Cerca:the third mind

In 1991 Coil released the third of their early classic full-length albums “Love’s Secret Domain”, seemingly casting aside the gloom
and funereal beauty of its predecessors in favour of a painstakingly multi-layered hallucinogenic electronic beast, which unlike
some of their fellow ex-industrial contemporaries’ releases of the time wasn’t an attempt at easy accessibility or (the-godsforbid) danceability, but a vibrating psychedelic masterpiece unrivalled in their discography and still a landmark album.
To mark its 30 year anniversary Infinite Fog are beyond proud to present an expanded, fully remastered re-release of this fan
favourite available for the first time ever in its entirety on vinyl with 10 rare and mostly unreleased tracks and alternative
versions from the period added as a bonus to a luxurious 3LP/2CD set.
Love’s Secret Domain contains among its many highlights the Lynchian William Blake tribute of its title track and the
intoxicating single “Windowpane”, original versions of the later Coil live staple “Teenage Lightning” and the majestically warped
classicisms of “Chaostrophy”. Marc Almond guests on the typhonian “Titan Arch” and This Heat’s Charles Hayward provides
some amazing drum stylings.
This album is Coil pushing their sound ideas and probably their sanity to their very limits. Beyond the iconic Steven Stapleton
cover art here reproduced in unseen definition the doors of perception still open wide for both long-term Coil aficionados and
new-comers to this supremely innovative release to explore unknown depths. The long-overdue re-release illustrates how far
ahead of the curve Coil were with the sounds on this album, which still sounds as fresh and mind-blowing as it did back in the
early 90s.

This is the exclusive splatter version of Slade’s third studio album Slayed?. Originally released on 1st November 1972, it entered the UK album chart at #1 and remained in it for 34 weeks and was certified Silver in early 1973.
Slade were unstoppable throughout the seventies becoming one of Europe's biggest bands, releasing 6 smash hit albums, including three UK No-1’s, a run of 17 consecutive Top 20 singles and their hits are synonymous with the glam era.

Keplar re-issues the fourth album 'Chessa' by Dan Abrams' project Shuttle358 on vinyl for the first time. The double LP edition includes 3 previously unreleased tracks from the same recording sessions back in 2004, as well as an extended artwork with unseen photographs by Dan Abrams.

While undoubtedly associated with the microsound and 'clicks & cuts' movement around the turn of the millennium, on 'Chessa' Shuttle358 left behind the classical rhythmic patterns of the genre and shifted further towards warmer territories, meandering between modern digital minimalism and the soft tones of ambient music. Counter to his microsound synthesis approach on Frame (2000), Abrams created Chessa by writing software that manipulated samples from his unreleased songs, guitar pieces, and vintage japanese films sampled from video tape. In particular, a special granulating technique was written and performed at intentionally low sample rates that gave the uniquely fragile, yet dense sound to the album. Over fourteen tracks Abrams arranges slowly evolving sonic entities of unfading elegance. Strayed and hazy melodies pulse and cascade, elongated but brittle harmonies shimmer and disappear, echoing far-off in the rounded corners of the mind. The patient and detailed way Abrams combines the broken with the beautiful in creating organic collages of sound that retain the euphonic essence of a song, makes this piece of work so powerful and timeless, sounding just as relevant today, as it did 17 years ago.

Under modern scrutiny in Abrams latest studio, he refocused the original recordings to emphasize the elements most important to the original vision. The final mastering and vinyl preparation was done in collaboration with Stephan Mathieu, vinyl was cut by LUPO.

From the original press release in 2004 by Taylor Deupree:

Without a doubt Shuttle358 has become one of the most admired artists to emerge from modern electronic music’s sea of musicians. From the humble beginnings of a demo CD in 12k’s mailbox to 4 critically acclaimed CDs, Dan Abrams is, to some, the one credited for bringing a warmth and human touch back into what has often been considered a very cold, sterile genre. It began with 1999’s Optimal.lp (12k1005), a groundbreaking debut release that immediately defined the Shuttle358 sound; a hybridization of the then-emerging “microsound” genre with Eno’s true ambient explorations. In 2000 Abrams outdid himself with Frame (12k1011) by honing his sound design and exploring production techniques at rates that made his “now” quite brief and creating what was to become one of the most sought-after CDs in the 12k catalog.

Chessa is the third release from Abrams’ Shuttle358 moniker on 12k and he continues to do what he does best: attempt to move microsound away from the world of theory and towards absolute real life. Like his photographs, Chessa is music about, and to be listened to in, unexpected places. It is a narrative, a simple slice of life that plays out through the incidental photography of the cover artwork. To achieve this Abrams fuses irregular granular sound particles, like the movements of everyday life, with a deliberate melodic base that captures emotion and simplicity.

Maybe We Never Die, Anderson East's third release for Elektra/Low Country Sound takes the Alabama born, Nashville-based singer-songwriter’s seductively vintage voice in a decidedly fresh direction. The 12 tracks flow together with an overarching sense of ambience but maintain distinct musical boundaries. The energy toggles between a hunger for vulnerability in togetherness and a clinging to solitude as a romantic self-defense. There is consternation with the speed and volume at which the world operates and solace to be found in the simple act of getting up and going. And the beguiling title track, with its woozy strings swirling around East’s celestial falsetto as it curls towards the ceiling like smoke is, as they say, a whole mood; a sense of a single night’s dusk-to-sunrise contemplation. Collaborating once again with Dave Cobb along with longtime bandleader and now co-producer Philip Towns, East has found an enticing new avenue, one that maintains a connection to his past but keeps his eyes on the road ahead.

Maybe We Never Die is East's first new music since 2018's breakthrough album, Encore, which featured the Grammy-nominated #1 AAA radio single, "All On My Mind." Heralded by critics, The New York Times praised Encore as, “…an often lustrous revisiting of raucous Southern soul, rousingly delivered and pinpoint precise. He has a voice full of extremely careful scrape and crunch, but his howls never feel unhinged," while Rolling Stone declared, “On Encore, East’s influences meld seamlessly, stacking the album with Stax-worthy R&B grooves, gospel-blues ooohs and aaahs, surging keys and blasting brass.” Known for his magnetic live performances, East and his band have performed sold-out shows worldwide and have been featured on ABC's "Jimmy Kimmel Live!," CBS' "The Late Show with Stephen Colbert" and "CBS This Morning Saturday," NBC's "TODAY" and "Late Night with Seth Meyers," PBS' "Austin City Limits" and more.

Brock Van Wey returns as Earth House Hold and his third full album under the alias, continuing to explore the furthest influences of Ambient-infused, deconstructed Deep House in all its varying elements.

“...from the second I descended those stairs, lived it for myself, and the events that followed, I knew my life had changed forever. A life that brought with it a beauty as infinite as its pain”.

Daybreak Basements and Broken Hearts explores a new aspect of Brock’s early Deep House influences, one that meticulous followers of this guise would have been patiently trying to guess since his last outing in 2018. If Brock’s debut Earth House Hold album (When Love Lived, 2012) took the grooves and danceability from Deep House, and his second, (Never Forget Us, 2018), highlighted the powerful progression of vocals and melodies, then Daybreak Basements and Broken Hearts continues to build on the many aspects and inspirations of the Deep House genre, with a raw, dirty and somehow deeper take on the sound that Brock grew up with many years ago.

Brock’s signature vocals once again provide the narration and backbone to an album that is designed to progress; from its patient and spacious beginnings to its energetic and emotional closing chapters. Reverberating synths fill cavernous spaces as basslines rumble, bringing a darker, more abstract, early-morning vibe to an album born from a place of both reflection, and personal experiences.

“This is a house album in the purest sense of the word - just as much as the furthest thing from one that ever existed. As much a deconstruction of what deep house means as an attempt to reconstruct a time, and a life, it built.”

From the many musical lives of artist Glenn Donaldson emerges The Reds, Pinks and Purples, a project that sifts out the purest elements of pop music and in the process chronicles the point of view of an assiduous San Francisco-based songwriter. The Reds, Pinks and Purples’ third album, called Uncommon Weather, is both an elusive portrait of San Francisco––during one of its fluctuations as an untenable place for musicians and artists––and also a self-portrait, however inverted, of a songwriter who has dispatched another treasured collection of timeless sounding DIY-pop songs.

How The Reds, Pinks and Purples arrived here is a story with many roots, the most consequential of which is perhaps the musical aftermath of his earlier band, The Art Museums, whose brief tenure in the late ’00s coincided with an explosive period of the Bay Area rock scene and was followed by a hermetic musical period of Donaldson’s. Disenchanted with the dissolution of his band, Donaldson averted the DIY-pop sound with an instrumental, conceptual project called FWY! but meanwhile started a habitual songwriting practice, sharing nascent songs with friends in an email exchange. In 2013–2014, The Reds, Pinks and Purples took shape as the moniker for Glenn’s most direct expressions in the DIY-pop mode, enabled by this new disciplined output. By then, San Francisco was already a changed place. The tragic loss of his former bandmate in Art Museums was another source of discontinuity and rupture. You can hear in The Reds, Pinks and Purples’ earliest songs this grappling with life, anxiety, and atrophying subcultures. For an artist with an overriding interest in the aesthetic principles of discrete musical genres, this turn toward his immediate world for subject matter was a major shift, setting The Reds, Pinks and Purples apart from Donaldson’s other musical ventures.

Preceding the release of Uncommon Weather was the Reds, Pinks and Purples’ 2nd album, one of the record buying joys of 2020, You Might Be Happy Someday, and, earlier, their first proper full length Anxiety Art, a title that might nod to the classic Television Personalities song “Anxiety Block.” Donaldson’s music continuously reckons with the influence of Dan Treacy, whose own forays into drum-machines, echo, and reverb in the early 1990s is an important reference point for The Reds, Pinks and Purples’ musical template. Paul Weller, Robert Smith, and Sarah Records also come to mind. But, as important, Donaldson sees his projects as visual expressions too, often blurring the lines of records and physical art objects. They could just as well be “art multiples” as well as records. The pattern for Reds, Pinks and Purples’ records is to document San Francisco’s Inner Richmond district in photographs: the muted, pastel colours and unpeopled compositions unfold in a series of images that read like counter-melodies to Donaldson’s distinctive voice, a vocal tone that always complements the colours.

Self-recorded and mostly self-performed, Uncommon Weather features pinnacle versions of songs Donaldson has honed since the beginning of the project. The album arrives with grateful timing, quick on the heels of You Might Be Happy Someday, and alleviating, for a brief window at least, whatever it is that keeps us coming back to this elemental music. Donaldson imagines his listeners are just like himself: fascinated and addicted to the spiritual power of uncomplicated pop classics. Anthony Atlas

The album features a notable line-up of musician such as: Sami Yaffa (New York Dolls/Joan Jett), Dave Richmond (Serge Gainsbourg/Elton John), Christophe Deschamps (Jean-Michel Jarre), Kath Guifford (Stereolab), Will Crewdson (Adam & The Ants/The Selecters), Danny Ray (Bo Diddley/Brian Setzer)...Mastered at the legendary Abbey Road Studios and cut to vinyl across a 180g LP in a gatefold sleeve with booklet. L'homme de l'ombre immerses you from start to finish in a sonic and lyrical journey that rewards your mind and emotions. Here you will find the glamorous rock attitude of Marc O's musicianship colliding brilliantly with the wise and witty writing of french philosopher Bruno Pons Levy. The result is not so much a double identity, but an intangible and powerful third element, much like the mathematical equation described in the song The triangle squared (Le triangle au carré). This song is emblematic of Marc O's persona: a musician of style and vision, crossing cultures and decades to collaborate with a remarkable team and create this, his most personal album. Press quotes: Ten well realised, vintage aesthetic fantasies ****" MOJO "Singular debut set that lurches from glam-punk to Air-meets-Gainsbourg purr, infectiously Pulp-ish electro-rock and gauche, Bowie-esque panther strut. Formidable! 8/10" UNCUT "Never less than fascinating, this is an important and hugely enjoyable work ****" RECORD COLLECTOR "Propelled by his core rhythm section and lyricist collaborator, they address some weighty subjects with passion ****" SHINDIG! "Blends aggressive and powerful textures and melancholic soundscapes to break down language barriers and deliver a powerful, evocative and stunning album" LOUDER THAN WAR "The music is as strong as Pons Levy's lyrics, mingling melodic rock with chanson in the grand tradition ****" RNR

Musique Pour La Danse is proud to present SPACED OUT!, a compilation curated by Belgian artist and producer DJ Athome (Front de Cadeaux) which focuses on psychedelic dub, space rock, and early electronica created in the UK's festival scene between 1986 and 1996, the result of a life long passion and 30 years of following artists from the festival scene.

It was a loosely organized British musical movement born in the early 80s and focused on free festivals in Stonehenge and other countercultural sites across the country. It represented a continuation of the psychedelic spirit of the 60s, with altered states of consciousness, dub production techniques, non-Western influences as well as instruments featuring heavily, along with a desire to side-step mainstream venues, labels, and attitudes.

Musically, it took on many forms, from mind-expanding space rock to third eye-opening electronica to shattering psychedelic dub. Visually, the zines, cassettes, LPs, and CDs created by this scene also displayed heavy influences from 60's psychedelia, updated for the late 80s and early 90s.

In the 90s, the zines and cassettes reached the eyes and ears of DJ Athome, then a young DJ living in Liège. After meeting a group of like-minded individuals organizing local gigs which was single-handedly responsible for putting Liège on the map for many British bands, he dived headfirst into the sights and the sounds of this festival scene, gathering as many albums as possible and joining local collectives involved in the organization of events.

This compilation is in equal amounts an introduction for newcomers and a confirmation for those who already know that this was without a doubt one of the trippiest and most compelling psychedelic musical movements of the last decades, notable for its hybridity, its sincerity, and above all its wonderfully life-changing effects for listeners and performers alike.

The compilation is presented in 2LP format, along with a limited edition Riso printed scene which features a foreword by acclaimed philosopher Timothy Morton, along with liner notes by David Borsu, one of the key players of Liège's musical collectives in the 90s and illustrations by designer Andrew Beltran.

A bridging of minds and energies, a confluence of souls and spirits. Midnight Shift releases an exclusive collaboration between Prequel Tapes and dBridge - Ionize. Cast all genres aside, as two electronic worlds collide to produce a third sonic space.

Start your engines with 'Divisible Cause' speeding and hurtling into the great atmospheric unknown. Outlier for the freaks, 'Stray Thrills' amalgamates between the classicist EBM and futurist UK bass. Stumble through 'Pleasure Systems' with light sabres, wrangled beats and gun shots ricochetting off the walls in one heady disorientation. Then wander aimlessly into the warehouse at 170bpm with 'Mindless', led by twilight tones and menacing machines at every turn.

Leng Records has long had close ties with the underground music scene in San Francisco, with low-slung dub disco and psychedelic disco outfit 40 Thieves releasing their acclaimed album The Sky Is Yours on the imprint way back in 2014. Now Leng has turned to another stalwart of the Bay Area scene, Cole Odin, on a single that’s every bit as trippy and engrossing as you’d expect from one of San Francisco’s most frequently overlooked talents. Cole made his Leng debut earlier in the year, contributing the electro-influenced track ‘Numbers Game’ to the label’s 10th anniversary compilation. On ‘Little Boxes’, he’s joined by good friend Eddie C, a much-loved disco and house producer from Canada best known for his releases on Endless Flight and Red Motorbike. The pair recorded the track while Eddie was staying with Cole in San Francisco last year.



In keeping with the low-slung, hallucinatory sound that has always been a big feature of the San Franciscan scene, ‘Little Boxes’ is a trippy, mind-altering affair in which waves of sitar sounds, cosmic synths, effects-laden guitars and kaleidoscopic electronics rise above a weighty punk-funk bassline and crunchy, snare-heavy beats. It has serious dancefloor chops but is also atmospheric and immersive: perfect 5am music for Bay Area beach parties and mushrooms-fuelled forest raves.



Fittingly, it’s 40 Thieves who provide the accompanying remix, a 10-minute epic created with the assistance of Adonis and Rodney from the psych rock band ‘Guavatron’ for additional synths and the guitars. Beginning with tabla-style percussion, swirling chords, psychedelic guitar licks and mystical sitar sounds, the remix builds in waves, with looser drums and even weightier bass propelling the track forwards at a metronomic and hypnotic pace. By the time the eyes-closed guitar solos drop two thirds of the way through, you’ll be tripping hard and reaching for the lasers. It’s a genuinely stunning remix of a genuinely intoxicating, mind-mangling track.

The third release from Exalt Records Fallen Entertainers series is by an artist so hot right now, it's ridiculous. Having has recent releases on some of the hottest electronic music labels on the planet, this producer is certainly having 'a moment'. Electro superstar Sound Synthesis submits an incredible remix to complete the package.

Strut presents the first full international release for another lost classic from the Black Fire Records archives, 'Southern Energy', the only album recorded by R'n'B and jazz collective Southern Energy Ensemble in 1977.

Beautiful orange & yellow sunburst vinyl - Solstice '21 sees twelve bright lights of independent electronic music mark the coming Summer Solstice. In such dark days, the age-old practice of celebrating the move from shadow to light, feels steeped in a renewed symbolic power. Solstice '21 marks this significant moment with a rich array of musical offerings. Reflective, lively, and always powerful, this collection is spun with modern twists of an ancient thread. Rotator - This is the first outing under this moniker from Justin Owen, also known under the alias Licit, as well as being a protagonist in the world of modular synthesis as the man behind the Abstract Data modules; Letters from Mouse - "Bubbling analogue synthesis from Scotland." This analogue synth maestro and inimitable broadcaster (aka The Magic Window), boasts a string of quality releases, including the recent highly acclaimed album An gàrradh, also on Subexotic; Cub/cub - "Cub/cub explores the world in-between nostalgia and nihilism, analogue and digital, real and false; creating evocative and mournful musical collages." First discovered on Boards of Canada forum Twoism, Cub/cub's two debut releases with Subexotic demonstrated his considerable talent to mix fascinating texture with beguiling melody. With an astonishing follow-up album coming soon, his rising star feels unstoppable; Orbury Common - "aural ephemera from the home of the orbs." This mysterious duo from the West of England are blessed with delightful musical cunning; their brilliant debut on Subexotic lifted the lid, and this offering reaffirms exciting times lie ahead; Onepointwo - "Minimal electronics, abstract radio signals and dystopian soundscapes are proceeded from both digital and analogue sources." A creator of intricate yet powerful collage, with finely wrought motifs that repeat and build to create a shimmering psychedelic impact. This is Onepointwo's glorious trademark. Spell-binding releases already exist on Woodford Halse, Poeta Negra, Lotus, as well as an imminent powerhouse album forthcoming on Subexotic; Giants of Discovery - "Experimental electronica with the occasional noisy guitar thrown in." Giants of Discovery's ability to get to grips with the musicality of his subject, has lead to previous exquisite sojourns into realms such as Victorian cosmic horror and Greek mythology, as well as an equally fantastical, towering follow up album on Woodford Halse; Wonderful Beasts - "A Wonderful collaboration between boycalledcrow and Xqui." Their playful interaction finds ways of crafting acoustic fragments into unexpected kaleidoscopes of sound. With beguiling debuts on cult label Wormhole World (soon to be followed up by an extraordinary new album on Subexotic), there is a kind of breathless magic about everything they do; Dogs versus Shadows - Electronic Sound Magazine says "A rare example of gamekeeper turned poacher...a welter of impressive electronica." Lee Pylon's ability to straddle a wealth of uncompromisingly inventive creations, and his broadcasting prowess as the much loved Kites & Pylons, is already the stuff of legend. A multitude of releases across many labels including Subexotic, Woodford Halse, Miracle Pond, Third Kind, Submarine Broadcasting, Sensory Leakage, provide a glittering treasure trove of work; Counter Silence - A stalwart of Subexotic, Counter Silence's sparkling and wistful musical work very much stands alone in temperament and style. 2020's Pathways EP on Subexotic remains a precious oasis, imbued with a haunting solitude that lives on in the memory; Transient Visitor - "All music unlocked by Alex Cargill (C.O.I. Central Office of Information) and Martin Jensen (The Home Current)." These two intercontinental maestros (well Sidcup & Luxembourg) boast impressive solo back catalogues across many labels (including Castles in Space, Polytechnic Youth, Woodford Halse). Their newly conceived collaborative Transient Visitor project, brought about the superb TV1 album in 2020 - we can see the sparks fly again in this welcome 2021 return; Simon Klee - "Natural, Electric, Organic Psychedelic - Sounds, noise and psychedelic beats." Klee's playful alchemy engages the mind and spirit, as witnessed in a flurry of top quality releases in recent times (e.g. Subexotic, ANR, Woodford Halse), and there is a visceral joy in his work that is perfectly placed for a midsummer celebration. Klee also produces a truly excellent mixcast and increasingly essential tape label, both under the guise of Anticipating Nowhere; Rupert Lally - "Hailing originally from England but now based in Switzerland, Guitarist, Percussionist and Electronic Musician Rupert Lally began his career as a Sound Designer and Composer for Theatre and TV, before launching his solo career in 2005. Since then his releases have blurred the boundaries between electronic and acoustic music." Lally's consistently brilliant work is always a highlight of the electronic music calendar, including recent stellar works across many labels such as Spun Out Of Control, Third Kind, Woodford Halse, and Modern Aviation.

Operation: Mindcrime is regarded as one of the greatest concept metal albums of all time. The band’s third album, originally released May 3rd 1988, is based around Nikki, a recovering drug addict, who becomes disillusioned with a corrupt society and joins a revolutionary group to assassinate political leaders. Operation: Mindcrime was produced by Peter Collins (Bon Jovi, Rush, Alice Cooper) and was recorded, mixed and mastered digitally on a Sony 24-track digital tape machine. It was certified platinum in 1991 in the US and was ranked in the Top 100 Metal Albums Of All Time by both Kerrang! and Billboard magazines. Available on multi-formats, this new version was remastered at Abbey Road Studios and brings together all the available recordings to tell the story of this remarkable album. The deluxe version, housed in a 10″ x 10″ box, is the final word on this exceptional album. It also contains a DVD which features the accompanying promotional videos and a live performance of the album. The expanded booklet features new sleeve notes by noted journalist Alex Milas who spoke with Geoff Tate about the making of the album and the concept behind it.

Includes Download Code and Special Insert Drawing !
Quindi Records continues to yield intriguing prospects as we reach the third edition, moving from Woo's astral ruminations via Cabaret Du Ciel's sonorous meditations on to the dusty, dusky mantras of Dead Bandit. Maintaining the ambiguous creative practices of the label's previous releases, From The Basement r eaches to the earth for the malleable grit of post-rock while making the most of the broader sonic outlooks afforded by kosmische and electronic effects processes.
Dead Bandit are Chicagoan songwriter Ellis Swan and Canadian multi-instrumentalist James Schimpl. Swan has previously released solo works including the stunning, inward-looking album I'll Be Around, a lo-fi Southern gothic dragging the husk of country ballads through battered signal chains. In Dead Bandit, Swan and Schimpl's artistic vision casts its gaze outwards on a vast expanse, where the distortion has space to stretch its legs and the drums pound out into open space. There's a common tonality at work here, the duos guitars telling a thousand hard-bitten tales where Swan's voice falls silent. It's no surprise to learn Swan and Schimpl's reference points include Neil Young's Dead Man soundtrack, SF noise rockers Chrome and the imperial work of the late, great Mark Sandman of Morphine.
You can sense Jim Jarmusch's America just lingering behind the road-weary thrum of 'These Clouds' and detect the shadow of Tom Waits lurking in the raunchy lurch of 'FF M'. The pointedly titled 'Sedated' calls to mind the slowcore movement and its rejection of rock n' roll's fixation on speed. Instead, tonality and atmosphere are key across From The Basement , although the ambient lull of 'I See Her There' is the exception rather than the rule. Dead Bandit's desert sound has vibrancy and immediacy to match its moodiness, from the sultry swagger of opening track 'Mud' to the bold and borderline bombastic 'When I Looked Around'.
Like the previous Quindi releases, this record is inherently experimental in nature, but not at the expense of its warmth and instant appeal. From the basement, an inquisitive pair with primitive tools look out and imagine a colossal plain as the canvas on which to paint their picture

Adopted Berliner hailing originally from the US, Kyle Geiger is not just an experienced DJ and producer, having already released on staple techno imprints Soma, Perc Trax and Droid, but also a budding production teacher via his Twitch livestream started during the first lockdown of 2020. When he’s not sharing knowledge about DAWs and shedding light on diverse voices in the music scenes, he also runs his labels Cubero and Front Left.

Across three techno excursions, collectively dubbed 'Bellhouse' and numbered 1 to 3, Kyle uses recurrent themes and motifs to craft intricate techno rollers in different forms. 'Bellhouse 1' stands out as a peak time dancefloor track, complete with heavy-hitting percussion, a dramatic lead and scintillating hi hats. 'Bellhouse 2' on the other hand comes off as a more subtle, restrained groove, whose nervousness can keep the energy high, while the third track can be found more on the dubby side, with metallic synths and mechanical whirs atop a steadily evolving marching bass. Hosts Rebar take on 'Bellhouse 2' giving it their own spin - distilling its fidgety atmosphere into a more anchored, mind-bending slow burner.

Repress

Punctual like a Swiss watch, Driftmachine presents a new album that once again astounds and delights. We know their trademark: solid mechanical percussions, forceful bass and melodies systematically built around circular patterns. "Spume & Recollection" is the sixth Umor Rex album by the Berlin duo, and what better way to celebrate the label's 15th anniversary than with a new record from the masters of labyrinthine cables and patches. Regarding "Nocturnes" (UR 2014), their debut album, we described their sound as precise and symmetrical, identical concrete blocks mounted and articulated in a random order. Their already obsessive style continued to evolve with their third record, "Colliding Contours" (UR 2016), now pushing further into abstract dub, ultra-tense grooves, and even more kinetic loops, moving further away from conventional musical structures. Between these two albums they released the remarkable "Eis Heauton" (UR 2015), a kind of hypnotic experiment informed by shadowy atmospheres, chance, and an intuitive dialogue with their musical machines, a unique situation in which they acted as bemused observers in hunt for epiphanies, resulting in an exquisite amalgamation of lucid dream-logic and mechanical precision. A one-of-a-kind soundtrack for minute and wordless scenes unfolding in pitch-black back alleys and hidden, alchemical basements. A similar map was explored with "Shunter" (UR 2018), a superb secret meeting between avant-garde phantasmagoria and concrete experimentation. "Radiations" (UR 2017) offered B-sides and bonus tracks, in addition to collaborations with Shackleton and The Sight Below, a kind of preamble that united Driftmachine’s different expressions and leanings.

When Andreas Gerth and Florian Zimmer come up with new material, one listens with high expectation. Looking back on their discography, one could safely anticipate a high quality album densely layered with their familiar leitmotifs. And yet, "Spume & Recollection" takes us by surprise and finds a new way to transfix. Fresh methods and ideas are introduced to their dynamics and formula. Yes, of course, you can still expect a healthy dose of kosmische, which is one of the dominant features in Driftmachine’s DNA; but this is now entwined with novel materials, semi-material patterns of alien code stretching over exhilaratingly tense and detailed grooves, clouds of gas shifting on top of deep dub architecture and blocking out the sun for prismatic effect. Even more of a surprise is the immediate, streamlined nature of these tracks, making "Spume & Recollection" their most accessible record and, perhaps, the most addictive (and this without sacrificing the essential mystery and strangeness at the core of Driftmachine’s sound).

We have previously described their work as post-industrial-dub; right now, we might just call it hypno-music for man and machine to dance and dream together. "Spume & Recollection" takes this concept as far as it can go without breaking, and finds some strange new feelings, and weirdly danceable grooves, to shed some light on this dark and dazzling ride.

All songs written & produced by Andreas Gerth & Florian Zimmer in Berlin Mastered by John Tejada Artwork & Photos by Daniel Castrejón

American/Danish glam metal band White Lion released their third studio album Big Game in 1989 through Atlantic records. The album was recorded while the band were still thriving on the success of its predecessor Pride. The result is an eclectic album that addresses political and social issues, something that was rare among other bands in this genre. The album contains the single “Little Fighter”, which is about the famous Greenpeace boat The Rainbow Warrior. The album also contains a cover version of Golden Earring’s “Radar Love”, which was released as the second single. Other well-known songs from this album are “Cry for Freedom”, “Goin’ Home Tonight” and more. A critical and commercial success, the album went gold in the US and also charted well in Sweden, Norway, Switzerland, Canada and the UK – ultimately performing even better than Pride did.

This imited edition of 1000 individually numbered copies on white coloured vinyl includes an insert.

With Bending the Golden Hour, the third album from Memphis, Tennessee’s Aquarian Blood, husband and wife team J.B. Horrell (Ex-Cult) and Laurel Horrell (formerly of the Nots) continue the gorgeously stripped-down and atmospheric direction set on their critically acclaimed previous effort A Love That Leads to War.

While Aquarian Blood has roots as a chaotic punk rock six-piece, the band shifted gears after two raucous cassette-only releases on ZAP Cassettes, a pair of seven-inches, and 2017’s Last Nite in Paradise, released on Goner Records. After drummer Bill Curry broke his arm, the Horrells redefined

Aquarian Blood, reemerging in early 2018 as the more intimate, mostly acoustic balladeers behind the staccato, fever dream sound of A Love That Leads to War. Like its immediate predecessor, Bending the Golden Hour was recorded at the Horrell's Midtown Memphis home. The band turned over 43 tracks to Goner co-owner Zac Ives, who handpicked 17 songs for the album.

The final result is shimmering and hopeful; as beautiful and sparse as a Rockwell Kent snowscape. Bending the Golden Hour begins ominously with “Channeling,” which sounds like an outtake from Paul Giovanni’s soundtrack to 1973’s pagan nightmare The Wicker Man. Then the band upshifts for “Time in the Rain,” a sweet duet set to a rigid snare beat. From there, Aquarian Blood zigs to country and zags to psychedelic folk, brooding on one song and soothing listeners with the next. And while the music, feel, and experience is different, Aquarian Blood naturally brings to mind some legendary musical partnerships: Richard and Linda Thompson, Lee Hazlewood and Nancy Sinatra, Johnny and June Carter Cash, Gram Parsons and Emmylou Harris; not to mention similarly-bent-but-beautiful luminaries like Roy Harper, Pentangle circa 1967 -1973, and Jackson C. Frank.

There’s a big middle ground, like folk-psych, or weirder country music,” he says, reeling off names like Skip Spence and Syd Barrett as stepping stones between the genres of punk and folk.

Inspirations for Bending the Golden Hour come from myriad sources that document the milestones and minutiae in a family’s full life. Some lyrics name a time or a place; others reflect the fleeting moments that elapse unnoticed. “Come Home,” which is sung by J.B. and his daughter Ava, was written the day Ava got her driver’s license. “Ava took the car out by herself afterwards, and I wrote the song immediately—she sang her part when she got home that evening,” J.B. recalls. Whether or not the listener knows the backstory, the song rings sentimental, with subtle, supportive instrumentation that underscores guitar and vocals. The bewitching “Rope and Hair,” on the other hand, is less sketched out, with lyrics that are simply a recitation of the talismen found on a silver sabertooth charm that J.B. purchased for Laurel at a Latin strip mall in southeast Memphis. That’s all to be said. “Sometimes when you know too much about what the song is about, it takes away the magic,” says J.B. “Alabama Daughter,” says Laurel, is about a place where a childhood friend lived called Castleberry Holler. “It was really rural, just a lot of shacks without electricity—the kind of place you didn’t go to unless you were invited,” she says. “Probable Gods” is a hazy reflection on the struggle of such a strange year. “It’s been very cathartic to put all of this into words and not have it live

Black heavyweight vinyl pressing The third album / first live album from the British rock band, Dr. Feelgood.
Originally released in 1976, it was the first live album to ever hit number 1 on the UK charts in its first week.
Stupidity captures the relentless, hard-driving energy of Dr. Feelgood at their peak. Comprised of recordings taken from 1975 tours, the music is presented raw and without overdubs, making it clear that the dynamic friction between guitarist Wilko Johnson and vocalist Lee Brilleaux could propel the band toward greatness

Duke Ellington once said that there are 2 kinds of music: the good one and the bad one. With the compilation series “Shaolin Soul” we are always certain to be on the right side of the line since its 1st episode released in 1998 and which compiled two dozens of tracks sampled by RZA and the Wu-Tang Clan. Following a second episode in 2001 and a third one in 2014, the famous curator Uncle O is back to celebrate the 20th anniversary of the Shaolin Soul series with a fourth episode compiling 22 tracks among the rarest and finest treats of soul music, because “everybody’s talking about the good ol’ days !”.

It is with extreme pleasure that we, Basement Boys Records proudly announce our 100th single release and 30th year in the music business as an active recording label!

Holding down our 100th release is the legendary multi-faceted singer/songwriter/producer Byron Stingily. As one third of the Chicago-bred, world renown trio, Ten City and as its primary lead vocalist, Byron’s velvety falsetto graced such House Music staples as “Devotion”, “That’s the Way Love Is”, “My Piece of Heaven” along with scores of other classic House music favourites. As a solo artist, Byron went on to create such memorable House jewels as “Get Up” & “It’s Over” a classic collaboration with the Basement Boys for his project on Nervous Records.

“We Belong Together” contains four mixes. The Monday Night Vocal Dub and Instrumental are up first, with percolating congas and swinging violins that accentuate the well-paced drums and percussion of this delectable mix. The brassy horns sing in tandem with Byron as he tugs on the heartstrings with his romantic, chromatic vocal adlibs and signature riffs. The sugar-laden strings and sparkling pianos brings to mind the 90's Ten City production of Marshall Jefferson.

DJ/songwriter/musician/producer, Maurice Fulton is one of House music’s true originals, back where he started. Maurice had the first release on Basement Boys Records with Sticky People "Kong". A man with a mind-blowing complexity behind all that is deep, dark and funky.

Fulton’s mix takes a more soulful tech approach employing a host of electro sounds. A fervent polyrhythmic vortex of percussive wind chime effects, married with classic snares, tom toms & hi-hats, deep sub bass and a meaty kick all define this masterful alignment of electro and acoustic elements. At the midway point, Maurice turns the suspense-filled symphonic intro from the previous mixes into this electro breakdown groove fest sure to drive dancers into a frenzy complete with Byron’s heartfelt lyric.

Closing it out the Main Mix in all its glory, hi-powered, dense bottoms and percussive elements, sweet R&B “boogie” style chords, neatly placed horn accents with Byron slaying the lyric as he always does in his exquisite, soulful pleading falsetto telling the object of his affection, “We Belong Together”.

Following on from the success of ‘Greg Belson’s Divine Disco’ series Greg Belson and Cultures of Soul team up again to explore the world of Gospel Funk. Belson, one of the world's leading collectors and DJs of gospel music, has assembled a collection of some of the rarest Gospel funk records for “Greg Belson’s Devine Funk.”

In addition to the full-length, available on CD and LP, choice selections from the compilation will be released on 7 inch singles in limited quantities. Third in the Devine Funk 7 inch series, includes the laid back breakbeat laced “I Don’t Want to Be Alone" by Allen Gauff Jr.,

La grande vallée (1993/95), 20'41

Musical composition, design and sound production carried out at the INA grm Studios (Paris) in 1993/95

Original audio recordings in the Drôme and the Mont Ventoux areas

Voice: Hélène Bettencourt

Vocal occurrences: Frédéric Malenfer, Bruno Roche, Lionel Marchetti

Bass clarinet (for processing): Jean Andréo

Micro-climat (1989/90), 21'33

Micro-climat is the first movement of the Sirrus cycle (Micro-climat, Passerelle, Sirrus) composed in 1989/90

Musical composition, sound design and production, audio recordings in 1989/90 at the CFMI studios in Lyon (Lumière University, Lyon 2)

"I wonder if my fascination for clouds (without being an obsession) may have risen at the end of the 80s as, whilst composing Micro-climat, I would regularly wander between the Vercors mountains and the high plateaus of the Monts du Forez discovering, through my eyes, body, breath, active observation and walk, that natural forms when constantly changing and yet swollen with a unity of matter (in this instance, water) open one up to a deep, fundamental breath and a clear field for the mind. The sky and its forces: our ally.

A model for a natural music which, although fixed, as in musique concrète (a rule of the genre), moreover on a recording tape, will remain charged with such a poetic quality that (isn't it its role or rather its reality?) it will ensure a perpetual renewal for our senses, so as to reach another idea of the world, far more open and richer than what we could have imagined."

Lionel Marchetti, 2011

Lionel Marchetti is a major figure of the "third generation" of concrète musicians, a term he values. Listening to these works, imbued with poetry and traversed by micro-narratives, one can indeed retrieve the original concrète spirit, the one that draws from the sonic world, with ears wide open, so as to extract a fertile, rich and multiple substance then shaped and conveyed towards a formal and musical abstraction. Lionel Marchetti has mastered this process, but his real distinctive feature is a truly unique talent for setting climates (as one sets traps) and keeping us on constant alert. The two pieces in this record perfectly illustrate the entrancing dimension of Lionel Marchetti's music, whose charm leads us, through each successive listening, to become voluntary captives so as to better liberate ourselves.

François Bonnet, Paris, 2020

Demon Records presents Distortion: 2008-2019, the third in a series of four expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould.
Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. Volume three in this new series covers the period 2008-2019 and contains many of Bob Mould’s most celebrated recordings including Silver Age (2012), Patch The Sky (2016), and Sunshine Rock (2019).

Marvin & Guy return to Permanent Vacation with the "Migration" EP, which marks their third ep for the label and a new evolution in the M&G sound.

Migration means moving, understand when a territory is no longer hospitable and find new livelihoods. In this specific case means new inspirations, new ideas, exploring new sounds.
Marvin & Guy take birth from a synergy between two eclectic minds, more into sounds than technique that after several years into a specifically Dance scenario they’ve decided to start a transition towards a purer form of sound, more ancestral. To do this they’ve just benched all dogmas from the beloved Dance Music and they focused more on just playing and having fun with Synthesizers and Drum Machines to create a fully analog session like it was made 40 years ago. Migration was born out of jam sessions recorded in real time and then make them work it out with an intense postproduction and scrupulous editing.

Migration is the transition, their prelude of the very first M&G Album which will comes out in 2022.

This is the super limited edition with the "Matizando la Salsa" 7'', one of the rarest Guaguancó 45s from Central America. This extra single was only made available through the purchase of the combo of both 7'', and it was limited to 100 bundles. Discodelic presents its third release in its exclusive limited-edition seven-inch series, the last piece in the Costa Rican Afro-Latin music trilogy. From Alajuela, the Vargas brothers aka Combo Guarajeo, one of the most incredible and talented groups from Central America. Their highly nuanced Latin Funk Jazz, mixed with psychedelic and fuzz scents, will blow your mind. Learn about the incredible history of these four brothers in the exclusive and extensive liner notes that accompany this edition.

Like so many other disenfranchised kids in the heady days of mid-eighties United
Kingdom, Magic Roundabout came armed with leather jackets, charity shop instruments, singles
by The Fall and Buzzcocks, good haircuts, a healthy VU obsession and a little psychedelic
inspiration. Influenced into existence at early gigs by The Jesus and Mary Chain and Shop
Assistants, The Roundies wanted to change the world or at the very least make some noise,
shake things up and be a part of the happening.
The gang established a clubhouse in early 1986 and began rehearsing, recording and
gigging. Playing a ton of legendary shows with the likes of The Pastels, The Blue Aeroplanes,
Spacemen 3, Loop , My Bloody Valentine, Inspiral Carpets and picking up a bunch of fans along
the way. Rumor has it that Noel Gallagher roadied their final show.
There was one song released - She’s a Waterfall Parts 1 and 2 on Mark Webber’s
(Pulp) Oozing Through The Ozone Layer cassette compilation - and that’s it. There were also
talks of a flexi-disc that, for whatever reason, never saw the light of day. But by the end of the
80s, the gang had all gone their separate ways and the recordings along with so many other
things were thought to be lost forever…
Now, these 1987 recordings recently unearthed by Ian Masters (Pale Saints) and Third
Man Records and given the “treatment” by Warren Defever are presented to you lucky ones as
the debut single by Magic Roundabout. 34 years too late or perfectly steeped and presented at
just the right moment in history? Tune in, turn on and make up your own mind. Enjoy the trip.

No other pairing in the history of Darkwave ever matched the unfettered creativity, resolve, and DIY attitude from the collaboration between the two creative minds that compromise Lebanon Hanover.

The meeting of the Swiss musician Larissa Georgiou, aka Larissa Iceglass and British artist William Maybelline a decade ago in the latter’s hometown of Sunderland in the UK, was a monumental occasion, reverberating throughout the European music scene and even across the Atlantic.

Lebanon Hanover would emerge from the peak of the world-wide minimal wave revival, with their 2011 split 7-inch record with La Fete Triste issued as the catalog debut of Europe’s most ubiquitous Techno-Industrial EBM labels, Aufnahme + Wiedergabe

With Berlin as their new physical home, William and Larissa would soon, however, join the Fabrika Records family. From here, they would go on to release two full-length albums through the Athens based label, starting in early 2012 with their winter debut LP The World Is Getting Colder, and it’s All Hallows Eve follow up Why Not Just Be Solo.

It was Lebanon Hanover’s 2013 third studio outing Tomb for Two that would go on to cement the duo’s legacy, with the album’s single “Gallow Dance” becoming a post-punk anthem for the times, with artwork became the band’s defacto logo. Not only that, the song “Sadness is Rebellion”, also featured on the album, became the band’s official Mantra.

Two years would pass before the release of 2015’s critically acclaimed fourth record, “Besides the Abyss”. In the intervening years, William and Larissa, initially a couple, would find other partners, and relocate to Athens.

Meanwhile, Lebanon Hanover as a live act would expand rapidly in popularity, exceeding capacity during their performances at Wave Gotik Treffen in Leipzig, and performing sold-out shows across Europe and the UK.

With the playful Babes of the 80s maxi-single released in the interim, three years would pass before the next record from Lebanon Hanover, with 2018’s Let Them Be Alien, the band’s fifth studio album.

At the dawn of the global pandemic, where dystopian nightmares that were only ever seen before within the pages of books and flashes of silver screen celluloid, has become a daily reality, a new kind of darkness envelops the world. It was at this Lebanon Hanover returned, sharing a glimmer of hope with the single “The Last Thing,” the duo’s first song from their forthcoming sixth studio album Sci-Fi Sky.

Spanning an epic journey across ten tracks that wander through industrial landscapes, and ascend beyond the atmospheric aether, Sci Fi Sky is Lebanon Hanover’s most cohesive artistic statement to date. With their icy hearts on their sleeves, this is the culmination of a decade’s worth of musical creativity radiating from the minds of both Iceglass and Maybelline, and altogether an otherworldly beacon of hope in a time of sheer darkness.

Thumbing Thru Foliage is a blunted journey through YUNGMORPHEUS’ mind where personal lyrics intertwine with socio-political themes and tongue in cheek humour. Produced entirely by ewonee. Lead single ‘Fistfulofgreens’ grooves on a g-funk-esque plain and is an assured mission statement - “original man who got the game plan, I aint switching my hands inside these strange lands” whilst also sharing some intimate insight “I don’t ever answer questions that the feds askin, they were cuffin’ my mama, you know I had to blast them”. Second single ‘Sovereignty’ takes a more soulful turn with ceremonial strings and r&b samples ringing under braggadocious bars. Third single ‘Middle Passage’ is a more introspective cut - sombre vocal and piano loops are juxtaposed with neck snappin’ energetic drums. Describing the project in his own words, YUNGMORPHEUS says, “Peace peace, I consider this album a call to action of sorts. The world is rife with distractions and oppressive tactics but niggas move through it nonetheless ! Respect to ewonee for providing a beautiful backdrop for me to get some much needed shit off my chest. Maneuver through the foliage yall... Power to all black people ! Salute to those who listen”. ewonee adds, “Growing up like we did in this corporation Neegas deal with a lot. Usually gotta go through the mud to get to the greens. Good comes with the bad and vice versa, learning how to adjust is a must. Hope y’all get that from this. Roll up count up and mount up. PEACE”. YUNGMORPHEUS is an American rapper and record producer, originally from Miami but now based in LA. He has released music on Leaving Records and Rap Vacation as well as collaborating with Pink Siifu, Fly Anakin, Koncept Jack$on and Ohbliv. Previously supported by Okayplayer, XLR8R, Bandcamp, DJ Booth, Tiny Mix Tapes, Earmilk, BBC6 Music, Dublab, NTS and Worldwide FM. ewonee is an American Multi-instrumentalist, Producer, Beat-maker & Audio engineer from New York. Part of the Mutant Academy crew and also involved with the Beat Haus Show, ewonee has previously produced & collaborated with the likes of Your Old Droog, Fly Anakin, Reginald Chapman and Koncept Jack$on.

No other pairing in the history of Darkwave ever matched the unfettered creativity, resolve, and DIY attitude from the collaboration between the two creative minds that compromise Lebanon Hanover.

The meeting of the Swiss musician Larissa Georgiou, aka Larissa Iceglass and British artist William Maybelline a decade ago in the latter’s hometown of Sunderland in the UK, was a monumental occasion, reverberating throughout the European music scene and even across the Atlantic.

Lebanon Hanover would emerge from the peak of the world-wide minimal wave revival, with their 2011 split 7-inch record with La Fete Triste issued as the catalog debut of Europe’s most ubiquitous Techno-Industrial EBM labels, Aufnahme + Wiedergabe

With Berlin as their new physical home, William and Larissa would soon, however, join the Fabrika Records family. From here, they would go on to release two full-length albums through the Athens based label, starting in early 2012 with their winter debut LP The World Is Getting Colder, and it’s All Hallows Eve follow up Why Not Just Be Solo.

It was Lebanon Hanover’s 2013 third studio outing Tomb for Two that would go on to cement the duo’s legacy, with the album’s single “Gallow Dance” becoming a post-punk anthem for the times, with artwork became the band’s defacto logo. Not only that, the song “Sadness is Rebellion”, also featured on the album, became the band’s official Mantra.

Two years would pass before the release of 2015’s critically acclaimed fourth record, “Besides the Abyss”. In the intervening years, William and Larissa, initially a couple, would find other partners, and relocate to Athens.

Meanwhile, Lebanon Hanover as a live act would expand rapidly in popularity, exceeding capacity during their performances at Wave Gotik Treffen in Leipzig, and performing sold-out shows across Europe and the UK.

With the playful Babes of the 80s maxi-single released in the interim, three years would pass before the next record from Lebanon Hanover, with 2018’s Let Them Be Alien, the band’s fifth studio album.

At the dawn of the global pandemic, where dystopian nightmares that were only ever seen before within the pages of books and flashes of silver screen celluloid, has become a daily reality, a new kind of darkness envelops the world. It was at this Lebanon Hanover returned, sharing a glimmer of hope with the single “The Last Thing,” the duo’s first song from their forthcoming sixth studio album Sci-Fi Sky.

Spanning an epic journey across ten tracks that wander through industrial landscapes, and ascend beyond the atmospheric aether, Sci Fi Sky is Lebanon Hanover’s most cohesive artistic statement to date. With their icy hearts on their sleeves, this is the culmination of a decade’s worth of musical creativity radiating from the minds of both Iceglass and Maybelline, and altogether an otherworldly beacon of hope in a time of sheer darkness.

Released a year before The National broke through with their third album Alligator, 2004’s Cherry Tree EP is a thrilling record which - thanks to ist collection of delicate ballads and anthemic crowd-pleasers - sums up what they do best in under 30 minutes. Now a fi rm fan-favourite, among Cherry Tree’s seven tracks are now National classics ‘About Today’ and ‘All The Wine’, plus a thrilling live version of ‘Murder Me Rachael’ that reminds of the band’s fearsome early live performances. Cherry Tree can be seen as the record that marks the moment when The National had truly found themselves, a bridge from what went before to a band ready to conquer the World. And with this new master, it’s never sounded better too.

A few years ago, a certain Robin Schulz released a DJ mix on SoundCloud. Hailing from the town of Osnabrück, Germany and completely unknown at the time, he dubbed his mix “Wenn Träume fliegen lernen”, referencing the Peter Pan movie “Finding Neverland”. Seven years down the line, Robin Schulz hasn’t only found his Neverland, but keeps adding new chapters to his fairy tale.
Take this one, for instance: Robin Schulz is now the only German artist in the country’s chart history with three diamond-certified singles. Following “Prayer in C“ and “Waves“, his hit single “Sugar“ is the latest to officially reach this rare feat. Add his 275 gold and platinum awards in 30 markets, sales in excess of 20 million and nearly 8 billion global streams and you get the idea why the German DJ and producer is considered an exceptional phenomenon.
It should come as no surprise that he didn’t get there by accident. That also goes for his coming fourth album “IIII”, slated for a February 26 release. Over the course of three years, the creative powerhouse that is Schulz created ideas and worked tirelessly on the album whilst touring all around the world. “Of course, I’m absolutely stoked about gaining the third diamond award in my career”, Robin shares. “However, in my head I’m still that bloke from Osnabrück who wants to make it out there with his creative vision. With that ambition, I also approached my new album.” Some of the album’s songs are already well familiar – “Speechless” (feat. Erika Sirola)”, “All This Love” (feat. Harloe), “Rather Be Alone” (feat. Nick Martin & Sam Martin), “In Your Eyes” (feat. Alida), “Alane” (feat. Wes) and the current single “All We Got” (feat. Kiddo). Another 11 tracks are still to see the light of day and Robin is looking forward to releasing them soon: “I can’t wait to share the new cuts with you. I really hope you’ll love them as much as I do”, he says.
Robin is ready to write the next chapter of his very own fairy tale.





e 5. All We Got (feat. KIDDO) Explicit

Doppler Vinyl 2x180g (1xRed 1xGreen vinyl)

A few years ago, a certain Robin Schulz released a DJ mix on SoundCloud. Hailing from the town of Osnabrück, Germany and completely unknown at the time, he dubbed his mix “Wenn Träume fliegen lernen”, referencing the Peter Pan movie “Finding Neverland”. Seven years down the line, Robin Schulz hasn’t only found his Neverland, but keeps adding new chapters to his fairy tale.



Take this one, for instance: Robin Schulz is now the only German artist in the country’s chart history with three diamond-certified singles. Following “Prayer in C“ and “Waves“, his hit single “Sugar“ is the latest to officially reach this rare feat. Add his 275 gold and platinum awards in 30 markets, sales in excess of 20 million and nearly 8 billion global streams and you get the idea why the German DJ and producer is considered an exceptional phenomenon.



It should come as no surprise that he didn’t get there by accident. That also goes for his coming fourth album “IIII”, slated for a February 26 release. Over the course of three years, the creative powerhouse that is Schulz created ideas and worked tirelessly on the album whilst touring all around the world. “Of course, I’m absolutely stoked about gaining the third diamond award in my career”, Robin shares. “However, in my head I’m still that bloke from Osnabrück who wants to make it out there with his creative vision. With that ambition, I also approached my new album.”



Some of the album’s songs are already well familiar – “Speechless” (feat. Erika Sirola)”, “All This Love” (feat. Harloe), “Rather Be Alone” (feat. Nick Martin & Sam Martin), “In Your Eyes” (feat. Alida), “Alane” (feat. Wes) and the current single “All We Got” (feat. Kiddo). Another 11 tracks are still to see the light of day and Robin is looking forward to releasing them soon: “I can’t wait to share the new cuts with you. I really hope you’ll love them as much as I do”, he says.



Robin is ready to write the next chapter of his very own fairy tale.

It is the simple thing that is so hard to do. This is the paradox that musician Lael
Neale has lived within throughout her development as an artist. It is the reason she
became enthralled with poetry. Poems are a distillation. Lael says, “this challenge to
winnow away what is unessential is the most maddening and, ultimately, rewarding
part of writing a song.”
Lael’s new album ‘Acquainted With Night’ is a testament to this poetic devotion.
Stripped of any extraneous word or sound, the songs are lit by Lael’s crystalline
voice which lays on a lush bed of Omnichord. The collection touches on themes that
have been thread into her work for years: isolation, mortality, yearning and reaching
ever toward the transcendent experience.
Lael grew up on a farm in rural Virginia but for nearly 10 years called Los Angeles
home. Those years were spent developing her songwriting and performing in venues
across the city but the right way to record the songs proved more elusive. She says,
“Every time I reached the end of recording, I felt the songs had been stripped of
their vitality in the process of layering drums, bass, guitar, violin, and organ over
them. They felt weighed down.”
In a moment of illumination, the solution presented itself: do the simple thing. In
early 2019, in the midst of major transition, she acquired a new instrument - the
Omnichord - and began recording a deluge of songs. Guy Blakeslee, who had been
an advocate for years, set up a cassette recorder in her bedroom and provided
empathic guidance, subtle yet affecting accompaniment and engineering prowess.
Limited to only 4-tracks and first takes, Lael had to surrender some of her
perfectionism to deliver the songs in their essence.
The first song she recorded was ‘For No One For Now’, which calls to mind the
agitated beat of driving fast on the freeway against the backdrop of the San
Fernando Valley’s bent palms. The song contrasts romantic idealizations with the
banality of folding sheets and toasting bread. It highlights her oft-thwarted attempts
to enjoy the day to day while her mind wanders off toward the dream, the ideal.
While Lael returned to her family farm in April 2020, Los Angeles is a player on this
album and ‘Every Star Shivers in the Dark’ is an ode to the sprawling city, the
outskirts of Eden. One can envision her walking from Dodgers Stadium to downtown,
observing strangers and her own strangeness but determined to find communion
with others. ‘Blue Vein’ is her personal anthem, a Paul Revere piece that gallops
through the town as a strident declamation. It is an amalgam of thoughts, concerns
and lessons as she nearly speaks the words, unmasked by flourishes, ensuring the
meaning cuts through.
Normally a morning person, Lael recorded most of these songs in the darkening of
the early evening, and so became ‘Acquainted With Night’.
CD in gatefold altpack.
LP first pressing on white vinyl.
Cassette with three-panel J-card in clear case.

It is the simple thing that is so hard to do. This is the paradox that musician Lael
Neale has lived within throughout her development as an artist. It is the reason she
became enthralled with poetry. Poems are a distillation. Lael says, “this challenge to
winnow away what is unessential is the most maddening and, ultimately, rewarding
part of writing a song.”
Lael’s new album ‘Acquainted With Night’ is a testament to this poetic devotion.
Stripped of any extraneous word or sound, the songs are lit by Lael’s crystalline
voice which lays on a lush bed of Omnichord. The collection touches on themes that
have been thread into her work for years: isolation, mortality, yearning and reaching
ever toward the transcendent experience.
Lael grew up on a farm in rural Virginia but for nearly 10 years called Los Angeles
home. Those years were spent developing her songwriting and performing in venues
across the city but the right way to record the songs proved more elusive. She says,
“Every time I reached the end of recording, I felt the songs had been stripped of
their vitality in the process of layering drums, bass, guitar, violin, and organ over
them. They felt weighed down.”
In a moment of illumination, the solution presented itself: do the simple thing. In
early 2019, in the midst of major transition, she acquired a new instrument - the
Omnichord - and began recording a deluge of songs. Guy Blakeslee, who had been
an advocate for years, set up a cassette recorder in her bedroom and provided
empathic guidance, subtle yet affecting accompaniment and engineering prowess.
Limited to only 4-tracks and first takes, Lael had to surrender some of her
perfectionism to deliver the songs in their essence.
The first song she recorded was ‘For No One For Now’, which calls to mind the
agitated beat of driving fast on the freeway against the backdrop of the San
Fernando Valley’s bent palms. The song contrasts romantic idealizations with the
banality of folding sheets and toasting bread. It highlights her oft-thwarted attempts
to enjoy the day to day while her mind wanders off toward the dream, the ideal.
While Lael returned to her family farm in April 2020, Los Angeles is a player on this
album and ‘Every Star Shivers in the Dark’ is an ode to the sprawling city, the
outskirts of Eden. One can envision her walking from Dodgers Stadium to downtown,
observing strangers and her own strangeness but determined to find communion
with others. ‘Blue Vein’ is her personal anthem, a Paul Revere piece that gallops
through the town as a strident declamation. It is an amalgam of thoughts, concerns
and lessons as she nearly speaks the words, unmasked by flourishes, ensuring the
meaning cuts through.
Normally a morning person, Lael recorded most of these songs in the darkening of
the early evening, and so became ‘Acquainted With Night’.
CD in gatefold altpack.
LP first pressing on white vinyl.
Cassette with three-panel J-card in clear case.

Superb deluxe packaging heavy board 180g clear vinyl and printed plastic sleeve. Brian Jonestown Massacre burst into 2019 with the release of their 18th full-length album, just 7 months after their last one. It was recorded and produced at Anton's Cobra Studio in Berlin.The album was originally going to be released in September, but due to a hugely successful global tour - taking in USA, Canada, Australia, New Zealand and Europe the release was delayed. Recorded this time last year, the album features Sara Neidorf on drums, Heike Marie Radeker (LeVent) on bass, Hakon Adalsteinsson (BJM / Third Sound & Gunman & Holy Ghost) on guitar and Anton Newcombe on multiple instruments. Also making a guest vocal appearance on 'Tombes Oubliées' is Rike Bienert who has sung on previous BJM albums.

Laurel Halo, Donato Dozzy and Teheran sound artist Tegh give us their "Glassforms Versions"alongside a new edit by Max Cooper. The works of Philip Glass are reflected and refracted in a myriad of ways by some of the most renowned electronic artists alive, making for a blissful, multi-dimensional listening experience.


Textextext - (add your write up)

With "Glassforms", Max Cooper and Bruce Brubaker set out on an intimate, nuanced exploration of the works of Philip Glass. The resulting recordings, developed in a fluctuating exchange between the American pianist and the Irish scientist-artist, are an astounding testament to the innovation that artistic collaboration can achieve and what depths are yet to discover in Philip Glass' compositions. The two artists did not just rework, but fundamentally rewired the original songs using algorithmic software to process and augment the musical data it received from Brubaker's piano live on stage.

When approaching his remix, Donato Dozzy also tapped into that inspiration to create something new rather than just reworking it, which is one of the core motives that emanates from "Glassforms". The Italian producer and label owner is known for his drive to explore: he develops installations for public spaces and museums, uses obscure musical instruments and collaborates with classical singers or visual artists. "I chose "Two Pages" for it's hypnotic feel in the notes repetition", he says, "but I did not want to merely sample the piano, but instead ask someone I trust and admire to carve it from scratch and even go further." So he followed the lead of Brubaker and Cooper and teamed up with the renowned Italian percussionist and jazz musician Daniele Di Gregorio to completely rewire "Two Pages" into a gorgeous piece of endlessly modulating ambient electronica.

Laurel Halo, the second remixer on "Glassforms Versions", does not need a long introduction either: the American musician is at the forefront of electronic music in 2020, a bright star today after releasing her debut "Quarantine" on Hyperdub in 2012. Her remix of "Opening" brings to mind the string section of an orchestra tuning their violins before the performance - forever. They glide in and out of tune, sometimes individually, then together, then are accompanied by keys that are most likely a ghostly representation of Brubaker's piano, sampled and pitched down, but sound almost jazzy in the context of Halo's remix. It's a blissful listening experience, calling to mind her recent collaboration with cellist Oliver Coates on "Raw Silk Uncut Wood" and showing a deep understanding of Philip Glass' work.

Sound artist Tegh is the third on the remix bill - the electronic musician from Teheran delivers his take on "ƒTwo Pages", once again showcasing how versatile, how inherently complex the works of Philip Glass are. They can be interpreted in a myriad of ways - Tegh's version is a bounding, brooding piece filled with raw energy that feels like it is performed live, just for you, every single time you listen. His version is, at first, much more focused on the underlying moods, electronic undercurrents of the original than Dozzy's version, and yet, when the piano finally does break through, it becomes clear that we are listening to Philip Glass, reflected manifold: through the piano of Bruce Brubaker, the synths of Max Cooper, and then again through the mind of the artist Tegh.

Concluding the new "Glassforms Versions" is a previously unheard edit of "Two Pages". It's difficult to edit a piece of minimalistic beauty without losing it's essence, but Max Cooper - after many efforts and close conversations with Bruce Brubaker - managed to bring these shorter edit into a satisfying, conclusive form.

As has often been noted, psychedelic music can involve causal links between getting out of it and getting into it. Conversely, expansion of consciousness can be found by heading deep into the roots that a band explores, and journeying to the centre of their inspiration. Thus, a curious paradox is attained, whereby the traditional elements of an outfit’s sound are superseded by them blasting their core vibrations into unchartered territory. Such is the case with the new opus from third-eye visionaries Hills, a dizzying journey that traverses through the band’s origins and beyond to new dimensions.The Gothenburg-based Hills are entering their ninth year of existence, in which they’ve released two full-length albums, the second of which, ‘Master Sleeps’ saw a vinyl outing on Rocket last year. Part of a rich scene in their homestead also including friends and Rocket Recordings label mates Goat, they form the new chapter in a tradition of Swedish psychedelia that found its origins in late-’60s and early ‘70s freakouts and mind-melts by the likes of Baby Grandmothers and Älgarnas Trädgård - not to mention the unholy trinity of Pärson Sound, International Harvester and Träd Gräs och Stenar - before being developed by the likes of The Spacious Mind and Dungen in the last two decades. These inspirations make their mark on ‘Frid’ by journeying inward, via mantric repetition and hip-shaking pulsations as on the ten-minute monolith, ‘ Och Solen Sänkte Sig Röd’, yet they can also lurch into the unknown via the fuzz/wah odysseys of the aptly monikered ‘National Drone’ and the ceremonial exhortations of the closing ‘Death Will Find A Way.’As they also showed recently at a rare and spellbinding appearance at Liverpool International Festival Of Psychedelia, Hills have landed on a rich and intoxicating sound that sidesteps the cliches and humdrum stylistic foibles that often plague modern-day psych, in the process breathing new life into an approach that can sometimes seem in danger of appearing redundant through lack of imagination. ‘Frid’, their most out-of-mind and out-of-sight effort to date, crystallises everything that makes these Scandinavian satyrs stand out from the global herd; adventurous experimentation and fearless hallucinatory intensity, rendered with brass-knuckle fortitude. The end result is 38 minutes that translate into a feast for seasoned crate-diggers and fresh-faced converts alike. There is, indeed, gold in these here Hills.

Much has changed in the musical life of renowned composer and director John Carpenter since 2016's Lost Themes II. Following the release of that album, he went on his first-ever concert tour, performing material from the Lost Themes albums, as well as music from his classic film scores. He re-recorded many of those classic movie themes for 2017's Anthology album, working alongside son Cody Carpenter and godson Daniel Davies. The following year, he was asked to executive produce and compose the music for the new Halloween movie directed by David Gordon Green, which promptly became the highest-grossing installment in the series. Now, he returns with his first album of non-soundtrack music in nearly five years, Lost Themes III: Alive After Death. Underpinning Carpenter's renaissance as a musician has been his collaboration with Cody Carpenter and Daniel Davies. They've composed and performed as a trio throughout this entire run, on studio albums, on soundtracks, and onstage. Here, the trio reaches a new level of creative mind meld. Richly rendered worlds are built in the interplay between Davies's guitar and the dueling synthesizers played by the Carpenters. "We begin with a theme, a bass line, a pad, something that sounds good and will lead us to the next layer," John says of the trio's process. "We then just keep adding on from there. We understand each other's strengths and weaknesses, how to communicate without words, and the process is easier now than it was in the beginning. We've matured." Whereas the original Lost Themes album came as a pleasant surprise after years of relative silence from Carpenter, the third installment sees him in the midst of a resurgent moment as a cultural force. The 2018 Halloween score gave his music its biggest audience in decades, and the world he releases his new album into is one that has, at long last, given him the credit he deserves as a founding father of modern electronic music.