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LP 1 is Original Reissue, LP 2 is the Instrumentals. This album, originally released in 2019, was highly lauded with esteemed praise, topping many Album Of The Year lists inlcuding NPR, Pitchfork, Rolling Stone, Time Magazine. This vinyl has been out of print and in high demand, repress is restricted to limited quantities and will be out of print again in under a year. Now includes a 2nd LP featuring the never before available Hiding Places instrumentals from Kenny Segal. Fully produced by Kenny Segal, (Project Blowed, Kenstrumentals beat tape Series, Happy Little Trees). LP has unique gatefold artwork by Myra Musgrove and features custom “oakwood” coloured vinyls. Hiding Places is a collaborative album from Brooklyn-based rapper billy woods and Los Angeles beat scene veteran Kenny Segal. As a label, we at Backwoodz take a lot of pride in our physical products; in creating original artwork that will stand the test of time, and in issuing limited-pressings that stay limited. We had always resisted repressing a piece of vinyl and even when the demand for Hiding Places built to a fever pitch during 2019, we stuck to our guns. Still, by the end of the year, as the AOTY nominations kept rolling in, we knew that we needed to do something. But we also were determined not to sacrifice the uniqueness of that first pressing. So we decided to commission all-new artwork, and press up the instrumentals as well and put it all together as a GATEFOLD 2XLP. So, on top of the best album of 2019, you get Kenny’s incredible instrumentals, available on wax for the first time! On its face, it seemed an unlikely pairing; woods who moonlights as ½ of dissonant rap duo Armand Hammer is a chaotic force, the warped relic of an NY indie-rap wave that never happened. Meanwhile, Segal has been in L.A. for twenty years; from paying dues with Project Blowed to pushing the culture forward with Busdriver and Milo. All the while, his soulful, dreamlike production precariously tethered to earth by the right drums or rumbling bass. But look closer and it makes more sense. After all, Segal lent his production to a couple of songs on Paraffin, Armand Hammer’s critically-acclaimed opus, and the two artists have more than a few shared collaborators: Open Mike Eagle, ELUCID, and Hemlock Ernst amongst them. Hiding Places finds both artists deep in the labyrinth. Segal’s lush soundscapes have a new edge, woods’ writing is, paradoxically, at its most direct. Hiding Places is a child’s game: funny and cruel, as brutal as a fairy tale. The album features familiar names from both artists’ well of collaborators with ELUCID, Self-Jupiter, Blockhead and MOTHERMARY making contributions.

After a little vacation Wellness Records returns - straight out of the spa area onto the much missed dancefloor! During the break a lot has changed and developed, hence the sound of Wellness also discovered new nuances. With the two young talents Pük & Oward, it turned out wonderfully. The English Pük on the A side manages to pack a very own eclectic variation of breaks, minimal and electro into two sonically top balanced and driving tracks. Both "Double E" and "Get Well Soon" captivate with their clarity, their deepness and their inherently unique coherence.

French Oward, on the other hand, creates a wonderfully fun and light-footed contrast on the B side. With "I Need A Rocking Chair" and "Center Of The Universe" it's almost impossible to keep your feet still. This inevitable groove-attack throws thousandfold ideas and details in the right spots and creates two fantastically arranged dance tracks. We are so happy and proud to present Wellness IV to you!

Edinburgh-based three-piece funk band High Fade are set to release their debut album 'Life’s Too Fast'.

Capturing the raw, on-stage energy that has been the driving force behind High Fade’s meteoric rise was never going to be easy, but that’s exactly what Harry, Oli and Calvin set out to do with a clear creative vision to record their album live at the iconic RAK Studios in London.

'We recorded in RAK Studios, with the desk built for the Rolling Stones in ‘76, with the same cigarette burns still on the faders. It instantly had a vibe of raw energy and liveliness to it that matched the way we wanted to record - live.' – Calvin

The result? 'Life’s Too Fast' – a blistering 10-track debut from one of the UK’s most exciting bands that manages to deliver the same tight, groove-laden funk rock that has put the group on the radars of Jack Black, Cypress Hill and Rage Against the Machine’s Brad Wilk, has seen them tour with The Cat Empire, and tick off iconic venues including Glastonbury, Jazz Cafe, and Boomtown Festival.

'We decided to record the album live rather than through the normal single track overdubbed method – we felt this would help to fully convey the band’s power, sound and energy across to the listener! More like we’re playing a gig and having it recorded – it was a tough process, but we went about it in the best way for both us and the audience, to ensure they’re getting the most authentic High Fade sound and experience possible.' – Oli

Having spent much of the last three years on the road seeing to a punishing tour schedule, 'Life’s Too Fast' is a chance for the band to stop and take stock, to reflect on their whirlwind success, and create an artistic milestone that demonstrates who High Fade are today. 'It’s the most accurate representation of what High Fade is, what we sound like, and who we are' explains Harry. Telling a clear story that matches their own experiences over the last few years, the album is a snapshot taken by a band who are accelerating towards real success and recognition.

'I’m glad we finally have a body of work that we’re proud of and feels like a collection of songs that nicely represents where we are right now. It’s organised chaos and shows that we like to play, but can also write a catchy tune.' – Calvin

Launching into proceedings with the effortlessly uplifting 'Take Me To The Floor', every track is a demonstration of the band’s technical prowess and broad sonic palette. A forward-facing selection of completely original material, the album also gave the band the opportunity to re-imagine fan-favourite 'Sharpen Up' as a stripped-back cut that reflects the band’s current lineup.

'Honestly, I kinda feel like I could explode with excitement about getting it out for everyone in the world to hear because it has been a long time in the making! A culmination of what all the singles have been working towards! I guess the album represents us and the direction we’re taking the music, it represents us as a trio and the gel that is High Fade.' – Oli

Ediciones Espectro Oculto has the pleasure to announce their first vinyl edition ‘Elementa Obscura Vol. 01’, a wave-infused compilation which moves through the dim & dazzling realms of electronic music.

The vinyl kicks off with a new-beat-esque track by Trenton Chase known for his EP released on Interstellar Funk defunct label ‘Artificial Dance’ and his collaborations with June (Mania Sans Delire) and Traxx (Internal/External) with a 12” released on Kode sublabel of the infamous Nation Records. Synth wizard and legend Martial Canterel delivers a masterful track that embodies his signature wave sound—driven by sophisticated analog sequences, atmospheric textures, and a vivid story telling with ‘Folly’. Closing the A side we have Gravitational Waves boss DJ Nephil, who’s bringing his raw & analog trademark which will annihilate all dance-floors.

On the flip side we have cult czech producer & DJ: Exhausted Modern known for his notable work managing the extinct ‘Endless Illusion’ label, he provides a de-constructed electro track with an exceptional sound design, so glad to have one of the key cultural figures on the czech electronic music underground scene. Having collaborated with labels like Pi Electronics, Phormix & Modal Analysis just to name a few, Fragedis blends elements that seamlessly propels dancefloors into motion. Finally, Argentinian duo Happy707 present a low-bpm track which hypnotizes you with a detailed synth bassline and gritty vocals that draw you in, creating a hypnotic listening experience.

6 cuts that give you the 1st glimpse of what ‘Ediciones Expectro Oculto’ is about.

Being one of the most popular albums in the history of the label,

Music Brokers is happy to announce the release of Jazz And Beatles in a limited-edition double LP.
The album features 24 stellar Beatles classics reinvented in jazz form that highlight the catalog of the biggest band of all time.
Gems such as “Yesterday”, “Here Comes The Sun”, “Revolu- tion” and “She Loves You” have new life with reworked versions
by many of the biggest names in the nu-jazz move- ment including Jazzystics,
Les Crossaders, The Cooltrane Quartet, Eve St. Jones and Apollinare Rossi. With stellar artwork and remastered sound,
this is another essential addition to your jazz-lounge music collection in vinyl format.

Rosettes are finally here with their debut album on Timmion Records, Lifestyles, a compelling journey into psychedelic soul, jazzy funk, and introspective grooves. For the listener, it creates an experience that manages to be both sophisticated and raw to the bone. Expanding on the sound they refined with their previous singles, this 10-track album captures the group in top form while crafting intoxicating sonic potions that pull you in. Featuring standout tracks like the soulful opener "The Call," the Isaac Hayes-inspired title track "Lifestyles," and the introspective groover "Spirals," the album weaves together cinematic instrumentals, intricate horn arrangements, and deeply personal storytelling, courtesy of lead singer Tytti Roto. Drawing inspiration from a range of vintage and contemporary masters_Cymande, SAULT, and Sade, to name a few_the rest of the eight-piece group doesn't linger in the shadows. Instead, they make it their mission to position the groove front and center. The album closes with "The Queen," the sole instrumental track, which evokes the spirit of 1970s blaxploitation soundtracks with its wah-wah and fuzz guitars and jazzy changes. Every track on Lifestyles is a testament to the Rosettes' ability to craft genre-blending masterpieces that are as emotionally gripping as they are musically intricate. For fans of adventurous soul and funk, this album offers a rich and rewarding journey.

First ever vinyl re-issue of this 1982 Creation Rebel 10" produced by Adrian Sherwood in 1982 and released on the On-U Sound label. Here's in the new 12" format, with two version of Independent Man: pt.1 & pt.2. All tracks remastered.

Originally released on CD only – those were the days – “Triola im Fünftonraum“ counts as one of the most iconic albums of the early Kompakt era. Experience this timeless masterpiece of lush electronica lovingly restored and remastered for the first time on vinyl – 21 years after its inception.

We found this review from back in the days that perfectly sums up what “Triola im Fünftonraum” is all about:

The press material for “Triola im Fünftonraum” made allusions to home listening, when the album is mostly about movement… in a car …preferably a fast one … on a muggy spring day.

This might catch followers of producer Jörg Burger off guard. Up until this point, the producer’s Triola tracks – limited to three consecutive appearances on Kompakt’s yearly Pop Ambient series and a spot on “Leichtes Hören Teil 1” – were free-floating ambient washouts (albeit wondrous free-floating ambient washouts) with no pulse. The album, on the other hand, is beat-driven. Though still resolutely ambient – more an update of Burger’s lushest Bionaut tracks, only fully engaging instead of mildly diverting.

The soft, synthetic hand drums and tranquil vapors of “Leuchtturm” from Pop Ambient 2003, remain untouched and begin the album. Two other tracks that might sound familiar receive dynamic overhauls, now supported with quick dance rhythms and additional layers of synth gauze; the whispy flute trills and lightly flickering keys of “AG Penthouse”, for instance, are melted into a churning rhythm and some singing keyboard vamps that resemble a relaxed take on Tangerine Dream’s suspenseful soundtrack work for “Thief” (minus the crazy guitars).

What really makes the whole thing glow is the manner in which the tracks are attached, flowing in and out of another, rising and cresting and receding, with supreme poise – even if its title provides no indication, the album is as much a travelogue as Carl Craig’s “Landcruising”, Morgan Geist’s “Driving Memoirs” and Model 500’s “Deep Space”.

These are some of Burger’s most inventive productions, a remarkable feat since he’s been doing this so long. Catch yourself in the right frame of mind and you’ll wonder if everything he has released has been one extended ramp-up to this. In this age, it’s also refreshing to have a purely ambient techno album with absolutely no connection to “Boards of Canada”.

In other words, it’s a landmark for both its label and its genre.

Andy Kellman

Copyright 2025 TiVo Corporation
Ursprünglich nur auf CD veröffentlicht – das waren noch Zeiten – zählt „Triola im Fünftonraum“ zu den ikonischsten Alben der frühen Kompakt-Ära. Dieses zeitlose Meisterwerk schwelgerischer Electronica erscheint nun 21 Jahre nach seiner Entstehung erstmals liebevoll restauriert und remastered auf Vinyl.

Wir haben diese zeitgenössische Rezension gefunden, die perfekt zusammenfasst, worum es bei „Triola im Fünftonraum“ geht:

Das Pressematerial für „Triola im Fünftonraum“ spielt auf das Zuhören zu Hause an, obwohl es in dem Album hauptsächlich um Bewegung geht … in einem Auto … vorzugsweise einem schnellen … an einem schwülen Frühlingstag.

Das könnte die Fans des Produzenten Jörg Burger überraschen. Bis zu diesem Zeitpunkt waren die Triola-Tracks des Produzenten – beschränkt auf drei aufeinanderfolgende Auftritte in der jährlichen Pop-Ambient-Reihe von Kompakt und einen Platz auf „Leichtes Hören Teil 1“ – frei schwebende Ambient-Auswaschungen (wenn auch wundersame frei schwebende Ambient-Auswaschungen) ohne Puls. Das Album hingegen ist beatgetrieben, obwohl es immer noch entschieden Ambient ist – eher eine Aktualisierung von Burgers üppigsten Bionaut-Tracks, nur dass es voll und ganz fesselt, statt nur leicht abzulenken.

Die sanften, synthetischen Handtrommeln und die ruhigen Dämpfe von „Leuchtturm“ aus Pop Ambient 2003 bleiben unangetastet und bilden den Auftakt des Albums. Zwei weitere Stücke, die einem bekannt vorkommen könnten, erhalten eine dynamische Überarbeitung, die nun von schnellen Tanzrhythmen und zusätzlichen Schichten von Synthesizer-Gaze unterstützt wird; die flüsternden Flötentöne und leicht flackernden Tasten von „AG Penthouse“ zum Beispiel verschmelzen zu einem aufgewühlten Rhythmus und einigen singenden Keyboard-Vamps, die an eine entspannte Version des spannenden Soundtracks von Tangerine Dream erinnern, der für „Thief“ (ohne die verrückten Gitarren) verwendet wird.

Was das Ganze wirklich zum Leuchten bringt, ist die Art und Weise, wie die Tracks miteinander verbunden sind, wie sie ineinander fließen, ansteigen und ihren Höhepunkt erreichen und wieder abklingen, und das mit höchster Gelassenheit – auch wenn der Titel nichts darauf hindeutet, ist das Album ebenso ein Reisebericht wie Carl Craigs „Landcruising“, Morgan Geists „Driving Memoirs“ und Model 500s „Deep Space“.

Dies sind einige von Burgers einfallsreichsten Produktionen, eine bemerkenswerte Leistung, wenn man bedenkt, wie lange er schon dabei ist. Wenn man sich in die richtige Stimmung versetzt, fragt man sich, ob alles, was er bisher veröffentlicht hat, eine einzige Vorbereitung auf dieses Album war. In der heutigen Zeit ist es auch erfrischend, ein reines Ambient-Techno-Album zu hören, das absolut nichts mit „Boards of Canada“ zu tun hat.

Mit anderen Worten: Es ist ein Meilenstein für das Label und das Genre.

Andy Kellman

Copyright 2025 TiVo Corporation

Spandau20, an imprint named after the Western Berlin district and focused on artists from the area, delivers techno in all diverse forms - from warehouse and electronic peak time beats to breaks and IDM, balancing the old and new school sounds flawlessly. With a focus on vinyl releases, for the collectors, Spandau20 has lately also focused on its label nights, with showcases at Fabric, Bassiani and many others. The label's 10th release features 10 tracks that epitomise the musical diversity of Spandau20 and the progressive musical mindset of its roster, calling on the label favourites and Spandau natives to deliver brand new and exciting music. This special release even features one track that all artists have worked on together: 'Come Closer', a swarming, slithering beginning featured as the VA's opener. Its barely coherent female vocal echoing amidst a cacophony of demon-like effects. The chilling ambience captured at the offset transcends into the first full length track by Elli Acula, 'Floating Eyes', a cur characterised by an authoritative, pounding bass featuring calculated percussive rolls and metallic overtones to make for a face-scrunching opener to this devilish collection of works. FJAAK follow for the first of twin cameo appearances, partnering up with fellow live supremo and hardware aficionado KiNK. On 'Overbridge' the trio deliver a cavernous, rolling number driven by a deep thrumming bass in addition to a razor-edged lead synth, and pulsating technopattern. Dajusch is known for incorporating his years of classical study in with his immersive musical style - and with his VA effort the Berlin native neatly showcases this. Easing the energy slightly, 'Move' escalates from its warm, melodic intro into rumbling goliath of a beat comprising a looping, slew of gassy harmonics. The momentum of the release shifts considerably with the introduction of acutely versatile producer, DJ and sound artist Claus. The artist from Spandau leans his track 'Bloomscroll' towards sparse, dubby sonics in which he intricately ties together to form churning, burgeoning soundscape. FJAAK jolt proceedings back into the techno groove with their signature blend of arresting sub-bass and reverberating rhythms, which come thick, fast and heavy on 'Jackfruit'. The abstract wonder of Anna Z's broken-beat like stylings is fully explored on 'Icy Liq'. It's outlandish and amorphous in its execution, causing a clattering percussive chaos that's choicely pieced together by the modular-extraordinaire. Nikk stealthy moves into breaks territory with his track 'Down In The Shadows', packing a trap-like snare with an acid-flecked melody and dawn-breaking, dream-like textures. The penultimate track on the VA is 'Tufted'. J.Manuel expertly employs a chorus of robot-like sonics that course through a short-circuiting low-end to produce a pacy, inescapable journey via a whirling, merciless beat. He is joined by the legendary producer Tobi Neumann for their menacingly ambient number titled 'Fennec.' In parts a nod to UK dubstep, the duo concocts a fierce admixture of styles bolstering tribal-like components with industrialised overtones and methodically crafted drum-fills.

An exclusive 7" re-release of this psychedelic funk ballad from Tulsa's "Outback" Band. As featured on Now-Again's 'More Loving On The Flipside' compilation, "Strangers (In Our Homeland)" epitomises the expression of social & political change during an era of psychedlia infused music. In partnership with the two surviving members of Outback, both Symphonical & Now-Again are proud to showcase the voice of independent artists.

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The origin of "Outback" dates back to the late 50s, a five-piece blues outfit named "Little Lo and the Rest of Us" included music educator & bass guitarist Edward "Cha-Cha" Cherry, saxophonists Eugene "Buggy" Roach & James "Flab" Farley whom, alongside drummer Roscoe J. Dabney III "Roach", Ronnie Wilson on trumpet, guitarists Roy "Rochester" Walker & Michael Collins, would form The Magnificent Seven, the house band for Tulsa's 'Rose Room'.


Alumni of Booker T. Washington High School, The Magnificent Seven influenced & set the standard for the Tulsa sound, as demonstrated through their only single, recorded in 1966, the two part 'Pluck-A-Pluck'. 'The Sevenettes', the groups' female vocal trio, included the rotation of Lena Luckey Wilson, Gwendolyn French, Rose Brewer Lewis, Jeanetta Williams & Maxayn. The Magnificent Seven, led by "Cha-Cha", toured nationally throughout the 60s with their infectious, raw R&B sound, and were the platform for many of Tulsa's talent including Ronnie & Charlie Wilson who would later create the GAP Band.


Roscoe J. Dabney III, the first Black Panther to establish the Tulsa chapter in 1969 known as the NCCF (National Committee to Combat Fascism), proposed the name change to "Outback" in the early 70s. Their sound & formation was changing from R&B to Psychedelic, from the grit to the phase, epitomised by their unique line-up of having two bassists playing simultaneously, both Reggie Cherry & "Chilly" Willie Lewis, the musical foundation to their only recorded single, "Strangers (In Our Homeland)" & "Reggie's Thang".


Song writer & band affiliate, Maurice Pope, produced the lyrics to "Strangers (In Our Homeland)" and handed over the musical attributes to Willie Lewis & Outback to convey his message, as sung by Lena Luckey Wilson. Dabney recalls the song is based on religious scriptures, whilst highlighting the parallel of Black slavery in the U.S.


"Reggie's Thang", written by Dabney's cousin, bassist Reggie Cherry, provides a psychedelic instrumental, a sound which Lena recalls is what set apart Outback from other Tulsa groups. As well as playing clubs, the seated shows provided an environment for the group to showcase their musicianship to those who wanted to be immersed & listen.


Their single, released on Empathy, was recorded in 1972, and are the only known recordings by Outback. Recorded live onto 8-track at a studio located at on East Pine St in the heart of Tulsa's Black community, an independent & unknown studio located on a strip mall.


The Outback members who recorded are:


Lena Luckey Wilson - Vocals

Roscoe J. Dabney III "Roach" - Drums

"Chilly" Willie Lewis - Bass

Reggie Cherry - Bass

Edward "Cha-Cha" Cherry - Keys

Joyce Daws - Trumpet

Roy Walker "Rochester" - Guitar

Robert Luckey "Uncle Bobby"- Percussion

Fredy Berry "Freddy" - Tenor Sax


Band leader & group manager: Edward "Cha-Cha" Cherry

Booking Agent: Ernie Fields Sr.

In 1973 whilst performing in Ft. Worth, TX, Buck Ram approached Willie Lewis backstage and invited him to join The Platters, Lewis accepted. Supposedly, a recording deal was offered to Outback in exchange, which never happened.


The group continued in various formations after Lewis left, however as an integral member, the feeling never equalled their original form and soon after dissolved.


Leon Russell approached Lena Lucky Wilson in 1974 to go on tour with the GAP Band as their backing singer, upon returning Tulsa Lena moved to Los Angeles to pursue her musical career with Leon & Mary Russell amongst various others.


Dabney continued music and became a TV producer & director in 1976.


The only surviving members of Outback today are Lena Luckey Wilson & Roscoe J. Dabney III.

This record marks not only the first-ever release of the This War of Mine original game soundtrack but also a milestone 10th anniversary of the game. With its bestselling status, cult following among players, educational usefulness and recognition as a poignant symbol of war's threat to human lives-underscored by honours such as the recent Special Award from Amnesty International-it has been a decade of remarkable success. Yet, we cannot truly celebrate while wars continue to claim lives, stripping away humanity with relentless and senseless cruelty. To mourn in silence, however, would be equally futile. Instead, we're once again using This War of Mine as a platform for change through the Forget Celebrations charity DLC, now available for the PC (Steam) version of the game. Composer Piotr Musia? is looking back at the creation process for the music of This War of Mine and points out the significance the soundtrack still has for him: "This War of Mine was one of those projects, where picking up an electric guitar and playing on it felt like a good idea, although I'd never done it before. It gave the music this unpolished character - it's rough around the edges to match the grim atmosphere of the game. Just like its characters, I felt lost at first and it took me a while to figure it all out. For this and many reasons, it was an emotional ride and the music still feels special to me."

Narciso has been running parallel to most of his contemporaries, staying close to the main lane but researching in his own distinctive way. He takes pride in "being free from limitations and conventions. To me, music doesn't follow fixed rules; it is a field for experimentation, where any sound can be transformed into something pleasing to the ear". Depending on what one considers "pleasing", this is a pretty challenging set of tracks. The artist never loses the balance, though, mindful of a certain "dance" context in which this music thrives, but it is also that same context that is being constantly twisted and reshaped into other forms. Some of those provide fresh ground for others to follow; some are of such individuality that no one else dares disturbance; some quickly return to a safer way of communication.

"Diferenciado" does communicate, but like words can be changed to sound different and still mean the same, such are music and sound with Narciso. It's not about alienation of the listener nor alienation of the self from the surrounding areas. "I believe music is present in everything around us." And if anyone can say her/his/their music "reflects vision, experience and perception", you know the end result is not often surprising or even that different from previous examples. Well, we stand by "Diferenciado" in its obvious distinctiveness, and if all the blurb so far may read like a nervous justification it's just because of the excitement in helping put this out into the world.

As a founding element of RS Produções, where Nuno Beats, DJ Lima, DJ Nulo and Farucox are also found, Narciso has been contributing to a spiritual and creative atmosphere that permeates the environs of Lisbon where that golden, inspired air has to fight for space with many kinds of instability. The beauty and drama of opening tracks "Ziu Ziu" and "Cabelinho" (this one with mate Farucox) should be able to touch any sensitive soul that appreciates the quirkiness often attached to pure expression. As in "Pipipi" too, for example, where melody and rhythm gently and moodily lead you into a brief but sudden interruption feeling like a change into another state of being. Do not shy away. Narciso steps up as himself, not as representative of whatever or whoever.

Closing out the Special Sound Series in style, we are proud to present the long-awaited vinyl reissue of Shigeo Sekito’s 1985, an instrumental masterpiece that arrived nearly a decade after his iconic Kareinaru Electone Special Sound Series of the 1970s. A true pioneer in the world of Electone music, Sekito’s name—instantly recognizable in katakana—has left an indelible mark on the genre.

This album showcases his signature artistry across eight captivating tracks, blending originals and covers with his distinct sonic palette. The cosmic allure of the original composition “Amish At Dusk” stands out among the set, while the Manhattan Transfer cover “Twilight Zone, Twilight Tone” brims with dynamic, fast-paced arrangements. Meanwhile, Sekito’s take on The Crusaders’ “Rhapsody And Blues” unfolds with a laid-back groove, gradually building into an uplifting crescendo.

Drifting between chill-out and ambient sensibilities, 1985 captures a wistful, melancholic beauty—where the rich textures of the Electone transport listeners into a world of nostalgia and dreamlike introspection.

This final reissue in the series is a must-have for collectors and fans alike. Experience 1985 in its warm, analog glory—now on vinyl.

2025 Repress

Berlin-based Frenchman Alexkid lands on Rawax with ‘Wake Up’, a fantastic new album that explores acid from many different angles.
As an early protagonist in the 90s Parisian electronic music culture, Alexkid has been paving his own path for over two decades. Obsessed with drum-machines since his teens, he is a skilled producer and sound engineer who imbues his productions with real soul and warmth, even releasing his own lauded Ableton Live Plugins. He is a Rex club resident, released albums on Laurent Garnier's legendary F Communications and has also appeared on labels like FUSE London, Rekids, Ovum, Freerange, and
Underground Quality. With this new album he proves once again why he is so well respected by presenting eight acid laced beauties on the infamous Rawax, following appearances from iO (Mulen), Shonky, Enzo Siragusa, Julian Perez, and Diego Krause. 'Kick It' is a bristling, in your face and pricking acid banger with restless 303 lines spraying about above
punchy kicks, the mood switches up for the headier and dubbed out, but still acid laced, 'Le Manteau d'Argent', and 'Tribute' then takes you down a deeper, more shadowy and sparse late night path with a warm, bubbly acid bassline leading the way. Sublime atmospherics characterise the spacious, deeply cosmic 'Revolutions' which has contorted drums and bass making you move, followed by the physical force of acid head wrecker 'No Hiss'. The
excellent 'Idle' strips things back to a propulsive drum groove and a molten sub pattern, 'Yussuf Is In Control' is led by the sort of prying, freaky lead synth that is perfect for the afters, 'Your Love Is Fading' is a masterful track of suspensory synths and soulful vocal sounds all fused to a brightly airy house groove making this another fantastically accomplished album from one of the best in the game.



Support by:

Delano Smith, Seth Troxler, Radio Slave, Dan Curtin, Butane, Ian Pooley, Spacetravel, Satoshie Tomiie, Posthuman, Diego Krause, Samuel Deep, Sonja Moonear, Traumer, Akufen, Sakro, Italojohnson, Enzo Siragusa, Laurent Garnier, Dirian Paic, Ryan Crosson, Reiss, Roger Gerresen, Sebo K, Vinyl Speed Adjust, Franck Roger, Mihai Popoviciu, Fabe, Jamie Jones, Raresh

Pete Herbert is back with another tasteful assembled and escapist compilation. This one focuses on slowed-down, low-slung sounds for the golden hour when love is in the air and the vibes and blissful. Balearic mainstays feature throughout with Max Essa's 'Warm Enough' a delightfully humid and synth-laced deep house jaunt, Fernando's 'Moon Rocks' full of shimmering synth lushness and Pete Herbert's remix of Mantas & Vencla's 'Sun' offering some piano laced fun to rouse the 'floor.

First ever vinyl edition of the acclaimed British
Jazz artist’s debut album.
In January 2020 Downbeat Magazine named Yazz
as one of 25 artists set to shape the future of jazz
over the next decade.
Recipient of the highly prestigious Ivor Novello
Award for Innovation.
Jazz FM ‘Jazz Act of the Year’ 2020
Jazz FM ‘Jazz Album of the Year’ 2020, for her
2019 album, ‘Polyhymnia’.
Has won accolades from The Wire (Jazz Album
Of The Year), Bandcamp (Best albums of 2017,
Best Jazz Album), The Vinyl Factory, Stereogum,
The Guardian, All About Jazz, and many more
publications.
Yazz Ahmed receives regular airplay on Soho
Radio, Deutschlandfunk, Openlab, BBC Radio
2, BBC Radio 3, FBI Radio, FIP, Radio Raheem,
KCRW, Rai Radio 3, Radio 1 (BE), NTS, Worldwide
FM, and many more.
‘The Birth Of The Fool’ amongst Yazz Ahmed’s
most streamed tracks.
‘Conciliation’ features on the soundtrack of Steve
Buscemi’s 2022 film, ‘The Listener

Top tier US house head Stefan Ringer has many different styles up his sleeve and many of them come to fore on this new dance floor heater on his FWM Entertainment. 'Fever' is built on fat, mid-tempo drums with rattling hits and congas peppering the beats next to snippets of vocal that bring a sense of sensuality and sexuality as pixelated synths also make their mark. On the flip, the remix by Ben Hixon has jazzy, live-sounding percussion and deft drum patterns that are organic and loose. Vamping chords build some energy while steamy vocal words layer in intimacy and emotional intensity. It's a brilliantly original sound packed with real heart.

Night Keeper is a collaborative album by New York City-based artist Aaron Landsman and former Swans guitarist Norman Westberg that is based on the former's eponymous play. Westberg recorded it together with performer Jehan O. Young for the Swiss Hallow Ground label, with Landsman serving as the record’s producer. The original piece was first performed in the Spring of 2023 at The Chocolate Factory Theater in Queens and filled the stark industrial space with spoken text, choreography, projections, and music in dim light and, occasionally, complete darkness. Westberg and Young afterwards brought it to the studio to record it as a two-part
album in whose course his textural sounds, based on loops and samples, set the stage for her soothing, sonorous vocal performance. »Night Keeper« is a performance inspired by sleeplessness and the wanderings of the human mind at night—about time and memory.
Westberg and Young elegantly capture its essence in these roughly 44 minutes with a somnambulic album, letting sound and meaning flow into each other. The initial spark for Night Keeper was a run of almost sleepless nights in different neighbourhoods of a city that is perpetually insomniac. Instead of trying to force himself to go back to sleep by any means necessary, Landsman started writing down his thoughts. As he explains in the liner notes—accompanying the music along with drawings made by audience members during the performances—he started listening to the particular way in which the voice in his head navigates time and language. Accordingly, the texts that Young reads on the record form a diverse collection of specific moments, imagining different speakers and evoking different
situations. Westberg complements, accentuates, and juxtaposes these with different means. Ominous drones, soaring melodies, rhythmic bass sounds: the guitarist, whose latest release for Hallow Ground was 2021’s First Man In The Moon with Polish double bassist Jacek Mazurkiewicz, conjures up distinct sound worlds in which Young can let Landsman’s scenes unfold to gripping effect.
Landsman makes it clear that »Night Keeper« was intended as an invitation to »stay up, look out the window, let what’s happening outside spark reveries or predictions« or even take it on a stroll through the neighbourhood—at night, of course. Much like the original piece, this album is then one dedicated to wandering around, both mentally and physically.

"Otra", das siebte Studioalbum der norwegischen Avantgarde-Metaller IN THE WOODS... mag für all jene Hörer überraschend sein, welche die permanente Evolution der Band aus der südnorwegischen Stadt Kristiansand seit den frühen Neunzigern nicht weiter verfolgt haben. Die Songs auf "Otra" sind bemerkenswert eingängig und melodisch, wobei auch im aktuellen Sound von IN THE WOODS... immer wieder progressive Elemente und gelegentlich auch raue Erinnerungen an die harsche Vergangenheit der Norweger aufblitzen. "Otra" hebt sich von der Masse der Heavy-Veröffentlichungen durch seine herausragenden Kompositionen ab, die von jahrelanger musikalischer Erfahrung zeugen und mit einer täuschenden Leichtigkeit daherkommen. Inhaltlich erzählt "Otra" persönliche Geschichten aller beteiligten Musiker, die durch den namensgebenden Fluß verbunden sind, der sich 245 Kilometer lang durch den Süden Norwegens schlängelt und in der Heimatstadt der Band in den Skagerrak mündet. Den Namen IN THE WOODS... braucht man Freunden von Avantgarde und Black Metal kaum vorstellen. Ihre Eckdaten innerhalb der Szene sind wohlbekannt: Die Norweger zählen zu den Bands, die an der Entwicklung des nordischen Black Metal in den frühen Neunzigern beteiligt waren und den Sound eines starken Subgenres maßgeblich mitgeprägt haben. Ihr Erstlingswerk "Heart of the Ages" (1995) gilt zu Recht als einer der frühen Klassiker des Genres. Doch IN THE WOODS... haben sich nie auf ihren Lorbeeren ausgeruht und stießen bereits mit den Nachfolgewerken "Omnio" (1997) sowie "Strange in Stereo" (1999) in neue Klangdimensionen vor. Nach einer langen Unterbrechung zwischen den Jahren 2000 und 2014 kehrten die Norweger mit dem neuen Sänger James Fogarty zurück, der bis zum Dezember 2021 am Mikrofon stand. Mit einer runderneuten Besetzung, unter anderem nun mit dem Sänger Bernt Fjellestad, nahmen IN THE WOODS... mit dem Album "Diversum" (2021) erneut eine Kursänderung vor. Mit "Otra" demonstrieren die mittlerweile aufeinander eingespielten Norweger die volle Stärke und künstlerische Reife von IN THE WOODS... in der dritten Inkarnation. Dieses spannende und packende Album steckt voller glorreicher Details und überraschender Wendungen, die sich nach und nach in vielen Durchläufen erschließen.

ver the years, Andreas O. Hirsch has shaped a distinctive sound, exploring the possibilities of the electro-acoustic instruments he const- ructs. The Carbophone as well as the Electrified Palm Leaf are plucked instruments akin to the African Kalimba or Mbira. In combination with effects and loops, Hirsch creates an experimen- tal space, influenced by early electronics, Asian and African music as well as the possibilities of editing and collage. The majority of the pieces on The Salamander Treaty were made using the Carbophone Jr., a small traveling version of his original Carbophone which was the basis of the previously released Early Carbophonics. Shaped by the joy of discovery, the eight tracks traverse peculiar worlds of sound, carried by a warm downbeat and analogue vibe. Alongside the Car- bophone Jr., other instruments come into play: a vibrato-soaked guitar leads through the slowly evolving ‘Rise’, marked by a recurring Shepard tone and sounds made by striking the bars of an antique wall clock. In the straightforward yet sub-aquatic ‘Te- atime Unlimited’, a pitch-shifted Morse key wanders erratically in the background. Tape-delayed har- monicas serve as a flying carpet for ‘Drifting Newts’, and rubber bands make their melodic-rhythmical appearance through ‘Back Door Minimal’.

The Salamander Treaty refers to War with the Newts, a prophetic and black-humoured science fiction novel by Karel Čapek from 1936, which tells the story of the rise of the salamanders, who become in- creasingly intelligent and eventually begin to compete with mankind. The album is a pacifist response to this dark scenario: Hirsch’s salamanders prefer to hang out under the stars (‘Drifting Newts’), drink tea (‘Tea Time Unlimited’) and — as illustrated on the back cover — write conspiratorial-pacifist demands instead of calling for war (e.g., ‘Teaoism International’, ‘White Lilies’, ‘For Congress’). In image and word, the album invites looking at the term ‘treaty’, which phonetically contains the words ‘tree’ and ‘tea’, as a friendly reminder that the drafting of every treaty and agreement on this planet should be accompanied by a peaceful spirit.

Music, mix and artwork by Andreas Oskar Hirsch. Mastered by Volker Hennes. Pressed on BioVinyl by Optimal, who state that their manufacturing process reduces CO2 emissions by approximately 90% for the PVC component. 12“ LP, coloured sleeve, download code included,

LIMITED TO 100 COPIES!.