc and Pierre Pauly from Brussels, Belgium formed in 1981. Taking cues from Post-Punk, Coldwave, Dada and Surrealism, Parade Ground channeled suffering, tension and rage through pulsing synthesizers, skeletal guitar, severe bass and Jean-Marc’s expressive vocals as the most melodic and emotional instrument. The Golden Years is an 11-song, career-spanning collection of Parade Ground’s long out-of-print 7” and 12” singles as well as rare compilation tracks from the pioneers of electronic body music created during 1982-1988.

Parade Ground first appeared on the Nationale Rockmeeting LP in 1982, striking straight to the heart with the passionate plea “I Shut My Eyes.” Later that year the brothers met Daniel B. and Patrick Codenys of Front 242 beginning a collaborative partnership that continues to present day. In 1983 they released their debut 3-song 7” EP Moan On The Sly on the New Dance label, musically a hybrid of Joy Division and Fad Gadget. 1984 brought further explorations into the world of electronic body music with the 3-song Man In A Trance EP and 2 tracks on the live concert compilation Mask Promotion both records released on Front 242's Mask Music label. The following year the single Took Advantage/Moral Support 12” was released incorporating then, state-of-the-art modular synthesizers programmed by Daniel B. and back-up vocals from Flo Sullivan (A Formal Sigh, Shiny Two Shiny). Then in 1987 the brothers collaborated with Colin Newman of British post-punk band Wire, who produced and lent his vocals, guitars and keyboards to two songs ("Moans"/"Action Replay") while Daniel B. produced flipside "Gold Rush" on the Dual Perspective EP that stands alongside 80s anthems from Tears for Fears, Modern English, Echo & The Bunnymen. Finally in 1988 their debut album Cut Up was released on Play It Again Sam Records and featured the singles Strange World and Hollywood. In 1993 the brothers wrote and composed the vocals on two Front 242 albums Up Evil and Off. After 15 years of silence the boys released their second album Rosary in 2007 and continue to write new material and tour with their extensive catalog of dark dance classics. Each LP includes a 6-page press kit with lyrics, discography, photos and liner notes by Daniel B. of Front 242. The history of Belgian electronic music would not be complete without a trip through “The Golden Years” of Parade Ground.

The single release from Jimi Tenor's second thematic album on Timmion Records offers two very different moods. "Summer of Synesthesia" takes us back to those dreamy summer days, a natural overpour of sensations mixing together, sounds becoming colors before turning into flavors. Synthesizers grow into delicate layers over Cold Diamond & Mink's rhythm, and when your heart can hardly bear the beauty of it all, Tenor's soft lyric places the cherry on top. "Tsicroxe" on the flipside couldn't be more different, kicking into gear with a demonic organ arpeggio that sounds like you've just been dropped into a Dario Argento scene. Even though the familiar funk from Cold Diamond & Mink eases the dread a bit, when Tenor busts in with the eerie flute solo, the ritual closes in on its conclusion.

The contents of the backwards vocal bits at the end shall be saved for your turntable so make sure to rewind that track, selector! Also Available From Jimi Tenor & Cold Diamond & Mink: Is There Love In Outer Space? 7", Gaia Sunset 7", Is There Love In Outer Space? LP / CD. The single takes listeners on a sonic journey: “Summer of Synesthesia” flows with warm, dreamlike beauty, while “Tsicroxe” dives into intense, mysterious depths, showcasing Tenor’s dynamic range. Blending synth layers with Cold Diamond & Mink’s classic funk rhythms, both tracks bring elements of 70s soundtrack-style tension and ethereal soul, appealing to fans of both cosmic grooves and suspenseful soundscapes. Tenor’s layered synthesizers, haunting flute, and even backward vocal elements add a captivating texture, making “Summer of Synesthesia” b/w “Tsicroxe” a must-have for fans of genre-blending, atmospheric music.

Yellow & Black Vinyl. "The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll.Bright Eyes had officially broken through. It was a heady, exciting time, but also fraught and tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God."These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

ARCHITECTS are back and charging forward in the heavy rock world with their latest sonic masterpiece, The Sky, The Earth & All Between. After two relentless years on the road-featuring massive European summer tours with Metallica and top billing at festival stages across Europe, (Rock Am Ring, Rock Im Park, Hellfest, Download, Graspop, Full Force to name a few and headlining Bloodstock) - the band has returned to the studio to deliver their most powerful collection of songs yet. With the creative force of Jordan Fish (Bring Me The Horizon) behind the boards, Architects have captured the explosive energy of their live performances while elevating their signature melodic edge. This album reflects the perfect blend of raw intensity, emotional depth, and innovative production. Already making waves, singles like "Curse" and "Seeing Red" have drawn rave reviews from all major metal press worldwide. "Seeing Red" the "anthem powerhouse" landed because of global success in the top 10 of charts worldwide-amassing over 45 million streams along the way. The Sky, The Earth & All Between builds on the momentum of their 2022 album, the classic symptoms of a broken spirit, which stormed to the top of the UK Rock and Metal Charts. With this new release, Architects are once again set to push the boundaries of modern heavy music, cementing their status as one of the most exciting and essential bands of our time.

Behind Pumuky are brothers Jaír and Noé Ramírez, originally from Icod de los Vinos, a small town in northern Tenerife, in the Canary Islands.

For two decades, despite a tumultuous journey with multiple lineup changes and the challenges of island life, they have managed to build an extensive and highly personal discography with labels such as Jabalina, WeAreWolves, as well as Keroxen. In 2025, they release a new chapter in their story: their 5th album titled No sueltes lo Efímero (Don't Let Go of the Ephemeral).

It has been 10 years since they released a full-length album, though they were never idle during this time. In this interim, they released an EP titled Castillo Interior (Keroxen 2020), which Bandcamp described as "In intricately sculpted songs that are utterly hypnotising, the Ramírez brothers explore the border of dreams & reality" Bandcamp / New & Notable Oct 19, 2020. The EP was later remixed by artists like Xiu Xiu and Dntel (Jimmy Tamborello of The Postal Service). During this period, they also collaborated with Elinor Almenara of VVV Trippin'you on the single Metahackeo (Keroxen 2022), part of the new wave of dark music that emerged after the pandemic years.

Pumuky also have an extensive live history, having played in Europe and Latin America, with appearances at major festivals such as Primavera Sound, WOMAD, and the Mexican NRMAL.

No sueltes lo efímero will be released on February 28 through Keroxen, a collective that, in addition to being a platform and label for the best of the Canary Islands' underground scene, organises a small, unique music festival inside a giant abandoned kerosene tank in Santa Cruz de Tenerife—an event that has already garnered praise worldwide.

The album was recorded at La Mina Studios (Granada, Spain) with Raúl Pérez, one of the most respected producers in the Spanish music scene, and then mastered by Rafal Anton Irisarri, a key figure in the ambient world who also appreciates the power of guitars.

In No sueltes lo efímero, Pumuky return to their signature sound, although they have never completely abandoned it: an abrasive slowcore with controlled crescendos and raw, unfiltered lyrics, sometimes bordering on the intensity of dirty shoegaze, at other times leaning into dream-pop passages, but always with the unique stamp that has characterised them from the start.

A rare breed, difficult to categorise, Pumuky write songs as if performing escape tricks.

The Pink Fairies were and English Rock band in the London underground and psychedelic scene of the early 70s. Their first album Neverneverland, from 1971, is a mix of psychedelic, proto-punk (“Do It”), rock (“Teenage Rebel” & “Say You Love Me”) and even American R&B (on “War Girl”) sounds which shows their wide style. Also included is the b-side of their debut single “Do It” which was later covered by The Henry Rollins Band on their 1988 Do It album. The 50th Anniversary edition includes an insert with extensive liner-notes by Mark Powell, credits, cutout pieces and photos.

"Phantom Planet has returned! After a decade plus long hiatus, the band reunited in 2019 and released Devastator in 2020, their first full-length since 2008's Raise The Dead.

Devastator featuring the singles ""Time Moves On,"" ""Only One,"" and ""Balisong."" Pressed on limited edition vinyl in two colors, Yellow and Black, respectively.

"Thin Peaks" is the sixth album by the microtonal tuba trio Microtub, featuring Robin Hayward (UK/DE), Peder Simonsen (NO), and Martin Taxt (NO). Initially developed during an artist residency in Andersabo, Sweden, the two pieces "Thin Peaks" and "Andersabo” underwent several adaptations before being recorded in 2022. The pieces draw on the acoustic phenomena of half-valve combinations, creating distinctive timbres and harmonic spectra based on the unique half-valve signature of each tuba. Whilst "Thin Peaks" hockets between the pitches arising from a single half-valve combination, each of the four movements of "Andersabo""results from a different half-valve combination, sometimes resulting in surprisingly consonant harmonies.

Formed in 2010, Microtub have performed at prestigious festivals such as Sonic Acts in Amsterdam, MaerzMusik in Berlin, Wien Modern, FIMAV in Victoriaville, and Intonal in Malmö. Their music works particularly well in reverberant spaces. Some of the most memorable venues have been the Ex Teresa Cathedral in Mexico City, Brønshøy Water Tower in Copenhagen and Wasserspeicher in Berlin. Their latest performance in Sweden was at Lumen Projects in the Eric Ericson Hall in March 2024, where they also collaborated with Paris-based Egyptian singer Abdullah Miniawy. While Microtub primarily perform their own compositions, often in Just Intonation using the Hayward Tuning Vine software, they also frequently collaborate with composers such as Ellen Arkbro and Catherine Lamb. At the Ultima Festival in Oslo in September 2024, they will premiere seven new works by emerging composers from Norway, Poland, Iran, and the USA.

The band members are all very active in the experimental music scene worldwide. Hayward has collaborated with legends such as Eliane Radigue, Alvin Lucier and Christian Wolff, Taxt has performed with Verdensteateret, Tetuzi Akiyama and Toshimaru Nakumura, and Peder Simonsen has worked with Jo David Meyer Lysne and Bendik Giske.

The Local Moon (East Berlin 1987/88) The name The Local Moon originated from an intimation by the oriental jester Nasreddin that every city had its own moon. This idea did not go without a certain local colour in the bipolar frontline city of Berlin; from an astropolitical view, its divided sky never saw a full moon, the light conditions were ideologically broken. From the black light of those years emerged The Local Moon. René Le Doil and Ronald Lippok took wings like two crows from a pigeon’s nest when quite suddenly in 1987 light entertainment permeated East Berlin’s Offground and the two musicians were hired for the New Romantic revue New Affair. Before that, Le Doil had been involved in the Stattgespräch fashion spectacle and in Allerleirauh, the “thing of light, space, sound and leather”. Lippok had been the drummer for Rosa Extra, one of the earliest punk rock bands in East Berlin. Together with his brother Robert, who had already come into the picture with an avant-punk project named after the Jules Verne novel Fünf Wochen im Ballon (Five Weeks in a Balloon), Ronald Lippok then founded the post-punk commune Ornament & Verbre- chen, for whom Le Doil would occasionally guest as an... more credits released July 20, 2022 Tape (Side A, B, C – Track #1 - #16) Music by The Local Moon, recorded in April 1987 René Le Doil: accordion, bass, guitar, keyboards, piano, voice Ronald Lippok: acoustic guitar, keyboards, percussion, voice Produced by The Local Moon Single (Side D – Track #17 - #19) Music by The Local Moon, recorded in May 1988 René Le Doil: keyboard Ronald Lippok: keyboard, voice Charlotte Jansen: oboe, voice Alex Wolf: percussion Bo Kondren: emax, traktor Detelf Pegelow: guitar Robert Lippok: clarinet, ethno brass Produced by Bo Kondren Recorded at Gunther Krex Studio

ARCHITECTS are back and charging forward in the heavy rock world with their latest sonic masterpiece, The Sky, The Earth & All Between. After two relentless years on the road-featuring massive European summer tours with Metallica and top billing at festival stages across Europe, (Rock Am Ring, Rock Im Park, Hellfest, Download, Graspop, Full Force to name a few and headlining Bloodstock) - the band has returned to the studio to deliver their most powerful collection of songs yet. With the creative force of Jordan Fish (Bring Me The Horizon) behind the boards, Architects have captured the explosive energy of their live performances while elevating their signature melodic edge. This album reflects the perfect blend of raw intensity, emotional depth, and innovative production. Already making waves, singles like "Curse" and "Seeing Red" have drawn rave reviews from all major metal press worldwide. "Seeing Red" the "anthem powerhouse" landed because of global success in the top 10 of charts worldwide-amassing over 45 million streams along the way. The Sky, The Earth & All Between builds on the momentum of their 2022 album, the classic symptoms of a broken spirit, which stormed to the top of the UK Rock and Metal Charts. With this new release, Architects are once again set to push the boundaries of modern heavy music, cementing their status as one of the most exciting and essential bands of our time.

Rob Mazurek’s Alternate Moon Cycles was our first release. The incredibly spare single-note-centered cornet, bass, and organ chant was recorded to tape at pint-sized Chicago bar Curio as part of a performance series that predates any notion of our label’s existence. Documenting this performance—highly unique even within the depths of Mazurek’s vast catalog—stirred those notions, and soon talks began of releasing the recording on a fresh imprint.
The music unfolds glacially amongst the gentle creaks, clinks, whispers, and scuffles of the active room. It’s difficult to imagine a more honest rendering of the two sidelong pieces of organic minimal music, and nearly impossible to separate the sounds from their performance context. It’s also difficult to imagine a more subtly striking way to introduce a new label to the world.
Now this long-gone gem of supernatural frequency excavation is back in print with fresh liner notes by Mikel Patrick Avery and obi design by Aaron Lowell Denton.
Featuring Rob Mazurek, Matt Lux, and Mikel Patrick Avery.
"This is ambient music, suitable for meditation, but its shifts in texture reward real listening." - New York Times

Mannequin Records is thrilled to announce the upcoming release of Chromium Industries, a double LP (MNQ 162) capturing the innovative spirit of two pioneers of electronic music: Andrew Lagowski and Paul (Howie D) Howard. This long-anticipated album marks a return to the seminal sounds of the Chromium Industries label, which emerged as a crucial platform for boundary-pushing techno and electronic music in the early 1990s.


Andrew Lagowski, a name synonymous with exploration in electronic music, has been at the forefront of sound innovation since the early 1980s. Known for his work under various aliases, including Lagowski, Legion, and S.E.T.I., his early output in experimental and industrial sounds paved the way for his later techno-focused ventures. Albums like Knowledge (S.E.T.I.) and Nadir (Lagowski) highlighted his pioneering approach to unconventional sound sources and production techniques. In the 1990s, his work with Chromium Industries brought him into the techno spotlight, with a series of influential 12” singles that helped shape the electronic music landscape. With over 60 albums and 10+ singles to his name, Lagowski’s versatility and dedication have garnered him a loyal following and lasting influence across genres.


Paul Howard, aka Howie D, brought his DIY ethos from the punk scene of the 1970s into electronic music. As a founding member of The Frames and co-founder of the Brain Boosters and Spacematic labels, Howard has consistently pushed boundaries. His early forays into hip-hop saw him release the genre-pioneering jazz-rap track Miller Light as Fission. The transition from punk and hip-hop to electronic music was a natural one, culminating in his creation of Chromium Industries after a fateful night hearing Lagowski’s Vermilion at a London party. The label brought some of the most unique techno releases to the scene, with tracks like Blue Anomaly causing near-riots on the dancefloor. Since then, Howard’s work has evolved to include multiple aliases, including The Legend That Is, Phase Collective, and Skulpture.


Chromium Industries 2xLP will be available for purchase from January 2025 through Mannequin Records and select distributors.


This is an essential release for collectors, DJs, and anyone who reveres the legacy of 1990s techno and early rave.

Introduced by the digital single ‘Deixa Passar’, this 12” EP concretises on physical support the renewed collaboration between the two Schema Records artists Gerardo Frisina and Tomaz ”Toco” Di Cunto, working together again five years after the release of the EP “Frisina Meets Toco” (SCEP 487): the two unreleased songs here included, the aforementioned “Deixa Passar” and “Ilê”, are featured both in their original and reworked versions, and represent an excellent blend of samba jazz and Brazilian popular music. In both tracks, the music composed and arranged by Gerardo backs up the Portuguese language lyrics and melodic lines of Toco, who duets with Luzia Dvorek in an almost surprising contrast between serious and graceful sounds. The instrumental department features Gianluca Petrella on trombone, Eduardo Taufic on piano (Deixa Passar) and Fender Rhodes (Ilê), and Edu Moreno on flute (Ilê), in an excellent ‘union of opposites’, between popular music and modern sounds, between acoustic instruments and electronics, with mystical influences that envelop the songs with a mysterious and attractive aura. Not only musically, but also visually and lyrically, this EP is a tribute to the Brazilian culture and lands, already from a cover that re-imagines the iconic shapes of the famous Copacabana pavement in Rio De Janeiro: while “Deixa Passar” celebrates Rio’s carnival as an opportunity to momentarily free oneself from the burdens of life, “Ilê” recalls the traditions of Salvador De Bahia’s historic ‘bloco afro’ quarter called Ilê Aiyê.

The NOW Yearbook series continues with the ultimate soundtrack to one of pop’s most dynamic years: 1998 - out February 14th! This collection brings together the biggest and most iconic tracks from the year, presented across three stunning coloured vinyl discs, pressed in neon violet with 43 tracks from the era and two CD editions available as a standard 4-CD set, and as a special edition 4-CD set in ‘hardback book’ packaging, which includes a 28-page booklet packed with notes about all of the 80 featured tracks that capture the unforgettable sounds from the year. Whether you’re reliving the hits or discovering them for the first time, this collection brings you the best from the singles charts of 1998.. Whether you're revisiting these unforgettable hits or discovering them anew, NOW - Yearbook 1998 brings you the best from the singles charts of 1998!

Early 1980, UB40 scored their first success with Food For Thought', reaching high in the charts. By the time they released their first album they were already so successful that they had signed off on unemployment benefit, leading to the stamped Signing Off featured on form 40, for the sleeve of their debut album. The first dub album ever to reach the album charts in the U.K. included One In Ten' and Don't Slow Down'.

In 1983 the band put on a new project, boasting ten cover versions of Jamaican hits and, contrary to low expectations, it became a huge hit and the band's first number one album. Tracks included are Cherry Oh Baby' and Please Don't Make Me Cry' and Red Red Wine'. The latter was a rather poppy song and became the band's biggest selling single ever, entailing their definitive worldwide break through.

There have been lots of collaborations through the years and most of these became huge hit songs. Together with Chrissie Hynde UB40 recorded two singles: I Got You Babe' (1985) and Breakfast In Bed' (1988). They teamed up with Afrika Bambaataa for Reckless' (1988) and with Robert Palmer the band released I'll Be Your Baby Tonight' (1990), just to name a few.
UB40 - COLLECTED has captured all the different phases of the band in one complete album, from classic hits combined with the new!

By popular demand and special requests Visioneers have dropped a couple singles from the album Def Radio. Here we have Raid and on the flip an unreleased instrumental version of "Hurts So Bad". Two of the faves from the long player.

Alternative Tentacles Records is thrilled to announce the first-ever vinyl release of two long-awaited tracks, previously available only in digital format. This highly anticipated split 7" features Jello Biafra & The Guantanamo School of Medicine and The November 3, with two explosive songs: "Blunder Blubber" and "IFAR." "Blunder Blubber," originally released as a digital single to mark Rush Limbaugh's passing and was recorded during the TEA PARTY REVENGE PORN recording sessions, highlights everything iconic about Jello Biafra & The Guantanamo School of Medicine. The song critiques the rise of right-wing extremism, tracing its roots back to Rush Limbaugh's influence and the repeal of the Fairness Doctrine under President Reagan in 1987—a policy change that allowed one-sided political commentary on public airwaves. Biafra argues that this set the stage for the toxic media landscape, fueling figures like Limbaugh and the current wave of ""MAGA"" rhetoric. Reflecting on the political climate, Biafra notes, "I wrote the song back when Clinton was president, seeing the writing on the wall. I was hoping never to use it, but we had no choice but to update and perform it now." On the flip side, The November 3 delivers "IFAR," a fiery debut track that first dropped during the 2020 Republican National Convention. Blending punk rock energy with raw political outrage, lead vocalist Billie O' Rights unleashes a bold, biting rant, backed by Tom Pain’s searing guitars. Pat Triotte and Justice Ferrall add their creative touches to this electrifying anthem, capturing the chaotic spirit of the times. "IFAR," is a raucous, tongue-in-cheek commentary on partisan divides, clocking in at just two minutes of catchy, irreverent fun. Interestingly, the song was reportedly conceived during a mundane moment: Pat Triotte was baking blueberry muffins one Saturday afternoon when the idea hit, and within hours, the track was recorded— and the muffins were supposedly amazing. Despite the humorous and often provocative tone of both songs, the core message of this release is clear: a call to action to vote. With this limited 7" vinyl, Alternative Tentacles Records urges everyone to make their voices heard in the 2024 election and beyond! Don't forget to VOTE!