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12" Widespine Gloss Jacket, Full Color Printed Record Sleeves, 1x Red & Black Marbled Vinyl, 1x Blue & Black Marbled Vinyl and Free Digital Download Card. Growing up in his hometown of Atlanta, artist/producer Sol Messiah has always been inundated with the rich and energizing spirit of Hip Hop culture. Breakdancing from a young age eventually led him joining the legendary Rock Steady Crew out of New York City and learning and mastering the skill of DJing. From there, he began taking an interest in production too, which ultimately led him to working alongside legendary Atlanta producer, Dallas Austin. While Sol Messiah's time with Austin created a deep catalog filled with timeless tracks for TLC, Madonna, Boyz II Men and more, he eventually chose to pursue his own path independently and spent years building a stunning catalog of his own, producing popular tracks for Chamillionaire, David Banner, Nappy Roots, Dead Prez and more. Soon, Sol Messiah would embark on a fruitful musical partnership with a fierce lyricist named Sa-Roc. Together, Sa-Roc and Messiah have released over a dozen projects thus far, including Sa-Roc's groundbreaking 2020 debut on Rhymesayers Entertainment, The Sharecropper's Daughter. As a duo, Sa-Roc and Sol Messiah have amassed a global reach, touring internationally and rocking crowds across continents. They have performed at the legendary Jazz Cafe in London, performed live for BBC, and have shared the stage with luminaries such as Common, The Roots and Jay Electronica. On GOD CMPLX, Sol Messiah connects with some of the finest MCs in the game to create an impressive collection of Hip Hop music that's both innovative and inspiring. Featuring guest performances from KXNG Crooked, Sa-Roc, Evidence, Locksmith, Slug (Atmosphere), Murs, Aesop Rock, Baba Zumbi (Zion I), Che Noir, Lyric Jones and more, GOD CMPLX is a powerful and engaging project serving as a testament to Sol Messiah's skills both as a producer as well a visionary.

Dans Dans is back (already), with their most unfiltered, most spantenous, most 'punk' album to date. Three musicians, three days in the studio, one burst of energy.

April 23th, 2021. Breaking a five year silence, purveyors in ambiguous jazz-rock hybrids Dans Dans drop a new, fifth album. Throughout the media, Zink is hailed as another triumph for the Antwerp based trio. 'A bold and thrilling noise trip', according to Humo. 'The best live band of the Western hemisphere is back', celebrated OOR, while De Morgen hailed the 'organic but cleverly constructed jams'. The following summer, the band made the best of a temporary easing of local Covid restrictions, and played some rapturous shows, such as during Jazz Middelheim in their hometown and an Unday Records label night during the Boomtown festival in Ghent. A string of dates in Eastern Europe followed, but, alas, the remainder of a national and international tour in autumn was cancelled. Third wave, fourth wave, who was still counting?

At the tail end of 2021, Bert Dockx, Frederic Lyenn Jacques, and Steven Cassiers, the unholy trinity that make up Dans Dans since 2012 - yep, that's a ten year anniversary! - decided to turn setbacks into sound blasts, grief into grooves. Rehearsals were planned. New music was made. And before you know, a studio was booked. This is how an instrumental corona-album happened. Not one of contemplation through isolation or new found domestic bliss, not your usual, subdued track record of socially distant, monotonous times. '6' might be a reaction to all of that, but it's definitely more than that.

Dans Dans is back (already), with their most unfiltered, most spantenous, most 'punk' album to date. Three musicians, three days in the studio, one burst of energy.

April 23th, 2021. Breaking a five year silence, purveyors in ambiguous jazz-rock hybrids Dans Dans drop a new, fifth album. Throughout the media, Zink is hailed as another triumph for the Antwerp based trio. 'A bold and thrilling noise trip', according to Humo. 'The best live band of the Western hemisphere is back', celebrated OOR, while De Morgen hailed the 'organic but cleverly constructed jams'. The following summer, the band made the best of a temporary easing of local Covid restrictions, and played some rapturous shows, such as during Jazz Middelheim in their hometown and an Unday Records label night during the Boomtown festival in Ghent. A string of dates in Eastern Europe followed, but, alas, the remainder of a national and international tour in autumn was cancelled. Third wave, fourth wave, who was still counting?

At the tail end of 2021, Bert Dockx, Frederic Lyenn Jacques, and Steven Cassiers, the unholy trinity that make up Dans Dans since 2012 - yep, that's a ten year anniversary! - decided to turn setbacks into sound blasts, grief into grooves. Rehearsals were planned. New music was made. And before you know, a studio was booked. This is how an instrumental corona-album happened. Not one of contemplation through isolation or new found domestic bliss, not your usual, subdued track record of socially distant, monotonous times. '6' might be a reaction to all of that, but it's definitely more than that.

Stripped back electro, tooled to make your body move in dark rooms. Rubbery synth lines duck and weave with metallic percussion, as the machines spin stories of deep space and distant aquatic worlds.

Four tracks made with the knowledge and instincts of a turntable veteran combining an 'always in the record bag' usefulness with a solid individual identity.

An additional remix by Human Rebellion mutates the already fierce sea snakes into a radioactive monster from the deep.

Das letztes Studioalbum „We Are Not Your Kind“ erschien im Jahr 2019.

Einen ersten musikalischen Vorgeschmack auf das neue Album lieferte Slipknot mit der vorab veröffentlichten Single „The Chapeltown Rag“, bei der die maskierten Mannen in gewohnter Slipknot-Manier auftreten und jedes Metal-Herz höher schlagen lassen.

Sid Wilson von Slipknot: „I don’t think everyone will ever be disappointed with what we do because we’re going to stay true to ourselves and do the music that we feel is necessary to get it all out. You know what I mean? It’s kind of a therapy session as well. I think when they listen to it, it comes through that way and not approaching it from the perspective of a rock star and what we think that the world would think of us for doing certain kind of creativity. We just want to give the most honest representation of ourselves on the whole as we can.“

Gleichzeitig zum PreOrder Start Woche erscheint auch die zweite Single-Auskopplung des Albums mit dem Titel “The Dying Song (Time To Sing)”



Das Album erschint in 3 Formaten.

Das Cover sowie Packshots der Vinyl sind im Attachement beigefügt.

Das letztes Studioalbum „We Are Not Your Kind“ erschien im Jahr 2019.

Einen ersten musikalischen Vorgeschmack auf das neue Album lieferte Slipknot mit der vorab veröffentlichten Single „The Chapeltown Rag“, bei der die maskierten Mannen in gewohnter Slipknot-Manier auftreten und jedes Metal-Herz höher schlagen lassen.

Sid Wilson von Slipknot: „I don’t think everyone will ever be disappointed with what we do because we’re going to stay true to ourselves and do the music that we feel is necessary to get it all out. You know what I mean? It’s kind of a therapy session as well. I think when they listen to it, it comes through that way and not approaching it from the perspective of a rock star and what we think that the world would think of us for doing certain kind of creativity. We just want to give the most honest representation of ourselves on the whole as we can.“

Gleichzeitig zum PreOrder Start Woche erscheint auch die zweite Single-Auskopplung des Albums mit dem Titel “The Dying Song (Time To Sing)”



Das Album erschint in 3 Formaten.

Das Cover sowie Packshots der Vinyl sind im Attachement beigefügt.

A beautiful continuity in the exploration of the composer "Grand David" known for his sound illustrations but here accompanied on the entire project by the female singer Emma Lamadji. A talented project and an immersion into TAMLA MOWTON sound, by Grand David, the "touche à tout" wizard!

"Is it too Sam Prekop?", Sam Prekop asked me in an email conversation in which he delivered his wonderful illustrations which would become the front cover artwork. No, it is not too Sam Prekop at all. His drawings as well as the freeform music on this album are subtly different from anything else he has produced in his solo career. Regardless of the style he is working in, Sam Prekop’s music is always imbued with a sense of wide-eyed discovery and unpredictable exploration.

On »The Sparrow« Sam Prekop expands his electronic cosmos with a remarkable expression of timeless simplicity and coherent execution. It's deceptively simple music that feels accessible without abandoning the experimental legacy of the Modular hardware system which serves, besides a polyphonic Prophet 5 synthesizer, as the centre piece of this production.

The side long title track opens this album with unpredictable synth dissonances and broken step sequenced patterns. »Palm« brings the set to a close with its irregular fragility while »Fall is Farewell« is build around a yearning brassy fanfare which resembles the noir romance theme of Michael Smalls soundtrack for the 1971 film »Klute«. The sparkling essence of »Step and Stair« seems a suitable space for unforgotten summer holidays of our childhood.

On his first solo release for Düsseldorfs label TAL, electronic experimentalist Sam Prekop offers his most captivating yet stripped down modular music. All compositions on »The Sparrow« were gradually developed piece by piece. Best known for his jazz-leaning tropicalismo with The Sea And Cake, a key part of the Chicago scene with the likes of Tortoise or Chicago Underground Duo, he has in recent years established himself as a modular synthesist, building his instrument meticulously to create a unique system that allows him to create highly individual music through mechanical patterns, repetitions and chance. In this context his widely acclaimed community forming public tutorials on fb should be noted as well.

»The Sparrow« is an exciting new chapter in his development as a constant creative influence.

Stefan Schneider, Düsseldorf August 2022

LAUNCH EVENTS Sept 2nd - Film premier at the David Lean Cinema in Croydon with a Q & A afterwards by Griff and Mark, and an aftershow party nearby with special celebrity guests TBC. An 18 track compilation featuring the best of Croydon's punk and post punk scene! Are They Hostile? Is a new documentary film about the Punk, New Wave and Indie scene in Croydon in the late ‘70s and early ‘80s. It takes its name from the first single by Croydon band Bad Actors. To coincide with the film’s release Damaged Goods Records are releasing a compilation vinyl LP and CD featuring bands from in the film including Johnny Moped, The Marines, The Daleks, Case, Fanatics and also bands such as The Straps who played Croydon many times usually at The Star Pub in West Croydon. The CD version also features a specially recorded introduction by the legendary ex-Croydon Greyhound DJ Peter Fox. It’s been argued that Croydon was the birthplace of Punk in the UK, largely due to The Damned and Johnny Moped. But there was a group of other, less well-known bands who were part of that scene, or who came just after, but who didn’t achieve the same success or recognition. The film and album attempt to set the record straight by shining a light on bands such as Bad Actors, Case, The Daleks, The Heroes and Fanatics. the music still fizzes with the energy and enthusiasm of youth and the punk ethos of just doing it. And the participants, if a bit older and slightly less slim than forty years ago, come alive in the current interviews as if connected to the mains. As the saying goes, “old punks don’t die”, but they do remember. The documentary film takes us through the history of these bands, the people in them, the places they played and, through current interviews with “a bunch of old punks”, what they did next, and how formative and important being in a band was for them growing up. The film is the brainchild of Bad Actor Griff Griffiths and Mark Williams and will premier at the David Lean Cinema in Croydon on 2nd September with a Q & A afterwards by Griff and Mark, and an aftershow party nearby with special celebrity guests TBC. Griff explains: “It’s also a film about being young, being passionate, being part of something.” TRACKLISTING 1 – Bad Actors – Are the Hostile? 2 – Johnny Moped – Groovy Ruby (Live at the Roxy) 3 – The Marines – Step This Way 4 – Slime – Controversial 5 – Case – Smiling My Life Away 6 – The Daleks – Tiny Town 7 – Fanatics – Total Confusion 8 – The Straps - New Age 9 – The Heroes – Tarzan 10 – Bad Actors – One Of Us 11 – Johnny Moped – Incendiary Device (Live at the Roxy) 12 -The Marines – Pleasure Business 13 – Slime – Loony 14 – Case – I Don't Wanna Kill The Whales 15 - The Daleks - Rejected16 – Fanatics – When The Sun Goes Down 17 – The Straps – Brixton 18 – The Heroes - Russia

A1 Somber ambience and dark drones pair well with small, silent melodies and form this perfect teaser track by Ninze & Niju.

A2 With their well-known ear for details, Ninze & Niju deliver the soundtrack for riding your skateboard through deserted downtown past midnight.

A3 Another signature tune by genre-defining NInze & Niju, bringing together hushed drum patterns and filtered organs to this mind-boggling brain bender.

B1 Not much time is wasted when rhythmic layers, driving arpeggios and moving percussion slowly unite to this hypnotic peak time beast to be unleashed by Ninze & Niju.

B2 This pretty straightforward, yet hard-to-grasp track unfolds in too many layers to leave you calm - another twisted tune for bare feet in morning dew.

Emeralds _ musicians John Elliott, Steve Hauschildt, and Mark McGuire _ emerged from the rust-pocked, post-millennial Midwest drone/noise scene seemingly unable or uninterested in keeping up with themselves. Their proliferation of material was intimidating; mountains of improvised, home-recorded music were released on limited-edition tapes, CD-Rs, and split LPs. There is and was a sense that the Ohio trio was after something beyond physical mediums. By 2008, their sprawling live sets were a known can't-miss at any underground experimental event. Tiny Mix Tapes reviewed that year's appearance at No Fun Fest: "No one's sawtooths, sines, and other various waveforms were so beautifully sculpted and beamed out into the Plejades as Emeralds'." These basement dwellers were shaping meditative, psychedelic, arpeggiated electronic music in the veins of German kosmische forebears like Ash Ra Tempel, Klaus Schulze, and Tangerine Dream. Made primarily with synthesizers and guitar, Emeralds' music possessed the same astral psyche with a home-crafted punk edge, a distant descendant of that pioneering era, and a bridge to someplace new, someplace scorched. Released on Aaron Dilloway's (Wolf Eyes, etc.) Hanson imprint, Solar Bridge was the first Emeralds album to receive any kind of proper distribution and represents the first attempt to archivally preserve their fluid craft. The first of an inimitable five-LP run before the band dissolved in 2013, Solar Bridge is a moment of glistening primacy that boots up a catalog and legacy that the heads still grapple with. Emeralds begin to make sense of it in the fall of 2022 with a remas- tered Solar Bridge LP release on Ghostly International. Emeralds materialized as a fully formed entity radiating cosmic potential. Their discography evolved and incorporated different qualities and vocabularies, but hearing where it started will always feel different. The density, the patience, and the sheer refinement presented on Solar Bridge legibly demonstrates how and why Emeralds has become a legendary part of the contemporary electronic music canon.

(Vinyl Re-Issue)


TROUBLE’s comeback album “Simple Mind Condition” re-issued as deluxe 2CD edition, features a fantastic “Greatest Hits” set played live, known as “Live in Stockholm 2003” on CD 2, all fully remastered! Here we have Trouble returning with “Simple Mind Condition”, after a long hiatus (twelve years had passed since the release of “Plastic Green Head”), taking once more to the skies of metal. Some complaints and criticism followed upon its release which are not really fair. Although fat and doomy stomps as on “Psalm 9” and “The Skull” are not present in abundance, nor are the stoner metal speed assaults of the self-titled “Trouble”, but neither those have been present really since the self-titled came out. “Manic Frustration” was a killer album, no doubt, but different being focussed on hard rock and not the doom and stoner influences. “Plastic Green Head” remedied this problem, to impressive standards and resulted in another great Trouble album. This album features songs that are well-written and have a lot of sludgy stoner hooks, and are drenched in Eric Wagner’s (R.I.P.) woe-is-me penmanship. Overall, a very good album, a convincing album worth your listening time. Those expecting the past could be a little bit disappointed, but those who will give the time to this album will find a hidden treasure in it. We decided to add a true gem to the re-issue, being the full set from their reunion show in November 2003, recorded live in Stockholm, Sweden. This is nothing short but an absolute fantastic Trouble live-set and the tracklist will speak for itself, all killer no filler!

Greet Death is a four piece shoegaze band from Flint, Michigan. "New Low" is a new 5 song 12"EP from Greet Death. The first four singles from this session were released digitally over a span of months in 2021 into 2022, leaving the title track exclusive to this final collection. With "New Low" Greet Death continue to explore the layered melancholic atmosphere they are known for while expanding into unconventional melodic territory. Produced by Greet Death Engineered and mixed by J. Kalmink at The Stooge in Zeeland, MI Mastered by Will Yip Music and Lyrics by Logan Gaval and Sam Boyhtari Vocals by Gaval and Boyhtari Drums and Percussion by Jim Versluis Guitars and Bass by Gaval and Boyhtari Piano by Boyhtari Photos by David Beuthin Scythe Logo by Liam Rush Original Band Logo by Brendan Coughlin Design by Jacob Bannon

“If you can’t say it, you don’t have to,” sings John Fullbright on “Bearden 1645,” the opening track to his new record “The Liar,” out September 30, 2022. The song details Fullbright finding refuge in playing the piano, starting as a child and still today. For fans, it may feel like a bit of a rebuttal to “Happy,” the opener from 2014’s “Songs,” one of several in his repertoire that speak explicitly about mining one’s angst in order to make music. In that way, “Bearden 1645” is also a firm nod to the fourth wall: Fullbright knows you’re thinking about his songwriting. He is, too…but not quite the way he was before. The public at-large hasn’t heard much from him since the critically lauded “Songs,” a chasm of eight years that seemed unthinkable for an artist with so much hype surrounding his early career. Why did it take so long? “Honestly, I don’t know, and that’s been the scariest question to think about and the hardest one to answer,” Fullbright said. Maybe it was a tacit rejection of mounting industry pressure, mixed with a little fear. Or maybe it was the adjustment to a massive upheaval of his way of life. Whether we bore witness or not, it’s been a critical period of change for Fullbright, now in his 30s. Since his last release, he moved out of rural Oklahoma—the aforementioned Bearden has a population of about 130 people—to Tulsa. Once there, he worked to build a place for himself in the context of an established and vibrant musical coterie, performing often as both a bandleader and, more curiously, a sideman: storied loner John Fullbright lugging a piano from this small stage to that one with an uncharacteristic looseness. “It’s been a process of learning how to be in a community of musicians and less focusing on the lone, depressed songwriter…just playing something that has a beat and is really fun,” Fullbright said. “That’s not to say there are no songs on this record where I depart from that, because there are, but there's also a band with an opinion

When Lannie Flowers set out to write and record his follow up to acclaimed 2010 album Circles, he had no idea how long the journey would take him. Circles was the second installment of an arc that began with the Pengwins frontman’s solo debut Same Old Story (2008) and would be finished with the new record, Home. The idea was that the three records would loosely trace his life from teenage romance though the rock and roll travel years and ultimately address getting off the road. Home was lovingly recorded and mixed and took longer than his fans wanted. Upon release, Home garnered enthusiastic critical reception and made numerous Top Ten Album of lists of 2019.

In 2011, Ard Janssen was one of the first musicians to grace Shipwrec. Now, some eleven years later, the sound sculptor returns for a full album on Phainomena. Music for Delirious Episodes brings together eleven compositions. Ard Bit is known for his delicate, almost brittle, works. This collection focuses on that same fragility that fascinates Janssen. From the first steps of "Troubled Veil", the listener is absorbed into a digital weave of field recordings, everyday undulations, other day modulations and loose harmony. Traditional instruments, string and wind, are filtered and re-imagined. The mundane echoes of routines are reborn as the percussive hum of pieces like "Stripped" and "Broken Respirator (White Funnel)." Behind the shifts and shuffles lurks something triumphal. Memories are given new form through audio carvings. Birdsong is handcrafted through knob tweaks, elephant trumpets bellow past swells of electronic insects as a glowing sun rises through the speaker. Hazes of static are shorn back, as in "Seppuku", to allow moments of intense focus and reflection. And then we return, to that ephemeral beauty that permeates this record, with the final embrace of "Awakening Delusion". An artist who finds the extraordinary in the often overlooked, or unheard.

In a collaboration you might never have expected but somehow makes perfect sense, original Brit blues mastermind Jeff Beck teams up with a little known American by the name of Johnny Depp to render some of the latter's songs alongside some finely selected covers. From The Beach Boys to John Lennon, The Velvet Underground to Killing Joke and more besides, this is the sound of two lifelong music lovers letting it all hang out and playing with the impassioned energy and innocence of youth. More than just a throwaway side project for a global superstar, this is a deeply discerning project which frames Depp's music in a whole new light.

Clear Vinyl + DL Code

Yiannis Iliakis is a multi instrumentalist and composer from Athens. He is mainly known as a drummer. As such he is a member of the free jazz band Outward Bound as well as a member of the successful Greek progressive rock band Ciccada. However, that's only one side of Iliakis' creative efforts. In April 2021, he released his first full length electronic album entitled Vertical Horizon on the Submersion Records, which mostly is an ambient work. Now, with Mountainmouth he opens another chapter for his musical talents.

The EP is one of the most thrilling and adventurous takes on what the IDM term usually would suggest. The key song might be the title track "Mountainmouth" - an extremely energetic composition which won't leave you unaffected. As per most of Iliakis' songs it is based on originally recorded drums that were heavily edited. In the next step, these were combined with chords, melodies, bass and harmonies on top. The musical result is simply breathtaking - one might even call this track electronica for prog-rock heads. Surely a perfect opener for the release.

The next song is Carbonated Soap on which Iliakis is going straight forward. The catchy melody and a fresh uptempo beat are offering something that could even fit well into a club-friendly DJ set. Next up, comes "Infected Walkman". According to Iliakis, it was the first one he made for this project when he participated in an art exhibition. This track, as well as the following "Sad Plants", are both down tempo and chilled, yet keeping an experimental vibe without loosing a soulful and human touch. Coming closer to the end, "Exodus Denied" is a brilliant experimental ambient piece, more similar to the works on the Vertical Horizon LP. Finally, the EP ends with a short edit of "Carbonated Soap" that jumps right to the more energetic parts after the first break.

Mountainmouth may not be an easy listen at start - but we are sure the music has the power to be another classic release from our catalogue. The EP will be released in July 2022 on a very limited 12" vinyl as well as digitally. The cover artwork was done by Iliakis himself. We are very excited to present a new artist to you on Equinox with so many different talents.

Violet Vinyl + DL Code

Yiannis Iliakis is a multi instrumentalist and composer from Athens. He is mainly known as a drummer. As such he is a member of the free jazz band Outward Bound as well as a member of the successful Greek progressive rock band Ciccada. However, that's only one side of Iliakis' creative efforts. In April 2021, he released his first full length electronic album entitled Vertical Horizon on the Submersion Records, which mostly is an ambient work. Now, with Mountainmouth he opens another chapter for his musical talents.

The EP is one of the most thrilling and adventurous takes on what the IDM term usually would suggest. The key song might be the title track "Mountainmouth" - an extremely energetic composition which won't leave you unaffected. As per most of Iliakis' songs it is based on originally recorded drums that were heavily edited. In the next step, these were combined with chords, melodies, bass and harmonies on top. The musical result is simply breathtaking - one might even call this track electronica for prog-rock heads. Surely a perfect opener for the release.

The next song is Carbonated Soap on which Iliakis is going straight forward. The catchy melody and a fresh uptempo beat are offering something that could even fit well into a club-friendly DJ set. Next up, comes "Infected Walkman". According to Iliakis, it was the first one he made for this project when he participated in an art exhibition. This track, as well as the following "Sad Plants", are both down tempo and chilled, yet keeping an experimental vibe without loosing a soulful and human touch. Coming closer to the end, "Exodus Denied" is a brilliant experimental ambient piece, more similar to the works on the Vertical Horizon LP. Finally, the EP ends with a short edit of "Carbonated Soap" that jumps right to the more energetic parts after the first break.

Mountainmouth may not be an easy listen at start - but we are sure the music has the power to be another classic release from our catalogue. The EP will be released in July 2022 on a very limited 12" vinyl as well as digitally. The cover artwork was done by Iliakis himself. We are very excited to present a new artist to you on Equinox with so many different talents.