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In the late-1970s Athens, Georgia was buzzing with a raw but sophisticated music scene. Traditional Southern rock had been the Georgia musical export for years before but the turn of the decade began producing new sounds from bands like the B-52’s, REM and Alt Rock luminaires Pylon.
 Before they were a band, Pylon were art-school students at the University of Georgia: four kids invigorated by big ideas about art and creativity and society. However, Pylon were less of a band and more of an art project, which meant they had very specific goals in mind, as well as an expiration date.
 While their time together as a band was short lived (1979-1983), Pylon had a lasting influence on the history of rock and roll. Throughout their brief history, they were able to create influential work that would help foster the post-punk and art-rock scene of the early 80s. Artists like R.E.M., Gang of Four, Sonic Youth, Sleater-Kinney, Interpol, Deerhunter and many more claim inspiration from the band.
 Their 1979 single ‘Cool’ / ‘Dub’ reached legendary status, with Rolling Stone titling it one of the 100 Greatest Debut Singles Of All Time.
 In 1980 the band released their first record, ‘Gyrate’, and began touring across the country in support of the release. The band would soon develop a following across the country and specifically in the bustling music scene in New York City. One of their earliest gigs was opening for the Gang of Four in the Big Apple.
 Following the critical acclaim of their debut release, Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in new shapes, revealing a band of self proclaimed nonmusicians who had transformed gradually but noticeably into real musicians. The resulting album, ‘Chomp’, was barely off the press when Pylon were booked to open a run of dates for a hot new Irish band called U2 (after previously playing two arena shows with them in the month leading to the album release). Most bands would have jumped at the opportunity but Pylon were sceptical. At a critical point in the life of Pylon, they opted to become a cult band rather than stretch their defining philosophy too far.
 “We fully intended Pylon to be an almost seasonal thing that we were gonna do for a minute and then get on with our lives,” says Curtis Crowe, drummer for the band. “But it just never went away. It still doesn’t go away. There’s a new subterranean class of kids that are coming into this kind of music, and they’re just now discovering Pylon. That blows my mind. We didn’t see that coming.”
 New West Records are proud to partner with Pylon to reissue ‘Chomp’ and ‘Gyrate’ back into the masses. Beautifully remastered from the original audio sources and pressed on vinyl (140g) for the first time in over 30 years.
 New West Records also present ‘Pylon Box’, a comprehensive look at the band that features the remastered studio LPs ‘Gyrate’ and ‘Chomp’, the 11-song collection ‘Extra’ - which includes rarities and previously unreleased studio and live recordings - and ‘Razz Tape’, Pylon’s first ever recording: a 13-song unreleased session that pre-dates the band’s seminal ‘Cool’ / ‘Dub’ debut.
 ‘Pylon Box’ also includes a hardbound 200-page full colour book featuring pieces written by the members of R.E.M., Gang of Four, Steve Albini, Corin Tucker and Carrie Brownstein of Sleater-Kinney, Sonic Youth, Interpol, B-52’s, Bradford Cox of Deerhunter, Mission of Burma, Calvin Johnson of Beat Happening and K Records, Anthony DeCurtis, Chris Stamey of the dB’s, Steve Wynn of the Dream Syndicate and many more. Features an extensive essay chronicling the band’s history, with interviews with the surviving members of the band as well as members of R.E.M., B-52’s, Gang of Four, Method Actors and more. It also features never before seen images and artifacts from both the band’s personal archives as well as items now housed at the Special Collections Library at the University of Georgia and the Georgia Museum of Art, UGA.

Composed, produced, and arranged by Eartheater alone, Phoenix: Flames Are Dew Upon My Skin draws a path back to the primordial lava lake from which she first emerged, as it also testifies to the reincarnating resurrections the project has undergone over its first full decade of existence. While the album renews her focus on guitar performance and legible structure, Eartheater balances the unabashed prettiness of acoustic harmonic songs with the dissonant gestural embroidery of oblique instrumentals. Having fallen back in love with the idioms that first captivated her, she worked to crack open the techniques that had fossilized inside of her, while still seeking to apply the electro-alchemical knowledge she picked up along her journey. The result of a laborious revival in fire, Phoenix recontextualizes Eartheater’s combinatorial approach to production within her most confident abstractions, adjacent to some of her most direct songs to date.

Eartheater composed and workshopped most of Phoenix over a ten-week artist residency (FUGA) in Zaragoza, Spain, housed in a sprawling, cubic glass facility that looked out over wildflower-flecked mountains. Following an intensive period of recording and touring, the residency provided her with an unprecedented period of solitude in the small Spanish town. Her newfound sense of isolation ultimately became liberating, leading her to sidestep the crutches and steady grids inherent to electronic music, and to conceive pieces rooted in her guitar and her desire to perform with other players live.

Eartheater’s voice glows brighter than ever at the center of Phoenix’s arrangements — her familiar operatic highs are grounded by newly expanded velvety lows, leaping lucidly up and down octaves. Her intricate guitar work flits across baroque fingerpicked passages and latches into cyclical figures that meet her voice in lush harmonic progressions. From her own guitar parts, to the orchestral string arrangements she wrote for the Spanish conservatory group Ensemble de Camara, to the harp and violin lines performed by her close friends and collaborators Marilu Donovan and Adam Markiewicz of LEYA, Eartheater’s applications of acoustic instruments bring an extraordinary emotional emphasis to her compositions. Phoenix prepares for a future where electronic sound — or even electricity itself — isn’t guaranteed, but where her music could still come to life with a group of hands dexterously winding across instruments against the light of the fire. Eartheater drew inspiration for Phoenix from geological imagery, whose turbulence and potential for genesis mirror the trajectory of her own life and relationships. The album’s instrumental pieces directly reference these moments of upheaval, colliding audio of volcano and lightning storms with resplendent string and vocal arrangements. “Volcano” looks out over the album from its peak at the center, its tectonic plates colliding in towering melodies and layers of vocal harmonies, as piano accents crest and cascade down the mountainside. When Eartheater sings, “I’m still building mountains underground,” she is trying to reconcile the pinnacles of her ambition with the comforts of a simple existence buried beneath the surface. “Diamond in the Bedrock” finds her admiring the gemstone forming under intense pressure inside her, but rejecting the romantic promise that the diamond signifies, choosing instead to escape a relationship that has come to stifle her.

With the album’s subtitle, Flames Are Dew Upon My Skin, Eartheater imagines being tempered to a state of perfect equilibrium, suspended between melting and freezing, where fire could streak across her body and appear as a crystalline blush. This image captures the tension at the heart of the Eartheater project, as she decides how best to distill her passion and render it cool to the touch; to find beauty in simple pleasure, while keeping one eye fixed on the peaks that loom in the horizon. The album is mixed by Kiri Stensby and mastered by Heba Kadry, featuring photography by Daniel Sannwald.

Ocean Moon is a solo project from Jon Tye of Seahawks. A long time explorer of the sounds of spaciousness, having released the ambient classic LP iO in 1994 as MLO, Crystal Harmonics is a document of Jon’s latest discoveries. An ambient/new age/modern classical library suite for KPM, this is inter-dimensional music for mind, body and spirit.

Island Visions, the recent collection of music from Seahawks for KPM, touched on the deeper, more spatial side of music and led to Jon exploring this territory in greater depth, again for KPM, under his Ocean Moon alter ego. This time he brought along some of today’s most visionary musicians: Jon Brooks (The Advisory Circle / Ghostbox) for his intuitive melodic mastery, Seaming To (Graham Massey’s Toolshed) for her extraordinary vocal talents, Steve Moore (Zombi) for his sophisticated and inventive rhythmic sensibility and Richard Norris (The Grid) for his sensitive and deeply resonant ambience. The initial recordings were made at The Centre Of Sound in Cornwall, with the collaborators various contributions coming from London, Derbyshire and the US.

The supremely serene electronic flute and bells of “Crystal Drift” ease us into our journey and we take our next steps with “Rainbow Ripples” as it gently folds space with arpeggiated synth swells and delicate machine beats. Light vocal tones, bells and breath FX on “And Breathe” keep us going, accompanied by synth drones and billows of electric piano.

We travel through the synth-space-surf haze of “Lost Oceans”, with soft bass and warm ambience, to reach the “New Infinity” of revolving melody, spacious pads and light electronic beats. The celestial tone floats of “White Mirror” close out the first side.

Temple bells ring out to running water flowing together with deep resonant vocal tones as the second side opens with “Peace Bells”. “Revolving and Evolving” follows, a tranquil electronic meadow of lush pastoral synth tones where we rest for a while for “Mountain Dreaming”, a light rhythmic dance of zither and birdsong.

The undulating “Forest Motion” ripples with synth arpeggios, dreamy Solina strings and percussive modular electronics before allowing the crackling ambience and Cantonese whispers of “Sleep Golden” to wash over us. Finally we find ourselves on “The Long Path”, its warm temple ambience of drones and chants guiding us home.

Crystal Harmonics is inspired by four particular albums from KPM’s catalogue. There’s The Electronic Light Orchestra by Adrian Wagner from 1975 and then Temple Of The Stars, Breath Of Life and finally Keith Mansfield’s Circles, these last three coming from KPM’s mid-1980s run of modern classical/New Age gems. For Jon, “making library music can be very liberating. I really enjoyed the additional focus it brought to the music working on different facets of composition with each collaborator”.

But Crystal Harmonics is no mere exercise in vulger pastiche. As the past, present and future sound of paradise, this fresh exploration of mid-90s ambient and original New Age sounds exists outside of our linear experience of time.

The cover started as a collage Jon made a couple of years ago, a different expression of the same impulses that guided the music. As a nod to the records that provided seeds of inspiration, the collage was framed by KPM’s house style of the 1980s for the finished sleeve by Richard Robinson.

Mastered for vinyl by Be With’s sonic shaman Simon Francis, cut by the legendary Pete Norman and pressed in the Netherlands by Record Industry, Ocean Moon’s Crystal Harmonics is the tranquil balm for these turbulent times.

180g clear marbled vinyl + stamped sleeve + inside out printed cover

Mood of departure presents the 50th release of ORNAMENTS. "Roadmap" LP is crossing borders,
forests, mountains and deep atmospheres on a trip of finest electronics from the past and today
combined with recordings of destructions.

Some Previous here

Resident Advisor

German label Ornaments Music is putting out its 50th release, Mood Of Departure's Roadmap.

The album comprises twelve tracks of melodic ambient and trip-hop, and is due out next month. The LP will be pressed up on marbled vinyl on November 6th, while the digital album is slated for November 23rd release.

This summer, Ornaments Music put out Assemblage, a dub techno collaborative project from Paul St. Hilaire and Rhauder.

Groove MAG

„Man soll die Feste feiern wie sie fallen.” Hachja – 2020 ist wirklich vieles anders. Sogar manche Lebensweisheiten treffen in diesem Jahr nicht mehr zu, wie sie das noch letztes taten. Zum Glück dürfen wir uns aber über eines umso mehr freuen, über tonnenweise neue Musik. So feiert unter anderem Ornaments Music Release-Jubiläum. Das Berliner Label bereichert seit 2008 mit Künstlern wie Marko Fürstenberg, The Analog Roland Orchestra und Rhauder die Dubtechno-Sparte mit maßgeblichen musikalischen Beiträgen. Mit dem 50. Release Roadmap beschreitet Ornaments nun neue Wege und veröffentlicht ein emotionales Album, dass sich irgendwo zwischen Ambient und Electronica wiederfindet.

Mood Of Departure heißt die Person, die dieses Werk vollbracht hat. Wer dahinter steckt bleibt vorerst geheim. Nur soviel sei gesagt. Es ist nicht ihr erstes. Oder seines? Weil es nur spärliche Informationen über den/die Künstler*in gibt, stehen die einzelnen Stücke ohne Personenkult oder seitenlange Lobeshymnen an erster Stelle. Und wenn man mal ehrlich ist, gibt es schon genug Ablenkung in der heutigen Zeit. Durch das Intro des Albums, durch „Scan”, wird sofort deutlich, dass es sich hier nicht wie gewohnt um ein klassisches Dancefloor-Album handelt. Die Stimme der Sängerin, die auch in einigen weiteren der insgesamt zwölf Stücke vorkommt, verleiht dem Track eher Band- statt Producer-Charakter. Ein sanfter Ambient-Teppich aus luftigen Flächen und wiederhalendem Gesang wird durch simple aber präzise Hip Hop-Beats fortgetragen, und man ist nach dieser Einführung gespannt, was noch folgt.

Faze MAG

Mit dem Debütalbum „Roadmap“ von Mood Of Departure veröffentlicht das Label Ornaments sein 50. Release!

2008 startete das Label, das bekannt ist für sein marmoriertes Vinyl, mit einer EP von Marko Fürstenberg, Acts wie youANDme, Sascha Dive, The Analog Roland Orchestra, Steve Bug oder zuletzt Rhauder & Paul St. Hilaire haben hier auch ihre Spuren hinterlassen.

The cassette (TWI 007) is a faithful reproduction of the 1980 original, complete with PVC wallet, 16 page booklet and tracklist insert.

Les Disques du Crepuscule is proud to present newly remastered vinyl and cassette editions of iconic compilation album From Brussels With Love, which was the very first release on the Crepuscule label back in November 1980 – and is now celebrating its 40th anniversary.
Originally released as a deluxe cassette/book package in a PVC wallet, From Brussels With Love featured 21 exclusive tracks from the international avant-garde and new wave, as well as contributions from the celebrated Factory Records roster. Then, as now, the featured artists include A Certain Ratio, Gavin Bryars, Harold Budd, Thomas Dolby, Dome, The Durutti Column, John Foxx, Martin Hannett, Richard Jobson, The Names, Bill Nelson, Kevin Hewick + New Order, Michael Nyman and Der Plan.
Running for 78 minutes, the cosmopolitan ‘cassette journal’ was curated by Michel Duval, Annik Honore and Wim Mertens, and also includes extended interviews with Brian Eno and legendary French film actress Jeanne Moreau. The cover art by Jean-Francois Octave, with additional graphics by Benoit Hennebert, Marc Borgers and Claude Stassart in the booklet.
From Brussels With Love quickly sold 6000 copies around Europe, earning rapturous reviews in the UK music press. “This is a reminder – without really trying, without being obvious – that pop is modern poetry. Is the sharpest, shiniest collection of experiences. Is always something new” (Paul Morley, NME). More recently, Dan Fox of art magazine Frieze described TWI 007 as “a masterpiece of distinctly northern European post-punk eclecticism.”
To mark the 40th anniversary of From Brussels With Love, Crepuscule will issue 3 remastered editions.
There is also a deluxe 2xCD ‘earbook’ edition (TWI 007 CD) presented as a 10-inch square hardback book, with two full length audio CDs and 60 page book including rare images, posters, sleeve designs and period ephemera, plus a detailed history of the Crepuscule label between 1979 and 1984.

New 2x12" on Ear Clip Series.

E.N.M. steht fur Endlich Normale Menschen (E.N.M. stands for finally normal people, editor's note). This double opus, compiled by Low Bat, can be considered as a collection of friendships and encounters, where phlegmatism and melomania are intertwined. It includes tracks by F. Æmbient or Vamilienfa†er, two sheet metal artists from the Berlin experimental scene with their respective labels, Kashual Plastik and Bohemian Drips, as well as a track by Dame Area, a Barcelona duo that Low Bat booked during their 4 years of Berlin penitence.

The nine tracks oscillate between two main lines. The first record offers to discover a palette of more introspective feelings, where twilight layers cross broken rhythms and almost acidic progressions. The second, on the other hand, allows one to step by step to break away from this approach and look at introspection in a different way, alternating between unbridled joy (4K - Schabernak) and consistent melancholy (3H by Blume Attempt).

Demon Records presents the first ever vinyl pressing of The Durutti Column’s 2009 studio album “Love In The Time Of Recession”.

Formed in Manchester in 1978, The Durutti Column were one of the first acts signed to the iconic Factory Records by Tony Wilson. Primarily the project of guitarist and vocalist Vini Reilly, the group have a cult following with notable fans including Brian Eno and John Frusciante.

“Love In The Time Of Recession” finds Reilly and co continuing to explore genre-blending sounds. Highlights include the fuzzy guitar filled ‘In Memory Of Anthony’ (a tribute to the late Factory Records founder), and ‘More Rainbows’, an instrumental conversation between Vini Reilly’s soaring guitar and girlfriend Poppy Morgan’s dreamy electric piano.

Pressed on two 140g translucent amber vinyl, housed in printed inner sleeves.

Demon Records presents the first ever vinyl pressing of The Durutti Column’s 2003 studio album “Someone Else’s Party”.

Formed in Manchester in 1978, The Durutti Column were one of the first acts signed to the iconic Factory Records by Tony Wilson. Primarily the project of guitarist and vocalist Vini Reilly, the group have a cult following with notable fans including Brian Eno and John Frusciante.

Recorded after the passing of Reilly’s mother, the melancholic “Someone Else’s Party” explores themes of loss and reflection. Highlights include the trip-hop influenced ‘Vigil’, and ‘Spanish Lament’ which weaves together Reilly’s signature shimmering guitar sounds with a sample from David Lynch’s Mulholland Drive.

Pressed on two 140g clear vinyl, housed in printed inner sleeves.

Following on from the success of Demon Records’ sold out ‘Special Stuff’ box set, we present the three anniversary specials from 2017, pressed on 3 sides of 180g “Snowglobe” vinyl, with the
fourth side an etching of Tubs and Edward trapped forever in a ‘Phantom Zone’ like state. The Anniversary specials tell the story of Benjamin discovering that his late Uncle Harvey is far
from dead and buried, Tubbs and Edward setting up shop in a derelict block of flats, Pauline reliving her past with her jobseekers and the continued woes of Geoff Tipps. Starring Mark Gatiss, Steve Pemberton and Reece Shearsmith, and featuring gatefold artwork
from horror maestro Graham Humphreys

In the late-1970s Athens, Georgia was buzzing with a raw but sophisticated music scene. Traditional Southern rock had been the Georgia musical export for years before but the turn of the decade began producing new sounds from bands like the B-52’s, REM and Alt Rock luminaires Pylon.
 Before they were a band, Pylon were art-school students at the University of Georgia: four kids invigorated by big ideas about art and creativity and society. However, Pylon were less of a band and more of an art project, which meant they had very specific goals in mind, as well as an expiration date.
 While their time together as a band was short lived (1979-1983), Pylon had a lasting influence on the history of rock and roll. Throughout their brief history, they were able to create influential work that would help foster the post-punk and art-rock scene of the early 80s. Artists like R.E.M., Gang of Four, Sonic Youth, Sleater-Kinney, Interpol, Deerhunter and many more claim inspiration from the band.
 Their 1979 single ‘Cool’ / ‘Dub’ reached legendary status, with Rolling Stone titling it one of the 100 Greatest Debut Singles Of All Time.
 In 1980 the band released their first record, ‘Gyrate’, and began touring across the country in support of the release. The band would soon develop a following across the country and specifically in the bustling music scene in New York City. One of their earliest gigs was opening for the Gang of Four in the Big Apple.
 Following the critical acclaim of their debut release, Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in new shapes, revealing a band of self proclaimed nonmusicians who had transformed gradually but noticeably into real musicians. The resulting album, ‘Chomp’, was barely off the press when Pylon were booked to open a run of dates for a hot new Irish band called U2 (after previously playing two arena shows with them in the month leading to the album release). Most bands would have jumped at the opportunity but Pylon were sceptical. At a critical point in the life of Pylon, they opted to become a cult band rather than stretch their defining philosophy too far.
 “We fully intended Pylon to be an almost seasonal thing that we were gonna do for a minute and then get on with our lives,” says Curtis Crowe, drummer for the band. “But it just never went away. It still doesn’t go away. There’s a new subterranean class of kids that are coming into this kind of music, and they’re just now discovering Pylon. That blows my mind. We didn’t see that coming.”
 New West Records are proud to partner with Pylon to reissue ‘Chomp’ and ‘Gyrate’ back into the masses. Beautifully remastered from the original audio sources and pressed on vinyl (140g) for the first time in over 30 years.
 New West Records also present ‘Pylon Box’, a comprehensive look at the band that features the remastered studio LPs ‘Gyrate’ and ‘Chomp’, the 11-song collection ‘Extra’ - which includes rarities and previously unreleased studio and live recordings - and ‘Razz Tape’, Pylon’s first ever recording: a 13-song unreleased session that pre-dates the band’s seminal ‘Cool’ / ‘Dub’ debut.
 ‘Pylon Box’ also includes a hardbound 200-page full colour book featuring pieces written by the members of R.E.M., Gang of Four, Steve Albini, Corin Tucker and Carrie Brownstein of Sleater-Kinney, Sonic Youth, Interpol, B-52’s, Bradford Cox of Deerhunter, Mission of Burma, Calvin Johnson of Beat Happening and K Records, Anthony DeCurtis, Chris Stamey of the dB’s, Steve Wynn of the Dream Syndicate and many more. Features an extensive essay chronicling the band’s history, with interviews with the surviving members of the band as well as members of R.E.M., B-52’s, Gang of Four, Method Actors and more. It also features never before seen images and artifacts from both the band’s personal archives as well as items now housed at the Special Collections Library at the University of Georgia and the Georgia Museum of Art, UGA.

Berlin’ is the second single to be taken from the new A Certain Ratio album ‘ACR Loco’, a remarkable piece of work that is steeped in 40 years of ACR DNA.

Includes the original version of ‘Dirty Boy’.

7” single pressed on white vinyl.

Producer/drummer Teppo Mäkynen shares a new release with his celebrated alias The Stance Brothers. "On Top" is a solid gold Stance groover which appears on this We Jazz Records 7" vinyl single as two versions. On side A, the track is led by guitar and flute (the latter courtesy of Diamond T aka Timo Lassy) and the flip introduces a soul jazz scorcher with organ & vibes. Both cuts are ripe and ready to be enjoyed by DJs and home listeners alike.

"On Top" follows the remarkably successful Stance sides "Resolution Blue" and "Minor Minor", all part of the ongoing 7" series by the Helsinki-based We Jazz Records. The 7" comes with old school heat-pressed labels and a stylish generic brown sleeve.

The much sought after debut album from Manchester's Liam Frost & The Slowdown Family is back by popular demand.

Includes the singles "The Mourners of St Paul's" and "The City Is At Standstill“

Pressed on 180g translucent blue vinyl.

Recently featured on Tim Burgess’s Twitter Listening Party

Released originally in 2006, Liam Frost is described by Guy Garvey as "the UK’s answer to Bright Eyes".

"Young, fun and riotously talented, Liam Frost And The Slowdown Family are a free-wheeling 21st century folk carnival" -- NME

Soul/Disco/Funk single here for the first time ever on vinyl! The independent label Six Nine Records Ltd. UK, based in Newcastle upon
Tyne, proudly presents J Daw featuring Tim Tucker and SkyFunker and the two magnificent electro boogie tracks "Flying First Class" and "Shake That Fnkn Booty”. Definitely not to be missed as it is a limited UK press with small hole and full colour printed picture cover!

White Vinyl Pressing!
Diffrent Music, So Far.. Speaks for itself really, this brand new vinyl series brings together a handful of carefully selected tracks that until now have been available only as digital downloads. This is the first offering, and a whole lot of love has gone into making this product a real milestone for the label.
The A side, titled "Foundations" brings together two of the original Diffrent Music artists, with their debut single's title tracks; Jekyll - "Drainpipe" slimy and clogged up with bass as you can imagine, now remastered and cut into the analogue realm, along with Arkaik's 2010 "Stress Relief" which has always been way ahead of its time. The flip-side, "Movements", carries two slightly newer productions, Dexta & Hyroglifics "Boxgroove" which caused a lot of damage earlier in 2014 now sounding double thick cut deep into the vinyl grooves, the last and by no means least track is Fearful's 2013 "Tongues" - Not only was this one of the most popular track's that'd ever seen the day of light, but it's also one of the most experimental yet dance-floor jams we have to offer. Everyone involved is truly proud of this record and we all hope you enjoy it as much as we have over the past 4 years or so!

2xLP: Gatefold, pressed on Gold Nugget vinyl


“I wanna thank me,” Snoop Dogg said as he accepted his star on the Hollywood Walk of Fame, “I wanna thank me for believing in me. I wanna thank me for doing all this hard work. I wanna thank me for having no days off.”

An Entertainment Icon, Snoop Dogg has reigned for more than two decades as an unparalleled force who has raised the bar as an entertainer and globally recognized innovator.  Snoop has released 19 studio albums, sold over 40-million albums worldwide, reached No. 1 countless times on Billboard charts internationally and received 20 GRAMMY® nominations. Snoop Dogg most recently released his highly praised and award-winning Gospel album, Bible of Love. He is currently working on his next studio album, I Wanna Thank Me, releasing this summer through EMPIRE.

In addition to his extensive work in music, Snoop Dogg has made his mark in the television and film space, including an Emmy Award nomination for his role as Executive Producer and Co-host of VH1’s hit show, Martha & Snoop’s Potluck Dinner, Executive Producer of MTV’s Mary + Jane, Executive Producer and Host of TNT’s game show, Joker’s Wild and Executive Producer of acclaimed Netflix’s show, Coach Snoop.

After their Grime / Dubstep leaning debut single in late 2018 Intrauterin Recordings mastermind baze.djunkiii and production partner Sascha Müller return with a new outing of their conjunctional COMBAT DUBS project. With „Crystals“ they're coming at us with a special twist, presenting a fascinating crossover of UK Garage and Breakbeat sporting overwhelming basslines and a crystalline, most beautiful and ever cascading synth motif whilst the flipside sees the pair of producers diving deep into raw SpeedGarage / BasslineHouse territories for maximum dancefloor pressure with the aptly titled „Crystals *Speed Mix“.

Initial pressing will be limited to 200 copies on white vinyl.

Charlotte de Witte mints her new KNTXT label with a suitably epic collaboration, joining forces with techno royalty Chris Liebing for ‘Liquid Slow’, due for release on 27th September. The CLR boss and German techno pioneer has been a regular at KNTXT parties over the years, not least at the sold-out stadium event at Antwerp's Sportpaleis last year where he will be returning to once again this November, alongside de Witte, just after the release of this new EP.
The influential pair spent time hanging out together at Awakenings Festival last year when they had the idea to collaborate. “I field-recorded the sound of a crane that was already taking stuff down next to us and thought it would be a good starting point“ says Chris. Whilst he admits the sample didn't made it on to this release, he teased a future collaboration saying "who knows, maybe there is more in the pipeline, I still have the recording". Current BBC Radio 1 resident Charlotte de Witte is once again in the midst of a non-stop summer that finds her taking her dark, stripped and powerful sounds to the biggest clubs and festivals in the world. She adds, “we have shared a lot of laughs, a couple of beers and a million different mixdown versions of both tracks. I consider Chris to be my friend and I’m very proud and honoured to have worked with him on this EP". Opener ‘Liquid Slow’ is seven minutes of heavy and hypnotic techno. It is stripped back to an acid bassline and earth rumbling kicks, with a meandering lead synth line and a darkly absorbing spoken word vocal over the top sure to lock in the dance floor for the duration. ‘In Memory’ ups the pressure with rumbling drums and bass sweeping you up as more acid twitches and tough hits nail down the groove. It is another powerful and compelling piece of techno from this vital pair.
This is the latest fascinating development in the story of Charlotte de Witte and her KNTXT brand. Now a label as well as a radio show and event series, KNTXT strives to be a progressive player within the vibrant techno scene.

The music has gotten thick, guys give me tunes and they’re full of chords” declared Miles Davis interviewed on The Jazz Review in 1958, and added: “I can’t play them...I think a movement in jazz is beginning away from the conventional string of chords, and a return to emphasis on melodic rather than harmonic variation. There will be fewer chords but infinite possibilities as to what to do withthem.”
Miles proved his assertion to be true on Kind of Blue (Columbia, 1959), an album that remains one of the most iconic and influential jazz albums of all time.


• LIMITED EDITION CLASSIC LP
• HIGH-DEFINITION PREMIUM VINYL PRESSING
• 180 GRAM VINYL-AUDIOPHILE PRESSING
• INCLUDES 1 BONUS TRACK

THE BEST-SELLING JAZZ ALBUM EVER AND THE MOST IMPORTANT MODERN JAZZ LP!

All music composed, produced and recorded by The Jaffa Kid
Mastered by Andrea Merlini
Artwork by Conor Walker
Printed at Good Press

“His music defies predictable electronic pigeonholing” – VICE French-Canadian producer and live act Christophe Dubé, aka CRi, is a dance music star in the making. Following in the footsteps of fellow Montréalers Jacques Greene and Kaytranada, CRi has risen through the city’s bubbling scene in recent years and now reveals his debut album ‘Juvenile’. A self-taught college dropout, CRi caught the attention of tastemaker press with early single ‘Rush’ and his 'Someone Else' EP. 'Rush', accompanied by an award-nominated music video, and 'Someone Else' picked up a nomination for Electronic Release of The Year at the 2018 Juno Awards (Canada’s equivalent to The Grammy’s). “I’m just a pizza delivery guy that said fuck it…” CRi’s sound blurs light, dream-like melodies with textured production - capturing the energy of the dancefloor, and the nostalgia of the morning after. Christophe draws inspiration from his musical heroes Moby, St Germain and Daniel Bélanger (who appears on the album), along with more contemporary influences ranging from Caribou and Dark Sky to Jacques Greene and Actress.

Originally released in 1984, “It’s My Life” is the second studio album from new-wave band, Talk Talk. Featuring popular singles such as “It’s My Life” and “Such A Shame”, the album, pressed here on Purple Vinyl, defined the 80s in the underground, new-wave scene.

Der Wunsch nach Veränderung regt sich aus dem Inneren. Entweder man hört ihm zu - oder nicht. Aluna hat sich entschieden, zuzuhören. Nach dem vielfachen Lob der Kritiker als eine Hälfte des MultiplatinDuos AlunaGeorge etablierte die Grammy-ausgezeichnete Sängerin, Songwriterin und Produzentin auf ihrem Solo-Debütalbum ”Renaissance” ihren unbestreitbar charakteristischen und unberechenbaren Sound. ”Ich bin eine schwarze Frau, aber ich bin auch eine multikulturelle Frau, und ich habe an vielen verschiedenen
Orten gelebt und Erfahrungen gesammelt, und so dachte ich mir, das ist es, was ich mitbringen werde”, so Aluna. ”Renaissance” stellt den Höhepunkt ihrer Reise als ”schwarzes Mädchen aus einem damals ganz weißen, britischen Vorort” dar, zum Beginn einer regelwidrigen Revolution bei der sich festgefahrene Grenzen zwischen Kultur, Rasse, Geschlecht und Genre auflösen. Aluna war an jedem Aspekt des Albumprozesses beteiligt - vom Verfassen der Texte über Gesang, Schlagzeug- , Keyboard- und Gitarrenspiel bis hin zur Koproduktion von ”Renaissance” zusammen mit Singer/Songwriter Lido. Zusätzlich enthält das Album Feature-Beiträge von Princess Nokia, Jada Kingdom, SG Lewis, KAYTRANADA, Scott Storch, GRADES, Mr. Carmack und Rema. Mit über 2 Milliarden generierten Streams weltweit gehört Aluna zu den erfolgreichsten Künstlerinnen des
Dance & Electronic Genres. Zudem arbeitete sie kürzlich mit Größen wie DJ Snake, Disclosure, Flume, Jungle, Popcaan, oder Cautious Clay zusammen.

vinyl pressed on yellow 180 gram vinyl

Fragile X is an exciting new collaboration between vocalist Inga Schunn and producer Dylan Chase.

The group began in 2019 when Schunn posted an iPhone voice recording on Facebook in which she sang an acapella in her native German. Her friend Chase, who was recording and releasing at that time as Caffeine Worldwide, heard the 30-second clip and immediately asked Schunn, at that time only an acquaintance, if she might like to record something. Neither of them realised at the time that the first sessions would lead to a debut 4-track EP that capably references as many styles as most full-length albums from established artists, while also setting a blueprint for a project that could go anywhere from here.

The opening track alone, 'Lifetime', opens with a woozy blend of UKG rhythms and Royksopp synths, before giving way to Schunn's sedate rendition of Daniel Johnston's 'Some Things Last A Long Time'...basically the years 1990-2002 distilled into 5 furious minutes of 5am energy.

Across the whole release, Chase's productions show the same cinematic flair that made his previous releases on French Press Lounge, Third Try and Human Concrete Block must-haves for your late-night record bag.
A2 'Prix' with the kind of R&S attitude that would make forebears like LFO or Lone proud, could be the soundtrack for an illegal outback rave or a sunset drive over a Big Sur overpass.
The album closer, 'Fragile X Theme,” sounds something like if late 90's Bjork was commissioned to soundtrack the movie Hackers with Akai samplers on loan from the Hartnoll brothers.

The whole release may be overshadowed by the B1, 'Karaoke Girl', a track Schunn and Chase wrote in Mexico City in 2019 after a rough night at a Zona Rosa karaoke bar.
Opening with dripping synths as soft and inviting as the last drink before sunrise, Schunn tells a story of a woman who overstays her invite at an intimate birthday party between friends, taking the mic from the birthday girl and singing "Seal, Rush and Kate Bush" with a "death grip on the mic."
It's a bizarre, vivid song for such new artists to have come up with, and the lyrics are underpinned by Chase's equally adventurous combination of Nordic disco elements with heavily treated bursts of Japanese koto.
The Lifetime EP's title is a reference to the laborious process that it took to make the record, with multiple recording sessions across two countries followed by endless edits and a Covid 19 related vinyl slowdown bringing its release to a crawl.
The record itself is a fast-paced, dopamine rush debut that we are proud to share with you as both the culmination of a long process, and the beginning of a strange new story.

COLLECTING ORDERS FOR RESTOCK!

The recent data dump from DJ house get the remix treatment from Coco Bryce & Desert Sound Colony - "breaks-jungle-house" in the mix! Pressed on limited 12" vinyl 300 copies Worldwide.

‘Hörtest-Edition IV - Visions of Jazz’ is a listening experience to be cherished. It offers a specially curated programme which can be compared across different media and in various formats. Enjoy an audiophile adventure in perfect sound quality: the 180gram LP, cut at half speed, has been subject to the most exacting demands during the pressing process, rendering the quality of a turntable audible. Compare the special features of vinyl with the strengths of a conventional audio CD, or alternatively feast your ears on the sound quality attainable in the hi-res world of 24-bit. For this listening experience, ACT has curated a selection from its current releases by renowned artists, all recorded and produced to the highest standards and with an uncompromising focus on sound quality.  Test… compare… but above all, enjoy the music. Under the motto ‘Visions of Jazz’, ‘Hörtest-Edition IV’ presents a multi-faceted kaleidoscope of current jazz.  This ‘Hörtest-Edition’ includes gatefold 180g LP, CD and 24Bit high resolution digital download files. Curated and compiled by Marco Ostrowski.

House and techno mainstay Loco Dice is stepping out with En Couleur, a brand new label reserved exclusively for his own music.

The first offering opens with 'Don't Run,' a twisted piece of afterparty techno. Weird fx and alien sound designs squirm in and out of a firmly rooted, rolling groove and pressurised hi hats add to the tension as the kicks grow ever more powerful. 'Nasty Train' explores high quality stripped back house grooves that ooze a certain sense of funk. The timeless hi hats are straight from Chicago while the crisp boom-bap drums, frazzled pads and muffled voices all add details that keep you locked until things grow more wild and unhinged at the mid point. Last of all, 'Ya Free Just Move' is a manic and pulsating acid workout that will leave the club in a frenzy.

For Dekmantel Festival 2019, The Netherlands Institute for Sound and Vision’s RE:VIVE initiative and Dekmantel teamed up for the third time to invite four artists to bring fresh music to a curation of Dutch archival films. As debuted live in Amsterdam’s Eye Filmmuseum, 2019 featured new scores from Safe Trip eclectic left-of-centre DJ / producer, Max Abysmal, 80s pastiche, keyboard wizard duo, Lamellen, Italian contemporary composer and saxophonist, Laura Agnusdei and heavy-hitter, Identified Patient. 2019’s films were as diverse as the invited artists. Three of the films come Academy Award winning Dutch producer, Nico Crama whose collection is held by The Netherlands Institute for Sound and Vision while Comeback (Poppenfilm) was made by amateur Dutch filmmaker, Otto Laan.

Comes with liner notes inlay and pressed on 180 grams vinyl.

A virtuoso pianist and composer of seminal works in early electronic and experimental classical music, Jocy de Oliveira’s musical output has had a great influence within Brazil and abroad. Her sole contribution to Brazilian popular music, her 1959-recorded album, ‘A Música Século XX de Jocy’ in many ways stands apart from the rest of her artistic oeuvre.

The original vinyl release marketed the record as adding to Brazil’s samba heritage with a ‘simple and original dialectic’, naming its style ‘vanguard samba’, which differs from both traditional samba and Bossa Nova, in its infancy at the time.

Listening to Jocy’s ‘20th century music’ in the context of the contemporaneous and vastly more influential Bossa Nova style is especially striking. Where Bossa Nova’s innovators incorporated influences from jazz and French piano music to a samba foundation, Jocy de Oliveira took a greater leap, wedding her century’s classical music to samba. Where Bossa Nova dawned a new epoch of poetic lyricism in Brazilian popular songs with great poets such as Vinicius de Moraes and themes of longing, love and nature, Jocy de Oliveira’s lyrics are concerned with scenes of urban tragedy and decay, presenting an alternative vision to Brazil’s stereotypical tropical paradise image almost 10 years before the emergence of the Tropicália movement.

The sounds and lyrics of Jocy’s landmark release still shock today. Put in the context of a conservative Brazil on the eve of Brasília’s inauguration, it is even more startling that this record ever got made. An unconventional mix of classical and popular musical influences combined with socially critical, ironic and at times journalistic lyrics make for a unique listening experience.

A unique representation of Brazilian popular music, Jocy de Oliveira’s masterpiece ‘A Música Século XX de Jocy’ is reissued for the first time. Meticulously remastered, the record is pressed on high-quality 45-RPM vinyl, with a modernised back cover and printed inner sleeve including previously unseen pictures taken for the record’s release in 1959.

Growing up in Milton Keynes, the largest of the "new towns" outside of London designed and built in the 1960s, perhaps explains why producer Nicholas Worrall is subconsciously drawn to clearly delineated sonic structures and flawed techno utopianism, two concepts that are ever present in both his sound and aesthetic approach to music.

Wordcolour was formed just two years ago, at a time when Worrall was habitually cutting up and splicing human voice samples ripped from YouTube memes, film dialogues and musique concrète tapes.

The first artistic demonstration of these ideas arrived in 2019 via his mixtape “I Want To Tell You Something” for the Blowing Up The Workshop platform. This unique set immediately grabbed the attention and support of the specialized music press and media, including Pitchfork and Resident Advisor.

“Tell Me Something” is Wordcolour’s official debut EP and heads straight for the dance floor. It is comprised of an unusual melting pot of influences that fuse the UK club sound, post-dubstep and a style akin to Paul Lansky's ‘90s musique concrète. “Tell Me Something” offers a vibrant leftfield, avant-garde techno and edgy electro, all immersed in the vast cosmos of the human voice.

Another all-time classic from the extensive back catalog of the legendary Miami songstress Gwen McCrae.

"90% Of Me Is You" is instantly recognizable, it's been sampled countless of times by some of the most seminal Hip Hop artists ever (Large Professor, Jaylib, Mobb Deep & more) & is a bonafide "Rare Groove" sure-shot that never loses it's appeal & is always in demand with DJ's & producers. Perhaps it's the pairing of the languid guitar & strings, or Gwen's sultry vocals & that steady breakbeat that keeps people hooked some 40 years after it's original release Whatever it is, it's classic material from start to finish!

Backed here with it's original b-side slow jam "It's Worth The Hurt" this super-rare 45 has been re-mastered, re-pressed & brought back for 2015's dance-floors in conjunction & with the permission of T.K. Disco / Henry Stone Music, Miami USA.

Back in stock!

Previously Unreleased Soul tracks from 1971 recorded at Scepter Studios, New York, and penned by Clark/Williams/Bailey. "Fallin' For The Same Ole Lie" is a Deep-Soulful Downtempo Crossover stepper. The B-Side, "If You Can't Undo The Wrong" is another beautiful Crossover Soul tune. Both songs were found on a demo reel-to-reel tape by Front Page Scandal. No other information about the band or members is known. Limited Edition Hand-Stamped pressing of 300 copies.

Meda Fury is so gassed to welcome Silvestre back for a virtual hug and a 5 track EP of new jams and remix fire! The Lisbon boy done good has been enjoying some well earned praise for his last few releases - his '...is boss EP' on Secretsundaze, 'Girar' on Diskotopia, and 'Yeah' via yours truly. Gigs in Amsterdam, Bristol, Porto, London and Lisbon followed - including his debut on Boiler Room. For this new EP we are served 3 brand new Silvestre tracks and 2 huge remixes from one of the most respected labels in Lisbon - Príncipe! 'Todos Bem' starts as an organ led scratch-fest, with a tight auto-tune vocal from Silvestre himself, before mutating into an anthemic/hedonistic 303 acid and whistle banger! This euphoric string-laden track equally at home in Ibiza or Notting Hill Carnival! 'Paga O Que Deves' is up next; Joao's love of grime and UK bass culture is evident from the drop, twisted synths and breaks recall everyone from Eastman to Wiley. On the flip we find serious remix pressure from Silvestre's friends and contemporaries - the Lisbon crew of Príncipe! DJ Firmeza is up first, pushing the tempo way up on 'Yeah', turning it into a banging kuduro rave monster, propulsive batida drums upping the temperature. DJ Lilocox follows with an intense remix of 'Demónios Na Cabeça', converting it into a percussive trancey big-room bomb. Layers of mixed afro/gqom drums follow a strict samba-like rhythm forcing hands and possibly the ceiling higher.

Grammy/Acadamy award winning producer/songwriter releases his debut album on Columbia Records. A 15 track album available on double vinyl and standard CD. Includes the brilliant new single "Space Inc" which has been 'Tune Of The Week' on Radio 1. Additional radio support across R2, Radio X, 1Xtra, 6Music, ILR network. Collaborators include Ishmael, Jay Electronica, Ty Dolla $ign, Vince Staples, Lianne La Havas, Kool Keith, Dave Bailey (Glass Animals). Renowned hip hop producer Mike Dean (Kanye West, Travis Scott, Nas, Jay Z) helpsd with mixing/mastering. Ads, features, interviews and reviews across all press. Online/social media activity. Poster campaign.

Gondwana Records are delighted to announce the 6th release of our '7" Series', our first ever 7" vinyl collection series. Featuring bespoke artwork from Gondwana Records designer Daniel Halsall, cut at Calyx in Berlin, and manufactured at Optimal. This one is limited to strictly 300 copies and housed in a reverse board printed sleeve with classic 'dinked' centre holes.

The release also comes with a limited edition postcard

Dwight Trible and Matthew Halsall first met by chance at a festival in South Africa. Dwight sat in with Matt's band for an impromtu jam and a friendship was born. The result was Dwight's 2017 recording for Gondwana Records, Inspirations, produced by and featuring Matthew Halsall and members of the Gondwana Orchestra. With the LP long sold -out we've decided to shine a light on the first two tracks from the album. Together they make a glorious, deep, soulful 7" with a timeless message. On Side A we have, Dwight's impassioned take on Bacharach and David's classic What The World Needs Now is Love and on the flip we have a low-slung take on Donny Hathaway and Leroy Hutson's Tryin' Times. Both feel even more relevant now than they did when written. Just 300 copies and no re-press on this one - so don't miss out.

Good Vids, Vile Times is the second album by Ant Antic. Its central themes are the never-ending flood of information and its effects on us. The Berlin-based singer and producer Tobias Koett wraps serious questions into radiant pop songs. What does constant bombardment of information do to us? What's lost along the way?

On his new album, Ant Antic observes the emotional power of media and information. The helplessness we feel in the face of predominantly bad news and the growing inability to take pleasure in good news. The way an overload of junk information leaves no mental capacity for real social connections. As a child of the first globally connected generation, he witnesses geographical boundaries dissolve and people consider humanity as one. At the same time, everyone seems to struggle to come to terms with a reality overflowing with possibilities. Slowly, we collectively turn into superficial nihilists.

"When I wrote my first album Wealth I looked inward to examine my own emotions, asking myself "How do I really feel?". For Good Vids, Vile Times I was focusing less on the how and more on the question of why. "Why do I feel that way?"", Tobias explains the creative writing process behind his second album as Ant Antic.

"I'm a bag of hot air / Push me up density / Feel like a millionaire / Don't bring me down gravity", he admits on the single Yellow Press. Referencing the album's cover artwork by Austrian photographer Erli Grünzweil, Tobias describes how it feels to advertise his own life to other people - when behind the meticulously crafted presentation, there's sometimes nothing left but emptiness and anxiety.

Good Vids, Vile Times is an album rich in variety, ranging from indie-pop to contemporary R&B. In stark contrast to the somber tone of the lyrics, the songs radiate a cheerful liveliness. Fueled by analog synthesizers and an electric guitar often not discernible as such, the record builds on Ant Antic's signature sound. It's all Tobias on Good Vids, Vile Times - writing songs, recording vocals, guitars and synths, all the way to production and mixing. Essential elements and ideas are put into focus by getting rid of everything else. At the same time, the new album sees singer and producer Tobias openly flirting with pop, exploring new sounds and aesthetics, and maturing musically and lyrically. No song is alike, each one tells an honest and relatable story - all held together by the magic glue that is Tobias' distinctive voice, which might stay with you forever.

Demon Records presents Distortion: 1989-1995, the first in a series of four expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould. Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. Volume one in this new series covers 1989 to 1995, beginning with Mould’s first post Hüsker Dü album Workbook and continuing through to Sugar’s final studio album File Under: Easy Listening.

Each album is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects.

Includes a 28-page companion booklet featuring: liner notes by journalist Keith Cameron; a foreword by writer and actor Fred Armisen; a tribute from Richard Thompson; lyrics and memorabilia.

Mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston.

Featuring an array of bonus tracks including Sugar’s 1995 collection of Bsides and non-album tracks Besides, along with Distortion Plus: 1989-1995 a new and exclusive collection of rarities and collaborations (pressed on clear vinyl).

yellow & clear green marbled vinyl

For the inaugural EP, FOLD resident Gareth Wild presents "Common Assault". With metallic tubular synthesis, cut-throat percussion and rolling rhythms, this EP is an effective and essential piece of material demonstrating all angles of Techno, immersive to peak-time.

The release features three original tracks and two locked grooves from Gareth with stripped back, dark-side remix work from Madrid's very own Roll Dan.

Featuring bespoke, full colour cover art by designer Lion Sauterleute and pressed up on coloured neon wax the release lands 25th September at all good outlets.

In the meantime, check out the snippets on our Soundcloud. The movement continues!