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"The making of this album first started as a recollection of music and sound design I've produced over the last couple of years for events and installations - interactive and immersive AV experiences. It was like creating a specific atmosphere for visitors where I'd take them into this sensorial but artificial experience within a very confined spatial domain. This is how the "Climats" concept emerged.

Longer ambient and generative pieces thus found their own space in my repertoire, allowing me to explore more in-depth, non-linear execution with soft, moody and padded textures. Eventually, all this freeform material became available so I could extract parts of it to build more club-centered and straightforward tracks, but nonetheless, the list grew and all this softer-edged, more introspective works were aggregating over time.

At the time of the lockdown, it felt very natural to get back to it and finalize it as a cohesive whole. It was a very healing and a smooth process to work on these. From isolation, I could open this window to thoughts where I made up my very own Science Fiction story while working on the music. I really wanted it to be a one-hour soundtrack experience that I'd listen at home or driving while my mind would travel across all those musical scapes. It was never a formalized script, but the music spoke for itself with themes of anticipation, collapse, utopia, the world as we know it, the near and far future...

Creating the album was quite a sporadic production process that stretched over several years but it all came together and made a lot of sense in the context of the title I chose : TERRAFORM. The narrative of the album simply unfolds from Dawn to Dusk, and the listener navigates through the different climates that each track embodies."

- TENEBRE

Global techno titan Josh Wink returns to his own Ovum Recordings for big new single 'Balls Back', which comes with a remix from Marco Faraone. Philly-born DJ, legendary producer and the man behind many of techno's most iconic cuts, Josh Wink remains as prominent now as he did a quarter of a century ago. That is because of the constant sense of innovation in all he does, as well as his rare understanding of dance floor dynamics and mastery of his studio. Says Josh of his latest track, “Every time I play this people rush over asking 'what is this track that says “get your balls back”?' Its reaction after playing has been amazing and reassuring that it hits hard, works on the floor, and sticks in people's heads.“ He's not wrong: the powerful 'Balls Back' is a spatial, acid-tinged techno stormer that builds and builds until it ultimately explodes in signature Josh Wink fashion. The 303s are saturated in deep processing along with heavy 909 percussion and a ‘slap-you-in-your-face’ vocal sample that will lead to dance floor devastation. The dub version is a raw, stripped down and faster-paced bass jacker that turns up the heat, and a Balls Tool is also included for dexterous DJ deployment. Italian Marco Faraone is a fellow techno heavyweight and one of the scene’s most versatile producers. He has brought his always impactful sounds to labels like Drumcode, Rekids and Etruria Beat. His remix is typically robust: vast, rolling drums power it along while glitchy percussion peels off the groove and the percussion gets ever more wild and heavy. It's a real main room monster. This is no-nonsense techno that perfectly marries form and function into a dynamite package.

Ambient experimental music.
Landscape sound.

Pure project coming with serygraohied sleeve & insert, stickers...

Once again... BIG UP !

Gazelle Twin, Lali Puna, This Mortal Coil, Slow Walkers, Atlas Sound, Bowery Electric, Broadcast Press Release: Snakeskin is an album of visionary electronic dream pop, shapeshifting above ambient and industrial undercurrents. It is moody, unsettling, luminous – the culmination of a decade of collaboration and friendship between Lebanese producer/musician/ engineer Fadi Tabbal and singer-songwriter Julia Sabra from Beirut-based indie trio Postcards. The duo began working on Snakeskin in the aftermath of the August 2020 Beirut port explosion, which killed at least 218 people, injured 7,000, and left over 300,000 people homeless. Indeed, Julia's home was destroyed by the explosion and her partner and bandmate Pascal badly injured. The first song that they wrote together afterwards was 'Roots', which closes out the album and was composed for the Ruptured-curated series The Drone Sessions in the fall of 2020. Snakeskin utilizes tape loops, synthesizers, vocals, and drum machines, combining Julia’s pop-inspired melodies and choral roots (an echo from her religious upbringing) with Fadi’s affinity for minimalism and musique concrète. The album seamlessly incorporates the melancholy electro-pop of 'All The Birds', the quiet menace of 'In Our Garden' (long-lost treasures, ancient lies / another buried paradise), and the beat-driven 'Signs'. The title track sums up their frame of mind, beginning as a lullaby and evolving into a glittering tapestry of distortion and feedback. As the artists write, Snakeskin is a product of "the disappearance of life as we know it, and with it the decay of nature and living creatures. There is no rebirth, no renewal. It’s about what it means to feel at home in such a place." Some tracks were also inspired by events happening in the surrounding region, such as the invasion of Armenia by Azerbaijan and the Palestinian uprising of May 2021 in Sheikh Jarrah - both events shedding light on relationships to home and land across the wider region. That such compelling art can emerge from unceasing tragedy may be the ultimate testament to human resilience and the pursuit of freedom and justice. "The moon speaks in tongues we can't discern / A plastic dove hangs from a cypress branch / Haven't you heard? / Nothing grows here anymore / The air is burnt / Nothing grows..." Highlights: – This is the second volume in the Corrosion Series, a collaborative effort by Beacon Sound and Ruptured, and the sixth collaboration between the two labels. – Fadi used samples of Julia's voice on his fifth solo album Subject to Potential Errors and Distortions (2020, Beacon Sound/Ruptured) – The Tunefork Studios team, led by Fadi, administered the Beirut Musician's Fund after the port explosion, as covered by Pitchfork, NME, and the Financial Times. – Julia's band Postcards released their third full-length album After The Fire, Before The End on Berlin label T3 Records in 2021 and are currently touring Europe. Credits: All music composed, performed and produced by Julia Sabra and Fadi Tabbal between November 2020 and December 2022. Lyrics by Julia Sabra. Drum samples by Pascal Semerdjian. Recorded by Fadi Tabbal, mixed by Sary Moussa and Fadi Tabbal at Tunefork Studios, Beirut. Cover photo by Lujain Jo. Design by Josette 'ZOoz' Khalil. Mastered by Rashad Becker. Bios: Julia Sabra is a Lebanese musician, songwriter and composer. She co-founded acclaimed Lebanese dream-pop outfit Postcards in 2013 and is the band’s multi-instrumentalist, lead singer and lyricist. Postcards have released two EPs (2013, 2015) and three albums (2018, 2020, 2021) and have been regularly touring Europe and the Middle East since 2015. She has been the manager of Tunefork Studios since 2017. Lebanese musician, producer, and sound engineer Fadi Tabbal’s work consist of minimalist pieces ranging from ambient and electronic to drone and contemporary classical. He has released six solo albums and has collaborated with various musicians, artists and filmmakers through the years. Often referred to as “the hardest-working person in Lebanon’s alternative music scene”, Tabbal established Tunefork Studios, a collective of producers, engineers and musicians, which has helped shape Beirut's contemporary music scene since 2006.

For the very first time, ITDR spaceship travels back in time to unearth 4 tracks from 'Genuine' (aka Chris Zippel) finest productions originally released on Ninetysix sounds in 1997. Celebrating the 25th anniversary of this project, 'Nu Ambient Grooves' is the ultimate mindtrip experience for downtempo, IDM and TB-303 lovers.

Limited Pressing.

Invisible City Editions returns with an official repress of a fantastic double-sided private press rarity from 1989 Detroit. Featuring two legendary Inner City alumni Producer/keyboardist Engineer Art Forest and Inner City background vocalist dancer/singer Shawn Pittman. On the A side a lush slow modern soul slow burner “Dreams'' features a deep,spatial throbbing bass line with glistening synths floating underneath cool angelic hypnotic vocals by Ms Pittman.” 'Dreams are only Dreams till you make it real' chants Shawn Pittman and we’re lead down a dazzling maze of mirrors. With “I'm Losing Control (Extended Bass-ment Club Mix)” on the flipside a wild late night warehouse dub remix features sci-fi vocal effects,fostex tape loops and ultra-heavy bass and driving drum machines. Minimal lush soul perfect for early mornings and the post-club world and a wild sci-fi house winner for late night club sessions. An IC fave! Remastered by Brandenberg/The Carvery (Note: we’ve also removed the drum machine going out of sync that was on the original press) Official Repress via Art Forest and his label Wildboy.Essential stuff!

Art Forest is an Electronic Engineer and production wizard from Detroit Michigan. He originally recorded 2 of Inner CItys’ Biggest Hits “Good Life” and “Big Fun” and continues to record to this day. Art Forest still finds and repairs equipment to add to his studio today. He also recorded for Paula Abdul “Straight Up” and Madonnas’ “Justify My Love” Shawn Pittman was a singer and dancer from Detroit who was a good friend of Inner City vocalist Paris Grey. Shawn Pittman sang backing vocals and harmonies on “Good Life” and “Big Fun”.

Eine der besten Black Metal Bands weltweit schickt sich an, nun ihr drittes Album namens 'Bexadde' zu veröffentlichen. Atmosphärischer Post-Black Metal par exellence der erwachsen, melancholisch und eingängig zu gleich klingt und sich schon nach dem ersten Durchlauf in dein Gehirn einfräßt. Präsentiert werden hier 4 hymnenhafte Black Metal Songs mit einer Gesamtspieltzeit von fast 44 Minuten.

- Ein fantastisches Album, das auf der ganz großen Bühne mitspielt
- Toadeater gehören zur Speerspitze des internationalen Black Metals
- Sehr zu empfehlen für Fans von Ultha, Mgla, Unru
- Eigenständiger, klassischer, technisch versierter Black Metal

Blue - also Antony Costa , Duncan James , Lee Ryan
und Simon Webbe -, das ist so ein Name, der einen
automatisch in die Boygroup-Ära transportiert: Sie waren
nicht nur einer der größten und erfolgreichsten Acts jener
Hochphase, sondern vor allem auch einer der besten. Auf
den drei Alben, die ihnen in den Nullerjahren
Spitzenplätze in den Charts (u.a. 3x #1 UK, 1x Top-10
DE) und reichlich Platin bescheren sollten, verschränkten
sie lässigen R&B mit hochauflösender Pop-Perfektion und
emotionalen Balladen, was der im Jahr 2000 gegründeten
Boygroup nicht nur 16 Millionen verkaufte Albumeinheiten
bescherte. Auch zwei BRITs räumten sie ab im
Königreich, wo sie gleich 11 Mal die Topregion der
UK-Singlecharts aufmischen konnten und davon gleich
noch drei Mal die #1 belegten.

Parallel zur Stadiontournee werden Blue im Herbst ihr
sechstes Album Heart & Soul veröffentlichen - ihr erstes
fürs neue Label Tag8 Music/BMG. Der neue Longplayer
unterstreicht und zelebriert all das, was die Band während
ihrer ersten Blütezeit ausmachte, denn er spielt immer
wieder auf die Vergangenheit an, bringt aber auch
kontinuierlich Neues ins Spiel. Ihr Trademark-Sound
schwingt im sorglos-ausgelassenen Titelsong, der von
MNEK (Beyoncé, Little Mix) mitkomponiert wurde,
genauso mit wie in der gefühlvollen Ballade "Magnetic",
bei der die Jungs mal wieder ihr ganzes umwerfendes
Stimmvolumen auspacken dürfen. Mit der Leadsingle
"Haven't Found You Yet" legen Blue einen Instant-Classic
vor, der klanglich eher in Richtung Justin Bieber oder
auch jüngere Coldplay-Hits geht. Man hört, dass sie
unbedingt alles geben wollten für Heart & Soul

Opening with the buzz of a smartphone on vibrate, First Hate’s sophomore album Cotton Candy launches to life with “Someone New,” a synth-driven statement of intent. The Danish duo’s charged songs are rooted in a recognizable universe, but traverse a wide array of genre experiments and pop detours. Cotton Candy follows the quest of its protagonist stumbling through a crumbling world, winning and losing lovers, swinging from extreme highs to hopeless lows. The title alludes to transience and ecstasy, the surge of a sugar rush before nausea sets in, the way cotton candy dissolves into nothingness leaving only sticky fingers. Throughout, the productions glitter with synthetic detail and hypermodern finesse, effervescent but elusive. “Life is a rollercoaster and we’ve ridden the ups and downs.” During the recording sessions, a collage of Copenhagen musicians flowed through the studio. First Hate is a fixture of the city’s creative community, but ultimately exists in their own sphere, carving a niche as parallel universe pop stars, embracing sweet and bitter, risk and reward: “Sometimes the ones who love you most are the ones who hold you back.” Anton and Joakim grew up in Copenhagen and met when they were 15 through common friends on the street where they lived. “I didn’t enjoy being home so I used to stay at my friend Jakob's basement in an old church on Willemoesgade street,” says Wei. “His mom was the priest. She baptized Anton at age eight during his Jesus phase when he demanded a late baptism from his atheist parents. Jakob was friends with Elias who lived up in Anton’s end and they introduced us to each other. One summer my parents finally married after 20 years of dating. Joakim moved in for two weeks and we accidentally trashed the apartment while they were on their honeymoon. Later on Jakob, Elias, and two other friends, Dan and Johan, formed the band Iceage. Watching our friends’ growing success was a catalyst in creating our own project. At that point everybody in our friend group was making punk music, so the most punk thing we could think to do was start a pop duo.” The First Hate catalog comprises more than nine years of work, including their 2017 cult classic, A Prayer For The Unemployed, a collaborative album Dittes Bog, two EPs and several singles. All of the recordings are self-produced, until they are ready to be finished in the studio. “We have sort of a twin alliance. Like couples finishing each other’s spaghetti at restaurants, we finish each other’s music. Having people enter this sacred mix has been such a pleasure.” On stage Anton and Joakim embody the contrasting yet complimentary energies of yin and yang: Joakim pushing buttons, steering the ship, working synths and samplers with harmonious calm, while Anton’s body bullets around the stage, pounding out his kinetic dance moves. The name Anton means fragile flower, an apt metaphor for his stage presence. A fragile flower shooting through concrete. To behold a performer who consistently delivers such intense live performances is a rare pleasure. “Live means love. When everything is right. When we meet the audience heart to heart. Then the planet spins even faster.” First Hate has performed over a hundred shows across Europe, Asia, the U.S., and Russia, both as headliners and alongside fellow Copenhagen acts Iceage, Lust For Youth, Communions, Soho Rezanejad, Trentemøller and Grand Prix. “We are on a quest of love, yes it’s as cheesy as that.”

Auf seinem dritten Album Stellar Drifting präsentiert George FitzGerald ein Album voller Staunen und Emotionen, voller glitzernder Melodien und schillernder Elektronik. Das Album ist ein echter Fortschritt in Bezug auf Umfang und Komposition und gilt als eines der größten Werke unserer Zeit im Bereich der atmosphärischen elektronischen Musik, das mit den Füßen auf dem Dancefloor steht, aber mit dem Herzen 1000 Meilen über der Erde selbst.

Stellar Drifting ist FitzGeralds Interpretation des Klangs völliger Freiheit, in der er das Bedürfnis anspricht, sich mit seiner inneren Welt zu konfrontieren und dem Gefühl der Begrenzung zu entkommen. Um dieses Gefühl des grenzenlosen Lebens zu erforschen, hat sich FitzGerald vom Weltraum inspirieren lassen und die Bausteine des Albums aus Weltraumbildern und Audioaufnahmen von Raumsonden zusammengesetzt. Auf dem Album sind auch einige der faszinierendsten Künstler und Songschreiber der Welt vertreten. Die für den Mercury nominierte irische Band SOAK leiht "Rainbows and Dreams" ihre Stimme, Animal Collective-Aushängeschild Panda Bear verleiht "Passed Tense" einen poetischen Schwung und London Grammar revanchiert sich mit "The Last Transmission" für FitzGeralds Arbeit an ihrem britischen #1-Album Californian Soil. George FitzGerald ist seit über einem Jahrzehnt eine herausragende Figur der elektronischen Musik, die mit einem Bein im Underground und mit dem anderen im Mainstream steht. Er war an der Spitze der britischen Szene, als er bei Londons kultigem Black Market Records arbeitete, und verbrachte dann ein Jahrzehnt in Berlin, wo er auf renommierten Labels wie Aus und Hotflush Recordings veröffentlichte, bevor er bei Domino unterschrieb und sich vom Club-Produzenten zum Albumkünstler wandelte. Es folgten zwei von der Kritik gefeierte Alben, Fading Love (2015) und All That Must Be (2018), auf denen er mit Künstlern wie Bonobo und Tracey Thorn zusammenarbeitete und seinen Sound zu einem atmosphärischen und weltweiten Status erhob.

Das erste Ströme Album “Ströme Nr. 2” ist ein charaktervolles, wunderbar warmsensitives und dennoch energetisches Werk. Ein Hauptohrenmerk ist der ultra rare und sagenumwobene Moog IIIp Modular Synthesizer Sound. (Näheres über den einzigartigen Moog IIIp ist weiter unten im Text zu entnehmen, inclusive Fotos in der 2x LP). Darüber hinaus spielt und featured Ströme noch andere analoge Synthesizer u.a. das Modular A100 System von Doepfer. Der A100 steht auch im Mittelpunkt bei den Live Auftritten von Ströme.

Das Album birgt Clubtracks („Trang & Flinky” / “Panta Rhei”), aber auch entspannend ruhige und spacige Nummern („Wasser” / ”Niki”). “Das Modul” oder “Isolde” (mit dem Schauspieler Anton Weil aka Anton Zucker), überzeugen mit einer Portion Pop. Hinzu kommen noch einige krautige, an die 60er / 70er angelehnte Songs, die Ströme (Mario Schönhofer and Tobias Weber) in sehr fruchtbarer Zusammenarbeit mit Nick McCarthy (Franz Ferdinand) aufgenommen haben - “Right Now”, “Das Modul” und das wunderschöne “Stadlberg”.

After Dinner’s Paradise of Replica is a concise nugget of tomfoolery that occupies a whimsical no man’s land between art pop, Japanese folk music and full-assed Art Zoydian avant proggery. Gentle, arcane and covertly sweeping, it typifies that friendly strain of experimentalism that Eastern music seems so predisposed towards and which curious minds find such great delight in.

Assembled by the enigmatic chanteuse and composer known simply as Haco, After Dinner was less a band and more of a loose art collective that utilized a plurality of different musical disciplines stapled together through free improvisation sessions. And some of this does come through on Paradise of Replica—the record is a scrapbook of bells, strings and koto humming under Haco’s ethereal vocals, and the effect, while perfectly tuneful, does come off more as a musical project than a conventional album.

But Paradise of Replica is far from an impenetrable scholastic endeavor—in fact, there’s something of an Elephant 6-like quality in its ability to warp conventions while still coming off more or less like pop music. Counter to the ramshackle hostility of much improvised music, After Dinner’s choices are melodious and feel deliberately sequenced. Even crescendos don’t tend to rise above a murmur, and there are even apparent hooks on tracks like “A Walnut” and “Ironclad Mermaid.”

Ultimately, there’s not much to be said about Paradise of Replica that can elucidate more than actually hearing it will be able to. Proggy, playful and lush, it’s a brief glimpse into something in the vicinity of genius, and just outside the realm of commercial music. It’s a quietly bold project that shows a softer side of the avant-garde, and makes a perfect companion to Stereolab and Magma at once.

Option Explore, Dylan Moon’s second full-length album, is a glassy-eyed survey of pop’s playing field both past and present, and a collection of clever, colorful songs filtered through frequencies, timbres, and dreams discovered and discarded while its maker shifts from one sub-genre to the next.

Option Explore signals a significant departure from Moon’s debut 2019 album Only the Blue s, which at its heart is a folk record from the forlorn fringes of psychedelia: a little mysterious, but ultimately lucid in its internal logic and generous with standalone, but sing- along, songs. Dylan’s 2020 EP Oh No Oh No Oh No suggested both a shift in his writing and listening habits, culminating with the 2021 compilation Moon’s Toons Vol. 1. On Option Explore, Moon willfully spins multitudes. With a careful study of synthpop, a penchant for warped yet unwavering guitar grooves, and an effortless songwriting ability, he leans into unlikely convergences, and arrives at something deeply futuristic in its disregard for genre sanctity.

A guiding principle for Option Explore was the “explore/exploit trade-off” concept, a behavioral mechanism of foraging (“the choice between exploiting a familiar option for a known reward and exploring unfamiliar options for unknown rewards”) which has been employed within computational neuroscience and psychiatry. Moon uses exploratory foraging as a manifesto for song construction: music without end, without limit. Many of these songs avoid conclusive compositional conventions, and sound more like turning a radio dial than pressing preset play. Tracks begin at what feels like a midpoint and fade out with little warning, adding to the sensation of sonic melt.

Option Explore, Dylan Moon’s second full-length album, is a glassy-eyed survey of pop’s playing field both past and present, and a collection of clever, colorful songs filtered through frequencies, timbres, and dreams discovered and discarded while its maker shifts from one sub-genre to the next.

Option Explore signals a significant departure from Moon’s debut 2019 album Only the Blue s, which at its heart is a folk record from the forlorn fringes of psychedelia: a little mysterious, but ultimately lucid in its internal logic and generous with standalone, but sing- along, songs. Dylan’s 2020 EP Oh No Oh No Oh No suggested both a shift in his writing and listening habits, culminating with the 2021 compilation Moon’s Toons Vol. 1. On Option Explore, Moon willfully spins multitudes. With a careful study of synthpop, a penchant for warped yet unwavering guitar grooves, and an effortless songwriting ability, he leans into unlikely convergences, and arrives at something deeply futuristic in its disregard for genre sanctity.

A guiding principle for Option Explore was the “explore/exploit trade-off” concept, a behavioral mechanism of foraging (“the choice between exploiting a familiar option for a known reward and exploring unfamiliar options for unknown rewards”) which has been employed within computational neuroscience and psychiatry. Moon uses exploratory foraging as a manifesto for song construction: music without end, without limit. Many of these songs avoid conclusive compositional conventions, and sound more like turning a radio dial than pressing preset play. Tracks begin at what feels like a midpoint and fade out with little warning, adding to the sensation of sonic melt.

UK-based producer Yak is one of the strongest talents in percussive, bass-heavy club music. His debut record Mido, which appeared on Version in 2017, remains an ultimate DJ weapon (Hard Wax) up until this day and is still tearing up clubs and festivals everywhere. After releases on Martyn's 3024 and the es-teemed R&S label, Yak delivers his third record (vinyl & digital) on Version, Balmora Blue/Swex.
This is a proper double A-sider that will surely get your dance bubbling. Swex and Balmora Blue are future rave anthems coming with earth-shattering sub, warm, elevating synths - and the trademark Yak drums to resurrect a dead soundboy's nana. Both tracks range around 120 bpm, but will sound as crisp at high-er/slower pitch or rpm too, making them versatile tools in every DJ's chest. Another essential bit from Yak and Version. Played by Vladimir Ivkovic, Moxy, Madam X, Or:la & Breaka.

Japanese born Shoko Igarashi's debut album Simple Sentences is a record that, not unlike a piece of luggage checking in from city to city, has managed to absorb vital influences from each place it has landed. Shoko grew up in rural Japan, she studied in the US and is currently
living in the most quintessential European city, Brussels.

Shining in its diversity, Simple Sentences carries elements from each one of those stops in her life.

The influences from Far East are more than evident and funnily enough, even unconscious, which makes them integrate in a beguiling childish and naive way that adds even more to the originality of the sound. Take for Example the lead track ’AppleBanana’ - Echoes of Chiemi Manabe, Hosono and even overtones of Akiko Yano are all seamlessly there. 'Sand Dungeon' is a little gem reminiscent of Yellow Magic Orchestra at the heights of their powers and the aptly titled 'Anime Song' could be an unreleased track from Testpattern’s infamous and sought after LP. 'Lovely Song' in its electronic pastoral vibe could have been produced by Seigen Ono, but is entirely the work of Shoko's expansive creative world.
'CASH OK' harks back to New York’s 90’s Jazz Street scene, paying tribute to her Brooklyn live gigs, and album closer 'Tsuki No Yama' goes back to her roots with a meditative folk sound quite different from the rounded pop edges that the rest of her album carries.

Simple Sentences is like its title implies: straightforward in its brilliance and simplicity, yet carefully measured with a maturity that almost makes us wonder - how did Shoko manage to absorb all these influences and bring them together into a vibrant sound collage which ultimately is fresh and timeless.

300 transparent green vinyl 12” albums / 400 black vinyl 12”. In their relatively brief lifetime, between 1996 and 2002, Hefner enjoyed an incredibly productive four-album, multi-EP career. Their beautiful, concise, intelligent songs earned a fiercely loyal, cult audience and the long-term support of legendary DJ John Peel, for whom they recorded innumerable sessions. Originally released in 2001, their final album, Dead Media, found Hefner reaching out and taking risks. Keen to break free of their indie-folk roots, they cocooned themselves in a home studio with broken analogue synthesizers, antique drum machines and battery-powered amplifiers. The band’s naivety and guile produced some curiously engaging music, with frontman Darren Hayman’s precise, economic, poetic dissections of quotidian romance draped over awkward, fuzzy beats: something like Cat Stevens covering Warm Leatherette. Dead Media caused confusion at the time and ultimately lead to the band’s break up. However, the songs like ‘Junk’, ‘The Night’s Are Long’ and ‘When The Angels Play Their Drum Machines’ are among Hayman’s most adult and affecting essays and stand out among the finest of Hefner’s achievements. Tracks: 1 Dead Media 2 Trouble Kid 3 Junk 4 When The Angels Play Their Drum Machines 5 Union Chapel Day 6 China Crisis 7 Alan Bean 8 Peppermint Taste 9 The Mangle 10 The King Of Summer 11 The Nights Are Long 12 Treacle 13 Half A Life 14 Waking Up To You 15 Home

300 transparent green vinyl 12” albums / 400 black vinyl 12”. In their relatively brief lifetime, between 1996 and 2002, Hefner enjoyed an incredibly productive four-album, multi-EP career. Their beautiful, concise, intelligent songs earned a fiercely loyal, cult audience and the long-term support of legendary DJ John Peel, for whom they recorded innumerable sessions. Originally released in 2001, their final album, Dead Media, found Hefner reaching out and taking risks. Keen to break free of their indie-folk roots, they cocooned themselves in a home studio with broken analogue synthesizers, antique drum machines and battery-powered amplifiers. The band’s naivety and guile produced some curiously engaging music, with frontman Darren Hayman’s precise, economic, poetic dissections of quotidian romance draped over awkward, fuzzy beats: something like Cat Stevens covering Warm Leatherette. Dead Media caused confusion at the time and ultimately lead to the band’s break up. However, the songs like ‘Junk’, ‘The Night’s Are Long’ and ‘When The Angels Play Their Drum Machines’ are among Hayman’s most adult and affecting essays and stand out among the finest of Hefner’s achievements. Tracks: 1 Dead Media 2 Trouble Kid 3 Junk 4 When The Angels Play Their Drum Machines 5 Union Chapel Day 6 China Crisis 7 Alan Bean 8 Peppermint Taste 9 The Mangle 10 The King Of Summer 11 The Nights Are Long 12 Treacle 13 Half A Life 14 Waking Up To You 15 Home

THE CLASSIC SLAB OF PURE 80's DOOM METAL FROM THE SWEDISH
LEGENDS – PRESENTED ON SINGLE BLACK VINYL
Candlemass was formed by bassist & songwriter Leif Edling in Stockholm,
Sweden in 1984 & is well known for its epic doom metal, having a great influence
over a generation of the genre's subsequent greats such as Paradise Lost & My
Dying Bride - Candlemass themselves taking a large influence from Black
Sabbath.
'Ancient Dreams' was Candlemass' third album, released in 1988 & it featured a
natural progression of slow- mid tempo epic arrangements from their previous
release, 'Nightfall' - perhaps even more distinction between slow & faster parts -
with the unique tones & unmistakable voice of Messiah Marcolin still dominating
proceedings on this pure doom metal classic.
With a perfect balance between melody & sheer heaviness, it is still debatable as
to whether this is the ultimate Candlemass & therefore greatest doom metal
album of all time, with some giving this title preference over the seminal 'Nightfall'
album.
'Ancient Dreams' was produced by Leif Edling & Candlemass & was recorded at
Stockholm Recording studios in 1988. This edition of 'Ancient Dreams' is
presented on single black vinyl, featuring the original cover art.

‘Cupid & Psyche 85’: Originally released in 1985, includes sleeve notes written by Green Gartside and David Gamson.

From a bedsit in London to New York recording studios… Alternative acclaim to mainstream adulation… Indie label hopefuls to major signings… Despite the series of radical shifts that underpinned its creation, Scritti Politti's second album, ‘Cupid & Psyche 85’, achieved the virtually impossible. While everything was scaled up - the ambition, the sound, the audience - the singular artistic vision that drove the group not only remained intact and undiluted in these bigger surroundings but became more inventive, more adventurous and, ultimately, more beloved. Introduced to pianist and programmer David Gamson while making of the band's debut album ‘Songs To Remember’, Green Gartside realised he had found a creative foil to help him achieve the ambitions he had for Scritti Politti Partially recorded in New York, with several tracks produced by Arif Mardin (who had worked on Aretha Franklin’s ‘I Say A Little Prayer’, a track Green beautifully commemorates on this record) and partially in the UK, with Green and Gamson directly overseeing the process, ‘Cupid & Psyche 85’ is infused shimmering synths and the heat of classic funk.

Yet weaved together by Green’s intoxicating melodies, it is also embroidered with ideas from philosophical writings, while taking cues from myths and fables.

Mid-summer, 2021, Waleed quietly released his debut single 'Se Rompen'. The response was anything but, with the track immediately taking hold as a sleeper hit that summer, being played out by the likes of Four Tet, Floating Points, Daphni, DJ Boring, DJ Seinfeld, Tourist and more. With word already spreading, an inclusion in Ben UFO's winter Essential Mix solidified the desire for more from this surprising new producer.

Last month, Waleed announced his signing to City Slang (Caribou, Gold Panda) with a re-release of 'Se Rompen', offering the track on ultra-rare test pressings (50 / sold out already) for the first time.

Today, we announce the pre-order of a white label 12” with “Se Rompen” and his new single “SuenÞos”, limited to 300 units worldwide.

Born in Washington DC to Iraqi/Puerto Rican parents, Waleed works in coding by day. Built around ready-made for the dancefloor kick and chopped vocals, 'Se Rompen' is an ambitious debut that showcases his focus on sound design. Waleed’s meshing of cultures and references gives 'Se Rompen' a unique perspective on dance music. At once melancholic and high energy.

“A beautiful euphoric/melancholy fusion of cut-up vocals, soft electronics and two-step beats.” The Guardian

“Highly refreshing, 'Se Rompen' has a rare immediacy, a feeling that it has always been a part of your life." Clash

Stemming from a great legacy of poetry, Quintal de Clorofila was a duo from the south of Brazil composed by two musician brothers, Dimitri and Negendre Arbo, who turned their dad's poetry into music. In the album O Mistério dos Quintais, the two brothers presented a Brazilian Hippie Folk full of psychedelic touches a times with flanger effects, reverb and synthesizers, a times totally raw with medieval melodies, flutes and strings. The record goes with the original artwork, insert with lyrics plus unreleased photos including the one of the debut album O Mistério dos Quintais featuring the bird (a canary) that sang on stage with its own microphone. O Mistério dos Quintais was released originally in 1983 via a some sort of crowdfunding, before the term itself and even the existence of internet. Supporters who invested in the project had their names in the acknowledgements on the first edition insert. Given the fact that it was released independently, the purity and innocence of the Arbo brothers came to light and set them free to grace the listeners with sounds of nature, mysticism, influences from the Peru Andes and even some madness such as taking the family's bird (that was used to singing along with the brothers at their rehearsals at home) to then record in the studio. When the record was ready, the band realized that the record RPM was wrong. The songs were a bit faster, slightly 1/2 a pitch higher. However, it was too late, nothing else could've been done. Because they were a small band, the manufacturing plant refused to repress the records and they had to endure this. Almost 40 years later, Fatiado Discos present the first version of O Mistério dos Quintais in its original rotation speed, the right one.

Formed in 1996, Goatsnake was an ultra-heavy, blues-doom powerhouse consisting of guitarist Greg Anderson (Engine Kid), vocalist Pete Stahl (Scream, Wool) and the mega rhythm section of Greg Rogers (drums), Guy Pinhas (bass) from underground heavy legends The Obsessed. The band’s tenure has ebbed and flowed for over two decades, leaving behind a legacy of legendary live shows and classic albums and EP’s.

VERY LIMITED QUANTITY OF BLACK VINYL FOR UK.

Goatsnake’s classic debut album— appropriately entitled 1 (one)— was originally released by Man's Ruin Records in 1999 on CD and LP formats. The album featured 8 songs that gracefully combined monolithic, Sabbath-y riffs with soulful vocals to create a monumental introduction to the band, and a style that would be influential for years to come.

Eleventh album from the Juno-nominated Burlington, ON post-hardcore and emo band that has sold 1.2M+ albums worldwide. Produced by Sam Guaiana The Devil Wears Prada, Between You & Me, Like Pacific. The lead single “It’s Over” streamed upon release on NME [“return to emo roots coupled with a post-hardcore edge…intense melodies”]. Further praise from HM Magazine, Loudwire, Rock Sound. Eight of Silverstein’s albums have charted in the United States, including A Beautiful Place to Drown [2020, #5 Billboard “Hard Rock Albums” “#7 “Alternative Albums”], which was nominated for “Rock Album of the Year” at the Juno Awards]. They’ve toured with Good Charlotte, Blessthefall, August Burns Red, Silent Planet, Four Year Strong. They toured the United States and Canada this autumn with support from The Plot in You and Can’t Swim, and they’ll be back on the road in the United States this spring with The Devil Wears Prada. Released independently via Australia's leading heavy music label UNFD.

Eleventh album from the Juno-nominated Burlington, ON post-hardcore and emo band that has sold 1.2M+ albums worldwide. Produced by Sam Guaiana The Devil Wears Prada, Between You & Me, Like Pacific. The lead single “It’s Over” streamed upon release on NME “return to emo roots coupled with a post-hardcore edge…intense melodies”. Further praise from HM Magazine, Loudwire, Rock Sound. Eight of Silverstein’s albums have charted in the United States, including A Beautiful Place to Drown [2020, #5 Billboard “Hard Rock Albums” “#7 “Alternative Albums”], which was nominated for “Rock Album of the Year” at the Juno Awards]. They’ve toured with Good Charlotte, Blessthefall, August Burns Red, Silent Planet, Four Year Strong. They toured the United States and Canada this autumn with support from The Plot in You and Can’t Swim, and they’ll be back on the road in the United States this spring with The Devil Wears Prada. Released independently via Australia's leading heavy music label UNFD.

Limited 10" in special tip on sleeve. With influences including Kamaal Williams, Roy Ayers, The Breathing Effect, STUFF. and Black Midi, their sound is rich in texture and depth with an underlying, undeniable groove throughout.

180 GRAM AUDIOPHILE VINYL
• GATEFOLD SLEEVE
• INCLUDING INSERT WITH LINER NOTES
• HIGH RESOLUTION AUDIO MASTER, CUT ON 45 RPM
• GRAMMY AWARD NOMINEE, THREE-TIME ECHO AWARD
NOMINEE, THEODORE PRESSER AWARD RECIPIENT JAZZ MUSICIAN THEO CROKER
• FEATURING ARI LENNOX, GARY BARTZ, CHARLOTTE
DOS SANTOS, MALAYA, IMAN OMARI, KASSA OVERALL &
WYCLEF JEAN
• LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED
COPIES ON TURQUOISE COLOURED VINYL

Every trip needs a guide. Through the trumpet, the Grammy Award-nominated artist, producer, composer, tought leader, influencer and tastemaker Theo Croker narrates a human story rooted in intimate experience, yet cognizant of cosmic consciousness. This journey unfolds in technicolor on his sixth full-length offering, BLK2LIFE || A FUTURE PAST.

“BLK2LIFE || A FUTURE PAST is meant to be a deeply impactful, personal experience for the listener. One that you can also dance to - it is Black music after all,” Croker says.

BLK2LIFE || A FUTURE PAST consists of 13 tracks and is inspired by the forgotten hero’s journey towards self-actualization within the universal origins of blackness. It’s a sonic celebration of Afro-origin, and ultimately a reclamation of the culture, for the culture. Joining Croker on the album are Ari Lennox, Charlotte Dos Santos, Gary Bartz, Iman Omari, Kassa Overall, Malaya, and Wyclef Jean.

BLK2LIFE || A FUTURE PAST is cut on 45 RPM with a high resolution audio master. The album is available as a limited edition of 750 individually numbered copies on turquoise coloured vinyl, housed in a gatefold sleeve.

Moroccan Jajouka master Bachir Attar meets American experimental musician Elliot Shrap for a live jam of drum machines and traditional Moroccan instruments in 1990. Bachir Attar's Career spans five decades and represents the transcendental sounds of Jajouka, a small Moroccan village situated between Fes and Tangier, known for its unique mystical sound. Fans include William Burroughs and The Rolling Stones with which Bachir recorded with in 1989. A year later Attar collaborated with the prolific avant-garde jazz musician Elliot Sharp on this very Album. Both Sharp and Attar have dedicated their careers to exploring the meeting points between east and west and this album is a unique example of two brilliant minds creating a new, ultra trippy sonic experience. This release is the first collaboration between Fortuna Records and our friends Dikraphone Records out of Morocco, serious unearthers of lost Moroccan music. Look out for more Dikraphone-Fortuna collaborations in the future!

Following the relaunch of his Breakbeat Kaos label with Dancing In The Dark alongside Buunshin, DJ Fresh drops the full ‘Dancing In The Dark’ vinyl package, including a very special A.M.C remix of Heavyweight.

Over 20 years since he set the D&B world alight with his Bad Company crew, DJ Fresh is returning to his roots, relaunching Breakbeat Kaos with heavy-hitting, raw and undiluted D&B designed to destroy the dancefloor.

One of the most respected D&B labels of all time, Breakbeat Kaos helped launch the careers of Pendulum, Sigma, Chase & Status, Nero and the Brookes Brothers. Now the label is set to make a legendary impact once more. It relaunched with a fresh look and team that encapsulates the same core values as before, guiding the label back into the pole position that originally placed D&B on the mainstream map, whilst nurturing and showcasing new music from exciting and emerging talent.

Having returned to the world of gritty D&B, his first release back on Breakbeat Kaos saw Fresh team up with rising producer Buunshin for the ‘Dancing In The Dark’ single that landed no.1 on the D&B Beatport Chart and no.4 on the overall Beatport Top 100.

The love from the scene was overwhelming with Radio 1’s Drum & Bass show host René LaVice making Dancing In The Dark his Track of the Week and everyone from UKF, A.M.C, Andy C, Pendulum, Wilkinson, Mollie Collins, The Prototypes, Doctor P, N-Type, TC, Sub Focus and so many more reaching out with support and excitement about the return of DJ Fresh and Breakbeat Kaos.

‘Dancing In The Dark’ marked a skyrocketing new beginning for the label and is set to continue the impressive relaunch with the Vinyl package ready to be unleashed. Including legendary producer A.M.C steps up for a remix of Fresh’s D&B iconic anthem Heavyweight. Three-times Best DJ winner in the Drum&BassArena Awards and renowned for his razor-sharp, four-deck performances, A.M.C is part of the last generation of DJs to graduate from original dubplate culture. So, there is no one better suited to update one of the biggest D&B anthems ever made. A.M.C delivers the ultimate rework with playful jungle breaks and bass-face ready drops set to cause damage on packed dancefloors.

Dream Like A Dogwood Wild Boy is Binker Golding's sophomore album under his own name and represents a sonic evolution, bringing a distinct blend of electric blues and country to his jazz core. The album is a personal and ultimately uplifting reflection on the trials and tribulations of the journey to manhood. Binker Golding is one of the leading artists of the London jazz scene, having collaborated with the likes of Moses Boyd, Zara McFarlane, Emma Jean-Thakray, Evan Parker and Sarathy Korwar. A virtuosic and busy musician, composer, arranger and educator, Golding tutors at the unrivalled Tomorrow's Warriors organisation, has conducted the Nu Civilisation Orchestra, and has released albums that stretch between free jazz, 70s fusion jazz, and experimental electronic, proving himself always unpredictably ahead of the curve.

ULTRA RARE album reissue for the first time Worldwide.

Fantastic Proto-Zouk from Georges and Pierre-Edouard Decimus

NSI (New sound From the Islands) is a concept launched by the Decimus family, and the album was released at the end of 1981, at the same time as Kassav's Album "N'4" with the singer Jocelyn Moka.

Under exclusive license George Decimus

repressed !

Surfing on the shores of Java and Casablanca! 2 unexpected tales from the Beat generation.

Tony Turpijn and his Evergreens fulfill the dream of every pantropical music lover with a silky instrumental rhythm ’n blues take on the Sundanese love song “Es Lilin” (Ice Lolly). Link Wray meets Mulatu Astatke meets Oslan Husein in Rotterdam, 1965.

Obscure formation Les Jaguar’s de Casablanca beat the Shadows with a boss version of the surf classic “Gonzales”. The band consists of a French/Spanish guitar section and a Moroccan rhythm section featuring the eccentric drummer/percussionist Jauk Armal, the “Okay Temiz from Casablanca”. “Gonzales” is originally recorded in 1962 and released by “La Voix Du Maghreb” in Morocco on an ultra collectible EP, which is now impossible to find.

Of the many great talents of the classic Nigerian highlife scene, none contained the existential depth, transcendence and grace of Celestine Ukwu. During his brief time in this world, he pursued education, music, and philosophy; first as a school teacher, then ultimately a singer, lyricist and musician, first as a member of Gentleman Mike Ejeagha's Premier Dance Band, and eventually fronting his own groups, The Music Royals and The Philosophers National. Beginning in the early 1970s, The Philosophers National established a radical shift in the possibilities of Nigerian highlife by moving away from the typical mid-century style and cutting a new path with a distinctly hypnotic and cerebral atmosphere. This sense of depth was apparent in the lilting, multi-layered and pulsing music of The Philosophers National, as well as the concise and clear-eyed lyrics sung so beautifully by Celestine Ukwu. The arrangements establish a living, breathing environment for each song; muted trumpet solos, hypnotic guitar runs, driving percussion; every instrument gracefully following a tide of patience, tranquility, wonder, climax, knowing and unknowing. "Celestine ditched the jaunty dance rhythms and relatively facile lyrics typical of the reigning highlife tunes, and ignoring the soul music tropes most of the highlife bandleaders were appropriating in an effort to inject new life to their ailing format. Instead Celestine concocted a new highlife style that was more contemplative and lumbering; with the layering of Afro-Cuban ostinato basslines and repetitive rhythm patterns that interlocked to create an effect that was hypnotic, virtually transcendental. Meanwhile, Celestine himself sang as he stood coolly onstage in a black turtleneck and a sportscoat, looking like a university professor. The message was clear: this was not necessarily music for dancing_even though the rhythms were compelling enough. This was music for the thinkers." - Uchenna Ikonne This LP compiles some of Celestine Ukwu's deepest and most affecting songs from the 1970s, which have been gorgeously restored and remastered by Tim Stollenwerk to highlight the brilliant details of Celestine and the entire Philosopher's National. Pressed on 160 gram black vinyl at Smashed Plastic in Chicago, and comes in heavy 3 spot-color jacket, with fold-over insert with bilingual lyrics and notes by Uchenna Ikonne (Comb & Razor Sound).

Hailing from Ancaster, Ontario, Carl Didur has been an enigmatic fixture of Toronto’s underground music community for close to two decades. Originally traversing the Golden Horseshoe with The Battleship, Ethel, a band which sprung from his first outfit CEDRUMATIC, Didur soon moved to Toronto. Throughout the mid-2000’s he could be spotted playing his trademark ace-tone organ as a member of No Dynamics and Rozasia in the city’s crammed rogue venues, such as The Bagel and the infamous and transient Extermination Music Night. During these years The Battleship, Ethel continued to tour, often performing as backup band for Damo Suzuki, while at other shows inviting Dave Byers (Simply Saucer) and Bob Bryden (Spirit Of Christmas) to perform alongside the band. Perhaps the most enduring legacy of "The Battleship, Ethel", which dissolved in 2009, is that it laid the creative foundation for Carl and bandmate Michael McLean's next project, the prolific, studio focused, Zacht Automaat. As Zacht Automaat released music at a frantic pace, Carl continued to collaborate with members of a tight-knit group of Toronto’s downtown scene including touring with U.S. Girls and Slim Twig, performing and recording with Colin Fisher as Fake Humans, guesting on Absolutely Free’s Currency EP and producing New Fries’ most recent album The Idea of Us. Throughout the last decade Didur’s purely solo output has served to document his unimpeachably singular approach to music making. I Cannot See You Too Well (2011), Nothing is the Secret to Anything (2014) and Is It Yesterday? (2020) all released on cassette were followed by a digital album of gentle minimalism called Natural Feelings Vol I (2020). His solo shows consist of multiple tape machines running loops through various analog devices (a Certified Electronics Technician Didur now spends his non-piano playing hours of the day repairing all manner of tape echoes and synthesizers) or solo Wurlitzer electric piano improvisations, his performances gracing both stage and gallery. With his latest release Maybe Next Time, Didur further establishes himself as a singular artist with a unique methodology honed from years of music-making and listening. The album’s compositions swing from lush Axelrod-ish affairs filled with Mellotron strings to the album’s spiritual jazz influenced centerpiece The River Meets The Sea. “I was inspired by Eno's Here Come the Warm Jets, Crazy Horse but only when they are sad, Alice Coltrane, Jessica Pratt, McDonald and Giles, and so many others…” states Didur. Infused with a melancholic tone throughout, tracks such as Close My Eyes and Autumn’s Here invoke cinematic memories with tape echo and reverb applying a softened focus to the proceedings. Carl explains the context for the tone and the setting for the record’s gestation: “Maybe Next Time is a record I made after the world lost a sweet person that many in our community loved. Unlike most of my albums this one never seeks to shock or surprise you. It is about sadness, confusion, dissolution, transformation and ultimately a deeply forgiving sense of love. It is a concept record about being a human being!”

New version on Solar Orange Vinyl. RIYL: Slowdive, DIIV, Electric Youth, The Cure, My Bloody Valentine. Solo project of Los Angeles based Matthew Doty (ex-Saxon Shore). For Matthew Doty, Deserta has always been about exploring a sonic universe that allows him to express a kaleidoscope of emotions, without having to say much at all. Through a patchwork of reverb-tinged textures – drone guitars, lingering synths and driving percussion – the Los Angeles-based singer/songwriter and multi-instrumentalist weaves together stories of care, frustration and catharsis that ultimately stretch to a gentle resolve. On new album Every Moment, Everything You Need, Doty chronicles the kind of year we all fear, full of uncertainty, tension and sustained pressure, and transforms it into a celebration of perseverance. It’s an essential reminder that we have the power to shape the stories we tell. The pandemic meant that Doty had to give up his studio and downsize a lot of his gear and instead, carve out a space in his two-bedroom apartment to craft the next chapter of Deserta. Sharing the space with his wife and son, Doty and his partner are also essential healthcare workers, which meant the couple would often have to tag-team childcare, along with 13-hour shifts in PPE and people constantly calling with questions about the ever changing guidelines and protocols. Once the blueprint for Every Moment, Everything You Need was set, Doty reached out to a number of collaborators to stitch together his vision for the sonic landscape. James McAlister (Sufjan Stevens, The National, Taylor Swift) came onboard to perform and record drums, while Caroline Lufkin (Mice Parade) wrote and performed vocals on the ethereal “Where Did You Go.” Elsewhere, the LP was mixed by Dave Fridmann (Tame Impala, Mogwai, Interpol), with Beach House and Slowdive producer Chris Coady engineering and co-producing, making this the first time Fridmann and Coady had worked together on a project. While the vocals are more prominent than Deserta’s previous albums, it’s their amalgamation with the instrumental aspects that secures Every Moment, Everything You Need as Deserta’s most confident and assured release to date. An affecting emotional candor teamed with persistent riffs and tenacious rhythms sees Doty unafraid to dive deeper; an unrestrained approach that ushers in a lustrous purging of agitation and anxiety. Showcasing those dark, exhaustive thoughts through crucial swells and looped, electronic soundscapes, it’s an LP that’s infinitely layered, with something new to discover with each and every enchanting listen.

MC DUKE was one of the first UK rappers to find a serious level of success, laying the ground work for a generation of hip hop talent to follow. As well as being a UK hip hop legend, he was also one of the pioneers of the early British hardcore / jungle sound & owner of the Hard Disk record label.

The legacy of MC Duke with the early rave sound was cemented in history forever when The Prodigy sampled his voice for their chart topping hit Everybody In The Place! He was also one of the first MC’s on London’s infamous Kool FM. As a producer Duke was signed to the Boogie Times label, sister imprint of the genre defining Suburban Base, under the alias E.K.U.D.C.M. (which is MC Duke spelled backwards).

The first slice of vinyl on this collection features rare cuts from 1993 and perfectly showcases the evolution of the rave era into the sound that was at the time described as jungle techno, the precursor to jungle as we now know it.

Vinyl number 2 is the one that will get the collectors salivating... Featuring music by The Man With No Name, currently the only copies of these tracks are available at an asking price of £167 on the resale market, with people already parting with up to £155 to own a copy via re-seller site discogs!

Our third & fourth disc once again features 2 of MC Dukes alias’ with the darkside goodness that is Quiji Board, and closes with the most up to date track from the compilation by Phiziks previously unreleased on vinyl.

All tracks on this Hard Disk compilation have been expertly re-mastered to give you the optimum listening experience while retaining that authentic early 90’s sound you’d expect. This four-part vinyl collection is placed in a beautiful presentation box for which we’ve digitally re-created the original artwork style from Hard Disk releases back in the day to make this a true collector piece for those wanting a genuine piece of UK culture history.

Like the many Banded Stilts that spread across the cover of her newest album, ‘Flood’, Stella
Donnelly is wading into uncharted territory. Here, she finds herself discovering who she is as
an artist among the flock, and how abundant one individual can be.
 ‘Flood’ is Donnelly’s record of this rediscovery: the product of months of risky experimentation,
hard moments of introspection, and a lot of moving around.
 Donnelly’s early reflections on the relationship between the individual and the many can be
traced back to her time in the rainforests of Bellingen, where she took to birdwatching as both a
hobby and an escape in a border-restricted world. By paying closer attention to the natural
world around her, Donnelly recalls “I was able to lose that feeling of anyone’s reaction to me. I
forgot who I was as a musician, which was a humbling experience of just being; being my small
self.”
 Reconnecting with this ‘small self’ allowed Donnelly to tap into creative wells she didn’t know
existed. Soon songs were coming to her in a way she could not control and over the coming
months, Donnelly accumulated 43 tracks as she moved out of Bellingen and around the
country, often finding herself displaced due to border restrictions and a tough rental market.
 Though the writing of ‘Flood’ was an intensely personal undertaking, Donnelly still saw the
recording process as one of her most collaborative projects yet. Along with her band members,
co-producing the record beside Anna Laverty and Methyl Ethyl’s Jake Webb helped to foster
an important spontaneity in the studio. With Webb, Donnelly could “dig in” and discover a
“forward-leaning sound” she’d been searching for, while Laverty’s ability to “capture the piano”
and discern the “perfect take” allowed the songwriter to take risks, many of which have clearly
paid off.
 Looking back at the Banded Stilt, Donnelly ultimately appreciates how when “seen in a crowd
they create an optical illusion, but on its own it’s this singular piece of art.” While each song in
‘Flood’ is a singular artwork unto itself, the collective shares all of Stella Donnelly in abundance:
her inner child, her nurturing self, her nightmare self; all of herself has gone into the making of
this record and, although it would take an ocean to fathom everything she feels, it’s well worth
diving in

Like the many Banded Stilts that spread across the cover of her newest album, ‘Flood’, Stella
Donnelly is wading into uncharted territory. Here, she finds herself discovering who she is as
an artist among the flock, and how abundant one individual can be.
 ‘Flood’ is Donnelly’s record of this rediscovery: the product of months of risky experimentation,
hard moments of introspection, and a lot of moving around.
 Donnelly’s early reflections on the relationship between the individual and the many can be
traced back to her time in the rainforests of Bellingen, where she took to birdwatching as both a
hobby and an escape in a border-restricted world. By paying closer attention to the natural
world around her, Donnelly recalls “I was able to lose that feeling of anyone’s reaction to me. I
forgot who I was as a musician, which was a humbling experience of just being; being my small
self.”
 Reconnecting with this ‘small self’ allowed Donnelly to tap into creative wells she didn’t know
existed. Soon songs were coming to her in a way she could not control and over the coming
months, Donnelly accumulated 43 tracks as she moved out of Bellingen and around the
country, often finding herself displaced due to border restrictions and a tough rental market.
 Though the writing of ‘Flood’ was an intensely personal undertaking, Donnelly still saw the
recording process as one of her most collaborative projects yet. Along with her band members,
co-producing the record beside Anna Laverty and Methyl Ethyl’s Jake Webb helped to foster
an important spontaneity in the studio. With Webb, Donnelly could “dig in” and discover a
“forward-leaning sound” she’d been searching for, while Laverty’s ability to “capture the piano”
and discern the “perfect take” allowed the songwriter to take risks, many of which have clearly
paid off.
 Looking back at the Banded Stilt, Donnelly ultimately appreciates how when “seen in a crowd
they create an optical illusion, but on its own it’s this singular piece of art.” While each song in
‘Flood’ is a singular artwork unto itself, the collective shares all of Stella Donnelly in abundance:
her inner child, her nurturing self, her nightmare self; all of herself has gone into the making of
this record and, although it would take an ocean to fathom everything she feels, it’s well worth
diving in

Like the many Banded Stilts that spread across the cover of her newest album, ‘Flood’, Stella
Donnelly is wading into uncharted territory. Here, she finds herself discovering who she is as
an artist among the flock, and how abundant one individual can be.
 ‘Flood’ is Donnelly’s record of this rediscovery: the product of months of risky experimentation,
hard moments of introspection, and a lot of moving around.
 Donnelly’s early reflections on the relationship between the individual and the many can be
traced back to her time in the rainforests of Bellingen, where she took to birdwatching as both a
hobby and an escape in a border-restricted world. By paying closer attention to the natural
world around her, Donnelly recalls “I was able to lose that feeling of anyone’s reaction to me. I
forgot who I was as a musician, which was a humbling experience of just being; being my small
self.”
 Reconnecting with this ‘small self’ allowed Donnelly to tap into creative wells she didn’t know
existed. Soon songs were coming to her in a way she could not control and over the coming
months, Donnelly accumulated 43 tracks as she moved out of Bellingen and around the
country, often finding herself displaced due to border restrictions and a tough rental market.
 Though the writing of ‘Flood’ was an intensely personal undertaking, Donnelly still saw the
recording process as one of her most collaborative projects yet. Along with her band members,
co-producing the record beside Anna Laverty and Methyl Ethyl’s Jake Webb helped to foster
an important spontaneity in the studio. With Webb, Donnelly could “dig in” and discover a
“forward-leaning sound” she’d been searching for, while Laverty’s ability to “capture the piano”
and discern the “perfect take” allowed the songwriter to take risks, many of which have clearly
paid off.
 Looking back at the Banded Stilt, Donnelly ultimately appreciates how when “seen in a crowd
they create an optical illusion, but on its own it’s this singular piece of art.” While each song in
‘Flood’ is a singular artwork unto itself, the collective shares all of Stella Donnelly in abundance:
her inner child, her nurturing self, her nightmare self; all of herself has gone into the making of
this record and, although it would take an ocean to fathom everything she feels, it’s well worth
diving in

In 1972, Jethro Tull released the instant classic, Thick As A Brick. 50 years on and the album is still revered as one of rock’s and progressive rock’s most definitive and pioneering albums. To celebrate the 50th anniversary, Thick As A Brick has been reproduced in its original format, the legendary 12-page newspaper. The vinyl is a half-speed master of Steven Wilson’s 2012 remix.

Thick As A Brick came about following the release of Jethro Tull’s immensely successful previous album “Aqualung”. Upon its release, Aqualung was regarded a concept album in the music press, and in response the band set about to respond to the rock critics with the ultimate concept album, culminating in Thick As A Brick.

Unlike any other records on the market, the album is set inside a broadsheet newspaper, “The St. Cleve Chronicle & Linwell Advertiser”. The newspaper includes many news articles packed full of continuing jokes, a crossword, connect-the-dots and much more. It was originally written by Ian Anderson, Jeffrey Hammond and John Evan, with the newspaper taking longer to put together compared to the music. As reported in the paper, the lyrics were credited at the time to the fictitious child character, Gerald Bostock, whose parents supposedly lied about his age. Amongst the many articles is a frank review of the album itself. Thick As A Brick was the first album to feature drummer Barrie Barlow, who featured alongside Ian Anderson, Martin Barre, John Evan and Jeffrey Hammond.

A must for any record collection, the album is a half-speed master of Steven Wilson’s 2012 remix, providing the ultimate audio experience of the progressive rock classic.