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The first release on B.I.T. Productions new ALTERNATIVE label features UK DJ & Producer, Stu Chapman's first Rave House track that then has had a Vinyl release.

The original mix is a Banging rave synth driven track with a hands in the air piano break, wailing vocal and the catchy chorus.

The Retropolis Remix is a breakbeat monster with dirty synth lines and piano melodies.

The Crowdpleasers Remix is an uplifting house stomper with organ melodies with a massive piano break in the middle.

The M-ULATE Remix is a full on piano driven breakbeat rave banger with a 1992 feel.

We have made Enormous Mouse 005 available once again as the original 2006 release is currently for sale at £35 a copy of Discogs. But for this release we have taken it from a two tracker to a four tracker by adding the two recent remixes by the guys that we gave away as WAVs with the previous bundles.

Nightmare is back on Return Of the Vibe but this time alongside the mighty Stu Chpman who makes his debut on the label

4 tracker, big pianos brand new 130bpm breakbeat hardcore made in the Old Skool 1992 style - Intercontinental ballistic Beats EP.

Nightmare is back on Return Of the Vibe but this time alongside the mighty Stu Chpman who makes his debut on the label

4 tracker, big pianos brand new 130bpm breakbeat hardcore made in the Old Skool 1992 style - Intercontinental ballistic Beats EP.

On April 4, 2025, Elektra/Rhino Records will reissue Tracy Chapman’s eponymous debut album on vinyl in celebration of its 35th anniversary. Originally released by Elektra Records in April 1988, Tracy Chapman has long been unavailable on vinyl. This anniversary reissue has been prepared for release by Chapman and the album’s original producer, David Kershenbaum, pressed on 180-gram vinyl and sourced from an analogue master. The album package will also include an insert of translated lyrics, which accompanied the original international release. Featuring the classic singles ‘Fast Car’, ‘Talkin’ Bout A Revolution’, and ‘Baby Can I Hold You’, the album earned three Grammy Awards and went on to become one of the most successful debuts of all time, peaking at #1 in multiple countries and selling more than 20 million copies worldwide. To this day, it still makes regular appearances on charts around the world, and is one of the most successful albums by a female artist in chart history.

Chapman comments, “I was just out of college when the album came out and for a young singer songwriter it was a dream come true – making a record, recording my own songs, releasing my first album. 1988, that year marked the beginning of what has been a humbling and thrilling experience, seeing fans around the world embrace these 11 songs. I really wanted to mark the 35th anniversary of the album, and so I am grateful to have this opportunity to reissue the record on vinyl.”

Over the course of four decades and eight studio albums, Tracy Chapman has created a body of work that has been as consistently compelling as it is honest and uncompromising, eloquently telling stories with perennial appeal that are at once personal and universal. Impervious to trends, she has commendably stayed her musical course, earning the approbation of fans, critics and peers. Beginning with 1988’s multi-platinum Tracy Chapman, her musical journey has continued with Crossroads (1989), Matters Of The Heart (1992), 1995’s multi-platinum New Beginning (which featured the Grammy-winning single ‘Give Me One Reason’), Telling Stories (2000), Let It Rain (2002), Where You Live (2005), Our Bright Future (2008), and two best-selling compilations, Collection (2001) and Greatest Hits (2015). Along the way, in addition to her four Grammys, Chapman has earned an American Music Award, two Brits, and a Billboard Music Award.

Recorded in its entirety using just a laptop, a pair of headphones and a midi sampler, Indentations is the debut full length album from New York based percussionist and producer Grant Chapman.

Indentations draws deeply on Chapman's personal experiences surrounding loss and betrayal. An intimate work reflecting the struggle of dealing with traumatic experiences, the album makes the case for equilibrium following life-altering experiences.

‘’The album is a meditation on the sheer weight a broken relationship can have on two people. A personification of the stages of grief one feels when growing apart from someone they love, for reasons they can’t seem to reckon with or comprehend.’’

Working from his East Village apartment, Indentations is a rich amalgam of intricately layered found sounds, almost all of which were found on YouTube, taking in influences that range from ASMR to acapella choral performance.

The effect is dizzying in its depth and scope. Chapman has created a boundless emotional musical journey that can feel both deeply intimate and cosmically vast.

Imaginative re-workings and improvisations by Andrew Tuttle of the late great Michael Chapman's unfinished instrumental album. Sonic explorations that bridge the Southern and Northern Hemisphere via the Caribbean, remote Northumberland and sub-tropical Australia. Navigating calm seas and turbulent waters of ambient corals, new-age pirates, waves of lapping banjos and drifting eroding guitars.
When Michael Chapman passed away in September of 2021, at the age of 80, he did so – as he spent much of his life – as both a pioneer and a legend. A veteran of the British blues/folk/jazz scene, Chapman emerged in 1966 and continued working throughout his life, always pushing the boundaries of his creations while collaborating with a slew of similarly heralded musicians along the way: Bert Jansch, Mick Ronson, Elton John, Thurston Moore, Steve Gunn; to name just a smattering of those he worked alongside over the years.
It's the latter of those – Brooklyn guitarist and songwriter Steve Gunn – who Chapman flourished alongside in recent years, the two collaborating on 50 and True North, two of Chapman’s final and finest records. It was through that friendship that Chapman’s music found Andrew Tuttle, the Brisbane-based multi-instrumentalist who has toured Australia several times alongside Gunn.
In the aftermath of Chapman’s passing, his partner Andru discovered Tuttle’s Fleeting Adventure LP, describing it as “one of the albums that kept me sane during that first brutal winter on my own.” The pair met in Australia shortly after, and before Andru had even made it back home to the north of England, Tuttle had begun working on the recordings she shared with him at that time. Those recordings were part of a project Chapman was working on at the time of his death, called Another Fish – what would have been a companion piece to his previously-released LP, simply called Fish.
Though Chapman had spent time in his local studio playing all the guitars, layering the different sounds and effects, he’d always intended to do much more work on the songs, however fate had its way and he never got to ribbon-bow those ideas and bring the album to its conclusion.
Though there was little intention in terms of how to finalise the project, Tuttle spent valuable time with those recordings. What materialised, eventually - with time, care, and diligent attention - is a two-disc set Another Tide, Another Fish, something both unusual and completely distinctive. The first disc, Another Tide is centred around Tuttle’s own work, which shaped all seven of Michael’s songs and ideas into new songs of their own, and the second disc which simply incorporates the recordings that Michael left behind.
“On all of the tracks I also ‘played along’ on banjo to the originals several times until I learned an approximation,” Tuttle continues. “This ended up resulting in a ‘hybrid’, where some works are easily identifiable to those who know Michael’s originals, and some took that inspiration to head altogether elsewhere. Each of the tracks, even where not obvious, does have at the very least a trace element sample of the original recordings so that it’s a true collaboration.”
What we’re left with is indeed a hybrid: part remix album, part cover album, both a solo work and a collaboration, of sorts. Inspired by Chapman’s original ideas and with new track titles directly referencing the numbered but otherwise untitled source material, Tuttle adds his own flashes of colours throughout, including editing, sampling, MIDI transposing and signal processing that twists these songs into beautiful new shapes. Perhaps Tuttle’s greatest achievement here then is that Another Tide sounds so effortlessly free of all this context.
Whether you know Michael’s, Andrew’s or even Andru’s story or not, these recordings will bristle with enchantment and intrigue, worlds are built, and while some thrive and grow, others fizzle out in a burst of light, such is the way. “It's been a long, long road but we got there and I think it's been more than worth it,” Andru says in the record’s liner notes. “I really hope you think the journey was worth it too.”
Guitars and effects by Michael Chapman recorded by Alex Warnes at Phoenix Studio, Brampton, Cumbria, 2017 Banjo, effects and edits by Andrew Tuttle at Bella Vista, Brisbane / Meanjin, 2023-2024

Pressed on dark green BioVinyl housed in a gatefold cover.Cover and gatefold artwork by Scottish artist Paul Scott Canavan (Dungeons & Dragons, Magic: The Gathering). Includes 12" art card of original artwork. Uncover the secrets of the Scottish Highlands with this beautiful vinyl release of "A Highland Song", brought to you by Lost In Cult in collaboration with Black Screen Records and Inkle Studios. Moira McKinnon has never seen the sea. Tired of her life of seclusion, she runs away from home in search of adventure. A lighthouse can be seen in the distance, but to reach it she must overcome a beautiful yet perilous journey across the Scottish Highlands. This authentic Scottish score is comprised of a suite of hauntingly beautiful original tracks by Laurence Chapman (Heaven's Vault, Total War) complemented by iconic hits from Scottish folk industry legends TALISK and Fourth Moon that provide a rapturous, virtuosic sense of rhythm to Moira's great journey through a wilderness of paths, peaks, dangers and song. This record comes in luscious dark green eco-friendly BioVinyl and features beautiful artwork from Scottish artist Paul Scott Canavan, known for his work on Magic: The Gathering and Dungeons & Dragons. Paul has developed a beautiful piece of cover art showing Moira gazing out at the game's iconic lighthouse, as well as a breathtaking gatefold view of an authentic interpretation of Scottish scenery. Take in the view in your own time with a 12" art print to frame on your wall.

Stu Chapman one of the hardest working producers in the breakbeat rave revival scene has had recent releases on Remix Records, Amen Brother, Monky Records & Ars Musica Imprendere Vitah out of Spain to name a few and has a repress series on his noughties label Enormous Mouse planned for 2024. Stu makes his debut on the Hardcore Vinylists label with 3 tracks of rave breakbeat proving what you can do when 90s rave meets modern samples we didn't ask for a free ride, we only asked Stu to show me a real good time...

Stu Chapman is out hardcore hero from down under. Originally from the UK, he packed his bags and his records and moved to sunnier climes, but still has those raw UK flavours still pumping around his veins!

This is the first EP by Chapman on Amen Brother – his previous outings have been on his own Enormous Mouse imprint as well as Remix Records and Ars Musica Imprendere Vitah.

Chapman productions always have a more uplifting feel to them and these are four hardcore anthems to make the ground shake and those hands to reach up to the lazers!

Get tripping on these beats!

On May 6th 2022 two-time Grammy nominee Beth Nielsen Chapman returns with her bluesy new single ‘Hey Girl’, her first new music in over four years, and the first taste of her upcoming 15th album, CrazyTown, out this autumn on Cooking Vinyl With a career spanning nearly 40 years, Beth proves she’s still as vital as ever with this anthemic new track written in reaction to the ‘Me Too’ movement, a song Beth calls her “celebratory shout out to our sisters making their way in the world.”

Here’s Lantern Heights’ personal tribute to the one and only Michael Chapman, a hero in his own right, a ‘Fully Qualified Survivor’ (just to mention one of his most successful creations). An unreleased live album on vinyl in the form of an astonishing trio.” A live set recorded at Nottingham’s Playhouse Theatre on July 23rd 1977 by Chapman and a power house rhythm section in Lindisfarne bassist Rod Clements and former John Mayall drummer Keef Hartley. Some of his best-loved songs are showcased in “And There Were Three” – a jocular reference to Chapman’s ever-shrinking band, also known as ‘a beast with three heads’.

The Classic 1977 Folk album .and follow up to Savage Amusement.
Feat: Mick Ronson, Andy Latimer & Keef Hartley.
Recorded at Sawmills Studios, Cornwall, Tapestry Studios, London and Fairview Studios, Hull.
Incl. Extensive Sleeve Notes from Andru Chapman & Marc Higgins
With bonus track: Steel Bonnets (Instrumental)
Limited Edition on 180 gram vinyl

Since '66, when the British singer- songwriter emerged as the voice of his
generation with the seminal Family band, through every twist of his four-decade
solo career, Chappo's output has defied music industry protocol, challenged
genre, and held up a mirror to the times. "I've never stopped writing," he reflects,
"and with Life In The Pond, I felt the need to hear what I'd put down in music."
Released in 2021 on Ruf Records and Chappo Music, Life In The Pond draws a
line under a period in which the 79-year-old had been absent from the studio but
privately prolific. Twelve years since 2009's acclaimed rarities collection Hide Go
Seek, "A true lionheart still roars," raved The Mirror, Life In The Pond reconnects
the veteran with faces from his past – including ex-Family multi-instrumentalist
John 'Poli' Palmer as co-writer and producer while taking the pulse of modern life.
"Mostly it's anger at politicians that's kept me fired up," says Chapman of the
lyrics.
As for the music, Life In The Pond connects the dots between Chapman's
founding influences. "It's about nostalgia for the different musical styles that
influenced my life. American rock from the '50s to now. British R'n'B from the '60s,
like Georgie Fame, the Stones, Zoot Money. Folk, Blues, Motown, Stax, Blue Note
jazz, Classical, Americana, and Country. A whole mess of influences…" More than
four decades later, Life In The Pond ties all those threads together, finding
Chapman's voice in vintage form and his musical radar more receptive than ever,
on a tracklisting that roams from hypnotic seven-minute epic "Nightmare #5" to
"Rabbit Got The Gun's" dystopian soul-funk.
The world has turned a few times since '66, but Roger Chapman still has
something to say – and with Life In The Pond, his voice as an artist is more vital
than ever. "I'm very pleased and grateful that Poli gave me the opportunity," he
says, "because I think we came up with the goods on this album."

Visions Recordings present here two new jams from Alex Attias productions with a collaboration featuring long-time friends Mark De Clive-Lowe, Justin Chapman AKA Just One and Hajime Yoshizawa.The A side is a latin house bossa organic track with Justin on vocals and guitar over beautiful lush Rhodes and synths played by the incredible Japanese musician, Hajime Yoshizawa. The track is a 10 minutes’ journey into a jazzy soulful vocal jam. A summer vibe to warm us up before the sun comes back.on the B side, Mark de Clive-Lowe delivers keys and piano sounds on top of Alex ‘s funky and groovy mpc house beat for maximum impact on the dancefloor. Two strong tracks to have in your collection for those who love house music with soul and jazz.

Stu Chapman has been one of the most well regarded producers in the old skool and hardcore breaks scene for many years, and teaming up with legendary Perth Dj Rob Fender, he drops this awesome debut EP. Three tracks loaded with a deep underground sound for the proper raves from back in the day.

Repress

All that jelly and no toast' - like when you find a bomb tune that's unavailable on 12'. The new sublabel of 'Smile for a while' is exactly about this. Clubby House Music by well-established producers as well as from lesser-known guys.

French guy Alex Agore opens the EP with the Lowtone remix of 'What Did I Do' - cut-up Garage House to the maxx.
Max Chapman from London / UK delivers another belter. A bassline-driven organ House tune with a minimalistic but very effective set-up. Oleg Poliakov aka SKAT is one of the guys behind 'Circus Company.' He comes up with a sublime but powerful Tech House tune, in the original sense of the genre name. 'Jazzve' is a tune by Russian producer Mutenoise. It's maybe the most original, innovative tune on this EP. Full of surprises and cutting-edge elements - hard to compare to anything else around these days.

Studio One Sound is the classic Studio One collection from Soul Jazz Records. Described as ‘The University of Reggae’ by Chris Blackwell, Studio One, and founder Clement ‘Sir Coxsone’ Dodd are by far the most-important names in the history of reggae music. Originally released in 2012 this album has been out of print for many years, making it one of the most-collectible of Soul Jazz Records’ Studio One Series. This is the first ever colour vinyl edition of this classic album.

The album features some of the most in-demand and collectible Studio One tracks from over its fifty-year history and includes incredible legendary reggae artists such as The Heptones, Ken Boothe, The Skatalites, Johnny Osbourne and Wailing Souls. All these artists (and hundreds more) launched their careers at Studio One under the guidance of Clement 'Sir Coxsone' Dodd. The Studio One Sound collection features everything from classic ska and rocksteady to the deepest roots, heaviest dub and dancehall roots. Sleevenotes are by Rob Chapman, author of the celebrated books about Studio One Records, 'Never Grow Old' and 'Downbeat the Ruler'. The exact reproduction of the original artwork features the classic image of Dennis Brown on the cover. This album is newly fully remastered for vinyl by Jason Goz at Transition. Exclusive one-off pressing on heavyweight double transparent green vinyl.

These days – on the new, ninth Fink album – Greenall is operating within a lineage of authentic, quietly revolutionary artists from England’s verdant southwestern toe. Artists like Michael Chapman. In 1970, the elusive acoustic guitar wizard released an album called Fully Qualified Survivor. The cult-classic served as a lodestar for Greenall – along with bandmates Tim Thornton and Guy Whittaker – as he began jigsawing together The City Is Coming to Erase it All, the follow-up to 2024’s Beauty In Your Wake. He even considered covering a song from it, but in the process, inadvertently stumbled into what became the album’s opener. ‘Wishing For Blue Sky’ circles a universal teenage ache: waiting for life to start. “No point dying of patience” goes the first lyric as crunching footsteps cue a resonant, open-tuned acoustic swaying into view. By 18, Greenall was fed up with waiting, so he left suburban Bristol and saw the world, sending postcards from the edge, waiting tables, squirreling away tips for the next flight. Thornton had similar experiences when the guitarist/drummer busked across Eur

This is nowstalgia more than nostalgia, though; there’s a parallel between these 18-year-olds and Fink’s autumn-aged family men. “You’re expected to be boring and settling down at this age,” Thornton says. “But we’ve still got this tremendous wanderlust. We want to go and discover, and also achieve things. It’s a nice life – home and family – but fuck, I can’t wait to get back out there.” City is a product of this hunger for discovery, and idolatry of the album as a form – like we had in 1974. City’s cover mirrors its interior, the first song is the greeting, the instrumental closer the conclusion. It’s a story. It’s a record for people who, like its creators, are curious. People who happily face a little cold for music, who light a crackling fire back home, who sit with these songs until they’re ready to chase after their own blue sky

These days – on the new, ninth Fink album – Greenall is operating within a lineage of authentic, quietly revolutionary artists from England’s verdant southwestern toe. Artists like Michael Chapman. In 1970, the elusive acoustic guitar wizard released an album called Fully Qualified Survivor. The cult-classic served as a lodestar for Greenall – along with bandmates Tim Thornton and Guy Whittaker – as he began jigsawing together The City Is Coming to Erase it All, the follow-up to 2024’s Beauty In Your Wake. He even considered covering a song from it, but in the process, inadvertently stumbled into what became the album’s opener. ‘Wishing For Blue Sky’ circles a universal teenage ache: waiting for life to start. “No point dying of patience” goes the first lyric as crunching footsteps cue a resonant, open-tuned acoustic swaying into view. By 18, Greenall was fed up with waiting, so he left suburban Bristol and saw the world, sending postcards from the edge, waiting tables, squirreling away tips for the next flight. Thornton had similar experiences when the guitarist/drummer busked across Eur

This is nowstalgia more than nostalgia, though; there’s a parallel between these 18-year-olds and Fink’s autumn-aged family men. “You’re expected to be boring and settling down at this age,” Thornton says. “But we’ve still got this tremendous wanderlust. We want to go and discover, and also achieve things. It’s a nice life – home and family – but fuck, I can’t wait to get back out there.” City is a product of this hunger for discovery, and idolatry of the album as a form – like we had in 1974. City’s cover mirrors its interior, the first song is the greeting, the instrumental closer the conclusion. It’s a story. It’s a record for people who, like its creators, are curious. People who happily face a little cold for music, who light a crackling fire back home, who sit with these songs until they’re ready to chase after their own blue sky

The third release on the B.I.T. Productions ALTERNATIVE label features another 4 Track E.P. with 4 different artists, K69 Dream Frequency, Stu Chapman, Matty D & Avit & A.PLUS.

The K69 Dream Frequency track is a new 2024 version of the K69 release from 2021, itself a cover of the Elevation track from1992, and it's much more energetic but still keeps the catchy vocals and the hands in the air pianos.
Matty D & Avit "Africa" is the Stu Chapman Remix with plenty of pianos, throbbing bass, strong breakbeat and catchy vocals.
Stu Chapman "Just Can't Get Enough" is a banging breakbeat track with a big piano riff, dirty synths and catchy vocal.
A.PLUS is a piano driven breakbeat track with catchy vocals &nice synth melodies that is even better than the A.PLUS track from COLLECTIVE E.P.1.
A great 4 track E.P.

4 tried and tested big radio tracks in the "Rave House" genre - Hardcore, Rave & House collide with well known samples , big pianos and heavy basslines and sensible Bpms

4 tried and tested big radio tracks in the "Rave House" genre - Hardcore, Rave & House collide with well known samples , big pianos and heavy basslines and sensible Bpms

12 brand new, exclusively signed '92-93 oldskool hardcore style tracks to Rave Radio Records. It's authentic, and the genuine article when it comes to the true ruff style of the early 90's hardcore rave production. If you like mixing on the edgier side of hardcore, this is a release you'll want in your collection!\uc0\u8232 \u8232 Ruff Hardcore music from: Try Unity, Al Storm & Euphony, Billy Daniel Bunter & Sanxion, Secret Squirrel, Pete Cannon, Z-Neo, Jack Smooth, Liquid Crystal, Tim Reaper, Radicall, Stu Chapman & Blackmass Plastics and the sleeve artwork is by Aroe.

Repress!

A blistering collection of ska tunes from Clement 'Sir Coxsone' Dodd's legendary Studio One Records, Jamaica's foundation label of reggae music. Featuring classic cuts from the originators of Ska - The Skatalites, The Wailers, Lee Perry - alongside a heavy dose of superb rarities from the might vaults of 13 Brentford Road - pure Ska Fever !

Soul Jazz Records new Studio One Ska Fever returns back to the early 1960s when Ska was the soundtrack to Jamaica's Independence and Sir Coxsone ruled the land and The Skatalites and Studio One were creating history on a daily basis with an endless stream of blistering, scorching classic tunes.

This album includes an incredible line-up of only the finest artists in reggae music, including Roland Alphonso, The Gaylads, The Ethiopians, Don Drummond, Jackie Opel and many more. An all-star cast from Studio One, as Chris Blackwell famously noted, the 'University of Reggae'.

The accompanying booklet contains extensive sleeve-notes from Studio One historian Rob Chapman (author of Never Grow Old and Downbeat Special), with information on musicians, tracks, label scans and more. Soul Jazz Records' Studio One Ska Fever is released in
CD- jewel case, 24-page booklet with card slipcase, as well as a heavyweight double-vinyl edition in deluxe strong gatefold sleeve (with full sleeve notes).

"Askew indie rock thrills, bubbling, synth-flecked and sitting at a perpendicular to the mundanity of the everyday" - Clash

London-based French chanteuse, multi-instrumentalist & composer Clémentine March shares her new single of entrancing avant-pop ‘After The Solstice’, from her upcoming new album ‘Powder Keg’.

Enriched by influences from jazz, folk and Brazilian music, ‘After The Solstice’ was initially inspired by a time spent touring the UK with acclaimed folk singer Naima Bock. For Clémentine, the song explores “the theme of memory and reminiscence” and employs an absorbing sense of cyclical repetition; a musical device used “to evoke the deja vu sensations we all experience in life”.

Out of life on the road, everyday recurrence and contemplative retrospection, Clémentine creates a profoundly hypnotic anthem on ‘After The Solstice’, both mellow and fervent. Evoking the likes of Stereolab, The Raincoats and Cate Le Bon, it’s a mesmeric singalong of graceful vocal lilts and poised musicianship, with every element moving in beautiful unison.

Recorded & arranged with Ollie Chapman (bass) & Sophie Lowe (drums), and featuring vocal contributions from Naima Bock, Sophie Jamieson, Katy J Pearson, MF Tomlinson, Marika Tyler-Clark, Robyn's Rocket and Alabaster DePlume, ‘After The Solstice’ is the first glimpse of Clémentine’s third album ‘Powder Keg’, following the rich international eclecticism of her debut album ‘Le Continent’, and the beguiling intimacies of her second LP ‘Songs of Resilience’.

Nach einer Tourpause zogen Black Pumas 2024 los, um ihr gefeiertes zweites Album 'Chronicles of a Diamond' live vorzustellen. 'Live From Brooklyn Paramount' fängt das 'Electric Church'-Live-Erlebnis ein, für das Eric Burton, Adrian Quesada und ihre sechsköpfige Band sich einen Namen gemacht haben. Das 2xLP-Set enthält Songs sowohl von Chronicles als auch von ihrem millionenfach verkauften Debüt, darunter die Grammy-nominierten Songs 'Colors', 'Black Moon Rising', 'More Than A Love Song' und ihre Version von Tracy Chapmans 'Fast Car'.

'HAPPY HOUSE' by St. Petersburg's very own DJ Stonik1917 became an instant underground hit, defining a specific raw and energetic sound within the Russian electronic and hip-hop scene, breaking genre borders and infecting crowds with its vibes and attitude, punchlines and baselines. With 'GoodDayFlopTray' and 'Kurtochka Stonik' having gone viral on social media, the sound of DJ Stonik1917 became a soundtrack for a whole generation of youth. The album's unique blend of hard-hitting beats, delayed vocals and unapologetic DIY ethos captured a moment in time, making it a sought-after title for physical media enthusiasts. The release will be a limited run, featuring the original tracklist spread across a 12-inch vinyl 180 gr. record, complete with original artwork. Poster included.

'HAPPY HOUSE' by St. Petersburg's very own DJ Stonik1917 became an instant underground hit, defining a specific raw and energetic sound within the Russian electronic and hip-hop scene, breaking genre borders and infecting crowds with its vibes and attitude, punchlines and baselines. With 'GoodDayFlopTray' and 'Kurtochka Stonik' having gone viral on social media, the sound of DJ Stonik1917 became a soundtrack for a whole generation of youth. The album's unique blend of hard-hitting beats, delayed vocals and unapologetic DIY ethos captured a moment in time, making it a sought-after title for physical media enthusiasts. The release will be a limited run, featuring the original tracklist spread across a 12-inch vinyl 180 gr. record, complete with original artwork. Poster included.

Benjamin Hudson returns to Acroplane, following his last projects with us as Ebola (Wrong Music) and one half of Baconhead, with 'Slime'… and he's brought a load of his talented mates to collaborate with him.

Artwork by Everything Alllways

Mastering by James Forde Stewart @ Sorting Room Studios.

Brain Rays is part of queer collective, DOOMSCROLL, and Devon art & party crew, Bizarre Rituals. He is also a co-founder of Wrong Music alongside DJ Scotch Egg and Matt Lambert (Roger Species).

Known for his hectic, high pressure output with Quiet, and film soundtrack work (as part of Unknown Horrors) collaborating with director Dean Puckett (The Severed Sun, The Sermon, Satan's Bite) and Rhys Chapman (Wonderkid). As a DJ he has performed all over the world, including Transmediale Festival (Berlin), Today's Art (Den Haag) and Boomtown Fair, as well as two live sessions at Radio 1's legendary Maida Vale Studios. As a producer he has garnered support from the likes of Mary Anne Hobbs, ETCH, Huw Stephens, Drumskull, Annie Mac, and Nikki Nair.

50 Jahre Wahnsinn – der erste Monty-Python-Soundtrack jetzt auf goldfarbenem Vinyl

Zum 50-jährigen Jubiläum des Films erscheint Monty Pythons legendärer erster Soundtrack in einer neuen, umweltfreundlichen Edition – als 1LP auf Gold Nugget Vinyl.

Mit dem herrlich absurden Titel The Album of the Soundtrack of the Trailer of the Film of Monty Python and the Holy Grail erschien das Original bereits 1975. Die LP enthält eine Mischung aus Filmszenen und eigens produziertem Studio-Material – darunter eine fiktive Kinoeinführung im „Classic Silbury Hill Theatre“ sowie der „Marilyn Monroe“-Sketch, geschrieben von Graham Chapman und Douglas Adams (Per Anhalter durch die Galaxis).

Ein urkomischer Meta-Soundtrack, der Monty Pythons anarchischen Humor perfekt auf Vinyl bannt.

Friday Night in San Francisco is a live album by Al Di Meola, John McLaughlin, and Paco de Lucía.

It was recorded live at the Warfield Theatre in San Francisco,

on December 5 in 1980. The album is considered an iconic recording and was described by jazz author Walter Kolosky as
"a musical event that could be compared to the Benny Goodman Band's performance at Carnegie Hall in 1938...
it may be considered the most influential of all live acoustic guitar albums."

Al Di Meola is an acclaimed Italian American jazz fusion and Latin jazz guitarist, composer, and record producer.
He experienced a celebrated career that has spanned four decades and earned him critical accolades,
three gold albums and more than six million record sales worldwide.
Di Meola has amassed over 20 albums as a leader while collaborating on a dozen or so others.


John McLaughlin, also known as Mahavishnu, is an English guitarist, bandleader, and composer.
He is a pioneer of jazz fusion, combining elements of jazz with rock, world music,
Indian classical music, Western classical music, flamenco, and blues. He received multiple "Guitarist of the Year"
and "Best Jazz Guitarist" Awards from magazines such as Downbeat and Guitar Player and was ranked 49th in Rolling Stone
magazine's list of "100 Greatest Guitarists of All Time". Jeff Beck called him "the best guitarist alive".

Paco de Lucía was a Spanish virtuoso flamenco guitarist, composer, and record producer.
He was one of the first flamenco guitarists to branch into classical and jazz. De Lucía was noted for his fast and fluent fingerstyle runs
and gained popularity outside Spain after collaborating with McLaughlin and Di Meola. Richard Chapman and
Eric Clapton described de Lucía as a "titanic figure in the world of flamenco guitar."


Friday Night in San Francisco is available as a limited edition of 1000 individually numbered copies on purple coloured vinyl and includes an insert.

Makin’ Moves bring this archived studio gem to the fore as it was just too damn good to be left sitting on the drive! Rewind back to 2005 and a chance studio meeting in London between Bugz in the Attic producer Afronaught aka Orin Walters and Justin Chapman aka Kemeticjust who decided to work on some tracks. It was a time in London where there was a huge melting pot of new sounds in the broken beat era / scene and that sound was at the forefront of London’s club scene including night’s like Co-op at Plastic People in Shoreditch. However, these sounds still have stayed the test of time and very prominent still in clubland today.
Justin’s classy vocal tells a political story about our modern times in American and feeling of oppression with in the Black race.
Phil Asher (RIP) at the time loved the track and decided to do his own “Restless Soul Dub” remix version, adding his characteristic drums and stripping the vocal back while also keeping the soulfulness of Kemetic’s original.
Also featured on the package are two other mixes the excellent Blaktones Mix is must have for all the co-op broken beat heads, seeing Afronaught using those classic sounds to full effect to set the party off!