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My Favorite Robot welcome the collaborative outfit of Rodion & Local Suicide for their next EP, which comes boosted by
remixes from Los Mekanikos, Moscoman and Fairmont, as well as artwork that is made up 3D prints of the act.
Rodion is an Italian classical piano player and acclaimed producer whose albums and EPs for the likes of Gomma, Nein
& Nang have helped to reshape modern disco. Also one half of Alien Alien and boss of the Roccodisco label, he is a real
studio visionary who for ten years has mixed up classical, trance and psychedelic sounds. He makes everything from
chamber music to computer game soundtracks, has remixed Giorgio Moroder and counts the likes of Tim Sweeney, Erol
Alkan and DJ Hell as fans. Berlin-based duo/couple Brax Moody and Vamparela aka Local Suicide have been
collaborating together since 2007, either as a DJ duo, in bands, or as remixers and producers. They have played all over
the world and are in favour with the likes of XLR8R, Thump and Mixmag for their fusions of slow techno, post disco and
acid.
These original analog tracks were recorded between 2014 and 2016 in Rodion s vintage studio in Berlin. They came about
when they all met following one of his gigs just after he moved there, and after being in touch online for a while. During
one of the nights, Rodion brought friend, producer and singer Ali Bey (part of the Belgrade DJ collective Beyond House
and a famous record digger) to contribute.
Impressive opener Abu Dhabi includes samples from field recordings from all over the world. The most prominent is the
recording from an airport in Bangkok where Brax Moody and Vamparela were waiting to catch their plane to Saigon
and it ended up being the main vocal hook. The alluring track is a wonky feeling number with gurgling synth lines and
gentle releases of white noise lulling you into the groove. A searching synth line and distant siren add urgency and the
whole thing feels urban and futuristic.
Comprised of Mexico City producers Max Jones and Eddie Mercury, Los Mekanikos combine raw hypno-rhythm tracks
with pumping grooves that pay homage to Chicago, Detroit and Berlin. Their special remix is another late night and
unhinged number that encourages you to freak out amongst the panning and paranoid synth patterns and robotic grooves.
Then comes the brilliant True Love Floats with Ali Beys singing and Vamparela s vocoded vocals. The interplay between
the two is tense and alien and makes for a perfectly inhuman groove with popping bell sounds, undulating pads and spooky
deep space ambiance.
Remixing this one is Berlin via Tel Aviv artist of the moment and Disco Halal label head Moscoman, whose raw machine
grooves have impressed on labels like ESP Institute, Correspondant and I'm a Cliche. His slow and purposeful version is
deep and psychedelic with disorientating vocals and blistered synths wallowing in a menacing urban landscape. Buy it
digitally and you will also get a fine remix from label regular and Canadian Fairmont. He runs the Beachcoma label, has
worked with cult outlet Border Community over the years and mixes up dark disco and goth into his own fresh sounds. His
remix here is more direct and driven, with powerful drums and well sculpted synths making it another great rework.
This is a unique sounding package featuring plenty of heavyweight names and marks another cultured outing from the
always considered My Favourite Robot label.

Don't shoot me, I'm only the piano player.

The Scene: The Welsh mountains, remote and harsh, a special place. A good place to produce a special album. The characters: Volker Bertelmann in his friend Adam Fuests' studio, equipped with only a piano and a laptop. The Project: To record a album of piano music. Title: Hauschka.

Piano music is highly personal music, which is the reason why piano solo albums occupy a particular place of importance in a musician's work - not that Volker Bertelmann wants to hype his first foray to that extent, hence the pseudonym. Nevertheless Hauschka is personal music, simply because it has accompanied him for so long, because it has always been there in some shape or form, because it has always been important. The title points to the fact that it is dealing with something of import, not just a few finger exercises or background ivory-tinkling.

Substantial' is a snapshot of a life spent with the black and white keys, and is simultaneously both moment and history, thought and feeling, yet without turning into a unduly meaningful concept album. Rather, Substantial' is based upon the least conceptual of all concepts: Improvisation. Each track is based upon an opening sequence, the theme of which is extended, modulated and varied with, as far as form or length is concerned, no specific objective in mind. What has come out is music of a differing, well, substance: Eleven atmospheric pieces in which a variety of different techniques overlap and rhythmical images with narrative depth unfold, in which further instruments, such as double bass or vibraphone make a fleeting appearance, at once lending a hint of pop, but at no time detracting from the piano as central instrument, in which experimental and electronic music is accessed without compromising the directness and ease of the improvisational approach.

The confluence of Bertelmann's multiple musical personality can be apprehended here: Whilst the pop-oriented musician plays the melody, the electronic producer gently experiments with sounds, leaving the pianist quite literally to manipulate the piano, - plucking the strings with a plectrum, dampening them or bowing them lengthways to achieve a variety of percussive effects. Following the recording, the tracks were adapted, supplemented and finalized. Using multi-tracking, up to four piano tracks were superimposed, electronic sounds from the laptop added, as well Stefan Schneider's bass (Mapstation, To Rococo Rot, Music A.M.) on three tracks.

REPRESSED !!
Frak are Björn Isgren, Johan Sturesson and Jan Svensson, a trio of synthesizer lovers from Sweden. The band was formed when Svensson and Isgren's older sisters were best friends and they introduced their little brothers to each other. Inspired by Severed Heads, DAF, Human League, Devo, Skinny Puppy, the boys began collecting analog equipment and started Studio Styrka. While the band were still in their early teens they released the first FRAK cassette album in 1987 on their own record label Börft.

Almost 30 years later, FRAK continue to release their bizarre brand of Scandinavian techno with their debut release on Dark Entries. 'Sudden Haircut' was recorded in 2015, a ten-minute brooding, heavy hitting acid attack full of 808 drum claps aimed at the dance floor. The three remaining songs come from a studio tape the band found in their archives named 'FRAK "After The Silence" 2001-2010' 'Synthgök' and 'Synthfrilla' were recorded in 2010 and originally released on the 'Börft' EP by Sex Tag Mania in 2012. Utilizing a 808, 303, 101 and MS-10, both are supreme cuts of electro leaning acid techno that perfectly fit the sweatiest moments of any club land experience. The deliciously rugged final track 'First Glimt I Ögat' is a vintage unreleased Frak song from 2001 recorded one month before the track 'Second Coming' (later released as B1 on 'Börft' EP).

All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. Designer Eloise Leigh has created a playful DIY jacket based on a mysterious black and white photo of the band in their classic tin foil masks. Each copy comes with a black and white postcard featuring a distorted back stage photo of FRAK in their teens. 'Forget all you know about Swedish electronic music, this is Börft crew, the core underground of "söta bror's" techno history - here represented by Frak - a full out techno acid punch.' Juno Records

Re-Release from 2012 12 whitelabel, limited to 250 hand stamped and numbered copie

12 whitelabel, limited to 250 hand stamped and numbered copies

The 2nd drop on Through My Speakers comes straight from NGHT DRPS' dubby chambers. Showcasing his musical roots and influences, it blends earthy grooves and heavy drums with his signature deep and trippy vibes. From killing it on FACTMAGs 'Against the Clock' producer series - collecting almost half a million plays and making it into the all-time top ten of 'Against the Clock' - to remixing Moderat's 2016 'Eating Hooks", we are very happy to announce NGHT DRPS' debut EP on Through My Speakers. Vital Sales Points: - already played by dBrigde, Plastician, Toddla T, Sarah Farina, Kabuki, Scratcha DVA, Zed Bias, Moderat and more - Releases on tba - airplay on Rinse FM, NTS, BBC Radio 1 & 6,

Raw DJ tool electronic jam's by Frankfurt based mysterious
project called 4010. Handstamped white label, vinyl only release.

Since being a privileged existence in a society, which has to deal with the cruel abundance of anger and fear, the imbalance of capital, the overload of informations and its consequent political power (quite often owned by white patriarchic men), Beate constructed eclectic mashups to finally return the book of knowledge.' - (A. Hassel)

Beate Furcht's softly disturbing sound collages draw the picture of growing dissatisfaction.'
- (D. Diamant)

While putting this together, I thought of it as 'the compilation of being powerless'...and also as an 'idealistic tarot' to break through everyday ignorance, which may guide you to an inner policy of personal responsibility.' - (B. Furcht)

Say You Love Me wasn't "Om" Alec Khaoli's first solo recording but the 1985 EP solidified the bass player and songwriter's standing as one of South Africa's most consistently innovative pop auteurs. He built a career on ubiquitous rock, pop and soul hits with groundbreaking bands like the Beaters, Harari and Umoja.

But Khaoli's seemingly endless fountain of music continued outside these ensembles, where he usually played bass and contributed songwriting and vocals. Khaoli released several successful solo works while he made records with Umoja and worked on other productions with friends. This creativity was aided by Khaoli's own recording studio. He was the first South African to have a privately-owned studio.

As black artists were forced to record during lunch breaks and didn't get sufficient access and time in the white-owned studios, having his studio allowed Khaoli to develop in his own way. Hence his productive output during the 80's and early 90's, releasing 5 LPs with Umoja and 5 solo LPs, along with numerous singles and EPs. There's something broad and dynamic about the almost epic pop sound Khaoli creates on Say You Love Me.

Being the first South African to take control his recording process and thereby free himself from one of apartheid's many strictures, he took his vision of music to new realms and made timeless music for the dance floor in the process.

Repressed !
The Argentinian team brings the power of their knowledge back to our imprint with this split EP, a six track musical journey from drones to heavy kicks, with a bunch of intelligent techno in the middle.

The release starts with Jonas Kopp's "Grey Area", a floating intro exploring the deepest frequencies in the sound spectrum. Next comes "Intelligent seeker", with grooved synth toms, sharp hats and a naive oscillating sequence that runs free in the arrangement. Profound and aggressive at the same time.

The following number is "Akut": dry kick, reverberated and panned continuous sequences, spiced with classic 909 workout.

Pfirter provides his intro with "Another Dimension", a dreamy ambient piece to warm up for what comes next: "Euritmia". Based on distorted kicks and sequences, "Euritmia" creates an obsessive rhythm that grows alongside the white noise washes during the whole track.

Closing the release is "Rising", which starts with a cleaner beat approach, and once again works with white noises and modular lines to create tension and expectation. Micro percussions run along the groove, nicely adding spice to the hypnosis.

When Steve Lawler first sent us 'Crazy Dream,' he told us that he had made the record 'specifically with Turbo in mind,' thus sending us on a quasi-lucid journey down a rabbit hole of self-discovery from which we have only recently emerged. Most labels would simply talk up a nuts-to-the-wall floor-filler with a killer 'White Horse' bassline from an acid house legend and be done with it, but the fact remains that if we forgo an opportunity to learn more about ourselves as dance music imprint, we are doing our fans a disservice whether they could possibly be expected to realize it or not. We hired a board-licensed Forensic Poet to parse the track's lyrical references to nothing being 'quite as it seems,' 'feeling naked and confused,' and rising above 'the push and shove.' What was he trying to tell us The poet assured us that all it meant was that Lawler admires Turbo and thought the track would be a good fit, and that we should put our clothes back on, wipe the confused looks from our faces, and stop pushing and shoving one another because everything was exactly as it seemed. We paid him his $25 and did as we were told. For the remixes, we took a track made especially for us and enlisted a diverse cast of Turbo All-Stars to spin it into a release for everyone, a proprietary practice we call 'Human Alchemy: The Future of Generosity™.' Finland's Jori Hulkkonen, Belgium's Charlotte de Witte, and Argentina's DJs Pareja trace a beautiful global triangle for lovers of acid bangers, stripped-down techno, and tripped-out weirdness, respectively. At Turbo, giving party people what they need is more than just a crazy dream. It's a crazy reality.

100% no compromise Flanger-Action - Black Label, White Stamp!

Over the years, Phil Mison has become the go-to selector for those looking for Ibiza-themed compilations. None of his previous collections, though, have been quite as personal as Out Of The Blue, a compilation inspired by his first spell behind the decks at the Café Del Mar in 1993 - and the remarkable chain of events leading up to it.

Mison made his first trip to Ibiza in the summer of 1991 and quickly fell in love with the magical music being played by Café Del Mar resident DJ, Jose Padilla. On his return to the UK, Mison began to cultivate his own take on the laidback, open-minded style, recording mix-tapes of Ibiza style chill out' tunes to give to friends.

In November 1992, Mison was hanging out in Tag Records, Soho, when Padilla walked in. He plucked up the courage to speak to the Spaniard because earlier that summer Mison had given one of his friends some tapes to take out to Jose in Ibiza so he wanted to see if he had got them. During the conversation Mison invited him down to his next DJ set at Nicky Holloway's club, the Milk Bar and less than three months later, and clearly impressed by what he'd heard on the tapes, Padilla invited Mison to fill in for him at the Café Del Mar, beginning in April '93.

It's that first trip to DJ in Ibiza - a crazy six-weeks spent dividing his time between spinning records at Café Del Mar, hanging out in Jose Padilla's house in the hills, and meeting some particularly eccentric White Isle residents - that proved the inspiration for Out Of The Blue.

The compilation contains a mixture of records that Mison played in his earliest Ibiza sets, those that remind him of that period, and recent discoveries that boast a similarly warm, loved-up vibe. Mison is at pains to point out that it's not a track-for-track representation of his first sets, but rather a collection inspired by this most momentous of experiences.

As you'd expect from a selector of Phil Mison's standing, Out Of The Blue is an outstanding collection. Some will no doubt hear the influence of his mentor - the man he credits with effectively turning his DJing career around - in the undulating rhythms and new age melodies of Kamasutra's Sugar Step', the meandering synthesizer solos and Spanish language vocals of Congarilla's sublime Sacred Tree', and the lilting flamenco guitars of Gambarra', an unreleased mix from Mison's popular Cantoma project.

Elsewhere, listeners can marvel at the starry ambient bliss of Belgian legend Frank De Wulf's The End', recline to the saucer-eyed fusion jazz of the Christoph Spendel Group, shuffle along to tactile, hard-to-find period deep house from Language, Moodswings and Don Carlos, and marvel at The Cactus Rose Project's ridiculously rare Jelly', a sparkling, disco-era jazz-rock outing partly inspired by the Doobie Brothers' Long Train Running'.

Out Of The Blue may well be a very personal selection of tracks celebrating a moment in time, but it's happily one that we can all enjoy.

Last Days debut, 'Sea' told the story of one man's journey. Now with his 5th album, 'Seafaring', Graham Richardson returns to the sea to examine a range of vocations and exploits adrift.

Drawing inspiration from shipping routes, to Ernest Shackleton and his crew's ill-fated voyage on the Endurance, to families being disjointed and reunited, Seafaring goes some way to hint at what the oceans present to us. Seafaring reflects on it's subject matter by coherently linking moments that are minimal and still, to those that are compelling and cinematic.

Seafaring will be the first Last Days album pressed on vinyl and will be available in white or clear as well as digipak compact disc

(2x 180 gr LP in a gatefold sleeve with download card) The debut album of Talamanca System, aka Gerd Janson + Mark Barrott + Philipp Lauer. Their past is your future!

On the white island, between Ibiza Town and the infamous fish shack high up on a rock next to a bird sanctuary, you will find the beach of Talamanca. Plagued by too much seaweed, anchored middle-class yachts and joggers, it is also surprisingly the spiritual home of a correspondent post-Balearic group. As luck would have it, a remix request by Mark Barrott bedded the International Feel boss in a trio with Philipp Lauer and Gerd Janson, alias Tuff City Kids. A highly sought-after 12-inch later ("Balanzat"), as well as fantasies of getting together to work on more material, led to a fruitful and effortless studio session on the non-Balearic outskirts of Frankfurt am Main.

The outcome of that meeting forms the homonymous debut album of Talamanca System. A documented vision, or a sunburned imagination of a day and night spent on said island, during a moment in time that probably never was or will be. Still summed up best by dungarees, long hair, yellow sunglasses, espadrilles or that famous picture of people grouped around roofless Amnesia's pyramid well, it is the food of the Balearic gods. But, dear nostalgia, stop right here! Even though Talamanca's debut flies the Balearic flag, it is not about turning back the clock, but rather about a past that could be the future. Dusted, danceable, driving, dreamy and dapper at the same time, this is an album for the club, the car, the beach, the (coke)float and the fountain.

Coined by the colourful and respective talents of the three individuals behind Talamanca, you will hear nine tracks ranging from up to downtempo, piano house smashers that would have deserved the prefix Italo-, percussion rituals captured by a group of Zoo animals on the loose, soundtracks for dusk and dawn, hushed vocals, rites of ambient passages, powerful synth ballads and vamp choirs. If this album were a car, it would be a Citroen 2CV remade by Tesla.

We've said it before and we'll say it again: their past is your future!

After his tape release on Anime Solitarie Cassette, Bellatrix arrives on Veleno Viola with an esoteric mix of mutant body music and acid.
White vinyl.

Jigsawtooth is the third album from Hendrik Kroez's Miwon project.

Limited randomly packed red or white vinyl. Non-Returnable.

On this long-awaited follow up to is critically revered A to B (City Centre Offices) Kroez displays his skill in marrying motorik techno infused rhythms and soaring pop ambient melodies.

This is most evident on 'Charezza' which could very well be the most uplifting track in the n5MD cannon. Other cuts on Jigsawtooth utilize sweeping synth-work that encourage a near kraut/kosmische travel worthy flavor to the proceedings.

Other genre signposts are evident on Jigsawtooth but that's something that's always been a constant with Kroez's work as Miwon. In his hands such coalescence sounds cohesive, natural and is some much welcomed diversity to nought-era electronica.

Joining the Unknown Precept forces are C.G.I. Records' label head Matthew Wei- ner teaming up with Christopher Daresta as Pyramid Club. Being known for their T.W.I.N.S. and Anticipation solo activities, Cyclic Obsession comes as the debut re- lease of the four-handed formation taking its name from the eponymous venue which helped define the counterculture and queer sound of lower Manhattan in the late 70's. Recorded in their stronghold of Atlanta following a handful of tracks released via the jointly-operated D.K.A. Records, it shows the duo taking over primitive body music in its most physical and psychedelic dimension. Thick as a brick bass lines for the basement turmoil — reflecting the hazy vortex smoldering out of an ill-lighted nightclub. Think of spasmodic synth-driven tunes interspersed by convulsive vocals and throbbing snares, in which one could see the whites of the dancers' eyes right before the lights turn back on.

germany-via- artist osker offermann, the owner of leading label white presents us a quality dou-bled package on the mule, strongly effecting his meditated mindsets.
as well as his dj sets, his crafted productions have a superb balance between being not too exces-sive, but not being too minimalistic -

creating the dynamism which make people move, based on his own aesthetic featured with well-polished, functional electro phrases and raw machine beats.
because of its floating grooves, will be nice for club use, but also surely will be a good accompany for the home-listening. oskar continually points forward us the fact, that listening to deep house is no longer meandering journey, but something meaningful and fruitful in your life.

Bucharest's Romansoff brings post-industrial heat on Sportiv002. With previous releases on Creme Organisation, Mörk and his own Raw Tools, Tudor cranks it to 11 and does crunchy, saturated beats under a killer analog riff on Colonial Past. Bodylock on the flip is equally intense but chooses a more stone-cold approach. Gripping, energetic material from a country at peak creativity. Sportiv is a dexterous white label operation that brings you heavy-weight rhythmic performances from the world of techno athletics.

2 x heavyweight 180g black vinyl
4 x vinyl labels, 4col CMYK
Gatefold sleeve (open both ends) 4/0 CMYK on 350gsm double white board with matt dispersion varnish
2 x Inner bags (top opening) 4/0 CMYK on 180gsm sulphate with matt dispersion varnish
1 x download card 85x55mm 4/0 CMYK

White Material crew's Galcher Lustwerk and Alvin Aronson return under the guise of Studio OST with a 4-track EP of live jams on Lustwerk Music. While the pair's critically acclaimed 2016 debut 'Scenes (2012-2015)' leaned towards home listening, 'Eventide / Ascension' shifts the focus back to the dancefloor with two chugging cinematic house tracks. 'Eventide' is an evolving nebula of fluttering pads and lush percussion, while 'Ascension''s hot-electric drums are complimented by sharp synth chords that unfurl into controlled chaos. A beatless version of 'Eventide' and a drums only version of 'Ascension' sweeten the deal.

Nach unzähligen Releases auf Labels wie Sub Pop, Troubleman Unlimited oder Jack Whites Third Man und zahlreichen Kollabos mit Acts wie Sonic Youth, Anthony Braxton, Andrew W.K., Hieroglyphic Being oder Morton Subotnick, veröffentlicht das Detroiter Post-Industrial/Noise-Trio Wolf Eyes sein neues Album "Undertow" auf dem eigenen Imprint namens Lower Floor Music. Auf den fünf neuen, teils überlangen Tracks graben sie weiter in den Untiefen ihrer ureigenen, durch Electronica und Free Jazz infizierten Noise-Welt. Die LP erscheint mit Download-Code und doppelseitig bedrucktem A2 Poster.

Espen Beranek Holm is a Norwegian musician and comedian, born 1960 and began his music career as a clarinetist. Inspired by early synthesizer bands Kraftwerk and The Residents, he began making experimental pop music. His debut single Dra te' hælvete' was released in 1981 and was immediately banned by national TV/radio channel NRK due to explicit lyrics. This gave the young artist tons of publicity, helping the single spend almost 6 months on the national charts.

Beranek returned to the Starholm Studios in Oslo from June - September 1981 to record nine new compositions. His debut album, Sound of Danger', was released on Mind Expanding Records in November 1981. Nowhere near as accessible as the previous single, the album fared poorly commercially. Withdrawing from the single's fun, kitsch pop, the album is cool and static, driven by thin rhythm boxes, cold synths, and glacial guitars. Taking heavy cues from David Bowie, all of the songs are sung in a nasally English accent, a rare occurrence in Norway at the time. The lyrics are melancholic, but tinged with paranoia. There are also upbeat tracks that evoke a prog or glam sensibility a la King Crimson, Alan Parsons, or Roxy Music.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring red, black, and white lines that evoke a visualized Richter Scale designed by Monica Moltzau. Each copy includes a 2-sided 8x11' insert with lyrics and an autographed press photo of Beranek.

Musically and emotionally, Superpitcher's third full-length studio album, The Golden Ravedays is a one sound autobiography that exhibits the skill, feeling and depth of style that the artist has honed over a period of twenty years, musically, and forty-plus-years, emotionally. And full-length it is: The Golden Ravedays is an epic album of 24 tracks that was released in January 2017 and is stretching over 12 respective chapter albums during a one-year period on record label, Hippie Dance.

The second chapter of The Golden Ravedays saga, due for release in February 2017 introduces two further tracks of the haunting sound adventure. Side A introduces a very surprising spectacle of sound entitled What do you miss This track is unlike anything Superpitcher has released in the past. What do you miss is diving into a river, serenely floating past visions that bring calm, just to be overwhelmed by jazzy white waters of saxophone and primal animal poetry all the way from forests long forgotten. Let's Play Doctor is aptly titled as one can't help but imagine a satellite-propelled ambulance meandering through the galaxies without any haste or emergency whatsoever. Almost 20 minutes in length, Let's Play Doctor never bores. It's a playful tribute to taking one's time in enjoying the very now.

The second chapter of The Golden Ravedays saga, due for release in February 2017 introduces two further tracks of the haunting sound adventure.

Side A introduces a very surprising spectacle of sound entitled What do you miss

This track is unlike anything Superpitcher has released in the past.

What do you miss

is diving into a river, serenely floating past visions that bring calm, just to be overwhelmed by jazzy white waters of saxophone and primal animal poetry all the way from forests long forgotten.

Let's Play Doctor is aptly titled as one can't help but imagine a satellite-propelled ambulance meandering through the galaxies without any haste or emergency whatsoever.

Almost 20 minutes in length, Let's Play Doctor never bores.

It's a playful tribute to taking one's time in enjoying the very now.

We welcome our very own Kessell to Pole Group Recordings, being a pivotal part of the Spanish techno scene with his project Exium with Hector Sandoval, he runs his label Granulart curating the repertoire with the best producers out there. Now is time for his debut as a solo artist with this four tracker, including three original tracks and a Reeko remix.

First cut is Cloned motions, a relentless number made of an obsessive sequence that runs over a percussive sea of sharp elements that grow in space with reverberated washes and a continuous arrangement. A mental exercise.

Chains of abstraction goes more bleepy, with a low filtered start that soon is filled with cosmic sinoidal sequences running all over the track while drums mutate and take turns to add an alien groove to the overal feel.

B side track one is for Reeko, remixing Sensorium, opaque kick drums, subtle sequences and white noise drones combine their movements in a dense exercise that fills every possible frequencies in the sound spectrum.

The original mix of Sensorium is based on bell like fm synth lines, lots of reverb, noise crescendos and an hypnotic groove below to keep things movable.

A precission work from the hands of a veteran expert producer.

Red Vinyl

After a very successful label launch last year with "In Aeternam Vale - Self Destruct EP". Linda Records returns with another straight talking, analog fuelled 10". This time welcoming aboard Berlin based Russian artist "Alexey Volkov". His three track EP "Cold Blooded Genius" comes finely presented on transparent red ten inch vinyl (limited pressing). Whilst staying true to its current white label feel, this time Linda's trademark eyes, also a fitting red. On the A Side at 45RPM the title track "Cold Blooded Genius" and on the B Side two tracks will spin at 33RPM, "Unfriendly Nation" & "Curtains Of Flesh". We hate to categorise and attempt to summarise what these pieces of music craft sound like into words, we'll leave you to indulge for a short time to the machine noise of the highly regarded talent that is Alexey Volkov...

2x12"

Ruin possessed a fierce insistence on being present in the moment. They were intent not on simply beating themselves against the membranes that contain them but on breaking the fuck through.

Originally active from 1982 to 1986, this five-piece unit was sometimes mistakenly described to the unaware as a 'Buddhist hardcore band.'

Along with a few singles and compilations, they released two albums: the definitive blast of 1984's He-Ho and the somewhat more polished Fiat Lux in 1986.

This archival collection contains these 2 full-length, remastered albums plus several bonus tracks*, an 8 page 12'x12' booklet, which contains extensive liner notes, lyrics and previously unpublished photos. May you be Ruined...

He-Ho Tracklist:
 A1 Alter 3:23 A2 Dionysian 1:55 A3 Freedom Has No Bounds 3:01A4 Baby Doll 3:12 A5 He-Ho / Laudium 4:07 A6 Alarm 0:45 A8 Phenomenal Expression 0:50 A7 Love Dog 1:30
B1Master Song 2:20 B2Where Fortune 1:34 B3 Play With Fire 3:44 B4 Twilight 2:47
B5 Proof 1:54 B6 Rule Worshipper 1:15 B7 Mouse 4:48

Fiat Lux Tracklist
A1 You 1.04 A2 Make Believe 1.50 A3 Hero 2.34 A4 Famous Blue Raincoat 3.41 A5 Life After Life 3.47 A6 Proof 3.12 A7 By the By 2:45 B1 China 2.50 B2 Taster 2.38 B3 White Rabbit 4.44 B4 Ruin 1.10 B5 Great Divide 4.14 B8 Real Good Time 2.38

Recorded in 1969, the fourth album from Sly And The Family Stone, "Stand!" was the crowning musical statement by this unisex, multi-racial rock and soul combo from the Bay Area of San Francisco, featuring four chart hits, including the number one smash "Everyday People", "Stand!" virtually invented the 'progressive' funk of the 1970s and 80s, jettisoning the trappings of 60s soul and paving the way for a new sound that would influence other artists to this day.

Following his debut solo release 'Altar Ego EP' on La Mission in early 2016, J Choirboy returns with more bombastic breakbeats and raucous rave chords for your earholes. Another sharp shot of nostalgia to the heart to have you waking up spluttering in the glory days of '92. Simpler times when the internet was still in black-and-white and you and seven of your mates would pile into Gaz's Vauxhall Corsa and drive to a field somewhere off the M25 for a 'propa wicked' rave which you found out about from a party hotline on a crumpled flyer with some tenuous reference to science in the title. It's once more time to don the boiler suit and your rose-tinted Lennon frames, bask in the smell of Vicks VapoRub, and pour over the Polaroid albums of yesteryear. A colossal bass drum with a healthy slathering of reverb lays the foundation in 'Full Effect'; the interlaced hardcore stab sets a melancholy tone. But lo! In rush the clattering chords of the piano, refuelling the piece with MDMA-laden euphoria. In 'Lights Down', J Choirboy explores the sombre and reflective modes of the hoover synth. Subtle plaintive chords offset the characteristic rumbling bass drum and syncopated cadences of the breakbeats. As the first release on new label Rough Grade, the EP provides an uncompromising dance floor onslaught, occasionally soothing the listener with catchy melodies before continuing course through a stormy sea of roaring beats. Not for the faint of heart. Vital Sales Points: - support from Answer Code Request, Ryan Elliott, Boys Noize, Dustin Zahn, Fiedel, Martyn, and many more for previous release 'Altar Ego EP' on La Mission.

From the whip-like crack of Yako's signature staccato vocals and impossible-to-memorize lyrics to the relentless overdrive tempo of their oneof-a-kind prog-core, Melt-Banana have long resided in a cybertopia of their own devising where the limits of technology and human capability are old-world concerns as quaint and cumbersome as bartering with a blacksmith. The demos for Fetch, their first studio album since the severely fried pop-punk of 1997's Bambi's Dilemma, were completed in March 2011, but the Fukushima earthquake changed everything, including
their ability to concentrate on recording. Which stopped completely.

Once they felt ready to return to their music, they decided to approach the songs on a sound-by-sound basis, choosing each tone with meticulous attention to detail, affirming their personal connections, being themselves naturally and openly.


Fetch scrapes glam shimmers off punk's outermost fringes and forges them into a rather intensely technical Deanscape packed with fantastical hybrids. Agata's guitar riffs, seemingly composed in tandem with skipping CD players, are more bad-ass than ever, bright and fractured like the soundtrack for a CC-Hennix-scored biker flick. The album is juiced with electronics and post-rock production, tempering what could easily be a
tiresome and predictable frenzy, yielding unexpected associations: Kate Bush climaxing on Walter White's blue meth; demos of late-period Wire playing metal run through Wasp synthesizers and Autotune; unripe wild
lychees keeping time on an Ankgor Wat tin roof during a monsoon.

They've been performing live as a duo since summer 2012, and will do the same for their '2 do what 2 fetch' tour in support of the album. After nearly 20 years of playing with a live rhythm section, their use of a PC, while opening possibilities for a variety of drum and synth voicings, does not signal a move away from the traditional live band sound, as heard, for example, via the future transmissions from downtown Noiseapolis on
2009's Lite Live: Ver. 0.0. Yako and Agata say they need to feel real band sounds onstage as much as someone in the audience. This is a group that routinely excels at several kinds of impossible simultaneously, so of course any new challenge they come up with for themselves is sure to blow the doors off your Mini Cooper. - First record as a duo expands the M-B sound
into multiple dimensions - LP includes digital download card; first
pressing on clear vinyl

Stevie Wonder's legendäres, 15. Studioalbum - ursprünglich 1972 über Motown veröffentlicht - ist jetzt endlich wieder auf 180g Vinyl inkl. Download Voucher erhältlich. Legendenstatus konnte sich dieses
Album alleine schon Dank zwei Songs sichern - Songs die heutzutage auf keiner Best Of von ihm fehlen: Für den, gerade von Jack White gecoverten Song, "You Are The Sunshine Of My Life" erhielt
Wonder seinen ersten GRAMMY Award, und "Superstition" schmückte ebenso Platz 1 der Billboard Hot 100.

White Vinyl

For the 9th installment in the PRRUKWHT series, Holland based ''Dubiosity'' makes his re-appearance on the Planet Rhythm imprint with the 4 tracks spanning ''Denying The Antecedent EP''. For the A1 ''Richter Scale'' the Dutch producer goes into very atmospheric territories with a pad based track that keeps on building whilst maintaining an overall mellow vibe. Title track ''Denying The Antecedent'' is a more dubbed out operation which cleverly uses non 4X4 drum patterns and crawling synth blops. This track is also based upon an utterly atmospheric pad sound. ''Juxtaposed'' is a more firm track that's somewhat tense but also with a smooth ambiance. ''Sunk Cost Fallecy'' serves as the more aggressive and paranoid closing down.

Both these smashers played by the legendary DJ Storm (Metal Headz) VINYL ONLY - Limited edition x300 copies pressed at MPO - Plain spine in white with white paper inner. Colourful New York subway 80s graffiti style label artwork designs on both side A. & AA for the Hip Hop crazed among us by UK artist James Jessop

Following up from the #3 WHITE LP compilation - #3 Black feature 7 more exclusive track to celebrate Nous's 3 yrs in business... TIP!

Sebastian Maschat a.k.a. Stoneage Kid has been around in the House Music scene for about 15 years now: Cult Stoner House with - Extra Produktionen', drummer in Erlend Oye's - Whitest Boy Alive' and numerous other projects.- Stoneage Kid' is an hardware / MPC based act, with own vocals and a very distinctive Electro Pop aesthetique. His first EP on - Smile for a while' creally sounds like Captain Comatose meeting Isolée in some purple haze panic room...You'll find melancholic Drum machine jams, some serious synths, lotsa vocoder and a lot of bassline-bumping. Phillip Lauer delivers a refreshingly cheesy remix with God singing solo and the Holy Ghost on drums - just as expected.- Hang On To A Dream' is quite a special tune, written and sung by German Indie veteran Otto von Bismarck. This Remix version is really something for intimate connoiseurs of both Pop and House Music.

A limited white label press with two new tracks from Hot Chip / 2 Bears man Joe Goddard.

Limited to one pressing, this white label 12' features two new Joe Goddard productions - 'Lasers' backed with 'After Dark'.

'Lasers' has been receiving tastemaker club plays across the summer, appearing in DJ sets from Joe, Four Tet and Floating Points amongst others.

Third release of Dancing like Quagmire, italian white label (vinyl only) born to make you dance shouting 'GIGGITY GIGGITY GO'!!! Mini-album with five tracks deeply rooted in 20th century Russian culture in which Neotnas is showing his poetic music style wandering between rough drum patterns, old dusty samples (hard to dig for sure) and hypnotics saxophone melodies. A-side starts with dreamy downtempo intro Elin, followed by crispy broken rhythms of Colourful Tension and closes with breezy and fluffy Don't Rush with Dubjazz. B-side contains mighty deep house trip Morning Way, and outro Come, where the main character is undoubtedly Ivan Pona's magic sax which created an illusory atmosphere over Neotnas's soul beat.

Collapsing Horizons is the third full length album from Netherlands based deep ambient duo Tangent.

Limited clear with white splatter and blue with white vinyl. NON-RETURNABLE

This album much like the two preceding it—2013s "1mk2" (Mindtrick) and 2014s "Transience" (Tympanik)— is a sonic journey with arching atmospheres and themes. An aural representation of the formation of matter and it's disintegration in unison. The music, much as the album's namesake, could very well be the soundtrack to new universes being created on the ashes of collapsing ones.

Ralph van Reijendam and Robbert Kok who are the two behind Tangent moonlight in a long list of paradoxical musical projects. Fire Walk with Us, Rob Klerkx and the Secret, Disavowed, and Synesis Absorption are all quite different from Tangent's sprawling yet steady ambience.

This such daily musical juxtaposition allows Tangent the immersive focus on the ideas that make Tangent what it is. It would be a misnomer to think that with all the extra curricular time spent in more extreme forms of music that Tangent is a frenetic force. They are exactly the opposite. Dense pads, rolling beats and brilliant shimmers of resonance punctuate their electronic based instrumentals in just the correct manner to stargaze, day-dream, bliss-out, or even brood about starting over...