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Alanis Morissette Delivers the Equivalent of a Spiritual Awakening on Supposed Former Infatuation Junkie:
Introspective Themes and Compassionate Emotions on Eastern-Tinged Album Have Grown More Relevant
1998 Smash Plays with Enhanced Detail, Rich Textures, and Sharp Focus on Mobile Fidelity’s 180g 33RPM 2LP Set:
First-Ever Audiophile Edition Strictly Limited to 3,000 Numbered Copies
1/2" / 30 IPS analogue master to DSD 256 to analogue console to lathe

Alanis Morissette refuses to adhere to convention on Supposed Former Infatuation Junkie. While most artists follow-up their breakthrough with an album that closely parallels the approaches that helped make them famous, the maverick singer-songwriter stayed true to herself and drew inspiration from travel to India before she began the recording sessions. As much as the preceding Jagged Little Pill put her on the global radar, Supposed Former Infatuation Junkie confirmed her role as a vital generational voice — and proved her blockbuster success was no fluke. Having set a mark for most sales of an LP in its debut week by a female artist, the 1998 smash remains a pop-rock staple.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, housed in a Stoughton jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s 180g 33RPM 2LP set of Supposed Former Infatuation Junkie presents the triple-platinum LP in audiophile sound for the first time. Benefitting from defined grooves that befit the album’s nearly 72-minute length, this pressing plays with enhanced detail, refined clarity, sharper focus, and broader dynamics than prior versions.

Those traits are key given Morissette’s use of more textured and atmospheric soundscapes, not to mention her evolution into a more nuanced and controlled singer. Similarly, the scale and reach of David Campbell’s string arrangements come across as orchestrations should. Ditto the synth-based architecture shaped by producer and principal Morissette collaborator Glen Ballard. All in all, Mobile Fidelity’s collectible edition simply delivers more information via transparent means.

Notable for its balance, sophistication, and richness, Supposed Former Infatuation Junkie at heart finds Morissette pausing, taking a breath, and learning how to navigate life in a healthy manner after enduring one of the most exhausting and rocket-to-fame stretches any musician ever experienced. It’s the sonic equivalent of a spiritual awakening, a call to betterment, a brave assessment of the self and humanity as a whole. As such, the tunes on her second international (and fourth Canadian) release teem with gratitude, compassion, love, empathy — emotions that lend themselves to the largely mellow, contoured scope and Eastern-tinged melodies of the songs themselves.

“How ‘bout how good it feels to finally forgive you,” Morissette sings on the lead single “Thank U.” “How ‘bout grieving it all one at a time.” Those sentiments, and the vocalist’s embrace of concepts such as divinity and acceptance, not only provide a foundation on which Supposed Former Infatuation Junkie rests. They also reflect the personal maturation she gained from her embrace of Buddhist culture in India and a mindset bent toward notions of reconciliation, peace, and sensuality that were nearly absent in popular music in the late ‘90s.

Those themes continue on “That I Would Be Good,” a confident reflection that takes stock of one’s mental, physical, and emotional state in the face of both changing and unpleasant circumstances — and concludes with Morissette performing a flute solo, further exposing the raw intimacy of the introspective tune. She channels relatable simplicity and joy on “So Pure,” with her invocations of “dance” and “freestyle” speaking to the freedom of expression that courses throughout Supposed Former Infatuation Junkie. And perhaps no song finds Morissette showcasing her refreshed attitude toward life and opening up more than the relationship-themed “Unsent,” whose unconventional structures and lack of a chorus only add to its directness.

Akin to many albums that were ahead of their time, and despite the critical and commercial accolades afforded it upon release, Supposed Former Infatuation Junkie attracted new appreciation and perspective as it got older. Issued during an era where its ideas of serenity, absolution, tranquility, and contentment seemed largely alien, the record — akin to the ways its predecessor foreshadowed a movement — now functions as a visionary beacon that foretells of way to maintain sanity, dignity, and goodness amid a contemporary landscape filled with constant distractions, polarizing views, and incessant calls to purchase, promote, and produce without questioning the what-for purpose.

Supposed Former Infatuation Junkie dares to ask the questions and, at its best, supplies meaningful answers and alternatives that lead to longed-for enlightenment, healing, and laughter. For these reasons alone, it’s a record that never goes out of style.

Hidden Folder returns with its fourth transmission – HDF004 – featuring three original cuts and standout remixes from bullet tooth and K-LONE.

The EP further refines the label’s distinctive blend of UK-rooted club music and stripped-back dancefloor aesthetics.

Opening with ‘Matter of Time’, the title track is a peak-time speed garage weapon – driven by a menacing reese bassline, swing-heavy drums, and deep atmospheric pads.
‘Blurred Line’ follows with a more melodic, emotive touch, already turning heads with early support across the scene.
On the flip, ‘Can’t Get Over’ taps into classic UK Garage sensibilities, pairing housey drum grooves with lush Rhodes chords, chopped vocals, and a warm, rolling low-end.

Remix duties come courtesy of bullet tooth and Wisdom Teeth’s own K-LONE.
bullet tooth flips ‘Can’t Get Over’ into a modern house banger – punchy drums, a snarling peak-time bassline, and undeniable floor energy.
K-LONE takes a more minimalistic route, layering intricate percussion, loopy vocal cuts, and Rhodes stabs with his signature swing and subby finesse.

A forward-facing entry in the Hidden Folder archive – continuing the imprint’s streak of genre-fluid, system-ready club gear.

Bringing together over 50 of Jamaica's greatest session musicians, whose work spans from the birth of reggae in the late 1960s until today, Roots Architects is the largest gathering of Jamaican musical talent on one all-instrumental album. Never before have so many veterans, who helped create the immortal rhythms that made reggae internationally successful, been assembled to play on new material without vocals. This project aims to celebrate and pay tribute to the unsung heroes of reggae music: the rhythm builders or Roots Architects. Following the outstanding success of the first chapter of the project, From Then 'Til Now (2024), Fruits Records is pleased to reveal the dub album From Dub 'Til Now. A veritable immersion in the mythical sound of Kingston studios in the late 1970s. Dub master Roberto Sánchez sublimates the work of the Roots Architects with wildly inventive sound experiments. Reminiscent of the finest years of King Tubby, Lee "Scratch" Perry and Scientist.

The project is the brainchild of Swiss keyboardist and producer Mathias Liengme. In 2013, he travelled to Kingston, Jamaica, to produce The Inspirators project, an all-star album gathering Leroy ”Horse-mouth” Wallace, Lloyd Parks, Earl ”Chinna” Smith and Sangie Davis, the four of them acting both as musicians and vocalists. This first experience in Kingston studio life paved the way to what would become the Roots Architects project. In February and March 2017 Mathias Liengme travelled for the fifth time to Kingston to record as many of reggae’s greatest living veteran musicians as he could. With the help of a few of these Architects like Robbie Lyn, Fil Callender or Dalton Browne, he managed to gather over 50 session musicians aged 60 to 85 on nine instrumental songs.

Roots Architects are legends back together in Kingston studios doing what they do best: creating in-strumental music all together!

A deep excavation from the archives of Italy’s electronic vanguard, Navigators finds Franco Falsini—founder of the seminal Interactive Test label—charting bold, genre-defying territory at the dawn of the internet era. Created in 1997 with an Amiga Tracker interfaced via MIDI to Roland samplers, the EP reflects a hands-on, forward-thinking production approach that sidestepped industry norms of the time.

Named after Netscape’s iconic browser, Navigators is imbued with the spirit of early digital exploration. Ethereal vocals from Ashram’s Bettina and Ilaria Ciampolini drift through intricate, off-grid arrangements, while contributions from Riccardo Falsini, Ubj, and Atma Lai add rich, unconventional textures. The result is a collection that resists simple classification, bridging ambient, trance, and proto-techno with a distinctly Italian sense of depth and atmosphere.

Tremendo Recordings proudly reintroduces this timeless work—unmistakably personal, quietly radical, and ahead of its time.

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

2025 repress. Expo 70, held in Osaka, was a pivotal event for the Japanese people and their relationship with the rest of the world, demonstrating both the nation's ongoing economic recovery from World War Two and the creative spirit of Japanese society and its artists. The event gained international acclaim for its adventurous architectural design, visual art and electronic music. Some of Japan's most renowned composers were involved, but also present were the now-legendary rockers, the Flower Travellin' Band. A series of performances, billed as "Night Events" were held at the Expo; the most radical of these was "Beam Penetration and Mad Computer, plus the Minimal Sound of Motorcycles", but its anti-establishment feel and general madness took the Expo organizers by surprise and it was cancelled after only one night, despite being scheduled for a longer run. An air of myth developed around the event, but a recording of the event has been discovered and this release is the result. And what an event it was: a night-time sound-bomb with a fabled band, electronic sound and 50 motorcycles with horns blaring,spotlights, electronic billboards and a robot ― all flashing, roaring andhowling at the night sky. This release comprises a CD, a 10-inch record with fold-out sleeve and large obi, plus fascinating notes in Japanese and English by Kenichi Yasuda, an expert on Japanese rock music, and Koji Kawasaki, a renowned researcher of Japanese electronic music, as well as rare photos.

After impressions of Unguja and Borneo islands, Discrepant's chieftain Gonçalo F. Cardoso continues his sonic travelogue on insularity with 'Impressões de Várias Ilhas’.

Literally translated as "impressions from various islands", this third tome dwells on recordings and inspirations from three archipelagos of Macaronésia. Soaking in the sounds and recollections from Azores, Cape Verde and Canary Islands these diaristic endeavours spread throughout a number of real environments, from water caves and black stone beaches and lagoons to small harbours and everyday life scenarios, to project them into this not quite imaginary but not quite real memory haze that goes from a deeply personal impression to a resonating one.

Melding raw field recordings with processed ones and synthesized landscapes, Cardoso never falters into sonic tourism, conjuring small-ish takes both vivid and dreamy, infused with a sense of wonder that feels both bewildering, comforting and escapist. The breaking waves of 'Bufadeiros de São Vicente' soothing in their irregular pattern, mingling with the lone echoing tones not completely removed from Black Dice's 'Beaches & Canyon's most pensive passages, flow into the underwater ambience and suspended pads of 'La Cueva Scuba Livre', as reflections of the same sea crashing in on different lands, nature’s psychogeography. Further on, the queasy warm chord and scraping murmurs of 'Noite em Rabo de Peixe' mirror their nighttime framing while 'Rãs em Xoxo' veers closer to pure musique concréte, crossed by a subdued feeling of unease that lingers in the nostalgia of 'Cozido da Caldeira Velha', brimming within the haze of a Boards of Canada vignette. Summoning the past lives and future hauntings of its scenery, 'Salinas de Pedra Lume' is like the quiet epic of the album, meandering into the unknown among crackling field recordings, decaying synths and flute-like howls - or is it howl-like flutes? - recurring as glimpses from foregone existences, not necessarily Gonçalo’s own. Maybe ours?

Music & Photography by Gonçalo F. Cardoso
Artwork layout by Jeroen Wille
Master by Rashad Becker

Discrepant 2025
Pressed in Spain

Tuesday The Sky's origins could almost be considered accidental. Guitarist Jim Matheos, famed for his work with progressive metal giants Fates Warning alongside projects such as OSI and his collaboration with John Arch, Arch/Matheos, penned a few songs that did not fit in with any of his established outlets, and intrigued by this, decided to write more and see where this took him. The result was 2017's Drift, a record that drew influence from the likes of Brian Eno, Sigur Ros, Boards Of Canada and Explosions In The Sky, and now he returns with its successor, The Blurred Horizon.

Best of' albums are invariably repackaged collections of old recordings, so Vice Squad's `Punk Rockers' is a breath of fresh air The songs have been lovingly recorded and remastered, keeping all the original fire and adding decades of experience gained from punishing tours and continuous songwriting Beki is the original architect of the songs and the Vice Squad name, and she is the sole surviving member of the original lineup to have continued as a full-time musician Vice Squad are 100% DIY and record everything in their home studio with guitarist/riffmaster Paul Rooney engineering and mixing. There is nothing sloppy here; the whole album is concise and intelligent with lightning-speed diction, passion, and intent. The glorious `If I Knew What I Know Now' and `The World Is Wrong' are examples of Vice Squad's ability to write instantly catchy, witty songs, and the more gut-wrenching material from their last album, `Battle of Britain', showcases some enormous riffs and a voice that is a million decibels from Beki's untried teen vocals. The album opens with the deliciously effervescent `If I Knew What I Know Now', followed by the sparkling old-school tongue-twister `Out of Reach'. Next up is the visceral `Get A Life', an angry anti-suicide note to the desperate, originally the title track from their 1998 comeback album. This is followed by a shimmering version of Vice Squad's old-school classic `Resurrection'. While the treatment of the old songs remains true to the original teenage renditions, the upgraded versions pack more of a punch with detuned guitars and growling bass. The tribal tom-toms of `Allergy' underpin just over two minutes of punk protest about the delights of pollution and asthma. Then comes the sublime `Sniffing Glue', a near-perfect punk love song that would be a huge hit if not for its subject matter. `Ordinary Girl' is punk-pop perfection brimming with hook lines and harmonies, warmly mocking the life that could have been chosen instead of the grindstone at the sharp end of the music industry. `The World Is Wrong' is anthemic, joyous, and wonderfully contrary, and one would expect nothing less from a band that has soldiered on and grown through the decades. It's always great when bands lead by example. In these increasingly tough times where our survival is threatened by the gargantuan greed of a few individuals, it's important to continuously stick two fingers up to the grabbers and spoilers. 'The World Is Wrong' does just that in an impassioned, melodic, and optimistic style. 'Hold your head up, stand your ground, and don't let the bastards grind you down.' Then we roar into the final single Beki wrote with original and now sadly deceased guitarist Dave Bateman, `Citizen', and continue with another teenage opus, the quite brutal `Scarred For Life'. `Voice of the People' is a bulldozer of a song, all swagger and ballsy riffs, and the chorus, `Freedom of speech is against the law; now we're all criminals,' snarls its derision at red-handed red tape. `Punk Police' sneers over a catchy-as-COVID guitar riff, and the lyrics, `Regulation cut, you must measure up, down on the street, PR companies, monied families, running the scene,' call out the hierarchies that now permeate Punk. Baritone guitars add extra darkness to one of the first-ever animal rights songs, `Humane', and I'm struck by how relevant the older songs are. Chocks away, and the awesome 'Spitfire' takes flight like Motörhead on extra amphetamines. Merlin engines fade into `Born In A War', the second in the triumvirate of conflict-themed songs, an absolute stonker with huge muscular riffs and lyrics that roar pure outrage. Then comes the ominous Last Rockers, with all the angst of the original plus added depth and resonance. Beki: ' "Last Rockers" is a typically depressive adolescent song about nuclear war and being too young to die but too late to live. I believed Punks were the `Last Rockers', the final youth cult before the Apocalypse. I was obsessed with punk, and all I wanted to do was sing in a band and be part of the movement, so I would often romanticise the idea of punk in my lyrics.'

Best of' albums are invariably repackaged collections of old recordings, so Vice Squad's `Punk Rockers' is a breath of fresh air The songs have been lovingly recorded and remastered, keeping all the original fire and adding decades of experience gained from punishing tours and continuous songwriting Beki is the original architect of the songs and the Vice Squad name, and she is the sole surviving member of the original lineup to have continued as a full-time musician Vice Squad are 100% DIY and record everything in their home studio with guitarist/riffmaster Paul Rooney engineering and mixing. There is nothing sloppy here; the whole album is concise and intelligent with lightning-speed diction, passion, and intent. The glorious `If I Knew What I Know Now' and `The World Is Wrong' are examples of Vice Squad's ability to write instantly catchy, witty songs, and the more gut-wrenching material from their last album, `Battle of Britain', showcases some enormous riffs and a voice that is a million decibels from Beki's untried teen vocals. The album opens with the deliciously effervescent `If I Knew What I Know Now', followed by the sparkling old-school tongue-twister `Out of Reach'. Next up is the visceral `Get A Life', an angry anti-suicide note to the desperate, originally the title track from their 1998 comeback album. This is followed by a shimmering version of Vice Squad's old-school classic `Resurrection'. While the treatment of the old songs remains true to the original teenage renditions, the upgraded versions pack more of a punch with detuned guitars and growling bass. The tribal tom-toms of `Allergy' underpin just over two minutes of punk protest about the delights of pollution and asthma. Then comes the sublime `Sniffing Glue', a near-perfect punk love song that would be a huge hit if not for its subject matter. `Ordinary Girl' is punk-pop perfection brimming with hook lines and harmonies, warmly mocking the life that could have been chosen instead of the grindstone at the sharp end of the music industry. `The World Is Wrong' is anthemic, joyous, and wonderfully contrary, and one would expect nothing less from a band that has soldiered on and grown through the decades. It's always great when bands lead by example. In these increasingly tough times where our survival is threatened by the gargantuan greed of a few individuals, it's important to continuously stick two fingers up to the grabbers and spoilers. 'The World Is Wrong' does just that in an impassioned, melodic, and optimistic style. 'Hold your head up, stand your ground, and don't let the bastards grind you down.' Then we roar into the final single Beki wrote with original and now sadly deceased guitarist Dave Bateman, `Citizen', and continue with another teenage opus, the quite brutal `Scarred For Life'. `Voice of the People' is a bulldozer of a song, all swagger and ballsy riffs, and the chorus, `Freedom of speech is against the law; now we're all criminals,' snarls its derision at red-handed red tape. `Punk Police' sneers over a catchy-as-COVID guitar riff, and the lyrics, `Regulation cut, you must measure up, down on the street, PR companies, monied families, running the scene,' call out the hierarchies that now permeate Punk. Baritone guitars add extra darkness to one of the first-ever animal rights songs, `Humane', and I'm struck by how relevant the older songs are. Chocks away, and the awesome 'Spitfire' takes flight like Motörhead on extra amphetamines. Merlin engines fade into `Born In A War', the second in the triumvirate of conflict-themed songs, an absolute stonker with huge muscular riffs and lyrics that roar pure outrage. Then comes the ominous Last Rockers, with all the angst of the original plus added depth and resonance. Beki: ' "Last Rockers" is a typically depressive adolescent song about nuclear war and being too young to die but too late to live. I believed Punks were the `Last Rockers', the final youth cult before the Apocalypse. I was obsessed with punk, and all I wanted to do was sing in a band and be part of the movement, so I would often romanticise the idea of punk in my lyrics.'

To mark 10 years since SOPHIE’s game-changing singles collection PRODUCT, Numbers are celebrating with a special edition featuring 11 songs across Deluxe Vinyl and Compact Disc.

This anniversary release includes bonus tracks, track-by-track slide posters, and a SOPHIE PRODUCT Card. Physical editions are now available for pre-order and released on 11th July 2025.

SOPHIE classics ‘BIPP’, ‘LEMONADE’ and ‘VYZEE’ are joined by two immaculate PRODUCT-era songs ‘OOH’ and ‘GET HIGHER’ recorded and produced at the time, each with colourful single artwork completing the set.

‘OOH’ is one of SOPHIE's earliest productions that has been through several revisions since 2011. It was one of three original tracks that Numbers had signed when SOPHIE uploaded the song alongside 'BIPP' and 'ELLE' to her Soundcloud, and while it had been through several iterations and speed changes, this finalised version was completed by SOPHIE in 2019.

SOPHIE once described ‘OOH’ as “hi tech club dance pop”. Musically speaking, the earworm hook is carved out by her signature portamento-infused synths and candy-coated lyrics, a firm cult classic approved by AG Cook and Charli XCX. Initially titled 'MAKE RESPECT', the track was first performed live by SOPHIE in 2011 to a handful of lucky people at a beach afterparty surrounding Sonar Festival, Barcelona and later that year at Manhattan's New Museum. The vocal was recorded as the first track in the same one-day recording session as SOPHIE's debut single 'NOTHING MORE TO SAY', released on the Huntley & Palmers label, where Sophie's songwriting was performed by the London vocalist Jaide Green.

The genesis of the ‘OOH’ and ‘NOTHING MORE TO SAY’ recording session is lore-worthy in its own right: after watching Jaide Green perform live with Olly Murs during the sixth series of The X Factor in 2009, SOPHIE reached out and invited Jaide to record in her home bedroom studio.

‘GET HIGHER’ was born during joyous sessions in 2013, when SOPHIE’s beat was introduced to the vocalists Cassie Davis and Sean Mullins. The track feels like a visionary precursor to ‘Vroom Vroom’, and doesn't sound out of place next to the sub-clang intensity of SOPHIE’s ‘HARD’ and ‘MSMSMSM’. Striking a playful balance between blissed-out hyperpop and club-ready Atlanta trap, it showcases SOPHIE’s signature, laser sharp sound design. Originally released as a bonus track on the Japanese CD edition of PRODUCT, ‘GET HIGHER’ has remained a hidden gem.

A groundbreaking producer, songwriter and performer, SOPHIE's visionary approach reshaped the landscape of pop and electronic music. Emerging in the early 2010s, SOPHIE introduced a hyper-detailed, futuristic sound defined by metallic textures, elastic basslines, and an uncanny blend of synthetic and emotional tones. Collaborating with artists including Charli XCX, Madonna, Vince Staples and Arca, SOPHIE helped pioneer a new pop movement while challenging conventions around identity, genre and production. SOPHIE's work continues to resonate deeply, leaving a lasting impact on a generation of artists and listeners alike. Discography: PRODUCT (2015), OIL OF EVERY PEARL'S UN-INSIDES (2018), SOPHIE (released posthumously, 2024).

Quebecois Death Metallers Sedimentum formed back in 2018, giving us a magnificent debut album and several equally formidable shorter releases alongside it. Now they return with an even more doomy, eldritch mini-album for your listening displeasures…
Following some otherworldly ambience, those charnel guitars bring in a truly crushing spectacle of doomed extremity. Grotesque vocals and strong drums permeate the thick, tarry stringed arrangements. Their sinister and inhuman music has sunken even further into the pits of putrefying grave matter to conjure spectral apparitions of the dead. Those of you who already know this superb band will definitely recognise their unique sound while appreciating that the more low-register, slower tempo rumble of this cacophonous rot is even more intense than ever. Never afraid to blast out viscerally gripping savagery, the old school way, there is plenty of those more traditional moments tied into the abhorrent affair. However you like it, Sedimentum master Death Metal…
At a mere three songs, one could foolishly assume this record is lacking. But listen for yourself to discover three majestic pieces of masterful musical torment. In little over twenty minutes, Sedimentum grasp your soul with their ghoulish atmospherics and sepulchral hammering force. Exhuming the ancient spirits, this mini-LP is a must-listen for all true die-hards of the Death Metal underground who value both atmosphere and brutality in equal measure. There is no denying this band has a perfect grapple of both as these new constructions of contorting morbidity prove beyond doubt. Enter the ossuaries of Quebec with one of the finest bands of the underground as its lumbering corpse staggers toward you with only malicious intentions…

PARADE is an 8-piece group, predominantly from Brighton and now based in London. Its members - who are all involved in their own capacities in music, art, fashion, design and more - have been making music since they met at college in Brighton, flipping records and making beats in founding member Jago’s attic room. Since then the sound has evolved to incorporate live instrumentation alongside electronic elements. Though always collaborating in each other’s orbits, PARADE was fully formed when all members gravitated towards South-East London, scattering around in musically less mythologised areas across Nunhead, Forest Hill, Camberwell and Norwood.

Lightning Hit The Trees is the band's debut mixtape, and was entirely written, produced, engineered, and mixed in just two weeks. It was recorded in a shipping container in Forest Hill on basic, often broken, equipment with ideas often formed in the moment. As demonstrated by these two first singles, the mixtape pulls together a body of music that incorporates a wide range of ideas from a group of inventive, inspired new artists and comes together in a remarkably clear and unified vision. The mixtape is guided by uncanny valleys, cinematic tones, “hyper-real” mixing techniques, and by a light with no shadow. Influences include: Wim Wenders, Juergen Teller, Velvet Underground, Radio Dept., Scott Walker, Magliano, Soft Machine, This Heat, Pixies, John Cassavetes, Domenico Gnoli, Dadaists, Judy Garland, Cindy Lee, Arca, Bette Davis, Sun Ra.

Scavenger tones and scrambled cassette residue drift across the surface of Compressed Knowledge, a quietly astonishing new work by Philadelphia-based sound artist Tyler Games, operating here as Radio Species. Following releases on Regional Bears, Irrational Tentent, and his own now-defunct Born Physical Form imprint, Games works in a space between musique concrète, tape collage, and microsound, using an economy of gesture to create a suite of fundamentally elusive compositions. Harmonic loops stutter and fold in on themselves, hazy rhythms break free from their clocks, snatches of speech cut out mid-thought as a layer of room tone and tape gunk holds everything in suspension. There’s a sense of broadcast without a source, flickering across half-tuned frequencies––hinting at formal structures while continually slipping away from them. The result is not archival in the traditional sense, but archaeological: these tracks are partial objects, pulled from the noise floor of memory. In its refusal to resolve into stable meaning or musical form, this is work that draws from traditions of sound ethnography, experimental documentation, and concrète montage––where listening itself becomes a mode of speculative reconstruction.

Come on down to Planet Weekend amusement park and lose yourself in a world of excitement, where every day feels like the weekend!

Why not forget your sad and relentless existence, find another life in the ‘Arcade Cave’ or grab a snack at the ‘Cheesey Bacon Buffet Beef Palace’, before exploring the plethora of brand new (and definitely safe!!!) attractions that are waiting for you?! C’mon already!

So cancel that plan, quit your job and come and live another life at Planet Weekend!

Highly respected Brooklyn-based record store Archivio Records launches its flagship label, with the help of legendary UK Tech House pioneer Affie Yusuf.

This remarkable four track EP made up of previously unheard and unreleased gems, captured from DATs long thought lost during the mid-90s golden era of Swag Records, Wiggle, Surreal and co. delivers four distinct tracks, perfectly curated to suit the mood of the most discerning dance floors, at any time of the night!

Uba Cuba sees Affie transport you to pre-Revolution Havana, where the rum flowed and the good times rolled. A playful Latin-infused tech house roller, this track is guaranteed to put a smile on the face of everyone on the dance floor!

For the first track under his Parkwalker alias, Pashtwo is a decidedly deeper and darker excursion with a driving bassline, trippy vocals and a constant forward motion, perfect for those moments when you have the crowd really locked in.

Urgez Untold, the second Parkwalker contribution to the EP is an airy, groovy journey designed for those after hours moments when the sunlight is creeping in and the crowd is ready to let it all go in the pursuit of euphoria. Hypnotic bass, ethereal synths and bouncy, tropical drums give this one a universal appeal and a timeless feel.

Finally, Ode Reticular is Affie Yusuf at his brilliant, inventive best, crafting an epic track with three distinct phases. Starting as a dubby minimal chugger before morphing in to a quirky, playful tech house roller, then final chapter sprinkles mystical progressive elements to take you to another dimension, without ever needing to lose your spot on the dance floor.

An essential release for lovers of the early UK Tech house sound, seeking out undiscovered gems from the glory days of mid-90s London.

With future releases featuring Mark Ambrose, Pure Science, Carl Finlow and more, this is a label to watch closely and collect religiously.

One of Romania’s most important composers in the last half-century, Octavian Nemescu (1940-2020) is among the few that were not “part of the system”, managing to survive and compose in a world that felt more and more “empty”, fragile, confused and scarce in prophecies. The mystical approach to his art defines Octavian Nemescu as an essentialist who believed in the power of archetypes in which he found inspiration. His pieces always start from an idea that has spiritual, cosmogonic implications and often involves synthesizers, sounds from nature (buzz of bees) and the “ison” (drone). When defining “meta music” or “imaginary music”, Nemescu was an advocate of looking from above, from the top of the mountain. Silence is very important in his work in order to keep the sound flowing and to reflect on the sound from before, as a space, as a pause for thinking. Nemescu put forward another kind of music: a song that has not yet surfaced through human voice, any musical instrument, orchestra or other electro-acoustic means: an intimate, interior, introverted inner sound that focuses on the individual and the imagination. Imaginary music is a reaction, it comes in contrast to the spectacular, it is anti-show. For him, music had a ritualistic function, it served no cultural purpose.

This 3LP set collects eight pieces for variable ensemble, tape and electronics, composed between 1968 and 2015, selected together with Erica Nemescu, who also mastered the tracks. Most tracks have been previously released on different CD’s but never before on vinyl.

At this point the vast swathes of unreleased Muslimgauze material Bryn Jones left behind when he passed away over 25 years ago is as legendary as any of his work. And sure enough, there's still some being unearthed today. The new »Single #One« is the first in a series of four (three 7"s and one 12") taken from one of Jones' customary completely unlabelled DATs he sent to labels seemingly as fast as he finished them. Both sides here indicate that, even on what might have been throwaway efforts for other artists, Jones was constantly chasing his muse around new corners.

Side A begins with the kind of tough percussion loop often found on Muslimgauze releases, but even as foreboding synths start to swell in the background, Jones introduces a rhythmic, peppy little keyboard riff far jauntier than most things he created. Side B, meanwhile, takes Jones' looped hand percussion in a dubbier direction, but unlike other times he explored that space there are some elements (phased zaps, a slightly skanking rhythm) that, while not reggae exactly, makes this feel more like a traditional dub than Jones tended to make. Both sides stand in testament to a creator who never stayed in one place for very long.

Lela Amparo's debut album for Past Inside The Present is a smooth fusion of ambient guitar, IDM, trip-hop rhythms, orchestral arrangements and poetic vocals that draw from her American Southwest roots, international travels, and life in Gothenburg, Sweden. Amparo crafts a raw, worldly sound from these inspirations and mixes cinematic grandeur with tender grace, gorgeous melodies and head-nodding drum programming. Highlights include 'Space Us Out' with its emotional beat and piano loop, and 'You Say You Love' which combines harp and choral voices. 'Rose & Honey' reflects on isolation in Tokyo, while 'Wrong Thing' offers a Burial-style rhythm. Keep Your Soul Young is all about finding home within yourself.