quête:the master collection

First part of the Drexciya re-issue series! Drexciya might need an introduction for some, for others it is the most influential techno project ever. Part of the heritage of Detroit's Underground Resistance, Drexciya explored techno music like no-one else before. Raw and uncompromising music that reflects the harsh environment of the city where Drexciya was conceived. The aesthetics and the mythical approach combined with the unique music made this one of the biggest cult projects in techno music. Drexciya arguably stands for the darker side of techno and electro, music not only made for the club scene, but a further development of the music as an expression and extension of the mind. 20 years after the release of ''Deep Sea Dweller'' (their first release), and 10 years after ''Grava 4'' (their last), we present ''Journey Of The Deep Sea Dweller''. This series is an almost complete collection of their early works, and is remastered from the original master tapes. Since the original releases have such a strong character, appeal and stand on their own, this re-issue can never re-create the magic of those originals. So instead we stirred up the catalogue taking the tracks out of their original context, giving the 'in the know' listener a fresh experience and the new listener a document that is the best possible introduction to the aquatic world of Drexciya.

Following the great success of BBE’s 2023 reissue of Remi Kabaka’s 1976 lost masterpiece 'Son of Africa' comes yet another neglected and hitherto-hidden slice of pure Kabaka goodness: 1980’s 'Roots Funkadelia'. While the 1976 album was recorded at Island Studios London, roots was recorded and mixed in L.A. in the midst of a golden period for the Motown studios, and the sheer quality of the mix shows in spades. An unexpected but welcome bonus is the appearance throughout of the ‘mean machine’- Motown artists the commodores’ brass section alter-ego. Released in 1980 on Polygram Nigeria with no international distribution deal, and lurking almost unnoticed in a handful of dedicated afro vinyl collections, this is the first-ever reissue outside Africa of an album that regularly fetches £500 plus on the ‘those who know’ market’.

REPRESS

New Delhi-based Peter Cat Recording Co. will release their debut album, ‘Bismillah’ on June 14, 2019 via French independent label Panache Records. Debut UK live shows are soon also to be announced by the band.


Peter Cat Recording Co. could almost have a question mark on the end of its name. Not least as founder & frontman Suryakant Sawhney refuses to explain where that name really comes from or what it means (perhaps a reference to the Tokyo jazz club owned by Haruki Murakami), but also since the very existence of the band itself raises a raft of questions. When was the last time we fell for an indie rock band for the right reasons? Not because the band in question nostalgically imitate a perceived ‘golden age’ but because they innately embody the fundamentals of such music: fantasy, sincerity and the freedom to make music without rules or career aspi- rations. And when was the last time this kind of band sounded like Sinatra, Barry White, the sweetest doo-wop, humid fanfares and a psychedelic wedding band, all at once? And all of this coming from India?
In truth, the story of Peter Cat Recording Co. was written within the triangle of San Francisco, Delhi and Paris.
In the first of these cities, Sawhney (a native of Delhi) pitched up to study film-making. More distracted by the city’s peaking live scene of the early noughties, this is where he started to make music and to sketch out an idea for the band.“
The people I lived with supported my idea of writing music, they introduced me to great mu-
sic. There used to be a great garage scene in San Francisco, like The Oh Sees also Ty Seagall, Mikal Conin, all those bands. This is a world I had never seen in my entire life. A big inspiration from San Francisco was that you could record yourself. You don’t need to be in a studio and spend a lot of money to make an album. You can do it”.


At the end of the 2000s, Suryakant returned home to New Delhi, and started his band for real, more or less the same band that plays today. “I wasn’t so concerned about will we be performing, will we be the greatest band, will we be trendy. I just wanted to make something that was consequential and important for us, I think. Something which would last, something people could listen to and be like « this is life changing ». It was for the sake of beauty”.


For the first few years and in India alone, this is exactly what Peter Cat Recording Co. did, in total indifference to the rest of the world. This was until young Parisian label Panache stumbled across the band online via Vice’s THUMP subsidiary, stupefied by the band’s cosmic video for seven-minutes-and-counting track, ‘Love De- mons’. And so in spring of 2018, ‘Portrait Of A Time: 2010-2016’ was released on Panache - making the first international release from Peter Cat Recording Co., bizarrely enough, an anthology of re-mastered, hidden gems from the band’s ramshackle back catalogue, previously recorded in Suryakant’s own living room. With Peter Cat’s off-kilter charm hitherto unheard of beyond the fringes of India, the release provided a gateway op-
Whilst the title track found its way onto Tracks Of The Year lists at the Guardian & NME, it was tricky for new PCRC enthusiasts to get a firm grip on the startling push/pull between the immediate, uncanny music this release gathered, and the cultural backdrop of New Delhi at which it was so startlingly at odds.


Opportunity for a wider fanbase to fall in love with their cloud-like, drunken songs for the first time.
If discovering your favourite new band via a ‘Best Of’ feels a curious premise, then ‘Bismillah’ does more than hint towards the promise of Peter Cat Recording Co’s future. Blending gypsy jazz, psychedelic cabaret, space disco, bossa supernova, Bollywood and uneasy listening with kaleidoscopic ease, in many senses, the band’s knack hasn’t altered. Always different, paradoxical, unpredictable yet somehow familiar. The new album opens to the strains of bird chatter, the whisper of a city’s soundscape and the first few notes from an instrument which seem to be calling us to the departure lounge, a fore-shadow of the flight ‘Bismillah’ launches its listener
on. Suryakant sings with the detached, rueful elegance of Sinatra marooned on a desert island, whilst his band create small space-time capsules which navigate their way through genres and eras – including the future – and between nostalgia and eccentricity.


Peter Cat recently trailed ‘Bismillah’ with the release of ‘Floated By’, an appositely titled musing on failure & missed opportunities, punctuated by the fulsome brass section which weaves through so much of the album.


The languid, blue quality to the track is offset by the attendant music video, created with footage shot, implau- sibly enough, at Suryakant’s own marriage ceremony (needless to say, the wedding band hired for the day was of course, Peter Cat Recording Co.) Sawhney dryly notes; “Hopefully it’s not a many-a-times-in-a-lifetime event. You can’t fake that set, those people actually having a good time, being really emotional and intense.” ‘Bismillah’’s colour-drenched album cover also captures Suryakant’s father-in-law making his wedding toast on that same day - a nod back towards the cover of ‘Portrait Of A Time’, itself a black & white image taken at the wedding ceremony of Suryakant’s own father.


A stumbling but gracious collection of songs rooted in a kind of drunken soul music, the melancholy nature of some of the songs on ‘Bismillah’ renders them almost liquid, before they develop into more dance-like shapes. Suryakant’s rangy voice swoops from the falsetto glide of ‘I’m This’ to the beat-up baritone blown along by the warm breeze of ‘Soulless Friends’. The elliptical structure of album opener ‘Where The Money Flows’ also al-
lows for the use of brief bursts of autotune effect on his vocal without feeling incongruous, whilst the desultory lyrics of ‘Heera’ (a Hindi word for diamond) - sharing something with the Morricone school of grand storytelling - have an emotional weight that would impress even coming from a native English speaker. Perhaps the most gleefully unpredictable moment on ‘Bismillah’ comes with the illusory, vocal loops on the intro to ‘Memory Box’, errupting into 8 exhilarating minutes worth of unbridled, string-backed disco joy. A cat might have nine lives, but on ‘Bismillah’ and beyond, Peter Cat Recording Co. are hinting towards an un- knowable multitude of dimensions. Throw them all together, and it equates less to a listening experience and more to an out-of-body experience.


Peter Cat Recording Co. are: Suryakant Sawhney (vocals/guitar/organ), Dhruv Bhola (bass), Kartik S Pillai (organ/guitar/electronics), Rohit Gupta (horns), Karan Singh (drums)

Mr Bongo proudly presents Ritmo Italiano ‘Unspoken Sounds of Italian Tamburo’ a captivating compilation of percussive-driven, Italian gems curated by Sardinian multi-instrumentalist, percussionist and producer, Gabriele Poso. A journey into the heart of Italian musical history, it celebrates Italy’s rich rhythmic traditions, showcasing a selection of genre-traversing, Italian treasures from the ‘60s to the early ‘90s. Honouring the timeless rhythms of Italian percussion masters, alongside a brand-new exclusive composition by Gabriele, ‘Ritmo Italiano’ shines a light on the universal, primal language of the drum.

A connection sparked from an early age; percussion has always deeply resonated with Gabriele. It led to years of studying percussion traditions across Cuba, Puerto Rico, and Brazil, crafting his own songwriting skills in the process. An acclaimed producer and compiler, his releases on Yoruba Records, BBE and Soundway Records have garnered global support. Yet a growing need to rediscover the essence of his country’s cultural heritage laid the foundations for this new compilation.

In Gabriele’s own words, “Italy has always been a crossroads of civilizations, with influences from the Mediterranean, North Africa, the Middle East, and Europe converging over centuries. Ports like Naples, Genoa, and Venice played a crucial role as gateways for musical exchange, a melting pot of sounds and cultures brought by sailors, merchants and travellers. These influences blended with Italy’s own folk and religious traditions, creating Italy’s unique and emotionally resonant rhythms.”

Across the 12 absorbing tracks, there’s jazz influences, Italian library music aesthetics and experimental beats mixing with Afro-Cuban and Mediterranean rhythms. It’s a broad selection anchored by the drums. The synth-heavy, ‘80s jazz funk flavours of Gegè Munari's ‘Police Man’, sit side-by-side with the samba-infused ‘Napulitano D' 'O Brasil’ by Don Marino Barreto Jr. Tribal, earthly energy radiates from Naco’s ‘Volando Con Milton’, with Tullio De Piscopo serving up cosmic disco brilliance, and blistering jazz funk mastery coming courtesy of Agostino Marangolo. Taking the name of the compilation, a new original track by Gabriele, ‘Ritmo Italiano’, blends traditional rhythms with contemporary energy, Afro-Latin influences with Italian jazz essence. Recorded live in one take, it captures a raw, unfiltered vibe.

“Each track tells a story, connecting the past with the present, and highlighting the deep-rooted traditions that shape Italy’s rhythms. The collection also offers a glimpse into the diversity of Italian music with a variety of styles from the organic, earthy beats to the more experimental and modern takes on traditional rhythms. It’s a reflection of how these rhythms have not only shaped Italian culture but also influenced global music.”

"Chasing the funky symphonies that filled my head and my dreams..."

December 25th, 2023 - an Instagram post. Stimulator Jones shared half a dozen FIRE tracks from his beat tape archive. We were immediately drawn to the rough hewn boom bap.

"I'd release that", Rob commented.

Hours of material was shared and the result is this: Cool Green Trees (1999-2005). A collection of beats and loops Stimulator Jones created between the ages of 14-20 at home in his basement, bedroom and computer room in Roanoke, Virginia.

You will not believe the profound soulful genius contained within these naive schoolboy melodies.

December 25th, 1998 - 25 years ago to the day and his much-coveted Yamaha SU10 sampler was finally bestowed upon young Stimmy AKA Sam Lunsford: "I immediately hooked up a CD Walkman to the input jack and looped the beginning two bars of Grover Washington Jr.'s "Mercy Mercy Me". I don't know what exactly was so thrilling about hearing two measures of music repeating over and over but it was so infectious and hypnotizing and enthralling to me. I'll never forget that ecstatic rush of making my first loop - an uncontrollable, gleeful smile plastered all over my face." When you hear the pocket breakbeat symphonies featured here on Cool Green Trees, you'll feel the same sense of frisson.

In the wake of his Stones Throw breakthrough - Exotic Worlds & Master Treasures - Stimulator Jones was pegged by many as a 90s throwback artist. However, he literally IS a 90s artist. He's been recording music most of his life and he's now 40. He created the bulk of Cool Green Trees as a teenager. Everything before 2004 was recorded when Sam was still in school. He was in 8th grade when he made the 1999 tracks - he didn't even have his learner's permit. This album is a snapshot of a young man in a simpler time. Things were still mysterious back then and he was flying blind, relying on his ears and having to figure things out for himself: "I had no road map for becoming a beatmaker. I have been collecting music since I was a kid, I am a lifelong digger and seeker of cool and interesting sounds. I was there in the golden age of Hip Hop, and while I may have been a suburban white kid in Roanoke, Virginia, I was tuned in and I bought so many classic albums when they came out. I was attracted to Hip Hop because of the musical and poetic quality. I was hypnotized by the rhythms, partially because I was a drummer. I didn't brag about collecting my breakbeat records or making beats - it was something I did in isolation. It wasn't something I generally wanted to bring attention to and it didn't really score me any cool points. I certainly wasn't flexing on social media about it."

Hell, he can do that now!

Opener "Pharoah Jones" was inspired by Yesterday's New Quintet and Madlib's ability to capture that classic 70s sound whilst playing all the instruments. Sam created this one stoned afternoon by laying down a 2 bar loop and a shaker loop on his Yamaha SU700 sampler. He hung a microphone from the ceiling and played his Yamaha Stage Custom drum kit over the top before adding ender Rhodes and playing his dad's Selmer tenor sax through an Electro Harmonix Memory Man echo pedal. Yes! Up next, "Ghost Gospel" utilises a dope loop from a gospel record and adds some soul-funk drums overtop, whilst working that filter knob. Says Sam: "The loop reminded me of something Ghostface would rap over. The sample was in 3/4 waltz time but I flipped it for a 4/4 groove, a technique I picked up from RZA. "Ill Feeling" uses sped-up pieces from a dusty old funk record and putting them over a classic NOLA drum loop; gain chopping up a slow, bluesy 3/4 time signature and bending it to a 4/4 groove. Classy shit. "Capital Punishment" features drums tapped in live, inspired by MF Doom's Special Herbs series. "Do Not Adjust" consists loops found on a compilation of 70s French music at Happy's Flea Market, a classic Roanoke digging spot.

The sublime, evocative title track, "Cool Green Trees" was created when Sam was still living at home. He dumped samples off his SU10 into the family desktop and arranged them in a demo version of Pro Tools: "This track was sort of my ode to the DJ Shadow style of sample based production. Super spacey, slow, and moody. The heavily filtered drums were inspired by Alec Empire's 'Low on Ice' album. I later added some scratches and sounds from a Spider Man storybook record." "Chill Scratch" snags the final bit of a bossanova record and pairs it with a drum loop before adding experimental scratching run through an Electro Harmonix Memory Man echo pedal. "Poisonous Fumes" was made using a sampler, mixer and a turntable; a kind of mixtape beat collage with added scratches and sounds from various records. Using dialogue from superhero records was a nod to Madlib. "Welcome Aboard The Starship" is dark, downtempo trip-hop with a spooky bent. Sam paired a slow, hard drum loop with a guitar sample grabbed off a psychedelic rock record. To finish, he added various backwards sounds and weird atmospheric effects and a little scratching. Swoon.

Side B opens with "Keep On Runnin", made on a borrowed Roland SP202 sampler. Having always loved the sound of the Lo-Fi filter on those machines, reminiscent of the Emu SP1200, Sam always imagined Del or another of the Hieroglyphics crew rapping over this beat. You can certainly hear why. "Sounds Impossible" sees Sam experimenting with layering multiple kick samples at different volumes to create patterns similar to those heard by Showbiz and Lord Finesse during their God-level 1995 period. "Painted Faces" was made by chopping up a REDACTED record which he had gotten from Happy's Flea Market and paired it with a REDACTED drum loop. By the time Sam recorded "The Knew Style", he had acquired a shitty old 1960s portable turntable off eBay. It didn't function properly when he bought it but his brother opened it up, cleaned it out and got it working: "I remember he told me that there was a bunch of sand inside of it when he opened it up, as if its previous owner had taken it to the beach. I would take that turntable on my Happy's Flea Market digs so I could preview records...that's how I found this loop."

"Chicken Wing Blues Sauce" loops up a classic blues joint and pairs it with some REDACTED drums. A bit of filtering and arranging et voilà! "Kool Breeze", from 1999, is one of Sam's oldest surviving beats, as is "Sexx Bullets". The Roots sampled the same record, leaving Sam frustrated yet vindicated. "Soul Child" was an early SU10 creation, looping a dusty old Soul Children 45 and pairing it with 70s rock drum loops to great effect. "Take Off Runnin" was another loop found digging with a portable turntable. Paired with some boom bap drums it makes for a hypnotic head-nod groove. "Centurian" was intended to be a little beat interlude a la Pete Rock. The sample is from a sun-dappled soft-psych record and it's paired with a Robin Trower drum loop that just happens to fit perfectly. Sometimes you slap things together kind of haphazardly and magic happens. "Bozack" was the first beat Sam made using Pro Tools, his first foray into using chopped sounds instead of loops, an exciting new world. "Church" is beat interlude using a Phil Upchurch loop with the "Long Red" drums - a favourite break of Dilla et al. Sam was really on a tear in late 2004, probably because he was unemployed and phoneless and able to just make beats all day. He made "Splash One" on a borrowed Yamaha SU700 and again was experimenting with tapping the drums in live with his fingers, instead of using a loop or sequenced pattern. Channeling 9th Wonder, Sam used a water splash sound effect from a Batman record as a percussive element, hence the title (also a 13th Floor Elevators reference). The main loop is a backwards portion of one of his favourite Roy Ayers songs.

"Hank" is another fun little beat interlude thing, created on a borrowed Roland SP202 sampler with the fantastic Lo-Fi effect that resembled the Emu SP1200 at a fraction of the price. "73 goatee", from 99, is another of his oldest surviving beats, created in his bedroom with his Yamaha SU10 and his brother's Vestax MR-300 4-track recorder: "This one will always feel special. I can remember having a feeling all the way back then on the night that I created it that this was a solid beat with a catchy loop. There was something in the Fender Rhodes melody that resonated with me emotionally, and I had never heard a producer sample that portion before. I felt like I had found my own unique sound, my own unique loop. It came from an Ahmad Jamal '73. I actually even recorded myself rapping and scratching over this beat way back then, I still have that version in all its imperfect sloppy glory."

Sam explains just how much these tracks mean to him: "They all have immense historical and sentimental value and I'm proud of them. These beats come from an innocent, simple time when I was just figuring out how to craft these sounds. They're something very personal to me. They are the initial part of a journey that I really was taking *alone*. There was no YouTube. I couldn't Google shit. I didn't even know any other beatmakers, producers or DJs in my town that could teach me anything. It was always just me, alone, in a room with some equipment - chasing the funky symphonies that filled my head and my dreams. What I was doing wasn't cool. Most of my peers thought I was a weirdo and couldn't care less. Creating these sounds was an anti-social endeavour. In a sense, I felt like it was me against the world, and all I had to instruct and assist me were the recordings produced by my heroes - RZA, DJ Premier, Erick Sermon, Beatminerz, Showbiz, Diamond D, Beatnuts, Prince Paul, The Bomb Squad, Pete Rock, Q-Tip, E-Swift, Mista Lawnge, DJ Shadow, Cut Chemist, Peanut Butter Wolf, El-P and so many more...I dedicate this collection to them, and to my older brother Joe who has always been a musical and technical guiding light for me.

This was a time before every kid was a self-described producer and beatmaker, before everyone had a DAW, before Kanye and "chipmunk soul", before Red Bull beat battles, before there was any social media beyond chat rooms and AOL Instant Messenger, before Soundcloud, before SP-404 mania, before lo-fi beats to study to, before Splice, before targeted ads for MIDI chord packs, etc. In 99 when I told people that I had a sampler and made beats I was mostly met with bewildered confusion and indifference. Kids and adults alike would wonder why I got this weird machine for Christmas instead of something worthwhile like a Playstation or a mountain bike or even a guitar for that matter because at least that could be used to make "real music". Back then, sampling was still not widely respected as an art form - it was seen as lazy, talentless and unoriginal at best and outright criminal theft at worst. I had gotten respect for playing drums and guitar and things of that nature but this was a step in the wrong direction in the eyes of many."

The cover photo is a picture of Sam standing on his back porch in the latter part of 1998, just before he got his first sampler. He was 13 years old, in 8th grade. His dad took the picture with his 35mm film camera: "I actually wanted to be pointing my dad's .22 pistol at the camera lens but he wouldn't let me. He gave me an old walking cane to use instead. The Tommy Hilfiger puffer jacket came from the lost and found at William Fleming High School where my mom worked as a secretary. I was thrilled when she brought it home because we never spent money on expensive name brand clothing like that - we were for the most part strictly a sale rack, bargain bin, thrift store, yard sale, flea market kind of family when it came to clothes. My watch is some cheap off-brand fake gold department store watch." Mastering for this vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.

Haunting, discordant and deeply unsettling, `Les Maîtres Fous' (`The Mad Masters') was written by French post-metal collective Year of No Light in response to French filmmaker Jean Rouch's controversial 1950's docufiction of the same name. Commissioned by Musée Du Quai Branly in Paris for their 2012 `L'Invention Du Sauvage' exhibition, trance-metal pioneers Year of No Light approached the ritual practices of the Hauka movement as depicted in the film and responded with their uniquely hypnotic heaviness. Performed only twice, once at the exhibition on the 6th January, 2012 and again in Bordeaux on the 29th January, 2015; this release is a live recording of the second and final performance of `Les Maîtres Fous'. Whilst Year of No Light have a long history of collaboration with forward-thinking filmmakers and visual artists, the sensitivity of this documentary's problematic subject matter and the intensity of the band's performance made this performance both a physically and emotionally demanding experience; something that can be keenly felt upon listening. Founded in September 2001 by a collection of Bordeaux's heavy scene stalwarts as an ongoing side project encompassing elements of sludge metal and shoegaze, Year of No Light released their debut album, Nord, in 2006 to critical acclaim. The subsequent years however saw a significant lineup change with the band replacing their vocalist with a third guitarist to become a fully instrumental sextet incorporating aspects of black metal, drone electronica and dark ambient into their already formidable sound. 2010's four track epic Ausserwelt and the 2013 follow up Tocsin saw Year of No Light distilling their punishing sound even further; stalling the tempo to a glacial crawl and tuning guitars ever downwards to new uncharted depths. Consolamentum, the band's first full-length release in nine years and their first with Pelagic Records, brought the outfit's crushing double-drumming percussion to the fore as a masterclass in dynamic control saw Year of No Light embrace the highest highs and the lowest lows of the intervening years. Now approaching their 25th anniversary, `Les Maître Fous' is a pressing reminder that, despite the band's long and ongoing journey, Year of No Light have never been afraid to experiment, to take risks, to square up to life's ugliness and look it straight in the eye. FOR FANS OF Neurosis, Cult of Luna, SWANS, ISIS, Russian Circles, My Bloody Valentine, Chelsea Wolfe. The Dim Gleam edition is kind of a beige vinyl colour

Haunting, discordant and deeply unsettling, `Les Maîtres Fous' (`The Mad Masters') was written by French post-metal collective Year of No Light in response to French filmmaker Jean Rouch's controversial 1950's docufiction of the same name. Commissioned by Musée Du Quai Branly in Paris for their 2012 `L'Invention Du Sauvage' exhibition, trance-metal pioneers Year of No Light approached the ritual practices of the Hauka movement as depicted in the film and responded with their uniquely hypnotic heaviness. Performed only twice, once at the exhibition on the 6th January, 2012 and again in Bordeaux on the 29th January, 2015; this release is a live recording of the second and final performance of `Les Maîtres Fous'. Whilst Year of No Light have a long history of collaboration with forward-thinking filmmakers and visual artists, the sensitivity of this documentary's problematic subject matter and the intensity of the band's performance made this performance both a physically and emotionally demanding experience; something that can be keenly felt upon listening. Founded in September 2001 by a collection of Bordeaux's heavy scene stalwarts as an ongoing side project encompassing elements of sludge metal and shoegaze, Year of No Light released their debut album, Nord, in 2006 to critical acclaim. The subsequent years however saw a significant lineup change with the band replacing their vocalist with a third guitarist to become a fully instrumental sextet incorporating aspects of black metal, drone electronica and dark ambient into their already formidable sound. 2010's four track epic Ausserwelt and the 2013 follow up Tocsin saw Year of No Light distilling their punishing sound even further; stalling the tempo to a glacial crawl and tuning guitars ever downwards to new uncharted depths. Consolamentum, the band's first full-length release in nine years and their first with Pelagic Records, brought the outfit's crushing double-drumming percussion to the fore as a masterclass in dynamic control saw Year of No Light embrace the highest highs and the lowest lows of the intervening years. Now approaching their 25th anniversary, `Les Maître Fous' is a pressing reminder that, despite the band's long and ongoing journey, Year of No Light have never been afraid to experiment, to take risks, to square up to life's ugliness and look it straight in the eye. FOR FANS OF Neurosis, Cult of Luna, SWANS, ISIS, Russian Circles, My Bloody Valentine, Chelsea Wolfe

2025 Repress

The Godfather of Hardcore, Marc Acardipane, needs no introduction. His outstanding releases over the past 30 years speak for themselves. He has been instrumental in helping to create electronic music history, with countless well-known productions which have been unsurpassed by any other artist of this calibre. His timeless masterpieces have been and always will be heard at hardcore raves spanning the circumference of the Planet. With "9 Is A Classic", "Slaves To The Rave", "Pitch-Hiker", "Stereo Murder" and "We Have Arrived", just to name a few, he clearly proves who's the boss. "The Most Famous Unknown" is a well compiled collection of Marc's music, which showcases a mere portion of what he has composed and produced since the early nineties! The vinyl and digital selection of "The Most Famous Unknown" features remixes by Body Sushi a.k.a. VTSS & Randomer, Dasha Rush, Gabber Eleganza feat. Delirio, Jasss, Kilbourne, Minimum Syndicat, Nina Kraviz, Perc, Solid Blake, Stranger, Umwelt and VTSS, which all deliver excellent interpretations of tracks they have chosen to revamp. All original tracks have been re-mastered to the highest possible standard of quality.

2025 Repress!

The Godfather of Hardcore, Marc Acardipane, needs no introduction. His outstanding releases over the past 30 years speak for themselves. He has been instrumental in helping to create electronic music history, with countless well-known productions which have been unsurpassed by any other artist of this calibre. His timeless masterpieces have been and always will be heard at hardcore raves spanning the circumference of the Planet. With "9 Is A Classic", "Slaves To The Rave", "Pitch-Hiker", "Stereo Murder" and "We Have Arrived", just to name a few, he clearly proves who's the boss. "The Most Famous Unknown" is a well compiled collection of Marc's music, which showcases a mere portion of what he has composed and produced since the early nineties! The vinyl and digital selection of "The Most Famous Unknown" features remixes by Body Sushi a.k.a. VTSS & Randomer, Dasha Rush, Gabber Eleganza feat. Delirio, Jasss, Kilbourne, Minimum Syndicat, Nina Kraviz, Perc, Solid Blake, Stranger, Umwelt and VTSS, which all deliver excellent interpretations of tracks they have chosen to revamp. All original tracks have been re-mastered to the highest possible standard of quality.

For many all-time-great rock bands in the ascendant, the fourth album is often the point where youthful years of febrile creativity and progressive momentum culminate in a masterwork for the ages, setting the seal on an early signature sound while opening it up to future possibilities. From enchanting 2016 debut Prelude, through 2018's assured II: Sojourn, to 2020's wizardly III: Pentecost, each Wytch Hazel album has embodied that old-fashioned notion of unstoppable progress, and the glittering treasure chest that is IV: Sacrament proves eminently worthy of rising to the toughest challenge. Not just the Lancashire quartet's most classically beautiful production, but their strongest yet front-to-back collection of affecting hooks and ageless melodies.

2025 Repress

The Godfather of Hardcore, Marc Acardipane, needs no introduction. His outstanding releases over the past 30 years speak for themselves. He has been instrumental in helping to electronic music history, with countless well-known productions which have been unsurpassed by any other artist of this calibre.

His timeless masterpieces have been and always will be heard at hardcore raves spanning the circumference of the Planet. With 9 Is A Classic, Slaves To The Rave, Pitch-Hiker, Stereo Murder and We Have Arrived, just to name a few, he clearly proves who's the boss. "The Most Famous Unknown" is a well compiled collection of Marc's music, which showcases a mere portion of what he has composed and produced since the early nineties!

The vinyl and digital selection of "The Most Famous Unknown" features remixes by Body Sushi a.k.a. VTSS & Randomer, Dasha Rush, Gabber Eleganza feat. Delirio, Jasss, Kilbourne, Minimum Syndicat, Nina Kraviz, Perc, Solid Blake, Stranger, Umwelt and VTSS, which all deliver excellent interpretations of tracks they have chosen to revamp.

All original tracks have been re-mastered to the highest possible standard of quality.

Get ready for a limited edition vinyl that captures the raw essence of hardcore history. Featuring Neophyte & Panic’s explosive collab ‘Basepower’ plus three additional bangers, this release is more than music.

Oldschool energy, legendary sounds, and pure adrenaline pressed into wax. This is the kind of record that deserves a front-row spot in your collection. Whether you’re behind the decks or preserving hardcore history, this is one you don’t want to miss.
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The new darlings of the American post-rock underground present a collection of well-wrought bangers on their debut full-length album. Powerfully melodic and heavy at the same time, Wield shows the Philadelphia-based quintet mastering their game of creating compelling melodies that sound larger than life. 2022 saw HIROE burst onto the scene with an explosive debut minialbum "Wrought" full of soaring anthems and sublime soundscapes. Combining the sonic expansiveness of Deftones with the dynamic heaviness of bands like ISIS and Caspian, HIROE already figured out how to make the most majestic sounding post-rock early in their career. "Our first, Wrought was a statement of creation," explains principal songwriter EricKusanagi about the intent behind their debut. "This second record is about what to do with that creation. The thought was, we've created this, now how do we wield it?" "We wanted to show a larger range of musical themes on this record," continues Eric. "You'll hear us dive into some synth work, some piano work, some really interesting effects that Mario helped us dial up." Wield packs a lot of details, which are fun to uncover over repeated plays. «Collider» is almost completely driven by high precision tapping leads, which are ingeniously mirrored by the chords on the final climax. «The Crush» sees the band's three guitarists chugging away happily over a clever 7/8 rhythm subtly exchanging thrashy, sludgy and prog-inspired stylings. Nevertheless, Wield is still an affair of instant gratification for fans of guitar driven post-rock. From the soaring leads of «Tides» to the epic finale of «I've Been Waiting For You All My Life», HIROE show they've upped their game in every department, but especially the one that tugs at your heartstrings. Wield presents the brave new future we all need in these confusing times. A new American frontier on which we can build our wildest dreams and our most daring ambitions! FOR FANS OF Caspian, Isis, pg.lost, Red Sparowes, If These Trees Could Talk, Shy Low, Ranges, Pray For Sound

The new darlings of the American post-rock underground present a collection of well-wrought bangers on their debut full-length album. Powerfully melodic and heavy at the same time, Wield shows the Philadelphia-based quintet mastering their game of creating compelling melodies that sound larger than life. 2022 saw HIROE burst onto the scene with an explosive debut minialbum "Wrought" full of soaring anthems and sublime soundscapes. Combining the sonic expansiveness of Deftones with the dynamic heaviness of bands like ISIS and Caspian, HIROE already figured out how to make the most majestic sounding post-rock early in their career. "Our first, Wrought was a statement of creation," explains principal songwriter EricKusanagi about the intent behind their debut. "This second record is about what to do with that creation. The thought was, we've created this, now how do we wield it?" "We wanted to show a larger range of musical themes on this record," continues Eric. "You'll hear us dive into some synth work, some piano work, some really interesting effects that Mario helped us dial up." Wield packs a lot of details, which are fun to uncover over repeated plays. «Collider» is almost completely driven by high precision tapping leads, which are ingeniously mirrored by the chords on the final climax. «The Crush» sees the band's three guitarists chugging away happily over a clever 7/8 rhythm subtly exchanging thrashy, sludgy and prog-inspired stylings. Nevertheless, Wield is still an affair of instant gratification for fans of guitar driven post-rock. From the soaring leads of «Tides» to the epic finale of «I've Been Waiting For You All My Life», HIROE show they've upped their game in every department, but especially the one that tugs at your heartstrings. Wield presents the brave new future we all need in these confusing times. A new American frontier on which we can build our wildest dreams and our most daring ambitions! FOR FANS OF Caspian, Isis, pg.lost, Red Sparowes, If These Trees Could Talk, Shy Low, Ranges, Pray For Sound

Karma Sutra had already been a band for five years when they released their elusive one and only album ,released on their own Paradoxical Records label in 1987. The Daydreams of a Production Line Worker came towards the end of the bands life span and all they had to show prior was a few demos and some tracks on compilations on Mortarhate. By the time the band entered the studio KARMA SUTRA was spreading their musical wings, moving from a straight ahead anarcho sound to a more dense and thoughtful place, adding flourishes of post punk and moody atmospheres to their agit-prop political stance thus creating one of the most idiosyncratic concept albums of their time, where situationist politics meet the most ambitious anarcho punk sound.
The album was recorded in Sheffield at Vibrasound Studio and co-produced by Spon of UK DECAY, which added yet another layer to the already complex album.
When released The Daydreams Of A Production Line Worker had little fanfare due to the rigid approach to punk of the time. But as time passed, so did this albums importance. It would sit perfectly in your collection next to bands who had ambition, tunes and thought provoking lyrics like CHUMBAWAMBA, THE MOB or THATCHER ON ACID.
The Daydreams Of A Production Line Worker reissue comes with a reproduction of the originally included 28 page booklet, which the band viewed as an inseparable part of the album to understand the concept. Dense at times and intended to be thought provoking it covers class oppression, gender, culture brainwashing, prison struggle et all the capitalism society illnesses written from an anarchist perspective and aligned with the situationism theory of revolution of every day life.

Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Haçienda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A GuyCalled Gerald, the unmistakable influence of black American pioneers is clear-the originators of the first analog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection,offering a timeless snapshot of a unique era.

Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Haçienda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A GuyCalled Gerald, the unmistakable influence of black American pioneers is clear-the originators of the first analog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection,offering a timeless snapshot of a unique era.

Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Haçienda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A GuyCalled Gerald, the unmistakable influence of black American pioneers is clear-the originators of the first analog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection,offering a timeless snapshot of a unique era.

Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Haçienda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A GuyCalled Gerald, the unmistakable influence of black American pioneers is clear-the originators of the first analog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection,offering a timeless snapshot of a unique era.

ARCHITECTS are back and charging forward in the heavy rock world with their latest sonic masterpiece, The Sky, The Earth & All Between. After two relentless years on the road-featuring massive European summer tours with Metallica and top billing at festival stages across Europe, (Rock Am Ring, Rock Im Park, Hellfest, Download, Graspop, Full Force to name a few and headlining Bloodstock) - the band has returned to the studio to deliver their most powerful collection of songs yet. With the creative force of Jordan Fish (Bring Me The Horizon) behind the boards, Architects have captured the explosive energy of their live performances while elevating their signature melodic edge. This album reflects the perfect blend of raw intensity, emotional depth, and innovative production. Already making waves, singles like "Curse" and "Seeing Red" have drawn rave reviews from all major metal press worldwide. "Seeing Red" the "anthem powerhouse" landed because of global success in the top 10 of charts worldwide-amassing over 45 million streams along the way. The Sky, The Earth & All Between builds on the momentum of their 2022 album, the classic symptoms of a broken spirit, which stormed to the top of the UK Rock and Metal Charts. With this new release, Architects are once again set to push the boundaries of modern heavy music, cementing their status as one of the most exciting and essential bands of our time.