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Cleveland-based producer Tim Thornton makes music under the moniker Tiger Village. Thornton has carved out a niche in the American experimental underground through the wide-spanning releases of his own label Suite 309, as well as through his day job as a quality control supervisor at the Gotta Groove Records manufacturing plant — meaning that his ears serve as the finish line for a vast slate
of vinyl projects that hit the market every year. The Celebration, the fourth Tiger Village release on Hausu Mountain since 2014, joins a catalog that includes releases on Orange Milk, Patient Sounds,
and HausMo sublabel Blorpus Editions, along with a battery of music self-released through Suite 309.


Within the jittering IDM-adjacent networks of The Celebration, Thornton expands his craft on multiple concurrent trajectories, digging deeper into complex drum programming and labyrinthine synth arrangement while further exploring passages of vocal synthesis and non-recursive song structures that thrive on unpredictability and constant fluctuation. Thornton can’t help but bring a wide-eyed curiosity to anything he produces, as he rejects the dead-serious gun-metal intensity of many strains of contemporary electronic production in favor of bright tones and wonky rhythms.

Like fellow Hausu Mountain artists Wobbly and Moth Cock, Tiger Village revels in cheeky compositional about-faces and
carnivalesque synth lines. In all their staccato voices and peals of abstract texture, Thornton’s tracks blur the lines between harmonic electronic elements and drum patterns. The album morphs before our
ears every few seconds or so, allowing arrhythmic loops and alternating rhythmic grids to contrast against whatever might seem to be the bedrock of any given piece. By paying attention to the
trajectory of every dollop of sound, Tiger Village pulls off magic tricks in his pointillist arrangements in which nothing remains static — everything pushes towards a state of progressive complication.

AVAILABLE FOR THE FIRST TIME ON VINYL! 25-plus years and thousands of fan requests later, Over the Rhine’s Christmas classic, The Darkest Night of the Year, finally gets the vinyl treatment it
has long deserved. The Darkest Night of the Year is Over the Rhine’s first holiday release and quietly helped re-define the genre for many listeners. It should be filed squarely in the “Now-for-something-a-little-different” file. It includes dark ambient arrangements of classic carols as well as strange and wonderful originals. We are told that in-store holiday airplay always generates keen interest for this after-midnight, deeply-layered record. The very first national review the album
received contained the opening salvo: Take a deep breath. Relax. Over the Rhine’s The Darkest Night of the Year is the Christmas disc of the year and destined to become a classic. Curl up with someone
you love, or enjoy some quiet time alone, The Darkest Night of the Year is the perfect soundtrack…”

Reviews for Over the Rhine’s visionary Christmas Music have continued to pour in over the years with coverage in the New York Times, NPR’s Morning Edition, USA Today, Paste, No Depression and many others. TOURING: Over the Rhine will be supporting the vinyl release of The Darkest Night of the Year with 2023 Christmas concerts currently booked in Chicago, Boston, DC, Philadelphia, Cincinnati (three shows), Ann Arbor, Pittsburgh, Grand Rapids and Kent, Ohio

History has shown that the greatest bands–bands with that certain, ever elusive quality called lasting power–neither conform to nor buck the trends of their time, but rather force the times to catch up to them. Sheer Mag has such lasting power in droves. After almost a decade spent carving out a career that has already become the stuff of modern underground legend, the band’s new stand-alone single, “All Lined Up,” comes alongside the announcement of their signing to Third Man Records–their first partnership with a larger independent label–who will also be physically and digitally re-releasing the entirety of Sheer Mag’s back-catalogue, including their cult-beloved early EPs I (2014), II (2015), and III (2016), as well as their first two breakthrough LPs, Need To Feel Your Love (2017) and A Distant Call (2019). Sheer Mag’s sensibility, as fervently beloved by baseball-tee clad garage rockers and tattoo-less indie kids as it is by leather-and-stud-loyal punks, finds its strength in an unconventional mixture of refined complexity and straight-forward pop prowess. Seamlessly trading between head-turning guitar heroics and a charmingly timeless blend of disco, hard rock, and garage inflected hooks, Sheer Mag’s oft-referenced, never-replicated sound has played an undeniably large role in stoking the current resurgence of interest power-pop forward rock music. While quickly adopted as a fan-favorite amongst the sweat-caked crowds of the early 2010’s underground, time has attested to Sheer Mag’s singular cultural mutability: though never straying too far from their home-town Philadelphian origins

For those who still believe prog is a four-letter word, Caravan remain a mystery - More fool them, for they are missing out on some of the sweetest and most tuneful melodies in 70s rock, whether it be the jazz- inflected vaudeville of the title track of If I Could Do It All Over Again, I'd Do It All Over You, the gentle celebration of Virgin On The Ridiculous from Caravan & The New Symphonia or the funky ambition of The Dabsong Conshirtoe on Cunning Stunts. Formed, like Soft Machine, from the group The Wilde Flowers, Caravan have much in common with UK 70s prog, punning titles, gatefold sleeves, many songs well over 10 minutes long, frequent line- up shifts, but they always had an innate accessibility – partly due to guitarist and lead vocalist Julian 'Pye' Hastings' easy- on-the-ear singing style. Recorded at Tollington Park Studios (Decca 4) in North London, Cunning Stunts was Caravan's final studio album for Decca; with a tweak in line-up, it produced some of the group's most mature, fluid music, especially in the 18- minute The Dabsong Conshirtoe. 'Have you heard our story, a mystery it seems, gather round come listen, see the spectacle within,' the group state on the album's opening track The Show Of Our Lives. Had the group not been called Caravan and the album Cunning Stunts, Lover could have been a Top 10 single. This re-issue faithfully replicates the original 1975 Decca Records UK release and is pressed onto high quality 180g vinyl

For those who still believe prog is a four-letter word, Caravan remain a mystery - More fool them, for they are missing out on some of the sweetest and most tuneful melodies in 70s rock, whether it be the
jazz-inflected vaudeville of the title track of If I Could Do It All Over Again, I'd Do It All Over You, the gentle celebration of Virgin On The Ridiculous from Caravan & The New Symphonia or the funky
ambition of The Dabsong Conshirtoe on Cunning Stunts.

Formed, like Soft Machine, from the group The Wilde Flowers, Caravan have much in common with UK 70s prog, punning titles, gatefold sleeves, many songs well over 10 minutes long, frequent line-up shifts, but they always had an innate accessibility – partly due to guitarist and lead vocalist Julian 'Pye' Hastings' easy-on-the-ear singing style.

Recorded at Tollington Park Studios (Decca 4) in North London, Cunning Stunts was Caravan's final studio album for Decca; with a tweak in line-up, it produced some of the group's most mature, fluid
music, especially in the 18-minute The Dabsong Conshirtoe. 'Have you heard our story, a mystery it seems, gather round come listen, see the spectale within,' the group state on the album's opening
track The Show Of Our Lives. Had the group not been called Caravan and the album Cunning Stunts, Lover could have been a Top 10 single.

This re-issue faithfully replicates the original 1975 Decca Records UK release and is pressed onto
high quality 180g vinyl.

Out of print since 2015, this special EP now returns on 12″ vinyl!

Originally recorded for Big Star’s iconic Third, “Jesus Christ” has become a holiday staple. What better way to celebrate this time of year than to experience this classic track on vinyl—along with the gift of rare material!

This collectible 12″ EP features the Three Wise Men artwork from a 1973 Big Star promo poster. In addition to the original album version of its namesake, the audio program features a demo of “Jesus Christ” which first appeared on the Grammy® winning box set, Keep An Eye On The Sky, as well as 5 rare tracks.

Fans have been clamoring for an official release of “Another Time Another Place & You” for decades, and it made its first-ever appearance on this EP when Omnivore first issued it as a limited 2015 Black Friday/Record Store Day 10″ EP, long with a TV Mix of Third’s “Thank You Friends.” Two more unissued instrumentals joined them. All four of these tracks were mixed in 2012 for use in the acclaimed documentary Nothing Can Hurt Me. A demo version of “Big Black Car” (the studio version also appears on Third) completes the playlist.

The legacy of Big Star continues to shine, and the Jesus Christ EP will not only make a glowing addition to any fan’s collection, but will provide them with not only what they’ve been searching for, but make them rejoice in what they’ve found.

New Jersey, Brick City hip-hop legend Beneficence and UK based producer duo Jazz Spastiks unearth a timeless treasure with the release of their collaboration album "Summer Night Sessions". With a completely jazzy street feel and slick written, soothing, intellectual lyrics the Ill Adrenaline co-founder releases his 8th full length album. Over 25 years of successfully releasing independent music, Beneficence set the bar high by using lo-fi, jazzy boom-bap sounds masterfully. Following his most successful "Stellar Mind" (2021) release accompanied with a memoir ("Concrete Soul - The Memoir & Making of Ill Adrenaline Records") of his life and music journey, the close Artifacts affiliate delivers a personal collage of authentic hip-hop music with a brilliant Jazz Spastiks backdrop. Well selected guest appearances in these "Summer Night Sessions" include Skyzoo, Saukrates, Doodlebug (of Digable Planets), Awon, El Da Sensei (of The Artifacts), J-Live, Rakaa Iriscience (of Dilated Peoples), Kid Abstrakt, Shabaam Sahdeeq, and grammy nominated R&B singer Anthony David on a CD/digital only bonus track. On the first single "Do This, Do That" feat. Awon, Beneficence flows smoothly over simple but captivating horns reminiscing about his come up on the music scene. "At the time I was seated behind Diddy and Biggie, '95 Source Awards keys to the city". "Mic Epps" displays lyricism in its finest form when Beneficence playfully pans between a reference to comedian Mike Epps and microphone episodes. "Civilize 'em with a mic check, I get funny on 'em, Mike Epps, you coming ugly imma swipe left, what we giving you is priceless, the nicest!". The musical marriage between the beautiful sounds of Jazz Spastiks and the sharp pen of Beneficence is tactfully done with rich and hypnotic bangers for hip-hop lovers with an ear for certified dopeness

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AhGeeBe is the stage name of Welsh songwriter, pedal-steel player and general all-round multi- instrumentalist, Rhodri Gwyn Brooks. Through the past decade performing and recording with various artists (Melin Melyn, Gia Margaret, Novo Amor, Georgia Ruth & Ivan Moult to name a few), Rhodri has drawn on inspiration from artists such as George Harrison, Wilco and Neil Young, to produce his distinct brand of country Americana.
Through Bubblewrap, Rhodri has released lo-fi home
recordings and a couple of EP’s under his own name, as well as a Welsh Music Prize nominated album ‘Pontvane’, alongside Eugene Capper. Now, a decade in the making, AhGeeBe’s debut album ‘Chin Up, Chief‘ drops on November 3rd, through Bubblewrap Collective.
Rhodri shares some of his thoughts and processes...
Over the years I’ve come to realise that I much prefer playing for other artists, and collaborating with people, more than writing and releasing my own music with all the ffaff and headspace it takes up. But here we are.
The name of the record comes from a line in TV show Fargo, where police officer Molly tries to cheer up the police Chief. It stuck with me and seemed all too fitting a title for the songs as a whole.
Musically I wanted to make an album with all the sounds and feel I really love from artists like George Harrison, Wilco, Neil Young etc with piano and acoustic guitar, interupted by spikey electric guitars or mad fuzz solos with a solid slight funk to the rhythm section - my attempt to sound like a David Axelrod record. I got a pedal steel guitar around 3 years ago so there’s a veriety of bottleneck slide, lapsteel, and pedal steel guitar on the record. And then on the flip side, have moments of calm and sparsity, with room to woozily meander around.

There's a new band in town! comforter2 is the new baby of Meetsysteem, Tammo Hesselink & Marianne Noordzij. Born from a residency space in Arnhem as they we're being snowed in over the pandemic, comforter2 is a band for club heads and a club act for band heads. Sometimes two worlds meet - and through this conversation love is found - that's a quote from the album > there's a lyric sheet included with the cassette so you can read along. If you're familiar with their solo projects you won't be surprised by the size of this debut; 16 fresh, club-leaning, indie pop/rock tunes that we'll release on cassette as well as digital. The tracks are formed by all members: Tammo's knack for bass and rhythms, Meetsysteem's song- writing skills (the album is sung in English) and together by Marianne's designs and voice, adding a touch of blissful psychedelia. It's an honest, upfront album about the highs and lows of modern life, seen through the eyes of a raver at their peak. It lends their sound a sense of alluring melancholy, a beautifully bittersweet sense of mood that stays with you long after the rhythms have finished. Like lullabies, for the dancefloor.

This classic selection of songs is taken from her first prodigious burst of creativity when she recorded with her then-husband Kansas Joe McCoy.

If ever a title was justified, then 'Queen of the Country Blues' is the bare minimum that should be afforded to Memphis Minnie, a lone female voice in the maledominated country blues scene whose musical legacy is nothing short of remarkable. Minnie transcended both gender and genre and her recording career spanned from the late 1920s heyday of country blues to the cutting-edge Chicago scene of the 1940s & 1950s, where she helped pioneer the roots of elctric blues, R&B and rock 'n' roll.

This collection highlights the formative years of Minnie's career as part of the duo and includes accomplished blues numbers such as 'Memphis Minnie-Jitis Blues', probably based on personal experience, as well as 'Bumble Bee' their first recorded song and one of Minnie's most successful of her hundred or so songs that she recorded before retiring in the mid-1950s.

Leave Me Alone is the debut album of Nick Oliveri's Uncontrollable, a solo project created by Nick Oliveri (Kyuss, Queens of the Stone Age, Dwarves, Mondo Generator) released in 2014 on Schnitzel Records. It was recorded in 2013 at Thunder Underground Studios in Palm Springs, California by Harper Hug & Trevor Whatever. Nick Oliveri performs all of the instruments (vocals, guitar, bass & drums) on the album as well as all of the production & writing of the songs. He also recruited guest performers in such as Blag Dahlia of The Dwarves & Motörhead's Phil Campbell. The album is dedicated to deceased Eyehategod drummer Joey LaCaze. Heavy Psych Sounds is releasing a brand new REPRESS with new coloured vinyl.

Magenta coloured vinyl, limited to 300 copies. Leave Me Alone is the debut album of Nick Oliveri's Uncontrollable, a solo project created by Nick Oliveri (Kyuss, Queens of the Stone Age, Dwarves, Mondo Generator) released in 2014 on Schnitzel Records. It was recorded in 2013 at Thunder Underground Studios in Palm Springs, California by Harper Hug & Trevor Whatever. Nick Oliveri performs all of the instruments (vocals, guitar, bass & drums) on the album as well as all of the production & writing of the songs. He also recruited guest performers in such as Blag Dahlia of The Dwarves & Motörhead's Phil Campbell. The album is dedicated to deceased Eyehategod drummer Joey LaCaze. Heavy Psych Sounds is releasing a brand new REPRESS with new coloured vinyl.

The Living Mountain is the second solo album from songwriter Jenny Sturgeon (singer and multi- instrumentalist in Salt House and Northern Flyway), recorded and produced by Andy Bell at Clashnettie Arts Centre in the Cairngorms National Park.

The Living Mountain is inspired by Nan Shepherd's book The Living Mountain and Jenny's experience growing up near, and walking in, the Cairngorms. In the album Jenny explores her own connection to this highland area as well as delving into Nans philosophy of being in the mountains and peoples connection to the wild.

The twelve songs take inspiration from the chapter titles of Nans book; the lyrics tell of exploration, love, loss and wonder at the natural world from small scale mosses and moths to the wider landscape and ecosystem.

The album features Mairi Campbell on viola and vocals, Su-a Lee on cello, Grant Anderson on bass and vocals, and sound recordings from Jez Riley-French and Magnus Robb.

"Ritualised choral chants and skronky electric guitar add textures and lustre, subverting possible expectations of an album whose principal instrument is the humble accordion. It may be called Avant Folk but it's so much more than that." - Sid Smith, Prog Magazine

Featured musicians on this are some of Norway's finest from the creative music field: Frode Haltli on accordion, Oddrun Lilja and Juhani Silvola on guitars, fiddlers Erlend Apneseth and Hans P. Kjorstad, horn players Rolf- Erik Nystrom and Hildegunn Oiseth, wizard Stale Storlokken (Supersilent) on Hammond, bassist Fredrik Luhr Dietrichson (Moskus), drummer Per Oddvar Johansen of The Source and multiple legendary Norwegian bands, as well as the up- and- coming traditional musician Helga Myhr on vocals.

Having performed in- demand Christmas shows at Jazz at Lincoln Center and around the world, Sands offers such classics as "Let It Snow, Let it Snow, Let It Snow," "Do You Hear What I Hear," "Sleigh Ride," Have Yourself a Merry Little Christmas," "Silent Night," "Jingle Bells," and "God Rest Ye Merry Gentlemen" as well as a few surprises.

Joining the NAACP Image Award nominee is vibraphonist Stefon Harris, saxophonist Jimmy Greene, guitarists Max Light and Marvin Sewell, bassist Yasushi Nakamura, percussionist Keita Ogawa and drummer Ryan Sands.

Produced by legendary rock historian and Bomp! Label founder GREG SHAW, the Los Angeles all-female combo delivers a neo-60's garage punk classic.

"Paula Pierce refused to play it cute. On the Pandoras' debut album she outsnarled, out- screamed, out- fuzzed and out araged the male- dominated competition--like a well-aimed go-go boot to the jugular." - Mike Stax

For anyone familiar with the Swedish progg movement of the '60s/'70s, this album will feel both familiar and completely new. The songs have a distinctive feeling where jam session- like soundscapes are balanced with exquisitely wellwritten melodies. Like A mixture of Slowgold and Dina ogon in the soundscape and whith a vocal tone that in some parts of the songs reminds of (Markus) Krunegard. The music brings back the summer evenings and lazy days vibe.

With a dreamy undertone in the sound but a story that is more serious. All songs are recorded on tape, adding even more character to the sound. Jattedam is an unfiltered expression of whatever absurd fantasies, fantastic pretensions, soulheavy burdens, clear insights, insatiable curiosities may come their way. Join the band and explore "Onda Blommor".

Pink Vinyl. Original 1994 album remastered and repackaged in an expanded gatefold and pressed on 180 gram virgin vinyl. "On a family vacation to Florida in the mid-'70s, Bubba cut his head on the bedside table in a motel room. I still remember it vividly and how I was haunted by the matter-of-fact line: 'you cut your head on the bedside table.' Its ten syllables sounded right, but the content is what really haunted me. It felt like the ultimate betrayal, the bedside table taking advantage of its proximity to a serenely sleeping body." - Matt Kadane

After impressing with recent outings on the likes of Chocolate Star back in September, KNOE1 is back with a fresh new EP that is for DJ Use Only. This one on Truseschool Ltd kicks off with 'Inside Out' (Boogie dub), a fresh take on a classic tune you may well know if you dance in classy places. It's a timeless cut with gorgeous vocals and hip swigging drums and finger claps that oozes warmth and soul, not to mention lush strings at the breakdown. Flip it over and you will find 'Feels So Good' (Diskomix) which his more uptempo but no less full of magical groove and disco dazzle. Another great outing from this ever more vital artist.

Planet P Project is Tony Carey's pseudonym for his science-fiction themed progressive rock side venture from his more pop-oriented rock releases. Its first three albums, Planet P, Pink World, and Go Out Dancing, Part I (1931) were released in 1983, 1984, and 2005, respectively, and the first two saw a fair amount of MTV video airplay. Planet P's most well known singles were Why Me?, a sweeping, energetic romp about outer space and isolation, and the downbeat Static. Go Out Dancing, Part I (1931) is the first of a trilogy; part two, titled Go Out Dancing, Part II (Levittown) was released in May 2008 and Go Out Dancing Part III (Out in the Rain) was released in 2011.

Planet P Project is Tony Carey's pseudonym for his science-fiction themed progressive rock side venture from his more pop-oriented rock releases. Its first three albums, Planet P, Pink World, and Go Out Dancing, Part I (1931) were released in 1983, 1984, and 2005, respectively, and the first two saw a fair amount of MTV video airplay. Planet P's most well known singles were Why Me?, a sweeping, energetic romp about outer space and isolation, and the downbeat Static. Go Out Dancing, Part I (1931) is the first of a trilogy; part two, titled Go Out Dancing, Part II (Levittown) was released in May 2008 and Go Out Dancing Part III (Out in the Rain) was released in 2011.

The Spanish-Dominican label led by the Spanish Sergio Parrado and the Dominican Jee Bear presents its Lmtd series, where art, design and music go hand in hand. A collectible series where each reference is a piece of a mural by the Argentine designer Lucien Le Grub, this being the first of four.

This first reference is the work of Chilean Alejandro Vivanco (Cadenza, Melisma) who joins forces with fellow Chilean Dorian Chavez (8bit, Viva Music) to bring us this incredible “Dabtrack”.

The original cut (A1) is to go back in time, return to the essence of the mid-2000s where artists like Luciano or Ricardo Villalobos put the Andean country in the eyes of the world with their organic micro house. “Dabtrack” is about this, but with a renewed sound, where the organic and the digital embrace to create an intense track, with fat basses that will make the sound system rumble. Special synths that catch you to create a magnificent sound collage.

The A2 is for the master master and lord of the deep sound. We are talking about the Romanian Mihai Popoviciu, who brilliantly reinterprets the track and takes it to his own terrain, but without neglecting the essence of the original and giving it his particular groove that works so well late at night. The groove, together with the set of synths, which elaborates it magnificently, makes his remix of Dabtrack” an indispensable work in the DJ's suitcases.

Now it's time to close this incredible album. For this we have reserved the entire B-side for one of the Chilean artists who has left the most mark in the last two decades on the international electronic scene: Pier Bucci. He takes us on a 12-minute journey through his signature style where anything can happen. Little more to say, we invite you to discover it for yourself. Because it is a work of art.

Last summer the idea came up that the material of the Chillum Trio live act, which had been matured for years by then, would deserve a release on its own. The concept was to try to reproduce the experience of the live performances as close as possible, so a semi-mixed album was created, on which the seven tracks work separately, but the effect is best when listening to the record in its entirety. The musical world of Random Rituals is crazy dense and colorful, similar to Chillum Trio's previous releases, an exotic mix of contemporary electronics, world music and club sounds;s still, it has a unified character, which is due to the fact that it has grown from a live set that has been constantly developing over the years. Genre-wise, it is characterized by low-tempo, organic desert house, tropical acid drops, deep dub, hypnotic tribal beats and psychedelic episodes. Just like genres, eras and cultures are mixed as well: from the jazz-funk of the 70s, via tribal trance of the 90s to modern deep house, from Peru to Pakistan, from Sudan to Senegal: a real musical journey through space and time.


Géza Szekeres, the heart and soul of Chillum Trio, summed up the essence of the record as follows:
"Random Rituals shows me the paradox that recharges can be planned and ad-hoc at the same time. Rituals are characterized by a predictable scenario, but the effect can also be unexpected, so that events spin without a score. You don't walk into the ritual, but it comes to you, creating the same state that then fills you up."

“Praying to god whether or not I believe there is one” - PH

Petra Hermanova and Unguarded announce In Death’s Eyes (UGD-009), the debut solo LP under the artist’s own name. This LP features nine tracks utilizing folk and sacred musical technique and instrumentation which drift between song and heavy distorted drones. In a disciplined display of beauty, pain, and astute musicianship, Hermanova brings forth a notable accomplishment of an album. In Death’s Eyes confronts death from start to finish with a rare fervor that leaves one feeling it was utterly necessary for Hermanova to produce - to survive. The transcendent impulse, or the influence of religious music, bears heavily on Hermanova’s compositions in her choir arrangements, but is most apparent in her use of pipe organ, opening the record on Black Glass. Having written organ parts for a significant portion of the record, she sought out the renowned organist Denny Wilke to record with her in the Merseburg Cathedral. Captivated by Wilke's profound skill as a player and knowledge of the Ladegast organ, Hermanova invited him to collaborate on Two Deaths where he delivers an impressive improvisation. While religious music offers spiritual solace from grief, folk speaks to the human and earthly as told by the individual, be they songs of suffering or joy, sin or salvation. To Hermanova, the clean promise of liturgical music is not enough to alleviate the blunt pain of grief. Contrasting the spiritual is the voice of the individual sufferer - the folk musician. For Hermanova, the autoharp embodies this contrast. The autoharp, a familiar sound in Appalachian folk music since its mass production in the late 1800’s, is an affordable instrument designed for the unskilled player. It is the antithesis of the organ which is costly, gargantuan, reserved for skilled players, and quite literally a part of the church. Through In Death’s Eyes the sounds of transcendence blend with the worldly, the tension between them poignantly expressing Hermanova’s struggle for spiritual resolution against the reality of death and loss. Like Hermanova’s lyrics, the artwork, conceptualized by Enes Güç and Evelyn Bencicova, is riddled with symbolism and allusion. We find Hermanova on the cover, digitally rendered. Reclining like an anatomical Venus, her vital organs are exposed, suggesting she is denied a transcendent death and is instead immaculately human. Bearing a sickle, her legs are metallic like armor, both symbols of protection. We see here in this image, as we hear in the nine tracks of IDE, the metaphoric state of someone ravaged by loss, choosing to tear herself open in an attempt to heal. - Reece Cox Petra Hermanova is a musician and visual artist based in Berlin. In 2018, Hermanova began working with the autoharp, which has since become the central pillar of her musical practice. Drawing inspiration from folk, medieval drone, and contemporary textural expressions, as well as Appalachian autoharp music, she creates emotionally driven arrangements accompanied by vocals. In her lyrics, she speaks to the fragility and tenderness of the human condition, religious conceptions of death, and introspective landscapes through narrative and symbolism. Hermanova debuted live at the Berliner Festspiele event The Sun Machine is Coming Down, performed at Trauma Bar und Kino accompanied with her choir, and recently took part in Sorour Darabi’s durational performance From the Throat to the Dawn. Her debut solo album, In Death’s Eyes, is set for release in 2023 on the art platform and label Unguarded. The album, where she wrote for the autoharp, pipe organ, solo voice and choir, features the acclaimed organist Denny Wilke playing the 19th century Ladegast organ of the Merseburg Cathedral. She has toured internationally with previous projects, including extensive sound and visual collaborations with Jon Eirik Boska (Hydropsyche) as well as with her award-winning band Fiordmoss. She was recently announced as a SHAPE+ platform artist.

Mysterious and very rare from a private press label with only one known release on its catalogue, (up until now it wasn't even sure what the release year was). Spanish guitar, classic Balearic Italo house beats, drama on the vocals, all boxes are checked for a good time on an outdoor sunny dancefloor on some Mediterranean island.

Seeing the credits makes it clear that this was a joint operation of well seasoned Italian music specialists at the time. Although it's all about the "D.J. Never Sleep" version, all original versions in different languages are featured in this re-issue along with an additional new DJ tool style bonus beats. Very odd ball project that has been well hidden for a long time, brought back to record bags at an affordable price.

Stu Chapman is out hardcore hero from down under. Originally from the UK, he packed his bags and his records and moved to sunnier climes, but still has those raw UK flavours still pumping around his veins!

This is the first EP by Chapman on Amen Brother – his previous outings have been on his own Enormous Mouse imprint as well as Remix Records and Ars Musica Imprendere Vitah.

Chapman productions always have a more uplifting feel to them and these are four hardcore anthems to make the ground shake and those hands to reach up to the lazers!

Get tripping on these beats!

WRWTFWW Records is proud to announce the first ever release of the long-lost original motion picture soundtrack from the 1988 cult horror comedy sensation Ghoulies II by the incomparable Fuzzbee Morse. Digging deep to uncover a true gem of the VHS era, this limited-edition vinyl release (500 copies worldwide) marks history in the making as a piece of film score lore is resurrected from the depths of oblivion. The LP is packed with 39 tracks and features an exclusive artwork by French illustrator Pierre Thyss, as well an obi and composer notes.

The captivating melodies that once played hauntingly in the background of Ghoulies II were long believed to be lost forever. It took over 30 years and Fuzzbee Morse's unwavering determination to dig out the legendary recordings – and restore them for full audio pleasure!
The superb soundscape of Ghoulies II perfectly captures the chilling and wacky essence of the cult movie, as well as its creepy carnival setting. Morse, citing influences such as Bernard Hermann, Frank Zappa, and Igor Stravinsky, flexes his multi-instrumentalist skills, flowing with ease between magical fairground elements (with brilliant use of calliope, tuba, flutes and sparkly sounding synthesizers), dark atmospheres and frightening attacks (tribal percussion, strings, along with dissonant, atonal gongs, bowed cymbals), and goofy moods (bassoon, bass clarinet, glockenspiel, trumpet, clarinet). It’s big cinematic horror movie music with a lighter comedic touch – the 80s live again!

To complete this collector's edition, French illustrator Pierre Thyss (the man behind the WRWTFWW Records logo) lends his (immense) talent to provide awe-inspiring visuals that flawlessly encapsulate the juxtaposition of horror and comedy.

Ghoulies II follows the release of the full uncut soundtrack of Ghoulies (1985) which was released on vinyl for the first time ever by WRWTFWW Records in 2020 alongside soundtracks for other Richard Band-composed, Empire Pictures-produced classics: TerrorVision and Troll. All these 80s horror favorites are still available – complete the collection now!

Polish jazz rebels sneaky jesus are back with their second studio album For Chaching Taphed.The highly imaginative quartet out of Wroclaw comprising Maciej Forreiter (Guitar), Matylda Gerber (Saxophones), Ben Łasiewick i(Bass) and Filip Baczyński (Drums) have won fans around the world for their restless, quirky brand of jazz which takes in breakbeats, twisting chord progressions and improvisation as well as a wealth of musical influences.

The band have been touring their asses off ever since they surprised the world with their debut album For Joseph Riddle in 2021. From out of nowhere their debut LP of 500 copies sold out in a month and they quickly went on to sell close to 1,000 CDs of the album. Fast-forward to 2023 and the band are sharing stages with artists such as Ill Considered and Theon Cross.

For Chaching Taphed was created in complete isolation. The group locked itself in a barn at the Museum of Agricultural Technology in Piotrowice Świdnickie. It worked on its sophomore output surrounded by machinery, trucks and carriages. These new compositions mirror the abstract conversations which the group frequently has just for fun. Contrary to For Joseph Riddle, this album is simple and does not rely on ongoing grooves. This enabled the group to be much more experimental. The band was joined by friends Flautist Mariya Mavko on Piękno Niemożliwe (Impossible Beauty) and her playing is sampled in Hipotetyczny Taras (Hypothetical Terrace). Pięciu Pszczelarzy (Five Beekeepers) closes the album featuring EABS' Jakub Kurek on trumpet. His fiery solo is one of the most intense moments of the album.

Spacer Po Nadodrzu (A walk around Nadodrze) opens the album and is inspired by one of the districts of Wrocław. It is a sonic story depicting a walk through Nadodrze late at night. A steady bass rhythm imitates a careful pace and the responding sax line is a spooky theme that might pop to oneʼs head in a moment of uncertainty.

The album's first single Krztusiec (Whooping Cough) finds the group diving head first into their most recent influences. The trackstarts with drum improvisation, rolling into a solid hip-hop backbeat provided by Ben Łasiewicki on Bass and Drummer Filip Baczyński. Sax and Guitar weave steady but dissonant lines, written by Maciej Forreiter after many hours spent listening to the Ethiopian jazz greats. The track takes off right after that. Matylda Gerber delivers a fiery Sax solo, while the group picks up the tempo and quickens the groove. The essence is the middle section, a dubby collective improvisation. Forreiter, Gerber and Baczyński take turns playing both classic dub phrases and fierce avant grade lines. Łasiewicki keeps everybody in check with a steady bassline. The energy slows down until Baczyński's drum solo, which explores phrasing detached from the rest of the tune.

Second single Chiński Sprzedawca Smażonych Kasztanów (Chinese roasted chestnut seller) is a fusion of breakbeats, energized songo rhythms and motifs inspired by South African melodies. Presenting the group with spacious and rhythmic horn lines, guitarist Maciej Forreiter wrote a chord progression while Beniamin Łasiewicki and Filip Baczyński took care of the rhythm section. This first part of the track suddenly drops out and explodes into the dramatic main motif which includes double sax and fierce guitar playing in harmony, plus the rhythm section playing more and more jungle-esque. Powerful guitar and sax solos feature before we return to the main theme with a completely different rhythmic backdrop.

W Klatce z Bykiem (In a cage with a Bull), starts like a race. The music plays with an incredible nerve and when the theme is right on edge it suddenly stops. It is followed by an animalistic growl on the saxophone and a doom metal-esque bash of downtuned, distorted guitars and heavy drums. In this heavy fashion it slowly approaches the finishing line hitting one final metallic clang.

Piękno Niemożliwe (Impossible Beauty) features wonderful flute playing of Mariya Mavko (Kadabra Dyskety Kusaje). Her work in the opening motif evokes sounds of Polish and Ukrainian folklore. This brief mellow moment serves as a contrast to the usual frantic sounds of sneaky jesus. It is an appreciation of thepolish jazz music of the past, intrinsically-linked to folklore. The band took this idea and reworked it into their own unique style.

Hipotetyczny Taras (Hypothetical Terrace) is built on top of a lengthy vamp in an unusual 7/8 time-signature. The bass anchors the quartet in a simple line, while the rest of the quartet share an emotional conversation. This track is the most open of the whole project and it ends accordingly. The final burst is a call back to the basics ofspiritual jazzand the whole band shows every emotion simultaneously and gracefully fades out.

Pięciu Pszczelarzy (Five Beekeepers) is For Chaching Taphed's conclusion and is a non stop assault of heavy horn lines, punk rhythms and noise. The band is joined by the extraordinary trumpeter Jakub Kurek from EABS, who blends in perfectly with sax and guitar. His exchange of solos with Maciej Forreiter is a combination of classic jazz phrasing and discordant clatter. In the same fierce manner the whole group works within the motif, switching up accents and breaks.

In the short space of two years, sneaky jesus has gone from ambitious upstart looking to break out from its home city playing spit and sawdust venues, to touring Europe as well as prestigious Jazz clubs such as Jassmine in Warsaw. In the process, it has delivered two full-length albums that don't stay in lane or pander to established jazz sub-genres as so many groups do. Some artists make the same record twice or even more than that, but not sneaky jesus. For Chaching Taphed shows the band as restless, experimental, fun, irreverent but purposeful as never before.

“A lot of over-hyped improv / jazz projects out there at the moment and Sneaky Jesus are genuinely excellent and out on their own. Drawing on the expansive atmospherics of a barn as the recording's setting, the album immediately pulls you in with the unsettling 'Spacer Po Nadodrzu' and lifts off on 'Krztusiec', effortlessly moving from angular, abrasive jazz to trippy dub and cinematic intrigue. Tempos shift and intensities shift naturally. The whole set warrants a deep listen from start to finish and watch out for two great guest features from flautist Mariya Mavko and Jakub Kurek bringing some mad fuzz licks to the boisterous closer. Brilliant album.”
Quinton Scott — Strut Records

Planet P Project is Tony Carey's pseudonym for his science-fiction themed progressive rock side venture from his more pop-oriented rock releases. Its first three albums, Planet P, Pink World, and Go Out Dancing, Part I (1931) were released in 1983, 1984, and 2005, respectively, and the first two saw a fair amount of MTV video airplay. Planet P's most well known singles were Why Me?, a sweeping, energetic romp about outer space and isolation, and the downbeat Static. Go Out Dancing, Part I (1931) is the first of a trilogy; part two, titled Go Out Dancing, Part II (Levittown) was released in May 2008 and Go Out Dancing Part III (Out in the Rain) was released in 2011.

For Fans of Horror, Halloween, and Haunted Attractions! Shadow’s Symphony creator Grant Smoker has loved everything to do with Halloween since he was a kid and always wanted to be able to contribute or be a part of Halloween in some way. Hearing music at Haunted Attractions inspired him to start writing and recording. He writes this instrumental music with haunted attractions, films, and gaming in mind. Since 2014 Shadow's Symphony has been played in haunts around the world. Each album that he writes has a different theme, which means different instrumentation as well as style that pertain to the theme of the album. There's a bit of everything from melancholy piano to full blown dark orchestral strings and creepy ambient synth over the course of an album. For this release, The House in the Mist was written using unpolished instruments and synthesizers to match the "look and feel" of old silent films. It was his first album written in 2011 and is still a popular choice for haunted attractions. This is a fist in a multi part series from Shadow’s Symphony

McCombs is one of the most highly regarded bassists/guitarists working today, known for his pioneering band Tortoise, his bass playing in Chicago"s Eleventh Dream Day, and his innovative instrumental group Brokeback. He has released albums with guitarist David Daniell, and collaborated with the likes of Tom Zé to Yo La Tengo, Stereolab to Daniel Lanois. In addition to being the touring bassist for The Sea and Cake, McCombs has somehow found time to form a new trio Black Duck with guitarist Bill MacKay, and percussionist Charles Rumback. Douglas McCombs" VMAKMcCombs" debut solo album is a mix of improvisation, textural explorations and recurring melodic themes. Taking after Brokeback"s classic Morse Code in the Modern Age: Across the Americas, "Two To Coolness" is a piece that McCombs refined through a series of improvised performances and features Calexico drummer John Convertino, as well as singer/guitarist/synth player Sam Prekop (also of The Sea and Cake). "Green Crown"s Step" was largely improvised working through melodies and patterns. The stately "To Whose Falls Shallows" reshapes three key themes that Tortoise and Brokeback fans will find to be signature McCombs, buoyed by fellow Brokeback member James Elkington (Tweedy), who also engineered and mixed the album. On the album, McCombs plays with spare instrumentation and primarily plays electric and acoustic guitars as well as the Bass VI, drawing out textures that stretch the scope of his instruments. McCombs" work is pastoral and expansive, his playing is refined and nuanced, and his melodies often bely his admiration for Ennio Morricone as his guitar imbues endlessly sprawling fields of the midwest with the same sense of magic. It is a true pleasure to hear him perform in such an intimate way. This is an absolute essential for followers of McCombs and newcomers alike, as the album lays bare his influence on each of his groups as well as firmly stakes McCombs as a force all his own.

The heralded Minneapolis-based band Barbaro forges an exhilarating
new musical path on 'About the Winter', their inaugural outing for
StorySound Records
Featuring guitarist Kyle Shelstad, bassist Jason Wells, and violinist Rachel
Calvert, the dynamic young group developed a strong following for their
modernist bluegrass sound on their 2020 debut, 'Dressed in Roses'. Their new
album, however, represents a "coming of age" for Barbaro, according to Shelstad,
as it more authentically reflects the band's adventurous musical evolution over
the past few years. All three band members point to the title tune, "Let's Talk
About the Winter" as the song that established the tone for the album. The song,
Wells explains, "fully captured the soundscape that now defines us as a band."
The ten tracks on 'About the Winter' provide a wonderful showcase for the unique
dynamic created from Shelstad's string band roots blending with Calvert's and
Wells' backgrounds in classical music. The album also finds Barbaro expanding
its sound by having Shelstad share vocal duties with Calvert for the first time,
along with weaving electric instrumentation into the group's acoustic- based
music. The bandmates all agree on the key contributions of producer Brian
Joseph (Bon Iver, Sufjan Stevens). "His production," Calvert revealed, "elevated
these tracks to an entirely different level." Together they have fashioned a
captivating pastoral Americana sound on 'About the Winter' that is both
traditional and progressive.
The new album adds to what has been already exciting time for Barbaro, who
were selected by the U.S. government to perform concerts and conduct music
workshops in Qatar, Turkey, and Bulgaria as part of its 2023 American Music
Abroad program.

Kalipo prepares to launch his new album Happy Little Accidents, which counts with twelve electro-focused tracks as well as the participation of feature artists Rampue, Ira Atari, Oberst & Buchner and subkutan. Iconic 80s painter and TV host, Bob Ross is celebrated for his thirty-minute landscapes, recognizably soothing voice as well as the 'happy little quotes' he imprinted on pop culture. One of Ross' most memorable turns of phrase, "We don't make mistakes; we just have happy accidents," went on to encourage thousands worldwide. And not just painters. "For me, this album was about letting the songs develop very quickly and not evaluating them too much, or trying to avoid mistakes," says German electronic music producer, Kalipo (Jakob Häglsperger) who named his latest release Happy Little Accidents after Ross' signature phrase. "Bob Ross really impressed me as a child, he was always so accessible to everyone and demonstrated how easy it was for anyone to work creatively," says Kalipo, who translated Ross' fast and instinctive wet-on-wet painting technique to music-making on Happy Little Accidents. The 12 tracks that make up PART I and PART II of the album are a celebration of the method - sometimes it's a floaty journey with tinkering sounds, at other times dark fast beats create the core of the music, but there's always a sense of intuition and heart driving Kalipo's productions.

Teichmann + Söhne’s »Flows« is not so much the result of a collaborative process as it is a process in itself. Over the course of nine pieces, the Gebrüder Teichmann—Andi and Hannes—and their father Uli repeatedly find common ground between the very different musical styles, sound aesthetics, and subcultural codes they have internalised throughout their lives. The source material out of which the album evolved was culled from several recordings of rehearsal sessions in preparation for the trio’s concerts that took place between the years 2012 and 2022. The three added only a few overdubs to those recordings but edited them rigorously to both preserve and transform the spirit of their unlikely collaboration. The combination of Uli’s background as a versatile jazz artist and multi-instrumentalist with his sons’ penchant for dub techniques, modular synthesis, and live sampling as well as their interest in electronic dance music take on ever-different shapes. »Flows,« released on the occasion of Uli’s 80th birthday, is as joyful, lively and free-spirited as its makers.

It took the three musicians decades to get together to jam. Uli and Lu, the mother of Andi and Hannes, ran the legendary Jazzclub Kneiting between 1978 and 1983 while he also made a name for himself as a musician who, besides jazz, is knowledgeable in a plethora of music styles from all over the world and has an instrument collection to match. Naturally, Andi and Hannes rebelled against this versatility by opting for simplicity. Already as pre-teens, they formed a punk band and once they got a whiff of the burgeoning techno scene, strayed even further from their father’s path. They eventually moved from their native Regensburg to Berlin where they made a name for themselves with a slew of releases on seminal labels like Disko B or Kompakt before starting to more regularly collaborate with musicians from the realms of Contemporary Music, Improv, and Sound Art. Even after Uli had finally contributed some saxophone licks to the brother’s 2011 »They Made Us Do It« LP, it indeed needed someone else to make them do it, i.e. finally get together to reconcile their musical differences in a creative way.

Finding out that the three had never performed together, Yoichi Osaki from Berlin’s iconic Miss Hecker venue, a focal point of the city’s so-called Echtzeitmusik (real-time music) and Improv scene, scheduled them to play their first concert on April 1, 2012. Even though the date was chosen deliberately, things got serious very quickly and this first joint concert proved to be the first of many. It also laid the foundation for »Flows« since the three would start recording their rehearsals. Revisiting the roughly 90 recordings, some of which clock in at a full hour, after ten years of playing with each other then started what Hannes describes as a »form-finding process.« It was a holistic one and involved all three of them, extending also to their choice of cover artwork, a piece created by Lu, who died in 2016 and to whom the album is dedicated. For the collage, she had used photos of the place where it all began, Regensburg, and the river that flows through it, the Danube. This made the piece, coincidentally created around the time Teichmann + Söhne started playing their first concerts together, correlate perfectly with the working process of the three musicians on a visual level.

Similarly, Teichmann + Söhne can be thought of as a human-musical collage. It is a meeting of three different musicians who all have in common that they have occupied alternative spaces and perfected a variety of musical styles and subcultural codes throughout their lives. When those flow into each other, this necessarily creates something that is as unique as the nine tracks collected on this album. While it is mostly Uli who takes the lead on pieces like the appropriately titled »Im Zwischen« (»In the Inbetween«), the brothers respond by live sampling his playing, thus serving as a creative interface between acoustic sounds and electronic responses. This in turn provides a framework in which Uli can improvise on a variety of acoustic instruments like the saxophone and the clarinet as well as a mandolin and glockenspiel or even percussion. This indeed makes their music flow—across different generations, between different musical ideas and genres, into previously uncharted territory.

'I heard about Seif Abu Bakr and The Scorpions maybe 3-4 years ago. Their album 'Jazz, Jazz Jazz' ended up on my radar because of an eBay auction with the bids eventually rising daily up to a staggering 1000$. The music is a unique combination of incredible horn arrangements powerfully performed, a vigorous drummer contributing a funky backbone and Seif's vocals uniting those elements. The results range from instrumental tracks awaking memories of 1970s crime thriller soundtracks to more Sudanese-rooted tracks, a lot of them modernized versions traditional rhythms of the diverse regions of Sudan and even an excursion into Colgolese Soukouss.
I went for my second trip to Sudan in December 2018 and after doing some research on the first trip my local colleagues Larissa and Yassir had managed to reach Amir, The Scorpions band leader and he was happy to meet. We got together with him in a Cafe right at the Nile in Omdurman. It was a happy occasion for everyone. He told us stories about him meeting Jimmy Cliff and Lewis Armstrong when they visited Sudan and how he and his band mates from The Scorpions played extensively in Kuwait, both in club residencies as well as for television. Amir brought tons of incredible photos illustrating not only the bands history but the vivid cultural live in the many music clubs in Khartoum of the 1970s. During this decade up until 1983 the capital was home to a huge number of clubs, bards and concert halls. This scene started to perish after president Nimeiry's turn away from his socialist policies, that he was widely associated with in the first decade of his rule, towards the implementation of Sharia law in 1983. During the first decade of his rule he had actively supported various artists of the Jazz scene, taking some of them on trips throughout Africa. The 1989 coup of Bashir and his generals then caused the final blow to a once thriving scene. Both of these political events within 6 years lead to significant drawbacks for the Sudanese jazz scene resulting into hardly no gig opportunities left and parties and concerts being critically observed. A number of musicians faced prosecution, most of the time for their political views; some left Sudan for good. Music never completely vanished from public life and even the regime kept selected artists close, but for a majority of those bands affiliated to the jazz scene life and making ends became a lot harder. The Scorpions dissolved as a group around the same time.
The re-release was produced with a clean copy of the vinyl version as a source. The original reel tape of the album stayed with Saif Abu Bakr along with another reel with other recordings that were never released. Unfortunately it was lost when Saif Abu Bakr had to flee to Kuwait temporarily during the second gulf war when Iraq raided Kuwait. Vinyl version comes with extensive booklets with photos, interviews, liner notes. The vinyl version also has a DLL code.

Repress!

Collaboration between French writer Ingrid Astier, actor Pierre Richard and JB Hanak from the band dDamage (Planet Mu, Tsunami-addiction).
JB Hanak is on guitar, bass, synth and rhythmic programming, consumed with a desire to reveal with each changing track a different facet of this imagined nocturnal universe. Ingrid Astier directs the actors as well as the writing of the lyrics, very much as would be found in the cinema.
And then, there is Pierre Richard. At one moment a dreamer, the next a cowboy, suddenly Mafioso and then a nocturnal animal. Thinker, lover, philosopher, astronaut or sandman. Pierre Richard is an actor, an actor of immense presence confined too often to comic roles. “Nuit Jour” offers him roles he has not had in the movies ... And it is breath-taking, both in its register and in a sense of deep renewal.

Man With A Gun is the debut long player from Singaporean prog and funk group Funkgus. It has a famously enigmatic toxic blue jacket that lurks you in and musically it is no less intriguing. As well as a passionate cover of King Curtis's 'Memphis Soul Stew' there are plenty of supremely psychedelic sounds. The opener is steeped in funky bass riffs with rock-tinged drum breaks and plenty of raw vocals and from there the grooves come thick and fast, often with plenty of texture and charismatic vocals such as on 'Spill The Wine' and the leggy, expressive sounds of 'Everyday People' with its twisted wah wah guitars.

Tommy Largo is a big deal in the world of jacking house and here he lands on Greenhouse Recordings with plenty of evidence to support that. His sound comes steeped with Southern influences on opener 'BBQ Ribs' with its noodling jazz chords and spoken word mutterings making for a lively atmosphere over funky beats. The Jam Funk Remix has a Chicago bump to it with the jazzy keys left in place over well-swung drums. 'On No Not Again' hints at new jack swing with its steamy sax lines and effortlessly catchy groove before 'BBQ Ribs' (Oddphonic remix) closes out with the deepest sound of the lot, perfect for when the sun has gone down and the party heads indoors.

Prolific producer Stu Bangas is back with a new collection of hard-hitting collaborations on Death Wish (Part II), the much anticipated sequel to the 2021 original. The project finds the Boston beatsmith rocking with some of his favorite emcees of all time as well as familiar names who always seem to bring their best work to his instrumentals.

For Stu, it’s an honor to work with the likes of Ras Kass and Psycho Les (of the Beatnuts). He made the connections while creating the phenomenal Empires LP with Eric Bobo (of Cypress Hill), and it led to the bangers you hear on Death Wish (Part II). The track with Ras, “Sus,” is an equally hilarious and hardcore takedown of weak-willed phonies, while Psycho Les teams with Celph Titled for the gangster-but-lighthearted “Y’all Clowns.”

“I grew up on all the Beatnuts albums, my whole group of friends loved them,” Stu says. “And Soul on Ice by Ras Kass? That’s a certified classic for any hip-hop head.”

One of the most popular instrumentalists in the world, trumpeter Chris Botti gets back to the jazz essence of his artistry on his Blue Note debut Vol. 1. The album is a beautiful ballads collection featuring stunning new renditions of beloved standards including “Bewitched, Bothered and Bewildered,” “Old Folks,” “My Funny Valentine,” “Someday My Prince Will Come,” and “Blue In Green,” as well as a cover of Coldplay’s “Fix You” and the vocal feature “Paris” with John Splithoff. The album was produced by David Foster and features performances by violinist Joshua Bell, pianist Taylor Eigsti, guitarist Gilad Hekselman, drummer Vinnie Colaiuta, and others.

‘Hey don’t touch that dial, good news Punk Rock Is Back!’ Mal-One

Mal-One’s new album starts with running through the radio dial, looking for some suitable music to listen to. These snippets are actually samples of songs from his previous album ‘It’s All Punk Rock’. Leading the listener nicely into a new set of songs to get their Punk Rock teeth into.

Songs that cover… the great New York punk scene of the 1970’s that grew out of a little bar in the Bowery District of New York City called CBGB’s ‘New York City Punk’. The Clash’s first album discussed in ‘When The Two 77’s Clashed’. The excitement of London’s Roxy Club revisited with its one line chant ‘Down The Roxy’. Those great ‘Punk Rock Fanzines‘, that kept us all so well informed. An early Sex Pistols gig at the Chelsea School of Art, ‘Machine Bubble Disco’. So named after what was to be the main event of that nights entertainment!!!.’45 Random Punk Memories’ sprang from Mal-One’s own reminisces. Talking of memories ‘Looking At The Decals On Steve Jones Guitar’, the recollection of Steve Jones, future guitarist of the Sex Pistols, stealing Mal-One’s bike when he was the tender age of seven years old. An incident that might have triggered this whole road of discovery in the first place.

A reflection on London’s harsh setting in those heady Punk times in ‘Corrugated London’ alongside a call and response to remember that ‘London’s Turning’ all the time for better or worse and that we can’t always pick and choose the bits we want to keep. The self-explanatory, ‘We Will All Lose Some Good Friends Along The Way’. ‘Shakespeare Meets Chuck Berry On Shepherds Bush Green’, a great story when Joe Strummer was asked by a reporter what he was up to and what he might call The Clash’s next album, which would turn out to be the timeless ‘London Calling’. Joe’s rather
tongue in cheek answer was “Shakespeare Meets Chuck Berry On Shepherds Bush Green’’.
A place close to Mal-One’s heart and a great title, that was crying out to be reused. Which Mal-One does via what he calls his Punk Art Poetry. Sometimes these lines are turned into lyrics and reworked into songs.

The album ends with such a call, ‘An Open Letter To…’ all those people who helped influence us all along the way. As the lyric states often without thought of financial gain, but done so, quiet simply because it had to be done.Maybe some young guns might in some small way, be inspired and find in Mal-One’s current efforts that ‘anything is possible’ and the true meaning of Punk was in fact, ‘Do It Yourself’.

The vinyl version of this release includes a poster that is part of Mal-Ones continuing Street Art project that involves putting up posters around London. This time declaring the news ‘Punk Rock Is Back!’. Included in the album packaging also is a signed and blind stamped limited print of one of Mal-One’s works ‘What Is It About Punk That’s So Different So Appealing’. A punk collage that just carries one word in among its multiple punk images and that word is PUNK. We hope you enjoy the indulgence.

Mickey Nox is back with his latest original EP 'Strictly Commercial'.
Four new hammers all hand made by his Ghost Producer (Read credits). After testing 'Lines' successfully on his 2022 tour. It then kicked off the rest of the production once he returned back in the studio. Techno Tourist. A piss take done well that will blow the doors off. Slammer and Corruption & Lust come in more typical Nox Fashion. Still No fillers though. Own it on marble pink wax. #f*&kinghammers only

Nicht nur in der aktuellen Hardrock/Metal-Szene beziehen sich immer mehr junge Bands, darunter auch viele deutsche Acts (als Beispiel seien Wucan genannt), auf die heute wesentlich mehr gewürdigten Jahre des Krautrock. Natürlich handelt es sich bei dem Begriff nicht direkt um einen Stil, denn von Hardrock bis Jazz/Fusion wurde einst fast alles in diesen Topf geworfen.

Neben Elektronikpionieren wie Can, Tangerine Dream oder Kraftwerk gab es eben auch die Gruppen, die man im Rock verorten kann: Jane, Birth Control oder Lucifer´s Friend sind nur drei Beispiele. Auf „German Rock“ findet man in der Tat auch eine der frühen Bands: Floh De Cologne, die schon Anfang der Siebziger Rock mit deutscher Sprache geboten haben. Die Hardrocker Mass aus Regensburg, lieferten ihr Debütalbum, welches auf „German Rock“ ebenso gewürdigt wird, im Jahr 1977 ab.

Der Rest der ungewöhnlichen Compilation, welche es nur auf Vinyl gibt, befasst sich mit späten Gruppen, die Anfang der 80er noch einen Sound geliefert haben, der durchaus ein paar Jahre früher seinen Ursprung hätte haben können. Und in der Tat wurden auch mindestens zwei Songs nach Ende der 70er geschrieben, allerdings kam der Plattenvertrag oder das Kapital für eine Eigenpressung „zu spät“. Viele dieser spannenden Bands wie Iris, Cannock oder Sphinx waren bei Erscheinen nicht mehr dem Zeitgeist entsprechend, so dass
sie nur wenige, oder nur lokale Chancen hatten. Heute suchen Fans und Neugierige eben nach solchen unbekannten Acts, die eine vergangene Zeit neu zum Leben erwecken. Handgemachte Musik, und das nicht nur live, sondern eben auch noch im Tonstudio. Das Material der Frühachtziger-Gruppen auf dieser Compilation erinnert den einen oder anderen vielleicht auch an die regionalen Helden, wie man sie in den 80ern noch in lokalen Sporthallen erleben konnte…

Nostalgie ist aber nicht das Hauptanliegen dieser LP, sondern der Erhalt wertvoller Musik, die damals nicht bei den großen Majorlabels
erschienen ist.

Not only in the current hard rock/metal scene more and more young bands, among them also many German acts (as an example Wucan may be mentioned), refer to the nowadays much more appreciated years of Krautrock. Of course, the term is not directly a style, because from hard rock to jazz / fusion was once almost assigned to this style.

Besides electronic pioneers like Can, Tangerine Dream or Kraftwerk, there were also the groups that can be categorized as rock: Jane, Birth Control or Lucifer‘s Friend are just three examples.

On „German Rock“ you can indeed also find one of the early bands: Floh De Cologne, who already offered rock with German language at the beginning of the seventies. The hard rockers Mass from Regensburg delivered their debut album, which is also honored on „German Rock“, in 1977.

The rest of the unusual compilation, which is only available on vinyl, deals with late groups that still delivered a sound in the early eighties that could well have originated a few years earlier. And indeed, at least two songs were written in the late seventies, but the record deal or the capital for a selfpressing came „too late“. Many of these exciting bands like Iris, Cannock or Sphinx were no longer in line with the zeitgeist when they appeared, so they had few or only local chances.

Today, dedicated fans and the curious are looking for just such unknown acts that bring a bygone era back to life. Handmade music, and not only live, but also in the recording studio.

The stuff of the early eighties groups on this compilation may remind some of the regional heroes, as you could still experience them in the eighties in local gyms... Nostalgia is not the main concern of this LP, but the preservation of valuable music, which was not released by the big major labels at that time.

This fall „Nice Girl’s“ highly anticipated follow up to „Ipsum“ is finally going to be out. 2 years have passed since „Ipsum" was released, back then the wild 15 track long ride has been paraphrased as „mind boggling, tongue in cheek, spiritual & danceable“ by RA.
Ruby‘s second Album titled „UPP“ is more lighthearted compared to its predecessor as she moves away from the somewhat darker, earthy tones of „Ipsum“ to create a fun, quirky, bleepy and fast universe where pitched vocals meet breakbeats and cosmic melodies.
The Album includes features by "Eden Burns" as well as "Michael Kime“, who as it happens is Ruby’s father ; ) Enjoy!

It’s been a hot moment, so we can’t wait to finally announce the next EP on our Awkwardly label, “a hack is a foul“ by dadan karambolo.

Safe to say he’s been on our radar for a while, so we’re mighty excited to welcome the Wroclaw-based producer on AWK005. After a strong debut release on his co-owned SPLOT imprint, an equally solid LP on Regime Brigade as well as contributions to various compilations, dadan is back with his signature moody, bass-bin shaking sound.

Hitting the sweet spot somewhere between dubstep, grime, breaks and ambient techno, these 4 tracks provide a somber yet seductive quality that invite the listener to get lost in a hazy amalgamation of stylistic elements. Rest assured, this combination of low end and rhythm heavy explorations contains the right formula to cause some damage on the dance floor.

DJ picks ups and plays by: DJ Voices, EMA, Ehua, Kassian, HAAi, Ila Brugal, Jaye Ward, Mani Festo, mi-el, Nala Brown, Om Unit, Peder Mannerfelt, Pinch, Stenny, Sybil, Tom Ravenscroft, Toumba et al.

Dead Times is Lee Buford (The Body, Sightless Pit, Manslaughter 777) and Steven Vallot (Muslin). The duo originally began working together in 2008 while living together in Providence DIY space The Sickle, and releasing the early records from The Body and The Assembly of Light Choir on their short-lived Aum War label. They quickly achieved cult status with just two limited releases. Those releases have become highly coveted rarities for The Body fans and those familiar with the world of Providence, Rhode Island"s legendary DIY scene, which gave rise to artists like Lightning Bolt and Black Dice. Emerging over a decade later, Dead Times connects the threads of the untethered extremes of their origins to the mastery of production, composition, and structure each member has cultivated in their time apart. On their debut self-titled full-length, Dead Times present a kind of mesmeric dread, a world of desperate beauty wrapped in sonic venom. Buford and Vallot each bring wells of experience and new skill to Dead Times since their days living together in dilapidated warehouses. The duo"s shared history remains an essential element to their chemistry, but each has sharpened their craft to harness that raw creativity into music that is fearless, poignant and undeniably unique. A band"s band, but not for long. Dead Times, the duo"s first album, is staggering in its ambitions and exquisite in its execution. Lee Buford is known for his prolific work in acts including The Body, Sightless Pit, Everyone Asked About You, and more, alongside numerous collaborations with the likes of Full Of Hell, BIG|BRAVE, Thou, OAA, and Siege Engine. Steven Vallot is known for his collaborative work both musically, and artistically, with artists such as Krieg, The Body, Whitehorse, and Drew McDowall.

Since its release in 2013, Nick Lowe’s holiday album Quality Street: A Seasonal Selection for All the Family has been critically lauded for “the retro-reinvention of the Christmas album” (Uncut) and was heralded by TIME and Rolling Stone as one of the greatest holiday records of all time. Featuring original tunes by St. Nick himself, such as the witty “Christmas at the Airport” and tender “I Was Born in Bethlehem,” to reimagined covers like an ironically bombastic, swinging rendition of “Silent Night” and the rearranging of
Wizzard’s “I Wish It Could Be Christmas Every Day” and Roger Miller’s “Old Toy Trains.”

Some of Lowe’s collaborators and admirers make songwriting appearances on the album as well, including the Ron Sexsmith-penned “Hooves on the Roof” and Lowe’s co-write with his former Little Village bandmate Ry Cooder on “A Dollar Short of Happy.” Rolling Stone said it best that an album like Quality Street is “worthy of your holiday bonus.” For the album’s 10th anniversary, Quality Street is being reissued on red color vinyl and includes a bonus 45 single of Nick Lowe’s covers of “Winter Wonderland” and “Let It
Snow.” Nick’s longtime tourmates Los Straitjackets are his backing band on both tracks and this marks the first time that either song is available on vinyl. The 10th anniversary LP is limited to 1,000 copies worldwide.

"Dahab Days" is the highly anticipated third album from acclaimed British guitarist Rob
Luft, who has witnessed remarkable growth in Europe in recent years, notably as a BBC
New Generation Artist and through collaborations with Elina Duni. Luft's debut album,
"Riser," released in 2017, made a lasting impact, showcasing his exceptional talent and
distinctive musical voice. Building on the success of "Riser," his second album, "Life is the
Dancer," further solidified his reputation as a versatile guitarist and composer.
With "Dahab Days," Luft embarks on another significant stride in his artistic journey. This
album represents a notable expansion of his sound, incorporating a string quartet and
reinforcing the contributions of his talented band members, who have become an integral
part of his musical identity. Luft's well-deserved reputation as a versatile guitarist shines
through as he delivers uplifting improvisations that evolve in hypnotic and contemporary
ways, captivating listeners with their compelling and immersive qualities.
The album derives its name from Dahab, a location in Egypt where much of the music was
written. Over the past three years, Luft has spent considerable time there due to the
Covid-19 pandemic's limitations. While not overtly drawing from the music of the region,
"Dahab Days" subtly reflects the influence of his experiences in that unique setting.

Stand by your friends that are hurting. That’s what New Jersey power punks Teenage Halloween do
through soaring arrangements of melodic angst, wracked vocals that insist “I love you so much I would
die for you”, and passion-packed two-minute dispatches tackling topics from gender euphoria, to state
abuses, and an eternal quest for mental wellbeing. The results are potent punk vistas that document
young queer life at the edge of America. In February 2023, the group headed into Headroom Studios
in Philadelphia, PA, under the guiding hand of producer Joe Reinhart (Hop Along, Beach Bunny,
Joyce Manor), and tracked the 13 dispatches on isolation, uncertainty, and hope for better days, that
make up Till You Return. This second full-length outing (due for Oct 20th release via Don Giovanni)
finds the band, which operated as a ‘rotating cast’ in it’s early years, now firmly entrenched as an
essential four-piece comprised of Henderiks alongside Eli Frank (guitar, vocals), Tricia Marshall
(bass, vocals) and Peter Gargano (drums). The quartet maintains the vital energy of their previous
incarnations but brings an even more focused punch to the arrangements that leaves greater room for
Henderiks’ lyrics. Fans of the band will also have noticed the creative assent of Marshall who takes
the vocal lead on multiple songs that have become defining features of the band’s recent live shows
and which bring a fresh new viewpoint to the band’s ongoing sonic mission for a more equal and just
world.

The sophomore album from The Three O'Clock found the band further blending psychedelic pop with
contemporary sounds. Producer, Earle Mankey, encouraged the band in their experimentation. The
result yielded a college-radio hit, "Jet Fighter," which remains one of the group's most well-known
songs. Other standouts include, "A Day In Erotica," "Stupid Einstein," "Fall to the Ground," and their
version of the Bee Gees "In My Own Time". This album positioned the band at the forefront of the
Paisley Underground scene. Many fans and critics consider this to be their masterpiece. For the
album's 40th anniversary, the album was remastered by Bill Inglot and Dave Schultz. Additionally, the
band decided to update the cover art and give the album two front covers with no back cover. The LP
lacquer was cut at Bernie Grundman Mastering, and pressed at Citizen Vinyl on clear green vinyl

German jazz singer with Belgian roots Sophie Tassignon has built up a solid reputation in Germany. She has a whole series of well-received records to her credit, which not only showcase her musical versatility but also demonstrate what an incredible vocalist and composer she is. Sophie is a musical chameleon, constantly seeking to challenge and renew herself.


When the refugee crisis erupted and millions of Syrian refugees flocked to continental Europe in search of a better life and safety, it resulted in a lot of fear and opposition from the European population. The perception on refugees is often very negative and creates divisions on the political field.


When a shelter was started up two blocks from Sophie's home in Berlin, she decided to help and take care of some refugees. To get a better understanding on the culture and stories of those people and to bridge with our culture, she decided to study Arabic. Meanwhile, we are more than five years on, and not only is she proficient in Arabic, but she has also gained a better understanding of the culture and customs of the Arab community. Friendships for life were formed.
She decided to incorporate Arabic into her own musical language - jazz - fusing two worlds. From this was born the project and the eponymous record "Khyal. The word refers to the imagination and is literally translated as "remembering and/or longing for something from the (distant) past." With this project, Sophie especially wants to encourage tolerance and acceptance towards people regardless of their cultural background or religion and show how intercultural interaction can lead to very beautiful and artistic results.artwork &

The Swedish electronic pioneers Eddie Bengtsson and Marina
Schiptjenko have played together since the beginning of the 80s
The new album "En Ny Vag", which is released on 12" vinyl and CD in gatefold sleeve, contains 10 newly written songs recorded during 2022-2023. This time Page has worked with guest artists such as Chris Payne and Rrussell Bell known from UK groups Dramatis, Tubeway Army as well as Gary Numan in the 80 ´s.

Breaking new boundaries for himself creatively Matt Hegarty played almost all
the instruments on the record as well as largely self-producing it with some help
from the talented producer Ali Chant (Yard Act, Sorry, Katy J. Pearson).
Matt has built up a loyal following from his years touring with Mumford & Sons,
Daughter, Bear's Den, Ben Howard - finding fans amongst those audiences and
musicians alike.
The cult singer- songwriter delivers songs full of wisdom, emotional heft and a
relatable sentimentality in his striking and distinctive vocal.

Tallahassee, FL singer-songwriter Sarah Morrison's debut studio album
Attachment Figure depicts the strangeness of exploring new
relationships with subtle and spacious electronic production - As a
former live keyboardist in Locate S,1, Morrison co-produced Attachment
Figure with fellow bandmates Ross Brand and Clayton Rychlik, both of
whom also play in Of Montreal's backing band
She was motivated to experiment with looser song structures and more
unconventional chord progressions by her collaborators' fondness for avantgarde jazz, as well as Locate S,1 frontwoman Christina Schneider's idiosyncratic
writing style.
Throughout the album, echoing keys, woodwinds, and guitar ripple like a moonlit
lake from which Morrison's voice emerges. Her presence is spectral, yet
conversational, willing to conjure concrete imagery of mango- flavored vitamins
and the warmth of phone chargers alongside ghost stories of mannequin corpses
and epistolary curses, a balance shaped by an obsession with the theatrical
sincerity of Kate Bush and Mark Hollis.
Lyrically, Attachment Figure meditates on questions about identity, personal
growth, and helplessness - whether within a relationship or the oppressive
structures of society itself - often rooted in Morrison's experiences growing up in
the South. "There's a connection between Southern hospitality and femininity and
just allowing things to happen," Morrison says. "I've been in many relationships
with people who have used that 'southern charm' to their advantage. I think a lot
of people, non- men in particular, put on this charm instinctively. It's a defense
mechanism that I was interested in studying."
Attachment Figure is perpetually suspended between states of being, harmony
and dissonance, and contradictory sentiments we all hold as we enter into the
arms of someone new, but ultimately, it's guided by a desire for authentic love--
and a flair for intricate, intuitive songcraft.

The songwriter that helped kick off indie rock as we know it" NPR… // Remixed and remastered under the supervision of Martin Phillipps, this expanded edition of The Chills’ debut album is reissued for the first time in over 35 years. The newly mixed edition features additional rarities and unreleased tracks from The Chills vaults, along with brand new reimagined artwork by Martin Phillipps and a host of additional liner notes. Originally produced by Mayo Thompson (Pere Ubu/Red Krayola) and featuring standout tracks ‘Wet Blanket’, ‘Night Of Chills Blue’, this extended 18-track edition includes much-lauded tracks from the era, such as ‘House With A Hundred Rooms’ and the awesome ‘Party In My Heart’. Part of the 80s extraordinarily vibrant and innovative independent music scene in New Zealand, The Chills became flag bearers, taking the Dunedin sound, as championed by the Flying Nun label, to the world. Long recognised as one of New Zealand's most influential bands, Brave Words is a shining example of their unique sound and has been praised as a masterpiece by critics and fans alike. “‘Brave Words’ may well be The Chills' finest album

The songwriter that helped kick off indie rock as we know it" NPR… // Remixed and remastered under the supervision of Martin Phillipps, this expanded edition of The Chills’ debut album is reissued for the first time in over 35 years. The newly mixed edition features additional rarities and unreleased tracks from The Chills vaults, along with brand new reimagined artwork by Martin Phillipps and a host of additional liner notes. Originally produced by Mayo Thompson (Pere Ubu/Red Krayola) and featuring standout tracks ‘Wet Blanket’, ‘Night Of Chills Blue’, this extended 18-track edition includes much-lauded tracks from the era, such as ‘House With A Hundred Rooms’ and the awesome ‘Party In My Heart’. Part of the 80s extraordinarily vibrant and innovative independent music scene in New Zealand, The Chills became flag bearers, taking the Dunedin sound, as championed by the Flying Nun label, to the world. Long recognised as one of New Zealand's most influential bands, Brave Words is a shining example of their unique sound and has been praised as a masterpiece by critics and fans alike. “‘Brave Words’ may well be The Chills' finest album

12” transparent red vinyl - limited to 500 copies. File under: Indie, Folk, Antifolk, GER/FR. In West Africa, where the only water you can find is in the Ocean, Stanley Brinks & Freschard put on their best carnival costumes to get to the bottom of every bottle of rum they could find. They found a lot. Iron Eye is an irresistibly charming collection of late night tales, woozy ballads and uptempo sing-alongs. Clemence Freschard’s beautiful vocal tones lend this a rich, French indiepop/chanteuse vibe, complemented by Stan’s wistful timbre and characteristic warm instrumentation. Stanley Brinks is renowned for his unique anti-folk style: both playful and suggestive, insightful and entertaining. Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York. By the late 90s he’d become a full time singer-songwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne alongside his brother, David-Ivar. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin. The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks. Under this moniker he has recorded well in excess of 100 albums, collaborated with the New York Antifolk scene on numerous occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures.

A Tonic For The Troops have, after extensive touring, established themselves as a tight collective with high octane performances providing enjoyable and accessible jazz. After several ‘top of the year’ lists for their debut album Ambush, ATFTT are joining forces again for their second album! The ingredients still consist of straight ahead post-bop with a modern and contemporary sound, but ‘Realm of Opportunities’ also opens up a more lyrical and emotional approach. Ellen Brekken has established herself as one of the most versatile bass players in Norway today. In A Tonic For The Troops we can see her evolution as a composer as well, with a firm grasp of melody and development, demonstrated in cinematic and suite-like tunes.The band utilises the strengths of some of the most energetic performers on the Norwegian jazz scene today, leading successful bands in their own right. Espen Berg (piano), Magnus Bakken (sax) and Magnus Sefaniassen Eide (drums) all bring great solo contributions too, but the band´s real secret weapons are both their playful interaction and also their openness to using a melting-pot of musical ideas. A Tonic For The Troops demonstrate once again with 'Realm of Opportunities' that their energy and motivation are at their peak, showcasing a life-affirming band in top shape!
Ellen Brekken (double bass) Magnus Bakken (tenor saxophone) Espen Berg (piano) Magnus Sefaniassen Eide (drums)

Jules Wells is from Bordeaux, France. He started Djing in the late 90’s, and released his first productions in 2008 on Logos Recordings.

Strongly influenced by the Motor City, Jules already released material on several respected Detroit-based labels like KMS, Electrofunk, Submerge Recordings, Twilight 76 Rec, and RPD, but also on various labels such as Lo-deep (France), Purebox (Japan) and Logos (Macedonia). These EPs received massive support from many Djs, including Laurent Garnier, Underground Resistance, Carl Cox and Monika Kruse.

Now Jules Wells joined the briquerouge team for his first album ever

To be released on 2x12" LP limited bi-color vinyl edition in October 2023.


Support by Laurent Garner (play/radio show/new podcast DEEP Search planned feature on Soundcloud) /

"Stratosphere", Dusters Debütalbum aus dem Jahr 1998, das man sich am besten schon im Mutterleib anhört, hat die erste Welle des Slow Core gleichzeitig beendet und neu erfunden. Eine vierspurige Traumlandschaft, die die Nachbarn aufweckt und sie dann wieder in den Schlaf wiegt. Trübe, arpeggierte Gitarren legen sich über einen bedächtigen Schlagzeuger, der keinen wirklichen Platz hat, während halb hörbare Vocals vor dem Unwohlsein der Jahrtausendwende warnen und den Hörer subtil ermutigen, "rock out, rock out, rock out, rock out." Diese foliengeprägte und nummerierte 25.Jubiläumsausgabe erscheint auf LP, CD und Kassette. Die LP-Editionen werden auf 180G-Vinyl gepresst und enthalten ein Textblatt und ein Poster. Die CD- und Kassette-Editionen kommen mit einem zusätzlichen Track, 'Echo Bravo'.

Teakup is Lauri Reponen, the Columbus, Ohio DJ, producer and torch-bearer for the city’s proud Techno heritage. Following in the footsteps of Columbus originators, Titonton Duvanté, Archetype and Todd Sines, Teakup has spent the past decade forging a sound of his own via a genre alchemy that embraces genres past and present. Hardcore’s staccato samples and chopped breakbeats, UKG’s crunchy triplet hi hats and mellifluous House melodies combine in novel forms. Titonton’s wonky Tech House takes, Todd Sines’ stripped minimalism and Archetype’s broken rhythmic exploration are more key ingredients in the Teakup stew. This recipe has cooked up a massive cache of unreleased tunes as well as previous 12”s on is / was, Residual, Shut Off Notice and Lauri’s recently-minted TKP imprint.

Compiled from over 200 demos, Signal 23 has Lauri flexing a new level of genre-mastery. The title track explores Spiral Tribe’s ripping, psychedelic Freetekno. ‘Valve’ is cutting-edge rhythm hypnotism. ‘Felopzd’ loops into ecstatic trippy crescendo and ‘Pad Thai Mystic’ takes you on the spiritual voyage of late-night food delivery in middle America. Four modes, four hitters – to warm floors, open hearts or split psyches.

Nantes-based Tom Ferreira (Fasme) joins AF with his first and highly anticipated album titled 'Bloom'. Well known in underground circles for an impressive live PA, Tom delivery 9-tracks (recorded live) where he deploys his entire arsenal of analog synths. 'Bloom' immerses us in a 303-powered world, crunchy machine drums with big emotive melodies, rushing piano motifs and swirling chords. This album will make you understand why Bicep (Ninja Tune) put Fasme on the exit ramp two years ago. Design comes by Acid Hazel (Berlin). You already know what to do.

Sophie Lloyd returns to Luke Solomon’s imprint alongside the effervescent singer songwriter Amy Douglas for a wax release of ‘Sweet Love’, an anthemic disco release bursting with sensuality. The pair are well known to Classic fans; Sophie for her debut release, ‘Calling Out’ with Detroit trio Dames Brown, and her subsequent release ‘Angels By My Side’ which received a soulful remix package from Floorplan.

Additionally, nostalgic house vocals from Brooklyn’s Amy Douglas have appeared on tracks from Luke Solomon’s ‘Love. Hope. Happiness’ to Horse Meat Disco’s ‘Message To The People’, also featuring the Dames. For the Love Hangover mix of ‘Sweet Love’, a slow, intoxicating intro erupts in a burst of energy as Amy’s vocals and Sophie’s production come together for an ambitious, driving composition.

The vinyl also features a remix from the label boss himself; Luke Solomon’s Always Love Revision of this modern disco anthem ups the ante, adding huge swathes of energy to the previously sensual record. Similarly, the Sweet Lovin’ Mix capitalises on the raucous finale from the original Love Hangover Mix.

Moana Pozzi in the late 1980s, following in the footsteps of her illustrious colleague Ilona Staller/Cicciolina, made her official singing debut by recording several songs arranged and produced by Jayhorus. The music ended up in several of her films as well as being performed in her hot live shows.

Discographically at the time only a few tracks were released on 7″ and 12″ singles that are now cult collector’s items for fetishists and weird DJs.

At last, Cinedelic has gotten their hands on the original masters, unearthing some unreleased ones as well, producing a luxurious gatefold LP.

This is part two. From the original master tapes. Unmissable!

King Sporty is something of a chameleonic artists, not that many people know. He started out int he 70s making reggae and soul 7"s, then moved into disco, boogie, hip-hop and electro 12"s during the 80s, and then when house music hit in the 90s he evolved once more. This new drop from Emotional Rescue takes a tune from that late era. 'Computer Music' is four to the floor with electro influences and a lazy break that pull you in deep. Far-sighted chords bring a serene sense of cosmic majesty while a filtered vocal adds space age vibes. A dub is included as well as the Universal Cave Discomix by the Philadelphia DJ and production crew. A retro-future EP indeed..

INDUSTRIAS MEKANIKAS returns to the fray, and comes with force, with this new release from producer CUTE HEELS.

This Colombian producer and DJ based in Berlin, and who has published in labels like; Dark Entries, Moustache Records or Schrödinger’s Box, lands in the Madrid label to present us his latest work “Steel Field”, a 12″ of six tracks in mini LP format, where the producer shows us his darker side.

All his tracks converge in styles with a very marked influence of EBM and the most hypnotic Techno, along with the treatment of his vocals with distortion and delay effects, as well as lyrics with a very devastating message,

His new Mlp “Steel Field”, will make you travel from the beginning to the end, will take you to the darkest and murkiest worlds of electronica, will make you can not stop dancing, playing, thinking and moving between the sensations and the most recondite desires of your mind.

In the late 1980s, Disco was taking a backseat to the burgeoning psychedelic scene in San Francisco, marking a pivotal shift in musical culture. A dynamic transformation was underway as the younger generation sought a fresh auditory adventure, all while the devastating AIDS epidemic cast a somber pall over the city's nightlife. Amidst this evolving backdrop, a subtle yet distinct sonic movement quietly emerged within the confines of San Francisco’s vibrant club scene, often referred to as "The Beat." Although Hip-Hop, New Wave, Gothic, Punk, and the burgeoning Modern Rock genre held considerable sway, the pre-RAVE clubs in SF witnessed the fusion of these genres into a unique amalgam of sound that insiders dubbed “The Beat.” This musical tapestry encompassed everything from Hip-Hop and Freestyle to Industrial, New Wave, Boogie, Miami Bass, and Techno – the unifying thread being the distinctive vibe that characterised this eclectic mix.

As House, Techno, and Raving gradually gained prominence along the West Coast, a distinctive interpretation of these evolving sounds took root. Drawing inspiration from influential hubs like New York, Chicago, Detroit, Europe, and notably the UK, which saw a wave of talented young DJs migrate to California, San Francisco became the backdrop for its own version of the second Summer of Love. While the exact chronology might spark debate – some recalling '92, while others leaning towards '93 – what remains indisputable is the era spanning from 1990 to 1994, an unparalleled epoch of exuberant dancefloor revelry on the western shores.

In the face of limited backing from major labels or established independent dance music entities of the time, a grassroots movement of labels and producers emerged organically, ardently championing this distinct sound and catapulting it onto the global stage. This sonic identity was deeply influenced by “the Beat,” acting as a creative wellspring that informed the musical landscape. While the tracks compiled in these volumes might not encompass the entirety of this transformative musical epoch, they offer a vivid snapshot of the melodious tapestry that coloured San Francisco and the broader West Coast during that era. Each track featured stands as a 100% Sure Shot that was played heavily by DJ Spun back in those very heady days.

Finally, but by no means least, we unveil the third and concluding volume of this extensive, impeccably curated chronicle of San Francisco's underground rave scene and its unique soundscape. Mirroring the same fervour and meticulous track selection as the first two volumes, 'The Beat By Spun' is nothing less than indispensable for any dedicated music enthusiast, DJ, or dancer. Once again, this collection showcases an outstanding array of tracks, featuring music from talents like Mattski, Bass Kittens, Hawke, and Deep2, all maintaining the high standards set by the previous volumes. It's a blend of rarities, classics, and obscurities, combining to deliver an exhilarating, almost transcendental experience to those who dare to immerse themselves in the sonics!

Channeling the speed of youth and the heaviness of a fleshy, lived life in equal proportion, Upchuck’s second LP, Bite the Hand That Feeds, is a Trojan Horse par excellence, craftily smuggling in waves of sentimental emotion and clever pop songwriting under a veil of pulsing rhythms and scorching riffs. What binds Upchuck together is a purity of intention, an organic loyalty to a thick knot of uncalculated friendships, struggles, and desires. These are songs about the joy of continuing to live, songs that find each other in the rush of a crushing reality, propelling the listener onward towards a collective release, however brief it may last. Themes of surviving through the night, youth-blinded love, cheap champagne soaked back-alley parties, and chaotic street protests are subsumed under a single unifying thread: the needs we have for one another, our shared hunger for connection. In a world saturated with arbitrary rules and paper-thin moralism, Upchuck offer free¬dom through sensation, a type of unserious transcendence found through the swirl of bodies melting into one another in the passion of dance. With Bite the Hand That Feeds, Upchuck isn’t trying to tell anyone how to live. Rather, they are simply trying to find a way to make life more worth living for both themselves and their friends—if the music compels you to move, you might as well consider yourself their friend too. Shortly after the release of their debut album Sense Yourself, Upchuck absconded to Southern California to record Bite the Hand That Feeds, enlisting the production talents of Ty Segall and the airy reprieve of his secluded Topanga Canyon home studio. Upchuck credits Segall, who recorded the entire record live to tape over the span of five days, with helping to elevate the arrangements of their second record to bold new heights—fans of Segall’s extensive catalog will undoubtedly recognize the shadow of his creative touch in Bite the Hand That Feeds’ commanding, layered drum polyrhythms, tasteful use of oddball effects, and fuzzed out, every-guitar-pushed-into-the-red ethos. All the same, final credit for Upchuck’s evolution from Sense Yourself to Bite the Hand That Feeds must be paid to the band itself. Following the release of their debut LP, Upchuck embarked upon a break-neck string of live shows, touring alongside the likes of Segall’s Fuzz, Amyl and the Sniffers, Negative Approach, OFF!, and Sub¬humans. The razor tight focus of Bite the Hand That Feeds was forged in the fire of these live shows, speaking directly to the power of their in-person presence—these are songs meant to be heard pressed up against a barricade, blasted through dimed guitar amps placed so close to your ears that you can practically reach out and touch them. In its totality, Bite the Hand That Feeds offers a sonic portrait of what it feels like to be young and caught up in the thrill of it all, coursing between ripping dance grooves and thundering dirges, anti-self-serious crowd anthems and charming pop hooks.

Dutch indie band from the south of Holland. Produced by Grammy-nominated British producer and mixer Christopher Elms (Björk, Ben Howard and A Blaze of Feather) as well as mastered by Tim Debney who worked with Thom Yorke, Mumford & Sons, Bastille and Keane, among others, and provided the mastering for the Bond tune by Billie Eilish.

Wild Wood is the second studio album by Paul Weller. Originally released in 1993 the album hit the #2 spot in the UK album chart. The album contains 3 top 20 hits in Wild Wood, Sunflower and The Weaver. The release marks the 30th Anniversary of the album and comes as a limited edition 140-gram coloured vinyl.

German post-punk band Onyon scrambled our brains when we heard them for the first time last year, so much so that we signed them & reissued their eponymous debut cassette EP (originally co-released in limited quantities by the Flennen/U-Bac labels) in June of '22. "Last Days On Earth" is the band's latest & first proper full-length for Trouble In Mind. The oddball, synth-soaked world of Onyon is disorienting at first - the band's herky-jerky rhythms may operate in a familiar fashion to bands like Devo, Kleenex/Liliput or label-mates LITHICS, but Maria Untheim's woozy synth squiggles that populate & punctuate the band's songs keeps everything at arms-length. Flirting with the primitive cool of 80's minimal-synth and the wire-haired cretinism of 60s garage, especially on tunes like the manic `Dogman' or first single `Alien, Alien'. Guitarist Ilka Kellner's six-string salvos rage unpretentiously with edges torn & frayed, rarely (if ever) soloing, but never afraid to unleash a spindly lead-line over Florian Schmidt's rubbery bass lines & Mario Pongratz's stuttering drum patterns that phase in & out of time imperceptibly like drunks doing their best to seem sober. Kellner & Untheim share vocal duties (in both English & German - sometimes in the same song), but the real magic comes when the two sing together, voices merging in loosely harmonic gang vocals; one deadpan, the other slightly unhinged. The group's beguiling lyrics add to the mystique - inscrutable neu-world fables about egg machines, ghosts, worms that talk, and urges to consume newspaper that ooze a rural, old-world understanding of life & the imperceptible spaces in between reality & fiction, transmuted thru a modernist sci-fi lensflare. Recorded, mixed & mastered in late 2022 by Martin Müller, "Last Days On Earth" is released on CD, black vinyl & limited purple vinyl (while supplies last) as well as streaming via most digital platforms.

German post-punk band Onyon scrambled our brains when we heard them for the first time last year, so much so that we signed them & reissued their eponymous debut cassette EP (originally co-released in limited quantities by the Flennen/U-Bac labels) in June of '22. "Last Days On Earth" is the band's latest & first proper full-length for Trouble In Mind. The oddball, synth-soaked world of Onyon is disorienting at first - the band's herky-jerky rhythms may operate in a familiar fashion to bands like Devo, Kleenex/Liliput or label-mates LITHICS, but Maria Untheim's woozy synth squiggles that populate & punctuate the band's songs keeps everything at arms-length. Flirting with the primitive cool of 80's minimal-synth and the wire-haired cretinism of 60s garage, especially on tunes like the manic `Dogman' or first single `Alien, Alien'. Guitarist Ilka Kellner's six-string salvos rage unpretentiously with edges torn & frayed, rarely (if ever) soloing, but never afraid to unleash a spindly lead-line over Florian Schmidt's rubbery bass lines & Mario Pongratz's stuttering drum patterns that phase in & out of time imperceptibly like drunks doing their best to seem sober. Kellner & Untheim share vocal duties (in both English & German - sometimes in the same song), but the real magic comes when the two sing together, voices merging in loosely harmonic gang vocals; one deadpan, the other slightly unhinged. The group's beguiling lyrics add to the mystique - inscrutable neu-world fables about egg machines, ghosts, worms that talk, and urges to consume newspaper that ooze a rural, old-world understanding of life & the imperceptible spaces in between reality & fiction, transmuted thru a modernist sci-fi lensflare. Recorded, mixed & mastered in late 2022 by Martin Müller, "Last Days On Earth" is released on CD, black vinyl & limited purple vinyl (while supplies last) as well as streaming via most digital platforms.

2023 sees 40 years of James. As part of the celebration UMR is reissuing the band’s breakthrough album, Gold Mother on 2LP gold vinyl. Combining the 1990 and 1991 versions of the album it includes the iconic anthem Sit Down as well as How Was It For You, Come Home (Flood Mix) and Lose Control

Siouxsie & The Banshees final album ‘The Rapture’ includes the title track as well as ‘Fall from Grace’ and ‘Not Forgotten’ which were produced by the band in 1993. The release comes as a limited edition 140-gram turquoise transparent vinyl.

Formed by Monster Magnet’s John McBain and Soundgarden’s Matt Cameron & Ben Shepherd in 1993 during some downtime from their day jobs and side project Hater (who released a self-titled album in 1993), Wellwater Conspiracy set about immersing themselves in the dayglo world of sixties psychedelia, channelling the vibrations of Syd Barrett’s Pink Floyd and the 13th Floor Elevators to produce the garage lo-fi-lysergic assault on the senses that is their debut album ‘Declaration of Conformity’. Originally issued on Mudhoney’s Steve Turners Super Electro label in 1997, the album was met with critical acclaim upon its release, and Rolling Stone magazine said, “Declaration’s tinny, fuzzed-out sonics decidedly evoke the Summer of Love.” God Unknown Records are proud to be welcoming the album back into print and on all digital platforms, and this coming September 22nd will see the release of a remastered vinyl pressing with extra tracks and new artwork taking influence from Blue Note Records’ fabled artwork. From start to finish, ‘Declaration Of Conformity’ is a loving homage to the true beginnings of psychedelic rock, long before the music got harder and heavier. Songs like ‘Green Undertow’ and ‘Sleeveless’ hark back to the time when The Beatles were spinning the world on its axis with ‘Tomorrow Never Knows’, Syd Barrett was the piper at the gates of dawn and Roky Erickson was introducing the world to his Texan psychedelic sounds. Wellwater Conspiracy’s music exists at that moment when pop music started to fracture and go far further out. It was still pop music, but the edges were starting to blur and the sounds were starting to fracture. This is where ‘Declaration of Conformity’ sits; at the dawn of one of the biggest cultural shifts in musical history. The Bandcamp link will also feature two bonus download-only tracks, a cover of ‘Akka Ragga’ by Shocking Blue and ‘Late Night’ by Syd Barrett. Both tracks feature Josh Homme on guitar and bass. Tracklisting A1 Sleeveless A2 You Do You A3 Trowerchord A4 Green Undertow A5 I Love You Every Day Sandy A6 Nati Bati Yi A7 Far Side Of Your Moon B1 The Ending B2 Space Travel In The Blink Of An Eye B3 6-6-5-4-3-2-1 B4 Shel Talmy B5 Lucy Leave B6 Declaration Of Conformity B7 Palomar Observatory

Having been deck slaying as near their London headquarters as Germany and as far as Canada, goth techno prodigy Lesser Of is steadily approaching double digit release count. With an established residence at queer x trans focused, revolutionary event series Subverted, their efforts have been welcomed to a formidable list of industrial electronic labels and remixed by a tidy sum of high profile scene icons.

Here at Depth.Request our sonars are attuned to emanant potential, and so we conscript Lesser Of to hammer out our fourth acetate offering to date. To this, harsh noise and drone music inspirations are declared, alongside an artistic secret of the trade: lights-off sessions in live room of a recording studio vibrating with the pulse of a bass guitar ran through a freeze pedal were what begot the tracks, and they are well intent on assaulting your headphones with noise. Reeko on the remix - yes, this record fucks.

Prolonged, ominous intro? Nah. Have a face full of Crude Manifestation Of Power instead, as an insatiable, 10-minute long opener braces your ears for a week of ringing with a sonic equivalent of metallic thrashing one could expect from being a sinful, rave-lusting scoundrel. On title-diverting continuation Within My Fragility the words "strength in fragility" are truly alliterated as the pace, abrasiveness and intensity of pummelling are all ramped up fiercely, with linear open hats thrown against them from time to time for good measure. Having reached 140 BPM and concrete mean, Masked proceeds in a well anticipated ra(n)ge: infernal atmosphere, sandy hats and layered tectonic tremors achieved with increasingly undefined low end consisting of a rumble line and rolling kick morphing into abrasive haze. Winding the tempo back a notch, a halftimearranged contemplation Our Descent grows in direct, hyperborean vector: glassy drones and sharp syncopulsation first - atonal reverberations, distorted arpeggios and punchy stabs endwise. Reeko's analog reinvention of Masked convolves the drum structure by borrowing from breakbeat narratives and authorizes the dystopian ambiance to rise and fall on more gradual, panning, confined terms; adding, however, more disorder to the mix with spectrum slicing, high-range chaos.

As you would have learned to expect from Depth.Request, Within My Fragility EP is not an easy listening five-tracker. If by the end of it you find yourself feeling as if you just stepped out of a pounding warehouse at 3AM and you don't know what day it is, you wouldn't have been experiencing this mindspace alone.

Second Second Coming', Mary Vision’s sophomore LP, is a pastiche of many of Alex Fippinger’s influences, from Lou Reed to Spacemen 3. It is an effort to maximalize the minimal, and to create sound that is at once layered and clear. With that, the lyrics also touch on many subjects with an overarching general thesis: the exploration of self and culture under duress. The album allows you to tune into these explorations via different sonic sounds. You’ll find the pop sound in the first single, 'Fantasy (Ba Ba Ba)', for instance, right before you find yourself indulged in the psychedelic swirl of 'Love Drone'.
The writing experience was one initially based in home recordings. Alex Fippinger would manifest these recordings in his Brooklyn apartment and show them to the 7-piece band who always added a flavor not imagined by Alex himself. Yukary Morishima, who played bass on the record, is very prominent throughout. Aaron Peart found himself to be an integral piece to the writing as well, providing a specific flavor to the songs via lead guitar. Jack Dawson played keys for the first time on a Mary Vision record, adding a playful vibe that Mary Vision fans haven’t heard before. Guido Colzani added drums that are full, yet simple, giving the simple song structures a meaningful foundation. Max Braun held it down on the rhythm guitar, the crux of the songs. Mark Perro was a utility man, adding major guitar licks throughout as well as playing harmonium and providing next level backup vocals. Paul Blackwell engineered and produced this record to where it is now. From the opening chords of 'Window Pane' all the way to the come down of 'Riding Into the Sun', the album is a novel, an unforgettable night out on the town that you won’t forget. If a record could have a character-arc, 'Second Second Coming' would be the textbook example.

It features a collection of Finbar's own compositions and four well known traditional songs; Kitty, The Rocks Of Bawn, Slieve Gallen Braes and The Parting Glass. Finbar brings his own unique style to these classic Irish songs, using his romantic eloquent voice to evoke ages past. Music's Door is Finbar's ode to music, but there is a poignancy to it as well, in September 2022, he recorded this duet with his friend, 'Jump The Gun' singer Roy Taylor to raise awareness for MND which Roy was suffering from. Sadly he died in June 2023.

September Said Goodbye is an emotional cry for a lost loved one in the 9/11 tragedy. The mood takes an upbeat turn with Wild Horses, a joyful and carefree instrumental, and Blue Jewel In The Sky, a song Finbar released in 2020 with his daughter Aine Furey, alerting us to the impending horrors of climate change. Finbar draws inspiration from the world around him. His passion for music and the plight of the underdog has always underscored his work. He has honed a talent for finding the soul of a person, a place or a time through his music. 'Moments In Time' reflects the artist looking back at the vagaries of life, completing the album with the timeless The Parting Glass.

However, he is also looking forward, emboldened by his music he embraces and celebrates life, and most of all, love.

If you were to ask for a defining Habibi Funk track, there are a few that come to mind: from Fadoul’s “Sid Redad,” Dalton’s “Soul Brother” to Ahmed Malek’s “Omar Gatlato.” However, none are as widely connected with us at this point as Hamid Al Shaeri’s “Ayonha.” We heard the track for the first time when we were working on selecting tracks for your first compilation and we instantly loved it. We obviously had heard of Hamid El Shaeri’s music before, but only material from his Al Jeel phase when he was already the full-blown
superstar he is now.

Listening to his releases from the early 1980’s opened a whole new door for us. At the time, Hamid had just left Libya to pursue his career in Egypt via a detour in London, where he recorded his first album. Hamid’s distinct sound of the sound is quintessentially reliant on heavy synths and so it was particularly important to purchase these synths in a timely manner. “Whenever a new one synthesizer would come out, we would have to buy it immediately, otherwise someone else would get their hands on that sound.” London also played an important role for Hamid as a musical epicenter.

He fondly reminisces about the many live shows he attended there, including some of the biggest international musicians like Freddie Mercury and Michael Jackson. After returning to Cairo where he also recorded his following albums, he connected with SLAM! for the
release of his debut, laying the foundation of a collaboration that lasted for 5 albums. Luckily, we were able to connect with Hamid through our friend Youssra El Hawary, whose extensive network has opened many doors for us within the Egyptian music scene. We met Hamid for the first time probably in 2016 at his office / rehearsal studio in the outskirts Cairo. We were expecting a larger-than-life
character in-line with his status as a certified superstar, yet the actual person turned out to be very approachable and super easy to connect with. He liked the idea of an effort to amplify his early works again,
which, when originally released, were far from an economic success.

While he was down to assist with an interview and his blessing for the project he also told us that for any license we needed to speak with the original label SLAM! who released these songs, still held the rights and also remained in business over the decades though they didn’t actively release any new music. Hany Sabet had started SLAM! records in the early 1980s and focused on cassette tape releases, the
format that expedited the success of a new generation of record labels in Egypt. By the mid 1980’s, SLAM! had become one of the most successful and economically dominant record labels in Egypt, with Hamid El Shaeri being just one of their key artists, alongside Mohamed Mounir, Hanan, Hakim, Mustafa Amar and many more. Luckily, Hany Sabet turned out to be a friend of our colleague Malak Makar’s father, which probably helped to warm him to the idea of licen- sing “Ayonha” to this - in the scale of his world - tiny label
from Germany. Eventually “Ayonha” ended up becoming a widely successful release and either Hany or we brought up the idea of a full album dedicated to Hamid El Shaeri’s work on SLAM!.


"Maktoub Aleina” is the first single and will be released January 14th. Following the massive success of "Ayonha,” “Maktoub Aleina” is another mid-tempo groover with a beautiful, synth-forward melody, that brings together a lovely combination of soul, disco and Arabic pop music of the highest order, giving a taste of full album. The second single, “Yekfini Nesma Sotak” will be released January 28th and combines Hamid’s unique formula of soul and pop, held together by a catchy synth melody. “Yekfini Nesma Sotak” picks up the
pace a bit, making the uplifting mood of the track even more powerful. Third single, arriving February 11th, is “Dari Demou’ek,” one of the stand out tracks of Hamid’s early recordings done for SLAM! in the early 1980s. Dominated by a disco infused bassline, the track offers a lot of space of the funky production to shine while Hamid inserts his vocals at all the right moments. A masterpiece of disco touched by Arabic pop music.

Full album arrives February 25th. This release is dedicated to Hany Sabet, the founder of SLAM! and his wife Rosemary Jane Sabet (who
took the photos we used for the cover and the booklet), who sadly passed away during the time it took us to prepare the release.
Vinyl comes with an extensive booklet with an interview with Hamid as well as unseen photos