Cerca:the unreleased ep

Naya Beat presents select remixes and reworks by Black Devil Disco Club, JKriv, Daniel T., and Turbotito & Ragz.

Naya Beat have released some scorching digital-only remixes over the years with collectors and selectors alike clamouring for a physical release. Well you asked, and they listened! Some of the label’s best digi remixes are now finally assembled here for the very first time on vinyl. If that isn’t enough, the vinyl EP includes a new and previously unreleased Asha Puthli remix by the pioneering French cult producer Bernard Fevre aka Black Devil Disco Club. A mouthwatering collaboration, Puthli’s ‘Our Love Is Making Me Sing’ is transformed into a scintillating dark and brooding cosmic groover. It’s Black Devil at his classic best.

The EP also includes Turbotito & Ragz’ disco rework of ‘Party Tonight’ by Hindi new wave pioneers Pinky Ann Rihal, already a dance floor anthem and a firm favourite with international selectors including CC:DISCO and Barry Can't Swim. Maestro producer, DJ, and Razor-N-Tape label head JKriv delivers a killer house remix of Bollywood legend RD Burman’s ‘Birth of Shiva’ replete with synth stabs, bansuri flute, an epic bassline and other plot twists.

Other highlights are Los Angeles-based producer Daniel T.’s dubby Bollywood workout of composer Kirti Anuraag’s ‘Zindagi To Zindagi Hai’ as well as more goodies from Naya Beat founders Turbotito & Ragz with remixes of Ilaiyaraaja's ‘Aye Zindagi Gale Lagaa Le’ and Pinky Ann Rihal's ‘Tere Liye’.

Cut to vinyl for the discerning DJ and listener by multi-Grammy-nominated Frank Merritt at The Carvery, the EP comes in a new beautifully designed 12” Naya Beat ‘disco’ sleeve with centre label cutout.

Lim. Natural Vinyl Version!

Third studio album of Tren, following two sold-out releases (The Rising and Setting of the Heavenly Bodies; The Passages through Space and Time). An hour of hypnotic minimal techno and electronica, unfolding seamlessly to guide the listener on an introspective journey. Coming out 1.5 year after the unreleased set (mixed version), which gathered great feedback from fans:

"TREN touches deeply within the spirit / soul / most emotional part of self. It's a new and refreshing
sound, but still with the same fingerprint. Just Amazing!!!"

"Godly creation! Loved it from the first few seconds"

"Probably his best mix as of yet. So mature and well-rounded tracks."

Black Vinyl

Third studio album of Tren, following two sold-out releases (The Rising and Setting of the Heavenly Bodies; The Passages through Space and Time). An hour of hypnotic minimal techno and electronica, unfolding seamlessly to guide the listener on an introspective journey. Coming out 1.5 year after the unreleased set (mixed version), which gathered great feedback from fans:

"TREN touches deeply within the spirit / soul / most emotional part of self. It's a new and refreshing
sound, but still with the same fingerprint. Just Amazing!!!"

"Godly creation! Loved it from the first few seconds"

"Probably his best mix as of yet. So mature and well-rounded tracks."

In May 1981 B-Movie and Soft Cell went into Advision Studios in London with the same producer, Mike Thorne (Wire, Bronski Beat, China Crisis, The Communards) to record singles for the label they were both signed to. Phonogram had really wanted to sign B-Movie but had also committed to Soft Cell, having been coerced into it by Stev0, who managed both artists and wouldn’t let them have one without the other. B-Movie commenced recording the dark moody anti-fame anthem ‘Marilyn Dreams’, whilst Soft Cell got underway on a cover of an obscure Northern Soul classic. When both songs were released in July 1981, ‘Tainted Love’ became a worldwide hit and shot Soft Cell to international fame, making them the biggest stars of 1981. B-Movie had formed in 1979, in Mansfield, a typical northern town in the middle of the Nottinghamshire coalfield. Originally a three piece featuring, vocal / bass, guitar and drums, they expanded by adding a keyboard player to broaden their initial post punk sound. Local Lincoln independent record label, Dead Good Records, firstly put them on the compilation LP ‘East’, followed by 7" inch EP and then a mini-album releases, which led to an appearance on the legendary Some Bizarre label (alongside the likes of Blancmange, Depeche Mode, Soft Cell and The The)
Major label interest followed, from which came the deal with Phonogram, B-Movie initially re-recording the track ‘Remembrance Day’, which reached No61 in the UK chart in early 1981 and, more importantly, was played by BBC Radio 1 DJ John Peel, and appearing in his Festive 50 for that year. All of the recordings the band made during their Phonogram period have been consigned to the Universal Music vault for several decades, with the band finally managing to have these returned in 2024. The various tapes have been digitised and restored, resulting in the creation of what would have been their 1982 debut LP ‘that never was’. Ten tracks including the three singles plus seven previously unreleased recordings. The CD version contains a further seven recordings including the 12” versions, single B-sides and the track “Moles’” from the Some Bizarre compilation.So “Hidden Treasures” from B-Movie, is only four decades late but still able to sit seamlessly alongside contemporaries like The Chameleons and The Sound. The LP is a darker, more brooding and psychedelic affair, more akin to the gothic elements of the Bunnymen or Joy Division, than the ‘pop sensations’ Phonogram wanted them to become. By both opening and closing this chapter of B-Movie, it puts them firmly in the same bracket as their new wave and post-punk contemporaries, which is the least they deserve, as one of the great ‘lost’ bands of the early 1980’s. "It’s nice to hear B-Movie are finally getting a chance to release their forgotten gems’” Matt Johnson (The The) Vinyl

While continuing in the spirit of Dope Jams NYC Volume 1: 2005-2012, which compiled some of the shop’s most cherished tracks from its seven-year run in Brooklyn, here 10 years later we present the collection’s second addendum EP. It moves partially beyond the title’s timeframe – pulling together a couple of the store’s more recent favorites since its 2013 reopening upstate, along with two older gems from its Myrtle Ave days.

Kicking things off is a full-sided pressing of aptly titled techno stormer “Direct Contact.” Bursting forth with a no nonsense, party rockin’ swagger, Greek producer June’s blistering monster of a tune swiftly unleashes an arsenal of arpeggiated synths, jackin’ percussion and out-of-nowhere flourishes with the single-minded purpose of movin’ the crowd. Gracing the B-side are a trio of selections that occupy far moodier terrains. “Imprints,” the lead-off track from T.E.A.L.’s debut LP Cuttings, is a fine example of Dope Jams’ long-held but largely overlooked penchant for dark and dynamic ambient musics. Heavily textured with ripping distortion and space-enhancing tape delay, the piece offers up a brief yet haunting dispatch from a doomed and desolate mind-state. In a more upbeat vein, “Music on My Mind” looks back almost 25 years to the creative apex of Garden State garage royalty Smack. Operating under their Mental Instrum alias, the low-profile production unit crafts an elegant blend of feather-light chords and bumpin’ kicks to firmly underscore guest collaborator Storm’s sincere vocals. Fittingly capping the record is “Blast Knuckles,” the first completed – and hitherto unreleased – track by Dope Jams friends Beige. Rawly produced yet intricately layered, it sketches a fleeting picture of the unique style of lo-fi deep techno the duo developed over the course of their woefully brief partnership.

Japanese artist Tomoki Tsukamoto aka W-Moon, co-founder of Metro Juice Records.

Three unreleased tracks produced back in 1999, finally seeing the light of day.
Includes a remix of Slow Didi, originally featured on his 2012 album INNERVOICE.

Mastered by Isao Kumano.

For RSD 2025 the influential band will be releasing a new double LP edition of their Nine Sevens box set of 7" records first released in 2018. Combining the run of early singles with more obscure later period tracks underlines the strength in depth that Wire had. This is pop art as art/pop and an exploration of the blank canvas of pop culture and how far that canvas can be stretched going from three minute constructs to ambient washes. The 7" single was always the ultimate artefact and statement with the A side being the band momentarily paused in time and distilled and freeze-framed into the forever with less than three minutes of electric sound. These "sevens" released from 1977 to the end of that decade, signpost the band's remarkable development from their brilliantly monochromatic early phase to the textured complexity of the almost psychedelic unzipping of their sound and vision. In some ways the compilation of Nine Sevens onto a double album makes for quite a weird documentation of the band in this period. The first disc, to some extent, follows the script of a singles / greatest hits collection but the second one goes wildly off-piste and ends up somewhere quite far from where the collection started. A conventional Greatest Hits collection, besides being conceptually a bit naff would, if strictly based on charting singles, consist of only one song! A Best Of is subjective and somewhat pointless in the age of the Spotify playlist that anyone can make. The only thing really that these tracks have in common (besides being by Wire) is that they were released or destined to be released on 7" by Wire in the period 1977-1980. - Nine Sevens is both title & elevator pitch!' Wire always understood the language of pop and also the artfulness of playing with it, deconstructing it and reassembling it into new and thrilling shapes. Decades later, these adventures into sound are like slices of delicious, perfect pop/noise and hits from a parallel universe. Track list:Side A1 Mannequin 2 Feeling Called Love 3 12XU 4 I Am the Fly5 Ex-Lion Tamer 6 Dot Dash *7 Options R * Side B 8 Outdoor Miner (single version) * 9 Practice Makes Perfect 10 A Question Of Degree * 11 Former Airline *12 Map Ref. 41ºN 93ºW Side C 1 Go Ahead * 2 Our Swimmer * 3 Midnight Bahnhof Café * 4 Second Length (Our Swimmer) **5 Catapult 30 ** Side D (154 EP) 6 Song 1 * 7 Get Down 1 + 2 * 8 Let's Panic Later *9 Small Electric Piece * * previously unreleased on vinyl album ** recorded in 1980 but not released until 2014

You’d be forgiven for assuming Main Phase hails from the UK with a style and sound so intertwined with the sound of the British isles. The Copenhagen-born DJ and producer Main Phase is no newcomer to the bass scene however. The last couple of years have seen him quickly rise to being one of the people at the very top of the new wave of UK leaning music.

His contribution to the scene throughout the years, both as a DJ, producer, and co-owner of the independent label, ATW Records, with Interplanetary Criminal, has seen him play and tour some of the greatest parties and venus in the world. From Fabric in London, Boiler Room in Berlin to Lost Sundays in Sydney, he’s been making waves with his unique blend of old and new, UK garage, speed garage, dubstep and jungle – always with a big chunk of unreleased material from himself.

Main Phase has released full EPs and remixes on Hardline Sounds, Instinct, Locked On, ec2a and more – and he’s producing forward-thinking speed garage with Interplanetary Criminal as ATW and futuristic jungle with Lille Høg as First Touch. His work has gained credit from the likes of Ben UFO, Emerald, Pangaea and many more.

About the track / On the EP, Main Phase has said:

“This EP really encapsulates the sound of euro house and UK fused in one. Four big tunes for every hour of the night, there’s bumpy, suave, there’s organ, there’s swing and there’s peak time rave reminiscence across the EP. For club use only!"

At long last, Q Lazzarus says hello to Dark Entries. Q Lazzarus is the moniker of Diane Luckey, born in New Jersey in 1960. While living in the East Village in New York City in the 1980s, Diane met songwriter Bill Garvey at a party and they recorded “Goodbye Horses” in his home studio. As the story goes, Luckey met Hollywood director Jonathan Demme when she picked him up in her taxi during a snowstorm in 1986. Demme was wowed by her demo tape, which was playing in the cab, and they ended up hanging out at a restaurant for hours talking about life and music. “He liked it so much, I gave him the tape I was listening to, he said he would call me for one of his movies, but I didn’t really take it seriously.” said Luckey. Demme would have the song “Goodbye Horses” first appear in his offbeat comedy Married to the Mob, and then again more memorably in Silence of the Lambs when Buffalo Bill changes into women’s clothing while drowning out his intended victim’s pleas with loud music. Despite the exposure, both Luckey and Garvey languished in relative obscurity. “Goodbye Horses” is the definition of a cult classic, an ethereal tearjerker driven by Garvey’s lush synth work and Luckey’s unmistakably powerful voice. Garvey says, “the song is about transcendence over those who see the world as only earthly and finite.”

Over 15 years of effort have gone into the making of this release. All five songs on this record were previously unreleased and are sourced from original master tapes. The extended version of “Goodbye Horses” was newly mixed from the original stems by Alberto Hernandez at Fantasy Studios. Instrumental and acapella versions of the song are included, which are also available for the first time. Side B opens with “Hellfire,” a brooding number about the New York BDSM nightclub of the same name, showcasing the range and force of Luckey’s voice. “Summertime” follows, with a sauntering synth-reggae spin on the 1937 George Gershwin number. Both B-side tracks are also new mixdowns and edits from the original stems. This record is released alongside Eva Aridjis Fuentes’s documentary on Q Lazzarus, Goodbye Horses: The Many Lives of Q Lazzarus, a work chronicling the life of the enigmatic Luckey. It is an opportune moment to reflect on the underrecognized artists we have lost and the undeniable brilliance of both Diane Luckey and William Garvey.

The original Ready or Not remix by DJ Zinc - now with the unreleased VIP mix on the flip. Mastered by the legendary Beau and sounding splendid. The unreleased version has a different bassline, and was only given to a couple of VIPs back in '96

Lunchbox's legendary lost album "Evolver" is lost no more! Sparklingly remastered for the album’s twentieth (and a few!) anniversary and available on CD, cassette and (for the first time) vinyl, this psychedelic masterpiece fills a crucial hole in the band's discography. Recorded in the couple's 1990s Oakland basement between stays in Berlin, tour dates in London, and dreamy sojourns up the rugged Mendocino coastline, "Evolver" fuses jangle and jungle, ambient and dub into a striking pop statement.

Marrying refined songcraft to the serendipitous magic hidden in half-broken reel-to-reel tape decks and vintage synthesizers, the "Evolver" plants its pop flag on the terrain of magic and mystery. Dreamy jangle pop gems emerge seamlessly out of a sea of loops, drones, and dubbed-out horn fanfares, cascades of tape echo feedback and whispers from outer space providing a trance-inducing backdrop to the pop sensibility for which Lunchbox is well-known. Hook-filled and hypnotic, "Evolver" is a sublime slice of post-pop psychedelia that you won't want to miss.

For this special and long-overdue reissue we've raided the bands vaults for three previously unreleased tunes that add extra dimensions to the album's uniquely trippy flow. And for the vinyl heads we're pressing this as a double LP for maximum fidelity and playability, including a vinyl-only fourth side of beats, loops, interludes and puzzling aural ephemera, all taken directly from the original master tapes. Super cool!

Frizzy P & Mr Cole are a trip-hop duo blending old-school hip-hop, jazz, and analog sounds. Their intimate, melancholic music has earned them growing recognition on the independent scene. Frizzy P, a singer with a captivating voice, and Mr Cole, a beatmaker passionate about vintage sounds, have been collaborating since 2015. Their debut EP, Ladi Dadi (2017), became an underground success, racking up millions of streams and airplay on BBC Music 6 and FIP. In 2023, they followed up with Ladi Dadi II, further refining their musical identity. In 2024, they released The Backroom Tape, a mixtape featuring unreleased tracks, ahead of their final chapter, Ladi Dadi III, set for April 2025. This last installment will feature six new tracks, rich in melancholy and raw emotions. Their live performances have taken them across France and beyond. In 2025, they plan to expand their stage presence with additional musicians. Their unique approach to modern yet timeless trip-hop continues to solidify their place in the music scene.

4XLP. Hardcover slipcase box. Liner notes from Soichi Terada, Colour: translucent red, clear, blue, and yellow vinyl

It has been 25 years since the release of Saru Get You (サルゲッチュ), known stateside and in the UK as Ape Escape. Ape Escape marked a significant milestone for the PlayStation, as it was the first game to require use of the PlayStation's DualShock (analog) controller. In Ape Escape, the use of the analogue sticks goes beyond camera rotation and acts as an extension of Kakeru's (Spike's) own character, controlling his many gadgets like the stun club, time net, and sky flyer. It's a unique form of control that, really, didn't become popularized until the release of the Nintendo Wii. It feels like a distinctly Japanese design, the sort of off-the-wall design that is either embraced or rejected on a global scale. In Ape Escape's case, the mechanic caught on.

Ape Escape is fast, frantic, and—at times—downright frustrating. Pipo monkeys dash, taunt, and swim away from your advances. They ride water monsters, fly UFOs, and even shoot uzis! Whether it's Kakeru, his friends, or the monkeys themselves, the characters are always running across the levels. This mad dash is enhanced by the game's soundtrack, composed by legendary composer Soichi Terada. As he recalls, the director of the production said, "Spike and his friends always have the image of running." In response, Terada happily produced fast songs with an average speed of over 170bpm. The resulting gameplay and audio is a match made in heaven.

Ape Escape is the first game soundtrack Mr. Terada ever created. The producers of the game heard one of his singles, "Sumo Jungle," and thought his frenetic drum-and-bass (Jungle) would be perfect for the game. The marriage of Ape Escape's charming overworld and Soichi's upbeat compositions is nothing short
of sublime. Especially now, it is difficult to separate the mischievous Pipos and fast-paced action from Soichi Terada's silky smooth synthesizer and heart-pounding bass. Earlier this year (2024), Soichi Terada's Ape Escape work was celebrated by the six-track EP Apes in the Net, which includes music from Ape Escape 1 and 3 (Terada did not compose the series' second installment). The label, Rush Hour Music, has prestigiously championed almost all of Soichi Terada's music, especially his (specifically non-VGM) house, jungle, and drum and bass releases (Sounds from the Far East, Asakusa Light, and more).
Before Apes in the Net, Terada's Ape Escape music was only available on CD, released in Japan around 2010. This release featured reconstructed tracks created by Mr. Terada himself, identical to the music arrangements featured in the game. The biggest difference, of course, was that they were of higher fidelity than was originally available on the PS1 disk format. Completing all of the aforementioned releases is this box set, released by Far East Recording in partnership with Cartridge Thunder and officially licensed by Sony Computer Entertainment. This box set release includes four LPs, housed individually by a hardcover slipcase. This box set includes every song from Ape Escape 1, except those available on Apes in the Net. This box set release also includes one bonus song, previously unreleased anywhere else (including the game itself!).

The music on this box set was meticulously mastered by Justin Perkins of Mystery Room Mastering. Using Mr. Terada's premastered source files, the music was completely and specifically mastered for vinyl. Rounding out the audio is absolutely stunning artwork created by Gobo3D. CT worked with Gobo to recreate some of Ape Escape's most iconic characters, referencing the original Japanese guidebook and other promotional materials. The result is visually delicious 300dpi artwork that takes you straight back to 1999. As uber-fans of the original PlayStation game, Cartridge Thunder and Far East Recording are proud to celebrate Soichi Terada's music and pay our respects to such a legendary PlayStation franchise—on the original hardware's 30th anniversary no less! It's with a happy heart, then, that Far East Recording and CT present to you Soichi Terada's Ape Escape Originape Soundtracks in a Box.

Please note: due to licensing exclusivity, this release does not include tracks previously released on Apes in the Net

Limited edition of 500 copies.

Hard Top assembles the previously unreleased 1975 recordings of legendary South African saxophonist Kippie Moketsi (also spelled Moeketsi). The 2LP vinyl edition is presented in a gatefold sleeve featuring artwork by Mafa Ngwenya and comes from As-Shams Archive on the heels of the Tete Mbambisa's previously unreleased African Day album in 2024.

By 1975, at the age of 50, saxophonist Kippie Moketsi had already earned his stripes as a South African jazz figurehead. His tenure with the Jazz Epistles and the cast of the "South African Jazz Opera" King Kong in the late-1950s had not only marked his own rise to fame but also seen him help catalyse the ambitions of a younger generation of iconic artists who would go on to become the defining figures of modern South African jazz. While he didn't enjoy the same international attention as his protégés Miriam Makeba, Hugh Masekela and Abdullah Ibrahim, his humble and challenging career on the local jazz scene until his death in 1983 saw him forge an enduring legacy.

Owing to the efforts of record producer Rashid Vally, Kippie Moketsi's journey through the 1970s is beautifully documented, most notably on the albums Dollar Brand + 3 (1973), Tshona! (1975) and Blue Stompin' (1977), in which he shares the spotlight with Abdullah Ibrahim, Pat Matshikiza and Hal Singer respectively. As a featured performer on Soul of the City's Diagonal Street (1975) and Dennis Maple's Our Boys are Doing It (1977), Moketsi is seen embracing the popular orientations of South African jazz in 1970s but, having come up in the 1940s and 1950s, he never forgot his roots as a dedicated admirer and scholar of traditional American jazz.

While Moketsi did write some memorable compositions, it was in the role of interpreter that he shone most brightly. With its title derived from a good-natured nickname that nodded to Moketsi's elder status by way of his receding hairline, Hard Top is a covers album that looks back in time to the era of rhythm and blues while also indulging 1970s pop and funk with a decidedly South African vibe. Officially joining Kippie Moketsi's catalogue 50 years after it was recorded, Hard Top provides an opportunity to celebrate the multiple dimensions of a South African jazz legend and reflect on the unwavering support of his fan, producer and friend Rashid Vally, who passed away in December 2024.

Lunchbox's legendary lost album "Evolver" is lost no more! Sparklingly remastered for the album’s twentieth (and a few!) anniversary and available on CD, cassette and (for the first time) vinyl, this psychedelic masterpiece fills a crucial hole in the band's discography. Recorded in the couple's 1990s Oakland basement between stays in Berlin, tour dates in London, and dreamy sojourns up the rugged Mendocino coastline, "Evolver" fuses jangle and jungle, ambient and dub into a striking pop statement.

Marrying refined songcraft to the serendipitous magic hidden in half-broken reel-to-reel tape decks and vintage synthesizers, the "Evolver" plants its pop flag on the terrain of magic and mystery. Dreamy jangle pop gems emerge seamlessly out of a sea of loops, drones, and dubbed-out horn fanfares, cascades of tape echo feedback and whispers from outer space providing a trance-inducing backdrop to the pop sensibility for which Lunchbox is well-known. Hook-filled and hypnotic, "Evolver" is a sublime slice of post-pop psychedelia that you won't want to miss.

For this special and long-overdue reissue we've raided the bands vaults for three previously unreleased tunes that add extra dimensions to the album's uniquely trippy flow. And for the vinyl heads we're pressing this as a double LP for maximum fidelity and playability, including a vinyl-only fourth side of beats, loops, interludes and puzzling aural ephemera, all taken directly from the original master tapes. Super cool!

Adeen Records returns with a superb EP that blends a classic with three new and fresh unreleased tracks. Deep house don Chez Damier's Panorama Bar Remix kicks off and is a a 2021 standout with a killer baseline and Spanish guitar that brings some sunny soul and makes for some top level house grooves. Makez then shines with 'Rocket Music' which has a chunky low end and glistening, golden piano chords making it a late night favourite. On the B-side, Adeen regular Alkalino delivers a tropical-infused edit for the peak time and Gledd closes with a classy cut 'Sere Yo' that is all about the drums. Lovely stuff.

Unreleased extended & instrumentals versions from the sessions of "Faded" Album :
- "Autour de chez moi" & "Tu viens Marie ? " both as + 12 minute epic songs
- " Louie Louie " instrumental version
- Exclusive new song performed with Pascal Comelade

LINER NOTES BY BOOM BASS
A FIRST ALBUM AFTER SIGNING THE CONTRACT TO RELEASE OUR DEBUT ALBUM, WE WERE SUDDENLY INUNDATED WITH AN OVERWHELMING NUMBER OF TASKS.

TOWARD THE END OF THE 20TH CENTURY,MUSIC PRODUCTION WAS STILL A HEAVILY INDUSTRIAL PROCESS. FACTORIES MANUFACTURED CDS, VINYL RECORDS, AND EVEN AUDIO CASSETTES, WHICH WERE THEN SHIPPED BY TRUCK TO WAREHOUSES BELONGING TO VARIOUS FRENCH MAJOR LABELS. DEDICATED TEAMS BRAINSTOR-MED IDEAS, DEVISED STRATEGIES, AND ORCHESTRATED PLANS TO DISTRIBUTE THESE RECORDS TO SPECIALIZED STORES. AT THE TIME, RADIO, TELEVISION, AND THE PRESS HELD THE KEYS TO SUCCESS.

WITHOUT THEIR SUPPORT, REACHING THE GENERAL PUBLIC, OR EVEN A NICHEA UDIENCE, WAS NEARLY IMPOSSIBLE.OUR FIRST ALBUM AS CASSIUS, SLATED FOR RELEASE IN JANUARY 1999, SPARKED GENUINE EXCITEMENT WITHIN THE VIRGIN RECORDS TEAM. AS A FORMER ARTISTIC DIRECTOR, I KNEW THIS LEVEL OF ENTHUSIASM WAS RARE. FOR PHILIPPE AND ME, STEPPING INTO THE SPOTLIGHT WAS A COMPLETELY NEW EXPERIENCE.

AFTER YEARS OF WORKING BEHIND THE SCENES FOR OTHERS,FOCUSED AND IMMERSED IN THE STUDIO, WE WERE NOW AT THE FOREFRONT, ENTIRELY INCONTROL. THIS SHIFT BROUGHT A WHIRLWIND OF EMOTIONS: AMBITION FUELED OUR FEARS,AND CREATIVE CHAOS OFTEN BLURRED OUR JUDGMENT ABOUT WHEN TO STOP REFINING OURWORK.NAVIGATING DECISIONS AS A DUO, WE QUICKLY DISCOVERED THE COMPLEXITIES OF PARTNERSHIP AND PRODUCTION. WITHOUT MANAGEMENT, WHOSE CRITICAL ROLE IS OFTEN TO SHIELD ARTISTS FROM THEIR OWN TENDENCIES, WE OCCASIONALLY STRUGGLED TO MAKE THE RIGHT CHOICES.

YET, EXCITEMENT AND SHEER JOY ULTIMATELY PREVAILED, AND WE THREW OURSELVES WHOLE HEARTEDLY INTO THE ADVENTURE. AS POSITIVE FEEDBACK ROLLED IN FROM SUBSIDIARIES, MARKETING BUDGETS EXPANDED, AND THE ALBUM'S RELEASE STRATEGY SKYROCKETED TO NEW HEIGHTS.

DAFT PUNK'S GROUNDBREAKING ALBUM HOMEWORK HAD JUST OPENED THE DOOR FOR FRENCH ELECTRONIC MUSIC TO REACH GLOBAL AUDIENCES. FOR ARTISTS ROOTED IN DJ CULTURE,THIS WAS A TURNING POINT. FRENCH ACTS WERE FINALLY BEING INVITED TO PLAY AT BURGEONING FESTIVALS AND ICONIC CLUBS. THE BRITISH AUDIENCE WAS THE FIRST TO EMBRACE US, AND WEEKEND AFTER WEEKEND, WE TOURED THE UK.

INSPIRED BY THOSE NIGHTS BEHIND THE DECKS, WE SUGGESTED RELEASING A VINYL FEATURING EXTENDED VERSIONS OF TRACKS FROM 1999. DESIGNED AS A PROMOTIONAL DJ TOOL, IT CELEBRATED EXPANSIVE, LONG-FORM TRACKS REMINISCENT OF THE ONES WE LOVED TO PLAY, AN HOMAGE TO OUR EARLY EXPERIMENTS WITH NDLESS LOOPS, LIKE DINAPOLY FROM 1996.

THE VINYL WAS PRESSED IN AN EXTREMELY PROMO LIMITED SERIES, ECHOING OUR EARLY MAXI-SINGLES AND THE RARE RECORDS WE USED TO HUNT FOR AS COLLECTORS. FOR FANS, IT WAS A CHANCE TO OWN SOMETHING TRULY UNIQUE; FOR US, IT WAS A FINAL OPPORTUNITY TO RE-EXPLORE THEA LBUM'S MUSIC.PRODUCED IN THE STYLE OF LA FUNK MOB'S EP, WITH THE TWO OF US IN A RECORDING BOOTH SURROUNDED BY FLOPPY-DISK MACHINES AND TWO OR THREE SYNTHS, THE ALBUM'S SONGS WERE STRUCTURED AND MIXED DIRECTLY IN STEREO ON A DAT (DIGITAL AUDIO TAPE).

MOST TRACKS, ORIGINALLY VERY LONG, WERE EDITED INTO A COHERENT, HOUR-LONG LISTENING EXPERIENCE. THE DJ TOOL WAS ASSEMBLED FROM THOSE ORIGINAL MIXES, AS A FINAL, FREE WHEELING VARIATION OF OUR THREE WEEKS OF FUN IN THE STUDIO.HOLDING THAT VINYL TODAY BRINGS BACK VIVID MEMORIES OF THOSE EARLY TRAVELS, THE NIGHTCLUBS AT THE CUSP OF TRANSFORMATION, THE CROWDS GETTING YOUNGER AT NEW PARTIES, AND THE VINYL RECORDS THAT WERE JUST STARTING TO FADE FROM DJ BOOTHS.

I ALSO RECALL BEING 32 YEARS OLD, NAVIGATING THIS EVOLVING WORLD. NOW, AS I PREPARE FOR THE UPCOMING CASSIUS CLUB TOUR, I'M STRUCK BY HOW CLOSELY IT MIRRORS THE ERA OF THE DJ TOOL RELEASE. TWENTY-FIVE YEARS LATER, I FEEL INCREDIBLY FORTUNATE TO STILL BE DOING THIS.

IN THE STUDIO, PHILIPPE ONCE SHOUTED, "CASSIUS IN THE HOUSE !" INTO MY EAR. TODAY, I FEEL LIKE TELLING HIM, "I'M GOING BACK TO OUR ROOTS."BOOMBASS.

'199 DJ TOOL", 2025 UNRELEASED ALBUM BY CASSIUS FEATURING 8 EXCLUSIVE EXTENDED VERSIONS OF THE MOST ICONIC TRACKS FROM THE ALBUM 1999 AND THIS EXCLUSIVE SHORT STORY BY BOOMBASS.

Limited Edition 12"

Left Ear are delivering two previous unreleased Australian ‘experimental’ electronic tracks from the 80’s and honoring them with a split 12” release.

Side A: Features an unreleased full-length version of Tim Gruchy’s Jungles, a solo electro-percussive piece recorded in Tim’s Lab D’Avoid studio in Brisbane. The track is emblematic of his style during an era when he worked extensively in music, both as a percussionist and primarily with electronics, including early analog synths.

A shorter version was originally released on the Meanjin (Brisbane) art collective ZIP’s Eye Ear EP book package in 1986 and, more recently, on Left Ear’s Antipodean Anomalies 2 compilation.

This original version of Jungles was initially part of the soundtrack for the ZIP Performing Group’s infamous Ironing Board Dances. Footage of the performance was treated through a Fairlight synthesizer, mixed with hand-painted slides, and transferred to VHS for various film festivals.

Side B: Michael Krillich’s Arnhem Land began its journey in 1982 in a shared house in North Bondi. Inspired by Brian Eno and David Byrne’s My Life in the Bush of Ghosts, he experimented with tape loops, cut-ups, and samples, incorporating synthesizers, effects pedals, a drum machine, and an unknown sample from an Australian Aboriginal record. This creation became part of his cassette release, Thematic Variations.

In 2010, Krillich uploaded an unreleased extended version of Arnhem Land from Thematic Variations to YouTube, which was shared by record dealer Matt Bowden with Left Ear Records, who pursued to release it on vinyl. Their search to uncover the sample’s origins led them to Arnhem Land Vol. 1 (1957), recorded by Peter Elkin in the Daly River region.

After years of research and through the guidance of Professor Allan Marrett and local custodians, the sample was verified as a “Wangga” ceremonial song sung by George Morkai, an Emmiyangarl man. Rights to the song had passed through generations to Tobias Worumbu, who granted us permission for its use, bringing Arnhem Land full circle.

The Italian 80s avant garde / anarcho scene is explored in this limited 12” release presenting Nengue and their previously unreleased cover version of the new wave classic Los Ninos Del Parque and the electro pop wave African Beat.

The tumultuous political climate of the 1960s through 1980s inspired Italian artists to craft an introspective, psychological musical landscape. As civil unrest, violent demonstrations, and political murders became commonplace, Italy's centres of intellect vibrated with activist energy. This atmosphere gave birth to a unique, mechanized sound that blended electronic elements with a raw, discordant aesthetic, reflecting the chaotic spirit of the times.

Through vintage forms of social networking and music sharing, a community led process steered the scene, publishing zines and records that grasped alternative concepts of music and lifestyle.

Nengue, were similar to many of these lo-fi, retro-future electronic music pioneers. Based in Rome, their music / art backgrounds flowed with anti-art, extreme noise, futurism, industrial, experimental, martial, folk, free jazz and exotica.

With a couple of releases as a duo, as was often the case, they appeared in numerous other projects and the music was a mixture of their individual backgrounds.

Extraordinarily, only appearing on a couple of obscure cassette compilations, indicative of the time, the quality of Nengue’s productions stands testament. Originally approached to reissue their Cosmic meets Kraftwerk inspired African Beat, a wonderful yet simple electronic idiom, layers of electronica rising, each element an addition flow, vocals the release’s waves.

However, the discovery of their cover of Los Ninos Del Parque – describing it as ‘powerful anarchic nonsense’ – is rightfully now the primary focus.

Acting as some Brutalist interpretation, its sharp electronics and industrial vocals, propel you to a brick-strewn squat party and a place in anarcho folklore.

These are matched with a remix / remake by Berlin’s Bionda e Lupo. Presenting a ‘Neumisch’, Sneaker’s exacting studio mastery and Sano’s additional vocals are a blessing – a new duo version – dynamic and wonderfully special.

To complete, the powerful dub of African Beat closes. Stepping out of his time as one half of Romanian duo Khidja (DFA / Hivern Discs), Andrei Rusu builds on his recent solo releases / remixes for Malka Tuti with a fantastic, bottom heavy version, perfectly building with expertise, an EP for the basements of today that was made in the dark times of the past.

Makin' Moves is back with the latest edition of unreleased tracks “Unreleased Volume 3” that might one day see the light of day digital but for now they will stay in the vinyl vault !

First up on the A side we deliver two choice cuts from one of New York’s underground producers Conway Kasey as he returns to Makin Moves with two tracks that will work dance floors in equal measure.

On the flip Johnny Melek brings us Manifestations with Juliet Mendosa on vocals. This one is much anticipated following Johnny’s colossal debut release on Your records that was number one in the Traxsource charts for a long time! Finishing off this classy 4 track EP is David Harness’s unreleased remix of Reggie’s Steele’s “Vulnerable” which was a huge track in 2024. Harness uses his trademark beats to take this one to peacetime floors!

Sun Ra was a master of misdirection. Tape boxes wrongly labeled—whether by accident or design—are legendary among Ra archivists. One can speculate about the artist's intent or carelessness, but source misinformation abounds on Ra tape cases, album jackets, cassettes, ephemera—as well as in interviews. It's as if Ra, in furtherance of his own mythmaking, wanted to keep historians guessing.

This project began as a misidentified tape discovered by Michael D. Anderson of the Sun Ra Music Archive. The 7-inch reel, which contained a live Ra solo piano performance of 11 works—some recognizable, others not—was of stellar quality, and was marked as a 1979 Carnegie Hall date. But the program on the tape did not align with known facts (e.g., titles played, concert duration) which were chronicled in a Newsday review of Ra's appearance at Carnegie in September of that year. With a prod from writer/historian Ted Gioia and further research by myself, the tape was eventually identified as a mostly unreleased July 1977 performance by Ra at a downtown NYC "jazz café" called The Axis-in-Soho.

Introduced by the digital single ‘Deixa Passar’, this 12” EP concretises on physical support the renewed collaboration between the two Schema Records artists Gerardo Frisina and Tomaz ”Toco” Di Cunto, working together again five years after the release of the EP “Frisina Meets Toco” (SCEP 487): the two unreleased songs here included, the aforementioned “Deixa Passar” and “Ilê”, are featured both in their original and reworked versions, and represent an excellent blend of samba jazz and Brazilian popular music. In both tracks, the music composed and arranged by Gerardo backs up the Portuguese language lyrics and melodic lines of Toco, who duets with Luzia Dvorek in an almost surprising contrast between serious and graceful sounds. The instrumental department features Gianluca Petrella on trombone, Eduardo Taufic on piano (Deixa Passar) and Fender Rhodes (Ilê), and Edu Moreno on flute (Ilê), in an excellent ‘union of opposites’, between popular music and modern sounds, between acoustic instruments and electronics, with mystical influences that envelop the songs with a mysterious and attractive aura. Not only musically, but also visually and lyrically, this EP is a tribute to the Brazilian culture and lands, already from a cover that re-imagines the iconic shapes of the famous Copacabana pavement in Rio De Janeiro: while “Deixa Passar” celebrates Rio’s carnival as an opportunity to momentarily free oneself from the burdens of life, “Ilê” recalls the traditions of Salvador De Bahia’s historic ‘bloco afro’ quarter called Ilê Aiyê.

This 2024 recording showcases original artists who continue to captivate audiences with their exceptional music and require our support. Darryl Howard, the vocalist and songwriter of Nu’rons, takes on the lead vocals, while Emanuel Campbell, also a member of Nu’rons, contributes to the lyrics. The 45rpm vinyl includes two versions of “Outside Looking In”: an extended version and a full radio edit.

The band members are: - Darryl Howard (vocals) - Eugene Williams (guitar) - Teddy Jackson (bass) - Lucious Frierson (keyboards) - Danny Kelly (drums) Written by Emanuel M. Campbell. Some of you may recognise my esteemed friend Eugene Williams from the Williams Brothers, who played guitar on “Outside Looking In.” This 45 is a previously unreleased gem that is now available for purchase on our website 15 Demos (£25 inc worldwide shipping) 300 issues (£18 inc uk shipping / £21 inc worldwide shipping)

Cold Blow proudly presents Bonus Beats: Rare & Unreleased Finnish Electro 1990–2002, a landmark compilation capturing Finland's underground electro scene from the late 1990s and early 2000s. This double-LP features 9 rare and 3 previously unreleased tracks from pioneering Finnish artists, showcasing a distinctly Nordic approach to the genre. With contributions from notable names such as Jori Hulkkonen, Mr. Velcro Fastener, Mono Junk, and the late Mika Vainio, this release highlights the experimental and DIY ethos that defined Finland's electronic music scene during this period.

Carefully curated by Erkko Lehtinen, a key figure in Finland's electro scene as a DJ and promoter, the compilation explores a broad sonic palette, spanning early techno influences, robotic allure, and dark, bass-heavy tracks. Standout contributions include Decepticons and Dr. Robotnik's unreleased dark electro cuts, with the latter veering into minimal wave territory. Feng Shui feat. Monsieur delivers a striking collaboration that fuses a trance-like lead with raw, industrial beats, uniting members of Huoratron, Nu Science, Polytron, and Op:l Bastards. Keeping alive the legacy of Perttu Häkkinen (aka Randy Barracuda), this release wouldn't be complete without Imatran Voima's bass-driven anthem from their debut EP. Also featured are Spektor's retro synth experiments, Tero's Commodore 64-based creations, Brothomstates' (later a Warp signee) futuristic soundscapes, and a rare cover of Kraftwerk's The Model by the anonymous duo Markus & Kristian. Erkko's extensive liner notes provide additional insight into this culturally and musically significant era. Available in double-LP, this collection is a must-have for electronic music aficionados and vinyl collectors.










j 10: Feng Shui - Hao Hao (I`m Back) feat. Monsieur

Groovin Recordings move forward with the unreleased series focusing on rising Italian producers. It is now the moment for Peter LC, one of the most interesting young artists in the new italo-house scene.
Born with a distinctive passion for Disco and House music, Peter loves to experiment with all the shapes of house from Italo, Deep Tech, and Classic House genres, continually evolving his unique sound.
This new EP called "Il Letto. La Porta. La Musica." starts with a journey into early 90’s Italian Riviera, also featuring a remix by legendary Italian producer Don Carlos. On the flip we find "Losing my Feelings", which meets Deep house at its finest, echoing the timeless grooves of Chicago and Detroit, and "Love Calling", a classic piano house anthem, driven by soulful female vocals and pure 90’s vibes.

Infinite Fog are delighted to present another piece of the intriguing COIL puzzle. In the mid 1990s the core team of John Balance and Peter Christopherson were continuing their exploration of the outer reaches of electronic sound production as exemplified by the "Born Again Pagans" release, originally an EP only, featuring both the hugely danceable "Protection" smash which had Danny Hyde's influence writ in large letters all over it, as well as the first outings of their intriguing more ambient/glitch-based ElpH material, probably their most haunting and haunted works. This new 3LP anthology re-edition collects all of the ElpH material which didn't appear on their later "Worship the Glitch" album, namely the pHILM #1 10", a host of very rare compilation tracks as well as a number of at the time unreleased pieces in the same vein. The stunningly presented release also features the ElpH entity's last ever appearance originally available as part of raster noton's award winning 20' to 2000 series of releases, the "Zwölf" EP.

All the material has been lovingly remastered by Jessica Thompson with re-imagined design-work by Oleg Galay and including a replica of the original St. Sebastian on acid poster.

For the fifth release of Organic Signs, we pay tribute once again, in an even more special way, to our beloved Digitalis, aka Seb Taylor. Two years ago, we launched the first EP of our label, Digitalis - Soma Junkies, recovering a gem from the British artist. This time, we wanted to go further by presenting a new album concept with impeccable sound, thanks to the mastering by Damian Schwartz. Comprising both released tracks and some unreleased material, The Fourth State serves as a tribute and evolution of Digitalis's only album released in 1998, reminding us of the urgent need to remain vigilant against the most insidious powers of social control.

Spacehop, the starting point. In 1994, after hearing a demo tape, Andy Guthrie (aka 100th Monkey / Funkopath) connected Digitalis with the team of the Spacehopper party at the Que Club in Birmingham. There, Digitalis quickly became a resident, dazzling audiences with his live sets. A premature first track from the early days of his career was never officially released, but many had the chance to enjoy it live on numerous memorable nights.

In Loup Garou, the exquisite taste and mastery of breakbeat rhythms manifest. It's an explosion of rhythm interwoven with trance patterns, and you can also listen to an unreleased digital version, exclusive to Bandcamp. Closing the first side of the record is Repeater, the first track ever released by Digitalis, which laid the foundations for his distinctive sound.One of the most surprising parts of the album unfolds on the B side. Just as we had finalized the selection of tracks, Seb surprised us with a message revealing that he had found old tapes.

This led to a collaboration with Hugh Newman, rich with influences from his alias Shakta, featuring vocal and acid synths that open the portal to a new dimension of auditory frequencies. Osho Drums combines live percussion from Osho, half of the Japanese group UNI, with psychedelic trance riffs and breakbeat rhythms that intertwine without relying on typical formulas.

Figments Of Reality (Trance Mix) would bring the vinyl album to a close, featuring nearly 146 BPM of trance and synth sounds that resonate like thrown objects falling from the sky, landing on the rhythmic grill.

As a final addition to the release, we also present Genetics, a digital exclusive track, another unreleased gem from his early days that deserved to come out of the vault of memories.

Repress!

Compilation of 80s Turkish-Swiss band Café Türk, featuring selected works from their discography as well as previously unreleased recordings!

Café Türk's unrestrained sonic palette explores new wave, psych, disco and reggae with influences from Anatolia and Azerbaijan.2xLP includes a 4-page booklet with extensive liner notes and photos.

Café Türk are an inimitable Turkish-Swiss band formed in the 1980s, whose genre-bending sonic palette draws from Anatolia, the Caucasus and Western Europe. The group’s frantic trajectory connects Switzerland and the Turkish city of Kars with a background story as rich and unexpected as their sound. After three decades since they disbanded, Zel Zele Records have collaborated with Turkish crate-digger Grup Ses to give the music of Café Türk a new lease of life. This eponym compilation features original album tracks, singles and previously unreleased takes that trace the outline of the group’s history. From the rolling disco of the group’s debut recording “Haydi Yallah”; to the previously unreleased kosmiche of “Yıldızlar”, “Ali Baba From Istanbul”s Azeri grooves and German language vocals, to the psyched-out interpretation of Causaccian folk tune “Şamil”, Café Türk showcases the endless stream of ideas the band had during their time together between 1983 and 1989. Tracks come with an unrestrained spirit, weaving in the crackling energy of new wave, rock, disco and reggae with influences from Turkey and Azerbaijan.

This fascination in pulling different worlds together goes right back to the formative days of Metin Demiral, founder of Café Türk. Metin grew up in Kars, a provincial town in the Northeastern part of Turkey. Kars was once known for its multicultural communities; where you could hear locals speaking a range of languages, from Turkish to Azeri, Russian and Kurdish. In 1983 Café Türk won a contest set for Turkish groups based in Europe, organised by the label Türküola, home to Turkish stars like Cem Karaca, Selda Bağcan and Barış Manço. The resultant recording sessions gave birth to his new band and debut LP, Pizza Funghi. But Metin turned down Türküola’s offer to put the record out and instead self-pressed 1000 copies on his own Sound Concept label - driving as far as Berlin to sell them face-to-face to record shops. The record was picked up by a member of the German city of Nuremburg’s Cultural Department and soon Café Türk were invited to play for the local workers’ unions, many of whom represented immigrants from Turkey. These events only grew in popularity, the group ultimately spending five years touring similar shows in Europe, alongside more conventional tours and festivals. Metin had hoped to bring his new record to audiences in Turkey again, however, he found it impossible to get any of his songs played on state-sponsored radio, something he attributed to the infamously strict supervisory board of TRT, Turkey’s state-funded broadcaster. TRT tended to not accept songs that blended both western and traditional Turkish music in order to avoid “degenerating” Turkish folk music. Cafe Türk tried to fight this conservative mindset, but progressively resigned themselves to the political restrictions of the time

The Secret Sun rises once again, this time shining its light on the treasures stored in Dan Piu’s incredibly vast production archive, which dates back to the early ’90s. Selecting the music for this EP was a long but inspiring quest, a deeply rewarding dive into Dan’s artistic journey. It offers an insight into the studio universe of one of the producers we respect the most, and with whom we share the same vision and love for music.
We are grateful to once again bring to light four forgotten and unreleased productions from the ’90s, this time by Dan, infused with the novelty and ingenuity of that era, under the moniker Sensefinite.

Stunning two tracker with an unreleased 90s gem from Good Looking Records Maestro PFM (You have got to hear this one!!) Equilibrium VIP is PFM at his majestic best with shimmering, stellar sounds with a drop to mash up the dance floor and send you sailing through the cosmos.

The flip is a brand new track from PFM and Greekboy. Icarus is a MONSTER track showcasing the talents of this amazing duo with with a dark and atmospheric amen journey that would be a peaktime highlight in most sets across the drum and bass spectrum

The package is rounded out by some serious artwork from Nick Purser (Good Looking Records 90s Art Director) Nick always delivers but in our opinion he has surpassed himself on this one.

Dark Entries celebrates its 15th anniversary with legendary synth-punk deviants Crash Course in Science. Dale Feliciello, Mallory Yago, and Michael Zodorozny formed CCIS in 1979 after meeting at art school in Philadelphia. As a gesture born of equal parts punk irreverence and brute necessity, the band incorporated toy instruments and kitchen appliances into their aggressive, angular sound. Their anthems “Cardboard Lamb” and “Flying Turns” from 1981’s Signals From Pier Thirteen EP have been staples in adventurous DJ sets for over 40 years - yet some of their finest work is to be found on Near Marineland, a full-length LP recorded in 1981 but remained unreleased in its time. Near Marineland shows the band moving into more diverse and polished territory (although it’s still as abrasive as sandpaper). Tracks like “No More Hollow Doors” and “Jump Over Barrels” highlight CCIS’s singular knack for embedding infectiously monotone hooks in their stiff-yet-funky grooves. Elsewhere we see CCIS going fully unhinged, like on the searing “Someone Reads” or the demented “Pompeii Spared”, where a spray of honks is barely glued together by a frantic synthetic pulse. While this masterwork of malfunctioning analog electronics has surfaced on a few occasions - this first time stand alone remaster includes four never-before-released bonus tracks and includes a lyric sheet. Near Marineland is crucial listening for all devotees of synth-punk and minimal electronics.

Dark Entries has raided the bathhouse to bring us Deep Entries: Gay Electronic Excursions 1979-1985, 10 tracks of obscure queer synth bliss. One of Dark Entries' most important missions has been illuminating neglected facets of gay musical history, with crucial archival works by legends like Patrick Cowley, Sylvester, and Man Parrish. On Deep Entries, the label spans 6 years of gay electronics - from sultry to angsty to camp, these songs are overflowing with snappy 808 snares and sinewy analog synth leads. The '80s were a difficult period for many in the gay community as they grappled with the horrors of the HIV/AIDS crisis. The 10 tracks on Deep Entries, varied in genre and vibe, are united in their portraiture of 1980s gay life, and the hope for love or fleeting romance. Previously unreleased cruising soundtracks come courtesy of Patrick Cowley’s “Love Me Hot” featuring vocalist Paul Parker and Boytronic’s “Tonight (Alternate Mix)” set on Hamburg’s famous “Mile of Sin.” Brisbane-based Megamen deliver the proto-electroclash number “Designed for Living,” which prefigures Madonna’s Marlene Dietrich rap in “Vogue.” Trans vocalist Paula "Ula" Villagrá declares, “Everyone is gay!” on Muzak’s “Happy Song,” a skittering tecnopop anthem. Dereck Higgins' “This Was Something” rings like a lost Joy Division cut draped in bizarre effects, and Polar Praxis’ “(I Want) To Be Different” is a seething ode to alterity. Nightmoves’ “Nightdrive,” is best known as the brooding instrumental B-side to their epochal “Transdance.” Transistor Jet’s “Master Of The Universe (BW's f-w)”, Maxx Mann’s “Just Like a Razor” and Bachelor’s Anonymous’ “A Stranger’s Bed” are mood music for the pleasures of BDSM and one-night stands. The record comes housed in a retro bathhouse fantasy sleeve designed by Gwenaël Rattke and includes a double-sided poster with photographs and lyrics. Deep Entries arrives on December 1st in honor of World AIDS day, and proceeds will go to the San Francisco AIDS Foundation.

A limited repress of this unreleased set of proper old skool tracks by the legendary Dj Force & The Evolution. Proper breakbeat piano hardcore, lovingly repressed on mad marbled vinyl!

In the Summer of 2024, J Rawls released his first House Music album. Now get ready for the REMIXES! The A Side features remixes to a couple of fan favorites from the album BUMP THE FLOOR. Tall Black Guy remixes Alone (Tall Black Guy’s Limit Being Alone Remix) giving it his signature blend of soul and house! Song two, Yappo, is remixed by the eclectic Detroit beat smith, Blair French, whose ambient style compliments the EP. On side B, we have a couple of unreleased gems from J Rawls. The first is an extended cut of EFE in which Rawls has a little bit of fun adding on to one of his favorites on the album! The last song is a Rawls edit of the classic song Private World by Side Effect.

The Penguin Cafe Orchestra Mini Album is an EP by Penguin Cafe Orchestra consisting of six pieces, two derived from previous released recordings (‘The Penguin Cafe Single’ and ‘Air À Danser’), two that were recorded from a live performance in Tokyo (‘Numbers 1-4’ and ‘Salty Bean Fumble’), and two previously unreleased pieces which had not appeared elsewhere (‘The Toy’ and ‘Piano Music’).
The two live pieces were recorded by NHK Radio at the Kan-i Hoken Hall on 10 June 1982.
‘Piano Music’ is a solo piece recorded by Simon Jeffes in Tokyo on 7 July 1982 and ‘The Toy’ was recorded in 1983.
The cover painting was by Emily Young.  This is the first repress since 1983. Pressed on red vinyl.

Available on vinyl for the first time since 2020. The 'Someday, Somewhere' EP comprises the single 'I'll Be Fine', written and recorded by the band remotely during lockdown, alongside a selection of unreleased tracks recorded during the 'Life After' album sessions including the EP's much-loved title track (previously a live set exclusive). Originally released back in 2020 the vinyl version includes the bonus track 'Trouble On The Water' as previously released on the band's 'Hoxa Sessions' acoustic EP. Bassist William Dorey left Palace after their first album and now records under the name Skinshape. Artwork by Wilm Danby. Vinyl Track Listing: A1. Someday, Somewhere A2. I'll Be Fine. B1. Flesh to the Fallen B2. Trouble on the Water.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.