quête:allan m

Library of the Occult Records unviels ‘Music to Accompany the Poems of Edgar Allan Poe’ a haunting double LP that threads the legendary poet’s dark romanticism through the minds of some of the most evocative contemporary electronic artists.
The Library’s ever-expanding circle now united as the Library of the Occult Electronic Orchestra, bring their own haunted visions to Poe’s bleak and beautiful world. Ivan The Tolerable stretches krautrock pulses and experimental noise into something hypnotic and strange, while The Heartwood Institute channels vintage occult nostalgia. Sermons by the Devil drapes everything in a ritualistic haze and Klaus Morlock, ever the maestro of unease, paints in slow-moving shadows, melancholic, cinematic, and tinged with the surreal. It’s a record for twilight listening, flickering candles, and the spaces between.

Repress!

Nach seiner unerwarteten Rückkehr aus dem 20-jährigen Ruhestand mit dem erfolgreichen Comeback-Album Resurgence im Jahr 2019 meldet sich die Stimme der Hollies - Allan Clarke - mit einem beeindruckenden neuen Album zurück.

I'll Never Forget bringt Allan mit seinem alten Hollies-Bandkollegen Graham Nash von Crosby, Stills And Nash wieder zusammen.
Die beiden alten Freunde aus Manchester begannen während der
Pandemie nach über 40 Jahren gemeinsam zu schreiben, was zu dem mühelos eingängigen Buddy's Back führte, einer Hommage an die Rock & Roll-Größe, nach der die Hollies benannt wurden.

Grahams wunderbare Harmonien sind auf dem gesamten Album zu hören, aber es ist auch Allans Album, das sich mit Spiritualität, Erlösung und Romantik in "The Presence Of You" befasst, dem ersten
Liebeslied, das Allan nach 59 Jahren Ehe für seine Frau Jennifer (die "Jennifer" im Hollies-Klassiker "Jennifer Eccles") geschrieben hat.

Cosmic American Music from the far flung reaches of rural Oregon. Issued in 1979 on Allan Wachs' own True Vine imprint, Mountain Roads and City Streets gathers a decade of songs written while hitchhiking up and down the west coast. Screeching pedal steel, lilting flute, and tingly dulcimer are peppered throughout Wachs' tales of brief affairs, invisible dogs, and getting lost in a changing America.

Cosmic American music from the far flung reaches
of rural Oregon.
Issued in 1979 on Allan Wachs’ own True Vine
imprint, ‘Mountain Roads & City Streets’ gathers a
decade of songs written while hitchhiking up and
down the West Coast.
Screeching pedal steel, lilting flute and tingly
dulcimer are peppered throughout Wachs’ tales of
brief affairs, invisible dogs and getting lost in a
changing America.
Available on Invisible Dog Clear Vinyl and
standard black vinyl LP.

Cosmic American music from the far flung reaches
of rural Oregon.
Issued in 1979 on Allan Wachs’ own True Vine
imprint, ‘Mountain Roads & City Streets’ gathers a
decade of songs written while hitchhiking up and
down the West Coast.
Screeching pedal steel, lilting flute and tingly
dulcimer are peppered throughout Wachs’ tales of
brief affairs, invisible dogs and getting lost in a
changing America.
Available on Invisible Dog Clear Vinyl and
standard black vinyl LP.

Cosmic American Music from the far flung reaches of rural Oregon. Issued in 1979 on Allan Wachs' own True Vine imprint, Mountain Roads and City Streets gathers a decade of songs written while hitchhiking up and down the west coast. Screeching pedal steel, lilting flute, and tingly dulcimer are peppered throughout Wachs' tales of brief affairs, invisible dogs, and getting lost in a changing America.

Temples is a tempting invitation into another world, full of light and movement. From the second the synth comes in this track has got us deep in its pocket. Shotter manages something that is hard to achieve - he has us floating completely, yet steadily carried by tip-toeing metallic rhythm elements and the relentless swells of bright synths. The game changer in the second half is a new, gritty bass quality, which couldn't roll in any more fiercely. At its fullest the track has us in an uncompromising trance, a relentless movement that we don't ever want to escape from. Breaking back down to pleasantly gentle hi-hat reverb-tails and inducing synth patterns Temples lets us down easy, with the unspoken promise to return.

Ueno claims the room to itself completely and immediately. The rise and fall of melodic synth lines lead us through a labyrinth at first, leaving plenty of space for imagination. Before we notice playful call-and-response rhythms are teasing our ears, until the track surrenders itself to an ever-growing wave of synth patterns and their behind-the-beat-delay. It climaxes into a haunting silence with tenuous high-pitched sounds and a clear outer space feel. Finally, all elements lock into a comforting groove, driving us forward, not too fast, not too slow - exactly right.

The track starts off with a blissfully nostalgic vintage-feel - slightly muffled, like the humbling quality you get from an old Technics playing your favourite LP. But don't be fooled, Cube March is bold. And unexpected. Stomping rhythms take over quickly and full-blown gritty synth-stabs cut the air effortlessly, like blades. An unapologetic and careless pumping bass line makes us want to move with every cell in our body. Shotter demonstrates his fearlessness in experimenting with heavy contrasts and elements from different genres here. A break with tastefully placed repetitive rhythm elements is complemented by the constant ebb and flow of melody lines. Both in volume and presence they fluctuate, one handing over the spotlight to the other seamlessly, keeping us hooked until the very end.

This remix lures you away from reality in a matter of seconds, with Definition's signature heavy hitting bass dominating. He expertly weaves shimmery fills into buoyant synth lines and brings us a skilful mix of dark minimal techno, breaks and infectious monster synth lines. Every so often, he adds a new layer, increasing the depth of the track, before letting it all crumble in a breakdown where time stops and tension grows, as we impatiently await the next rise to carry us away. The lengthy build-ups give this remix the energy to fill any room, easily. It is subtle, yet propulsive, too - a lane that Definition seems to manage regularly.

If there’s ever been a way to describe David Allan Coe, it’s got to be his ability to defy categorization. With over six decades of following his musical muse wherever it’s led, this craggy voiced outlaw has crossed the panorama of American roots music. As well as being a singer, guitarist, songwriter, David is also a magician and a ventriloquist, deep sea treasure hunter, and movie star. His movies included Stagecoach, The Last Days Of Frank and Jesse James, Lady Grey, Buckstone County Prison, Take This Job and Shove It, to mention a few. David signed with Sun Records in 1968 and recorded his first album Penitentiary Blues, all songs that David had written in prison. In 1973, Columbia Records bought David’s contract from Sun Records and he recorded his first Columbia album, titled “The Mysterious Rhinestone Cowboy”, several years before Glen Campbell had a hit with the song, “Rhinestone Cowboy.” Much has been written about David’s past and his lifestyle, but not much about his achievements over the years. From performing on Farm Aid to touring with Neil Young, Kid Rock and Willie Nelson. David’s song, “Take This Job and Shove It” has received multi-million airplays certificate from BMI. His “Greatest Hits” album is multi-platinum and his “First Ten Years” album is gold. David has had sixty three songs on the Billboard Singles Charts, including, “Mona Lisa Lost Her Smile”, “The Ride”, “Please Come To Boston”, “Willie, Waylon and Me”, “Jack Daniels If You Please” and “You Never Even Called Me By My Name” to name a few. David has written songs for Johnny Paycheck, Tanya Tucker, George Jones, Willie Nelson, Leon Russell, Charlie Louvin, Del Reeves, Tamy Wynette, Melba Montgomery, Stoney Edwards, The Oak Ridge Boys and Kid Rock. Both “Would You Lay With Me” and “Take This Job and Shove It” are multi- million seller songs penned by David. Johnny Cash has also recorded David’s songs including “Would You Lay With Me” on his chart topping album entitled, Cash. David has been through a lot in his life but has managed to put his past behind him and move forward with his life. This album was recorded in 2001 live from the Iron Horse Saloon in Daytona, Beach Florida and includes the only recorded version of, I’m An Ohio Boy.

Once in a while I hear music from a new talent which I feel is onsistently great and at a high production-level. Allan Feytor is one of those producers. Allan has been super creative in 2020 and together we handpicked 4 tracks which complimented each other and felt sounded for Noir Music. Allan then perfected every little detail until we both felt all tracks were at their best. The result is this fantastic
debut on Noir Music entitled “Orbit”

12''+MP3+Art Print

Allan Shotters zweite EP auf 2DIY4 erzählt eine sehr persönliche Geschichte auf eine quälende Frage, auf ein erschütterndes Gefühl, das ihn nach dem Verlust seiner Mutter plagte. In diesen tragischen Monaten war das Produzieren von Musik sein Zufluchtsort, um mit den vielfältigen Emotionen klarzukommen. Die Diversität an Gefühlen hört man auf "Das Gift" heraus. Überwältigt sein. Sich kraftlos fühlen. In Verunsicherung ertrinken. Wut. Traurigkeit. Warten zu müssen. Hoffnung. Hoffnungslosigkeit. Vier Tracks von brutaler Ehrlichkeit. "Wofür würdest du sterben?" "Für die Chance zurückzugehen."

Australian Soul Jazz holy grail from 1968! Limited to 300 copies w/wide. Debut release on Pacific Theatre Encore, the reissue label started by Melbourne's contemporary funk / soul lynchpin Australian Lance Ferguson (The Bamboos, Menagerie, Lanu, ex Cookin' On 3 Burners). Two high energy Mod burners, both originals taken from the forthcoming album 'Whatever It's Worth'.

Lead by Australia's own rival to Jimmy Smith and Jimmy Witherspoon, the '68 line up of Col Nolan & The Soul Syndicate would prove to be an Australian jazz super-group, consisting of John Sangster on drums / percussion (whose own late '60s Festival albums are highly collectable), John Allan on bass, Col Loughnan on sax and Jimmy Doyle on guitar (the latter two were also in mid Oz '70s jazz-rock giants, Ayers Rock).

"Pacific Theatre Encore will be reissuing music from across the globe, but it was important to me for the first release to shine a light on the important legacy of our own scene" says Ferguson, who meticulously restored the audio himself, which was then remastered.

Erste Solo-EP des Berliner Produzenten Allan Shotter, neben Sängerin Giada Zerbo eine Hälfte des Duos Vittoria Fleet mit Releases auf n5md und 2DIY4. Inspiriert von Veteranen der elektronischen Musik wie Aphex Twin, Radiohead und Boards Of Canada sowie Sounddesignern wie Steve Reich, Moon Dog und John Cage, nimmt uns Shotter mit in eine Welt aus überwältigender, analog erzeugter Electronica mit atmosphärischen Klangkulissen und cineastischen Akkordläufen.

Bended hard techno EP, fast and furious techno banging music ! Dancefloor pearl !

Some tracks don’t age, they just wait for the right dancefloor to hit again.

Originally released in 1985, Main Attraction by Toronto-based duo Yoh-Yo is one of those high-energy sleepers that quietly tore through clubs while never fully crossing into the mainstream canon. Produced by maestro Allan Coelho (Tapps, Click) and driven by the instantly recognizable vocal of Carlos Borges, it’s a pure shot of mid-80s Hi-NRG euphoria. Tight, glossy, and unapologetically emotional.

Fast forward to now, and Vintage Pleasure Boutique digs deep into the archives of Boulevard Records to deliver the ultimate collector’s package, bringing together all six officially released versions from the original 1985–86 pressings across Europe, Canada and Mexico. But this isn’t just a reissue, it’s a full-spectrum reconstruction of a club weapon.

From the Original Version, still hitting with that raw, uplifting drive, to the Sandy St. Alban Version, adding a slightly different vocal flavor for the heads who know, each cut reveals another angle of this underground anthem. The Instrumental and Hi-NRG Dub Version strip things down into pure mixing tools: extended grooves, pulsating basslines and synth hooks that lock dancers into a trance. The Remix pushes things further into peak-time territory, while the real gem for DJs lands on the B-side: the long-sought Hot Tracks Extended Edit by Gregg Denewith — originally exclusive to the US market and finally resurfacing in proper, playable quality. A true secret weapon for selectors who like their sets with a touch of authentic 80s heat.

This release is a love letter to Hi-NRG, to analog excess, and to the global club network that kept these records alive long before algorithms caught up. For fans of neon-lit nostalgia, sweaty dancefloors and that unmistakable Italo-adjacent pulse. Main Attraction is exactly what the name promises. Pure energy. No compromise.

Cathartic avant-rock, literate DIY folk & experimental composition exploring displacement, love, climate change, belonging & the places we call home - RIYL Jim O’Rourke, Richard Youngs, This Heat, Richard Dawson, Flying Nun. ‘Real Home’ is the new album by the Manchester-born, London-based artist Kiran Leonard. His sixth album proper (not including innumerable tour-only CD-Rs and short-run cassettes), since his precocious debut in 2013, ‘Real Home’ finds Leonard invigorated by inspiration and experience, making passionate, literate, and mercurial music that explores displacement, love, memory, climate change, connections to home and more. Encompassing songs recorded after moving to South London, ‘Real Home’ reflects on ideas of belonging and domesticity through folkloric, stream-of-consciousness songwriting. Across nine tracks, Leonard traces lived impressions of the household and the city, expressing sentiments of dislocation, alienation and stasis, but contentment too. Infusing the avant-rock effervescence, terraced dynamics and visionary lyricism of his music with what he defines as a greater sense of openness, Leonard is as versatile, fervent and imaginative as ever on ‘Real Home’, yet his music is somehow more intimate, affecting, and acutely expressive. Shaped by dual considerations of simplicity and formalism, ‘Real Home’ is by turns beautiful, allusive, and ruminative, an album on which Leonard considers what his songs have resembled in the past and what they mean now. In recent years, Leonard has crafted eloquent chamber music inspired by the likes of James Joyce and Clarice Lispector (‘Derevaun Seraun’), responded to contemporary politics and communication breakdown in the digital age (‘Western Culture’), and compiled solo works and ensemble recordings for a longform ode to Jonas Mekas and to one of Leonard’s enduring themes; home (‘Trespass On Foot’). On ‘Real Home’, Leonard reiterates this abiding thematic focus yet ascends to new, different heights, in music of cathartic delicacy and dissonance where all the myriad dimensions of his work to date seem to crystallize. There are sinuous songs about struggle and defying the pace of city life through drift and diversion (‘Pass Between Houses’), stirring songs of intense feeling and crescendo, described as a form of speculative detective fiction (‘Theatre for Change’). There are touching solo piano ballads (the title track), symbolic contentions with carbon capture and climate change (‘Utopia of Bog’), modes of experimental minimalism (‘Void Attentive’), and other profuse feats of compositional range, embroidered with wild tendrils of narrative and lyrical depth. A record to pore over, and get lost in. Exemplifying the vast aesthetic scope of Leonard’s music, lead single ‘My Love, Let’s Take The Stage Tonight’ is inspired by country lodestar Hank Williams, Russian poetry and a late period love poem by William Carlos Williams. Yet for Leonard, the song signals a sense of accessible materiality, and is the product of a more linear approach to writing songs: “My imitation of the great Hank Williams, in spirit if not in substance…This is one of the best efforts on Real Home at a song-as-object. Looking at it now I realise I was trying to write a song that made itself known as a song to the listener, and I wonder whether that’s crucial if you want a song to transcend its context. And that this is either accomplished through a total openness – by being inviting, by laying the tricks of the song out plain to see, as Williams and his many ghostwriters did so well – or by adopting a knowing aloofness, positioning oneself against the listener but letting it be known that that’s what it’s doing. In this song I try both, but mostly the former: as in, I wanted to write a song where every line follows on from the next.” Imbuing the endlessly elaborate and inventive qualities of his music with a newfound streak of candid, clear-cut melodicism, Leonard has reached a special place in his artistry, on a record that feels familial, and expresses closeness. Assembled with affiliates including Lauren Auder, Otto Willberg, Jasper Llewellyn (caroline), Tom Hardwick-Allan (Shovel Dance Collective), Magda McLean (caroline, The Umlauts), Alex Mckenzie (caroline, Shovel Dance Collective), Isabelle Thorn (Dear Laika) & more, the recording process had a significant influence on the subject matter of ‘Real Home’, in sessions defined by close-knit camaraderie and artistic eccentricity: “The theme of the home obviously recurs throughout the record; the album was mostly recorded in domestic spaces with friends, and the name of the album is Real Home. I like the qualifier ‘real’, like you’re getting past the cloak of the word and towards the thing-itself…also nearly all the percussion in this record was recorded on items from my dad’s shed (jam jars, sandpaper, blocks of wood, etc). Real home record!” ‘Real Home’, like anything by Kiran Leonard, is a record of dazzling multiplicity. Yet it’s a companionable prospect with a central premise; a collection of songs where listeners old and new can find a home. An album led by a scene; of Leonard standing at the threshold, ready to welcome you inside. “Exceptional songs that linger” - The Guardian // “An autodidact of amazing talent & energy” – Pitchfork // “A ridiculous amount of talent…confrontational, celebratory, provocative or perverse – he manages all of these emotions & more” - The Quietus /

Following the success of his debut EP 'Departure', J Michael Harris returns with a dynamic neo-jazz album that marks his evolution as an artist. Bringing together legendary musicians from London, Los Angeles, and Atlanta, the album embodies elements of jazz, dance and electronica while drawing inspiration from luminaries such as Robert Glasper, J Dilla, Aphex Twin, Sampha, and Herbie Hancock.



All music written by J Michael Harris (saxophone, piano, fender rhodes, synths, EWI, clarinet, flute)

featuring

Freddy Sheed (drums, percussion, programming/ Lewis Capaldi, The Japanese House, The 1975)

Jimmy Haslip (bass/ Yellowjackets, Allan Holdsworth, Jeff Lorber Fusion)

Mo Pleasure (piano, hammond b3/ Earth Wind and Fire,

Michael Jackson, Ray Charles)

Karlos Edwards (percussion/ Nitin Sawney, Spice Girls, Mark Ronson)

Henry Collins (trumpet/ Amy Winehouse, Tom Jones, Van Morrison)



Mixed and Mastered by Guy Massey (The Divine Comedy, Kylie, The Beatles)

2026 Repress

A gift to the overthinkers and overworked. Those who are over-concerned and always preoccupied. This is an invitation to hang up the bootstraps, take a load off, and visit a place in the mind where the sun is shining, the breeze is soft and the waves lap softly at your feet. Vacation From My Mind is a sonic realignment of melancholic soul, breezy soft rock, & mellow jazz-funk.

This album is a thoughtfully curated collection of 12 rare and obscure tracks from 1973 to 1981. From Jeanette Baker’s hypnotic 70’s soul title track “Vacation From My Mind” to the Latin rhythms of David Buckland’s jazz-funk “Celia”, this compilation was lovingly crafted to ease the stresses and worries of modern life. The Care Package’s song “The Storm” is a larger-than-life production of dreamy harmonies not often found on privately released 45s. Utopia’s “Lejos De Mi” is a slow-burning slice of Bolivian psych that will have you searching for similar sounds. Whatever your preference, we hope that this album will give you a vacation from your mind.

Spider Taylor crawls over to Dark Entries with Surge Studio Music, an album of archival gay pornographic soundtracks. James Allan Taylor was born into a working-class family in Los Angeles in 1951. Nicknamed “Spider” by his father due to his frantic energy, Taylor was a natural-born guitarist, gifted with perfect pitch and a voracious musical appetite.

Throughout the 70s, he expanded his musical repertoire, playing in bands ranging from country to post-punk, like his outfit Red Wedding, while always looking for new sounds and styles to explore. During this period, Taylor also partnered with his soulmate and musical collaborator, Michael Ely. They were part of a wave of bold, young, gay couples living openly together in the years immediately following the Stonewall Riots. In the early 80s, while working at the West Hollywood gay sex club Basic Plumbing, Taylor met Al Parker, the legendary pornographic actor and director, who recruited Taylor to produce the soundtrack for a film he was working on. Parker’s partnership with Steve Scott running Surge Studios produced some of the most popular all-male films of the era. Spider’s music was a natural fit for Surge, and throughout 1985 and 1986, he composed the soundtracks for five films produced by the iconic studio. Assisted by engineer Steve Conrad and armed with a drum machine and some synths, Spider’s compositions for film veer from the expansive, reverb-drenched “Rainforest” to the Miami Vice-esque chugger “Tech.”

While Spider thought of this work as little more than a gig, tangential to his real craft, enthusiasts of VHS-era nostalgia and vintage erotica will be brought to bliss. Surge Studio Music will be available on both LP and CD, the latter of which includes a 20-minute version of “Strange Places…Strange Things!” as a bonus track. The album’s cover art was designed by Gwenael Rattke, and features stylish images from Surge Studios releases. Also included is an insert featuring liner notes by Will Lewis, a longtime friend of Spider. The music is released from Spider’s estate by Michael Ely, Spider’s partner of 43 years. The shadow of AIDS lingered over Surge; Steve Scott passed from AIDS-related illness in 1987, and Al Parker succumbed in 1992. In 2014, when it became legal for same-sex couples to marry in Arizona, Spider and Michael finally became wedded. Spider would pass away from liver cancer six months later.

Stay True Sounds supremo Allan Nicoll, aka Kid Fonque, and legendary UK producer Charles Webster have brought together the cream of the South African deep house scene for a unique album. The record was recorded at Flame Studios, a facility built inside a prison at Constitution Hill in South Africa, which is very significant to South Africans, because that's where the Constitution was written. “It's a remarkable institution,” says Charles. “Mandela was in there; you can really feel the history. You're working in a prison cell from a brutal regime. It's an important place. So, I didn't want the album to be too light, because you can't escape from politics anywhere, but especially somewhere like here - and you shouldn't.”

At the start of the 1980’s X-Plode’s dad had a second-hand colour TV business in Bolton, Lancashire where he would buy, sell, repair and trade TVs. He would come back home with all kinds of things he had traded for a TV but the most memorable, to a 10 year old kid at that time, were the keyboards. He use to watch his dad play songs from the 1960’s on these keyboards and when his dad had gone out, Lee X-Plode would sneak on them and start messing about, experimenting with the drum programs and fiddling with the buttons, trying out ideas. He had to move fast though because these keyboards didn’t stay in the house for long as his dad would trade them again for something else; one time that was an old analogue echo chamber, which Lee also messed about with when his dad was out. That echo chamber was a revelation to Lee and opened up the possibilities of what was possible with sound. So by the time Lee was 16, he decided he wanted his own keyboard and started saving. When his 17th birthday came around he had saved up £200 and visited his local Argos where he bought himself a Yamaha PSS 680, an FM synthesizer with memory banks and a basic drum machine incorporated. ‘It was shit quality like, but I didn’t mind. I just wanted it for the programmable drum machine, the synth and the memory banks that came with it” Lee recalls. The year was 1987 and by this time in Lee’s life he was into reggae and hip hop, the latter he first embraced in 1983 by the way of breakdancing and listening to electro, so all he wanted to do when he got his gear was make reggae and electro sounding beats. Recalling his youth and the fun he had with the echo chamber, the next edition to his home set up was to acquire one of those, which he did via a mate of his. But by the time he got his minimal set up sorted in 1988, his musical tastes had changed. House music had landed here in UK and this was Lee’s new passion, so from that point on wards he started experimenting, trying to nail a decent house groove. ‘I wanted 808 sounds, but I didn’t know what one was!’ Lee explains.

Around late 1990 or early 1991, Lee started to improve upon his set up, purchasing an Atari STE, a Cheetah MS6 , a 6 voice polyphonic/multi-timbre analogue rack mounted synth that linked up to his Yamaha – “It wasn’t a great bit of kit, I kept getting electric shocks from it. Eventually it just blew up!” Lee had acquired a cracked copy of Cubase on floppy disk from his local computer game shop but struggled with it. “It was so complicated to understand and took me ages to get used to it. I was stoned a lot back then and I just couldn’t concentrate on anything for long” Lee laughs, continuing “I also picked up a 4 channel sampler/sequencer which plugged into the side of the Atari and that’s when I first started sampling, I think this would have been late 1991. I had the Simon Harris ‘Breaks, Beats and Scratches’ vinyl that he put out on Music for Life which were a godsend back then. I was also sampling a lot from cassette tapes, especially reggae. I would also record the Stu Allan show on Key 103FM, one of the main stations broadcasting out of Manchester. He would do a 3 hour show with hip hop and house, and then hardcore house came along. Eventually he dropped the hip hop altogether and it was just house and hardcore. I recorded the shows onto cassette most weeks and started to learn more about how house and hardcore was put together by listening to those shows.”

2025 Repress

Nach seiner "Heimischen Gefilde" CD vor zwei Jahren auf TRAUM, die den Preis der deutschen
Schallplatten Kritik gewann und als erste CD mit Moderation in die Techno-Geschichte einging, hat Eulberg
jetzt mit klarem Ziel vor Augen ein Album geschrieben, bei dem er alle Facetten elektronischer Musik ins
Visier genommen hat.
"Diorma" ist somit wieder etwas völlig eigenständiges und neues, eine Rückführung in den Urzustand
Eulbergscher Klangkunst und das mit höchstem Anspruch und zeitgemäßem Sound-Kolorit
Played by... Monika Kruse, Sebastien Leger, Gregor Tresher, DJ Sasha, Mauro Picotto, Alexi Delano, Ryan Davis, Marc Marzenit, Max Cooper, Morris Cowan, Steve Lawler, Fra Soler, Mihalis Safras, Igor Tchkotoua (pig and dan), Paco Osuna, Sebbo Suckfuell, Ekkohaus, Deepgroove, Tom Wax, Alland Byallo,
Grünbox, Scott Byrne, Axel Bartsch, SQL, Taster Peter, Goldfish & Der Dulz, Intu:itiv, Beatamines, Freska, Zidan, Sebastian Russell

Truth Manifest Records is proud and excited to release Beyond Jazz Volume 2, the second volume in this wonderful, futuristic four-part series!

This stellar vinyl release on Truth Manifest Records is from executive producer Malik Alston, with distribution from Mother Tongue. As we travel to the edge of our senses with Beyond Jazz Volume 2, it is immersed in poetry pulling on the heartstrings of urban reality. This is where live meets a hip-hop foundation, sped up and transformed into a dance jazz Afro-Cuban up-tempo banger, to tell the story of the groove. Put Volume 2 to a funky jazz lick phrase, reminding us that through the struggle, there is victory. Let your spirit shine as you feel the essence of boom bap jazz.

This powerful collection has special new remixes and edits based on Malik’s current radio show, Beyond Jazz

Sleep Now Forever is the second and final album released by Sorrow, the post-Strawberry Switchblade group fronted by singer Rose McDowall. Originally released in 1999 and long since deleted it is a cornucopia of pastoral, elegiac folk music, swirling atmospherics, hymnal compositions and above it all the alternating towering and fragile vocal performances of McDowall. Recorded in the late 90s with fellow band member and co-songwriter Robert Lee, Sleep Now Forever is the definitive statement by the now defunct group and Rose McDowall’s most complete long-form work to date.
Released through the group’s own Piski Disk Records, Sleep Now Forever was distributed by World Serpent which struggled through the early 2000s with financial woes, eventually folding due to bankruptcy in 2004. Due to the company’s troubles, Sleep Now Forever was never distributed widely and was a victim of the company’s failure. Released on CD only, original copies are now rare and only traded on second hand channels. Remastered by Mikey Young for a limited vinyl release, Sleep Now Forever will be released on April 20th on double vinyl format, with one side an exclusive etching by Glasgow artist Holly Allan.
Despite its rarity, Sleep Now Forever enjoys a firm cult following. The album’s textures are expansive, lush, deliciously detailed and celestial. Recorded in home study Velvet Hole by Rose McDowall and then-husband Robert Lee, the album enlists an array of players from the underground Neo-folk / industrial scene: Nigel McKernaghan (Uilleann pipes, Whistles), Susan Franknel (Bassoon), John Contreras (Cello) and Lawrence Frankel (Oboe, Cor Anglais). The eleven songs here revolve around McDowall’s instantly recognisable voice. Brought up singing in the Catholic Church, McDowall’s vocals are impeccable and angelic, particularly on tracks like Turn Off The Light where her experiences with religion are canted over soaring oboe and guitar backing. By far the most evolved and realised version of Sorrow’s vision, it feels somewhat criminal that music this beautiful could be lost to time until now.
McDowall’s lyrics throughout Sleep Now Forever deal frankly with mental health, depression, altered states, death and redemption. Wave upon wave of harmony drench each song, McDowal’s vocal multi-tracked and imperious. Opener Soldier benefits from Robert Lee’s use of the studio as instrument, summoning forth a lilting group performance of sparkling guitar and percussion that recalls the Velvet Underground. Mikey Love’s master treats the compositions to brand new frequency dynamics and space. Harmonium and string drones form the counter to McDowall’s vocal on Love Dies, a slow, lurching lament that feels transcendent. On Haunting, the arrangement is orchestral and aching, bleeding into Fear Becomes You, with chord and harmony structure that recalls the baroque sixties pop of West Coast Pop Experimental Art Band or the 60s psychedelic folk movement. A towering, beautiful statement, this elegy for times lost and moonlit-illumination is finally resurfacing from the darkness.

Love Love continues the LOVLTD series with a follow up from Bristol based producer Ben Pest. In a similar vein to his previous 12" on Love Love, 'On The Three', it's an all out techno affair with 4 high powered tracks geared for destroying peak-time dancefloors.

DJ support from:

Tariq Ziyad (Life Support Machine), Doc Scott, TMSN, Alland Byallo, Vell (Boiled Wonderland Records), Manfred Reckers, Shcuro, Hassan Abou Alam, Miley Serious, Zoltan Balla, Jensen Interceptor, Luke Sanger, Mumdance, Clouds, Piezo, Elena Rioboo, Jossy Mitsu, Yorobi, Blutch, NVST, Snuffo, Om Unit, Black Cadmium, Kreggo, Prettybwoy, Gene Farris, Timothy Clerkin, Danielle Moore, Sun People, JVK, Mad Miran, Stillhead, Nala, Brown, Monotronique, Syz, Appleblim, SDR, Wes Baggaley, Hrdvsion, Marco Zenker, Hooverian Blur, Roi, Mamiko Motto, Fear E, Giant Swan, Minor Science, Extrawelt, Second Storey, Toshiki Ohta, Hudson Mohawke, Nachtbraker, Mani Festo, Radioactiveman, Formally Unknown


“Mr Pest never ceases to bring the dirt.. Always top notch and 1 step ahead.. :) Proper”

Metamorphose is the ninth vinyl of ART21, is a work by Seteve Parker where he presents us with dark, hypnotic sounds, focused on the dance floor. Mature techno elaborate design of loops and a modulation of sounds in progression of surrounding layers that transport us to a reflection of basic vital questions, Metamorphose is a nod to that look at the stage of maturity towards our interior, and analyze the continuous changes of our lives. from children to understand ourselves and become aware of our human situation.

To give a broader perspective when dealing with this topic, ART21 has counted on the vision of 5 other artists, such as HD Substance, Antony Doria, Animatek, Soundbrio in its vinyl version and Lectomeda with a bonus track in its version. digital.

Hypnotic techno for restless minds

«All movement, whatever its cause, is creative.»

-Edgar Allan Poe

Mastering – Eternal Midnight mastering Studio

Video – Dietriangle

Cover Art & Design – JL

Back in 2015, when we started Hip Dozer we were overwhelmed by the amount of talents that were still defending that old school way of doing beats and the amazing creativity that was circulating in the scene.

In a period of time where hip hop was evolving so much and getting always further (sometimes for the best but also for the worst), it appeared evident to us that we had to defend this rising scene of young beatmakers that were so tied up to the roots of the 'old-school' beatmaking but still bringing it to another level.

It has been 5 years since we have created Hip Dozer Records with our 1st Anniversary compilation and this is what makes this compilation such a special project every time. Its goal remains the same and will always be, championing the art of beatmaking that we love and help to showcase new artists from the scene.

This year we have the chance to have onboard some of our favorite new talent from the scene with the like of Burrito Brown, Loland, Imagiro, we also have the chance to have standard bearers like Jinsang, Saib, Flofilz, Melodisinfonie, Kazam, Shuko and, cherry on the cake, the french hip hop legend DJ Cam on top of that.

We want to thank so much all the artists who took part in this project and that were as enthusiastic as we are in its realization. It’s been such a thrill since this venture started and this is just the beginning. Much love to all of you guys listening and supporting wherever you are.

PEACE. Hip Dozer Fam.

Repressed !!! Ipoly Music is the new imprint A&Red by Alec Troniq and Mentalic. After various releases for Etui Records, Phonocake and Microtonal the two talented travellers have found their own place of creativity and reveries. Early support by Laurent Garnier, Alland Byallo, Jamie Stevens, Anderson Noise, Chris Fortier and Gunjah

repressed now !!!!

Mentalics debut EP on his own imprint after his great Desperado EP on Microtonal which was remixed by Gabriel Ananda & Dominik Eulberg. Trippy and freaky techno with neverending build-up´s and some great glitching beats. Early support by Gabriel Ananda, Konrad Black, Xpansul, Jennifer Cardini, Mark Henning, Alland Byallo, Oliver Ho, Frankie, Perc, Jeff Samuel, Jamie Stevens, Terje Bakke, stephan bodzin, ...!!

In 2023 Ace Records released the album “28 Little Bangers From Richard Hawley’s Jukebox” where the acclaimed Sheffield musician, singer and songwriter compiled together some of his favourite records. These were instrumentals and vocals records that he had collected over the years and found musically addictive. The album received fantastic reviews and allowed his
extensive fanbase to discover and enjoy tracks like Ronny Kae’s ‘Swinging Drums’ and King Curtis’ ‘Hot-Rod’ that were on the juke box in his home.

Now, three years later, Richard has lifted the lid, taken those 7” out and replaced them with another favoured selection. One again, this second version of “Little Bangers” is full of cracking records such as Chet Atkins ‘Boo Boo Stick Beat’, Frank Minion’s ‘Watermelon’, Johnny Todd’s ‘Pink Cadillac’, Sunshine Theatre’s ‘Mountain’, Jet Harris’ ‘Man From Nowhere’, Tracy Rogers ‘Baby’ and the Ventures ‘Fuzzy And Wild’.

A with the first album there are 28 tracks spread across two albums or shoehorned onto one CD. The extensive liner notes see Richard discussing each and every track and what the record or artist meant to him. As he states himself in the introduction, “the record you hold in your hand is the result of a lifetime obsession.”
Listen for yourself and you will discover that this was time well spent.

Sahib's Jazz Party is an album by saxophonist/flautist Sahib Shihab, recorded live at the Jazzhus Montmartre in Copenhagen, around the same time that he relocated there in 1963. Shihab is joined by flugelhornist Allan Botchinsky, guitarist Ole Molin, drummer Alex Riel, and 17-year old bass prodigy Niels Henning Orsted Pederson. The recordings showcase Sahib's diversity and dexterity as a player, including his openness to the avant-garde style, expanding on the bop era playing he is known for. The audio has been remastered by Dave Gardner and pressed on audiophile-grade vinyl at Pallas Group in Germany.

First EP from a new project formed in 2023 by Allan Crockford (The Galileo 7, The Prisoners,The James Taylor Quartet etc) and Ian Button (Papernut Cambridge, Swansea Sound, Death In Vegas etc)

Both writers bring their influences to the four songs here, with dual lead vocals and a mix of Medway psych, horror- garage, and kitchen sink new- wave pop vignettes. There's paranoia and psychosis, a cautionary tale about gullibility, and a love song straight out of 1978...

Recorded in Rochester and Folkestone, and released jointly on Button's Gare du Nord and Crockford's Fool's Paradise labels, this 7" is the first to be pressed on the new bioplastic compound Evo-vinyl.

180g Black Vinyl Half-speed Remaster by Miles Showell at Abbey Road Studios, includes a sleevenote featuring quotes from Alan Parsons & Eric Woolfson. The Alan Parsons Project debut studio album was originally released in June 1976. The lyrical and musical themes of the album are retellings of horror stories and poetry by Edgar Allan Poe. Musicians featured on the album include vocalists Arthur Brown of The Crazy World of Arthur Brown on "The Tell Tale Heart", John Miles on "The Cask of Amontillado" and "(The System of) Dr. Tarr and Professor Fether", and Terry Sylvester of The Hollies on "To One in Paradise". The complete line-up of bands Ambrosia and Pilot play on the record, along with keyboardist Francis Monkman of Curved Air and Sky. The album was a worldwide hit selling almost a million copies and achieving platinum status in a number of countries including Germany and Canada.

The producers of the new hit Broadway musical BUENA VISTA SOCIAL CLUB and WORLD CIRCUIT RECORDS present the show’s Original Broadway Cast Recording, to be released in July 2025, recording produced by Dean Sharenow and David Yazbek. Step into the heart of Cuba, beyond the glitz of the Tropicana, to a place where blazing trumpets and sizzling guitars set the dance floor on fire. Inspired by true events, the new Broadway musical BUENA VISTA SOCIAL CLUB™ brings the GRAMMY® Award-winning album to thrilling life—and tells the story of the legends who lived it. A world-class Afro-Cuban band is joined by a sensational cast in this unforgettable tale of survival, second chances, and the extraordinary power of music.

The BUENA VISTA SOCIAL CLUB™ Musical officially launched at Broadway’s Gerard Schoenfeld Theater in March 2025 to huge critical acclaim and has been nominated for 10 TONY AWARDS. The show is produced on Broadway by Orin Wolf, John Styles, Barbara Broccoli, Atlantic Theater Company, Luis Miranda, LaChanze and John Leguizamo with Executive Producer Allan Williams, with Nick Gold (World Circuit) and Juan de Marcos González (Buena Vista Social Club) acting as consultants on the production.

Unchained is the long-standing guitar-based project of Nate Davis, originally from Providence, RI, and based in France for over a decade. In his two most recent LPs—Gabbeh (2024, A Colourful Storm) and Frontalier (2025, Stern Records)—Davis strives to describe a new path for outsider jazz instrumentalism that remains committed to harmonic and rhythmic form while placing greater emphasis on sonic texture through experimental production techniques.

Release Description:

Unchained—a name which at the project's inception or on earlier recordings spoke perhaps to the ecstatic saturation of high gain guitar—has over the past three albums (N.D. Visitor, Pic, and Gabbeh) come to represent more and more an acknowledgement of and sensitive remove from a crashing world. An excuse of oneself from trend towards a siloed artistic development.

On Frontalier, Nate Davis crosses further into this patient personal lexicon of guitar composition, presenting a new set of richly developed songs and leaps in arrangement which may very well shock Unchained fans the world over. The sympathetic geometric guitar themes of the earlier second-period Unchained style are almost entirely absent, making way for a fully realized presentation of the jazz, MPB, and fusion influence present to varying degrees on the previous three albums. Davis's keen sense of melody and songcraft have never been stronger, here landing on music which is at moments evocative of Wes Montgomery, Allan Holdsworth, Jobim, or the jazzier impulses of Lô Borges. Distinct in Davis's music, however, is what these references might belie: an innate tending towards repetition as an affective tool—one which has less to do with the aesthetics of the scene from which the project emerged than it does with devotional prayer. In this way it feels as if Unchained has always been music for living. What was once a maximalist expression of youth has matured into the sound of living with and in the world and an empathic transmuting of all the joy, disappointment, and ambivalence that comes with it. Songs that feel like the sort of thinking one does looking out the window on a long train ride, or the routinism of internal and external life and the breaking out of it. As much as it will be recognized by the fandom as a significant step forward, Frontalier serves also as a perfect gateway for new listeners to the singular music of Unchained.

“Is all that we see or seem but a dream within a dream?” This quote from a poem by Edgar Allan Poe sums up the lamenting, primal work that is "All That We See or Seem"; a project conceived between Finland, England and Brazil. The self-titled album consists of two long-form pieces of droning mysticism hailing from the trio of Gruth (concept, production, electronics), Ellen Southern (vocals, field recordings, percussion) and Johanna Puuperä (violin, modular synthesizer, additional vocals).

The album opens straight into a thousand yard stare with “Myrskymielellä", adapted from a 1891 poem by the Finnish national poet, Eino Leino, who wrote it at the tender age of 13. Here a blank distant droning of synths and the sounds of flowing water hover underneath like a dark river observed from the air. This is a sound and feeling that will stay constant for the entirety of the piece´s thirty minute duration. It is a trance-inducing composition that slowly unfolds elements of pagan ancestry into its own life. At first, faint female vocals are introduced as distant spatial elements, which gradually advance into waves of cries and anguish as the piece progresses and moves further into the storm. The tranquility of the first half is slowly morphed into a full blown ceremony as driving ritualistic percussion and a foreboding witch-like presence shifts the piece into a Dead Can Dance-like territory. Here a constant enveloping mixture of violins, modular synths, field recordings and vocal screams creates the feeling of a grande finale. It is an astounding piece of music that develops like a drone symphony for the beginning of time.

With the second piece, “A Dream Within A Dream”, from Edgar Allan Poe´s 1849 poem, you are transported to the shores of an undisclosed island; a place where it´s only you, your thoughts and the endless emptiness. The continual sound of waves is soon brought together with a cloud of synths and mourning violins that will keep a steady dreamlike state during most of the piece´s duration. This time the wordless vocals feel almost angelic in their pageantry. The composition flows like a slow caress of the soul and feels like the spirit twin of Gavin Bryars' “The Sinking of the Titanic” with its lamenting slow movements towards the unknown.

Truly a ghost of a record, “All That We See or Seem” is an experience hard to shake and feels like entering sacred ground. We are in a place surrounded by earth, both ancient and present. "Let loose, Vanha, the rage of an earthly storm! Detach the elements, completely open the sky! In the Earth, let an incessant storm prevail, so that in my chest I would not feel the miserable pain” - Eino Leino