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Following on from FR023, Soulox & Soeneido are back once again on Future Retro London with a solid 2 tracker release. They sent me "It Been" last year, shortly after their first release had gone into manufacture and I really liked the tune and was playing it a lot in DJ sets but I didn't really have any plans to release it.

At the same time, I remember there being a track in Phineus II's set from the Future Retro London event that took place in February 2023 and I really really liked it but had no idea who it was by. When I later found out it was by Soulox & Soeneido and it was called "Why", it give me the idea for this release as neither track was signed to any other label and I felt that both tracks needed to see the light of day.

Big ups to the both of them on their solid output & many thanks to Shireen for the design of the b-side artwork.

Ranil is undoubtedly the most unconventional figure among the greats of Amazonian cumbia, earning a well-deserved place alongside iconic bands like Los Mirlos, Los Wembler's, and Juaneco y su Combo. This compilation offers a glimpse into the vast musical output Ranil created in the late 1970s and early 1980s. Psychedelia, rock fusion, cumbia, salsa, mambo, Amazonian folk_ you'll find all these flavors blended into the vibrant, jungle-rich sound Ranil crafted. DESCRIPTION Ranil is undoubtedly the most unconventional figure among the greats of Amazonian cumbia, earning a well-deserved place alongside all the better-known iconic bands. He worked as a teacher, criollo guitarist, radio host, TV entrepreneur, and politician, but gained lasting fame as the founder of Ranil y Su Conjunto Tropical in the 1970s. By 1968, around the same time Los Destellos were making waves in Lima, groups like Los Wembler's de Iquitos and Juaneco y su Combo began electrifying cumbia in Iquitos. This new genre, dubbed Amazonian cumbia, exploded nationwide in 1973, thanks to hits by Juaneco y su Combo, Los Mirlos, and Los Wembler's. The success these bands achieved spawned dozens of other groups from the Amazon. Ranil, always a visionary, recognized the movement's potential and joined forces through his first single recorded on the Dinsa label in 1974. Unhappy with the contractual terms, he went on to found Producciones Llerena, the label on which he would release the rest of his discography. Over the years, Ranil y su Conjunto Tropical featured guitarists like Límber Zumba and Luis Nigro, while Ranil remained the lead vocalist and bassist for group. Zumba and Nigro had already played with other regional bands and written songs for groups like Los Destellos and Los Mirlos. This compilation offers a glimpse into the vast musical output Ranil created in the late 1970s and early 1980s, bringing together 14 tracks from the band's 10 LPs. These records have always been hard to come by as, despite being recorded in Lima, they were distributed by Ranil from Iquitos. Psychedelia, rock fusion, cumbia, salsa, mambo, Amazonian folk_ you'll find all these flavors blended into the vibrant, jungle-rich sound Ranil crafted.

'The story of IDM in the USA begins in Miami’ - Fact Mag

Control Freak Recordings are thrilled to be launching its new reissue sub-label with Soul Oddity’s Tone Capsule - a seminal electro/IDM classic from mid-90s Miami.

Originally released as a series of 3 EPs, the reissue compiles these into an album, newly remastered by Keith Tenniswood (Radioactive Man) - available digitally and, for the first time, on 2x12" LP album.

Soul Oddity marked the first outing for a pair of musicians who were instrumental in bringing the UK's post-rave IDM scene to the US. Having bonded over a love for the Warp output at the time, the pair fused this influence with the sound of their native Miami, where hip-hop, breaks and bass soundtracked a lively party scene.

A masterpiece of machine-driven, emotionally abstract storytelling, Tone Capsule rivals some of the best of 90s leftfield electronica. Twitchy beats and gloopy synth-funk are melded into jams that make for a seriously otherworldly listen - as forward-thinking now as it was in 1996.

This record kickstarts our new reissue sub label Capsule Freak - marking the beginning of our dive into the rich past of dance music history which has brought the scene we love to where it is today. We can’t think of a more fitting time capsule to begin this journey with - over two years in the making, we hope you find this release as wild and intriguing as we do.

Following up 2017's album "Udu" this is slow and powerful – with its set narration, but generous space and time, a room for imagination can cautiously be kept. A-side is direct, with generous intro's and endings, dense but with a light sonic specter, and a balance between the atonal & harmonious. B-side has darker undertones, being less framed it's more earthy and cosmic at the same time. Non rhythmic but all contrasting elements are here inseparable in sound and arrangement, from beginning till end, like a sonic tide.

Celestial Echo (miche & Stu Clark) team up with Divine Disco’s Greg Belson to continue their 7-inch series spotlighting Detroit’s powerhouse gospel, soul and R&B label — HOB (House of Beauty).

This second 7-inch gives us two more in-demand killers:

Side A: Messiahs of Glory - “Can’t Find No Other Love"
Lp only before, this track makes its way to a 45 for the first time, super feel good soulful number. Uptempo with a glorious vocal, this one is built for the discerning dancefloor.

Side B: The Royal Travelers - “Jesus Hold My Hand”
raw, soulful and defining of the era. Rarer than rare and never before sold online, it’s a heavy dose of funky gospel oozing with breaky drums and soul.

Fully licensed and remastered, this 7-inch comes housed in a custom Celestial Echo / Divine Disco series sleeve with a faithful reproduction of the HOB label.

Founded in 1956 by Mrs. Carmen Murphy, HOB wasn't just a label — it was a beacon. From the basement of her beauty salon on Detroit’s West Side, she ran one of the most important Black-owned gospel imprints of the 20th century. At a time when both the music industry and the country were stacked against her, Mrs. Murphy built a sanctuary for soul — a Black woman-owned business and creative hub in volatile times.

Pressed and distributed by Prime Direct Distribution.
Don’t miss — buy or cry. Volume 2 continues the journey.

Limited remastered edition of an all time italo classic gem from 1983. Today is one of the rarest italo releases in big demand by collectors, now reissued in the right form including both vocal and extended instrumental versions.

RUZE & Chesster deliver a standout underground release, Featuring legendary house music icon DJ Spen for the powerful and soulful Remember EP.

Featuring three expertly crafted cuts, this release blends warm, rolling grooves, percussive energy, and Spen’s unmistakable soulful house touch. From stripped-back deep house to vocal-led peak-time weapons, each track is a precision-tooled dancefloor weapon with real underground weight.

DJ Support: Luciano, Joseph Capriati, Carl Cox and Dennis Cruz

Circus head honcho returns with a 6 track Album sampler. Pressed on limited Purple Vinyl to match the Albums Concept.

“Colourful Authentic House Music From Dj & Producer Yousef, Using Modern Production Techniques With Live Musicians To Make Club Slammers” Yousef

Son of Lee is Brooklyn-based DJ and producer. A native New Yorker, he has been active in Brooklyn's dance music underground for over a decade. The Hollowbody EP delivers two new reworks of a little-known American jazz-funk treasure. "One Time" is a filter house-inspired floor filler that's been dubplate tested to great effect on many a dance floor over the last year. "Get Ya, Have Ya" is a downtempo beatdown stomper reminiscent of LTJ and Cottam at their finest. Son Of Lee has been refining a unique blend of leftfield disco, cosmic, and deep-dug funk and r&b that he's showcased on earlier releases with Dailysession, Disco Bizarre (DE) and Rocksteady Disco.

Aura Sonora return with a second release to follow up the fantastic first one, this time it brings together two meticulous studio craftsmen, DYL & Tammo Hesselink. Their Moire Patterns EP kicks off with 'Pattern 1', a deep and rhythmic slice of rubbery techno that rides broken beats with atmospheric pulses up top. 'Pattern 2 slows down to a predatory crawl with icy pads making fro a dystopian vibe then 'Pattern 3' brings a sense of mystic tribal ritual deep in some futuristic jungle and 'Pattern 4' closes down with more fantastically crafted, dubby, broken rhythms that are topped with organic percussion and almost impossible not to move to. Pure rhythm science brilliance.

2025 marks 20 years of Tectonic, the pioneering dubstep and electronic label founded in 2005 by Bristol’s underground originator, DJ Pinch.
The Tectonic Sound compilation lays down the gauntlet for the future direction of the imprint. Split across 6 x 4-track 12”s, the compilation comprises many producers making their Tectonic debut, including Re:ni, Beatrice M., Yushh, Flora Yin-Wong, and Sicaria, alongside stalwarts like Om Unit, RSD, Peverelist and Kahn & Neek. It’s an exhilarating 24-track journey through experimental, bass-heavy electronic music, with almost all tracks created by the artists specifically with Tectonic's sound in mind - at the intersection where dubstep and techno meet.
“More so than just the sound, the music is in tune with the real ethos of the early dubstep scene,” - Label boss Pinch says: “People talk about 'heads in a scene - but it's led by hearts really. I've always tried to follow my heart when it comes to music and all the music here is from people I trust that do something worth communicating with the world. I love to watch and help artists grow just as much as I'm excited to release tracks from bigger names who are still passionate about what they do and have developed the powers and control to be able to output that effectively. It feels like Tectonic has been a part of so many communities over the years now, and that there is something that binds all the releases together, something that speaks for itself in a way that goes beyond words, something that's instinctive and immediate.”

Across Tectonic’s 150-strong catalogue there are seminal releases by 2562, Scientist, and Mumdance & Logos, side by side with appearances from Flying Lotus, Shed, Adrian Sherwood, Riko Dan and Photek. The label holds some of the earliest dubstep incantations of Skream, Digital Mystikz, and Joker as well as Pinch’s own productions. The evolution of the Tectonic sound branches into audio explorations encompassing sub-heavy techno and grimey soundscapes alongside leftfield electronica and future-facing beats. The common thread that binds is Pinch’s devotion to pushing underground music ahead of its time, always built to rattle a soundsystem

2025 marks 20 years of Tectonic, the pioneering dubstep and electronic label founded in 2005 by Bristol’s underground originator, DJ Pinch.
The Tectonic Sound compilation lays down the gauntlet for the future direction of the imprint. Split across 6 x 4-track 12”s, the compilation comprises many producers making their Tectonic debut, including Re:ni, Beatrice M., Yushh, Flora Yin-Wong, and Sicaria, alongside stalwarts like Om Unit, RSD, Peverelist and Kahn & Neek. It’s an exhilarating 24-track journey through experimental, bass-heavy electronic music, with almost all tracks created by the artists specifically with Tectonic's sound in mind - at the intersection where dubstep and techno meet.
“More so than just the sound, the music is in tune with the real ethos of the early dubstep scene,” - Label boss Pinch says: “People talk about 'heads in a scene - but it's led by hearts really. I've always tried to follow my heart when it comes to music and all the music here is from people I trust that do something worth communicating with the world. I love to watch and help artists grow just as much as I'm excited to release tracks from bigger names who are still passionate about what they do and have developed the powers and control to be able to output that effectively. It feels like Tectonic has been a part of so many communities over the years now, and that there is something that binds all the releases together, something that speaks for itself in a way that goes beyond words, something that's instinctive and immediate.”

Across Tectonic’s 150-strong catalogue there are seminal releases by 2562, Scientist, and Mumdance & Logos, side by side with appearances from Flying Lotus, Shed, Adrian Sherwood, Riko Dan and Photek. The label holds some of the earliest dubstep incantations of Skream, Digital Mystikz, and Joker as well as Pinch’s own productions. The evolution of the Tectonic sound branches into audio explorations encompassing sub-heavy techno and grimey soundscapes alongside leftfield electronica and future-facing beats. The common thread that binds is Pinch’s devotion to pushing underground music ahead of its time, always built to rattle a soundsystem

Opener “That’s Magic” features a magician talking us through a convoluted magic trick, to a mysterious synth theme that a celebrity conjurer might use to help the pyramids disappear. It’s probably one of the only pieces of music to draw influences from Paul Daniels. “Carpet Squares” is a hefty slab of squirming machine bass, acid squidges and clanking industrial drums, its samples extolling the virtues of fitting comfortable flooring, with a voiceover recorded on a Canadian golf course. “Vanja & Slavcho” tells the odd story of twins who have an extraordinary ability to a bustle of spiralling arpeggios and comedic sound effects, while “Tiktaalik” has a glam rock beat, guitar twangs, wild synth runs and dance music drum rolls that build to nowhere, plus processed dolphin noises and a vocal about evolution. Then there’s “Piccolo’s Travels”, a spellbinding mix of classical strings and... is that a malfunctioning Clanger?

“Album Titles” lists rejected names for the record to hilarious effect, with outlandish blips, accordion riffs and bubbling percussion setting the scene, “The 38th Parallel” is a wonky slab of electronica, while “Push It” has everything from rock guitar interjections to explosions and birdsong. If “Customer Services” imagines the bewildering experience of dealing with a sentient automated phone call, then the following “Nothing To Write Home About” is a waltz-time organ piece with a nostalgic, bittersweet air. “Ready?” lists practically every genre under the sun and gives you a burst of it, from drill to country & western, hardcore to Miami bass, and the final track, “The Void”, is an AutoTune-laced R&B track with a deep, emotional core.

That’s the genius of Wevie Stonder: their ability to make you laugh one minute, and the next transport you
to an atmospheric reverie.

Grupo Yoyi's rare gem 'Paco La Calle' comes from 1977 and is now available on its own 45rpm for the first time ever, and is a fine window into the artist's pioneering blend of Afro-Cuban rhythms, jazz, funk and disco. Originally released on Cuba's iconic Egrem label, it's the only known solo project from producer Jorge Soler. It's brimming with lush horn arrangements and warm analogue synths, so both sides effervesce with genre-crossing spirit that feels timeless even now, almost half a century on. These are the sort of sounds that are perfect for both soundtracking a sunlit afternoon or heating up a dancefloor and will have Latin fusion freaks and crate-diggers alike in a spin.

Mit ”hickey” legen Royel Otis ihr zweites Album vor – mutiger, emotionaler und eingängiger denn je. Nach
viralen Erfolgen mit „Murder on the Dancefloor“ und über 200 Mio. Streams für „Oysters in My Pocket“
beweist das Duo erneut, warum sie zu den spannendsten Newcomern der Indie-Szene zählen. ”hickey”
verbindet starke Hooks mit ehrlichem Songwriting und festigt ihren Platz im globalen Indie-Kosmos.

Recorded as part of the same daydreaming puzzle as Unwishing Well, Still Clouds at Noon brings out the slowcore/sadcore elements that drift through The Reds, Pinks & Purples' melancholy catalog. Donaldson names '90s hometown San Francisco acts such as American Music Club and the more obscure Timco as pivotal to his guitar playing and development as a songwriter, both of which shine bright here. The slower tempo ballads on Still Clouds_ often culminate in heavy fuzz drenched codas and showcase the more abstract poetic side of Donaldson's lyricism. There's an inherent pop-sensibility always at work though, with ear-worm melodies appearing over intoxicating circular riffs. Formerly a Bandcamp only digital release, this white vinyl version is remastered and adds two unreleased tracks, one featuring Mark Monnone from Australian pop-legends The Lucksmiths on bass. Strictly limited edition of 500 ww.

"Astral Americana hymns hovering somewhere between the dirt and the stars" Pitchfork

"Mood music for moments of solitude, best experienced without distraction" The Times

"Overwhelmingly effective and ravishingly beautiful" The Wire

American Dust is an ode to the beauty of the American Southwest, where vast desert landscapes hold stories both stark and tender. Eve Adams’ characteristic folk noir weaves a vivid tapestry of love, sacrifice and quiet revelation, conjuring images of dust storms, stray dogs and far off trains.

The high desert of California is a vast and confounding place. Equally inspiring as it is punishing, it’s a landscape that carries magic in its deep dark nights, holding stories both tender and stark in the coarse layer of dust that settles upon everything. It’s long been a source of inspiration for musicians, writers, and painters, each of them adding to the same current, carried forward over time, through hope and hardship and the passing years.

Somewhere out there in that broad and boundless landscape, Eve Adams has been living her own desert life, quietly writing the follow-up to 2021’s Metal Bird LP. Where that album sang of liminal space, the dream-like turbulence of Hollywood’s golden age, American Dust is far more rooted in traditional storytelling; a eulogy for the American Dream channeled through that sweeping part of the country that holds such power and mystery. Slipping into different and varied costumes throughout its ten songs, it finds Eve not just observing the people around her but stepping into their shoes and peeling back the layers of their quiet lives.

Adams writes from within. A few years ago she moved out there, to “the middle of nowhere”, finding a slowness that didn’t exist in the city, and she knows only too well about the mystical nature of the land and those who live within it. Weaving together themes of grit and romance, American Dust holds its focus on the bittersweet poetry of lives lived in solitude, most notably the women who sustain life at the center of it all. “There’s something very radical about domestic life,” Adams says of this thread. “So many women live their entire lives behind closed doors, completely in the shadows. Within those lives is such sacrifice, devotion, and love. I wanted to honor that: the poetry in the mundane, the longing in the repetition. The way love survives boredom and dust and time.”

Eve is joined on American Dust by Canadian musician Bryce Cloghesy, aka Military Genius of Crack Cloud, who plays throughout and also helped produce the album. Musically bold and vivid, it’s an ambitious and detailed stride forward from what’s come before, the scope of the LP’s narrative reflected in the radiant sweep of the playing. On top of gentle piano and guitar, gorgeous strings drift through the album, lending the songs a woozy sense of romanticism; a collaboration with Gamaliel Traynor (Cello) and Caroline’s Oliver Hamilton (Violin).

For all the drama that’s coiled around these songs, it’s the recurring notion of love and hope fighting against everything that holds true throughout American Dust. Musically it’s lush and vibrant, intimate and cinematic side by side, and always bursting with warmth. But it’s what it holds in its weary bones that elevates it to something truly special, something more than just a collection of songs penned in the heart of the desert. The characters it speaks of, and from, feel shadowed but wholly real, like they’re bursting to share their stories that have remained hidden for years and years and they allow Eve Adams to grow as a songwriter right in front of our eyes.

“The same swirling dust that clung to the covered wagons of my ancestors as they crossed the Great American Desert is the same dust my great-great-grandmother swept off her porch during the Dust Bowl of 1936 in Oklahoma, is the same dust that blows in through the cracks in my windows here in the desert, carrying stories from a time long gone,” Eve says, reflecting on the personal narrative that runs through her new album.

“It’s not just dust—it’s American Dust, the kind that settles into the bones of a family and never leaves. I think about that dust as a symbol of the passage of time. I hope this album will be part of that same current, carrying forward for the next generations of my family to find. I’ve been lucky enough to have journals and poetry from my ancestors that documents their lives during times of pure hope and pure hardship. I’d like to think of this album as a contribution to that family history.”

Brenda (Hudson Whitlock of Surprise Chef / Karate Boogaloo / The Pro-Teens) presents new album 'Bath Time', a suite of heartbreaking, cinematic indie-soul ballads from the hotbed of Melbourne, Australia.



Brenda encompasses the left-field soul sensibilities for which Whitlock has come to be recognised in cult instrumental groups Surprise Chef, Karate Boogaloo and The Pro-Teens, alongside heartfelt, introspective lyricism delivered in a sincere, delicate falsetto. Stylistically, lines can be drawn to the 1960s sweet soul ballads of The Delfonics, Jean-Claude Vannier's vivid arrangements for Serge Gainsbourg, and, of course, the unmistakable flavour of Melbourne's cinematic soul movement à la other Whitlock exploits Surprise Chef and Karate Boogaloo.



'Bath Time' contains ten entrancingly melancholic ballads that earnestly express Whitlock's dramatic indie-soul sensibilities; encompassing the classically introspective nature of the poetic lyricist and the idiosyncratic use of soulful instrumental arrangements. The songs encompass themes of old romantic habits dying hard, familial rifts and unrequited love.



True to his modest vagabond nature, Whitlock has 'released' six Brenda albums to date, each uploaded exclusively to bandcamp, gladly resigning the music to the underground. Whilst he created theses albums in solitude, playing each instrument himself, 'Bath Time' sees Whitlock relinquishes the isolationism of previous works in favour of including his trusted inner circle of friends and collaborators: Surprise Chef's Lachlan Stuckey and Jethro Curtin on guitar and keyboard respectively, Karate Boogaloo's Darvid Thor on bass, and production from Henry Jenkins (Surprise Chef, Karate Boogaloo, Frollen Music Library).

AVAILABLE IN BLACK ICE WITH ORANGE AND BLUE SPLATTER (COK015WW)

Das neue Album "The Passionate Ones" von dem Singer-Songwriter und Produzent Nourished By Time aus Baltimore erscheint auf XL Recordings. "The Passionate Ones", das zwischen Baltimore, London und New York City entstand, beschreibt auf 12 Tracks auch die kaputten Seiten des American Dreams beschreibt. Nourished By Time entstand Ende 2019 in Los Angeles als eine Art Flucht aus dem Alltag. Marcus Brown drohte an der Monotonie seines Tagesjobs zu zerbrechen und suchte nach einem Ausweg. Browns einzigartige Klangwelt ist geprägt von dem musikalischen Erbe seiner Heimatstadt Baltimore, in der Jazz, Punk, Indie, Hip-Hop, Elektronik und R&B in rauer Harmonie aufeinandertreffen. Auf "The Passionate Ones" beschäftigt sich Brown mit Liebe, Arbeit, Existenzialismus, Träumen, Desillusion und Hoffnung durch die Brille der Metamoderne und dokumentiert die amerikanische Geschichte eines Künstlers, der seinen Leidenschaften und Träumen folgt. "The Passionate Ones" folgt seinem gefeierten Debüt. "Erotic Probiotic 2 (Scenic Route)" erschien 2023 und wurde von US-amerikanischen Plattformen wie Pitchfork zu einem der besten Alben des Jahres erklärt, ebenso stand es auf der Jahresendliste von Gorilla vs. Bear ganz oben und wurde von The Guardian, The FADER, Paste und anderen gelobt. Die EP "Catching Chickens" (XL) von 2024 führte Nourished By Time auch in Europ als Künstler ein: Das CRACK Magazine setzte ihn auf sein Cover und kürte "Hell of a Ride" zum Track des Jahres. Der Song tauchte auf den Listen von NPR, Resident Advisor, CLASH, The FACE, Mixmag, UPROXX und Spotify für die besten Songs des Jahres 2024 auf. "The Passionate Ones" erscheint als LP (Schwarz & Crystal), CD und sowie digital.

White LP. Born out of the early 1980's Austin noise punk scene, Scratch Acid deliberately eschewed the loud, fast rules of hardcore as everything they didn't want to be and embraced a weirder, artier sound. Prior to the release of their 1984 debut S/T EP, someone gave Touch and Go Records owner Corey Rusk a cassette of the recording, and he was instantly a huge fan. Rusk was immediately interested in releasing the EP and contacted the band to express his admiration. At the time, Scratch Acid had already committed to working with Rabid Cat Records, who released the band's debut release S/T EP (1984) and their only full-length album, Just Keep Eating (1986). The group quickly developed a riveting performance aesthetic, and, as the debut S/T EP made its way around the country via fanzines, college radio, and word-of-mouth, the band mounted short tours to the Midwest and the East Coast. After playing a total of 146 shows, Scratch Acid broke up after the long tour that followed the release of the Berserker EP (Touch and Go Records, 1987). Since that time, the band have had many imitators, and many alternative bands have cited Scratch Acid as one of their influences.

In 2047, amidst the deafening yet oh-so-familiar soundscape of the Movement Festival in Detroit, we met again: I, pdqb, and Scape One, known as two of the most respected electronic music composers worldwide. The air pulsed not only with the latest beats but also with a barely perceptible energy only the two of us knew. We hadn't simply flown in; we'd arrived with our fantastic "Diskmind" time-travel machine, an incredible invention, capable of effortlessly catapulting us through the centuries.

"It's unbelievable, isn't it?" I shouted over the bass, eyebrows raised. "A machine that lets us travel through all of history, and there isn't a single song that honors it! Not one!"
Scape One nodded vigorously, his gaze sweeping over the stage lights. "That's absurd! How can such a revolutionary invention remain unsung? It's almost an insult to music history itself."
We looked at each other, a silent understanding in our gazes. The mission was clear: The "Diskmind" needed its anthems. And who, if not us, who used and loved it, should create them?

And so, we decided to become the musical chroniclers of the "Diskmind," ready to tell the story of our time machine across four different eras...

For Synaptic Cliffs, it's an extraordinary honor to present these three Scape One variations of the original song 'Diskmind' (first released on The Electrifying Dojo, 2025). Each masterpiece was recorded in different future decades of the 21st century (of ourse with the help of the Diskmind time travel machine) and reflects the corresponding trend in electronic music. A1: A timeless, pristine Electro composition from the year 2035. A2: An IDM marvel from late summer 2075, recorded in the Zero gravity of Space Station 775. B: An Experimental Electronica symphony recorded at pdqb's Studio 577 on Mars Outpost 47A. Only musical equipment that doesn't currently exist was used for this release

Esoteric Warfare is the fifth full-length studio album by Norwegian black metal band Mayhem. It was released by Season of Mist on 6 June 2014 in Europe and Asia, and on 10 June 2014 in North America. It is the band's first album with Teloch on guitar since Blasphemer's departure from the band in 2008. As with the previous album, the lyrics focus less on the classically Satanic themes of the band's early work, instead referring to occult and conspiracy theory concepts such as psychic powers, mind control and alien tampering with human evolution. (For instance, the song "Corpse of Care" appears to be a direct allusion to Bohemian Grove and the Cremation of Care ceremony performed there.)

Laufeys drittes Album, »A Matter of Time«, ist ein wunderschönes Meisterwerk der Introspektion über die Ängste, die das Leben und die Liebe mit sich bringen.

Diese Version enthält eine LP, gepresst auf atemberaubendem Timeless Blue Vinyl, eine 12"-runde Textbeilage, eine Notiz von Laufey (sieben Zoll) und eine Fotohülle.

A1 FORWARD
Was inspired by the revolution of the year of 1988 also referred to as the 2nd summer of love. Revolutions great and small are happening all around us all the time, and they take place in the minds of individuals.

A2 CHARANJIT DRIVE
Describes the revolution i 've got in mind, angelic bass-string harmonic notes flying left and right, Indian-vocals, sudden sped-up dancehall baselines and breaks. Imagine a hippie a homeboy and a funky dread, hugging and dancing and telling their mates how much they love each other in a nice green field while this plays.

B1 HONDA WANDERER
A man in a blue honda civic is traveling through a misty world at a high velocity. Seeking that which is just hiding behind the next bend. I made this after a beautiful misty, raining/sunshine rainbow ride on the autobahn. I had just picked up a cheap mutron bi-phase which was sitting beside me in the passenger seat. It was amazing.

B2 MISTY VALLEY
It's time to get a little bit serious, this one feels like the place where i made all of this music, the village of Ruigoord, covered in a thick winter fog. The remnants of a possible previous reincarnation of myself as an 80s new-beat producer are haunting this music.

all music & artwork by Mozes Meijer, mastering: Wouter Brandenburg, cut: Dubplates & Mastering a&r: Arne Cinema Royale Visser.

"We are Honeypuppy. Your worst nightmare. Sleep tight." Born from the liminal space between the head and pillow of Songwriter Josie Callahan, Athens Georgia's Honeypuppy interrupts your regularly scheduled programming with an exciting and fresh one-time TV offer: a sparkly new album for your listening pleasure. Experience the bliss and despair, anxiety and indifference, and present yet absent-minded glee of this episodic saga in Honeypuppy's glowing new sonic collection, DIRTY TV. A nostalgic and poppy delight complete with twists, turns, and plenty of surprises, don't miss a second of DIRTY TV. Honeypuppy formed in 2020 as Callahan (lead vocals, guitar) recruited friends and roommates Adam Wayton (bass, vocals), and Will Wise (lead guitar) to help bring her songs to life. The group released "Nymphet", their soft and brutal debut EP, in January of 2024.

Blaney describes A Room With A Door That Closes as “a love letter to her blue,” an emotional state that she defines as “a kinetic, intense, and dark energy that needs to be expressed as soon as it is felt.” The eleven songs on the album span radioactive kiss offs, sorrowful meditations on yearning, and gossamer reveries about self image.

The music has a fittingly tumultuous, intricate sound: 1960s soul samples melt into warm drum n bass percussion, blips of glitch ping pong against grating synth, and Blaney’s vocals range from searing punk exclamations to gentle, exploratory croons. It’s the sound of a singer peering deeply within herself and presenting the world with everything she finds, unadulterated, in real time. Blaney produced the new project along with a tight team of three producers: Emerson Fossett, Harlan Steed (Show Me The Body), and Alex Farrar (MJ Lenderman, Wednesday, Squirrel Flower, Snail Mail).

Blaney had just started playing guitar and producing around the time she began writing the songs that would become the album. Being new to both producing and guitar playing opened up a sense of exploration and freedom for her. She felt emboldened to employ more adventurous riffs and unconventional song arrangements when she was writing. A Room With A Door That Closes is a collection of songs that rigorously pursue honesty, that present feelings as they arise without rushing to categorise them or explain them away. In the process of understanding her rage or discomfort, Blaney often lands on a sense of pride and assurance, but that’s never the ultimate goal. She eschews the easy comfort of neat resolution for the excitement of ongoing discovery. The album is an exercise in unfiltered self-expression, and a celebration of life at its messiest.

Timely re issue of an Arthur Russell classic on West End Records that puts his unique avant-garde spin on disco. The success of this track led to Larry Levan remixing the song for club play at Paradise Garage. The song has been remastered from original analog tape for 2014 and repressed in conjunction with the rights holders, Verse Music Group.

Jocelyn Brown should need no introduction at this stage, one of the US's most respected vocalists famed for bringing the gospel edge into contemporary R&B and soul music. Brown was the voice behind the celebrated Disco and Boogie outfit Inner Life, whose 1981 self-titled LP you currently hold in your hands in the form of this luxurious reissue.

Cutting 2 LP's for the label in the early 1980's, Inner Life came
strong with club hit after hit, working with the top producers, mixers, arrangers and studios of the day the group were gaining cult status with their records becoming the taste of the dancefloors at the Garage, the Loft, the Warehouse and everywhere and anywhere else in-between! It's no surprise then, that these records are still coveted by music lovers and DJ's today, classic status bestowed upon this most soulful of catalogues.

A truly essential package for the die-hard Disco aficionado or for those who are exploring this most important movement in dance music for the first time. Curated with the full input and backing of Salsoul Records and carefully repressed across 2x12"s for maximum sonic playback. For listening, for dancing, for turning on a party!

Remastered by Optimum Mastering. Fully authorised and approved by Salsoul Records. Worldwide distribution by Above Board.

2025 Repress


Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel. It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke.
Engineered by Conny Plank it was recorded in March 1971 and released in June 1971 on Ohr Records.

This 50Th Anniversary Album will be Released in Memoriam of all the Musical Contributors to this Release and on Manuel Göttsching´s MG.ART label. It´s the fourth and headlining edition in this series and was finalised, carefully overseen by Manuel Göttsching himself in the late Autumn of 2022.

Much has been written about the record and band.

Having finished a first musical chapter with their Steeple Chase Bluesband and still at very young age of only 17 and 18 years old Manuel Göttsching and Hartmut Enke met Klaus Schulze. Together they started to write and and compose what, to many, became one the holy grails of Psychedelic Rock and early Electronic Music -
the German variant which was later also named "Krautrock":

Ash Ra Tempel´s self-titled first album "Ash Ra Tempel".

"The trio of Klaus Schulze, Manuel Göttsching and Hartmut Enke decided to abandon conventional composition and song writing, in favour of free-form improvising and developing a new musical language. As such, they became notorious for jams that could exceed 30 minutes." Says Discogs. "Some of these recordings can be found on Manuel Göttsching´s "The Private Tapes" releases", which will be re-released on MG.ART as well, following this edition.

"Krautrocksampler" author Julian Cope mentioned it to be "… one of the greatest rock 'n' roll LPs ever made." (Julian Cope Presents Head Heritage | Unsung | Reviews | Ash Ra Tempel - Ash Ra Tempel". 15 March 2000.)

AllMusic called the album "both astonishingly prescient and just flat out good, a logical extension of the space-jam-freakout ethos into rarified realms."

Here we would like the Band to be heard, for what can easily be said as the first time in 50+ years, with the exception of some early Journalists for whom the young Manuel Göttsching wrote a statement of intent (the original text can be found inside this edition) as following:

"Our musical concept is based on a combination of blues rock and delicate collages of electronic sound. These two elements should remain inseparable. And in their complex unity, the different musical philosophies of each musician find a common sweet spot. Our music is a permanently impulsive experience left to develop as it will, starting from a common fixed point of departure. This is where the difficulty of the music begins: No standardized formulation of our music can and should be possible. Only the constant reaction within the band can determine the musical result. And this requires constant listening with full concentration on the part of the creators. The idea of a particular musician will be - if flexible enough - absorbed by the others, transposed to their own instrument, and reflected back into the music as an individual contribution. This reciprocity within the band is then transferred over to the audience. And this process means that their reaction is not only a contribution to the end result; it actually makes them jointly responsible for the creation of the final musical product.
…
On our album, the track "Amboss" represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album - "Traummaschine" - the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin - and the music can be absorbed and processed free from the limitations of categorization. That is the purpose of our music: To convey freedom without any predetermined criteria or traditions.

Thank you for your attention."
(Taken from the original A-R-T Bio 1970)


Hartmut Enke, Manuel Göttsching and Klaus Schulze aka. Ash Ra Tempel travelled to Hamburg in March 1971 to record their debut, with assistance of another Icon, legendary engineer Conny Plank.
The rest is history.

2025 Repress

Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel. It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke.
Engineered by Conny Plank it was recorded in March 1971 and released in June 1971 on Ohr Records.

This 50Th Anniversary Album will be Released in Memoriam of all the Musical Contributors to this Release and on Manuel Göttsching´s MG.ART label. It´s the fourth and headlining edition in this series and was finalised, carefully overseen by Manuel Göttsching himself in the late Autumn of 2022.

Much has been written about the record and band.

Having finished a first musical chapter with their Steeple Chase Bluesband and still at very young age of only 17 and 18 years old Manuel Göttsching and Hartmut Enke met Klaus Schulze. Together they started to write and and compose what, to many, became one the holy grails of Psychedelic Rock and early Electronic Music -
the German variant which was later also named "Krautrock":

Ash Ra Tempel´s self-titled first album "Ash Ra Tempel".

"The trio of Klaus Schulze, Manuel Göttsching and Hartmut Enke decided to abandon conventional composition and song writing, in favour of free-form improvising and developing a new musical language. As such, they became notorious for jams that could exceed 30 minutes." Says Discogs. "Some of these recordings can be found on Manuel Göttsching´s "The Private Tapes" releases", which will be re-released on MG.ART as well, following this edition.

"Krautrocksampler" author Julian Cope mentioned it to be "… one of the greatest rock 'n' roll LPs ever made." (Julian Cope Presents Head Heritage | Unsung | Reviews | Ash Ra Tempel - Ash Ra Tempel". 15 March 2000.)

AllMusic called the album "both astonishingly prescient and just flat out good, a logical extension of the space-jam-freakout ethos into rarified realms."

Here we would like the Band to be heard, for what can easily be said as the first time in 50+ years, with the exception of some early Journalists for whom the young Manuel Göttsching wrote a statement of intent (the original text can be found inside this edition) as following:

"Our musical concept is based on a combination of blues rock and delicate collages of electronic sound. These two elements should remain inseparable. And in their complex unity, the different musical philosophies of each musician find a common sweet spot. Our music is a permanently impulsive experience left to develop as it will, starting from a common fixed point of departure. This is where the difficulty of the music begins: No standardized formulation of our music can and should be possible. Only the constant reaction within the band can determine the musical result. And this requires constant listening with full concentration on the part of the creators. The idea of a particular musician will be - if flexible enough - absorbed by the others, transposed to their own instrument, and reflected back into the music as an individual contribution. This reciprocity within the band is then transferred over to the audience. And this process means that their reaction is not only a contribution to the end result; it actually makes them jointly responsible for the creation of the final musical product.
…
On our album, the track "Amboss" represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album - "Traummaschine" - the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin - and the music can be absorbed and processed free from the limitations of categorization. That is the purpose of our music: To convey freedom without any predetermined criteria or traditions.

Thank you for your attention."
(Taken from the original A-R-T Bio 1970)


Hartmut Enke, Manuel Göttsching and Klaus Schulze aka. Ash Ra Tempel travelled to Hamburg in March 1971 to record their debut, with assistance of another Icon, legendary engineer Conny Plank.
The rest is history.

LP Rouge vinyl, exclusive 24" fold out poster, note from Laufey, and exclusive photo of Laufey

"Songs in the Key of Yikes" ist ein typisches Superchunk-Album: viszeral und zeitlos und verdammt eingängig - ein kathartischer Balsam für diese bedrückenden Zeiten. "Bruised Lung" - "No Hope" - "Care Less" - "Climb the Walls" - "Everybody Dies". Wenn man die Trackliste von "Songs in the Key of Yikes" überfliegt, fragt man sich unweigerlich: Sind Superchunk okay? In einer Welt, die wohl düsterer ist als die, die "Wild Loneliness" (2022) oder "What a Time to Be Alive" (2018) begrüßte, geht es uns da überhaupt noch gut? "Es war schon immer so, dass jeder etwas durchmacht, von dem man vielleicht nichts weiß", bemerkt Mac McCaughan. "Das gilt derzeit mehr denn je - aber es ist auch so, dass wir alle gemeinsam etwas durchmachen. Angesichts dessen, was nützt Kunst und wo findet man Glück? (Spoiler-Alarm: Ich weiß es nicht.)" Auf der Suche nach einer Antwort entfesselt "Songs in the Key of Yikes" einen Sound, der triumphierend und hell in der Dunkelheit ist, "Majesty Shredding" im Overdrive. Die Lead-Single ,Is It Making You Feel Something" gibt früh den Ton an, wobei die Band - McCaughan, Laura Ballance, Jim Wilbur und Laura King - aus dem Potenzial für Freude eine Hymne baut und in schlammverschmutzte Gewässer taucht und mit einer Perle wieder hochkommt. "No Hope" ist ähnlich widerstandsfähig, McCaughans Texte zeichnen ein niederschmetterndes Bild, bevor sie in den titelgebenden Refrain übergehen. Er wiederholt den Satz neun Mal, macht eine Pause und verwandelt die Stimmung vollständig, indem er den Gesang mit der Zeile "and here we are singing" unterbricht. Der Text ist scharf, gleichzeitig eine einfache Beobachtung und eine tiefgründige Aussage über das Sein, die erdrückenden Nächte und endlosen Tage, aber McCaughans Stimme findet eine gewisse Süße darin, durchgehalten zu haben und dies auch weiterhin zu tun. Paradoxerweise grenzt die Energie von "Songs in the Key of Yikes" an Euphorie und bricht manchmal sogar in sie aus, wie in "Stuck in a Dream", das wie eine oasenartige Fata Morgana zwischen "Everybody Dies" und "Train on Fire" auftaucht, ein voller Sprint, der die Menge begeistert und sich zum Pogen im Pit eignet. "Care Less" ist ein düsterer, komischer Spiegel dieser Energie, ein Garage-Jam, in dem ein scharfzüngiger McCaughan Zuflucht vor dem Sturm sucht, indem er so tut, als würde er nicht direkt vor seiner Tür toben. Diese Strategie funktioniert nicht. Natürlich funktioniert sie nicht. Es ist ein Song auf einem Superchunk-Album, und Superchunk-Alben sind Argumente gegen Engstirnigkeit und für Partys, die groß genug sind, um alle zu beherbergen. Dieses Album begrüßt nicht nur Laura King nach zwei Jahren als Tour-Schlagzeugerin in der Band, sondern enthält auch Beiträge von Rosali Middleman ("Bruised Lung" und "Everybody Dies"), Bella Quinlan und Holly Thomas von Quivers ("Cue") und der Tour-Bassistin Betsy Wright ("Care Less"). Das Album wurde von Paul Voran (The Menzingers, Hurray for the Riff Raff) und Eli Webb produziert und von Mike Montgomery (The Breeders, Protomartyr) gemischt. Gemeinsam kommen sie zu keinem Ergebnis darüber, was gute Kunst in Krisenzeiten ausmacht und schaffen gleichzeitig großartige Kunst.

"Songs in the Key of Yikes" ist ein typisches Superchunk-Album: viszeral und zeitlos und verdammt eingängig - ein kathartischer Balsam für diese bedrückenden Zeiten. "Bruised Lung" - "No Hope" - "Care Less" - "Climb the Walls" - "Everybody Dies". Wenn man die Trackliste von "Songs in the Key of Yikes" überfliegt, fragt man sich unweigerlich: Sind Superchunk okay? In einer Welt, die wohl düsterer ist als die, die "Wild Loneliness" (2022) oder "What a Time to Be Alive" (2018) begrüßte, geht es uns da überhaupt noch gut? "Es war schon immer so, dass jeder etwas durchmacht, von dem man vielleicht nichts weiß", bemerkt Mac McCaughan. "Das gilt derzeit mehr denn je - aber es ist auch so, dass wir alle gemeinsam etwas durchmachen. Angesichts dessen, was nützt Kunst und wo findet man Glück? (Spoiler-Alarm: Ich weiß es nicht.)" Auf der Suche nach einer Antwort entfesselt "Songs in the Key of Yikes" einen Sound, der triumphierend und hell in der Dunkelheit ist, "Majesty Shredding" im Overdrive. Die Lead-Single ,Is It Making You Feel Something" gibt früh den Ton an, wobei die Band - McCaughan, Laura Ballance, Jim Wilbur und Laura King - aus dem Potenzial für Freude eine Hymne baut und in schlammverschmutzte Gewässer taucht und mit einer Perle wieder hochkommt. "No Hope" ist ähnlich widerstandsfähig, McCaughans Texte zeichnen ein niederschmetterndes Bild, bevor sie in den titelgebenden Refrain übergehen. Er wiederholt den Satz neun Mal, macht eine Pause und verwandelt die Stimmung vollständig, indem er den Gesang mit der Zeile "and here we are singing" unterbricht. Der Text ist scharf, gleichzeitig eine einfache Beobachtung und eine tiefgründige Aussage über das Sein, die erdrückenden Nächte und endlosen Tage, aber McCaughans Stimme findet eine gewisse Süße darin, durchgehalten zu haben und dies auch weiterhin zu tun. Paradoxerweise grenzt die Energie von "Songs in the Key of Yikes" an Euphorie und bricht manchmal sogar in sie aus, wie in "Stuck in a Dream", das wie eine oasenartige Fata Morgana zwischen "Everybody Dies" und "Train on Fire" auftaucht, ein voller Sprint, der die Menge begeistert und sich zum Pogen im Pit eignet. "Care Less" ist ein düsterer, komischer Spiegel dieser Energie, ein Garage-Jam, in dem ein scharfzüngiger McCaughan Zuflucht vor dem Sturm sucht, indem er so tut, als würde er nicht direkt vor seiner Tür toben. Diese Strategie funktioniert nicht. Natürlich funktioniert sie nicht. Es ist ein Song auf einem Superchunk-Album, und Superchunk-Alben sind Argumente gegen Engstirnigkeit und für Partys, die groß genug sind, um alle zu beherbergen. Dieses Album begrüßt nicht nur Laura King nach zwei Jahren als Tour-Schlagzeugerin in der Band, sondern enthält auch Beiträge von Rosali Middleman ("Bruised Lung" und "Everybody Dies"), Bella Quinlan und Holly Thomas von Quivers ("Cue") und der Tour-Bassistin Betsy Wright ("Care Less"). Das Album wurde von Paul Voran (The Menzingers, Hurray for the Riff Raff) und Eli Webb produziert und von Mike Montgomery (The Breeders, Protomartyr) gemischt. Gemeinsam kommen sie zu keinem Ergebnis darüber, was gute Kunst in Krisenzeiten ausmacht und schaffen gleichzeitig großartige Kunst.

Get ready for a musical journey like no other as Apollo Junction, the dynamic and innovative indie rock sensation, prepares to launch their eagerly awaited new album, ’What In The World’ on August 22nd. The members of Apollo Junction hail from Leeds, UK. Known for their electrifying live performances and genre-blurring sound, the band has captured the hearts of music enthusiasts worldwide.

With a strong and dedicated fan base, Apollo Junction continues to push the boundaries of their craft, creating music that resonates on a profound level. Apollo Junction’s new album ‘What in the World’ has been years in the making - born from highs, lows, countless gigs, and all the chaos in between. It’s the most honest version of the band yet, a record shaped by every late-night argument, every breakthrough, every crazy story they have ever told each other.

Recorded at Chairworks Studio with David Watts (The Reytons, OMD, Paul Heaton, and Kaiser Chiefs) the album also features tracks co-written with Eliot Kennedy (known for his work with Bryan Adams and the Spice Girls) and includes a track with a powerful guest vocal from Brianna Corrigan of The Beautiful South. Lead singer Jamie Williamson explains the importance of the album: “This album feels exactly right for where we are now. Every track is a snapshot—of getting lost, finding our way back, and remembering why we started. It’s about making something that feels like home. We went looking for meaning and realised it was right in front of us: the band, the songs, this record. ‘What in the World’ isn’t just a title—it’s the answer we’ve been chasing all along.” Leeds-based quintet Apollo Junction is made up of Jamie Williamson (singer) Matthew Wilson (guitarist), Ben Hope (bassist), Jonny Thornton (drummer) and Sam Potter (keyboards). Their shared love of live music and dedication to performing, coupled with an incredible hard-work ethic has taken them on this magical journey which has included support slots for Shed Seven, Kaiser Chiefs, Richard Ashcroft and performing at festivals including the prestigious Isle of Wight Festival. Coming up this summer, the lads will be playing with Blossoms, Manic Street Preachers and Doves

James Yorkston vereint auf "Songs for Nina and Johanna" starke Stimmen und große Gefühle inklusive Gast-Features von Nina Persson (The Cardigans) und Johanna Söderberg (First Aid Kit)!

"Songs for Nina and Johanna" ist das neue, einfühlsame Album des schottischen Singer-Songwriters James Yorkston. Das in Stockholm mit Mitgliedern des Second Hand Orchestra aufgenommene Album bringt James Yorkston erneut mit der unverwechselbaren Stimme von Nina Persson (The Cardigans) zusammen, während er zum ersten Mal mit Johanna Söderberg (First Aid Kit) zusammenarbeitet. Beide singen jeweils mehrere Songs gemeinsam mit ihm. Das Album kreist um zutiefst persönliche Themen wie Familie, Liebe und Elternschaft - Motive, die für Yorkston nach über zwanzig Jahren musikalischer Laufbahn mehr denn je im Zentrum seines Schaffens stehen. Die warmen, oft melancholischen Songs leben von feinen Melodien, ehrlichen Texten und einer Intimität, die durch die Stimmen Perssons und Söderbergs noch verstärkt wird. Im Gegensatz zu früheren, eher improvisierten Produktionen folgte die Entstehung dieses Albums einer klaren Struktur. Die intensiven Sessions im Studio Rymden wurden von Produzent Daniel Bengtson begleitet, der ein offenes, kreatives Umfeld schuf.










i b4 I Spooked the Neighbours









[i] b4 | I Spooked the Neighbours

Grey October Sound has gained widespread popularity not only in Japan but also around the world through their series of cover albums, including Lo-fi Ghibli,
a collection of Ghibli film music covers; Lo-fi City Pop, featuring covers of classic and beloved City Pop songs; and Lo-fi Anime, which reimagines popular anime
theme songs in their signature style.

Amid the success of their original compilation series Timeless Lo-fi, they are now launching a brand-new series titled Late Night Lo-fi.
This new album, composed entirely of newly recorded tracks, continues to reflect Grey October Sound’s distinctive style while offering mellow and chill tunes that
evoke the atmosphere of late-night hours, just as the title suggests.

Recorded from late 1996 through early 1997, Hold Onto I.D., The Shadow Ring's fourth album, marks the apogee of the trio's experimental rock epoch - their last record clinging to their factitious bandness before they let all song and structure go awash in sonic malaise for their final run of releases on Swill Radio. The surrealist dreams of City Lights and Put the Music in Its Coffin give way to pseudo-expressionistic lyrics mired in the banality and bleakness of the everyday, set against the backdrop of the Coombe House (as pictured on the album's cover). While Hold Onto I.D. is the group's most overtly autobiographical release to date, Lambkin's lyrics obfuscate his expressionist tendencies filtering them through the codes and languages of officialdom, linking the "inner self" with documents of the state_identification cards, National Insurance numbers, and British passport numbers. Having moved out of their parents' homes and into the top floor of the famed Coombe House, Graham Lambkin and Darren Harris set out to rework material drafted over the previous year, aided by Tim Goss, still safely in residence at the "Valebrook Inn." While the familiar sounds of Harris's deadpan recitation and Lambkin's electric guitar, amateurishly strummed, dominate the album, the emotive interludes of Goss's keyboards populate the record along with of home-cooked tape experiments and dime-store concrète. Originally released on CD and supported by a US tour with friends Scott Foust and Karla Borecky's Idea Fire Company, Hold Onto I.D. is perhaps the band's best-known and most accessible album. (The Shadow Ring's sole representative on a streaming platform, it was once acknowledged by the Guardian as one of "the 101 strangest records on Spotify.") Offered here for the first time on vinyl, Hold Onto I.D. is an essential album for both completists and the uninitiated alike. Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning in 2023 with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions has been conducting a systematic retrospective of the storied group. Wax-Work Echoes and Hold Onto I.D. are the latest releases in a multiyear reissue effort that includes several LPs, a comprehensive CD box set, and a nearly five-hundred-page book.

Originally conceived as a compilation of outtakes and live recordings from The Shadow Ring's 1995 stateside tour, Wax-Work Echoes takes its name from the first line of "Put the Music in Its Coffin," the title track of the group's breakthrough release. Lambkin abandons the bitsand- bobs approach, advancing the Shadow Ring concept with entirely original material that builds on the unit's self-mythologizing lyrics, celebrates the clicking of horse hooves, ponders on the sociability of rats and mice, and warns of the dangers of poultry. The first Shadow Ring album to officially include Tim Goss in the main lineup, Wax- Work Echoes reveals the group in its final and lasting form, awash in the outer bounds of atmospheric exploration, with Lambkin's familiar wry and morbid lyricism and the stripped-down angularity of amateurishly detuned guitars fully intact. While Klaus Canterbury and Tony Clark seem all but forgotten, and the shrugged off S. Fritz is listed on the liner notes as performing only "when required," Lambkin did solicit contributions from outside the inner circle. A bit of "Mambo Twist," lifted from a tape of unreleased Vitamin B12 material sent to Lambkin by Alasdair Willis, found its way into "V.E.R.M.I.N.," while an extended epistle contribution from Richard Youngs (and, technically, Brian Lavelle) would be employed in the second half of "Catching Sight/Of Passing Things." Released on CD in 1996 for Bruce Russell's newly minted Corpus Hermeticum, Wax-Work Echoes was recorded concurrently with intense rehearsal periods, in anticipation of the forthcoming "Rose Watson Tour," and was supported by a celebratory fanzine media blitz. The album seemingly absorbs the frenetic excess of the band's transatlantic travels; Wax-Work Echoes channels the trio's wilder instincts into an unresolved catharsis, not yet free of frustration or restlessness. Out of print for almost three decades and available here for the first time ever on long-playing disc, Wax-Work Echoes is a classic from the outer eddies of The Shadow Ring's sound, a must-have for any aficionado's collection: "A window slides, glass slips from frame / And canvas carcass breathes again." Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning in 2023 with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions has been conducting a systematic retrospective of the storied group. Wax-Work Echoes and Hold Onto I.D. are the latest releases in a multiyear reissue effort that includes several LPs, a comprehensive CD box set, and a nearly five-hundred-page book.

LP comes with 24 page 8.5x11 full color booklet. In the blurred and memorial hallways of bygone time, to remember is to wander between the rooms of our own experiences, to appear and disappear, like a play of overlapping shadows. In music set drifting through the architecture of his own memories, Moses Brown weaves a story that oscillates between the past and the present, like a mason turning over stones to reconstruct his childhood home in this beautiful and disquieting soundtrack to growing up. On Stone Upon Stone, Moses' first solo LP attributed to his given name after several releases under the brilliant and despondent "Peace de Resistance" moniker, he moves sidelong into the realm of soundtracks with this score to the construction of his childhood home in a story spanning 1993-2023. Laid out in lush and provocative minimalist instrumentals, the album unfolds a story about the planning, partial construction, and dissolution of a home in constant state of becoming through the lens of its only child, coming of age under flux. Influenced by the approach of friends and collaborators Straw Man Army's OST to Charles Darwin's Voyage of the Beagle, Stone Upon Stone was originally intended as a soundtrack to a novel of the same name by Wieslaw Mysliwski, an epic set in Poland about a family's construction of a mausoleum. Struck by the story's parallels with his own family's project, he got the idea to complete the work as a personal narrative. Created from layers of different mellotron voices then separated, re-amplified, and recorded as if they were a sitting chamber orchestra, the music eerily blurs the line between human and synthetic, giving way to something akin to a memory with it's blurriness of fact and fiction. In the same spirit of association, this record is certainly influenced by other minimalists working within the confines of "soundtrack", like Philip Glass' North Star and the film work of Michael Nyman. But Brown's soundtrack works within its own peculiar depth of field, living in the listener's imagination, thriving in its own sense of loneliness, aspiration, and confusion that only childhood can evoke. Listeners will feel the entropy of aging in Stone Upon Stone, like a memoir in cascading tones, that sets it apart from so much else in DIY music, and rewards with repeated listens. For Fans of Philip Glass, Kali Malone, Julius Eastman, Mica Levi, Roedelius.

Born out of the early 1980's Austin noise punk scene, Scratch Acid deliberately eschewed the loud, fast rules of hardcore as everything they didn't want to be and embraced a weirder, artier sound. Prior to the release of their 1984 debut S/T EP, someone gave Touch and Go Records owner Corey Rusk a cassette of the recording, and he was instantly a huge fan. Rusk was immediately interested in releasing the EP and contacted the band to express his admiration. At the time, Scratch Acid had already committed to working with Rabid Cat Records. The group quickly developed a riveting performance aesthetic, and, as the debut S/T EP made its way around the country via fanzines, college radio, and word-of-mouth, the band mounted short tours to the Midwest and the East Coast. While he was not able to work with Scratch Acid directly through Touch and Go, Rusk had begun booking shows with Scratch Acid in Detroit, so he could see them live and meet them. A friendship formed, and Touch and Go Records would eventually release the band's second EP, Berserker, in 1987.