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Far Out Radio Systems, the musical project by Thomas Neyens, is set to make waves with the release of his anticipated second album, "Mariana No Death." This transformative musical journey invites listeners to explore the depths of the Mariana Trench, where the protagonist seeks solace amidst the chaotic realities of our world. Drawing inspiration from the roots of early techno and lo-fi electronica, Thomas Neyens showcases a unique sound palette, embracing a DIY and raw production style. "Mariana No Death" is a testament to pure machine music that delivers a powerful message of honesty and a hopeful outlook for brighter days ahead.

Rhino rediscovers the magic of Madonna's "Celebration" album with an upcoming 4LP repress, releasing on 1 March 2024. This album highlights the chart-topping success of Madonna in the UK, offering a carefully curated collection of her greatest hits across four discs. It's a nod to the enduring influence of the Queen of Pop, who recently performed six dates at the O2 for her Celebration world tour.

The repress has been hotly anticipated from fans and we plan to run heavyweight online promotion including new content from the Madonna socials.

Appalachian style old-time banjo and guitar player Nora Brown joins with award winning fiddler Stephanie Coleman (of Uncle Earl) to present their new EP, Lady of the Lake, featuring two tight-harmony songs and two instrumental duets.

Brought together by Brooklyn’s tight-knit old-time music community, Nora Brown and Stephanie Coleman share a rich musical partnership. Nora is a singer/banjo player, and has released 3 albums on Brooklyn based Jalopy Records. Stephanie is an award winning old-time fiddler, and has recorded with and toured with celebrated artists such as all-women string band Uncle Earl, Watchhouse’s Andrew Marlin, and more.

Lady of the Lake is the first time Nora and Stephanie have recorded together since Nora’s 2019 debut album Cinnamon Tree, and portends more exciting developments to come.

The EP will be released on vinyl and via streaming and digital download.

The special edition vinyl is available as a 10” 45rpm record, in a beautiful custom printed chipboard jacket and sleeve with liner notes by the artists.

Under meters of concrete in central Cairo, a relentless buzz rebels and forms a melody. A tired man tunes his machines to catch a snatch of it, and accidentally creates a playground where these abandoned sounds can flourish. They develop a sense of humor and an acid tongue. A few children with bent ears find their way to an alley with an entrance to the playground. They would later describe what they heard as a delicious hybrid: one part cream, one part bubble gum. So, bend your ears and maybe you'll hear it too.

Following their 2021 debut album, ‘Brama’, One Million Eyes return with their highly anticipated second album, ‘Iris’, set to captivate us once more through a kaleidoscope of rich analog and instrumental fragments.

The inspiration behind the album was born from a powerful symbol—the iris of the eye. Controlling the inflow of light, the iris mirrors the duo's mission for the album, “letting light in, even in the darkest of times”. Representing an attempt to shed new insight on their sometimes indescribable approach, Paolo and Luciano compare the ambition (and consequent imperfections) throughout their music to that of the imperfect, yet unique array of color found within an iris, in the hope it can completely entrance and mesmerize. With much of the album recorded live, ‘Iris’ marks a refined evolution in the One Million Eyes sound born under their Tempelhof guise many years ago. Infusing organic sound elements such as voice fragments, acoustic guitar lines, and drum beats at the forefront of their compositions, their vast array of analog synthesizers once again provide added depth and warmth, resulting in majestic, hypnotic circular motifs that Paolo and Luciano describe as "Mantras, rising and falling in volume and intensity."

It was almost inevitable that growing up with a love for trance would eventually result in Trance Wax releasing his own interpretations of the sound. Following on from the release of his eponymous album in 2020, Trance Wax now shifts into a fresh artistic chapter with his sophomore album, ‘Open Up The Night’.

A sixteen-track journey through nostalgia-infused modern trance, ‘Open Up The Night’ symbolizes Trance Wax’s evolution from his early days of adapting trance classics for the modern dance floor. Now homing in on his own interpretation of the genre with an increase in tempo, the Belfast-born DJ and producer created an expansive sonic palette through original productions (‘Adeya’, ‘Aslan’) as well as sample-powered productions (‘Open Up The Night’, ‘Rhythm Of The Night’) that show he means business in this increasingly popular genre.

“Listeners can expect a switch-up in BPM compared with the last album,” says Garry McCartney (Trance Wax). “It’s a reflection of what I love listening to, be it trance or other genres. There’s some drum and bass influences woven in as well as a bit of breakbeat, which adds a new dimension to the whole thing. It’s the product of a good few years of experimentation that resulted in something really fast and exciting.”

This July the esteemed scribe, proper DJ, and discreetly deft twiddler Bill Brewster, drops the latest instalment in his ‘After Dark’ series, for Late Night Tales.

A throbbing, louche and leisurely affair, groove is very much at the heart of this freestyle selection, a vibe which Bill de- scribes as “a basement, a red light and a sound system. Or, as the Beastie’s once rapped, slow and low, that is the tempo”.

There’s Hawaiian drum machine bossa balearica from Island Band, percussive afro post punk from Czech jazz singer Jana Koubkova, and breathy-bubbling-dubwise-slap-bass-soul from Debbe& The Code.

There’s also sultry deep house mood music from Lanowa, infectious bouncy jazz funk breaks from Canada High, and Nail’s life affirming re-edit of singer songwriter Gilbert O Sullivan’s electro pop gem ‘So What’.

Bill’s own studio skills are present and correct too, featuring an undulating bassy version of country troubadour Jeb Loy Nichols, reworked along Alex Tepper under their Hotel Motel moniker, and a chugged-up squelchy disco take on Khruang- bin, this time paired with Raj Gupta, as Mang Dynasty.

Chock full of exclusives, tracks are either completely brand new, or available digitally for the first time, whilst others are wallet-rinsing rarities if purchased elsewhere. Whichever way you slice it though, every tune is a highlight, working equally well as standalone nuggets, or within Bill’s fluidly cohesive mix.

Whether he’s taking the roof off a club with his unique selec- tion of deep and tough house music, enchanting a backroom with a genre-bending set of disco, Balearic, rock and hip hop or playing chillout music in a bay in Croatia, Bill Brewster is the man for all occasions.

In a former life, Bill was a punk rocker, a chef and also the co-editor of football magazine When Saturday Comes but has been a record nerd all of his life. He began DJing in the 1980s, but came into his own in the early 1990s, particularly during a two-year stint in New York running DMC’s office, where nights at the Sound Factory and hanging out with Danny Tenaglia gave him the musical grounding you can still hear in his music today.

Bill was also one of the founding residents at Fabric in London, a position he held for five years. There are few still playing regularly today that have his dedication, eclecticism and encyclopedic knowledge of music.

His parallel life is as a writer, and with his long-term part- ner-in-crime Frank Broughton, they have written four books together, including the acclaimed ‘Last Night A DJ Saved My Life’ (latest edition published last July), ‘How To DJ (Prop- erly)’ and ‘The Record Players’.

He has been working in the industry’s fringes for over 40 years including the running of various labels from Twisted UK and Forensic in the ’90s to Disco Sucks and Anorak in the noughties.

He is one of NTS radio’s new residents for 2023 and his ‘Low Life Loves You’ show is available on the first Tuesday of every month.

Der Begriff 'Nuit Américaine' (Day for Night) erinnert an François Truffauts legendären 1973er Film und bezeichnet die Technik, Tagesaufnahmen so aussehen zu lassen, als wären sie nachts aufgenommen worden. Diese Stimmung vermittelt auch das gleichnamige Album des französischen Jazztrompeters Robin Mansanti, der zusammen mit einer Rhythmusband, unwiderstehlichem Charme und poetischer Sensibilität zeitlose Jazzklassiker und -Balladen von Glenn Miller über Henry Mancini bis Leonard Bernstein neu interpretiert.

Klasse Wrecks is happy to welcome new Berlin-based producer Jotel California to the family. The emerging young artist provides a strong and varied EP that introduces his deft production skills and understanding of balanced sonics. 'Borrowed Time' traces the lines of traditional electro but stirs the pot with new flavours and the result is something that is both unique and powerful. Late 90s Techno is referenced on the title track, a dark and haunting driver that emerges into euphoria later on in the journey. While the A1 features the cut up vocals of Babyblade and takes the listener on a pulsing trip that thrashes back and forth before restlessly settling down

It all started with waiting music for the city of Ghent information telephone line.


City composer Fulco Ottervanger (Cruise Lento) envisioned a music in which waiting time would serve as an invitation to stillness and presence. Long-term friend and producer Lieven Van Pée (Vectrex) turned out to be the ideal companion.


However, the music was never used, yet it had not missed its magical effect. The two gentlemen were now determined to make a full ambient album in which silence would play a leading role, both intuitive as well as elaborated down to the smallest unit of time... An additional approach was to make music to lull their newborn sons to sleep. With melodies simple, sounds sweet and silences deep.

Inspiration came from Haruomi Hosono's 1984 obscure classic Watering a flower, Eric Satie's Vexations and how could it be otherwise, John Cage's 3'44. What these progressive yet universal compositions have in common is a refinement of repetition and both a soothing and stimulating character.


As a listener you can't help but dive into the silence and experience an certain sweetness. The ideal record to rest to, to wake up to and enter a wider field.

Modern Power electronics...TIP!!

Philipp Matalla lives and works in the triangle of Halle, Leipzig and Berlin, in Germany. He has previously released music on labels such as Optimo Music, KANN and Kashual Plastik. His new album on Meakusma delves into some of the themes that have so far defined his work, this time increasing the tension between moments of musical harshness and flickers of introspection, ease and downright beauty. Matalla aims not for perfection, instead deploying the listener's sense of imagination. His work toys with the notion of abstraction in electronic music, often going as far cutting short melodic and other ideas, making for a confrontational stance unafraid of leaving his material in a state of difficult to define rawness, based on versatile ingredients equally rooted in rural and urban territory. Stakes is a gorgeous and gorgeously far out album, integrating elements of psychedelic rock and dub, blending in melodic ideas that are at times abstracted, at times soothing. It is pastoral music for the digital age, where raw bursts of noise and energy dislocate and set the record straight. There is even a croonerish feel to some of its tracks, croonerish from a distorted future that is. Stakes is an experience in eclecticism and musical logic. It dissolves structures and ideas and turns musically recognisable elements on their head.

A1. DUBrazil – Untitled 1 07:10
A2. DUBrazil – Untitled 2 07:34
B1. Jordan Fields – Wanna Feel The Music (Piano Mix) 05:39
B2. Tracky Disco – Keep It Going 05:15
B3. Afrolectro – Needs Love 06:20

Following up 2021’s compilation 'and felt like...', ' ...it wasn't really me' can be seen as the missing part of a diptych, only separated by the passage of time, yet whole in spirit. Again, a familiar company of singular artists showcase remarkable unity in diversity. Similar to its predecessor, a rustic gloom glues everything together into a seamless whole, enabling the collective to transcend each unique contributors' musical voice elegantly.ambient

Age Eternal is the solo project of producer and visual artist Lissa Benno. She uses guitars, electronic hardware and her voice to create an hypnotic and heavy haze.

Familiar pop structures collide with organic apparitions of experimental electronic sounds. Layers of choral vocals and synthesizers move as ethereal mass through textures of heavy bass and percussive rhythms.

„Be The Enemy“ delivers an introspective view on transpersonal experiences and supra-naturalistic phenomena.

Dark Speedcore and industrial hardcore, Bassy and progressive.
DJ friendy music with a massive cuit and mastering !

Mascore is deejaying since years and years... so belive me when i say he took care of this production !!


LTD 200 copies !

Nur Weil Ich Kann' is the first solo EP by Tyler Pope for Interference Pattern and described as an exercise in limitations. Building each track around a single drum pattern, Pope exploring different ways of manipulating the sound using only one keyboard and drum machine with minimal effects, resulting in a mixture of psychedelic weirdness and up beat pop infused dance-punk

Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend and Streams Today… Rivers Tomorrow, his second solo LP, is perfect. A ten out-of ten album if ever we heard one. It’s also incredibly rare, especially in good condition, so Be With is delighted to present this reissue.

Now a revered composer, musician, and arranger, Caiphus left apartheid South Africa in the 60s for self-imposed exile in Southern California together with his wife, Letta Mbulu. Settling in Los Angeles he started working with the likes of Hugh Masekela and Miriam Makeba and other exiled and semi-exiled South african artists, as well as, of course, his wife Letta.

Caiphus also found himself working with and composing for a broad range of jazz and pop artists, including Lou Rawls, Nina Simone and Cannonball Adderley. His facility with both jazz and African forms served him well. His LA stay also the beginning of an ongoing collaboration with Quincy Jones, the fruits of which can be tasted in Caiphus’s African compositions for the scores to Roots and Spielberg’s adaptation of The Color Purple.

Originally released in 1984, Streams Today… Rivers Tomorrow is not just a musical masterpiece, it is also the soundtrack to the life of many South Africans - both then and now. Fusing the US-heavy sounds of boogie, disco and funk with Afrobeat and traditional African elements, it’s truly a spectacular listen. Jabu Nkosi handles keyboards on the album, with synths by Caiphus and Craig Harris. Sipho Gumede is on bass and Condry Ziqubu is on guitars.

The Afro-Cuban grooves of “Mamase” open the record. Continuing where Listen To The Wind left off, this is another horn-heavy call-and-response ode to a positive life. Life as an invitation to party, to take part, to “get involved”. But only if you’re willing to let in the transcendent power of music. “There’s gonna be a Mardi Gras, there’s gonna be a carnival; there’s gonna be a jamboree, there’s gonna be a bacchanal”. Who can resist that? Vibrations everywhere.

It’s followed by the joy of “Aida”. Gleeful, dayglow keys and synths *just* on the right side of mid-80s sleaze are accompanied by a killer bassline, slick, skipping drums and proud horns. Infectious funk.

The tempo is taken down a few notches for the powerful “Nomalanga” and the lamentations of a heartbroken man who must leave his wife Nomalanga and their children to join the fight against apartheid. It’s an emotional song, no question, but it doesn’t bring you down. The uplifting music and optimistic vocal delivery from Caiphus and his backing singers in the second half offer hope.

Breezy drums and contemplative keys act as a backdrop for the stunning backing vocal harmonies in the intro of “Moshanyana”. This gives way to stuttering beats, a bassline to die for and Caiphus giving it his all, over guitars, marimba and synth strings. Another slo-mo winner.

Side two opens with “Dial Your Number”, an uptempo English-language boogie-funk workout, complete with mid-song cutaway to a random telephone call. Whether or not this propels the song into “key track” status, we’ll let you decide.

What’s not up for debate is the brilliance of “Matswale”. This was a hit in South Africa in the mid-80s and you can still hear why. It might just be our favourite Caiphus hit. Wow. This is some damn fine breezy, beautiful, emotional pop. The restrained playing, the guitar licks and the gentle keys are out of this world. The beats? Thundering, direct and slick. The singing? It’ll give you goosebumps. As for the sentiment? This is Caiphus singing to his in-laws about their daughter’s adultery, begging them to intervene and help him save his marriage. Not your typical pop single story-telling!

The ferocious “Ndi-Kulindile” closes the set with a nod to the coming sound of the States. The hard-edged, electro-influenced drum patterns and bouncing, elastic bassline are something of a departure from the album’s predominant sound, yet one wonderful constant, Caiphus’s exceptional delivery and his sparring with his backing vocalists, is satisfyingly present and warmly deployed.

With Simon Francis handling the mastering of this Be With edition, you know it sounds as fantastic as ever. The stunning sleeve has been restored, with its painting of a dream-like cosmic vista, as a lone figure takes in a scene that’s part distant planet, part urban sprawl. One listen and you’ll be transported.


Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend and Streams Today… Rivers Tomorrow, his second solo LP, is perfect. A ten out-of ten album if ever we heard one. It’s also incredibly rare, especially in good condition, so Be With is delighted to present this reissue.

Originally released in 1984, Streams Today… Rivers Tomorrow is not just a musical masterpiece, it is also the soundtrack to the life of many South Africans - both then and now. Fusing the US-heavy sounds of boogie, disco and funk with Afrobeat and traditional African elements, it’s truly a spectacular listen. Jabu Nkosi handles keyboards on the album, with synths by Caiphus and Craig Harris. Sipho Gumede is on bass and Condry Ziqubu is on guitars.

One listen and you’ll be transported.

NOWNEXT is a voyage from the past to the future, from now to then, from what's behind us to what's waiting for us just around the next corner. In musical terms these are the gaps that appear when you drift between genres and take risks. Strolling far from the well travelled Zeitgeist path. The second album by the Sepalot Quartet floats through this timeless space and fills those cracks with a relaxed fusion of Jazz meets Indie meets Electronica, not once denying Sepalots hip hop roots.
This freedom of expression can also be considered a sign of our times, with a generation coming of age without rivalling youth phenomena. Where a jazz show is held in a techno club with no further explaination needed.
With their first release the Quartet still relied on remakes from the established Sepalot dicography, with their current work they laid the foundation for a truly solid form of musical self discovery.
NOWNEXT is enlivened by this spirit and offers a fascinating and confindent blend of varied sounds spanning time and space.
With all this being said, NOWNEXT is truly an up to date album of international format, feeding from the rich experience of its diverse members (Sepalot, Angela Aux, Fabian Füss, Matthias Lindermayr). Memories, associations and a well carved vision are melted into a masterpiece.
NOWNEXT is the latest offering by SEPALOT and his QUARTET and needs to experienced with all senses.

Modularz is back once again with a stellar release this time from seasoned producer Paul Ritch. The French native is here to deliver five tracks of pulsating techno
breed for the club and another project that adheres to the flagship. The Modularz sound has become so distinct and this EP showcases those rhythmic bouncing basslines and deep riding kick drums. Nuit Blanche is four tracks of punchy dancefloor driving kick drums that are coupled with eccentric modulations and synths. Expect underground crevice hidden chords deep textured and dripping sounds. Some cuts deliver sci-fi alien beeps and stabs that would make any martian jealous. The hi-hats are icy and the snares hype inducing: no matter the pace each cut is a weapon.

There is a certain type of weird effect that is generated by strange, repetitive loops. Ultrastation, the new project of Utrecht veterans Cosmic Force and Nuno Dos Santos, know this well.

The two have teamed up to deliver '4723 EP' and we couldn’t be more thrilled to have them on board, joining our Discos Atónicos family.

Expect four slabs of intergalactic pounding, cosmic modulations, deep resonances, repetitive bleeps and strange atmospheres: a kind of 'technoide soundtrack from outer space'.

Let's dance outside the laws of gravity.

Megastar Bruno Mars has unveiled his new album 24K Magic (pronounced twenty-four karat magic), with lead single of the same title. Written and produced by Shampoo Press & Curl, with additional production by The Stereotypes.
The last time Mars dropped an album was December 2012 - four years ago, an eternity for a pop star. He's surfed the intervening years like a pro, with two Super Bowl halftime performances (headlining in 2014, and a cameo last February with Coldplay and Beyoncé), not to mention the biggest-selling song of the past few years, his collaboration with Mark Ronson, "Uptown Funk", spending 14 weeks at Number One - tying for the second-longest run in chart history - and winning the Grammy for Record of the Year. To date, it's sold more than 12 million copies, been streamed nearly 2 billion times and made several dragons want to retire.
This is Bruno Mars. Six Number One singles. Thirty combined weeks at the top of the chart (44 if you count "Uptown"). Two albums, 26 million in sales worldwide, four Grammys and counting.
Throughout 24K Magic , Bruno Mars re-creates the R&B he fell in love with as a child - the likes of Jimmy Jam, Terry Lewis, New Edition, Bobby Brown, Jodeci, Boyz II Men, Teddy Riley, and Babyface.

Samo lived in Hong Kong for a bit. He rescued a dog and brought him back to Stockholm. He skates but that's not him on the front. He put together one of the best very records on LIES but this four-tracker kills it dead. Ben UFO's been rinsing it. The dog's name is Denzil.

Môme is quickly becoming something like France's new house god. His earthy vinyls for Housewax and FTWR got him a great following with record collectors and house DJs alike. Appearing on Appolonia's Fabric mix, several Boiler Room sets, and his 'For One Day EP' at #1 on Decks Buzz Charts, Môme quickly wins the hearts of dancers and players. 'Triple House' is probably the most amazing outing of his fresh style to date, with all 3 tracks being sweaty bouncing groove monsters. As if this wasn't enough, label honcho Stefan Goldmann cracks his funkiest cutting remix in ages to round the package off. It's unreal. 4 out of 4 are total winners to fall in love with and spawn children. Where else do you ever get this

Record Kicks freut sich, die Vinyl-Neuauflage zum 10-jährigen Jubiläum von ,Late Nights & Heartbreak" zu präsentieren, dem Durchbruchsalbum von Hannah Williams & The Affirmations, auf dem der Song zu finden ist, der zum emotionalen Rückgrat von Jay-Zs wegweisendem Album ,4:44" wurde. ,Late Nights & Heartbreak" kam 2016 raus und wurde von Kritikern gelobt. Seitdem ist es ein moderner Soul-Klassiker. Sein Vermächtnis wurde besiegelt, als Jay-Z den Titelsong von ,4:44" komplett um Hannah Williams' Originalaufnahme herum aufgebaut hat. Der Song, der als unverfälschtes Geständnis der Untreue genutzt wurde, war Jay-Zs Antwort auf ,Lemonade" von seiner Frau Beyoncé und machte Hannahs unverwechselbare Stimme einem weltweiten Publikum bekannt. Aufgenommen im Quatermass Studio in London - der Heimat der Kulthelden The Heliocentrics - zeigt ,Late Nights & Heartbreak" Hannah, begleitet von ihrer neu gegründeten Band The Affirmations. Produziert wurde das Album von Malcolm Catto, der für seine Arbeit mit Künstlern wie Mulatu Astatke, Orlando Julius, Floating Points, Quantic, DJ Shadow und Madlib. Das Album wurde komplett analog gemischt und auf Band gemastert und bietet einen rohen, druckvollen und zutiefst eindringlichen Sound. Auf 13 Tracks erkundet ,Late Nights & Heartbreak" viszeralen, kraftvollen Soul mit einem subtilen psychedelischen Touch. Von der eindringlichen ersten Single ,Tame in the Water" bis zum unerbittlichen achtminütigen Groove von ,Still in My Head" zeigt das Album die schiere Kraft und Kontrolle von Hannahs Stimme in ihrer elektrisierendsten Form. ,Woman Got Soul" liefert fünf Minuten mitreißenden, kraftvollen Funk, während tiefgründigere Stücke wie ,Another Sunrise" und ,Your Luck Can Change" einen üppigen, emotionalen Hintergrund für Themen wie Liebe, Lust, Sehnsucht, Wut und Verletzlichkeit bieten. Alle Songs sind Originalkompositionen, die von dem in Bristol ansässigen Kollektiv um The Affirmations unter der Leitung von Musikdirektor James Graham geschrieben wurden - mit Ausnahme einer atemberaubenden, psychedelisch-souligen Neuinterpretation von ,Dazed and Confused", die stark von der Originalversion von Jake Holmes inspiriert ist. Hannah Williams, die schon früh von der verstorbenen Sharon Jones gesegnet wurde, eroberte 2012 mit ihrem Debütalbum ,A Hill of Feathers" die Soul-Szene. Die Single ,Work It Out" wurde ein Indie-Radiohit und ebnete den Weg für eine Karriere, die von moderner Soul-Mythologie geprägt ist. Aufgewachsen in einem musikalischen Haushalt, sang Hannah ab dem Alter von sechs Jahren im Kirchenchor und konnte Noten lesen, bevor sie richtig lesen konnte. Heute ist sie eine unaufhaltsame Kraft - eine Künstlerin mit einem seltenen Talent, wie es nur einmal in einer Generation vorkommt. Zehn Jahre später kehrt ,Late Nights & Heartbreak" in dieser speziellen Jubiläumsausgabe auf Vinyl zurück und bestätigt erneut, warum Hannah Williams & The Affirmations nach wie vor zu den kraftvollsten Stimmen des zeitgenössischen Soul gehören.

Guided By Voices’ last album Thick Rich And Delicious (October 2025) was lauded by NPR’s All Things Considered and picked #1 on Magnet Magazine’s Best Albums Of 2025. The single “We Outlast Them All” from this latest, Crawlspace Of The Pantheon, is an anthemic victory lap on album #44 from the indie rock stalwarts. Robert Pollard told Rolling Stone: “ ‘We Outlast Them All’ could be our ‘We Are The Champions’ but it’s not necessarily about us.

It’s about anyone who perseveres over a long period of time.” On Crawlspace Of The Pantheon: “I worked much more diligently on this set of lyrics. I chiseled away at lines and sections and phrasings...I wanted them to have an overall emotionally conceptual feel. At times it feels somewhat autobiographical.” Guided By Voices will not be on tour in 2026. Pollard recently told Magnet: “Why would we stop playing live and make these kinds of records? I don’t know. We do what we wanna do.” “Pollard is the greatest rock lyricist of all time.” —Dennis Cooper

Philip Glass, the great American composer, was already in his mid-30s before his first album appeared, and then only because he produced the double LP himself. Music With Changing Parts was the inaugural release on his own Chatham Square imprint in 1971.

At this point, Einstein on the Beach, Glass' first opera, was still five years away. Yet in Changing Parts, one can already hear much of his vocabulary in full bloom: the buoyant arpeggios, the melding of electronic and acoustic instruments, the elongated drones of human voice, the primary emphasis on pulse (an interest he shared with fellow composer Steve Reich) and the ecstatic potential inherent in repetition.

The album features the original Philip Glass Ensemble – the composer himself, along with Jon Gibson, Dickie Landry, Art Murphy, Steve Chambers and Robert Prado – playing Farfisa organs and woodwinds as well as Barbara Benary on electric violin.

As Glass describes in his memoir Words Without Music, he secured a $500 interest-free loan for the recordings' initial release from the Hebrew Free Loan Society – an organization intended to help immigrants from the Old World upon arrival in the US. Though Glass was merely the grandson of immigrants, the venture wasn't far off the society's charter as Changing Parts helped usher in a new world of sound that would become known as Minimalism.

Chatham Square went on to release albums by other composers in Glass' circle, including Gibson and Landry. The label was named after the Manhattan intersection where Landry had a studio and the ensemble rehearsed.

Born in Baltimore in 1937, Glass first moved to New York to attend Juilliard at just nineteen, having already graduated from the University of Chicago. A staple of the Downtown scene, he can perhaps be appreciated as akin to the likes of sculptor Richard Serra or filmmaker Jim Jarmusch: mavericks who became major cultural figures entirely on their own terms.

This first-time vinyl reissue reproduces the original side-breaks and gatefold sleeve.

35th ANNIVERSARY EDITION OF THE GENRE-DEFINING OPUS OF ATMOSPHERIC DEATH/DOOM
FROM THE UK METAL LEGENDS. ON LIMITED CORONA VINYL WITH
ADDITIONAL 4 PAGE BOOKLET & REMASTERED AUDIO

Paradise Lost formed in 1988 in West Yorkshire, UK, when vocalist Nick Holmes & guitarist Gregor Mackintosh came together with the idea of taking metal beyond the conventional styles of the time. They were influenced by acts such as Candlemass, Celtic Frost & Morbid Angel, & concocted a unique atmosphere of their own as a result. This was already apparent when their debut album ‘Lost Paradise’ appeared on Peaceville Records in 1990, & blended death metal with doom & some melodic elements, but it wasn’t until their follow-up album, ‘Gothic’, that the band truly made its mark.

Recorded in late 1990/early 1991 at the renowned Academy Studios in Yorkshire (responsible for classic albums from bands such as My Dying Bride, Anathema, Cradle of Filth, among many others), ‘Gothic’ was the album responsible for a whole sub-genre: Gothic Doom Metal, upon its release in 1991. Creating a more sombre & atmospheric form of dark extremity, with the introduction of Gregor Mackintosh’s highly distinctive & unmistakable lead guitar melodies, Paradise Lost established themselves as among the pioneering UK bands of the early nineties, becoming highly influential to a generation of subsequent greats.

This new edition of ‘Gothic’, marking the album’s 35th anniversary, is presented on limited corona vinyl, with remastered audio courtesy of Jaime Gomez Arellano at Orgone Studios. The release also includes a four page booklet containing recollections from the band on the period & the shaping of the album, as originally featured in 2021’s ‘The Lost & The Painless’.