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Note Orders will be randomly supplied on each variant. MF DOOM's 1999 classic Operation: Doomsday presented for RSD Black Friday in two unique variants across three formats! The double gatefold LP housed in the original cover art comes in a silver pressing with purple accents on record one, green accents on record two. The double gatefold vinyl featuring variant cover art by Jason Jagel are in a gold nugget with red splatter pressing. The CD editions are packaged in a collectable full color long box featuring the original and variant cover art. The cassette editions feature full color shells in silver (orignal art) or a gold (variant cover). These eye popping editions of one of Hip Hop's most seminal recordings are available only for RSD Black Friday.

Band Aid war eine 1984 von Bob Geldof und Midge Ure gegründete Wohltätigkeits-Supergruppe, die Geld
für die Linderung der Hungersnot in Äthiopien sammelte.
Zum Gedenken an 40 Jahre seit der Originalaufnahme des Weihnachtsklassikers ”Do They Know It’s
Christmas?” und um weitere Spenden für den Band Aid Trust zu sammeln, werden am29. November neu
zusammengestellte 1LP- und 1CD-Formate veröffentlicht.
Das Produkt enthält die Originalversion von Do They Know It’s Christmas? aus dem Jahr 1984, die späteren
Versionen Band Aid 20 und Band Aid 30 sowie den 2024 Ultimate Mix - eine brandneue Bearbeitung, in
der die Stimmen der vielen Künstler, die den Song im Laufe der Jahrzehnte aufgenommen haben, gemischt
wurden. Der Mix wurde von Trevor Horn produziert. Zum ersten Mal auf CD und LP wird die 1985
im Wembley-Stadion aufgenommene Live-Aid-Final-Version des Songs auf der Titelliste der ultimativen
Komplettsammlung zu finden sein.
Der brandneue 2024 Ultimate Mix wird von einem neuen Musikvideo begleitet. Ein Kurzfilm, der ebenfalls
veröffentlicht werden soll, ist die Weiterentwicklung des Videos, ein alternatives und erweitertes Stück, das
die Entstehungsgeschichte der Single und ihre Reise über die letzten 40 Jahre vorstellt.

„Into The Gap“ von den Thompson Twins ist ein epochenprägendes Album der 80er. Diese Neuauflage
zum 40. Jubiläum ist die umfassendste Neuauflage dieses Albums aller Zeiten, remastered in den Abbey
Road Studios und zusammengestellt mit dem vollen Segen aller drei Bandmitglieder aus der klassischen
Besetzung.
„Into the Gap“ gilt als eines der erfolgreichsten Alben der Band und symbolisiert den Höhepunkt der
Synthie-Pop-Ära. Das Album enthält Hit-Singles wie „Hold Me Now“, „Doctor! Doctor!“ und „You Take
Me Up“, die das Talent der Band für eingängige, Synthie-getriebene Popsongs hervorhoben. Zu dieser Zeit
waren die Thompson Twins eine treibende Kraft in der New-Wave-Bewegung; „Into the Gap“ erreichte
Platz eins der britischen Albumcharts und verkaufte sich in den USA über 1 Million Mal. Der Erfolg des
Albums wurde durch den Aufstieg von MTV begünstigt, wo die visuell beeindruckenden Musikvideos der
Band eine entscheidende Rolle für ihre weltweite Anziehungskraft spielten. „Into the Gap“ verkörperte
den Geist der Popkultur der 1980er Jahre und kombinierte innovativen Sound mit einer starken visuellen
Identität, was es zu einer prägenden Platte des Jahrzehnts machte.
Beide physischen Formate verfügen über digital restauriertes Artwork und neue Linernotes, geschrieben von
John Earls und mit Beiträgen aller drei Bandmitglieder. Das LP-Format auf begehrtem rotem Vinyl bildet
die Originalveröffentlichung liebevoll nach, komplett mit ausklappbarem Einleger; das Dreifach-CD-Format
umfa

Das „Sparkle in The Rain“-Boxset ist jetzt in einem gekürzten Format des 2014 erschienenen Super Deluxe
Sets erhältlich.
Das Album „Sparkle in The Rain“ aus dem Jahr 1983 gilt seit langem als eines der Juwelen im Katalog der Band. Es leitete eine Serie von drei aufeinanderfolgenden Nummer-1-Alben der Simple Minds in
Großbritannien ein und lieferte die klassischen Hitsingles „Waterfront“, „Up on The Catwalk“ und „Speed
Your Love to Me“.
Diese 4-CD-Box-Set-Version enthält eine Menge Bonusmaterial, darunter B-Seiten und erweiterte Mixe,
BBC-Sessions, ein bisher unveröffentlichtes Glasgow Barrowlands-Konzert, ein Booklet mit BanderolenNotizen und Interviews sowie Track-by-Track-Kommentare. Das Album wurde 2014 in den Abbey Studios
in London umfangreich neu gemastert.
Erhältlich auf allen Plattformen ab dem 22. November!

Two-Piers präsentiert die nächste Killer-Compilation: "Weird Scenes From The Hangout (Psychedelic & Freakbeat Dancefloor Anthems 1967-1982)", kuratiert von Richard Norris (The Grid, Beyond The Wizard's Sleeve, The Time And Space Machine) und zentriert um seine Liverpooler Clubnacht "The Hangout" in den 1980ern. Dort brachten er und weitere DJs bewusstseinsverändernden Wahnsinn aus Psychedelia und Freakbeat auf die Tanzfläche. Herausragende Songs wie "The Left Banke - I've Got Something On My Mind", "The Turtles - Buzzsaw" oder "Can - Outside Your Door" wurden zu echten Hangout-Hymnen. Man widmete der eher trendy Ausbeute der Spät-Sechziger ebenso viel Zeit wie angesagten Acts, solange der Groove auf dem Dancefloor funktionierte. Das Hangout kam und ging im Nu, aber sein Erbe, psychedelische Fußstampfer auf die Fläche zu bringen, lebt weiter, gemeinsam mit der Liebe zu allem, was mit Beat und Freak zu tun hat.
** Exclusive tracks to Vinyl Format

On November 8th, 2Tone Records/Chrysalis Catalogue will release a 40th Anniversary Half-Speed Mastered Edition of The Special AKA 'In The Studio' album. This release has been liaised and approved by the band's founder and main songwriter Jerry Dammers. Formed in Coventry in the mid-1970s, The Specialswas the idea of musician Jerry Dammers, who brought together an eclectic array of individuals to fulfill his vision of a multi-racial band, fusing the energy of punk with the legendary but, at the time, often overlooked, sound of Jamaican ska. The band rose to prominence along with the 2Tone movement, which included two No. 1 singles, Too Much too Young and 1981's Ghost Town, which theme still resonates today before Terry Hall, Lynval Golding and Neville Staple left to form the Fun Boy Three and Roddy Byers left to tour with his band the Tearjerkers. The remaining members, Dammers, Bradbury and Panter, recruited guitarist John Shipley from The Swinging Cats, ex-Bodysnatcher Rhoda Dakar and lead vocalist Stan Campbell,reverting the original band name of The Special AKA and set to work on a new album. Released in 1984, 'In the Studio' was a brave mix of bold and challenging music, with a strong political, social and moral conscience. The album made it into the Top 40, and while it might not have been a huge commercial success, it was, and still is, an astonishingly unique work: a haunting, claustrophobic mix of lounge, soul, reggae, jazz and Arabic rhythms, with uncompromising subject matter. It featured two classic singles: the joyous, yet serious rallying anthem for the then imprisoned South African ANC leader, 'Free Nelson Mandela', and 'What I Like Most About You Is Your Girlfriend'. As time has gone by, the status of 'In The Studio'has grown, and today it is rightly viewed as a genuine lost classic. Like the previous two Specials 40th Anniversary vinyl editions, this has been newly remastered and cut at half-speed by Miles Showell at Abbey Road Studios, London. Format: Wide spine sleeve, 2LP 180gm Black Vinyl cut at 45rpm with insert inside and OBI.

There are few hidden gems that we can find on the different streaming channels, and it is precisely our job to have them for you. This Saturday we want to bring you a Chilean band that is born from transversal rock and its variants. We talk about The Cruel Visions. The Cruel Visions is the name that Pablo Giadach (founder) proposes to imagine a luminous and nostalgic interior landscape, expressed in songs of subtle composition and evocative beauty. The guitarist and musician in the bands Casino, Trancemission and The Ganjas, brings with him an album weathered by the passage of time in nightly improvisations and his recording studio, influenced mainly by the sounds of the early 80's, new wave, paisley underground, post punk and dark wave. The Cruel Visions was born from the idea of grouping together different recordings that Pablo made in parallel to his work with The Ganjas between 2015 and 2017 at different times and formats. Most of the album is a collection of demos and improvisations with a Rickenbacker 12-string guitar, an echo chamber and a drum machine, which were then worked on for almost 3 years in the free time at Estudio Lautaro, where he also performs. as an engineer and producer. His authorial present discovers the ethereal and light sounds that bands like The Cure or The Jesus and Mary Chain decanted, who left the initial rawness to give way to a more atmospheric and personal repertoire, which, although luminous, maintains traces of the darkest noise of the post-punk era. This time the path taken in other formations where Pablo provides precise sounds, completed with effects such as reverb and distortion, gives shape to a more personal list of songs that sails with the wind in its favor through foggy waters, already known to listeners of English 80's alternative music. Vocals and some arrangements were done at Woodbine St Recording by John A. Rivers, who has produced records by Love and Rockets, The Specials, Nikki Sudden, Close Lobsters and Dead Can Dance, among many others

With "Ululo", pianist and composer Koki Nakano immerses us in the depths of his emotions, carried by the striking voices of Jordy, WAYNE SNOW and Yael Naim. For his fourth album, Japanese pianist and composer Koki Nakano moves beyond the conceptual to reveal an intimate and visceral musical expression, a reflection of his deep emotions. Each piece conveys the desire and passion of a cry. The title "Ululo" (which translates to "Howl" or "Cry" in Latin) echoes a childhood memory of being in his father"s arms, yearning to touch the moon. This unfulfilled desire, reminiscent of a famous haiku by famous poet Issa Kobayashi, symbolizes his early realization of his limitations in the face of the vastness of the world and the seemingly unattainable. Koki reinvents himself with a unique fusion of piano and modern vocal collaborations. He is joined by UK rap sensation Jordy and the captivating voices of WAYNE SNOW and Yael Naim. He offers an avant-garde music style distinguished by its emotional simplicity and sonic depth. Beyond virtuosity, Koki explores his classical sensibilities by blending subtle ambient textures with his poignant and sophisticated melodies. While "Ululo" is a cry of frustration with melancholic tones, it is also romantic, filled with beauty, humor, and light.

2024 Repress

Original music from the film,"Instrument", culled from demos and various sources, by Fugazi from 1988-1998,
The 12" LP format was re-cut and re-issued in December 2009.
Originally Released: 1999
Ian MacKaye vocals & guitar Guy Picciotto vocals & guitar Joe Lally bass Brendan Canty drums

Dennis Bovells produktive und vielseitige Karriere umfasst ein riesiges Spektrum an Musik: von Dub Poetry über Lovers Rock und Post-Punk bis hin zu Disco, Pop und mehr. Seine Produktionsarbeit umfasst so unterschiedliche Persönlichkeiten wie The Slits, I Roy, Maximum Joy, Fela Kuti, The Pop Group, Janet Kay, Saada Bonaire, Orange Juice, Golden Teacher, Steel Pulse und mehr.

Diese Zusammenstellung konzentriert sich auf die Zeit während und unmittelbar nach Bovells Engagement beim Jah Sufferer Sound System und gräbt tief, um deepe Cuts und weniger bekannte Versions zu finden, hauptsächlich aus den Jahren 1976-1980, samt eines umwerfenden und weniger bekannten Dub des ikonischen Tracks "Silly Games". Sorgfältig restauriert und remastered bei Dubplates & Mastering in Berlin, sodass diese Jahrzehnte alten Tracks makellos und dynamisch klingen und so angeordnet sind, dass sie den Hörer auf eine Reise durch Bovells Produktions- und Arrangement-Genie mitnehmen.

Die beiliegenden Sleevenotes sind das Ergebnis eines langen Gesprächs mit Dennis über diese Zeit seines Lebens, mit Erinnerungen an jeden einzelnen Track und faszinierenden biografischen Anmerkungen. Die Vinyl- und CD-Versionen weisen unterschiedliche Cover auf, wobei jedes Format ein einzigartiges Foto von Syd Shelton verwendet.

2x12" Green Vinyl + 7" Black Vinyl

Brainfeeder kündigt für den 25. November 2022 die Wiederveröffentlichung des mittlerweile zu Kultstatus aufgestiegenen zweiten Albums der Prog-Jazz-Future-Funkster von Hiatus Kaiyote, „Choose Your Weapon“! Das Album, das ursprünglich 2015 erschien und einige der größten Hits des Vierers vereint (u.a. „Fingerprints“ und „Molasses“), kommt in seiner Neuauflage auf fotoluminiszierendem Doppelvinyl dem zusätzlich Lyrics-Sheet, Stickerbogen und eine Bonus-7“ mit dem bislang unveröffentlichten Roman Soto Cello Rework von „Breathing Underwater“ und einem Club-Mix von „Making Friends With Studio Owl“ beiliegen.

Format: Fotoluminiszierendes Doppelvinyl inklusive Lyrics-Sheet, Stickerbogen und eine Bonus-7“ mit dem bislang unveröffentlichten Roman Soto Cello Rework von „Breathing Underwater“ und einem Club-Mix von „Making Friends With Studio Owl“

Am 19. November 1984 wurde „Unter falscher Flagge“, das zweite Album der Toten Hosen, veröffentlicht. Um diesen 40. Geburtstag gebührend zu feiern, erscheint am 15.11.2024 „Unter falscher Flagge 1984 – 2024: Die 40 Jahre-Jubiläumsedition“ in opulenter Ausstattung mit 16 Bonustracks, drei davon bislang unveröffentlicht!

Nachdem die Band mit ihrer gerade mal ein Jahr zuvor rausgekommenen Debüt-LP 1983 in erster Linie in der Punkszenen für Aufsehen sorgte, wurde die zweite Scheibe auch erstmals von der sich seriös gebenden Musikpresse wahrgenommen. Für viele, die gehofft hatten, dass sich der Spuk mit der Düsseldorfer Radautruppe schnell wieder von selbst erledigen würde, gab es ein bitteres Erwachen. Die Hosen hatten hörbar die immer noch rudimentären Kenntnisse ihrer Instrumente erweitert, kaschierten das mit aggressiver Spielfreude und deutlich mehr durchgetretenem Gaspedal als noch auf dem Erstlingswerk.

Dadurch und unzählige wilde Konzerte in immer voller werdenden Clubs zementierten sie allmählich ihren Ruf als chaotische aber ernstzunehmende Band.

„Unter falscher Flagge 1984 – 2024: Die 40 Jahre-Jubiläumsedition“ erscheint in einer aufwendigen, auf 7.000 Exemplare limitierten und nummerierten Auflage. Das Hardcover-Gatefold-Deluxe-Book enthält das Album als 180g-Vinylschallplatte und CD sowie eine Bonus-CD mit 16 Bonustracks, die rund um die Original-Veröffentlichung auf Singles, Maxis und diversen Demos erschienen. Die Demoversionen von „Shake Hands“, „Betrunken im Dienst“ und „Der Mord an Vicky Morgan“ wurden erstmals aus den Untiefen des DTH-Archives exklusiv für diese Jubiläums-Edition ausgegraben!

Das aufwendig gestaltete Booklet im LP-Format enthält auf satten 32 Seiten eine Vielzahl bislang unveröffentlichter Fotos, historisch wertvoller Presseartikel und weitere Schmuckstücke aus der Sammlung der beteiligten Musiker. Darüber hinaus steht die Band Kolja Podkowik, einem der weltweit renommiertesten Tote Hosen-Sachverständigen, in einem langen, intensiven und ungeschminkten Interview Rede und Antwort über die Geschehnisse rund um den langsamen Aufstieg der fünf Düsseldorfer Glücksritter.

CD1
1. Spiel mir das Lied vom Tod
2. Liebesspieler
3. Letzte Wache
4. Der Abt von Andex
5. Der Mord an Vicky Morgan
6. Im Hafen ist Endstation
7. Unter falscher Flagge
8. Sekt oder Selters
9. Der Schandfleck
10. Betrunken im Dienst
11. Shake Hands
12. Warten auf Dich
13. Im Hafen ist Endstation 2

CD2
1. Spiel mir das Lied vom Tod
2. Es ist vorbei
3. Till To The Bitter End
4. Seafever
5. Hofgarten
6. Hip Hop Bommi Bop
7. Faust in der Tasche
8. Head Over Heels
9. La Historia Del Pescador Pepe
10. Schöne Bescherung
11. Vom Surfen und vom Saufen
12. Der Schandfleck - Demo
13. Unter falscher Flagge - Demo
14. Shake Hands - Demo
15. Betrunken im Dienst - Demo
16. Der Mord an Vicky Morgan - Demo

Less than a year after Botanical Illustration takes patience and Skill EP, Giovanni Natalini aka CO-PILOT, comes back on Simona Faraone’s label, New Interplanetary Melodies, with the Green Machine album, which is its natural prosecution: inside it we also find the three tracks previously published by the same label in audio cassette format only (NIM001- MC).

Green Machine is a concept album, which takes up and develops the ecological issues already treated by the artist in his previous work, namely the increasingly tricky dichotomy between nature and machine and the harmful impact of humans on it.

The A side opens with the already published Botanical Illustration takes patience and Skill (A1), an 8 minutes suite in which the powerful Live drum breaks are perfectly combined with synths and vocal samples, transporting us to the tops of exotic mountains, to continue with the ecstatic Himawari (A2) that sounds like a “desert session” made on Mount Fuji, for a result of pure musical mysticism and finally, Mother Love Nature pt.1 (A3), a track that takes us back to more familiar territories, winking at the most experimental British trip hop of recent memory and Mother Love Nature pt.2 (A4) characterized by a background of modular synths and nature sounds effects that precede Giovanni’s powerful drums, underlining once again this perfect fusion of organic and synthesized sounds.

Side B opens with the psychedelic choruses of Dancing Like Fela (B1) supported by synthetic arpeggios and a frenetic drumline sounds like a breakbeat. Continuing along this side, we come to the unsettling use of vocal samples on the beautiful Halo (B2), the ethereal and danceable art-pop of Lost You - In Translation - (B3) to conclude with the evocative Playing the Zurna in Ulan Bator (B4), a track with a pressing rhythm and elegant arrangements that once again underlines Giovanni Natalini’s mastery in mixing sounds and suggestions that are apparently far away but that always find the right place.

Green Machine sounds like a valid attempt to finally find a “solid” balance between humans and nature, but it also demonstrates how the continuous mixing of sounds is the most effective way to escape from the homologation that is increasingly widespread in contemporary society.

Christmas is the most wonderful moments of the year, when we meet with family and friends,

and when we really want to have a nice time. Of course, music is essential to achieve this ambience. Christmas:

The Complete Songbook in vinyl format is an album ideal to liven up that special moment,

since it is an completely different album from those currently available. With an fantastic selection of artists,

ranging from Frank Sinatra and Louis Armstrong, to Belinda Carlisle, Gilbert O’Sullivan and Patti Austin,

they all delight us with fantastic versions of Christmas’ classics.

With an elaborate and eye-catching artwork and specially remastered sound for vinyl format,

this is a fundamental album for the upcoming Holiday season.

Pile - the trio of Rick Maguire, Kris Kuss, and Alex Molini - found inspiration in the studio while working on their latest LP All Fiction, working tirelessly to record, experiment, manipulate, mutate, and layer the songs with lush orchestration, haunting synths, and abstract textures. Challenging the confines of the standard “rock band,” they took inspiration from artists like Portishead and Aphex Twin, reigniting their passion as they explored their sound in a new realm. The sessions resulted in a flutter of productivity and before the band knew it they had completed well over a dozen songs, stretching far beyond the confines of a single LP’s runtime. After much deliberation, songs were pulled from the record, never a “trimming of the fat” but more of a consideration of which songs were able to stand best on their own. These songs form the Hot Air Balloon EP. Released digitally on January 5th, 2024, and now in LP format for the first time, the EP captures the band experimenting in all directions, from the direct to the further abstract. Following the release of “Scaling Walls,” a song Paste Magazine called “a contemplative slow-burn,” the band introduce the EP with the quasi title track, “The Birds Attacked My Hot Air Balloon,” a song that finds Pile in a more surrealist state, the meditative composition bristling with shuffling rhythms and brilliantly disorienting synths.

The Iconic 80s Band, Berlin, Return with Strings Attached to Take Your Breath Away

Nearly 40 years after their founding, the Los Angeles-based synth pop group, Berlin, return with an album of their classic tracks_with strings attached. Working with a full philharmonic orchestra, Strings Attached sees the band revisit some of their classic tracks, from their formation in the early 1980s through to today, including, of course, the iconic theme to the movie, Top Gun, Take My Breath Away. Featuring the classic line-up of Terri Nunn, John Crawford and David Diamond, Strings Attached is perfect for both existing fans of one of the most legendary bands of the 80s and those who are being introduced for the first time.
Founded by bassist John Crawford, singer Terri Nunn, and keyboard player David Diamond, Berlin made its first national impression with the provocative single Sex (I'm A...) from the gold-selling debut EP, Pleasure Victim in 1982. The group was filled out by guitarist Rick Olsen, keyboard player Matt Reid, and drummer Rob Brill. Berlin's first full-length LP was the gold Love Life in 1984. In 1985, the group was pared down to a trio of Crawford, Nunn, and Brill. Berlin topped the charts around the world in 1986 with the single Take My Breath Away, the love theme from the Tom Cruise movie Top Gun, a track which won an Academy Award, a Golden Globe and which has cemented itself as one of the most memorable songs featured in a film of all time.

On this new LP Harry Bertoia shows why he may have been the first industrial musician. Bertoia often referred to his sound sculptures as a "collaboration with industry" and on this LP Bertoia is intentionally creating heavy, rhythmic music he described as "mechanized," "mechanical" and "factory like."

Recorded in 1971, percussion and repetition emulate the pounding rhythms of machinery on this unique pair of conceptual Bertoia compositions. Bertoia utilizes innovative performance techniques to create new sounds unheard in his ouevre. Even in the busy factory of Bertoia's mind, distant stillness rises up as Bertoia exhibits the massive amount of control he possesses over his many looming sculptures.

"Mechanization" is just one of the many sonic directions Bertoia took while composing and recording between the late 1950's and his death in 1978. He documented all of his ideas and directions in notes accompanying the hundreds of tapes discovered in his barn.

Bertoia's recordings are as much a celebration of sustained tones, intervallic relationships, healing vibrations, deep listening and shimmering harmonics as Indian Classical music, singing bowls, The Well Tuned Piano or Benjamin Franklin's glass armonica. Through these rich harmonics and pulsing pure tone, Bertoia was able to more clearly articulate his inner spirit than he could with sculpture alone – a point he made himself many times in interviews.

Harry Bertoia first came into artistic prominence in the late 1930s and his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, were soon modernist furniture classics. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.

Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a greater logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.

lack Sabbath is, along with Led Zeppelin and Deep Purple, the most important british hard rock band of all time.

With its dark, mystical, obsessive atmosphere, Black Sabbath built an unique sound that has influenced countless bands since its emergence in the late ‘60s to these days. As usual in our series The Many Faces, we will enter the fantastic secret world of Black Sabbath, and we will enjoy their collaborations, side projects and their greatest hits. The Many Faces of Black Sabbath is a fantastic album, especially for those of you who considers yourself fans of hard rock.

Now, it’s part of our Many Faces collection on vinyl format.

Jonas Munk closes his ambient trilogy with mammoth drone pieces, multi-layered guitars and hymnal krautrock. "Mirror Phase" concludes a trilogy of minimal ambient albums in Munk's (Causa Sui) own name. These eight compositions, based on guitar and synthesizer loops, marks a return to the warmer sounds Munk is often associated with. Sonic structures that slowly and gradually evolves and changes, like cloud formations in the sky. The title track, "Mirror Phase", is Munk's most expansive drone opus so far. It's a carefully arranged piece where sounds that oscillates with the same interval, but at different phases, are continuously added, hence creating shifting patterns throughout the track's nearly 18 minute duration. Elsewhere, in "Transition", multi-layered guitars creates the sonic equivalent of waves gently splashing on the shore. "At a Distance" creates a haunting, and hypnotic, soundscape by using slightly out-of-tune analog synthesizers, summoning the transcendent krautrock of Popol Vuh. And "Rise", as well as the closing track, "Return to Nowhere", recalls the glistening sounds of his Manual releases. "Mirror Phase" might just be Munk's ambient oeuvre reaching its zenith. The CD edition comes with an extra CD with Jonas Munk's 2021 album, "Altered Light", which has previously only been released on digital download and streaming.

"Horizoning is the sole album by Stefan Gnys. It recorded in 1969, and twelve copies were produced on acetate. Two worn copies remain, from which We Are Busy Bodies painstakingly remastered the album. There is static and crackle, but there are also a beautiful folk album waiting for an audience to finally hear it and learn the story.

From performing to an audience comprised of Joni Mitchell, Leonard Cohen, and Tom Rush at an early edition of the Mariposa Folk Festival to seeing regional airplay for a 7"" single version of the song Evangeline and album title track Horizoning, there were moments where Stefan's music began to bubble into the mainstream.

55 years after its recording, Horizoning will finally see its release and hopefully a new audience and generation of listeners. The album comes with a 24-page large format insert telling the story of comprehensive back story that is Horizoning and the life of Stefan Gnys."

Crypt of the Wizard is proud to present With Hope or Without, a new mini-LP from Riders of Rohan, available now on vinyl and digital formats.

The singing Rohirrim hath returned on their continued quest through the nooks and crannies of Middle Earth to tell more tales of love, longing and derring-do. This time our heroes even hark back to an era far beyond the Third Age and the War of the Ring on occasion, delving into territory lesser known to the fairweather Tolkienistas. That is not to say we won’t run into some friendly faces. Indeed one familiar friend is well-met wandering free out on the borderlands in Ranger Song yearning for yesteryear, and for lost love with a great destiny ahead of him.

WARMDUSCHER kehren im Herbst mit ihrem neuen Album Too Cold To Hold zurück, auf dem Irvine Welsh, Lianne La Havas, Janet Planet, Jeshi und CouCou Chloe als Gäste zu hören sind. Das Album ist zweifellos ihr bisher bestes und ambitioniertestes Album. Wenn man die repetitiven und polyrhythmischen Grooves des Gqom (eine verführerische südafrikanische Variante der House-Musik) aufgreift, eine Prise Hip-Hop und sogar Jazz hinzufügt und das Ganze dann mit ihrem Punk-Funk-Disco-Pogo verbindet, ist das eine fesselnde Mischung. Das Album wurde von Ben Romans Hopcraft zusammen mit Jamie Neville produziert. Auf Too Cold To Hold dehnt sich die Band aus, öffnet sich und produziert ihr bisher schillerndstes, eklektischstes und ehrlichstes Album. "Wir wollten, dass es eine brutal ehrliche Darstellung von uns selbst ist". "Wir sind dafür bekannt, dass wir uns auf eine bestimmte Art und Weise verhalten, auf eine bestimmte Art und Weise spielen und eine bestimmte Methode anwenden. Ich denke, die Formel für Warmduscher ist Chaos. In jeder Hinsicht. Das Chaos, das wir uns zu eigen machen, hat Methode, und es ist wirklich wichtig, dass wir es unter Kontrolle haben und dass sich dieses Chaos entwickelt. Andernfalls würden wir uns in der gleichen Schleife befinden und den Leuten das geben, von dem sie denken, dass sie es von uns wollen. "Warmdsucher entstand 2014 aus einer kreativen Kollision zwischen Mitgliedern verschiedener prominenter Bands und diese spontane Formation führte zu einer Band, die nicht nur ein Nebenprojekt war, sondern eine musikalische Kraft, die sich bald ihre eigene Nische schaffen sollte. Auf ihren vier Vorgängeralben Khaki Tears (2015), Whale City (2018), Tainted Lunch (2019) und At the Hotspot (2022) hat die Band mit einigen der angesehensten Produzenten wie Dan Carey und Joe Goddard & Al Doyle von Hot Chip zusammengearbeitet und für ihren DIY-Geist und ihre mühelose Fähigkeit, Genres furchtlos zu vermischen, viel Lob von ihren Fans erhalten. Der Ruf eine der aufregendsten und fesselndsten Live-Bands zu sein, eilt ihen voraus, und bald werden sie wieder die Bühnen beglücken! Klar-rote LP sowie CD!

Originally released in 1996, punk rock pioneers Chixdiggit’s debut album has finally been reissued in its original format.

Limited edition version of the classic album in yellow vinyl packaged featuring an exclusive large format Future Past World Tour 2024 tour lenticular

Remastered Deluxe-Format zum 25-jährigen Jubiläum des legendären Debütalbums der US-Indie-Band American Football. Die Band brillierte mit einem Slowcore-Sound zwischen Math- und Post-Rock, löste sich aber kurz danach auf, um sich mit einer Reissue dieser LP 2014 wieder zu vereinen. Im Zuge der zweiten Emo-Welle entfaltete das Album eine ungeahnte Wirkung: Für Pitchfork "beste Neuauflage" und "einflussreichstes Album des Genres", für den Rolling Stone #6 der "40 besten Emo-Alben aller Zeiten". Das neue Format ist remastert und erscheint auf silberfarbigem Doppelvinyl mit 24-seitigem Booklet und Download-Card im Gatefold-Sleeve mit neuem Artwork in Silberfolienprägung.

Tiny Mouse Tales was released in 2018. At the time, Evgeny was living in a house surrounded by forest. One night he noticed movement in his kitchen and saw a mouse. The mouse kept coming back but seemed to have different features each time! Eventually Evgeny understood that it was a family of mice, and the title of his new record was evident. On Tiny Mouse Tales Evgeny tells the musical story of the family of mice living in his home, expanding his palate to include the trumpet to great effect on tracks such as “Hunter In Love” and “Prologue.” The blog Spellbinding Music sums it up perfectly: “With short pieces such as “Prologue”, “Epilogue” or “Carousel”, the Tiny Mouse Tales EP sketches wonderful cinematic themes begging to be expanded and heard on the big screen.” Naive Album was released in 2019. Album opener “Where Art Thou” announces the arrival of a masterpiece. More than ever, Evgeny’s compositional voice is fully formed. Each track feels like a journey in itself, and the album has several crescendos that make the listener feel as if there is an entire orchestra backing Evgeny. The album closer, “Unexpected Finale Somewhere in Lisbon,” perfectly encapsulates this masterpiece. Running through three separate, repeating themes, the track is at times mournful, intense, epic and humorous. Witness the picked / improvised violin notes on top of the relaxed accordion theme that makes up the second half of the track. Although the record was recorded in Lisbon, this track has the feeling of a stroll down the Seine in Paris, a silhouette dancing with heels clicking left and right. Now, these treasured recordings and pieces of Evgeny Grinko’s creative world will be available in physical format for the first time.

As a young conservatory student back in 2016, Danish trumpeter Anders Malta was invited to participate in a reunion concert with the legendary Ernie Wilkins Almost Big Band. He was so taken with the band and the music, that on the spot he decided that he wanted to form his own. In 2020, Anders Malta Almost Big Band played its first concert, going on to play a monthly residency at Christiania Jazz Club in Copenhagen for the past two years. Their debut album Introducing is set to release on August 23rd on April Records. Since the early days of jazz, the broad sound pallet and dynamic range of the big band has proven irresistible to composers and arrangers. However, the traditional big band, with its 16 16-19 individual moving parts, can also at times, and for different reasons, be an unwieldy machine to maneuver. Malta s 13 13-piece made up of Denmark s finest young soloists is agile like a small group, retaining the powerful force of the larger orchestra. Belonging to a new generation of musicians with a deep love and knowledge of the jazz tradition, Introducing " sees the band pay tribute to the timeless Hardbop sound of the 50" s and 60" s through the three movement suite Hardbop Conversations "", whilst offering a contemporary European perspective on the classic large ensemble format through Ouverture, Interludium and Epilog ". Intricate arrangements, rich harmony, soaring trumpet & flugelhorn improvisations and a diverse array of feel and grooves showcase the impressive stylistic and artistic breadth Malta has to offer as a bandleader, arranger, composer and instrumentalist. From the high high-energy swing and powerful tutti chords one craves from a Big Band to the more intimate textures of solo instrumental passages, the ensemble s sophisticated, complex, and joyous debut proves once again that Denmark s jazz scene is among the world s most prolific and exciting.

"As I'm getting older, chip up on my shoulder..." is the opening line from Mac DeMarco's second full-length LP `Salad Days,' the follow up to 2012's lauded `Mac DeMarco 2.' Amongst that familiar croon and lilting guitar, that initial line from the title track sets the tone for an LP of a maturing singer/songwriter/producer. Someone strangely self-aware of the positives and negatives of their current situation at the ripe old age of 23. Written and recorded around a relentless tour schedule (which picked up all over again as soon as the LP was done), `Salad Days' gives the listener a very personal insight into what it's all about to be Mac amidst the craziness of a rising career in a very public format. The lead single, "Passing Out Pieces," set to huge overdriven organ chords, contains lines like "...never been reluctant to share, passing out pieces of me..." Clearly, this isn't the same record that breezily gave us "Dreamin," and "Ode to Viceroy" but the result of what comes from their success. "Chamber of Reflection," a track featuring icy synth stabs and soulful crooning, wouldn't be out of place on a fantasy Shuggie Otis and Prince collaboration. Standout tracks like these show Mac's widening sound, whether insights into future directions or even just welcome one-off forays into new territory. Still, this is musically, lyrically and melodically good old Mac DeMarco, through and through. The same crisp John Lennon / Phil Spector era homegrown lush production that could have walked out of Geoff Emerick's mixing board in 1972, but with that peculiar Mac touch that's completely of right now. "Brother," a complete future classic, is Mac at his most soulful and easygoing but with that distinct weirdness and bite that can only come from Mr. DeMarco. "Treat Her Better" is rife with "Mac-isms," heavily chorused slinky lead guitar, swooning vocal melodies, effortless chords that come along only after years of effort, and the other elements seriously lacking in independent music: sentiment and heartfelt sincerity. We're only at Part 2 and 1/2 (one EP and two LP's in) into Mac's career. As you read this and as you hear the album on April Fool's Day of this year, he'll probably be on tour, or preparing for one... or maybe already writing new music. A relentless work ethic is something to be admired in today's indie music scene, but when it's of the quality Mac is giving us time and time again, it starts to turn from admiration to awe.

After winning three leading Belgian music awards with Humo's Rock Rally, De Nieuwe Lichting and Sound Track, girl band BLUAI is expanding its horizons. On their debut album Save It For Later, the trio leaves for a road trip through the sonorous areas populated by the likes of Big Thief, Pinegrove, Haim, and Alabama Shakes.
Save It For Later is a record not unlike a Polaroid picture. Belgian songwriter Catherine Smet captures the memories of her youth in lyrics with a perfume of Americana, country pop, and indie folk. The stories areset in her native Flanders, but close your eyes, and galloping horses on a ranch in Mississippi form the backdrop of BLUAI's debut album.

Catherine Smet (vocals, guitar), Mo Govaerts (drums), and Caitlin Talbut (bass) joined forces with producer Willem Ardui (blackwave.) for this record. BLUAI's instrumentation was expanded with banjo, twelve-string guitar, and lap steel. Engineer Tobie Speleman received 'Nashville tuning' as a briefing. BLUAI thus shifts the focus from indie rock to Americana and breaks open the band's frame of reference, with influences ranging from Maggie Rogers to Alabama Shakes to The Japanese House.

Save It For Later is the creation of a group that came together two years after the formation of BLUAI, found a common drive, and is now cruising at full speed. BLUAI is here to stay.

Spyro Gyra, a jazz fusion band from Buffalo, NY formed in 1974 and created the framework for contemporary jazz in the 80s and 90s. Celebrating this milestone 50th anniversary of the band's formation, comes Jubilee, a new collection featuring 16 songs that capture the band's ever-expanding palette in its first decade of recording (1978-87) and includes fan favorites "Shaker Song", "Morning Dance" which have had chart success in multiple countries plus tracks the band continues to perform across the globe.

The new LP and CD contains never before seen photos from the band's early days and more recent world tours, liner notes from veteran music journalist Jonathan Widran and a newly recorded song, "50/50" - a riff on the title of the band's 1997 release 20/20, which marked 20 years and 20 albums.

Throughout the 1960s, Canadian composer Bruce Haack was as ubiquitous on children’s and variety shows as were exotic animals from the San Diego Zoo. But he wasn’t there to perform so much as demonstrate. In his formative compositions for theatre and ballet, he had experimented with tape loops and musique concrète techniques; by the early ’60s, he wasn’t just playing around with electronic sounds, but also making the very gizmos that generated them. By day, Haack would eke out a living as a composer for commercials and a series of instructive, interactive children’s records made with collaborator Esther Nelson.

But by night, Haack was making music that was decidedly adults-only.

Originally released in 1970, The Electric Lucifer was Haack’s first work pitched to a contemporary rock audience, released by Columbia Records in the dying days of a post-hippie moment when bizarro outsider-psych could still find a home on a major label. If it was not the first rock record to feature electronics, it was certainly among the first to give them a starring role—both musically and conceptually.

12th Isle revisit the various artist compilation format first explored with 2019’s ‘Inkosi’ and assemble a veritable mixtape of sorts unfolding across six tracks aimed with the club in mind. Echo Party get things started with a dub heavy, studio alchemy excercise in discipline that appears in an extended mix to the original form on Murray Collier (Dip Friso) & Hannan Jones’s self-released CD-R. Italian newcomer Guizzi features with a thunderous downtempo excursion with tight conga percussion in a DK/RAMZi vein that feels very at home on the label. Der Opium Queen pulls off a propulsive, video game OST style dancefloor hit that brings to mind that Les Aeroplanes project on Jamal Moss’s Mathematics label from way back when whilst on the Side B a freak-folk skit from Memotone sits next to heads-down motorik from Lo Kindre and a bleep-infused dub techno piece by Toronto via Bangladesh real one Raf Reza. More V/A's to come.

Parallel zu seinem ersten neuen Soloalbum seit über zwei Jahrzehnten, "Good Grief", veröffentlicht Bernard Butler eine ganz besondere Live-10" mit 6 Albumsongs. Nach Fertigstellung des Albums buchte Butler das Green Note in Camden, einen beliebten Treffpunkt, um vor einem kleinen Publikum von jeweils 60 Fans eine Woche lang intime Akustikshows zu spielen, um die neuen Songs zu testen. Das reduzierte Format mit nur 2 Gitarren und einem Mikrofon liess ihm dabei reichlich Improvisationsfreiraum für jeden Song und jedes Set. Vorliegende 10" präsentiert die Essenz dieser Konzerte.

Released via Sony CMG - 15 years on from the release of their 4 x platinum selling debut album, JLS are celebrating the milestone with a deluxe edition titled 'J15 - Anniversary Editon'. Encompassing chart topping singles 'Beat Again', 'One Shot' and 'Everybody in Love', 'J15' features four brand new tracks: 'Beat Again 15' remixed by legendary DJ and producer Paul Woolford, 'One Shot (Jess Bays Remix)', 'Everybody in Love (Unplugged)' and fan-favourite 'Crazy for You (Unplugged)', all recorded in Summer 2024. Standard CD plus a limited Double White LP Vinyl format. Extensive promo & marketing activity.

Tristan Arp returns to Wisdom Teeth with his sophomore LP: ‘a pool, a portal’ - a vast, multi-dimensional record of pin-drop rhythms, hushed vocals and swirling ambience that maps out a vivid limbic space between the natural and the digital worlds. The LP began life while Tristan was still living in Mexico City, and was subsequently finished in New York. Carrying on from where his acclaimed debut ‘Sculpturegardening’ left off, the record marries hallucinatory modular synths with cello, found sound and spoken word, creating a rich sonic world in which machines mimic nature and acoustic instruments merge with their digital counterparts. Across the record’s narrative arc, listeners are invited to imagine a future world in which nature and machines collaborate to rewild and search for new modes of being. Far from apocalyptic, the artist’s vision is yearning and hopeful - a reflection on how we might evolve to overcome our very human limitations. “Hopefully we can all open a little portal into another world and integrate what we learn into our own”, Tristan offers. True to his word, Tristan shared much of the creative process with his machines, using modular generative processes to create randomised, improvisatory moments that he could collaborate on as artist and observer. Most of the tracks were captured in single takes as live performances and improvisations that were subsequently edited and cut down. Speaking of ‘Life After Humans’ - the record’s beguiling 10-minute centrepiece - Tristan recalls: “I neglected to record multi-track outs, but it was actually super empowering to be left with just a stereo track: I couldn’t mix individual elements even if I wanted to after the recording, but I’m happy I inadvertently limited myself in that way.” Alongside his own voice, the record features a stunning appearance from fast-rising Guatemalan cellist and vocalist, Mabe Fratti. The pair met in Mexico City in 2020, where she helped Tristan to learn cello - an encounter that ultimately went on to inform the recordings that made up ‘Sculpturegardening’. Her appearance on ‘a pool, a portal’ marks a full-circle moment in their creative relationship. The album’s artwork features photography by Zhang An - a photographer based in Nanjing, China. Despite their appearances, these are unmanipulated photos of real-world ice formations. As is the case throughout ‘a pool, a portal’, the lines between the natural and the artificial are playfully indistinct.

Having spent their formative years in São Paulo Brazil, as a teenager, Lau Ro found themself uprooted from their home. Moving with their family to Europe in search of a better quality of life, their story was like that of many immigrants in the same position. Lau Ro's parents found work in factories and cleaning jobs, for the first few years in the North of Italy and then in Brighton on England's Southern coast. "We never managed to visit back home, so my connection to Brazil became largely made up of childhood memories and my fascination with all the 60s and 70s music I could find from there."

In Brighton, the young non-binary singer and composer would immerse themself amongst the city's vanguard of free-thinking artists and musicians. Lau Ro formed Wax Machine whose prefigurative, psychedelic community provided a glimmer of countercultural hope amid a backdrop of national political decline. From 2020-23, Wax Machine birthed three cult-favourite albums in as many years; indebted in part to their British psychedelic forebears from progressive folk, rock and jazz yore. But the kernel of Lau's Brazilian sound was already beginning to blossom across Wax Machine's releases. Now, taking root deeper still, Lau Ro steps forward with their debut album: Cabana.

Named after the small wood cabin at the bottom of their garden where the album was recorded, Cabana is a deeply personal record of memory, self-discovery and imagination. Melancholy and hope combine across ten tracks of dreamy bossa, ambient folk, fuzzy tropicalia and majestic MPB. The music is swathed in masterful string arrangements and trippy electronics in equal part, while Lau Ro's delicate, yet quietly confident voice takes acerbic aim (in both English and Portuguese) at polluted city life, while dreaming of a utopia, rich with nature and wildlife.

Like the musical equivalent of semantic drift, Lau Ro's displacement led to the creation of another Brazil. A mythic place in Lau's soul, as they put it, "where the sunshine and joy of my childhood remained untapped." Lau continues: "It's music that might sound as if it came out of a parallel universe Brazil, rather than its modern day landscape. I am nowadays rediscovering Brazil, going back as often as I can and trying to stay connected to these different parts of the world and myself."

Peaceville, This edition of Complete & Total Fucking Mayhem is presented on limited white vinyl. The combined early and rare recordings of Hellripper - Scotland's blackened Thrash Metal sensation.

The title combines numerous recordings which featured on a series of demos and underground releases unleashed primarily in the more formative years since Hellripper mastermind James McBain created the band in 2014. Commencing with 2015’s initial recordings of the cult The Manifestation of Evil demo, Complete & Total Fucking Mayhem offers fifteen anthems to the dark side, with a masterful repertoire of pure, raw, unadulterated high octane blackened thrash/speed metal.

Inspired by the likes of old-school legends including Venom, Kreator, Sabbat JPN and Metallica, James McBain formed Hellripper in 2014 and with the release of the debut EP The Manifestation of Evil shortly after, the Scottish band was already making a very clear statement of hellish destruction with an electrifying brand of blackened thrash. Building on the momentum of the debut EP with a string of split releases, the debut album Coagulating Darkness was released in 2017 to media acclaim, with the UK’s Metal Hammer hailing Hellripper as “Scotland's King of the arcane mosh” & the band receiving attention throughout Europe and the US. This was followed by the EP - Black Arts & Alchemy, before an eventual deal was inked with Peaceville, resulting in 2020’s The Affair of the Poisons, leading on to 2023’s monumental breakthrough release, Warlocks Grim & Withered Hags.

Rapping at the window / Crying through the lock / Bells and running water / Influence on dusk.

Re-release of Blue Chemise's debut LP, which originally appeared in 2017 as a limited private release of 105 copies. BAADM make this much sought-after record available again on both physical and digital format, with remastered sound by Christophe Albertijn and updated artwork, all true to the original intentions of, and in close collaboration with, the artist.

‘Influence On Dusk’ forms an idiosyncratic cycle of fourteen mysterious, sometimes uncanny electroacoustic compositions, a personal and subdued eruption of 'melancholy of the healthy kind’, suddenly here and suddenly gone…

This is the second release on B.A.A.D.M. by the Australian artist Mark Gomes, following his equally atmospheric but more romantic 'Flower Studies' from 2021.

After the successful release of Paulette Tajah's 'Journal Of A Butterfly' EP on digital format, it's now turn for the vinyl LP to be released. The quality is excellent and the whole album is an absolute must to listen to. The songs are brilliantly recorded and we at Mad Clown Productions are sure it will end up in many vinyl collections across the world.

Following the success of the first Jungle Scratch release (vinyl single of the year 2023), Mad Cannabeatz and Tuse are teaming up once again.

Jungle Scratch's next release JS002 appeared only on vinyl in 12-inch format.

This time, Jungle Scratch have taken the classic from Hemp Gru (Wilku WDZ and Bilon) ‘This is it’ for the beat.

In addition, Cheeba and Sabot have again added their versions to the beat.
Cuts and scratches are responsible for: Dj Cent, Dj Vazee, Dj Chmielix and MAD.
This time, in addition to tracks never released on the album, Mad & Tuse decided to add a special track for turntablists as a bonus track. In addition to this, limited edition stickers are included with each copy.
The cover artwork was designed by Tuse.

Using a variety of tape stocks, Black Swan creates a haunting atmosphere that evokes the sensation of uncovering long-lost, sacred recordings hidden in time on his ninth album, Ghost.

The New York-based artist reveals that he was inspired by musique concrete and ambient while making the record, which is made up of 20 pieces that all form a continuous suite. Each track varies in length and complexity from short and sweet sketches to more elongated studies and that are made from intense layering and harmonic surges using an array of tape stocks.

The result is a haunting, unearthly atmosphere that sounds perfect in this cassette format.

Nearly a decade after the release of his breakthrough debut album 'Sunday', Swedish producer HNNY (aka Johan Cederberg) returns with the album Light Shines Through, released independently via HNNY's own imprint.

For his first album in almost a decade, HNNY has returned to the electronic soundscapes that inspired his earliest releases. It's made for the quiet, brain-tingling moments of solitude at home and contains a consistent thread throughout, not just in the ambient sounds used, but also more conceptually with what the songs evoke and what they are about: the album lands at a particularly pivotal moment of HNNY's life after the birth of his two daughters which have given him a new perspective on life.

HNNY's melodies are a gentle alternative to the more complicated corners of dance music. Debuting on Studio Barnhus in 2011, HNNY aka Johan Cederberg quickly became one of house music's most talked about artists with a signature sample driven style. He has won a Swedish Grammy in the electronic music category, toured the world globally and created a following both in and outside of the dance music community for his bittersweet strain of dance music.
Shortly after the release of his critically acclaimed debut album Sunday, the producer stopped touring solely focusing on production. Since then, HNNY has racked up hundreds of millions of streams, released a number of singles and EPs on the likes of Let's Play House, Puss and Omena and he is now finally ready to return to the LP format for the first time in nearly a decade with the album Light Shines Through.

15 stunning group soul tracks (including 3 previously unreleased tracks never before issued in any format.

Sussex recordings licensed courtesy of 43 North Broadway LLC
York & Unreleased recordings licensed courtesy of Fred White and The Decisions
Sleeve Notes edited by Alan Kitchener (Soul Direction)
Sleeve & Label design by Jordan Wilson
Inner sleeve notes by Brian Poust
Mastering by Swift Mastering Ltd

Volksmusik returns after their last vinyl release in the year 2005 with 3 new unreleased tracks from the electro to post punk and new wave, sounds characteristic of the golden age of French electroclash plus 2 of his sought after tracks included in the EP "Glowing in the dark" released on the label Elektrofon, remixed and remastered from the original steams for a better sound and adaptation to the vinyl format to you don't have to delight the discogs sharks

"• 25th Anniversary expanded edition available on CD and for the first time on vinyl. • Contains five previously unissued tracks recorded live, November 14, 1999 on Mountain Stage. • Packaging contains lyrics, photos, and liner notes from Peter Blackstock (No Depression, Austin American-Statesman) While gigging in Austin, Texas, in the late 1980s, Kelly Willis developed a strong fan base. Among her fans were other Texas musicians like Lyle Lovett and Nanci Griffith. Griffith introduced her to producer Tony Brown who signed Willis to MCA Records. Soon, she would find herself in the films Thelma And Louise and Bob Roberts, as well as receiving a nomination as Top New Female Vocalist at 1993’s Academy of Country Music Awards. After three records on MCA, and an EP on A&M, Willis finished her fifth release and signed with Rykodisc, who released What I Deserve in 1999. Featuring originals by Willis, three co-writes with The Jayhawks’ Gary Louris, and songs by Paul Kelly, Paul Westerberg, Nick Drake, Dan Penn, and more—What I Deserve became her highest charting album to date, hitting #30 on the Country charts and #24 on Heatseekers Albums. It is also now revered as a landmark release in Alternative Country and Americana circles—with good reason. To celebrate its 25th Anniversary, What I Deserve returns—expanded with five previously unissued live performances of songs from the album recorded November 14, 1999 on Mountain Stage. In addition to an expanded CD reissue, the release sees its first appearance on vinyl as a double-LP! In addition to the 17 tracks (appearing on both formats), the packaging contains lyrics and new liner notes from Peter Blackstock (No Depression, Austin American-Statesman), all done with Kelly’s approval. What I Deserve has always deserved another look and listen for those who may have missed it the first time—what you deserve is to lose yourself in Kelly Willis’ incredible What I Deserve and celebrate 25 years of this landmark album.
"

Ace Records has been the go-to source of 1960s US girl group compilations since the release of our “Where The Girls Are”, “Girls About Town” and “Stop, Look & Listen” vinyl albums back in the 1980s. The 10-volume “Where The Girls Are” CD series followed over the next few decades, along with a batch of standalone CD collections. These days, however, the vinyl long-player is back in favour as the format of choice for discerning collectors.

Most bands after nearly 20 years of classic albums, touring , line-up changes and a definitive legacy might be forgiven for putting their feet up and kicking back for a while, but then most bands aren’t the juggernaut that is Motörhead. We Take No Prisoners takes in a collection of singles and promos from the period of 1996-2005, during which the band, now a taut powerful trio, continued on their relentless journey with even more of the same quality, ear-shredding riotous rock ‘n’ roll than ever before. This Box Set containing nine 7” records, brings together some of the classic singles from the era alongside rare and live material including a lost interview with Lemmy and Mikkey Dee. There is also a CD version that features all this alongside tracks exclusive to that format. Descriptions: - 7" Singles Box Set containing nine 7” singles (on black – eight 7” contain two tracks on each and one 7” interview with Lemmy/Mikkey Dee). - Standard digisleeve with 2CD with 20pp Booklet. Features several tracks exclusive to the CD edition only.

"ABBA release “The Singles – The First Fifty Years”, a 38-track compilation album expanded from “The Singles – The First Ten Years” originally released in 1982.
The album features ABBA’s top tracks plus additional songs not available on other compilations, including singles from the band’s latest studio album “Voyage”.
2CD format is packaged as a hardcover media book with a 28-page illustrated booklet including liner notes and unseen band images."

Dar Embarks, the hardware-based collaboration of Chicagoans Dan Jugle and Ken Zawacki, share four precious recordings of bouncing, highly-acidic machine funk and industrial ambiance. This is a posthumous release for Dan Jugle, who departed in 2018.

Dan was a multi-instrumentalist and a pillar of Chicago's techno scene who left an indelible mark on it with his distinctive sound. His infatuation with electronic music began in the mid-90s when he found his way to Midwest raves as soon as he was old enough to drive to them. He began working with analog gear to create his own expression of the music he heard there. Jugle, Zawacki, and Mike Broers started experimenting with a thrifted Roland TR-707, figuring out the controls through trial and error. They performed together as Ghost Arcade in the early 2000s.

Years later, Jugle and Zawacki reunited creatively, forming Dar Embarks and building the foundation for their project. Jugle gained a reputation for crafting washed-out, saturated club tracks as Juzer, a project formed with Beau Wanzer. Dar Embarks' debut EP Fleer (released on CLEAR USA) and Juzer's Horseplay (on Anthony Parasole's label The Corner) were both released in 2014, both elevated by Dan Jugle's live-action knob-twisting and button-pushing composition inspired by sci-fi and comic books. Despite his early passing, Jugle's legacy lives on through his work and his passion for Midwest techno that his friends and fans still remember and carry.

Lovingly wrapped up and presented to Acid Camp by Ken, these heaters are finally set free to move asses and minds.

Unlike most of Grant Green's many trio albums, Green Street, which was his second LP as a leader following Grant's First Stand, didn't make use of the organ or the piano, consisting instead of guitar-bass-drums format. Backed by such subtle players as Ben Tucker and Dave Bailey, Green could showcase his talents with no inhibition, making this one of the most remarkable works of his whole career. 180-GRAM COLORED BLUE VINYL - THE COMPLETE LP + 1 BONUS TRACK - Contains new specially prepared liner notes by Penguin Guide to Jazz's writer BRIAN MORTON and by Paris' prestigious JAZZ MAGAZINE. LIMITED EDITION







[f] Alone Together [Alt. Take]

Peter Evans makes his We Jazz Records debut with Extra, a new album out 25th October. The band formation includes Evans on trumpet, Petter Eldh (Koma Saxo / Post Koma) on bass and Jim Black on drums. Peter Evans, an acclaimed trumpet player, improvisor, and composer based in New York City presents a gutsy new band that gets right to work with his eight new compositions.

"In the mood for love"
A bohemian atmosphere caught between Paris and Rio. Melodies and Harmonics that have a french taste and rhythms rooted in Brazil. Laura Fedele the time stopping voice.

"Take 4"
Up tempo track characterized by a soprano sax that swirls out melodies making you feel like you have travel back to the 70's. The jazzy guitar riffs opposed to flutes makes the picture complete; all weaved by S-tone inc. 's hand.

"Rendez-vous à minuit"
A Bossa Lounge motif with Wes Montgomery guitar riffs combined to scat voices all packed in relaxin' cruise formation.

"Vai Ser Bom"
Dedicated to Iemanjà, Brazilian sea god. A dreamy rhythmic atmosphere sweatened by the tender voice of Adi Souza and acoustic guitars inpired to Baden Powell.

"La Boca del Rio"
The acoustic bass distinguishes this up tempo track that creates great ambience. The acoustic piano duets the keyboards enriched by strings. The rhythms falling between house and bossa nova.

"Limbe"
A scent of India in a down tempo track, a bit psychedelic with sitars and tablas making the background for a French melody. Velvet voice of Laura Fedele gives the track that extra dimension.

"Memphis Freeway"
Funky track with a 70's taste starting with the flute that plays the theme with horns 'Temptations' style. The beat is a straight 4/4 kick with a groovy bass.

"Entre o Ceus e a Terra"
Like the dualism in the title, the track is divided between the tension of the spoken riff and the solarity of the melody both moved by a "bossy" up tempo base.

"Effetto Notte"
A cinematic feel for a soothing chill out theme on the keyboard alternating with dreamy orchestrations.

"A mere two years on from their formation in London towards the end of 2007, Mumford & Sons released their
debut album, Sigh No More. Introducing the group’s signature blend of folk and rock music with heartfelt lyrics and
soulful melodies, the album was instrumental in propelling the folk-rock resurgence into the mainstream at the
end of the 2000s.
Peaking at No.2 in both the UK and the US, and winning British Album of the Year at the 2011 BRIT Awards, Sigh No
More paved the way for a career that has seen the group release three further acclaimed albums, scooping up a
second BRIT Award, plus two Grammys and an Ivor Novello, along the way. The group’s lasting impact on the music
industry can be traced back to this record – now reissued on ultra-clear vinyl for National Album Day – and its
game-changing singles, among them ‘Little Lion Man’ and ‘The Cave’, which have, respectively, reached nearly 45
million and more than 20 million streams this year alone.
"

Nour Mobarak’s Dafne Phono is an adaptation of the first opera, Dafne, composed and written by Jacopo Peri and Ottavio Rinuccini in 1598. Drawing on the myth of Daphne and Apollo from Ovid’s Metamorphoses—a story of unrequited love, patriarchal possession, conquest, and transformation—Mobarak’s multimedia and multispecies reimagining splinters the opera’s Italian libretto. Alongside English and Greek versions, it is translated into some of the world’s most phonetically complex languages—Abkhaz, San Juan Quiahije Eastern Chatino, Silbo Gomero, and !Xoon. In this process, the narrative—and an artifact of Western culture—is dismantled, metabolized, and rendered into unruly utterances that shape the sensorium as much as they do the capacity for sense-making. These voices are given material form by a cast of mycelium sonic sculptures whose rhizomatic compositions and broadcasted recordings resemble the formation and mutation of language over time, reconstituting speech into a new, polyphonic body politic, composed of voices whose striking, poetic utterances transfix and transcend meaning.

The A-Side of the record presents a stereo version of Mobarak’s 15-channel sound installation, Dafne Phono. The B-Side uses a recording of a portion of the translation process the libretto underwent in Namibia, live-processed by the artist.

The LP is published on the occasion of Nour Mobarak’s exhibition at The Museum of Modern Art, New York (October 26, 2024–January 12, 2025), with support from Sylvia Kouvali.

Artist Bio:
Nour Pamela Mobarak (Lebanese-American, b. 1985, Cairo, Egypt) lives and works between Los Angeles; Bainbridge Island; and Athens, Greece. Her works have been shown at Sylvia Kouvali (formerly Rodeo), London/Paris; Schinkel Pavillon, Berlin; MIT List Visual Arts Center, Cambridge, MA; Amant, Brooklyn; JOAN, Los Angeles; Kim? Contemporary Art Centre, Riga; Miguel Abreu Gallery, New York; Hakuna Matata, Los Angeles; and Cubitt Gallery, London. Exhibitions at the Museum of Modern Art, New York, and Castello di Tivoli Museo d’Arte Contemporanea, Turin, are forthcoming. She has performed at Western Front, Vancouver; 2220, the Hammer Museum, and LAXART, Los Angeles; Cafe OTO, London; Renaissance Society, Chicago; the Museum of Contemporary Art, San Diego; and elsewhere. Her music has been released by Recital (Los Angeles), Cafe OTO’s TakuRoku (London), and Ultra Eczema (Antwerp), and she has had sessions on BBC Radio 3, NTS Radio, and Dublab Radio. Mobarak’s writing has been published in Triple Canopy, F.R. David, The Claudius App, and the Salzburg Review, and her first catalog, Sphere Studies and Subterranean Bounce was published by Recital (2021). She received a BA in English and Media Studies from Sussex University and did further studies at Université Paris-Sorbonne, Paris IV. She has held residencies at Denniston Hill, New York and the Institute of Contemporary Art, Los Angeles, and was the recipient of the 2023 FOCA fellowship award. Mobarak was a 2024 faculty at Bard College MFA program.

Dafne Phono Vocalists:
Apollo: Renato Grieco (Italian)
Cupid: Arnou Argun (Abkhaz)
Dafne: Agnes | xaye (!Xoon)
Ovid: Olivia O’Dwyer (Latin)
Venus: Don Eugenio Darias (Silbo Gomero)
Abkhaz Chorus: Liana Ebzhnou, Murman Guaramia, Fatima Kharzalia, and Gunda Osia
Chatino Chorus: Felix Daniel Peña Mendes, José Vasquez Canseco, Catalina Candelario Matias, and Claudia Garcia Baltazar
!Xoon Chorus: Franco Tsame, John Djujui Klosi Barase, and Charity Tsame
Clarinet: Steve Kado

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

Synth pop trio Bronski Beat's 1984 debut The Age of Consent is a rarity in musical history - an album that both defined a generation and challenged the status quo. Its four singles, and particular lead single 'Smalltown Boy', have endured with astonishing resonance, offering home to all listeners dreaming of escape from their familiar surroundings and situations.

Every track on the album places the listener 'in the room': they are in it, living it, rolling inside each song's thematic meaning. Through the blue-eyed wonder of singer Jimmy Somerville's vocal pirouettes, they too take the punch of hate in 'Why?', question the bible with alongside a male voice choir on 'It Ain't Necessarily So', and watch the same crappy TV advertising on 'Junk'. They are part of the trade-off between lust and commerce in 'Love and Money' and the heated near climax of 'Need A Man Blues.'

40 years later and The Age of Consent remains as prescient and vital as ever as it did on its original release; truly transgressive - defiant, queer, and laden with hooks. To celebrate this important anniversary, London Records revisit the album across a series of expanded formats, uncovering sonic archival gems, new mixes, essays and more.

To celebrate the one-year anniversary of Doja Cat’s critically acclaimed album, “Scarlet 2 CLAUDE” deluxe vinyl is available now!

The album features 24 tracks including smash hits such as “Attention”, “Paint The Town Red”, “Agora Hills”, “OKLOSER” and more. Her hit single, “Paint The Town Red” spent three weeks on the Billboard Hot 100 Chart at No. 1; that marked the first rap song to hit No.1 on the Hot 100 Chart last year. In addition, the song was No. 1 for a total of four consecutive weeks on the Billboard Global 200 Chart. Furthermore, Doja Cat’s fan favorite track “Agora Hills” went No. 1 at Top 40 Radio in February 2024 making it her eighth No. 1 at the format. “Agora Hills” also peaked at No. 7 on the Billboard Hot 100 Chart.

To celebrate the one-year anniversary of Doja Cat’s critically acclaimed album, “Scarlet 2 CLAUDE” deluxe vinyl is available now!

The album features 24 tracks including smash hits such as “Attention”, “Paint The Town Red”, “Agora Hills”, “OKLOSER” and more. Her hit single, “Paint The Town Red” spent three weeks on the Billboard Hot 100 Chart at No. 1; that marked the first rap song to hit No.1 on the Hot 100 Chart last year. In addition, the song was No. 1 for a total of four consecutive weeks on the Billboard Global 200 Chart. Furthermore, Doja Cat’s fan favorite track “Agora Hills” went No. 1 at Top 40 Radio in February 2024 making it her eighth No. 1 at the format. “Agora Hills” also peaked at No. 7 on the Billboard Hot 100 Chart.

“Pinhead Gunpowder started writing songs in 1990 and made our first 7-inch the following spring. Nearly every year since, we’ve met up to play. Some years we recorded—five albums and eleven EPs— and some years we played shows. “But since 2010, we’ve been playing just for ourselves, something bands forget to do. Rather than ‘writing for the new album’ or rehearsing to get ready for tour, we went back to the basement every year. We lived in the house we’d built, remembering how we’d made the music for each other in the first place.We played all over the world—well, at least Oakland, Singapore and New York—but only for each other. We worked on the reissues of our back catalog, too and found ourselves fonder of each other and more family-like than ever. “A new record and tour was only a matter of time, but between the members’ other bands projects, and families, that was hard to find. When we finally did, we were all surprised. We think it’s our best yet—our catchiest, most collaborative, and most poignant.” — Aaron Cometbus Pinhead Gunpowder is Billie Joe Armstrong, Aaron Cometbus, Jason White and Bill Schneider. Unt is fourteen brand new songs recorded in 2023 by Chris Dugan (Green Day, Weezer, Iggy Pop, Samiam, Swingin’ Utters etc) and mastered for all formats by Nick Townsend (Cheap Trick, Bad Religion, Iron Maiden etc) at Infrasonic Sound.

Gerry Mulligan mit der Night Lights Band auf Europatournee 1959. Das großartige Quartett besteht aus Gerry Mulligan am Baritonsaxophon und Klavier, Art Farmer an der Trompete, Bill Crow am Bass und Dave Bailey am Schlagzeug. Die Band war auf dem Höhepunkt ihres Könnens, und diese atemberaubenden Aufnahmen trugen entscheidend dazu bei, Mulligans Band als eine der angesagtesten Bands jener Zeit zu bestätigen.

In Zusammenarbeit mit dem Swedish National Radio Archive und dem Gerry Mulligan Estate ist es uns gelungen, die Original-Masterbänder im Tresor von Sveriges Radio ausfindig zu machen und sie Kevin Gray zur Verfügung zu stellen, der mit seiner gewohnten Magie beim Mastering und Editing diesen bisher unveröffentlichten Aufnahmen eine unglaubliche klangliche Bandbreite verliehen hat. Das neu gestaltete Cover wurde von Two To Tango entworfen, die regelmäßig mit New Land zusammenarbeiten, und bietet einen großartigen modernistischen Look.

Hergestellt bei Pallas und gedruckt auf 180g Vinyl im Reverse-Board-Sleeve, ist dies eine wichtige Ergänzung für jede Sammlung. Der Baritonsaxophonist Gerry Mulligan war eine wahre Ikone des Jazz und von den 1950er Jahren bis zu seinem Tod 1996 eine der herausragenden Persönlichkeiten der Westcoast-Szene. Mulligan, der vom Downbeat Magazine 42 Jahre in Folge zur Nummer eins auf seinem Instrument gewählt wurde, war einer der wichtigsten Musiker seiner Zeit und ein Aushängeschild, das den Sound des Jazz mitgeprägt hat. Gerry Mulligan spielte sowohl in der Miles Davis Formation der Birth Of The Cool-Ära als auch im pianolosen Quartett mit Chet Baker und war immer an vorderster Front, wenn es darum ging, was in Amerikas einzig wahrer Kunstform angesagt war und ist.

Die 1967 gegründete Band TEN YEARS AFTER zählte in den späten sechziger und frühen siebziger Jahren zu den innovativsten und erfolgreichsten Vertretern der britischen Progressive- und Rock-Szene. So veröffentlichte die Formation, der zwei Jahre später mit ihrem Auftritt beim legendären Woodstock-Festival der internationale Durchbruch gelang, acht hochgelobte Studioalben. Die jetzt erhältliche LP - gepresst in weissem Vinyl - präsentiert
Klassiker und Hits der Band wie ‘I‘m Going Home’, ‘I Woke Up This Morning’ u.v.m.

Erste Vinylreissue eines Klassikers aus der On-U Sound-Frühphase: Das 1982er Solodebütalbum der jamaikanischen Saxofonlegende "Deadly" Headley Bennett, der seit den 1960ern Stars wie Bob Marley und Alton Ellis begleitete, mit Produzenten wie Coxsone Dodd und Bunny Lee arbeitete und eine Schlüsselrolle in Bands wie Sound Dimension, Aggrovators, Revolutionaries und Soul Syndicate spielte. Aufgenommen mit Musikern von Creation Rebel und Roots Radics, Adrian Sherwood am Mischpult und Bim Sherman on vocals auf 3 Tracks. Die CD erschien erstmals 1999 und enthält hier zwei unveröffentlichte Bonustracks. Das Vinyl wurde komplett neu geschnitten. Beide Formate kommen mit ausführlichen Linernotes und rarem Fotomaterial.

Pearson Sound returns to his Hessle Audio label with Which Way Is Up, a 4 track EP showcasing a range of textures and tempos with soundsystem pressure as the anchor. The 808-laced 'Hornet' kicks things off with a sound palette inspired as much by '80s Miami as '10s London. 'Twister' dials up the energy with a jagged lead and scattered breakbeats pulling in opposing directions, while the steppers pulse of 'Slingshot' evokes formative experiences at Subdub in Leeds. The EP is brought to a close with the blissed out title track 'Which Way Is Up', whose arpeggios dance around each other until they fizzle to breaking point. Support from Mala, Mary Anne Hobbs, Joy Orbison and more.

Although the seven-inch is the smallest of the vinyl formats, it can pack a real punch. This is certainly the case with Bordello A Parigi’s latest discovery, Real Velour. This mysterious outfit draws on a spread of influences for Champions. Warm strings of throbbing bass and crisp drums dawn into shining synthlines as elements of indie and synth-pop melt. Chords are addictive, memorable hooks of pure joy countered by bittersweet lyrics that tell a sorrow-streaked story of calamitous change and dead-end dreams. The flip sheathes the cold wave edge of the original, letting the superb synthwork sing. Bright and uplifting, embers of electro disco smoulder with italo in this intricate instrumental version. A stunning 7” that marries melancholy with melodies of better tomorrows.

Limited to 200 copies.

Visionary art-pop duo Faux Real (a.k.a. Los Angeles-based Franco-American brothers Virgile and Elliott Arndt) release their debut album "Faux Ever" on City Slang.

Faux Real’s long-awaited debut album "Faux Ever" is a self-described “11-piece symphony for head-banging and longing,” the album sees the fraternal duo continuing to play on the outskirts of language and sound, exploring themes of heartbreak, labor, and the home with harmonies and humor, playful beats, and en franglais. Recorded between Paris, New York, London, Los Angeles, and Provence, "Faux Ever" thrusts Faux Real’s sultry, surreal, and unclassifiable sound towards a glossier pop horizon, an existential sonic pastiche with a glistening digital sheen. "Faux Ever" also includes such certified bangers as the bold, glitchy, and infectious “Rent Free” and the acclaimed “Faux Maux,” both available everywhere already alongside self-directed official music videos streaming now on YouTube. Known far and wide for their DIY, Iggy Pop-meets-Eurodance live performances, Faux Real are building anticipation for "Faux Ever" with international shows in the UK/EU and US.

Format: 140g Crystal Clear Vinyl

About Faux Real:
Elliott and Virgile Arndt founded Faux Real in 2018, blending post-punk, glam rock, and a taste for pop grandeur, fashioning a truly inimitable musical experience. From their increasingly accomplished studio output to mesmerizing, unprecedented live performances, Faux Real invite the audience to join them an enthralling post-realist expedition through contemporary pop culture with razor-edged satire, inspired boy band choreography, and a charged sensuality that has fast earned them a fervent fan following that includes among their number such iconic stars as Duran Duran, Beck, Paramore, Metronomy, and Wet Leg. Now, with the imminent arrival of Faux Ever, Faux Real continue to gleefully ignore boundaries and barriers, assuring the journey is as exhilarating as the ultimate destination.

The Jaffa Kid joins the Cold Blow roster with a marvelous self-titled EP of hard-hitting, atmospheric techno and ethereal braindance. These analogue productions will undoubtedly evoke nostalgia in the fans of the styles’ formative years, accentuated by the warm and crisp mastering by the legendary Ed DMX. This is a record for the clubs and the armchairs alike.

Die legendären Symphonic-Black-Metal-Titanen Dimmu Borgir werden ihr von der Kritik gefeiertes Album Eonian auf einer Coke Bottle Clear Gatefold Doppel-LP wiederveröffentlichen. Ursprünglich am 4. Mai 2018 auf die Welt losgelassen, markiert Eonian ein bedeutendes Kapitel in der geschichtsträchtigen Karriere der Band - eine dunkle, atmosphärische Reise durch die mystischen Gefilde von Zeit und Existenz.

Diese spezielle Wiederveröffentlichung von Eonian erweckt das Album auf Coke Bottle Clear Gatefold-Doppelvinyl zu neuem Leben, mit sorgfältig remasterten Tracks, um ein noch intensiveres Klangerlebnis zu bieten. Das Doppel-LP-Format ermöglicht es den Fans, noch tiefer in die grandiosen Klangwelten von Dimmu Borgir einzutauchen, wo epische Orchestrierung auf die rohe Kraft des Black Metal trifft.

Egal, ob Sie ein langjähriger Fan oder ein Neueinsteiger in die dunkle Faszination von Dimmu Borgir sind, die Neuauflage der Doppel-LP Eonian ist ein Muss für Ihre Sammlung.

Longtime enthusiasts of ambient music have much to celebrate as Rafael Anton Irisarri's cherished out-of-print cassette, "Midnight Colours," returns in a meticulously remastered edition and makes its inaugural debut on vinyl. The significance of this album's announcement is accentuated by its historical resonance, coinciding with the same day in 1952 when the world bore witness to the first-ever test of the hydrogen bomb.

"Midnight Colours" is far more than a mere album; it's an exploration of the enigmatic relationship between humanity and time. Conceived as a sonic interpretation of the Doomsday Clock, which symbolizes the world's existential vulnerabilities, Irisarri's work beckons listeners to contemplate the gravity of our existence and the delicate balance that envelops it.

"I wanted to capture the essence of humanity's relationship with time, both the anxiety and the serene beauty that coexists within the shadows of the night," explains Irisarri. "The vinyl format adds a tactile dimension to the experience, inviting listeners to physically engage with the music."

Known for his contributions to the ambient and electronic music genres, Irisarri often explores themes of introspection, nostalgia, and the interplay between sound and emotion.

Recorded in 2017, when the Clock was at 2½ minutes-to-midnight (and at the time, the second-closest to midnight since the Clock's inception in 1947), "Midnight Colours" permeates with the melancholy of memories resurfacing as one approaches the end of life: the regrets, the closure, the uncertainties, the anxieties.

Originally released as a limited tape on the beloved Atlanta-based label Geographic North, "Midnight Colours" swiftly garnered praise and acclaim within the ambient music sphere. Now, with this newly remastered edition on his own Black Knoll imprint, fans, both longstanding and newfound, can rediscover the album's captivating beauty in unprecedented clarity and depth.

"I've wanted to release 'Midnight Colours' on vinyl since it first came out, and I'm thrilled to finally be able to. The remastering process, brilliantly done by Stephan Mathieu, has breathed new life into the work, and I'm eager for listeners to experience it in this format."

The reissue of "Midnight Colours" features band-new artwork and design by the renowned Mexican visual artist Daniel Castrejón. A frequent collaborator and friend of Irisarri, Castrejón's imagery impeccably complements the album's mood and themes, extending a compelling invitation for listeners to explore its aural world visually.

This landmark release serves as a testament not only to Irisarri's enduring impact on the ambient music genre but also as a long-awaited gift to those who have patiently anticipated the album's vinyl debut.

(Limited to 500 copies, 180 gram pressing, splattered vinyl + sticker) (Van Bellen, Chiller Twist, Mike Monday remix + original remastered for 2024) Airwave, a legend in the scene, is revisiting his iconic Velvet Girl moniker with the reissue of the timeless single "Velvet.

We are thrilled to present a special release that takes you back to the golden era of clubby trance! Airwave, a legend in the scene, is revisiting his iconic Velvet Girl moniker with the reissue of the timeless single "Velvet." Once also released on Positiva's sublabel Additive, "Velvet" now returns in an exclusive 2 x 12" splattered 180 gram audiophile vinyl package.

This collector's edition includes the classic original mixes alongside stunning remixes by Van Bellen, Chiller Twist and Mike Monday. Don't miss this chance to own a piece of history, meticulously preserved in a format that every true fan will cherish.

Dj Stephano brings his usual, unusual vibe to this EP, drifting between styles but never missing a trick when it comes to fierce and inventive jungle sounds. With a penchant for unusual samples and formats, Stephano lays down the law on old skool and jungle in an EP called love that you will...love....

Citirax's next outing takes the form of a debut album from Los Angeles-based duo OP-ART. This pair, like so much great music of recent times, is born out of the creative isolation of lockdown and features Andrew Clinco, who you may know for his work with Drab Majesty. The alias they have adopted is an acronym of "Oblique Pleasures Amidst Rough Times" which they say reflected the challenges of their formation. Musically the duo is inspired by the 1960s visual art movement so embraces layered, psychedelic soundscapes with a minimalist approach and takes cues from New Wave artists like John Foxx and early OMD. OP-ART in particular focuses on analogue synthesis and gear like the Arp Odyssey and Moog Rogue while exploring time, romance, and existential themes with real emotional depth.

(Physical release only, Limited edition of 300 hand numbered copies + insert) Psyched Out Grooves from Hungary compiles ten of the most outstanding singles recorded by the underdogs of this period.



The psychedelic scene that never was – the perfect subtitle to this compilation. There were barely any drugs in Hungary to begin with. In this era, alcohol, music, and imagination have served as the primary means of mind alteration among the youth. The Communist party had a firm grip on culture through monopole control over venues, the media, and the recording industry, western records were not available, clubs enforced a strict dress code of suits, shirts, and longer skirts, and the police harassed young men for not more than having long hair or wearing blue jeans.



There was, however, an undercurrent of smaller semi-professional bands striving to succeed in the shadow of the very few stars privileged by the sole state owned record company. Given their chances to release music were at best limited to a few 7“ singles at the mercy of said record company powers. Psyched Out Grooves from Hungary compiles ten of the most outstanding singles recorded by the underdogs of this period. Some of the bands featured on here have eventually reached wider success by switching to more commercial styles, like Bergendy, Neoton, and Apostol. Most, like Echo, Meteor, Kék Csillag, Non-Stop, were temporal formations that dissolved after a few years due to personal conflicts, lack of success, or both. Others, like Scampolo or Juventus, lasted a longer time without an actual break through. Most of these bands never had a consistent, lasting ’psychedelic’ repertoire or identity at any point. These tracks were the exception, not the norm. That coherence - the illusion of a scene - comes from the curation and sequencing of Budabeats head honchos Von Yodi and Gandharva. It is the arrangement of these puzzle pieces that makes them fit together.



Limited edition of 300 hand numbered copies. Edited excerpt from the liner notes written by Gábor Vályi (Dj Shuriken)

Mark William Lewis’ acclaimed ‘Pleasure Is Everything’ & ‘God Complex’ receives a limited vinyl press on tastemaker London label Scenic Route Records.

Mark William Lewis’ acclaimed ‘Pleasure Is Everything’ & ‘God Complex’ receives a limited vinyl press on tastemaker London label Scenic Route Records.

Scenic Route Records is proud to announce the first vinyl press of Mark William Lewis's critically acclaimed EPs Pleasure Is Everything and God Complex. These releases, which have collectively amassed nearly 3 million Spotify streams, capture the raw and evocative sound that has earned Mark a dedicated following within London’s underground music scene. Influenced by left-field pop, ambient, and indie rock, is deeply personal, reflecting his experiences and the unique perspective gained from living on the 18th floor of a tower block in London.

Mark's music has been widely praised for its emotional depth and innovative songwriting, with support from publications such as Pitchfork and The Fader praising his ability to create atmospheric soundscapes that resonate with listeners on a profound level. This vinyl press offers fans a chance to experience these early EPs in a format that enhances the warmth and texture of his music.

As Mark continues to build his presence with sold-out shows at Cafe Oto & and international tours alongside NYC rapper MIKE, this pressing serves as both a celebration of his early achievements and a milestone in his artistic journey. Whether you're a long-time fan or new to his music, the repress of Pleasure Is Everything and God Complex is an essential addition to your collection, offering a deeper connection to the intricate, emotive world of Mark William Lewis.

Kulture Galerie returns with its third various artists record featuring Doc Sleep, Rambal Cochet, The Jaffa Kid, Mesmerist, Jack Bags and Undsidedly.

The multi format label run by Filippo MSM (of Metropolitan Soul Museum) is back with its 7th release overall, this time on wax. This new collection continues to show Filippo’s predilection for music with non straight forward drum patterns and moody melodies.

Volume Three is a well thought mix of styles, spanning to and from two Trance oriented tracks from Rambal Cochet and The Mesmerist through the broken techno of Doc Sleep, Jack Bags’s all analogue Acid House track, The Jaffa Kid’s uncompromising Drexcian’s Electro and Undsidedly dreamy’s own take on the genre.

‘What makes Sex Swing so powerful is that they transcend the limitations of rock music. Their sound is so full of possibilities, violence, sexuality, sacrifice, even religion. If there was a future to look forward to for heavy guitar music, this is it’ The Quietus The locals call it Sop Ruak – eighty thousand square miles of mountains and mystery and unholy medicine. “It really is an endless seam of activity,” Sex Swing frontman Dan Chandler explains of Golden Triangle – both the title of their new album and the region between Myanmar, Thailand and Laos that inspired it. To know this contradictory corner of the world is to understand fully why the cult-beloved noise-rock artisans turned to it when writing their hotly-anticipated third full-length. The real-life Golden Triangle is a groundswell of both natural wonder and drug production, and who combines beauty and narcotic brutality better than Sex Swing? For a decade now, this
collective of revered UK underground musicians, comprising members of Earth, Mugstar, The Keep and Jaaw, have been pulling audiences into drug- like slipstreams with their alchemy of pummelling rhythms, towering guitars, and unrelenting saxophone through which glimmers of light occasionally pierce through. No wonder their Golden Triangle is an album telling distortion-shrouded tales from one of the most storied, enigmatic places on the planet, with enough invention within to fill eighty thousand miles and more.
Where does this violent, hypnotic aural travelogue take you within the Sop Ruak? The seven tracks that make up The Golden Triangle see the band – completed by bassist Jason Stoll, drummer Stuart Bell, guitarist Jodie Cox, synthesist/guitarist Oli Knowles and saxophonist Colin Webster – adventure first to ‘The Confluence of the Ruak and Mekong Rivers,’ full of shimmering orchestration and feather-light ambience. Then come stops in ‘Myawaddy’, named after a small town embroiled in bloodshed on the border of Myanmar
and Thailand, and ‘Boten, Route 13’ – sparked by stories of a seemingly endless stretch of road from Laos into China. Before long, listeners are plunged into ‘Hpakant’, one of the album’s most invigorating and singular moments, lyrically inspired by a jade mine in Myanmar, where the spoils of forced labour are exchanged for prostitution and methanphetamine. The result is a mesmerising slow-burn of sax, snaking rhythms and sinister spoken word courtesy of the Scottish-born Bruce McClure, who “took the theme and turned it into a sci-fi story of exploitation and vice,” explains the frontman. It’s a track that, like the rest of Golden Triangle, underlines the evolution Sex Swing have undertaken since forming in 2014. From the raw and primitive sounds of the self-titled debut full-length, followed up by the coruscatingType II in 2020. Sex Swing’s third effort retains those early primitive elements and adds layers of structure and complexity. Golden Triangle initial formation was that of programmed beats and bedroom recordings shared electronically in the height of the pandemic. Those ideas were then completed during intensive writing sessions at a secluded farm in Oxfordshire.
Album credits consist of recording by Stanley Gravett at Holy Mountain Studios in Hackney, mixing by Wayne Adams at Bear Bites Horse, mastering from James Plotkin, and the continued aesthetic collaboration with artist Alex Bunn. Golden Triangle bristles with a rawness familiar to fans of the British sonic punishers, but adds new elements indicative of a group never resting on their laurels or sitting in one place. Why would they, after all? There’s an entire world of mountains and mystery and unholy medicine out there to be explored. The Golden Triangle, it seems, is just the beginning.

‘What makes Sex Swing so powerful is that they transcend the limitations of rock music. Their sound is so full of possibilities, violence, sexuality, sacrifice, even religion. If there was a future to look forward to for heavy guitar music, this is it’ The Quietus The locals call it Sop Ruak – eighty thousand square miles of mountains and mystery and unholy medicine. “It really is an endless seam of activity,” Sex Swing frontman Dan Chandler explains of Golden Triangle – both the title of their new album and the region between Myanmar, Thailand and Laos that inspired it. To know this contradictory corner of the world is to understand fully why the cult-beloved noise-rock artisans turned to it when writing their hotly-anticipated third full-length. The real-life Golden Triangle is a groundswell of both natural wonder and drug production, and who combines beauty and narcotic brutality better than Sex Swing? For a decade now, this
collective of revered UK underground musicians, comprising members of Earth, Mugstar, The Keep and Jaaw, have been pulling audiences into drug- like slipstreams with their alchemy of pummelling rhythms, towering guitars, and unrelenting saxophone through which glimmers of light occasionally pierce through. No wonder their Golden Triangle is an album telling distortion-shrouded tales from one of the most storied, enigmatic places on the planet, with enough invention within to fill eighty thousand miles and more.
Where does this violent, hypnotic aural travelogue take you within the Sop Ruak? The seven tracks that make up The Golden Triangle see the band – completed by bassist Jason Stoll, drummer Stuart Bell, guitarist Jodie Cox, synthesist/guitarist Oli Knowles and saxophonist Colin Webster – adventure first to ‘The Confluence of the Ruak and Mekong Rivers,’ full of shimmering orchestration and feather-light ambience. Then come stops in ‘Myawaddy’, named after a small town embroiled in bloodshed on the border of Myanmar
and Thailand, and ‘Boten, Route 13’ – sparked by stories of a seemingly endless stretch of road from Laos into China. Before long, listeners are plunged into ‘Hpakant’, one of the album’s most invigorating and singular moments, lyrically inspired by a jade mine in Myanmar, where the spoils of forced labour are exchanged for prostitution and methanphetamine. The result is a mesmerising slow-burn of sax, snaking rhythms and sinister spoken word courtesy of the Scottish-born Bruce McClure, who “took the theme and turned it into a sci-fi story of exploitation and vice,” explains the frontman. It’s a track that, like the rest of Golden Triangle, underlines the evolution Sex Swing have undertaken since forming in 2014. From the raw and primitive sounds of the self-titled debut full-length, followed up by the coruscatingType II in 2020. Sex Swing’s third effort retains those early primitive elements and adds layers of structure and complexity. Golden Triangle initial formation was that of programmed beats and bedroom recordings shared electronically in the height of the pandemic. Those ideas were then completed during intensive writing sessions at a secluded farm in Oxfordshire.
Album credits consist of recording by Stanley Gravett at Holy Mountain Studios in Hackney, mixing by Wayne Adams at Bear Bites Horse, mastering from James Plotkin, and the continued aesthetic collaboration with artist Alex Bunn. Golden Triangle bristles with a rawness familiar to fans of the British sonic punishers, but adds new elements indicative of a group never resting on their laurels or sitting in one place. Why would they, after all? There’s an entire world of mountains and mystery and unholy medicine out there to be explored. The Golden Triangle, it seems, is just the beginning.

The Psychedelic Scene, a compilation of various artists, brings together some of the pivotal pieces that shaped the unique energy of the psychedelic era. Released as a double 12-inch colour vinyl for the first time, this collection offers a multi-dimensional experience, delivering the pulsating energy of the iconic era right to the turntable. A Sonic Time Capsule to the Psychedelic Era. The compilation stands as an immaculate representation of the psychedelic era, uniting works from various artists under the chromatic umbrella of the genre. The rich, swirling sounds and mind-bending lyrics that defined the movement echo noticeably in each track. The 2x 12-inch vinyl set amplifies the immersive nature of the genre. Moreover, the analog format breathes warmth and depth into the music, enchancing the auditory journey.

Crypt of the Wizard is proud to present Necro Soft - Don't Test the Unmaker's Patience on vinyl and digital formats. What if the devil recorded a record? Would it scream for attention as loud as it could, with all knobs turned to 10? Would it be just another relentless wall of noise vying for your shortened attention, only to be forgotten while the next hot thing is being released, but this time, once again, promising a more raw and extreme experience than previously imagined? Seems unlikely. Satan is a subtle seducer. Luring and waiting are his tactics. His is the insidious rhythm that runs down your leg, causing your foot to tap while your lying lips are still saying, "This isn’t really my kind of thing." All sequins and satin, laughter and fun, while whispering in your ear about his plans for the final destruction of the infinite universe so quietly, you forget to stop enjoying yourself. Necro Soft’s debut LP Don't Test the Unmaker's Patience is crafted from this very notion. Rising from Copenhagen’s unrelentingly creative Mayhem scene with connections to bands such as Ryg Din Sidste Bøn and Gabestok, you already know you’re in for something special. With the devil at the helm and influenced as much by contemporary black metal as by the UK big beat scene of the 1990s, bands such as The Prodigy are seldom listed as having an impact on underground metal records, but here we are! A shimmering wash of drum machine rhythms and perpetual pop production designed to ensnare listeners with its irresistible beats while subtly corrupting their souls. Listening to Necro Soft is akin to entering some kind of damned Heavy Metal disco, high as a kite, and fixating on the glittering mirror ball in the ceiling before noticing that the floor is sticky with blood.

Crypt of the Wizard is proud to present Necro Soft - Don't Test the Unmaker's Patience on vinyl and digital formats. What if the devil recorded a record? Would it scream for attention as loud as it could, with all knobs turned to 10? Would it be just another relentless wall of noise vying for your shortened attention, only to be forgotten while the next hot thing is being released, but this time, once again, promising a more raw and extreme experience than previously imagined? Seems unlikely. Satan is a subtle seducer. Luring and waiting are his tactics. His is the insidious rhythm that runs down your leg, causing your foot to tap while your lying lips are still saying, "This isn’t really my kind of thing." All sequins and satin, laughter and fun, while whispering in your ear about his plans for the final destruction of the infinite universe so quietly, you forget to stop enjoying yourself. Necro Soft’s debut LP Don't Test the Unmaker's Patience is crafted from this very notion. Rising from Copenhagen’s unrelentingly creative Mayhem scene with connections to bands such as Ryg Din Sidste Bøn and Gabestok, you already know you’re in for something special. With the devil at the helm and influenced as much by contemporary black metal as by the UK big beat scene of the 1990s, bands such as The Prodigy are seldom listed as having an impact on underground metal records, but here we are! A shimmering wash of drum machine rhythms and perpetual pop production designed to ensnare listeners with its irresistible beats while subtly corrupting their souls. Listening to Necro Soft is akin to entering some kind of damned Heavy Metal disco, high as a kite, and fixating on the glittering mirror ball in the ceiling before noticing that the floor is sticky with blood.

Back in 1981 HAZE were a band consistently touring the south west of England, rocking shows from Torquay, Exeter and slightly further beyond, their release, recorded to campaign to save milk bottle tops for the local disabled school, did quite well.

On the record is a few classics, a cover of Johnny Cash, a cover of ABBA, a cover of… Azymuth? Yep, the trio from Rio made an impression on Tony Ridley as he took it to the band to include on their record.

For 43 years their version hasn’t even graced youtube, and with only 3 wants at the time of writing on discogs this version truly did get lost along the way. Now PANORAMA unearth this gem in their trademark 7inch format, from Rio to Torquay - HAZE knew how to jazz funk.

PANORAMA Records is a newly established label based in London, is dedicated to rediscovering and showcasing musical gems with a fresh approach. With early support from notable DJs such as Gilles Peterson, Patrick Forge, Rainer Trueby, Mr Bongo DJs and Zag Erlat from My Analog Journal. Their unique take on Jazz and Funk from the further afield has shown they will become trailblazers in the reissue game for a long time.

Nachpressung in neuen Farb-Kombinationenen des aktuellen Fu Manchu-Werkes! The Return Of Tomorrow ist das erste neue Album von Fu Manchu seit sechs Jahren, und sie haben sichergestellt, dass sich das Warten gelohnt hat. Ihr 14. Album ist ihre erste Doppel-LP mit neuem Material und wurde als Vinyl-Hörerlebnis konzipiert. Die erste LP enthält sieben Songs in ihrem ikonischen Heavy-Fuzz-Sound, darunter die erste Single "Hands Of The Zodiac" und das unerbittlich eingängige "Loch Ness Wrecking Machine". Auf der zweiten LP wird die Band mit sechs langsameren Stücken, darunter das Synthie-beeinflusste "Solar Baptized" und der Titeltrack, etwas ruhiger. Beide LPs haben 45 Umdrehungen pro Minute für den bestmöglichen Sound. CD-Hörer brauchen sich keine Sorgen zu machen, da diese Version des Albums speziell für dieses Format gemastert wurde.Wie das letzte Album der Band, Clone Of The Universe, und die dreiteilige Fu30 EP-Serie wurde The Return Of Tomorrow im Racket Room in Santa Ana, Kalifornien, von Jim Monroe (Adolescents, Ignite) aufgenommen und gemeinsam mit Fu Manchu produziert. Nach ihren 30+-Jubiläums-EPs und zugehöriger Reissue-Serie sind FU MANCHU endlich mit brandheißem neuem Material zurück! Diese limitierte Vinyl-Veröffentlichung ist in einem glänzenden Gatefold-Jacket mit bedruckten Hüllen mit Live-Fotos der Band verpackt und enthält eine White with Black Spinner/Splatter LP sowie eine White with Blue Spinner/Splatter LP

Suedes epochales, zweites Album von 1994 feiert dieses Jahr seinen 30. Geburtstag mit dieser brandneuen 3CD-Deluxe-Edition in 7"x7"-Sleeve sowie einer Gatefold-Halfspeed-Master-Doppel-LP. 'Dog Man Star' wird von vielen als das musikalisch abenteuerlichste Album der Band angesehen - mitreißende Streicher stehen neben Orchesterballaden, epischen Breitbildstücken, Indie-Hymnen und trashigem Glamrock. Es war das für eine lange Zeit letzte Album, auf dem Gitarrist und Co-Songwriter Bernard Butler mitwirkte. Es enthält die klassischen Hit-Singles 'We Are The Pigs', das wunderschöne 'The Wild Ones' sowie 'New Generation'. CD1 enthält das Originalalbum, CD2 kommt inkl. B-Seiten sowie einer Vollversion der Non-Album-Single 'Stay Together', und CD3 enthält Bonustracks und Raritäten aus dieser Zeit. Die künstlerische Gestaltung dieses neuen Formats wurde vom offiziellen Designer und Fotografen Paul Khera für Suede übernommen und enthält neue Linernotes von Simon Price, dem Biographen von u.a. The Cure und Manic Street Preachers.
"Suedes zweites Album ist immer noch wirklich außergewöhnlich - wer würde es heute wagen, es zu machen?" Alexis Petridis (The Guardian

Sasu Ripatti presents the fourth volume in his "Dancefloor Classics" series with five 10" releases coming throughout 2023. Music for imaginary dancefloors, released on Ripatti's own label "Rajaton".

”Look up, into the light” she said, while the camera shutter clicked. ”Like this? Does it look holy?” His neck felt stiff. Her reply: ”Yes, just like that. What do you mean holy? Like religious? ”No, more like trying to look very far, somewhere beyond what we can see.” ”Okay, stand still, I’m going to come close to you now. The light hits your face great.” click, click, click.

He noticed her fingernails. They were not polished. Natural. Even somewhat rugged, as if something wore out the fingers slightly. What had these hands held besides the camera? What made the edges of her fingernails drift off?

He thought it’s weird to look straight into the camera. The photographer had closed her left eye, the one not looking into the lens. Then it opened, she looked up, perusing the surroundings, then she closed her eye again, then looked up, closed, looking up, very quickly. It all seemed very professional. Maybe she calculated the light, making sure it’s close to perfect. ”What will these photos look like?” – the thought popped into his head briefly. It was liberating to think it wouldn’t matter.

”What’s that song playing?” he asked. ”Wait a sec, Ol’ Dirty Bastard?” she replied. ”Oh yeah, right. But the sample?” ”Hey, could you look up again, like that. No, lower.”

New directions: ”Look out from the window, turn left.” ”My left or yours?” ”Yours, I always try to think from the direction of my model.” How professional! This is a good shoot, so natural. Should I worry about how the photos look like? No, I don’t want to. His thoughts bounced around. What would the story be like? It’s a big newspaper, everyone will read it. Maybe someone drinks coffee and eats a stroopwafel while they do it. Will they place the waffle on top of the mug for a brief while, so that it gets hot and the syrup melts a little? Then it feels wet, and you can bend the cookie.

She broke his train of thought off midway through: ”Now turn right, but look left, and slightly up, but don’t turn your face right.” ”Umm, like this? Sounds like a set of pilates instructions.” she laughed ”You do pilates?” ”Yeah, it’s hard sometimes. Have you tried?” ”No”, she said. ”I’m not good for sports that are done in groups.” ”Yeah, but in pilates you can just be inside your mind, drowning in your private thoughts.”

”What are you thinking in pilates?” she asked, taking more photos. ”Well, mostly just which way is right. And which left.” click, click.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Dancefloor Classics”, what’s the idea and what can we expect?

I’ve been slowly writing these sort of dance music pieces and finally curated them together for a conceptual release. I like to create music for a dancefloor that exists only in my imagination and doesn’t try to suck up to the standardized reality.

2) Your vinyl format is 10” which is quite special (as opposed to LP / 12”). Why did you choose it?

It’s my favourite format, absolutely. The size is perfect, and you can make it sound really good @ 45 rpm. And you still can make great artwork.

3) You seem interested in sampling/repurposing, what does it mean to you as an artist to approach something already existing from a new angle? How does the source material inform you about the approach to take?

I guess i could flip it around and just say I’ve outgrown synths or electronic sounds to a great extend, and having gotten rid off all my synths already good while ago I’ve used samples as my main source material a lot. It’s obvious on this series that i’ve sampled existing music, but I also sample instruments and things in the studio and resample my own library that I have built over the years, it’s quite large. To me the end result matters, not so much how I get there. Once I have something on my keyboard and play around, it’s all an instrument, though with sampling other music it becomes a really interesting and complex one as you’re possibly playing rhythm, but also harmonic content and maybe hooks or whatever, all at once.
I never sample premeditadedly, like listening to records and looking for that mindblowing 3 sec part. I just throw the cards in the air and see what lands where, just full intuition and hopefully zero mind involved, playing tons of stuff, trying things, just recording hours of stuff. Then comes the interesting part to listen to hours of mostly crazy stuff and finding that mindblowing 3 sec part.

4) What is your relationship with the dancefloor (conceptually and/or in experiences / as a performer)?

Very complicated. I have never really felt comfortable on a dancefloor but have always wanted to. There’s something in club music, in theory, that really speaks to me. It has never really materialized for me – speaking mainly from a performer’s point of view who goes to check on a dancefloor for a moment after a concert. I never have DJ’d or felt much interest towards it. But again, I love the idea and concept of DJing. As well as producing music for imaginary DJs. Lately, as in the past 10+ years, I haven’t even performed in any sort of club spaces. So my relationship to the dancefloor is quite removed and reduced, but there’s quite a bit of passion and interest left.

All tracks composed and produced by Sasu Ripatti.
Artwork & photography by Marc Hohmann.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!