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"Androids may not yet dream of electric sheep, but maybe computers do sing sad songs."

In 2013, Tzoukmanis released ‘Hope Is The Sister Of Despair’, issued here for the first time on vinyl with 4 previously unreleased tracks.
The album was made following the end of a relationship and the happy/sad feeling is everywhere in this music. Sequences twinkle and nag, soft pads pour balm on tired ears and when drums do appear they provide an intimate framework rather than a call to the dance floor. The album taps into a rich vein of sequencer romanticism, from Tangerine Dream-obsessed-‘Berlin School’ daydreamers to the whole nebula of music inspired by Warp’s Artificial Intelligence series. It also looks forward, prefiguring the return today, in troubled times, to the comforting inner space of ‘90s-worshipping ambient techno.

The German word ‘weltschmerz’, roughly translating as ‘world sadness’, fits this music well. The melancholy it inspires feels collective, almost heartening. Sorrow might be said to infuse the technology’s basic building blocks – Leibniz’s binary ‘one’ bereft of its ‘zero’, its presence twinned with absence. But there is hope, too, in the network of actions and decisions that have been fashioned here into melody and rhythm.

Much appreciated reissue of R.N.A. Organism’s ‘R.N.A.O Meets P.O.P.O’ (first released by legendary Osaka label Vanity Records in 1980). A key document of the late ’70s experimental music scene in Kansai, Japan, R.N.A.O Meets P.O.P.O is a hallucinatory trip of dubby bass, churning guitars, sputtering rhythm boxes, twisted vocals and unidentifiable sound effects.

Carefully remastered by Stephan Mathieu from the original tapes, cut by Josh Bonati, pressed by RTI, and housed in a hefty Stoughton tip-on sleeve. This oedition also includes an expanded insert with an illuminating essay by R.N.A. Organism producer Kaoru Sato.

Temir Alcy (producer Enir Da - Dali Muru & The Polyphonic Swarm and multi-instrumentalist Charles Lmx) is at the junction of spherical textures of acoustic clouds and shapeshifting forms of immersive electronic percussive patterns.

By intertwining etherionic atmospheres and organic moods to magnetic and hypnotic rhythms, Temir Alcy explores the mysteries of the future and the unknown through a journey of sensory trance, where whispers and melodies of voices strike a vivid contrast between emotions’ fragility and sound’s solidity enhanced by a downtempo, leftfield and erratic kraut’s feel.

Treffen sich ein Ossi, ein Wessi und ein Ösi. Was wie der Beginn eines etwas abgeschmackter Witzes klingen mag, das lässt sich rückblickend wohl ganz ohne Umschweife sagen, stellt sich vielmehr sowohl als der Gründungsmythos wie auch der Auftakt einer der erfolgreichsten und spannendsten Rockbands unserer Zeit dar. Die Rede ist von Kadavar, jener Gruppe, die, 2010 in Berlin gegründet, in den letzten 15 Jahren auf den Plakaten der gigantischsten Rockfestivals der Welt immer höher kletterte und heute in einer Liga spielt mit den größten Größen aus Psychedelic und Stoner Rock. Kadavar stehen nach rauschhaftem Ritt auf Augenhöhe mit jenen Legenden, von denen sie selbst geprägt sind, sind zur Institution geworden. Eine Erfolgsgeschichte, trotz des Niedergangs der Musikindustrie - und daher um so strahlender. These are self-made men.


Die Box, limitiert auf 500 Stück im Handel, enthält das Debüt Album in seiner Original Version mit 6 Songs auf transparent roter 180gr Vinyl.
Die Bonus LP "Demos & Rarities" erscheint als Picture Vinyl, die im Artwork Bilder des Original Master Tapes des Albums nutzt.
Neben den Demo Aufnahmen der Songs "Forgotten Past" und "Black Sun" befindet sich auf der LP auch der Song "Tommorrow's Dead", der zuvor nur auf der Vinyl Compilation "10 Years 8MM Musik" erschienen ist. Der Track "Living In Your Head" war damals B-Seite der Single "Creature of the Demon" und "The Man I Shot" & "Broken Wings" waren Teil des Split Album mit Aqua Nebula Oscillator "White Ring".
Nun werden all diese Songs aus der prägenden Zeit des Debüt Albums erstmals gemeinsam auf Vinyl veröffentlicht.

The roots of 80s English psychedelic freak band The Tryp lie in a hoax perpetuated by Steve Lines’ indie mag Mardenbeat, based in the town of Calne in the Marden Delta, which reviewed a gig by a non-existent band; former JP Sunshine main man Rod Goodway and partner Christine Cotter then gave flesh to the beast with Lines and Paul Ricketts of Unhinged mag, cutting My Brain Collapsed! as an exploration of mushroom-fuelled mental instability. First issued on cassette label Mardentapes and later by Acid Tapes (just as Lines took over from Alan Duffy), this edition is the first on vinyl-A Must Have FOR ALL Tryppers!

"The wash of flangers & shimmery reverb have been the foundation in Cali psych ever since the Byrds went electric. And while that sound might've dropped off occasionally, it never dropped out. The Velvets minimalist stylings were infused into the mix by The Dream Syndicate in the early 80's & thus a game changer was born. Clay Allison, Opal, Green On Red all took their charge from that current. Then the Shoegaze scene of the 90's looked at those bands as vectors, things got a little more drenched, so yet more seeds were sown into the fertile terroir. Cut to current climes & the bay area is teeming with the latest iterations: Children Maybe Later, Now, & Cindy easily come to mind. But curiously the band most steeped in the mohair constitution is April Magazine, who (thus far) have been content in the shadows. Up till now they've seemed like characters plucked out of a Kazuo Ishiguo novel-mysterious & ethereal-but perhaps this pressing of last year's cassette only release will flush them out. 'Wesley's Convertible Tape For The South' shows the band defly balancing all those that have come before them while also incorporating flourishes of Les Rallizes DeNudes, Hallelujahs & Nagisa Ni Te into the pageantry . So in a way, April Magazine is transforming the landscape yet again; denser, fuzzier, lush & wistfully challenging. 'Wesley's Convertible Tape For The South' is the band's 1st vinyl release stateside (an LP of older tracks was released last year via a UK only label) so no import tariffs! What were once whispers are now proclamations. Just because you don't know them doesn't mean you can't love them. So grab a copy & hug it out amongst yourselves." -- Tom Lax (Siltbreeze Records)

Pressed On White (Lp1) & Red (Lp2) Vinyl. How do you define the music of Mantronix? Is it Hip Hop? Electro? Funk? House? Maybe the answer is all of the above (or is it none of the above?). It is true that Mantronix will be remembered for their multi-faceted sound as well as their ability to bend and blend genres flawlessly into a cohesive musical tapestry, but they will also most importantly they will be remembered as musical innovators and sub- genre pioneers. Kurtis Mantronik and MC Tee formed the group Mantronix In the early 80s. Their Sleeping Bag Records debut: Mantronix: The Album shot to commercial success on the strength of their debut single, "Fresh Is The Word". The influence of this groundbreaking debut is still felt in popular music today, having been sampled by the likes of Beastie Boys, Beck, The Prodigy and more. Kurtis Mantronik was also as dangerous behind the desk as he was behind the boards. Working as A&R for Sleeping Bag while signed to the label, Mantronik also helped recruit, sign, and produce for artists such as T La Rock and Just-Ice. Notable records from this era include, Just Ice's "Cold Gettin' Dumb" and "Back to the Old School" as well as T La Rock's "Breaking Bells (12" Version)". Traffic Entertainment Group in conjunction with Sleeping Bag Records and Warlock Entertainment now presents; Mantronix: King of the Beats, The Anthology 1985-1988. This carefully curated double LP compilation combines the best of Mantronix's work from the early, and arguably, best era of their career into one amazing listening experience. Whether you are an avid Mantronix fan or are looking for a place to start - this is the collection to wrap your ears around.

A1. Mantronix - Needle To The Groove (12” Version) A2. T La Rock - Breaking Bells (12” Version) A3. Just-Ice - Back To The Old School B1. Mantronix - Fresh Is The Word (12” Version) B2. Just-Ice - Turbo Charged B3. T La Rock - Breaking Bells (Dub Version) C1. Mantronix - We Control The Dice C2. Just-Ice - Cold Getting Dumb C3. Just-Ice - Cold Getting Dumb II C4. T La Rock - Bass Machine (12” Version) D1. Mantronix – Bassline D2. Tricky Tee - Johnny The Fox D3. Mantronix - Fresh Is The Word ‘88

Repress!

More Classic Northern Soul Sides From The Legendary Cameo-Parkway Label Transferred From The Original Master Tapes And Reissued For The First Time Ever

Warehouse Find!

Multitrack Reworks continue with Volume 5 in the MT series This time it’s Marvin Gaye and Double Exposure going under Smoove’s cutting knife. Extended Drum build ups and vocal breakdowns, expertly mixed using original multitrack tapes.

Eight years since the breathtaking Somewhere Anywhere EP, The Mad Walls return to re-ignite psych rock with this gorgeous, floatily heavy, effortlessly groovy and sublimely sinuous debut LP. Driven by bone shaking acoustic guitar, visceral drums, wonderfully trippy basslines and the throwaway perfection of Christopher Mercado’s spooked vocals. Pure rock n’ roll yet devoid of cliché. Informed by, but no way in hock to, early MC5, Skip Spence, Sonic Youth, Syd Barrett and Jefferson Airplane when they still all lived together.
Recorded on tape in Mercado’s garage, there’s a DIY heart with epic results across sixteen songs. Only one track over three minutes and some under thirty seconds. “It’s just chatter about life and human feelings. Stylized human expression”. - Is Christopher's self effacing explanation of his mind bending, playful, storytelling. It opens with the walloping drum canter/bass attack of WHO WANTS TO DIE FOR RELIGION. Passes through the furious distorted acoustic guitar solo on I TELL YOU HOW I FEEL. The woozy, elastic time-stretching of COOL TRIPPER. The brief, funky lurch of IN YOUR DREAM YOU ARE NO ONE. The almost lush, cinematic SEVEN DAYS which conjures Serge Gainsbourg by way of Moby Grape. HIP COMMA’s floaty strut and the groovy raga of MAKA THE NATIVE, which has not one but two ‘breath solos’. CLOUDS OF DUST is a skeletal Krautrock fragment and THERE ONLY IS a luminous psych-pop single. Final track APPLES ends the album with a sinewy twelve bar blues and a killer psych guitar break. Bliss.
Somehow the MAD WALLS manage woozily florid and sharp as a blade. Studiedly detailed but effortless. Whip smart and dumb. And as we said at the start - just gorgeous…

Eight years since the breathtaking Somewhere Anywhere EP, The Mad Walls return to re-ignite psych rock with this gorgeous, floatily heavy, effortlessly groovy and sublimely sinuous debut LP. Driven by bone shaking acoustic guitar, visceral drums, wonderfully trippy basslines and the throwaway perfection of Christopher Mercado’s spooked vocals. Pure rock n’ roll yet devoid of cliché. Informed by, but no way in hock to, early MC5, Skip Spence, Sonic Youth, Syd Barrett and Jefferson Airplane when they still all lived together.
Recorded on tape in Mercado’s garage, there’s a DIY heart with epic results across sixteen songs. Only one track over three minutes and some under thirty seconds. “It’s just chatter about life and human feelings. Stylized human expression”. - Is Christopher's self effacing explanation of his mind bending, playful, storytelling. It opens with the walloping drum canter/bass attack of WHO WANTS TO DIE FOR RELIGION. Passes through the furious distorted acoustic guitar solo on I TELL YOU HOW I FEEL. The woozy, elastic time-stretching of COOL TRIPPER. The brief, funky lurch of IN YOUR DREAM YOU ARE NO ONE. The almost lush, cinematic SEVEN DAYS which conjures Serge Gainsbourg by way of Moby Grape. HIP COMMA’s floaty strut and the groovy raga of MAKA THE NATIVE, which has not one but two ‘breath solos’. CLOUDS OF DUST is a skeletal Krautrock fragment and THERE ONLY IS a luminous psych-pop single. Final track APPLES ends the album with a sinewy twelve bar blues and a killer psych guitar break. Bliss.
Somehow the MAD WALLS manage woozily florid and sharp as a blade. Studiedly detailed but effortless. Whip smart and dumb. And as we said at the start - just gorgeous…

On The Sport of Love, seasoned collaborators Asma Maroof, Patrick Belaga and Tapiwa Svosve consider the language, competition and contradiction of modern romance: its yearning, incomprehensible vastness and the inevitable darkness and fleeting fragility. For the trio, love is the emotion that propels all of us whether we acknowledge it or not, and its expression can be realized in many forms.

Gabriel Birnbaum cuts straight to the spiritual essence of the characters he inhabits, painting affecting and lovingly drawn scenes bolstered by cathartic hooks. Like one of his own espoused patron saints, Paul Simon, Birnbaum sets new challenges for himself with each recording, honing the nuts and bolts of his songcra and pinpointing unexpected new aesthetic contexts for it. The lush and psychedelic folk-rock songs on his new album Patron Saint of Tireless Losers confidently cut to the essence of his artistry, highlighting a mature narrative voice, and a consistently surprising musical syntax. As much as anything Birmbaum has put into the world, it's a tour de force that thrives on both self-assuredness and restlessness_marks of a crucial and constantly evolving artist whose work it's impossible to turn away from once you tap into its frequency.

Japan based indie rock band Emptei will be release latest 2nd album on vinyl.

Sounds dreamy, psychedelic and evergreen.Clear green vinyl.

“Black Magic Man is arguably the pivotal Joe McPhee release. It bridged the span between the regional and the international, bypassing the national altogether. “Recorded in the same sessions that produced Nation Time, Black Magic Man consists of music not chosen for that LP. Like its much-feted sister, technically it falls under the domain of CjR, Craig Johnson’s herculean effort in support of McPhee. An erstwhile painter, Johnson became a self-taught audio engineer, acquiring equipment expressly to document McPhee’s music. In December 1970, five years after Johnson and McPhee had met, they recorded two days of activity —a concert followed by an additional day of recordings—at Vassar College where McPhee was teaching in the Black Studies department. About half of the material was used to make Nation Time. While they had planned to issue a follow-up, the money wasn’t there, so the tapes sat dormant. “Fast-forward five years—Werner X. Uehlinger, a Swiss businessman who worked for Sandoz Pharmaceuticals, contacted Johnson while on a trip to the US, and over dinner with McPhee, they discussed putting out some of the unused tracks from the Nation Time sessions. With this casual encounter in 1975, Hat Hut Records was inaugurated. The new label’s maiden release was Black Magic Man, dubbed Hat Hut A, the first in what would become Hat Hut’s letter series. Along the way, the series would feature seven Joe McPhee records, including the first four in a row.” —John Corbett (excerpt from the liner notes)

French saxophonist Musina Ebobissé unveils ARMAUN, his third release under the Blendreed name. ARMAUN – Ambient Resistance Music Against Urban Noise – takes a stand against the interference of invasive irritants with sublime slow motion music. Its four pieces evoke an ecstatic peace, allowing both artist and listener to breathe deeply. As the compositions unfold, each exhalation resonates at the frequency of the human mind in repose.

Layers of treated and reverberant saxophone fuse into a hypnagogic whole, as elongated melodies interact with their own fragmented and transformed echoes. In a semi dream state, existence is experienced at a languid pace, as each phrase decays into a haze of crosscurrents.

If ARMAUN recalls the fourth world music of Jon Hassell and Eno, it equally finds oblique kinship with André 3000's "New Blue Sun". Likewise, it shares essential DNA with vaporwave and the tape-loop experiments of Terry Riley. Conceived as a confluence of acoustic and electronic elements, Blendreed explores the intersection of jazz, ambient, post-rock and experimental music.

This is work of exquisite beauty with a direct function. It provides an antidote to the bombardment of our senses. After unhooking your mind from temporal entanglements, ARMAUN will absorb your soul.

Step into the unknown with URN's latest masterpiece, 'Surprise Me.' In this kaleidoscope of sound, genres intertwine like threads in a tapestry of boundless creativity. Led by the enigmatic Jakub Volovar, each track is a journey into the depths of emotion and imagination.


From haunting melodies to pulsating rhythms, 'Surprise Me' defies classification, inviting listeners on a sonic adventure through uncharted territory. Like a meticulously crafted collage, it weaves together elements of jazz, trap, and beyond with effortless grace.

While a sense of doom lingers in the shadows, it never overwhelms; instead, it adds depth and texture to an already mesmerizing landscape. With 'Surprise Me,' URN proves once again that true art knows no boundaries.

Like an unsent love letter to a psychedelic London where everyone is trying to find their way to a secret Television Personalities gig, Cuneiform Tabs emerge with an astounding debut of lo-fi pop and DIY experimentation. A hazy collage of joyful heartaches, twisted children's TV themes and sing-song melodies, the album echoes the sounds of '60s AM radio from a dozen narrow alleyways to the North.

Over 18 months, the Tabs' Matt Bieyle and Sterling Mackinnon traded 4-track tapes between the Bay Area and the UK. While they previously played together in indie band Violent Change, the duo's physical distance and their songwriting process of building, blurring and distorting across the Atlantic would create something no one saw coming. Grabbing any instruments at their disposal and splitting vocal duties, Bieyle and Mackinnon pushed their Tascam to its limit to make glittering, odd-shaped gems.

There is an insular feel to Cuneiform Tabs, suited for late nights after the entire city has stumbled into dreamtime or lazy afternoons when you can't quite recall where you need to be, but you know you won't make it there on time. It's like a pirate radio show where Bob Pollard alternates Swell Maps and Cleaners From Venus records while randomly unplugging various bits of gear and reading passages from a book on R.D. Laing.

Originally released in a hyper-limited artist edition, W.25TH / Superior Viaduct is thrilled to bring this kaleidoscopic LP to a wider audience.