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ROMEs viertes Studioalbum „Flowers from Exile“, ursprünglich 2009 veröffentlicht, nimmt zweifellos einen ganz besonderen Ehrenplatz in ROMEs umfangreichen Gesamtwerk ein und ist bis dato eines der wichtigsten wie auch beliebtesten Alben der Band. Als der damalige Co-Produzent und Tontechniker Patrick Damiani - der zudem als Musiker und Arrangeur an dem Album beteiligt war - Frontmann Jerome Reuter darauf ansprach, die Originalspuren auszugraben und die Aufnahmen in neuem Gewand aufzuarbeiten, war die Versuchung verständlicherweise sehr groß, das Meisterwerk mit frischen Ohren und aktualisierter Technik neu zu entdecken.

Viele Jahre nach den ursprünglichen Sessions waren Reuter und Damiani über die räumliche Tiefe der Aufnahmen und der klanglichen Breite des einst aufgenommenen Materials erstaunt. Sie erkannten, dass diese wegweisenden Aufnahmen aus den Anfangsjahren von ROME mit einem neuen Ansatz und aktualisierten Mischtechniken zu etwas wahrhaft Einzigartigem ausgebaut werden könnte. Mit großer Ehrfurcht und allem gebotenen Respekt vor dem Album und dessen ursprünglichen Sound, näherten sich beide Schritt für Schritt an den Klassiker heran und hoben in minuziöser Kleinstarbeit die einzelnen Originalspuren aus dem Sand der Zeit. So entstand nach monatelanger, detailversessener Arbeit „Flowers from Exile – Revisited“, welches den magischen Moment in der Frühgeschichte der Band zu neuer Größe (wieder-)erblühen lässt, ohne dabei die Essenz des fulminanten Originalwerks aus den Augen zu verlieren.

Die zwölf Songs des Albums entführen den Hörer auf eine atemberaubende Reise über ideologische Gräben hinweg, in die Zeit des Spanischen Bürgerkriegs und dessen Folgen - auch für einen Teil von Reuters Familie.

Erhältlich als:
- Digipak
- Schwarzes, 180 Gramm schweres 12“ Vinyl, Extra audiophiler Tonträger von hoher Qualität - deutsche Pressung, Stabile Kastentasche, Innenhülle mit allen Songtexten, Limitiert auf 500 Exemplare

The extroverted blend of attitude, energy, and ostentatiousness that spills from the New York Dolls’ self-titled debut can be seen in full view on the album cover. Depicting the quintet in its hallmark flash-and-trash apparel and in drag appearance, the 1973 album scared away a considerable amount of potential listeners while capturing the attention of a sizable audience that recognized the band for what it was: zeitgeist pioneers who helped develop the punk and glam rock movements.

Named by Rolling Stone the 301st Greatest Album of All Time and by Mojo the 49th greatest album of all time, New York Dolls receives long-overdue audiophile treatment on Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set. Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, this collectible version marks the first time the group’s career-making statement is available to be experienced in audiophile quality.

Far from harboring the crude elements that became associated with the punk scene, New York Dolls benefits from keen production overseen by none other than Todd Rundgren. Though more accustomed to working far higher-caliber musicians, Rundgren — taken by the New York Dolls’ charisma and cool, if not their instrumental approach — fully understood the ensemble’s aesthetic. He captured what went down at New York City’s Record Plant with an astute blend of live-on-the-floor feel, raw authenticity, and professional acumen.

On Mobile Fidelity’s definitive-sounding reissue, you can hear those facets as well as key details, dynamics, and textures with previously unimaginable insight. Rundgren preserved generous degrees of grit, grime, and grease while bestowing the raucous music with elevated levels of separation, solidity, and impact every landmark recording deserves. His vision extends to introducing choice accents — barroom piano notes, Moog synthesizer passages, Buddy Bowser’s honking saxophones — that add to the songs’ appeal without interfering with the primary architecture.

Afforded extra groove space on this pressing, the tenor, presentation, and attack of both vocalist David Johansen and now-iconic guitarists Johnny Thunders and Sylvain Sylvain come across with stunning vibrancy and vitality. The New York Dolls often seem headed off the rails and into the red, but somehow, the strut, swagger, and sloppiness — and the associated sleaze and scruff, scrape and snarl, frenzy and feverishness those characteristics entail — remain together as a whole that shakes its collective fist at the frustrations, isolation, disarray, and disillusionment of youth chaos and urban decay.

Kicking off its debut with “Personality Crisis,” cited by Rolling Stone as one of the 500 Greatest Songs of All Time, the band makes obvious its grasp of alienation, deviance, displacement, and suburban disaffection — as well as its capacity to play hanging-by-a-thread boogie, noisy rock ‘n’ roll, and Brill Building-inspired pop. The lipstick-kissed New York Dolls possesses traits many of its harsher predecessors would overlook: joyfulness and melody, topped with a knack for knowing how and where to take a song inside of three-and-a-half minutes.

Dive and dash with the belligerent “Looking for a Kiss”; stomp your feet and clap your hands to the big choruses of “Jet Boy”; surrender to the demands and provocations of the coded “Vietnamese Baby”; decide whether “Bad Girl” yearns to explode or implode. It’s one of several tunes here that allude to the world coming to end. Of course, that doesn’t mean there isn’t time for a fling before everything burns. “There’s no place I gotta go,” yowls Johansen. And he means it.

Adorned with tonal crunch, glitter, and gristle, New York Dolls takes pride in its brashness and brattiness. The rambunctious effort, which earned the band the distinction of being voted both “Best New Group of the Year” and “Worst New Group of the Year” in the pages of Creem, displays knowing reverence for the blues without calling attention to the style. The folk-laden “Lonely Planet Boy” is nothing if not a collision of heart-on-the-sleeve emotions and the desire in the face of challenges to maintain a tough-skinned exterior. An interpretation of Bo Diddley’s “Pills,” complete with shivering harmonica and clattering rhythms, announces there’s no cure for what infects this band. It’s that contagious. And how.

His deliveries gushing with campy fun, playful irreverence, and sheer decadence, Johansen doubles as the equivalent of an open fire hydrant that spouts at will. He’s at once tender and vicious, serious and tongue-in-cheek. On arguably his finest hour on the album, Johansen’s phrasing, passion, and lyrical ambiguity alone turn “Trash” into an insistent glam-rock gem whose echoing harmonies and girl-group references stamp it a pop classic.

Too much, too soon? Only for those averse to some of the finest rock ‘n’ roll ever put on tape.

Experience the Double-Platinum 1996 Album in Audiophile Sound for the First Time
Mobile Fidelity’s Numbered-Edition 180g 45RPM 2LP Set Is Sourced from the Original Analogue Tapes
1/2” / 30 IPS analogue master to DSD 256 to analogue console to lathe

If great art, as many believe, is inherently polarizing, then the Stone Temple Pilots’ Tiny Music… Songs from the Vatican Gift Shop easily ranks as the California-based band’s finest album. Simultaneously celebrated and castigated upon release in spring 1996, the group’s third full-length finds vocalist Scott Weiland and company expanding their “grunge” palette with a smart blend of glam rock, psychedelia, jangle pop, and other related styles. Having benefited from long-view reassessments that shed the biases and meanness of initial criticisms, the double-platinum effort is now largely and rightly seen as a creative masterwork. All the more reason why it deserves reference-grade production.

Overseen by producer Brendan O’Brien, Stone Temple Pilots used bedrooms, hallways, bathrooms, and the lawn to capture a broad blend of textures, spaciousness, and ambience that helped underline the group’s obvious (and somewhat unexpected) leap from normal “alternative” status to an artist whose aspirations went beyond that of many of its contemporaries. You can hear the multitude of details and tonalities with previously unattained clarity, presence, and scope on this fantastic reissue, which also delivers the impact and punch every rock record deserves. Another tremendous asset: The depth, grain, and pitch of Weiland’s voice.

For all the contagious choruses and glossy melodies that help make Tiny Music… Songs from the Vatican Gift Shop sparkle, the vocal performances of the late singer arguably rank as the best that the much-missed Weiland committed to tape. None other than the Smashing Pumpkins’ Billy Corgan — who, like many peers and critics, felt a pressing need to reevaluate the record as both time marched on and the self-importance attached to the “alternative” scene faded — praised Weiland’s efforts by noting: “Like Bowie can and does, it was Scott's phrasing that pushed his music into a unique, and hard to pin down, aesthetic sonicsphere.”

Smooth and diverse, those traits are everywhere on Tiny Music… Songs from the Vatican Gift Shop. From the clever combination of emotional closeness and distance he brings to the catchy albeit ultimately melancholic “Lady Picture Show”; to the lounge-fly balladeering that causes “And So I Know” to lightly swing akin to a bleary-eyed house band’s final number at a 4 A.M. bar; to the effortless cool and laissez-faire casualness he articulates on the grinding “Pop’s Love Suicide”; to the dimensional raspiness, defiant energy, and let-loose wail that sail through the crunchy “Big Bang Baby.”

The latter tune, the record’s first single and per Weiland a conscious attempt by the band to deconstruct its prior approaches, clearly borrows from the Rolling Stones’ “Jumpin’ Jack Flash.” Because of it, the song drew all kinds of barbs from naysayers. Their disdain extended to most material on Tiny Music… Songs from the Vatican Gift Shop, which indirectly references other prized acts such as the Beatles, Cheap Trick, T. Rex, and Lush. Those cynics failed to grasp that Stone Temple Pilots were paying homage and having a blast, with even Weiland, then battling serious substance-abuse and legal issues, getting in on the action.

Stone Temple Pilots’ skeptics also turned a deaf ear to the records’ stellar pop craftsmanship, sticky hooks, and sly commentary on music-industry machinations and fame. Not to mention the band’s intent, made clear from the outset. In an interview conducted in 1994, guitarist Robert DeLeo stated: “The last thing I wanted to do with this band was make everybody believe we invented something.”

Seen through that lens and the hindsight afforded history, and appreciated independent of the self-righteous authenticity standards of the day, Tiny Music… Songs from the Vatican Gift Shop sounds borderline fearless while authoritatively checking all the right boxes for fun, flavor, and finesse. Part winking send-up, part tribute to the glitter rock age, and part middle finger towards the hip crowd that didn’t know what they were missing, this mid-90s classic repeatedly invites you to drop the needle and press play.

Improvised protest songs from free music group Ruhiges Gewerbe.

Music: Ruhiges Gewerbe
Mix: Steueroase
Master: The Bastard
Design: Employee

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

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

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

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

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

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

Swiss percussionist Julian Sartorius and UK electronic artist Dan Nicholls team up as Clay Kin, presenting their debut record on Squama.
They had never planned to make an album yet through pure improvisation and spontaneity, Clay Kin have crafted Vevey. An album of seven tracks, distilled from over seven hours of improvised percussion and electronics. Recorded mostly outdoors––on pedalo boats, up mountains and deep in forests near the namesake Swiss town of Vevey, it is imbued with the soft fascination of birdsong, rushing water and chattering children.
Vevey resists genre. As musicians, Sartorius and Nicholls bridge the divide between acoustic and electronic soundscapes. Sartorius’ raw, organic percussion interweaves with Nicholls’ keyboard-triggered samples and harmonic landscapes, creating a dialogue where the lines between rhythm, melody and noise dissolve. Clay Kin identify their outfit as an audio-visual collective, with visual artist Lou Zon (Louise Boer) rounding out the group, creating videos to accompany both the recorded music and the live experience.

Following a successful, vital surgery, Ozzy has left little time to unveil details of his upcoming thirteenth studio album, and follow up to 2020's triumphant, 'Ordinary Man'. Later this year, we'll be introduced to the world of, 'Patient Number 9', which boasts a ludicrously impressive array of guest features from the likes of Zakk Wylde, Jeff Beck, Pearl Jam's Mike McCready, Chad Smith (Red Hot Chili Peppers), Robert Trujillo (Metallica), Duff McKagan (Guns N' Roses), Eric Clapton and the late, great Foo Fighters drummer Taylor Hawkins. Black Sabbath guitarist extraordinaire, Tony Iommi, shall also make his Ozzy solo album debut, which essentially everyone can agree, has been a long time coming. Utilizing his own approach to morality and legacy, the great grandfather of all things metal and malevolent appears eager to whisk us around his hallowed ground yet again.

Following a successful, vital surgery, Ozzy has left little time to unveil details of his upcoming thirteenth studio album, and follow up to 2020's triumphant, 'Ordinary Man'. Later this year, we'll be introduced to the world of, 'Patient Number 9', which boasts a ludicrously impressive array of guest features from the likes of Zakk Wylde, Jeff Beck, Pearl Jam's Mike McCready, Chad Smith (Red Hot Chili Peppers), Robert Trujillo (Metallica), Duff McKagan (Guns N' Roses), Eric Clapton and the late, great Foo Fighters drummer Taylor Hawkins. Black Sabbath guitarist extraordinaire, Tony Iommi, shall also make his Ozzy solo album debut, which essentially everyone can agree, has been a long time coming. Utilizing his own approach to morality and legacy, the great grandfather of all things metal and malevolent appears eager to whisk us around his hallowed ground yet again.

For our 100th Eccentric Soul 45, Numero returns to our Ohio roots with three replica 45s from the Capsoul universe. Marion Black’s timeless two-sider “Who Knows” b/w “Go On Fool” made a few blipsupon its 1970 release, but has taken on a life of its own soundtracking prestige TV and car commercials around the globe and finally going gold after 65 years. We discovered Ron Harrington’s “Because You’re Mine” demo amongst the Capsoul tapes, a demo cut for founder Bill Moss that never escaped greater Columbus. The mid-tempo harmony joint “It Happened To Me Again” adorns the flip, with a lo-fi funk backbeat tossed in for good measure. Capsoul’s crown jewel group harmony quartet Johnson, Hawkins, Tatum & Durr cut just two records in their short time together, but the quartet’s “You Can’t Blame Me” has endured as a classic example of the raw and unhinged soul sound that Numero is known for. Eccentric Soul from the heart of it all.

For our 100th Eccentric Soul 45, Numero returns to our Ohio roots with three replica 45s from the Capsoul universe. Marion Black’s timeless two-sider “Who Knows” b/w “Go On Fool” made a few blipsupon its 1970 release, but has taken on a life of its own soundtracking prestige TV and car commercials around the globe and finally going gold after 65 years. We discovered Ron Harrington’s “Because You’re Mine” demo amongst the Capsoul tapes, a demo cut for founder Bill Moss that never escaped greater Columbus. The mid-tempo harmony joint “It Happened To Me Again” adorns the flip, with a lo-fi funk backbeat tossed in for good measure. Capsoul’s crown jewel group harmony quartet Johnson, Hawkins, Tatum & Durr cut just two records in their short time together, but the quartet’s “You Can’t Blame Me” has endured as a classic example of the raw and unhinged soul sound that Numero is known for. Eccentric Soul from the heart of it all.

Für die 100. Eccentric Soul 45 widmet sich Numero Group ihren Wurzeln in Ohio mit drei Replika 45s aus dem Capsoul-Universum. Eine dieser Singles, Marion Blacks zeitloser Two-Sider ,Who Knows" b/w ,Go On Fool`, wurde bei Veröffentlichung 1970 fast übersehen, hat aber ein Eigenleben entwickelt und wurde nach 65 Jahren Soundtrack für prestigeträchtige Fernseh- und Autowerbung rund um den Globus wiederentdeckt. Eccentric Soul from the heart of it all.

Auf dem Weg zur 100. Eccentric Soul 45 widmet sich die Numero Group ihren Wurzeln in Ohio mit drei Replika 45s aus dem Capsoul-Universum. Ron Harringtons "Because You're Mine"-Demo war unter den Capsoul-Bändern, das für den Gründer Bill Moss aufgenommen wurde und nie veröffentlicht worden ist. Die Mid-Tempo-Harmonie-Nummer "It Happened To Me Again" ziert die A-Seite mit einem Lo-Fi-Funk-Backbeat. Eccentric Soul from the heart of it all.

Auf dem Weg zur 100. Eccentric Soul 45 widmet sich die Numero Group ihren Wurzeln in Ohio mit drei Replika 45s aus dem Capsoul-Universum. Ron Harringtons "Because You're Mine"-Demo war unter den Capsoul-Bändern, das für den Gründer Bill Moss aufgenommen wurde und nie veröffentlicht worden ist. Die Mid-Tempo-Harmonie-Nummer "It Happened To Me Again" ziert die A-Seite mit einem Lo-Fi-Funk-Backbeat. Eccentric Soul from the heart of it all.

Auf dem Weg zur 100. Eccentric Soul 45 widmet sich die Numero Group ihren Wurzeln in Ohio mit drei Replika 45s aus dem Capsoul-Universum. Capsouls Kronjuwel, das Harmonie-Quartett Johnson, Hawkins, Tatum & Durr, haben in ihrer kurzen Zeit nur zwei Platten aufgenommen, aber der Song "You Can't Blame Me" des Quartetts gilt als ein klassisches Beispiel für den rauen und ungestümen Soul-Sound, für den Numero bekannt ist. Eccentric Soul from the heart of it all.

Auf dem Weg zur 100. Eccentric Soul 45 widmet sich die Numero Group ihren Wurzeln in Ohio mit drei Replika 45s aus dem Capsoul-Universum. Capsouls Kronjuwel, das Harmonie-Quartett Johnson, Hawkins, Tatum & Durr, haben in ihrer kurzen Zeit nur zwei Platten aufgenommen, aber der Song "You Can't Blame Me" des Quartetts gilt als ein klassisches Beispiel für den rauen und ungestümen Soul-Sound, für den Numero bekannt ist. Eccentric Soul from the heart of it all.

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

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

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

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

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

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

Seedbed is a new revolving-door collective project helmed by Atlanta songwriter JJ Posway (Sloping, Scooterbabe). After six years of recording what was to be the ambitious final studio album of Posway’s long-running Athens-based band Scooterbabe, most traces of the group’s scrappy indie pop had been burnished off to reveal something entirely new. What emerged from the ashes was Seedbed.

Largely composed of performances and songwriting contributions by Scooterbabe’s final lineup (Anna Staddon vocals, keyboard, Michael Buice [bass], Zach Spires [drums]), the formation of Seedbed marks the calling in of producer Terence Chiyezhan to help mix and arrange years of piecemealed recordings. The result is an intensely imposing stylistic shift for Posway and company, as tense as the apt title of Seedbed’s growing pains-fueled debut album Stalemate implies.

Stalemate stares straight into an all-consuming whirlpool of a million swirling emotions spanning the past seven years; It’s glistening and reflective on “Unit 4” and “C c c c c c c c c c c,” while cacophonously turbulent for “Fingertips Like Ice” and foreboding album opener “Mouse At Your Feet.” But the entirety of Stalemate is nostalgia-soaked and dripping with the painful necessity of change. It brazenly steeps in the tension and grief that accompanies evolution - even at the risk of drowning in it completely.

The Nicky Newarkers were a short-lived—but now legendary—soul‑dance group from Newark, New Jersey, most active in the mid‑1970s. They’re known primarily for their hard‑to‑find 45 rpm single released on Mercury Records from 1976, featuring these two songs “Woman” and “Leave Me Or Love Me” both produced by Cuban‑American Jesus Alvarez with Jerry Ross.
The original Mercury pressings are super rare and highly coveted on the Northern soul and soul‑dance scene on the strength of the highly in demand “Woman”

Wojtek Mazolewski Quintet (WMQ) - one of the most charismatic groups on the European jazz scene - returns with Live Spirit I, a new album recorded at the iconic Witold Lutoslawski Polish Radio Concert Studio in Warsaw. The release features four brand-new compositions alongside electrifying new takes on WMQ classics, including a stunning 20-minute version of "Polka", the title track from their best-selling record.

Alice is a vocal harmony trio made up of three persons, joined by a cheap synth and limited virtuosity. Together, they craft a kind of future folklore that’s part funny, part apocalyptic — half-soft, half-harsh, half-sad, half-simple, half-complex, half-controlled, half-Yvonne Harder, half-Sarah André, half-Lisa Harder.

Since their last album L’Oiseau Magnifique, Alice have spent time on the road — in cars, in trains, out in the open. Accustomed to writing outdoors, they slowly stitched together a collection of new songs. After two years of performing in clubs, bars, stairwells, carpentry workshops, activist agricultural fairs and roadside shoulders, they took their Oiseau Magnifique just about everywhere. It felt like time to sew these new pieces together — a quilt of humour and soft words, something we could really use in these half-sweet, half-fascist times.

Les Châteaux Faibles is the name of one of their latest songs, and naturally, the title of their new album. It captures the group’s ethos perfectly — a search for refuge in fragility, in a weakness that’s better when shared. A collective sensitivity to bring us closer, stronger — united in our Châteaux Faibles.

Joe Bonamassas Album Had To Cry Today aus dem Jahr 2004 jetzt im neuen Look. Erhältlich in limitierter Auflage auf blauem Vinyl. Diese von den Fans geliebte Veröffentlichung zeigt Bonamassa an einem entscheidenden Punkt seiner Karriere, indem er brennende Blues-Rock-Riffs mit tiefem Soul und Vintage-Sounds mischt, alles verpackt in einer rohen, emotionsgeladenen Performance.
Diese Wiederveröffentlichung auf blauem 180g-Vinyl erweckt ein Album zu neuem Leben, das den modernen Blues für eine neue Generation definiert hat. Mit herausragenden Tracks wie „Never Make Your Move Too Soon“, „Reconsider Baby“ und dem explosiven Titeltrack „Had To Cry Today“ ist diese Ausgabe sowohl optisch als auch klanglich ein Genuss.

Erlebe Joe Bonamassas Erfolgsalbum 'Redemption' aus dem Jahr 2018 wie nie zuvor mit dieser brandneuen Limited Edition Orange Vinyl. Das 13. Studioalbum von Joe Bonamassa, der für seine einzigartige Gitarrenarbeit und seinen gefühlvollen Gesang bekannt ist, verbindet Blues und Rock zu einer kraftvollen musikalischen Reise.
Diese Sammleredition, die jetzt auf orangefarbenem 180g-Vinyl gepresst wurde, verleiht einem modernen Blues-Klassiker einen neuen Look. Mit herausragenden Tracks wie „King Bee Shakedown“, „Molly O'“ und dem emotionalen Titeltrack „Redemption“ ist diese Veröffentlichung ein Muss für audiophile und langjährige Fans gleichermaßen.

DeWolff veröffentlichen Vinyl-Re-issue ihres 2023er Albums Love, Death & In Between
Am 3. Februar 2023 veröffentlichten DeWolff ihr Erfolgsalbum 'Love, Death & In Between. Nun erscheint das Album in einer Vinyl-Neuauflage im limitierten Green Marble Look.
Aufgenommen wurde das Album im Kerwax Studio in einem keinen Dorf in der Bretagne.
„Wir dachten damals, lass uns auf ein Abenteuer gehen“, sagt Pablo. Im Nordwesten Frankreichs gelegen und von Wäldern umgeben, zogen sie sich für zwei Wochen in das Wohnstudio zurück, umgeben von Vintage-Aufnahmegeräten aus den 1940er bis 1970er Jahren.

Die Brüder Pablo (Gitarre/Gesang) und Luka van de Poel (Schlagzeug/Gesang) sowie Robin Piso (Hammond/Wurlitzer) nahmen live und ohne Overdubs auf und wurden bei den Aufnahmen von einer Reihe von Freunden unterstützt. DeWolff verließ die Bretagne mit zwölf Songs auf vier Bändern. Mit einer Mischung aus Al Green, Sam Cooke und John Steinbeck haben sie einige ihrer gefühlvollsten und zugleich mitreißendsten Songs geschaffen.

Demon Records Single Club are delighted to introduce a reissue of
Urban Cookie Collective’s 1994 mega hit The Key, The Secret and
Feels Like Heaven.
Urban Cookie Collective was founded by Rohan Heath in the late 80s.
The Key, The Secret was the groups first single from their debut album High On A Happy Vibe. The track was an instant hit landing at the top of the charts cross Europe and today the track is widely regarded as one of the biggest dance music anthems of the 90s.
Flip it over and on the B-side is Feels Like Heaven, the follow up to The Key, The Secret. Another mega chart smash in the UK and across
Europe. Now newly remastered and with fresh artwork – an adaptation of the original High On A Happy Vibe sleeve

The album is most famous due to the lead single "You Spin Me Round (Like a Record)". The band's over the top image gave the group their unique identity. Another huge single hit is the disco influenced "Lover Come Back to Me", in which the singer is pining over a love interest. Glam rock and goth music are mixed together both in their music as their image. Youthquake is an interesting and energetic example of how you're going to start the party. Dead or Alive found success in the mid-1980s and sold over 50 million records worldwide. Founder and vocalist Pete Burns passed away in 2016 and since the band discontinued.

Bebedera takes the style of Tarraxo to a heightened awareness of its sexual nature. Tight, wicked layers of percussion, a suggestive ID ("Drinking is his life"), a slow pace that's not only perceptively slow, it sounds charged with intent, even malice, dissolution. Letting go of morality may be the big attraction in the music, permission to get down, this time in a heavy, conspicuous manner instead of a spiritual, breezy floatation. One has to recognize the impulse in ourselves. Once at peace with this rough nature, there are sublime grooves to follow, mind-boggling arrangements, a freedom from judgement in connecting with what may seem to be at first a very masculine take on dancefloor sensuality but which is in fact only human. Just with less filters.

In other ways, an aural combination of metal and flesh produces this notion of a cyborg, a very expressive physical body making its weight known to everybody around, a sort of walking fortress as in the "Moderan" group of sci-fi short stories. A glorious rattle of lata percussion, scraps from the junkyard. A sense of unease, even slight danger starts a flow of adrenalin. According to DJ Marfox, it's not the only thing flowing, there's also a strong desire for intercourse when a Bebedera tarraxo is playing. His very distinctive style has been a cult favourite for years. Accordingly, it took years to make contact, to reach an agreement, and the result is a set of classics that stretch as far back as 2014. Still the same punch, still the feeling no one has really stepped into this territory with such force.

Flipping the construct on its head, there's two Bebedera house tracks, we'd say almost an oddity, an abrupt change from the previous density of atmosphere, though they retain all the percussive bounce. Sensual, sure, a different tempo also letting through a romantic disposition other than the sheer physical attraction. One of the titles sums up the aesthetical power at play: "I Will Beat The Top High". As in reaching further out, further up. Wanting to. Time freezes - 2014 and 2016 (production years of these two tracks), fold up and melt into the Present. Where it matters.

Limited edition of 1000 copies on dark green vinyl. The gutter-scraped amalgamation of sludge, punk, noise, and bracing wit of Pissed Jeans is back on full display in "No Convenient Apocalypse," a new single release and first material since Why Love Now, the group's acclaimed album of 2017. "No Convenient Apocalypse" was originally recorded for the Cyberpunk 2077 video game soundtrack. The b-side to the physical single is "Bathroom Laughter (Live in Allentown)". Pissed Jeans is currently at work on the follow-up to Why Love Now, an album that took aim at the mundane discomforts of modern life-from fetish webcams to office-supply deliveries. "_ One of our era's best punk bands." - SPIN "Another blast of full-fury guitar rock." - Billboard

Formed in 2012 by long-time musical companions Oyvind Holm and Hogne Galaen,
the band quickly grew into the six- piece musical force they are today. Their unique
sound fuses cosmic Americana and rich vocal harmonies with catchy melodies, highspirited improvisation, and contagious musical energy that will leave you craving
more.
The six members come from diverse musical backgrounds but are united by their
shared love of psychedelia and cosmic Americana. They draw particular inspiration
from the California sound of the late '60s, with bands like The Byrds, Crosby, Stills,
Nash & Young, and the Grateful Dead as key infuences.
Between 2012 and 2019, the band recorded and released fve critically acclaimed
albums, two of which were recorded in the California desert at the legendary Rancho
De La Luna, nestled among the Joshua trees. Like many other artists, the pandemic
shook their foundations, forcing the band into an involuntary hiatus. In the aftermath
of lockdowns and other imposed restrictions, the backlash from other projects kept
them from picking up where they had left off.
However, the fall of 2024 brought new opportunities. An unexpected email from Mike
Scott of The Waterboys reignited their spirit and motivation. While on tour in Norway,
Scott discovered one of their albums and was so taken by their sound that he invited
them to contribute vocal harmonies to 'The Tourist,' a track off The Waterboys' new
album Life, Death & Dennis Hopper.
Soon after, an even greater opportunity arose--an invitation to join The Waterboys on
tour in the UK and Scandinavia. To accompany the upcoming tour, we've put together
a beginner's guide to Sugarfoot.
The compilation album Cosmic Norse Americana features nine highlights from
Sugarfoot's career so far, along with a newly recorded cover of Emitt Rhodes' 1967
track "Time Will Show The Wiser."
Sugarfoot:
Hogne Galaen - guitars, vocals
Even Granas - drums
Thomas Henriksen - keyboards
Oyvind Holm - guitars, vocals
Bent Saether - bass
Roar Oien - pedal steel
THOUGHTS AND WORDS
The Sugarfoot story begins back in 2011. But before there was Sugarfoot, there were
the Dipsomaniacs, Kulta Beats, Motorpsycho, Too Far Gone, and Deleted Waveform
Gatherings--bands that, in one way or another, featured future members of what would
eventually become Sugarfoot. Six musicians from diverse musical backgrounds,
united by a shared love of psychedelia and cosmic Americana. Drawing deep
inspiration from the California sound of the late '60s, their musical compass points
toward The Byrds, Crosby, Stills, Nash & Young, and the Grateful Dead.
I say eventually, because Sugarfoot didn't start as a band--it began as a duo. Hogne
Galaen and Oyvind Holm had previously played together in Deleted Waveform
Gatherings. But when their drummer moved out of town, the group was put on ice. Not
ones to sit still, the two of them launched a side project to keep the creative wheels
turning.
Throughout the winter of 2011, they holed up in their rehearsal space, writing and
recording rough sketches of what would soon grow into a full album. And that's when
things got interesting. They drew up a wish list--a dream lineup of musicians they'd
love to bring into the fold.
Among the names on that list were Even Granas, Thomas Henriksen, Bent Saether,
and Roar Oien, all soon to be permanent Sugarfooters. Each was invited to contribute
to the project, adding their parts to the pre-recorded tracks--without knowing what the
others were doing. Like assembling a giant musical puzzle, Galaen and Holm later
pieced the album together from these blindfolded contributions. The result was This
Love That We Outwore, released in the fall of 2012.
From there, things escalated quickly. By the following year, Sugarfoot had become a
proper band. Big Sky Country-- written and recorded collectively-- landed in 2014,
solidifying the group's evolving sound, including favourites such as Dolphins Hotel and
Ego In A Bag. When it came time to record a third album, the band felt the itch for
something new. They wanted a change of scenery--somewhere that could spark fresh
inspiration and leave its own sonic fngerprint on the production. So they asked
themselves: where could they go that carried the spirit, the legacy, the stardust of their
musical heroes?
That search led them to the California desert, to the legendary Rancho De La Luna,
nestled among the Joshua trees. Their next two albums, Different Stars (2016) and
The Santa Ana (2017), were both recorded at the Rancho. In fact, The Santa Ana was
both recorded and mixed during a two- week stay in 2015, making it a true time
capsule in the band's discography.

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

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

Held on the Tips of Fingers (2005) was the album that launched Polar Bear into the spotlight, earning a Mercury Prize nomination and cementing their status as one of the most influential British jazz groups of the 21st century. Now, for the first time, this landmark album will be available on vinyl, bringing new life to a recording that helped redefine jazz for a new generation. Expanding on the ideas introduced in Dim Lit, Held on the Tips of Fingers saw the band refine their sound while pushing their compositions further into uncharted territory. The interplay between Rochford, Pete Wareham, Mark Lockheart, Tom Herbert, and Leafcutter John was sharper, the structures looser, and the music more expressive. It was a rare feat: an album that felt both urgent and timeless, raw yet meticulously crafted. Held on the Tips of Fingers was widely acclaimed, securing a 5-star review in The Observer and a place in Jazzwise’s 100 Jazz Albums That Shook the World and The Guardian’s 1000 Albums to Hear BeforeYou Die. This long-awaited vinyl edition revisits an album that shaped modern British jazz and inspired a wave of experimental music that followed. Held on the Tips of Fingers remains as vital and forward-thinking today as it was in 2005, standing as a testament to the groundbreaking vision of Seb Rochford and Polar Bear.

When the hypnotic groove of Berlin band Onom Agemo & The Disco Jumpers meets the pulsating riffs of Malian guitarist and singer Ahmed Ag Kaedy, new horizons open up.


At the centre of 'Common Stars' is Ahmed Ag Kaedy's distinctive vocals - always with poetic urgency. His lyrics, deeply rooted in the political and cultural realities of his homeland, deal with freedom, home and the search for identity. They deal with the ongoing conflict of the Tuareg in Mali, who are caught between the desire for cultural self-determination and political tensions with the central government. They also address the threat posed by Islamist groups, which have controlled parts of northern Mali and banned music since 2012. Ahmed Ag Kaedy had to flee his home country due to this repression. With his band Amanar, he shaped modern Tuareg rock and toured internationally. The collaboration with Onom Agemo began after he came to Berlin for the premiere of the film 'Mali Blues', in which he is one of the protagonists, and led to joint concerts throughout Europe.

'Common Stars' is a musical meeting of cultures that unites sounds from the Sahara to Berlin. Music that creates connections and makes different perspectives audible. The tracks are characterised by trance-like rhythms, hypnotic bass lines and shimmering saxophone and flute sounds. Pulsating synthesizers, dry-as-dust guitar riffs and improvisational outbursts interweave to create a soundscape that is sometimes driving, sometimes floating and creates a very unique, captivating atmosphere. Ahmed Ag Kaedy describes it aptly: 'Space jazz meets the rhythm of the camel.'

Repress!

Wonderwheel recordings is proud to present the first full-length album from

producer Robin Perkins, aka El Buho. Balance represents a meeting of different currents that make up Buho's music: a fascination with the natural world, and its protection, a fascination with the rhythms, traditions and sounds of Latin America and a fascination with modern electronic music and production aesthetics. The album is peppered with Cumbia, Son Jarocho, Andean instrumentation & Afro-Colombian rhythms. Mixed with this, Robin integrates this idea of "nature music" - putting the sound of a misty forest, the songs of birds, of crunching leaves under foot or the rhythmic tapping of rain alongside synthesized sounds, electronic clicks or claps, deep basses. Trying at once to give them their own space but in a new, surprising perspective - it draws electronic music into something more soft, natural, different and appealing.

Balance is also an album that celebrates community and collaboration, showcasing collaborations with ten different artists form Latin America and beyond, both producers, instrumentalists and singers. Including more of a lyrical presence than his previous EPs, Perkins solicited the participation of talented singers like Dina al Wedidi from Cairo, Luzmila Carpio from Bolivia and the incredible decimas of Mexican poet Citlaly Malpica. The album also features the likes of harpist Veronica Valerio, Argentine multi-instrumentalist Rumo Tumba, jarana player Pablo Emiliano from Mexican Son Jarocho group Semilla and members of the Shika Shika family (the global collective he co-run's) Uji, Barrio Lindo, Kaleema, Minük and Jhon Montoya.

El Buho's music has an incredible power to convey feelings, atmospheres, memories or messages. The message that sits behind this music is to value on the one hand the power of community, of collaboration and of our modern, globally, connected world but also the remembrance, protection and celebration of the very earth we depend upon for our existence.

Sly & The Family Stone were true pioneers on so many levels: black/white, male/female, rock/soul, the act shattered all preconceptions of what popular music could be, and would go on to become one of the most groundbreaking and influential artists the world has ever witnessed. The First Family: Live at Winchester Cathedral 1967 is an unprecedented live performance by the original Family Stone line-up, recorded just prior to their signing to Epic Records, and a full year before their chart breakthrough with 'Dance To The Music.' This fascinating recording explicates Sly Stone’s genius on a tremendously exciting and atmospheric set of vintage soul covers, peppered with the arrangements, motifs and intoxicating energy that would soon become familiar during the group’s ascent. Interest in Sly is high with the forthcoming documentary directed by Questlove, but to experience the full impact of the Family Stone’s legendary abilities from the start, this historic document is required listening.

DJ support - Alix Perez, Fracture, Lenzman, Kyle Hall, Doc Scott.

Introducing a new remix EP series from Rosebay Music aiming to connect the dots between soulful D&B and more disparate styles, tempos and scenes - with remixes coming in from a carefully selected group of artists reinterpreting tunes from the catalogue in fresh and unexpected ways.

Detroit’s Kyle Hall has been 1 of the cities main ambassadors of soulful, gritty house & techno over the last 15 years. Here he’s joined by instrumentalist Ian Fink to deliver a classic slice of deep and raw Detroit house music in his remix of Submorphics - Blastoff. This unforeseen linkup between Kyle Hall and Submorphics represents a rare joining of forces between 2 Detroit-born artists who have both repped their hometown’s aesthetic quite heavily in their respective scenes.

Noodles142 is the new alias of D&B star Satl - making fresh bangers fusing UKG, techno, dubstep and bass music in a classic-yet-futuristic way. Here he flips Submorphics - Hey Baby into deep, dark and dubby 140 territory paying homage to middle-of-the-night Detroit grittyness.

Primitive Instinct has quickly become one of the hottest upcoming names in D&B, repping Bristol with ultra-modern production, swinging drums, gorgeous synth work and amazing vocal sample manipulation. His stellar EP on The North Quarter convinced Rosebay to get him to remix Submorphics - Cinerama; and the result is a truly infectious dancefloor weapon.

The final remix comes from one of the current stars of 1985 Music: Trail. Repping the Toulouse D&B scene over the last few years, Trail has a unique knack for melody, harmony and groove that sets him apart from other modern liquid artists. Here he flips Submorphics, Zar & aya dia’s modern classic “Another Level Of Love” into a trippy and experimental heater. A diverse and eclectic selection of remixes from some very intriguing artists each existing in their own lane. Enjoy the ride!

Dig deep in to the released output of famed producer David Axelrod and you’ll discover this gem, Pride. The single self-titled release is the pairing of Axelrod with his son Michael. The father-son duo deliver psychedelic pop with what many may call a Baroque folk-rock twist. Issued in 1970, the project is somewhat in the realm of the output from groups such as Love or The Byrds – but indelibly David Axelrod through and through.

To celebrate its 20th anniversary, Chinese Man revisits We've Been Here Before with a special expanded and reimagined edition. On the menu: unreleased tracks, remixes, live versions, and original reinterpretations featuring special guests such as La Yegros, OBF, and Chill Bump. This rework offers a fresh perspective on the trio's universe, driven by remixes from Manudigital, G?EG, and Lorkestra, who bring a wave of modern energy to the group's iconic tracks. The album also revisits Chinese Man's classics, including a brand-new version of Get Up and a powerful live performance of the legendary I've Got That Tune, featuring General Elektriks. A touch of the past, a bold step into the future - this shape-shifting album is a heartfelt anniversary gift.

Frontman and bassist Steve Kilbey of the Australian rock group The Church and Frank Kearns, guitarist of the Irish band Cactus World News, had already come together at the end of the 1990s to get some musical pieces off the ground together. However, this material was not captured on any record at the time. Originally released on Red Coral Records & then re-issued by Easy Action in 2023 on vinyl & CD (EARS195 & EARS195LP)

Born to Skank est le titre du second album de Mister Leu & The Nyabinghers qui fait suite à Born to Reggae, leur premier opus sorti en 2019. Born to Skank propose neuf titres originaux dont Mister Leu & the Nyabinghers sont les auteurs, compositeurs et interprètes, ainsi qu’une reprise.
C’est un album dédié au ska que l’on pouvait écouter lors des bals jamaïcains dans les années 60. Il a été enregistré en plusieurs sessions dans les Pyrénées Orientales pendant l’année 2023 aux studios Record It, Les Fauteuils Rouge et La Casa Musicale par Chromatic Records. Douze artistes ont été réunis sur cet album et influencés par des groupes comme The Skatalites, New York Ska Jazz, Jazz Jamaïca, Toots & the Maytals et Laurel Aitken.

En co-production avec Lucha Libre Records

Voodoo 5 brings Exotica to Alternative Tentacles with “Moon Over Marin”! In a genre where most bands are content to imitate old records, Voodoo 5 are making new ones—brave, bold, and unlike any exotica record you’ve ever heard. Led by composer/guitarist Skip Heller—producer to/protege of Robert Drasnin, orchestrator for Elisabeth Waldo, bandleader for Yma Sumac—and vocalist Lena Marie Cardinale, an operatic Sumac acolyte and former El Vez Elvette, Voodoo 5 has established themselves as a blistering live act not only at exotica festivals like Tiki Oasis and Tiki Caliente, but also such jazz venues as the Century Room (Tucson), Carousel (Palm Springs), and at various clubs in Los Angeles, their home base. Cardinale and Heller are rounded out by an all-star ensemble (Jay Work, flute, Mark Riddle, vibraphone, Connor Gallaher, steel guitar, Paul Eckman, upright bass, and Cesar Ventura, congas) who groove harder than do most exotica groups, all the while spotlessly executing some of the most interesting arrangements the genre has to offer.

After more than a decade of music-making, Durand Jones & The Indications have blossomed as a unit and are basking in their successes. On their aptly titled new album, Flowers, The Indications unfurl their true colors _ embracing all their roots and influences, maturation and confidence, and share them with the world. Since forming in 2012, the road has taken The Indications from those origins at Indiana University, Bloomington to the global stage, selling out shows across Europe, Japan, Australia, and New Zealand to the West Coast_ where DJI has a strong following among the lowrider and vintage soul enthusiasts. For as far as Durand Jones & The Indications have come, Flowers grew from the desire to return to their roots in a Bloomington basement, a space where they first found camaraderie in gritty funk and Southern soul that would inspire their self-titled debut. Pulling sonically and spiritually from each of the group's previous releases and solo work, Flowers is the next stage of DJI's inspired soulful discography. DJI are not only accepting their flowers, but indulging in their sweet and sexy fragrance.

Emotional Rescue completes the series of non-defined reissues where the label licenses an all-time favourite, remasters and then reappraised with new interpretations by contemporary producers for today’s collectors.

After the series started back in 2019 with Hawkwind’s sprawling psychedelic electronics, featuring deep drone mixes by the esteemed digger Cherrystones (ERC074), the bouncing cosmic-Balearics of Thomas Leer with wonderful reworkings by friend and producer Bullion (ERC075) and then the post punk dubs of The Embrace and Timothy J Faiplay’s brooding italo-dub excursions (ERC076), there was always one artist and producer left out. Finally, then the percussive excursion of the early 80s band The Impossible Dreamers and their cult B side jam, Spin, coming with 9 minutes percussion-dub extravaganza of an extended reversion, plus a dub heavy reprise, by label go-to Dan Tyler (Idjut Boys /Noid), under his NAD moniker.

Started by a group of friends while at Exeter University that centered around Caroline Radcliffe, James Hood, Justin Adams and Nick Waterhouse, their debut 12” record is one of just three on the 100 Things To Do label. The other two releases have already been covered with the Hamburger All Stars ‘Swinging London’ 12” (ERC114) of 2022.

Recorded before the move to West London, ‘Life On Earth’ was a raw post punk vocal pop cut, with influences of dub, funk, hip-hop and African music shining through, there were in their own words, “young music fans starting out, with no agenda”.

However, it was on the B side that things got interesting. Enamored by the growing trend of extended 12” singles, they decided, with the A side wrapped up, to have some studio experimentation by recording a drumming jam, with all the members playing percussion, followed by some overdubbing. Memories are hazy, but at the time the band was an 8-piece, so the results a chaotic explosion, capturing the essence of that time. Featuring Nick and James on 4 hand piano, plus Caroline on Oboe, with some additional hollering and wooping vocals, Spin was a 5-minute burst of energy.

In effect, self-released in 1982, the band didn’t expect much to come of it, but the 12” acted as a calling card leading them to London and later signing for RCA. At the same time, Spin was being discovered in the early eighties alternative club world. On a trip to New York, the track was heard being played Downtown, and on enquiring it was discovered the DJ was playing a 7” that was never an official release but cut in the US solely for the club DJs there.

Its resonance extended further, to Italy and the Cosmic club of the resident, an ever-searching Danielle Baldelli, before being picked up a few years later by a young Andrew Weatherall during his pursuit of an alternative “Balearic” beat during the late eighties Summers of Love and has even recently received the Joe Clausell edit treatment back again in NYC.

For the remake to fit the label series, it was only right to ask label friend Dan Tyler to do what he does so well, putting the original through his array of dub machines and pedals, extending and cutting with aplomb to create an incendiary ‘Reversion’ that will send dancefloors literally in a spin. Teasing the percussion incandescent, looping and teasing, the piano held back before finally releasing in a haze of dub effects.

This is followed by the ‘Riddim Reprise’. Working with London based drummer Matt Bruce (Claptrap), this is the perfect DJ tool, taking the original idea of the band, to just jam see what happens, twisting it full of space echo and reverb, to offer a perfect 12” Extended Mix.

Motel d'amour - A Lost Electro-Funk Gem from the NDW Era Resurfaces

When we first collaborated with Collage member Markus Kammann on the EP project "Mit den Puppen tanzen" at the end of last year, we never imagined what would follow: Kammann approached us with a completely unreleased full-length album by his former band. Upon receiving the first three preview tracks, we were floored. One of them was "Nachtcafé" - a track that kicks off with a funky bassline layered over the punchy rhythm of a Roland TR-808. Add shimmering synths and Katrin A. Kunze's sharp, distinctive vocals, and we instantly knew we were hearing something special.

For a label dedicated to rediscovering lost treasures, this was exactly what we'd been searching for. The next two tracks - "Rendezvous" and "Casanova" - were just as compelling. When Kammann sent us the full album, we realized we were holding an electro-funk grail from the late golden days of the German Neue Deutsche Welle (NDW). We were listening to "Motel d'amour".

"Motel d'amour" is a concept album, offering a sharp, vibrant perspective from a confident, intelligent, and radiant young woman eager to experience nightlife, love, and music. Kunze's lyrics paint vivid scenes of flirtation ("Nachtcafé", "Rendezvous"), encounters with men ("Casanova"), the pulse of nightlife ("Die Nacht ist noch jung"), love ("Rotes Licht für rote Liebe"), one-night stands ("Motel d'amour"), and more. Rarely has a German album from that era captured emotional nuance and social dynamics so insightfully. Without veering into the overly personal, Kunze's direct, daring lyrical style was groundbreaking at the time - and remains refreshingly bold today.

While German listeners will fully appreciate the lyrical depth, the music speaks volumes on its own. Kunze's words are masterfully complemented by the production of Markus Kammann and Jürgen Grah. As heard on the in-demand "Mit den Puppen tanzen", their creativity seemed boundless. Each track is tightly composed, catchy, and full of character. While many German bands at the time leaned into rock, Kammann drew from the deep grooves of Earth, Wind & Fire, The Isley Brothers, Brothers Johnson, The Commodores, and the electro-futurism of Afrika Bambaataa's "Planet Rock" and "Looking for the Perfect Beat". The result: tracks with unmistakable electro-funk flair, powered by the classic 808 drum sound.

Though primarily rooted in funk and electro, the album retains flashes of NDW aesthetics - "Wir haben getanzt heut' Nacht" being a prime example. The instrumentation is a dream list for vintage gear lovers: Yamaha keyboards, Roland Juno-60, vocoder, Micromoog, Hohner D6 Clavinet, Fender bass, and a Telecaster guitar all feature prominently.
Recorded in 1985 at the high-profile Delta Studio by Richard Rossbach, the album attracted interest from Polydor. However, the label proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, "Motel d'amour" was shelved, and Kammann, Grah, and Kunze moved on to form Cold End.
The album cover features a rare archival photo of Katrin A. Kunze - rediscovered by Kammann and now finally seeing the light of day, 40 years later.

We believe Motel d'amour deserves recognition alongside cult German classics like P!OFF?, 1. Futurologischer Congress' "Wer spricht?", Ami Marie's "Verrückt nach Glück", the funkier cuts of Cosa Rosa, or Piet Klocke's groove classic "Heute ist nicht sonst". It's a record that fits into adventurous DJ sets but also rewards a full, start-to-finish listen.

A note on audio quality: Sadly, the original master tapes were lost. The tracks were restored from a vintage TDK cassette. Thanks to modern digital tools, we were able to remaster them to a high standard - but in some songs light distortions remain. We appreciate your understanding and hope you enjoy this lost and undiscovered gem.

Motel d'amour - A Lost Electro-Funk Gem from the NDW Era Resurfaces

When we first collaborated with Collage member Markus Kammann on the EP project "Mit den Puppen tanzen" at the end of last year, we never imagined what would follow: Kammann approached us with a completely unreleased full-length album by his former band. Upon receiving the first three preview tracks, we were floored. One of them was "Nachtcafé" - a track that kicks off with a funky bassline layered over the punchy rhythm of a Roland TR-808. Add shimmering synths and Katrin A. Kunze's sharp, distinctive vocals, and we instantly knew we were hearing something special.

For a label dedicated to rediscovering lost treasures, this was exactly what we'd been searching for. The next two tracks - "Rendezvous" and "Casanova" - were just as compelling. When Kammann sent us the full album, we realized we were holding an electro-funk grail from the late golden days of the German Neue Deutsche Welle (NDW). We were listening to "Motel d'amour".

"Motel d'amour" is a concept album, offering a sharp, vibrant perspective from a confident, intelligent, and radiant young woman eager to experience nightlife, love, and music. Kunze's lyrics paint vivid scenes of flirtation ("Nachtcafé", "Rendezvous"), encounters with men ("Casanova"), the pulse of nightlife ("Die Nacht ist noch jung"), love ("Rotes Licht für rote Liebe"), one-night stands ("Motel d'amour"), and more. Rarely has a German album from that era captured emotional nuance and social dynamics so insightfully. Without veering into the overly personal, Kunze's direct, daring lyrical style was groundbreaking at the time - and remains refreshingly bold today.

While German listeners will fully appreciate the lyrical depth, the music speaks volumes on its own. Kunze's words are masterfully complemented by the production of Markus Kammann and Jürgen Grah. As heard on the in-demand "Mit den Puppen tanzen", their creativity seemed boundless. Each track is tightly composed, catchy, and full of character. While many German bands at the time leaned into rock, Kammann drew from the deep grooves of Earth, Wind & Fire, The Isley Brothers, Brothers Johnson, The Commodores, and the electro-futurism of Afrika Bambaataa's "Planet Rock" and "Looking for the Perfect Beat". The result: tracks with unmistakable electro-funk flair, powered by the classic 808 drum sound.

Though primarily rooted in funk and electro, the album retains flashes of NDW aesthetics - "Wir haben getanzt heut' Nacht" being a prime example. The instrumentation is a dream list for vintage gear lovers: Yamaha keyboards, Roland Juno-60, vocoder, Micromoog, Hohner D6 Clavinet, Fender bass, and a Telecaster guitar all feature prominently.
Recorded in 1985 at the high-profile Delta Studio by Richard Rossbach, the album attracted interest from Polydor. However, the label proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, "Motel d'amour" was shelved, and Kammann, Grah, and Kunze moved on to form Cold End.
The album cover features a rare archival photo of Katrin A. Kunze - rediscovered by Kammann and now finally seeing the light of day, 40 years later.

We believe Motel d'amour deserves recognition alongside cult German classics like P!OFF?, 1. Futurologischer Congress' "Wer spricht?", Ami Marie's "Verrückt nach Glück", the funkier cuts of Cosa Rosa, or Piet Klocke's groove classic "Heute ist nicht sonst". It's a record that fits into adventurous DJ sets but also rewards a full, start-to-finish listen.

A note on audio quality: Sadly, the original master tapes were lost. The tracks were restored from a vintage TDK cassette. Thanks to modern digital tools, we were able to remaster them to a high standard - but in some songs light distortions remain. We appreciate your understanding and hope you enjoy this lost and undiscovered gem.

The Sorcerers' latest long player lands in perfect time for the summer, offering a further progression into their unique take on Ethio-inspired jazz. Other Worlds and Habitats is, of course, released on ATA Records and is blessed with the analogue recording and painstakingly loving production we have come to expect from this boutique studio. This, The Sorcerers eagerly anticipated fourth LP, follows on from the success of I Too Am A Stranger, a record which garnered praise from BBC Radio 2’s Jamie Cullum, “I love this, this is so good!”, Ethio-jazz legend Mulatu Astatke, “I like the grooves, and it is good to see The Sorcerers interpret Ethio jazz in their own unique way”, and Nightmares on Wax, “This sounds great! Love the way it's recorded”.

Never ones to stop moving forward, and ever vigilant to avoid the realm of pastiche, The Sorcerers see the Ethiopique sound as a building block for their natural progression as a group, but a block that sits at the base of a much larger, ever expanding, structure, The addition of keyboardist Johnny Richards, whose use of the Jen 73 piano, Mellotron and Farfisa Compact Duo, alongside the core members of the group, has opened some exciting doors for The Sorcerers, fusing the future looking optimism of the late 60s and 70s (when artists began to experiment with the new electronic technology and synthesisers becoming more readily available) and more traditional sounds. Taking inspiration from Ethiopian keyboardist Hailu Mergia and Nigerian musician William Onyeabor, Other Worlds and Habitats, as the name suggests, showcases The Sorcerers' shift to a new, and deeply exciting, musical landscape.

The Sorcerers’ Other Worlds and Habitats is a natural progression in the world they have created for themselves. Richer for shared experiences, and accepting the rise of the machines, they prove that while their journey is always going forward, there are many different paths to take.

Some Other Suckers Parade is a fascinating addition to Del Amitri’s catalogue - Originally released on A&M Records in June 1997, the album captures a group secure of their success and gently kicking back against formula. This re-issue faithfully replicates the original 1997 A&M UK release and is pressed onto high quality 180g vinyl. The group, led by bassist-vocalist-writer Justin Currie and writer-guitarist Iain Harvie, had become equally known for their gentle pop and acoustic ballads as their jangling melodic rock. Overseen by Breeders producer Mark Freegard, the album was broadly recorded live and has touches of Crazy Horse and The Faces about it. Acoustic guitars were banned. The harmonious onslaught paid off: Some Other Suckers Parade complete with its much-loved singles Not Where Its At and Some Other Suckers Parade entered the charts at No 6 in the UK. I really love the record, because its probably our least pretentious, Currie said in 1998.

Strut present the first international release in over 30 years by legendary Afro-jazz group Oneness Of Juju with their new album Made Through Ritual on 11th July 2025.

In 1975, the late DJ / producer and jazz distributor Jimmy Gray and James “Plunky” Branch joined a musical revolution, founding Black Fire Records and releasing the label’s debut album, the classic African Rhythms by Oneness of Juju. This July, Plunky brings this important musical relationship full circle with Made Through Ritual, produced by Plunky’s son Jamiah “Fire” Branch and Jimmy’s son Jamal Gray.

The album takes a novel approach to beat culture. Working from demos created by Jamal using a selection of original jazz samples, Plunky took the tracks, replayed and re-interpreted the arrangements using live musicians. “The album explores the art of deconstruction and reconstruction in music - sampling, sequencing, and live improvisation merge with multi-track recording to craft intricate harmonies and arrangements,” explains Plunky. “The process became a ritualistic expression of creativity and transformation.”

The resulting album is a fascinating listen. Opening with the meditative soul chant ‘Share This Love’ voiced by regular Oneness vocalist Charlayne “Chyp” Green, the album opens out into a series of jazz vignettes including the title track, ‘In Due Time’ and ‘Free Spirit’. The powerful album closer, ‘Children Of The Drum’ celebrates black culture and legacy through the poetry of Roscoe Burnem.

Released on 1LP and 1CD with specially commissioned cover artwork by contemporary Ivorian artist Maxime Manga, Made Through Ritual represents an important new chapter in the Oneness story. The album will be supported by a selection of European tour dates during Autumn and Winter 2025.

Signing with FatCat Records in 2022, and having released four singles to date, Nottingham-based Midnight Rodeo have now delivered their debut album, “Chaos Era”.

Extensive, relentless touring (sold-out hometown shows,The Great Escape, Dot To Dot, and Kendall Calling) created a tight-knit family, their pleasure in playing as an ensemble is instantly evident on the album. When asked about this they’ll explain, “We want people to tap into why we are always smiling on stage.”

The songs are collaborative efforts. Their different musical backgrounds result in a genre criss-crossing and totally unique creative collisions. Bassist Harry says, “What we do is Dada-istic. The drums play hooks, the bass plays parts usually taken by brass, the guitar’s playing West Coast psyche over disco rhythms.”

Written over a prolonged period of time, the songs on the album can be viewed as a kind of coming-of-age “suite”, as the unit of 20-somethings wrestle with subjects such as relationships, shifting social dynamics, changing hopes and dreams. The LP’s title refers to tumultuous personal events they’ve helped each other through. Reinforcing their bonding. With no pointed political agenda, the album is about “escape”. “We want people to dance”, they say.

The band recorded the album with Samana’s Franklin Mockett. Making full use of the acclaimed duo’s residential studio, located deep in the Welsh countryside, during an Indian summer heatwave. The aim was to remove all distractions, and, with Mockett’s assistance, capture the group as live, and as analogue, as possible. For 10 days, in sometimes 16 hour sessions, music, incense, and whiskey flowed, while vintage amp valves glowed.

Just like the band’s live performances, “Chaos Era” is packed with a palpable joy. The exhilaration of creation in each others company. Its punchy production is most definitely meant to be played loud.

Pressed to limited edition other-worldly Zoetrope picture disc, Shui is the new album from Sydney based punk rock five-piece, Fangz, out via Impressed Recordings.

Since their 2019 inception, the band have released three EP’s For Nothing (2019), But No Thanks (2020), Falling Is Pretty Normal (2022), and a slew of singles, which received strong support from the likes of triple j, triple j Unearthed, Triple M, Spotify, Apple Music, Amazon Music, Metal Hammer (UK), Loudwire (USA), Classic Rock (UK), Metal Injection (USA), Louder Sound (UK), NME, Pilerats, The Guardian, MANIACS and many more.

They’ve traversed the country multiple times selling out headline shows, performing at festivals and sharing stages with the likes of FIDLAR (USA), Pennywise (USA), The Bronx (USA), Cancer Bats (CAN), RedHook, Comeback Kid (CAN) and He Is Legend (USA).
The group have also completed an East Coast in 24 hours, launched their very own line of hot sauce Fang us Some Sauce, an annually curated festival ‘FANGZstock’, and hold the Guinness world record for the most hard-boiled eggs eaten in one sitting by front man Josh Cottreau (143 eggs in three minutes and ten seconds).

Coming into 2025, the quintet have released singles ‘Wasting Time’, ‘Nothing To Lose’, ‘Same Old Story’ and ‘Wide Awake’ from their forthcoming debut album ‘Shui’ (due July 2025), plus have taken FANGZstock on the road, launching the Melbourne and Brisbane contingents.

sychedelic hard-rock Holy Grail, originally released by this Greek band in 1976 but sounding more akin to late 60s / early 70s.
Highly recommended to fans of HEAVY-FUZZ guitars, think DARK, FIRE, OPEN MIND or even SPACEMEN 3 circa “Revolution”!
The 4 Levels Of Existence (Τα 4 Επίπεδα Της Ύπαρξης) formed around 1974 in Athens from the ashes of a band called
Frog’s Eyes. Some of their influences were groups like Deep Purple, Led Zeppelin, Who or Iron Butterfly as well as traditional Greek music.
They recorded their sole album in just 10 hours with no overdubs and it was eventually released (500 copies only) on the small Venus label. The cover artwork was created by guitar player Athanasios Alatas. The band sadly split soon after but they left behind one of the most legendary and sought after albums not only from Greece but also from the worldwide heavy-prog scene.

From his early-’60s days as hip shaker Twistin’ Harvey to his late-’70s nights on the light up dance floor in search of a “Disco Lady,” Harvey Scales survived scrapes with the pop charts, bankrupt record companies, walk outs, sit ins, strikes, price hikes, lay offs, and under table payoffs over a 40 year career. Compiled here for the first time are Scales’ Cuca and Magic Touch recordings, 27 slabs of cracker jack R&B, stomping northern soul, divorce-ridden deep soul, feverish funk, and hustling disco spread across 2 LPs and housed in a deluxe gatefold jacket.. Bill Dahl’s in depth notes document the entire sordid affair, with dozens of period photos and ephemeral bits illustrating the accompanying 20 page book. So necessary.

From his early-’60s days as hip shaker Twistin’ Harvey to his late-’70s nights on the light up dance floor in search of a “Disco Lady,” Harvey Scales survived scrapes with the pop charts, bankrupt record companies, walk outs, sit ins, strikes, price hikes, lay offs, and under table payoffs over a 40 year career. Compiled here for the first time are Scales’ Cuca and Magic Touch recordings, 27 slabs of cracker jack R&B, stomping northern soul, divorce-ridden deep soul, feverish funk, and hustling disco spread across 2 LPs and housed in a deluxe gatefold jacket.. Bill Dahl’s in depth notes document the entire sordid affair, with dozens of period photos and ephemeral bits illustrating the accompanying 20 page book. So necessary.

Girl groups have come and gone over the years, but the Crystals’ name, along with the Ronettes, has become synonymous with the groundbreaking early-Sixties wave promoted by producer Phil Spector. As well as including some of their early recordings, the songs featured here on this 180g Vinyl set retain their period charm thanks to what one critic called the Crystals’ ‘sweet-butstreetwise vocal magic.’ File the music under Brill Building, GirlGroup Pop or whatever you choose, it wears its half a century of history lightly

Mute veröffentlicht am 11.07. das neunte Soloalbum des für immer einflussreichen Künstlers Mark Stewart - 'The Fateful Symmetry' - ist ein vitales Meisterwerk, das kurz vor seinem frühen Tod im April 2023 fertiggestellt wurde.

In seiner illustren Karriere als Pionier mit The Pop Group, Mark Stewart & The Maffia und als Solokünstler hat Stewart ein bahnbrechendes Werk geschaffen, das von den DIY-Idealen des Punk, radikaler Politik, Protestbewegungen, Theorie, Philosophie, Technologie, Kunst und Poesie geprägt ist. Mit 'The Fateful Symmetry' wird Stewarts bleibendes Vermächtnis als „verehrter Gegenkultur-Musiker“ (The Guardian) mit einem Album fortgesetzt, das so furchtlos und visionär ist wie seine besten Arbeiten.

'The Fateful Symmetry' zeugt von seinem unermüdlichen Einfallsreichtum und ist eines seiner intimsten und kraftvollsten Statements. Es ist ein erstaunlich ausdrucksstarkes und innovatives Album, ein kämpferisches und schönes Manifest für eine bessere Welt. Der unnachahmliche, titanische Mark Stewart, nie normalisiert, immer außergewöhnlich.

Sublime private-press piano improvisations channeled from another world by Willem Nyland. Remastered from the original tapes and reissued for the first time, with in-depth liner notes by Matt Marble of the American Museum of Paramusicology. A Columbia-educated chemist by profession and a self-taught pianist by affinity, Willem Nyland (1890-1975) is known as a spiritual teacher in the tradition of Greek-Armenian mystic George Gurdjieff. In the mid/late 1960s, a split with Gurdjieff led Nyland to start his own group in upstate New York. There, after a Friday night lecture on 'The Work' and a shot of brandy, Nyland would launch into remarkable piano improvisations on a specially tuned baby grand, sometimes playing for over an hour. Each improvisation was meticulously recorded and cataloged, a major part of Nyland's teachings. 16 of these recordings were released as standalone LPs on Nyland's own Gauge Hill Press, with artwork by Hungarian American decorative artist Ilonka Karasz, Nyland's wife of over 50 years. These records, with their cascading, deeply emotional playing and beautiful cover art, have become highly coveted by collectors and "paramusicologists." Each contains depths of spiritual information and lyrical, almost visual instrumental storytelling. Nyland deftly and subtly shifts moods and tones throughout these truly inspired extended improvisations.

Released for the first time on vinyl - 2002's Can You Do Me Good? saw Del Amitri return after a 48 month hiatus with a new sound and a remarkable, yet almost entirely overlooked album - For the album's debut on LP it has been pressed on high quality 180g vinyl and includes a full-colour 16 page lyric booklet. By 2002, the pop world had turned; four years earlier, Del Amitri had released Hatful Of Rain, their greatest hits collection marking more-or-less a decade of success. Can You Do Me Good? relied on keyboards, samples and drum machines as much as previous albums centered on electric and acoustic guitars. Featuring its soulful lead single Just Before You Leave, Can You Do Me Good? is truly fascinating, and could well have been the groups biggest album ever had it come five years earlier. Ive got cash and prizes, but I don’t know who I am, Currie sings on Cash & Prizes; and the song seems to encapsulate the album.

Habibi Funk is more than happy to announce our 31st release which happens to be our 3rd various artists compilation. The album is dedicated to the cassette tape scene in Libya from the late 80s to early 2000s, from disco to reggae to pop. All songs previously unreleased outside of Libya and not available on any DSP platforms.

Underground flower punks deliver to the world an infectious grouping on 7 Inches. "Musical Attack: Anarchist + Communist Friendship" was recorded by Joe Nelson at D4MT Labs, and has art by DIY maven of the midwest Diyana Shipp, depicting a possible near-future community center that already exists.

"World of Pooh immensely brightened the dark corners of San Francisco, California during the years 1983-1990, with their most recognized guise being the MMF trio that existed & thrived during the years 1986-1990. This is the lineup you’ll hear documented on this exceptional collection of 45s, compilation tracks and assorted ephemera. The band has ranged from being a footnote for some (“is that the band Barbara Manning was once in?”) to a fondly-regarded memory for others (“the Land of Thirst album is a forgotten classic”) to a turnstile, door-opening band for still others — like me. They arrived in my life as they were slowly exiting theirs, and I eagerly attended a half-dozen shows of theirs circa 1989-90 around San Francisco moments after I moved there. They were instantly my favorite local band, one I was instantly duty-bound to see whenever & wherever they played. Their jagged and discombobulated take on underground pop music was exceptionally fertile, feral and fetching, and it served as a personal gateway drug that flowered my own appreciation for many different kinds of subtle musical tension.
I also spent at least five glorious years watching Jay Paget, who drummed for World of Pooh and later the Thinking Fellers Union Local 282, ply his rhythmic trade with much aplomb. He was always a steady hand behind the musical wheel of innovative bands who often threatened to careen off course. And I’ll admit to an untoward admiration of (and fascination with) World of Pooh founder, guitarist and singer Brandan Kearney from the moment I met the guy. Not only was he exceptionally friendly and welcoming to a carpetbagging interloper quickly trying to horn in on his scene (me), he was at once one of the most quick-witted, self-deprecating, highly intelligent & musically conversant people I’d ever met. Everything he and his band were doing, along with the mind-boggling DIY gunk he was pushing through his record label, Nuf Sed, and via his multiple other bands (among them: Caroliner & Archipelago Brewing Company, with several more to follow), made me extremely curious and not a tiny bit jealous about these wiser, weirder and musically more daring freaks who were making art, love & war in the relatively grittier & non-gentrified San Francisco of the day.
What I’ve learned in the 35 years since the band broke up is just how highly regarded they were (and remain) by not only those who saw them, but by a now-considerably larger group of humans who’ve subsequently heard & loved their records. I know that their place in the late 1980s was a small but special one, and I’ve seen plenty of online clamoring for more, more, more about this ephemeral and poorly-documented band. And rightly, here it is, lovingly assembled: their two hard-to-come-by 45s, a handful of comp tracks, and a quartet of phenomenal songs just coming to light for the first time, including that Half Japanese cover that dimly existed in my memory as a live song they naturally pulled off with sangfroid, from a time and space when we were all a little younger. - Jay Hinman"

‘With Time, We Learned To Ask Less’ is the first duo album by Giuseppe Ielasi and Riccardo D. Wanke after decades of friendship and the occasional artistic collaboration. Working with only electric guitar and electric piano as well as a gentle dose of reverb, these improvisation-based recordings showcase the rapprochement of two artists whose interests are perfectly aligned. Their carefulness, attention to detail, and shared desire to sculpt space through music instead of just occupying it create a unique harmony between these two exceptional musicians who consistently stay mindful of the old adage that music is the space between the notes. Following up on solo albums sees them seamlessly combining the sparse but lush aesthetics of those experiments throughout these 44 minutes. Having lived close to each other in Northern Italy, where the prolific mastering engineer Ielasi still resides to this day, he and Wanke were members of the group Medves together with Andrea Belfi, Renato Rinaldi and Stefano Pilia before Wanke relocated to Lisbon. When Ielasi, who had mastered Wanke’s recent solo albums including 2023’s »i« for electric pianos, was invited to play a concert in the Portuguese capital in the summer of that year, the two took the opportunity to go on stage together. Infatuated by the results of this fully improvised set, they organised a two-day session in Ielasi’s Monza studio shortly thereafter and edited the recordings over the course of the following months. The resulting album shows them moving slowly through sonic space and time, complementing and counterpointing each other’s playing. They leave each other room in which to unfold and let short moments of silence speak for themselves. ‘With Time, We Learned To Ask Less’ is the closest you will get to hearing the air sing.

Influential hardcore innovators Botch have delivered their electrifying new live album 061524, recorded at the iconic Showbox in Seattle on June 15, 2024—exactly 22 years to the day after their original farewell show at the same venue in 2002. 061524 captures a band still pushing sonic and emotional boundaries, now sharper, louder, and more dynamic than ever. Botch’s impact on aggressive music is undeniable. Their chaotic, math-laced brand of hardcore helped shape the genre’s landscape well after the band’s abrupt breakup in 2002.

For years, a reunion seemed unlikely—until a chain of unexpected events brought the original lineup back together for the band’s first new recording in over 20 years: 2022’s “One Twenty Two.” The song was released to critical acclaim, building into a frenzy of anticipation for Botch to reunite. What started as a nostalgic experiment quickly became a full-circle celebration, with the band reconnecting both personally and musically. That spark unleashed a wave of activity: secret warm-up shows, sold-out headlining gigs, and eventually a carefully curated international reunion tour, culminating in their hometown return at the Showbox—where 061524 was recorded in front of a packed, exhilarated crowd. 061524 is a blistering, unflinching document of a band reawakened—not as a legacy act, but as a vital force.

The album captures the energy, grit, and heart of a group that’s not only older and wiser—but more rehearsed and way more ambitious. The performances are tight but still full of the raw unpredictability that defined their early years. Fan favorites like “To Our Friends in the Great White North” and “Transitions from Persona to Object” are more complex and invigorating than ever before. Other songs, like “Afghamistam” and “Oma,” never considered feasible to pull off live previously, are delivered with the intricacy and intensity that has earned the band a lasting legacy and fresh legion of followers.

Influential hardcore innovators Botch have delivered their electrifying new live album 061524, recorded at the iconic Showbox in Seattle on June 15, 2024—exactly 22 years to the day after their original farewell show at the same venue in 2002. 061524 captures a band still pushing sonic and emotional boundaries, now sharper, louder, and more dynamic than ever. Botch’s impact on aggressive music is undeniable. Their chaotic, math-laced brand of hardcore helped shape the genre’s landscape well after the band’s abrupt breakup in 2002.

For years, a reunion seemed unlikely—until a chain of unexpected events brought the original lineup back together for the band’s first new recording in over 20 years: 2022’s “One Twenty Two.” The song was released to critical acclaim, building into a frenzy of anticipation for Botch to reunite. What started as a nostalgic experiment quickly became a full-circle celebration, with the band reconnecting both personally and musically. That spark unleashed a wave of activity: secret warm-up shows, sold-out headlining gigs, and eventually a carefully curated international reunion tour, culminating in their hometown return at the Showbox—where 061524 was recorded in front of a packed, exhilarated crowd. 061524 is a blistering, unflinching document of a band reawakened—not as a legacy act, but as a vital force.

The album captures the energy, grit, and heart of a group that’s not only older and wiser—but more rehearsed and way more ambitious. The performances are tight but still full of the raw unpredictability that defined their early years. Fan favorites like “To Our Friends in the Great White North” and “Transitions from Persona to Object” are more complex and invigorating than ever before. Other songs, like “Afghamistam” and “Oma,” never considered feasible to pull off live previously, are delivered with the intricacy and intensity that has earned the band a lasting legacy and fresh legion of followers.

Originally issued on Hut Records in June 2000, Alone With Everybody was eagerly anticipated, as it was Ashcroft's first recordings since the demise of the group he founded and led, The Verve - This re-issue replicates the 2000 UK first pressing and is available on audiophile 180g double vinyl in gatefold sleeve.

Opening the album with its string overture, "Song For The Lovers" signalled Ashcroft's intent immediately. Intensely melodic, anthemic, it picked up exactly where The Verve's 1997 multi-platinum album Urban Hymns left off. Lifted as a single, it reached No 3 in the UK and spent most of the summer on the charts.

Recorded at Olympic Studios and Metropolis in London, big, bold and frequently beautiful, Alone With Everybody raced to No 1 in early July; it played to all of Ashcroft's strengths, memorable hooks, catchy choruses, beats subtly influenced by dance music; the brass-blazing bold hoedown of "Money To Burn" was the album's second single; other highlights include the ballad "Slow Was My Heart", the upbeat joy of "C'Mon People (We're Making It Now)" and the reflective, string-enrobed "You On My Mind In My Sleep".

Heat Death Vinyl is Clear w/ Black Splatter. The drowsiest and earliest inklings of the slowcore movement can be traced to Codeine's 1991 debut. Combining the Louisville scene's relaxed tempo with doom metal's distorted slurry, the album is a depressing masterpiece of hushed vocals, noisy guitar, and punishing drums. Remastered from the original analog tapes and recreated in painstaking detail, Frigid Stars LP is the NYC trio's fuzziest and most affecting work. "A deft musical approximation of the sound of water turning to ice, the guitars are so weighed down with distortion that they struggle to march from one chord to the next." _ Pitchfork

The drowsiest and earliest inklings ofthe slowcore movement can be traced to Codeine's 1991 debut. Combining theLouisville scene's relaxed tempo withdoom metal's distorted slurry, the albumis a depressing masterpiece of hushedvocals, noisy guitar, and punishing drums.Remastered from the original analog tapesand recreated in painstaking detail,FrigidStars LPis the NYC trio's fuzziest andmost affecting work."A deft musical approximation of thesound of water turning to ice, the guitarsare so weighed down with distortion thatthey struggle to march from one chord tothe next."-Pitchfork

Far Out Recordings continues its reissue campaign of the late Argentinian guitarist Agustin Pereyra Lucena's work with the first-ever vinyl reissue of his singular 1988 private press album, Puertos De Alternativa, now his most sought-after LP. The album features some of Agustin’s most uniquely beautiful compositions, including “Luces de Valeria” and “Preparativos Maritimos,” alongside Baden Powell's “Pequeño Vals” and “O Cego Aderaldo (Nordeste...),” and “Tema Barroco” by his longtime collaborator, Guilhermo Reuter.

By 1988, Agustín had established himself as one of Argentina’s foremost interpreters of Brazilian music. The seventies saw success with his group Candeias, and he gained recognition in Brazil, forming friendships and collaborations with luminaries such as Vinicius de Moraes, Baden Powell, Dorival Caymmi, Toquinho, and Maria Bethania. Following the era of dictatorship in South America, Agustín spent the late seventies and early eighties, living and touring in Norway as part of his European travels with his group Agustín Pereyra Lucena quartet.

Recorded after returning to his native Buenos Aires, Agustin Peyera Lucena’s Puertos de Alternativa emerged from this confluence of diverse experiences and influences, revealing an artist deeply connected to his environment. The album's title, meaning "Alternative Harbours," reflects Agustín's particular affinity for water. He observed that much of his favourite music originated from places with rivers and seas nearby, noting, "There is a flow near water that influences guitar playing for sure."

With a profound connection to both instrument and environment, Agustín’s music is often difficult to place. The album begins rooted deeply in South American soil, drawing clear inspiration from Brazilian guitar masters like Heitor Villa Lobos, Garoto and Baden Powell. But, as it progresses, a sense of journey unfolds, evoking new landscapes and horizons – from the crystalline beauty of glacial Norway to the gentle currents of the Rio de la Plata.

The ensemble on Puertos de Alternativa features notable Argentinian musicians, including drummer Osvaldo Avena, flautist Rubén Izarrualde, and saxophonist Bernardo Baraj.

Mastered by Stuart Hawkes at Metropolis Studios from the original master tapes which had been lovingly kept by Agustin’s nephew José Lucena Perreyra


Tracklist & Credits:

A1. Luces De Valeria (Agustin Pereyra Lucena)
Guitar, Vocals – Agustin Pereyra Lucena
Piano, Bass, Drums, Vocals – Guillermo Reuter
Tamboril – Julio Said

A2. Pequeña Valsa (Baden Powell)
Arranged By Flute – Lucho González
Drums – Osvaldo Avena
Flute – Alejandro Santos
Guitar – Agustin Pereyra Lucena
Tambora – Eduardo Avena

A3. Planicie (El Llano) (Agustin Pereyra Lucena)
Arranged By Flute – Lucho González
Flute – Rubén Izarrualde
Keyboards, Acoustic Bass, Percussion, Arranged By Keyboards – Guillermo Reuter
Guitar – Agustin Pereyra Lucena

A4. Tema Barroco (Guillermo Reuter)
Guitar – Agustin Pereyra Lucena
Percussion – Guillermo Reuter

A5. O Cego Aderaldo (Nordeste...) (Baden Powell)
Guitar – Agustin Pereyra Lucena

B1. Tres Que Quedaron (Agustin Pereyra Lucena, Andrés Laprida)
Drums – Osvaldo López
Flute – Rubén Izarrualde
Piano, Keyboards, Bass, Directed By – Guillermo Reuter
Soprano Saxophone – Bernardo Baraj
Electric Piano, Arranged By – Andrés Laprida
Guitar, Electric Guitar, Vocals – Agustin Pereyra Lucena

B2. Preparativos Maritimos (Andrés Laprida, Agustin Pereyra Lucena, Guillermo Reuter)
Guitar, Vocals – Agustin Pereyra Lucena
Keyboards, Acoustic Bass, Percussion, Arranged By – Guillermo Reuter

B3. Puertos De Alternativa (Agustin Pereyra Lucena)
Guitar, Effects – Agustin Pereyra Lucena

B4. Casi-Numbe (Luis González Cárpena, Agustin Pereyra Lucena)
Bass – Lucho González
Bass Flute – Rubén Izarrrualde
Berimbau – Horacio Veros
Keyboards, Piano, Vocals, Drums, Arranged By – Guillermo Reuter
Guitar, Vocals, Arranged By – Agustin Pereyra Lucena

The tenth volume of Numero's elaborately packaged Cabinet of Curiosities series, L80s finds the group exploring the far-flung corners of the global downtempo underground. This 12-song mix tape weaves icy hot coldwave, Sausalito seafood jazz, Glaswegian goth, makeshift Madonna, Sade spoofs, and Brat Pack balearic into a high-waisted, party-ready pair of danceable denim.

25th anniversary edition of the widely acclaimed tribute album celebrating the music of Brian Wilson & The Beach Boys. 24 exclusive tracks. New remaster on 2 LPs in a gatefold sleeve with extensive liner notes and many rare photographs.

On the occasion of the celebration of the tenth anniversary of our work, in cooperation with PGP-RTS, we prepared a quite special edition: Max And Intro-Return To The Future 1984-1994 LP collects 12 tracks of this legendary Belgrade synth-pop group on high-quality 180-gram vinyl, remastered from the original master tapes with a handful of extras: the record comes with a rare interview from 1985, a lyrics sheet, and phenomenal unreleased photos by Goran Basarić and Max’s Poster.

Wewantsounds is delighted to continue its Algerian music reissue program with the release of Freh Khodja's sought-after 1975 LP, Ken Andy Habib. Recorded in Paris with Les Flammes, a group of immigrant musicians, the album is now reissued for the first time. Selected by Paris-based DJ Cheb Gero, who recently compiled the Sweet Rebels Rai set and curated the Abranis LP release for Wewantsounds, Ken Andi Habib is a masterful blend of Arabic music, jazz, Carribean/Latin grooves and funk. Featuring original artwork, audio remastered by Colorsound Studio, and a two-page insert with new liner notes (French/English) by Algerian journalist Rabah Mezouane.

Formed in the town of New Mills, Derbyshire in 1980, Oi legends Blitz revitalised the UK punk scene of the era, their incendiary debut Voice Of A Generation a massive commercial success, but the 1983 follow-up Time Empire Justice had a different line-up and new wave orientation, pointing to fissures in the group; then, in 1990, guitarist/multi-instrumentalist Nidge Miller teamed up with former Attack frontman Gary Basnett for The Killing Dream, a studio swansong that revived the name with Nidge fully in control. Devotees will love the sterling guitar work on this final piece of the Blitz jigsaw.

A true embodiment of Brazilian Boogie, this is the first official reissue of Brylho's album, founded in Rio de Janeiro in 1978 as Brylho da Cidade. The group was influenced by the Black Rio movement of Tim Maia, Cassiano, and others. Members included Arnaldo Brandão (vocals/bass), Paulo Roquette (guitar), Cláudio Zoli (guitar/vocals), Robério Rafael (drums), Bolão (percussion), and Ricardo Cristaldi (keyboard). Claudio Zoli stands out as an important funk artist of the 1980s, during a time when Pop Rock bands dominated the Brazilian music scene. This album features one of the biggest hits of 1983: the soulful reggae groove "Noite do Prazer." Often described as Rio de Janeiro's answer to George Benson's "Give Me the Night," it's a timeless classic that bridges funk, soul, and Brazilian grooves. On "Se Você For a Salvador," a sun-soaked, feel-good boogie track, younger generations have embraced a new term to describe the sound: Brazilian City Pop. The record also delivers dancefloor heat like the stomping "Jóia Rara," the vibrant soul-reggae fusion "Destrava Maria," the ahead-of-its- time rap-funk hybrid "Cheque Sem Fundo," and the electrifying samba-reggae "Pé de Guerra," rich with Bahian rhythms and energy. Closing out the album are two under-the-radar jazz-funk gems: "Meditando" and "171." Though often lumped into the boogie category, these tracks lean more toward the sleek 1980s jazz-funk sound, reminiscent of UK acts like Level 42.

“Extremely highhgrade psych” (MOJO, 2024) “Immaculate sounding new psychedelia“ (Maggot Brain, 2024) “Alexander succeeds in capturing the post-psych grandeur that he’s aiming for while also creating one of his headiest offerings yet” (Raven Sings The Blues) “Psych lifer in a bloozy Americana mode. The whole thing hangs loose like a frayed rope tied to a river tube… essentially, a choogler’s dream.” (Viking’s Choice / NPR Music) “Plug in and space your face” (Aquarium Drunkard) Originally on Tape via Arrowhawk (please go check more releases on this wonderful label) - Now on Vinyl Presented in a high gloss laminated outer sleeve with artwork by Jake Blanchard - Both sets of art joining together to complete the picture. 36 minutes of sonic bliss for your ears and brain. Side 1 - Dark Star Side 2 - Dark Star (continued) "Jeffrey Alexander is a lifer. He has been flirting around the underground for the past thirty years - starting in Baltimore in the mid-90s and later percolating in Providence, Pittsburgh, San Francisco and, now, Philadelphia. Throughout this span, he has run various record labels, worked in a bunch of record shops, organized music festivals, managed live venues, FM deejayed, jammed econo, booked endless tours and performed in a gaggle of groups from Black Forest / Black Sea to Dire Wolves to Jackie-O Motherfucker to The Iditarod and points in-between. And now we have The Heavy Lidders. Jeffrey Alexander + The Heavy Lidders takes the freaked improvisation of Alexander’s instrumental band - DWLVS / Dire Wolves Just Exactly Perfect Sisters Band - into the world of song. Heady songwriting, ethereal jazz and Trad Gras-y blues stomps all feature. Backed by members of Elkhorn and Kohoutek. This vinyl (in 2 volumes) you hold in your hands is a collection of live Lidders that will surely wax your stem, and how! When Record Crates United invited JA+THL to perform at their inaugural garden party, not only did the Lidders show up with a one-off Live/Dead cover as a surprise gift for Keith and Sarah, but they rolled in with the Jesse Sheppard mobile multi-track truck, as well. Fucking pros, mate. Most of the material here was captured that sunny afternoon in suburban New Jersey - and thank the Godz that we have this plastic burner. I missed the set, but Kenneth Higney was there and gave it two thumbs up! I know them Lidders have a deluxe studio LP lined up for September, but til then, this little box will comfortably help you break on through. But don’t be fooled into thinking this is a mere EP. It’s SEVENTY SIX minutes of pure medicated goo. Now dose your capstan and pinch your roller. Shit is about to get Lidded." - Glen Burnout (on Sun Ra’s arrival day 2023)

“(Cheer-Accident have) earned a reputation for extreme left turns - following collections of complex, metallic art rock with albums stuffed with piano-driven balladry cementing a practice of defying expectations that’s endured for more than three or four decades, depending on when you recognize as the group's actual genesis” - THE WIRE

From Cheer-Accident's liner notes: It’s weird to have so few words to say about our best album to date, but… well…

Our Best Album? Out of 26?

That’s not nothing.

What makes it “our best?” Is it the songs? Is it the production? Is it the convergence of those two elements? What if we added “accessibility?” It is, after all, a pop album. You know, very much in the same way that “The Why Album” and “What Sequel?” are. In fact, we very nearly named it “Now What”, viewing it as the final installment in this pop trilogy.

But that started to feel wrong, because: Why get locked into a “series” every time we happen to lean on the more melodic and concise aspect of what we do?

You know, and the thing is, this isn’t any kind of “return.” This is something new. Though it certainly shares DNA with the aforementioned What/Why releases, it also very much incorporates the rock and dissonance and experimentation present in many of our other forays. Maybe this is simply where we landed. Maybe this is what we are now. Maybe we’ve finally found the combination of ingredients that so perfectly synthesize as our aesthetic that there’s no need to go on from here. Maybe we’ve stopped. Maybe we’re done. Maybe we’ve finally found that sweet spot between the “adventurous” and the “palatable,” and we now intend to rest on our laurels.

What an Admission that would be.

Since first forming in 2016, London's High Vis have steadily polished their palette of progressive hardcore with shades of post-punk, Brit pop, neo-psychedelia, and even Madchester groove, mapping a middle ground between hooks and fury, melodies and mosh pits. Singer Graham Sayle describes their third album 'Guided Tour' as an axis of competing forces: "It's trying to be a hopeful record, while also being incensed." Rounded out by drummer Edward 'Ski' Harper, guitarists Martin MacNamara and Rob Hammaren, and bassist Jack Muncaster, the band's deep roots in the UK and Irish DIY hardcore scenes have kept them grounded but growing, inspired equally by restlessness and righteous anger. As Sayle puts it, "Everyone's scratching, everyone's working all the time, and their idea of relaxing is just getting fucked and avoiding reality. This album is an escape from that."From its opening seconds of a cab door slamming, a car revving away, and a baggy rhythm swinging to life, 'Guided Tour' sounds like a band reaching for new heights, bristling with energy. Recorded across a few weeks at Holy Mountain Studios in London with producer Jonah Falco and engineer Stanley Gravett, the results feel dynamic and dialed-in, like anthems burned into sense memory through sweat and repetition. Harper cuts to the chase: "We had a clear idea going in, every moment got used. Maybe when we're 60 we can sit around and get a drum sound right, but for now it's about getting things done."The album's 11 songs span the spectrum of contemporary guitar music, sharpened by experience, camaraderie, and societal frustrations. From swaggering street punk ("Drop Me Out," "Mob DLA") to jangling indie sneer ("Worth The Wait," "Deserve It") to heavy alt ("Feeling Bless," "Fill The Gap") to shoegazey spoken word ("Untethered"), the group's chemistry transmutes any style to their unique intensity. Sayle champions this evolving fusion: "For years coming from hardcore, we had pretty clear boundaries - other scenes were separate worlds. Now things are getting more blended, drawing from different places."Nowhere is this sentiment flexed more boldly than on "Mind's A Lie," a dance- punk anthem inspired by Harper's love of house, garage, and pirate radio. Stabs of sampled female vocals (by celebrated South London singer and DJ Ell Murphy) build into a razor wire rhythm of low-slung bass, tense drums, and sparkling guitar before Sayle's staunch voice starts barking harsh truths ("Face to face with all I've known / I can't call these thoughts my own"). After a sudden breakdown, the track regroups and takes off, cruising into the horizon in a haze of chiming guitars and Murphy's ascendant voice, from the streets to somewhere beyond.

This is the second release that DJ Diplomat made all the way back in the early 90’s. His first release was repressed by Vinyl Fanatiks in 2019. This second repress we are doing for him was originally recorded in 1993 and engineered by Secret Squirrel AKA Hellfish who went on to create the Deathchant label in 1997, a label which Diplomat also recorded for. He was also responsible for the mega mixes on the Street Sounds electro series when it was relaunched in the noughties.

Enthused by the support his first repress received Will Diplomat decided to get back into the studio and start making fresh hardcore that sounded like it was made back in the day for the Vinyl Fanatiks sister label Amen Brother. His first release sold out many moons ago but his collab with former partner in the old 1993 hardcore group NARC (DJ Beagle) under the name Diplomat & Beagle is still in stock via Sequence.

Now check his examples of many samples!

80s synth magic for the the four-track mind. DIY outsider Rick Cuevas was a post-punk refugee on a vision quest for a hit. Tracked at home in 1984, "The Birds" is that 40-year-delayed viral smash, one of eight retro-futurist anthems that make up Cuevas' debut album. Remastered from the analog masters, this 40th anniversary edition replicates the 200copy original for max teleportation value.

Back by demand and dirtier than ever, Apollo Brown & CRIMEAPPLE’s new underground classic This, Is Not That returns with the Dirty Money Edition — a fresh press on cream & green vinyl that bleeds grit and opulence. This updated release includes two brand new bonus tracks, adding new weight to an already no-nonsense body of work.

This, Is Not That pairs Detroit producer Apollo Brown’s signature soul-soaked boom-bap with New Jersey emcee CRIMEAPPLE’s razor-sharp wit and bilingual venom. The result is an album steeped in realness — raw, reflective, and resonant, laced with wordplay that sticks and production that slaps.

Whether you're just discovering the project or stacking your collection, this edition is a must-cop — a celebration of bars, beats, and the beautiful grit of hip-hop.

After three albums of reverberated guitar wandering, Master Wilburn Burchette's Psychic Meditation Music takes a turn towards the kosmiche. Two side-long synth explorations transport the listener to the avocado hues of 1974, expanding consciousness one oscillation at a time. Bug out your third eye!

Expressive Rock-Juwelen für Jüngere und jünger Gebliebene - hübsch abseits vom breiten Strom des Durchschnitts. Zur Beruhigung: Auch Celli schmeicheln den Hörern. Hits: "Debaser", "Wave Of Mutilation", "Here Comes Your Man", "Monkey Gone To Heaven".