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2025 Repress

Broc Recordz is thrilled to announce the imminent release of our latest album, Cosmos Giants!

This cosmic fusion is the result of an epic collaboration between maestro Janko Nilovic, JJ Whitefield of the Poets of Rhythm, and Igor Zhukovsky of the Soul Surfers. Together, they've crafted a musical universe where genre boundaries blur, giving way to a transcendent sonic experience.

Immerse yourself in a musical journey where funk, psyche, and soul intertwine to create something truly magical!

"Deep Dancefloor Jams of African Disco, Funk, Boogie, Reggae & Proto Electro Music 1977-1986reggWhen a passionate DJ and crate digger intuitively selects music for a DJ compilation, without artistic compromise and without the burden of trends, AfroMagic vol.1 emerges from the depths of his soul. Herewith we present the new favorite phonomancer’s tool for all the DJs who experience the dance floor as a sanctuary and a source of freedom and love.

The most fundamental thing that defines African music is that it was created for dancing. In African dance, there is often no clear distinction between ritual celebration and social recreational entertainment – one can seemlessly merge with the other. Because dance and rhythm have more power than gesture and more richness than words, and because they express the deepest experiences of human beings, dance is in itself a complete and self-sufficient language. It is truly an expression of life with all of its emotions – joy, love, sadness and hope – without which there is no African music and dance. For the African people, dance and music are integral parts of the body and soul, thus depicting the expression of life, current emotional states, visions or dreams. Through hypnotic repetitive music and dance, people communicate with each other and with the souls of the dead, the animals, the plants, the stars, the Gods… They free the body and the spirit through ecstatic states, reaching a healing sense of freedom, happiness, and satisfaction.

Throughout history, this transcendental perception of rhythm and dance originating from Africa, influenced popular music worldwide, thus creating new living and breathing forms of musical genres – freeing them from their industrial mold. Funk, disco, soul, boogie, reggae, dancefloor jazz etc., developed in parallel all over the world. It is foolish to perpetually discuss where they originated from and who were the creators of all these fiery dance floor genres – being obvious that they directly or indirectly originate from the African continent and its people who were as well, over the centuries, influenced by disturbing socio-cultural factors of colonialism. However, no one can enslave the soul. The seeds of free and uninhibited dance and rhythm, true to their original form, initially first sprouted onto the USA’s fertile fields of clubbing and popular music while later evolving in other parts of the world.

The disco funk club culture manifested itself as a phenomenal explosion of artists and grooves in the second half of the 70s in the USA. Shortly it spread around the world continually reigning over charts in its various forms – to this day. Clubs emerged where the DJ is an almighty shaman and the dancers are a tribe united under one roof. This urban ritual had and still has a single goal: togetherness, freedom, and love. Clubs have evolved into temples where we free ourselves from the burden of a consumerist lifestyle and suppressed emotions – a place where we receive love and give love – to be who we really are.

Disco funk clubbing was such an influential global phenomenon that its influence can be observed in various other genres from the disco funk era i.e. progressive rock, which mutated by layering complex rock arrangements with a disco funk groove resulting in hybrids, highly sought by today’s diggers, producers and collectors. The profit-hungry music industry of the 80s very quickly commercialized the original disco funk sound by amputating of its original Afro groove to be able to easily ‘sell’ it globally. So, the original disco funk groove became underground again, and it has remained so until this day. Today, for a DJ to unearth that ravishing groove that will lead the dancers to the stars, he must dig passionately like a true musical archaeologist in search of that groove that picks you up after just a few initial beats. That groove which forces the atoms in your body to vibrate, that groove which unites the body and releases the burden.

The AfroMagic compilation series is created as a tool for real DJs who stick to the aesthetics and essence of clubbing.

This continuation of the Afromagic compilation by DJ Borovich was created in a private jam session which served as an escape route from intense and complex love problems.

Unconsciously driven by intuition and emotion and following a live mix tape framework where many tunes are arranged instantaneously, Borovich narrates his story with a strong rhythm that cuts loose even the most blocked off energy nodes and restores happiness to the spirit and the body.

The musical experience of the groove is completed by the lyrics of the songs, which symbolically give DJ Borovich universal answers to his questions arising from questioning the boundaries, nuances and other forms of love.

When considering that Borovich’s selection was created to facilitate an escape from the burdens of reality through rhythm and dance, we can be sure that Afromagic Vol. 2 will have a 100% uplifting, energized and spaced-out effect on the listeners.

The intro to A1, “Feeling Happy” by the Apostles, introduces us to an experienced and slow, cool and irregularly tight groove containing a confidently sung chorus that instantly gives a sense of freedom and hints at the remainder of Afromagic Vol. 2: “I’m gonna feel happy, ´cause I know I’m gonna be myself.” After the anthemic song mantra of the Apostles, Aigbe Lebarty uncompromisingly continues with a dirty disco rhythm. Acidified by accented synths that elevate it to shamanic levels and held together by a female tribal choir, we embark on an uncompromising ritual disco journey. Without a moment to take a breather the prog funk band Mighty Flames and their Road Man launch a highly vicious and raw, thick funk groove spiced with acid synths and dirty RnR breaks, raising the bar for the A side. Jimi Hendrix himself would surely praise it given the ultimate freedom and virtuosity in the solo sections. With the last tune on A side DJ Borovich decides to burn the floor with Geraldo Pino’s psychedelic, acid furious groove and lyrics which describe this HEAVY part of love problems: “The way she walk, the way she talk, the way she does a funky dances, she is really really heavy – that woman”.

While the A side represents a compact intoxicating afro groove machine that separates us from reality and lifts us up to the stars in over 23 minutes, the B side is a treasure trove of proto sub-genres gems. This selection represents the mission of the Afromagic: to find singular events in African recorded discography of popular music from the 70s and 80s that give evidence to the birth of new modern genres on the Dark Continent even before they emerged in the U.S.A. or Europe. The beginnings of electronic music influenced genres are represented back to back with 80s synth jazzy pop, all painted in African colours.

The B side opens big with Jake Sollo and a huge reggae blues number singing about the humiliation of a man – goosebumps guaranteed! “You think I’m nobody that’s why, you don’t know the way for me, I’m somebody I know, I found myself at last”. Adolf Ahanotu then enters the scene with a hard sliding tackle at B2 and an exotic rare disco funk dancefloor napalm. A ‘Sensation’ that would ignite even the coldest of introverts. While we approach the end of the compilation the narrative revolves again and takes a different turn. No less and no more than to the proto-electro that Baad John Cross serves us in “Give Me Some Lovin´”. The fat and repetitive broken electro synth groove, championing many early 90s electro tracks, is presented here without hesitation and with constant tension accompanied by a mantric chorus “Gimme some, gimme some, gimme some looooovin’, EVERBODY!!!”. Finally, we’re guided to the end of Afromagic Vol. 2 by Eji Oyevole’s 80s synth pop style presented in an authentic afro manner, giving us a glimpse at yet another released Afromagic edition, as well as giving an answer to DJ Borovich’s love problems. A smoothly broken electronic rhythm resembling electrified highlife sounds, carried on the wings of a virtuoso dreamy saxophone on top of which Eji presents the most intimate parts of himself. Finalizing the track with a symbolic chorus, on the surface referring to the dancefloor and simply having fun, but in actuality referring to the skill and happiness of living: “I´m a dancer, I can dance”. So, get up and dance among the stars with DJ Borovich and Afromagic.

With this new project, their fourth full-length work, Tupperwear completely departs from the "stylish" electronics and trends to delve into a profound exploration of the fundamentals of music.
It involves a quest or even a game through the extrapolation of geometry into various musical parameters, encompassing classical aspects like pitch, timbre, rhythm, intensity, etc., as well as noise, textures, or the implicit mathematics in natural or irrational elements.
Pentagonono delves into cosmology and nature. It is a musical approach without prejudices to basic numerology that unveils the universe, the harmonic scale, the number e, and logarithmic spirals. The golden ratio (phi) and the omnipresent number pi are also explored. Geometric shapes, proportions, and divisions of vibrating elements are transmitted through the air, internalized by humans, and transformed into music.
Following in the footsteps of previous sound explorers from various spatial and temporal origins such as Gamelan music with its infinite polyrhythmic replication, Psychedelia, Serialism, Musique Concrète, Bach, or J Dilla, this album presents itself as a materialization of ideas and concerns that, while already present in the band's musical understanding, are now brought to the forefront as if it were a vital manifesto.

Limited black vinyl. Full colour sleeve with unseen pics of Ron Geesin in his studio doing maths stuff on the back.
Wow! So you’re telling me Ron Geesin made this kooky electro groovy score to a really progressive maths educational programme on Central TV in 1980 and it’s musically anarchic and amazing and it’s never been issued before? Until now. Wow again!!!! And there’s 30 tracks!!! Trunk Records we love you...
Basic Maths was the second educational TV Series for the Midlands-based ITV station for which I composed, played and recorded all music and noises. The first series, also for budding mathematicians in the 7-10 age group, was Leapfrog in 1978 produced by ATV (Associated Television): Basic Maths was for the newly-formed Central Television, the work spanning 1980-1981; both series were of twenty-eight parts.
The most worthy idea for both of these series was to project mathematics into life by means mainly of non-verbal sound and vision, with both animated and live action films, linked by two presenters, Fred Harris and Mary Waterhouse. In my role as Media Composer, I had had quite enough of voice overs, therefore music well under, so this fairly radical educational approach at the time encouraged my creative juices to run unhindered. Of course the sound had to do something with the picture and not just use it as a carrier for peacock display. It had to duet, play with and explain the visual content using novel and engaging techniques, so this involved the usual and sometimes intricate mathematical calculations which constantly exercised my already reasonable school maths.

Long-time contributor to Drumcode, Christian Smith lands on Truesoul for the first time in his career.

The Tronic boss and all round techno stalwart shows us the groovier and more melodic side of his music personality with a pair of quality cuts. Co-produced by John Selway, ‘Here To Stay’ is a slick slice of robot fun, underlined by an elegant melodic underbelly, rugged electro riffs and an intergalactic vocal. Its accompaniment ‘Our Destiny’, is a searing chord led production ideal for warm-ups or silky morning sets.

Temples of Jura is proud to present ‘The Great Beyond’, the ninth studio album from Ilija Rudman. The concept of the album is the afterlife with words from Nikola Tesla, Slavoj Zizek, Jim Morrison, JF Kennedy, Charles De Gaulle, WH Auden, Azar Nafisi and Eleanor Roosevelt woven together to tell the story of ‘The Great Beyond’ and what may lie ahead for us all. The voice itself was created by Ai (let’s call him ERIC) and is set beautifully to music that has a timeless cinematic quality. Ilija only uses pure Analogue equipment in the creation of his music, resulting in a rich tapestry of basses, drums, chords and lead sounds. He’s been a prolific producer for over 20 years now with a discography that runs deep with more than 100 Vinyl EP releases and 8 studio albums, but we feel he’s reached the pinnacle with this concept album. We’ll leave the final word to ERIC “You gain strength, courage and confidence by every experience in which you really stop to look fear in the face.”

Patric Catani's E-De-Cologne new mini album !

First release from Catani's was under this name, in 1993... The sound of it all is a melt of tunes from the past (Eradicator, Test Tube Kid...) and some more recent deliriums on his old machines...

The 9th release of the label is planned since years, as I always dreamed pressing some Catani's Hardcore music...
And this is maybe not the last ?

The sleeve is by Artcoton.

Enjoy this record as much as you can for its various aspects from Industrial Breaks to pityless Speedcore !!!

Massive Electro techno inna Pumpin crazyness !

A massive Tribe Pumpin release.. 3 tunes, 3 killerz !
Printed sleeve :)

Superb pumpin sound system production !
A must have !

The new hashtek23 ! A brilliant sweet meltdown of acid tekno full of thinlaced drops.
Big !

White color vinyl LTD editionb !

Fat fAt faT & FAAAT Industrial Acid weapons !

Inspired by the winter sunrises in the city of Porto, MURK AT DAWN VA marks the beginning of a new chapter in the electronic music scene, embracing the passion for the obscure and its intrinsic beauty. The first release by the newly established Rapture label consists of a spatial composition from Maria Callapez that inherits the melancholy from those foggy mornings, followed by the intensity and vigor from two renowned Georgian artists, Hecate Legacy and Downwell. To fulfill the work from the previous producers, Alessandro Adriani presents us some of his dark hypnotic finest art, preceded by the industrial and vibrant pace of the Portuguese Dust Devices, a sonority already considered his trademark. Artwork crafted by Serafim Mendes. Tracks written and produced by Aleassandro Adriani, Downwell, Dust Devices, Hecate Legacy and Maria Callapez Mastering by João Rodrigues @ Tema Mastering Artwork by Serafim Mendes

Electronic Works for Choreography, Soundtrack, and Art Installation 1976-1996

Marden Pond’s “Evaporations” (1976-96) is an archival project showcasing the composers experimental music approaches that utilize synthesizers, electronics, and computer. These rare or unreleased tracks and demos were initially purposed for art installation, dance and theater , music exploration, and ambient listening experiences. Marden was artistically right beside his contemporaries of the Land Artist Movement of the Southwest during the 70’s, as he created soundscapes inspired by the vast and bizarre features of Utah. Some of the other work presented on this record was to inspire physical movement by use of unorthodox arrangements and percussive rhythms, juxtaposed with fleeting synth phrases and environmental textures.

Besides the two tracks included from Marden’s hyper rare 1980 private press LP “Castle Valley Impressions”, this collection of music is being presented on vinyl for the first time.

Electro techno Killer !!

With 'Stone Flute', the free-improvising duo's third studio album proper, Galecstasy returns to the universe of synthesizers to deliver an aural odyssey, conjuring the ancient tones of a forgotten world.
The album was entirely conceived and recorded in, and around, the majestic landscapes of Joshua Tree National Park in the magnificent high desert of southern California. From atop the mountain, the two sonic surveyors were witness to a 360 degree view of the stars at night. From above, the giant rocks looked like immense wise faces looking up at the sky, or even huge bodies resting on the Earth and looking up at space. It was during this time that Galecstasy started a ritual that ended up being called the “Moon Cruise”. This would involve waiting for the full moon to rise and then driving into the national park after dark. They would turn off the headlights of the car and drive slowly through the alien landscape lit up by the moon. Boulder fields took on the shape of temples; faces carved into the rocks everywhere they looked; giant heads with smiles or haunting expressions; and the knowledge that people had been living, dancing, and making music here for thousands of years. It was during these enchanting escapades that 'Stone Flute' was conceived.
In the mountain-top recording studio, the band were utilizing every potential space to tap into the best vibrations the land had to offer. Where the mic was placed: Perhaps a giant boulder once stood, or an ancient tree. One could feel the different energies of every room. The fireplace in the living room was built of giant lava rocks for the music to swirl around. Sounds would spill and climb around the house.

"The living room was just a beautiful tangle of synthesizers and plants. It was an inspiring place to make great records. We channeled the music of the boulders buoyed by the energy shooting up from the fault lines. The good feelings emanated from the studio, it had become our own temple and the birthplace of 'Stone Flute'."

With 'Stone Flute', the free-improvising duo's third studio album proper, Galecstasy returns to the universe of synthesizers to deliver an aural odyssey, conjuring the ancient tones of a forgotten world.
The album was entirely conceived and recorded in, and around, the majestic landscapes of Joshua Tree National Park in the magnificent high desert of southern California. From atop the mountain, the two sonic surveyors were witness to a 360 degree view of the stars at night. From above, the giant rocks looked like immense wise faces looking up at the sky, or even huge bodies resting on the Earth and looking up at space. It was during this time that Galecstasy started a ritual that ended up being called the “Moon Cruise”. This would involve waiting for the full moon to rise and then driving into the national park after dark. They would turn off the headlights of the car and drive slowly through the alien landscape lit up by the moon. Boulder fields took on the shape of temples; faces carved into the rocks everywhere they looked; giant heads with smiles or haunting expressions; and the knowledge that people had been living, dancing, and making music here for thousands of years. It was during these enchanting escapades that 'Stone Flute' was conceived.
In the mountain-top recording studio, the band were utilizing every potential space to tap into the best vibrations the land had to offer. Where the mic was placed: Perhaps a giant boulder once stood, or an ancient tree. One could feel the different energies of every room. The fireplace in the living room was built of giant lava rocks for the music to swirl around. Sounds would spill and climb around the house.

"The living room was just a beautiful tangle of synthesizers and plants. It was an inspiring place to make great records. We channeled the music of the boulders buoyed by the energy shooting up from the fault lines. The good feelings emanated from the studio, it had become our own temple and the birthplace of 'Stone Flute'."

"Fast hätten wir gedacht: es könnte gut ausgehen". Zwei nervenaufreibende Jahre lang haben L'APPEL DU VIDE aus Chemnitz an ihrer Debüt-EP gearbeitet, jetzt ist die "Abwärtsspirale" in Gang gesetzt. Ihre selbstgewählte Genre-Zuschreibung Dark Punk kratzt dabei nur an der Oberfläche. Das Spektrum reicht vom aggressiv-düsterem Surf-Punk ("Das bin ich nicht") über spröden, repetitiven Sound mit Noise-Ausbrüchen ("Aufmerksamkeit") bis zu hymnisch-melodischen Post-Punk ("Delirium"). Bei "Das Programm", - einer bittersüßen Romanze in Zeiten totaler Überwachung - , wird es plötzlich ungewöhnlich ruhig-melancholisch dank 60ies-Orgel und Background-Gesang von Mara. L'APPEL DU VIDE beschäftigen sich textlich in knappen Worten mit Verleugnung, Scheitern und Entfremdung. "Delirium" klingt dabei wie der Soundtrack zur Pandemie, wurde aber schon 2019 geschrieben. Die Songs wurden von Flatty aufgenommen und klanglich von Max Herrmann/Gloven Studio Leipzig (Mix) und Mikey Young (Mastering) veredelt.

The punk movement also came fully clothed. Mal-One’s new single talks about the fashion side of Punk that ran parallel to the music. These clothes were supplied from Malcolm McLaren and Vivienne Westwoods emporium situated at 430 King’s Road, the epicentre of the Punk Movement itself. The clothes were not cheap and you needed deep pockets to buy them. But you also needed an attitude to wear them, as many factions were not so appreciative of them, especially the ‘Teddy Boys’. You had to run the gauntlet of the King’s Road on a Saturday from Sloane Square to the Worlds End. A tricky mile, in which you always had to keep your eyes open from enemy attack.

Debut of Maurizio Martinucci's (aka TeZ) pseudonym SARMUNG on the newly born Amsterdam-based, Orizzonti Paralleli record label.

"TeZ is an Italian interdisciplinary artist and independent researcher living and working in Amsterdam. He uses technology as a means with which to explore perceptual effects and the relationship between sound, light and space. Since 2010 he has been a permanent member of Adi Newton’s seminal british band Clock DVA and a regular contributor of Antigroup.

Under the SARMUNG name he is now exploring the subtle atmospheric intersections between ambient, IDM, acid and minimalist Sound. For this project TeZ has been inspired by the mythological Persian collective Sarmung whose music was meant to accompany secret sacred dance."

Comes with full picture cover and insert!

Mit "Dark Superstition" schlagen Gatecreeper ein neues Kapitel in ihrer Bandhistorie auf: Das kommende Studioalbum ist gleichzeitig die erste Veröffentlichung der Death-Metaller bei Nuclear Blast.

Dafür hat sich die US-Band unter anderem Unterstützung von Fred Etsby (Dismember) und Converge-Gitarrist Kurt Ballou geholt. Zum Hintergrund des Albums, auf das es mit "Caught In The Treads" bereits einen ersten Ausblick gegeben hatte, erklärt Frontmann Chase Mason: "Viele der Songs handeln von übernatürliche Ideen, gepaart meinen eigenen Erfahrungen. Allerdings ist der Titel selbst eine Referenz an die Superstition Mountains in unserem Heimatstaat Arizona. Es ist eine wunderschöne Bergkette, umgeben von Tragödien und Legenden über verborgenes Glück." An das Thema des Übernatürlichen schließen sie auch mit der neuesten Singleveröffentlichung "The Black Curtain" sowie dem dazugehörigen Musikvideo an.

Darin ist die Band von einer Friedhofskulisse umgeben, der sie mit ihrer Mischung aus straightem Rock, peitschenden Death Metal und ausufernden Shoutings Kontur und standesgemäße Düsternis verleihen. Dazu führt Mason weiter aus: "Es geht darum, zwischen Leben und Sterben gefangen zu sein. Eine Seele, die im Fegefeuer gefangen ist und darum bettelt, von einer übernatürlichen Kraft zurückgebracht zu werden."

Neben der digitalen Veröffentlichung der EP "Answers" gibt die multidisziplinäre amerikanische Komponistin und Sängerin Holland Andrews eine limitierte Vinyl-Edition heraus, die alle neuen Stücke sowie die 2022 veröffentlichte EP "Doubtless" enthält.

"Answers" ist bereits die vierte Veröffentlichung in einer Reihe von EPs, die Andrews seit 2021 auf Nils Frahms Label LEITER herausbringt. Teile des Vorgängers "Doubtless" entstanden unter anderem im LEITER Studio im Berliner Funkhaus, wo Frahm selbst an der Leadsingle "Rules" mitwirkte. Mit Stimme, Klarinette und Synthesizer erschafft Andrews magische Soundscapes zwischen zeitgenössischer Klassik und Ambient - ähnlich wie ihre früheren Mitstreiter Son Lux, Darian Donovan Thomas, William Brittelle oder Christina Vantzou hat die erst kürzlich zur renommierten Whitney Biennale geladene Künstler*in eine Heimat am Knotenpunkt divergierender Klänge gefunden.

A Paris resident of Minsk origin, Lina Filipovich’s ‘Music for an imaginary dancefloor’ explores the liminal space between club music and something altogether weirder, elusive, and abstract. Nervous, varied and amplified by various delays, the LP was written from improvisations on analogue synthesizers between June and December in 2022.

Atonal drones and atmospheric textures convey imagery of charcoal skies and silk tapestries; an idealised parallel world untethered from reality and bodies, towards something more ethereal – floating freely in red carpet lined corridors.

“In my previous works, I used pre-existing sounds to create new pieces. I was interested in the appropriation and decontextualization of materials from various traditions and contexts. However, in this album, I don't deconstruct; instead, I attempt to co-write with the machines, relying on their aesthetics and my imagination.”

Lina's LP trickles down the spine, pulse-raising and gooseflesh on tender skin, analogous to the aftermath of a sweaty fever dream. Speaking the language of spirits in the allure of the dark.

Press release by Asmi Shetty

Love Love host a collaborative release by two of the freshest contemporary Avon producers, Best Pest and Kursa. Kursa (also one half of S.Murk) has built a notable following in the UK as well as in the USA, playing out often at big stateside events with his own style of tight, maximalist bass music - think Tipper, Eprom, Noisia etc… Ben Pest is no stranger to Love Love with 2 previous solo releases under his belt, best known for his crunchy techno & electro and ripping hardware live-sets. Here they come together for a 5 track genre-hopping EP, each flexing their respective production sensibilities, splicing elements of dubstep, grime, hardcore & garage together, along with a healthy dose of multi-dimensional sound design, to make some of the noisiest modern dance music going.

Early support from: Clouds, Giant Swan, Rob Hall, A Made Up Sound, Om Unit, Nikki Nair, Luke Sanger, Deft, Warlock, Second Storey...

Kater's captivating songs celebrate the power of oppressed people and act as an antidote to centuries of exploitation, fear, and greed. This collection of ten songs, featuring appearances by today's finest roots musicians such as Allison Russell, Aoife O'Donovan, and Taj Mahal, showcases Kater's biting topical songwriting and deft arranging chops. 'Strange Medicine's' intricate orchestrations were inspired by diverse sources: composer Steve Reich's propulsive minimalism, the frenetic jazz drumming of Brian Blade, the unsettling orchestral scores of film composer Jonny Greenwood, and the spiraling rhythms of the West African kora.


Furthermore, Kater's delicate yet robust banjo playing charts new territory well beyond what's expected of the instrument. With 'Strange Medicine', Kater taps into the full kaleidoscope of her artistry, creating an outlet for our collective grief and celebration and inviting the ancestors to a place of honor at the table.

Composed by Jim O’Rourke and pieced together by Jim together with longtime collaborator and trumpeter Eivind Lønning at Jim and Eiko Ishibashi’s home in the Japanese mountains, this engrossing new album blows brass wails and tense fanfares across O'Rourke's manipulated Kyma tapestries for a deep, captivating trip into the aether.

Eivind Lønning has been sharing ideas with O'Rourke for several years: the duo collaborated on music for the Whitney's 'Calder: Hypermobility' exhibition, and Lønning played trumpet on O'Rourke's brilliant 2020 album 'Shutting Down Here'. For this new work, Lønning headed to O'Rourke and EIko Ishibashi's home studio in the Japanese mountains, where he teased unfamiliar, alien textures from his trumpet to open the labyrinthine three-part composition. O'Rourke took the material and subsequently funnelled it through his Kyma system, transforming it into a swirl of sound that hums alongside Lønning's original takes. The album was composed, mixed and mastered by O'Rourke, with everything's based on Lønning's virtuosic performance.

The album begins by cautiously introducing us to its sonic palette: wavering, bird-like horn wails that O'Rourke contorts around quiet synth oscillations and computerised swarms. Lønning's spittle-drenched blasts are given the spotlight, but O'Rourke's manipulations - often gentle and illusory, and sometimes utterly lacerating - lift the sounds into completely new territory. When Lønning begins to turn rhythmic cycles using the trumpet keys, popping with his mouth to compliment its leathery timbre, O'Rourke replies with dense, hallucinatory drones, juxtaposing unstable electronics with Lønning's breathy, sustained notes. All these sounds coalesce into a dizzy vortex, but O'Rourke is careful not to overwhelm the senses, dropping to near silence as the first act transitions into the second. O'Rourke pelts Lønning's vertiginous wails, steadily mutating them into Xenakis-like stabs until they sound like cybernetic strings and icy tones that extract the tension from Lønning's brassy harmonics.

The third act is more screwed, with O'Rourke allowing Lønning's improvisations wail into cathedral-strength reverb, accompanying the sound with glassy penetrations and throbbing subs. Here, Lønning sounds as if he's heralding the arrival of a celestial being, piercing the atmosphere with bright, sustained tones and muted, jazzy flourishes. O'Rourke hangs back, carefully spinning the notes into naturalistic fibres and orchestral drapery, before he allows the electronics to subside completely and the trumpet to echo into the imposing negative space.

'Most, but Potentially All' is a dumbfounding piece that shifts the dial on contemporary experimental music; dizzyingly complex but never showy, it's the kind of record you can spin repeatedly and hear something different each time. As an exploration of the trumpet, it's a unique expression, and as a progression of electro-acoustic compositional techniques, it draws a deep trench in the sand, setting a new standard.

Manchester’s multifarious sound organiser Andrew Hargreaves (Tape Loop Orchestra, The Boats, Beppu) channels key touchstones of Glenn Branca’s microtonal minimalism, the paranormal, and DIY amateur broadcasting with some of his most enigmatic, intuitive recordings to date.

‘Drones In The Air’ finds Hargreaves deep in a new phase of vibrational investigation where the sentimentality of prior eras gives way to more abstract conceptual processes. Utilising a bunch of oscillators and the Lyra-8, an “organismic analog synthesiser”, plus pedals, Hargreaves works within just intonation tuning systems - or more precisely “intuitive intonation” - to just-about harness a microtonal flux of clashing, beating frequencies, but the project is more about ceding a certain amount of freedom to the machines and allowing aural alchemy to occur, prompting a spectrum of harmonic colours and rich timbral overtones distinguished from previous tape loop-based works.

Comparative to “Glenn Branca’s micro-tonal workouts if he had worked with oscillators instead of guitars”, the result also variously evoke mysteries of The Conet Project, the oceanic feel of Éliane Radigue compositions, and early ambient works by Terre Thaemlitz in their sound sensitivity and scope. In ‘The Sun is Afraid’ he mesmerises with glistening microtones that develop a coarser traction, interrupted by shortwave radio comms and resolving into phantasmic noise gauze that speaks to his long-standing fascinations with entropic decay and the sounds between sounds. ‘Your Hands Are Shaking’ follows with a stealthier approach to coaxing a hallucinatory drone mass inflated by ether voices and thickening up into a sinister gloam redolent of NWW’s ’Soliloquy for Lilith’.

Repress

The third 2021 release from your favorite alter-ego's favorite alter-ego. TAFKAMP presents his Most Wanted Digital Dubplates Volume 1 for the 5th release on his own Revenge Techniques label - a six-tracker (!!) 12" featuring a selection of most wanted club bangers taken from the numerous SoundCloud uploads from the Revenge Techniques labelhead.

2024 Restock

The roots of their music is a blend of 70's funk and early 80's hip-hop with synthesizer technology. Their long awaited LP is complete, blazing a path into the future with floor-burning electro tunes.

The Seeds’ second album released in 1966 is a pop-art garage rock classic. ‘Mr Farmer’ was to become a Billboard Hot 100 single in 1967 and the second side of the album features the 14-minute epic ‘Up In Her Room’

"Imagine: It’s sometime in the back half of the 19th century, America. You’re sitting in the parlor of your mansion, or in the only room of your shack; things are dusty and smell like sweat and hair, no matter how wealthy you may be. You don’t own a phonograph, and you don’t know who Tony Hawk is, but you have an inkling of how good the word 'shred' is going to feel when it enters the local slang. Suddenly, a tall, elegant figure with beautifully maintained fingernails emerges from some corner of the room, carrying a guitar. He says in a soft voice, 'I have a transmission for you, from the coming few centuries. Would you like to hear it? I figured you wouldn’t have a dongle, so I brought my guitar.' You may be apprehensive, but you shouldn’t be. Shane happens to be an internationally renowned virtuoso of the guitar. Specifically, he’s the kind of virtuoso who is as deep on style as he is on technique. His technical prowess is almost maddeningly complete; aiming paradoxically for the yards-long target called “breadth” he’s somehow hit all of it, 500 arrows piercing every pore of the landscape. He has that much technique not for the sake of guitar worship but to best bring the music forth clearly and in his own hand, like a pearl formed in a specific sea. I know this because I’ve sat next to him in multiple countries and American states and seen him deliver transmissions of that extreme honesty, with that extreme capability. Like Derek Bailey’s 'Ballads,' this record brings you into the room and the breath of a true musician whose mastery does not overshadow his appreciation of the music that inspired it. The title, 'Repertoire,' underscores the beautiful songs he chose to perform, all standards of 20th century musical excellence. The in-time persistence of his blues-walked 'Lonely Woman.' The grand registral descent he performs on 'Pithecanthropus Erectus,' like a rare document of the trip down from Everest. Dig how 'Better Get Hit in Your Soul,' emphasizes the folk blues water coursing through Mingus’s Ellingtonia, how Aphex Twin’s 'Avril 14' and the Minutemen’s 'Cohesion' sound so much older than Cage’s 'Totem Ancestors.' 'Repertoire' puts forth the idea that time is arrangement: time and arrangement are each only as successful as they are faithful to their origins and expansive in their style. Again, lest you fear the alien smoothness some associate with the concept 'virtuoso,' remember here we’re dealing with a time- traveler. His virtuosity is home grown, born of human work rather than some abstract or divine touch; the aim is not to go beyond the realm of human technical possibility but to expand it in the direction of human, meaning, timely. This guy can play anything, and for you, for this record, which sounds intimate and as present as a transmission from a time-traveler, he chooses to."—Wendy Eisenberg

All The Best Cowboys Have Chinese Eyes - All The Cowboys was Pete Townshend’s Second solo album and was released in 1982, it was produced by Chris Thomas at various recording studios around London. All the Best Cowboys Have Chinese Eyes contains compositions that were salvaged from later albums by the Who, and was released just under three months before their album It’s Hard. The Album was well received and charted in the Top 50 both sides of the Atlantic.This black vinyl version is engineered by Miles Showell at Abbey Road Studios using a half-speed mastering technique which produces a superior vinyl cut. White City (A Novel) - Released in 1985, White City (A Novel) was Pete Townshend’s 5th solo album. The album tells a story of cultural conflict, racial tension and youthful hopes and dreams in the 1960s. Produced again by Chris Thomas it features guest appearances by David Gilmour, Clem Burke, and John ‘Rabbit’ Brunswick. The album which features the single Face the Face and Give Blood also appeared as a long form video. This black vinyl version is engineered by Miles Showell at Abbey Road Studios using a half-speed mastering technique which produces a superior vinyl cut.

This Detroit-band unleash their blackened doom metal like no one else. Slow, lurking, fast, furious and
punishing, Temple Of The Fuzz Witch holds nothing back!

2024 Repress

Ned Doheny's Hard Candy, originally released in 1976, is widely considered the finest blue-eyed soul album of all time. It is has long been a source of great frustration then, that this perfectly-formed Southern California masterpiece has been unavailable on vinyl for almost 40 years. Previously bootlegged in derisory fashion, original copies are rarely found for less than $100.

Be With Records, a new vinyl-only reissue label, continues apace by marking its third release with the first officially licensed reissue of Doheny's nautical classic. Perhaps most famously, this impeccably smooth set features the timeless Get It Up For Love, a wonderful example of mid-70s mid-tempo white-(hot)-funk.

Produced by the legendary Steve Cropper, it featured a veritable who's-who of the Laurel Canyon soft-yacht sound (JD Souther, The Eagles, Linda Ronstadt, the entire horn section for Tower of Power!) yet bombed mysteriously. It's been a cult record since.

Pressed on audiophile 180gram vinyl and featuring the original artwork for both jacket and full colour inner sleeve, this very limited reissue of 500 copies is one not to be missed.

Repress!

Influential jazz collective Idris Ackamoor and The Pyramids retu rn with an epic new opus, 'Shaman!', released on 7th August featuring a fresh line-up including original 1970s Pyramids member Dr. Margaux Simmons on flute, Bobby Cobb on guitar, long-term associate Sandra Poindexter on violin, Ruben Ramos on bass, Gioele Pagliaccia on drums and Jack Yglesias on percussion. The band transitions from the political and social commentaries of 2018's acclaimed 'An Angel Fell' into more introspective themes. "I wanted to use this album to touch on some of the issues that we all f ace as individuals in the inner space of our souls and our conscience," explains Ackamoor. "The album unfolds over four Acts with personal musical statements about love and loss, mort ality, the afterlife, family and salvation."

2024 Reissue

This is a very collectable EP within the breakbeat/hardcore scene with copies changing hands in excess of £350.00. Written by London born Mixmaster Max whose first step into public life was that of a breakdancer in the early 80’s when he was just a kid with a crew called The Back Street Warriors, showcasing his talents at the infamous Covent Garden jams of the same era. He then got into DJing and scratching and entered the DMC Championships and is credited as the inventor of the Topsy Turvey – stacking turntables on top of each other for a DJ routine!

As like many DJ’s around the late 80’s in London he gravitated out of hip hop and into the rave culture and from here he started to perform at many events such as Fantazia, The Pirate Club, Turnmills and the Hacienda in Manchester as well as a residency on a Friday night alongside John Saunderson - the General Manager of DMC - at Camden Palace. From his club work he started to play on the London pirates Kool FM and Centreforce and on legal stations Peoples Choice and Avenues FM.

These tracks are precursors to the soon to blossom jungle scene and highlight Max’s musical history with his creative sample play. You won’t find much more authentic hardcore than this EP, which really highlights the sound of London back in 1993.

Several Years Ago, the Disco Records Dj Crew Members Got Their Hands on a Couple of Original 70s Obscurities, While These Standout Records Shone Brightly in Their Own Right, the Team Finally Decided to Put Them Out as Those Obscure Old Records Fetch Eye-Wateringly High Prices on the Second-Hand Market. Due to Popular Request & Lovingly Mastered to the Highest Possible Standards, They Are Now Available to Play and Share in Very Special Moments at Parties Around the World. This Will Surely Be One of the Most Keenly Anticipated Disco Release of the Year. for Our First Release, We Are Extremely Proud to Bring You at Last, Three Very Hard to Find Disco Anthems on Sides a & B in Their Glorious Full Extended Versions...

Syncrophone Presents the Very First Vinyl Release From Aleqs Notal’s Label : Industrial Light. This Premiere Sees Notal Partnering Up With Long Time Friend and Fellow Producer Modern House Quintet. Throughout Four Tracks &Ndash; Two From Each Musician &Ndash; This Release Dives Into Several Sub-Genres of Electronic Music and Provides Four Compelling Songs. on the A1 Side, Message From the P Opens Up the Record With a Classical Notal’s Signature Sounds : Ron-Trent-Ish Pad and Organ Samples, Supported by Additional Snares and Several Lines of Hi-Hats. This Delicate House Track, With Its Acid Line Chord Core Is Perfect to Open Up a Set. A2 Drinking Workers Sees Notal Weave His Hi-Hats Patterns Around a Typical Detroit-House Bass Line. Architected and Thought Like Scratches (Due to His Hip-Hop Background), Hi-Hats Set the Tone and Enhance the Track as a Back-and-Forth Game With the Bass, Contributing to the Overall Depth of the Song. Once Again, Notal Shows His Creativity About Blending Different Sub-Genres Into a Single Track. on the Flip Side, Modern House Quintet Presents Two Very Different Tracks (Although Both Are Clearly Made for the Floors). B1 Nadrezacalenis Associates Several Layers of Shakers and Subtle Hi-Hats &Ndash; Combined With Percussion &Ndash; in Order to Emphasize the Lush Rhodes Chords And, Later, the Entrancing Vibraphone Notes. Last but Not Least, B2 Dioskouron Is Clearly a Track for a Peak Time Moment. With Its Detroit-Techno Atmosphere, Its Tr-909 Drums Pattern, Its Textures (The Discreet, Yet There, Pad) and Its Pace, DJs Can Rely on This Great Addition for an Ideal 3 Am Set to See Heads Nod and Bodies Swing. as for All the Previous I.l Releases, Artwork Is Made by Jn/wl. ...

Hampton Hawes, For Real! was recorded in 1958 but not released on the Contemporary Records label until 1961. Featuring Hawes (piano) alongside Harold Land (tenor sax), Scott LaFaro (bass) and Frank Butler (drums) the album includes a mixture of both jazz standards and originals. This new edition, released as part of the Acoustic Sounds Series, features (AAA) lacquers cut from the original master tapes by Bernie Grundman and is pressed on 180-gram vinyl at QRP, and presented in a tip-on jacket.