Buscar:under this

Looking back on her career in the early 90s, Stevie Nicks described the first track of Rock a Little as “the most exciting song that I had ever heard.” This coming from a superstar who was already closely affiliated with several bajillion-selling Fleetwood Mac albums — to say nothing of her own benchmark solo debut. Her remarks attest to the enthusiasm and effort she invested in her third record, a 1985 work that quickly furthered Nicks’ profile and cemented itself as a piece of 80s pop lore.

Mastered at MoFi’s California studio, pressed at Fidelity Record Pressing in California, strictly limited to 4,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set presents Rock a Little in audiophile sound for its 40th anniversary. Helmed by a cadre of producers and engineers, and recorded for a reported one million dollars, the platinum-certified album teems with a head-spinning array of colors, tones, dreamscapes, and accents. This reference-grade reissue marks the first time they are all brought to light and conveyed with proper balance, dimensionality, and positioning.

Though Rock a Little doubtlessly has period characteristics of a mid-80s LP, Nicks and company spare no expense when it comes to distinguishing the music with expansive sonics distinguished with lush melodies, high-tech percussion, echoing vocals, sampled keyboards, and layers of sophisticated accents. The degrees of spaciousness, headroom, and dynamics are nothing less than inspiring, while the newly enhanced detail, texture, and clarity make the songs sing like never before. As for Nicks’ voice? Wait ’til you experience the transparency and depth.

Those advantages extend, of course, to the aforementioned “I Can’t Wait,” a statement-making opener shot through with modulating synthesizers, splashy drums, metallic guitars, and serious drama. Holed up in a massive studio, Nicks required just one take to nail her part, which she called “magic and simply not able to beat.” The singer-songwriter also distilled the reverberating emotional essence of the Top 20 tune, stating “when I hear it on the radio, this incredible feeling comes over me, like something really incredible is about to happen.”

The same can be said for nearly all of Rock a Little. Crafted by the likes of Songwriters Hall of Fame multi-instrumentalist/producer Rick Nowels, Heartbreakers organist Benmont Tench, bassist Bob Glaub, jack-of-all-trades Greg Phillinganes, and session-pro guitarists Waddy Watchel, Les Dudek, and Danny Kortchmar — along with another two dozen or so participants — the record spills with diverse ideas, shapes, and moods. Everything is in the right place, as evidenced by the swirling glide and sensual undertow of the slightly funky title track to the snapping rhythmic pace and big hooks of “Imperial Hotel,” one of Nicks’ standout moments.

“What was it she wanted?” Nicks queries on “No Spoken Word,” continuing a theme of contemplation that runs through the narratives. Nicks never lands on a definite answer, but hearing her explore loneliness, love, and the secrets we keep to ourselves proves continuously rewarding. Take her passionate performance on a cover of Chas Sanford’s “Talk to Me,” a Top 5 smash furthered by tasteful saxophone lines and understated folk elements. Immersive yourself in the grand sonic corridors of “If I Were You,” laden with Nicks’ signature mysticism.

Moreover, surrender to the gravitas of the closing “Has Anyone Ever Written Anything for You,” a piano ballad composed about the death of Joe Walsh’s three-year-old daughter. As Nicks asserts earlier on the album, she sings for things money can’t buy.

So, rock a little, yes, but dare to feel even more.

Since 2019, Amsterdam-based curator Pieter Jansen has used his yeyeh label as a vehicle for carefully considered (and sometimes unlikely) ‘first time’ collaborations between different experimental and avant-garde artists including Eversines, Carolina Eyck, Greetje Bijma and Oceanic. After pairing saxophonist/composer/producer Jerzy Maczyński with fellow Polish experimentalist Waclaw Zimpel on 2021 collaborative release Sariani (which was credited to Jerry&ThePelicanSystem in a nod to the former’s earlier album for Warner Music’s Polish Free Jazz series), yeyeh founder Pieter Jansen had an idea. That simple idea – getting Maczyński in the studio with Chicagoan DJ/producer Hieroglyphic Being – was the genesis of this record, the debut album by Universal Harmonies & Frequencies. In June 2022, Hieroglyphic Being flew to Amsterdam to spend five days improvising with Maczyński in a rented studio beneath Volkshotel, under the watchful eye of recording and mix engineer Rein De Sauvage Nolting, better known in electronic music circles for his work as RDS. During those sessions, 26 long, improvised compositions were recorded, with Maczyński contributing saxophones and electronic tools, and Hieroglyphic Being laying down synthesizer parts and vocals. These sessions were captured on film by VLF (Katarzyna Debska), who later created the artwork and visual language for this record release. Some days after the recording sessions, Sauvage Nolting – who had delivered artistic input during the improvisations – sat down with Jansen to select 13 pieces to put forward for the album and a loose conceptual framework. It was then that the hard work began. While a decision was taken to present some improvisations in full, most of what you will hear on Tune IN, as the album is titled, is based on fragments of improvisation. The resultant pieces were reconfigured, re-worked and re-produced by Maczyński and Sauvage Nolting over many months, and in discussion with Hieroglyphic Being. Maczyński added more layers of instrumentation, creating a “whole digital band of reed instruments” – a method he previously utilized on Sariani. What you hear when you play the record defies categorization. It is rooted in a specific moment in time and the spontaneity of musical improvisation – both Maczyński and Hieroglyphic Being are experienced improvisers, albeit with different musical instruments and tools – but also the product of extensive post-production and reflective re-shaping. It is not free-jazz, ambient, electronica, rhythmic cubism (as Hieroglyphic Being’s distinctive sound has previously been called), or avant-garde experimentalism, but something that combines all these musical approaches and more, with a sprinkling of far-sighted futurism mixed in. It is a magical and mystical meeting of musical minds that will pass the test of time in decades to come.

2025 Repress

Burnski's Constant Black label puts out constantly good sounds for all those of a minimal and tech house persuasion. This 33rd such outing comes from Per Hammer who offers a trio of irresistible grooves. 'Everybody_hz' kicks off with rubbery drums and bass intertwining with each other while wonky synths up top add some tripped-out feels. A Varhat adds a little extra bounce and urgency to this silky late-night hypnotiser and then it's back to Hammer for 'The Danish URL'. It's a hooky groove with warped pads rippling up top while closer 'Arkivo' is a more textural and abstract affair with a nice dubby undercurrent.

12 brand new, exclusively signed '92-93 oldskool hardcore style tracks to Rave Radio Records. It's authentic, and the genuine article when it comes to the true ruff style of the early 90's hardcore rave production. If you like mixing on the edgier side of hardcore, this is a release you'll want in your collection!\uc0\u8232 \u8232 Ruff Hardcore music from: Try Unity, Al Storm & Euphony, Billy Daniel Bunter & Sanxion, Secret Squirrel, Pete Cannon, Z-Neo, Jack Smooth, Liquid Crystal, Tim Reaper, Radicall, Stu Chapman & Blackmass Plastics and the sleeve artwork is by Aroe.

Knowledge The Pirate returns with a powerful new statement with his new album, The Round Table, which is now available. The Round Table is produced in its entirety by longtime collaborator and legend Roc Marciano through his Pimpire International imprint.

With roots in New York’s revered ‘90s hip-hop scene, Knowledge The Pirate has steadily built a reputation as one of the genre’s most consistent and authentic voices. A frequent Roc Marci collaborator and key figure in the modern underground renaissance, Knowledge fuses golden-age grit with new wave innovation—bridging generations while staying firmly rooted in New York’s timeless sound.

Since his 2018 debut Flintlock, Knowledge has carved a lane entirely his own through his label Treasure Chest Entertainment, Inc. With five acclaimed projects under his belt, including the recent 5lbs of Pressure, he continues to deliver unfiltered street wisdom and personal reflection in every bar.

The Round Table stands as a testament to his evolution—an uncompromising body of work laced with Roc Marciano’s signature production and Knowledge’s lived-in lyricism. It’s not just a record—it’s a meeting of the minds, an audio council of kings.

“The Round Table is cinematic storytelling, teaching street knowledge, eating etiquette that will save your life” Knowledge professes. “This album is like an Honorable Elijah Muhammad book; How To Eat To Live. Produced fully by the true creator of the new wave sound, Roc Marciano, you are all invited to a seat at The Round Table; and break bread with the true Godfathers of this new wave rap renaissance.”

Repress.


Minimoonstar' on the first record, gets a special underwater treatment by ex-Londoner Shackleton (Skull Disco). On the A-side, we find a special 12"edit of the original, to make it fit on wax. The full-lenght version will be supplied with the CD (PERL69CD), expected sometime later this year. This time the remix gets delivered by Amsterdam based San Proper, who is known for his superb releases on Rush Hour.

Can’t go over it. Can’t go under it. Gotta go through it. And somewhere out there in the Pitch black beyond all darkness lies Peace & Purpose. The horizon you never quite crest until the inevitable end. Breathe deep — this fearful moment is the most alive you’re ever gonna feel. For the last decade, Crack Cloud’s vision has grown ever more expansive, more cinematic. Last go around, they dropped from The Heavens and then performed with their bare backs to an endless darkening desert. Now they’ve crammed all that life into some metallic and strange object called Peace & Purpose. All the terror of living. All the helplessness. All the raw human will. All glued and screwed and locked into this impossible tactile shape of dungeon dub; sour milk vox; Avant-protest music. Music arm wrestling itself to the ground. Far afield of beauty. The discordant symphony of factory farming and grim timber of the meat processing plant. The grinding din of the cogs. And yet, never giving up in spite of all good sense. Even in death, we are a coterie of survivors. Look now: There’s Terry Fox on his one-legged Marathon of Hope across The Great White North while cancer spreads through his lungs. A self-annihilating drive to feel alive. Rage against the dying of the light, they say. Well, how ‘bout it then!??! Peace & Purpose is not in any way some art project meditation on Punk Rock. It is Punk Rock. Terrifying, inspiring, vital, invigorating and most importantly, utterly unexpected. Every goddamn stupid day is a sublime slice of fresh hell. That’s the point. Gotta go through it. Wishing you Peace & Purpose — if only in that last big breath.

We are heartbroken to announce this very special release — a tribute to the genius of Keith McIvor aka JD Twitch (Optimo), who sadly left us on September 19, 2025. Over 20 years ago, when Skylax had no money and was just starting out, Keith was among the very first to believe in us. He delivered four unforgettable remixes of Denise Motto – I M N X T C, sharp, uncompromising cuts that defined the true spirit of underground dance music. At the time, due to limited means, only one made it to vinyl. Now, for the first time, we are proud to present the complete set: four remixes — the unreleased acid mix, blackrabbit whorehouse mix, industrial mix, and alternative mix , all cut loud and mastered with love. This release is more than a record; it is a homage to Twitch, a true pioneer and tastemaker, our generation’s John Peel. His art of digging, his fearless intelligence in music choices, his no-compromise vision — all of it stands in stark contrast to the disposable culture of today’s Instagram DJs. What we celebrate here is the real thing: edgy, sharp, timeless. A piece of history, pressed in vinyl forever. Featuring a stunning artwork by H5 (Daft Punk, Air, Logorama), specially designed to pay homage to the legend. Ultra-limited, no repress.

Chloe Lula Announces Syntax: A Singular Vision Connecting Ambient Meditations and Hypnotic Techno San Francisco-born, Berlin-based artist Chloe Lula announces the launch of Syntax, a record label that codifies her unique position within the electronic music landscape. Arriving as the definitive home for her work as a DJ, producer and cellist, Syntax follows her established residency at Tresor and acclaimed releases on foundational labels including Mord, Blueprint and the highly esteemed experimental imprint Subtext. Her label is the culmination of a decade spent as both a participant in and a defining voice in the scene—a space where Lula’s deep and cohesive vision of electronic music finally converge. The label’s name refers to the arrangement of elements to forge new meaning, a philosophy Lula applies to her singular musical grammar. Whether through her slow-burning, exacting techno or her instrumental compositions, Lula’s work is characterized by a patience that understands nuance and counterpoint. This vision is reflected in the label's structure: releases will arrive in thematic series that bypass traditional genre markers to focus on atmosphere, immersion and hypnotica. The imprint’s debut, SYN-PLS01, marks the beginning of the Pulse series, a collection specifically engineered for the floor. For this inaugural release, Lula took recordings from Swiss electroacoustic composer Alexandra Bellon as a jumping-off point, molding Bellon's architectural sense of space into six tracks of driving techno. Future series will expand the catalog into ambient and instrumental territories, reconciling formal acoustic tradition with the raw functionality of the electronic landscape. With a career spanning editorial leadership at Resident Advisor and her work shaping the dialogue of the culture through her writing and interviews, Lula brings a deep, analytical knowledge to her craft. Syntax is the connective tissue between her work in the booth and her critical contributions to the field—a project that formalizes her distinct perspective as both a curator and a creator. SYN-PLS01 arrives on May 8. Follow @syntax.records for updates.

BERLINCIAGAY launches its first vinyl release, welcoming DJ Beluga92 for a dreamy and twisted journey through house, tech and electro. Rooted in analog textures and emotions,
BCG001 captures a driving and cinematic side of Berlin nightlife while still carrying enough tension for the late-night hours.

Mastered and lacquer cut by Mike Grinser at Manmade Mastering and pressed by Matter Of Fact, the EP feels intentionally physical and warm, embracing the depth and movement of analog sound.

DJ Beluga92 recently delivered a live set at Rex Club Paris, which can also be heard through the BERLINCIAGAY #10 mix series. We are very excited to finally present this release on vinyl.

A1 “Rip Meine Maschine” is Labelheads Tom Peters’ absolute favorite from the EP. A twisted roller driven by a distinctive male vocal, hypnotic groove and restless energy. The track became a closing moment during Tom’s latest US tour, where he played BASEMENT’s Studio in NYC, Vice Underground’s warehouse party in Los Angeles and Midnight Service in Miami.

A2 “System Effect” moves into a more dreamy and emotional direction. Floating vocals repeating “this is the sound” drift through housy pads and spacious textures, creating a track that feels both euphoric and trippy at the same time.
B1 “GA_Entry after 7AM” rounds off the record beautifully with spacey atmospheres, analog synth work, echoes and reverbs. It feels like the afterglow of a long night, designed for the early morning hours on the dancefloor or the journey home afterwards.

BERLINCIAGAY is a statement. A different perspective on Berlin club culture. Less aggressive, less functional, more emotional, dreamy and intimate.

There was nothing in contemporary music like Chris Isaak’s Heart Shaped World when it hit shelves in June 1989. More than three decades later, the singer-songwriter’s third album still sounds unique — and claims a backstory nearly as fascinating as the retro-leaning material and standout performances that propelled it to sales of more than 2.5 million copies. Home to the Top 10 smash “Wicked Game,” the set remains a masterful mood piece that invites you to pour a late-night drink, sit in a dimmed room, and relish Isaak’s elegant albeit raw ruminations on love, relationships, and questionable decisions.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, strictly limited to 3,000 numbered copies, and featuring the bonus track “Diddley Daddy,” Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set of Heart Shaped World unearths the staggering inner details, saturated tones, and brilliant atmospherics of the crisp production. It brings you up close and personal with Isaak’s spectacular singing — impeccably controlled, tense, brooding, steamy, smoldering, haunted — situated amidst stripped-down backdrops that allow every note to fully bloom and decay.

While Isaak’s ever-steady baritone remains the anchor, the contributions of his trusty backing band, the aptly named Silvertone, come across with just as much cool, command, and realism. The indispensable playing of guitarist James Calvin Wilsey particularly emerges with superb clarity and dimensionality. The character of his 1965 Fender Stratocaster, shivering twang of his spring-coiled fills, and his signature use of reverb, delay, and vibrato seamlessly match Isaak's patient deliveries and the band’s unhurried rhythms. Experienced on UD1S with ultra-black backgrounds and a nearly invisible noise floor, Heart Shaped World is in every regard a demonstration disc.

The premium packaging of this UD1S pressing befits its elevated status. Housed in a deluxe slipcase, it features foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, this reissue is for discerning listeners who desire to immerse themselves in everything involved with the album, not the least of which is the cover art depicting a lost-in-thought Isaak staring ahead and sitting in what appears to be an efficiency apartment. The image epitomizes the record’s lonesome temperaments and pensive themes.

Of course, if not for director David Lynch hand-picking two cuts from Heart Shaped World for his 1990 film Wild at Heart, the record would’ve probably suffered the same fate as Isaak’s prior efforts and gone unnoticed by the mainstream. Despite receiving raves from outlets such as NME, Chicago Tribune, and Rolling Stone upon its original release, the album stalled in the lower quadrants of the Billboard charts and, after a few weeks, dropped off.

Cue the ear of Lee Chesnut. Then the music director for a large Atlanta radio station, Chesnut heard the instrumental version of “Wicked Game” on Lynch’s soundtrack and started airing the album rendition at all hours of the day. Aided by a sensual video featuring Isaak and supermodel Helena Christensen, the song found its way into the public consciousness by early ‘91 and helped make Isaak a most unlikely mainstream star in an era where his techniques had little to nothing in common with popular tastes.

Despite its vintage vibes and shared DNA with legends such as Roy Orbison, Chet Baker, and Glen Campbell, Heart Shaped World transcends nostalgia, rockabilly, and throwback tropes. For all the melodrama and sadness at hand, Isaak’s gorgeously transparent singing dives deep underneath emotional surfaces. He mines subtleties that indicate his feelings go beyond heartbreak and anguish, and occasionally suggest frustration, menace, and anger. You can hear it in his quivering falsetto, and the slow and methodical ways he allows delicate whispers to break into shadowy phrasing that crosses over to the darker sides of romance and desire.

That approach bolsters the title track, which suggests calm yet moves on ominous currents — its simmering pace and snare-drum snappiness foreshadowing Isaak raising the volume and urgency during the coda. The southwestern-tinged “Wrong to Love You” plays with similar concepts of hesitation, unease, and discord, Isaak careful never to fully erupt and give anything away. His poised deliveries offer a master class in the art of insinuation and hurt on “Nothing’s Changed,” sent up with a wordless backing chorus and crackling guitar lines straight out of a Memphis blues joint.

Heart Shaped World further boosts its merit via its abundant stylistic variations, from the upbeat country-and-western trot of “I’m Not Waiting” and Spanish acoustic shimmer of the jazz-based ballad “Blue Spanish Sky” to the swinging horn-accompanied grooves of “Don’t Make Me Love You” and desert smokiness of the understated “Kings of the Highway.” On the latter, Isaak comes across as resigned and absolute. His singing and pain worm their way into your soul, and echo akin to the way the music prepares to strike when you least expect.

“Trouble going 'round,” Isaak croons right as the album begins. “Trouble going down.” Damn straight.

Michael follows up his debut release on UK label Digthis Records with a strong new EP on the Austrian imprint Rhythm Science.This four-track EP moves effortlessly between house and electro influences before closing out with a moody house weapon on the B-side.This release marks a confident statement, underlining Michael’s growing presence and serious talent.

Outer Place Records proudly presents its seventh vinyl release: Jungle EP by Kamyar Keramati with included a remix from Domenico Rosa . A sonic expedition through intricate rhythms and emotive textures, this EP marks a significant chapter in our label's journey. Berlin-based Iranian producer Kamyar Keramati delivers a compelling four-track EP that traverses the realms of techno, breakbeat, and ambient soundscapes.

A1. "Jungles"
An immersive opener that sets the tone with layered percussions and atmospheric depth, inviting listeners into a dense sonic forest.

A2. "Sakhiff"
A rhythmic journey blending intricate beats with subtle melodies, showcasing Keramati's prowess in crafting dynamic electronic narratives.

B1. "One For All"
A unifying track that melds diverse sonic elements into a cohesive whole, reflecting the EP's complete theme of interconnectedness.

B2. "Jungle (Domenico Rosa Remix)"
Italian producer Domenico Rosa reinterprets the title track, infusing it with his signature minimalistic but techno flair, adding a fresh perspective to the original composition.

Each track demonstrates Keramati's ability to weave complex rhythms with emotive undertones, creating an EP that resonates on both the dancefloor and in introspective settings. Visual Identity by Henrik Delehag Complementing the auditory experience, the EP features cover art by Swedish artist Henrik Delehag . Known for his distinctive black-and-white iconography, Delehag's work explores the interplay between chaos and harmony. His art distills complex realities into symbolic forms, providing a visual narrative that mirrors the EP's sonic journey.

This collaboration marks the beginning of an ongoing partnership, with Delehag set to design all future vinyl covers for Outer Place Records. His unique artistic vision aligns seamlessly with our label's vision, enhancing the holistic experience of our releases.

Jungle EP is more than a collection of tracks; it's a curated experience that fuses sound and visual art.

Available soon on vinyl and digital platforms.

Finally re-mastered and pressed for a one off limited qty drop.
1993 Very rare FBD Project 3 track Darkside EP with early jungle / rave influences.
Originally a very limited pressing, but now remastered and packaged to allow you a final chance to purchase another classic FBD underground release.
Following the original white label format, with a white sleeve and Bang-in Tune Sticker for reference.
Grab one whist you still can, as this is the only re-press being produced, with original copies selling for big money on various sites.

Rocksteady Disco comes through with more tasteful and timeless edits on this fourth volume of its series which focuses on sounds from Detroit. Gino steps up on the A-side with the leggy grooves and funky bassline soft 'Funk Beyond' then 'Sunshine Ramp' pairs a classic vocal sample with a bubbly, percolating groove full of fun. On the flip, things get more textured and expressive with the busy jazz horns of DJ Righteous's '6 Minutes Of NRG' then 'Never Forget' brings heavyweight drum-first funk with warm organ chords and a busy mix of bass and melodies under the soaring vocals. Scorching stuff.

Ira James' mighty US house outlet Vessel Recordings offers up a fine sampler of what they are all about here. It comes amid a bushy run of releases all dropping this fall and features some seriously heavyweight names from the underground. Jason Hodges, Eddie Leader kicks off with the persuasive house grooves of 'Sometimes Mix', which has nice hooky chords gently looping to hypnotic effect. Wally Callerio's 'Cause You Know' is a lush, luminous number with airy vocals and rising synth patterns, while Jordan Strong gets choppy and heads down and Christopher Mohn brings a muscular, macho house rhythm with rawness at its heart.

Originally dropped in 2016 on Aiwo Rec., Forum's self-titled EP became one of those secret weapons whispered about in after-hours corners. It's a hazy blend of dusty drum machines, rolling 303s and dreamy breaks that bottled the spirit of Germany's late-night underground at the height of the so-called "outsider house" wave. Now back via WARNING, this reissue keeps everything intact, from the tropical drift of 'Yucatan' to the sheer groove hypnosis of 'Space Train.' It's an EP that moves between house, breakbeat and sunrise euphoria with a knowing hand. A modern cult classic reborn.

Mit "Tourist History" veröffentlicht die britisch-irische Indieband Two Door Cinema Club eines der einflussreichsten Debütalben der 2010er Jahre in einer besonderen 15th Anniversary Edition. Das Album, das 2010 erschien, gewann den Choice Music Prize als Irish Album of the Year und markierte den Start einer Weltkarriere, die von Festival-Headliner-Shows bis zu über 1 Milliarde Streams von "What You Know" führte.

Zur Feier des Jubiläums erscheint Tourist History in drei liebevoll gestalteten Formaten - inklusive bisher unveröffentlichter Remixe und Raritäten.

Seit dem Garageprojekt in Bangor haben Alex Trimble, Sam Halliday und Kevin Baird eine beeindruckende Karriere hingelegt - mit Top-10-Alben wie Beacon, Gameshow, False Alarm und Keep On Smiling und ausverkauften Touren weltweit. Diese Jubiläumsausgabe ist ein Muss für Indie-Fans und Sammler - ein Meilenstein moderner Gitarrenmusik.

How enduring is the signature song from Harry Chapin’s Verities & Balderdash? So timeless that it became the subject of a 2025 documentary in which artists from multiple generations weigh in on its impact on their lives and craft. “Cat’s in the Cradle” doubtlessly remains the main event on the singer-songwriter’s 1974 album. The legendary opening track also serves as a guidepost for the bold personal and social material that follows — as well as the gorgeous folk-rock arrangements that underpin the New York native’s most commercially successful work.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, housed in a Stoughton jacket complete with a four-page insert, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Verities & Balderdash presents Chapin’s fourth full-length in audiophile quality for the first time on vinyl. Captured during a golden era for sonics and production, the Top 5 effort features remarkable tonal balance, instrumental separation, and organic naturalism. Those valued aspects come into supreme focus on this reissue, which plays with dead-quiet surfaces and a low noise floor.

The newfound clarity, openness, and imaging underscore the lasting appeal of Chapin’s tender deliveries, soulful timbre, and careful phrasing. Every word comes across with incredible realism, while his underrated guitar playing occupies its own distinctive space. Also notable: The extension of the tasteful string accents; airiness of the backing vocals; depth and shape of the spare bass lines; and width and depth of the soundstaging. When on “Six String Orchestra” Chapin calls out names of instruments, they appear like magic, the band performing feet from you. Chapin has never sounded so lifelike on record.

Certified double platinum, Verities & Balderdash resonated with the times and public. “Cat’s in the Cradle” reached No. 1 on the chart on its way to being inducted into the Grammy Hall of Fame. The romantic ballad “I Wanna Learn a Love Song” flirted with the Top 40 and wrapped listeners in the equivalent of a cozy blanket. The record’s other single, the mini-epic “What Made America Famous?,” helped establish Chapin as one of the country’s most incisive and insightful commentators.

Verities & Balderdash teems with situational devices and topical matters. Chapin observes everything from the polarization of the nation to changes in moral standards and cultural priorities. He investigates pressing themes without ever turning preachy or elevating himself above the matters at hand. On “Halfway to Heaven,” whose coda races to the finish and ranks as the most urgent moment on the record, Chapin inhabits the mind of his frustrated protagonist akin to an eagle-eyed novelist.

Conveying emotions that range from melancholic to carefree, Chapin is as much of a singer as a storyteller. He assumes the voice of multiple characters within a single narrative. During the quirky “30,000 Pounds of Bananas,” a tale based on a delivery-truck accident in 1965, Chapin alters his delivery, pronunciation, and diction to become an old man reflecting on the mishap and mess. The tempo, too, adjusts to match the speed of the vehicle Chapin describes.

Adorned with timely laugh tracks to reinforce the bittersweet humor, the stripped-down “Six String Orchestra” takes everything up another notch, with Chapin intentionally missing guitar notes or playing a broken passage to illustrate the failures of the hopeful protagonist who doesn’t have what’s required to make it as an artist.

Chapin, of course, did not have any such problem. The lynchpin of a career cut short by a tragic traffic incident, Verities & Balderdash is Exhibit A of the savvy craft, feeling, and perspective he lent to American music.

MCRV019 – VA – Phase Drift. Passage is a graceful and emotionally nuanced four-track journey through modern deep tech house. Blending reimagined echoes of early 2000s deep sounds with forward-thinking production, the release moves between moods and textures with surgical control and quiet sophistication. It’s an EP that balances warmth and restraint, melancholy and motion — built for selectors who appreciate finely tuned emotional arcs.

A1. Stephano Franca – Arriving opens with a fluid, introspective piece. Gentle and melancholic, it glides with cinematic poise, drawing listeners into a state of suspended reflection.
A2. Dot – Distance Call introduces a percussive, tribal undercurrent — earthy and grounded, yet full of bounce. It energizes the space while maintaining depth and groove.

Flipping over, B1. Reenday – Last Call (Nicolas Barnes Remix) brings a refined sense of cold elegance. Dubby and atmospheric, it’s a minimalist piece that evokes distance and stillness — a cool breath in the night.
Closing the release, B2. Jeronimo Watson – On The Prowl is a deep tech gem — emotive, seductive, and sharply detailed. With a slow-burning energy, it brings the record to a confident and composed close.

From Brazilian talent Stephano Franca to Dot and Nicolas Barnes, two of the label’s most precise and consistent producers, and rising standout Reenday, a finalist of the ANTS: NEXT GEN Artist Program 2025, this release represents the current essence of MixCult. It is sealed by the distinct touch of Jeronimo Watson, whose Los Angeles–rooted sound closes the circle with style.

Phase Drift. Passage is not just a collection of tracks — it’s a refined toolkit for navigating emotional shifts and dancefloor narratives, framed by elegance and intention.

Limited Edition.