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The summer starts beating to our doors and now that the nightmare of the pandemic (looks like) is coming to an end, mysterious dj and producer Hal Incandenza has taken over the control of MM Discos in order to get the things warmer and rock the dance-floors and festivals around the world.

Besides his amazing skills as producer, Henry Saiz the man behind the project of Hal Incandenza, has also made his path in music as songwriter, musician, graphic designer and dj.

This time introduces us to "Incivitas", a killer track that oscillates between House and Nu-Disco ready to dinamite the peak time of the most selected clubs. Hypnotic, selvatic and very wild.

Things turn even wilder with "Ceremony", highly influenced by the legacy of Daft Punk while Marvin & Guy closes the EP with an epic italo-dance version of "Invicitas", if you wonder why the duo from Parma are one of the fitter guys when it comes to burn down the house, just have a listen.
Bomba EP!!

Limited 300 180g white vinyl LPs with printed inner Discobag and digital download.

500 CDs in gatefold digifile sleeve.

Each drum controls a virtual musical instrument (synthesizers, samplers, arpeggiators, etc.) within Ableton Live music software that, in combination with a custom step sequencer developed with MaxforLive app, allows Davide to perform real melodies/electronic orchestration without the use of any backing track. 100% live. In addition to that, he also uses a microphone set up in the middle of the drumkit to capture the dynamics of the acoustic drums and translate them through an 'envelope follower' into electronic parts in several ways. About ‘Perceive Reality’: Opener Belief bursts the record into life, as skittering arpeggios spin across a vast open plain of pad synths, before the ground splits beneath it with thrashing drums. On Conceived, Davide creates a simultaneously dark and euphoric wall of crystallised sound, a cacophony of pounding drum hits and icy electronic stabs, with an intensity that continues into Collide. With its shuddering, cut-out reverbed synth pads split in two by crashing cymbals and snares, the song spins itself into a transformative cycling trance, before slowly fading and washing away into silence, only to be broken by Conjectures’ sudden cymbal slams and transfixed toms that roll like thunder into a frenzy, before their final lightning strike. On Subjective, arpeggios twist around beating kick drums and toms, quickly scaling to a furious yet tightly wound sequence that envelops the listener, before Relief, where the album finally takes the shape of a huge wave of calm, glimmering hope and reflection. About the concept behind this latest album, Davide says, “Perceive Reality is a vivid exhortation to deepen the relationship with reality, avoiding simple and often illusory visions. In a historical context that fosters the proliferation of dual information and visions, individuals are increasingly exposed to the danger of perceiving less the complexity of events, thus losing the training to express complex and articulated opinions, the result of a reflection, whether individual or collective. Without having the presumption of resolving epochal issues, the project alerts to the fact that univocal answers do not exist and that only by developing a path of knowledge and giving ourselves the opportunity to examine things in depth, can we enter into the relationship with the existing.” Press highlights so far: Video premiere on Rumore.IT (Italy).

RIYL: Velvet Underground, Lou Reed, Nick Cave, Patti Smith, Leonard Cohen, Iggy Pop, Radiohead & Tom Waits. "If you have never heard the Doctors of Madness, you should. Musically they are the Velvet Underground, New York Dolls with shades of glam, hippie, prog and punk all rolled into one, yet are still totally original. Vastly underrated, they should have been huge. Pure genius" Vic Reeves…. The DOM are “the missing link between David Bowie & The Sex Pistols” (The Guardian May 2017). Exploding onto the music scene in 1975 with their theatrical, William Burroughs-inspired Sci-fi nightmare, they were misunderstood by many, but those who knew understood the importance of the band’s dangerous, uncompromising approach to lyrics, to music and to performance. Among the many fans of the band were acts as diverse as The Damned, Vic Reeves, Joe Elliott of Def Leppard, Spiritualized, Julian Cope, The Adverts, The Skids and Simple Minds. The Sex Pistols supported them, so did The Jam & Joy Division. They were the first to combine the avant-garde approach of The Velvet Underground with a distinctly European aesthetic. The blue hair, exotic stage-names, the lyrical themes of urban decay, political propaganda, mind control and madness were all taken up by the punk bands who followed in their wake. The DOM were trailblazers, pioneers, adventurers…pushing the boundaries of rock music and theatre to see how far it would go before it bust. What happened after them was due, in no small part, to what they achieved in 3 short years. They may not have been Jesus Christ, but they were, arguably, John the Baptist!!! Now, 40 years after they imploded, they are back…with an album seething with lyrical anger and passion. It is the most potent and incisive musical dissection of modern life and contemporary politics released the decade. With tracks titles like “So Many ways To Hurt You”, “Sour Hour”, “Make It Stop!” and the ground-breaking sonic assault of the title track “Dark Times”, Richard “Kid” Strange proves once again that he has his finger firmly on the pulse of our times, just as he had when he founded the band in 1974. Produced by John Leckie (Radiohead, Stone Roses, Pink Floyd), the new album, Dark Times, features contributions from Joe Elliott (Def Leppard), Sarah Jane Morris (Communards), Terry Edwards (PJ Harvey, Nick Cave etc), Steve ‘Boltz’ Bolton (The Who, Scott Walker) and the young protest singer Lily Bud, alongside the current thrilling and thunderous DOM rhythm section of Susumu Ukei (bass guitar) & Mackii Ukei (drums) of the Japanese extreme glam-metal band Sister Paul, and Dylan O Bates (violin and keyboards). Julian Cope, another rock star who, like Strange, found the confines of music too tight for his ambition, his energy and his imagination, was blown away when he first heard the songs, declaring, “These Dark Times are enormously informing: the RULES OF THE FUTURE are indeed being forged right now”. Top producer Martyn Ware (Human League/Heaven 17) said the album “…reminds me of Iggy Pop’s Kill City album – love it.” and Biba Kopf (The Wire) declared, “Still listening to new DOM album with immense interest and pleasure”. The first single, Make It Stop!, is an impassioned howl against the global drift to right wing extremism and persecution of minorities, and is already a live showstopper for the band. It features the thrilling cross-generational combination of Def Leppard’s Joe Elliott and Lily Bud on backing vocals. In the period since the last DOM gig in 1978, Richard has written a memoir, collaborated on a cantata with internationally celebrated composer Gavin Bryars, worked as an actor on films with Tim Burton, Martin Scorsese, Harmony Korine & Jack Nicholson, toured the world in a Russian version of Hamlet with James Nesbitt as his grave-digging co-star, played Glastonbury, sung baritone in the British premiere of Frank Zappa’s200 Motels at the Royal Festival Hall, directed a multi-media evening celebrating the life and work of William Burroughs, won Best Art Film Prize at the Portobello Film Festival last year, had his own live talk show, worked with Tom Waits and Marianne Faithfull on the William Burroughs/Robert Wilson stage play The Black Rider, curated events for the Tate Gallery, and sung Walt Disney songs with Jarvis Cocker.

Tinnitus Tonight is the latest & sneakiest full-measure serving from LARS FINBERG, world-class bon vivant and prolific Panic Rock artiste. Why so sneaky? Here’s the dirt: Finberg developed a nerve rash leading up his 2017 tootle, the TY SEGALL-assisted Moonlight Over Bakersfield. Rather than blindly leap from the comfy zone, he tip-toed in secret to a friendly but far-flung (cough*Sacramento*cough) studio to capture a reserve of slanted tunes with a proven-effective team of buds. Those comrades – the glorious LAUREN MARIE MIKUS on keys, frequent collaborator & forever-gent KAANAN TUPPER on drums and, at the controls and elsewhere, the indestructible CHRIS WOODHOUSE – all fostered a supportive framework that first allowed Finberg to “think” beyond THE INTELLIGENCE, gearing him up for a life in the spotlight (or moonlight, as it were). So yes indeed: what appears to be an adventurous follow-up also doubles as a prequel. Keep accurate score or you’re dusted. The core of Tinnitus Tonight centers on an assemblage of Finberg’s most golden riffs – trash-coustic but driftwood-smooth, naughty and infinite, all of ‘em bangers and/or buggers. Tunes sprout and move matador-like until an inevitable goring. The past-it grunt that kicks off “Burger Queen” prompts a mimed chef’s kiss. “My Prison” and “The Doors” are quintessential, truly distilled Finberg moments, compounding his trademark acerbic, out-for-blood wit with these absurdly cool, whip-crack guitars. The massively impressive “Public Admirer” is unequivocally the loudest, most damaged blurt from this doggie in at least a decade. In total, Tinnitus Tonight is a wonderful and welcome reminder that our guy is a very real rouser and a vital, unique purveyor of artful aggression, playful and powerful. Finberg beams really fuckin’ brightly under his own name, perhaps more so than with any group orchestration he happens to be braising with. Do these higher personal stakes call for a dastardlier delivery? Maybe this permeating 2020 End Times feeling prohibits the normal corralling of the subconscious mind? Whatever the answers are, you will find them here.
"The gift Lars Finberg has to disfigure rock riffs into minor chord marvels should serve as a glowing example for those who feel the need to pick up a guitar and make some noise to share with the world. Using the conventional tools of rock and roll flavored with a mix of garage punk, post punk, synth punk and mutant surf, Mr. Finberg, with seemingly effortless cool, has crafted or contributed to countless albums with bands like The Intelligence, Puberty, Rubber Blanket, A Frames and more, all with a magnetic pull and genius lyrics that stand out from the indie rock heap and reveal an exceptionally creative mind that’s actually done its homework." - Noise For Zeros

Culture III is the fourth studio album by American hip hop trio Migos. It was released by Capitol Records, Motown Records, and Quality Control Music on June 11, 2021. The album features guest appearances from Drake, Cardi B, Polo G, Future, Justin Bieber, Juice Wrld, Pop Smoke, and YoungBoy Never Broke Again. It is the follow-up to their 2018 album Culture II and serves as the conclusion to their Culture trilogy

Proprietary rhythm: Vector Rituals sees techno polymath Stefan Goldmann constructing polymetric rites of percussion. Synthesized from the ground up, timbral characteristics, metric properties, dynamic expression and microrhythmic phrasing are shaped by the interactions of layered control voltage functions. The result is an assembly of abstract dances ranging from the intricate to the powerful.
Near-humanoid behaviour emerges from liquid patterns, laid out and brought to life by the freewheeling encounter of modular waveforms and snappy envelopes. Sounds evoke metallic textures
– ringing, scraping – and group into virtual shapes from tiny spikes to vast surfaces.
Some of the parametric relationships employed are as loose as to imply chance drifts. Others lock in with strict regularity as found in the 13 vs. 17 polymeter pattern of opening track 'Nayba'. By contrast,
in the strictly repetitive yet highly asymmetrical sequence of 'Yukagir' each metric step has its own uniquely irregular duration. The center piece of this collection is 'Ayon' with multiple autonomous and
highly agile timelines. Its constituent layers break away in radial fashion and fall back together at widely spaced points of congregation.
All compositions herein present powerful proof of the unlimited capacity of electronic music to yield new principles of organisation and to solidify their expression into clear-cut gestalt.

, Ivor Novello award-winning band The Feeling have announced a new chapter in their career with their sixth studio album, Loss. Hope. Love - out May 6th on Island Records - back where it all started in 2006 for their Top 3 debut album Twelve Stops and Home. Self-produced, predominantly at their East London studio during lockdown, Loss. Hope. Love is the sound of a band who have reconsidered their identity, taken control of their sound and embraced the Queen-esque theatrical elements of their DNA, recently realised by the success of Everybody’s Talking About Jamie. The Feeling return a whole new perspective. 15 years since their multi-million selling debut record Twelve Stops and Home - the new album is bursting with joy, but with the thread of melancholy that’s always been synonymous with their flawless songwriting.

Random orange or black vinyl :).

High Fashion Music enlist an All-Star A Team of world-renowned remixers that includes; Ben Liebrand, Dave Lee, Michael Gray & Luca Moplen. Each step up to the controls and lay down four salacious new grooves on Firefly’s ItaloFunk Disco stomper from the early 80’s – ’Love’ (Is Gonna Be On Your Side).

Each remix brings a new vibe and a fresh wax coating. Ben Liebrand adds his own imitable production values as he brilliantly beefs up the original vibe with sass and verve. Dave Lee brings his encyclopaedic disco know how to proceedings with a classic sounding, Chic like journey, whilst Michael Gray’s version has a stylish new four-to-the-floor drums sound, he keeps the funky instrumentation firing whilst still managing to hark back to the days of hanging out in salubrious NYC nightclubs. Finally, Luca Moplen delivers a dance floor delight, an up to date production with real a get down and boogie retro twist. One can just imagine his mix being played back to back on syndicated radio stations across the USA and Europe!

Copeland is a Brooklyn- based experimental musician and a core member of Black Dice. Eric is also one-half Terrestrial Tones duo, finding Animal Collective's Avey Tare on the other end of that project.

Copeland continues on his path of deconstruction forming tracks of scrapped samples, damaged loops, and controlled chaos. On the new album Spiral Stairs, Eric Copeland offers seven avant-pop tracks packed with playful sequences, groovy bass lines, and catchy voiceovers. The compositions are full of multiple layers of sample collages, frequently shifting from one variation to another but far from being messy, rather suggesting the tidy logic of DJ and dancer-friendly songs. Somehow Copeland manages to pull through with his demented pop sensibilities crawling up from the muck and spawling out on the beach to catch a tan. Spiral Stairs is as addictive as it is confusing with its screwed vocal hooks and demented twang heard throughout. A brilliant mix of riotous and cheerful makes it effortless to stick with it and dance to it.

Released as a limited edition for Record Store Day in 2019, the original mono mix of Pink Floyd’s A Saucerful of Secrets has been remastered by James Guthrie, Joel Plante, and Bernie Grundman from the 1968 analog tapes. Pressed on 180 gram vinyl, it will be presented inside a reproduction of the original LP sleeve.

With classics like "Set the Controls For The Heart Of The Sun", "Remember a Day" and "Jugband Blues", A Saucerful Of Secrets is the only album to feature the five band members: Roger Waters on bass and vocals, Richard Wright on keyboards and vocals, Nick Mason on drums, Syd Barrett and David Gilmour on guitar and vocals.

Die Record Store Day-Veröffentlichung "The King Is Dead" von den Cutthroat Brothers und Mike Watt war ein solcher Erfolg, dass das Album am 29.4.2022 in einer Vinyl-Neuauflage erscheint.
The Cutthroat Brothers sind ein Duo aus echten Barbieren, die Sweeney Todds des Rock. Jason Cutthroat an Gesang & Gitarre und Donny Paycheck am Schlagzeug. Für das Album "The King Is Dead" holte sich das Duo eine weitere Punkrock-Ikone ins Boot, Mike Watt. Jack Endino (Mudhoney, The Sonics, Screaming Trees, L7, Soundgarden) produzierte, mischte und masterte diese LP. Das Album hat den North Pacific-Sound in sich. Ihre Songs handeln von Blut, Tod, Drogen, Sex, schwarzer Magie und schlechten Beziehungen, wenn auch nicht unbedingt in dieser Reihenfolge.

Remastered for vinyl and re-released by Daniel's own label Eternal Yip Eye Music. This is a limited pressing.

Often when music is constructed with synths and other electronically generated sound makers, their level of exactitude and control is such that the vocalist will either wittingly or otherwise seek to emulate the relative artifice of the soundscape. This is often done to great effect, think Kraftwerk. But what if there was a unit whose music was synth-generated but the vocals were coming from a hot-blooded, singing-for-the-cheap-seats approach? If done well, it’s a case of two great tastes that taste great together, which brings me to System Exclusive.

Their multi genre / time period collision is like a car accident where all parties walk away not only unscathed but sure they had a great time, like two different recording sessions sharing the same space and making it work. Vocalist Ari Blaisdell (previously of Lower Self, The Beat Offs) co-exists excellently amidst the driving beats and synth waves and her guitar further helps to jailbreak the tunes from the often sterile entrapments that synths provide. Matt Jones (previously of Male Gaze, Blasted Canyons, and continuing Castle Face behind-the-scenesman)’s smart use of live drums bring great juxtaposition against the machines. Ari’s irony-free sincere delivery is the perfect closer on this very cool record, recorded ably by Enrique Tena Padilla (Osees, Wand, Beach House) in their backyard studio mid-pandemic and adorned with original artwork by Miles Wintner (L.A. Takedown, Mr. Elevator, Devon Williams). If you don’t get this slab of goodness, well, that act of non-compliance will confirm you as the pain-in-the-ass that many have described you to be in great detail during Zoom chats. How dare they! Prove them wrong! Reduce their snark to mere pseudo-intellectual piffle! Your lifeline arrives in March. Grab it. — Henry Rollins

- 180 GRAM AUDIOPHILE VINYL
- LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON ORANGE COLOURED VINYL

The Jamaican reggae and dub musician Linval Thompson's career began around the age of 20. He has done much work to shape the reggae music during the last centuries. He collaborated with many of the greats of Jamaican music recording. I Love Marijuana was his first self-produced LP in 1978 and featuring some of his well-known tracks, like the title song, the funky 'Dread are the Controller' and 'Just Another Girl.' One of the nation's best bands, The Revolutionaries, is backing him up. It's one of the finest recordings by Linval, before he moved on to become a prominent record producer.

I Love Marijuana is available as a limited edition of 1000 individually numbered copies on orange coloured vinyl.

A fresh re-press of an Italo Disco club classic: My Mine - Hypnotic Tango. My Mine were the trio of Stefano Micheli (vocals, keyboards), Carlo Malatesta (vocals, keyboards), and Danilo Rosati (drums, keyboards) formed in 1982. Utilizing new electronic instruments like the now legendary Roland TB-303, Danilo improvised a simple but effective synthesizer bass line and passed it through the Roland Echo until something magical came out.

“Hypnotic Tango” was released on Progress Record in 1983 and became an international hit across Europe and US dance clubs in New York, Detroit and Chicago, capturing the imagination of House and Techno producers. In 1987 legendary DJ Frankie Knuckles remixed “Hypnotic Tango” at Seagrape Studios in Chicago, with assistance from studio engineers Tommy White and Brett Wilcotts. Originally released on Danica Records as the “Powerhouse Mix” named after Knuckles' club the Power House, the mix has added vocals by Frankie.

This reissue also includes the “Hypnotic Mix” released in 1990 on Rams Horn Records. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original artwork and includes an insert with photos and liner notes by Stefano Micheli.

UK dub classic dating from 1994 and originally appearing on the Sound `n’ Pressure label.

A massive highly sought-after sound system favourite from the 90’s with a dangerous bassline.

Featuring four mixes, with sound system legend Aba Shanti guesting on melodica,

achyon Audio partner and artist Paradaux brings you the label’s eighth installment TAC008 the Fleeting Glory EP. The four-track release presents some hard-hitting functional and engaging beats with strong support from Los Angeles USA techno powerhouse Drumcell who contributes a scintillating remix of the records title track.

Side A begins with another of Paradaux’s gems in Fleeting Glory (A1). This title track is impeccably orchestrated and strikes a hard-to-find balance between being dancefloor-friendly driving and creative and heady with its synth work.

Drumcell brings his distinct sound and mesmerizing groove to the EP in Fleeting Glory (Drumcell Mutation) (A2). Engaging and unique drum patterns guide the listener through an expansive soundscape that tweaks the ears and pointedly reforms the core elements of the original retaining the strong mood.

Side B Mover (B1) continues the glory immediately with a strong trippy 303-oriented dive into the realm of drum-driven sci-fi techno. Leave no interstellar prisoners.

The last full track on the EP Pulsar (B2) finishes the record with Paradaux's strong and distinct desert techno acid vibe as it envelopes the listener with grimy and building synth work and broken and loopy percussive elements and noise manipulation.

The record is capped off with a vinyl locked groove from the National Aeronautics and Space Administration’s (NASA) audio collection Haquindar (B3) capturing a mission control audio test countdown from the Apollo moon mission’s Capsule Communicator.

Kailus Echo and IGC for life.

Curtis Electronix is proud to present "Destroy Your Future", the new LP from the one and only Galaxian. In the last years Mark Kastner aka Galaxian has become a prominent figure in the underground scene because of his high quality productions and his unique take on electro. We all know electro started with futurism and well, this work is pure futurism. Each cut is a trip into his restless creativity. Each track is a mind altering exploration of a deeply cinematic soundscape with a massive number of elements perfectly fused together with his "one of a kind" sci-fi aestethic that immediately pulls you out of the schemes. Caustic distortions, post industrial environments, mind expanding electronics and primitive drum patterns are only the main elements of this sci-fi masterpiece. There is no "Detroit Nostalgia" in it. This is sonic militance. The same that inspired the originators back in the days. When you play it, time runs faster and future looks closer. We are on board, but Galaxian is the only pilot of the ship.

After 'Transit', his successful solo debut, Safe is the second album Bert Dockx (Dans Dans, Flying Horseman, Ottla, Strand) is releasing under his own name.

This collection of songs and instrumentals navigates between threat and dream, between silence and storm. Unlike 'Transit', 'Safe' mainly consists of original work and just two interpretations (of The Velvet Underground & Ornette Coleman tracks). This time Dockx is not flying entirely solo either, he gets musical assistance from Loesje and Martha Maieu (Flying Horseman, Blackie & The Oohoos) and Thomas Jillings (Ottla, Linus). Koen Gisen, Ghent based producer for connoisseurs, is back at the controls. Together with them, Dockx paints a richly variegated and adventurous soundscape with echoes of his other musical projects.

We hear folk, psychedelia, ambient, introverted guitar rock, shaded jazz. Colourful vistas are contrasted with gloomy introspection. Careful listeners will also discover the narrative of a complex, painful, passionate love.

Analog Africa delves deep into the scene of the Mexican's sonideros (sound-system operators) to present the "Rebajada" movement they've created using locally made pitch controls, speakers and sound effects.

"In 2010, I had asked Eamon Ore-Giron - aka DJ Lengua - if he would be interested in compiling a Latin project for Analog Africa, and if so, if he had a theme in mind. He replied, “Have you ever heard of rebajada?“ The question mark above my head, together with the wall of China, must have been the only other object visible from out of space because Eamon, probably noticing I got paralysed, continued, “Rebajada in Spanish means “to reduce, to lower”. It’s basically Mexican sonideros (soundsystem operators) slowing down the beat of a Cumbia to create a much more tangible music to dance to. I’ll send you a mix I made last year and let me know what you think.“ And so he did.

That mix was called Rebajada Mota Mix and I began listening to it on a loop. Although I was not immediately hooked it was intriguing from the get-go, and so I kept listening until magic began unfolding. Slowed down music allows you enough time to hear right through it, revealing itself in ways I had rarely experienced before. Everything became more transparent and I was noticing sounds normally only perceptible by bats. A near psychedelic experience. That mysterious mix included a few Ecuadorian songs by Junior y su Equipo - aka Polibio Mayorga (a cult figure in the sonidero scene), a couple of Mexican tunes, one Colombian, and various Peruvian songs, undoubtedly the driving force behind this project.

The sonidero who brought Peruvian and Ecuadorian music to Mexico was the legendary Pablo Perea from Sonido Arco-Iris, and although his fingerprints are all over the compilation Saturno 2000, this selection of songs in rebajada is exclusive to DJ Lengua. With the exception of a few classics from Polibio Mayorga and La Sampuesana – the queen of all rebajadas – most of these songs were probably never performed as such before, let alone released.

So how did rebajada come to be? In a nutshell; Rebajada started with two families of brothers – the Pereas and the Ortegas – who travelled all over Latin America and returned to Mexico with heavy loads of records which they would sell to the various sonideros always on the lookout for new tunes. Colombian beats especially seemed to fit almost perfectly with the Mexican dance steps – but they were just a bit too fast. As a result some sonideros began experimenting with equipment, and Marco Antonio Cedillo of Sonido Imperial created a revolutionary pitching system that could slow records down to an extent other players could only dream about. And so rebajada was born . . . or so we thought.

At the same time in north of the country, in Monterrey, sonidero Gabriel Dueñez almost got electrocuted by a short circuit that nearly set his record player on fire. As a result the platter started spinning in slow motion for the rest of the party, turning Cumbia into a different affair altogether. The youngsters went crazy for it and started harassing the sonidero with requests to record cassettes for them. Reluctant at first, Dueñez finally began recording a series of pirated cassettes called “Rebajada” which included mainly Colombian cumbia and porro in slow-mo exclusively. Those tapes took the city by storm and turned rebajada into a celebrated and defiant movement of the youth.

Of course it would not be a Mexican urban legend if it didn’t include dramaturgical elements, and so for nearly 30 years, until this day and probably for ever, both cities have been arguing and claiming ownership the creation of rebajada for themselves. But sonidera Joyce Musicolor, who never has time for such trivial arguments, got straight to the point: “Rebajada, and the equipment to perform it, is from here Mexico City but it was Monterrey that popularised it.“

After 'Transit', his successful solo debut, Safe is the second album Bert Dockx (Dans Dans, Flying Horseman, Ottla, Strand) is releasing under his own name.

This collection of songs and instrumentals navigates between threat and dream, between silence and storm. Unlike 'Transit', 'Safe' mainly consists of original work and just two interpretations (of The Velvet Underground & Ornette Coleman tracks). This time Dockx is not flying entirely solo either, he gets musical assistance from Loesje and Martha Maieu (Flying Horseman, Blackie & The Oohoos) and Thomas Jillings (Ottla, Linus). Koen Gisen, Ghent based producer for connoisseurs, is back at the controls. Together with them, Dockx paints a richly variegated and adventurous soundscape with echoes of his other musical projects.

We hear folk, psychedelia, ambient, introverted guitar rock, shaded jazz. Colourful vistas are contrasted with gloomy introspection. Careful listeners will also discover the narrative of a complex, painful, passionate love.

Ironman is the debut solo album by Wu-Tang Clan rapper Ghostface Killah, released in 1996. Produced by Wu-Tang Clan mastermind RZA, the album’s music and lyrics draw prominently on Blaxploitation films and soul samples. Many music critics have praised the album for Ghostface Killah’s imaginative lyricism and RZA’s production style, with some revering it as one of the greatest Wu-Tang solo albums of all time. The album contains Ghostface Killah’s highly praised unique up-tempo, stream-of-consciousness rhyming style, which he would go on to further utilize on his highly acclaimed second studio album Supreme Clientele. Ironman debuted at number two on the Billboard 200 and Top R&B/Hip-Hop Albums, and is certified platinum.

Although a solo album, Ironman features many Wu-Tang collaborations, with furthermore Raekwon and Cappadonna. In addition, the album features the hit “All That I Got Is You” featuring Mary J. Blige.

To celebrate the 25th anniversary of one of the greatest hip hop debuts of the 90’s, Ironman is available as a limited anniversary edition of 4000 individually numbered copies on translucent blue (LP1) and translucent red (LP2) coloured vinyl.

Spider-Man is an established worldwide cultural phenomenon and this movie is already breaking records and exceeding all expectations - Spider-Man: No Way Home is set to be the film of 2021. The thrilling soundtrack by Oscar® and GRAMMY® winning composer, Michael Giacchino, contains the infamous Spider-Man theme, beloved of fans, alongside other popular melodies from the wide-ranging MCU/Spider-Man universe.

The second strike of Leipzig’s new electro offshoot sets
Friedrich Ernst on the offensive. With these four new tracks
he progressed his sound signature from a playful but
reected 8bit world soundtrack on SELF001 to a rm and
gritty b-boy attitude. With SELF002 the do-it-yourself label
team of DJ Unisex and Friedrich Ernst back up nothing less
than their label mission: "We believe in the human mind as a
self-learning system" – and it has the basement dance in the
eye. Classic electro otakus will parté about the succinct
elements that ts each other seamlessly on Class Beat while
the groove remains alert and phantasmagoric. Back 2 The
Ol_ Skool invites two breakdance crews to battle out who
owns the oor: the pale electro robot boys on the left and the
hoover sound loving UK hardcore girls on the right. Wildstyle
is the living proof that a tight 808 groove still smashes
especially hard when complimented with a proper breakbeat.
Best played loud and from vinyl. The last bit of the whole
enchilada is almost tranquilizing until you realise how far
your stone rolled already. Rhythm Control is a crowd pleaser
with endless qualities. Collaboration partner Dominik
Widmann delivers the stunning artwork again for their
ongoing conceptual series with his acrylic paintings.
Included as A2 inlay print in every record.

Augustus Pablo's unique sound which was created around playing what could best be described asa child's musical toy, the melodica. It made him a very popular session player in the late 1970's and early 80's.It was not only his unique talent of playing the instrument but also his talents on a piano and the keyboard.
Pablo worked on a varied amount of sessions for all the top Jamaican producers but especially for King Tubby at hi studio in the heart of the Waterhouse district of Kingston Jamaica.
We have compiled a set of rhythms that have King Tubby and Phillip Smart at the controls and Augustus Pablo adding his musical flavour to the mix to make what we believe to be a great album...
Hope you enjoy the set....

On 30th Oct 2020 Mr. Bungle released their first studio
album since 1999. ‘The Raging Wrath Of The Easter
Bunny Demo’ was a re-recording of the band's 1986 high
school thrash metal demo along with songs written then
but never recorded. The album features original
members Mike Patton, Trey Spruance and Trevor Dunn,
joined by Scott Ian of Anthrax and Dave Lombardo of
Slayer / Dead Cross.
 On 31st Oct 2020 the band celebrated the release with a
massive livestream event, ‘The Night They Came
Home’. The event featured a full live show plus an
opening set by America’s funnyman Neil Hamburger,
plus cameos from musicians and celebrities such as Eric
Andre and Josh Homme (of Queens Of The Stone Age).
 Previously available from Ipecac as a combo audio /
video release in two formats - CD plus Blu-Ray and CD
plus DVD - the event is now released on deluxe white
double vinyl.
 The band have sold millions worldwide through their
three major label releases in the 1990s and have been
inactive since 1999, with the new album debuting in the
Top 10 of many countries around the world.
 The livestream event was one of the biggest sellers for a
metal band, selling 11,000 virtual tickets and over $500K
in merch.
 In 2020 the band graced the magazine covers of
Revolver US, New Noise France, Inferno Finland and
more. Major features in Kerrang, Metal Hammer,
Visions, Guitar World, NME, Record Collector,
Discogs, Dean Delray podcast, Le Soir Belgium
and more.

Aufgrund der großen Nachfrage: Das erfolgreiche ORDEN OGAN Album nun erneut auf Vinyl erhältlich!
Erstmals als Marbled Vinyl erhältlich!
ORDEN OGAN gehören mittlerweile zu den erfolgreichsten Metal-Bands Deutschlands; ihr aktuelles Album "Final Days" erreichte Platz 3 der Media Control-Charts

RAPIDMAN is a new jazz band with top musicians who have won their spurs in bands such as Flat Earth Society, Arno, Nordmann, Arsenal, Isolde, Soulsister, etc. The list is practically endless. The band name? You won't forget it once you get to know the unique sound of this quintet; the band is much more than the sum of its parts.
RAPIDMAN is one of those collectives that can show you every corner of the room without losing control, creating a sizzling and crackling atmosphere. With bursting energy, lilting lyricism and catchy melodies, the five-piece band seamlessly blends the jazz tradition with diverse influences from rock and experimental electronic music.
Drawing inspiration from analogue soundscapes and aiming to evoke an innovative cinematic trance in the listener, the band describes their sound as "freedom, individuality, strong melodies underpinned by an imaginative groove, sculpted with wild, undefined and dreamy electronics."

Malik Hendricks has carved a place for himself in the New York City club scene with a string of carefully composed releases on musclecars’ Coloring Lessons imprint and his own Money Cat Records, each full of gems mined on the line of deep house and deep listening.

Malik continues this run with Blue Flame, his debut on NYC label Bliss Point. Blue Flame finds Malik in full control of his craft, offering an alchemy of warm, in-the-pocket house grooves, live instrumentation and sparse, soulful vocals that build masterfully toward the dancefloor catharsis we’re all after.

Last copies of ultra limited version on half & half black/red vinyl. Only around a 100 available!

“I learned long ago, never to wrestle with a pig” reasoned George Bernard Shaw. “You get dirty, and besides, the pig likes it.” True to form, Pigs Pigs Pigs Pigs Pigs Pigs Pigs have left the wiser of us aware that they are no band to be messed with. This is made manifest on ‘Viscerals’, their third proper, and an enormous leap forward in confidence, adventure and sheer intensity even from their 2018 breakthrough ‘King Of Cowards’.

Incisive in its riff-driven attack, infectiously catchy in its songcraft and more intrepid than ever in its experimental approach, ‘Viscerals’ is the sound of a leaner, more vicious Pigs, and one with their controls set way beyond the pulverising one-riff workouts of their early days. Yet Pigsx7 have effortlessly broadened their horizons and dealt with all these new avenues without sacrificing one iota of their trademark eccentricity, and the personality of this band has never been stronger, whether on the Sabbathian and philosophical warcry of ‘Reducer’, the debauched, Jane’s Addiction-tinged swagger of ‘Rubbernecker’, the Melvins vs Sonic Youth demoltion derby of ‘New Body’ or even the demented MBV-meets-Twisted-Sister party-banger from hell that is ‘Crazy In Blood’.

“We’re a peculiar bunch of people - a precarious balance of passion, intensity and the absurd” notes vocalist Matt Baty. Such is the unstoppable character of this unique and ever-porcine outfit; still the hungriest animals at the rock trough.

Tape

Lucia H. Chung is a Taiwanese experimental artist based in London. She performs and releases music under the alias 'en creux'.

Under this alias, Lucia is interested in the underlying structures of what we call noise and is examining the effects of human interventions into its complex web of tones. Repetition and chance operations are fundamental to Lucia‘s music. It is not built on the dionysian maximalism and symbolic harshness of lots of noise artists; catharsis is not reached via an explosion of sound, but via concentration on sound phenomena and small changes, which, not unlike some minimal disco night your usual mind-altering drone ritual, sucks you in more with every tiny alteration. This music is as intense as it is sensitive.

„The Liberated Mind“, in Lucia‘s own words, „is a sort of split release between two no-input configurations“. For „Wyldside“, she tuned two different feedback mixers with identical routings as close possible, as much as tuning is possible at all on these highly volatile instruments. „The two channels naturally phased in and out from each other. I guess the process was actually akin to Steve Reich's tape techniques on Come Out and It's Gonna Rain. The whole release extrapolated from that point onwards...“ Finding and replicating similar routings/settings on no input mixing desks is the nightmare of every control freak and a task doomed to failure, but in letting go and embracing these failures, patterns emerge. And thanks to Lucia‘s careful work, these patterns become hypnotic as she carves out the essence of each feedback loop, or, as she puts it: „Actually, I did remember the setting for the final track „Earthrise“, but for whatever reasons, I just cannot reproduce the sounds and it's forever lost (at least for this point in time, maybe when the conditions are primed again for the machine, the same sounds will emerge again...). I guess that's really the essences of improvised NIMB setup. Every single sound was the effect of the previous iteration and the cause of the next iteration... (Wait... isn't it just like a Blockchain? Ha!)“

A collection of no-input studio sessions improvised with Mackie 1202-VLZ Pro, TAPCO MIX260FX, MXR Phase 90 and Electro-Harmonix Bad Stone Phase Shifter. All tracks recorded live, no overdubs. Recorded in London in February 2020. Mastered by causeandcondition

Lucia also works as independent curator, producer and broadcaster at Happened. Check out Lucia‘s other albums on Hard Return, Falt and SM-LL.

Repress

dark red marbled vinyl

The Factory hereby presents to you its first release: The Factory 001.

A compilation album which features the likes of artists such as Legowelt, Kypski, Regularfantasy, Klangstof & many more. The aim of The Factory is to bring new and established electronic artists together by giving them a platform and full creative control. All contributions are one of a kind and genres range from IDM, lo-fi house to techno.

The first 250 vinyls are numbered and will include a zine that features drawings, photography and poetry by art squad Rots, Zefanya Anindjola, Cathelijne van der Korput and Nina de Koning.

Remastered Reissue des Debütalbums 'Mind Games' des schwedischen Jazzdrummers Sjunne Ferger, das 1984 ein eigenes Hinterland der elektronisch-progressiven Musikszene Skandinaviens besiedelte, indem es Jazz-Fusion-Wurzeln und ungewollt balearische Anleihen in einem New-Wave-Kontext zu einem einzigartig klingenden Werk fliessen liess, das vielfältig und kreativ zwischen Meditation und Ekstase meandriert. Fergers persönliche Vision einer 'Polymood Music'.

2001’s »Anima« was the third album released by Sasu Ripatti under his Vladislav Delay moniker and marked a turning point in the stylistic development of the prolific producer. Clocking in at roughly 62 minutes, the single piece draws on dub aesthetics while working with Musique concrète-like methods through the liberal use of samples to create a dreamlike logic. Muffled voices, lush chords, subtle rhythms and indefinable sound events are not so much integrated into a composition with a predetermined outcome but rather engage with each other freely in a constant sonic flow, forming constellations in one moment before moving on to connect with other elements in the next one. »Anima« marked the first time Ripatti was using a DAW in his working process, creating a piece constantly in motion that subtly evolves over time. This vinyl reissue on the German Keplar label follows up on the 20th anniversary edition of 2000’s »Multila« and will be complemented by a ten-minute long version of the original piece, previously only available on the CD version released by the artist on his own Huume label in 2008.

After the release of his »Ele« and »Entain« albums in 1999 and 2000, respectively, Ripatti took the 1998 independent movie »Hurlyburly« as a conceptual starting point to experiment with different gear and production methods. »Until then I had worked with an old MSQ-700 MIDI sequencer and an Ensonic EPS16 sampler/sequencer that had one or two MB of sampling memory and mixed the music live on a Mackie, which was very limiting arrangement-wise,« says Ripatti. Loading a slightly shortened version of the film into his DAW however allowed him to play along to it with the DrumKAT MIDI controller, triggering and playing all the sounds that can be heard on »Anima« while also contributing synths, bass and other sounds during repeated playthroughs before mixing a total of six stereo tracks together. »This way, after I had edited out most of the few parts that had music in them, I was in the movie; almost like an extra character playing music,« explains Ripatti. »This was certainly the most organic way in which I have ever made music, and I have never again approached another record like this.«

While »Anima« sounded like an unusual Vladislav Delay record at the time of its release, it also prefigured many of the developments Ripatti would go through in the course of his long career. Combining visceral immediacy with a sense of abstraction, it is far more than a mere missing link in his discography but rather a conceptually and musically outstanding piece of work that remains as engaging as it was 21 years ago.

All tracks composed and recorded by Vladislav Delay.
Originally released on Mille Plateaux in 2001.
Remaster and cut by Kassian Troyer @ D&M.
Art direction and design by Marc Hohmann.
Text by Kristoffer Cornils.

"Two Duos" is pressed from cellist Okkyung Lee's most recent OTO Residency; the first side a duo with Jérôme Noetinger on Revox B77 and the second with Nadia Ratsimandresy on Ondes Martenot. Cut together, the two meetings seem to raise three cellos in the search for expressive voice: the cello, its magnetic reproduction, and the dual controls of the machine invented to expand on its musical qualities. On the A side Noetinger's opening tape hiss establishes a current; an electrical partner who gives Lee room to slide across and stretch out. Progressively the cello is returned, duplicated and manipulated with increased velocity and distortion. Noetinger draws out the full extent of Lee's extended technique; rewinding strands of Lee's horse hair and transmuting her percussive attacks into shuddering echos, before letting his own concrete interjections spin the duo's sonic tussle into an almost romantic daydream. On side B the ondes (invented by French cellist and wartime radio operator Maurice Eugene Louis Martenot and so loved by Bernard Parmegiani, Varese and Messiaen) seems shaken from classical tradition and those long, drawn out horrorscapes it has come to be associated with. In a duel with Lee, Ratsimandresy grasps the ondes' extraordinary capacity for dexterity, nuance and speed, hounding Lee's cello in a bid to drive her instrument out of the past and into the future. Two fantastic pairings and a testament to the freshness with which Lee and her collaborators continue to work with their instruments. Okkyung Lee / cello. Jérôme Noetinger / Revox B77. Nadia Ratsimandresy / ondes Martenot. Recorded live at Cafe OTO on. Mixed and mastered by Lasse Marhaug. Design by Maja Larrson.