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The Veils - NUX VOMICA (REISSUE)

Die Neuauflagen von The Runaway Found (2004), Nux Vomica (2006) und Sun Gangs (2009) geben Fans und Sammlern die seltene Gelegenheit, diese einflussreichen Alben in hochwertiger Vinyl-Qualität neu zu entdecken. Die Re-Releases sind besonders bemerkenswert, da die Originalausgaben auf Schallplatte in den 2000er-Jahren nur in begrenzter Stückzahl erschienen. Zu einer Zeit, als Vinyl kommerziell noch eine untergeordnete Rolle spielte, waren die Veröffentlichungen nur schwer erhältlich. Die neuen Pressungen ermöglichen nun ein Hörerlebnis mit der Klangtiefe, Detailtreue und dem Artwork, die den atmosphärischen Kompositionen von The Veils besonders gerecht werden. Unter der Führung von Sänger und Songwriter Finn Andrews, der die Band bereits als Teenager gründete, entwickelten The Veils mit ihren ersten drei Alben einen unverwechselbaren Stil. Zwischen üppigem Indie-Rock, romantischer Melancholie und filmischer Dramatik schufen sie einen Sound, der von orchestralen Arrangements, eindringlichen Rhythmen und emotionaler Intensität geprägt ist. Mit The Runaway Found, Nux Vomica und Sun Gangs etablierte sich die neuseeländische Band als eine der eigenständigsten Stimmen der internationalen Indie-Szene. Die Alben verbinden weitläufige, cineastische Klanglandschaften mit intimen, persönlichen Momenten und zeigen eine beeindruckende kreative Entwicklung während der frühen Bandjahre. Finn Andrews freut sich über die Wiederveröffentlichungen: "Es ist eine große Freude zu sehen, dass diese Alben, die uns und vielen anderen so viel bedeuten, von dem Label, das uns von Anfang an unterstützt hat, erneut auf Vinyl veröffentlicht werden. Ich bin Rough Trade und den Songs dieser leidenschaftlichen, suchenden und wunderbar jugendlichen ersten Jahre sehr dankbar."

pre-order now25.09.2026

expected to be published on 25.09.2026

The Veils - SUN GANGS (REISSUE)

Die Neuauflagen von The Runaway Found (2004), Nux Vomica (2006) und Sun Gangs (2009) geben Fans und Sammlern die seltene Gelegenheit, diese einflussreichen Alben in hochwertiger Vinyl-Qualitat neu zu entdecken. Die Re-Releases sind besonders bemerkenswert, da die Originalausgaben auf Schallplatte in den 2000er-Jahren nur in begrenzter Stuckzahl erschienen. Zu einer Zeit, als Vinyl kommerziell noch eine untergeordnete Rolle spielte, waren die Veroffentlichungen nur schwer erhaltlich. Die neuen Pressungen ermoglichen nun ein Horerlebnis mit der Klangtiefe, Detailtreue und dem Artwork, die den atmospharischen Kompositionen von The Veils besonders gerecht werden. Unter der Fuhrung von Sanger und Songwriter Finn Andrews, der die Band bereits als Teenager grundete, entwickelten The Veils mit ihren ersten drei Alben einen unverwechselbaren Stil. Zwischen uppigem Indie-Rock, romantischer Melancholie und filmischer Dramatik schufen sie einen Sound, der von orchestralen Arrangements, eindringlichen Rhythmen und emotionaler Intensitat gepragt ist. Mit The Runaway Found, Nux Vomica und Sun Gangs etablierte sich die neuseelandische Band als eine der eigenstandigsten Stimmen der internationalen Indie-Szene. Die Alben verbinden weitlaufige, cineastische Klanglandschaften mit intimen, personlichen Momenten und zeigen eine beeindruckende kreative Entwicklung wahrend der fruhen Bandjahre. Finn Andrews freut sich uber die Wiederveroffentlichungen: "Es ist eine große Freude zu sehen, dass diese Alben, die uns und vielen anderen so viel bedeuten, von dem Label, das uns von Anfang an unterstutzt hat, erneut auf Vinyl veroffentlicht werden. Ich bin Rough Trade und den Songs dieser leidenschaftlichen, suchenden und wunderbar jugendlichen ersten Jahre sehr dankbar."

pre-order now25.09.2026

expected to be published on 25.09.2026

Holy Fuck - Deleter LP

Holy Fuck

Deleter LP

12inchHF001LPC
Holy F
25.09.2026

*Re-release of Holy Fuck’s 5th album originally released in 2020, now on clear vinyl limited to 500 copies*
Holy Fuck have today announced details of new album 'Deleter', which will be released on January 17th and is further previewed with the video for acclaimed latest single 'Luxe' (ft. Alexis Taylor). Having just concluded a US tour alongside Hot Chip, the seminal Canadian band will play a selection of European headline dates later this month (with a London show at Moth Club on October 23rd selling out immediately).

Arriving at a moment where attention spans are shot and anxieties are going into overdrive, 'Deleter', Holy Fuck’s fifth studio LP, is a defiantly full-bodied affair. Polyrhythmic and pleasure- focused, 'Deleter' sees Brian Borcherdt, Graham Walsh, Matt Schulz, and Matt “Punchy” McQuaid utilises their signature sound - seamlessly fusing the gauzy drive of krautrock and deep house’s dreamy ineffability, expertly blending purring motorik percussion with the sort of fuggy synthetic fizz and tang they are renowned for.

From the thrusting minimalism of opener ‘Luxe’ through to the triumphant chug of closing track ‘Ruby’, via club-ready rollocker ‘Free Gloss’ and the cosmic clatter of ‘San Sebastian’, Deleter is a record that joins the Holy Fuck dots within their widescreen, technicolour, crescendo- heavy sound.

pre-order now25.09.2026

expected to be published on 25.09.2026

GREYHOUNDS - LIVE ON 29TH STREET
  • 1: Nobody's Judging
  • 1: 2Stay Here Tonight
  • 1: 3Long Goodbye
  • 1: 4Amazing
  • 1: 5Set Us Free
  • 1: 6Hot Sauce
  • 1: 7What's On Your Mind
  • 1: 8Yeah Yeah Yeah
  • 1: 9Bet It All On Love

Mit"Live on 29th Street Volume IV" veröffentlichen die texanischen Greyhounds einen mitreißenden Mitschnitt aus der renommierten New Yorker Live-Studio-Reihe Live on 29th Street. Das Duo um Anthony Farrell und Andrew Trube steht seit über zwei Jahrzehnten für eine unverwechselbare Mischung aus Soul, Rhythm & Blues, Funk und Texas Roots Rock. Begleitet von Schlagzeuger Jay Mumford präsentieren die Greyhounds neun Songs, die ihre musikalische Bandbreite und außergewöhnliche Spielfreude eindrucksvoll dokumentieren. Farrells charakteristischer Blue-Eyed-Soul-Gesang, virtuoses Keyboardspiel und Trubes prägnante Gitarrenarbeit verschmelzen zu einem warmen, organischen Sound, der gleichermaßen von klassischem Soul wie von amerikanischer Roots-Musik geprägt ist. Die Aufnahme fängt die Energie und Direktheit der Band in einer intimen Live-Atmosphäre ein und zeigt Greyhounds auf dem Höhepunkt ihres Könnens.

pre-order now25.09.2026

expected to be published on 25.09.2026

The Orchids - Unholy Soul LP 2x12"

The Orchids

Unholy Soul LP 2x12"

2x12inchPLEXUS006
Circuitry
25.09.2026
  • A1: Me And The Black And White Dream
  • A2: Women Priests And Addicts
  • A3: Bringing You The Love
  • A4: Frank De Salvo
  • A5: Long Drawn Sunday Night 6) Peaches
  • B1: Dirty Clothing
  • B2: Definition Of A Bastard
  • B3: Moon Lullaby
  • B4: Coloured Stone
  • B5: The Sadness Of Sex (pt1) / Waiting For The Storm
  • B6: You Know I'm Fine
  • C1: Bemused, Confused And Bedraggled
  • C2: Pelican Blonde
  • C3: Tropical Fishbowl
  • C4: How Does That Feel
  • D1: Sigh
  • D2: Something For The Longing
  • D3: Farewell, Dear Bonnie
  • D4: On A Sunday

*Limited edition (500) reissue of The Orchids second album – originally released on Sarah Records in 1991- remastered with the 7” and E.P tracks from the time. Translucent pink*
“The Orchids have a lightness of touch, an autumnal and mellow fruitfulness, a clear-eyed pop nous. Imagine some nexus that takes in Felt, Orange Juice, The Beach Boys and The Go-Betweens”
-Stuart Maconie

“The Orchids can come on like esoteric angels high on Felt and Massive Attack”
– John Mulvey, NME

The early summer bloom of 1992 felt like it had been pollinated by a lot of sunshine-loving records from the year before, optimistic headrushes that embraced hedonistic bliss or at least a sweeter ride. There was still an element of bedroom wistfulness to singles like Higher Than The Sun, Nothing Can Stop Us and even Paris Angels’ Perfume but there was no denying the appeal that techno, rave and Bleep held, especially when it was microdosed. Bands were more willing to experiment with technology and producers, if not necessarily going for all whistles-blazing club bangers.

The Orchids, hailing from the suburbs of Glasgow were unlikely to ever emerge from their hood as contenders for a deal on Soma Records (which had begun in 1991 in that city) but they evidently wanted to stretch their boundaries beyond their introverted debut. Unholy Soul is somewhat breezier than Lyceum. It’s still laced with a Scottish melancholy but there’s more breathing space within the production. They’d hinted as much on their 12” ‘Penetration’ EP from 1991 and lovelorn songs such as Waiting For The Storm and Peaches are now spiked by absent-minded cherubs with an ear for the 3.a.m comedown.

As lead singer James Hackett says today: “Unholy Soul was the first time we had spent more than a couple of days in the studio, doing so after work. It was a thrilling period of creativity and we had most of the songs written but not enough. We didn’t worry about that too much though because with Ian Carmichael there was a new opportunity for studio generation. Also this was the first time we had heard Pauline (Hynds) singing with One Dove so we asked her to sing on some of the songs. We were obviously influenced by a lot of the music of the time but you can still hear it’s The Orchids at heart”.

The next year of course One Dove (with Carmichael programming) released their debut album - produced by Andrew Weatherall - on the Boy’s Own label. It felt like there was a lot of ideas being spun back and forth between artists and producers in the early 90s. If some of the records also sound very much of that time that’s no bad thing either. There was a lot of loved-up nostalgia for the 60s then so it’s no surprise that many of the records have a youthful exuberance coupled to a technological innocence, that’s the charm.

pre-order now25.09.2026

expected to be published on 25.09.2026

HOMEWORK - BANG HERE IF STUCK
  • 1: HERO'S WELCOME
  • 2: ASAP
  • 3: HEDGE YOUR BETS
  • 4: SOME KIND OF MAGIC
  • 5: MADE
  • 6: VELCRO
  • 7: TRIVIAL
  • 8: THREAD & THISTLE
  • 9: ROADHOUSE
  • 10: SALT
  • 11: GVB
  • 12: ENDING SONG

The debut album from Glasgow's Homework is fuzzy, sentimental indie rock for fans of Teenage Fanclub, Pavement, and The Vaselines. Bang Here if Stuck was recorded live at Chime Studios and arrives on vinyl September 25 vía Meritorio Records. Homework is a quintessential Glasgow band - overstimulated and a little rough round the edges, but with a pretty streak and a big, sentimental heart. They make fuzzy 90s-indebted indie rock that's bursting with ideas and sounds like home. Twin songwriters Michael Newton and Santiago Taberna trade off driving lopsided anthems and fuzzy baroque pop experiments, their voices and guitars tangled together in a way that feel less like a band and more like a shared language. Rhythm section Lizzie Quirke and Andrew Gordon provide a loping centre of gravity - steady enough to hold everything together, loose enough to let it breathe. Bang Here if Stuck, their debut album, delivers a kind of enthusiastic chaos where everything fits exactly where it should. Recorded at Chime Studios in Glasgow with Melissa Brisbane, the band tracked the core of the album live to best capture the playful spontaneity of their gigs. Drawing from the likes of Pavement, Teenage Fanclub, The Vaselines and Urusei Yatsura, it offers a familiar sound that's easy to love, punctuated by oddball diversions that lead somewhere unpredictable and unique. For fans of Teenage Fanclub, Pavement, Guided By Voices, Dinosaur Jr, Sebadoh, The Vaselines, Urusei Yatsura.

pre-order now25.09.2026

expected to be published on 25.09.2026

GLENN MORROW'S CRY FOR HELP - OUR FINAL ALBUM VOL. 1
  • 1: AUTUMN LEAVES
  • 2: BEATLE BONES
  • 3: BOOM BOOM
  • 4: THAT'S THAT
  • 5: IN LOVE WITH LOVE
  • 6: SWEATER WEATHER
  • 7: INTO SOMETHING NEW
  • 8: LET'S STAY IN BED
  • 9: STOP YOUR CRYING
  • 10: OPHELIA (AT THE FIVE AND DIME)
  • 11: BEGIN AGAIN

,Our Final Album - Vol. 1" ist das vierte Album von Glenn Morrow's Cry For Help und zeigt die Band aus Hoboken, New Jersey, auf dem Höhepunkt ihrer Kreativität. Obwohl der Titel einen Abschied suggeriert, präsentiert das Album eine lebendige und vielseitige Sammlung von elf neuen Songs, die von klassischem Gitarrenrock über gefühlvolle Balladen bis hin zu Bossa-Nova- und Soul-Einflüssen reichen. Angeführt wird die Band von Glenn Morrow, einer Schlüsselfigur der unabhängigen US-Musikszene, der als Musiker, Journalist und langjähriger Betreiber des Indie-Labels Bar/None Records bekannt wurde. Gemeinsam mit Bassist Mike Rosenberg, Gitarrist Ric Sherman und Schlagzeuger Ron Metz greift Morrow auf jahrzehntelange Erfahrung in der traditionsreichen Hoboken-Musikszene zurück. Aufgenommen wurde das Album erneut im Magic Door Studio von Produzent Ray Ketchem, der besonders das Gespür der Band für eingängige Melodien und starkes Songwriting hervorhebt. Unterstützung erhält die Band diesmal vom renommierten Keyboarder Andrew Burton, dessen Beiträge den Songs zusätzliche Tiefe und Klangfarben verleihen. Musikalisch verbindet ,Our Final Album - Vol. 1" kraftvolle Rocksongs wie ,That's That", ,Beatle Bones" und ,Into Something New" mit nachdenklicheren Momenten wie ,Stop Your Crying", dem Bossa-Stück ,Boom Boom" oder dem souligen ,Let's Stay In Bed". Dabei ziehen sich Glenn Morrows persönliche Geschichten, Lebenserfahrungen und eine leichte Melancholie durch das gesamte Album. Das Ergebnis ist ein abwechslungsreiches, warmes und zeitloses Rockalbum, das die Stärke einer Band zeigt, die auch nach vielen Jahren nichts von ihrer Leidenschaft verloren hat.

pre-order now25.09.2026

expected to be published on 25.09.2026

Various - Synthetic Water Music (2xTAPE)
 
51

There is a pivotal scene in “August in the Water” (dir. Sōgo Ishii, 1995) where the surface of a pool turns into a stone wall. The water that gave the protagonist's life its meaning becomes a threat. As you fall through this stone wall, you appear in a set of underwater coral-reef corridors, and one of the most beautiful musical themes begins to play: Aquatic Ambience, composed by David Wise for Donkey Kong Country (1994). It's a theme that represents the weightless vibe of your new deep-sea life, where you go about your mundane errands, collecting bananas while driving on a swordfish, or, as HerzMayhem put it: "Poor monkey... always swimming, never going anywhere..."

Synthetic Water Music is the second of three compilations, following Synthetic Bird Music and timed to mappa's 10th anniversary. As with the birds, it gathers friends of the label, artists who have released with mappa or played our shows. Most of the music is new, made to measure for this compilation, much of it from Central and Eastern European hands. Birds and water mix well, so please feel invited to play them together, creating your own environments.

Where the birds were in one flock, water is dispersed across four chapters. You live your life as a droppity drop: vapour in the heavens, condensing in clouds, falling into a swamp, trickling into the deepest sea.

Tlālōcān (Cassette 1, Side A)
A place of eternal spring, of aquatic energy that nourishes everything and allows all things to bloom. Bubbly and splishy-sploshy, it is full of dripping sounds and moist caverns (“Emerald Pool” by Pauline Anna Strom), a landscape filled with living fountains (“Oh, to be a Fountain” by Eva Sajanová) and winding streams that flow through the area, forming part of its organic architecture. It is also a paradise reserved for those whose deaths were water-related, where the aquatic and terrestrial beings live in symbiosis and perspectives shift rapidly, from observing a single droplet (Shakali, Lau Nau) to dew (Feronia Wennborg & Lucy Duncombe) and on to flowing currents (Visible Cloaks) that gradually transform into river music (Ursula K. Le Guin & Todd Barton).

Nephelora (Cassette 1, Side B)
A celestial anti-gravity sound world made of evaporation, steam and the formation of clouds, as if looking at “The Sky At The Bottom of the Well” (by Natalia Beylis) or at “The Cloud That Never Rains” (by Henrique Vaz).

If a cloud never rains,
it is not a cloud at all, but a veil that parches the earth with its gaze.
It generates only its own shadow —
a looming mass of suspended longing,
a sky that hoards but never yields,
a reservoir that swallows every river and returns nothing but echoes.

The water in this world is often invisible but sometimes all the more present, as Bint Mbareh describes it: “Recently been obsessed with invisible waters because I come from a place where you have to imagine the water is there even though you cannot see a river, a sea, usually no rain, so water is in the air, the voice and the imaginal realm, drought is imagined to be negotiable.”

Žaboglach Zha-bo-glahch (Cassette 2, Side A)
A fusion of Scottish lochs and Slovak ponds: a misty, foul-smelling, swampy realm, the kind of place that swallowed Artax from The NeverEnding Story. Stagnant waters full of decay become a blooming habitat for sirens (“thereby losing the weightless delight of being swept along with it” by Adam Badí Donoval) and beings straddling the line between fauna and flora, inventing their own communication systems (“Water-lily phase” by Action Pyramid).

R'lyeh (Cassette 2, Side B)
A brooding sunken city at the bottom of the ocean. It’s a journey to get there. Let this chapter guide you, from the shore down to the depths, to the gates of an unexplored world that is inherently dark, unfathomable, and beyond the limits of human perception: starting with seasickness ("Seasick" by Nikolaienko), passing through a classic Poe-esque maelstrom ("Flurry at the Whirl-pull" by Atte Elias Kantonen), a gateway into the darkness and emptiness of the ocean floor, and finally traversing the city itself (“last waves of 2025” by Jules Reidy).
But what is pulling you to a place like this that only a few explore and even fewer leave? Maybe “the darkness that water can contain, the expanse of things we don't know and that can trigger fear instincts even as we try to rationalise them and think we are in control of the rest of nature” (“supercritical fluids” by Diane Barbé).

Dive in and surface wherever you like. Always swimming, never going anywhere. Just don’t forget to take water breaks.

P.S. Birds, then water, can you guess what comes next? Synthetic Soil Music, an elegy for insects and worms? Synthetic Glaciers, or maybe Pollinators? Which sounds would you miss the most if they disappeared? Or what if the third one never comes at all, and somebody, or something, makes Synthetic mappa Music instead. Don't you worry, with the right training data, it can all be replicated, better than the real thing.

pre-order now11.09.2026

expected to be published on 11.09.2026

Heinz aus Wien - Du warst mir immer ein Freund LP
  • A1: Heinz aus Wien feat. Oliver Welter - Soldaten des Herzens - 4:13
  • A2: Heinz aus Wien feat. Der Nino aus Wien - Gezeichnet für's Leben - 3:13
  • A3: Heinz aus Wien feat. Sportfreunde Stiller - Du warst mir immer ein Freund - 3:59
  • A4: Heinz aus Wien feat. Marco Pogo - Bohemian wie Du - 3:35
  • A5: Heinz aus Wien feat. Klee - Sag ja - 2:22
  • A6: Heinz aus Wien feat. Mulan - Du und ich Lied - 3:12
  • B1: Heinz aus Wien feat. Manuel Rubey - Try - 3:51
  • B2: Heinz aus Wien feat. Lelo Brossmann - Es ist so schade um Ray - 3:12
  • B3: Heinz aus Wien feat. Lil Julez - Wir werden grau - 3:00
  • B4: Heinz aus Wien feat. Hannah Gartner - Wie im Himmel - 3:41
  • B5: Heinz aus Wien feat. Birgit Denk - Das Konzept - 6:27

30 Jahre HEINZ AUS WIEN. Das allein ist schon ein ziemlicher Wahnsinn.Und dass das Ganze am 10.9.2026 in der Open Air Arena mit vielen Freunden gefeiert wird, ist ebenfalls verrückt - denn dort begann ja alles, als am 14.6.1996 das erste Konzert von HEINZ als Vorgruppe von Selig stattfand.Tja, und schwups sind 30 Jahre vorbei. In all den Jahren haben wir viele liebe Menschen kennengelernt, die zu Freunden wurden. Einige davon stammen sogar aus der musizierenden Zunft. Und wie es der Zufall so will, sind in den letzten 30 Jahren - und auch schon davor - viele Lieder erschienen, die uns besonders gut gefallen.Was lag da näher, als ein Album mit deutschsprachigen Coverversionen aufzunehmen und Freunde einzuladen, dabei mitzumachen? Eben.Darum haben wir viel Zeit mit total lässigen Menschen im Studio verbracht. Und was dabei herausgekommen ist, kann sich hören und sehen lassen:* OLIVER WELTER singt mit uns **SOLDATEN DES HERZENS** (*Military of the Heart* - Naked Lunch)* NINO AUS WIEN singt mit uns **GEZEICHNET FÜRS LEBEN** (Wolfgang Ambros)* SPORTFREUNDE STILLER singen mit uns **DU WARST MIR IMMER EIN FREUND** (*Thank You for Being a Friend* - Andrew Gold)* MARCO POGO singt mit uns **BOHEMIAN WIE DU** (*Bohemian Like You* - The Dandy Warhols)* KLEE singen mit uns **SAG JA** (*Say Yes* - Elliott Smith)* MULAN singt mit uns **DU UND ICH SONG** (*You & Me Song* - The Wannadies)* MANUEL RUBEY singt mit uns **TRY** (*Try* - P!nk)* LELO BROSSMANN singt mit uns **ES IST SO SCHADE UM RAY** (*It's a Shame About Ray* - The Lemonheads)* LIL JULEZ singt mit uns **WIR WERDEN GRAU** (*Fade to Grey* - Visage)* HANNAH GARTNER singt mit uns **WIE IM HIMMEL** (*Just Like Heaven* - The Cure)* BIRGIT DENK singt mit uns **DAS KONZEPT** (*The Concept* - Teenage Fanclub)Und so ist es fertig: das neue Album **DU WARST MIR IMMER EIN FREUND** von HEINZ AUS WIEN!Es erscheint am 11.9.2026 auf Vinyl und digital - ein Tag nachdem in der Open Air Arena gefeiert wurde.

pre-order now11.09.2026

expected to be published on 11.09.2026

Various - Lex XX (3x12")

Various

Lex XX (3x12")

3x12inchLEX200LP
LEX RECORDS
07.09.2026
  • 1: Danger Mouse & Jemini - Born-A-MC (Danger Mouse Remix)
  • 2: Nevermen - Treat’Em Right (Boards of Canada Remix)
  • 3: Eyedress - House of Cards (Rainbow Belts Remix)
  • 4: Prince Po Feat. MF DOOM - Social Distortion (DJ Premier Remix)
  • 5: Golden Rules Feat. Yasiin Bey & Freddie Gibbs - Never Die (Prefuse 73 Remix)
  • 6: Fly Anakin - No Dough (Madlib Remix)
  • 7: Shape of Broad Minds Feat. MF DOOM - Let’s Go (Black Noi$e Remix)
  • 8: TES - Shoot Shoot (Stereolab Remix)
  • 9: Fly Anakin & Pink Siifu Feat. Foushee - L’s (Eyedress Remix)
  • 10: Neon Neon Feat. Cate Le Bon - I Lust You (Warpaint Remix)
  • 11: Kaleida - Think (Tone Two remix)
  • 12: Eyedress - Jealous (King Krule Nothing Special Remix)
  • 13: Hymie’s basement - 21st Century Pop Songs (Mount Eerie Remix)
  • 14: Subtle - Mercury Craze (Deradoorian Remix)
  • 15: Belief - I Want To Be (HAAi Remix)
  • 16: Heartbreak - We’re Back (Vitalic Remix)
  • 17: JJ DOOM - GUV’NOR (Chad Hugo Remix)
  • 18: Andrew Broader Feat. Denzel Curry, Dua Saleh & Haleek Maul - Bloodrush (GILA Remix)
  • 19: Kid Acne - Eddy Fresh (Gescom Dub)
  • 20: MF DOOM - Gazzillion Ear (Man on Fire Remix) Remixed by Thom Yorke

A Project dealing with the relative length of time at a record label and the effect of adding another zero. To explore this passage of time and all those memories, we’ve commissioned remixes of key tracks from the LEX catalog by artists we love and admire. The album features contributions from Danger Mouse & Jemini, Fly Anakin & Pink Siifu, Eyedress, Golden Rules featuring Yasiin Bey and Freddie Gibbs, Neon Neon feat. Cate Le Bon, alongside Kaleida, Belief, Nevermen, Prince Po and MF DOOM. With remixes that reinterpret the tracks by Boards of Canada, Kevin Shields of My Bloody Valentine, DJ Premier, Prefuse 73, Madlib, Stereolab, Warpaint, King Krule, Chad Hugo and Thom Yorke. The limited edition physical release is presented in a rigid slipcase, with the vinyl housed in a triple sleeve gatefold, and accompanied by a large format board book, with both featuring artwork by Commission Studios. The records are pressed on 180g heavyweight vinyl, with the D-Side finished with a bespoke etched design.

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Last In: 21 days ago
Andrew Chalk - Mystical Obscurant

Over the course of more than four decades, Andrew Chalk has created one of ambient and experimental music's most distinctive, influential, and enduring bodies of work. Though his recordings have taken many forms—from the raw, post-Industrial sounds of Ferial Confine in the 1980s to the fragile guitar meditations, blurred keyboard studies, and richly textured collages that populate the Faraway Press catalogue—they remain united by a singular sensibility: an uncommon attentiveness to atmosphere, nostalgia, and the power of restraint.

Mystical Obscurant offers a rare opportunity to encounter the expansive character of that oeuvre in miniature. Rather than documenting a single period or methodology, it functions almost like a survey of Chalk's musical language—a collection of new music that illuminates the breadth of his practice while distilling the singular vision that unites it.

“The Sea of Sorrow” and “Peacemaker” feel cut from the same cloth as the sacred guitar minimalism of The River That Flows Into the Sands, while “Against the Tide” would sit naturally alongside the smudged and distant keys of Blue Eyes of the March. Other pieces draw upon environmental sound and loop-based constructions, hallmarks of Chalk's more recent, vignette-like compositions. Though these recordings emerge from different moments in his long creative journey, each inhabits a recognizable world: one where melodies drift in diffuse, unhurried forms and sound gathers with painterly grace.

What is most striking when these pieces are heard together is not their difference but their coherence. Across changing instruments, collaborators, and approaches, Chalk has consistently pursued a subjunctive music of suggestion rather than declaration, creating spaces where memory and imagination are allowed to unfold at their own pace.

pre-order now04.09.2026

expected to be published on 04.09.2026

Andrew Weathers - See Seven States (TAPE)

Poem by Alea Coble (February 2026) - Written for Andrew Weathers, Chattonooga Recording Project

Listen to my story and everything will come out true. - Bessie Smith

35° 02' 44.27" N -85° 18' 34.85" W:

Howl. Hammer strikes firing pin. Its echo ricochets over river bend. The woodpecker’s syncopated pop-pop-pop clink and thwap in time with cops practicing prayer at the firing range.

Quick. Sketch a few constellations onto a postcard: empty shotgun shells, these pre-forgotten fossils snaking rusted railroad spikes, like snagged rosary, fallen poplar petals draped over cerulean glass ashtray scattered along glittering fractures, ignored like a treaty. Train tracks reverberate necrophilic boomerang-hunger for mountain air without that coal dust. Eat. Eat. Everything is real estate. Even the air is for sale. Buy it cheap while I.C.E. carves through the valley along the Trail of Tears in unmarked SUVs, traffic stops.

Howl. Callback to estranged entanglements oscillating over holler and highway. Meet on the porch. Haint-blue ceiling. Some ghosts can’t get through anyway. They got tied up on the Walnut Street Bridge by a mob of white spit. Howl. The South should scare you.

But the woodpecker is still nesting, hungry, typing uncannied punctuation marks into black oak: a deed. Home? Takes a side-eyed knowing to call by name. The moon sickles in a sweating glass of iced tea.

Speculation cycle: symmetry as ancient as sour-dank betrayal of the tongue, bitter bones binding blood and lead, alchemical forgetting like I found a hairbrush in the yard while planting wild irises, like someone is charging $10 for an old glass Coke bottle, like semicolons itching restless under new sod from no-one-knows-where. Howl. Sing back. History is soil-in-stereo.

How will this line end? Like riverbank? Like atlatl arching hope smash-through a stained glass window? Words fall out of the sky, and 30 American flags snap at attention on the bridge. Howl. A shift in the wind gallops through the streets tossing her head back, laughing.

Tennessee River, who once kissed Pangea, how she softens at the knuckle-suck of it all, that secret-sweet stowed in the feathers of sandhill cranes lifting up on warm summer breeze: slow-shooting stars bending toward unbothered brevitas.

Howl. The red wolf knows her truest kin is always her shadow’s shadow.

pre-order now04.09.2026

expected to be published on 04.09.2026

MY DYING BRIDE - ANTHOLOGY OF SOMBRE REFLECTIONS LP 8x12" DELUXE BOX SET
  • Disc 1 – The Grief Of Age Side A1. Symphonaire Infernus Et Spera Empyrium (1990 demo) (08:53)
  • A2: Vast Choirs (1990 demo) (07:35)
  • A3: The Grief Of Age (1990 demo) (04:08)
  • A4: Catching Feathers (1990 demo) (03:42)
  • Side B1. God Is Alone (1991 7" version) (04:57)
  • B2: De Sade Soliloquy (1991 7" version) (04:39)
  • B3: Unreleased Bitterness (07:44)
  • B4: The Sexuality Of Bereavement (08:04)
  • Disc 2 – Symphonaire Infernus Et Spera Empyrium Side A1. Symphonaire Infernus Et Spera Empyrium (11:36)
  • Side B1. God Is Alone (04:48)
  • B2: De Sade Soliloquay (03:41)
  • Disc 3 - As The Flower Withers (Half-Speed) Side A1. Silent Dance (02:14)
  • A2: Sear Me (09:06)
  • A3: The Forever People (04:09)
  • A4: The Bitterness And The Bereavement (07:37)
  • Side B1. Vast Choirs (08:16)
  • B2: The Return Of The Beautiful (12:50)
  • B3: Erotic Literature (05:14)
  • Disc 4 - The Thrash Of Naked Limbs EP Side A1. The Thrash Of Naked Limbs (06:10)
  • Side B1. Le Cerf Malade (06:28)
  • B2: Gather Me Up Forever (05:17)
  • Disc 5 - Turn Loose The Swans (Half-Speed) Side A1. Sear Me MCMXCIII (07:25)
  • A2: Your River (09:18)
  • A3: The Songless Bird (06:57)
  • A4: The Snow In My Hand (07:05)
  • Side B1. The Crown Of Sympathy (12:13)
  • B2: Turn Loose The Swans (10:06)
  • B3: Black God (04:50)
  • Disc 6 - I Am The Bloody Earth EP Side A1. I Am The Bloody Earth (06:35)
  • A2: Transcending (Into The Exquisite) (08:39)
  • Side B1. The Crown Of Sympathy (remix) (11:09)
  • Disc 7 - The Angel & The Dark River (Half-Speed) Side A1. The Cry Of Mankind (12:13)
  • A2: From Darkest Skies (07:47)
  • A3: A Sea To Suffer In (06:11)
  • Side B1. Black Voyage (09:47)
  • B2: Two Winters Only (09:01)
  • B3: Your Shameful Heaven (06:59)
  • Disc 8 - Like Gods Of The Sun (Half-Speed) Side A1. Like Gods Of The Sun (05:40)
  • A2: The Dark Caress (05:59)
  • A3: Grace Unhearing (07:19)
  • A4: A Kiss To Remember (07:32)
  • Side B1. All Swept Away (04:17)
  • B2: For You (06:37)
  • B3: It Will Come (04:28)
  • B4: Here In The Throat (06:21)
  • B5: For My Fallen Angel (05:55)

After a career spanning over thirty five years, from UK underground upstarts and outliers, to major success on the international stage - including tours with UK icons Iron Maiden and genre legends Dio - My Dying Bride have themselves become a firmly established pillar of metal history with a refined and influential brand of Death/Doom metal. With enduring popularity across subsequent decades, My Dying Bride remains a productive and captivating vessel for tragedy and despair, with their studio output spanning fourteen full-length albums to date.

As part of the “Peaceville Three”, along with fellow countrymen Paradise Lost and Anathema, My Dying Bride truly became a primary force in highlighting Britain as an epicentre of this Doom revolution of the time, creating a highly distinguishable sound assisted by the inclusion of violin & a more poetic approach to the delivery of morbid and salacious topics, lending an additional air of eccentricity and eloquence to the darkness.

Anthology of Sombre Reflections is an expansive and comprehensive collection of the early and much-celebrated works of the Doom Gods, from the formative deathly rawness of the revered Towards the Sinister demo, ‘God is Alone’ 7” tracks and subsequent debut album, As the Flower Withers, through to the gothic-tinged funereal seductive delights of 1996’s highlight, Like Gods of the Sun.

With the addition of all-time genre classic opuses Turn Loose the Swans, and The Angel and the Dark River also representing My Dying Bride’s much-loved early to 90’s period, the band’s three cult EPs are also featured in this deluxe eight-vinyl boxset, with each record presented on 180gm heavyweight black vinyl. The four studio albums themselves have also been treated to new half-speed masters courtesy of Air Studios.

Accompanying the audio is a 48-page book featuring photographs and artwork, plus new interviews with Andrew Craighan and Aaron Stainthorpe exploring some of the influences and thought-processes behind the creation of such cherished works of the 90s, as well as reflections of their output over this period.

Anthology of Sombre Reflections also contains 2 large posters depicting the Turn Loose the Swans CD artwork image, plus the original poster included in As the Flower Withers. A selection of photo prints of the band from this era are also included.

pre-order now28.08.2026

expected to be published on 28.08.2026

Interpol - This Mirror Weighs a Ton lp

This Mirror Weighs a Ton, Interpol’s first album in four years and debut for Partisan Records, finds the band turning inward while continuing to move forward. Across the record, reflection, distortion and perception become a lens through which familiar shapes are refracted into something slightly alien, as if seen through a different kind of light.

Produced with Grammy- and Oscar-winning Andrew Wyatt (ROSALÍA, Charli xcx) and mixed by Dave Fridmann, the album introduces vibrant new textures into Interpol’s world. Synthesizers, strings, acoustic guitars and percussion are integrated into the fabric of the songs, expanding the palette while revealing colors already latent within it. Nothing feels imposed. Instead, the additions deepen the band’s language of restraint, atmosphere and tension. At its center remains the creative relationship between Paul Banks, Daniel Kessler and Sam Fogarino, a partnership now approaching three decades and defined by intuitive alignment and momentum that continues to generate new possibilities. The result is an album that feels expansive, uncanny and alive with forward motion, not a reinvention but an evolution that allows Interpol to continue transforming without losing their identity.

“This Mirror Weighs A Ton” / “See Out Loud” is a study in duality, with Interpol moving fluidly between familiarity and departure. The title track unfolds from a skeletal progression into something vast and textural, built from warped bass, a wordless female voice and a sense of motion that feels tidal, bending the band’s familiar language into somewhere more expansive and unfamiliar. By contrast, “See Out Loud” carries the DNA of Interpol’s earliest work, sharp, propulsive and direct, while complicating it through layered vocals, shifting perspectives and a rare lead vocal turn from Kessler. Both tracks reflect the interplay between structure and spontaneity that defines This Mirror Weighs a Ton, expanding Interpol’s world through fresh textures while keeping the instinctive chemistry between Banks, Kessler and Fogarino at the center.

The double single is accompanied by two visualizers directed by Nick Steinhardt.

pre-order now28.08.2026

expected to be published on 28.08.2026

Interpol - This Mirror Weighs a Ton lp
  • A1: This Mirror Weighs a Ton
  • A2: See Out Loud
  • A3: Iron City
  • B1: Wounded Soldier
  • B2: Wings On Fire
  • B3: Even the Actor
  • C1: So Rides the Reindeer
  • C2: Darling Thoughts
  • C3: Wake Up
  • D1: Enemy
  • D2: Bird and The Serpent
  • D3: Sudden

This Mirror Weighs a Ton, Interpol’s first album in four years and debut for Partisan Records, finds the band turning inward while continuing to move forward. Across the record, reflection, distortion and perception become a lens through which familiar shapes are refracted into something slightly alien, as if seen through a different kind of light.

Produced with Grammy- and Oscar-winning Andrew Wyatt (ROSALÍA, Charli xcx) and mixed by Dave Fridmann, the album introduces vibrant new textures into Interpol’s world. Synthesizers, strings, acoustic guitars and percussion are integrated into the fabric of the songs, expanding the palette while revealing colors already latent within it. Nothing feels imposed. Instead, the additions deepen the band’s language of restraint, atmosphere and tension. At its center remains the creative relationship between Paul Banks, Daniel Kessler and Sam Fogarino, a partnership now approaching three decades and defined by intuitive alignment and momentum that continues to generate new possibilities. The result is an album that feels expansive, uncanny and alive with forward motion, not a reinvention but an evolution that allows Interpol to continue transforming without losing their identity.

“This Mirror Weighs A Ton” / “See Out Loud” is a study in duality, with Interpol moving fluidly between familiarity and departure. The title track unfolds from a skeletal progression into something vast and textural, built from warped bass, a wordless female voice and a sense of motion that feels tidal, bending the band’s familiar language into somewhere more expansive and unfamiliar. By contrast, “See Out Loud” carries the DNA of Interpol’s earliest work, sharp, propulsive and direct, while complicating it through layered vocals, shifting perspectives and a rare lead vocal turn from Kessler. Both tracks reflect the interplay between structure and spontaneity that defines This Mirror Weighs a Ton, expanding Interpol’s world through fresh textures while keeping the instinctive chemistry between Banks, Kessler and Fogarino at the center.

The double single is accompanied by two visualizers directed by Nick Steinhardt.

pre-order now28.08.2026

expected to be published on 28.08.2026

Surf Trash - No Chaser LP
  • 1: Ricochet
  • 2: Golden Plain
  • 3: Do It All Again
  • 4: Mr Speers
  • 5: Burning Tide
  • 6: Sumatran Tiger
  • 7: Piss Away
  • 8: Bring the Limes
  • 9: Like a Friday
  • 10: Pacifico
  • 11: No Chaser

Eighteen months on from the runaway success of The Only Place I Know — the debut that crashed in at #1 on the ARIA charts and #2 on the ARIA Vinyl Chart — Lake Macquarie's Surf Trash are back, and they're not watering it down. Their sophomore album No Chaser lands neat, on the rocks, no apologies: ten tracks of melodic surf-pop-punk hammered out by a band that has clearly spent the last year sharpening every edge.

It's a record you can hear the kilometres in. Between The Only Place I Know and now, Andrew Scott, Lachlan Jackson, Patrick Russell and Nick Scott have torn through a sold-out national run, criss-crossed the UK and Europe, and made a habit of leaving rooms louder than they found them. No Chaser carries the dust from all of it — bigger choruses, leaner production, a touch more bruise underneath the gloss. There's still that windows-down, salt-on-the-windscreen feel that made the debut impossible to ignore, but it's wired into songs that swing harder and cut deeper. Less wistful afternoon, more last-light drive home with the volume creeping up.

The four-piece make melodic surf-pop-punk that sounds great turned up loud — driving in your mate's car on the way back to the beach. Their debut, The Fire Note wrote, "delivers a dynamic debut… blending raw energy, introspective depth, and timeless indie rock flair." Manchester World called their first show on UK soil "epic… high energy and great song after great song," and the live reputation has only grown since: a band that's earned every inch of the ceiling it now hits.

No Chaser is the sound of them no longer waiting for permission. Singalong harmonies, fast tempo changes, good old-fashioned rock 'n' roll with a sense of urgency.

pre-order now28.08.2026

expected to be published on 28.08.2026

ELANOR MOSS - THE KNIFE, THE NEEDLE

ELANOR MOSS

THE KNIFE, THE NEEDLE

12inchMRGLPC1883
Merge
21.08.2026
  • FIXER
  • AGAIN MY LOVE
  • SARAH WAITING IN THE CAR
  • IMPROVISATION
  • YOU ARE COMING HOME TONIGHT
  • SECRETS OF THE UNIVERSE
  • CLOTHES IN A HOTEL SINK
  • LOUISE
  • THE WAY THAT IT FEELS

Über die neun Songs des Albums hinweg erschafft Elanor Moss mit feinsinnigem Psych Folk ein eindringliches Wechselspiel aus Freude und Schmerz. Ihre düster-verträumten Momentaufnahmen bieten dabei weniger Katharsis als vielmehr ein Verständnis für die Komplexität des Wegs dorthin - Heilung nicht als Zustand, sondern als Prozess. Der Weg hin zu ihrem Debütalbum "The Knife, The Needle" war für Elanor Mos selbst eine komplexe Reise. Zeitweise fühlte sie sich von ihrer eigenen Musik entfremdet und suchte nach einem neuen Sound, anstatt den Raum zu besetzen, den sie sich bereits geschaffen hatte. "Nichts fühlte sich richtig an", erinnert sie sich, "also nahm ich den Druck heraus und versuchte, meine Beziehung zum Songwriting und zur Musik neu zu kalibrieren." Die drei Jahre, in denen die Songs für "The Knife, The Needle" entstanden, führten sie letztendlich zurück zu ihren Wurzeln und ihrer Liebe zu, wie sie es ausdrückt, "der Musik, die mich wirklich etwas fühlen ließ; der Musik, die ich schreiben wollte." "Das waren Folk- und zeitgenössische Folk-Songwriter", fährt sie fort. "Ich habe viel Zeit damit verbracht, Gitarre zu spielen", fährt sie fort. "Ich habe mir ein Vierspur Tape Gerät geliehen und darauf Demos aufgenommen. Ich habe mich intensiv mit Kurzgeschichten beschäftigt. Die schlichte, direkte Wahrhaftigkeit von Autor*innen wie Raymond Carver hat mich sehr angesprochen und inspiriert, während ich darauf wartete, dass meine Lust am Schreiben zurückkehrt. Ich habe außerdem wieder eine Therapie begonnen, in der ich anfing zu verstehen, woher ich komme, wie sich meine Familiengeschichte in meinem Handeln widerspiegelt und wie ich liebe und Liebe annehme. Aus der Langsamkeit und Stille dieser Rhythmen sind diese Songs entstanden." ,Sarah Waiting in the Car" gibt den Ton an, mit Moss' zartem, nachdenklichem Gitarrenspiel und den Pinselstrichen von Matthew Herds Ensemble - Marcus Hamblett (Horn), Jool Owen (Horn), Andrew Stuart-Buttle (Violine), Reid Jenkins (Violine), Linus Fenton (Kontrabass) und Herd (Saxophon) - die ihre Texte mit herzzerreißender Ernsthaftigkeit untermalen, während sich die Erzählung, die aus Moss herausfließt, von einem Treffen in der Bar zu den Nachwirkungen einer missbräuchlichen Beziehung wandelt, wobei Sanftheit in Gewalt umschlägt. In ,Fixer" ringt Moss mit der Tatsache, dass Liebe jemanden ebenso verletzen kann, wie sie ihn heilen kann. Ihr Album ,The Knife, The Needle" beschäftigt sich damit, wie Beziehungen durch die Liebe verändert, verkompliziert und erschüttert werden. Es ist ein erschütterndes Werk, zugleich geduldig und verletzlich, opulent umgesetzt und tief empfunden. Beide Objekte, die im Albumtitel genannt werden, können Blut vergießen, doch durch ihre Stimme und Gitarre erhellt, ist das, was aus den Wunden fließt, die sie hier teilt, nichts Geringeres als Poesie.

pre-order now21.08.2026

expected to be published on 21.08.2026

NURSE WITH WOUND - ROCK 'N' ROLL REDUX
  • 1: REMIX
  • 1: 2REMIX 2
  • 1: 3REMIX 3
  • 1: 4REMIX 4

A long-overdue return to one of the most singular moments in Nurse With Wound's sprawling discography. Originally issued in 1994, Rock 'n' Roll Station marked a turning point - the album where Steven Stapleton's decades-long engagement with collage, musique concrète, and the outer limits of post-industrial sound first met the hypnotic, rhythm-driven studio sensibility of Colin Potter. What began as a request to rework some of the more percussive sections of 1992's Thunder Perfect Mind mutated, under Potter's hand, into something else entirely: an hour of swivelling grooves, warped exotica, and looping psychedelia, channelling the ghosts of Pérez Prado, Graham Bond, Joe Meek, and Jacques Berrocal into the most rhythm-conscious work the group had ever made. Three decades on, it remains one of the most beloved entries in the NWW catalogue. Issued by United Dirter as a limited LP, this new VIP edition reframes the album through four extended remixes and reworkings, each running close to or beyond ten minutes - a deep re-engagement with the source material by the extended Nurse With Wound family. Joining the usual suspects of Colin Potter, Matt Waldron, Andrew Liles, and Diarmuid MacDiarmada is an unexpected and historically significant presence: Jean-Jacques Birgé, the French composer, filmmaker, and co-founder of Un Drame Musical Instantané, whose GRRR imprint (founded 1975) famously appeared on the original Nurse With Wound List nearly half a century ago. A quiet circle, closing. The LP arrives as forerunner to a more ambitious project still to come: The Iron Lung Gives Way To The Surgical Stocking, a 5CD set due later in 2026, of which these reworks offer a first glimpse. Housed in striking new full-colour artwork by Babs Santini - Stapleton's longstanding visual alter ego. 500 ww copies in black & orange vinyl. Genre/Style: Electronic / Dark Ambient / Experimental / Drone

pre-order now21.08.2026

expected to be published on 21.08.2026

ME FIRST AND THE GIMME GIMMES - ARE A DRAG
  • 1: OVER THE RAINBOW
  • 1: 2DON'T CRY FOR ME ARGENTINA
  • 1: 3SCIENCE FICTION DOUBLE FEATURE
  • 1: 4SUMMERTIME
  • 1: 5FAVORITE THINGS
  • 1: 6RAINBOW CONNECTION
  • 1: 7PHANTOM OF THE OPERA SONG
  • 1: 8I SING OF THE BODY ELECTRIC
  • 1: 9IT'S RAINING ON PROM NIGHT
  • 1: 0TOMORROW
  • 1: WHAT I DID FOR LOVE
  • 1: 2CABARET

27 years later Me First and The Gimme Gimmes are still a drag, now a neon green (vinyl) one, and the sleeve is foiled! CD still available too. Though it doesn't sound like a brilliant idea, Me First & the Gimme Gimmes, an all-star cover band dedicated to regurgitating punk rock-style the most frothy music in their parents' record collections, are actually extraordinarily entertaining and can make the likes of John Denver and Barry Manilow sound not so bad. The lineup here includes Fat Mike of NOFX, the guitarist from the Foo Fighters, a couple of the guys from Lagwagon, and Spike Slawson, the Gimmes' sweet-voiced singer, who also plays bass for the Swingin' Utters. On their second record, Are a Drag, the Gimmes tackle all of their parents' favorite showtunes, claiming homage rather than satire. Most of their choices are songs that anybody even remotely into musicals knows by heart. Their cover of "Don't Cry for Me Argentina" has more choruses than the original, rocks pretty damn hard, and is certainly worthy of a swirling slam pit. Though it's not as wild as John Coltrane's version, the Gimmes' "My Favorite Things" is raging enough to send Julie Andrews swan diving off the stage into a sea of sweaty punkers. They mess with the jazz standard "Summertime" by Gershwin, adding some fine surfy leads to a song that's been played a million times over. Also, there's their furious rendition of Andrew Lloyd Webber's "Phantom of the Opera." On Are a Drag, the Gimmes succeed at playing showtunes that punk kids can dig, no small feat.

pre-order now14.08.2026

expected to be published on 14.08.2026

The Script - The User’s Guide to Being Human

Das Talent von The Script, Songs voller berauschender Emotionen und immer monumentalerer Melodien
zu schreiben, hat Fans auf der ganzen Welt in seinen Bann gezogen – ein Erfolg, der zu einem Katalog
weltweiter Hits wie „Hall of Fame“, „The Man Who Can’t Be Moved“ und „Breakeven“ führte. Auf
ihrem nunmehr achten Studioalbum arbeitet Danny O’Donoghue wieder mit seinen Songwriting-Partnern
Andrew Frampton und Steve Kipner zusammen – jenen Hit-Garanten, mit denen er und Mark Sheehan
eine ganze Reihe der bekanntesten Songs von The Script schufen, darunter „Breakeven“ und „The Man
Who Can’t Be Moved“. Ebenfalls mit von der Partie ist Produzent und Songwriter Jimbo Barry („Hall
of Fame“, „Superheroes“, „The Last Time“). Die Lead-Single „Man In The Arena“ ist eine mitreißende,
trotzige Hymne – untermalt von packenden, martialischen Trommelrhythmen –, die all die Erfahrungen und
weltweiten Erfolge der Band aus den letzten zwei Jahrzehnten aufgreift und ihren Status als unumstrittene
Pop-Rock-Giganten festigt. Wie ihre leidenschaftliche und treue Fangemeinde nur zu gut weiß, besitzen
The Script zudem jene entscheidende Qualität: eine echte, emotionale und tief in der Seele verankerte
Verbindung. Genau diese belebende und verbindende Idee bildet das Herzstück von *The User’s Guide to
Being Human* – jenes Element, das in der Musik, im Leben und bei The Script über allem anderen steht.
Denn schließlich gilt: „Sag mir, was zur Hölle wir eigentlich tun, wenn wir als Menschen nicht einfach nur
menschlich sind.“

pre-order now14.08.2026

expected to be published on 14.08.2026

MCLUSKY - MY PAIN AND SADNESS IS MORE PAINFUL AND SAD THAN YOURS
  • 1: Joy
  • 1: 2Friends Stoning Friends
  • 1: 3Whiteliberalonwhiteliberalaction
  • 1: 4Rice Is Nice
  • 1: 5Flysmoke
  • 1: 6Rock Vs Single Parents
  • 1: 7She Come in Pieces
  • 1: 8(Sometimes) I Have to Concentrate
  • 1: 9When They Come Tell Them No
  • 1: 0You Are My Sun
  • 1: Rods On Crutches
  • 1: 2Problems Posing As Solutions
  • 1: 3Mi-o-mai
  • 1: 4Medium Is the Message
  • 1: 5World Cup Drumming

Ursprünglich im Jahr 2000 auf Fuzzbox veröffentlicht und 2003 vom Beggars-Imprint Too Pure erneut herausgebracht, stellte My Pain and Sadness Is More Sad and Painful Than Yours die Band mclusky aus Cardiff als eine drängende neue Stimme im britischen Rock vor. Das Album zeigt die Band in ihrer unmittelbarsten und rohesten Form und prägte mcluskys Mischung aus scharfkantigen Gitarren, schwarzem Humor und Andrew Falkous" pointierter, oft absurdistischer Lyrik. Noch bevor spätere Anerkennung für Alben wie Mclusky Do Dallas und The Difference Between Me and You Is That I"m Not on Firefolgte, fängt dieses Debüt die Band in einem ungefilterteren Zustand ein - volatil und direkt. Songs wie "Joy" und "Rice Is Nice" deuten bereits die Präzision und Bissigkeit an, die später voll zur Geltung kommen sollten, während ein Großteil des Albums auf Wiederholung, Spannung und Auflösung setzt - mit einem beinahe bedrohlichen Minimalismus. Nun, 26 Jahre später, wurde das Album von Sean Magee in den Abbey Road Studios neu gemastert und erscheint auf 180g schwerem schwarzem Vinyl, wobei das originale Artwork beibehalten wurde. My Pain and Sadness Is More Sad and Painful Than Yours bleibt ein zentrales Dokument der Anfänge von mclusky. Sein Einfluss lässt sich in späteren Wellen von Noise Rock und Post-Hardcore nachverfolgen, doch seine einzigartige Mischung aus Witz, Aggressivität und Ökonomie bleibt unerreicht.

pre-order now07.08.2026

expected to be published on 07.08.2026

Kirk Barley - Arc

Kirk Barley

Arc

12inchMARIONETTE31LP
Marionette
06.08.2026

In Arc, Yorkshire-born artist Kirk Barley explores alternative tunings and off-grid sequencing to shape fluid rhythmic and melodic systems that unfold into rich harmonic forms. Kirk’s fourth album under his own name and debut for Marionette continues his exploration of just intonation through a sparse but finely detailed palette of organic atmospheres, metallic shimmer and off-kilter rhythms. Across the record, glassy pads, gamelan metallophones, clarinet and guitar dissolve into fluid, dreamlike forms, suggesting vast coastal landscapes, charged air and the stillness that follows turbulence.

Drawing on the feel of sample-based hip-hop, the minimalism of Terry Riley and Jon Hassell, as well as dub techno and post-rock, Kirk brings together a range of influences in a sound that feels both intimate and expansive. After first hearing Terry Riley’s Shri Camel as a teenager, he became captivated by just intonation and microtuning, inspirations that have shaped his work ever since, from his earliest Bambooman releases to the present solo works and as on half of Church Andrews & Matt Davies. Arc is his first record to be fully rooted in alternative tunings from start to finish. Longtime friend and collaborator Matt Davies appears on Ion, Sundry, Ecstatic and Fret (Haar), where his finely detailed, ASMR-like muted percussion deepens the dialogue between tactile acoustic sound and Kirk’s luminous electronic palette.

out of Stock

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Last In: 53 days ago
Disco Pogo - A DISCO POGO TRIBUTE TO ANDREW WEATHERALL (BOOK)

320 page, beautifully written, designed and printed, hardback book

ISBN: 978-1-0687642-2-6

“Keep the books coming, keep the music coming, keep the art coming. When you think you know everything, you can miss out on a lot. When you realise you don’t know everything the floodgates come down a bit and you start following literary links and musical links that you might not have made before. It’s a whole new parallel universe.” Andrew Weatherall, 2015 Today Disco Pogo is delighted to announce A Disco Pogo Tribute To Andrew Weatherall, a 320-page hardback that gathers everything we love about the man and his music. It is the fourth in our hardback Tribute series – following Daft Punk, Aphex Twin and LCD Soundsystem – and the long-overdue successor to the sold-out and hard to find Jockey Slut Tribute To Andrew Weatherall from 2020. Inside you’ll find the best of that original Jockey Slut book, plus more than 200 pages of brand new material – fresh essays, oral histories, interviews and photography from the writers, photographers, musicians, producers, DJs, designers and friends who knew Andrew best.

The book is being published with the full blessing, approval and cooperation of the Weatherall estate, who will also receive a share of the profits from the book. From the fanzine kid at Boy’s Own to the producer who rewired Primal Scream and made ‘Screamadelica’ sound like the future; through The Sabres Of Paradise, Two Lone Swordsmen, The Asphodells and the much-loved A Love From Outer Space night and Convenanza festival, Weatherall left behind a body of work, a sensibility and a way of carrying yourself that is still being unpacked six years on. This is the book that tries to do all of it justice.

Highlights include: an interview with Bobby Gillespie that goes beyond ‘Screamadelica’, essays on ‘Sabresonic’, ‘Haunted Dancehall’, the Two Lone Swordsmen and his solo releases, plus a look into his many remixes. In addition: oral histories on his early years, A Love From Outer Space and Convenanza, an interview with Timothy J. Fairplay on The Asphodells and a celebration of his art work and his NTS radio shows. And then there’s the Disco Pogo Tribute regulars: a timeline, family tree, a studio gear deep dive, discography and more… Featuring interviews with Sean Johnston, David Holmes, Jagz Kooner, Leftfield, Shaun Ryder, Chemical Brothers, Terry Farley, Dot Allison, Beth Orton, Irvine Welsh, Daniel Avery, HAAi, Tia Cousins, Steve Mason, Richard Fearless and many more.

out of Stock

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Last In: 28 days ago
TEENAGE BOTTLEROCKET - STAY RAD
  • 1: YOU DON'T GET THE JOKE
  • 2: DEATH KART
  • 3: EVERYTHING TO ME
  • 4: I WANNA BE A DOG
  • 5: NIGHT OF THE KNUCKLEHEADS
  • 6: CREATURE FROM THE BLACK METAL LAGOON
  • 7: ANTI-SOCIAL MEDIA
  • 8: WILD HAIR (ACROSS MY ASS)
  • 9: THE FIRST TIME THAT I DID ACID WAS THE LAST TIME THAT I DID ACID
  • 10: I WANT TO KILL CLINT CARLIN
  • 11: I'LL KILL YOU TOMORROW
  • 12: STUPID SONG
  • 13: LITTLE KID
  • 14: I NEVER KNEW

New 2026 edtion in beer coloured vinyl! It's hard to believe fresh-faced pogo punks Teenage Bottlerocket (or TBR as the kids call them) celebrated their 25th anniversary in 2025. Since their inception way back in 2000, there has been one word best suited to describe them: Rad. Teenage Bottlerocket is the epitome of rad. Stay Rad! shows a slightly different side of Teenage Bottlerocket, putting their songwriting progression and personal growth on full display, while remaining a quintessential TBR album -complete with enthralling melodies, perfect harmonies, and their trademark breakneck down strumming. As with every Teenage Bottlerocket record, Stay Rad! has a good mix of silly and serious, but the overriding sentiment is one that echoes its title. From the incredibly catchy and clever "I Wanna Be a Dog" to the heartfelt hit "Everything to Me," Stay Rad! checks all the boxes of classic TBR. At the same time the band manages to stretch their boundaries on the riffy ode to Norwegian black metal "Creature from The Black Metal Lagoon" and the hardcore influenced "The First Time That I Did Acid Was the Last Time That I Did Acid." Top to bottom Stay Rad! meets expectations and shatters them with plenty of new twists for the legions of TBR faithful. Beer color vinyl & gatefold with Silver foiled sleeve art Produced by Andrew Berlin at the Blasting Room (Rise Against, Descendents) Features hit singles "I Wanna Be A Dog" and "Everything To Me" For fans of Ramones, Screeching Weasel, Descendents, The Queers, The Lillingtons

pre-order now31.07.2026

expected to be published on 31.07.2026

The Rolling Stones - Foreign Tongues LP 2x12"

Foreign Tongues, the new album from The Rolling Stones, is an incredibly vibrant 14-track collection arriving less than three years after the band’s universally acclaimed, GRAMMY-winning album Hackney Diamonds, which topped charts worldwide and achieved multi-platinum status. The new album is introduced by the upbeat and infectious lead single In The Stars.

Leading up to the announcement, the band subtly built anticipation around the project, including the limited white label release of the track Rough and Twisted, issued exclusively on vinyl under the name The Cockroaches. Circulating among fans and collectors, the release has already sparked excitement and speculation about the sound and direction of Foreign Tongues, offering an early glimpse into the album’s raw and experimental energy. Recorded during an exceptionally creative period, Foreign Tongues was brought to life in under a month at Metropolis Studios in West London, with Mick Jagger, Keith Richards and Ronnie Wood reuniting with GRAMMY-winning producer Andrew Watt, who also helmed Hackney Diamonds. The result is a dynamic and forward-looking record that captures the band’s unmistakable sound while venturing into new sonic and lyrical territory—further cementing their unmatched legacy.

The album showcases standout performances from Jagger, Richards and Wood, alongside their long-time collaborators, including Darryl Jones, Matt Clifford and Steve Jordan. It also features a special guest appearance from Charlie Watts, recorded during one of his final studio sessions before his passing in 2021. Additional contributions come from an impressive lineup of guest artists, including Steve Winwood, Paul McCartney, Robert Smith of The Cure, and Chad Smith from Red Hot Chili Peppers.

Speaking about the recording process, Mick Jagger said: “I love doing these recording sessions in London at Metropolis. It was a very intense few weeks recording Foreign Tongues. We had 14 great tracks, and we worked as quickly as we could. I like the room there because it’s not too big, so you can really feel the passion in the room from everyone.”

Keith Richards added: “The album Foreign Tongues has a connection to Hackney Diamonds, and it was great to be working in London again and to have that London vibe around us. It was a month of concentrated punch. For me, it’s all about the joy of it. I’m blessed to be able to do this—may it continue for a long time.”

Ronnie Wood commented: “The atmosphere in the room was so creative, and the whole band was in top form throughout the process. Very often, we nailed it on the first take. I hope everyone will love it.”

The album’s striking cover artwork is a painting created by the acclaimed American artist Nathaniel Mary Quinn

pre-order now10.07.2026

expected to be published on 10.07.2026

EXEK - PROVE THE MOUNTAINS MOVE

EXEK

PROVE THE MOUNTAINS MOVE

12inchDFALP2731
DFA Records
09.07.2026

Seit etwas mehr als einem Jahrzehnt hat sich EXEK ganz leise zu einer der faszinierendsten Bands der Welt entwickelt, die sich von Album zu Album verändert und weiterentwickelt und sich nach und nach geöffnet hat, ohne jemals diese seltsame, unergründliche und insgesamt essentielle Eigenschaft zu verlieren, die sie so großartig gemacht hat - so EXEK-mäßig. Nun bringt die Post-Punk-Band aus Melbourne - Sänger und Chefarchitekt Albert Wolski, Gitarrist Jai Morris-Smith, Schlagzeuger Chris Stephenson, Synthesizer-Spezialist Andrew Brocchi, Trompeterin und Sängerin Valya YL Hooi und Bassist Ben Hepworth - ihr siebtes Album und erstes für DFA raus: ,Prove The Mountains Move". Es ist, wie Wolski sagt, ,ein bisschen epischer" als alles, was er bisher aufgenommen hat, ein üppiges und unverhohlen melodisches Set surrealistischer Popmusik, das sich in Widersprüchen suhlt. ,Dieses Album ist in seiner Machart experimentell", sagt Wolski, ,aber es klingt nicht unbedingt experimentell." Dafür gibt es einen guten Grund. Die Arbeit begann an einem kalten Nachmittag im Juni 2023, als Wolski und Stephenson sich in den Pelican Refill Studios in Melbourne trafen, um die Drums aufzunehmen - das erste, was sie immer machen. Danach ging Wolski alleine nach Hause und fing an, die aufgenommenen Beats und Breaks durchzugehen, wobei er sich von den Drum-Sounds zu Melodien und Basslines leiten ließ, Loops und Layers erstellte und so die Grundlage für ,Prove The Mountains Move" schuf. ,Ich fühle mich wohl dabei, alleine wie ein verrückter Wissenschaftler herumzutüfteln", sagt er. ,Ich habe es auch genossen, ohne klare Absicht auf Aufnahme zu drücken. Meistens führte mich das in eine interessante Richtung, die mein Bewusstsein wahrscheinlich nicht gesucht hätte." Und doch gelangte Wolski irgendwie zu seinem direktesten Werk seit Beginn des Projekts, neu inspiriert von der Klarheit und Prägnanz des Mainstream-Pop, der starken und unbestreitbaren Anziehungskraft einer einfachen Gesangsmelodie. Nachdem die berühmt-berüchtigten strengen COVID-Lockdowns in Melbourne beendet waren, wollte er einfach draußen bleiben. ,Die Arbeit an neuer Musik trat gegenüber dem Feiern mit Freunden in den Hintergrund", sagt er. ,Und diese Partys waren voller großer Hits als Soundtrack - Sachen, die ich selbst nicht wirklich hörte, Sachen, denen ich seit meiner Jugend nicht mehr begegnet war. Aber in den frühen Morgenstunden des Sonntags klingt ,Alive" von Pearl Jam, als würde man mit Gott sprechen. Genauso wie ,All I Wanna Do" von Sheryl Crow und ,Feel" von Robbie Williams. Krautrock und Dub waren immer noch in meiner DNA, aber die Musik, die ich zu machen begann, war vielleicht etwas unbeschwerter und vielleicht auch etwas emotionaler." Das heißt nicht, dass man hier Spuren von Eddie Vedder in Wolskis Gesang erwarten sollte, aber die Einsätze fühlen sich auf ihre eigene Weise ähnlich an - so klingt es, wenn EXEK wirklich alles geben. Nimm zum Beispiel die schwebenden Synthesizer des Openers ,Sidestepping" oder die gewaltigen Gitarren von ,Arriverderci Back Pain", die pyrotechnischen Klavierklänge von ,Don't Answer (When They Call)" oder die Bowie-artige Melancholie von ,You Have Been Blessed". Die Arrangements wirken offener, der Sound fokussierter. Es fällt nicht schwer, Wolski zu glauben, wenn er sagt, dass er viel Zeit damit verbracht hat, seine Mixe von ,Prove The Mountains Move" mit einigen der wichtigsten Alben, die je aufgenommen wurden, darunter ,Abbey Road", zu vergleichen. Aber alles ist relativ. Und textlich bleibt Wolski weiterhin verschlüsselt. ,Jeder Song ist eine Vignette in einem abstrakten Milieu, sei es ein experimentelles Chiropraktik-Geschäft am Flughafen oder spärlich bekleidete Kreaturen aus Staub in einem Food Court. Egal wie verrückt das auch sein mag, es gibt Themen und Motive auf dem gesamten Album, sowohl textlich als auch musikalisch, die sich in verschiedenen Songs widerspiegeln und aufeinander Bezug nehmen." Diese Dissonanz zwischen direkt und indirekt, glatt und strukturiert, schattig und glühend, verrückt und ausdruckslos ist die treibende Kraft im Herzen dieser Songs, seiner bisher besten.

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Last In: 81 days ago
Paul Valentin - Of Sand EP

After the dissolution of his wave-making duo project Ameli Paul, Berlin based musician and producer Paul Valentin aims to venture down new roads and finds help from illustrious folks like Liv Lisa Fries, DJ Koze, Thomass Jackson and Philipp Fein along the way. Valentin’s debut EP on Feines Tier marks his first solo release in 10 years and is a colourful journey through sonic worlds and emotions in the continuous search for his own sound.

Opener ELVAU is a collaboration with actor Liv Lisa Fries built around their intimate voice recordings which are woven delicately into a dreamy web of shimmering synths atop pulsating break beats that would make Bicep proud. For his remix, His Kosiness, the Tripsitter Himself also known as DJ Koze follows the breakbeat path further down, gleefully taking all sorts of wonky and fun diversions on the way, which makes one hope that the ride never ends.

Follow-up tune MALFUNCTION is a more straightforward affair with its rolling synth arps and is - in Valentin’s own words - “about personal failure, dissolution, and the distortion of the self“. Equally dark under- and overtones are throwing shades over WHATTHE!, dealing with anger and transformations, resulting in a banger for the heavier moments on the dancefloor or the mind between your headphones. The EP closes on a more hopeful note with LISTEN, which stands for „everything that could be, if we listened to each other“. And it’s never a bad idea to listen to chirping 303 basslines, especially when paired with melancholic synth pads and weird vocal samples, as is the case here. The rework of Thomass Jackson and FT-head honcho Philipp Fein feels beautifully anachronistic with its reduced tempo and could have been something Andrew Weatherall would have played when he was still playing our earthly dancefloors.

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Last In: 69 days ago
LUCKY - LUCKY LP

LUCKY

LUCKY LP

12inchDE0069ROLP
Royal Oakie
26.06.2026
  • 1: Falling Through
  • 2: Traveler
  • 3: Friends
  • 4: Lines
  • 5: Bougainvillea
  • 6: Colder
  • 7: Olden Goldy

LUCKY is the self-titled debut album by the San Francisco band, born of a collaboration between songwriters Andrew St James (French Cassettes, Juan Wayne) and Peter Kegler (Half Stack). Now a full band featuring, the group combines anthemic indie-rock with y’allternative twang, the perfect soundtrack for long drives and late night revelries.
The story begins when St James booked Kegler’s band Half Stack for a show with Juan Wayne at the Rickshaw Stop in San Francisco. The two immediately recognized each other as kindred spirits and before long they were spending late nights at The Lucky Horseshoe in Bernal Heights, where they pledged to make an album together. Much like Lennon-McCartney or Jagger-Richards, St James and Kegler showed up with their own songs and helped each other dial them in, the songs becoming something totally unique in the process. Pretty soon they recruited Elsasser and headed into the studio with producer Joe Santarpia (Mac DeMarco), where they blazed through more than half a dozen songs in a few days, capturing first takes of raw energy.
Album opener “Falling Through”, written by Kegler on a long drive over HWY 17 to Santa Cruz, pairs talkin’ country vocals on the verse with a hard hitting chorus, eventually ramping up to a phased out guitar solo and a truly epic bridge with gang vocals and an ad lib from St James. Meanwhile, lead single “Traveler” was the first song written for the album, originally a folky shuffle, St James thought it was a goner but Kegler helped recast it as a mid-tempo rocker with a twangy alt-country edge. “Friends” is a true-to-life account of St James’ lifestyle as he shuttled between San Francisco and Los Angeles, paying homage to the City’s legendary House of Prime Rib with a propulsive beat that recalls Girls, Kings of Leon, and the grandiose energy of the E Street Band.
Highly anticipated debutalbum from LUCKY. Press coverage includes reviews and features in Various Small Flames, Glide Magazine, Broken Dreams Club, and more.
“...equal parts laidback swagger and earnest emotion…” - Various Small Flames
“LUCKY is becoming one of the most exciting figures to emerge in alt-country in some time.” - Glide Magazine.

pre-order now26.06.2026

expected to be published on 26.06.2026

Channel One Pres. - 100 Tons Of Dub LP

The mighty Channel One Studios,Kingston, Jamaica, has its place set in Reggae's Musical History.Its distinctive sound the studio created on opening its doors in 1972 to its closure in the early 1980's made it the Producers, Singers and Musicians studio of choice during this furtive period. Achieving that vibe and clarity, separated it from the other Kingston establishments.

Run by the Hookim Family's four sons, Jo Jo the eldest followed by Paulie, Ernest and Kenneth. Their father originally came from China and married a Chinese Jamaican lady and settled in the St Andrews district before moving to Kingston Town itself. The family business was built on jukeboxes and one armed bandit machines in and around Kingston. A lucrative venture until the gaming laws changed in 1970, outlawing the gaming machines. So the music side of the business would have to be expanded. So it was decided to open a studio to make the music to supply their already established Jukebox enterprise. The four brothers opened Channel One Recording Studios in 1972 at 29 Maxfield Avenue, Kingston 13. Initially as we stated the purpose of the studio was for the brothers use only, but this would soon change when the various Producers all looking for that Channel One sound came asking for studio time.

The brothers had used the services of Bill Garnet a renowned and well respected technical engineer on setting up the studio. They spent a lot of time laying out the space to get the right acoustics and picking the right quipment. They went with a four track API desk and the best quality microphones such as Neuman, Sony and AKG, vital in obtaining the quality sound and track separation that would prove so worthwhile after the music was recorded to give the best flexibility on the final mix downs. Jo Jo would take over the production duties after the initial hiring of Syd Bucknor a producer who had worked closely with Coxonne Dodds Studio 1 stable. The first release on the Channel One label would be 'Don't Give Up The Fight' by Stranger Cole and Gladstone 'Gladdy' Anderson.The initial two thousand run being swallowed up by their Jukebox interests and so the steady flow of hits would run up to the brake through hit of 1975 'Right Time' by  the Mighty Diamonds.

1977 saw Jo Jo extending his stays in New York to a semipermanent status, returning mainly to oversee recording sessions and then taking the results back to America for worldwide distribution. His brother Paulies senseless killing in that year also added to Jo Jo's decision to spend more time with his Hit Bound Manufacturing set up in New York. The Channel One studio would be upgraded in 1979 to sixteen tracks and although Jo Jo and Ernest still covered the mixing and engineering duties Kenneth would now supervise sessions. An often untold part of Channel Ones history is the involvement of Producer Niney The Observer. The mid to late 1970's were heavy times both musically and politically and Maxfield Avenue was in the heart of this crossfire. Some artists and musicians were weary of using the establishment especially when sessions ended late at night and exiting the studio at these times could be somewhat dangerous. But Niney’s fearlessness seen him over running and in many cases running the all night sessions with his trusted set of musicians loosely called The Soul Syndicate. Having the run of the mighty Channel One studio's allowed Niney to build up and work on a stockpile of rhythms that he still has yet to unleash on the world. We have been lucky to select a bunch of material from Niney's vaults for this release. Some great unreleased rhythms and some different cuts to some tracks you might already know. Niney's work with Dennis Brown and his own distinctive heavy roots style productions have been documented and indeed his work on Channel Ones Yellowman releases stand tall also. We hope this fine set of Niney Productions set inside the hollowed walls of Channel One will sit beside them as they so richly deserve.

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Last In: 5 years ago
Dance Gavin Dance - Tree City Sessions 3

Die Rock-Virtuosen Dance Gavin Dance aus Sacramento präsentieren die dritte Veröffentlichung ihrer „Tree
City Sessions“-Reihe. Wie schon bei den vorherigen Alben hat die Band auch für „Tree City Sessions 3“
neue Versionen ihrer früheren Dance-Gavin-Dance-Songs aufgenommen, alle mit dem aktuellen Sänger
Andrew Michael Wells.
Die CD enthält 12 Tracks. Die 2LP erscheint auf 140g schwerem „Velaris“-Farbvinyl und bietet auf
der zweiten LP 12 zusätzliche Instrumentalstücke.

pre-order now19.06.2026

expected to be published on 19.06.2026

Marc Richter - Coh Bâle

Marc Richter

Coh Bâle

12inchCELL-11LP
Cellule 75
18.06.2026

This new album compiles several songs made in the years following Black To Comm's classic "Alphabet 1968" album. Originally released on the seminal Type label in 2009 (and to be reissued on Cellule 75 this year) "Alphabet 1968" combined the sound of vintage shellac and vinyl loops with broken electronics and field recordings, the press release mentioning disparate influences "ranging from Moondog to Basic Channel by way of Bernard Herrmann". In a beautiful one-page review in The Wire magazine (later reprinted in his book Ghosts Of My Life) Mark Fisher compared Richter's music to JF Sebastian’s miniature automata in Blade Runner ("with their bizarre mixture of the clockwork and the computerised, the antique and the ultramodern, the playful and the sinister"), ETA Hoffmann's inventor-magicians and Auguste Villiers de l'Isle-Adam's 1886 tale of Thomas Edison's (fictitious) construction of an artificial human.

Now titled "Coh Bâle" (inspired by a strange dream) these recordings were supposed to become a follow-up to said album but for reasons unknown it never materialized and the album seemed forever lost. At the time Richter started to dive deeper into several strains of (so-called) world music aka the folk music of Southeast Asia and Eastern Europe as well as liturgical and medieval music, the Kraut-Electronica of Harmonia and several certain Mediterranean experimentalists from the 1980's who started to merge their mostly electronic and field recording based compositions with traditional musics from all over the world by way of new sampling technology.

Many of the songs for the album were recorded while travelling and at various residencies around Europe: a detuned piano in a Thessaloniki basement (Richter played at a children's birthday party there), vintage synthesizers in the GRM studios in Paris, decaying acoustic instruments found in an old Black Forest mansion, childrens' voices at a workshop in Karlsruhe's ZKM Institute; then mixed on headphones in the ICE trains running between these places and his hometown Hamburg.

"Coh Bâle" is taking inspirations from old Nonesuch Explorer and Ocora LP's, Crammed Records, 80s Mediterranean Ambient (Nuno Canavarro, Roberto Musci) combined with the DIY spirit of Deux Filles and Flaming Tunes and the playfulness of Asa Chang & Junray. The songs are both mysterious and transparent, intricate and frugal, vibrant and patient. One of the album's unexpected climaxes is a gorgeous (artificial) berimbau version of the Welsh traditional "Iechyd o Gylch".

No two songs feature the same instrumentation and many acoustic sources (pianos, flutes, wood percussion, viola, tablas, autoharp) were disassembled and later coalesced into new configurations or used as virtual instruments; later combined with samples, field recordings, electronics and (on a few tracks) autotuned vocals reminding of recent works by the likes of Claire Rousay or More Eaze.

We had to wait for a worldwide pandemic for Richter to dig deep into the vaults and finally bring these recordings to light. This is the 2nd release from his archives after the "Diode, Triode" LP which presented Musique Concrète/Acousmatic recordings made at INA/GRM and ZKM. Another massive Double-CD (MM∞XX Vol. 1 & 2) was released last year featuring collaborations with 33 artists such as Andrew Pekler, Richard Youngs, Eric Chenaux, Maja Ratkje, Radwan Ghazi Moumneh of Jerusalem In my Heart, GRM boss François Bonnet (Kassel Jaeger), Felix Kubin, Timo van Luijk (In Camera, Af Ursin), Luke Fowler and many others, showing Richter's versatility and his willingness to reinvent himself for every new release.

Marc Richter is widely known under his Black To Comm moniker, having released (at least) 12 albums under this alias in the last 20 years. He is currently signed to the Thrill Jockey label. Richter composes soundtracks for film and has worked with visual artists such as Mike Kelley and Ho Tzu Nyen. He also records as Jemh Circs and Mouchoir Étanche for his own Cellule 75 label (named in tribute to the late Luc Ferrari).

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Last In: 3 months ago
EMILY A.SPRAGUE - DOUBLE MOON

Die Synthesistin und Komponistin Emily A. Sprague verbindet intuitive Klangstrukturen mit ausdrucksstarkem Songwriting und schafft so weitläufige Klangwelten, die unmittelbar und mitreißend sind. Nach ersten Experimenten mit Gitarre und Keyboard als Teenager gründete Sprague Anfang der 2010er Jahre die Indie-Band Florist, mit der sie ein treues Publikum gewann, bevor sie sich 2017 unter ihrem eigenen Namen auf Umwelt- und Ambient-Kompositionen verlegte. Zu ihren Veröffentlichungen zählen mehrere Alben aus beiden Projekten, zuletzt Florists ,Jellywish" und ,Cloud Time" aus dem Jahr 2025 sowie nun die EP ,Double Moon". ,Double Moon" zeichnet psychische und greifbare Landschaften als parallele Welten nach. Durch beschwörende Wiederholungen und durchscheinende Klangfluten ebnet Sprague einen initiatorischen Weg mit modularer Komplexität und lyrischer Weitsicht, untermalt von V Haddads transparenter Stimme. Mit instinktiver Präzision offenbart ,Double Moon" sensorische Weite durch viszerale, szenische Komposition. Geprägt von gepatchten Farbverläufen, frostigen Winkeln und warmen, melodischen Wellen dreht sich jeder Klang um den nächsten, taucht gleichzeitig auf und verschwindet wieder in einem fesselnden Klangbogen. Dieser Track bewegt sich in schillernder Subtilität - die Farbe der Nacht, die sich über den Himmel zieht und die Silhouetten beleuchtet, die sie erst möglich macht.Der mittlere Track, ,Dusk (How to Fly)", ist seinem Titel getreu ein subtiles und bewegendes Experiment, das den Ausklang des Tages heraufbeschwört, zusammen mit einem flüchtigen Anflug von Erhabenheit und der nahen Möglichkeit des Fliegens. Faszinierend in seiner nachdenklichen Drift und leuchtenden Bildsprache verschmilzt der Track sanft synthetisierte Fäden mit einem langsamen akustischen Rausch - eine Melodie, die in grenzenlose Richtungen treibt. Geleitet von Spragues unverwechselbarer Gesangskaskade und briefartigen Fäden webt sich eine beschwingte Sequenz mühelos von grundlegenden Erinnerungen zu einer weiten emotionalen Öffnung und fragt: Wie könnten wir auf andere Weise hier sein? Wie können wir überhaupt etwas fühlen?« ,Double Moon (Andras Dub)" verleiht Spragues Originalkomposition eine strahlende Note: Der australische Produzent Andrew Wilson, alias Andras und eine Hälfte von Wilson Tanner, verwandelt die Textur des Originaltracks durch tiefe, strahlende Rhythmen. Jeder Takt springt und zerstreut sich, um etwas völlig Neues zu erschaffen.

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Last In: 3 months ago
THE WOODLEIGH RESEARCH FACILITY - Anamchara LP 2x12"

W.R.F. was formed in 2015 by Nina and late studio partner Andrew Weatherall to help wrangle the vast output recorded together beyond his solo releases.
Spotlighting nine tracks from the Apparently Solo series of EPs recorded between 2016- 2019 and released on Bandcamp in 2023, this lustrous time capsule marks the culmination of Walsh and Weatherall’s creative relationship born after they clicked at London’s earliest acid house clubs, becoming partners then managers of their Sabres Of Paradise/Sabrettes labels before taking different paths by the late '90s.
An accomplished musician, Nina had learned the art of studio technology by the time they reunited and started working together in 2012. Created at her Facility 4 Studio situated in the dangerous, gang-ridden no man’s land between Streatham and Mitcham, Anamchara captures the super-prolific creative stretch starting in 2015 that produced Weatherall’s Convenanza and Qualia solo sets, W.R.F.’s The Phoenix Suburb (And Other Stories) plus a whole lot more. According to Nina, Andrew envisioned the spectacular ‘Borderland’ as natural successor to ‘Smokebelch’, his most revered track. When it came to his remix, Nina enlisted renowned viola virtuoso Sarah Sarhandi and composed new harmonies with Pachelbel’s Canon in D Minor in mind.
The set also catches the breakthrough period when, through Nina’s careful coaxing, Andrew started using the computer system she’d set up to better express his musical visions by arranging the elements, grooves and melodies she sent him. Still considered the UK’s greatest DJ-producer, Andrew’s arrangements were inspired by his club-igniting sets. “This allowed me to mix the colours for his palette whilst he was painting the picture,” says Nina. Anamchara straddles the gamut of musical styles explored by W.R.F. at this time, from slower paced psychedelic “drug chug” outings ‘We Two’. ‘Heat To Meat Ratio’, ‘Hidden Watchers Part 1’ to banging acid house and techno sometimes inspired by the violence outside the studio door, including ‘SCHLAP’, ‘Crack-Ed’ and churning acid juggernaut ‘Yacidik’ (“After much dangling of the acid carrot, Andrew took a bite and, after one familiar raised eyebrow, never looked back,” says Nina).
Many tracks fly elements from the enormous sonic library Nina inherited from late partner Erick Legrand that she called The Akashic Library of Sound. Marking Andrew’s 2016 admission into the vault, ‘Rattly Old Puffin’ boasts Erick’s psychedelic guitar and tumbling drum loop Weatherall would run with, including on ‘Borderland’. “Erick was like our third member,” says Nina.
Bringing down the curtain, ‘Alma’’s exquisitely poignant melody that unfolds over thirteen time-stopping minutes was composed by Nina while navigating Erick’s birth and departure date anniversaries to accompany Andrew’s reading from Gordon Burn’s 1991 same-named novel at 2018’s Durham Literary Festival. Burn’s novel imagines early 60s popstrel Alma Cogan, who succumbed to cancer in 1966 surviving to reflect on fame. “Now it just makes me think of Erick. And every time I hear those well-placed cymbal crashes I can only think of the Captain himself.”
A beautiful grand finale for this astonishing selection of pure gold from the vaults.
Kris Needs / 2026

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Last In: 3 months ago
HORSE LORDS - DEMAND TO BE TAKEN TO HEAVEN ALIVE!
  • 1: EUREKA 378-B
  • 2: BRAIN OF THE FIRM
  • 3: ROTATION I
  • 4: PLAYING AND REALITY
  • 5: ROTATION II
  • 6: FIRST GALACTIC UTOPIA
  • 7: ROTATION III
  • 8: BEFORE THE LAW
  • 9: AFTER THE LAST SKY
  • 10: A CITY YET TO COME
  • 11: SECOND GALACTIC UTOPIA
  • 12: DEMAND TO BE TAKEN TO HEAVEN ALIVE!
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Die Musik auf Horse Lords' "Demand to Be Taken to Heaven Alive!" wirkt zugleich unglaublich detailliert und zutiefst menschlich. Die zwölf versammelten Stücke sind vielschichtig, verflochten, tonal und rhythmisch komplex - moiré-artige Muster aus Interaktion und Verzahnung, die sich sowohl körperlich als auch geistig entfalten, voller klanglicher Gänge mit einem unausweichlichen Groove. Künstler sind nicht notwendigerweise Wissenschaftler, Logiker oder spirituelle Führer, doch durch ihr persönliches Verständnis von Ordnung und Erfahrung eröffnen sie einen unmittelbaren Zugang zu gesteigerten Zuständen von Materialität und Immaterialität. Horse Lords wurden 2010 in Baltimore gegründet; sie gingen aus einer anderen Gruppe namens Teeth Mountain hervor und starteten als Trio mit Gitarrist Owen Gardner, Bassist Max Eilbacher und Schlagzeuger Sam Haberman, bevor der Altsaxofonist Andrew Bernstein zum Kernensemble hinzustieß. Obwohl das Quartett aus einer fruchtbaren Noise- und Experimental-Rock-Szene hervorgegangen ist - einem legendären Umfeld für Künstler und Außenseiter, das viele einflussreiche Bands hervorgebracht hat (Lungfish, Matmos) - war ihr Ansatz über sechs Alben, zahlreiche Kollaborationen und als gefeierte Liveband weit vielseitiger, als es die punktierten Rhythmen instrumentaler elektrischer Rockmusik vermuten lassen. Für dieses Projekt wird die Band durch Bassklarinettistin Madison Greenstone, Posaunist Weston Olencki und - erstmals bei Horse Lords - durch Gesang von Nina Guo und Evelyn Saylor ergänzt. Der Entstehungsprozess von "D2BT2HA!" brachte geografische Hürden mit sich, da die vier Mitglieder seit 2021 in unterschiedlichen Städten leben. Nach sechzehn Jahren als funktionierende Band übersteigt ihre gemeinsame Sprache jedoch jeden Ort. Die aus Deutschland stammenden Gardner, Eilbacher und Bernstein trafen sich in Berlin für die Aufnahmen, während Haberman die Schlagzeugparts in Baltimore erarbeitete. Beim Hören würde man dies nicht unbedingt erkennen, und gemeinsames, räumlich getrenntes Arbeiten ist heutzutage ohnehin keine Seltenheit mehr. Die Band merkt an, dass "es wichtiger war, den Konzepten und Visionen der jeweils anderen zu vertrauen, als Abschnitte immer wieder zu spielen, um zu überprüfen, ob die Musik funktioniert - obwohl dieses Vertrauen nur durch sehr enges gemeinsames Arbeiten möglich wurde". Obwohl "D2BT2HA!" nicht im engeren Sinne eine Suite ist, beeinflusst und durchdringt sich die Musik in komplexen Verknüpfungen selbst. Horse Lords erklären: "Uns gefällt die Vorstellung von Kunst als Werkzeug zur Perspektivveränderung - dass man Ideen rotieren kann und sie aus einem anderen Blickpunkt sehen/hören/fühlen kann." Oder, wie es der Swami Satchidananda Saraswati zugeschriebene Satz ausdrückt: "Understanding is standing under where you are already standing." Das Eröffnungsstück ,Eureka 378-B" ist ein Arrangement von sakraler Harfenmusik aus dem 19. Jahrhundert, getragen vom Gesang von Guo und Saylor; seine Melodie entfaltet sich weit und setzt einen tonalen Startpunkt für vieles, was folgt. Dazu kommen die kurzen "Rotations", die Fragmente aus anderen Stücken isolieren. Offensichtlich tragen die Titel der Stücke einiges an Bedeutung, und "D2BT2HA!" bildet da keine Ausnahme - Transzendenz und Erhebung sind der Musik inhärent, und wenn jede Kunst politisch ist, so sind die Tendenzen von Horse Lords optimistisch und gemeinschaftsorientiert. Transformation und Neubetrachtung sind nicht nur kompositorische Strategien, sondern eine philosophische Haltung, was sich in Titeln wie ,A City Yet To Come", dem Titeltrack oder utopischen Bezügen zeigt. Wie sie selbst sagen: "Wir versuchen Musik zu machen, die den Status quo herausfordert und dem Hörer einen Weg zur Befreiung eröffnet. Das Studium und die Erforschung von Klang und Musik hat eine spirituelle und ekstatische Dimension, und wir haben große Ehrfurcht vor ihrer Wirkung auf den Einzelnen und die Welt." "D2BT2HA!" enthält unzählige klangliche und konzeptuelle Schichten, doch angesichts der unverkennbaren Kraft und Menschlichkeit der Musik ist der Prozess, sie zu entschlüsseln, begeisternd und zutiefst lohnend. Selten ist eine Platte, die einen so unmittelbar packt und zugleich bei jedem Hören vollkommen neu erscheint.

pre-order now12.06.2026

expected to be published on 12.06.2026

HORSE LORDS - DEMAND TO BE TAKEN TO HEAVEN ALIVE!

Die Musik auf Horse Lords' "Demand to Be Taken to Heaven Alive!" wirkt zugleich unglaublich detailliert und zutiefst menschlich. Die zwölf versammelten Stücke sind vielschichtig, verflochten, tonal und rhythmisch komplex - moiré-artige Muster aus Interaktion und Verzahnung, die sich sowohl körperlich als auch geistig entfalten, voller klanglicher Gänge mit einem unausweichlichen Groove. Künstler sind nicht notwendigerweise Wissenschaftler, Logiker oder spirituelle Führer, doch durch ihr persönliches Verständnis von Ordnung und Erfahrung eröffnen sie einen unmittelbaren Zugang zu gesteigerten Zuständen von Materialität und Immaterialität. Horse Lords wurden 2010 in Baltimore gegründet; sie gingen aus einer anderen Gruppe namens Teeth Mountain hervor und starteten als Trio mit Gitarrist Owen Gardner, Bassist Max Eilbacher und Schlagzeuger Sam Haberman, bevor der Altsaxofonist Andrew Bernstein zum Kernensemble hinzustieß. Obwohl das Quartett aus einer fruchtbaren Noise- und Experimental-Rock-Szene hervorgegangen ist - einem legendären Umfeld für Künstler und Außenseiter, das viele einflussreiche Bands hervorgebracht hat (Lungfish, Matmos) - war ihr Ansatz über sechs Alben, zahlreiche Kollaborationen und als gefeierte Liveband weit vielseitiger, als es die punktierten Rhythmen instrumentaler elektrischer Rockmusik vermuten lassen. Für dieses Projekt wird die Band durch Bassklarinettistin Madison Greenstone, Posaunist Weston Olencki und - erstmals bei Horse Lords - durch Gesang von Nina Guo und Evelyn Saylor ergänzt. Der Entstehungsprozess von "D2BT2HA!" brachte geografische Hürden mit sich, da die vier Mitglieder seit 2021 in unterschiedlichen Städten leben. Nach sechzehn Jahren als funktionierende Band übersteigt ihre gemeinsame Sprache jedoch jeden Ort. Die aus Deutschland stammenden Gardner, Eilbacher und Bernstein trafen sich in Berlin für die Aufnahmen, während Haberman die Schlagzeugparts in Baltimore erarbeitete. Beim Hören würde man dies nicht unbedingt erkennen, und gemeinsames, räumlich getrenntes Arbeiten ist heutzutage ohnehin keine Seltenheit mehr. Die Band merkt an, dass "es wichtiger war, den Konzepten und Visionen der jeweils anderen zu vertrauen, als Abschnitte immer wieder zu spielen, um zu überprüfen, ob die Musik funktioniert - obwohl dieses Vertrauen nur durch sehr enges gemeinsames Arbeiten möglich wurde". Obwohl "D2BT2HA!" nicht im engeren Sinne eine Suite ist, beeinflusst und durchdringt sich die Musik in komplexen Verknüpfungen selbst. Horse Lords erklären: "Uns gefällt die Vorstellung von Kunst als Werkzeug zur Perspektivveränderung - dass man Ideen rotieren kann und sie aus einem anderen Blickpunkt sehen/hören/fühlen kann." Oder, wie es der Swami Satchidananda Saraswati zugeschriebene Satz ausdrückt: "Understanding is standing under where you are already standing." Das Eröffnungsstück ,Eureka 378-B" ist ein Arrangement von sakraler Harfenmusik aus dem 19. Jahrhundert, getragen vom Gesang von Guo und Saylor; seine Melodie entfaltet sich weit und setzt einen tonalen Startpunkt für vieles, was folgt. Dazu kommen die kurzen "Rotations", die Fragmente aus anderen Stücken isolieren. Offensichtlich tragen die Titel der Stücke einiges an Bedeutung, und "D2BT2HA!" bildet da keine Ausnahme - Transzendenz und Erhebung sind der Musik inhärent, und wenn jede Kunst politisch ist, so sind die Tendenzen von Horse Lords optimistisch und gemeinschaftsorientiert. Transformation und Neubetrachtung sind nicht nur kompositorische Strategien, sondern eine philosophische Haltung, was sich in Titeln wie ,A City Yet To Come", dem Titeltrack oder utopischen Bezügen zeigt. Wie sie selbst sagen: "Wir versuchen Musik zu machen, die den Status quo herausfordert und dem Hörer einen Weg zur Befreiung eröffnet. Das Studium und die Erforschung von Klang und Musik hat eine spirituelle und ekstatische Dimension, und wir haben große Ehrfurcht vor ihrer Wirkung auf den Einzelnen und die Welt." "D2BT2HA!" enthält unzählige klangliche und konzeptuelle Schichten, doch angesichts der unverkennbaren Kraft und Menschlichkeit der Musik ist der Prozess, sie zu entschlüsseln, begeisternd und zutiefst lohnend. Selten ist eine Platte, die einen so unmittelbar packt und zugleich bei jedem Hören vollkommen neu erscheint.

pre-order now12.06.2026

expected to be published on 12.06.2026

Blind Eye - Mistrust Your Nation LP
  • 1: Behave
  • 2: Whatcha Gonna Do
  • 3: Blitz Can
  • 4: Darts, Cards, Bingo
  • 5: Red State
  • 6: What Is Your Line
  • 7: Twisted Ways
  • 8: Tin Blankets
  • 9: Bitter
  • 10: Who's In Control

This is a record of noted pedigree. Nottingham is one of thee homes to god-tier hardcore punk. The scene there has evolved, revolved, mutated, and grown over the decades. It's DIY venues and recording studios are now of legend.
The catalogue number of WSR084 is no coincidence. As with Crass and their 'counting down to 1984' aesthetic, this is anarcho hardcore railing hard against the times. If you're not currently furious you're asleep and Blind Eye are spitting anger.
Taking inspiration from The Comes, Jerrys Kids, Aus-Rotten and Chaos UK, this album is a concise call to arms. Perfectly captured over a weekend towards the end of 2025 by Boulty at Stuck On A Name Studios, Mistrust Your Nation sees mid-tempo stompers mix with breakneck ragers, all pressed at 45rpm and sounding as hefty as the band playing in your front room.
Anmarie Spaziano's vocal is at once melodic and raging, giving new definition to “pissed off”. Steve Charlesworth's drums are second to none, they've never been equalled in over 40 years of doing this. Andrew Morgan's guitar on this record is wild: shredding equal parts cosmic noise and brutally-tight riffing whilst Matt Grundy's bass anchors the chaos, pushing every second onwards.
As a label we never tire of bands who have THAT THING. We struggle to describe it and to pin it down, but we know it and we feel it and we only deal with people who have it. When we put gigs on and Blind Eye share a bill with solo banjo player Jacken Elswyth (for example) the sound is clearly different, but the ethics are the same. We can see it and we can hear it and we hope you can too. We are a genre-free label. We are a label that deals only with righteous, inspiring people. Play this record loud. Let it help you through these hideous times - Wrong Speed HQ

pre-order now12.06.2026

expected to be published on 12.06.2026

Elijah Minnelli - Clams As A Main Meal

Even in these most turbulent of times, dub musician and fatigued onlooker Elijah Minnelli remains an inexplicable stalwart on the lower rungs of the Breadminster County Council.

His latest record ‘Clams As A Main Meal’ continues his astute siphoning of council funds, this time with help from the Breadminster Board of Abstinence. As a further mark of respect, the original head of the Board, Dr. K'houldoux, graces the cover art in his infamous ‘Looming Moon of Desire’ guise.*

As fine a backdrop as any for Minneli’s off-brand dub experiments, and ‘Clams...’ is the truest representation of his varied wheelhouse yet...

We find vocal appearances from dub goliath Dennis Bovell and Welsh-language singer Carwyn Ellis. A pair of tracks which build on 2024’s acclaimed ‘Perpetual Musket’, a collection of folk songs reworked alongside reggae vocalists, released by FatCat Records. It garnered glowing reviews, with nods from The Guardian and The Quietus concluding with prominent appearances on their respective yearly round-up lists.

Elsewhere, the album finds Minnelli in a more experimental mode, all wheezing contraptions and cockeyed bass, creaking with the weight of creation, a satisfying tactility laid seam-side up.

As well as ‘Perpetual Musket’, the new album follows years of sold out 7" singles, handmade and self-released. Online, the tracks have amassed global streams numbering in the millions. His tracks have found play across an eclectic range of radio mixes and dance floors, most notably the likes of Andrew Weatherall, Batu, Optimo and Zakia Sewell (BBC6Music).

It is perhaps worth mentioning that this everbuilding interest in his work is at great odds with the growing suspicions amongst his fellow townsfolk, who see his Breadminster County Council Music Initiative as nothing more than an empty cash-grab.

Further Reading on the Breadminster Board of Abstinence

In the late 70s, Breadminster was awash with the last vestiges of the hippy era. Though the flared silhouette of the lower leg remained, the utopian ideals that had once flowed merrily around the youth's shaded ankles had begun to wane. LSD and free love had led to a sharp spike in population and a generation of children raised by air-headed psychonauts unprepared for the bleary-eyed strictures of parenthood.

Aware of the crisis, the County Council entrusted Dr. Paulinque K'houldoux to spearhead a pushback, and it was his pro-abstinence movement - a mixture of education initiatives and radical renutrition campaigns - that came to impact Breadminster's census deep into the new millennium.

Being a pseudo-archipelago Breadminster has fundamentally limited resources, however deep-seated ties to distant coastal villages meant that oysters were a regular part of the local diet. K'houldoux pinpointed this as a factor in the town's overpopulation, and believed that simply replacing these with clams (a “lesser mollusk”) would help lower the erotic urges of the people. It was his “anti-aphrodesia” movement that first championed the idea of “Clams As A Main Meal,” and the slogan “Consider Abstinence” carried the message yet further.

The Breadminster Board of Abstinence soon became involved in all cultural happenings in the area, with K'houldoux MCing at prominent festivals and performances, sometimes dressed as the “Looming Moon of Desire” - an idea of his relating to the tide, seafood, menstrual cycles, and his privately held celestial predilections.

It was in 1981 that it was revealed Dr. K'houldoux had never fully qualified as a doctor and was seeking exile in Breadminster due to a series of botched bracelet heists in which he had previously been involved. K'houldoux was subsequently extradited to Basingstoke, where he served 3 of a 12-year sentence, owing to the lunar-oriented prisoner health campaigns he helped implement.

It has been a strange twist of bureaucratic fate that the Breadminster Board of Abstinence has never stopped receiving public funding, despite its lack of clear utility. And while its roots are tied to a rose-tinted past, the Board continues to sponsor cultural events and projects to this day.

An extract from: Eugeniq Schooner's article in Sydney Parishioner: “Clams, Breadminster and Countercultural Abstinence Trends” (2008)

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Moondata - Let The Moonshine In (Remixes)

Moondata’s little-known sole single, 1984’s decidedly Balearic, jazz-funk/boogie fusion gem ‘Let The Moonshine In’, is a very important record to the Rotation Sound System crew. It has become a familiar favourite at their annual Rotation Garden Party micro-festival and formed the centrepiece of their first compilation, summer 2025’s superb Everything You’re About To Hear Is True Volume 1. It’s increasingly rare these days for an artist from the 80s to still have their master tapes but even rarer still for them to have the multitrack tapes too. This is something of the holy grail when it comes to licensing old music so when it happens the opportunity to remix and create new versions needs to be grabbed with both hands.

The original record, a genuine rarity beloved of synth-loving crate-diggers, had an unusual gestation. Originally recorded in demo form by musician Jean-Marie Gogniat, it was turned into a finished single by a group of German musicians with a little help from lyricist and vocalist Joe Mwenda, and a crew of backing vocalists whose number included a locally based American singer – a pre-fame Jennifer Rush. Fittingly, the pre-vocal instrumental mix, which has sat unreleased since 1984, is included as a bonus track on the digital edition of this new remix package. The Rotation Sound System crew’s mixes, headed up by long-serving producer Dean Meredith, sprinkle 21st century magic across Gogniat’s one-off masterpiece while retaining core elements of the original and offering nods aplenty to club-focused sounds of the 1980s. They are, in effect, the versions the track deserved – but never got – back in the mid 1980s.

To begin, Meredith reunites with long-time production partner Andrew Meecham for the pair’s first remix as Chicken Lips in three years – a typically sparse and spaced-out ‘Malfunction Dub’ with delay-laden synths, vocals and guitar snippets sit over a sparse post-electro beat and bass guitar. Meredith then joins forces with fellow Rotation Sound System member Ben Shenton for takes under their two bestknown aliases. First, they don the T-Kutt guise for some dubbed out, funky bass guitar-propelled boogie-meets-proto house action that rocks out a killer, Clavinet-expanded groove while spinning in talkbox and backing vocals.

The pair then re-emerge as Mind Fair, famed for their releases on Golf Channel Recordings and their own Rogue Cat Sounds, and deliver a warmer, deeper and more organic-sounding take that’s as languid and tactile as it is warm and saucereyed. To round off the vinyl version of the EP, Rotation Sound System’s other core members – Rob J, Rich Hall and Stuart Robinson – don the now-familiar Wrekin Havoc guise and re-invent the track as a raw, analogue-rich shuffle through 1980s electro – all squelchy synth-bass, stabbing, cut-up vocal samples, chiming synth melodies and echoing beats. The expanded digital download edition of the EP contains a trio of additional bonus rubs. Alongside instrumental versions of the T-Kutt and Mind Fair mixes, we also get a full vocal T-Kutt rework that adds back in Joe Mwenda’s beautifully delivered verses. These additional DJ tools round off a beautifully rendered set of re-imaginations of a genuine cult classic. Gogniat, the man who started it all way back in the summer of 1984, certainly approves.

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