quête:white

solid white vinyl

This release is fully occupied by dark-disco champion Disco Morato. Here you find two expressive electo-shaped hits previously supported by Dave Clarke. Together with another two straightforward synth poems the record is finished as white color 180gr and underline deep dark sound of the artist.

White Vinyl

Murcof"s first three albums are to be reissued on vinyl to mark the 20th anniversary of the release of his seminal debut album, Martes. Out of print for many years, these albums have been hugely influential in the worlds of minimal and ambient electronic music in their use of modern classical instrumentation, and are significant landmarks in the history of The Leaf Label. Each of the reissues is presented in a new gatefold sleeve featuring updated artwork, with Remembranza and Cosmos featuring fully remastered audio, and Cosmos including a previously unreleased bonus track.

In 1997, after a lengthy hiatus, Echo & The Bunnymen returned to the fore with 'Evergreen', revealing the brighter side of the band, and standing up with any of their earlier work.The self-produced album was recorded at The Doghouse in Henley-On-Thames with additional strings, horns and vocal arrangements recorded at Abbey Road.

The album saw the band rightfully return to the UK album charts at #8, with 3 singles ('Nothing Lasts Forever', 'I Want to Be There When You Come' and 'Don't Let It Get You Down') entering the UK top 50. 'Nothing Lasts Forever' (with backing vocals and tambourine by Liam Gallagher) has grown to become one of the band's most enduring and well-loved songs - a UK Top 10 and a fan favourite to this day.

To celebrate its 25 year anniversary, London Records releases 'Evergreen' on vinyl for the very first time, with a limited first pressing in solid white vinyl. There is also a new remastered and expanded 2 CD edition, taking in studio b-sides, live and acoustic sessions and previously unreleased versions across 33 tracks.

An outstanding 2LP compiling the best instrumentals of the greatest white rap group ever: the Beastie Boys. New Yorkers Ad-Rock, MCA and Mike D crossed over into the mainstream in the mid 80s with their full-length Licensed to Ill and exploded any notions of one-dimensionality with its ambitious followups such as Paul's Boutique, On Check Your Head and Ill Communication. Taking influences from hardcore and hip hop, these innovators performed most of the music while integrating an array of rock samples, 808 beats and witty wordplay into an ever-intriguing sonic smorgasbord.

Released in 2019. His debut studio album includes the successful "Otra Noche Mås” remix featuring Farruko. Wheeler first became widely known after a video of him singing went viral in 2016, after which he began pursuing a career as a musician. Signing with Dynamic Records in 2018, Platónico was released the following year, executively produced by DJ Nelson. 2 LP/Colored Vinyl: LP 1 - White Marble + LP 2 - Red Marble.

ENG Immerse yourself in the psychedelic and rock universe of Woodstock with this event double vinyl! Find the icons of the counter-culture of the end of the 60"s who marked their generation: Joan Baez, Bob Dylan, The Beatles, Donovan, The Turtles, The Zombies, Status Quo, The Pretty Things, The Foundations, Ravi Shankar

In 2009, following the death of Jhonn Balance four years earlier, This Immortal Coil's "The Dark Age Of Love" appeared as a tribute to the superb work of the British band Coil over two decades.Formed by musicians from all walks of life, the album was praised by critics but also, and most importantly, by Peter Christopherson himself! 13 years have passed and this passion for the band has never wavered. Following the death of Peter Christopherson in 2010 on the one hand, and meetings with musicians such as David Chalmin or Massimo Pupillo from Zü who in turn wanted to pay tribute to this gigantic band, on the other hand, Stéphane Grégoire's desire to make a new opus took shape in 2017 with a first recording of the title "Where Are You". Just like the first one, more than 5 years will be necessary to realize this new album so that it is at the height of Coil's genius. The Ici d'Ailleurs team is very proud to unveil This Immortal Coil's second album 'The World Ended A Long Time Ago'.That will be available on December 09, 2022 in several formats that will be revealed very soon. The artists this time are Coil lovers but without the album being a "lovers" cover, that would be the opposite of Coil's image. Many, many thanks to Shannon Wright, David Chalmin, Matt Elliott, Christine Ott, Aho Ssan, Gaspar Claus, Aidan Baker, Ulver (Kristoffer Rygg, Ole Alexander Halstensgard, Stian Westerhus), Massimo Pupillo, Mattia Cipolli, Elisa Bognetti, Stefano Michelotti, Francesco Bolognini, Marton Csokas, Ivan Chiossone and Eric Aldéa who make this project a reality.

Volker Bertelmann and Hildur Guðnadóttir hardly need an introduction - their distinct styles have graced the speakers of pretty much anyone enamored with experimental music in the last decade, and between them the two have chalked up an enviable canon of successes. Bertelmann, under the Hauschka moniker has explored the extremities of prepared piano improvisation, and Guðnadóttir has taken cinematic, explorative cello music into a new era of depth and passion, so to hear them both together is a rare and unexpected treat. Rare is putting it lightly even - „Pan Tone“ is a recording of a single concert which the duo performed on the 26th of February 2010 as part of Arctic Circle - Bubbly Blue and Green festival at Kings Place in London, and documents an event that would truly never be repeated. Sure, they could attempt to re-create the event, but the spontaneity and glorious serendipity in this particular recording is a pleasure to behold.

Bertelmann and Guðnadóttir decided to create a set of compositions which based on the idea of the ocean, and took a book of Pantones to extract exact references to the specific colors of the sea. These watery tones form the backbone of the performance and inform the direction of the collaboration, guiding us through rich blues, glassy greens and frothy whites. In listening to the music it seems incredibly appropriate that the artists should choose blue as the middle ground in their work; the ineffable lightness that Bertelmann brings to the table is a stark contrast to Guðnadóttir's sinking darkness, and as the two styles collide we witness a plethora of tones, shades and hues. It sounds as if the two artists have been playing together for decades, and their sound is so perfectly matched you might wonder why it's taken them this long to collaborate. All that's left for us to do is to soak in the tidal beauty of this very exclusive body of music, to listen to it sing, bubble and crash through its duration before settling in total silence. When the record reaches its conclusion there is an unsettling calm, a sense that you have witnessed something very special indeed, and that is a feeling to prize amongst all else.

Twelve years after their debut album On Location, George Kooymans and Frank Carillo return to the front with their second album entitled Mirage. Recorded over a period of approximately three years in various studios and countries, Mirage offers ten tracks that illustrate the natural chemistry between the two guitarists, showcasing artistic excellence, as well as a wide array of musical influences.

George and Frank are accompanied by Paul Orofino (banjo, guitar, Hammond organ), Rinus Gerritsen (bass), Bobby Langenberg (drums), Ocki Klootwijk (bass), John Sonneveld (keyboards, programming) and George’s daughter Cassy on harmony vocals.

Mirage is available as a limited edition of 1000 individually numbered copies on white coloured vinyl and includes an insert.

London jungle punk fusionists, Asian Dub Foundation, celebrates the 25th anniversary of their critically acclaimed album “R.A.F.I” recorded at the legendary On-U Sound Studios in East London in 1997 ! Entirely remixed and remastered, this new version sounds as fresh as ever, while the politically/culturally conscious rap, traditional Asian instruments, breakbeats and samples remains in full effect. The artwork has been re-worked for this new edition that also includes 3 bonus tracks.














n D2. Free Satpal Ram (Original 7″ Version) Bonus
o D3. Naxalite (Mad Scientist Dub Mix) Bonus
Bonus

Stand High Patrol unveils SH010, a new 45 RPM maxi, pressed for collectors and selectors fond of roots and one drop vibes. Slipped into a white sleeve adorned with a ghostly embossment, the 12 Inch features "The Ghost", "A Seed A Day" and their respective dub versions. Contained within the package are two minor-scale tunes voiced by Pupajim with lyrical themes of determination, revenge and hope, and two dubs mixed live at The Kerwax studio which expand the space-time and bring today's Loguivy-Plougras closer to the Kingston of the 1970s. With its assumed "Cool Ruler" influences, theremin notes of circumstance, clavinet parts ricocheting from skanks and formidable groovy hi-hats, the EP invites the listener to discover or rediscover the roots side of the versatile dubadub musketeerz's sound!

Welcome in!

WEȽ∝KER's 'ENHANCER' offers a high dive into the soggy hands and lands of Dujat & Beedles.

Having planted their flag firmly at the forefront of modern computer music, WEȽ∝KER return with 'ENHANCER', an astonishingly dynamic display of technique and form. This isn't sound for sound's sake; the duo's playful approach to composition ties many discrete events together to weave a warm-bath narrative. A tug at the skittering top layer reveals something so rare: there's real musicality under there, aching chords snaking through the crunchy boot-up sequence of "Gator" and underpinning the pneumatic drift of "Ohmbase".

ENHANCER's tracks unfurl with an instinctive flow, pulling/pushing in all the right places and guiding the listener through aural aqueducts. WEȽ∝KER are just truly properly at it again. Dive in, isn't it?

ENHANCER's artwork is the result of an all-Mancunian collaboration with sculptural artist and dead-powder virtuoso Nicola Ellis. Photographed by Glen Cutwerk and Bazz Patel, shot in the spleen of Salford's The White Hotel. Drippy, oily notes with a hint of flesh.

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Mastered by Giuseppe Ielasi.

Available on pad-printed solid white cassette housed in a clear double case w/ exclusive gloss laminated cover-art. Pro dubbed by Headlesstapes Includes free download code Limited Edition of 50.

Stamped white label with insert. 2 remixes (from TBZ and Tolouse Low Trax) ++ 2 new tracks.... killer!

100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound — a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues — felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around” — and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: “Original in every sense — unknown, unheard and unbelievably good.” In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP.

Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents’ cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every electronic music magazine he could find at the local Borders Books store. In excerpts from the 100% GALCHER liner notes, Lustwerk looks back: "My dad drove me to this shop on the westside Bent Crayon, where I would get anything the blogs told you to get + whatever the clerk recommended. CDs stayed in their packaging, there was always an overflow of vinyl stacked on the floor. I was too shy to listen to anything before buying."

As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space

Debut album by Dutch producer w1b0, who passed away in August, to be released in November on U-TRAX.

Wibo Lammerts' sudden death on August 15thshocked the worldwide electro community, and also left the record label, that had been working on the debut album with the artist known as w1b0 for the past two years, dumbfounded and in grief.

Wibo had jokingly always called his upcoming debut album 'his legacy', which now sadly has become a painful truth. With the support of Wibo's family, U-TRAX is now doing the only thing that doesn't feel totally wrong: proceed as planned, and release 'When Humans Ruled The Earth' on November 11.

W1b0 made quite a name for himself with heavy electro tracks that he released on labels like Bass Agenda, Hilltown Disco and Discos Antónicos. Standing at 202 meters, and combined with a cheerful character, most people remember him as the gentle giant of electro.
For this album, Wibo wanted to steer away from the dark and heavy electro he mostly made until then. The idea of having a platform to create delicate electronic music in different styles, and make it a showcase of his versatility, was very appealing to him. And that is where he and U-TRAX found each other.

The full-length album (over 75 minutes on cd and digital) comes after 'The Pilex Program EP', released in October, that featured a remix by Detroit's Ectomorph of 'Pilex Driver' and saw 'Program Yourself To Feel' remixed by a well-known Dutch producer that recently created the new 'techno alias' Human Form.
As usual with U-TRAX, the album comes in three different editions, with the 11-track double vinyl version containing the Ectomorph and Human Form remixes. The CD and digital version boast original versions only, plus four additional tracks: 'Alternate Reality Interface', 'Mixed Matter Fluctator', 'Synthetic', and 'In There'. The cassette version more or less has the same track list as the CD/digi version, but has both aforementioned remixes and a bonus track in the incredibly hypnotizing 'I Wanted You', a track that unfortunately couldn't be on the CD and vinyl versions.

Buyers of the physical releases get treated on superior quality products, another trademark of U-TRAX. The vinyl edition boasts over one hour of music, on two 180 grams, green vinyl discs, in a black & white & neon green gatefold sleeve. The eye-catching artwork is created by Utrecht artist Leffe Goldstein, known amongst others for his psychedelic beer can designs for Utrecht brewery Maximus. Wibo, being the beer lover he was, had zero doubts about having Leffe Goldstein do the cover for his album. The CD has a total playing time of 75 minutes and comes in a beautiful 6-panel digipack, while the cassette will have full-color on-body print and comes in a plastic-free Maltese cross fold-up sleeve.

Buyers of the physical releases get treated on superior quality products, another trademark of U-TRAX. The vinyl edition boasts over one hour of music, on two 180 grams, green vinyl discs, in a black & white & neon green gatefold sleeve. The eye-catching artwork is created by Utrecht artist Leffe Goldstein, known amongst others for his psychedelic beer can designs for Utrecht brewery Maximus. Wibo, being the beer lover he was, had zero doubts about having Leffe Goldstein do the cover for his album. The CD has a total playing time of 75 minutes and comes in a beautiful 6-panel digipack, while the cassette will have full-color on-body print and comes in a plastic-free Maltese cross fold-up sleeve.

Opener 'Acid Whip' is one of the oldest compositions on this album, in which a dark 303 bassline hums over layers of spacey strings. Wibo named it after the legendary Whip It party in Amsterdam's De Melkweg. 'Alternate Reality Interface' then presents bouncy rhythms toying around with all sorts of analog (bass) synthesizers, before we go really deep with the epic ambient techno track 'Wandering Souls'.
Then things get a little lighter spirited: 'Mixed Matter Fluctator' is an electro track that builds on sounds created by Matt Buggins. It has very strong Detroit influences, the city Wibo loved so much and that he made a pilgrimage to with a group of friends that called themselves 'The Techno Tourists'. The tempo goes up a notch in 'Program Yourself To Feel', that halfway opens up in wide science fiction strings that evoke memories of Star Wars, the movie series that Wibo was a great fan of, and that was the source of many of his tracks' names. The Human Form remix opens the vinyl edition of this album and is a downright belter of a track.

Next is a somewhat experimental intermezzo named 'Synthetic'. Erratic beats and pounding bassdrums get accompanied by very subtle eerie-sounding strings, before melancholic synthesizers and piano chords take over. This is an excellent prelude to the epic 'Hologram Computing', a track that is one of our favorites. It slowly and softly builds and builds, before a pounding bassdrum breaks loose and a hypnotic arpeggio takes you to higher planes.
Not ready to letting the listener relax, w1bo then serves 'Beilstein Reference', which again presents his trademark cocktail of down-to-earth electro rhythms and catchy melodies, covered in all sort of little sounds and noises, giving the song a lot of energy. What follows is 'Hit me', a track loosely based on a song by Dutch indie rock band Mr. Joe Abe. Wibo met the band's singer on a camping site while being on holidays and the two decided Wibo should do a remix of one of their songs. Nothing was left of the original except the vocals, and the result is a remarkable cheerful, poppy electro song.

'Anticipated Input' is one of the more recent tracks Wibo made for this album, combining electro, acid and, yes: epic strings. But not all is peace and quiet on this album, as 'Pilex Driver' shows. This is w1b0 going experimental in a danceable fashion: Industrial sounds make the track sound like we're passing a construction site that is playing loud electro music. On the vinyl version of this album, Ectomorph totally decomposed the original and made it into a mysterious, almost subdued, and totally brilliant electro track that sees a main role for the retro Roland CR drum machines sounds.

TFHats, Wibo's fellow member of the Transhumanism collective, added lyrics to 'Cartesian Coordinates'. His vocals add a pleasant New Wave flavor to this song, that has breaks that remarkably reminds one of Nirvana's 'Smells Like Teen Spirit'. What follows is the most personal track on this album. 'Fornan' is a song that Wibo made for his wife Nanette, and was added as the last piece of the puzzle that creating an album is. The warm Detroit techno atmosphere in this electro song couldn't be a more beautiful tribute to his love, and mother of their two young boys.
The album then takes a surprising detour through a 1980s landscape with 'In There', that features the Joy Division-esque vocals of another one of Wibo's friends, indicated only as Vincent. The super slow and gloomy track is a treat for anyone that loved the darker side of New Wave. The album has a worthy closer in the sensitive, yet playful 'Schlegel Diagram'.








h 08: Hit Me (w1b0's Slugfest Assault Dub) feat. Mr Joe Abe

re-release Typische Weihnachtslieder wie "Stille Nacht" haben die Meisten wahrscheinlich schon so oft gehört, dass sie zu beiden Ohren raushängen. Deswegen muss man in der Adventszeit trotzdem nicht auf die bewährten Weihnachtsklassiker verzichten. Denn mit "Noël Gospel" bringt das französische Label Wagram eine Kompilation heraus, die 15 ergreifende Gospelversionen bekannter, und auch einiger weniger bekannter Weihnachtstitel versammelt, zum Beispiel "Oh Happy Day", "Silent Night" oder "White Christmas". So ist für besinnliche Stimmung und ein aufregend neues Hörerlebnis gesorgt. Mit auf der LP vertreten sind die Superstars des Gospels wie Aretha Franklin, Mahalia Jackson, The Edwin Hawkins Singers, Elvis Presley, The Staple Singers, Johnny Cash und The Golden Gate Quartet. Hinzu kommen mit Louis Armstrong, Nat "King" Cole und Little Richard stimmgewaltige Sänger, die man auch unterm Tannenbaum immer wieder gerne hören mag.

An Appointment with Mr Yeats sees the words of W B Yeats, one of Ireland's greatest literary sons, merged with the music of The Waterboys, one of Britain and Ireland's greatest rock bands, in a truly unique and ambitious musical undertaking. The album was originally released in 2011, and has been fully remastered for re-issue, and now contains 6 previously unreleased bonus tracks. The Waterboys vocalist Mike Scott, first delivered a new dimension to Yeats' poetry in 1988, when he wrote a musical accompaniment for the classic poem The Stolen Child, during the making of the Waterboys seminal album 'Fisherman's Blues'. Five years later he set another Yeats poem to music, Love and Death, which appeared on their 'Dream Harder' album. Over the years, Scott had been quietly crafting a wealth of material similarly based on the writings of Yeats. A number of these were performed by him at the Abbey Theatre during the Yeats International Festival in 1991, but most had remained in Scott's private songbook awaiting the right vehicle. An Appointment with Mr. Yeats was that long-awaited context. Scott's love of literature is firmly embedded throughout the work of The Waterboys. He has also put the writings of Robert Burns, James Stephens, Kenneth Grahame and George MacDonald to song. Speaking on his literary influences and loves, Scott explained: "I grew up in a house full of books so literature - and language - have always been important to me. Working with other peoples' words is something that comes as natural to me as working with my own. In a way it's even more immediate; I've always found writing music an easier process than the writing of lyrics, and setting words of the quality of Yeats' to music is an enormous privilege and treat." An Appointment with Mr. Yeats is a unique and memorable opportunity for lovers of great music and great literature to celebrate the union of song and word in one spectacular record.

In hugo, there’s a central question that Loyle Carner keeps coming back to: “I’m young, Black, successful and have a platform - but where do I go next?” The answer is explored in this epic scream of a third album. With urgent delivery and gloriously widescreen production, Carner confronts both the deeply personal (“You can’t hate the roots of a tree, and not hate the tree. So how can I hate my father without hating me?) and the highly political (“I told the black man he didn’t understand I reached the white man he wouldn’t take my hand”). Cinematic in scale and scope, hugo is both a rallying war cry for a generation forged in fire and a study of the personal internal conflict that drives the rest of the album - as a mixed-race Black man, as an artist, as a father and as a son. With Mercury and Brits nominations, NME Awards and appearances in global brand campaigns (Nike, YSL, Timberland), Carner has undoubtedly had a meteoric rise to the top, culminating with his second album Not Waving, But Drowning charting at number 3 in the UK albums chart in 2019. However, hugo sees Carner taking a sharp detour from his previous work, putting it down to lockdown and the “hedonistic side of career being stripped away. There were no shows, no backstage, no festivals, no photoshoots”. By continuing to write in these tumultuous times with a renewed clarity and sense of artistic freedom, Carner reached deeper beneath the surface than he ever had before. The result is his most cathartic and ambitious record yet, a coruscating journey into the heart of what it means to be alive in these tumultuous times, and one which looks set to neatly cement his position as one of the most potent and vital young talents around today. Working alongside renowned producer kwes. (Solange, Kelela, Nao), Carner leaves no stone unturned on this album, in both its sound and its stories. In a 10-track album that moves from gorgeous neo-soul moments to thundering hip hop, with immediate, infectious bangers and sampled interludes from non musicians (mixed-race Guyanese poet John Agard and youth activist and politician Athian Akec) Carner shifts seamlessly from micro to macro, confronting everything from strained relationships with family to the societal tears caused by class stratification. It also lays bare bruises in his personal life that he has never revealed before – often in painful, deeply uncomfortable ways, focusing on Carner's experience of becoming a father in the context of growing up without contact with his biological father. With the song “Polyfilla”, against the backdrop of a warm melodic beat, Carner explores his desire to “break the chains in the cycle” of dysfunctional Black fatherhood, commenting on the narrative of fatherhood in the genre, and saying a key part of the process was realising that his father “grew up in a world where nobody showed him how to love or nurture”. The follow up track “A Lasting Place” is an exploration of the MC’s failure and inability to be perfect in this mission. The album closer is a powerful statement of love and forgiveness; with his signature lyrical dexterity, Carner declares his relentless commitment to his son and sees forgiving his father as a key part of this. The song closes with an emotional ending of Carner telling his dad “still I’m lucky yo that we talk”. There’s a striking duality of hugo’s bold, multilayered tracks and its often starkly intimate and tender lyricism, and that dichotomy is deliberate - it is a message for young Black men, but really, anyone, who is listening. Cognizant of the immense pain and fear and confusion that we are faced with everyday, Carner has thrown down the gauntlet, defying us not to rise above the fray, wake up each day and be ambitious. Ambitious in building strong personal relationships. Ambitious in our pursuit of our goals. Ambitious in never refusing to back down against injustice. Rejecting the title of leader, Loyle Carner sees himself “as holding up a mirror”, and that clearly translates into the album's universal messages.

1200 x Signed Prints

“Mrs Wibbsey, you may have done something absolutely catastrophic!”

For the first time on limited edition vinyl, Demon Records presents a second series of unique audio adventures
starring Tom Baker as the Doctor, following the success of Doctor Who - Hornet’s Nest.
Once again every copy includes an exclusive, frameable portrait of the Fourth Doctor, hand signed by Tom Baker
himself - just one of the treats inside this stunningly designed package.
An intricately die-cut, removable outer sleeve reveals a Demonic lidded box, inside which are 10 individual, beautifully
illustrated LP sleeves featuring full cast and credits for each of the five stories.
The Time Lord’s encounters with the mysterious Demon are detailed in The Doctor’s Journal, a large 16-page full
colour booklet featuring notes and illustrations from this epic pursuit through Time.
Presented across 10 x 140g alternating Red and Black vinyl discs, this full-cast audio adventure by Paul Magrs stars
Tom Baker as the Doctor, with Susan Jameson as Mrs Wibbsey and Richard Franklin as Mike Yates.
The supporting cast includes Nigel Anthony, Samuel West, Jan Francis, Trevor White, Lorelei King and Finty Williams,
and original sound design accompanies the familiar Doctor Who theme from the BBC Radiophonic Workshop.
LP 1&2: The Relics of Time
LP 3&4: The Demon of Paris
LP 5&6: A Shard of Ice
LP 7&8: Starfall
LP 9&10: Sepulchre
When key components from the TARDIS are stolen in exchange for a bag of strange curios, the Doctor and his
housekeeper Mrs Wibbsey are reunited in adventure. Each object leads the unlikely friends, along with the trusty
Mike Yates, to a place and time where danger awaits them. As their pursuer’s net closes around the Doctor, he
realises that the mysterious Demon is in thrall to a much higher power…

Blue Transparent Vinyl

Auf Doro's eigenen Label erwcheint eine Neuauflage ihres siebten Studioalbums "Calling The Wild" (2000) als litmiierte blau transparenter Gatefold Doppel LP Auflage.

Brown/ White Vinyl

MILK GREY VINYL

100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound _ a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues _ felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around" _ and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: "Original in every sense _ unknown, unheard and unbelievably good." In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP. Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents' cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every electronic music magazine he could find at the local Borders Books store. As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space, throwing parties in small basements, office buildings, and off-beat karaoke bars in Manhattan, influenced by series such as Mr. Sunday in Gowanus and The Bunker at Public Assembly. The lifestyle started to bleed into Lustwerk's musical vision. He remembers the night it clicked in Providence, partying and listening to tunes with Morgan Louis and Alvin Aronson. He went back to New York and pieced together his bedroom setup: a Dave Smith Tempest drum machine, a Waldorf Blofeld synthesizer, and a TEAC cassette recorder. Early snippets went straight to SoundCloud, where Lustwerk tested the crowd. Comments and messages offered instant feedback. One DM proved to be the greenlight: from Matthew Kent, an invitation to his burgeoning mix series Blowing Up The Workshop. 100% GALCHER traveled fast and far. A phenomenon he could only enjoy for a short period before discovering that nearly all the masters of the tracks got wiped by water damage to his computer. "The only copies were now on the 192kbs mp3 mix I sent Matt." Until now, after Lustwerk revived the lost tracks and handed them to Josh Bonati for remastering. "The original mix was never mastered so I hope older fans can find something new here." Hearing the enhanced set for the first time delineated by tracklist reveals this was a proper album all along. Sly synth interludes (all titled "Stem") clear the air for raspy house anthems like "Fifty" and "Parlay," the set's original breakout. Themes present across Lustwerk's catalog first materialize in this iconic run _ the link between the meditative state of Midwest driving and the solitary comedowns of nightlife. Lust- werk, the narrator, is an elusive character, a secret agent of the club, embodied by the hooks: "One minute I'm on / next minute I'm gone," he reminds us on cult-favor- ite "Put On." These narcotic, one-line refrains stick with you; look no further than the original YouTube upload of "Kaint" to know that fans can't let these phrases go. While recorded alone, 100% GALCHER was a collective moment. A decade later, Lustwerk sees the legacy as shared: "Making music can be an alienating experience, especially for DJs who travel a lot, it's all super isolating. It's easy to express lone- liness in the music itself, but when it comes down to getting things done, putting music out, you def should go on that journey w other people, friends, or maybe just a group of people online, build things with your friends then they can build to help you."

SoiSong is the stunning but short-lived partnership of Coil co-founder Peter "Sleazy" Christopherson and veteran Russian electronic experimentalist Ivan Pavlov. Though friends since 1997, the project birthed roughly a decade later in Bangkok, where Christopherson relocated following the death of his Coil collaborator John Balance in 2004. Named after the Thai word for `two' along with a notorious red-light district street nearby, the duo dialed into a cryptic language of lurching synthetics, Eastern minimalism, and interdimensional glitch, oscillating between elegance and mayhem. qXn948s collects some of their earliest recordings, and remains as transgressive and transcendent a listen now as it was upon its release a decade and a half ago. Pavlov characterizes SoiSong as less a musical group than a "utopian, semi-alien platform for collaboration, devoid of pronounced personality or centralized authority_ more like a message from elsewhere that anyone is welcome to participate in and spread." Every facet of the project was disruptive and oblique: self-released CDs packaged in elaborate origami that had to be destroyed to be accessed; a website with password protected sections, where different passwords were provided for different events, objects or releases; performance merchandise of headphones and a Walkman melted shut so the music can only be heard as long as the set of batteries last. Theirs was a muse as unprecedented as it was uncompromising, equal parts pranks and profundity. qXn948s began with samples and software composed intuitively in tandem before a large monitor, then progressively processed and scrambled into bewildering arrangements of digital frequencies, alternately spartan and claustrophobic, uneasy and uncanny. Vignettes of small melody emerge and are obliterated; gamelan-esque tones spiral above cybernetic pulse programming and funereal didgeridoo; skeletal piano meanders in the distance while flickering circuitry pummels patterns of white noise. Pavlov describes his and Christopherson's chemistry as "unspoken and sincere, and very efficient." That music this aggressively disorienting and complex congealed in a smoothly organic fashion is testament to the rare vision of its creators.

Clear Vinyl

SoiSong is the stunning but short-lived partnership of Coil co-founder Peter "Sleazy" Christopherson and veteran Russian electronic experimentalist Ivan Pavlov. Though friends since 1997, the project birthed roughly a decade later in Bangkok, where Christopherson relocated following the death of his Coil collaborator John Balance in 2004. Named after the Thai word for `two' along with a notorious red-light district street nearby, the duo dialed into a cryptic language of lurching synthetics, Eastern minimalism, and interdimensional glitch, oscillating between elegance and mayhem. qXn948s collects some of their earliest recordings, and remains as transgressive and transcendent a listen now as it was upon its release a decade and a half ago. Pavlov characterizes SoiSong as less a musical group than a "utopian, semi-alien platform for collaboration, devoid of pronounced personality or centralized authority_ more like a message from elsewhere that anyone is welcome to participate in and spread." Every facet of the project was disruptive and oblique: self-released CDs packaged in elaborate origami that had to be destroyed to be accessed; a website with password protected sections, where different passwords were provided for different events, objects or releases; performance merchandise of headphones and a Walkman melted shut so the music can only be heard as long as the set of batteries last. Theirs was a muse as unprecedented as it was uncompromising, equal parts pranks and profundity. qXn948s began with samples and software composed intuitively in tandem before a large monitor, then progressively processed and scrambled into bewildering arrangements of digital frequencies, alternately spartan and claustrophobic, uneasy and uncanny. Vignettes of small melody emerge and are obliterated; gamelan-esque tones spiral above cybernetic pulse programming and funereal didgeridoo; skeletal piano meanders in the distance while flickering circuitry pummels patterns of white noise. Pavlov describes his and Christopherson's chemistry as "unspoken and sincere, and very efficient." That music this aggressively disorienting and complex congealed in a smoothly organic fashion is testament to the rare vision of its creators.

100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound — a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues — felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around” — and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: “Original in every sense — unknown, unheard and unbelievably good.” In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP.

Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents’ cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every electronic music magazine he could find at the local Borders Books store. In excerpts from the 100% GALCHER liner notes, Lustwerk looks back: "My dad drove me to this shop on the westside Bent Crayon, where I would get anything the blogs told you to get + whatever the clerk recommended. CDs stayed in their packaging, there was always an overflow of vinyl stacked on the floor. I was too shy to listen to anything before buying."

As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space

Tripper, the Fruit Bats' 2011 follow-up to The Ruminant Band, is more
pared down, with bandleader Eric Johnson doing most of the legwork
himself
Synthesizers and keyboard loops replace the knotted guitars. Atmospheric
washes of sound replace the sunny, straightforward hooks. On songs like € The
Fen, € instruments replace vocals entirely, sounding more like a clip from an
orchestral movie soundtrack than the work of a rock band. The majority of the
work was done by Johnson and producer Thom Monahan, resulting in a layered
sound that stacks overdubbed harmonies onto combinations of pump organ,
found sounds, acoustic guitar, and various bleeps and bloops. Whether he's
working alone or leading a full lineup, though, Johnson knows his way around a
good pop hook, and Tripper's best songs are rooted in catchy, sunny melodies
that shine through their heavy wrapping paper. Proof that Johnson knows how to
stretch his legs without losing his balance. Pressed with LP on White Color vinyl
and 7" on Seaglass Blue Color vinyl.

Hot Hot Heat’s classic debut album, ‘Make Up The
Breakdown’, filled with smart, energetic, dancepunk hits, returns to vinyl with this fully remastered
LP edition.
AllMusic called the album “an addictive, densely
packed pop gem that ranks among 2002’s best
albums,” and Pitchfork agreed, including it on their
list of The Best Albums Of 2002.
Following closely on the heels of their critically
acclaimed ‘Knock Knock Knock’ EP, ‘Make Up the
Breakdown’ is Hot Hot Heat's first full length,
recorded with Jack Endino at Vancouver, BC’s
Mushroom Studios (with engineering help from
Chris Walla of Death Cab for Cutie).
SPIN Magazine had this to say about ‘Knock
Knock Knock’: “Some retro new wavers hang
themselves on their own skinny ties. While their
peers lip-synch to Cure 45s, these Canucks take
subtler cues from early ‘80s synth disco. It’s not
new-wave worship, it’s the sound of punk teaching
itself to dance.”
‘Make Up The Breakdown’ delivered on the
promise hinted at on the EP. ‘Hot Hot Heat’ (along
with peers like Radio 4 and The Rapture) blended
angular post-punk twitch with danceable pop,
effectively (and finally) persuading white dopes on
punk to get on the good foot in the early 2000s.
Opaque yellow vinyl.

RIYL: A Hawk And A Hacksaw, Leonard Cohen, Daniel Kahn, Xylouris White, Arooj Aftab, Tindersticks, Nick Cave, Alasdair Roberts, Geoff Berner, The Klezmatics. Deluxe 180gLP with 350gsm Arktika jacket/inner + 36”x12” art/lyrics fold-out + DL. CD in gatefold jacket + art/lyrics fold-out. Recorded by Greg Norman (Jason Molina, Nina Nastasia, Electrical Audio). Everything Returns reunites the original Black Ox Orkestar lineup following a 15-year hiatus. Arising from the fertile Montréal post-punk agit-prop scene of the early 2000s, the band comprises Scott Gilmore, Jessica Moss and Thierry Amar of Thee Silver Mt. Zion (Amar also continues to compose and play bass for Godspeed You! Black Emperor) and Gabriel Levine of Sackville. Black Ox made two acclaimed albums of roiling acoustic avant-folk in the mid-2000s, exploring Eastern European and North African folkways through the lens of a gritty, resonant indie rock sensibility, juxtaposing interpretations of instrumentals from various Jewish, Romani and Arabic traditions with originals led by Gilmore’s politically-charged Yiddish vocals. These early albums have since become lodestars for many among a new generation of Yiddish, Klezmer and radical Jewish diasporic music practitioners and fans. First revealing its resurrection in February 2022 with a surprise flexi 7” single issued by left journal Jewish Currents as a gift to its thousands of subscribers, Black Ox has indeed fully and fruitfully reunited. Exquisitely recorded by Greg Norman (Jason Molina, Nina Nastasia, Electrical Audio), Everything Returns picks up right where the band left off: an incisively atmospheric, melancholic yet resolute album of uniquely modern Jewish folk music, with piano, violin, upright bass, clarinet and cymbalom making up the core instrumentation, and the vocal tunes sung primarily in Yiddish, alongside album centerpiece “Viderkol” and closer “Lamed-Vovnik” where English also features. This is not fusion music, but diaspora music: a cross-cultural call and response of musical lexicons, emerging from the history of Jewish persecution and displacement, the musicology of 19th century repertoire from Jewish shtetls, the improvisational traditions of nusakh in Jewish music and taqsim in Arabic music, and a wider polyglot dialogue of Jewish, Slavic, Arabic, and Central Asian musical traditions. Lyrically and stylistically, Everything Returns connects key current issues from refugees forced to leave their homes, to the return of fascism and exclusionary nationalism—with the legacy of modernist Yiddish poetry and song. The new Black Ox Orkestar album is a sublime, poetic, politically-informed statement of re-energized diasporic musical intent, where Gilmore’s voice and the band’s simmering arrangements conjure an ardent, doleful balladry that echoes the sound and sensibility of artists like Tindersticks, The National, Nick Cave and Leonard Cohen. Everything Returns is a haunting, richly textured, darkly sparkling song cycle at once from a vanished world and very much of our time and place. Tracklist: 1 Tish Nign 2 Perpetual Peace 3 Oysgeforn / Bessarabia Hora 4 Mizrakh Mi Ma’arav 5 Skotschne 6 Viderkol (Echo) 7 Epigenetik 8 Moldovan Zhok 9 Lamed-Vovnik

Christmas comes early this year as the Backstreet Boys, one of the best-selling bands of all time, announce their highly anticipated Christmas album ‘A Very Backstreet Christmas’ (BMG) will be released on October 14th, 2022.

“We’ve been wanting to do a Christmas album for nearly 30 years now and we’re beyond excited that it’s finally happening,” Howie Dorough shares, “We had such a fun experience putting our BSB twist on some of our favorite Christmas classics and can’t wait to be part of our fans’ holiday season.”

‘A Very Backstreet Christmas’ is the Backstreet Boys’ first ever Christmas album and will feature timeless holiday classics such as “White Christmas”, “Silent Night”, and “Have Yourself A Merry Little Christmas” plus three all new original holiday songs “Christmas In New York,” “Together,” and “Happy Days.” See below for full tracklisting.

The news of the Christmas album comes as the Backstreet Boys are currently on the North American leg of their DNA World Tour. The tour kicked off with four shows at The Colosseum at Caesars Palace in Las Vegas in April and last month, they performed to a sold out crowd at the iconic Hollywood Bowl in Los Angeles. The band has been putting on electrifying performances, playing a high-energy set of over 30 of their greatest hits and best dance moves, giving fans the live experience of a lifetime. See below for remaining tour dates.

Christmas comes early this year as the Backstreet Boys, one of the best-selling bands of all time, announce their highly anticipated Christmas album ‘A Very Backstreet Christmas’ (BMG) will be released on October 14th, 2022.

“We’ve been wanting to do a Christmas album for nearly 30 years now and we’re beyond excited that it’s finally happening,” Howie Dorough shares, “We had such a fun experience putting our BSB twist on some of our favorite Christmas classics and can’t wait to be part of our fans’ holiday season.”

‘A Very Backstreet Christmas’ is the Backstreet Boys’ first ever Christmas album and will feature timeless holiday classics such as “White Christmas”, “Silent Night”, and “Have Yourself A Merry Little Christmas” plus three all new original holiday songs “Christmas In New York,” “Together,” and “Happy Days.” See below for full tracklisting.

The news of the Christmas album comes as the Backstreet Boys are currently on the North American leg of their DNA World Tour. The tour kicked off with four shows at The Colosseum at Caesars Palace in Las Vegas in April and last month, they performed to a sold out crowd at the iconic Hollywood Bowl in Los Angeles. The band has been putting on electrifying performances, playing a high-energy set of over 30 of their greatest hits and best dance moves, giving fans the live experience of a lifetime. See below for remaining tour dates.

Ever spent Christmas in New
York City? It’s pure magic…the
department store decorations,
the nip in the air putting color in
the cheeks of eager shoppers, the
general spirit of bonhomie that
pervades the street and subway,
and—if you’re lucky—the silent
beauty of a fresh snowfall reflecting
in the streetlights. Having grown
up in New York, Lea Michele knows
well just how spectacular New York
can be during the holiday season;
and on this, her Top 40 2019
album, the Glee star (currently
playing Fanny Brice in Funny Girl on Broadway)
captured a sleigh-full of that Yuletide joy. The centerpiece of the
record is “Christmas in New York,” an original that, in her words,
“paints this beautiful picture of New York, but it also is really about
what it means to be with your family and friends and engaged in that
holiday spirit.” The rest of the record, which is produced by Glee
producers Alex and Adam Anders, is equally transcendent, featuring
duets with fellow Glee stars Jonathan Groff (the voice of Kristoff
in Frozen) and Darren Criss, plus a showstopping vocal display on
“Angels We Have Heard on High” with Cynthia Erivo. For its vinyl
debut, Christmas in the City comes to you in a gatefold album jacket
containing a printed inner sleeve featuring beautiful shots of Lea
spreading some Christmas cheer. A snow white vinyl pressing limited
to 1500 copies…Merry Christmas!

White Vinyl

An outstanding 2LP compiling the best instrumentals of the greatest white rap group ever: the Beastie Boys. New Yorkers Ad-Rock, MCA and Mike D crossed over into the mainstream in the mid 80s with their full-length Licensed to Ill and exploded any notions of one-dimensionality with its ambitious followups such as Paul's Boutique, On Check Your Head and Ill Communication. Taking influences from hardcore and hip hop, these innovators performed most of the music while integrating an array of rock samples, 808 beats and witty wordplay into an ever-intriguing sonic smorgasbord.

solid white vinyl

For the third release on his own imprint, DTR, VII Circle launches the new split series by teaming up with THAM, on a full split EP.

Following the latest EPs 2020's 'Fearless EP', 2021's Warriors which saw the support from artists like Perc, Paula Temple, Headless Horsemann and Regal just to name a few, VII Circle is with two impactful tracks which are establishing once again his uncompromising sound and exposure to the dark post-punk and heavy music influences he got.

On the other side of the vinyl, THAM shows his genuine and real interpretations of how complex grooves, pounding bass drums and aggressive synths are driving his sound.

With this release, the duo wants to rise a new musical vision and musical compactness that has distinguished them in recent years, making them find their true personal sound.

solid white vinyl

After 11 long years Pohjola reignites it's furnace to bring a new release by a (let's pretend he's) young Serbian producer Lag. Finding a common language in pursuing the unsaid parts of techno, labelboss Rivet aka Grovskopa and Lag turned their long, meme-and-trolling-fueled friendship into a gorgeous-looking record (art by Trudy Creen, additional design work by Dejan Ilic). The music it bears is as offset as it is functional: offering a palette of both straight and broken beats driven by vocal snippets, genre-defying arrangements and, most importantly, scream-inducing club moments. Trust us, we tried them in the wild.

Leipzig-based musician, engineer, and producer Friedrich Brückner has, despite his youthfulness, been a decisive figure in the Leipzig music scene for literal decades, being involved, in one way or another, in many, if not most notable releases coming out of the city. Having received a classical musical education, Brückner most recently figured as part of the German-American band White Wine, playing the bassoon and bass, but has also, as either musician, producer or sound designer, toured internationally with the likes of Yoko Ono, Get Well Soon, Modeselektor, or Dear Reader.

For a few years now, Brückner has been working on his solo debut, which now comes in the form of his remarkable »Polyism«, out on Altin Village & Mine. On it, Brückner puts his considerable musical chops to use, in the service of a rollercoaster of an album that truly eschews categorization, being, as its title suggests, a work of being multiform. While the sound takes wide ranging cues from jazz, new age, dub, electronics to post punk, Brückner’s compositions never feel accidental in the slightest. Instead they share a distinctive sense of dramaturgy, a pronounced attention to sonic texture, and a sense of purpose both within the individual pieces as well as in the context of the album as a whole. The result is an LP that is astonishingly coherent, considering the multitude of means it employs.

On »Polyism«, Brückner also enlists a veritable all-star cast of guest performances, ranging from his parents Isabell and Bernd Brückner, both professional musicians, on saxophone, clarinet, and flute, Martin Wenk (Calexico) on trumpet, to Hendrik Otremba (Messer) and Brückner’s four-year-old daughter Rosa both on vocals, to name but a few. Each lend their own notes to »Polyism«, a work of what it means to live, that is, to be many. Truly exceptional stuff!

Blue Vinyl

Leipzig-based musician, engineer, and producer Friedrich Brückner has, despite his youthfulness, been a decisive figure in the Leipzig music scene for literal decades, being involved, in one way or another, in many, if not most notable releases coming out of the city. Having received a classical musical education, Brückner most recently figured as part of the German-American band White Wine, playing the bassoon and bass, but has also, as either musician, producer or sound designer, toured internationally with the likes of Yoko Ono, Get Well Soon, Modeselektor, or Dear Reader.

For a few years now, Brückner has been working on his solo debut, which now comes in the form of his remarkable »Polyism«, out on Altin Village & Mine. On it, Brückner puts his considerable musical chops to use, in the service of a rollercoaster of an album that truly eschews categorization, being, as its title suggests, a work of being multiform. While the sound takes wide ranging cues from jazz, new age, dub, electronics to post punk, Brückner’s compositions never feel accidental in the slightest. Instead they share a distinctive sense of dramaturgy, a pronounced attention to sonic texture, and a sense of purpose both within the individual pieces as well as in the context of the album as a whole. The result is an LP that is astonishingly coherent, considering the multitude of means it employs.

On »Polyism«, Brückner also enlists a veritable all-star cast of guest performances, ranging from his parents Isabell and Bernd Brückner, both professional musicians, on saxophone, clarinet, and flute, Martin Wenk (Calexico) on trumpet, to Hendrik Otremba (Messer) and Brückner’s four-year-old daughter Rosa both on vocals, to name but a few. Each lend their own notes to »Polyism«, a work of what it means to live, that is, to be many. Truly exceptional stuff!

Goodbye, Asshole is the first studio album by San Francisco scuzz-wave merchants Fuckwolf—its a rat’s nest of deep grooves, lost ’70s rock riff intentions and art punk damage. These conundrums of time inform Goodbye, Asshole, but they are hardly romanticized in its music. The band, Eric Park (bass, vocals), Simon Phillips (drums) and Tomo Yasuda (guitar) sound blazing and scuzzy, a tight low-fi energy blasted onto tape at renowned Bay Area indie studios summarizing the last twenty years of San Francisco’s wild artistic soul – one that is now hard to find much evidence of in the city itself, but impossible to miss in the band’s sound. Fans of OSEES, Pink Fairies, late ’70s NYC, Emotional Rescue-era Stones, trashy post-punk dub and solvent-huffing rejoice!

Der Duft der im Ofen brutzelnden Weihnachtsgans zieht
verlockend und schwer durch das Haus. Draußen tanzen die
Schneeflocken und verwandeln die Natur in ein
Winterwunderland. Der reichhaltige Plätzchenteller ist schon
längst aufgefuttert und verursacht eine bleierne Sättigung ...
Das Beste, was man in dieser Situation machen kann, ist
entweder der Gang ins nächste Irish Pub - oder aber das neue
Fiddler"s Green - Album einzulegen und sich auf eine akustische
Reise ins wohlig-rauhe weihnachtliche Irland zu begeben. Auf
"Seven Holy Nights" finden sich nahezu alle Klassiker der
englischsprachigen Weihnachtssongs. Von "White Christmas"
über "Rudolph, The Red Nosed Reindeer" bis hin zu "12 Days Of
Christmas" ist eine whiskey-geschwängerte
Weihnachtsstimmung garantiert! Auch Balladen wie "Danny
Boy" oder "Mull Of Kintyre" passen sich perfekt in die
musikalische Glühweinflucht ein. Dass Fiddler"s Green aber
auch durchaus selbst in der Lage sind, Weihnachtslieder mit
Klassikerqualität zu schreiben, zeigen sie mit "7 Holy Nights",
dem Titelsong aus eigener Feder. Augenzwinkernd wird hier
eine sehr ausschweifende Weihnachtsfeier im Hause Fiddler"s
Green geschildert - könnte man meinen. Für alle, die ihren
Heiligen Abend lieber im Pub als mit Tante Erna oder Onkel Willi
unterm ewig gestrigen Weihnachtsbaum verbringen wollen, ist
dieses Meisterwerk ein absolutes Muss!

Almost an anti-Christmas song, the Soul Duo’s “Just A Sad Xmas” doesn’t exactly evoke the festive spirit of the season. Comprised of ‘Tidewater’s queen of soul Ida Sands and former Anglos tenor Joe Webster, the duo issued just two singles on Noah Bigg’s Shiptown label. Just in time for the holidays, Numero has repressed this maudlin yuletide burner and packaged the red, white, and green splattered 45s in a rigid cardboard sleeve for easy wrapping.

LIMITED WHITE COLOUR

Zwei Jahre nach ihrem mehrfach zum Album des Jahres gekürten Debüt für das Label Epitaph ("On The Impossible Past", 2012) veröffentlicht die Punkrockband The Menzingers ihren vierten Longplayer. "Rented World" entstand in Philadelphia, Pennsylvania. Erstmals an den Reglern: der Produzent Jonathan Low, dessen unverwechselbarer Americana-Sound schon die Werke von The War On Drugs, Sharon Van Etten, Kurt Vile und The National bereicherte. In der Vergangenheit haben The Menzingers bereits mit Bands wie Against Me! und Anti-Flag gespielt. Label-Boss und Bad-Religion-Gitarrist Brett Gurewitz über die 2006 gegründete Band: "Die Jungs spielen genau den reinen Punkrock, mit dem ich aufwuchs." Für Fans von Title Fight, Tigers Jaw, The Lawrence Arms, Frank Turner und Against Me!

Both LPs pressed 45RPM in gatefold jacket+ white paper sleeves + LP3 insert for full album download. Yellow vinyl is for Indies only. It might be too soon to declare In Prism the best Polvo record ever…but it might be okay by the time you’re done reading this. ...Only at this point in life would Polvo be so assured, so casually stormy and intensely calm, graceful and free with their power without setting aside anything that made them the rock artists they were during their first, unblemished run. There is not a thing on In Prism that they aren’t doing better than before: the sidewinder guitars and the mighty roar and the moody atmospheres and the psychedelic explosiveness; the writing, the singing, the words you can understand, the ones you can’t. Polvo spent 1990–98 giving voice to a chorus of discrete rock & roll ideas that really hadn’t been heard before. And while there was nothing wrong before, it’s now so much more right—perhaps because after ten years none of the peripheral stuff matters anymore. Now is for Polvo, and Polvo is for now. In Prism is the best Polvo record even before you get to the majestic “A Link in the Chain,” serene and tempestuous like few other things you’ll hear. The album was recorded with Brian Paulson and Polvo has never sounded better. Don’t you agree? Mike Wolf, NYC (2009). Side A 1. Right the Relation 2. D.C. Trails Side B 3. Beggar’s Bowl 4. City Birds Side C 5. Lucía 6. Dream Residue/Work Side D 7. The Pedlar 8. A Link in the Chain

Surging brass and organ-laden funk wonderment! Formed in 1967, Crow
combines gritty blues with nasty, hard-charging garage rock
Inspired by the likes of The Ventures and The Trashmen, Minnesota natives Harry
Nehls, Dick Wiegand, and Larry Wiegand combined forces with ex- Jokers Wild
members David Wagner and Dave Kink Middlemist. Originally known as South 40,
the band released two singles and one album, Live at Someplace Else, on
Metrobeat Records.
After winning a recording session with Columbia from a battle of the bands
contest in Des Moines, Iowa, the band recorded five demos: Evil Woman, Time to
Make a Turn, Busy Day, and White Eyes. Columbia didn't offer the band a contract,
but Dunwich signed the band.
To give their sound a more commercial appeal, Dunwich added horns to Evil
Woman without the band's knowledge- and it worked! Crow signed with Capitol
subsidiary Amaret Records after turning down Atlantic, hoping to be a big fish in a
small pond. Recording their first electrifying album, Crow Music, in 1969, Crow
delivered their very best. Before it was covered by Black Sabbath and Ike & Tina
Turner, their acclaimed single, Evil Woman (Don't Play Your Games With Me), hit
the Top 20 that Fall. Reminiscent of Blood, Sweat & Tears, Deep Purple, and
James Gang, Crow blends an alluring mix of soul, funk, blues, psychedelia, and
garage rock into one package. I'm sure you'll agree Crow Music is a holy grail of
heart-poundin', grease grindin' rock!

When they released their first single, ‘Give It To Me’, in the summer of 2021, Classless Act were immediately praised for their ability to sound both fresh and timeless. Loudwire instantly added the song to their ‘Weekly Wire’ Spotify playlist, identifying it as one of the top new releases of the summer. Other iconic outlets such as SPIN Magazine were also early to show support. It was a fitting public introduction to a band who embody what it means to be modern rock stars. The band initially formed in 2018 after connecting and bonding virtually by their love and passion of music. Now in Los Angeles, they are united on a mission to be the next great generation-defining act, drawing inspiration from classic rock acts of the ‘70s and alt-rock groups from the ‘90s. Their music echoes the hallmarks of previous generations - anthemic rhythms, shredding guitars, soaring vocals - but punches its way into the future with clever arrangements, sharp musicianship and proficient songwriting. Already making a big noise within the industry, the band have recently been in the studio with world-class producers such as Bob Rock, Michael Beinhorn and Joe Chiccarrelli, who have helped craft hits for the likes of The Red Hot Chili Peppers, Metallica, Soundgarden and The White Stripes. Their debut album coincides with the band hitting the road in North America alongside Mötley Crüe, Def Leppard and others on their 2022 Summer Stadium Tour.

When they released their first single, ‘Give It To Me’, in the summer of 2021, Classless Act were immediately praised for their ability to sound both fresh and timeless. Loudwire instantly added the song to their ‘Weekly Wire’ Spotify playlist, identifying it as one of the top new releases of the summer. Other iconic outlets such as SPIN Magazine were also early to show support. It was a fitting public introduction to a band who embody what it means to be modern rock stars. The band initially formed in 2018 after connecting and bonding virtually by their love and passion of music. Now in Los Angeles, they are united on a mission to be the next great generation-defining act, drawing inspiration from classic rock acts of the ‘70s and alt-rock groups from the ‘90s. Their music echoes the hallmarks of previous generations - anthemic rhythms, shredding guitars, soaring vocals - but punches its way into the future with clever arrangements, sharp musicianship and proficient songwriting. Already making a big noise within the industry, the band have recently been in the studio with world-class producers such as Bob Rock, Michael Beinhorn and Joe Chiccarrelli, who have helped craft hits for the likes of The Red Hot Chili Peppers, Metallica, Soundgarden and The White Stripes. Their debut album coincides with the band hitting the road in North America alongside Mötley Crüe, Def Leppard and others on their 2022 Summer Stadium Tour.

Two years after their album with the significant title Enkel Duetten (Only Duets), Arne Omloop, Boris Van den Eynden, and Noah Melis have again invited a motley collection of guests. Besides Dutch, you can now also hear Japanese, Slavic pronunciations, English words, and Dutch dialects – wriggled between the beats and melodies

Ask the members of Borokov Borokov to say something about their new album De Verkeerde Fout (The Wrong Mistake), and they will answer you that it is the best record they have ever made. And then something about sliced white bread or dry shampoo. No, you don't get much wiser when the trio has to interpret or analyze themselves and their unconventional, asymmetrically bouncing synthpop.

Two years after their album with the significant title Enkel Duetten (Only Duets), Arne Omloop, Boris Van den Eynden, and Noah Melis have again invited a motley collection of guests. Besides Dutch, you can now also hear Japanese, Slavic pronunciations, English words, and Dutch dialects – wriggled between the beats and melodies. Maybe these participants do have something (un)sensible to say about De Verkeerde Fout and BB's freaky universe?

White Vinyl

Mit "ELVIS Original Motion Picture Soundtrack" veröffentlicht RCA Records in diesem Sommer den Soundtrack zum neuen Baz Luhrmann-Film "ELVIS", der am 24. Juni in die Kinos kommt und Austin Butler sowie Tom Hanks in den Hauptrollen zeigt. "ELVIS" ist ein absolut episches Leinwandspektakel des visionären Filmemachers Baz Luhrmann, das das Leben und die Musik von Elvis Presley (Austin Butler) und vor allem seine komplizierte Beziehung zu seinem rätselhaften Manager, Colonel Tom Parker (Tom Hanks), beleuchtet. Der Soundtrack zeigt das außergewöhnliche Werk von Elvis aus den 1950er, 60er und 70er Jahren und würdigt gleichzeitig seine vielfältigen musikalischen Einflüsse sowie anhaltende Wirkung auf populäre Künstler von heute. Neben Musik von Elvis Presley, befinden sich Original-Soundtrack-Recordings von Austin Butler auf der CD als auch neue Reimagined Tracks von Künstlern wie Doja Cat, Maneskin, Swae Lee & Diplo, Chris Isaak & Stevie Nicks, Gary Clark Jr, Nardo Wick, Jack White uvm. Avec "ELVIS Original Motion Picture Soundtrack", RCA Records publie cet été la bande originale du nouveau film de Baz Luhrmann "ELVIS", qui sortira le 24 juin dans les salles et mettra en scène Austin Butler et Tom Hanks dans les rôles principaux. "ELVIS" est un spectacle à l'écran absolument épique du cinéaste visionnaire Baz Luhrmann, qui met en lumière la vie et la musique d'Elvis Presley (Austin Butler) et surtout sa relation compliquée avec son énigmatique manager, le colonel Tom Parker (Tom Hanks). La bande-son met en lumière l'oeuvre exceptionnelle d'Elvis dans les années 1950, 60 et 70, tout en rendant hommage à ses multiples influences musicales et à son impact durable sur les artistes populaires d'aujourd'hui. Outre la musique d'Elvis Presley, le CD contient des enregistrements originaux de la bande originale par Austin Butler ainsi que de nouveaux morceaux réimaginés par des artistes tels que Doja Cat, Maneskin, Swae Lee & Diplo, Chris Isaak & Stevie Nicks, Gary Clark Jr, Nardo Wick, Jack White et bien d'autres.

Mondo, in conjunction with WaterTower Music, is proud to present the premiere vinyl pressing of Hans Zimmer’s incredible score to WONDER WOMAN 1984.

Featuring incredible artwork by La Boca and housed in a tri-fold jacket with holo-foil elements, with liner notes by writer and director Patty Jenkins, the vinyl pressing is available on 3x 180 Gram Swirl colored vinyl.

Hans Zimmer’s score to WONDER WOMAN 1984 is quite possibly our favorite piece of superhero film scoring since John Williams’ SUPERMAN: THE MOVIE (1978), and Danny Elfman’s BATMAN (1989). We know that sounds hyperbolic, but even before our test pressings arrived, it was one of our most listened to albums on Spotify of the last 6 months. It’s that good. We can’t wait for you to hear how good it sounds on vinyl, out of big speakers.

Composed by Hans Zimmer
Artwork by La Boca
Manufactured in the Czech Republic

Limited edition white vinyl w/pink haze + download card.

n5MD and Gimmik team up yet again! This time, to bring you an updated and remastered version of Gimmik's digitally reclaimed and once previously unreleased cuts compilation News From The Past for the first time on vinyl.

The original compilation was released digitally by Gimmik's Toytronic imprint in 2005, originally comprised of six tracks recorded between 1994 and 2000. The reimagined vinyl collection combines ten tracks–plus an additional five included on the download card–spanning 1994 to 2021.
News From The Past is an excellent snapshot of Gimmik's musical output thus far and a testament to Martin Haidinger's winding path as one of experimental electronica's most unparalleled producers.

The O'Reillys and the Paddyhats sind eine einzigartige Formation, die der irischen Folk-Punk-Szene endlich etwas Neues und Erfrischendes zu sagen hat. Den sieben Multiinstrumentalisten ist es egal, ob sie ihre Shows in einer großen Halle im Herzen Moskaus, einem kleinen Underground-Lokal in Madrid oder einfach am Wasser im nahe gelegenen Bremen spielen. Sobald sie die Bühne betreten, ist die Energie und das Gefühl, das man bekommt, wenn man mit all seinen Freunden feiert, durchströmt den Körper. Eine solide Backline, treibender Folk und eine gemeinsame Leidenschaft für irische Musik sind die Zutaten, die zu zahlreichen wunden Kehlen, rauschenden Partys und Rufen nach einer Zugabe geführt haben nach einer Zugabe!

White / Blue Vinyl

The mysterious Void Settler is back with a brand new album: Given In Vigil!

Alexandra Burke is truly one of the UK"s most distinguishable powerhouse voices, having sold over 5 million records in the UK. The London-born singer has also become one of the UK"s most sought-after West End leading ladies. Alexandra first rose to fame winning the fifth series of The X Factor in 2008 with an iconic duet with idol Beyoncé, to an audience of over 10 million. Debut #1 single "Hallelujah" was Christmas #1 and went on to sell over 1 million copies, a first for a British female solo artist. Debut #1 album "Overcome" spent over a year on the UK Album Chart, earning three BRIT Award nominations. In late 2010, Alexandra released "Overcome: Deluxe Edition" securing her third chart-topper with "Start Without You" and included a brand new version of fan-favourite "The Silence". To celebrate one million copies sold worldwide, Alexandra has curated her own definitive version of "Overcome". The 18 songs across the 2 LP set features the bonus tracks "Dangerous" and "It"s Over". Pressed on limited edition white vinyl, the album is packaged in a gatefold sleeve with stunning printed inner sleeves and an exclusive poster.

White Vinyl

Technological agitation. Narcissism fatigue. A galaxy of isolation. These are the new norms keeping Weyes Blood (aka Natalie Mering) up at night and the themes at the heart of her latest release, And in the Darkness, Hearts Aglow. The celestial-influenced folk album is her follow-up to the acclaimed Titanic Rising. (Pitchfork, NPR, and The Guardian admiringly named it one of 2019's best.) While Titanic Rising was an observation of doom to come, And in the Darkness, Hearts Aglow is about being in the thick of it: a search for an escape hatch to liberate us from algorithms and ideological chaos. "We're in a fully functional shit show," Mering says. "My heart is a glow stick that's been cracked, lighting up my chest in an explosion of earnestness." And in the Darkness, Hearts Aglow opens with the wistful, winsome "It's Not Just Me, It's Everybody," a song about the interconnectivity of all beings, despite the fraying of society around us. "I was asking a lot of questions while writing these songs. Hyper-isolation kept coming up," Mering says. "Our culture relies less and less on people. Something is off, and even though the feeling appears differently for each individual, it is universal." Other tracks follow in kind. The lullaby-like "Grapevine" chronicles the splintering of a human connection. The otherworldly dirge "God Turn Me into a Flower" serves as allegory about our collective hubris. "The Worst Is Done" is an ominous warning, set against a deceivingly breezy pop melody. "Chaos is natural. But so is negentropy, or the tendency for things to fall into order," she says. "These songs may not be manifestos or solutions, but I know they shed light on the meaning of our contemporary disillusionment."

Deluxe gloss laminated gatefold reissue with bonus 7” The Silly Egg E.P . Pressed on half & half colour vinyl (Red/Turquoise) with a white vinyl 7”. Includes printed inner sleeve.
East London’s The Gymslips, Paula Richards, Suzanne Scott and Karen Yarnell, barged their way onto the post punk scene in 1981. They openly embraced drinking, Pie & Mash, monkey boots and double denim right from the start. Often credited with being the first female Oi! band, but they brought so much more to the table with their punky 60s influenced girl pop.
Formed in 1980, The Gymslips started playing live the following year, and opened for Dolly Mixture on a 1981 UK tour. The band referred to themselves as “Renees” a late 60s term for mod girls, the same subculture that named boys “Ronees”. Drummer Karen Yarnell told the NME that a “Renee was a girl who got as much shagging done as a bloke while also matching him for pint drinking, fag smoking, nose-picking, farting and the wearing of skinhead style double denim”.
They recorded 5 sessions for the John Peel show, after signing to Abstract Records their first single was a cover of Suzi Quatros 48 Crash, which was released in 1982. The following year they released Their sole album Rocking With The Renees along with 2 further singles “Big Sister” & “Robot Man”
After Karen Yarnell left to join Serious Drinking, this ended The Gymslips Mk 1. Although they were to return 2 years later with a new line up to release their final single “Evil Eye”

Happy Mondays release a special 7" in memory of their legendary bassist Paul Ryder, who tragically passed away earlier this month. The 'Tart Tart’ limited edition 7inch contains the original of the track, which originally appeared on Happy Mondays 1987 debut album Squirrel and G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out) and was produced by John Cale. On the B-Side is a live version of the track from a BBC John Peel session.

Paul’s brother, Happy Monday’s vocalist Shaun Ryder comments: "This special release of Tart Tart showcases the unique musical talent of our brother Paul Ryder who passed from this world ... we will all miss you Horse...he brought the funk and the rock n roll to Happy Mondays … love you long time R kid”.

To listen to Sarah Mary Chadwick's music is to be a quiet observer to her
thoughts on love, death and mental health - Sometimes anguish bears
itself in sullen, dreamy vs dreary moments, but more often torment
manifests at the break of Chadwick's voice as she sings painfully
vulnerable, self-aware lyrics
Chadwick is a singer/ songwriter and visual artist, based in Melbourne. After
moving to Australia from New Zealand to pursue a career in music, Chadwick
spent a decade fronting the grunge band Batrider. In 2012 she shifted focus to
her now prolific solo career. Essentially Chadwick's work is basic reportage of
events and observations from her own life, creating something exactly realised
yet completely relateable. Chadwick's performance remains singular and complex
as she simultaneously savors and is repelled by the podium that her creativity
affords her, acknowledging that it's a position of power being on a microphone
and how ..it's a desperate demand to be seen. It's funny and really sad. These
days, I just want to be an entertainer.''
I always write a lot so I love it when songs can find homes in the outside world.
Track one 'Flipped It' was recorded in the "Me and Ennui" session, and I couldn't
find a comfortable place for it on that record. Track Two 'All the things...' was
recorded during the "Please Daddy" sessions, earlier that same year in 2019.
Pressed on 7" White Color vinyl.

MCVCVP turns sound into a stream - In four tracks, they give us a place
to float, a deep pool of water
We listen to what is underneath. Continuity is the world we navigate, an eternal
vibration with all its nuances. Inside the water, there's no difference between
playing and finding the truth "non contextual and fluid " that carries us through
time. In MCVCVP, Carbon and Palestine open a window for us to stare into the
vortex where sound lives: pianos in abandoned rooms, a mysterious voice with a
dress, dusty tables and painted clouds, low light, blue walls, mirrors, echoes
without a ghost. A fine line between mysteries that remain close, the wish to be
dissolved in playful darkness. Each sound is alive and has a story that continues.
Staring are the open eyes of all the people who were. Not a scary one, just the
story of being. Pressed on Clear Blue with Black and White Smoke Color vinyl.

Buenos Aires-based producer, luthier and musician Barrio Lindo presents
his fourth LP - Espuma de Mar - and his first recorded in a band format
The eight-track album represents a departure for the producer, embracing a much
more acoustic sound, inspired by a period of deep listening. The result is an
unforgettable journey that skillfully navigates between Spiritual Jazz and LatinAmerican popular music like Tango or Bolero, all embellished by subtle touches
of electronica. Unlike anything else, it is a glimpse into the future of the everevolving and bubbling South American music scene. Pressed on 180-gram White
color vinyl.

White Vinyl
Dancefloor clear sounds, rising up and up and up... Neither happy or dark... pure tekno !
4 of them kick at regular 170 BPM.

BIG trippy tunes super cool in the mix... Bass-kicks are clear and pumpin.

Good !

repressed !

Nachdem sie in den vergangenen zwei Jahren die Saat gesät hatte, ist Peggy Gou nun dabei, 2018 die Früchte zu ernten. Im April hat sie beispielsweise ihr Coachella-Debüt in Kalifornien, aber begonnen hat ihr Jahr mit dem Podcast für die Kolleginnen und Kollegen von Resident Advisor, der mit ihrer großartigen neuen Single - It Makes You Forget (Itgehane)' endet und ihrer kommenden EP - Once' entnommen ist, die am 2. März 2018 via Ninja Tune erscheint. Geschmeidig, unmittelbar tanzbar und eingängig in seiner Einfachheit, hat Peggys charakteristischer Produktionsstil das nächste Level erreicht, mit dem sie die Single nicht nur selbst komponiert, sondern zum ersten Mal auch selbst eingesungen hat. Die in Südkorea geborene und in Berlin wohnhafte Peggy Gou hat sich mit einer Handvoll Knaller-12' bei Labels wie Rekids und Phonica White, sowie mit ihrer 2016er - Seek For Maktoop'-EP über das Ninja Tune-Sublabel Technicolour einen starken Namen in der Szene erarbeitet und ist quasi zu dem gegenwärtigen DJ-Postergirl schlechthin avanciert. Die Kombination aus ihren zutiefst Groove-geleiteten eigenen Produktionen und ihrer Leidenschaft für das DJ-Pult, das sie Woche für Woche auf der ganzen Welt aufs Neue besteigt - von Glastonbury zur Panorama Bar, De Schoon, DC-10 und dem Dekmantel Festival - hat ihre Fanzahl in kürzester Zeit auf ein Vielfaches anschwellen lassen.

ft. Cinna Peyghamy & Jay Duncan Remix

Soreab returns to Control Freak for a full length white label release - a masterclass in organic, dubbed-out, dancefloor psychedelia, featuring live recordings by sound artist and modular percussionist Cinna Peyghamy following a recent collaboration with Azu Tiwaline.

As a DJ, producer and co-founder of Baroque Sunburst, Italian-born Soreab has been a mainstay of London’s underground electronic music scene for over 5 years. On ‘Teleportation’, he manipulates and twists Cinna’s deft percussion work into a distinct range of UK styles, ranging from 170bpm euphoria to subby, half-time ex- plorations from the school of FWD>> and Plastic People.

On the B2, Jay Duncan (Phantasy Sound / Intergraded) takes a decidedly minimal tack on her remix of ‘Untitled 1’, with deep, dubby chord stabs and immersive rhythms for late night dancefloor revelations.

For Fans Of: Om Unit, Shackleton, Al Wootton

Limited pressing of just 300 hand-stamped records - don’t miss your chance to grab one

Mastered & cut by Ruy Marine @ D&M, Berlin

Her Shadow offers dreamy pop music with moonlight melodies, heavenly hooks and Lynchian twists. The ethereal soundscapes come to life in a dream noir universe oozing with catchy choruses, Morricone motifs and vintage sounds interweave with state of the art production. The birth of Her Shadow was inevitable. Old friends, guitarist-songwriter Tomi Henttunen (Royal Lips) and keyboardist-lyricist (Kuolemanlaakso) had a versatile but very different background in making music but a shared obsession with Twin Peaks and Lana Del Rey. The original idea in 2016 was to combine the best of both worlds, and spice up the mix with film noir and dream-like elements – to make music that they love, but had never done before. They recruited the enigmatic singer Anna Carolina (Royal Lips), drummer extraordinaire Toni Ronkainen (Kuolemanlaakso) and producer-engineer Jaani Peuhu (Swallow the Sun, Lord of the Lost etc.), and recorded a four-song demo. They instantly got signed to Svart Records, and started working on their debut album. After five long years of hard work, it is finally ready to be released upon the world. As they say, good things come to those who wait: The Ghost Love Chronicles will be released on November 11, 2022. The album was produced by musical and visual mastermind Henttunen, mixed by Sampsa Väätäinen (Ismo Alanko, Neøv etc.) and mastered by Jaime Gomez Arellano (Ghost, Paradise Lost, Opeth etc.). The songs range from the mellow Motown mood of Fifth Season to the modern pop banger Kinda Love You, from the Morricone-inspired Vigilante to the nightmarish haunted house thriller What Hides in the Dark and from eerie playfulness of White Lane to ghoulishly beautiful Devil Inside. It remains to see, if The Ghost Love Chronicles will grow into a hit album or a cult classic, but it sure has the potential for both. Slip into something comfortable, open the doors of your perception and enter realm of Her Shadow. HER SHADOW Anna Carolina – lead vocals Tomi Henttunen – guitar, bass, keyboards Markus Laakso – keyboards, backing vocals Toni Ronkainen – drums and percussion Harri Hyvönen – live bass Otto Daavitsainen – live guitar

Her Shadow offers dreamy pop music with moonlight melodies, heavenly hooks and Lynchian twists. The ethereal soundscapes come to life in a dream noir universe oozing with catchy choruses, Morricone motifs and vintage sounds interweave with state of the art production. The birth of Her Shadow was inevitable. Old friends, guitarist-songwriter Tomi Henttunen (Royal Lips) and keyboardist-lyricist (Kuolemanlaakso) had a versatile but very different background in making music but a shared obsession with Twin Peaks and Lana Del Rey. The original idea in 2016 was to combine the best of both worlds, and spice up the mix with film noir and dream-like elements – to make music that they love, but had never done before. They recruited the enigmatic singer Anna Carolina (Royal Lips), drummer extraordinaire Toni Ronkainen (Kuolemanlaakso) and producer-engineer Jaani Peuhu (Swallow the Sun, Lord of the Lost etc.), and recorded a four-song demo. They instantly got signed to Svart Records, and started working on their debut album. After five long years of hard work, it is finally ready to be released upon the world. As they say, good things come to those who wait: The Ghost Love Chronicles will be released on November 11, 2022. The album was produced by musical and visual mastermind Henttunen, mixed by Sampsa Väätäinen (Ismo Alanko, Neøv etc.) and mastered by Jaime Gomez Arellano (Ghost, Paradise Lost, Opeth etc.). The songs range from the mellow Motown mood of Fifth Season to the modern pop banger Kinda Love You, from the Morricone-inspired Vigilante to the nightmarish haunted house thriller What Hides in the Dark and from eerie playfulness of White Lane to ghoulishly beautiful Devil Inside. It remains to see, if The Ghost Love Chronicles will grow into a hit album or a cult classic, but it sure has the potential for both. Slip into something comfortable, open the doors of your perception and enter realm of Her Shadow. HER SHADOW Anna Carolina – lead vocals Tomi Henttunen – guitar, bass, keyboards Markus Laakso – keyboards, backing vocals Toni Ronkainen – drums and percussion Harri Hyvönen – live bass Otto Daavitsainen – live guitar

Many will know Bernie Marsden for being a founder member of
Whitesnake, one of the biggest rock bands of all time, and writing the
iconic global smash, "Here I Go Again"
Since leaving Whitesnake 40 years ago, Bernie has forged an impressive solo
career, culminating in TWO UK Top 40 selling albums in 2021 with KINGS then
CHESS. Both were #1 in the Blues Charts and resulted in him receiving the Lord
of the Blues award by HRH.
He is acclaimed as one of the premier British blues guitarists. He has written and
recorded with some of the biggest names in the industry, composed music for
film & TV, forged a successful career as an author, hosted radio shows, awarded
an honorary doctorate from Buckingham University and amassed a priceless
collection of guitars.

- 2022 repress / comes in label sleeve -



We launch our rocket number 057 by the expert hands of Tensal, three pieces of direct to the floor operational techno, faster, heavier and darker than the previous outcome by Hector.

On the A-side, the first cut is "Civil Defense", sharp continuous sequences showing up right from the beginning, solid kicks and a memorable break. This one is gone make some damage in sound systems out there.

B1 "Collapse", again starting with no remorse, white noises, distorted textures, heavy sub bass action and hi speed tempos, another to the bone exercise.

B2 is "Bihotxak", solid grooves, percussive panned details, on a linear and tooly arrangement excellent for long mixes and build-ups.

Composed, designed and recorded by Tensal. Mixed by Oscar Mulero.

White Vinyl

Dwarves frontman Blag Dahlia returns as roots music savior Ralph Champagne. Exploring various Americana genres, Blag proves that.

The Don Killuminati: The 7 Day Theory (commonly shortened to Makaveli) is the fifth studio album by Tupac Shakur, his first posthumous record and the last released with his creative input. Recorded in seven days in August 1996, it was released on 5th November, 1996, almost two months after his death, under the stage name of Makaveli, through Death Row Records, Makaveli Records and Interscope Records.

The Don Killuminati: The 7 Day Theory debuted at number one. It is his only album released under the new alternative stage name and features guest appearances from his rap group Outlawz and rapper Bad Azz, as well as R&B singers Aaron Hall, Danny Boy, K-Ci and JoJo, Val Young and Tyrone Wrice, along with uncredited vocal contributions from reggae musician Prince Ital Joe.

Originally intended as an underground release and preceded by the release of “Toss It Up” as the lead single, the album peaked at number one. “To Live & Die in L.A.” and “Hail Mary” were released later as singles and both garnered praise as standout tracks from the album. All singles charted within the top twenty of the UK Singles chart.

Eigentlich kaum zu glauben, dass es bis heute kein Weihnachtsalbum des unvergessenen Louis Armstrong
gab, schließlich hat er einige der romantischsten, witzigsten und swingendsten Weihnachtssongs aller Zeiten
aufgenommen. Diesem Missstand hat sich jetzt das Jazzlabel Verve angenommen:
„Louis Wishes You A Cool Yule“ ist die erste Louis-Armstrong-Weihnachtsplatte überhaupt und präsentiert seine Weihnachtstracks erstmals als zusammenhängendes Gesamtwerk. Die Zusammenstellung enthält
sechs Decca-Singles aus den 1950er Jahren, zwei Duette mit seinen Lieblingspartnerinnen Ella Fitzgerald
und Velma Middleton, und den monumentalen Evergreen „What a Wonderful World“, der längst auch zu
einer Art Hoffnungshymne geworden ist, die zum Geist des Weihnachtsfestes passt.
Als besonderes Geschenk an Satchmo-Fans enthält das Album eine bisher unveröffentlichte Aufnahme
von Louis’ berührender Lesung von Samuel Clement Moores Gedicht „A Visit from St. Nicholas“ (auch
bekannt als „The Night Before Christmas“), für die Pianist Sullivan Fortner, eine Jazz-Ikone aus New
Orleans, eine wunderschöne musikalische Untermalung liefert.

Ltd Edition White Vinyl, DL card.

Debut from genre-defying producer, Yosa Peit. Laurie Anderson meets Bjork; Prince overlapped with Arthur Russell and the hum of Blue Velvet, with jarred and splintered ambient production reminiscent of Aphex Twin. ‘Phyton’ gets a special expanded edition via Fire Records, featuring unreleased tracks; ‘Tyrann’, a live version of the haunting album track ‘Serpentine’ and end of the night lament, ‘Rise’. ‘Phyton’ is a conundrum with its own humour and beauty amid the electronica soundtracking; it’s a record that’s defied genre categories when first released on Tax Free Records two years ago. Yosa’s ascension from singer to producer is now complete. “In my head I was making a movie,” Yosa told No Wave magazine, “I dreamed up a Coen Brothers’ movie scene for a few tracks.” The result is a haunting, provocative sound; a soundscape where songs merge and splinter, a trip that’s never predictable.

"The production is super fresh" Holly Herndon. // “Warped lo-fi meets glitchy electronica and pop” The Vinyl Factory //

Download extras: 1. Serpentine (Live Bonus) 2. Rise (Bonus)

Double vinyl deluxe edition of Clutch's classic album, originally released as CD only in 2007. This beautiful double LP is re-mastered and comes in a great gatefold package.

…If I Die, I Die was released only weeks before the Heresie box set. The two albums show very different faces of the Virgin Prunes – one that explored mythical worlds and another that showed their surrealistic interest in the creative power of insanity. They also highlight the ways in which the band enjoyed experimenting with different genres, sound forms and recording techniques. As Friday has commented recently, ‘The Virgin Prunes contained four different bands at the same time.’

The album was recorded at the Windmill Studios in Dublin in the summer of 1982 and produced by Wire’s Colin Newman. Rather than adopt an A/B format, the sides of the 1982 vinyl and album cover, which was designed by Steve Averill, were given brown and blue colours, signalling earth and sky respectively. The art work on each side of the sleeve was also inverted so that either side could be read as the front cover. Ursula Steiger’s photography captured, on the brown side, the band running through a forest like a nomadic tribe. On the blue side we then find them in different costumes, performing with fire and mannequins within a derelict building.

This 40th Anniversary Edition of the album sees a full remaster housed in a Limited Edition Special Finish Gatefold Sleeve on Transparent Vinyl. This Deluxe LP also comes with a 16 page booklet featuring sleeve notes by Dr. Jonathan Wood exploring the writing, recording and production of the record. Plus an exclusive 12x12 Art Print. The album is also available as 2CD Mediabook & Digital Deluxe.

Surging brass and organ-laden funk wonderment! Formed in 1967, Crow
combines gritty blues with nasty, hard-charging garage rock
Inspired by the likes of The Ventures and The Trashmen, Minnesota natives Harry
Nehls, Dick Wiegand, and Larry Wiegand combined forces with ex- Jokers Wild
members David Wagner and Dave Kink Middlemist. Originally known as South 40,
the band released two singles and one album, Live at Someplace Else, on
Metrobeat Records.
After winning a recording session with Columbia from a battle of the bands
contest in Des Moines, Iowa, the band recorded five demos: Evil Woman, Time to
Make a Turn, Busy Day, and White Eyes. Columbia didn't offer the band a contract,
but Dunwich signed the band.
To give their sound a more commercial appeal, Dunwich added horns to Evil
Woman without the band's knowledge- and it worked! Crow signed with Capitol
subsidiary Amaret Records after turning down Atlantic, hoping to be a big fish in a
small pond. Recording their first electrifying album, Crow Music, in 1969, Crow
delivered their very best. Before it was covered by Black Sabbath and Ike & Tina
Turner, their acclaimed single, Evil Woman (Don't Play Your Games With Me), hit
the Top 20 that Fall. Reminiscent of Blood, Sweat & Tears, Deep Purple, and
James Gang, Crow blends an alluring mix of soul, funk, blues, psychedelia, and
garage rock into one package. I'm sure you'll agree Crow Music is a holy grail of
heart-poundin', grease grindin' rock!

Surging brass and organ-laden funk wonderment! Formed in 1967, Crow
combines gritty blues with nasty, hard-charging garage rock
Inspired by the likes of The Ventures and The Trashmen, Minnesota natives Harry
Nehls, Dick Wiegand, and Larry Wiegand combined forces with ex- Jokers Wild
members David Wagner and Dave Kink Middlemist. Originally known as South 40,
the band released two singles and one album, Live at Someplace Else, on
Metrobeat Records.
After winning a recording session with Columbia from a battle of the bands
contest in Des Moines, Iowa, the band recorded five demos: Evil Woman, Time to
Make a Turn, Busy Day, and White Eyes. Columbia didn't offer the band a contract,
but Dunwich signed the band.
To give their sound a more commercial appeal, Dunwich added horns to Evil
Woman without the band's knowledge- and it worked! Crow signed with Capitol
subsidiary Amaret Records after turning down Atlantic, hoping to be a big fish in a
small pond. Recording their first electrifying album, Crow Music, in 1969, Crow
delivered their very best. Before it was covered by Black Sabbath and Ike & Tina
Turner, their acclaimed single, Evil Woman (Don't Play Your Games With Me), hit
the Top 20 that Fall. Reminiscent of Blood, Sweat & Tears, Deep Purple, and
James Gang, Crow blends an alluring mix of soul, funk, blues, psychedelia, and
garage rock into one package. I'm sure you'll agree Crow Music is a holy grail of
heart-poundin', grease grindin' rock!

Creme White Vinyl - On the cover of their debut album "Wilde deutsche
Prärie" (Wild German Prairie) from 2018, we saw a burning house
surrounded by apparently insane figures
Almost four years later, on the cover of their second album, the band is standing
on the dike in Husum. In the background we see the Nordsee Hotel, which burned
out in the year of the debut's release. The looks of the band members reveal
friendly determination, which is very North German in its nonchalance.
Nevertheless, I don't doubt for a moment that Swutscher still know how to set
their surroundings on fire, even leave a trail of destruction. Their reputation is
legendary. Every person who has experienced Swutscher live knows that it is not
only a spiritual but also a physical experience. Reason down and thus lead it into
a wonderful dissolution of boundaries. This LP format is released on ltd ed cream
vinyl.
PR Agency (Print/Online/Radio GSA): Community Promotion PR Agency (Print/
Online/Radio Worldwide): La Pochette Surprise Marketing: Print/Online: 2500€ /
Radio: 2000€ / Social Media: 3000€ / Ads: 3000€ PrintAds: Westzeit Cover
(Feb2022), Musikexpress, Visions, OX Fanzine, Flight13 Mailorder, Schall TOUR
DATES Präsentiert von DIFFUS, OX FANZINE, BYTEFM 20.4. A- Wien - Rhiz 21.4.
München - Heppel & Ettlich 22.4. CH-Basel - Hirscheneck 23.4. Stuttgart - Club
Cann 28.4. Düsseldorf - KulturSchlachthof 29.4. Husum - Speicher 30.4. Hamburg
- Molotow 05.5. Kassel - Goldgrube 06.5. Münster - Gleis 22 07.5. Bremen - Tower
08.5. Hannover - Bei Chez Heinz 17.5. Köln - Bumann & Sohn 18.5. Nürnberg -
Muz Club 19.5. Chemnitz - Nikola Tesla 20.5. Dresden - Groove Station 21.5.
Berlin - Urban Spree Separater PR Report verfügbar

The Local Moon (East Berlin 1987/88) The name The Local Moon originated from an intimation by the oriental jester Nasreddin that every city had its own moon. This idea did not go without a certain local colour in the bipolar frontline city of Berlin; from an astropolitical view, its divided sky never saw a full moon, the light conditions were ideologically broken. From the black light of those years emerged The Local Moon. René Le Doil and Ronald Lippok took wings like two crows from a pigeon’s nest when quite suddenly in 1987 light entertainment permeated East Berlin’s Offground and the two musicians were hired for the New Romantic revue New Affair. Before that, Le Doil had been involved in the Stattgespräch fashion spectacle and in Allerleirauh, the “thing of light, space, sound and leather”. Lippok had been the drummer for Rosa Extra, one of the earliest punk rock bands in East Berlin. Together with his brother Robert, who had already come into the picture with an avant-punk project named after the Jules Verne novel Fünf Wochen im Ballon (Five Weeks in a Balloon), Ronald Lippok then founded the post-punk commune Ornament & Verbre- chen, for whom Le Doil would occasionally guest as an... more credits released July 20, 2022 Tape (Side A, B, C – Track #1 - #16) Music by The Local Moon, recorded in April 1987 René Le Doil: accordion, bass, guitar, keyboards, piano, voice Ronald Lippok: acoustic guitar, keyboards, percussion, voice Produced by The Local Moon Single (Side D – Track #17 - #19) Music by The Local Moon, recorded in May 1988 René Le Doil: keyboard Ronald Lippok: keyboard, voice Charlotte Jansen: oboe, voice Alex Wolf: percussion Bo Kondren: emax, traktor Detelf Pegelow: guitar Robert Lippok: clarinet, ethno brass Produced by Bo Kondren Recorded at Gunther Krex Studio Vinyl published by Henryk Gericke Texts and liner notes by Henryk Gericke Remastered by Calyx/ Bo Kondren Digital distribution via aufnahmeundwiedergabe.de

2022 White Vinyl Repress

JUZER by Beau Wanzer and Dan Jugel finds new stomping grounds at RUBBER with a four track release including a fresh remix by Unit Moebius Anonymous. Wanzer and Jugel, two pillars of the Chicago underground are known for their distorted jacked techno which is heavily rooted in the Chicago tradition. Together with Beau Wanzer we have selected three archival tracks made prior to Jugel's passing in 2018. The result is a grinding ensemble of raw techno jams that tips its hat to the different electronic flavors of Chicago and The Hague.