Search:the light

Deutsche Grammophon veröffentlicht ”XII 2021” am 28. Januar 2022 als Vinyl-LP. Das neueste Album
der innovativen, künstlerübergreifenden Repertoire-Reihe des Labels präsentiert zwölf Originalwerke von
ABBOTT, Marie Awadis, Dobrawa Czocher, Büşra Kayıkçı, Niklas Paschburg, Margaret Hermant, Felsman
& Tiley, E.M.M.A., Hannah Peel, We Are KING, Hannah Epperson und Freya Arde. Im Rahmen des
2019 gestarteten Projekts ”XII” wird jeden Monat eine neue E-Single veröffentlicht, die den Hörern die
Möglichkeit bietet, eine speziell kuratierte Zusammenstellung von Stücken zu entdecken und die Arbeit
junger Künstler mit einer anderen Sichtweise auf klassische Musik zu präsentieren.

Our exploration of Ballet Mechanique’s old DAT archives, stack full of unreleased material from the 90’s era, continues with our sixth release and materializes into the third volume of the “1992-1999 Collection” series. Like the previous two volumes of the series did, also this EP brings to lights the diverse and varied approach of Jeroen’s productions: an A side featuring more “ravey” and uplifting tunes, and a B side focused on funk fuelled electro and IDM.

When Fred sent me the demos for his first release I remember being compelled to shut off all the lights and listen to them in complete darkness at full volume. I’m not sure why his music makes me want to do that but when he sent me this next batch I found myself needing to repeat the same process.

It's the 9th innings, the bases are loaded and Schatzi's at the plate...
Will the knight of the night hit the ball outta the park and into the lights? Yes, of course: you've got sliced up disco, chopped up chants, piano riffs and steady rhythms to go all around the bases.
Whether it's a Brooklyn home game or away, Schatzi always has you covered for the win!
Signs point to Schatzi!

Parcels have always been a band of extreme light and shade: they’re from surf hotspot Byron Bay in Australia but they’ve been holed up in grimy nightlife utopia Berlin for years; their sweet-as-honey vocal harmonies rival the Beach Boys but they can also turn their live shows into slamming techno rave-ups. The twentysomethings stand out amid the current musical landscape: a soulful rock band that looks like it’s stepped out of a postcard from 1970s California, all flares, moustaches and shaggy hair. They’re a classic band for atypical times.

Since Crommelin, keyboardist Louie Swain, keyboardist/guitarist Patrick Hetherington, bassist Noah Hill and drummer Anatole ‘Toto’ Serret formed in 2014, fresh out of school, they’ve struck upon a singular sound, weaving together gossamer disco and exotica, soft rock and Sixties pop with a focus on uplifting grooves. Their seductive style has translated into 100,000 album sales worldwide, over 200 million streams, cross-continental tours, shows with French royalty Phoenix and Air, a US TV debut on Conan O’Brien, a Coachella slot and a debut single that was produced by none other than Daft Punk, who saw them live in Paris and ushered them into their studio.

After two EPs, 2015’s Clockscared and 2017’s Hideout (the band’s penchant for smooshing words together is a result of a broken keyboard when they submitted their first demo), Parcels’ acclaimed self-titled debut album came in 2018 and was called “timeless and devilishly fun'' in a five-star NME review. They followed it in 2020 with an impressive live album, Live Vol.1, recorded at Hansa Studios, the legendary studio where Iggy Pop and David Berlin hung out during their Berlin years.

The band returns for summer 2021 with an ambitious third studio album,
Day/Night, a double record that spans impossibly catchy disco-soul, prog, pastoral folk, Laurel Canyon-era classic songwriting and cinematic strings. Made over the course of 2020, when the world was at a standstill, it’s the sound of a band growing up; five guys who’ve known each other since childhood and are finding their way together, in spite of all the major obstacles the last 18 months have thrown at them, when they were unable to return home to Australia and see their loved ones. Day/Night is huge in scope and sound, and its hopeful messages of perseverance through difficult times are a balm for these uncertain times.

2 LP Boxset. 2 vinyls packaged together in a clear PVC wallet (in order to display each vinyl cover). 2 x : 140 G black vinyl ( 33 rpm)+ 3mm spine printed sleeve + printed inner sleeve + cmyk vinyl label.
Cello. Marketing Front sticker 5 cm x 7 cm , back cover sticker (upc + tracklisting) 5 cm x 7 cm

2022 re-press, 180g vinyl

A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the 70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs that Be With Records is honoured to present today.His debut, Soul Portrait (1969), is an incredible slice of gritty, Southern-fried soul. Think Stax with a touch of Detroit sparkle. As a whole, the album demonstrates the self-contained act Hutch was, he wrote every tune on the album while also arranging and conducting for it. It features 11 timeless grooves, with a blend of beat ballads and undeniable dancers.
The album's centrepiece is undoubtedly the iconic, brooding minor-key masterpiece "A Love That's Worth Having". The album's most recognisable track, it's a towering ballad drenched in stylish, sliding horns and elevated by its stunning backing vocalists. It was famously sampled by Madlib to augment his soundtrack for Stones Throw's Our Vinyl Weighs A Ton as well as 9th Wonder for the Murs classic "Dreamchaser". Whilst one can understand these iconic beatmakers for leaning on the work of a master, you really need to own the track in its full, unedited glory.
Horn-heavy opener "Ain't Gonna Stop" is a funk-fuelled monster, Hutch's fatback vocal aided by a vicious drum 'n' conga rhythm whilst the bumping uptown soul of "You Can't Miss Something That You Never Had" anticipates the Motown-vibe that Hutch went on to create. Supple guitar licks propel the loping, head-nod breaks of "Good To The Last Drop" whilst "That's What I Call Lovin' You" features gospel piano and plaintive, tender vocal turn. Rounding out Side A, the blazing horns of "You Gotta Try" hints at the Blaxploitation that was to come.Ushering in the flipside, the thundering proto-70s-Motown rhythm of "Let Me Give You The Love You Need" segues neatly into the bouncing Northern Soul favourite "Lucky To Be Loved By You" whilst Hutch's gutbucket guitar stylings are all over the smouldering "Keep On Doin' What You Do". "Your Love Keeps Liftin' Me Higher" is not a rendition of the Jackie Wilson classic, rather, it's a powerhouse original that indicates where Hutch would take his sound on The Mack. Closing the album, the anthemic "Do What You Wanna Do" name-checks contemporary dance fads before instructing the listener to just get up and dance.Brilliantly supported by a heavy roster of studio cats who combined to create a winning combination of horns, strings, and gorgeous female background vocalists, Soul Portrait is as complete a soul album as the decade's very best. Tricky to find for a number of years, this lovingly produced reissue is certainly welcome. Paired with the soaring follow-up, Season For Love, these recordings shine a new light on the early work of a soul legend. Officially licensed and remastered for vinyl by Simon Francis, it has been pressed on audiophile 180g vinyl for the first time and features the original artwork and liner notes.

10” black vinyl with download code. File under: Indie, UK. It’s been four years since we last heard from Tigercats, with the 2018 album Pig City marking the expansion of their sonic palette from indie-pop and alt-rock, to include highlife, afrobeat, and scuzzy West African psych. The New Works EP is another step into the new for Tigercats, the sound of an increasingly political band, unbound by the records they’ve made previously, and enjoying the freedom of exploring and experimenting for these 5 new tracks. “We’ve been a band over 10 years and it felt like all of our previous recordings have been leading up to this one. After Duncan switched from guitar to kalimba a few years back, and we welcomed a horn section into the line-up, the sound has been getting denser and grittier, particularly live. With this recording we’ve finally managed to capture some of that energy on record.” The opening track New Work, a song about the relentless tyranny of labour in the 21st century, grows from the synth bass riffs and riotous brass lines with production inspired by industrial techno like JK Flesh, to display lyrical ferocity not often heard. The Space came together completely improvised in the studio, and reflects on the fight for space to create art - in a world fighting for your attention 24-7, and the depletion of available arts spaces. The intensity subsides for The Picture, a track whose origins date back to the writing of the band’s second record. More reminiscent of Tigercats’ indie credentials, drawing on the textures of Low or Yo Lo Tengo, it is developed here by a band confidently hitting their stride. New Works was written in 2019 and recorded at Lightship 95 on the Thames, and at Big Jelly in Ramsgate. Originally scheduled for a spring 2020 release, we’re excited to finally bring you these 5 tracks and the promise of a return to blistering live shows from Tigercats. Tigercats are a kalimba-led psychedelic pop band from East London. Having honed his songwriting craft in the short-lived but much much-missed Esiotrot, in 2010, Duncan Barrett went about forming a new band and recruited sibling/long-time producer Giles Barrett (bass), talented songstress Laura Kovic (keys), as well as Paul Rains (guitar, of Allo Darlin’). The band have performed throughout the UK and Europe and have supported The Wave Pictures, Allo Darlin and Darren Hayman among others. They have also performed at the End of the Road and Primavera Festivals and have appeared on Spanish TV (RTVE Radio3) and Indietracks. A tour of the USA and Canada included a headline appearance at NYC Popfest. New Works harks a return to Fika Recordings, having released the debut Tigercats album Isle of Dogs back in 2012, bookending albums with Fortuna Pop! (2014’s Mysteries) and El Segell Del Primavera (2018’s Pig City). Tigercats are: Duncan Barrett - Vocals, Kalimba. Giles Barrett - Bass, Production. Laura Kovic - Keys, Vocals. Paul Rains - Guitar, Vocals. Will Connor - Drums, percussion. Seb Silas - Baritone saxophone. Meridyth Dickson - Alto saxophone. Thom Punton – Trumpet.

'The second pressing of Mountain Caller's debut album 'Chronicle I: The Truthseeker' is limited to 500 copies, cream vinyl housed in a single sleeve with printed inner, plus a full download.' Mountain Caller are ready to engage hyper-drive and launch their debut album into the riff time continuum. Mountain Caller are El, Claire and Max and hail from London. They describe themselves as a heavy progressive instrumental three-piece, who are driven to tell stories with music and want listeners to conjure up cinematic scenes in their minds. And that they do … in spades. If one needs a sonic ballpark, think the infectious jamming of Elder and the dynamic cinema-scapes of Mogwai, underpinned by the mantric riffs of Sleep. A rich amalgam of Progressive Rock, Post Metal and Doom. Nevertheless, Mountain Caller do succeed in weaving their own unique spell. The band are already buzzing, pricking up the ears of those in the know, and now after two years honing their chops with a clutch of immersive live performances under their belts (including a slot at Desertfest) Mountain Caller are ready to bring you their debut album. Chronicle I: The Truthseeker. Recorded in January of 2020 at No Studio in Manchester by producer Joe Clayton of Pijn, and mastered by Magnus Lindberg of ‘Cult Of Luna’. For the band, it’s a labour of love; the fruit of three years of jamming, crafting, and conceptualising; a collaborative piece, where each instrument takes centre stage, within a heady mix of chasmic riffs and panoramic, reflective soundscapes. Chronicle I: The Truthseeker is a feminist allegory created in tandem with the music. As the band describe it … In The Truthseeker, we join The Protagonist at the edge of the Twilight Desert, compelled by an indefinable but urgent need to set forth on an Odyssean journey to rediscover her memory and her voice. Over the course of 42 minutes, we travel from barren wastelands to mysterious cities, encountering trials of both body and spirit. It is indeed a 6 track instrumental journey. Full of winding roads, brooding valleys and strange encounters, all vividly evoked by a canny grasp of dynamics, melody and heavy, but hooky riffs, executed with peerless playing. 'Journey Through The Twilight Desert' opens the album in soundtrack mode, and develops in weight and riff (as if Goblin have taken up the baton) and closes in a full wide screen Mogwai trip .... and that's just the opening track. Elsewhere Mountain Caller pushes to noisier, heavier groovier places. Whether it’s the chiming guitars on the Krautrock/post-rock groove of 'I remember Everything' or 'Trial by Combat' and its doom meets Deftones vibe. To album closer 'Dreamspirals' with its melodic hooks and huge earworm riffs, it’s an album that more than stands up to listening on repeat as there plenty to discover.

»Neon City« is the debut release by Erik K Skodvin & Otto A Totland's Deaf Center project, finally re-issued 18 years since its first appearance.

Listening to »Neon City« in 2022 is like taking a melancholy journey down rainy city streets of the early naughts, made by the then two young Norwegians in their mid 20s after spending time together in a basement full of vintage items. Armed with young optimism and a sense of musical experimentation, they started sampling everything around them, be it an old television broadcaster, tape recorders, a game of table tennis or conversations on film and merging it with pianos, plucked guitar, strings and anything in-between. The record turned out as something unique in the fields bordering post classical and ambient music, though without landing on any set genre. The record was filling a place in music that was barely touched upon and made them further experiment with samples and classical music which landed them on the 2005's classic »Pale Ravine«.

Although Erik and Otto both had been making music solo before, »Neon City« was the start of their more focused future paths as purveyors of both light and darkness in music that seeps through your soul to battle the anxieties of the world. We're glad to see this important start again be available to new ears. The record comes with a remix of the opener track “Dial” by Helios aka Keith Keniff, taken from the same original.

September 2021 marks the 10th anniversary of Dome of Doom. Collecting 30 tracks spanning from 2011-2021, label founder Wylie Cable put together Decade of Doom as a reflection of the first pillar in a long and continuing story—and the many phases the label has experienced thus far. Decade of Doom comprehensively serves as a homage to many of the artists, people and experiences that tell the label’s story, splintering outward toward an abundance of communities that continue to nourish one another. These tentacles all leading back to the hand-selection of releases Cable has diligently been at the heart of since the first vinyl and cassettes were pressed.



[c] A3 Kenny Segal – Worlds To Run [VIP Dub]






















[z] D26 QRTR – And Still [Interlude]

Emigrate. The one-time project has become more than that. Much more. The three studio albums, EMIGRATE (2007), SILENT SO LONG (2014) and A MILLION DEGREES (2018), prove that squarely behind Emigrate stands Richard Zven Kruspe – an extremely creative mind who needs the freedom to explore his music and his vision in ways outside of Rammstein. With Emigrate there are no limits, no barriers. Everything is possible, nothing held back, and it’s this ethos that underlines THE PERSISTENCE OF MEMORY, the new studio album, set for release on November 5th. THE PERSISTENCE OF MEMORY is a special jewel indeed, with the nine featured songs bringing together ideas that Richard has collected across the last two decades. Industrial Rock, Rock with electronic elements, however you choose to describe it, there’s no question that the songs here always contain a strong sense of melody, as rousing as they are deep. At one stage, it seemed that the tracks might be part of a bigger project – a vinyl box set of the first three albums with an additional LP included. On this bonus LP would be a selection of unreleased songs dating from 2001 right through to 2018. In the end, however, this material was considered too precious to sit beneath the ‘bonus’ heading, so THE PERSISTENCE OF MEMORY was born... Richard reacquainted himself with his hard drives, coming across ideas, songs and lyrics that deserved to be brought into the light, material too good to remain in the archives. He threw himself fully into the task at hand, as he always does, working on the basis that "A good idea remains a good idea”, and if he felt that there was more to be gained he was open to taking another look at the arrangements and the lyrics; new parts were also recorded here an’ there, after which the entire mix was given a fresh polish, ensuring that the nine songs have a contemporary yet timeless coat of paint. This time, Richard tried to keep things as simple as possible, allowing the creativity to flow, keeping his sights firmly set on pure, raw Emigrate songs. Says Richard: "These songs were created at a certain point in my life, but ideas don't have an expiration date. Sounds, lyrics and themes, on the other hand, do." "Freeze My Mind", for example, is one of the first Emigrate songs ever written, going right back to 2001. Now, 20 years later, it sounds fresh, of the moment, yet Emigrate through & through, something that is true of the album as a whole. Some of the elements are forged in a familiar heat, but these are married to new ways of working, new influences and challenges.

You might know Barnt as one of the people behind the idiosyncratic imprints Magazine and Schalen, through which he released his most of his EPs and the incomparable 2014 debut album, Magazine 13.; or maybe you know the thread of beautiful, unpredictable club hits he’s woven with labels like Cómeme and Hinge Finger.

Despite living in Cologne, and being friends with the label, Barnt has not put out anything on Kompakt yet, apart from an one-off appearance on Pop Ambient 11 over a decade ago. An EP had been in the air for several years, but it took Barnt a bit of time to get into the right state of mind, because he wanted to make sure the music paid tribute to “the ceremonial, emotional, grand sprit” that he connects with Kompakt.

Typical to the producer’s modus operandi, ProMetal Fan Decor Only Product spins out a surprising narrative, catching the listener unawares, while remaining fundamentally Barnt. After the elegiac opener “Fan”, stately in its melancholic, epic flourish, “You Know What’s Gone” stomps into earshot, the pounding thud of the drums pinning clanging patterns to the dancefloor, a Sturm Und Drang symphony, the tones all clashing metals and silvers.

After that, there’s release – the hypnotic psychedelic reels of “This Is For Decor Only” are Barnt gone trance, a sensual glide of a track that pirouettes out an eternity of sizzling hi-hats and strip light melodies. While you might want to be alone when listening to “Fan”, you might have the time of your life dancing to “This Is For Decor Only”, played by your favourite DJ at your favourite festival this Summer.

With ProMetal Fan Decor Only Product, wrapped in a sleeve by artist Lukas Heerich, Barnt and Kompakt finally come together, equal parts refined elegance and sweaty fervour.

Brion Starr lives and works in New York City, joined by a group of foreign and domestic collaborators. Their latest album 'A Night To Remember' is a meditation on night itself, a spinning sci-fantasy through this future darkness we all contemplate, a journey to the end of the night told as a story of one evening in an internationalist future city with no up and no down, no beginning and no end. Passing through the seedy clubs, with all their trappings, when the night is just turning into morning. Have you lost your mind? Blackout and wake on a train. Is this a dream? We are nocturnal. There’s fire in the streets. The first tier looks down on you. So find the ones you love and hold them tight.
Recorded at the Chateau d’Herouville and produced by Tony Visconti (David Bowie, T. Rex, Sparks).
Starr’s current collaborators include Jaie Gonzalez (Splashh), Hayden Tobin (Hanni El Khatib), Pete Sustarsic (Public Access TV), James Hurst (Beach Party), Ben McConnel (Beach House), Grace Kennedy, Charlie Sands, and composer Nigel Wilson.
“We had a listening party when we finished, Tony was so happy that day, he told me he hadn't had a listening party in "probably 30 years" (and we were in the middle of the pandemic!) I smile when I think of him suggesting we do it. It was a true celebration, I still have the cork from the champagne!”

IDLES return with their new album, ‘CRAWLER’, an album of reflection and healing
amid a worldwide pandemic that stretched the planet’s collective mental and physical
health to the breaking point.
 Frontman Joe Talbot says: “We want people who’ve gone through trauma,
heartbreak, and loss to feel like they’re not alone, and also how it is possible to
reclaim joy from those experiences.” IDLES albums have always been anchored by
these overarching themes, but the ability of the band to juxtapose beauty and rage
with humour and drama has never felt more satisfying than on ‘CRAWLER’.
 These stories are vividly brought to life through IDLES’ most soul-stirring music to
date, recorded with co-producers Kenny Beats (Vince Staples, Freddie Gibbs) and
IDLES guitarist Mark Bowen.
 Previous album ‘Ultra Mono’ was Number 1 album in the UK, with over 35k sales
week one.
 Huge 2022 January UK tour including five Brixton Academy dates, three at Glasgow
Barrowlands, two at Manchester Warehouse and more. Over 20k UK tickets sold in
the first hour of release.
 Three high budget music videos, written and directed by LOOSE (Lucy Hickling,
Stink Films).
 CD in digipak packaging.
 Deluxe LP mastered at half-speed (45rpm), pressed on deluxe heavyweight 180g
black double vinyl and housed in a gatefold jacket with printed inner sleeves.
 Eco-Mix coloured vinyl LP housed in a single-sleeve jacket and printed inner sleeve.
Eco-Mix vinyl production uses leftover wax that’s already in the factory, meaning
each record is different and the colour is completely random and unique.
 Standard black vinyl LP housed in a single-sleeve jacket and printed inner sleeve.

Greek electronic composer Vangelis created his piece Albedo 0.39 while influenced by blues and jazz music. The concept album is themed around space physics. The title is based on a planet’s albedo; the proportion of the light it receives that is reflected back into space.

Albedo 0.39 features tracks “Pulstar” and “Alpha” and became his first album that reached #18 of the UK Album Charts. Vangelis played every instrument on the record, which resulted in effective and versatile synthesizer passages. Critics describe the tracks as mesmerizing trips of assorted rhythms that include elements of jazz and mild rock.

The multiple-award winning composer of electronic, progressive, orchestral and jazz music Vangelis started his career working on numerous successful projects, such as Aphrodite’s Child, a collaboration with Yes lead singer Jon Anderson and award winning soundtracks for Missing (1982), Chariots of Fire (1981), Blade Runner (1982) and 1492: Conquest of Paradise (1992). He composed over 50 albums and is still creative in developing new concepts.

Nach den Erfolgssingles 'Strange Nights' und 'Cara Keeps Running' veröffentlicht der in Deutschland ansässige Synthwave-Produzent MORPHOICE sein Debütalbum 'Vinyl City', eine Liebeserklärung an die von Blade Runner inspirierte Cyberpunk-Kultur und die Musik der 80er - mit Syst3m Glitch, Clint Alford und Mayah Camara on vocals, Jesse Molloy (The Midnight) am Saxofon und dem deutschen Multiinstrumentalisten Tim Eden. Gemastert in den Londoner Abbey Road Studios, ist das Album ein Lebenstraum des Künstlers, ein neues Kapitel seiner persönlichen und musikalischen Entwicklung, das tiefe Freundschaften und Vertrauen unter den Mitwirkenden entstehen lassen hat. MORPHOICE taucht tief in die 80er-Retro-Nostalgie und in kybernetische Zukunftsvisionen ein, eingehüllt in rosa-lila Neonlicht. LP auf 180g Clear Vinyl mit blau-violettem Splatter.

Ludovico wollte schon seit mehreren Jahren ein Solo-Klavieralbum schreiben, brauchte aber das richtige Umfeld, um sich voll und ganz darauf einzulassen.

Lockdown gab ihm diese Gelegenheit. Er nahm die Isolation von seinem normalen, geschäftigen und komplexen Zeitplan an, um einen Ort der Einfachheit zu finden. Dies ist also eine positive Sicht auf Lockdown und Isolation; er nutzt diese seltene Gelegenheit, um die einfache Schönheit des Songschreibens in seiner reinsten Form zu erleben. Keine Technik, keine äußeren Einflüsse, nur Ludovico und sein Klavier.

Infolgedessen ist das Thema des Albums die Freiheit von den typischen Grenzen unseres täglichen Lebens. Dies wird in der Metapher ”Underwater” ausgedrückt. Ein freier und offener Raum, in dem man sich bewegen und erforschen, schweben, innehalten, sich in 3 Dimensionen bewegen kann usw. Ich persönlich denke, dass ein Vogel, der durch die Lüfte fliegt, auch als Metapher für dieses Gefühl der Freiheit funktioniert.

Ich nenne es Songwriting und nicht Komposition, es war ein neuer Ansatz für mich: Beim Komponieren denkt man nach und erforscht, vergleicht und ist ehrgeizig. Wenn man ein Lied schreibt, ist es wie Atmen, die Form ist kurz. Ein Lied ist wie die Schönheit eines einzelnen Atemzugs - eine Welle, die kommt und geht. Es ist schön, wie es ist - es braucht nichts anderes.“

Lo-Fi was rather an involuntary attribute in the 90s. 90s hip hop instrumentals with the sound aesthetics of old 12-bit samplers are the blueprint for everything that runs under chill and lo-fi beats today. For this double LP, SEPALOT dug deep into his demo box, listened to countless DAT cassettes and dug up 36 pearls from the period 1996 - 2002.

Sepalot: "I had to laugh a lot at times and was sometimes embarrassed, but the innocence of the early days also has an insane power. The best beats demos and sketches from my early days now get their moment."

Tape

The Forbidden Dance label is marking their first year of existence and with already top-notch names (Vick Lavender, Alton Miller, The Mechanical Man) with the first three releases, they are celebrating the one year mark with another global gem, disco and house finest - Ilija Rudman!
Where Wild Horses Go is conveying an unquestionable sense of 80's electro and synth boogie filled with smooth and heavily reverberated rhythmics drenched in strong snares. Aligned with catchy and spaced-out disco pads, the album is riddled with ever strong analogue elements processed in a light, quirky and summerish way but with enough groove in some tracks easily applicable on the dancefloors in the late hours.
Dead Horse Gang is a brainchild music band/brand by Ilija Rudman dedicated to cinematic dance concept laying on the Los Angeles funk attitude, Art Of Noise perception of sound and raw 12-bit grooves making a statement of mid 80's culture with surf vibe of California summer.
"Dead Horse Gang Music is more than music, it's a way of life, a way of thinking, a path to a maximum freedom of the one, who can accept it."
-Ilija Rudman

What is techno if not a powerful conduit for energy? The movement of a sequence, the surge of an effects rush, the respondent reaction in every individual dancer and the moving mass of the crowd as a whole. Whether the frequencies transmit directly into the brain through the intimacy of a headphone reverie, reverberate through the architecture of a space or fill the formless void of the open air, techno’s potency to initiate and stimulate energetic events is profound. This is something Pfirter understands intimately, having spent more than 15 years exploring ways of manipulating the energy on a dancefloor.

Of course, energy is not just about volume and aggression. Tonality, spatial processing and composition can have just as profound an effect as the thump of the kick drum. On his new album Altered States, Pfirter proves that point by zeroing in on the cerebral, psychedelic elements of his craft across 10 incisive tracks. The Argentine producer consciously approached his second album (following 2019’s The Empty Space) with a minimal mindset, using a very focused set of drum machines and synths to achieve a consistency across the record. Captured over a short burst of creativity, it’s the sound of an artist pushing a limited array of tools as far as possible. Despite this concise palette, it’s not an album that repeats itself, but rather an extended trip that flows from one detailed, textured immersion to the next.

The dense, febrile waves of hard-oscillating ripples in ‘A Future In Chaos’ and the sparkling, off-key chimes adorning ‘Yearn’ all speak to Pfirter’s gift for extravagant, surrealist expression within his tracks. ‘Altered States’, by way of contrast, succeeds in its absolute immediacy – a piledriving statement of bleep-driven intent. ‘Boiler’ and ‘Convergence’ land somewhere in between, coiling around kinked rhythmic incantations which still push forwards with precision while offering a different angle from which to approach the dancefloor. Cementing the idea of the whole album as a listening experience, Altered States is bookended by ‘Venus’ and ‘Dissolution’, two minimal exercises in drone-oriented mood setting.

Pfirter understands the role of his music, and his own instincts as a performing artist. It’s crafted to be captivating for DJs as much as the attentive listener. Spanning linear rhythms and broken beats, moments of calm and writhing intensity, Altered States offers a multitude of energetic possibilities in the mix or as a standalone piece of music. Ultimately, it’s a masterful return from a leading light of the contemporary techno scene.

This is MindTrip!

London-based record label Wisdom Teeth kicks off 2021 with something close to home: Blush - the playful, dynamic debut LP by label co-founder, Facta. Recorded unusually quickly over a short stint in early 2020, the record is the product of a period of refreshed and unfussy creativity. It’s an innovative and distinctly contemporary album that moves a good few steps beyond the artist’s work to date - loosely rooted in UK dance music but taking added influence from ambient, modern classical, dreampop, Balearic, folk music and beyond. The result is a lush, ornate record populated by aqueous pads, bleeping arps, wandering melodies and sparse broken rhythms; acoustic instruments that play out alongside FM synths, all processed with a pristine UV sheen inherited from modern pop music. The record opens with ‘Sistine (Plucks)’ - a crystalline synth piece with a stumbling, shifting metre revolving around an odd-ended MIDI harp loop, coloured through with washed-out pads and snatches of found sound. This breezy mood follows through to ‘On Deck’, where an FM vibraphone rings out on top of woozy, warping chords and a subby soca groove. Moving forward the record moves cohesively through a range of shifting moods and hues. The machine jazz of ‘Brushes’ is tense and coiled, with nods towards Burnt Friedman, Photek and Eli Keszler. ‘Iso Stream’ sees a rich, colourful sprawl of arpeggiated synths and dissociated vocal chops unspool slowly to form pooling, lowlit melodies. Title track ‘Blush’ is a forlorn Autonomic love song built from clicks-n-cuts - like dBridge & Instra:mental reduced and reinterpreted by SND. Throughout, bold, broad melodies take centre stage, and the tracks build like compositions rather than loops or club tools. There are echoes of the dancefloor - particularly in the slo-mo bruk of ‘Verge’ and the glacial subs underpinning ‘Diving Birds’ (a collaboration with friend and Trilogy Tapes regular Parris) - however the end results find us somewhere far off. ‘Blush’ is the second long-form release to come from Wisdom Teeth following K-LONE’s 2020 debut album, ‘Cape Cira’, which was widely ranked as one the best LPs of 2020.

Rare recordings featuring Carla J Easton & friends with guests Duglas T
Stewart (BMX Bandits) and Eugene Kelly (Vaselines) - This album was
shelved and never saw the light of day but now, for the frst time ever,
these recordings are re-mastered and presented to you on vinyl.In 2011,
Carla J Easton fnished her MFA at Glasgow School of Art armed with a
batch of newly written songs and wanted to start a band - Calling on longtime collaborator Sita Pieraccini and childhood friend Debs Smith, fat
rehearsals ensued and a frst gig was booked at The Arches in Glasgow
Aptly, the night the would debut as TeenCanteen was called The Love Club. Not
long after, Emma Kullander would join the ranks and the 4 headlined Henry's
Cellar Bar in Edinburgh. Through word of mouth, the place was packed. With only
5 songs to their name, a tentative version of All The Lovers by Kylie Minogue was
thrown in as a last minute encore before the band delved into replaying their song
Friends.Studio time was booked at the fedgling 45 A Side in Glasgow resulting in
the recording of How We Met (Cherry Pie), You're So Analog, Under My Cover and
Friends.Calling on mentors from the Glasgow music scene – Duglas T. Stewart
(BMX Bandits) and Eugene Kelly (The Vaselines) turned up to be part of this
session. Duglas, joining TeenCanteen on a heart rendering duet for the song
Under My Cover, and Eugene, providing a blistering electric guitar solo on You're
So Analog.Hearing themselves on record for the frst time, and with Easton's
repertoire for songs growing more, they quickly returned to the studio for another
weekend.Recording the songs Atlas, Fireworks (which would go on to be covered
by BMX Bandits on their album BMX Bandits in Space), It could Be Beautiful and
One More Night, TeenCanteen were ready to release into the world with an
album's world of recorded material.
This is the sound of four friends making music together, learning as they go. At
its core are the luscious three- part harmonies TeenCanteen would go on to
develop further and be known for.
It's not perfect. It's not polished. It's the sound of something new.
It was the precursor to the glorious full pop sound the band would introduce to
the world when their debut album Say It All With A Kiss was released on Last
Night From Glasgow.This is how it starts.

At the center of Dadub's SA020 lie the myths of the ancient Greek goddess Demeter - her search for daughter Persephone, the drink at the Eleusinian Mysteries ceremonies in her honour, and the fungus which gave the drink its psychoactive properties. The opening track is 'Mistresses March', a thumping narrative of Demeter's search for her abducted daughter Persephone. At the fundament lies a test of a new generation VST - 'Diachronic' - which is used to manage audio samples. The textures which merge during the near 12-minute march scrape and plummet, raining down upon the ominous marching band beat. This is an odyssey, unhappy and unflinching. Based on the handmade modular synth system from Nicola Buono and Lino Monaco, the representation of ceremony drink 'Kykeon' is on one hand a flowing narrative and on the other a demonstration of intense artistic scrutiny: a perfect, unremitting thud. There is, at five minutes, a subtle key pattern, light but not impermanent under the cacophony of chaos. This is indicative of the ceaseless self-examination. Little details, significant differences. Powered by a sound and groove generator invented by Daniele de Santis (Grün), 'Ergot Kernel' is a chemical cauldron. It's a beat continuously emerging from the undergrowth; an imperious column rising; a train ploughing on, coursing through an arid landscape. Conversely, the atmosphere is bright, full of electricity and warmth, with moisture descending. Dadub's SA020 is a journey through a Greek myth, with textural magnificence and technological innovation.

A mandatory disc for those who loved Europe and Fair Warning, but highly recommended for those who love good music of those years.“ METAL HAMMER (IT), Andrea Lami „OUT OF THIS WORLD has it all. An album and musicians who will give you total happiness!“ METAL INTEGRAL (F), Laudrome „This album was just sheer enjoyment from start to finish“ METAL TEMPLE (ISR), Will Travers "1988 saw the release of Swedish hard rock superstars EUROPE‘s fourth album entitled “Out Of This World”, which has sold over 3 million units to date and contains hits such as “Open Your Heart”, “Superstitious” and “Let The Good Times Rock” . Ex-EUROPE guitarist Kee Marcello intends to tie in with that era’s style with his new formation that he recruited the perfect companion for: FAIR WARNING-vocalist Tommy Heart. Their self-titled debut album was mixed by Ron Nevison (KISS, OZZY OSBOURNE), who had also refined the aforementioned EUROPE classics in 1988. So they connected all of the obvious dots, with a neverending list of renowened musicians joining in on the recordings. Don Airey (DEEP PURPLE) contributed the keyboards on four songs, while the rhythm section is complemented by Darby Todd (GARY MOORE, THE DARKNESS) and Ken Sandin (ALIEN). Every track of their debut work deserves undivided attention, be it the anthemic “Twilight”, the gripping “Lightning Up My Dark”, the timeless “Warrior” or the amazing ballad “Only You Can Teach Me How To Love Again”. This epic piece makes melodic rock dreams come true and sounds modern while traditional at the same time. Kee Marcello is a genius in his field and carries that certain something in his blood, so wonderfully and emotionally implented by Tommy Heart‘s vocals. OUT OF THIS WORLD is the new star in Melodic Rock heaven, a liaison that has yet a lot left in store. "

After years spent living on opposite sides of the Atlantic world events threw Laura Mary Carter and Steven Ansell of Blood Red Shoes back together into what has become the must fruitful era of their 17 years together.

“It’s been a loooong time since we both lived in the same city”, explains Steven. “I mean we actually wrote this album in LA at Laura’s place, then came to the UK to record it…and then everything went nuts”.

Realising very quickly that they wouldn’t be able to release the album or tour until the world returned to some kind of normality, the band found their energies quickly spilled over into other projects. Laura-Mary started a podcast, Never Meet Your Idols, with her best friend in LA, interviewing everyone from Zack Snyder to Mark Lanegan to CHVRCHES. It is now about to start its third season. Steven started applying his love of electronic music by writing and producing other alternative artists like Circe, ARXX, Aiko and XCerts, racking up millions of streams in the process.

Having worked together on Laura–Mary’s forthcoming solo mini album Town Called Nothing and restless from the lack of touring, the duo started jamming out in rehearsal rooms, which led to the light-speed writing, recording and release of the impossibly-titled Ø EP in the summer of 2021. Which concludes what the band call an “off year”.

And that brings us back to GHOST ON TAPE. It appears that like David Lynch’s The Lost Highway, nothing is linear in the world of Blood Red Shoes. Written and recorded before their most recent EP, GHOSTS ON TAPE is a huge jump into new terrain for the band. Musically and emotionally their most mature work, it is a complex, imaginative, and very gothic development on their sound. Musically, it leaves almost no trace of their former selves.

The Hope Conspiracy are a legendary hardcore band from Boston, MA. "Death Knows Your Name" is their landmark album originally released in 2006. Recorded by Kurt Ballou at God City Studios, it is a powerful chapter in the band's recorded legacy. From the haunting first notes of "They Know Not" to the Earth shaking "Stolen Days", the unrelenting rage of the album is undeniable. From musicianship to presentation, "Death Knows Your Name" still stands as a high watermark for the genre. The "Deluxe" edition features the classic eleven song album along with the song "Eurohell". A track previously available on their "Hang Your Cross" EP (now out of press). The physical packaging has also been revamped, featuring a special "Black on Black" printing of Aaron Horkey's incredible artwork for the release.

Pelagos come from the deep, dark waters on the southwestern coast of Finland, the same city as Circle and a few other remarkable local underground acts. Pelagos’ sound is melancholy in a decidedly post-industrial minimalist, repetitive urban Finnish way, but it is also soaked in romantic wanderlust and Balearic exotica. New album "The Boat" will be released 10th of December 2021.

Sharing the same forward-facing approach to techno music, it was about time that Roman DJ and producer Adiel lands her debut EP on Stroboscopic Artefacts. Following on from an array of 12-inches on her own imprint, including a recent joint effort with Anthony Linell, 'If Not Now When?' is an ode to the all-enveloping strangeness of eternal nights that cuts a path of ecstatic light in the dark.

Sudi Wachspress returns to Tartelet Records with Dance Planet, a third LP of emotionally-charged house music to welcome us back to the dancefloor. The spirit of true house runs deep in the sound of Space Ghost. Oakland native Sudi Wachspress is intuitively plugged into the romantic, mystical energy of 4/4 club music as a unifying force of empowerment and liberation, carrying the torch from vital forebears like Larry Heard, Alton Miller, and Blaze.

His new album, Dance Planet, carries a greater responsibility to spread spiritual affirmations. As the global dancefloor community emerges from a mentally-taxing recess and confronts their social self like it’s the first day of school, Space Ghost’s message couldn’t be more supportive.

“Don’t be afraid to be yourself, don’t be afraid to let go,” he intones on “Be Yourself.” More than just a beat and a hook, his music is pointedly created to heal and energize. “I’m a big fan of old-school house vocals that have a positive message,” says Space Ghost, “tracks that can perhaps enhance your mood or strengthen your confidence in yourself.”

Wachspress has always represented a beacon of musical uplift, both on his previous Endless Light and Aquarium Nightclub LPs for Tartelet and on his swathes of self-released music and last year’s Free 2 B on Apron. Compared to most house-oriented artists, he places emphasis on the long-player format to create an encircling experience for the listener, smoothing out psychic wrinkles and massaging areas of tension for a fully holistic hit.

The ambient / cross-genres label Concentric Records launches its first solo release as a special edition LP written and composed by the celebrated and influential techno / experimental producer Tobias. It is the first strictly-ambient solo album of Berlin's Tobias. aka Tobias Freund.

Entitled Hall Ov Fame, the 42min. full length album is a rare ambient journey into a sonic world that is full of narrative and cinematic imagination, blurring boundaries between perceived and staged reality, past and future memory.

“I have movies in my head” describes Tobias Freund the source that inspired his new album to fill it with a fantastic life of its very own. Consequently, each of the eight tracks represents a scene out of a fictitious short film, some of them with a claustrophobic and tense atmosphere while others appear light and hopeful on the screen of imagination. What they have in common is an adventurous spirit that is inherent in and played out by three main characters: repetitive electronic and acoustic patterns, voices from far away and field recordings of obscured origin. All the episodes combined introduce this “Hall Ov Fame” as a psyche-cinematic event which resonates with “ambience in its natural shades” to evoke the whole range of sensations that make a proper, suspenseful mind movie.

Tobias. (Freund) is long established as an influential artist and has - since the early 1990s - been working as a professional producer, sound engineer, label owner and strictly live musician. The Berghain resident constantly keeps exploring the vast synth-driven Techno, Experimental and Ambient territories on journeys in-between genres, both as a live act and on his countless releases.
Besides his early solo projects (such as Pink Elln, Metazone or Phobia) he’s also been collaborating with Dandy Jack (as Sieg Über Die Sonne), Ricardo Villalobos (as Odd Machine), Max Loderbauer (as NSI.), Valentina Berthelon (as Recent Arts) and AtomTM to only name a few. With his vast experience, diverse output and interests, Tobias. doesn’t tire to actively push against existing boundaries and explore new areas of electronic music. By this he stands in a long tradition of electronic music, scrutinizing the self while reaching out towards the unknown, approaching sound with an appetite for the new, in the tradition of true innovators.

Hall Ov Fame follows a compilation in three parts that introduced Concentric Records’ roster and exploratory sonic realm over the past year and half, featuring unique and wide-ranging works by (in order of appearance) Pole, Daniela Huerta feat. Cornelia Thonhauser, Samuel Rohrer, Vladislav Delay, Jake Muir, Hotel Neon, Soundwalk Collective, Etapp Kyle, Tragic Selector (Daisuke Tadokoro & Terre Thaemlitz), Kareem Lotfy, Christina Vantzou, Jana Winderen, Echium, Max Loderbauer, William Selman, Petre Inspirescu, Supply, The Waves, HOLOVR, ASWA.

Written and Produced by Tobias Freund at Non Standard Studios, Berlin. Mastered by Tobias Freund. Lacquer Cut by Mike Grinser. Cover Image: TV Caption of Marcello Mastroianni in 'La Città delle Donne' by Federico Fellini, 1980. Artwork by Blackbirds Inc.

HOUND is proud to present its first Various Artists compilation available on 12” vinyl, featuring tracks by OTHR, Poison Point, Ćyan ID, and BLUSH RESPONSE.” ” HOUND is an Industrial / EBM techno vinyl label and podcast channel based in Georgia. The main idea of the project is to support underground culture and create the first Georgian podcast channel, with a unique VA feature. Accordingly, not only do we provide rare podcast compilations but release VA of the same artists that took part in podcast compilation as well. We believe this is the best way to create and spread a full range of sensations from underground music and leave it in history.”

For a number of years now, A Guy Called Gerald has largely made music only for himself. But this special EP is borne from Gerald’s unique and long-lasting friendship with Analog Room founders Mehdi Ansari, Siamak Amidi and Salar Ansari. They first met in 2013 when Siamak booked Gerald to play his Analog Room party in Dubai – a leading underground light in the UAE’s then emergent scene. Away from the glossy VIP hotels and expensive bottle service parties
typically associated with Dubai, Analog Room only deals with quality bookings of the caliber of Move D, Roman Flügel, Moritz Von Oswald and the likes. Gerald immediately fell in love with the party. Its strict music-first, no-nonsense policy appealed to him and he’s returned many times over the years.

By then, of course, A Guy Called Gerald’s musical legacy was already assured. The Manchester icon is best known for his 1988 hit single Voodoo Ray – the touchstone of his hometown’s dawning acid house scene. As well as being an early member of 808 State, Gerald embraced breakbeat and jungle, ran his own Juice Box Records label and worked with the likes of Columbia, Perlon, K7! and many other vital labels. His skills on everything from synths to keys, samplers to
drum machines stood him apart then – and still do today.

“This release is based on a real friendship,” Gerald explains. “I feel part of the Analog Room family. Back in the early days, that’s how it was. These days, it’s like, ‘Oh, you’re famous, let’s do something.’ I’m not interested in that. I’m not interested in being a celebrity or living that life. I’m the same as I was 30 years ago, all I care about is the music. With Mehdi, we have spent hours jamming in private in Dubai, we have partied together. We’ve vibed together for so long and he’s shown me new parts of the world I should be making and playing music in, away from the trendy scenes in other places. So this is an exclusive just for him.
I’m not looking at doing anything else with anyone, and the music is just about celebrating individuality rather than trying to fit in anywhere.”

When Iranian-born Mehdi decided to start Moozikeh Analog Room – which translates from Farsi as “the music of the Analog Room” – Gerald was one of the first artists he asked to release on the label. It might have taken some time for Britain’s Dirty Little Secret to materialize, but boy it’s been worth the wait.

Says Mehdi, “The magic comes through proper relationships and friendships.
That’s why Analog Room worked. It was a great room, an amazing sound system, with amazing artists doing their thing. Bookings were so on-point because we had agents around the world, on the dancefloors, spying up artists who were killing it,
and Gerald was one of them. He was a perfect fit from the first gig and our friendship grew from there. He’s always been very kind to me. We have this common language of music without any bullshit, and that is where this EP comes from.”

The EP is a mixture of different things. Some of it is unreleased material from the vaults revisited, some of it is brand new. It opens up with the devastating Old Skool – a writhing, physical track with naughty bass. The drums hark back to Gerald’s early days of making jungle but reimagined through a modern perspective. As the synths spray about the mix and the percussion bounces atop the jostling drums, muttered vocals draw you in deeper. Sugoi is an experimental
track that fuses ambient synth design with the spacious and eerie atmospheres of jungle. Nimble drums get you on your toes as the spangled synths twist and turn in all directions. It is a thrillingly original, impossible to define track.

Flash Fight is built on a captivating rhythm that sits in the area where house, techno and jungle intersect. It is warm and cavernous, physical yet elegant as it bounces on rubbery kicks and lithe synths roam in and out of earshot. Perfect for those sweaty, cozy back rooms, it’s another masterclass from Gerald. Closing out the EP is False Religion, a deep-rooted house track with elastic drums and
haunting, wispy pads. As a subtle acid bassline rises and falls way down below,
Gerald’s own mystic whispers leave listeners hypnotized.

Following on from Analog Room co-founder Salar Ansari’s debut release on the label, this EP is a statement of intent. More releases will follow from some of Analog Room’s most frequent international guests, but only when the time is right. Moozikeh Analog Room is a label of love, one that is focused on putting out the best possible music at all times rather than chasing hype.

A timely reminder of why A Guy Called Gerald is one of the world’s most enduring electronic artists.

“I’m reeling, I’m restless,” sing Deep Throat Choir from the heart of their second album. That restlessness manifests in a set of tremendously abundant, original songs from the east London female and non-binary vocal collective, founded by Landshapes member Luisa Gerstein.

 Released via Bella Union, ‘In Order to Know You’ is a multi-layered assertion of freshly expansive range, driven by two core virtues: a sense of strength in unity and an open embrace of its singers’ personal experiences, shared through collective, supportive vocal expression.

 After 2017’s largely covers-based debut album, ‘Be OK’, the choir recognised the call to evolve. “Having been singing together for five-plus years, and having released an album of mostly covers, it felt like the logical next step to make our own music together,” says Gerstein. “This album is the alchemy of all the specific voices and players that make up the choir, and a collaborative process of writing and sharing music and ideas. Sonically, I wanted to move beyond just voices and percussion, to see what richness could be brought with acoustic instruments and electronics, and to transition from a choir that
does covers to a band with loads of vocalists.”

 ‘In Order to Know You’ heads towards its climax without seeming to touch the ground, from the title track’s devotional exhalation to the stealthy, smoky shimmer of ‘Unstitching’. Its lyrics drawn from a poem by Emma Cleave, the sublime ‘Field of Not Knowing’ closes the album in a vivid tapestry of folkgothic images (moon beams and pipistrelles) and serene-to-soaring arrangements, revelling in possibility: “It’s the place where I begin,” sing the choir.

 For Deep Throat Choir, the result is both an exquisite culmination of journeys taken so far and a lustrous, exquisite springboard for further adventures. Their travels began in 2013, when the collective took shape from a desire to strip music back to the basic elements of raw female voices and drums, united in a fashion that both honours and transmogrifies personal expression.

 A small group of four or five singers steadily expanded, with Zara Toppin’s drums providing a propulsive energy. Cathartic live shows and collaborations followed, ranging from team-ups with Peggy Sue, Stealing Sheep, Horse Meat Disco and Matthew E White, to performances at Green Man, Wilderness, the Southbank Centre’s WOW festival, London’s Scala and beyond. ‘Be OK’ provided a gutsy showcase for the band’s close, collective strengths, bolstered by weekly gatherings at a church in east London to blow
the roof off. A fruitful collaboration with techno-pop duo Simian Mobile Disco on the 2018 album ‘Murmurations’ followed: a testament to the choir’s alchemical abilities.

Transparent Red Single Colour Vinyl Edition! YEAR OF NO LIGHT`s lengthy, sprawling compositions of towering walls of guitars and sombre synths irradiate a sense of dire solemnity and spiritual gravity, and couldn't be a more fitting soundtrack for such grim medieval scenarios. But there is also the element of absolution, regeneration, elevation, transcendence in the face of death. Consolamentum is dense, rich and lush and yet somehow feels starved and deprived. With debut album Nord (2006) and sophomore release Ausserwelt (2010), the band made themselves a name in the European avant-metal scene. Extensive tours of Europe, North America and Russia in 2013 and 2014, including two appearances at Roadburn festival, Hellfest and a spectacular performance in a 17th Century fortress in the Carpathian mountains introduced them to a broader and quickly growing international audience. The cinematic scope of their music implies that YEAR OF NO LIGHT are a group of artists that pay a great deal of attention to their visual representation, from the classy album artworks and merch designs to the carefully designed lighting design of their live show. With their seminal 3rd album Tocsin, released in 2013, YEAR OF NO LIGHT reached the peak of their career thus far - a logical decision that Consolamentum was made with the same team again: recorded and mixed by Cyrille Gachet at Cryogene in Begles / Bordeaux, mastered by Alan Douches at West West Side. "We wanted this album to sound as organic and analog as possible", comments the band. "All tracks were recorded live. The goal was to have the most natural, warm and clean takes possible, to give volume to the dynamics of the songs. We aimed to have a production with a singular personality." Consolamentum is huge, poignant, frightening, sublime, smothering and cathartic - and, much like its predecessor, "audacious, memorable and supremely confident." (Decibel magazine).

Sebastian Mullaert (Minilogue, Sonkite) joins Hypnus Records with his debut album with the moniker Wa Wu We.

In the presence of the Sun
the grip of the frost release itself
into a dance of the early morning fog.

Ever moving in uncertainty
within light and shadows
clarity is born as we dissolve.

Indra's Kiss
opens the door
where Colors are the birds

&

the 108 dimensions of green
are dancing like the spider and the snake.

Moon is breathing as
the Spotless mind
and the drowned Sea.

Reflections on the Silent surface
of the morning lake
the one eye sing
a sudden song of Eternity.

Clear Orange Vinyl w/ bone splatter. Limited edition of 300. Linernotes written by Josh Homme. Originally released on CD in 2001 on Josh Hommes own Rekords Rekords-label and now on vinyl for the first time! 20th anniversary! Remastered for the vinyl release. There must be something in the sand of sweltering Palm Desert, a California town that has birthed Kyuss and Queens of the Stone Age, as well as Fatso Jetson. Like Kyuss/QOTSA, Fatso Jetson built a name for themselves by putting their own unique spin on the Sabbath sound, but unlike their counterparts, larger than life singer/guitarist Mario Lalli's true love lies in both jazz (Thelonious Monk, Eric Dolphy) and experimental rock (Frank Zappa, Devo). On paper, this conglomeration of different styles sounds like the perfect recipe for a train wreck, but it somehow all comes together on disc, as evidenced by the trio's 2003 offering, Cruel & Delicious. Issued on old pal Josh Homme's label, Rekords Rekords, the trippy songs perfectly fit the feel of the album's cover (a sun-bleached photo of a long stretch of desert highway), especially such standouts as the saxophone free for all "Drinkin Mode," the melodic "Light Yourself on Fire," the bouncy instrumental "Heavenly Hearse," a barely recognizable cover of the Devo obscurity, "Ton O Luv," and the jazzoid freak-out, "Pig Hat Smokin." Cruel & Delicious is an enjoyable slice of hard rock, well off the beaten path

Channel One production, Discostyle double header as originally released on the J & J label in 1980.

Both sides come complete with extended mixes running into the version.

On limited red vinyl and housed in Channel One's Super Charge inner sleeve in a quality art board spined sleeve.

Lee ‘Scratch’ Perry’s 2002 album Jamaican E.T. marked his ‘comeback’. The extra-terrestrial is back with some groovy reggae which creates a bridge between dub, roots and hip hop. But in the end it never ventures to far away from the traditional reggae. The album continues in showing his fascination with aliens, drugs and religion. His own voice is often multi-layered and contrasting with each other. In 2003, the album won a Grammy Award for Best Reggae Album.

Lee ‘Scratch’ Perry was a pioneer in the 1970s development of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys. Up until his passing, Perry was active in producing and performing his music.

Jamaican E.T. is available on black vinyl.

In the early 21st century, a shadowy figure rose from the dust that settled atop forgotten record collections throughout Africa, leaving behind
a trail of clues in what seemed like a wild good chase, but in October 2013, Luaka Bop will unmask a phantom: the great William Onyeabor.

'...anyone out there making music at the moment will be quite excited by this...' Damon Albarn
'...a synth-slathered prog-funk killer...' - Pitchfork
"talk to @LuakaBop about details of the William Onyeabor comp they are working on today... gonna blow minds!!!!!!!!!' - Four Tet

Promotional Assets
Covers & Remixes by Devendra Banhart, Man Tear (DFA) & Hess Is More, Caribou, Dam-Funk, Justin Strauss, Scientist, Optimo, Prince Language, Illum Sphere, James Holden, Peaking Lights, etc.

Art collaborations with John Akomfrah, Njideka Akunyili, Harrison Haynes, Dave Muller, Odili Donald Odita, Xavier Simmons and music videos by Brian Baderman, Mike Sumner & Kindess. Partnership with Moog, Boiler Room, DubLab, Beats in Space & East Village Radio. Events at Moog Fest, Pop Montreal, Le Comptoir General